Music Releases 08-07-20
Amassing over 2 billion streams, British four-piece Glass Animals is led by singer/songwriter/producer Dave Bayley with bandmates and childhood friends Joe Seaward, Ed Irwin-Singer & Drew MacFarlane. A fan favorite, their album How To Be A Human Being was one of the most critically acclaimed records of 2016. Now, Glass Animals is back with new album DREAMLAND. Featuring hit singles “Tokyo Drifting” with Denzel Curry and “Your Love (Déjà Vu)”.
How To Be A Human Being has received praise from various press outlets, including Billboard, Pitchfork, The FADER, The Guardian, The Telegraph and more. Glass Animals has also made appearances on Jimmy Kimmel Live!, The Late Show with David Letterman, Late Night with Seth Meyers and The Late Late Show with James Corden. As well as producing both of Glass Animals’ studio albums, ZABA and How To Be A Human Being, Dave has worked with a number of artists outside of the band, including 6lack, Khalid, Joey Bada$$, DJ Dahi, Flume and MorMor.
BRONSON, the brand new group by ODESZA and Golden Features, unveils their debut self-titled album on Foreign Family Collective / Ninja Tune. BRONSON is available on clear LP, limited edition black and yellow LP, and CD. GRAMMY-nominated duo ODESZA and acclaimed Australian producer Golden Features have come together to form the powerhouse group BRONSON. The self-titled album BRONSON pushes the soundscapes of their previous projects to explore the darker edges of dance music. The LP features heavyweight collaborations from lau.ra of Ultraista, Gallant, and Totally Enormous Extinct Dinosaurs. The BRONSON album reflects on their respective needs to challenge personal struggles, both internal and external. Moreover, the trio recognized that their own battles were merely microcosms of the surrounding world. The hope was to craft a body of work that was reflective of that duality of lightness and darkness inherent to the human condition.
Luke Bryan will be releasing his latest album on August 7th. `Born Here Live Here Die Here' includes the #1 hit "Knockin' Boots" and his current hit single "Whatever She Wants Tonight". Bryan is known for his catchy, chart-topping tracks like ""Country Girl Shake It For Me" which was included in Billboard Magazine's "100 Songs that Defined a Decade" list out last month.
“Whoosh!” sees Deep Purple for the third time joining forces with producer Bob Ezrin, who invited the band to Nashville to write and record new songs. Together they created the most versatile album in their collaboration.
Deep Purple “stretched out in all directions” without any limitation, letting their creativity go. “Deep Purple is putting the Deep back into Purple” was the half-joking motto in the studio after the first songs made it clear that Ezrin and Purple were on their path to creating an album pushing the boundaries of time, while voicing their resentment about the current situation of the world and addressing all generations.
In recent years, Deep Purple has progressively moved into new areas, piquing the interest of fans who were not born when the mighty Purple machine ruled the music world. Their holy grail of “In Rock” (1970), “Machine Head” (1972) and “Made In Japan” (1973) catapulted Deep Purple to the top in concert grosses and album sales around the world, with tracks such as “Smoke On The Water” ascending them to mega-status.
The band’s 20th studio album “inFinite” has become one of their most successful albums ever, braking chart records accumulated by the hard rock legends over an impressive 50-year history.
Roger Glover and Bob Ezrin in conversation
(approx. 1h long in-depth talk during the mixing of “Whoosh!”, filmed in London)
Live At Hellfest 2017
MAP OF THE SOUL: 7 – THE JOURNEY contains 8 of BTS’ biggest hits, now performed in Japanese. In addition, the album features 2 Japanese new and original tracks and a brand-new intro and outro, plus the hit Japanese single “Lights.” This jewel case CD contains a 20-page booklet and 1 photo card (Random 1 of 7 types of ‘selfie ver.’ / for first press only). It also comes with a square photo card available only outside of Japan (same design across all editions).
Third Man Records is excited to announce The Stooges' Live At Goose Lake: August 8, 1970. This previously-unheard, high-quality soundboard recording of the original Stooges lineup's final performance -- recorded just before the release of their earthshaking 1970 album Fun House -- will be available on vinyl, CD and digital on August 7, 2020, nearly 50 years to the day after the performance.
Lost At Midnight is the mesmerizing debut album from critically-acclaimed electronic-pop producer, OTR. Featuring Vancouver Sleep Clinic and emerging artist Saint Sinner, the album cuts right to the heart with poignant piano melodies and elegantly sculpted beats. Standout tracks include “Heart” ft. Shallou (a hit #1 on the Sirius XM Chill chart), ‘Broken’ ft. Au/Ra, ‘Drive’ ft. Panama, and ‘Midnight Sun’ with Ukiyo which is also featured on the Netflix film ‘To All The Boys: P.S. I Love You’. Standard packaging with spot UV LP.
PARTYNEXTDOOR returns to the spotlight with his anticipated fourth album, PARTYMOBILE, via OVO Sound. PARTYMOBILE features the single “Believe It” featuring Rihanna, an uplifting and empowering anthem by PND in collaboration with the global pop icon. PARTYMOBILE, which also features the likes of Drake and Bad Bunny, marks the first full-length album from the Toronto native in three years.
This sumptuous vinyl brings together all of Parker's 78 RPM singles for Clef Records, recorded in January and August 1951, and features a veritable line-up of jazz greats including Miles Davis, Charles Mingus, Gil Evans, Max Roach, Roy Haynes, Kenny Clarke and John Lewis Showcasing many of Parker's best-known compositions, including `Au Privave', `Si Si' and `Swedish Schnapps', and features the classic David Stone Martin cover and original Clef labelling.
MICHELLE are a musical collective hailing from New York City. Weaving in and out of R&B, 80’s synth pop, jazz and indie, MICHELLE is refreshingly predominated by queer and POC members, showcasing a transformative era in pop music. Written and recorded a bedroom over the span of two weeks, their debut album “Heatwave” captures a compilation of sentimental moments – snapshots of youth in a New York summer, all immediately recognizable to those who’ve lived them (and those that have wished to).
Recording under the moniker Hala, 22 year old Ian Ruhala writes songs that feel fresh, bright, but insightful, out of his home in Detroit, MI. It is the kind of music that one would expect to hear at the beginning of a movie or short film. With a prolific output, Hala stresses the importance of the songwriting and production process, as much as the final product. Standard weight black vinyl with poster insert. Pressed on standard weight black vinyl with poster insert.
Restlessness is the first step towards pleasure. We make comfort out of discomfort, pleasure out of pain. That journey isn't always a straight line, but at least we're going somewhere real. "I had to move, Lord I couldn't be still" is the unsettled way that Video Age's new album and title track, Pleasure Line, begins. But as the song unfolds, it uplifts us into a romantic space of possibility and love. Just as "love" is both a noun and a verb, Pleasure Line is both a road to be traveled and the act of crossing that road. Singer and multi-instrumentalist Ross Farbe says, "Once you cross that threshold and become vulnerable in love, there's a whole new challenge. There's a reason that song comes first on the album, because the rest of the songs exist in that place." These catchy, memorable songs radiate big "glass half-full" energy. Video Age's third album, due out from Winspear on August 7, 2020, pairs neon-bright 80s pop melodies with a vast range of influences (including Janet Jackson, David Bowie, and Paul McCartney) to create an optimistic sound all their own. The influences vary song to song, but they're all tinted with the same rosy hue, and Ross says, "I'm often trying to create a more idealized version of the world I'm in." Video Age's first two albums were about loneliness and discovering oneself, but Pleasure Line takes on a whole new attitude, considering both Ross and songwriting partner Ray Micarelli are getting married this year (just a few weeks apart from each other, too). "We're feeling the love, " Ray says, laughing. But these aren't expressions of one-dimensional puppy love-this is euphoria with depth, ecstasy with complications. In the twinkling "Comic Relief, " Ross sings, "I know the world is killing me / I love you baby, can't you see / Ain't nothing but a comedy." And in the funk-inspired "Shadow on the Wall, " Ross sings, "I got the gloom, baby, covering me / Cuz you're a cruel silhouette as could be." Darkness is always lurking somewhere beneath happiness, but in the Video Age, even melancholy sounds like something you can dance to. The songwriting duo has been playing music together for the past ten years after meeting in college-Ray says he was initially drawn to Ross' "old school cadence" and their shared love for dancefloor hits. Experimentation and play is crucial to their approach, as is collaboration. Joined by band members and multi-instrumentalists Nick Corson and Duncan Troast, Video Age recorded the album together in Ross' New Orleans home studio. Pleasure Line is a salve that protects against cynicism-listening to this album, you can't help but feel the world around you is full of romantic potential. In the hands of Video Age, even the mundanities of touring are transformed into a mood-lifting ode to their 1995 white "Aerostar." When asked how he manages to stay so positive on the road, Ray says, "Playing music is a joy and a privilege." That kind of sincerity bleeds from every song on this album, creating not only nostalgia for good times past, but also hope for a better future. On the last song, "Good to Be Back, " Ross sings, "I've made my mistakes / I live and I learn / That people can change." The song is meant to sound like a theme song to a 70s sitcom, and you can almost see Ross and Ray opening the door and smiling at the camera: "What can I say, it's good to be back."
Helvetia were formed in Seattle in 2005 by Jason Albertini. Since the band's inception, he's employed a rotating cast of band members and collaborators, which now includes Steve Gere and Samantha Stidham. Albertini is 1/3 of the group Duster, who spent 2019 releasing a new album and playing shows for the first time in 20 years. Naturally, Helvetia share a lot of the same sensibilities, pushing Duster's bound- ary-bending ideals even further out with a mix of odd pop and eccen- tric oddities. Helvetia made their debut in 2006 with The Clever North Wind (released on Duster bandmate Clay Parton's Static Cult label), followed by The Acrobats (2008) and Headless Machine Of The Heart (2009). With each release, Helvetia explored more psych-influenced territory, further developing their take on slow core. After a handful of additional releases for The Static Cult, Albertini relocated to Portland, Oregon, and released 2012's Nothing In Rambling, his first with Joyful Noise Recordings. Albertini joined Built To Spill on bass the same year, and the two bands shared members and toured together. Dromomania, Helvetia's eighth LP, was released in October 2015, followed by the Sun Chasers EP in 2017. Albertini continued to play bass for Built To Spill until 2019, when Duster started playing shows again. After a very busy year of touring, Albertini spent the summer recording This Devastating Map at his home studio. While the mighty Duster dwelled in a broken down space station lost to the cosmos, Helvetia's sound is decidedly more earthbound: guitars sparkle and soar beyond their means with hushed vocals transcribing aching personal struggles. Helvetia ditches conventional song struc- ture in favor of bouts of repetition in which Albertini rewards the listener with unlikely hooks, juxtaposing memorable figures with odd shapes that desire repeated listens.
25th anniversary edition of Collective Soul's triple-platinum selling sophomore album. This reissue marks the album's first time on vinyl and features the hit singles "December", "The World I Know," and "Where The River Flows."
8/7 will mark the release of the debut full-length from Delaware straight edge hardcore band Year Of The Knife. They have toured with Knocked Loose, Terror, Jesus Piece and more. Their previous release Ultimate Aggression , which combined the EPs Ultimate Disease  and First State Aggression , received raves from Revolver ["teaches a master class in musical self-immolation, setting rough-and-tumble hardcore alight by way of scorching death-metal theatrics"], New Noise ["feels like a feral beast that’s ready to rip your neck off"] and more.
South London's Oscar Jerome releases highly anticipated debut album `Breathe Deep'. A staple of a burgeoning jazz scene, his previous collaborations range from Shabaka Hutchings to Yussef Dayes. Breathe Deep features an army of artists that have been an integral part of Oscar's journey so far, including friends in Ezra Collective, Sons of Kemet and Maisha, as well as critically acclaimed singer/songwriter Lianne La Havas. 180-gram vinyl in standard sleeve packaging with protective inner bag.
Kenny Roby knew from the start there would be a lot to say for his first solo album in seven years, the emotionally and musically expansive The Reservoir. So much had changed in his world and the world at large since his stately 2013 LP, Memories & Birds, an exquisite reflection on the experiences and apprehensions of crossing over 40. Roby was now 48. He had been sober for half his adult life. Both his kids, now in their 20s, had left home. After more than two decades together, he and his wife had decided to try something else. Roby’s iconic alt-country band 6 String Drag had reunited for runs of spirited shows and a barreling, wise rock ’n’ roll record. And then, of course, there was the wider social upheaval of the last decade. That was plenty to process for a dozen songs, right?
Neal Casal thought so. In the Spring of 2019, Roby started sending these latest songs to his old pal, who had emerged as a top-tier guitarist with the likes of Willie Nelson and Chris Robinson. Roby’s new reflections clicked for Casal, especially the way he seemed to stare down age, addiction, and anxiety and push toward something like acceptance. Casal agreed to produce these songs.
Roby returned home after a solo European tour in early 2019 and entered a brief but intense tailspin. His marriage was ending, and a few friends and family members had passed away in short order. He penned “Room 125,” a confession that gazed into an existential abyss and sent out a desperate prayer. Casal heard it and replied by text: “It’s my life.” And then, in late August 2019, Casal was dead—suicide, at the age of 50.
But Casal had not kept quiet about these budding tunes. He had told Dave Schools, the legendary Widespread Panic bassist, about them. Schools and Roby began talking after Casal’s death. At a musical memorial to Casal, they made final plans to convene soon with a dream team of players for a week in Woodstock in mid-October. Roby had culled 25 songs into 16, and the band captured many of them in only a few takes in the same room. They sound like a veteran ensemble on The Reservoir, with each of these numbers settling into a deep groove.
These 16 tunes collectively summon the wealth of Roby’s experience, as a human being and as a musician. He revisits the specter of addiction with the fractured gothic gospel of “All Trains Lead to Cocaine” and recognizes that recovery is a constant process during the springy folk-pop charmer, “Just Because.” He questions the roots of faith and recognizes the goodness of the universe in the preternaturally graceful “Watchin’ Over Me” and sets his sights on contentment for the tender “Old Love.” He sings all these songs with the wisdom of lived experience, a gift and tool for you to use.
“Neal dying was tragic and traumatic for many of us,” says Roby. “But his death brought me deeper into my recovery and into growing up and living for the day and knowing what I want. That’s been a gift.”
Roby once planned to call this album History Lesson, lifted from his whistling-and-mirthful ode to taking a risk with whatever life you have left. That prospective title still resonates, because this album is about learning something from the terrible and terrific alike. But we learn history lessons too often from those who are gone already. The Reservoir is about acknowledging that we’ve all got something to give to the world still, even when our despair seems to be the only thing with endless depth. “These blues are tidal and subside with the moon,” Roby croons on the twinkling closer, “I’m Gonna Love Again.” It’s a message of perseverance and hope from someone who has been hopeless but stuck around to remind us that we can get better, too.
Off the heels of Grammy-nominated album, Heart of Brazil, comes jazz clarinet icon Eddie Daniels' new project, Night Kisses. Paying tribute to the world-renowned Brazilian musician/composer Ivan Lins, it brings Daniels together with legendary jazz pianists Dave Grusin and Bob James, plus top-shelf trio-Josh Nelson, Kevin Axt, Mauricio Zottarelli - and the Grammy-winning Harlem Quartet. Features songs from Lins’ classic ‘70s/’80s albums and new arrangements by Kuno Schmid and Josh Nelson. CD housed in Digi-Pak.
James Krivchenia (b. Minnesota, 1988) is a many-armed sculptor of music. The gentle but fierce wisdom of his drumming in Big Thief; the exceptionally loving chime-, drum-, and studio work with Mega Bog; the acoustic mirror framing the living collages of Causings. A through-line crossing this variegated musical landscape is his solo electronic work. Krivchenia’s solo works are the images that result from experiments with his conceptual particle colliders: an interlocking of idea and process, of determinism and chance, of abstraction and concreteness.
His previous solo work, No Comment (Left Door Tapes, 2018), shows an increasing clarity of intentional framing while never sacrificing the material joy of making music. No Comment worked through heavier concepts, culling from the audio of body camera footage of gun skirmishes from wars around the world uploaded to the internet, processing this material to bring the shadowy regions of our psyche to light as music, while making us aware of the pervasiveness of violence all around us.
A New Found Relaxation is a refinement of Krivchenia’s method of transforming concrete found material into abstract crystals that still shine with their original glow. Realized in spring of 2019 in the tiny town in New Mexico where he was living at the time, A New Found Relaxation is made from hundreds of tiny fragments of internet spa radio, ASMR youtube holes, field recordings and cast off muzak, processed through Krivchenia’s magic box of extreme outboard manipulations. This mass of fragments was then organized into an album-like frame that maintains this elusive balance between the surfacey calm of spa radio and the frenetic effects of the hyperreal processing. This balance illuminates the deep-structural mania of a globalized world ensnared in the internet, the ever-quickening global whirl of information and capitalism, the tenuousness of our collective life in unprecedented isolation. But it does so without obliterating the spiritual glow of that world, that information, that life. This record is far from a joke at spa radio’s expense: on the contrary, the calming, healing presence of the much-maligned new age/background music is taken up with care and appreciation. It’s just that the frantic energy that carries this calm is lifted up and made audible within it. Still relaxing, sure, but a relaxation we might have to grow accustomed to: a new found relaxation.
"I put together this record in the spring of 2019 in New Mexico from a cache of 500 small fragments of mangled, smeared, manipulated, and artifacted 'beauty', achieved through hours of knob twisting and droning. These were then meticulously assembled into a densely layered song / record format soaked in ear tickle and water. I wanted to make something that contained the seeds and quality of "relaxation" but was fast paced and hard to fully sink into....like these little glimpses of peace piled on top of each other.....like the world as I experience it much of the time. I wanted to embrace paradoxical approaches and moods within one piece - the drone/the edit; the frantic/the calm; confusion/tranquility. I wanted to make something that made me feel weird. I hope it does something for ya." - James Krivchenia
Though still at the very beginning of his career, Jonathan Something's catalog already displays a skillful musical command, a puckish sense of humor, and a knack for absurdist but pointed send ups that at times make him feel like an indie rock Andy Kaufman. It shouldn't be surprising then that for his third album, the forthcoming Cannibal House Rules (due out August 7th on Solitaire Recordings), Jonathan Something has made a sharp left turn and created something that not even the most attentive members of his cult-like fanbase could have predicted. Partly inspired by his interests in anime, classic horror/sci fi cinema and video games, Cannibal House Rules is a synth-driven album of pop songs that draw on the cultural ephemera of the mid 80s, blending the sounds of Italo disco and top 40 new wave with John Carpenter's Big Trouble In Little China and Brad Fiedel's The Terminator scores on a release that is structured to play like the soundtrack from a non-existent film.