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Tell Me You Love Me'
Tell Me You Love MeTell Me You Love Me is the sixth studio album by American singer Demi Lovato.1. Sorry Not Sorry
2. Tell Me You Love Me
3. Sexy Dirty Love
4. You Don't Do It For Me Anymore
5. Daddy Issues
6. Ruin The Friendship
7. Only Forever
9. Cry Baby
12. Hitchhiker$22.99Vinyl LP - Sealed Buy Now
American LoveJake Owen's fifth studio LP is new territory for the singer who's known for lighthearted beach and party tunes, and he feels really good about that. After the release of "Real Life" (which was also around the time his divorce was announced), Owen started over with new songs - and he is not releasing the material he originally planned on.
"I was at a different place when I was making that record," he tells EW of ditching the material. "I was still married, and all of the sudden that ended, and I had to find a way to feel good again.
"I started down that path and then I realized that, for me, making music is as about feeling good as the listeners that gets to hear it," he says. "I have to make an album that I enjoy singing every night."
The album is about love. But don't expect every track to be a gushy love song. It turns out Jake Owen enjoys singing about love on tour: "I kept noticing this reoccurring theme. The word kept appearing, but it was said in such different ways. I'm really proud that I got to encompass how love can be felt different ways but still remain the same, if that makes sense."
His vocals will be on full display for American Love. Though he's not entirely walking away from the ultra-cool speak-singing he's known for, Owen wants to really show country fans he can sing. "Sometimes my voice gets hidden," he admits. "People don't even have the opportunity to know that I love to sing."
The album will street July 29, and Owen reveals that he listens to it in his car. "It's been a long time since I made a record that I put on in my car and listen to on my own - but I can't stop. It makes me happy, and I know how much work I put into it."
Included in the album is a collaboration with Chris Stapleton. He helped write "If He Ain't Gonna Love You," and Stapleton also sings backup. "And it sounds so good," Owen tells Taste of Country Nights host Sam Alex. "He sounds unbelievable on it, so I'm so excited."
-Christina Vinson (The Boot)1. American Love
2. After Midnight
3. Where I Am
4. Everybody Dies Young
5. VW Van
6. Good Company
8. If He Ain't Gonna Love You
9. When You Love Someone
10. You Ain't Going Nowhere
11. American Country Love Song$19.99Vinyl LP - Sealed Buy Now
No Cities To Love
6-Panel Gatefold With 4-Page Insert And Custom Dust Sleeve
We sound possessed on these songs, says guitarist/vocalist Carrie
Brownstein about Sleater-Kinney's eighth studio album, No Cities to Love.
Willing it all - the entire weight of the band and what it means to us - back
The new record is the first in 10 years from the acclaimed trio - Brownstein,
vocalist/guitarist Corin Tucker, and drummer Janet Weiss - who came
crashing out of the '90s Pacific Northwest riot grrrl scene, setting a new bar
for punk's political insight and emotional impact. Formed in Olympia, WA in
1994, Sleater-Kinney were hailed as America's best rock band by Greil
Marcus in Time Magazine, and put out seven searing albums in 10 years
before going on indefinite hiatus in 2006.
But the new album isn't about reminiscing, it's about reinvention, the
ignition of an unparalleled chemistry to create new sounds and tell new
stories. I always considered Corin and Carrie to be musical soulmates,
says Weiss, whose drums fuel the fire of Tucker and Brownstein's vocal and
guitar interplay. Something about taking a break brought them closer,
desperate to reach together again for their true expression. The result is a
record that grapples with love, power and redemption without restraint.
Produced by longtime Sleater-Kinney collaborator John Goodmanson, who
helmed many of the band's earlier albums including 1997 breakout set Dig
Me Out, No Cities to Love is indeed formidable from the first beat.
Sleater-Kinney's decade apart made room for family and other fruitful
collaborations, as well as an understanding of what the band's singular
chemistry demands. Sleater-Kinney isn't something you can do half-assed
or half-heartedly," says Brownstein. "This band requires a certain
desperation, a direness. We have to be willing to push because the entity
that is this band will push right back.
The core of this record is our relationship to each other, to the music, and
how all of us still felt strongly enough to about those to sweat it out in the
basement and to try and reinvent our band, adds Tucker. With No Cities to
Love, we went for the jugular.1. Price Tag
3. Surface Envy
4. No Cities to Love
5. A New Wave
6. No Anthems
7. Gimme Love
8. Bury Our Friends
9. Hey Darling
10. Fade$17.99Vinyl LP - Sealed Buy Now
Why Love NowPissed Jeans have been making gnarly noise for 13 years, and on their
fifth album, Why Love Now, the male-fronted quartet is taking aim at
the mundane discomforts of modern life-from fetish webcams to
office-supply deliveries. Rock bands can retreat to the safety of what
rock bands usually sing about. So 60 years from now, when no one
has a telephone, bands will be writing songs like, 'I'm waiting for her
to call me on my telephone.' Kids are going to be like, 'Grandpa, tell
me, what was that?' I'd rather not shy away from talking about the
internet or interactions in 2016, says frontman Matt Korvette.
Pissed Jeans' gutter-scraped amalgamation of sludge, punk, noise,
and bracing wit make the band-Korvette, Brad Fry (guitar), Randy
Huth (bass) and Sean McGuinness (drums)-a release valve for a
world where absurdity seems in a constant battle trying to outdo
itself. Why Love Now picks at the bursting seams that are barely
holding 21st-century life together. Take the grinding rave-up The Bar
Is Low, which, according to Korvette, is about how every guy seems
to be revealing themselves as a shithead. It seems like every guy is
getting outed, across every board of entertainment and politics and
music. There's no guy that isn't a total creep.
The lyrics on Why Love Now are particularly pointed about gender
relations and the minefield they present in 2016. 'It's Your Knees' is
about the endless, unrequested, commenting on if you'd fuck a girl.
'My great aunt won a cooking contest.' 'Oh, that's pretty hot. I'd hit
that,' says Korvette. On Love Without Emotion Korvette channels
Nick Cave's guttural side while bemoaning his detachment over
cavernous guitars. Ignorecam twists the idea of fetish cam shows-
where the woman just ignores you and watches TV or eats macaroni
and cheese or talks on the phone-into a showcase for Korvette's
rancid yelp and his bandmates' pummeling rock.
As they did on their last album, 2013's Honeys, Pissed Jeans offer a
couple of fuck that shit type songs about the working world. And the
startling I'm A Man, which comes at the album's midpoint, finds
author Lindsay Hunter (Ugly Girls) taking center stage, delivering a
self-penned monologue of W.B. Mason-inspired erotica-office small
talk about pens and coffee given just enough of a twist to expose its
filthy underside, with Hunter adopting a grimacing menace that
makes its depiction of curdled masculinity even more harrowing.
No Wave legend Lydia Lunch shacked up in Philadelphia to produce
Why Love Now alongside local metal legend Arthur Rizk (Eternal
Champion, Goat Semen). I knew she wasn't a traditional producer,
Korvette says of Lunch. I like how she's so cool and really intimidating.
She ended up being so fucking awesome and crazy. She was
super into it, constantly threatening to bend us over the bathtub. I'm
not really sure what that entails, but I know she probably wasn't
joking." The combination of Lunch's spiritual guidance and Rizk's
technical prowess supercharged Pissed Jeans, and the bracing Why
Love Now documents them at their grimy, grinning best. While its
references may be very early-21st-century, its willingness to state its
case cement it as an album in line with punk's tradition of turning
norms on their heads and shaking them loose.1. Waiting On My Horrible Warning
2. The Bar Is Low
4. Cold Whip Cream
5. Love Without Emotion
6. I'm A Man
7. (Won't Tell You) My Sign
8. It's Your Knees
9. Worldwide Marine Asset Financial Analyst
10. Have You Ever Been Furniture
12. Not Even Married$19.99Vinyl LP - Sealed Buy Now
If You Wait
"Longing, loving, leaving: Those are the boundaries of the impeccable
pop universe that London Grammar has built for itself."
- The New York Times
"A stylish debut that demonstrates both their immense
talent and impressive instincts."
THE NEXT BIG THING. Such a label serves at once as a curse and a blessing, for messianic crowns come studded with thorns, and chalices emblazoned with this inscription are often tainted with poison. Custodians of the title can implode under the weight of expectation, or fail to bottle further the magic of that first hit single.
Not so for English art-rock trio London Grammar. Hannah Reid, Dot Major and Dan Rothman have been careful to avoid the dangers of over-exposure in the nine months since first single "Hey Now" seared itself into the collective consciousness of the blogosphere, instead releasing work after work of gradually escalating beauty from the safety of the shadows.
That was until Disclosure dropped their album Settle, at which point London Grammar vocalist Hannah Reid came to wider attention on sweeping album closer "Help Me Lose My Mind," where her spine-tingling soulful singing combined with the wash of swooning synths and downbeat 80's percussion. It will come as no surprise to fans of this track to learn that Reid's magnificent vocals are integral to London Grammar's sound, serving as the perfect accompaniment to the band's discreet production and minimalist instrumentation.
The same words will be used ceaselessly to describe Reid's vocals in coming weeks - "haunting", "brooding", "ethereal". Yet none of these terms adequately conveys the way her voice melts and evolves to suit the temperament and melody of each song on If You Wait, flowing like molten gold on "Interlude", or acquiring the varied textures of a vast swathe of satin and silk on "Nightcall". Her vocal is always underscored by an enduring brittle beauty and an underlying otherworldliness, as if she honed her craft singing amidst the forests of Lothlórien, or some far-flung corner of Westeros.
Though her voice may be otherworldly, the thematic concerns of the album are very much rooted in this world - youth's timeless preoccupation with finding not only love but the nature of ourselves. These soundscapes and the lyrics that populate them are characterised by broken hearts, fractured dreams and people falling in and out of love. Perhaps the most telling lyric of all is on "Wasting My Young Years", with the heart-breaking concession of "I've heard it takes some time to get it right".
The album's first single and opening track "Hey Now" has lost none of its grandeur and remains as devastatingly beautiful as it did when released at the tail-end of 2012. It's the main track on If You Wait that justifies the comparisons with The XX - especially in terms of how the band forges the space and atmosphere from reverb-tinged percussion and Rothman's discreet, almost-spectral guitars. "Wasting My Young Years" further showcases how perfectly the band balance the interplay between Reid's vocal and the twinkling keys and subtle instrumentation that floats around it, allowing it to drive the song and dictate proceedings but never once to feel overbearing.
Latest single "Strong" mirrors the intricately weaved threadwork of sounds and elaborately crafted sense of space showcased on the opening track, but utilises a more hypnotic vocal from Reid that manages to sound simultaneously heart-rending and inspiring. Elsewhere "Interlude" is as refined a paean to love and devotion as you will hear all year, matching dual melancholic piano lines and subtly building percussion to Reid's sublime wistful singing.
There is not a single weak track, but amongst the many highlights is a spellbinding cover of French house artist Kavinsky's "Nightcall". There's a particularly gorgeous moment around the two-minute-thirty-second mark when the instrumentation is peeled away and, for a few seconds, you think the song will end - before Reid's dazzling vocal is re-introduced amidst a haze of swirling keys. It's nothing short of transcendent. Also, the flawless sequencing leads to an album that begs you to drink in its beauty by listening to it from beginning to end.
This is an enthralling, stunning, deeply emotive album that perfectly marries understated electronica to sublime vocals and melodies. In a year dominated by titanic LPs, London Grammar have not only made the most perfectly formed debut album of the year - they've made one of the best LPs, period. [A-]
- Benji Taylor (Pretty Much Amazing)1. Hey Now
2. Stay Awake
4.Wasting My Young Years
8. Metal & Dust
9. Interlude (Live)
11. If You Wait
13. High Life*
14. Strong (US Radio Edit)*
*US Bonus Track$24.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
I Know What Love Isn'tTracey Thorn wrote a song that reached Jens Lekman in the early stages of his new album, I Know What Love Isn't. In her song she sang Oh Jens, oh Jens/your songs seem to look through a different lens/you're still so young, love ends just as easy as it's begun. A touching moment for the Swedish songwriter, having been a fan since his teens. But it came to him in a time when he found himself very confused and in doubt. He was changing and, subsequently, so were his songs. They weren't looking through that lens anymore.
I Know What Love Isn't came out of a break up, something Jens didn't see as worth writing about at first. The songs began more fleeting than the last go around, on his 2007 album Night Falls Over Kortedala. The songs began building from images and memories and soon began to take their own route, one that Lekman wasn't privy to their destination.
In The World Moves On he paints a picture of a sweltering summer in the city of Melbourne where he lived while writing and recording the album. The hot days that led up to the Black Saturday bushfires, but also more mundane images of feeding possums in a park or getting in trouble with some guy on a scooter. It seems to lead nowhere at first but the aimlessness in itself reaches heartbreaking conclusions later on, summed up by the soaring chorus and you don't get over a broken heart, you just learn to carry it gracefully. Like Joan Didion once said that she writes entirely to find out what she's thinking, Jens wrote until he caught up with his thoughts. And of course they led him right back to the break up.
Musically, I Know What Love Isn't chooses an economic route. From the vast palette he created for Kortedala, he's only chosen a few somber colors this time around. There are strings but not a string section, an upright piano and not a grand, a single saxophone and gracenotes from a flute. The songs are lighter, almost aerodynamic, Jens explains, I wanted the songs to take off almost unnoticeably, where the chorus is separated from the verse only through a small detail like a tambourine or a harmony. Like when you're in an airplane taking off and you look out the window and realize you're already in the air.
A dry country piano makes Become Someone Else's lift high. Vocals from Melbourne singer Sophie Brous makes the chorus in Erica America soar. Strings pick up the title track and send it up to the sky without much effort or force. In the latter, Lekman once again points the way to distill essential truths from every day life vignettes while singing about a sham marriage. I thought of the Friday nights when I'd be cruising up and down the street with my best friend in her old crappy Holden, talking about getting married to get me into the country.
The idea was so appealing, that we would build this constructed relationship around a purpose rather than some vague feeling that could change at anytime. But in the end, the sham marriage is much too great a story to be kept secret. At least when you make a living from telling stories. And that's what I Know What Love Isn't is. A collection of songs that grew to a story that had to be told. A story that is not new, but essentially human. The story of the grey areas of love that you have to excavate and explore, using the method of exclusion, to find out what love is.1. Every Little Hair Knows Your Name
2. Erica America
3. Become Someone Else's
4. She Just Don't Want To Be With You Anymore
5. Some Dandruff On Your Shoulder
6. I Want A Pair Of Cowboy Boots
7. The World Moves On
8. The End Of The World Is Bigger Than Love
9. I Know What Love Isn't
10. Every Little Hair Knows Your Name$17.99Vinyl LP - Sealed Buy Now
All We Love We Leave BehindAll We Love We Leave Behind is the latest album from Converge. Once again recorded and mixed by guitarist Kurt Ballou at his renowned Godcity Studios in Salem, Massachusetts, All We Love We Leave Behind is a no-frills Converge album that sees the band-which also features vocalist Jacob Bannon, bassist Nate Newton and drummer Ben Koller-eschewing fancy production techniques in order to create seventeen songs that work as a cohesive whole yet can also stand on their own. There's no artificial distortion, triggers, or Auto-Tune on this album, Ballou explains, it's all organic, it's real sounds that capture the way the band performs live.
From the classic rock-inflected, guitar tapping madness of Sadness Comes Home to the technical acrobatics of Aimless Arrow and relentless assault of Shame In The Way, this is an extremely varied album that has enough sonic shifts to captivate each listener's attention. It's always been important for us to have a lot of dynamics in our music because no one wants to listen to a million miles an hour all the time, Bannon responds when asked about the melodic mid-tempo groove of a song like Coral Blue. I really enjoy that song, it has a lot of twists musically that aggressive songs don't usually have and that's something we take pride in.
Lyrically Bannon approached All We Love We Leave Behind by once again writing about his own personal experiences, however there's no question that this time around his vocals are more direct and decipherable than they've been in the past. This is a personal record and all of the songs tell their own stories, Bannon explains. Every song is rooted in real life, documenting what I have experienced over the past few years. Correspondingly the title of the album is an apology letter to everything he has had to leave behind in order to pursue his path in art and music. Bannon explains that he feels like it's important to acknowledge these sacrifices in order to be a self aware individual.
All of our albums are emotional but I feel this is our most potent album to date, Bannon continues. For me a songs like 'Predatory Glow' and 'Empty on the Inside' have a tone and resonance that communicates in a new way for our band, he adds, chalking up this ability to the fact that the group have become better songwriters by spending so much time on the road and in the studio perfecting their craft. Success to me is creating something that's moving and fulfilling and I truly feel both of those things when I experience this album from start to finish.
Converge have always been the type of band that never fit into one subculture and the band credit that to the fact that since their 2001 landmark album Jane Doe they haven't had any member changes. I think because it's been the same four people for the past five records we've been able to really get comfortable with each other and develop our own personality, Ballou explains. I don't listen to much music outside of what we've recorded so I think we're more influenced by our own history of playing together than what's currently happening in any scene.
In other words when Ballou explains that Converge is the kind of band who have always existed between worlds, it's not just lip service. We don't have one typical type of listener but they tend to be intelligent people who can make up their own minds about things. That works to our advantage because they're willing to go on this journey with us and follow along with whatever twists and turns we take them on, he summarizes. Ultimately All We Love We Leave Behind may not be the most straightforward musical journey you'll embark on but it's one that you'll revisit over and over again to relive prior experiences and simultaneously create new ones. It all begins now.1. Aimless Arrow
3. Tender Abuse
4. Sadness Comes Home
5. Empty on the Inside
6. Sparrow's Fall
7. Glacial Pace
8. No Light Escapes
9. Vicious Muse
10. Veins and Veils
11. Coral Blue
12. Shame in the Way
13. On My Shield
15. All We Love We Leave Behind
17. Predatory Glow$26.99Vinyl LP - 2 LPs Sealed Buy Now
El RioIt's been one helluva ride to get here, from Nashville to El Paso and back again, but Frankie Ballard's new Warner Bros. Records/Warner Music Nashville album El Rio is finally being released. With growing anticipation, Ballard is especially excited to hear fans' reactions to some of the new music that no one has heard.
Ballard has been playing new songs like "It All Started with a Beer" and "Cigarette" from his third LP live, but not every song has made it into the set. "Good as Gold," co-written by Mando Saenz and Justin Bogart, is a track he's especially proud of that fans haven't had a chance to listen to yet.
"'Good as Gold' is the heart of this record," Ballard said. "Everybody asks, 'What's your favorite song?' I can't pick my favorite, but doggone it 'Good as Gold' is really close to the top. The spirit of this song, the courage in this song is what made me fall in love with it the first time I ever heard it. It's about telling a girl everything you need to tell her all in one moment and not holding anything back. The courage in that inspired me and I hope it inspires other people. It's one of the songs that I'm most excited to see what people think of it, on social media or at shows, or wherever I can talk to people about this album. I'm dying to get feedback. So go listen to the song if you haven't and tell me what you think."
Love and lust play a huge role in El Rio, alternating between tender tracks like "Good as Gold" and "It All Started with a Beer" to more experiential songs like "Cigarette" and "LA Woman," another new song Ballard is excited to unveil.
"This is one that I love to play for people because it's a rockin' song," Ballard said. "Every woman I think has a little bit of an LA side and I think every man has a side of him that wants an LA woman."1. El Camino
3. Waste Some Of Mine
4. Little Bit Of Both
5. L.A. Woman
6. It All Started With A Beer
7. Sweet Time
8. Good As Gold
9. Southern Side
10. You'll Accomp'ny Me
11. You Could've Loved Me$19.99Vinyl LP - Sealed Buy Now
Greatest HitsCompletely remastered, this all new vinyl collection features some of the greatest songs The Zombies ever recorded, including 'She's Not There,' 'Tell Her No,' 'Leave Me Be,' 'I Love You,' and 'Time of The Season.' Most of the tracks are the original mono US and UK single versions. The Zombies will be on tour this spring to celebrate the 50th anniversary of the recording of their acclaimed album Odessey and Oracle.1. She's Not There (Mono)
2. You Make Me Feel Good (Mono)
3. Tell Her No (Mono)
4. Leave Me Be (Mono)
5. She's Coming Home (Mono)
6. I Want You Back Again (Mono)
7. Whenever You're Ready (Mono)
8. I Love You (Mono)
9. Just Out Of Reach (Mono)
10. Is This The Dream (Mono)
11. Indication (Uk Single Version)
12. The Way I Feel Inside (Mono)
13. This Will Be Our Year
14. Time Of The Season
15. Imagine The Swan (Mono Single Mix)
16. If It Don't Work Out (Mono Single Mix)$19.99Vinyl LP - Sealed Buy Now
Days Are GoneDays Are Gone is the debut album from indie-rock outfit/sisters Haim.
Produced by Ariel Rechtshaid (Usher, Vampire Weekend) and James Ford (Florence and the Machine, Arctic Monkeys), Days Are Gone is an album years in the making. Since their first show as a group, which took place on July 7th, 2007, Haim have been gigging extensively. The first five years we just played every show we could play in L.A., Alana recalls. All we wanted to do was play. Then finally we realized we were playing too much. The sisters credit Casablancas specifcially for advising them that playing too many live shows is not the answer. To that end, the girls have now been more selective when lining up future tours. Still, as Alana explains, it was hard to turn down opening-slot offers from groups they love, specifically Florence and the Machine and Mumford & Sons. They take care of me like I'm their little sister, Alana says of the Mumfords, with whom Haim again will be playing support for later this year.
Ask the girls to describe specific tracks on Days Are Gone and they quickly fire back: If I told you I'd have to kill you, Este deadpans. Wait, really? No clues at all? The thing is, she explains, you can ask me anything about anything and I'll tell you except for our music. The record is something we're tight-lipped about. Haim do reveal that the album contains a healthy dose of the songs they've been playing in their live sets - "Falling," "Forever," "Don't Save Me" - in addition to, as Alana says, a lot of new jams. What little they'll reveal about the new material is that the album's title track was co-written with Jessie Ware and Kid Harpoon.
Rolling Stone had a chance to take the new album for a spin, however. And it's every bit worth the wait. There's palpable maturity in the lyrics: On If I Could Change Your Mind, Danielle is a self-admitted newbie at the whole love thing (I've never done this before/drove a million miles/back when you were mine/I was too young to know you were the one to find); later she's brushing off a former lover on Honey & I, then flat-out giving dude the cold shoulder (Honey, I'm not your honey-pie,) over a ripping electric guitar lick and a bass wobble generally reserved for sweaty dance clubs on the pop-friendly My Song 5. Sonically, the LP is a highly textural affair, from the 8-bit keyboard clatter on the title track to the lush, Eighties-style synths that sizzle throughout Running If You Call My Name.
- Dan Hyman (Rolling Stone)1. Falling
3. The Wire
4. If I Could Change Your Mind
5. Honey & I
6. Don't Save Me
7. Days Are Gone
8. My Song 5
9. Go Slow
10. Let Me Go
11. Running If You Call My Name$23.99Vinyl LP - 2 LPs Sealed Buy Now
LysandreLysandre could easily be mistaken as an album about a love affair and the girl I fell in love with. But it's much more then
that. While love inspired me to write "Lysandre's Theme" - and the album closes with this encounter- it also tells a story: the story of a writer in a band who suddenly finds himself facing the reality of a first tour and everything that entailed; from writing alone at home, to suddenly being in a band preparing for their first out of town shows. It's a personal account. My account. Not that of a band or what the world might have seen. This is some of what I was feeling. A little window into my soul.
I feel like this is the most focused effort I've ever made musically; telling a story from one song to the next in order of occurrence, making the album almost like one long song. A little bit like a musical. I'm very proud of it and happy it worked so well. I'm pleased to be able to share it with the world; its story, its music, its universal and classic themes. It's a coming of age story, a road trip story, a love story. It's a moment in time that has been captured and brought to life through art. For you, for me, for us. For what it's worth.
- Christopher Owens1. Lysandre's Theme
2. Here We Go
3. New York City
4. A Broken Heart
5. Here We Go Again
6. Riviera Rock
7. Love Is In The Ear Of The Listener
9. Everywhere You Knew
10. Closing Theme
11. Part Of Me (Lysandre's Epilogue)$16.99Vinyl LP - Sealed Buy Now
I Thought I Was An AlienWhen people ask me what kind of music I do, says Soko, I usually tell them - Punk secrets. Intimate, lo-fi, crazy, sexy, funny, tear-stained, heartbreaking, often all at once, the explosive Frenchwoman's songs have already touched people around the world, earning her a massive global following. Since her teens, Soko has been on a roller coaster journey. From a stockpile of over 100 songs, she finally whitteld down to a selection of 14, her debut album, which premiered in Europe last year and now will be released in the United States. When she sings of a rootless existence, always sadly moving on with her suitcase and her guitar, you know that this is her existence - and it really is. I'm just a homeless gypsy couch-surfer citizen of the world, depending on the love and charity of my friends, she giggles. After such a long and soul-searching evolution, I Thought I Was An Alien finally introduces a truly singular talent, at her point of fruition.1.I Just Want To Make It New With You
2.I Thought I Was An Alien
3.People Always Look Better In The Sun (Part 1)
4.We Might Be Dead By Tomorrow
5.No More Home, No More Love
7.First Love Never Die
8.Treat Your Woman Right
9.How Are You
10.Don't You Touch Me
11.Destruction Of The Disgusting Ugly Hate
12.Happy Hippie Birthday
13.I've Been Alone Too Long
14.Why Don't You Eat Me Now You Can
15.You Have A Power On Me$21.99Vinyl LP - Sealed Buy Now
Fables"Dark, wrenching tales that are immediately identifiable to those who've loved and lost" - NPR Music
"Brutally honest lyrics that bring new meaning to some of life's most difficult questions" - Paste Magazine
FABLES' is a sparse, poignant set of songs crafted around Ramirez' starkly beautiful baritone,
which the New York Times once described as full of "haggard loneliness." In a world
full of singer-songwriters hawking their stories, Ramirez has managed to stand out from the
noise, developing a fiercely loyal following of fans who are drawn to his intimately personal
songwriting. The album's title, 'FABLES,' was inspired by the first single, "Harder to Lie,"
which captures the moment Ramirez realized, as he puts it, "I couldn't bullsh*t with her [my
girlfriend] anymore. She knew me completely. It got me thinking about how much I bullsh*t
in my life - exaggerating stories, faking a smile, or whatever. Just telling fables. When you
don't know who you really are you can end up hurting people."
That newfound maturity and clarity translated into his approach in the studio, as Ramirez
traveled to Seattle to work with his friend Noah Gundersen, who produced the album. "My
previous albums were a bit less personal. I always went in with a certain idea of what I
wanted them to turn out like. I had never just walked in and said 'let's just see what happens.'
And that's what we did this time. From the writing to the recording, it was just based
on instincts."1. Communion
2. Harder To Lie
3. New Way Of Living
4. Rock And A Hard Place
5. On Your Side
6. How Do You Get Em Back
7. Wild Bones
8. That Ain't Love
9. Hold On
10. Ball And Chain$18.99Vinyl LP - Sealed Buy Now
DreamlandNatalie Bergman has had her picture taken on countless occasions -- hundreds of studio portraits and live shots and backstage festival snaps. But the simple, gorgeous black & white photo of Bergman on the cover of Wild Belle's Dreamland that she describes as just me and this sort of abyss That one was lensed by the person who best knows how to capture her essence on celluloid: Her older brother and bandmate, Elliot Bergman. Besides being Wild Belle's multi-instrumentalist extraordinaire, Elliot has an equally impressive flair for visual arts, from painting and sculpture to bronzemaking and photography. An avid collector of vintage cameras, Elliot brought along a recently acquired Polaroid Land Camera to a show Wild Belle played in Denver this summer: The duo grabbed a quick moment at their hotel to take the portraits of each other that grace the front and back of their new record. The pictures Elliot takes of me are always really beautiful and it's because he knows me better than anyone else on this Earth, says Natalie. Adds Elliot: I like that it's a photo of Natalie just being Natalie. And the stark contrast of her in the foreground with the dark background really fit with these collages she has been doing. Natalie is in the light but the shadows are pretty heavy and you can't really tell where she is or what's back there.
Recorded at studios in their native Chicago, Natalie's new home of Los Angeles, Nashville and Toronto, Dreamland -- Wild Belle's bold, evolutionary new album -- derives from an era in the singer's life when she was struggling to get control of what she describes as the anger and deep sorrow that plagued her at the end of her most recent romantic relationship. For a woman whose music has always been inspired by her desire to translate her complicated feelings into immediately relatable songs, there was certainly plenty of grist for the mill. Dreamland tracks such as Losing You and It Was You (Baby Come Back) offer glimpses of the darkness that Natalie battled during the early months writing for the duo's sophomore full-length. But there are also genuine moments of lightness and ecstatic triumph, like Giving Up On You -- an irresistibly kinetic, punk number Wild Belle recorded with TV On The Radio's Dave Sitek producing.
I was very heated when we were making this record. My body, my heart and my soul were filled with a flame, which sounds very dramatic but it's the truth, says Natalie. I had a healing moment when I moved to LA earlier this year, because I was far away from my ex and I felt like I was getting rid of a lot of baggage. That was the redemptive, triumphant time for my lyrics. On 'Giving Up On You,' I sing: 'Now I smile so bright, you can see me from outer space, look at me shine. Baby it's about time, I was so miserable and now I feel so alive.' All the songs I wrote near the end of making the album have that sentiment: 'Now look at where I am, after all the turmoil that was inside of me, I'm here and I'm happy and I'm ready for whatever comes my way.'
The follow-up to 2013's Isles, Dreamland expands the band's ambitions in every way. It's deeper, it's more fun, it's more haunting, it's got more grooves, Elliot says. There's sorrow and pain but there's also hope and joy -- all those things can coexist in the songs because they coexist in life. He continues: Dreamland, that's not some kind of idealized notion of where we live and I hope people hear that as a question: What is the Dreamland What is our dream here The album doesn't get overtly political, but we're dealing with a lot of the things that are dark about what's happening now. 'Throw Down Your Guns' is about a relationship but is also kind of about the messed up situation that we're in right now. The chorus, 'Throw down your guns / In the name of love, I put my hands up,' to me can be heard in a number of ways, including as a prayer for peace or a cry out against violence.
Importantly, the album also shares its name with one of the first songs Natalie remembers Elliot introducing her to: Bunny Wailer's 1970 reggae classic, Dreamland. One year for Christmas, he gave her a compilation of female artists who recorded at Jamaica's legendary Studio One, and it included Della Humphrey's version of the song. Natalie listened to it over and over and over again. I was so in love with it, she says. From there, I started my exploration of rocksteady and ska and lovers rock and anything that had to do with Jamaican music from the Fifties onward.
The duo started writing music together several years ago, after Elliot took a sixteen year-old Natalie on tour to play percussion with his acclaimed Afrobeat ensemble, NOMO. I can present a song to Elliot and he has this foresight -- he can see things further than I see them, and he helps me realize things, she says. I'd been writing very simple melodic love songs since I was fifteen years old. I definitely have a pop sensibility in my style, and that's a great platform for Elliot to work from, because it's fun for him to have a cool little pop song and combine it with more eccentric sounds and make it into a weird, unique percussive jam. Sometimes he'll bring the jam to me and because we've got this routine together, we can write a song together wherever we are.
Work on the album began in early 2014, in Chicago. The song that opens Dreamland -- Mississippi River -- was also the first one to come together in the studio. It was sparked by a moment of musical serendipity: The record starts with this pulsing ARP drone, says Elliot, which is a very expensive esoteric nerdy synthesizer that's complicated to program. Natalie and I had this weird, symbiotic thing where I was playing three chords off the ARP and she started playing different three chords on this out-of-tune autoharp she brought over. They were both completely in the wrong key, and yet perfectly in tune with each other. That was like the new bar for the record. It was like, 'Yeah, we're going to put synthesizers and saxophone and kalimbas on these songs, and we're going to have lavish string arrangements if we want to. We were getting comfortable with all of the materials that we love, and being like, 'I love this, so let's do it.
They tracked several songs at home in Chicago last year, and then at the start of 2015, Natalie packed all of her belongings into the Wild Belle van and drove from Chicago to Venice, California. She rented a house where Elliot joined her a couple weeks later. When I had my place in Venice, Elliot would wake up earlier than I would and start making dope beats, says Natalie. One day he made this ridiculous song, 'The One That Got Away,' and the beat and underlying track were so exciting that it didn't take very long to write. Our friends came over and were jumping on the tabletops, dancing, getting naked because they loved the song so much.
Playing the new songs at Lollapalooza for the first time with an eight-piece band, says Elliot, I had a feeling onstage that I'd never had before with Wild Belle, where you're part of a sound that's much bigger than you could make on your own. It's this charged-up badass feeling. It's about a groove and rhythmic energy and force and momentum and making a big, dark, deep sound -- something that moves people and makes you want to dance and makes you want to shout. It's tapping into a deeper musicality that I've always been looking for.1. Mississippi River
2. Losing You
6. Giving Up On You
7. It Was You
8. Throw Down Your Guns
9. The One That Got Away
10. Our Love Will Survive
11. Rock & Roll Angel$19.99Vinyl LP - Sealed Buy Now
UNIM-GLA-2695xLittle Green Cars
Absolute ZeroAbsolute Zero is the debut album by Irish quintet, Little Green Cars. Absolute Zero's 48 minutes, crafted in unabashed earnestness with the aid of seasoned epic-producer Markus Dravs (Mumford and Sons' Sigh No More and Babel, Arcade Fire's Neon Bible and The Suburbs, Coldplay's Mylo Xyloto), acts as a soul-bearing report, as guileless as the young five-piece themselves, on the act of simply growing up; a process that requires, at once, so little and so much effort it could explode you from the inside at any moment.
"This record constantly jumps between two contrasting perspectives: the beauty of a reckless youth and the fear and confusion caused by our ever-pending adulthood," Appleby explains. "It's a hopeful and naïve look at love and life in general, which gives the album its bright days - but also deals with isolation, unrequited love and madness. We wanted to express both a feeling of strength and vulnerability, so the work had to encompass both the light and dark."
"These are all feelings we've had, as a group or as individuals. We hope this is something people can relate to. That's always been why music has been written; it's a voice for people who don't have a voice. Hopefully someone can find some sort of comfort or solace in this. "
The band -a group of 20-year-old friends with a habit of waxing deadly serious about their ever-expanding ambitions - convened in 2008 in a bungalow in Stevie Appleby's parents' backyard for as ordinary a reason as any: as the frontman admits sheepishly, they wanted to win a battle of the bands competition. With guitarist Adam O'Regan and bassist Donagh O'Leary friends since primary school, and the rest having met in secondary, the five rehearsed for the gig, at which they promptly lost out to another local band.
The defeat, however, was surprisingly fuel enough. It inspired them to work harder, to work through their remaining two years of school, during which they produced a massive catalog of demo recordings, blending acoustic and electronic, classical and punk, djembe drums and synth strings. Then, in 2010, not long before graduation, then-rising manager Daniel Ryan found them at one of their sparse live gigs. With just one client already under his wing, he approached the young band with a terrifying, yet exhilarating ultimatum: Do you want to go to university, or do you want to really be in a band?
"That was the first time we considered looking that far ahead," says guitarist/vocalist/primary songwriter Faye O'Rourke. "We were trying to avoid thinking about the future because of the prospect of college, but " The choice became obvious. And like that, they dove in. For two years they redoubled their efforts, crafting a wide-eyed musical narrative that mirrored their evolution as an ensemble until, inevitably, label suitors began to knock. Since 2011 they've been quietly boiling down those demos into an album - the first they've ever recorded.
"The main thing I want to hear out of an artist I admire is the truth," says Appleby. "How they really felt. If I'm going to say something, it may as well be the truth." The lengths to which Appleby, O'Rourke and the rest of the band will go to tell that truth have yet to reveal their depth, but a full-steam-ahead debut record is a good place to start. Finally, five years' worth of backyard Garage Band tracks have a name: Absolute Zero.
The songs of Absolute Zero have only begun to see the light of day, because, as Appleby puts it, "we've always been more interested in recording and writing and experimenting with everything than in touring. [The past five years] was time spent finding our sound, finding ourselves. We've gone through everything, from acoustic guitars to electronic music. We needed the time to grow up as people and as musicians."
In other words, this is a debut that is a sum total of its creators' ascent to this moment. It is a desperate, under-pillow diary; a painstakingly lettered love note dropped in a locker; a collective, yet very personal, dissertation. On the record's debut single The John Wayne, a fierce paean to the ones who so easily break our hearts, the lot of them proclaim, "It's easy to fall in love with you/It's easy to be alone/It's easy to hate yourself when all your love is inside someone else." On "My Love Took Me Down To The River To Silence Me," O'Rourke is torn between the heartbreak and the healing that comes from being heartbroken, "But my heart burned out til it was no more/still I wait on the ground, I don't know what for/There is a heart in you/where is the heart in me?/This love's killing me, but I want it to." And by its early-morning close, when Appleby asks, "And who will write and who will fight for this man/I know I am?/And if you're running out of space/Please don't erase your time with me," it becomes clear that it's not just love Little Green Cars are grasping at: even amidst an ex-lover's plea for acknowledgement, the search has grown far beyond that.1. Harper Lee
2. Angel Owl
3. My Love Took Me Down to The River to Silence Me
4. The Consequences of Not Sleeping
5. Big Red Dragon
6. Red and Blue
7. The Kitchen Floor
8. The John Wayne
11. Goodbye Blue Monday$19.99Vinyl LP - Sealed Buy Now
Home AgainFew records make such an instant impression as Home Again, the debut album by Michael Kiwanuka, winner of the prestigious BBC Sound of 2012 prize. Immersing the listener in a sound that is both modern and at the same time as familiar as the classics, it manages to strike the balance between being contemporary and somehow utterly timeless. For Kiwanuka, key musical touchstones include Marvin Gaye, Otis Redding, Bob Dylan, Paul Simon, Shuggie Otis, Roberta Flack's First Take, Bill Withers' Live At Carnegie Hall and D'Angelo's modern soul landmark Voodoo.
Born in Muswell Hill to Ugandan ÉmigrÉ parents, Kiwanuka was brought up in a home from which music was largely absent, with his first introduction to rock (Nirvana, Radiohead) arriving at the same time as he began to hang with the skater kids in the north London suburb during his early teenage years. Later coming across a soul compilation album given away with a music monthly, he was enthralled by the sound of Otis Redding's studio talkback discussions with his engineer while recording an outtake version of (Sittin' On) The Dock Of The Bay. From this point on, he resolved to make music that sounded raw and authentic.
Though deeply into soul and jazz, he found real inspiration in the cross-pollination of the two styles with folk in the music of Bill Withers. "Bill Withers was very rootsy and earthy," he points out, "but people branded him as a soul singer. To me, he was a folk artist. So that encouraged me to keep going, 'cause I didn't know where I would fit in as a black guy with an acoustic guitar."
While performing on the acoustic circuit around London, Kiwanuka quickly attracted interest and made connections, not least with his current manager who in turn garnered the attention of Communion Records, the label that in 2011 released the singer's first two acclaimed EPs, Tell Me A Tale and I'm Getting Ready. Both of these EPs, as with Home Again, were produced by Paul Butler (The Bees) in his vintage equipment-stuffed basement studio at his house in Ventnor on the Isle Of Wight. Together the pair played almost every instrument to be heard on the album, with Butler's remarkably intimate, detailed productions adorned with everything from flute to brass to sitar to aching strings, perfectly matching Kiwanuka's visions for his songs.
"The way we made the record was very modern," the singer points out. "There was loads of editing. We manipulated it to get exactly what we wanted." From the opening bars of the stirring Tell Me A Tale, it is instantly clear that Home Again is a very special album. While its more upbeat characteristics are embodied in the Prince Buster-like loping of the lovelorn but irresistibly catchy Bones and the rolling soul groove of I'll Get Along, elsewhere it proves itself to be a record of real stripped-down beauty.
In I Won't Lie, with its gospel-infused echoes of The Staples Singers, Kiwanuka offers something akin to a modern spiritual, while in Rest he turns in a tender love lullaby and in Always Waiting, he blends classical elements with the confessional intimacy of Roberta Flack. It is with the title track of Home Again, however, that Michael Kiwanuka feels the record's sounds and themes are ultimately encapsulated. "That's the song that really for me ties everything together," he says. "It's one of the earliest songs I wrote for the album and even though I progressed and changed stuff in the studio, it was the one I could never throw away. Like a lot of them, it's a hopeful song. I use home as the metaphor for contentment and peace within."
Other parts of the record, on the other hand, find Kiwanuka struggling for peace of mind and using his songs as a form of self-empowerment, not least in the soulful I'm Getting Ready, the darker, unburdening Any Day Will Do Fine and the self-explanatory Worry Walks Beside Me. "It can really paralyze you, if you worry too much," the singer admits. "I do tend to overthink things. All of these songs are me talking to myself, really. Trying to encourage myself to believe."1. Tell Me A Tale
3. I'll Get Along
4. Home Again
5. I'm Getting Ready
7. Always Waiting
8. I Won't Be Long
9. Any Day Will Do Fine
10. Worry Walks Beside Me
11. Lasan$19.99Vinyl LP - Sealed Buy Now
While The Gettin' Is GoodWhile The Gettin' Is Good is the 10th album from singer/songwriter, producer and guitarist, Corey Smith.
This project marks the first time that the singer-songwriter and wildly popular touring artist, who has produced all of his past efforts, has turned over the reins to a bona fide country music producer in Keith Stegall, best known for his work with fellow Georgians Zac Brown Band and country icon Alan Jackson. Recorded at Ardent Studios in Memphis, TN, and Ronnie's Place in Nashville, TN, Smith is featured alongside musical heavy-hitters Mike Hines, Kris Dale, Lee Davis, Antwane McMullin, Eric Darken, Dan Dugmore, John Willis, Stuart Duncan and Sam Levin among others.
Smith says, "I always dreamed of being able to make a record like this. I wanted to explore all the possibilities of a song and work with a producer who was among the best and who could teach me, he says. What makes me different is that I write all these songs, and I write them from the heart. I've lived them.
The result is Smith's most ambitious record yet, a collection of 12 songs, While The Gettin' Is Good, written entirely by Smith. As such, it's a deeply personal album, one that explores themes of love, hometown pride and even personal discovery. In today's country music climate, there is an abundance of artists and songwriters chomping at the bit to tell you just how "country" they are. But none represents the genuine rural lifestyle quite like Smith.
Included on the record is "Feet Wet," a metaphor-rich exploration of an ideal summer day, `high-energy fan favorite "Dahlonega," making its first full production appearance on a studio release and "PRIDE" about coming of age and celebrating his hometown roots.
Smith has amassed an unfailingly devout fan base, not only in his native Southeast region, but all around the nation. He has also previously released nine albums-including 2011's Top 20 release The Broken Record-all written and produced by Smith himself. His concerts, documented on 2012's live release, Live in Chattanooga, regularly sell out, with audiences singing along to such crowd pleasers as the coming-of-age anthem "Twenty-One," the nostalgic time warp "If I Could Do It Again" and the group hug "I Love Everyone."1. Don't Mind
2. Ain't Going Out Tonight
4. My Kinda Lady
5. Feet Wet
6. Taking The Edge Off
8. Blow Me Away
10. The Baseball Song
11. Drinkin' On My Mind
12. Bend$21.99Vinyl LP - Sealed Buy Now
Acoustic Recordings 1998-2016JACK WHITE ACOUSTIC RECORDINGS 1998-2016 collects 26 acoustic songs from throughout White's wide-ranging musical career, spanning album tracks, B-sides, remixes, alternate versions, and previously unreleased tracks. The album, arranged in chronological order, includes acoustic songs made famous by The White Stripes, beginning with ''Sugar Never Tasted So Good'' (originally found on The White Stripes' second-ever 7-inch single) and then lighting upon favorites like ''Apple Blossom'' and ''I'm Bound To Pack It Up'' (remixed here from the original recordings on 2000's DE STIJL), ''Hotel Yorba'' and ''We're Going To Be Friends'' (from 2001's WHITE BLOOD CELLS), ''You've Got Her In Your Pocket'' and ''Well It's True That We Love One Another'' (from 2003's GRAMMY® Award-winning ELEPHANT), ''Forever For Her (Is Over For Me),'' ''White Moon'' and ''As Ugly As I Seem'' (from 2005's GET BEHIND ME SATAN) ''Effect & Cause'' (from 2007's ICKY THUMP), and the Beck-produced ''Honey, We Can't Afford To Look This Cheap,'' first found on the B-side to The White Stripes' final single, 2007's ''Conquest.''
''City Lights'' (below) was written for The White Stripes' GET BEHIND ME SATAN but then forgotten until White revisited the 2005 album for Third Man's Record Store Day 2015 vinyl reissue and finished the recording in 2016. The track is the first new, worldwide commercially released White Stripes song since 2008.
Also featured are ''Never Far Away'' (recorded for 2003's COLD MOUNTAIN: MUSIC FROM THE MIRAMAX MOTION PICTURE) and ''Love Is The Truth'' (written and recorded for Coca-Cola's 2006 What Goes Around campaign) as well as the Bluegrass Version of ''Top Yourself'' and an acoustic mix of the epic murder ballad, ''Carolina Drama,'' both written by White and Brendan Benson for The Raconteurs' GRAMMY® Award-winning 2008 album, CONSOLERS OF THE LONELY. White's two chart-topping solo albums, 2012's BLUNDERBUSS and 2014's LAZARETTO, are represented by a remarkably diverse range of material including ''Love Interruption,'' ''On And On And On,'' ''Blunderbuss,'' ''Entitlement,'' ''Want And Able,'' and alternative mixes of ''Hip (Eponymous) Poor Boy,'' ''Just One Drink,'' ''I Guess I Should Go To Sleep,'' and B-side, ''Machine Gun Silhouette.''
''This, like (Son House's) 'Grinnin' In Your Face,' is mirror-music,'' writes renowned music journalist Greil Marcus of ''City Lights'' in the album's exclusive liner notes, ''the singer talking to himself, trying to tell himself the truth, which he's going to need if he's going to step out of his door, walk into the world, and fool himself, for just a second, that he's ready to take it on. As you listen, it's no surprise at all that it took most of White's music-making life to bring the song home.''
The 26 tracks featured on JACK WHITE ACOUSTIC RECORDINGS 1998-2016 were remastered by Andrew Mendelson at Nashville, TN's Georgetown Masters. All songs were written and produced exclusively by Jack White, except ''Never Far Away'' (produced by T Bone Burnett), ''Honey, We Can't Afford To Look This Cheap'' (produced by Beck), ''Top Yourself (Bluegrass Version)'' and ''Carolina Drama'' (written & produced by White & Brendan Benson), and ''Machine Gun Silhouette'' (written by White & Rob Jones).LP 1
1. Sugar Never Tasted So Good
2. Apple Blossom (Remixed)
3. I'm Bound To Pack It Up (Remixed)
4. Hotel Yorba
5. We're Going To Be Friends
6. You've Got Her In Your Pocket
7. Well It's True That We Love One Another
8. Never Far Away
9. Forever For Her (Is Over For Me)
10. White Moon
11. As Ugly As I Seem
12. City Lights (Previously Unreleased White Stripes Track)
13. Honey, We Can't Afford To Look This Cheap
14. Effect & Cause
1. Love Is The Truth (Acoustic Mix)
2. Top Yourself (Bluegrass Version)
3. Carolina Drama (Acoustic Mix)
4. Love Interruption
5. On And On And On
6. Machine Gun Silhouette (Acoustic Mix)
8. Hip (Eponymous) Poor Boy (Alternate Mix)
9. I Guess I Should Go To Sleep (Alternate Mix)
10. Just One Drink (Acoustic Mix)
12. Want And Able$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Life Pursuit
Back In Print For The First Time In Years
Oh to be free and frivolous, like Stuart Murdoch and his extensive cast of players as they engage The Life Pursuit. There's no Take Your Carriage Clock and Shove It or Get Me Away from Here, I'm Dying on this disc. Life has gotten easier, it seems, since Belle and Sebastian's early days. To boot, since 2003's Dear Catastrophe Waitress, the Belle cast has indulged a more 70s-era set of influences: Isn't that Norman Greenbaum's Spirit in the Sky beat on the funny White Collar Boy, a near sequel to Step Into My Office, Baby? And how about the T-Rex touch on the opening of The Blues Are Still Blue? No worries, Belle and Sebastian retain their gleam flawlessly. A jaunty lift is still in their step, a carefree abandon that charms even as it also reaches to the 70s for the funk-meets-psychedelia, Song for Sunshine. It's bright and breezy throughout (the titles tell some of the story: Another Sunny Day and Funny Little Frog), with memorably decorous, familiar bouncing rhythms marking much of the album. The downtone Dress Up in You and Mornington Crescent are spare and lovely, wide-open in their pacing. All the same, For the Price of a Cup of Tea, almost triggers a sing-along with just its name. --Andrew Bartlett1. Act Of The Apostle Part 1
2. Another Sunny Day
3. White Collar Boy
4. The Blues Are Still Blue
5. Dress Up In You
6. Sukie In The Graveyard
7. We Are The Sleepyheads
8. Song For Sunshine
9. Funny Little Frog
10. To Be Myself Completely
11. The Act Of The Apostle Part 2
12. For The Price Of A Cup Of Tea
13. Mornington Crescent$27.99Vinyl LP - 2 LPs Buy Now
Regions Of Light And Sound Of GodRegions of Light and Sound of God is the first solo album from Jim James, the singer, songwriter and guitarist for My Morning Jacket. Over the course of fifteen years and six studio albums, James has been the focal point of a group that has grown into one of the most acclaimed and successful rock and roll bands in the world. With this project, he reaches into new territory that extends, but doesn't break from, My Morning Jacket's accomplishments.
Until now, James had never felt the call to create a longer-form album on his own. "I'm very lucky to play in a band with guys that I love, who are great at what they do," he says, "so on My Morning Jacket records, I don't have a need to play bass or keys or what have you. But as a person and as a musician, I love to play every instrument under the sun, and I wanted to make a record where I played all the instruments and produced/engineered it myself."
The results are nine songs that resist easy categorization, from the hazy space-funk of the opening "State of the Art (A.E.I.O.U.)" to the chiming, operatic pop of "A New Life." On Regions of Light and Sound of God, nothing is what it seems-touchstones from old-school R&B or island folk or hip-hop flicker into focus and then disappear; a delicate instrumental is titled "Exploding." It's complex but cohesive, intimate and hypnotic where My Morning Jacket might turn more wide-screen and epic.
"The album knew what it wanted to be," says James. "The songs would tell me what they wanted to be, and I just had to search around and find those sounds to bring them into this world."1. State of the Art (A.E.I.O.U)
2. Know Til Now
3. Dear One
4. A New Life
6. Of the Mother Again
8. All Is Forgiven
9. God's Love to Deliver$19.99Vinyl LP - Sealed Buy Now
Out In The StormRecorded With John Agnello (Dinosaur Jr, Sonic Youth)
LP Housed In A Matte Jacket With Silver Foil Detail
Includes A 12 x 24" Printed Poster Insert
Out in the Storm is the blazing result of a woman reawakened. Her mostautobiographical and honest album to date, Out in the Storm is a self-reflective anchorin the story of both Katie Crutchfield's songwriting and her life. The album tells thestory of taking control of a volatile situation, embracing flaws, and exploring a newsonic freedom.
The album was tracked at Miner Street Recordings in Philadelphia with John Agnello,known for working with some of the most iconic musicians of the last 25 years,including Dinosaur Jr. and Sonic Youth. For Agnello, it was Crutchfield's voice thatdrew him in. "The first demo song I heard was 'Fade'. The melodies, the way she singsit, the way she turns the melody, and the way she goes note to note is literally beautiful.Singers-you either have it or you don't. She has it." Agnello and Crutchfield workedtogether for most of December 2016, along with the band: sister Allison Crutchfieldon keyboards and percussion, Katherine Simonetti on bass, and Ashley Arnwine ondrums; Katie Harkin, touring guitarist with Sleater-Kinney, also contributed lead guitar.At Agnello's suggestion, the group recorded most of the music live to enhance theirunity in a way that gives the album a fuller sound compared to past releases, resultingin one of Waxahatchee's most guitar-driven releases to date. "My experience workingwith John was genuinely life-changing," says Crutchfield. "We had such a greatconnection right off the bat, and I really feel like he was always looking out for me. Hepushed me when I needed it, and gave me space when I needed it."
Crutchfield's voice oscillates between effortless grace and commanding righteousness,taking the listener with her on an explicitly personal journey. Songs like "Hear You"and "No Question" are lyrically unapologetic and musically resolute, while the softeracoustic songs like "A Little More" and "Fade" let fear and melancholy seep through.But it is on the atmospheric "Sparks Fly" where we feel an essential redemption."Sparks Fly" acts as an inner dialogue and marks the first time since the inception ofWaxahatchee that any semblance of self-love has shone through. This moment is aperspective we've yet to see from Crutchfield: it is a rediscovery of herself, and therealization of a full life she is completely worthy of. "It's about self-preservation, self-care,and reclaiming your autonomy," says Crutchfield. "When you find the things thatmake you happy, sometimes it's easier to see things that make you unhappy."1. Never Been Wrong
2. 8 Ball
4. Recite Remorse
5. Sparks Fly
6. Brass Beam
7. Hear You
8. A Little More
9. No Question
10. Fade$19.99Vinyl LP - Sealed Buy Now
Beyond The BloodhoundsAdia Victoria spent the last few years writing, recording, touring and performing, while entrenched in the infamous artist R&R world - restaurants and retail work. Day jobs at a laundry list of Nashville it and not so it spots gave the musician lots of people watching time as well as the mental and emotional space to marinate in her art.
Adia blows the social hush-hush lid off the mental and emotional state of a young black woman growing up under the poverty line in the Deep South and all the implications of such. No pretense. No jive. But also, like the writing of Eudora Welty and Tennessee Williams, there is plenty of Southern Gothic styled, marrow deep joy.
In a recent feature story, Fader encouraged us to, Meet Adia Victoria, A Poet Making Country Music a Little Creepier. She is found in album cuts like Sea of Sand and Stuck in the South, revealing some of her place-based aha moments. In the latter, she notes, I don't know nothin' about Southern belles/ But I can tell you something about Southern hell. As songs like Head Rot, and first single Dead Eyes show us, Adia says, it's an album of falling in love, dealing with loss, confusion, anger, love, and loving myself.
Produced by Roger Moutenot (Yo La Tengo, Sleater Kinney) and the artist herself, recorded at Nashville, Tennessee's Haptown Studios, Beyond the Bloodhounds features the indelible lyrics, voice, and guitar solos of Adia Victoria along with a band of talented musicians including Tiffany Minton (Drums), Alex Caress (keys), Mason Hickman (guitar), and Jason Harris (bass). She recalls, the studio is a Music City treasure. It used to be a car repair shop. You walk in and there are no windows. It's dark and moody. It feels like walking into the mind.
The result of a lifetime of introspection and a younger self marked by silent observation, Adia Victoria's Beyond the Bloodhounds was three active, recording years in the making. The title pays homage to a line in Harriet Jacobs' Narrative in the Life of a Slave Girl.
Ultimately, Victoria's debut album is more both/and, than either/or. The complexity of her Southern, barrel-aged roots and world traveling, bookworm woman ways will lure you out of the status quo.
Publications like American Songwriter, Rookie, and NPR are taking notice.
Now on the brink of her 30s, fluent in the language of her own self, Adia Victoria stands poised to take her place in a line of true artists. Her mother warned that she feels too much and would be torn up by the world. Adia will tell you that proved to be true. I've felt shredded, but I'm now blessed to embrace the intense feelings as part of my job. That's what I do. It's my bread and butter. My art depends on me feeling and experiencing. I show up, live, and come back and say, oooooh Honey, it was like this...1. I'm With You
2. Borderlines And Aliens
4. Ways To Go
5. Shark Attack
6. Sit Still
7. Hippy Hill
8. What I Know
9. Didn't Have To Go
10. Bitin' The Bullet
11. News To Me
13. Save The Party For Me$19.99Vinyl LP - Sealed Buy Now
I'm here to tell you it's definitely a piece of work to get excited about...the entire album is a standout... - Indie Shuffle
"Equally fuelled by dissonance and shivers as by soaring melodies and handclaps, Rookie wrenches alt.rock from its indie daydream and tosses it into a well-informed blend that make the kids look more like the connoisseur than the novice." - Drum Media
"It's his voice and those lyrics that are going to lunge The Trouble With Templeton into "something special" territory." - Album of the Week, Herald Sun
"The deeper you go into this full-length LP, the richer the colour and the detail." **** - Album of the Week, Courier Mail
Bella Union are thrilled to announce the signing of acclaimed Australian quintet The Trouble With Templeton whose debut album is titled Rookie.
Already a huge success in Australia, The Trouble With Templeton is the creation of singer/songwriter Thomas Calder, a 23-year-old wunderkind who formed the band in 2011. The following year saw TTWT expand to a 5-piece, the new members complimenting Calder's emotive vocals and songwriting with a collaborative, self-assured sound.
Adventurous, eccentric and stunningly melodic, Rookie is an album that leaves a distinct musical impression. With their debut release The Trouble With Templeton have crafted a record full of warmth and heart, whilst displaying a willingness to make music that's not afraid to affect or surprise. "The only prerequisite we had going in was that if we loved the song and we believe in it, then we were going to record it," says Thomas. "The element of surprise is something we really enjoy in music, something we're always shooting for. You don't want to know where a song is going from the first two lines."As a result, the album is a whirling dervish of moods and colours, of tempos and genres, melodies and layers, tackling concepts behind relationships and the way unique human narratives emerge from different viewpoints.
Musically, defining Rookie beyond a happily all-encapsulating idea like 'intelligent melodic alt-pop' isn't worth the hassle. It's an album that demands listening to in order to be understood. "It's held together by something undefinable," reckons Thomas. "For me it's a whole kaleidoscope of sounds and genres, but there's something holding it together, and that's us as a band."1. Whimpering Child
2. You are New
3. Heavy Lifting
4. Like A Kid
5. Six Months In A Cast
7. I Recorded You
8. Flowers In Bloom
9. Secret Pastures
12. Lint$22.99Vinyl LP - Sealed Buy Now
Dierks Bentley will release his highly anticipated ninth studio album, THE MOUNTAIN via Capitol Records Nashville. Reaching a new creative high, Bentley co-wrote 10 of the 13 new tracks that are unified by themes of presence and positivity, and range in style from textured rock to acoustic folk, feeling both rooted and expansive at the same time.
THE MOUNTAIN's story begins in the Rocky Mountain resort town of Telluride, Colorado, which every summer plays host to a celebrated bluegrass festival. Owing to his well-documented love of the genre, Bentley has attended the festival multiple times over the years, always making a point to slow down and tune back into the world around him. But after performing on the festival's main stage in 2017, the idyllic surroundings became more than a much-needed getaway.
"I found myself there, constantly reaching for my guitar," Bentley said. "It was like a gravitational pull. That town and those people just make you want to be creative, I couldn't describe it. I was like 'How do I tell everyone in Nashville this is what I want to write about?' I realized I couldn't bring it back, so I had to take everyone out there."
Returning that August with six of his most trusted songwriting collaborators, Bentley and his fellow 'Telluwriters' all bunked up in a small house, explored the area and dug deep into the peaceful, reflective vibes he was feeling. They had five days to work with and were hoping to write eight songs but ended up with nearly twice that number, forming the core of the record. Bentley returned to Telluride with his production team Ross Copperman, Jon Randall Stewart and Arturo Buenahora Jr to a tucked-away hideout called Studio in the Clouds last November to record. Perched high on a mesa, its tracking room overlooking the endless Rocky Mountain landscape, THE MOUNTAIN rose up in earnest.
"For me it's the best of both worlds, and it feels like something new. It's powerful but also happy, with acoustic sensibility mixed in with the big sounds I like to have for the road," Bentley added. "They are the songs I'd play for somebody to say, 'This is who I am right now.'"1. Burning Man (feat. Brothers Osborne)
2. The Mountain
4. Woman, Amen
5. You Can't Bring Me Down
6. Nothing On But The Stars
7. Goodbye In Telluride
8. My Religion
9. One Way
10. Son Of The Sun
11. Stranger To Myself
12. Travelin' Light (feat. Brandi Carlile)
13. How I'm Going Out$19.99Vinyl LP - 2 LPs Sealed Buy Now