Music Releases 07-12-19
Ed Sheeran celebrates the announcement of his No.6 Collaborations Project – which arrives everywhere on July 12 – with the release of new song “Cross Me” featuring Chance the Rapper and PnB Rock. This new collaboration follows the release of “I Don’t Care” with Justin Bieber, which shot straight to #1 on the Billboard Digital Songs chart and #2 overall on the Hot 100. All 184 Top 40 radio stations added the track, making it only the fifth song in the modern era to win support from the full panel of Mediabase-monitored pop stations. Likewise, all 97 adult radio stations in the country added the song. An instant worldwide phenomenon, “I Don’t Care” hit #1 in the UK, Australia, Ireland, Italy, Netherlands, Switzerland, Finland, Sweden, and more.
METZ, our own widely-adored and delightfully noisy 3-piece punk band from Toronto (ON, CANADA), have been laying waste to stages around the globe for over 10 years. During that tumultuous chunk of time METZ, comprised of Alex Edkins, Hayden Menzies, and Chris Slorach, have cemented their reputation as one of the planet's most exhilarating live acts and trusted providers of bombastic outsider rock. Along the way, they’ve earned enthusiastic support from The New Yorker, Mojo, NPR, The New York Times, KEXP, Pitchfork, Stereogum, The AV Club, Q, Uncut, Exclaim, and a bunch of others. Referring to the trio's tireless tour regime and unquenchable thirst to bring their music to the people, John Reis (Hot Snakes, RFTC, Drive Like Jehu) once said, “your ambition is really unflattering, chill out.” They did not listen. Instead, their love of the road and passion to create uncompromising and challenging music remains unwavering and has only grown over time. Their recorded output to date, a cornucopia of pop-inflected noise punk and damaged fuzz anthems, includes 3 critically-acclaimed LPs with Sub Pop, as well as a plethora of limited-edition releases, collaborations, covers, and rarities. Which brings us to Automat, a collection of non-album singles, B-sides, and rarities dating back to 2009, available on LP for the first time, and including the band's long out-of-print early (pre-Sub Pop) recordings. Included here are the band’s first three 7” singles, recorded 2009-2010 and originally released by We Are Busy Bodies Records; a demo version of “Wet Blanket,” the explosive single from 2012’s METZ; two tracks from the limited-edition bonus single that accompanied preorders of METZ; “Can’t Understand,” originally released in 2013 by [adult swim]; and both tracks from the band’s 2015 single on Three One G. Consumers of the vinyl format of Automat will be rewarded with a bonus single that includes three additional tracks: a cover of Sparklehorse’s “Pig,” from a very limited 2012 Record Store Day split single originally released by Toronto’s Sonic Boom record shop; “I’m a Bug,” a cover of The Urinals’ art-punk classic, originally released on YouTube (not an actual record label) in 2014; and METZ’s previously unreleased rendition of Gary Numan’s “M.E.” All tracks on Automat have been lovingly remastered for maximum soundiness by Matthew Barnhart at Chicago Mastering Service. METZ are currently hard at work on their 4th full-length LP which will be released on Sub Pop when we are all damn good and ready.
Trailblazing Richmond, Virginia punk band Avail will reunite this summer for a series of sold-out shows, their first in twelve years, to celebrate the twenty-first anniversary of their album, Over the James. Originally released in 1998 on Lookout! Records, this re-issue will include bonus tracks that were added in 2006, when Jade Tree Records first pressed this title on vinyl. Over The James is the fourth album from Avail and this version includes the 14 original songs plus four bonus tracks including “Lombardy Street (Acoustic)” from the Fall of Richmond split with (Young) Pioneers and the band’s covers of Elvis Presley, Billy Joel and Embrace.
Looking Through The Shades, is Glitterer’s debut full-length album, featuring Ned Russin, bassist/vocalist of Title Fight. This is Glitterer all glown up. Now there are live drums (twin brother Ben did the honours) and dopamine-releasing fuzzy guitars to go with the synths, the bass, and the voice. Now there’s a full 14-song tracklist to luxuriate in. Produced by Alex Giannascoli and Arthur Rizk (Code Orange, Power Trip, Sumerlands) the album delivers Glitterer’s best-yet sonics and songs. The lyrics are still insouciantly tortured, in a reluctant-college-boy kind of way, the choruses are still obscenely catchy, and the arrangements still carry not so much as an ounce of excess fat. From the saturated distortion of the opener, “The Race” (“I wish I could look at your life and know it’s mine”), through the road-weary “1001” (“I sang 1,000 songs / didn’t want to sing again”) and the vox-and-bass-only Side B outlier “The News” (“I used to be original”), the listener is simultaneously satiated and left wanting more.
There's a timeless groove to the R&B of Yuna on her fourth forthcoming album Rouge, one that s been two years in the making. It s the most ambitious project the songwriter has ever taken on, and the first album she's putting out as a fully realized woman. It's also an LP that she worked harder than ever on, re-visiting songs, editing them down, adding new layers, enriching every single moment to make it the most luscious musical experience for her audience. Yuna makes soulful pop that contains the sultriness of Sade, the flair of Aaliyah, and the sweetness of Brandy. Via her three pre-existing albums, Yuna has built her palette of melodic, uplifting soul. Her third album Chapters in 2016 was something of a breakthrough, featuring production from Fisticuffs and features with Usher ("Crush") and Jhene Aiko. Her new album s list of features is mouth-wateringly impressive. It includes: Little Simz, Kyle, G-Eazy, Jay Park and Masego. Together with executive producer Robin Hannibal and a team of producers (Jason "J. Lbs" Pounds, Fisticuffs, Cardiak, Jordan Reyes) she explored sampling culture for the first time. The title Rouge is for the color red, which has been calling to her at this moment. "It's a feeling I'm having right now. I just got married. I've become the woman I've always wanted to be. The whole album is about how I am with myself: I'm comfortable with my relationship, with my focus on my career. It s the color of becoming this woman that I am."
Amoeba Gig is the first full length commercial release of Paul’s surprise free concert at Hollywood’s Amoeba Music on June 27, 2007. To date only four songs have seen wide release as the Amoeba’s Secret EP, two of which were nominated for Grammy Awards in 2008: "That Was Me" for Best Male Pop Vocal Performance and "I Saw Her Standing There" for Best Solo Rock Vocal Performance. A few years later in November 2012, an extended 12-song excerpt of the Amoeba show titled Live in Los Angeles – The Extended Set was made available free to PaulMcCartney.com premium members for a limited period. And come July 12, 2019, a full 21-song recording documenting possibly the most intimate L.A. show Paul has ever played will be made available to the public for the first time. The millions of people not among the luckier than lucky few hundred rubbing elbows with the likes of Ringo Starr and Woody Harrelson during that once in a lifetime in-store set will be able to experience those performances of Beatles classics “The Long And Winding Road,” “I’ll Follow The Sun” and “I’ve Got A Feeling,” Flaming Pie’s “Calico Skies,” plus Carl Perkins’ “Matchbox,” Jan Garber’s “Baby Face” and an emotional rendition of “Here Today.” Additionally, the LP will include an exclusive soundcheck recording of “Coming Up."
Amoeba Gig has been newly remixed by Paul’s engineer Steve Orchard and will be available in configurations including CD, Digital, 2 x 180g black vinyl, and limited-edition color vinyl (LP1 - clear, LP2 - hazy amber transparent).
The live-in-studio Choba B CCCP (Russian for “Back In The USSR”) was released in the Soviet Union in 1988, making Paul the first Western artist to issue an album exclusively for that market. In a conscious decision to get back to his roots, Paul spontaneously spent two days covering his favorite hits from the 1950s. The sessions produced 22 songs in total (and one of the outtakes being a version of The Beatles' "I Saw Her Standing There”). Choba B CCCP was a deeply personal album and a way to acknowledge fans who had supported him and The Beatles since the start. “When I was very young I asked my dad if people wanted peace,” Paul explained at the time. “He said to me, ‘Yes, people everywhere want peace – it’s usually politicians that cause trouble.’ It always seemed to me that the way The Beatles’ music was admired in the USSR tended to prove his point, that people the world over have a great deal in common. In releasing this record exclusively in the Soviet Union, I extend the hand of peace and friendship to the people of Russia.” Choba B CCCP was released in the rest of the world following the 1991 collapse of the Soviet Union.
Choba B CCCP has been newly remastered at Abbey Road Studios and will be reissued as the original 11-track Russian release. It will be available in configurations including CD, 180g black vinyl, and limited- edition opaque yellow vinyl.
Paul Is Live, recorded during the tour in support of Off The Ground, was Paul's fifth live album and is famous for its title s double meaning and the rumour-scotching cover art. Ever since the 1969 release of Abbey Road, there had been hoax-fuelled stories of Paul's untimely death. The new title was a way of saying that this was most definitely not the case. The artwork is a play on the famous Abbey Road cover, with Paul crossing that same street but wearing shoes and using his left hand this time. (Originally, his bare feet and the holding of a cigarette in his right hand had supposedly been clues that it wasn't him on the cover.) As well as a raft of solo, Wings and Beatles favourites, the album also offers an insight into the band's sound checks, the final three songs all being improvised during rehearsals in various locations on the tour. Performed by Paul McCartney: Vocals, Bass, Electric & Acoustic Guitars, Piano Linda McCartney: Vocals, Keyboards Hamish Stuart: Vocals, Electric & Acoustic Guitars, Bass Robbie McIntosh: Electric & Acoustic Guitars, Vocals Wix Wickens: Keyboards, Vocals Blair Cunningham: Drums, Percussion
Selected from 90 hours of recordings, Wings over America is a faithful account of the 1975-76 world tour that captures the band at its peak. It was taped at several of the US shows, but mixed as if it were a single performance. Paul combined old Beatle favourites with highlights from a solo catalogue that was now achieving real stature. Though an expensive triple disc on vinyl (it had been planned as a double, but a rival bootleg version encouraged Paul to expand it) sales were remarkable and it remains one of very few live albums to make Number 1 in America incidentally becoming the band's fifth Number 1 album in a row. Performed by Paul McCartney: Vocals, bass guitar, piano, acoustic guitar Linda McCartney: Vocals, keyboards Denny Laine: Vocals, electric guitar, acoustic guitar, piano gass, gob iron Jimmy McCulloch: Vocals, electric guitar, acoustic guitar, bass Joe English: Drums, vocals Tony Dorsey: Trombone Howie Casey: Saxophone Steve Howard: Trumpet, Flugelhorn Thadeus Richard: Saxophone, clarinet, flute Produced by Paul McCartney
New CD: $19.98 $17.99 Buy
In June 2017, New Order returned to the stage at Manchester’s Old Granada Studios where Joy Division made their television debut on Tony Wilson’s So It Goes program in 1978. For the celebrated show Σ(No,12k,Lg,17Mif) New Order + Liam Gillick: So it goes ..., New Order deconstructed, rethought and rebuilt a wealthof material from throughout their career: familiar and obscure, old and new. Featuring tracks not played live for 30 years, like Joy Division’s “Disorder” from Unknown Pleasures, as well as new fan favorites like “Plastic” from their critically acclaimed release in 2015, Music Complete - this is the perfect document of those five magical nights. The album will be released on triple color transparent vinyl (red, light green, and blue), double CD (both formats featuring a deluxe booklet) and digitally on July 12th, 2019 - almost 2 years to the date of its recording on July 13th 2017. It includes the full monumental show, including the encore and 3 additional tracks recorded over the residency to give listeners a full representation of the staggering breadth of material performed. Featuring a setlist long time fans will drool over - these once in a lifetime shows can now be experienced by everyone. This special series of intimate shows took over Stage 1 of Manchester’s iconic Old Granada Studios for five nights in July 2017. Created in collaboration with visual artist Liam Gillick, who has previously presented solo exhibitions at venues such as Tate Britain and MoMA in New York; and orchestrated by composer-arranger Joe Duddell, a fellow son of Manchester and a frequent collaborator with the band, the live show was performed by the band with a 12-strong synthesiser ensemble from the Royal Northern College of Music.
311 are back with their 13th studio album VOYAGER, which features (appropriately enough) 13 new songs, four of which were recorded with Grammy-nominated producer John Feldmann (Blink-182, Panic! At the Disco) and nine of which were recorded with longtime collaborator/live engineer Scotch Ralston, who produced 311 albums Transistor, Soundsystem and Stereolithic.
Imperial Teen’s releases over the past 20+ years have been pointed and specific diaries of musical celebration, windows into the hypersensitive personal drama of relationships within the band, individual conquests and failures, and collective, aspirational hopes, dreams, and perspectives. Roddy Bottum, Will Schwartz, Jone Stebbins, and Lynn Perko Truell—who they’ve become, how they are dealing, and what their lives are in 2019—all of this is on Imperial Teen’s Now We Are Timeless.
Washington, DC's Gauche present A People's History of Gauche, a collective catharsis of anger, frustration, and trauma through creativity. Jason P Barnett, Adrienne CN Berry, Mary Jane Regalado, Pearie Sol, and Daniele Yandel find their agency and joy through creating and performing music together in 36 minutes of groove-filled power punk. Gauche bring us music and movement and struggle and light, and now it is our job to dance!
There is this curious equilibrium to existence: In order to create balance, the universe must giveth, and the universe must taketh. Kyle Craft, with his now solidified backing band, dubbed Showboat Honey, know this all too well. And this is why their self-titled album, the contemplative yet restless Showboat Honey reflects that sturm und drang. “This is basically an album centered around bad luck and good fortune hitting at the same time,” Craft explains “Then, out of nowhere, I find love. Everything went to shit except that. I guess that’s how life works.” The sticky-sweet title of the album is lifted from the brightly choral “Buzzkill Caterwaul:” “Once you were the showboat honey/But your ship sailed out.” “I wanted to make something that sounded like a raucous collision of Leon Russell and Patti Smith,” he says, “But ‘Buzzkill Caterwaul’ was the only tune that ended up showcasing that vision.” Though aesthetics veer from song to song, Showboat Honey’s steadfast formula remains the same. Drummer Haven Mutlz holds down the machine with a ’60s/’70s fast-molasses groove that locks in with the slinky rolling bass of Billy Slater. When Kevin Clark isn’t bouncing across the piano, his mellotron strings swell in and out of frame. Jack of all trades Ben Steinmetz’s organ parts well up from the deep of the songs, while lead guitarist Jeremy Kale’s solos rip through them like electricity. On top of it all, sits the tongue-in-cheek phantasmagoria created by Craft’s lyrics, in which perspectives shift to imbue life into a cast of intriguing, mysterious characters, à la Bob Dylan. (“There is not a single thing in my life that has affected me more than the first time I heard Dylan,” says Craft. “It immediately changed my life.”) Craft started writing about as soon as he could play the guitar at the age of 15. He grew up in the isolated Mississippi River town of Vidalia, Louisiana where his chops weren’t honed in a woodshed, but rather an old, dingy meat freezer that was out of commission. After years of touring, two LPs with Sub Pop Records, and solidifying the band, he’s grown into a prodigious songwriter, to say the least. The band recorded Showboat Honey—co-produced by Craft, Clark, and Slater—at their own Moonbase Studios in Portland over 2018. “We approached this record differently for sure,” Craft says. “I’d make a demo, and after putting the songs together, shoot it to the band for ideas.” Kyle and the members of Showboat Honey worked at such a feverish wine-fueled pace that they actually ended up with two completely different albums. But at the end of the day, they decided to combine the two into what is now Showboat Honey, a moonstruck rock ’n’ roll record teeming with reckless abandon.
America celebrates its half-centennial this year with a trio of compilations that follow the iconic Grammy-winning band to the top of the pop charts, across musical eras, and deep into the hearts of innumerable fans. The multi-platinum-selling group--led by founding members Gerry Beckley and Dewey Bunnell and known for their memorable and dynamic live performances--have also announced a series of live dates celebrating the anniversary and are on tour now.
The three-disc version of 50th ANNIVERSARY: THE COLLECTION brings the core of America’s recorded legacy together with choice rarities like an early studio recording of “Ventura Highway,” a live performance of “Riverside,” and an unreleased demo for the #1 hit “Sister Golden Hair.” All of the band’s Top 10 singles are included here: “Horse With No Name,” “Ventura Highway,” “Tin Man,” “Lonely People” and more.
The conceptual adventure that became a compilation, RED GOLD GREEN & BLUE calls on the black cream of Jamaican artistry, generations of talent spanning decades. Completing a circle, the classic American blues songs performed here, bring out an intriguing tonality in this record’s top-notch selection of already flavorful voices, familiar and brand new. This modern anthology throws down a creative challenge: how will today’s great Jamaican artists, themselves descendants of captured Africans, reinterpret African-American blues songs written and sung by artists who are effectively their own long-lost family?
From Little Steven's acclaimed Netflix TV series Lilyhammer comes the soundtrack to the first season. The jazz album, arranged and produced by Stevie Van Zandt features jazz standards, score and original songs including 3 vocal performances from Van Zandt on 'My Kind Of Town' 'All Of Me' and 'Ring-a-Ding Ding!'
New Vinyl: $34.99 Buy
From Little Steven's acclaimed Netflix TV series Lilyhammer comes the soundtrack to the seasons 2 and 3 season. As the series evolves so does the music. The mind of Stevie Van Zandt created over 35 songs and score ranging from traditional Norwegian folk, rock to mambo.
New Vinyl: $29.98 $27.99 Buy
Canvasback Music/Atlantic have announced the release of TINY CHANGES: A CELEBRATION OF THE MIDNIGHT ORGAN FIGHT. Recorded in 2018 to celebrate the 10-year anniversary of the acclaimed Scottish band Frightened Rabbit’s seminal album THE MIDNIGHT ORGAN FIGHT, friends – including The National’s Aaron Dessner & Chvrches’ Lauren Mayberry, The Hold Steady’s Craig Finn, Katie Harkin & Sarah Silverman, Manchester Orchestra, and Death Cab For Cutie’s Benjamin Gibbard, among others - contributed their own renditions of every track on the original 2008 release.
U.S. Highball is a new pop group made up of Calvin Halliday and James Hindle; one the former drummer of Glasgow punks Anxiety and both members of power pop outfit The Pooches. At the start of 2018 - during hiatus from both bands - they began writing songs together as a two-piece, their longtime friendship and shared musical tastes ensuring that ideas and arrangements came easily. Inspired equally by the organ-led jangle of Felt, the whip-smart new wave of Nick Lowe, and the primitive drum machine sounds of early They Might Be Giants, U.S. Highball revel unashamedly in the pleasures of pure pop. The guitars chime, the keys crunch, the choruses soar and the band's plentiful hooks will be lodged firmly in your cranium from first listen. The band released their debut EP Think Again on Lame-O Records in November of 2018. Their full length effort Great Record is due out on July 12th, 2019.
Pretty Vicious, the Welsh four piece still all under the age of 21, is a band that has found their footing with every scream and guitar screech, moving steps closer to replicating the arena rock success of their forefathers. Their debut album features Top 30 hit “Move,” raucous “Are You Entertained?,” as well as “These Four Walls,” prompting Loudwire to declare “2019 is just starting, but Pretty Vicious already are a strong contender for the first breakout band of the year.”
Don’t You Think You’ve Had Enough? is what Jennifer Clavin asked herself when she hit a turning point in her life. It’s also the title of the new record from Bleached, Jessie and Jennifer Clavin’s first LP written from a place of sobriety. That newfound perspective serves as the guiding force, yielding a courageous, honest, and sonically ambitious album. It’s a record about fighting both literally and figuratively for your life -- and the clarity born from that struggle.
Writing began in early 2018, both in a Los Angeles practice space, and with friends and co-writers in Nashville. Producer Shane Stoneback (Vampire Weekend, Sleigh Bells) helped open every door to experimentation, wanting to be exploratory while keeping the sound singularly Bleached.
The resulting LP is explosive, grappling with the past; its twelve tracks mark some of the sisters’ most visceral, rawest songwriting to date -- and some of their best. The work glimmers with inspiration found in touring with the likes of The Damned and Paramore. That arena-ready pop, incisively catchy, was a palpable influence helping to push Bleached’s sound in a new direction.
“Writing these songs while sober became somewhat of a spiritual experience,” Jennifer says. “Like I was connecting with a power greater than myself. I had to let go, trust the process, and allow an energy beyond my control to be present.”
Globetrotting Texan trio Khruangbin are set to release 'Hasta El Cielo', the band's glorious dub version of their second album 'Con Todo El Mundo'. The full album has been processed anew along with two bonus dubs by renowned Jamaican producer Scientist.
The band's exotic, spacious, psychedelic funk aligns with the dub treatment particularly well. Indeed, keen fans won't find this a surprising release. Dubs of tracks from their first album 'The Universe Smiles Upon' appeared on limited vinyl releases of 'People Everywhere' for Record Store Day 2016 and 'Zionsville' on the BoogieFuturo remix 12". The especially eagle-eared will have caught a dub of 'Two Fish And An Elephant' playing over the credits of the track's celebrated video.
Formed of Laura Lee on bass, Mark Speer on guitar, and Donald "DJ" Johnson on drums; Khruangbin's sounds are rooted in the deepest waters of music from around the world, infused with classic soul, dub and psychedelia. Their 2015 debut album 'The Universe Smiles Upon You' was heavily influenced by 60's and 70's Thai cassettes the band listened to on their long car journeys to rehearsal in the Texan countryside. 2018's follow up 'Con Todo El Mundo', which received hugely positive critical reactions and radio play around the world, took inspiration not just from South East Asia but similarly underdiscovered funk and soul of the Mediterranean and the Middle East, particularly Iran.
"For us, Dub has always felt like a prayer. Spacious, meditative, able to transport the listener to another realm. The first dub albums we listened to were records mixed by Scientist featuring the music of the Roots Radics. Laura Lee learned to play bass by listening to Scientist Wins the World Cup. His unique mixing style, with the emphasis on space and texture, creates the feeling of frozen time; it was hugely influential to us as a band. To be able to work alongside Scientist, a legend in the history of dub, is an honor. This is our dub version of Con Todo El Mundo."
Comes in a boxed set including a double-sided poster featuring an original "Space Oddity" print advertisement and a Ray Stevenson shot of Bowie taken on stage at the "Save Rave '69" concert at the London Palladium on November 30, 1969, the backdrop featuring a N.A.S.A. astronaut. The set also includes an information card and a print featuring an alternative shot by Jojanneke Claassen from the "Space Oddity" promo single cover session.
Wear Your Wounds was created by Converge founder Jacob Bannon. Initially conceived as a solo project, it evolved into a five-piece band that often works with collaborating musicians. In 2017 Wear Your Wounds released "WYW" (the debut double album) and "Arthritic Heart" (a New Noise Magazine single). A live band was then assembled for a number of shows including Roadburn Festival 2017 and Desert Festival UK. Later on that year their "Dunedevil" (an experimental album) was released; a companion piece to Bannon's abstract art book of the same name. In 2018 Wear Your Wounds released their "Live at the BBC" 12" LP at Maida Vale Studio (MV4). That year Wear Your Wounds also played select shows on the East Coast and Europe including an appearance at Roadburn Festival 2018, which was also curated by Bannon."Rust on the Gates of Heaven" is the new album from Wear Your Wounds.The release marks the first time the official lineup of the band; Jacob Bannon (Converge), Mike McKenzie (The Red Chord, Stomach Earth, Unraveller, etc), Adam McGrath (Cave In, Nomad Stones, etc), Sean Martin (Twitching Tongues, ex-Hatebreed, ex-Kid Cudi), and Chris Maggio (ex-Trap Them, ex-Sleigh Bells, etc) have properly written and recorded together. It also features musicians Ben Chisholm (Chelsea Wolfe, White Horse) and Gared O'Donnell (Planes Mistaken For Stars, Hawks and Doves) collaborating throughout.