Josh Scott is revered in the Eau Claire, Wisconsin music scene, which yielded Bon Iver, Volcano Choir, and Field Report. Producted by Scott and Justin Vernon, this album features members of Bon Iver, Field Report, S. Carey, Solid Gold, and more. "Dk/Pi" is the first single to be released from Aero Flynn, and has been deemed "extremely promising" by Stereogum, and a "blissful return for the enigmatic songwriter" by CoS.
№ 4 is the fourth album released by American grunge rockers Stone Temple Pilots, released in 1999. The album was a return to the band's earlier Hard Rock roots, while also blending elements of Heavy Metal, Psychedelic Rock, and Alternative Rock.
Despite the lack of promotion due to singer Scott Weiland's one-year jail sentence shortly before the album's release, No. 4 was certified Platinum by the RIAA in 2000. The song "Down" was nominated for Best Hard Rock Performance at the Grammy Awards. The album also produced one of STP's biggest hits, "Sour Girl", which charted at #78 on the Hot 100, their only song to appear on that chart.
No.4 displays a deliberate effort by the band to return to a more Hard Rock-oriented sound featured on its first two albums. Allmusic cited the album as STP's "hardest effort" since Core, remarking that "it's as if STP decided to compete directly with the new generation of alt-metal bands who prize aggression over hooks or riffs." Stephen Erlewine also wrote that No.4 "consolidates all [of STP's] strengths."
2. Heaven & Hot Rods
4. Church On Tuesday
5. Sour Girl
6. No Way Out
7. Sex & Violence
9. I Got You
Monuments to an Elegy is the upcoming tenth studio album by Smashing Pumpkins.
"I'd like to boast and say it's some newly invented form," Corgan wrote. "But more than likely it's just a stripped compendium, that in its steeliness achieves some eager, brute modernity." Oh, and apparently there's an "epic wizard part," too.
Corgan also revealed that the process of writing and recording Monuments to an Elegy was "one of the easiest and most pleasurable albums I've ever made."
2. Being Beige
4. One and All
6. Drum + Fife
''As a songwriter, she has unerring ear for crafting memorable hooks and deftly blurring genre lines, making her songs sound instantly familiar...but even as a smitten fan, I wasn't quite prepared for the joys of Bathtub Love Killings.'' - WBEZ
''In the final estimation, Bathtub Love Killings is Olivia Jean's show. She holds down acoustic and electric guitar duties as well as all the keyboards and vocals, putting her twinned signature stamp of seductress kitten/wronged lover on pretty much every number.'' - Blurt
''Her debut LP is dashed with bluesy licks, spooky organs, and girl-group harmonies.'' - ELLE
''Dark gritty vocals, fuzz guitars and mix of freak folk '60s psychedelia.'' - Hollywood Reporter
Multi-instrumentalist Olivia Jean announces the release of Merry Widow, 7'' vinyl for album track ''Merry Widow'' and album B-Side cover ''You Really Got Me,'' through Third Man Records, in support of her critically acclaimed debut solo record, Bathtub Love Killings.
Jean's ''You Really Got Me'' cover was recently hand selected as the featured song in the newly released YSL Mascara commercial, alongside model Cara Delevigne.
A: Merry Widow
B: You Really Got Me (exclusive non-album b-side)
Jubileum Volume II is a compilation album by Bathory. It features the absolute highlights from the career of Sweden's trailblazing Bathory -- a band not only responsible for launching Scandinavia's black metal scene, but for inventing the often intersecting subgenre of Viking metal. Jubileum Volume II was preceded by Jubileum Volume I (1992) and succeeded by Jubileum Volume III (1998).
1. The Return of the Darkness and Evil
2. Burnin' Leather
3. One Rode to Asa Bay
4. The Golden Walls of Heaven
5. Call from the Grave
6. Die in Fire
7. Shores in Flames
9. Raise the Dead
10. Total Destruction
11. Bond of Blood
12. Twilight of the Gods
All Time Low have become one of the biggest pop-punk bands to emerge on the scene, building a grassroots following of die-hard fans with very little radio airplay and a touring ethic that would rival road-weary vets like Green Day.
Future Hearts is the upcoming sixth studio album by American pop punk band All Time Low, set for release on April 3, 2015 by Hopeless Records as the follow-up to Don't Panic (2012).
2. Kicking & Screaming
3. Something's Gotta Give
4. Kids In The Dark
6. Missing You
7. Cinderblock Garden
8. Tidal Waves
9. Don't You Go
10. Bail Me Out
11. Dancing With A Wolf
12. The Edge Of Tonight
13. Old Scars/Future Hearts
Matt and Kim are an American indie dance duo from Brooklyn, New York. The group formed in 2004 and is composed of Matt Johnson (vocals/keyboards) and Kim Schifino (drums). They are known for their DIY attitude toward music.
1. Hey Now
2. Stirred Up
3. Can You Blame Me
4. Hoodie On
5. Make A Mess
6. Killin Me
7. World Is Ending
8. Get It
9. Not Alone
10. I See Ya
Keath Mead would like to invite you to Sunday Dinner. The
25-year-old South Carolina native’s debut album is as pleasurable
as a drive along the coast, as comforting as a day out with
friends, and as sweet as pie after lunch. Steeped in the classic
sounds of ‘60s and ‘70s pop singer-songwriters, Mead is just as
influenced by contemporary artists such as The Shins’ James
Mercer and Jack White. “Waiting” opens the record with a warm
bed of synths and Mead sings, “One day you’re gonna land/ in a
place that you never planned/ in your life to see.” An optimistic
song about potential? Maybe. But it’s definitely a song about
regret. Mead has that timeless ability to make songs that seem
to say one thing, but move us to feel many things. With Sunday
Dinner, Mead aspired to achieve a songwriting ideal: "If a song
doesn’t hold up with one person singing and playing a single
instrument, then it’s probably not that good of a song," he says.
The album was recorded in only eight days—over the span of
nine months—with the help of Chaz Bundick (Toro Y Moi, Les
Sins). Bundick hosted Mead in his Berkeley, Calif., home studio
for the recording. Mead’s guitar and vocal tracks came first,
then Bundick on bass, before the pair took turns on drums and
synthesizers. The collaborative process lent an improvisational
aspect to the album, with the pair playing music until they found
a passage they both liked. The live playing and “happy
accidents” of the recording process add to the easy-going vibe
of the LP.
Though recording the album was relatively short, the songs
were written over three years. The primary theme of the record is
the anxiety induced by the rapid changes brought on by coming
of age. Mead also contemplates isolation, loss of innocence,
and angst associated with maturation.
2. Grow Up
3. She Had
5. Setttle For Less
7. Where I Wanna Be
8. Quiet Room
10. Polite Refusal
11. So Close
New Artwork Features Liner Notes From CVB’s
Camper Van Beethoven reunited in 2000
and even recorded and released a pair of
records, but it was 2004’s New Roman Times that
was the “official” document of the band’s reformation.
The band’s David Lowery states in his liner notes, that it
was “the one that got all the press and fanfare. And it was a
good thing, because it was an extremely ambitious record.”
Omnivore Recordings is proud to celebrate New Roman Times
by presenting an expanded reissue on double
LP. Released in conjunction with the band,
and following in the footsteps of last year’s Omnivore reissues
of Our Beloved Revolutionary Sweetheart and Key Lime Pie, New Roman Times
features new artwork, extensive notes from Lowery and four
previously unissued tracks culled from the sessions.
This definitive edition of Camper Van Beethoven’s
“sci-fi alternate-reality rock opera” not only brings the
fan favorite to vinyl for the first time, but expands
and presents all formats in a way that proves
these are indeed New Roman Times!
All hail, Camper!
2. Sons Of The New Golden West
4. White Fluffy Clouds
5. That Gum You Like Is Back In Style
6. Might Makes Right
7. Militia Song
8. R ’n’ R Uzbekistan
9. Sons Of The New Golden West (Reprise)
10. New Roman Times
11. The Poppies Of Balmorhea
12. The Long Plastic Hallway
13. I Am Talking To This Flower
14. Come Out
15. Los Tigres Traficantes
16. I Hate This Part Of Texas
17. Hippy Chix
18. Civil Disobedience
19. Discotheque CVB
20. Hey Brother Previously Unissued Bonus Tracks:
21. Los Tigres Dub
22. Alien Ghost Song
23. It’s Gonna Rain
24. Might Makes Right Dub
“If you like punk, weed, and lo-fi rock’n’roll then you’ll probably love Colleen Green. If you
don’t like all of those things, you’ll probably still love Colleen Green.” -- BUST
“Sharper and more cathartic than it seems.” -- Pitchfork
“Stoney punk tracks with yearning, sweet vocals but scathing guitar.” --Stereogum
As a prospect it can be terrifying, sad, and worst of all, inevitable. But on I Want to Grow Up, her second
album for Hardly Art, Colleen Green lets us know that we don't have to go it alone.
This latest collection of songs follows a newly 30-year-old Green as she carefully navigates a minefield
of emotion. Her firm belief in true love is challenged by the inner turmoil caused by entering modern
adulthood, but that doesn't mean that her faith is defeated. With a nod to her heroes, sentimental SoCal
punks The Descendents, Green too wonders what it will be like when she gets old. Throughout songs
such as "Some People," "Deeper Than Love," and the illustrative title track, the listener has no choice but
to feel the sympathetic growing pains of revelatory maturation and the anxieties that come along with it.
Sonically the album is a major change for the LA-based songwriter, who has come to be known for her
homemade recordings and merchandise. Her past offerings have been purely Green; testaments to her
self-sufficiency and, perhaps, trepidation. This time, she's got a little help from her friends: the full band
heard here includes JEFF the Brotherhood's Jake Orrall and Diarrhea Planet's Casey Weissbuch, who
collaborated with Green over ten days at Sputnik Sound in Nashville, TN.
I Want to Grow Up is an experience, not unlike life: questioning, learning, taking risks. And in true CG
fashion, a quote from a beloved 90s film seems the perfect summation: "Understanding is reached only
1. I Want to Grow Up
2. Wild One
4. Pay Attention
5. Deeper Than Love
6. Things That Are Bad for Me (Part I)
7. Things That Are Bad for Me (Part II)
8. Some People
9. Grind My Teeth
10. Whatever I Want
Since its heyday in the mid-to-late 00s, it certainly seems like pop-driven indie rock has been spoken for. To some that may be the case, but Makeshift Shelters is adding to the conversation while simultaneously creating their own. The Washington D.C. locals use their first LP, Something So Personal, to channel their dynamic mastery of pop and indie with songs that shake the floorboards in more ways than one.
1. Opposite Directions
2. (This Song Is Definitely Not About A Boy)
5. The Cautious End Of Things
6. New Coast
7. Grayest Places
9. I'll Be The One That Comes Around
10. Darkest Nights
Domino is proud to announce Gliss Riffer, the new album from Dan Deacon.
Gliss Riffer marks new territory for Deacon who, following up on the release of his large
ensemble-based recordings - 2009’s Bromst and 2012’s America - decided to return to
a simpler way of writing and recording, similar to that of 2007’s Spiderman of the Rings,
which resulted in this self-produced album.
Despite being predominately electronic, Gliss Riffer’s sonic palette is informed by his
post-Spiderman of the Rings material. The Disklavier, a MIDI-fed player piano first heard
on Bromst, is present here. Cross-rhythms suggestive of America’s orchestral songs
and Deacon’s art music work (including a Carnegie Hall performance and film score for
Francis Ford Coppola) are also in evidence. While Gliss Riffer contains all the instrumental
layering we’ve come to expect, the vocals are mixed with a prominence (“Feel the
Lightning,” “Learning to Relax”) and, at times, a clarity (“When I Was Done Dying”) that
have never been heard on a Dan Deacon record before.
Gliss Riffer trades in exuberant, uncontained fun that is tempered by lyrics that yearn
and are set in defiance of life’s nagging anxiety. The bliss on this record is well-earned.
1. Feel the Lightning
2. Sheathed Wings
3. When I Was Done Dying
4. Meme Generator
5. Mind On Fire
6. Learning to Relax
7. Take it to the Max
8. Steely Blues
Despite the impressive journey
Ewert And The Two Dragons have already
been on, there’s always somewhere new to
go. While the four-piece band started
playing covers in their native Estonia and
have since become a worldwide draw thanks
to smart, quirky pop songs and a slew of
major awards, in order to make their newest
album, Circles, the group went somewhere they’d never been before.
“It was definitely a special process for us,” frontman Ewert Sundja explains. “Our previous two records were
quickly recorded in a small Estonian town without any fancy equipment. This time we spent over a month in a
studio in the U.S.—and that was a big thing.”
Logging time at Bear Creek Studio wasn’t the only new experience for the group-Sundjan, guitarist Erki Pärnoja,
drummer Kristjan Kallas and bassist Ivo Etti—who in 2013 won the European Border Breakers Award. For the first
time, the band not only recorded in a studio but wrote their tracks there as well.
The band—who’ve been playing together since 2008—found themselves embracing new sounds and new ways of
thinking about music.
“This new album is di fferent than the albums before,
while we were recording it seemed like everyone
was having the same kind of questions and
thinking about the same things and this
became a concept for the album,”
Sundja says. “Even though we’re
barely in our thirties, the aging
process is the main theme of this album. We all started
understanding more about life in general, hence the
album title Circles. Everything is turning and we’re
suddenly back in the same place we’ve been before,
wondering about love and
life and death and right
1. Million Miles
4. Getting Older
5. Gold Digger
7. Could Have Been
8. Waiting For The Weather To Change
Astral Swan’s All My Favorite Singers Are Willie Nelson is a collection of stark psychedelic folk from the unfiltered neuroses of Calgary’s Matthew Swann. Songs steeped in universal anguish, marveling at the world’s knack for enterprise and cannibalism, come across instead as subtle, reassuring lullabies. These are quiet, relatable anthems for the outsider set, balancing gentle melodies on Swann’s self-obsession with moral fallibility. On first single “Beginning Of The End”, Swann delves into the album’s various drug states in his sweetly apprehensive tone, a lowly guitar dancing loosely with intoxicated children, asking: “Who told the kids in the yard that they’re mostly dust? Now they just stay drunk. Keep getting more fucked up”.
Equally inspired by serene 60’s folk, 80’s no-wave alienation, and the insouciance of 90’s grunge, Astral Swans’ music is spacious yet constrained, hauntingly personal and oddly sincere. The skeletal “Let Their Faces All Blur Out” races softly with the punk rock abandon of early Sonic Youth and Eric’s Trip; “What Calms You Down, Freaks Me Out” bears the ominous pleasance of Syd Barrett, Arthur Russell, Nick Drake, and fellow Calgarian Chad VanGaalen. More structured than Swann’s Extra Happy Ghost!!! project (produced by VanGaalen), this album’s experimental spirit denies the haphazard “singer-songwriter” label that some might attach to Astral Swans.
Set for release on Dan Mangan’s Madic Records, these twelve songs lavish in Swann’s startlingly sardonic reflections, in his own words, “confronting our strange ways of experiencing personhood, in the moral gorge between ideals and inadequacies”. Tracked live in Swann’s living room, and later embellished in an old Calgary warehouse with local experimental/improv mainstay Brad Hawkins (Ghostkeeper), All My Favorite Singers Are Willie Nelson is flawed if not for its air of accidental perfection, normalizing existential struggle with rhythm and harmony, a natural marriage of the sweet to the acrid.
1. There Are Ways To Get What You Want
2. Beginning Of The End
3. Let Their Faces All Blur Out
4. Please Don’t Leave Me Strange
5. What Calms You Down, Freaks Me Out
6. You Carry A Sickness
7. Park Street
10. My Conscience Don’t Work In The New World
12. Grass Girl
Every so often, one song can change everything. For The Airborne Toxic Event, that particular number happened to be an A Capella version of Queen and David Bowie’s classic duet “Under Pressure”.
“Somebody played it for me, and it blew my mind,” declares vocalist and guitarist Mikel Jollett. “I made a decision to change my whole approach to music. I just wanted to be joyful about it. I wasn’t going to worry anymore. For the first three records, I thought mostly like writer. My mindset changed. It was about inventing a musical logic that was unabashedly catchy and rhythmic, but way weirder than anything we’ve done in the past.”
That “logic” came to life while Mikel composed “Hell and Back” for the Dallas Buyers Club soundtrack in August 2013. Under a tight deadline, he had no choice but to produce the track himself—a first for the Los Angeles outfit. However, he didn’t stop there.
The frontman would go on to personally produce The Airborne Toxic Event’s fourth full-length album and first for Epic Records Dope Machines with the blessing and support of Steven Chen [guitar, keyboards], Anna Bulbrook [violin, keyboard, backing vocals], Daren Taylor [drums], and Adrian Rodríguez [bass].
“Producing was massively challenging and super fun,” admits Mikel. “When we finished the last record, our producer Jacquire King said to me, ‘I think you’re ready to produce an album now.’ I felt like we had reached the apotheosis of being a proper rock band. This was the exact opposite. It was me alone in a room for 12 hours a day working harder than I’d ever worked.”
Early in the process, Mikel tapped into a boundless aesthetic, embracing electronic elements as well as pop structures and unbridled rock ‘n’ roll bombast. At the same time, it defied categorization at every turn. “That’s one of the hallmarks of the record,” he affirms. “It doesn’t sound like anything else.”
The first single “Wrong” merges striking synths and an electronic swing with an evocative refrain punctuated by a robust groove. It’s borderline danceable, but always chant-able.
“It’s just about a guy feeling insecure,” explains Mikel. “I wrote it at a time of massive upheaval in my life. We all have that moment. You look over everything and think, ‘I am an idiot!’ It’s not every day, but you wish you could start over. That’s the idea.”
“California” turns a spotlight on a different side of the Golden State from the perspective of a true native. All the while, it still boasts an unshakable refrain and intricate instrumentation.
“I grew up in California,” he goes on. “My parents were hippies, and I was born in the back of a VW bus on the beach. I was around everybody from Beatniks to gang members to kids who just emigrated from Guatemala or Ethiopia. None of this had anything to do with the popular image of what California is—that idea of palm trees and movie stars. As soon as you’ve got an idea of utopia, it begs a dystopia. It’s an idea of apocalypse right around the corner in a place that’s considered ideal.”
Simultaneously, the title track tempers a distinct guitar bounce with entrancing harmonies, making for a provocative and potent dichotomy.
“You can interact with all of these dope hand devices, but they make you sort of dopey an hour later,” he sighs. “You make music with them. They can save you from a heart attack. They’re little extensions of the things that make us fundamentally human, which is the desire to interact with one another. The machines are all of these things at the same time.”
In the middle of 2014 after moving on from Island Records, Epic Records C.E.O. L.A. Reid reached out and signed them—for the second time.
“L.A. signed us way-back-when at Island,” recalls Mikel. “He literally saw us at Bowery Ballroom in New York, came backstage, and offered us a record deal. The moment we were free, he sent us a deal memo. It’s a pleasure to be working with him again. He’s a big believer, and he brings a lot of energy to this.”
They’ve carried a similar energy through three full-length albums: The Airborne Toxic Event , which spawned the gold-selling single “Sometime Around Midnight”, All At Once , and Such Hot Blood . In addition to reaching gold status, iTunes named “Sometime Around Midnight” the “#1 Alternative Song of the Year”, and it spent a staggering eight weeks at #1 on Billboard’s Heatseakers Chart. HBO utilized it on their high-profile Network Season Promo. The group has appeared on The Late Show with David Letterman four times, The Tonight Show with Jay Leno four times, and on Jimmy Kimmel Live! three times. Moreover, they’ve taken the stage at festivals including Coachella and Lollapalooza and sold over 50,000 tickets in 2013 alone.
In many ways though, Dope Machines signals something of a rebirth.
“It’s like debuting a new phase,” concludes Mikel. “It was a new approach. We’ve got a new label. We threw out everything we were tired of and moved on to a brand new palette. That was the goal. This isn’t what The Airborne Toxic Event is supposed to be. This is who we are."
2. One Time Thing
3. Dope Machines
5. Time To Be A Man
6. Hell And Back
7. My Childish Bride
8. The Thing About Dreams
9. Something You Lost
The Deepest Lake finds Dengue Fever expanding their trademark psych/surf/Cambodian pop sound with African percussion, vocals that would make Exene and John Doe proud, sweeping melodies and extended psychedelic jams of songs that often time out after five or six minutes. The band made a conscious decision to head into the studio looking to expand their sound while also following their instincts to explore jams that came out of demos recorded in their home studio where the album was produced entirely by the band themselves. The result is sound that showcases their musically adventurous side while still remaining faithful to the bands otherworldly sound.
2. No Sudden Moves
3. Rom Say Sok
4. Ghost Voice
5. Deepest Lake on the Planet
6. Cardboard Castles
7. Vacant Lot
8. Still Waters
Known for the sparse, haunting qualities of his mostly solo recordings of what he refers to as "roots-folk music," in which his husky voice is often accompanied by little more than a banjo or acoustic guitar, William Elliott Whitmore sought to add some new pitches to his bullpen for his new ANTI- release Radium Death. "I purposefully went into it wanting to make a little bit of a departure, sonically, using an electric guitar a little bit more and adding more instrumentation, more full-band type stuff," says Whitmore. "I wanted to switch it up a little bit and plug in to see what that felt like." "I was reading a lot about the so-called ‘radium girls’ of the early 1900's, these assembly lines of women painting watch dials with radium to make them glow in the dark," he says, detailing how the workers would lick the tips of their paintbrushes to get them pointy while dipping them repeatedly into the chemical substance before it was known to be dangerous. "So, in my mind ‘radium death’ came to represent something that you’re told is good for you—maybe by a higher power—but really is killing you. It represents those lies that are told, and how we can protect ourselves against them." The songs assembled, while not a concept album, present a cohesive look into those recurring Whitmore themes of respect, protection, sustenance and survival. The blazing (even by WEW standards) opener, "Healing To Do," pulls no punches, kicking in immediately with the rhythmic shuffle of a full band, an organ, and Whitmore’s upbeat rasp. The pace continues with songs like "Trouble in Your Heart," "1000 Deaths" and "Don’t Strike Me Down," preaching patient hope, rebirth, renewal, and revolt over stomping drums, acoustic strumming and even an electric guitar solo.
1. Healing to Do
3. Trouble in Your Heart
4. A Thousand Deaths
5. Go On Home
6. Don’t Strike Me Down
7. Can’t Go Back
8. South Lee County Brew
9. Have Mercy
10. Ain’t Gone Yet
Ryley Walker is the reincarnation of the true American guitar player. That’s as much a testament to his roving, rambling ways, or as to the fact that his Guild D-35 guitar has endured a few stints in the pawnshop. No one knows what the future holds for young Ryley Walker. Hardship and setbacks and dilapidated housing uncertainty only seem to spur him on creatively. Here, with this record, we risk limiting his access to personal disaster by flirting with success.
1. Primrose Green
2. Summer Dress
3. Same Minds
4. Griffiths Bucks Blues
5. Love Can Be Cruel
6. On The Banks Of The Hold Kishwaukee
7. Sweet Satisfaction
8. The High Road
9. All Kinds Of You
10. Hide In The Roses
No News From Home is the 2nd LP from Portland, Oregon quartet Houndstooth and the follow-up to Ride Out The Dark. That record was labeled "one of 2013's all too overlooked delights" by SPIN while their hometown Portland Mercury called it "an extraordinarily good album, a perfect representation of the band's trademark balancing of ease and passion." News is an altogether more mature record that widens the bands sound: from Velvets-style churners to shimmering, breezy, love songs, all penned by songwriting duo John Gnorski and Katie Bernstein.
1. Bliss Boat
3. No News From Home
4. Green Light
5. Wasted Hours
6. Witching Hour
8. Yellow Stone
9. Double Vision
11. They’re Racing Tonight
Inventions are the collaborative sum of longtime friends Matthew Cooper of Eluvium, and Mark T. Smith of Explosions In The Sky. Their 2014 eponymous debut album introduced an ambition to create music that was both challenging and comforting. Their new album, Maze of Woods, opens with a vocal sample declaring, "I wanted to do something that I don't know how to do." Using this as a mission statement, Inventions have crafted a complex and exuberant album from an array of instruments, samples, found sounds, beats, chants, and raw bursts of noise, with a much greater emphasis on strong vocal accompaniment in every song. Two albums released in the span of 10 months speaks to the drive that these two have felt since they started playing together. Much like on the first record, they again mixed the album in a house on the Oregon coastline, with final mixing and production all done by Smith and Cooper. Inventions have stated that much of the inspiration for Maze of Woods comes from the closing paragraph of Denis Johnson's novella Train Dreams. In that paragraph, Johnson describes the nonverbal howl of a feral wolf boy, a pre-language that is yearning and instinctual; a statement of wordless distress and love. Maze of Woods is the product of two masters of their craft getting lost in the wilderness, "doing something that they don't know how to do," and emerging with something wholly unexpected and beguilingly beautiful.
4. Slow Breathing Circuit
5. A Wind From All Directions
8. Feeling The Sun Thru The Earth At Night
Synth-pop dance party band Reptar returns with their second full length, Lurid Glow, out March 17th 2015 on Joyful Noise Recordings. Lurid Glow continues the exploratory and arousing spirit of their 2012 debut Body Faucet, 2012. Graham Ulicny (singer-guitarist), Andrew McFarland (drums), Ryan Engelberger (Bass), and William Kennedy (analog keyboards) succeed once again in bringing world dance parties into the post-rock realm. Lurid Glow continues Reptar's exploration of afro-beat indie electro-pop with a heart. While the scope of this album is broader than Body Faucet it retains the earnestness of a band just wanting to have a good time and make you feel good enough to shake your money-maker.
1. No One Will Ever Love You
2. Ice Black Sand
4. Sea Of Fertility
6. Every Chance I Get
7. Easier To Die
8. Daily Season
9. Particle Board
FRNKIERO ANDTHE CELLABRATION, the new project from Frank Iero, will be supporting Taking Back Sunday and The Used on their upcoming North
American co-headline tour set for September and October. frnkiero andthe cellabration will be touring in support of their debut album, STOMACHACHES,
that will be released by Staple Records in 2014.
“I'm really looking forward to getting on the road and finally playing these songs live,” said Iero. “It's strange, while making Stomachaches I never got to
really play the songs before recording them, because for the most part, it was just me, making them all by myself late at night in my basement. So it's kind
of a scary and exciting experience for me right now to finally hear these songs come to life in a live setting. And I'm glad to be able to be doing it with old
friends like Taking Back Sunday and The Used.”
Iero, former guitarist for My Chemical Romance, will be joined on the road by Evan Nestor on guitar, Rob Hughes on bass and drummer Matt Olsson.
Stomachaches was selected by Alternative Press magazine as one of their “Most Anticipated of 2014” and fans first heard solo material from Iero when
he contributed a bonus track – “This Song Is A Curse” – to the Frankenweenie Unleashed soundtrack. Most recently Iero can be heard covering
“Extraordinary Girl” for Kerrang’s tribute to Green Day, American Idiot.
1. all i want is nothing.
3. blood infections.
4. she's the prettiest girl at the party and she can prove it with a solid right hook.
7. stage 4 fear of trying.
10. smoke rings.
12. where do we belong? anywhere but here.
The Soft Moon was never intended for the public's ears, but you found it,were drawn in by its danger, and insisted that others hear. Oakland's Luis Vasquez began the project in order to better know his own self. He'd holed up in his apartment and let the tape roll, allowing gut and memory guide him. Those twin sherpas, however, led him to a place of darkness, claustrophobia and dread: a musical wasteland moving to a Motorik tic, its edges made jagged in the image of early post-punk, swathed in the moody atmosphere of vintage darkwave.
1. Inwa Rd
On December 7, 1999, the then-fledgling Eyeball Records released the debut album by New Jersey band called Thursday. Waiting, in itself, made modest waves during its initial release, but as the band prepared its follow-up—2001's breakthrough Full Collapse—Thursday's debut quickly became more of a herald than an introduction: This is the sound of a band in the middle of a discovery process that would eventually take them to legendary status around the world. Having officially gone out of print when Eyeball ceased operations, Waiting has been unavailable in physical, digital, and streaming formats since 2012. But this year, on the fifteenth anniversary of its release, Collect Records is finally giving this classic album the special deluxe edition reissue package it deserves. Waiting: The 15-Year Anniversary Edition features the original album remastered and repackaged with a die-cut sleeve, original liner notes, and a bonus 7" EP featuring previously unreleased demos from this period—including one never-before-released song.
2. This Side of Brightness
3. Ian Curtis
5. Streaks in the Sky
6. In Transmission
7. Dying in New Brunswick
8. The Dotted Line
9. Where the Circle Ends
1. This Side of Brightness (Demo)
2. Dying in New Brunswick (Demo)
3. Mass as Shadows (Previously Unreleased)