Robin Pecknold brings light to the bleakest of winters with Fleet Foxes’ ‘A Very Lonely Solstice,’ a 13-track career spanning collection recorded in December 2020, at Brooklyn, NY’s St. Ann & the Holy Trinity Church.

Now being released for the first time on vinyl, CD and digital formats, ‘A Very Lonely Solstice’ captures a poignant moment in time. The recording was originally broadcasted as a live-stream event on the winter solstice of 2020, just days after New York declared a state of emergency tightening restrictions again in response to increasing COVID-19 cases. Pecknold describes the set as “me by myself on the longest night of the year... honoring the loneliness of 2020 with a nylon string and some songs new and old.” Fans worldwide tuned in while quarantined at home, finding solace and a sense of community in a period of extreme isolation.

Much of ‘A Very Lonely Solstice’ showcases a solo focus on Pecknold who offers up acoustic arrangements of fan-favorite songs spanning Fleet Foxes’ catalog. Selections cover all four of the band’s studio albums, including their 2008 self-titled debut album (“Tiger Mountain Peasant Song”) to 2011’s Helplessness Blues (“Blue Spotted Tail”) and 2017’s Crack-Up (“If You Need To, Keep Time On Me”), all the way to their latest release, Shore. Resistance Revival Chorus joins Pecknold on Shore tracks “Wading In Waist-High Water” and “Can I Believe You.” Also featured: a cover of Nina Simone’s “In The Morning” and a rearrangement of the traditional “Silver Dagger.”

Executive produced by Rick Rubin, Imagine Dragons’ Mercury – Acts 1 & 2, the 2-CD deluxe album, will be released on July 1, 2022, on KIDinaKORNER/Interscope Records. Act 1 is out now and includes the hit songs “Follow You,” “Wrecked,” and “Enemy” featuring JID. Act 2 features 18 additional songs including the new single “Bones.”

The fifth studio project from the Tedeschi Trucks band, is the most ambitious and, at the same time, intimate record that America's best rock'n'roll big band has ever made: a genuinely epic undertaking in four episodes and 24 songs inspired by classical literature but emotionally driven by the immediate drama, isolation and mourning of the pandemic era.

UB40 featuring Ali Campbell & Astro's album, Unprecedented, is the follow-up to 2018's A Real Labour of Love that went to #2 on the U.K. charts. Recorded in studios in London and Jamaica between lockdowns, the album is a collection of songs that Ali & Astro have loved for many years by artists they admire (such as Stevie Wonder and Kris Kristofferson) alongside self-penned tracks inspired by the pandemic and the state of the U.K. at the moment. 2 LP on black vinyl in gatefold jacket.

Produced by Shaun Morgan and engineered and mixed by Matt Hyde (Deftones, AFI), their album Si Vis Pacem Para Bellum, (which translates to “If you want peace, prepare for war”) was recorded in Nashville, TN over two months in December 2019 and January 2020.  The Deluxe Edition of the album that spawned three #1 Hit Singles at Active Rock Radio has been expanded to include all twenty-one songs recorded during the SVPPB session along with the alternate version of “Wasteland.”

Multi-platinum rock band Shinedown have released their lead single “Planet Zero,” the title track from their newly announced seventh studio album out April 22 on Atlantic Records. Planet Zero serves up an incisive look at the issues at hand: cancel culture run rampant, the corrosive effects of social media on mental health and society, and the increasingly toxic division among those of differing ideologies. Featuring Shinedown’s explosive yet artfully crafted sound and urgent lyrics, single “Planet Zero” rings the alarm on a dystopian warning of the dangerous consequences to come when it all goes too far, and we begin to lose our respect for those with differing opinions and our compassion for one another.

Says Brent, “If we shut each other down and allow ourselves to be divided by the information we consume and the way we talk to each other, we lose our humanity. When you look outside of your phone, you’ll see there are so many people doing good things and trying to take care of each other. But we’re starting to see parts of society slip into an unknown. Planet Zero was written for all of us. The fact is that we’re all here on this planet no matter what, so it’s time to actually move forward together with empathy, perseverance and strength. With that said….welcome to PLANET ZERO.”  

Over the last two decades, Shinedown have cemented their status as one of the most vital and forward-thinking powerhouses in modern rock.Their most ambitious and masterfully realized work to date, Planet Zerois a high-concept, ultra-vivid, viscerally charged saga. A critical yet optimistic look at the fractures and frays of a society that has undergone many challenges in the last few years, the album is part social commentary and part in-depth exploration of the human psyche. Produced by Shinedown’s Eric Bass (who also produced the band’s 2018 acclaimed album ATTENTION ATTENTION,) and recorded at Bass’ newly built Big Animal Studio in South Carolina, Planet Zero matches its immersive world-building and takedown of authoritarianism with a deliberately unvarnished sound, and the album is spliced with interludes featuring Cyren, an insidious and unsettling robot character that appears throughout the Planet Zero journey. While a raw ferocity fuels much of Planet Zero on tracks like “The Saints of Violence and Innuendo,” “No Sleep Tonight,” and “America Burning,” there is also hope, triumph, and reminders that we all need one another on songs like “Daylight,” “Dysfunctional You,” and “A Symptom of Being Human.” After all, it is the band’s impassioned striving for unity that has long been at the heart of their creative output and deeply informed the making of Planet Zero.Not only a driving force for their songwriting, their humanitarian outlook led Shinedown to be one of the first artists to fundraise for non-profit humanitarian aid organization Direct Relief in the early days of the COVID-19 pandemic, raising more than $400,000 with their “Atlas Falls” relief effort.

Before Chester Bennington sang, screamed, and serenaded audiences of millions throughout his storied career in Linkin Park and a host of other projects, the frontman cut his teeth from 1993 to 1998 in his first proper band: Grey Daze. Working with producer Esjay Jones at LA’s iconic Sunset Sound Studios, the band really focused on being true to the group's original sound and all their 90s influences. “The Phoenix” marks the creative completion of their mission to complete Chester’s dream. Play it loud!

Limited 10" vinyl pressing. Housed in dark petrol blue sleeve with grain embossed finish. Title and crucifix rendered in gold foil. Seven Psalms features seven spoken word pieces by Nick Cave set to music in collaboration with Warren Ellis.

Vinyl LP pressing. 2022 release, the fourth studio album by singer/songwriter, Paolo Nutini. It's a 70-minute epic that spans the distance from classic rock to post-punk to hypnotic Krautrock, in the process proving it's value as his deepest, most varied, most accomplished, and ultimately most rewarding set so far. The insistent Motorik rhythms of new single 'Lose It' brings shades of early '70s German bands like Can and Neu!, and are a product of Paolo writing increasingly on bass guitar. At the other end of the spectrum, 'Through The Echoes' is a timeless classic in the lineage of Ben E. King and Otis Redding, with Nutini's vocal delivery reminding us why he got snapped up by Atlantic in the first place.'Last Night In The Bittersweet' was produced by Paolo Nutini alongside Dani Castelar and Gavin Fitzjohn. It was written by Paolo, with some select co-write contributions from members of his band.

Coming out on July 1, Jazz Codes is Moor Mother's second and latest album for Anti- and a companion to her celebrated 2021 release Black Encyclopedia of the Air. Jazz Codes uses free jazz as a starting point but the collection continues the recent turn in Moor Mother's multifaceted catalog toward more melody, more singing voices, more choruses, more complexity. In it's warm, densely layered course through jazz, blues, soul, hip-hop, and other Black classical traditions, Jazz Codes sets the ear blissfully adrift and unhitches the mind from habit. Through her work, Ayewa illuminates the principles of her multidisciplinary collaborative practice Black Quantum Futurism, a theoretical framework for perceiving and adjusting reality through art, writing, music, and performance, informed by historical Black ontologies.The songwriter, composer, vocalist, poet, and educator Camae Ayewa spent years organizing and performing in Philadelphia's underground music community before moving to Los Angeles to teach composition at the University of Southern California's Thornton School of Music. She released her debut album as Moor Mother, Fetish Bones, in 2016, and has since put out an abundance of acclaimed music, both as a solo artist and in collaboration with other musicians who share her drive to dig up the untold. She has performed and recorded with the free jazz groups Irreversible Entanglements and the Art Ensemble of Chicago, and made records with billy woods, Mental Jewelry, and YATTA.

The roots of Naima Bock's music are far reaching. Born in Glastonbury to a Brazilian father and a Greek mother, Naima spent her early childhood in Brazil before eventually returning to England and various homes in South-East London. This heritage combines with more recent pursuits in Naima's music. From the Brazilian standards that the family listened to while driving to the beach, to the European folk traditions she tapped into on her own, and the pursuits that interest her today - studies in archaeology, work as a gardener, and walking the world's great trails - Naima's music draws from family, the earth and music handed down through generations. Naima's debut album Giant Palm is undoubtedly infused with the Brazilian music of her youth and regular family visits. She found inspiration in "the percussion, the melodies, chords - and particularly the poetic juxtaposition of tragedy and beauty held within the lyrics." By the age of 15 Naima was embedded in the music scene of South-East London, eventually forming Goat Girl with school friends and touring the world. After six years playing bass in Goat Girl, Naima left the band to try something new. She set up a gardening company and started a degree at University College London in archeology because, as she jokes, "I liked being near the ground." During this time she wrote music, played guitar, learned violin, worked with ever-shifting South-London collective Broadside Hacks, and met producer and arranger Joel Burton through Memorials of Distinction label head Josh Cohen. Joel's burgeoning interest in Western classical music, global folk music, experience in large scale arrangement and orchestration informed the collaborative process that eventually culminated in Giant Palm. Recorded with the help of over 30 musicians (including Josh Cohen on synth/electronics) by Dan Carey of Speedy Wunderground at his studio space in Streatham, South-East London, and engineered by Syd Kemp, the songs on Giant Palm represent a snapshot of a specific feeling, of brief moments in Naima's life that make up a larger whole. The expansive yet delicate arrangements highlight Naima's love for the collectivist values of traditional folk music, in which songs belong to everyone, and singing can take on countless forms without the need to exactly replicate something. "All the other representations that I'd had of singing felt so unattainable" she recalls. Giant Palm finds Naima bucking these expectations to let her unique voice and sense of communal creativity flourish.

Thrash should leave you breathless, busted-up, and maybe even a little drunk (in a cutoff denim vest adorned with barely legible patches). Since 2001, Municipal Waste have uncompromisingly stuck to their guns as hard-partying and even harder-hitting torchbearers of 21st century thrash metal. The Richmond, VA quintet have transformed from a cult favorite into metal mainstays for a generation. Along the way, Decibel touted 2007's The Art of Partying in it's coveted "Hall of Fame" and asserted it "revved up interest in thrash and inspired a fresh wave of youthful new bands." Metal Hammer christened The Art of Partying one of "The 50 Greatest Thrash Metal Albums Ever," while Loudwire pegged The Art of Partying as "The Best Thrash Album of 2007" and Hazardous Mutation as "The Best Thrash Album of 2005." The guys have sold out countless shows on multiple continents and piled up tens of millions of streams in the process. 2017's Slime and Punishment bowed in the Top 3 of the Billboard Heatseekers Albums Chart, and The Last Rager EP only accelerated their momentum in 2019. However, Municipal Waste maintain course as vicious and vital as ever on 2022's Electrified Brain. Recorded in Philadelphia with producer Arthur Rizk [Power Trip, Code Orange], they achieved "a thicker and heavier sound" than before. The debut single "Grave Dive" hinges on a downright mean palm-muted riff as a percussive onslaught commences. It builds towards a gang chant call-and-response before a lead rips."It's in the vein of songs like 'Headbanger Face Rip' and 'Wave of Death'," vocalist Tony Foresta notes. "It's an inspirational song for our fans to cause bodily harm to themselves, but in a fun and healthy way, of course.""High Speed Steel" practically splits asphalt with it's jagged thrashing. Elsewhere, the title track "Electrified Brain" charges forward on a breakneck riff as a solo wails underneath the vocal snarl. "Crank The Heat" trudges over a thick doomy groove into menacing verses.In the end, Electrified Brain will give you everything you'd want from a Municipal Waste record or heavy metal record, period. CD long box includes cd, sticker and pin. Limited to 1000

I've been playing since I was 11 years old," says Charlie Gabriel, the most senior member of the legendary Preservation Hall Band, "I never did anything in my life but play music. I've been blessed with that gift that God gave me, and I've tried to nurse it the best way I knew how." While he's faced plenty of challenges nursing that gift for more than 78 years, none likely rank with last winter's passing of his brother and last living sibling, Leonard, lost to COVID-19. For the first time ever, Gabriel put down his horn, filling his days and weeks instead with dark reflection, a stubborn despondency broken now and then by regular chess matches in the studio kitchen of Hall leader Ben Jaffe, working overtime to bring his friend some light. One such afternoon also included Joshua Starkman, sitting off in a corner playing his guitar and half-watching the chess from a distance. When Charlie returned the next day, he brought his saxophone. "I was just inspired to try it, to play again. It had been a long time, and a guitar makes me feel free. I do love the sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in." That day was to be the first session for Eighty Nine, almost entirely the work of Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt Aguiluz. Charlie Gabriel's first professional gig dates to 1943, sitting in for his father in New Orleans' Eureka Brass Band. As a teenager living in Detroit, Charlie played with Lionel Hampton, whose band then included a young Charles Mingus, later spending nine years with a group led by Cab Calloway drummer J.C. Heard. While he's also fronted a bebop quintet, played and/or toured with Ella Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his name appears on the front of a record, as a bandleader. Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band, featuring prominently on That's It, So It Is, and Tuba to Cuba. Eighty Nine was different, and not simply due to a smaller ensemble. "We had no particular plan, or any particular insight on what we were gonna do. But we were enjoying what we were doing, jamming, having a musical conversation," Charlie says, further musing, "Musical conversations cancel out complications." Eighty Nine includes six standards and three newer pieces on which Gabriel is a writer: "Yellow Moon," "The Darker It Gets" and "I Get Jealous." The record also marks Charlie's return to his first instrument, clarinet, on many of the tracks. "The clarinet is the mother of the saxophone," he says. "I started playing clarinet early in life, and this [taught me] the saxophone." Finally, Eighty Nine includes three tracks of Charlie singing. "I always sung, but it wasn't my forte to become a singer," he says. "The truth is, people often develop a real relationship with a song once they hear the words. Sometimes I enjoy singing them.

Stella makes her Sub Pop debut with the mesmerizing Up and Away, an old-school pop paean to the pangs and raptures of love. From the Greek folk-inflected get-go, we're swept up in Stella's world - and it's quite the captivating place to be. The singer-songwriter joined forces with artist and producer Tom Calvert (aka Redinho), and it was a match made in Athens; the results are heavenly. Tom caught one of Stella's gigs on a visit to the city. He reached out, they started hanging out, and the pair soon clicked creatively. Both mention chemistry when asked about their collaboration and it's clear, from what we hear, they had it in spades. The meld is seamless. Stella's songs have always riffed on American and Greek mid-century pop but Up and Away doubles down on the vintage aesthetic. Tom says he styled the record "as if it was a rare gem from the '60s found in a box of records in Athens," and Stella notes she was ready for a more "deeply Greek touch - it felt comfortable and right, smoothly fusing with the pop." The bouzouki appears on a full five tracks played by Christos Skondras who, she says, "was brilliant at improvising," while Sofia Labropoulou on the kanun "brought an insane amount of dreaminess to the last two songs. Having these amazing musicians play for Up and Away - I couldn't be more grateful."

Founded back in 2017 by guitarists Johannes Mäkinen and Vili Vottonen, the debut album After the Storm was unleashed when the northern winds choked Horizon Ignited's hometown of Kouvola in early 2019. The completely self-published album met very positive feedback and the band has made it's mark since then. Horizon Ignited's diverse class of act - captivating and guitar-driven melodic death metal flavored with catchy metalcore elements among others. Finnish melodic death metal band, Horizon Ignited, have officially joined Nuclear Blast Records. Over the past thirty frantic years, this passion-raising heavy metal sub-genre has undeniably evolved and changed, but some complaints have also been heard in the dim alleys: where are all the magnificent entrants? Well, as so many times before, kindly turn your face towards Finland - still the most metallic country in the world - and meet melodic death metal's hottest newcomers... Horizon Ignited has arrived and this relentless sextet is here to stay.

Hailed as one of the metal world's most devastating, thrilling experiences, CONJURER are a band never content to rest. A triumphant return from CONJURER following their world-renowned 2018 debut Mire, Páthos is a band flexing their creative muscles, deepening their approach and thought, and expanding their sound. Having returned from a sold-out headlining European tour with CELESTE, CONJURER embark on a ferocious new chapter with this ground-breaking offering.

Digging Roots’ new album embraces themes from residential schools to reclamation, climate change to baamaadziwin (the good life). Co-produced with Hill Kourkoutis, Zhawenim (which means to love unconditionally in Anishinaabemowin) is a journey that travels oceans, lands and hearts raising resistance through pure, powerful joy. As a collection, Zhawenim expresses the revolutionary act of giving and receiving love. The album looks beyond to a future that waits to be claimed by the next generation.

Here is a collection of recordings by Kathy Yaeji Lee, originally released as a pair of EPs on March 31st and November 3rd of 2017, remastered for a belated vinyl edition for the first time. A lot has been said and repeated about the interiority of this club music - how the joyful tremor of the "Raingurl" refrain holds hands with such soft and doubtful verses. How special it is that house music so of New York can contain storytelling cultivated so far away. That repetition is born of people all over the world going out, and staying in, with this music as a compass; songs that define so many late night hangs for crews of friends, singalongs in DJ booths, contemplative 5am walks home from the club. What can get lost in that repetition, in the shifting canonization of these recordings as symbols of any one scene or moment, is what was behind the pair of round glasses reflecting so tirelessly outwards. Yaeji, an exceptional friend only at the very beginning of finding her path as a cross-disciplinary artist and collaborator. Yaeji wrote this music while going out nearly every night of the week to DJ and support her own NYC community of friends at their turns behind the decks. These tracks originated from explorations in dancefloor anonymity, growing from seeds planted by sharing her first musical experiments online. "'New York '93' was the first song I ever put out as Yaeji. It first came out on Soundcloud. I remember then every single listen was so surprising and important to me. It made me really curious to know who these people on the internet who find my music interesting are." Yaeji tracks quickly became a secret language of Brooklyn dance floors. The original demo for "Raingurl", a lovingly wonked-out version of it's successor, was passed around usb sticks like a free-for-all friendship bracelet. For Kathy, hearing these tracks played out in the club brought up mixed feelings, "I always felt a little embarrassed. I worried that the tracks weren't dancey enough." I remember Kathy's DJ set at a local summertime rave called Fourth World, a near-sunrise outdoor feast of nectarous house melodies and slippery breaks woven gracefully between pummeling techno kicks. I remember looking around at hundreds of faces staring at Kathy with what my mom calls "moon eyes." Those eyes you make at someone when their sheer loveliness can break down your ego and submit you cozily into your surroundings."Someone told me - 'you're someone we're down to be rooting for.' That made me realize why they'd say that. I can see how what I'm doing is something that takes courage for a lot of people that have grown up as an outsider like myself." There's a lot of processing that artists take on when work that's old for them is continuously new for others; things start to lose their place in time. Music is an archive, yet can so easily feel unfixed. With this record, these 10 recordings find a warm and loving home."This record is a symbolic reclaiming. A way to celebrate something that I wasn't able to fully appreciate in the moment.I don't think I would want to do anything else but make music-now I realize that."

In between steadily touring as a hired gun for psych-soul LA staple, Chicano Batman, Nicky Egan has been stealthily plugging away with her New York based producer and Dap-Kings guitarist Joe Crispiano to complete her forthcoming LP "This Life". Driven by honest confessional songwriting and influenced by your favorite classic soul sounds, the record features a who's who of NY's most sought after players including Homer Steinweiss, Victor Axelrod, Brian Wolfe & Elizabeth Pupo-Walker, to name a few and will be released via Transistor Sound Records, headed up in part by Colemine Record's soulster, Kelly Finnigan. Flood Magazine premiered Egan's debut 7" single, 'Back To You', a fresh take on that classic 70's soul cruiser sound, with B side "Run Run" in March. With a few more singles to follow, including the heavy hitting, fuzz guitar driven opening track, 'Changes', the full LP is slated for release late summer/early fall. 'This Life' is an album that tells the tale of just that, life's journey. The moments of transience, growth, acceptance, and reflection that we experience throughout our short time here. The 10 song LP will take you on a cinematic ride, headed up by epic fuzz guitar melodies, surrounded by bells, organs & pianos, and guided tightly by Egan's sultry and dynamic vocals.

First time ever on vinyl! Limited four vinyl LP pressing in a gatefold Stoughton 'tip-on' M-Pack jacket. Following on the heels of Light in the Attic's vinyl LP release of One From The Vault comes the next in the trilogy of From The Vault releases by The Grateful Dead. These releases are distinguished from the more abundant Dick's Picks series in that Dick's Picks are 'direct from the soundboard' recordings, while the From The Vault series were professionally recorded on multi-track tape and then mixed down (decades) later for release. Recorded live at the Shrine Auditorium (Los Angeles) in 1968, this is the worldwide vinyl debut release of this legendary show featuring the 6 piece line-up of Pigpen, Garcia, Weir, Lesh, Kruetzmann, and Hart, freshly remastered in 2014 by Joe Gastwirt for maximum mind expansion. Nine dynamic songs on eight sides of wax - five songs weigh in around the 15-minute mark, while three others touch down close to 10 minutes. This is the Dead at their most improvisational while still retaining the Blues-Rock roots of the 'Pigpen' years.

None brought it better than ARROW. Famous for his hit single “Hot Hot Hot,” the artist was at the center of the beating heart of Soca Music and managed to single handedly bring the unmistakable Calypso rhythm to the mainstream. This 1LP Splatter vinyl offers ten of Arrow’s most recognisable tracks, including: “Hot Hot Hot,” “Gimme Gimme” & “Don’t Touch My Tempo” plus many more.

Paul Anka, the legendary crooner and unofficial Rat Pack member, returns with an all-new album of iconic American standards called Sessions. For this record, the songwriter chose songs by some of his favorite contemporary songwriters including "Angelina," originally written and performed by Bob Dylan. The focus track "It Was A Very Good Year" was written by his friend Ervin Drake and made a household favorite swan song by his close comrade, Frank Sinatra.