Fifteen years after American Football’s highly influential self-titled debut album (American Football), the band reunited (now as a four-piece, with the addition of Nate Kinsella) and recorded their long-anticipated second album, 2016’s American Football (LP2). The release was widely praised, but the band members still felt like their best work was yet to come. American Football (LP3) is contemplative, rich, expressive, yet with a queasy undercurrent. Featuring guest vocals from Paramore’s Hayley Williams, Slowdive’s Rachel Goswell, and Land of Talk’s Elizabeth Powell, the album is heavy with expectancy, revealing its ideas slowly, eliciting the hidden stories people carry around with them. There was a determination to let the songs breathe, to trust in ideas finding their own pace.
2018 marked the 35th anniversary for Megadeth, one of the most influential powerhouses in thrash metal. All year long the band celebrated with various events, culminating in Warheads on Foreheads - with Dave Mustaine personally A&R’ing a new anthology honoring his legacy - 35 tracks for 35 years, on 3CD, Digital and 4LP. For the first time, a Megadeth anthology includes tracks from The System Has Failed, United Abominations, Endgame, Th1rt3en, Super Collider and the Grammy award winning Dystopia. “Warheads on foreheads” is a military term expressed when bombing missions are underway.
For his feelgood third solo album We Wanna BeHyp-No-Tized, Pavement co-founder Scott Kannberg best known to the musical world as Spiral Stairs concocted some of the most fun and accessible music of his storied career by expanding his musical repertoire. We Wanna Be Hyp-No-Tized is fun, infectious and musically compelling, while still managing to cover some hefty topics like the current rambunctious political climate. Reuniting the bulk of the dream team who assisted him on Doris & The Daggers bassist Matthew Harris (Oranger, The Posies), multi instrumentalist Tim Regan and good friend Kelley Stoltz, as well as former touring Preston School Of Industry drummer Jim Lindsay We Wanna Be Hyp-No-Tized is the most fully rendered encapsulation to date of Spiral Stairs inimitable aesthetic.
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Debut album from ATO's priority developing artist, Nilüfer Yanya. Taking her inspiration from iconic songwriters such as Nina Simone and Jeff Buckley as well as modern influences Connan Mockasin and The Strokes, Nilüfer's music incorporates the city’s urban edge with beautiful wandering guitar lines, downtrodden soulful and jazz flickered melodies, on top of minimalist and atmospheric beats. Releasing 3/22 via ATO Records
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
Recorded at Los Angeles' Sargent Studios, the album sees Wallows reunited with Grammy award-winning producer John Congleton (St. Vincent, Alvvays, Future Islands) and captures the band's journey towards adulthood through 11 intimate, introspective tracks.
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.
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.
Significant Changes is a blend of vintage drum machine funk drawing heavily on Chicagos house blueprint - a natural progression from a string of EPs both solo and alongside her friend and mentor DJ Fett Burger.Hailing from the small town of Grand Forks, British Columbia - some 6 hours outside Vancouver - Jayda Guy grew up surrounded by nature, which sparked an early interest in biology. In 2018 she completed her Masters in Resource and Environmental Management specializing in environmental toxicology, wherein she specifically studied the effects of human activity on the Salish Sea killer whales (orcas) of Vancouver, BC. It was also the year that she finished recording her debut album as Jayda G - Significant Changes.
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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.
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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.
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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.
With this collection, Lang Lang goes back to his first love - to the pieces that made him want to become a musician in the first place. Rediscovering the most popular and accessible pieces written for learners and lovers of the piano, this album is a journey; of inspiration, of discovery, fantasy and learning. It is a moment for Lang Lang to illuminate these classic pieces as the masterworks they truly are. It is also a reflection on the music that influenced him most during his early childhood, later in life coping with difficult moments, and working with young piano learners around the world. Music can change lives and Piano Book tells this story. "I dedicate this album to my wonderful piano students and all my friends around the world who love the piano as much as I do." Lang Lang
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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.
Ceschis music lives in some liminal space between left-field hip hop, folk punk and indie rock. Its hard to explain, so on planes he generally tells people that he sounds something like like Ed Sheeran, and they nod. He has worked with Saskatchewan, Canadian producer Factor Chandelier for over a decade as they formed the backbone of their Fake Four Inc. record label. Their 2015 record, Broken Bone Ballads built a cult following within the indie rap and DIY punk communities. 2019s Sad, Fat Luck is part eulogy to many lost friends, part breakup album, part US-born-Latino analysis of Trumps America, and part ode to aging. Features guest vocals from Sammus & Astronautalis. Sad, Fat Luck will be released April 5th, 2019 on Fake Four Inc
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.”
Drummer and composer Kendrick Scott returns with a 12-track song cycle titled, A Wall Becomes A Bridge. Produced by Derrick Hodge, A Wall is a musical and metaphorical journey exploring many themes: innocence (“Archangel”), acceptance (“Windows”), and insecurity (“Voices”). Scott is joined by hisOracle band: pianist Taylor Eigsti, bassist Joe Sanders, guitarist Mike Moreno, and saxophonist/flutist John Ellis. Within that singular meld of talent is secret weapon and turntablist Jahi Sundance, who immerses his own artful craft into the musicianship that surrounds him.
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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.
On April 12, nine-time GRAMMY-winning singer-songwriter Norah Jones is releasing Begin Again, a collection of singles that gathers seven eclectic songs that Jones has recorded over the past year with collaborators including Jeff Tweedy and Thomas Bartlett. Begin Again will be released on 12” vinyl, CD, and as a digital album and features the new song “Just a Little Bit,” which was produced by Jones and features her on vocals, piano, and organ along with Brian Blade on drums, Christopher Thomas on bass, Dave Guy on trumpet, and Leon Michels on tenor saxophone. The singles Jones began releasing last summer ran the gamut from riveting electronic experiments to starkly acoustic folk ballads to organ-and-horn drenched soul songs. With the addition of three more previously unreleased songs, Begin Again presents seven snapshots of creativity from one of the music world’s most versatile and consistently intriguing artists.
Absolute Zero is Bruce Hornsby's fourth studio album as a soloist; his discography is eleven total studio albums, including his recordings as Bruce Hornsby and the Range and Bruce Hornsby and the Noisemakers. The album was produced by Bruce Hornsby; Justin Vernon (Bon Iver) and Brad Cook co-produced "Cast Off" and Bruce Hornsby and Tony Berg, co-produced “Meds”. Featured guest artists - yMusic, Jack Dejohnette, Blake Mills, Justin Vernon, The Staves, Sean Carey (Bon Iver), Henry Mancini Institute Orchestra - University of Miami (or the Orchestra of St. Hank’s as Bruce calls them), among others including Bruce’s band The Noisemakers.
The experience of Daniel Norgrens music is marked by connection: the artist to the band, the audience to the music, and the body to the soul. His latest album, Wooh Dang, out April 19, 2019 on Superpuma Records, will be Norgrens first worldwide release. Recorded live and entirely on a 16 track analogue rig the album captures the close chemistry between Norgren and his band, comprised of old friends Anders Grahn (bass), Erik Berntsson (drums), and Andreas Filipsson (guitar and banjo). An intertwining of analog instrumentation, live performance, and rural field recordings, Wooh Dang is rife with a deeply hopeful creative intention. It's red blooded, alive, and coursing with equal parts adrenaline and seratonin. Wooh Dang was a real fun album to make and to me its been the world for the last few years, says Norgren. Thanks for taking the time. I hope you enjoy it.
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!
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Rob Thomas is one of the most distinctive artists of this or any other era - a gifted vocalist, spellbinding performer, and accomplished songwriter known worldwide as lead singer and primary composer with Matchbox Twenty as well as for his multi-platinum certified solo work and chart-topping collaborations with other artists. Among his countless hits are solo classics like "Lonely No More," "This Is How A Heart Breaks," and "Streetcorner Symphony," Matchbox Twenty favorites including "Push," "3AM," "If You're Gone," and "Bent," and of course"Smooth," his 3x RIAA platinum certified worldwide hit collaboration with Santana.
Thomas made his solo debut with 2005's platinum certified "...SOMETHING TO BE" and immediately made history as the first album by a male artist from a rock or pop group to ever debut at # 1 on the Billboard 200.
“On Monday 15th January this year Dolores O’Riordan died in London. Two days later she was due to come into BMG and play us the song demos for a new Cranberries album. At this point none of us believed there would be another studio album from the band.
A couple of months later the remaining band members (Noel, Fergal & Mike) listened through to the vocals with producer Stephen Street and with the full support of Dolores’s family the decision was taken to take the vocal tracks and for the band to complete the recording of the album. This was a direct reaction to the strength of the material Dolores had left as her legacy.
The end result is a euphoric alternative rock album on a par with the band’s best work, and together with the striking album artwork (by original band photographer Andy Earl and original sleeve designer Cally Calloman), celebrates vitality and optimism albeit tinged with tremendous poignancy.”
—Alistair Norbury, BMG UK President
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.
Father of the Bride is the highly anticipated new album from Vampire Weekend, and is the band’s fourth full length release. It is the follow up to 2013’s Modern Vampires of the City, which won the Grammy for Best Alternative Music Album in 2014.
Father of the Bride is produced by founding band member Ezra Koenig, and Ariel Rechtshaid (Adele, Madonna, Charli XCX, Usher, HAIM, Solange, and others). The album features 18 songs, with an array of collaborations yet to be revealed. 6 of the songs from Father of the Bride will be released ahead of the full album.
Brian Fennell is a student of simplicity. As SYML (pronounced "simmel"), which translates to "simple" in Welsh, Fennell writes emotive songs that capture the ethos of his musical persona. Ultimately his songs are a kind and truthful depiction of emotion grounded by his gut-wrenching vocal delivery. This is SYML’s debut album.
Nashville-based singer-songwriter Caroline Spence will release Mint Condition, her third full-length release and her debut for Rounder Records, on May 3, 2019.
Mint Condition follows Spades and Roses, a 2017 release which earned accolades from journalists and her peers in the songwriting community. In bringing Mint Condition to life, Spence worked with producer Dan Knobler (Lake Street Dive, Erin Rae) and recorded at his Nashville studio Goosehead Palace, landing a guest appearance from Emmylou Harris and enlisting musicians from Spence’s previous projects and live band. The album was mixed by Grammy-winning engineer Gary Paczosa (Sarah Jarosz, Parker Millsap, Gillian Welch).
Bad Religion began in the sprawling suburbs surrounding Los Angeles, with the teenage punks offering an impassioned counterpoint to a culture of consumerism and anti-intellectualism. Founding members Greg Graffin, Brett Gurewitz, and Jay Bentley were eventually joined by guitarists Brian Baker of Minor Threat, Mike Dimkich of The Cult, and drummer Jamie Miller of …And You Will Know Us by the Trail of Dead. Bad Religion have been highly influential force in modern punk, producing beloved international hits like “Infected,” “21st Century (Digital Boy),” and “Sorrow,” and building a devoted worldwide following.
Bad Religion are set to release their new album Age of Unreason, which can be described as "a musical manifesto on the current political landscape.” In a world still brimming with rampant anti-intellectualism, inequality and oppression, the band’s signature brand of sonically charged humanist dissent seems as relevant as ever.
Inclusivity is at the heart of Barrie, the Brooklyn five-piece made of Barrie Lindsay, Dominic Apa, Spurge Carter, Sabine Holler and Noah Prebish. And on their debut LP Happy To Be Here, their multidimensional take on classic pop sounds awake and present, like a group that’s daydreaming but firmly there with one another. Barrie, the band, is primarily her project; on the record, which she co-produced with Jake Aron (Snail Mail, Solange, Grizzly Bear), Lindsay plays guitar, piano, synth and bass. But still, Barrie is distinctly not a solo project, and Happy To Be Here—out May 3, 2019 via Winspear—is very much a full band record.
Happy To Be Here offers snapshots of the band coming together in the city, after having lived all over: Boston, Baltimore, upstate New York, London, Săo Paulo via Berlin. “The scaffolding of this album is moving to New York and finding t
Mac DeMarco returns with his newest album, Here Comes the Cowboy, the first album to be released on his new independent label, Mac’s Record Label. The album features lead single “Nobody,” and is available on May 10.
Since their inception in 2008, Defeater have stood apart as storytellers in the world of hardcore. Hailing from Boston, Massachusetts, the band’s lineup consists of Derek Archambault (vocals), Adam Crowe (guitar), Jake Woodruff (guitar), Joe Longobardi (drums) and Mike Poulin (bass). They have toured with the likes of La Dispute, Comeback Kid, and August Burns Red. Defeater will be the band’s fifth studio album
Zagg is the debut full-length album by Jackie Cohen and the follow-up to her two introductory EPs released last year, Tacoma Night Terror Parts 1 & 2, which were called "utterly spellbinding" (The Line of Best Fit), "a stunning and complete debut" (Vinyl Me, Please), and "sleazy-listening glam" (The Guardian). The playing on Zagg – by Cohen with the Spacebomb House Band – and production – by Jonathan Rado (Foxygen) and Matthew E. White with freak-of-nature orchestral arrangements by Trey Pollard – is bright and beautiful across the whole grab-bag of love songs, laments, self-mortifications, meditations on sunscreen, hammer-anvil jams, and kit v. kit double drum cardio smash-bros looney tunes suicide pursuits. More than one of Jackie’s many nicknames, “Zagg" is also a shout out to her uncanny ability to select an unanticipated word or musical flourish, her disarming poetic acumen, her ability to zoom in and out at lightning speed and spin a phrase into a mantra, or the opposite of a mantra. Each song on this record is its own unique little world, keeping a listener delightfully off-kilter throughout the entire affair. Here’s the record. Listen hard. Read the signs. Pack a lunch. Enjoy.
With a true brotherhood that comes from growing up together, indie rock band Ona merge all their musical history for their second album, Full Moon, Heavy Light. The band shares its name with a small town just outside of their home base of Huntington, West Virginia. All five band members of Ona were raised in the area, with a couple of guys knowing each other since grade school. The band agreed on their name after Jenkins happened to wear an Ona Little League ball cap to rehearsal. Ona unique has their sound stands apart from the country and bluegrass heritage that the West Viriginian state is known for. Explained in part by Nolte I grew up in the woods, but my dad only listened to glam rock, so sometimes it s hard for me to identify with the quintessential West Virginia image, The new record was produced by Drew Vandenburg (Of Montreal, Futurebirds, Deerhunter) and is the first signing on Tyler Childers' Hickman Holler Records.
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Jimmie Vaughans New Album Baby, Please Come Home available on CD, Digital and Limited Edition Aztec Gold Vinyl When it comes to the blues today, there are a handful of guiding lights to make sure the music stays true to its powerful source. The sound of pleasure and pain that first sparked musicians to create such a sound is a force that can never be underestimated. The mojo has to be there. Texas guitarist/singer Jimmie Vaughan has dedicated his life to making sure the blues not only stays alive, but remains full of life and an inspiration to all who listen. Hes held onto the spirit of the blues for more than 50 years, and he isnt about to stop now. Vaughans first studio album since 2011, Baby, Please Come Home is a rolling and righteous celebration of everything the blues can be.
I Am Easy To Find is The National’s eighth studio album and the follow-up to 2017’s GRAMMY®-award winning release Sleep Well Beast. A companion short film with the same name will also be released with music by The National and inspired by the album. The film was directed by Academy Award-nominated director Mike Mills (20th Century Women, Beginners), and starring Academy Award Winner Alicia Vikander. Mills, along with the band, is credited as co-producer of the album, which was recorded at Long Pond, Hudson Valley, NY with vocal contributions from Sharon Van Etten, Brooklyn Youth Chorus, Lisa Hannigan, Mina Tindle and more. On September 3, 2017, director Mike Mills emailed Matt Berninger to introduce himself and in very short order, the most ambitious project of the National’s nearly 20-year career was born and plans for a hard-earned vacation died. The Los Angeles-based filmmaker was coming off his third feature, 20th Century Women, and was interested in working with the band on...something. A video maybe. Berninger, already a fan of Mills’ films, not only agreed to collaborate, he essentially handed over the keys to the band’s creative process. The result is I Am Easy to Find, a 24-minute film by Mills starring Alicia Vikander, and I Am Easy to Find, a 68-minute album by the National. The former is not the video for the latter; the latter is not the soundtrack to the former. The two projects are, as Mills calls them, “Playfully hostile siblings that love to steal from each other”—they share music and words and DNA and impulses and a vision about what it means to be human in 2019, but don’t necessarily need one another. The movie was composed like a piece of music; the music was assembled like a film, by a film director. The frontman and natural focal point was deliberately and dramatically side staged in favor of a variety of female voices, nearly all of whom have long been in the group’s orbit. It is unlike anything either artist has ever attempted and also totally in line with how they’ve created for much of their careers.
The Saint Of Lost Causesis the 8th album from American roots troubadour, Justin Townes Earle. Earle’s latest album finds a songwriter and artist who is unflinching and unequivocal in his truth. When writing this album, Earle focused on a different America—the disenfranchised and the downtrodden, the oppressed and the oppressors, the hopeful and the hopeless. There’s the drugstore-cowboy-turned-cop-killer praying for forgiveness (“Appalachian Nightmare”) and the common Michiganders persevering through economic and industrial devastation (“Flint City Shake It”); the stuck mother dreaming of a better life on the right side of the California tracks (“Over Alameda”) and the Cuban man in New York City weighed down by a world of regret (“Ahi Esta Mi Nina”); the “used up” soul desperate to get to New Orleans (“Ain’t Got No Money”) and the “sons of bitches” in West Virginia poisoning the land and sea (“Don’t Drink the Water”). These are individuals and communities in every corner of the country, struggling through the ordinary—and sometimes extraordinary—circumstances of everyday life.
Ida Mae's magic lies in the sensuous dovetailing of two voices and the intimacy of their songs. Their chemistry on stage isn t just a dramatic pose and is a truly captivating sight to behold. Hailing from Norwich and born out of Kill It Kid who established their credentials in the British Music indie Rock world, Chris and Stephanie present themselves as a sensual version of White Stripes meets Civil Wars meets XX. Singing together, the couple have an unusual which-is- which dynamic.