Music Releases 09-06-19
Post Malone stirs a mix of genres into his own sonic sound that’s both intoxicating and invigorating. His RIAA 3x Platinum certified debut album, Stoney, led the genre-bending Dallas, TX artist to his first Top 10 Billboard 200 and first #1 R&B/Hip-Hop Album while being the “#1 Debut Hip-Hop Artist of 2016”. 2019 has been packed with one milestone and achievement after another for Post Malone including “Congratulations” being certified Diamond by the RIAA.
Hailed by Rolling Stone as a “stomping, swaggering rock & roll balancing act teetering between blinding light and total darkness,” Barns Courtney releases his newest album, 404, on September 6 by Capitol Records. Barns wrote and produced the 10-song collection with synth wiz and longtime friend Sam Battle. All in all, 404 is a commentary on his journey from awe struck naivety to the dark realization of adulthood. Barns Courtney has already surpassed a half billion cumulative streams globally and is currently touring with Elle King. In between headline dates, he’s opened for everyone from The Who and Blur to Ed Sheeran and The Wombats, prompting The Dallas Observer to note, “At the rate he's been performing, it won’t be long until he’s burned his name into the memory of anyone and everyone who bought a ticket to see someone different.”
A uniquely somber and contemplative entry in the Iggy Pop canon. Free has virtually nothing in common sonically with its predecessor (Post Pop Depression)—or with any other Iggy Pop album. As Iggy says, “Free to recoil from guitar riffs in favor of guitarscapes, from twangs in favor of horns, from back beat in favor of space; and in large part, from the effluent of my own mind and problems, in favor of trying to interpret the poetry of others…so this album just kind of happened to me, and I let it happen.”
The Highwomen are a cleverly named new supergroup comprising country and roots rock stars Brandi Carlile, Amanda Shires, Maren Morris, and Natalie Hemby. After a few months of teasers and a soft debut at April’s Loretta Lynn tribute, they’re making their official introduction to the world.
The group has announced its self-titled debut album, out in September and produced by Dave Cobb, the Nashville mainstay who always seems to be behind the boards for these types of projects. (He’s also produced recent albums by Jason Isbell, Sturgill Simpson, Chris Stapleton, Lori McKenna, Ashley Monroe… you get the idea.) The album features 12 songs written by various combinations of the core members plus some notable collaborators like Isbell, McKenna, Miranda Lambert, and Ray LaMontagne. It features guest appearances from Isbell, Cobb, Sheryl Crow, Yola, the Hanseroth twins, Chris Powell, and Peter Levin.
Lost Girls is another brilliant full-length in Khan's incredible, acclaimed discography, mixing sounds she's always loved - heavy bass lines, synth arpeggios, Iranian pop beats, cascading choruses - with some of her finest songwriting to date. It's an album full of romance, a homage to Los Angeles where the album was recorded, to being a kid in the 80's, to films that touched and changed her life. Spanning 10 tracks, Lost Girls sees Khan dreaming up her own fully formed parallel universe, creating an off-kilter coming of age film in which gangs of marauding female bikers roam our streets, teenagers make out on car hoods and a powerful female energy casts spells and leave clues for us to follow. The women of Lost Girls are parallel to one of Khan's previous female protagonists, the tough, darkness-driven Pearl, from her 2009 lauded album Two Suns. Within the women of Lost Girls and the character Nikki Pink, Khan unfolds elements of herself; within these songs, we do the same.
Amadjar means ‘the unknown visitor’ in the language of Tamashek, the one who seeks hospitality and who’s condemned to an inner exile, within a territory or within himself. The story of Amadjar, the ninth Tinariwen album, begins at the end of 2018, at the Taragalte Festival of nomadic cultures in the Moroccan Sahara. After a concert and a sandstorm, Tinariwen hit the road and head for Mauritania, via southern Morocco, Western Sahara and the Atlantic coast. The destination is important but no more so than the journey itself. Tinariwen are joined by their French production team, who arrive in old camper van that’s been converted into a makeshift studio. The journey to Nouakchott, capital of Mauritania, takes a dozen days or so. Every evening, the caravan stops to set up camp and the members of Tinariwen get to work under the stars – to prepare for the recording, talking things through, letting their guitar motifs, thoughts and long buried songs come. Then, during a final camp in the desert around Nouakchott that lasts about fifteen days, to an audience of scorpions, the band record their songs under large tent. In a few takes, without headphones or effects. The Mauritanian griotte Noura Mint Seymali and her guitarist husband, Jeiche Ould Chigaly, come to throw their musical tradition on the embers lit by Tinariwen – the curling vocals of Noura Mint Seymali on the song ‘Amalouna’ will become a highlight. This nomadic album, recorded in a natural setting, is as close as you can get to Tinariwen. And also, therefore, to the idea that things can evolve: bassist Eyadou plays a lot of acoustic guitar; percussionist Said tries his hand at new instruments; Abdallah exhumes songs that he’s never played on stage with Tinariwen. And that violin that appears on several songs and reminds you of the traditional imzad ; It’s actually played by Warren Ellis. The violinist in Nick Cave’s band is one of several western guests on the album. We also hear the mandolin and charango of Micah Nelson (son of the country music giant Willie Nelson, and Neil Young’s guitarist), and the guitars of Stephen O’Malley (Sunn O)))), Cass McCombs and Rodolphe Burger. The album is mixed by Joshua Vance Smith.
2019 release. Guaxe is a musical duo that was formed spontaneously after the encounter of two Brazilian psych rockers Dino Almeida (Boogarins) and Pedro Bonifrate (Supercordas). Both members have guested on each others' recordings and had shared the stage at a few festivals together before Supercordas' dissolution in 2016. Over recent years, Dino has paid Bonifrate and his family many short visits to his home in Paraty in coastal Brazil. During these getaways, the Guaxe album was written and recorded - with 4-track machines, computers, cranky gear, 10-string guitars, children playing, and a rainforest full of lizards all around the house.
Also check out Dino Almeida's other band Boogarins who are currently on tour following the release of their recent album Sombrou Dúvida which is available now on CD & LP
Close It Quietly is a continual reframing of the known. It’s like giving yourself a haircut or rearranging your room. You know your hair. You know your room. Here’s the same hair, the same room, seen again as something new. Close It Quietly takes the trademark Frankie Cosmos micro-universe and upends it, spilling outwards into a swirl of referentiality that’s a marked departure from earlier releases, imagining and reimagining motifs and sounds throughout the album. The band’s fourth studio release is a manifestation of their collaborative spirit: Greta Kline and longtime bandmates Lauren Martin (synth), Luke Pyenson (drums), and Alex Bailey (bass) luxuriated in studio time with Gabe Wax, who engineered and co-produced the record with the band. Recording close to home— at Brooklyn’s Figure 8 Studios— grounded the band, and their process was enriched by working closely with Wax, whose intuition and attention to detail made the familiar unfamiliar and allowed the band to reshape their own contexts. On opener “Moonsea,” an unaccompanied Greta begins, “The world is crumbling and I don’t have much to say.” Take that as a wink and a metonym for the whole album, as her signature vocals are joined by Alex’s ascending bassline and Lauren’s eddying synths, invoking a loungey take on Broadcast or Stereolab’s space-disco experimental pop. There’s much more than “not much” to say here, and it's augmented and expanded by experimentation with synth patches, textures, and other recording nuances courtesy of Wax. As the lineup has solidified into the most permanent expression of full-band Frankie Cosmos, the bandmates have felt more comfortable deviating from their default instruments and contributing bigger-picture ideas to continue pushing the sound forward. The band’s closeness and aesthetic consistency freed its members to take more risks, notes Luke: "Everything will sound like Frankie Cosmos because Greta has such a distinct voice (literally and figuratively). We have so much latitude to experiment with the instrumental music, and this time around we really took advantage of that." Without losing any intimacy of prior albums, Close it Quietly is different, is outer. The album functions as a benign doppelganger, a shadow self of past releases; where other Frankie Cosmos records shine brightest looking inward, Close it Quietly refracts the self into the world, and vice versa, miraculously echoing Thoreau’s assertion that “when I reflect, I find that there is other than me.” Reflection--and refraction--isn’t tidy. “Flowers don’t grow/in an organized way/why should I?” Greta sings on “A Joke.” Growth isn’t linear. Change happens in circles. While recording the album, Alex says, “I closed my eyes a lot.” Stand in the sun, listen to Close it Quietly, and do the same.
The Competition, the anticipated fourth album from Lower Dens, is a pop album with a concept both emotionally and politically urgent. The title is lead singer and songwriter Jana Hunter’s term for a sociopsychological phenomenon that, in different ways, binds us all. Modern capitalism by nature generates a psychosis that accelerates our insecurities and anxieties to the point of total overload, corroding our intimacies, our communities, and our senses of self. The Competition speaks, in various ways, to the necessity of “socially de-conditioning ourselves and learning how to be people,” Hunter says. “The issues that have shaped my life, for better or for worse, have to do with coming from a family and a culture that totally bought into this competitive mindset.” The band’s first three albums—Twin-Hand Movement, Nootropics, and Escape from Evil—formed a narrative of sorts, about finding community, and identifying one’s responsibilities. This trajectory was interrupted by personal crises including frustrating battles with mental health. At the same time, Hunter was and is still undergoing a gender transition they had been deferring for many years. “I repressed the idea for a long time,” Hunter says. Hunter studied Western classical music growing up, “but I was wild and in a lot of pain, and it didn’t really touch that. What did, especially as a very young person, was pop — a spectrum ranging anywhere from Prince to Anne Murray. Home life was very bleak, and pop songs were a guaranteed escape to a mental space where beauty, wonder and love were possible. I wanted to write songs that might have the potential to do that.” The Competition draws on influences ranging across decades of Western pop music and chronicles messy, vulnerable humanity at a time of upheaval and chaos — through immersive, four-minute songs meant to give pleasure as much as provoke self-examination. It channels an urgent, restless desire to connect. “My voice is gonna be different when I perform these songs than it was when I recorded them,” Hunter says. “I’m equally terrified of and excited by that, but I always want to be more myself onstage, to reach people.”
Movie Releases 09-10-19
Echo In The Canyon celebrates the explosion of popular music that came out of LA’s Laurel Canyon in the mid-60s as folk went electric and The Byrd's, The Beach Boys, Buffalo Springfield and The Mamas and the Papas gave birth to the California Sound. 1965-67 was a moment when bands came to LA to emulate The Beatles, and Laurel Canyon emerged as a hotbed of creativity and collaboration for a new generation of musicians who would soon put an indelible stamp on the history of American popular music. Featuring Jacob Dylan, the film explores the Laurel Canyon scene via never-before-heard personal details behind the bands and their songs, and how that music continues to inspire today. Echo in the Canyon contains candid conversations and performances with Brian Wilson (The Beach Boys), Michelle Phillips (The Mamas & the Papas), Stephen Stills (Buffalo Springfield), David Crosby, Roger McGlinn (The Byrd's), their contemporaries Ringo Starr, Eric Clapton, Graham Nash, and slightly younger followers Jackson Browne and Tom Petty (in his last film interview), as well as contemporary musicians influenced by their music such as Beck, Fiona Apple, Cat Power, Regina Spector and Norah Jones.
The film marks the fusion of Queen's melodies and the grace and movement of ballet. Included are some well-known pieces from Mozart. Bonus footage includes the making of. Ballet for Life was a unique collaboration between three cultural brands: Queen, Versace and the visionary choreographer Maurice Béjart, celebrating the life and talents of legendary performers, Freddie Mercury and dancer Jorge Donn, both of whom died of AIDS. Features two programs: the documentary by Lynne Wake and Simon Lupton, and a full 1997 performance of the ballet by the Béjart Ballet of Lausanne. In a limited-edition book package.
BTN is a revelatory journey behind the scenes of one of the most important labels in the history of jazz - and by extension, that of American Music - Blue Note has been home to groundbreaking legends as well as present-day luminaries. Founded in New York in 1939 by German Jewish refugees, the history of the label goes beyond the landmark recordings, encompassing the pursuit of musical freedom, the conflict between art and commerce and the idea of music as a transformative and revolutionary force. The film explores the vision behind the iconic jazz label. The legacy of Blue Note is built on such artists as Miles Davis, Thelonious Monk, John Coltrane & more. It premiered at the 2018 Tribeca Film Festival and premiered in NY & LA in 2019. The Blue Note 80th Anniversary tour is coming this fall.
Experience the thrilling live-action adaptation of the characters and tale you know and love from Disney's animated classic. The cinematic celebration of Disney's ALADDIN is "an entertaining magic carpet ride for fans old and new" (Sean Keane, CNET).
New DVD: $95.99 Add to Cart
Each year, the Rock & Roll Hall of Fame honors rock music's greats during a prestigious black-tie ceremony. These induction ceremonies featuring the biggest names in classic rock from the 60s, 70s, 80s and 90s have become nearly as epic as the artists they celebrate.
The Rock & Roll Hall of Fame: In Concert brings together the very best performances from 30 years of induction ceremonies. You'll see poignant reunions, one-of-a-kind collaborations, moving and often hilarious induction speeches, and so many unforgettable performances.
Music Releases 09-13-19
The Nothing [White LP]
Beneath The Eyrie [LP]
Lookout Low [LP]
Good Luck, Kid [Clear LP]
Real Life [LP]
The Fall of Hobo Johnson [LP]
Belle And Sebastian
Days Of The Bagnold Summer [LP]
Country Music - A Film By Ken Burns (The Soundtrack) [2LP]
Movie Releases 09-17-19
John & Yoko: Above Us Only Sky [Blu-ray]
Country Music - A Film By Ken Burns
Country Music - A Film By Ken Burns
X-Men: Dark Phoenix