Just as Michael Jackson was the King of Pop, Calvin Harris is the Emperor of EDM, with Motion, his fourth album, serving to express the glory of the empire, not revolutionize it. While Ellie Goulding, Gwen Stefani, and John Newman enliven their respective Vegas club staples, and "Summer" contains one of the year's most grandiose synth crescendos, it's the curveballs that steal the show here. The opalescent "Pray to God" sounds more like a Haim song spiced up by Calvin Harris than vice versa, and "Dollar Signs," featuring vocals by R&B young turk Tinashé, is a clever funk-EDM hybrid. "Open Wide," featuring Big Sean, sucks the air out of the room with clobbering bass.
2. Under Control (w/ Alesso Feat. Hurts)
3. Blame (feat. John Newman)
4. Love Now (feat. All About She)
5. Slow Acid
6. Outside (feat. Ellie Goulding)
7. It Was You (w/ Firebeatz)
9. Overdrive (w/ Ummet Ozcan)
10. Ecstacy (feat. Hurts)
11. Pray To God (feat. Haim)
12. Open Wide (feat. Big Sean)
13. Together (feat. Gwen Stefani)
14. Burnin (w/ R3hab)
15. Dollar Signs (feat. Tinashe)
Over his 25-year career, Kid Rock has been our Early Mornin’ Stoned Pimp, the Devil Without a Cause, the Cowboy, the Bullgod, the Rock N Roll Jesus, the American Bad Ass and, lest we forget, a proud Son Of Detroit. He’s released 7 top 10 albums, sold over 25 million albums worldwide, and collaborated with a diverse range of artists— Hank Williams Jr., Eminem, Tim McGraw, R. Kelly, Bob Seger, and Sheryl Crow, to name a few. Rock has built his career on his own terms every step of the way, breaking down boundaries between rap, rock, and country. In doing so, he’s become one of the most iconic artists of his generation, who continues to surprise after 9 studio albums.
1. First Kiss
2. Good Times, Cheap Wine
3. Johnny Cash
4. Ain’t Enough Whiskey
5. Drinking Beer With Dad
6. Good Time Lookin' for Me
7. Best of Me
8. One More Song
9. Jesus and Bocephus
10. FOAD (F*ck Off and Die)
Shelton Hank Williams, better known as Hank III, is an outlaw, a battler of convention. He comes by it naturally: The third generation of Hanks, and the third generation to tilt nobly at country traditions and white-collar establishment sensibilities. After all, this 39-year-old semi-reformed punk-metal drummer is the son of Hank Jr., a blue-collar hero who has difficulty ducking controversy even on something as Richard Nixon and apple pie American as “Monday Night Football.”
1. Get Outta My Life (w/Rebel Meets Rebel & David Allan Coe)
2. Ruby, Get Back To The Hills
3. Torn Between Suicide & Breakfast
4. No Values
5. Gotta Buy Paw A Truck
6. Take As Needed For Pain
7. White Trash
8. King Cartel
Tracker is Mark Knopfler's ninth solo album and features 11 new Knopfler songs inspired by a wide range of subjects including Beryl Bainbridge and Basil Bunting. Produced by Knopfler and Guy Fletcher and recorded at British Grove Studios in London.
1. Laughs and Jokes and Drinks and Smokes
3. River Towns
5. Mighty Man
6. Broken Bones
7. Long Cool Girl
8. Lights of Taormina
9. Silver Eagle
11. Wherever I Go featuring Ruth Moody
When songwriter and producer Sam Genders last donned his Diagrams hat, captive listeners found themselves truly stunned by the Streatham Hill artist’s imaginative and inventive arrangements that made up 2012′s debut album Black Light. Having now upped sticks from his London lodgings and settled in Sheffield with a new lease of life and wife, fresh pastures and friendships are what form the heart of Diagrams’ brand new album Chromatics.
“Relationships are a constant thread. In all their frustrating, exciting, mundane, beautiful, wonderful, sexy, scary glory,” reveals Genders of the album’s themes. “And there’s lots of hope in the songs. They shouldn’t be taken too literally mind you… in my head Chromatics is life in Technicolor; with all its ups and downs.”
Equally drawing inspiration from the writing on relationships by David Schnarch, Ester Perel and the book Division Street by Sheffield poet Helen Mort, whilst spending time in his own home studio for the first time, it’s without doubt that the Steel city provided the ideal backdrop for Genders to write whenever the inspiration came and, essentially, whittle down the fifty or so tracks he had recorded as part of the album’s creation. “There are woods over the road and a little garden out the back with a greenhouse, shed, and flower beds. Being in a new place has brought something special to the process. Sheffield is a very open and direct place and I’d say the songs are more that way too.”
Whilst Black Light fizzed with electronic effects, synth-bass, programmed beats and low-key funk grooves that brought about comparisons to the leftfield pop of Arthur Russell, Metronomy, Steve Mason and Hot Chip, it’s without doubt that Genders’ next offering falls closer to home comforts and marks the next step in Genders’ renaissance. Take lead track ‘Phantom Power’; it’s the track which truly sums up what it’s like to find yourself forever reassessing. “It’s about feeling like you’re losing a grip on your sanity at one moment, then feeling inspired and up for anything the next. Or frustration with yourself yet believing that it’s possible to sort yourself out,” explains Genders. Elsewhere ‘You Can Talk To Me’s delicate rolling melody and ‘Serpent’ once again showcase the playful, eclectic slant to Genders’ songwriting prowess alongside an innate sense of crisp production and programming techniques.
Never one to shirk away from those around him, Genders would be the first to call Diagrams, and particularly Chromatics, a collaborative process. Once again featuring a rolling cast of inspirational musicians the album includes vocals from, amongst friends and family members, The Smoke Fairies whilst the skilled brass and string arrangements come courtesy of Danyal Dhondy and Sam Ewens. ‘London’s greatest’ drummers Karl Penney, and Cacophony drummer Fletcher Adams provide the beats whilst live band members Emma Black and Ben Malitskie lend their expertise of Baritone Saxophone and Viola. ‘Brain’ meanwhile, was co-written with long-time friend and collaborator Matt McKenzie and features an in utero recording of his son James’ heartbeat.
Yet it’s the partnership with producer Leo Abrahams (Wild Beasts, David Byrne, Brian Eno, Jon Hopkins, Ed Harcourt, Marianne Faithful et al) that has truly brought Diagrams to life. After a long search, Abrahams was picked to piece all parts together and as a result Genders found himself writing songs that worked across a variety of production styles. “Leo’s incredibly good at what he does and virtually all the impressive production and soundscaping is down to him. He’s also an amazing guitarist and played some of my favourite guitar moments on the album.”
Who knows exactly what kind of relationships will inspire Genders next? Currently finding himself midst China’s south central city of Changsha in Hunan as a Musician in Residence on behalf of the British Council and PRS foundation, life for Genders right now is all about new experiences, meeting new faces and learning from new friendships. “It feels like anything could happen from one day to the next. I’d like to record a Chinese version of ‘Phantom Power’ so that once I’m back in the UK I can reconnect with the music lovers I’ve met. I’ve heard lots of very poppy pop songs that incorporate both Chinese and English lyrics so I’d like to try my own twist on that.”
1. Phantom Power
2. Gentle Morning Song
5. You Can Talk To Me
7. Dirty Broken Bliss
9. The Light & The Noise
11. Just A Hair’s Breadth
A special message from LZZY HALE (OFFICIAL) about INTO THE WILD LIFE:
"This album is not a departure, it is an invitation to all things Halestorm. We didn't stray from who we are, there's just a lot more of who we are. If you dare, start with the outer most layer of the onion, our first single "Apocalyptic" which is the medium between where we left off on "The Strange Case Of.." and where "Into The Wild Life" begins.
Lyrically and musically, we explored everything that makes us tick. We set a standard for this record, and gave ourselves no choice other than to be unapologetically Halestorm in every way. In a time where everyone is freaked out about the state of music, rock n' roll, hit singles, sales....we decided to ignore all of that and make a true album.
My insider's advice: Close your eyes and listen to the album from start to finish. There are some surprises that await you inside that are well worth the journey. Enjoy!"
Formed by frontwoman Lzzy Hale and her brother, drummer Arejay Hale, Halestorm has been hailed far and wide as an incendiary new force in modern hard rock. "HALESTORM" made a top 5 debut on SoundScan's "Hard Music" chart upon its 2009 release, simultaneously bursting into the top 40 on the comprehensive Billboard 200. The album subsequently sold more than 300,000 copies, and half a million cumulative tracks. Produced by Howard Benson (Daughtry, My Chemical Romance, Flyleaf), the album earned extensive acclaim for its infectious hard rock anthems, sexy hooks, and rough-and-tumble grooves.
2. I Am The Fire
3. Sick Individual
5. Dear Daughter
6. New Modern Love
8. Bad Girl’s World
9. Gonna Get Mine
10. The Reckoning
12. What Sober Couldn’t Say
13. I Like It Heavy
1989 is Taylor Swift's fifth album. The first single "Shake It Off" debuted at #1 on the Billboard Hot 100 Chart. It was officially certified Platinum in only
1. Welcome To New York
2. Blank Space
4. Out of the Woods
5. All You Had to Do was Stay
6. Shake It Off
7. I Wish You Would
8. Bad Blood
9. Wildest Dreams
10. How You Get The Girl
11. This Love
12. I Know Places
This double 180-gram LP is packaged in a super-nice gatefold sleeve and includes a vinyl only bonus track, Talking Like Turnstiles
1. Marching Bands of Manhattan
2. Soul Meets Body
3. Summer Skin
4. Different Names for the Same Thing
5. I Will Follow You into the Dark
6. Your Heart Is an Empty Room
7. Someday You Will Be Loved
8. Crooked Teeth
9. What Sarah Said
10. Brothers on a Hot
Mercyful Fate's debut album, Melissa, took Black Sabbath's dark occult obsessions to an extreme, fusing them with the speed and tightened, twin-guitar riffing attack of British metal bands like Judas Priest and Iron Maiden. But the band had a distinctive sound of its own, thanks to the neo-classical flourishes of guitarists Hank Shermann and Michael Denner and the unpredictable vocal leaps of King Diamond, who could jump from a deathly growl to an unearthly falsetto wail in the next line.
- Steve Huey (All Music Guide)
2. Curse Of The Pharaohs
3. Into The Coven
4. At The Sound Of The Demon Bell
5. Black Funeral
6. Satan's Fall
"A talent to outrank Ryan Adams or Conor Oberst" - Uncut
"He's found a way to encapsulate all the dichotomies of life and make them work within the confines of a three-minute pop song." - Popmatters
“It’s my surreal expat therapy record,” observes Josh Rouse about his new LP, The Embers of Time. A career peak, The Embers of Time takes inspiration from his self-admitted crisis of confidence and bouts with existential psychotherapy in his adopted home of Valencia, Spain.
The 10-song collection of originals contains some of Rouse’s most beautiful arrangements and complex songwriting to date. First song and lead single “Some Days I’m Golden All Night” channels Glen Campbell-style Countrypolitan pop mastery through ‘Self Portrait’-era Dylan confessional lyrics.
Rouse has been called “one of contemporary music’s most engaging singer-songwriters” (NPR) as well as “a talent to outrank Ryan Adams or Conor Oberst” (Uncut), and with The Embers of Time he opens a new chapter in his lauded career. He split time recording the album between Valencia and Nashville, and enlisted Brad Jones (Justin Townes Earle) as producer. The record moves from the hushed twang of “Time,” where Josh recalls a stepfather who died too young and muses about his own mortality, to the deceptively sunny album closer “Crystal Falls,” which recounts a rare period of solace from his itinerant childhood. “In Crystal Falls I made a few good friends,” he sings. “It was just another stop. I never saw them again.”
Originally hailing from rural Nebraska, Rouse has carved out a distinguished career as a top-tier musician. His last record, ‘The Happiness Waltz’ earned unanimous praise, with AllMusic calling it “absolutely beautiful, like 10cc producing Al Green.”
1. Some Days I’m Golden All Night
2. Too Many Things On My Mind
3. New Young
4. You Walked Through The Door
6. Pheasant Feather
7. Coat For A Pillow
8. Worried Blues
9. Expat Blues
10. Crystal Falls
The story of Darren Hanlon’'s first album in five years, Where Did You Come From?, spans two continents and a whole lot of miles traveled, resulting in his most resplendent musical effort yet—the songs reaching new levels of maturity without ever losing his trademark lyrical charm and twinkling eye. Making it involved an unplanned and sometimes perilous lope through the American South, through various cities, towns and recording studios. He recorded in one-off sessions in Nashville, Memphis, Muscle Shoals, New Orleans and Clarksdale, Mississippi, collaborating with an array of musicians and other characters he met along the way. “When I hopped off the Amtrak, I just walked around and met buskers, tap-dancers, preachers, drunks and drug dealers, all of whom had something worth learning about,” Hanlon says. “I started having compulsive notions that whoever I met should somehow contribute to the album. Let fate play into it. One guy tried to break into a car I was sitting in and even he ended up playing bass on a song.” To hear the analogue richness and singular vision resulting in the collection of songs that make Where Did You Come From? belies the accidental nature of its process. It’s a cohesive, hopeful and vibrant testament to the joys of travel, the tyranny of distance and the vagaries of love and fate.
1. Salvation Army
2. When You Go
3. Trust Your Feelings (When You Wake)
4. There’s Nothing on my Mind
5. Letter From an Australian Mining Town
6. Fear of the Civil War
7. My Love is an Ocean Away
8. Manhole Cover Tap
9. The Chattanooga Shoot Shoot
10. The Will of the River
11. Awkward Dancer
12. Halley’s Comet, 1986
13. Shine A Light
Since 2008, the Bristish riff-ragers have melted minds with their signature brand of punk rock fury. Their live rituals are the stuff of legend: sound-tracked by the red hot fuzz of crackling speakers & overloaded channels.
After wrapping up a successful last year, which included headlining Live Nation’s ‘Download Freezes Over’ tour as
well as crushing stages with Royal Blood & Death From Above 1979, the quartet are set to unleash 2nd album ‘Two Hands’ & excitement in the camp is infectious
1. Invisible Hand
2. Rabbits Foot
3. Solid Gold
4. American Mirrors
5. Toy Memaha
6. Nine Lives
7. Good Hand
8. MK Ultra
9. Twelve Houses
10. Rich Gift
11. Pale Horse
Glean is the upcoming seventeenth studio album by They Might Be Giants. It includes songs direct from the first weeks of their Dial-A-Song service. The range of these recordings is truly staggering. From the manic violin-driven ''Music Jail, Pt. 1 & 2'' to the bluesy grinding of ''Underwater Woman,'' Glean comprises some of They Might Be Giants' most vital work of their 30+ year career. With the album, TMBG's sound is in equal turns as rocking, surprising, effervescent, and truly original as they have ever been. The highly anticipated album is produced with long-time collaborator Pat Dillett (St. Vincent, Mike Doughty, Donald Fagen, Mary J. Blige, David Byrne, etc), and comes hot on the heels of 2013 s wildly popular Nanobots.
2. Good To Be Alive
3. Underwater Woman
4. Music Jail, Pt. 1 & 2
6. I Can Help The Next In Line
7. Madam, I Challenge You To A Duel
8. End Of The Rope
9. All The Lazy Boyfriends
11. Hate The Villanelle
12. I'm A Coward
14. Let Me Tell You About My Operation
Karen Dalton (1937-1993) recorded two studio albums during her lifetime, neither of which contain any songs she wrote. By the good graces of legendary guitarist Peter Walker, who oversees Karen’s estate, we are gifted with these lost lyrics, now given voice by other great women of song. Featured artists include; Sharon Van Etten, Patty Griffin, Lucinda Williams, Marissa Nadler, Isobel Campbell and more.
1. Remembering Mountains (Sharon Van Etten)
2. All That Shines Is Not Truth (Patty Griffin)
3. This Is Our Love (Diane Cluck)
4. My Love, My Love (Julia Holter)
5. Met An Old Friend (Lucinda Williams)
6. So Long Ago And Far Away (Marissa Nadler)
7. Blue Notion (Laurel Halo)
8. For The Love I m In (Larkin Grimm)
9. Don't Make It Easy (Isobel Campbell)
10. At Last The Night Has Ended (Tara Jane O Neil)
11. Met An Old Friend (Josephine Foster)
Not Real' is the second album by Stealing Sheep which has been written, recorded and produced by band members Becky Hawley, Emily Lansley and Lucy Mercer at their studio in Liverpool. The band met in 2010 and work together creating music and visual art.
The unifying theme of the new album 'Not Real' is an interplay of fact and fiction; the edge of dreams and limits of reality. These visions are grounded by bright melodies and insistent beats and unified by vocal harmonies; sometimes metronomic and chant-like, sometimes choral and pop.
It follows their debut, 'Into the Diamond Sun', released in 2012 by Heavenly Recordings. The first album morphed their individual styles to create a 'medieval-kraut-folk' inspired sound. They were described as an unanticipated 'pagan pop revival' and since its release have toured as guests of Postal Service and Alt-J, opened for St.Vincent in Paris, performed the songs of David Lynch at the Barbican and collaborated with the Radiophonic Workshop on an original soundtrack to the cult 70's science fiction film ‘Le Planete Sauvage'.
For the second album they have concentrated on developing the sonic aesthetic of their new music. “We are more focussed about what we are trying to do. Everything has a reason for being there.” They have been experimenting with tuned percussion, programmed beats, trigger samples and worked with effected synths, utilising the guitar and lap steel more sparingly and introducing more processed sounds. They’ve drawn inspiration from 50's exotica, electronic music and 80's pop and have been greatly influenced by the likes of Grace Jones, Can, Delia Derbyshire, Eden Ahbez, Moon Dog and John Carpenter. Grayson Perry's pop-folk art and the band’s self-created mythologies were also a source of inspiration for song writing.
This is an alternative pop record that has been ‘self-manufactured’ by the band. Having learned new skills in the studio over the last years, the band (assisted by Sam Crombie and Joe Wills) have self-produced the album. They have used the studio not only as a writing tool but also as an instrument; experimenting with post production and varying instrumentation and layered textures. “We started off in pre-production doing all the demos ourselves” say's Becky “the demos captured an atmosphere that we wanted to carry forward to the album. The result was a hypbrid of casual takes and more considered recordings"
Individual songs on the album have different environments and creatures that go with them, often inspired by the galactic rather than earth-bound imagery. Becky: “I imagine dehumanised worlds, planets with creatures that have evolved in a completely different way
The visual side is highly important to the band, all of whom have art backgrounds. “We like to be involved in all the aspects of the presentation because it's symbiotic to the music.” They collaborate with artists and with ‘the costumologists’, coming up with ideas like “outfits that texturally reflect rhythms” and “frequency triggered, light-up costumes”. The colourful and organic album cover, a collaboration between photographer Charlotte Rutherford and collage artist Louise Mason, shows their confident image for this record: as they tread the lines of surreal pop.
There is no stopping the imaginations of Stealing Sheep - but like lucid dreams, these are controlled fantasies and skilfully created worlds. Follow them on a hypnagogic journey as they sing: “listen to yourself and look within”.
3. Not Real
4. This Time
Born near Detroit, Michigan, Marshall Crenshaw began playing guitar at age ten and he received his first break playing John Lennon in the off-Broadway company of Beatlemania. In 1987, he played Buddy Holly in the Richie Valens biopic “La Bamba.” While living in NYC, he recorded the single “Something’s Gonna Happen” for Alan Betrock’s Shake Records, which led to a deal with Warner Bros. His debut album, Marshall Crenshaw was acclaimed as a pop masterpiece upon its release in 1982 and established him as a first-rate songwriter, singer and guitarist. The record spawned the Top 40 single “Someday, Someway,” which rockabilly singer Robert Gordon covered and scored a hit with a year earlier, and other classics such as “(You’re My) Favorite Waste of Time,” “Whenever You’re On My Mind” and “Cynical Girl.” The great songs continued with the Life’s Too Short album on MCA (“Fantastic Planet of Love”), three albums for Razor & Tie and the 2009 release Jaggedland (“Someone Told Me,” “Passing Through,” “Never Coming Down
A quote from Trouser Press sums up Marshall Crenshaw’s early career: “Although he was seen as a latter-day Buddy Holly at the outset, he soon proved too talented and original to be anyone but himself.” All Music Guide captured Crenshaw’s vibe perfectly: “He writes songs that are melodic, hooky and emotionally true, and he sings and plays them with an honesty and force that still finds room for humor without venom.”
“His intelligence, integrity, and passion for the great song always show up in his music,” wrote Robert Christgau in his Consumer Guide of Marshall Crenshaw. Over a span of 30 years, Crenshaw has released 13 albums, all of which have received the highest marks from critics and have earned him a fiercely loyal fan base.
“I wanted to think of a different way of working that would inspire me and keep me motivated,” Marshall Crenshaw says of his newest endeavor: a subscription-only service that addresses the recent seismic changes in the music-industry landscape by cutting out the record-company middle man to distribute his new recordings directly to fans.
The subscription service, which the veteran singer/guitarist/songwriter/producer recently launched via a successful Kickstarter funding campaign, will provide fans with a steady stream of new Marshall Crenshaw music via a series of exclusive three-song 10-inch, 45-rpm vinyl EPs on Addie-Ville Records, six of which the artist plans to release over a two-year period.
Each EP will consist entirely of newly recorded, never-before-released material, encompassing a new original Crenshaw composition, a classic cover tune, and a new reworking of a time-honored favorite.
“I really do think that vinyl sounds best, and that playing a vinyl record is still the optimum listening experience,” Crenshaw asserts. “And with the sound quality that you get at 45 rpm, I think that these things are going to deliver the goods, sonically.”
All three tracks were mastered for maximum awesomeness by legendary engineer Greg Calbi, who will handle mastering duties on the entire EP series.
1. Grab The Next Train
2. Made My Bed Gonna Lie In It
3. Something's Gonnna Happen
1963’s Ugetsu was recorded at the legendary Birdland club, when the New York post-bop era was still very much in progress. Featuring both a young Wayne Shorter and Freddie Hubbard, Ugetsu remains a reaffirmation of the belief that this kind of on-the-scene adventure can create some of the most effective recorded jazz. With Curtis Fuller, Freddie Hubbard, Wayne Shorter, Cedar Walton and Reggie Workman.
1. One By One
3. Time Off
5. I Didn't Know What Time It Was
6. On the Ginza
8. The High Priest
9. The Theme
Brighton-via-Minneapolis pop-rockers, As It Is, are delighted to announce their forthcoming debut album. ‘Never Happy, Ever After’, which will be released on Fearless Records.
1. Speak Soft
2. Cheap Shots & Setbacks
4. Drowning Deep in Doubt
5. Dial Tones
6. My Oceans Were Lakes
8. Turn Back to Me
9. Can't Save Myself
10. Silence (Pretending's So Comfortable)
11. You, The Room & The Devil On Your Shoulder
London's dubstep rockers second album released on their label, Max Records. The band is lead by brothers, Josh
Friend (singer/producer) & Tony Friend (DJ/Producer). Album features Funtcase, Teddy Killerz, Culprate,
Partysquard, Trolley Snatcha, Skindred, Rude Kid, Big Narstie, Dialect, Discard, Flowdan, Frisco, and LayZ. Promo
DJ tour May/June & Fall tour with full band.
1. Damien (Modestep & Funtcase)
2. Make You Mine (Modestep & Teddy Killerz)
4. On Our Own (Modestep & Culprate)
5. Feel Alive
6. Rainbow (Modestep & The Partysquad)
8. Nightbus Home
10. Sing (Modestep & Trolley Snatcha)
11. Circles (Modestep & Skindred)
12. Game Over (Modestep & Rude Kid ft. Big Narstie, Dialect, Discarda, Flowdan, Frisco & LayZ)
Fear of a Punk Planet is the third album by the southern California punk rock band The Vandals. It was the first
album to include the lineup of Dave Quackenbush, Warren Fitzgerald, Joe Escalante and Josh Freese. This lineup
would remain intact and they would stick to their punk rock sound for the rest of the band's career. Features guest appearances by Dweezil and Moon Unit Zappa, Scott Thunes and Kelsey Grammer.
1. Pizza Tran
2. The Rodge
3. Join Us For Pong
4. Hey Holmes!
5. Girls Turn 18 Every Day
6. Kill My Tenant
7. Summer Lovin'
8. The Day Farrah Fawcett Died
10. Teenage Idol
11. Small Wonder
12. Phone Machine
13. Shi'ite Punk
14. China Town
15. Working For The Man
Alone With A Friend is the debut album from LA modern psychedelic shoegaze outfit Talk In Tongues. This record
demonstrates the band’s handle on a wide swath of sounds and textures, and reflects on their influences which
range from Syd Barrett-era Pink Floyd to early Creation bands like Ride and Jesus and Mary Chain. Though they
are certainly well-versed in their sonic predecessors, Talk In Tongues have crafted a sound and an album that is
truly their own.
1. Time's Still (For No One Yet)
2. While Everyone Was Waiting
3. Mas Doper (Love Me Probably)
4. Still Don't Seem To Care
5. After Tonight
6. Always Fade
7. Call For No One Else
8. She Lives In My House
9. Who Would've Guessed
10. Always All The Time
11. Something Always Changes
Produced by Markus Dravs (Björk, Arcade Fire, Coldplay) with contributions from Paul Epworth, Kid Harpoon and
John Hill, the third album by Florence + the Machine is live-sounding, tune-rich, unhinged in all the right places and powerful in all the best ways. In voice and, ultimately, outlook Florence has never sounded better.
1. Ship To Wreck
2. What Kind of Man
3. How Big, How Blue, How Beautiful
4. Queen of Peace
5. Various Storms & Saints
2. Long & Lost
4. Third Eye
5. St. Jude