Widow's Weeds, produced by Butch Vig, is the fifth studio album from Silversun Pickups.

Since the late '80s, Mudhoney – the Seattle-based foursome whose muck-crusted version of rock, shot through with caustic wit and battened down by a ferocious low end – has been a high-pH tonic against the ludicrous and the insipid. Thirty years later, the world is experiencing a particularly high-water moment for both those ideals. But just in time, vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters are back with Digital Garbage, a barbed-wire-trimmed collection of sonic brickbats. Arm's raw yawp and his bandmates' long-honed chemistry make Digital Garbage an ideal release valve for the 2018 pressure cooker. "My sense of humor is dark, and these are dark times," says Arm. "I suppose it’s only getting darker." Digital Garbage opens with the swaggering "Nerve Attack," which can be heard as a nod both to modern-life anxiety and the ever-increasing threat of warfare. The album's title comes from the outro of "Kill Yourself Live," which segues from a revved-up Arm organ solo into a bleak look at the way notoriety goes viral. Arm says: "people really seem to find validation in the likes—and then there's Facebook Live, where people have streamed torture and murder, or, in the case of Philando Castile, getting murdered by a cop. In the course of writing that song, I thought about how, once you put something out there online, you can’t wipe it away. It’s always going to be there—even if no one digs it up, it’s still out there floating somewhere." Appropriately enough, bits of recent news events float through the record: “Please Mr. Gunman," on which Arm bellows "We'd rather die in church!" over his bandmates' careening charge, was inspired by a TV-news bubblehead's response to a 2017 church shooting, while the ominous refrain that opens the submerged-blues of "Next Mass Extinction" calls back to last summer's clashes in Charlottesville. Mudhoney's core sound—steadily pounding drums, swamp-thing bass, squalling guitar wobble, Arm's hazardous-chemical voice—remains on Digital Garbage, which the band recorded with longtime collaborator (and Digital Garbage pianist) Johnny Sangster at the Seattle studio Litho. The anti-religiosity shimmy "21st Century Pharisees" builds its case with Maddison's woozy synths, which Arm says “add a really nice touch to the proceedings.” Digital Garbage closes with "Oh Yeah," a brief celebration of skateboarding, surfing, biking, and the joy provided by these escape valves. "I would’ve really just loved to write songs about just hanging out on the beach, and going on a nice vacation," says Arm. "But, you know, that probably doesn’t make for great rock." Mudhoney, however, know what does make great rock—and the riffs and fury of Digital Garbage will stand the test of time, even if the particulars fade away. "I've tried to keep things somewhat universal, so that this album doesn’t just seem like of this time—hopefully some of this stuff will go away," Arm laughs. "You don’t want to say in the future, 'Hey, those lyrics are still relevant. Great!'”

“How does brokenness walk? Or move through the world?” says guitarist/vocalist Carrie Brownstein about The Center Won’t Hold, Sleater-Kinney’s tenth studio album. “We’re always mixing the personal and the political but on this record, despite obviously thinking so much about politics, we were really thinking about the person – ourselves or versions of ourselves or iterations of depression or loneliness – in the middle of the chaos.” The Center Won’t Hold is Sleater-Kinney’s midnight record on the doomsday clock. After twenty-five years of legendary collaboration, rock’n’roll giants Brownstein, Corin Tucker, and Janet Weiss rise to meet the moment by digging deeper and sounding bigger than we’ve heard them yet. Here are intimate battle cries. Here are shattered songs for the shattered survivors. The Center Won’t Hold drops you into the world of catastrophe that touches on the election,” says guitarist/vocalist Tucker of the title track. “We’re not taking it easy on the audience. That song is meant to be really heavy and dark. And almost like a mission statement, at the end of that song, it’s like we’re finding our way out of that space by becoming a rock band. 

Exclusively remastered double LP 180 gram audiophile pressing.

Pearl Jam + Alice In Chains + Screaming Trees = MAD SEASON

The lone album from the iconic Seattle supergroup. Includes three brand new tracks featuring Mark Lanegan.

Originally released in 1995.

Vinyl LP repressing. BLIND MELON was the eponymous debut album by acclaimed rock band Blind Melon, released in 1992, featuring breakthrough single 'No Rain'. Fronted by singer Shannon Hoon (who can be heard doing backing vocals on Guns N Roses' Use Your Illusion I and II) Blind Melon had a distinctive sound, influenced by Southern Rock and Psychedelic Rock. Songs like 'Soak the Sin' and 'Tones of Home' evoke Hard Rock with a funky sound; 'Time' resembles Grateful Dead-style improvisational music and acoustic songs like 'Change' and 'No Rain' hinted at Pop and Folk influences. The band recorded the bulk of the album with producer Rick Parashar (who had produced Pearl Jam's 'Ten') at London Bridge Studio in Seattle, Washington. Blind Melon's production is marked by the use of outdated amplifiers and other antiquated studio technology. Modern studio effects were not used in it's production as the band wanted to create a pure and intimate sounding record.

A picture disc version of the new solo album from Oasis' Liam Gallagher. 

“Shockwave”, “One of Us”, “Once”, “Now That I’ve Found You”, “Halo”, “Why Me? Why Not.”, “Be Still”, “Alright Now”, “Meadow”, “The River”, “Gone”

NINE is the new album from Grammy nominated California rock heavyweights, blink-182. The album features soon to be classics “Darkside,” “Happy Days,” “Generational Divide,” “Blame It On My Youth,” and others.

blink-182 is Mark Hoppus (vocals/bass), Travis Barker (drums) and Matt Skiba (vocals/guitar). Since their humble beginnings in 1992 in San Diego, blink-182 have sold over fifty million albums worldwide and rocked audiences around the globe, becoming one of the defining and inspirational rock bands of their generation.

The new album from Jane's Addiction's Perry Farrell, vinyl includes a digital download card of the Dolby ATMOS Mix of the album.

Vinyl reissue of Lit's smash album, A Place In The Sun, pressed on White Vinyl! The album features the hits "Miserable," "Zip-Lock" and the multi-platinum "My Own Worst Enemy."

2LP – Double Vinyl w/ 3-sides audio and 1-side etched; includes 32-page booklet

Pearl Jam will release their much-anticipated eleventh studio album, Gigaton, on March 27th. It marks the band's first studio album since 2013. "Making this record was a long journey," explains Mike McCready. "It was emotionally dark and confusing at times, but also an exciting and experimental road map to musical redemption." 2020 officially marks 30 years of Pearl Jam performing live, with over 85 million albums sold worldwide and a 2017 induction into the Rock and Roll Hall of Fame.

Enhanced with PlayARt - Augmented Reality

Limited 180gm audiophile vinyl LP pressing including insert. Shangri-La Dee Da was the fifth studio album by American Hard Rock band Stone Temple Pilots. It was produced by Brendan O'Brien and released in 2001. The album was certified Gold. While recording the album, the band also worked on a documentary and coffee table book. Neither was released, however, and limited footage was made available through the band's official website in the form of live performance-based music videos. The album's most successful song 'Days of the Week' was only being performed at a handful of dates on the supporting tour for the album. However, the album's second single 'Hollywood Bitch' has become a staple of the band's live set ever since their 2008 reunion.