PREORDER UPCOMING RELEASES

Minneapolis indie pop rebels Hippo Campus return with their third full-length, LP3, on February 4th. Their strongest and most complete work yet, LP3 is a freshly-inked portrait excavating young adulthood, identity and, more importantly, how that personal identity fits into a larger camaraderie.

"On Silver color vinyl. Toro y Moi’s seventh studio album, Mahal, is the boldest and most fascinating journey yet from musical mastermind Chaz Bear. The record spans genre and sound—encompassing the shaggy psychedelic rock of the 1960s and ‘70s, and the airy sounds of 1990s mod-post-rock—taking listeners on an auditory expedition, as if they’re riding in the back of Bear’s Filipino jeepney that adorns the album’s cover. But Mahal is also an unmistakably Toro y Moi experience, calling back to previous works while charting a new path forward in a way that only Bear can do.

Mahal is the latest in an accomplished career for Bear, who’s undoubtedly one of the decade’s most influential musicians. Since the release of the electronic pop landmark Causers of This in 2009, subsequent records as Toro y Moi have repeatedly shifted the idea of what his sound can be. But there’s little in Bear’s catalog that will prepare you for the deep-groove excursions on Mahal, his most eclectic record to date.
The second the album begins we’re immediately transported into the passenger seat, jeep sounds and all, ready for the ride Chaz and company have concocted for us. Seeds of some of Mahal’s 13 songs date back to the more explicitly rock-oriented What For? from 2015. Mahal was mostly completed last year in Bear’s Oakland studio with the involvement of a host of collaborators, Sofie Royer and Unknown Mortal Orchestra’s Ruban Neilson to Neon Indian’s Alan Palomo and the Mattson 2.

“I wanted to make a record that featured more musicians on it than any other record of mine,” he explains. “To have them live on that record feels grounded, bringing a communal perspective to the table.” As a result, Mahal is lush and surprising at every turn, from the cool-handed “The Loop,” which recalls Sly and the Family Stones, to the elastic psych rock of “Foreplay” and the dizzying Mulatu Astatke- recalling of “Last Year.”
Lyrically, the album zooms in on generational concerns, picking up where the Outer Peace standout “Freelance” effectively left off. Bear seems to be surveying the ways in which we connect with technology, media, each other, and what disappears as a result. Cuts like the squishy “Postman” and the “Magazine” take a deep dive into our relationship with media in a changing digital world. “It’s interesting to see how we adapt to this new age. We’re so connected, but we’re still missing out on things,” Bear ruminates while discussing the album’s themes.

It’s not all introspection. Bear cools things down near the album’s end with the Mattson 2-featuring “Millennium,” a laid-back jam with tricky guitar licks about ringing in new times even when everything else seems upside down. “It’s about enjoying the new year, even when it’s been shitty,” Bear explains. “There’s nothing else to do.” Finding a sense of joy in the face of adversity is embedded in Mahal’s DNA, right down to the jeepney that literally and figuratively brings the music out into the community. “We know that touring is messed up for now, and large gatherings are a fluke,” he explains. “It’s about the notion of us going out to the people and bringing the record to them.” And with the wide-open atmosphere of Mahal, Toro y Moi stands to connect with more listeners than ever before."

Scheduled for release in April 2022, the 10-song sophomore full-length album showcases Kirke’s unselfconscious, country-twinged vocals alongside a brightly colored candy shop of glam-twang guitar riffs, department store tv commercial synth stylings, and swooping, lilting, unabashedly feminine background vocals. Lady For Sale channels a high-spirited insouciance that feels invigorating and familiar, decidedly more easy-going and fun-loving than what we’ve come to expect from its genre (and the world in general) in recent years. This is a party you’ll want to attend.

Like pausing a VHS tape, music freezes the frenetic motion of daily existence. Even if just for an instant, it calms the feedback loop of routine, engages respite, and provides perspective. Siphoning guitar transmissions and a dynamic vocal push-and-pull through a lens of cinematic production, Lo Moon deftly balance expansive soundscapes and eloquent songcraft. The Los Angeles based quartet—Matt Lowell, Crisanta Baker, Sam Stewart and Sterling Laws - ultimately use music to make sense of each day on their sophomore offering, A Modern Life [Strngr Recordings/Thirty Tigers].

“It’s about survival’’ observes Matt. “Navigating through all that’s thrown at us. Maintaining who we are and where we want to be. Music itself has been so powerful for us in our own survival, it can change everything in an instant. As a band, we’ve got a lot of reverence for it and strive for it. We don’t take it for granted.”

They never have either…

In 2016, Lo Moon materialized as a fan and critical favorite with the buzzing “Loveless.” It paved the way for their 2018 self-titled full-length, Lo Moon, which NPR hailed as ‘’shimmering, immersive and otherworldly. As intimate as it is anthemic’’. Meanwhile, Variety attested, “It possesses a rare balance of pop-inflected songwriting and dense atmospherics that hold each other in check rather than clashing.” Beyond acclaim from The New York Times, NPR, Los Angeles Times, The Sunday Times, NME, Noisey and more, Billboard named them among “10 Rock & Alternative Artists to Watch.” Between amassing over 50 million streams, the band performed alongside The War On Drugs, Glass Animals, Phoenix, and Air in addition to gracing the bills of Governors Ball, Lollapalooza, SXSW, All Points East and more. The group also made their late-night television debut on Jimmy Kimmel LIVE! followed by The Late Late Show With James Corden.

Following a tour with CHVRCHES, the musicians entered the studio with producer Yves Rothman (Yves Tumor, Miya Folick) to record what would become the next body of work. Various elements fell into place as they also officially added Sterling to the fold in the studio. Their old friend Chris Walla (Death Cab For Cutie), who co-produced their debut, eventually joined them for some of the finishing touches.

In the end, Lo Moon might just inspire you to enjoy A Modern Life a little more.

‘’The journey of making a record is always winding, every artist will tell you that. We found that all we needed was the connection to each other and the commitment to believe in the music and emotion in the four of us. Great art has the ability to transform, and transport and we know how powerful that can be. We hope this record does that for you and can’t wait to play it live. That will be the moment this journey feels truly complete.’’ says Matt. 

Acclaimed singer, songwriter and musician Molly Tuttle will release her anticipated Nonesuch Records debut, Crooked Tree, April 1 (on CD and digital. LP will be May 13) with her new bluegrass collective Golden Highway.

Recorded live at Nashville’s Oceanway Studios, Crooked Tree was produced by Tuttle and Jerry Douglas and features collaborations with Sierra Hull, Old Crow Medicine Show, Margo Price, Billy Strings, Dan Tyminski and Gillian Welch. The album explores Tuttle’s love of bluegrass, which she discovered through her father, a music teacher and multi-instrumentalist, and her grandfather, a banjo player. Across these thirteen tracks, all of which were written/co-written by Tuttle, she honors the bluegrass tradition while also pushing the genre in new directions.  

“I always knew I wanted to make a bluegrass record someday,” Tuttle says. “Once I started writing, everything flowed so easily: sometimes I’ve felt an internal pressure to come up with a sound no one’s heard before, but this time my intention was just to make an album that reflected the music that’s been passed down through generations in my family. I found a way to do that while writing songs that feel true to who I am, and it really helped me to grow as a songwriter.”

In celebration of the new music, Tuttle and Golden Highway—Bronwyn Keith-Hynes (fiddle), Dominick Leslie (mandolin), Shelby Means (bass) and Kyle Tuttle (banjo)—will embark on an extensive headline tour beginning tonight with shows at Seattle’s Tractor Tavern (two nights), Portland’s Mississippi Studios (two nights), Los Angeles’ Roxy, Salt Lake City’s State Room, Boulder’s Fox Theatre, Asheville’s The Grey Eagle and Nashville’s Station Inn, among several others. Full details can be found at mollytuttlemusic.com/tour.   

In addition to Tuttle (vocals, guitars), Douglas (dobro), Keith-Hynes (fiddle) and Leslie (mandolin), Crooked Tree also features musicians Darol Anger (fiddle), Ron Block (banjo), Mike Bub (upright bass), Jason Carter (fiddle), Viktor Krauss (upright bass), Todd Phillips (upright bass) and Christian Sedelmyer (fiddle) with additional harmony vocals from Tina Adair, Lindsay Lou and Melody Walker.

2022 release. Dawn FM is the fifth studio album by Canadian singer-songwriter The Weeknd. The album is narrated by Jim Carrey, and features guest appearances from Tyler, the Creator and Lil Wayne. The production was handled by The Weeknd himself alongside Oneohtrix Point Never-who produced the majority of the tracks-as well as Max Martin, Oscar Holter, Calvin Harris, and Swedish House Mafia, among others. The album serves as a follow-up to The Weeknd's fourth studio album, After Hours (2020). EXPLICIT

Bad Suns sound - dreamy '80s pastiche flanked by Stratocasters through cranked Vox amps, pulsing synths, and palpable rhythmic energy - that endeared listeners to the band in the first place, and their fourth LP, APOCALYPSE WHENEVER, uses that musical foundation as the jumping-off point for their next evolution. Conceived as "the soundtrack to a movie that doesn't yet exist," the 13-track album, helmed by longtime producer Eric Palmquist (MUTEMATH, Thrice) at his Palmquist Studios and the band's North Hollywood rehearsal spot, is more conceptually rigorous than anything they've ever attempted - but no less compelling or accessible. "We also knew we wanted the album to have a through-line, a story from beginning to end," frontman Christo Bowman explains, so the band did what any good directors would: They assembled a mood board, filtering their neo-noir version of Los Angeles through the dreamlike haziness of author Haruki Murakami, the futuristic flair of Terminator 2: Judgment Day and Blade Runner, and the lifted cinematography of Spike Jonze's HER. These disparate influences don't just offer APOCALYPSE WHENEVER an expanded palette of sonic choices to color Bad Sun's airtight hooks - they help give the songs an emotional complexity that works on a multitude of levels depending on how listeners choose to receive them.

Eels have had one of the most consistently acclaimed careers in music. The ever-changing project of principal singer/songwriter E (Mark Oliver Everett), Eels have released thirteen studio albums since their 1996 debut, Beautiful Freak. During the height of the pandemic lockdown in early 2021, E got an out of the blue message from Mark Romanek, director of the first Eels video, "Novocaine For the Soul". It triggered him to reach out to John Parish, who was in between numerous projects and immediately got to work in his HonorSound studio in Bristol and began sending ideas to E. "I'd sneak out of bed at 4 in the morning to hear the latest thing John had sent, and try to add my part to it and get it back to him quickly before my 4 year old son woke up," E says. The resulting album is Extreme Witchcraft.

A fever dream in sonic form, The Alien Coast is the first album St. Paul & The Broken Bones recorded in their hometown of Birmingham. Produced by Matt Ross-Spang (Drive-By Truckers, Margo Price) - the bands fourth full-length is a dizzying convergence of rock & roll and R&B, psychedelia and stoner metal, gospel and jazz-funk. At turns explosive, elegant, and thrillingly unhinged - it makes for a majestic backdrop to the groups visceral exploration of the strangest dimensions of the human psyche.

A brand new album of brand-new songs from the No. 1 R&B Group of All Time, The Temptations. Features tracks written and produced by Narada Michael Walden, the young hip-hop producer K. Sparks, longtime group member Ron Tyson, founding member Otis Williams, and the equally legendary Smokey Robinson, whose classic songs launched the group’s original hit streak. The new album release will coincide with Otis Williams’s 80^thbirthday, and the Broadway return (and road show edition) of the hit musical, Ain’t Too Proud: The Life and Times of The Temptations.

Cast your mind back to notable landmarks of 1992. Outside the Twin Cities, Mall of America opened to the public. Frank Gehry’s enormous golden fish sculpture, El Peix, welcomed Barcelona Olympians. And The House of Tomorrow, a four-song 7-inch on a small indie label, ushered in a new era for the Magnetic Fields.  Never before released as a 12-inch, this 30th anniversary remastered edition includes the additional track "Alien Being" plus a vinyl etching on side B. 

For the past 20 years, Jason Boland & the Stragglers have dazzled audiences all over as one of the leading ambassadors of the Oklahoma and Texas music movement. Millions of fans cheering him on, over 500,000 records sold independently and 10 albums later, Boland is a career musician whose legacy continues to grow. From his early days touring in cramped vans and playing in front of tiny bar crowds to the packed venues he performs in today, Boland’s uncompromising approach has grown his profile dramatically, especially in the past handful of years. Add to that the legions of musicians who are influenced by Boland, and his impact on the scene is undeniable.

Prior to the pandemic, Boland was hard at work on his most ambitious project yet. The groundwork he laid in 2019 saw the singer-songwriter roll through songs that would be a bold step forward. Strumming through the material with the Stragglers at a rehearsal in Colorado, Boland knew he had something big. However, that session took place a day before the lockdown and put the kibosh on the project for a year.
 
In early 2021, the time felt right to get the project rolling again. At a time when pandemic albums are popping up left and right, Boland zigged when everyone else zagged. Titled The Light Saw Me, the acclaimed singer-songwriter decided to go deeper than he’s ever gone before to create a multi-layered sci-fi concept album. Once again teaming up with his frequent co-conspirator, Grammy-winning producer Shooter Jennings, Boland hunkered down in a Los Angeles-area studio to bring The Light Saw Me to life.
 
On the surface, The Light Saw Me traces a cowboy living in Texas in the 1890s who is abducted by aliens and ends up in Texas in the 1990s, but there’s way more to it. Packed into three distinctive interlocking parts, The Light Saw Me is layered with vivid imagery that touches on old legends (such as a spacecraft allegedly crashing in Aurora, Texas), conspiracies, and other accounts that run contrary to reality.

Hidden behind the grandeur of the storyline, the message that Boland aims to share is a universal one: Everyone and everything is connected by love. In classic Boland fashion, The Light Saw Me tackles stories and themes that are integral to his writing beyond his world-class use of metaphors, like who we are, where we’re going, and whether love is something that people feel internally or just connected to consciousness and humans’ fear of their own mortality.
 
For most of his career, the only thing you could expect from Boland is to do the unexpected. On what’s now his 10th studio album, he not only does that, but he did it in his own organic and authentic way. He’s making the music he wants while continuing to please the people who want to hear where his artistic journey takes him next. With a catalog like his, that’s no easy feat.

Following the eclectic charm and intimacy of 1970's solo McCartney and 1971's homespun lo-fi indie-pop progenitor RAM credited to Paul and Linda McCartney, Wild Life found Paul once again redefining his post-Beatles creative identity, this time beginning his tenure as a founding member of Wings. A rollicking left turn from its predecessors, Wild Life was recorded in barely more than a week, with more than half of the songs captured in a single take. The end result would be eight songs running the gamut from joyous freewheeling jams to proto-chamber pop to spare introspective musings — all bristling with a raw, jagged energy akin to the grungiest of garage bands—whether on the careening blues-rock rave-up of opener "Mumbo," a reggae-tinged reimagining of Mickey & Sylvia's "Love Is Strange," or the plaintive and heart wrenching ballad "Dear Friend."

‘Requiem’ follows Korn’s critically acclaimed 2019 release, ‘The Nothing’. Korn changed the world with the release of their self-titled debut album. It was a record that would pioneer a genre, while the band’s enduring success points to a larger cultural moment. The band have continued to push the limits of the rock, alternative and metal genres, while remaining a pillar of influence for legions of fans and generations of artists around the globe.

Exclusive to Indie Retailers. Give Me The Future, Bastille's wildly-ambitious new album, is a tribute to tech times and a glimpse of what could be to come. Exploring both the opportunities of new technology and the dark side of lives lived online, it's as playful as it is thought-provoking, as dystopian as it is dancefloor-friendly and as electronic as Bastille have ever been. Executive produced by Ryan Tedder, Give Me The Future by Bastille will release on February 4, 2022. The following Bastille album will be released on 2/04/2022. The color of this vinyl is YELLOW.

Black Country, New Road will release the second album, 'Ants From Up There' on February 4th via Ninja Tune. Following on almost exactly a year to the day from the release of their acclaimed debut 'For the first time', the band have harnessed the momentum from that record and run full pelt into their second, with 'Ants From Up There' managing to strike a skilful balance between feeling like a bold stylistic overhaul of what came before, as well as a natural progression. Their debut 'For the first time' is a certain 2021 Album of the Year, having received ecstatic reviews from publications including as NPR, Stereogum, Pitchfork, The FADER, CRACK, Uncut, The Quietus, Loud & Quiet, The Face, Paste, The Needle Drop, DIY, NME, CLASH and fans alike, as well as recently being shortlisted for the UK's prestigious Mercury Music Prize. The album made a significant dent on the UK Albums Chart where it landed at #4 in its first week, as well as breaking into multiple Billboard Charts including Top Album Sales (#50), Current Album Sales (#26), Tastemaker Albums (#4), Heatseeker Albums (#15) and Emerging Artists (#22). 'For the first time' melded klezmer, post-rock, indie and an often intense spoken word delivery. On 'Ants From Up There' they have expanded on this unique concoction to create a singular sonic middle ground that traverses classical minimalism, indie-folk, pop, alt rock and a distinct tone that is already unique to the band.

Time Skiffs’ nine songs are love letters, distress signals, en plein air observations, and relaxation hymns, the collected transmissions of four people who have grown into relationships and parenthood and adult worry. But they are rendered with Animal Collective’s singular sense of exploratory wonder. Harmonies so rich you want to skydive through their shared air, textures so fascinating you want to decode their sorcery, rhythms so intricate you want to untangle their sources. Here is Animal Collective's past two decades, still in search of what’s next.

Earthling, the new album from Eddie Vedder, includes the tracks "Long Way," "The Haves," and more. It was produced by Andrew Watt and features special guest artists.

Timed to coincide with the 50th anniversary of the landmark film's release, this new 180g LP version of the soundtrack combines nine Cat Stevens originals as well as - for the first time - additional dialogue and instrumental music from the film plus unheard audio masters for "Don't Be Shy" and "If You Want To Sing Out, Sing Out." All audio has been remastered at Abbey Road Studios. This new edition features enhanced packaging - liner notes, lyrics, transcription of movie dialogue, and photos.

“I was born in the North Carolina mud,” says Jamil Rashad, better known as Boulevards, one of the most idiosyncratic artists making music in the Tarheel State. His fourth album, Electric Cowboy: Born in Carolina Mud, is caked in the soil where he grew up, mired in the muck of this place—not stuck but freed. Grounded in personal experience and haunted by personal demons, Electric Cowboy is an album that reaches out, that embraces the world, that mixes the confessional and the communal. But the dominant sound—the dominant mindset—is funk: gritty, warm, weird, charismatic. Rashad once again composed and recorded with Blake Rhein, guitarist for Durand Jones & the Indications, after they had worked so well together on 2020’s Brother! EP. They corralled an all-star team that included Adrian Quesada from the Grammy-nominated neo-soul act Black Pumas and Colin Croom from the Chicago indie-rock outfit Twin Peaks.

“On Electric Cowboy I wanted to make some modern funk that the kids would enjoy, but still have some soul elements and some punk elements. On the cover you see a black man on a horse running away from his demons. That’s me. You can hear it all in the songs – struggling with demons and still coming out on top of it all. That’s what funk is! You got some heavy, dark shit, but you also got some joyful compositions, funky basslines, dope harmonies, infectious hooks. So that’s me on the cover, the Electric Cowboy, slaying anything that comes in my path. I gotta keep riding, keep trucking, keep fighting, keep pushing.”

Priscilla Block draws listeners in with her unfiltered, relatable songwriting and catchy melodies. "I love writing about real-life experiences and the ups and downs that I've gone through," Priscilla says. "I don't sugarcoat anything, and I think that's the beauty of songwriting and being an artist. It's a little sass, a little trash and a little sad," she describes with a knowing wink as her catalog rolls easily from heartbreak to laughter. Features the Country radio hit, "Just About Over You."

Berlin's most important rock band Kadavar collude with US prog rock wunderkinder Elder, and decided to drown in sound together. What surfaced is "A Story of Darkness & Light", a marvel of musical liberty, a gushing opus between rock, prog and alternative, held together by the two bands' contrasts. Tiger Bartelt, Lupus Lindemann, and Simon Bouteloup of Kadavar as well as Michael Risberg, Nick DiSalvo, and Georg Edert of Elder (minus bassist Jack Donovan who wasn't allowed to travel from the US) extract an arcane and fleeting magic from the primordial broth of rock, the kind of magic that can only work when everything is in fluid. When nothing is disturbing the creative process, when there is no external or internal pressure whatsoever. Never before did the music of these bands breathe in such a way. Never before did they sound as versatile, as surprising and as peculiar as they do here.

The Cutthroat Brothers, along with punk legend Mike Watt (Minutemen, Firehose, The Stooges) are back in road sharpened form. Jason Cutthroat's grinding, straight razor slide guitar and Donny Paycheck's (ex Zeke) pummeling, heavy-as-hell drums beat down on you in a blues punk soaked fever. Mike Watt provides the blood-like glue that brings the monster's heart to life. Jack Endino (Nirvana, Soundgarden, Mudhoney) produces and mixes in his 5th collaboration with The Cutthroat Brothers, shaping 'Devil in Berlin' to a razor sharp edge fit to shave Satan himself.

Bobby Weir & Wolf Bros—consisting of Bobby Weir, Don Was, Jay Lane and Jeff Chimenti—are set to release their first ever vinyl collection of recorded material. Bobby Weir & Wolf Bros: Live In Colorado is out February 18 on Third Man Records—their debut with the label. Bobby Weir & Wolf Bros: Live In Colorado features a collection of songs recorded at the band’s live performances at the historic Red Rocks Amphitheater in Morrison, Colorado and the Gerald R. Ford Amphitheater in Vail, Colorado on June 8, 9, 11, 12, 2021. These shows were the group’s first live audience concerts in over a year and featured Greg Leisz on pedal steel, along with The Wolfpack: Alex Kelly, Brian Switzer, Adam Theis, Mads Tolling and Sheldon Brown. “Been too long,” Weir said of the performances, “but I can’t think of a better place to pick it back up…”

"Two of the acts boldly leading Texas music into the future have now delivered a second chapter of their groundbreaking collaboration, further extending the region’s sonic possibilities. Singer/songwriter Leon Bridges, from Ft. Worth, and trailblazing Houston trio Khruangbin have joined forces for the Texas Moon EP, a follow-up to 2020’s acclaimed Texas Sun project. While the five new songs are clearly a continuation of the first EP, they also have an identity all their own—Bridges calls it “more introspective,” while Khruangbin bassist Laura Lee says it “feels more night time.” When Texas Sun was released, AllMusic called the results “intoxicating” and Paste noted that “their talents and character go together so well.” Now comes the next stage—a set of songs that touch on themes like love, faith, and death while exploring new dimensions of inventive, hypnotic grooves. Significantly, both parties’ musical directions were clearly affected by their time working together. Khruangbin’s most recent album, Mordechai, moved their own vocals much further forward, a change they readily admit was a direct result of working with Bridges. Meanwhile, since these recordings began, in addition to his genre-defying album Gold-Digger’s Sound, Bridges has put out several other challenging, shared tracks, including work with John Mayer, Lucky Daye, and Jazmine Sullivan. Texas Moon represents a genuine and rare achievement, with two of the most respected and innovative acts of their generation truly collaborating to create something new. “As far as an essentially instrumental band, these guys are kind of the top for me,” says Bridges. “I’m honored to have been the first singer that they’ve incorporated in their music.” “It feels really special to me,” says Lee. “It’s not Khruangbin, it’s not Leon, it’s this world we created together."

Motown: A Symphony Of Soul features some of Motown's best known and loved singles now reimagined with new orchestration by the Royal Philharmonic Orchestra. Also included are some beautiful new guest vocalist versions that sit alongside the original vocals laid down over 50 years ago. Beverley Knight joins Marvin Gaye on the seminal "Abraham, Martin & John" and Mica Paris joins Jimmy Ruffin on "What Becomes Of The Broken Hearted."

“I’m starting to realize that being an outlier and a weirdo––it doesn’t have to be a bad thing,” says Sarah Shook. Shook pauses, then adds with a grin, “It can be whatever you want it to be.”

Shook is home in North Carolina, talking about Nightroamer, the hotly anticipated new album from their band, Sarah Shook & The Disarmers. Backed by white-knuckle playing from Eric Peterson on guitar, Aaron Oliva on upright bass, drummer Jack Foster, and Adam Kurtz on pedal steel, Shook has pulled from Hank Williams, Elliott Smith, the Sex Pistols, and Shook’s own inquisitive, open, outlying self to create pop-savvy, honky-tonk punk that’s both an escape and a reality check––a re-opened wound and a balm. Relationships and life-changing realizations are dissected with honesty and humor, three tight minutes at a time.

When Sarah Shook & The Disarmers released Sidelong four years ago, the irreverent quintet’s debut turned heads around the world. Then 2018’s follow-up Years hooked everyone from Rolling Stone to Vice. “This ain’t no country for hipsters or posers,” said No Depression. “It’s real, raw, mean-and-evil-bad-and-nasty bidness.” Then, the first two albums turned into a tease: The pandemic shut down the world, just as The Disarmers finished recording Nightroamer in Los Angeles. The band has had to sit on the album––until now.

Nightroamer is worth the wait. This is still a band whose recordings beg to be heard live, either in a punk-rock hole in the wall or honky-tonk roadhouse. Shook’s voice is crystalline––but boozy, too, with a cadence that sounds comfortable resting in the pocket before lagging, jumping, or cozying up to the offbeat. What initially may feel like a slip is actually a stroke––and listeners cannot get enough.

Produced by Pete Anderson, Nightroamer is the confident next step fans hoped The Disarmers could take. “I think this record is different than ones we’ve done in the past. It feels every bit as expansive as I wanted it to feel,” says Shook. “I didn’t want there to be a shocking, jarring difference, but I definitely wanted it to feel like things are opening up. It’s a bigger feeling experience.”

Asked what they hope listeners experience, Shook is clear. “Music is one of the ways we can connect to other people,” they say. “That’s my hope: That people feel seen and they feel connected to something that brings them a sense of peace.”

50th Anniversary Edition features direct-to-analog mastering from the original tapes by Kevin Gray. Included are 4 rare cuts making their vinyl debut, highlighted by the “stripped” version of the title song, plus six mono single mixes and B-sides. Pressed on 180-gram 2 LP in a tip-on heavy stock gatefold jacket with printed sleeves featuring lyrics, track details, a brief essay honoring arranger David Van De Pitte, and main essay by poet Hanif Abdurraqib.

Gold and clear vinyl LPs in separate jackets with custom dust sleeves, two posters, book, all enclosed in a hinged box.

Once Twice Melody is the 8th studio album by Beach House. It is a double album, featuring 18 songs presented in 4 chapters. Across these songs, many types of style and song structures can be heard. Songs without drums, songs centered around acoustic guitar, mostly electronic songs with no guitar, wandering and repetitive melodies, songs built around the string sections. In addition to new sounds, many of the drum machines, organs, keyboards and tones that listeners may associate with previous Beach House records remain present throughout many of the compositions.

Beach House is Victoria Legrand, lead singer and multi-instrumentalist, and Alex Scally, guitarist and multi-instrumentalist. They write all of their songs together. Once Twice Melody is the first album produced entirely by the band. The live drums are by James Barone (same as their 2018 album, 7), and were recorded at Pachyderm studio in Minnesota and United Studio in Los Angeles. For the first time, a live string ensemble was used. Strings were arranged by David Campbell.

The writing and recording of Once Twice Melody began in 2018 and was completed in July of 2021. Most of the songs were created during this time, though a few date back over the previous 10 years. Most of the recording was done at Apple Orchard Studio in Baltimore. Once Twice Melody was mixed largely by Alan Moulder but a few tracks were also mixed by Caesar Edmunds, Trevor Spencer, and Dave Fridmann.

Vinyl LP pressing. 2022 release. Produced by Grammy Award winning producer Paul Moak, See Where The Night Goes is the hotly-anticipated third studio album from Nashville rock n roll prodigies Goodbye June. 11 tracks of the very finest modern day rock music, with a twist of southern twang and washed down with a shot of blues. A riot-worthy album of runaway rock n roll rooted in southern blues, See Where The Night Goes brings swinging grooves, incendiary twin-attack guitars, relentless rhythm and vocals that give Steven Tyler a run for his money. Goodbye June collide with the most legendary of rock influences whilst making their own unique gleaming print on the canvas of modern rock. This is an album not to be missed by music fans who trust in rock 'n' roll to liberate them from the mundane.

With its latest album, “Get Yourself Outside,” Colorado-based quintet Yonder Mountain String Band once again echoes out into the universe its place as not only a pioneering jam-grass act, but also one of the most innovative, intricate groups in the live music scene — something the groundbreaking ensemble has proudly held high for the better part of a quarter-century.

“The whole thing has always been about the energy and the connection with all of us onstage and everyone out in the audience,” says guitarist Adam Aijala. “And with this third iteration of Yonder Mountain, we’re really tapping into that onstage connection once again.”

This “third chapter” of YMSB is one of my facets. Aside from the obvious nature of the new album, it’s a complete restart for the live music industry. Internally, it’s also a fresh start for the group in welcoming its newest member, mandolinist Nick Piccininni.

Recorded during the shutdown at Cinder Sound Studio (Gunbarrel, Colorado) with producer John McVey, “Get Yourself Outside” (Frog Pad Records) is a musical odyssey of string instruments and sonic textures.

There’s the usual foot-stomping jingles and sorrowful ballads that reside at the core of the Yonder Mountain signature tone. But, there’s also a deep, honest sense of renewal and rejuvenation running through the heart of the record.

And, by being back on the road, Yonder Mountain has been taking note of its long, bountiful journey from its foundation in 1998 to the here and now — with its 25^th anniversary just around the corner.

It’s also a testament to the life and legacy of Yonder Mountain that three of the founding members — Aijala, Kaufmann and banjoist Dave Johnston — remain at the helm of this American musical institution, something complemented and accelerated in recent years by the fiery fiddle work of Allie Kral, who joined the group in 2015.

Looking back on those early days, the members of Yonder Mountain can’t help but shake their heads in awe — of where it all originated from, and what the live music landscape looked like at that time.

From selling out Red Rocks Amphitheatre at a time when that was unheard of for a string act, to standing at the microphone in front of tens of thousands at festivals like Bonnaroo, Yonder Mountain was the initial spark in an acoustic inferno decades ago that endures headlong into the 21st century — one burning brightly in an ongoing tidal wave movement that now includes marquee names like Billy Strings, Greensky Bluegrass, and The Infamous Stringdusters.

Robert Glasper’s highly anticipated third installment to the Black Radio album series. Black Radio III, much like both of its predecessors, is a cultural moment that celebrates black love and resilience, features an eclectic group of talented collaborators, and is composed by Glasper who the New York Times proclaims is “probably the most prominent jazz musician of his generation”. An innovative and essential addition to Glasper’s seminal Black Radio series. Limited Edition Indie Exclusive Chartreuse 2 LP.

Legendary rockers Scorpions return with their new album, Rock Believer, which was created in the studio during the lockdown in their home base Hannover. “The album was written and recorded in the style of the classic Scorpions DNA with core Schenker/Meine compositions. We really went back to the essence of what defined us in the first place,” says front-man Klaus Meine. He goes on to explain how the new songs came to have such incredible, fresh energy and fervor: “We recorded the album as a band, live, in one room, like we did back in the Eighties. We can’t wait to get started and finally play for our fans again.” The sound of the new album has massive energy, delivers a real adrenaline rush and shows uncompromising quality.

The record consists of awesome tracks, each one of them a lyrical short story, minimal poems in prose, presented in a lavish sonic guise, featuring the Scorpions’ characteristic trademarks from the early 1980s, yet produced from a 2020s perspective. The wealth of inspiration from their longstanding career is an overflowing treasure chest that forges an arc between yesterday and tomorrow. Rock Believer is perhaps the group’s most characteristic album to date – a recording by a band at the pinnacle of their musical art.

Limited Deluxe Edition 2 LP Packaging: 180-gram 2 LP in a gatefold jacket includes 16 tracks.

Dashboard Confessional’s ninth studio album, All The Truth That I Can Tell, is both a remarkable renewal and fortunate step forward for the band’s songwriter, front man, and founder, Chris Carrabba. All The Truth That I Can Tell stands among Carrabba’s finest – a strikingly potent musical look at himself through a rediscovered keyhole, both an achievement of vision and a vital burst of artistic clarity; less like reading someone’s diary and more like reading their eyes.

All The Truth That I Can Tell is available exclusively at participating indie retailers on “Cold Night” transparent dark blue/green vinyl.

Being in a band is like being in a marriage: sometimes it’s magical, sometimes it’s unbearably challenging. To reinvigorate that marriage, Deap Vally have made their third album a genre-bending experiment with new collaborators and instrumentation that push the limits of what has previously defined the duo - Marriage is their musical Rumspringa, if you will. The album sees Julie and Lindsey break free of the rigid creative constraints within which they previously existed (two members, two instruments, two voices) and invite in collaborators such as KT Tunstall, Peaches, Jennie Vee and jennylee, as well as a range of producers including Allen Salmon, Josiah Mazzaschi and Harvey Mason Jr.