Sometimes, Forever, the immersive and compulsively replayable new Soccer Mommy full-length, cements Sophie Allison’s status as one of the most gifted songwriters making rock music right now. The album finds Sophie broadening the borders of her aesthetic without abandoning the unsparing lyricism and addictive melodies that made earlier songs so easy to obsess over. To support her vision Sophie enlisted producer Daniel Lopatin, whose recent credits include the Uncut Gems movie score and The Weeknd’s Dawn FM.

Misadventures of Doomscoller is the 8th studio album from the band Dawes, with long-time producer Jonathon Wilson back at the helm. These feral dogs have set sail for jam island.

Entering Heaven Alive is the fifth studio album from Jack White, founding member of The White Stripes, The Raconteurs, and The Dead Weather. True to his DIY roots, this record was recorded at White's Third Man Studio throughout 2021, mastered by Third Man Mastering, and released by Third Man Records.

Transluscent Blue Vinyl with photos and special handmade artwork. On his latest album, The Sun is Shining Down, out January 28th via Forty Below Records, Blues legend John Mayall teams up with a stellar cast to deliver a funky soulful affair punctuated by brass, violins, harmonica and electric ukulele. Special guests include, The Heartbreakers' Mike Campbell, fast rising roots rocker Marcus King, Americana icon Buddy Miller, Scarlet Rivera of Bob Dylan's Rolling Thunder Review, Chicago blues guitar mainstay Melvin Taylor and Hawaiian ukulele star Jake Shimabukuro. Also on hand are Mayall's longtime dynamic Chicago rhythm section of Greg Rzab on bass guitar and Jay Davenport on drums with Austin's multi-talented and charismatic Carolyn Wonderland on guitar. Recorded at Robby Krieger's (The Doors) Horse Latitudes studio with Grammy nominated Producer Eric Corne, The Sun is Shining Down is Mayall's 5th studio album for Forty Below Records, a fruitful partnership that began with 2014's A Special Life. "I couldn't be happier with the new record," exclaims Mayall. "I can't wait to share it with my fans. Each one of these special guests brings something unique to the album and our team works so well together. I think you can hear that chemistry in the music," raves Mayall. The album explores a range of styles and eclectic instruments. Scarlet Rivera's violin beautifully compliments two Mayall originals, the timely "Got to Find a Better Way" and a spirited reboot of the Mayall classic "Deep Blue Sea". Mike Campbell sounds like a natural born Bluesbreaker on the funky Bernard Allison cut "Chills and Thrills" and Marcus King sizzles throughout the soulful "Can't Take No More," another Mayall original. Buddy Miller's baritone tremolo guitar adds a unique and memorable flair to the Bobby Rush composition "I'm as Good as Gone", while Jake Shimabukuro's electric ukulele is nothing short of astonishing on "One Special Lady". Melvin Taylor proves why he's been wowing Chicago blues audiences for decades on "Hungry and Ready" and "Driving Wheel" and Carolyn Wonderland brilliantly concludes the record with a sensitive moving performance on the title track. As significant as each of these guest turns is, however, they can't overshadow Mayall's own spirited vocals, iconic harmonica and lyrical keyboard work on The Sun is Shining Down. "John shines throughout this album, exuding a joy and gratitude that are infectious. We all want to give that back to him," adds Producer Eric Corne.

Originally released in 2007, Malcolm Middleton’s third solo album (and first for Full Time Hobby) is being made available on vinyl once more for its 15th anniversary. Only ever released on black vinyl in limited numbers around the original release, this updated version has been re-cut to optimize sound quality and pressed on clear vinyl.

From the ashes of the acclaimed Ohio rock band Buffalo Killers, singers/ songwriters/siblings Zachary and Andrew Gabbard have re-emerged as The Gabbard Brothers. And while there are still similarities to their previous band - with nods to greats like Neil Young, James Gang and Buffalo Springfield - there's a hazier, organic, earthy-psych vibe running through the brothers' new music. The Gabbard Bros. Released their two debut singles "Sell Your Gun Buy A Guitar" and "Too Much To Feel" in 2019 and 2020, respectively, and are now following that up with their self-titled debut studio album, out this summer via Colemine Records' imprint Karma Chief. On it the duo traverse through a dozen tracks that effortlessly mixes upbeat pop rock ("Hang On, Mama," "Little Mama, "Yer A Rockstar") with twangy country-fried rock ("Easter's Child") and even hearkens back to the heavy swagger of their former band ("Gimme Some Of That," "Feel Better Love Better"). While comparisons to so many greats have always come easy with their previous work, the brothers seem to be settling into their own signature sound. Andrew admits, "I think the longer we write music, the more we sound like ourselves. Which is what, as an artist, you're always trying to achieve. To let yourself shine through and not just your musical influences. And we're both homebodies 100%. We were raised that way." Zachary concurs, "Family is the most important thing in my life. Watching my children grow up. Sleeping in my own bed. Sitting with my wife and having coffee in the morning. Those are the moments when I feel most grounded. This album reflects that. We wanted to keep it simple and raw for this one." Like virtually every other recording act, the pandemic cast a shadow of uncertainty over the duo's new work. "Of course it affected all aspects of all of our lives," Zachary confesses. "It was heavy and still isn't over, but one thing the pandemic did for all of us was give us time for self-reflection. Life isn't always easy, but we have had to adapt to those challenges, and part of doing that is through doing what you love." "I think it would've been impossible to do this record with other people included, at the time it was created.," Andy admits. "But since it was just us two playing all the instruments we knew we could be safe and also split the recording process easily between our home studios." Zachary and Andrew also served as The Black Keys' bassist and guitarist, respectively, in their expanded tour group in 2019 and are slated to join Dan & Patrick on the road again for the Keys' extensive upcoming 2022 summer/fall Dropout Boogie Tour. Zachary says of the upcoming run and collaboration, "We can't wait! Nothing better than rocking out with your bro right next to you with our buds of 20 years." The Gabbard Brothers' self-titled studio album drops on July 15th via Karma Chief Records.

Hank Williams, Jr.’s sound has always been built on the blues, and his latest album, Rich White Honky Blues, is a sonic testimony to that. The project came together over three hot days in Nashville, recorded live with the finest blues session players in the country at producer Dan Auerbach’s legendary studio, Easy Eye Sound. Never one to rest on his laurels, even after 56 studio albums, the acclaimed Country Music Hall of Fame member is still finding new creative ground to explore.

Against the backdrop of Asbury Park , NJ rock and punk history comes BEACH RATS. With a membership that includes four impossible-to-avoid New Jersey punk stalwarts including Brian Baker (Minor Threat, Dag Nasty, Bad Religion), Ari Katz (Lifetime), Bryan Kienlen and Pete Steinkopf (The Bouncing Souls) and rounded out by Danny Windas, AKA “Dubs” on drums . BEACH RATS play a brand of hardcore/punk that stays true to their members’ roots while creating something completely fresh and urgent.“I had moved to Asbury Park,” recounts guitarist Brian Baker. “And it turned out that Pete [Steinkopf] and Bryan [Kienlan] from the Bouncing Souls were sniffing around and had the idea to do a fun side-band with Ari Katz from Lifetime. They had recently played together at a memorial for Dave Franklin [Vision frontman, R.I.P.] and had a blast. That was the foundation of it. Like most of my career, I walked into a pre-existing situation, ready to go. They were talking about it and I was immediately like, ’I want to be in a band! Bands are great, let’s go!”

The common denominator for BEACH RATS for was simple. “It’s a mix of the Jersey Shore thing and a bunch of guys that can endlessly create 80’s hardcore riffs because we were there,” states Bryan Kienlan. “You’re gonna get authentic punk and hardcore from BEACH RATS because we are all from the 80’s. It’s literally taking it back to some of our biggest influences like Negative Approach and Poison Idea, And of course, Minor Threat.”

A product of generations of underground music in L.A. and beyond, The Linda Lindas’ debut, Growing Up, channels classic punk, post punk, power pop, new wave, and other surprises into timelessly catchy and cool songs sung by all four members—each with her own style and energy. A handful of cuts have already been previewed at shows and enthusiastically approved by diehard followers in the pit at L.A.’s DIY punk institution The Smell and Head in the Cloud festival goers at The Rose Bowl alike. The Linda Lindas are stoked to unleash Growing Up.

The Linda Lindas first played together as members of a pickup new wave cover band of kids assembled by Kristin Kontrol (Dum Dum Girls) for Girlschool LA in 2018 and then formed their own garage punk group just for fun. Sisters Mila de la Garza (drummer, now 11) and Lucia de la Garza (guitar, 14), cousin Eloise Wong (bass, 13), and family friend Bela Salazar (guitar, 17) developed their chops as regulars at all-ages matinees in Chinatown, where they played with original L.A. punks like The Dils, Phranc, and Alley Cats; went on to open for riot grrrl legends Bikini Kill and architect Alice Bag as well as DIY heavyweights Best Coast and Bleached; and were eventually featured in Amy Poehler’s movie Moxie.

When the pandemic put a pause on shows, The Linda Lindas went on to self-release a four-song EP, make their own videos and grow a following beyond Los Angeles. But they never expected or could have even dreamed that their performance of “Racist, Sexist Boy” for the Los Angeles Public Library in May 2021 would take them from punk shows to TV shows.

A month later, when the school year ended and summer began, The Linda Lindas got to work on their first full-length LP. Having written a mountain of new material individually while sheltering in place and attending class virtually, the band was more than ready to enter the studio where Mila and Lucia’s dad (and Eloise’s uncle and Bela’s “uncle”) Carlos de la Garza oversaw recording and production. The Grammy-winning producer’s work includes Paramore, Bad Religion, Best Coast, and Bleached.

From the academy of deep soul and no ego, Reverend Baron delivers visions of liquor store East LA, the off-the-freeway dry mirage of slow motion graffiti and lonely seagulls. A nylon stringed zen fog with themes of woozy love, layered dimensions of nostalgia and glazed neighborhood tales that roll in with a natural ease. After notching a permanent status in the skateboarding orbit as Danny Garcia, he transferred his effortless style, dedication and authenticity into music. Practicing a philosophy of demystifying the process and doing it yourself, he has become a proficient multi-instrumentalist, engineer, and producer of his own and other artist's music. All streams of curiosity converge into the river. An enigma, Reverend Baron emerges from the proverbial gray overpass with no sense of urgency. He takes a sharp gaze at his surroundings and processes them through a factory of depth and gentle swag to yield a sound that sits as easy as fallen molasses on the bodega shelf. The songs are an unassuming invitation to either walk through the doorway or lean on the wall outside, either way something beautiful and rare.

Formed in 2012 out of a mutual love of metallic hardcore but despair at its lack of ambition, Ithaca exist to challenge everything you thought about what a band that makes heavy music should look and sound like. A glitter-covered nailbomb, Ithaca seamlessly blend the brutality of Relapse Records metalcore with blackgaze, 90s industrial metal, 70s prog and even tinges of 80s power pop. Their influences stretch beyond the musical - this album comes with a clear vision and aesthetic: drawing from members’ different ancestral heritage, queer/non-conforming identities and iconic figures in avant-garde, new wave and post punk culture. Their upcoming second album ‘They Fear Us’ is the sound of a band healing from trauma - standing in their own, unapologetic voice. Furious and wildly inventive while also being more coherent and accessible, this album will introduce Ithaca to a wider audience than they’ve ever had before. To quote the band - ‘those who oppose us; your sins will catch up to you. You will fear us’.

ODESZA return after four years with their new album "The Last Goodbye" available on crystal clear LP, indie exclusive version crystal clear LP with limited edition print, standard CD, deluxe CD with a patch and stickers, and transparent green cassette. Symphonic, vast, and emotionally stirring, 'The Last Goodbye' is set to be the GRAMMY-nominated duo's most ambitious album to date. A project rife with brightness and emotion, nostalgic yet rooted in the present, it serves as a sweeping sonic experience that speaks to themes of connection, reminiscence and the impact we impart on one another. It's a vivid celebration of the people and moments that have left fingerprints on our existence, echoing throughout the record. "The Last Goodbye" features collaborations with Låpsley, Ólafur Arnalds, Julianna Barwick, The Knocks, Bettye LaVette, Izzy Bizu, MARO, and Charlie Houston. With over 5 billion total streams, ODESZA have masterfully reemerged to remind the world what has made the duo of Harrison Mills and Clayton Knight cornerstones of the modern electronic landscape. Their last album 'A Moment Apart' was not only a commercial success (going gold and debuting at no. 3 on the Billboard 200), but it also earned critical acclaim including two GRAMMY nominations and praise from the likes of NPR, Rolling Stone, Billboard, Complex, Consequence and more. The duo has cultivated a diehard fanbase of massive proportions: known for their groundbreaking, awe-inspiring and immersive live performance, that reached 2.85m+ fans over the course of their 'A Moment Apart' tour. They also have had headline performances at the likes of Coachella, Lollapalooza, Bumbershoot & more, as well as performed on Jimmy Kimmel Live! and Conan, and launched their own music festival SUNDARA in Riviera Maya, Mexico in 2019.

John Moreland doesn’t have the answers, and he’s not sure anyone does. But he’s still curious, basking in the comfort of a question, and along the way, those of us listening feel moved to ask our own. “I don’t ever want to sound like I have answers, because I don’t,” he says. “These songs are all questions. Everything I write is just trying to figure stuff out.”

Moreland is discussing his new album Birds in the Ceiling, a nine-song collection that offers the most comprehensive insight into the thoughts and sounds swimming around in his head to date. A compelling blend of acoustic folk and avant-garde pop playfulness, Birds in the Ceiling lives confidently in a space of its own, enriched by tradition but never encumbered by it. The songwriting that has stunned fans and critics alike since 2015’s High on Tulsa Heat remains potent, while the sonic evolution that unfolds on the record feels like a natural expansion of 2020’s acclaimed LP5.

The New Yorker, Pitchfork, Fresh Air, Paste, GQ, and others have embraced Moreland’s meditative songs, while performances on The Late Show with Stephen Colbert, CBS This Morning, NPR Tiny Desk Concert, and more have introduced Moreland to millions. And yet, while the Tulsa-based Moreland is grateful for the respect and musical conversation he’s now having with people around the world, he is also more focused on the idea of just talking to one person––or even himself. “Through the years, I’ve felt like I’m increasingly talking to myself in my songs, more and more,” he says. “Maybe in the past, I wasn’t aware of it, but now, I am. I think doing that has helped me be less hard on myself, which makes you more generous and compassionate in general.”

That helps explain why even if Moreland is reaching out to someone else, there is no judgment. “I’m in the same boat with whoever I’m talking to,” Moreland says.  

Moreland’s songs do feel intimate––like overheard conversations or solitary meditations. “I want to talk one-on-one to someone in a song,” he says. “I don’t want to address a group, really, because I think that’s when it’s easy to start pontificating––and it gets less honest.”

On Birds in the Ceiling, Moreland’s singing contributes to the feelings of hushed intimacy. Wielding a warm, sandpaper soul voice, Moreland got used to singing loudly as he began playing in bars, fighting to be heard over chattering crowds. “When I first started singing, I was very self-conscious about it,” he says. “I think I tried to affect my voice more. Singing loud could be a security blanket sometimes. On the new album, on a lot of the songs I was definitely making a conscious effort to sing quieter––almost whisper.”

Produced by Matt Pence and Moreland, Birds in the Ceiling is dynamic: a folk record that refuses to stay in its lane. It’s the second album for Pence with Moreland, who sees the former––a Denton, Texas-based engineer, producer, and drummer––as an ideal musical partner. “We have a lot of the same influences, and I have been really influenced by his bands,” Moreland says. “It feels really effortless.”

Letting things just be what they are is a powerful guiding force for Moreland, determining not just how he interacts with others, but how he treats himself. “When you remove boundaries and instead of holding back parts of yourself––when you say, ‘Okay, I’m going to put all of me into this,’” Moreland says, "You end up making music that nobody else could make.”

Birds in the Ceiling is available at local record stores on CD, Vinyl, and an Indie-Exclusive Blue Vinyl on July 22.

Here is a collection of recordings by Kathy Yaeji Lee, originally released as a pair of EPs on March 31st and November 3rd of 2017, remastered for a belated vinyl edition for the first time. A lot has been said and repeated about the interiority of this club music - how the joyful tremor of the "Raingurl" refrain holds hands with such soft and doubtful verses. How special it is that house music so of New York can contain storytelling cultivated so far away. That repetition is born of people all over the world going out, and staying in, with this music as a compass; songs that define so many late night hangs for crews of friends, singalongs in DJ booths, contemplative 5am walks home from the club. What can get lost in that repetition, in the shifting canonization of these recordings as symbols of any one scene or moment, is what was behind the pair of round glasses reflecting so tirelessly outwards. Yaeji, an exceptional friend only at the very beginning of finding her path as a cross-disciplinary artist and collaborator. Yaeji wrote this music while going out nearly every night of the week to DJ and support her own NYC community of friends at their turns behind the decks. These tracks originated from explorations in dancefloor anonymity, growing from seeds planted by sharing her first musical experiments online. "'New York '93' was the first song I ever put out as Yaeji. It first came out on Soundcloud. I remember then every single listen was so surprising and important to me. It made me really curious to know who these people on the internet who find my music interesting are." Yaeji tracks quickly became a secret language of Brooklyn dance floors. The original demo for "Raingurl", a lovingly wonked-out version of it's successor, was passed around usb sticks like a free-for-all friendship bracelet. For Kathy, hearing these tracks played out in the club brought up mixed feelings, "I always felt a little embarrassed. I worried that the tracks weren't dancey enough." I remember Kathy's DJ set at a local summertime rave called Fourth World, a near-sunrise outdoor feast of nectarous house melodies and slippery breaks woven gracefully between pummeling techno kicks. I remember looking around at hundreds of faces staring at Kathy with what my mom calls "moon eyes." Those eyes you make at someone when their sheer loveliness can break down your ego and submit you cozily into your surroundings."Someone told me - 'you're someone we're down to be rooting for.' That made me realize why they'd say that. I can see how what I'm doing is something that takes courage for a lot of people that have grown up as an outsider like myself." There's a lot of processing that artists take on when work that's old for them is continuously new for others; things start to lose their place in time. Music is an archive, yet can so easily feel unfixed. With this record, these 10 recordings find a warm and loving home."This record is a symbolic reclaiming. A way to celebrate something that I wasn't able to fully appreciate in the moment.I don't think I would want to do anything else but make music-now I realize that."

GRAMMY and Americana Award-winning singer/songwriter and violinist, Amanda Shires, has pushed the reset button with Take It Like a Man, a record that is so unlike anything she has ever recorded that you would be tempted to think it was her debut album instead of her seventh. Shires, who also plays in The Highwomen, worked with producer Lawrence Rothman to make a fearless confessional, showing the world what turning 40 looks like in 10 emotionally raw tracks. Indie Exclusive White LP with lyric sheet.

Being in a band is like being in a marriage: sometimes it’s magical, sometimes it’s unbearably challenging. To reinvigorate that marriage, Deap Vally have made their third album a genre-bending experiment with new collaborators and instrumentation that push the limits of what has previously defined the duo - Marriage is their musical Rumspringa, if you will. The album sees Julie and Lindsey break free of the rigid creative constraints within which they previously existed (two members, two instruments, two voices) and invite in collaborators such as KT Tunstall, Peaches, Jennie Vee and jennylee, as well as a range of producers including Allen Salmon, Josiah Mazzaschi and Harvey Mason Jr.

Like many of his favorite songwriters (John Hartford, Lucinda Williams, Jeff Tweedy), Izaak Opatz is an ungulate in life’s winter pasture, chewing on and metabolizing disappointment, heartbreak, and the other tough stuff into enjoyable musical carbohydrates. A compulsive metaphorager (and inveterate wordplayboy), Opatz breaks it all down with enzymes of wry humor, thoughtful simile and close observation - a therapeutic process of narrativizing his own life that, almost as a byproduct, turns out savory nuggets of literate, confessional pop. 

Oxeneers or The Lion Sleeps When Its Antelope Go Home is, in many ways, the completion of the promise made with the potential of This is Meant to Hurt You. The hooks are thicker, the guitars bigger and the songs are a simply stunning culmination of a years hard work and dedication. The album sparkles with a tight, visceral momentum, both angular and infectious. This is the record These Arms Are Snakes set out to make, a confident testimonial, a vicious revision, and a true confrontation in every sense of the word. Reissued on vinyl for the first time since 2004!

Porcupine Tree have made their comeback today with a new single "Harridan". This will be off their new album "CLOSURE/CONTINUATION" which hits stores on 6/24. The band last released an album in 2009 (‘The Incident’). They released ten albums between 1992’s ‘On The Sunday of Life’ and 2009’s ‘The Incident’ before entering a hiatus after their biggest live show to date at the Royal Albert Hall in October 2010. The band is composed of Steven Wilson, Richard Barbieri and Gavin Harrison.

Jorn Lande returns with a new studio album, "Over The Horizon Radar" on June 17th. Jorn has a long and storied career in heavy metal, including an established solo career, releases with Masterplan, Ark, and more, a series of duet albums with Russell Allen (Symphony X), a touring & recording member of Avantasia, a participant in the 2021 Melodi Grand Prix (Norwegian Eurovision contest), appears in the popular League Of Legends video game, & has amassed millions of streams. A Norwegian legend!

These Arms Are Snakes second full length for Jade Tree finds the Seattle foursome towing a proverbial line between paradox, hostility and a caustic blend of post-hard/math core. Retaining the definitive tension and angular force of earlier These Arms Are Snakes efforts, Easter is the year-long culmination of a more structured yet experimental song writing process for the band. Recorded at Red Room Recording in Seattle by These Arms Are Snakes’ drummer Chris Common, Easter explores the relationship between suspect animism, impending otherworldly doom and the ethereal battle between virtue and ruin. More than anything from These Arms Are Snakes’ back catalog, Easter was meant to hurt you. New vinyl reissued for the first time since 2008!

Revelators Sound System is the collaborative musical project of MC Taylor (Hiss Golden Messenger) and Cameron Ralston. Recorded throughout 2020 and 2021, largely at Taylor's home in Durham, NC and Richmond, Virginia's Spacebombstudio, where Ralston serves as the house bassist, the album is a deep meditation on community that caroms from root-down avant-funk and spiritual groove to solitary cosmic minimalism and twinkling dubby ambience. Importantly—most importantly—Revelators is deeply emotional record, the running soundtrack to a world in confusion.

“Grieving,” with its trunk-rattling double drums and searing electric Clavinet, imagines a rhythmic meeting of The Meters, post-Bitches Brew Miles and Can before dissolving into a smoky, time-smeared coda that is a direct descendent of Lee 'Scratch' Perry's headiest Black Ark productions, while “Collected Water” is a mournful, pointillistic improvisation between Taylor's drifting guitar loops, Ralston's loping double bass, and the melodic dancing between Daniel Clarke's chiming piano figures, J.C. Kuhl's insistent saxophone and Reggie Pace's subtle, circular percussion. “Bury the Bell” is a shimmering, Alice Coltrane-inspired piece for guitar, clarinet and orchestra that spins off into stardust. The album concludes with “George the Revelator,” a lush devotional epic built atop the on-the-one drumming of J.T. Batesthat shakes and rolls with psychic, psychedelic fervor.

Revelators is a testament to the telepathic and soulful musical interplay between Taylor and Ralston. “We only ever talked about what emotion we were going for,” Ralston recalls. “We never talked about gearor fidelity.” Taylor echoes this sentiment, elaborating, “This record is about grief. Grief, and whatever comes after. We were looking for a way to communicate that musically.”

Never before on vinyl - original cover art by the legendary Mear One. Featuring Oddisee (4 tracks), Apollo Brown (2 tracks), Roc Marciano, Black Milk, Georgia Anne Muldrow, !llmind and more.

TWO ORIGINAL ALBUMS IN ONE COMMEMORATIVE LP SET. DISCO4 :: PART I (2020) plus the new album DISCO4 :: PART II, which sees HEALTH showcasing a new range and ambitiousness through collaborations with the likes of industrial rock icons Nine Inch Nails, metal institution Lamb of God, internet savant Poppy, indie rock mainstays The Neighbourhood, French techno brutalist Perturbator, and more.

Iconic is a supergroup featuring Nathan James (Inglorious), Michael Sweet (Stryper), Joel Hoesktra (Whitesnake), Marco Mendoza (ex-Journey, Whitesnake), Tommy Aldridge (Whitesnake). It was co-produced by Michael Sweet and Alessandro Del Vecchio (Hardline, Revolution Saints). A bulk of the songwriting was done by Sweet and Joel Hoekstra. They will be releasing a CD and LP on 6/17 titled "Second Skin".