Following a period of rest and reflection, and a recent performance at Sydney’s Opera House, Royal Headache is ready to ride once more. Their new album is called High and injects even more soul and passion into the breakneck formula that became synonymous with Royal Headache. If their first album was akin to a courtship, think of High as the romance. Not just on the level of two people falling in love, but a romance with the qualities of pop music that make Royal Headache who they are and inform what they do: eternal optimism, wistful beauty and interlocking presentation that evolves from four guys singing on a street corner to speed-addled rock, and all the brightness and darkness in between, teetering between stability and chaos and well-aware of how unsteady their footing might be. The amount of emotion and range of Shogun’s vocals and the whip-smart counterpoint provided by the band -- drummer Shortty, guitarist Law, and bassist Joe -- present a dash through decades of pop history, recombining not just the music but all of the feelings of pain and joy elicited from audiences, supercharged and ready to explode once more. Shogun’s voice and lyrics aren’t so much a secret weapon in Royal Headache’s arsenal as they are the front line, happiness and hurt soaring above the songs, driving home all the feelings within. The band will tour the U.S. this summer with Sheer Mag, including appearances at Los Angeles’ Berserktown II fest, and an open horizon thereafter.
1. My Own Fantasy
2. Need You
4. Another World
5. Wouldn't You Know
7. Love Her If I Tried
9. Little Star
10. Electric Shock
Briana's lyrics are forceful, and throughout her second album, All Around Us, traditional song structure gives way to plainspoken declarations that pull back the record's shroud. Her first single,"Surrender" is musically delicate at first, with flickering blips and chords that float into earshot like fireflies. "Take Care of Me" is the album's brightest and most immediate song, a buoyant celebration of friendship with a skittering beat and a warm, sweet melody. And title track "All Around Us" is a stark but inspiring beauty, built on the memory of a family member of Briana's who passed away, and the sadness of not being able to say "goodbye" or "I love you" one last time. It is the balance of the abstract and the intimate that makes Briana Marela and All Around Us so special.
1. Follow It
2. Take Care of Me
3. Friend Tonight
6. I Don't Belong to You
7. Everything Is New
8. All Around Us
Los Angeles based Sextile have played three shows to date, one of which was opening for felte's Ritual Howls. The label hadn't heard a single song up to that point, but were so mesmerized with the band's raw energy and tightly wound performance, they knew they had to work together. The band's sound is an amalgam of The Jesus and Mary Chain, early Modern English, Christian Death, Coil, the post-punk era of Death in June and the Cramps for good measure.
1. A Thousand Hands
3. Can't Take It
4. Smoke In The Eye
5. Truth And Perception
7. Mind’s Eye
8. Shattered Youth
9. Into The Unknown
10. Visions Of You
It’s impossible to imagine modern underground music without mewithoutYou: the influence of their fifteen-year legacy has been nothing less than seismic. Pale Horses, mewithoutYou’s sixth album, continues their unwavering artistic vision, while at the same time reinvents the band as uniquely as any of their fans would expect it to. Aaron Weiss has again produced a work of genius with his nonpareil poetic voice, rivaled only by the soundtrack the rest of his band has forced him to compete against through these eleven songs. The end result is a beautiful fusion not unlike the music found on the band’s most revered releases. The guitar work is precise: delicately soft and tender during lulling moments like the opener “Pale Horse” and fiercely riff-centric on the Brother, Sister reminiscent “Mexican War Streets.” Complimenting it is the constant combination of the catchiest bass lines you’ve ever heard and tasteful, steady drum grooves that harken back to Catch Us For the Foxes, the band’s revered second album that has sold over 50 thousand copies to date.The warm, folk leanings ever-present on past albums shine through on the gentle “Magic Lantern Days” and the swirling organs of the heartbreaking story told throughout “Dorothy.” Epic in scope, Pale Horses is an emotional journey as captivating as any of their classic releases - referential to the best parts of their catalog with a distinguished vitality, captured in the band’s signature hauntingly iconic way.
1. Pale Horse
2. Watermelon Ascot
4. Mexican War Streets
5. Red Cow
7. Blue Hen
8. Lilac Queen
9. Magic Lantern Days
10. Birnam Wood
11. Rainbow Signs
The follow up to last year's debut record Forgettable, Joy, Departed is a dynamic and thrilling step forward for Sorority Noise. One year, two music degrees and a whole lot of openness and expression went into the creation of this beautifully crafted record. With an album full of lovely orchestral swells, Weezer-esque guitar solos and cheery pop hits, Sorority Noise shows off their versatility and talent on Joy Departed, creating a perfect front to back record.
3. Fluorescent Black
5. Your Soft Blood
6. Art School Wannabe
10. When I See You (Timberwolf)
Guitar great Neal Schon most notable for his career with Santana, and as lead guitarist of Journey since 1973, will be releasing an instrumental double disc Vortex. Schon’s guitar style has been described as soulful, taking inspiration from 1960s-era soul singers Aretha Franklin and Gladys Knight, and blending it with blues, similar to B.B. King. Guitarist influences include Eric Clapton,
Jimi Hendrix, Carlos Santana and Wes Montgomery.
1. Miles Beyond
3. Cuban Fly Zone
4. El Matador
5. Eternal Love
6. In A Cloud
7. Irish Cream
8. Lady M (Our Love Remains)
9. Airliner Ns910
1. Tortured Souls
2. Schon & Hammer Now
3. Ns Vortex
4. Unspoken Faith
5. Twilight † Spellbound
6. Triumph Of Love
8. Talk To Me
9. White Light
More than a decade after putting out their first album,
Desaparecidos return with a follow-up that breathes new life
into their brutal fusion of protest music and punk. Though the
band never truly parted ways, vocalist/guitarist Conor Oberst,
guitarist Denver Dalley, keyboardist Ian McElroy, bassist/vocalist
Landon Hedges, and drummer Matt Baum have spent much of the
past 13 years pursuing other ambitions (including Oberst’s work
as a solo artist and Bright Eyes frontman). Fueling their Epitaph
Records debut Payola with the same spirit of unrest that propelled
2002’s Read Music/Speak Spanish, Desaparecidos now match
that passion with a fuller, more furious sound and gut-punching
commentary on everything from immigration reform and the healthcare
debate to gun control and Wall Street bailouts.
With its title capturing what McElroy calls “these endless
examples of what’s wrong with the whole money culture happening
in America today,” Payola was co-produced by the band and their
longtime collaborator Mike Mogis (First Aid Kit, The Faint, Man
Man). Recorded in several bursts over the past few years at ARC
Studios in Omaha, the album’s 14 tracks pack a barrage of outcry
and insight into each sharply crafted lyric while storming forward
with a ferocious energy. And in their implausibly melodic
blend of blistering riffs, lead-heavy rhythms, and savage vocal
work, Desaparecidos reveal a bottled-up intensity that suggests
a band whose chemistry’s stronger than ever before. “It wasn’t
like we were trying to recapture some former glory,” says Oberst
of Desaparecidos’ long-planned reunion in the studio. “It was
like we had to do this, and we had to do it now.”
1. The Left is Right
2. The Underground Man
3. City on the Hill
4. Golden Parachutes
7. Te Amo Camila Vallejo
8. Ralphy’s Cut
11. Search the Searches
12. 10 Steps Behind
13. Von Maur Massacre
Angelo Spencer's third album is his most danceable work so far!
Written and recorded in Chambéry, France, in the heart of the Alps
(where he grew up) over the course of a week in February 2014.
With the help of old friends and amazing musicians Luc Detraz
(Imperial Tiger Orchestra)and Karol Skonitcki (Super Fedor), Love In
The Morning is a short, precise, and undeniably groovy love
affair! With repurposed autotune and raw, uncompressed sound
recorded by Djan (the man behind the Larsen Records sound), the
album is minimal yet so full. These guys don't joke around. This shit was
made for dancing!
The Congolese Soukous style of the title track “Love In the Morning”
and ”Solid Home Life” will explode your heart with pure happiness.
The cover of OKVancouverOK's “Nature” is a wild ride showing you
that there is hope and yes! we can destroy capitalism! Feeling
hungry? “Tanger, Tanger” will feed you the most beautiful meal
you've ever had. Feeling tired? Relax as special guest Gilles Poizat
(Mazalda) plays trumpet on “Melatonin and Weed”, the fresh new
waltz of 2015. Basically, we've got you covered.
This is the new sound! Get ready!
1. Solid Home Life
2. Immune System Crashing Down
3. Love In the Morning
5. Melatonin and Weed
6. Tanger, Tanger
"Joyrides atop a walloping disco beat and furious percussive guitars, headed somewhere between the Rapture, Chic, and Talking Heads, but with a cartoonish giddiness that takes me back to the heyday of Junior Senior and Scissor Sisters." - Stereogum
"Rising stars" - DJ Mag
On their full-length 2014 debut Voyage, L.A duo De Lux learned how to
take their influences and create a sound all their own—a beyond-their-years
synthesis of post-punk, disco, funk and of course synthesizer wizardry,
drawing inspiration from the same combination of agitation and exhilaration
that helped LCD Soundsystem and Talking Heads deliver some of the most
danceable social commentary ever. And now that they’ve found their sound,
De Lux are creating a story to go with it on their new album Generation: “All
of these things that they put us through,” sings co-founder and multi-instrumentalist
Sean Guerin, “I’m writing it down / I’m writing it down.”
They first started writing Generation in the kind of uncommitted
instances that happen so rarely once a new band puts out its first album. Once
Voyage was released, De Lux found themselves playing and interviewing and
touring and remixing—“All fun!” says Sean—but they had to fight to find time
to write. A random Instagram of work-in-progress song “It’s A Combination”
was the tipping point, when Sean and co-founder Isaac Franco realized they’d
been rough-drafting for a year: “Let’s finish it now,” they decided, and that’s
the exact moment when Generation officially started.
They returned to the L.A. practice space where they wrote and recorded
Voyage, this time with new instruments—like the little-known but sought-after
synthesizer guitar beloved of King Crimson’s Adrian Belew—and new inspirations,
chief among them punk peformance artist Karen Finley, whose 1987
debut album Sean discovered at a Seattle record store simply because it
looked promising. Her infamously uncensored lyrics made him realize there
was more he could sing about, too: “You admire the ambition behind her
saying whatever she wants,” he says.
So if Generation is a darker album than Voyage—and it’s inherited plenty
of the modern urban anxiety of David Byrne—that’s because it’s a fearlessly
honest and candid album, too. In fact, call it a millennial documentary. In
Generation’s eleven songs, De Lux chart the distance between childhood and
adulthood, nostalgia and aspiration and dream and reality, all with unflinching
autobiographical detail. (And with a secret nod to the Pokemon theme, too.)
Says Sean: “When I write lyrics, I try and be as specific as possible. We think
about if someone listens to us in 30 years: ‘Oh, that’s what was going on at
The result is a sort of Less Than Zero for the post-Social Network era.
Think of it as a nighttime freeway drive that starts with the propulsive “L.A.
Threshold” and rides the borderline between feel-good rhythm and artfully
sophisticated sentiment. “There’s dark moments, but it’s still fun,” explains
Sean. “The first album was just more innocent.” There’s new space in De Lux’s
sense of rhythm and groove, says Isaac, for Sean to say what he needs to say:
“The song gives him the freedom to be himself.”
And so Generation is an album about high highs, low lows and the vast
space in between. “Center of L.U.B” is a roller-skate jam that starts with a
Can-style guitar riff before spinning into an examination of one utility company
employee’s ennui—you knew this wasn’t going to be a love song,
right?—while “It’s A Combination” is a brooding Italo disco track and
unexpected piano piece “Conditions” is like Harry Nilsson or John Lennon
suddenly transplanted to Rough Trade Records. Then there’s the alternately
hilarious and harrowing “Oh Man The Future”—a satirical reading on the shape
of things to come, propelled by a bass-and-drum rhythm right off one of ESG’s
first EPs—to the desolate-yet-funky “When Your Life Feels Like A Loss,” where
De Lux dissect just what happens when “you think you’re special/no, you’re
not special/you’re just an average guy.”
In other words, Generation isn’t a departure. This is De Lux going
deeper, not farther away, and the result is surely the most anthropologically
daring dancefloor album of the year. That might seem difficult to pull off, but
that’s why they did it, explains Sean: “At some point we realized creativity is
just limitless,” he says. “You can do anything. There might be certain people
who think, ‘Oh, you can’t do that.’ That’s when you say, ‘Well—I’m doing it!’”
1. LA Threshold
3. Living In An Open Place
4. Center of L.U.B.
5. Simba Simba Simba
6. No One Really Cares Who You Are
7. Oh Man The Future
9. When Your Life Feels Like A Loss
10. It's A Combination
11. Someday Now
Almost two years to the date of the release of their breakthrough album, Citizen return with their highly
anticipated follow-up full-length, Everybody is Going to Heaven. Haunting these ten songs is a foreboding,
dark atmosphere masterfully crafted by producer Will Yip, and an immediate, intense energy is palpable
from even the first grimy seconds of the opener, “Cement.” As with every one of Citizen’s releases, Mat
Kerekes’ signature vocal delivery here is a trademark feature, demonstrating the emotional tension that boils
over on this release. As cathartic as ever, he duels between a soft croon and a haunting scream, confronting
his demons on tracks like “My Favorite Color” echoing the tormented refrain, “my heart still beats for nothing”.
And while most of the record is an intense and noisy onslaught, songs like “Heaviside” and “Yellow
Love” act as armistices, each aching in reverb-drenched consonance. Everybody is Going to Heaven is a
turning point for Citizen: once regarded as newcomers with undeniable potential, the band shows here that
they have matured both abruptly and uniquely, with no end to their upward trajectory in sight.
2. Dive Into My Sun
3. Numb Yourself
5. My Favorite Color
6. Weave Me (Into Yr Sin)
9. Yellow Love
10. Ring of Chain
On their last album, Bigfoot, Cayucas debuted in a way that defied their namesake, the sleepy seaside town
of Cayucos, CA. They grew from bedroom strumming to a band that toured the world and whose songs
raced across the radio. But as Zach Yudin and his twin brother and bandmate, Ben, went in to create what
would become their new album, what it all came back to was something more personal. While they now call
Los Angeles home, they drew from the nostalgia of their childhood growing up in Davis, CA; the nostalgia
in their music that is as much about a place they’ve never been (that maybe no one’s been to) as any actual
experience. It was a freedom to imagine, to explore ideas. And it was that wandering imagination and
a punchy California dream that eventually grew to become Dancing at the Blue Lagoon.
While their sun-drenched, jangly, sometimes melancholic sound is quintessentially Californian, the album
very much their California. It’s the sound of kids from the suburbs who fantasize in Technicolor, whose view
of the Golden State is its own form of idealism. You can hear it loud and clear in the easygoing confidence
throughout on the crisp, backbeat-driven “Hella” or as “Moony Eyed Walrus” takes surf guitar into
fragmented, unpredictable places. The impossibly catchy and heartbreaking “Backstroke” is a Murakamiinspired detective story, neo-noir that is equal parts stylization and gut-level emotion.
That said, Dancing at the Blue Lagoon is all about a band testing its comfort zone and asking us to do the
same. “Big Winter Jacket” is a world away from sun-kissed pop, with acoustic guitars that build
into something grand and expansive. The after-hours piano ballad “Ditches,” like much of Dancing at the
Blue Lagoon, takes pop conventions and digs into them. Like the Beach Boys of Sunflower or Surf’s Up,
it reminds us that sadness and uncertainty are never far from the surface, even in Cayucas’s most carefree
moments. It casts some like the title track “Dancing at the Blue Lagoon”—a lilting tropical fantasia—in
an entirely different light.
As the primary songwriter, Zach depends on this kind of versatility. “I write on a song-by-song basis,” he
says. It’s been that way ever since he started taking music more seriously in college. Zach and Ben would
“create bands that were more like a musical idea,” record a few songs, and then move on. Cayucas grew out
of this period of experimentation.
The real core of the record is the almost harrowing “Blue Lagoon (Theme Song).” Accompanied by a lone
guitar, Zach’s performance is emotionally raw and technically precise, the kind of statement that
gives Dancing at the Blue Lagoon real substance. Like a great actor whose art rings true because of an honest, human streak, Cayucas has taken sound we thought we knew and turned in into something personal and complex.
1. Big Winter Jacket
2. Moony Eyed Walrus
6. Dancing at the Blue Lagoon
8. A Shadow in the Dark
9. Blue Lagoon (Theme Song)
“The three-part harmonies are so big and bold and powerful they could knock down buildings…
the kind of songs that sound best while dancing on a bed, and we can easily imagine hearing [them] over the top of every rom-com film trailer over the next year” – Village Voice
Recipients of the Village Voice’s award for “Best Pop Band in NYC 2014”, PARLOUR TRICKS has been hailed as “the perfect combo of pretty and gritty” (The Wild Magazine). Consisting of Lily Cato (Lead Singer), Morgane Hollowell (Vocals), DeeDee Golub (Vocals), Brian Kesley (Bass), Terry Moore (Drums), and Angelo Spagnolo (Guitar), Parlour Tricks creates a kind of indie pop symmetry that sounds “50’s nostalgic, 90’s familiar, and 2020 progressive all at once” (The Most Definitely). With their “punchy, infectious, danceable rhythms, clean
guitar, dirty synth, and heavenly voices” (Village Voice) it’s not too hard to see why Spotify took a shine to them, calling their sound “Vintage pop for the future.”
3. The Storm
4. Broken Hearts / Bones
7. Walk in the Park
8. Little Angel
9. When the Stars Went Out
It’s only a cliché because it’s true, but the greatest records are timeless. Black Mountain’s self-titled debut
album is just such a record. It is a new classic rock, with reference points arcane and clear, its sound fresh,
unfamiliar and irresistible. The work of a small collective of musicians operating from Vancouver, Canada,
far from any industry buzz but firmly in the eye of their own storm of creativity, Black Mountain’s debut
album was, of course, a beginning, but it also marked an ending.
Begun as the fourth album for Jerk With A Bomb, the 4-track bedroom project turned non-rock band led
by Stephen McBean that preceded Black Mountain, the songs grew from skeletal sessions cut by McBean
and Josh Wells and honed on the road in empty North American clubs along with Amber Webber. “We'd lay
down the bed tracks, the guitars and drums,” remembers McBean. “Matt [Camirand, bass] joined, and we
changed the band name after a dream of how life could be different in the B section between Black Flag and
Black Sabbath. Josh’s roommate Jeremy [Schmidt, keys] was lurking about. We asked him if he wanted to
add some synth bleeps or whatever. He came back with all these orchestrated keyboard parts, and we said,
‘Oh, you should probably join the band now.’”
They cut the album at the Hive and their jam space in Vancouver, recording in “a big cement room with a
tall ceiling, nice boomy acoustics, lots of natural reverb, on an 8-track reel-to-reel tape recorder.” During the
sessions, these elemental first tracks found their true shape: wry & giddy, hypnotic & gracefully heavy, the
dark and powerful blues, and mysterious chugging murk.
The album’s initial success saw the band take to the road, leaving their Vancouver enclave for stages across
the world. “It felt like there was a real explosion of excitement at shows,” remembers McBean. “We wouldn’t
write setlists, we’d just feel the energy in the room and call things out, jamming on songs like ‘No Hits’ and
‘Druganaut.’ It was a good time for live rock’n’roll: DJ booths were being transformed back to drum risers,
people were digging 20 minute heady jams and there were bands like Comets On Fire and Oneida out there
who we felt kinship with. I was into Faust and Amon Duul but had no idea of the scene of modern bands
doing that stuff. And then we met those bands, and it was cool. And then we went on tour with
Coldplay…and the adventures continued."
Their jaunt across the world as guests of perhaps the biggest band in the world is a tale for another time,
perhaps: the start of Black Mountain’s next chapter, and all that followed. For now, savor the compact,
spacey brilliance of that cosmic, heavy and subtle debut album, expanded now with a raft of delicious bonus
tracks scavenged from the Black Mountain Army archives.
Don’t Run Our Hearts Around
Set Us Free
Heart Of Snow
Druganaut (Extended Remix)
Behind The Fall
Set Us Free (Demo)
Black Mountain (Demo)
No Satisfaction (UK Radio)
It Wasn’t Arson
Albums like this don't come along often: violent, visceral and courageous, Skills In Pills is a listening experience like no other. The final revelation is that this album was never meant to happen: it was only ever supposed to be a throwaway collaboration between two friends. As Tägtgren explains: "This is the result of a year of fucking around with sounds! We had no idea that we'd go as far as releasing an entire album, but this thing has just got bigger and bigger." The twisted product of two uniquely creative minds, Skills In Pills is your new medicine. Take it now.
1. Skills In Pills
4. Fish On
5. Children Of The Sun
6. Home Sweet Home
8. Golden Shower
10. Praise Abort
11. That's My Heart
The first original music from the platinum-selling band since the release of DEAR AGONY in 2009 (certified Gold),
Dark Before Dawn marks a new era for the acclaimed band. Past albums WE ARE NOT ALONE (2004) and PHOBIA (2006) have yielded spectacular results with each being certified Platinum!
3. Angels Fall
4. Breaking the Silence
6. Close to Heaven
7. Bury Me Alive
8. Never Again
9. The Great Divide
10. Ashes of Eden
London-based four-piece Wolf Alice will release their debut album entitled My Love Is Cool via Dirty Hit / RCA Records. Produced by Mike Crossey (Arctic Monkeys, Foals, Black Keys), My Love Is Cool is a remarkable leap forward from the band’s EP Creature Songs, released last year.
Having already captured critical acclaim on their track and breakout video for “Moaning Lisa Smile” which was previously released in the UK, Wolf Alice is poised for global success.
Following a breakthrough 2014 in the UK, Wolf Alice now have their sights set on the U.S. and are poised for an international takeover. They recently made their sold-out U.S. debuts in LA and NYC, stopped by KCRW’s “Morning Becomes Eclectic” for their US radio debut and will perform at SXSW this March. Last year in the UK, the group appeared on the prestigious BBC Sound of 2015 long list, was named as one of iTunes' “Artists For 2014,” became the #4 most blogged artist of 2014 on Hype Machine, and won Best Breakthrough Artists at the UK Festival Awards. They were also named one of Billboard Magazine’s Artists to Watch in 2015. With the upcoming release of their debut LP, Wolf Alice have another banner year ahead.
Wolf Alice are:
Ellie Rowsell, Joff Oddie, Joel Amey, Theo Ellis
1. Turn To Dust
3. Your Loves Whore
4. You're A Germ
8. Giant Peach
10. Soapy Water
12. The Wonderwhy (Hidden Track)
Bully is the name for the Nashville quartet that is transforming familiar '90s alt-rock (Dinosaur Jr, Pavement, Weezer) into smart, sharp-edged millennial indie rock - an apt description for the band's churning guitars, rambunctious rhythms, and tightly coiled intensity. Their debut "Feels Like" sounds alternately like a balled fist and a fresh bruise.
Bully is also the perfect distillation of frontwoman Alicia Bognanno's visceral approach to songwriting. She trades in steely observations, raw-nerve confessions, and intense anger directed almost exclusively at herself although a few bystanders and bad exes might get caught in the crossfire. Her voice rises from sugar-sweet to scratchy howl as she bares her most harrowing fears to the world. In other words, Bognanno is her own bully. Not merely the band's vocalist, songwriter, guitarist, and all-around visionary, she is also Bully's producer and engineer.
Based in Nashville, Alicia Bognanno formed Bully essentially as a solo project backed by a trio of friends: Stewart Copeland on drums, Clayton Parker on guitar, and Reece Lazarus on bass. Bully is less a studio entity than a stage act, one that has quickly developed a reputation for its ferocious live shows (the Nashville Scene named Bully the top local band in its 2014 Best of Nashville issue.)
On record, Bully strives to retain the band s formidable guitar attack while highlighting her boldly candid lyrics. The band recorded "Feels Like" live in the studio, doing as few takes as possible. Once they'd gotten a good performance, the songs were mixed immediately, not merely to save time but to preserve the excitable urgency of the music. Overseeing every part of the process put extra pressure on Bognanno to deliver some truly unbridled vocal performances. A deeply personal album by an artist bravely mining her own life, "Feels Like" is all about trying to figure yourself out about holding yourself accountable and acting like an adult in a society that doesn't offer very many good examples.
1. I Remember
3. Too Tough
In the hands of the eccentric jazz-pop poet Rickie Lee Jones, the phrase "the other side of Desire" could mean a lot of things. As it happens, it's where the gets her mail; the singer-songwriter has been living quietly in New Orleans for a little over a year. This past fall, she celebrated her 60th birthday with the Lost Bayou Ramblers, at d.b.a.
"The Other Side of Desire" is also the title of Jones' first album of original material in more than ten years. "Written, recorded and rooted in the city of New Orleans," according to press materials, it was crafted with producers Mark Howard and John Porter, whose resumes are heavy with names like Roxy Music, Bob Dylan, Neil Young and the Smiths. (Porter, who also lived in New Orleans for a time, can count locals like the Honey Island Swamp Band, Jon Cleary and Tommy Malone on his personal roster as well.)
The album is pure Jones: warm and whimsical, with a keen storyteller's touch. This time around, it's infused with the sounds of New Orleans. Strains of swamp-pop, honky tonk and Cajun waltzes wind through "The Other Side of Desire" which, the release said, "could not have been written without the backdrop of New Orleans; its river, trains, barroom ghosts and sudden bands all playing the same song."
Alison Fensterstock (The Times-Picayune)
1. Jimmy Choos
2. Valtz De Mon Pere (Lovers’ Waltz)
3. J’ai Connais Pas
4. Blinded By The Hunt
6. I Wasn’t Here
7. Christmas In New Orleans
9. Feet On The Ground
11. Finale (A Spider In The Circus Of The Falling Star)
Whether they move minds or bodies, Uncle Lucius is out to make music that can lift
our spirits. And rock our souls.
Though Austin roots band Uncle Lucius has worn a Southern rock tag for most of
its 10-year existence, the band’s fourth studio album, The Light, charts a course
designed to convey just how vast that musical territory really is. The Light dips into
regions where blues, R&B, jazz, soul, country and gospel took form, mapping a sound
that captures the true meaning of Americana.
Containing songwriting contributions from all four band members, The Light also
seeks to illuminate a different landscape: the sometimes-rocky terrain of our hearts
and minds. Tracked at Austin’s Treefort Studios with producer George Reiff, these 12
songs deliver what guitarist Mike Carpenter, a Houston native, likes to call “Southern
rock for the thinking man. Rock ’n’ roll for the soul.”
Lead singer, Kevin Galloway, admits his ultimate goal is to turn musical energy into
a catalyst for humanity’s evolution. This is music with depth, made by men given to
truth seeking on levels both existential and literal.
1. The Light
2. Age of Reason
3. Taking in the View
5. End of 118
6. No Time Flat
7. Wheel’s in Motion
8. Gulf Coast Gypsies
9. Flood Then Fade Away
10. Don’t Own the Right
11. Nothing to Save
12. Someday is a Far Cry
The Carly Simon/Friday Music 180 Gram Audiophile Series Continues!
Her Multi-platinum Hotcakes Album!
First Time Audiophile Vinyl & Beautiful Gatefold Cover Presentation
Impeccably Mastered By Joe Reagoso From The Original Elektra Records Tapes
Carly Simon is truly one of the greatest exponents
of the singer/songwriter boom that rocked the seventies
music scene when she debuted her first hit single
That’s the Way I’ve Always Heard It Should Be in 1970.
Carly’s stunning artistry and her smash hits continue to
be some of the most played on radio stations worldwide,
as witnessed in her classic 1974 platinum chart topper
The 1974 smash LP features several of her biggest hit singles like Mockingbird which features
James Taylor, as well as one of the finest songs of that year Haven’t Got Time for the Pain.
Masterworks like Misfit, Forever My Love and Just Not True surely make Hotcakes one of the
most revered albums in Carly Simon’s stellar career.
Friday Music is no stranger to the music of the legendary Carly Simon, that is why we are
so very proud to announce another fine installment in the Carly Simon/Friday Music 180 Gram
Audiophile Vinyl Series with her masterpiece Hotcakes.
The original Elektra Records classic is now mastered impeccably by Joe Reagoso (Carly
Simon, James Taylor, Hall & Oates) and for a very limited time, this first time audiophile release
will be presented in its original gatefold cover, plus we’ll be including the rare lyrics sleeve which
hasn’t been seen in years in the LP format.
Carly Simon…Hotcakes…Impeccable first time audiophile vinyl and gatefold cover!
I Haven’t Got Time For The Pain…
1. Safe and Sound
2. Mind on My Man
3. Think I’m Gonna Have a Baby
4. Older Sister
5. Just Not True
8. Forever My Love
11. Haven’t Got Time for the Pain
The Chicago/Friday Music 180 Gram Audiophile Vinyl Series Continues!
Celebrate The 45th Anniversary Of Their Debut Masterpiece Chicago Transit Authority!
Mastered Impeccably By Joe Reagoso And Lee Loughnane From Chicago!
Chicago Transit Authority was the first chapter in a long line of multiplatinum smash albums
for Chicago which begun in 1969. Featuring the original award winning line-up of Robert Lamm
(lead vocals/keyboards), Peter Cetera (lead vocals/bass), Terry Kath (lead vocals/guitars), the
legendary horns of Lee Loughnane (trumpet), Walter Parazaider (saxophone/woodwinds), James
Pankow (trombone) plus Danny Seraphine (drums), Chicago Transit Authority is undoubtedly one
of the biggest selling albums of the classic rock era and is also one of the most revered offerings
in their huge catalog. Buoyed by the success of huge hit singles like Does Anybody Really Know
What Time It Is?, Questions 67 and 68 and Beginnings, Chicago’s debut album was filled with so
many great songs, it could be its own greatest hits collection.
Further smashes like the powerful funkified version of I’m a Man, the stellar Introduction,
plus the late Terry Kath masterwork Free Form Guitar all truly make this fine album even more
of a treasure trove of classic rock enjoyment.
It’s been several decades since the rare original vinyl version of C.T.A. has been available…
that is until now! Friday Music is very honored to continue the CHICAGO 180 GRAM AUDIOPHILE
VINYL SERIES with their debut masterpiece Chicago Transit Authority. Mastered impeccably from
the original Chicago Records master tapes by Joe Reagoso at Friday Music Studios and Capitol
Records in Hollywood, CA, with the supervision of Chicago’s Lee Loughnane, this album is truly
a thrilling audiophile vinyl release.
For this special limited edition, we have also included the original full color album cover
in gatefold style as it was released in 1969, complete with the great music you will always
remember from this historic release. Chicago Transit Authority from Chicago…on impeccable
180 Gram Audiophile Vinyl…exclusively from your friends at Friday Music…
2. Does Anybody Really Know What Time It Is?
4. Questions 67 and 68
6. Poem 58
1. Free Form Guitar
2. South California Purples
3. I’m a Man
4. Prologue, August 29, 1968
5. Someday (August 29, 1968)
"Described as "a call to action, a document of personal and collective uprising", 'Bones' is Son Lux's fourth album since producer-composer Ryan Lott started working under the name in 2007. Having recently evolved into a three-piece with guitarist-composer Rafiq Bhatia and drummer Ian Chang, 'Bones' comes after what you might typically describe as a whirlwind couple of years that have seen Lott work with Lorde, Boots, Sufjan Stevens, Nico Muhly, Busdriver and more."
- Dummy Mag
"Without greatly altering his approach, Rod Stewart perfected his blend of hard rock, folk, and blues on his masterpiece, Every Picture Tells a Story. Marginally a harder-rocking album than Gasoline Alley -- the Faces blister on the Temptations cover "(I Know I'm) Losing You," and the acoustic title track goes into hyper-drive with Mick Waller's primitive drumming -- the great triumph of Every Picture Tells a Story lies in its content. Every song on the album, whether it's a cover or original, is a gem, combining to form a romantic, earthy portrait of a young man joyously celebrating his young life. Of course, "Maggie May" -- the ornate, ringing ode about a seduction from an older woman -- is the centerpiece, but each song, whether it's the devilishly witty title track or the unbearably poignant "Mandolin Wind," has the same appeal. And the covers, including definitive readings of Bob Dylan's "Tomorrow Is Such a Long Time" and Tim Hardin's "Reason to Believe," as well as a rollicking "That's All Right," are equally terrific, bringing new dimension to the songs. It's a beautiful album, one that has the timeless qualities of the best folk, yet one that rocks harder than most pop music -- few rock albums are quite this powerful or this rich."
- Stephen Thomas Erlewine (All Music)
1. Every Picture Tells a Story
2. Seems Like a Long Time
3. That’s All Right
4. Amazing Grace
5. Tomorrow Is a Long Time
7. Maggie May
8. Mandolin Wind
9. (I Know) I’m Losing You
10. Reason to Believe