Death Grips are angry. It's unclear why. But on their major-label debut, the Sacramento noise group's monomaniacal desire to rain down fiery destruction on the powers-that-be is crystal-clear, even if nothing else is on The Money Store, even if nothing else-- where the hell this album came from; who plays which instrument; what the lead singer is yelling about; and what on earth this band of insurgents is doing signing an Epic Records contract with L.A. Reid-- makes much sense at all. - Pitchfork 8.7
Pearl Jam delivers the Tour Edition of their 11th studio album, 2020's critically acclaimed #1 Rock Album and Billboard 200 Top 10 album, Gigaton, featuring 11 live songs including: "Dance Of The Clairvoyants", "Superblood Wolfmoon", "Retrograde" and more. Gigaton (Tour Edition) includes the original vinyl LP with an 11 track live CD recorded during various 2021 performances. The Gigaton Tour continues its European leg through July and then the band will hit Canada and the East Coast this Fall!
Robin Pecknold brings light to the bleakest of winters with Fleet Foxes’ ‘A Very Lonely Solstice,’ a 13-track career spanning collection recorded in December 2020, at Brooklyn, NY’s St. Ann & the Holy Trinity Church.
Now being released for the first time on vinyl, CD and digital formats, ‘A Very Lonely Solstice’ captures a poignant moment in time. The recording was originally broadcasted as a live-stream event on the winter solstice of 2020, just days after New York declared a state of emergency tightening restrictions again in response to increasing COVID-19 cases. Pecknold describes the set as “me by myself on the longest night of the year... honoring the loneliness of 2020 with a nylon string and some songs new and old.” Fans worldwide tuned in while quarantined at home, finding solace and a sense of community in a period of extreme isolation.
Much of ‘A Very Lonely Solstice’ showcases a solo focus on Pecknold who offers up acoustic arrangements of fan-favorite songs spanning Fleet Foxes’ catalog. Selections cover all four of the band’s studio albums, including their 2008 self-titled debut album (“Tiger Mountain Peasant Song”) to 2011’s Helplessness Blues (“Blue Spotted Tail”) and 2017’s Crack-Up (“If You Need To, Keep Time On Me”), all the way to their latest release, Shore. Resistance Revival Chorus joins Pecknold on Shore tracks “Wading In Waist-High Water” and “Can I Believe You.” Also featured: a cover of Nina Simone’s “In The Morning” and a rearrangement of the traditional “Silver Dagger.”
Kanye West delivers a Deluxe Edition of the record-shattering Donda, featuring 4 bonus tracks plus fan-favorite verses from Andre 3k, Kid Cudi and more. This release, from one of “the most influential pop stars of the 21st century,” was his 10th #1 album on the Billboard 200, racking up over 1 billion streams in the first 10 days. Originally previewed at 3 historic livestream events, the global phenomenon topped charts in 11 countries and set an Apple Music record of #1s in 152 countries. 4 LP.
Vaxis II: A Window of the Waking Mind welcomes us back to “The Amory Wars” as the 2nd installment of the new five-part “Vaxis” arc about a couple on the run from tyrannical forces and their mysterious new addition.
James Brown had the Apollo. Jimi Hendrix had Monterey Pop. And Prince had Syracuse, New York’s Carrier Dome—the Purple Rain Tour performance that was beamed to millions live via satellite and captured for posterity in the Grammy Award-nominated concert film Prince and The Revolution: Live, and has since gone down in history as one of the most iconic live recordings in pop and rock history. Available on vinyl for the first time, this powerful performance by Prince and The Revolution has been entirely remixed from the original 2” multitrack master reels. The new version of Prince and The Revolution: Live will be available on 3 black LPs with a 16-page book with never-before-seen photos of the Purple Rain Tour and new liner notes.
Released as a limited edition for Record Store Day in 2019, the original mono mix of Pink Floyd’s A Saucerful of Secrets has been remastered by James Guthrie, Joel Plante and Bernie Grundman from the 1968 analog tapes. Pressed on 180 gram vinyl, it will be presented in a black, poly-lined inner sleeve inside a reproduction of the original LP sleeve.
With classics like "Set the Controls For The Heart Of The Sun", "Remember a Day" and "Jugband Blues", A Saucerful Of Secrets is the only album to feature the five band members: Roger Waters on bass and vocals, Richard Wright on keyboards and vocals, Nick Mason on drums, Syd Barrett and David Gilmour on guitar and vocals.
"Fresh grief, like fresh love, has a way of sharpening our vision and bringing on painful clarifications. No matter how temporary we know these states to be, the vulnerability and transformation they demand can overpower the strongest among us.
Then there are the rare, fertile moments when both occur, when mourning and limerence heighten, complicate and explain each other; the songs that comprise Angel Olsen’s Big Time were forged in such a whiplash.
“I can’t say that I’m sorry / when I don’t feel so wrong anymore,” the record begins, her voice softer and more open than ever, as if she’s singing through a hard won smile. “All the Good Times”, a twangy banger with nods to JJ Cale, starts the album on a triumphant and bright note. The title song, “Big Time”, follows and continues the warm optimism. “Guess I had to be losin’ to get here on time,” she sings, a fearless love song co-written with her partner.
Big Time is an album about the expansive power of new love, but this brightness and optimism is tempered by a profound and layered sense of loss. During Olsen’s process of coming to terms with her queerness and confronting the traumas that had been keeping her from fully accepting herself, she felt it was time to come out to her parents, a hurdle she’d been avoiding for some time.
“Some experiences just make you feel as though you’re five years old, no matter how wise or adult you think you are,” she writes of that time. After that tearful but relieving conversation, she celebrated with her partner, their friends, oysters, and wine. “Finally, at the ripe age of 34, I was free to be me.”
Three days later, her father died; his funeral became the occasion for Olsen to introduce her partner to her family. Though she was fearful their presence as a newly out queer couple would be “an additional symbol of loss,” those days went peacefully, yet only two weeks later Olsen got the call that her mother was in the ER. Hospice came soon after, and a second funeral came quickly on the heels of the first. Another trip back to St. Louis, another grief to face, another deepening and intensification of this still-new love.
The shards of this grief—the shortening of her chance to finally be seen more fully by her parents—are scattered throughout the album. “It’s a hard time again,” she sings on “This is How It Works”, pushing against the irrevocability of death, “Tell me a story that will make me forget.” “Go Home”, which begins with an almost numbed calm, slowly builds up to a wailing that comes up straight from the ground: “I want to go home, go back to small things. I don’t belong here. Nobody knows me.”
“You can’t plan grief, you can’t organize it or schedule it or know how you’ll feel when it comes. It just happens, and when it does sometimes it’s not what you thought it would be.” Three weeks after her mother’s funeral she was in the studio, recording this incredibly wise and tender new album.
Loss has long been a subject of Olsen’s elegiac songs, but few can write elegies with quite the reckless energy as she. If that bursting-at-the-seams, running downhill energy has come to seem intractable to her work, this album proves Olsen is now writing from a more rooted place of clarity. She’s working with an elastic, expansive mastery of her voice—both sonically and artistically. These are songs not just about transformational mourning, but of finding freedom and joy in the privations as they come.
Playful bits of Tammy Wynette and Kitty Wells are here, too, but so are the complex orchestrations of her genre-bending 2019 record, All Mirrors. While that record was full of dramatic shifts and twists, here the surprises come in their simplicity—a slow swell of strings, instrumentation that cycles like a storm, or sparkling horns in a light-flooded break-up ballad.
While the spritely nature of her last EP, Aisles, may have signaled Olsen’s turn deeper into the electronic direction of her last All Mirrors, there’s hardly a synth in sight here. Jonathan Wilson, served as co-producer and also mixed the tracks, while Drew Erickson played piano, organ, and scored the string arrangements. Emily Elhaj, Olsen’s longtime bandmate, was a consistent collaborator as well, on the bass throughout.
“And I can’t fit into the past that you’re used to, I refuse to,” she sings as a wraithlike piano scaffolds her hopeful voice on “Ghost On”. “Forget the old dreams,” she rejoices on “Go Home”, “I got a new thing.” Darkness inherently suggests depth, but it takes a much wiser writer to find meaning and complexity in the luminous place that Big Time occupies. “Chasing the Sun” ends the record in a smiling, romantic place, a verdant crescendo rising as she pines: “Write a postcard to you / when you’re in the other room/ I’m just writing to say that I can’t find my clothes / If you’re lookin for something to do.”
The burning of her earliest work is still here, of course, but this time she’s “freed from the longing / for one moment to last” and she’s ready to “walk through the fires / of all earthly desires.”
Oaxaca, February 2022"
Vinyl: $25.98 Buy
40 oz. to Fresno is the highly anticipated 6th studio album by Joyce Manor. Produced by Rob Schnapf, this 9 song album is an honest, hard-hitting, post-emo, power pop masterpiece packed with the elevated writing and earnest delivery Joyce Manor is loved for.
Joyce Manor has toured extensively and their live show has been the driver behind the band’s success. They have made festival appearances at FYF Fest, Coachella, Riot Fest and since the release of their last studio album in 2018, the band has headlined NYC Central Park SummerStage, sold out two nights at the Palladium in LA, and sold out two matinee show at LA’s historic Union Station.
Joyce Manor is a band from Torrance, CA consisting of Barry Johnson (vocals/guitar), Chase Knobbe (guitar), Matt Ebert (bass), Neil Hennessy (new drummer, from The Lawrence Arms). Johnson and Knobbe started the band in 2008 in the Disneyland parking lot, named after an apartment complex that Johnson would walk past every day. Joyce Manor made their debut as an acoustic two-piece. Quickly they learned that playing loud was much more fun and invited friends to join the lineup. The band has released five studio albums; Joyce Manor (2011), Of All Things I Will Soon Grow Tired (2012), Never Hungover Again (2014), Cody (2016), and Million Dollars to Kill Me (2018).
Vinyl: $56.98 Buy
A series of Clutch catalog releases reimagined and individually curated by one of the band members and reissued as part of the Clutch Collector's Series. The artwork is in the vein of the original yet strikingly different. The vinyl releases are remastered and manufactured on 180-gram colored vinyl which in turn is stored in extra heavy sleeves. The gatefold jackets are printed on metalized polyester paper and each album includes a numbered insert autographed by all band members.
Gerald Wilson's 1962 album, Moment of Truth, features his dynamic big band on an action-packed 9-song set (7 of which were composed by Wilson) with highlights including the swaggering blues of the title track, the irrepressible Latin groove of "Viva Tirado," and a fleet-footed version of Miles Davis's "Milestones." Blue Note Tone Poet Series features all-analog, remastered 180-gram vinyl in deluxe gatefold packaging.
Vinyl: $259.98 Buy
Super Deluxe contains 8 LPs on 180-gram heavy vinyl showcasing the newly remastered album from the original analog tapes along with 4 complete concerts on the Nevermind Tour from Amsterdam, Melbourne, Tokyo and Del Mar, California. Also included is a first-ever 7-inch for “Endless, Nameless” with B-sides “Even In His Youth” and “Aneurysm,” and a 40-page hardcover book with unreleased photos.
Box set with hardcover book containing both LPs on clear red vinyl, poster, and two bonus 7"s. Father John Misty returns with Chloë and The Next 20th Century, his fifth album and first new material since the release of God's Favorite Customer in 2018. Chloë and the Next 20th Century was written and recorded August through December 2020 and features arrangements by Drew Erickson. The album sees Father John Misty - aka Josh Tillman - and producer/multi-instrumentalist Jonathan Wilson resume their longtime collaboration, with Dave Cerminara returning as engineer and mixer. Basic tracks were recorded at Wilson's Five Star Studios with strings, brass and woodwinds recorded at United Recordings in a session featuring Dan Higgins and Wayne Bergeron, among others. Chloë and The Next 20th Century features the singles "Funny Girl," "Q4," "Goodbye Mr. Blue," and "Kiss Me (I Loved You)."
Coleman shook the jazz world when he arrived at the Five Spot CafĂ© in New York City in 1959 and began his run of seminal albums on Atlantic that laid the foundation for the free jazz movement to come. After a period of disillusionment during which he withdrew from public music making, Coleman re-emerged on Blue Note in 1966 and began writing an intriguing new chapter of his legendary career.
"I have been an Ornette Coleman fanatic going back to the late-60s, in fact going back to the time the records in this set were originally recorded for Blue Note," says Harley. "Turns out Don Was is as big an Ornette fan as me, so it was only a matter of time before we put our heads together to plan this boxset. I love those early records Ornette did for Atlantic. who doesn't? But I feel that Ornette's later recordings for Blue Note are every bit as vital and important to gain a more complete understanding
"It is true that the most shattering of his wails could wake the proverbial dead," writes Conrad in his essay. "But something happened to Coleman's tone while he was woodshedding those two years. In the Golden Circle it is still penetrating but more pure. His cries are even more vocal, more human. His control of microtones provides new resources of expression. He can now make the same note sound ecstatic or despairing or anywhere in between, through microtonal nuance."
At The `Golden Circle' Stockholm, Vol. 1 (1965)
At The `Golden Circle' Stockholm, Vol. 2 (1965)
In late 1965, Coleman embarked on his first tour of Europe with a new trio featuring David Izenzon on bass and Charles Moffett on drums. Two nights of the trio's two-week engagement at the Golden Circle (Gyllene Cirkeln) in Stockholm, Sweden were recorded and released across two volumes the following year. The freewheeling live sets were electrifying and found the saxophonist jumping off into sound explorations on the violin and trumpet as well.
The Empty Foxhole (1966)
Coleman's first studio recording for Blue Note was his first studio album in four years and he once again confounded expectations by selecting his 10-year-old son Denardo Coleman to play drums on the date alongside bassist Charlie Haden. The music is raw and exploratory with solemn ruminations and bursts of unbridled joy. The striking album cover features a painting by Ornette himself.
New And Old Gospel (1967)
Coleman's next appearance on a Blue Note album came in a rare sideman role on this explosive session led by alto saxophonist Jackie McLean. McLean had already waded into the avant-garde on prior Blue Note dates like One Step Beyond and Destination. Out!, but he went even deeper here with Coleman featured entirely on trumpet along with LaMont Johnson on piano, Scott Holt on bass, and Billy Higgins on drums. Following an extended suite by McLean on Side 1, the second half of the program featured two Coleman c
New York Is Now! (1968)
Love Call (1968)
On April 29 and May 7, 1968, Coleman brought a dynamic quartet with tenor saxophonist Dewey Redman, bassist Jimmy Garrison, and drummer Elvin Jones into the studio to record what would yield his final two albums for Blue Note. The alchemy of this group, which combined Coleman's first-time two-saxophone pairing with a rhythm team deeply associated with John Coltrane, produced thrilling results.
BLUE NOTE RECORDS - ROUND TRIP - THE COMPLETE ORNETTE COLEMAN
Comfort To Me is the second album from Amyl and The Sniffers, somehow both heavier and more awesome than their debut. MOJO Magazine raved: "Skin-shedding, lethal, self-sufficient, cool: no wonder Amy Taylor digs snakes. With Comfort To Me, she proves she can be whoever she wants, while the Sniffers confound preconceptions of how great a rude and righteous rock’n’roll band can still be." This expanded edition features a bonus LP recorded live on a dock in Melbourne. Pressed on clear smoke vinyl.
Originally released in May 1982, ‘Combat Rock’ is the final album from The Clash of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon. Featuring two of the band’s most well-known songs, ‘Should I Stay Or Should I Go’ and ‘Rock The Casbah’. Now re-released as a 180g 3LP special edition, with an additional 12-tracks compiled by The Clash.
Having returned to London following their pivotal 17-show residency at New York’s Bond’s Casino in 1981, the band rehearsed and recorded at The People’s Hall in the squatted Republic of Frestonia near Latimer Road in London and from there they embarked on a tour of the East and South East Asia, during which the album sleeve image was captured by Pennie Smith in Thailand.
The tracks on ‘The People’s Hall’ chart the period from what was their last single Radio Clash right up to the release of Combat Rock, including unheard, rare and early versions of tracks.
Also includes rare Pennie Smith images + history of Frestonia essay by Tom Vague.
Harry’s House is the third solo studio album from Grammy award-winning global superstar Harry Styles. The 13-track full-length album was recorded in multiple locations across the UK, Los Angeles and Tokyo from 2020 to 2021. It was written by Harry alongside frequent collaborators Kid Harpoon, Tyler Johnson, and Mitch Rowland.
Vinyl: $34.98 Buy