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.

Iconic singer Mavis Staples is an alchemist of American music, and during her 70+ year career one of her most beloved musical moments was her riveting performance in Martin Scorsese's film' The Last Waltz,' performing "The Weight", with The Band, a moment that forged a life-long friendship between her and Levon Helm. Staples came to Woodstock, NY to perform as part of Helm's renowned Midnight Ramble series, and the ensuing concert-available now for the first time on the rousing new ANTI- Records release 'Carry Me Home'-would mark a personal high watermark for both artists. Captured live in the summer of 2011, 'Carry Me Home' showcases two of the past century's most iconic voices coming together in love and joy, tracing their shared roots and celebrating the enduring power of faith and music. The setlist was righteous that night, mixing vintage gospel and soul with timeless folk and blues, and the performances were loose and playful, fueled by an ecstatic atmosphere that was equal parts family reunion and tent revival. Read between the lines, though, and there's an even more poignant story at play here. Neither Staples nor Helm knew that this would be their last performance together-the collection marks one of Helm's final recordings before his death-and listening back now, a little more than a decade later, tunes like "This May Be The Last Time" and "Farther Along" take on new, bittersweet meaning. The result is an album that's at once a time capsule and a memorial, a blissful homecoming and a fond farewell, a once-in-a-lifetime concert-and friendship-preserved for the ages. Staples and the night's soulful crew of backup singers handle the vast majority of the vocal work here, but it's perhaps album closer "The Weight," which features Helm chiming in with lead vocals for the first time, that stands as the concert's most emotional moment."It never crossed my mind that it might be the last time we'd see each other," says Staples. "He was so full of life and so happy that week. He was the same old Levon I'd always known, just a beautiful spirit inside and out." "My dad built The Midnight Rambles to restore his spirit, his voice, and his livelihood," says Helm's daughter, Amy, who sang backup vocals with her father and Staples at their performance. "He'd risen back up from all that had laid him down, and to have Mavis come sing and sanctify that stage was the ultimate triumph for him."

Van Morrison's 43rd studio album, What's It Gonna Take? (Exile Productions/Virgin) features 14 new compositions that collectively reflect his indefatigable drive to record and perform live in front of audiences. The album was produced by Morrison and is preceded by the single "Pretending," a gorgeous, restless, soul song.

AM Gold is the new album from multi-GRAMMY Award-winning band TRAIN. This will be the group’s first release of all-new original music in five years, and is their 11^th studio album.

“Writing songs is hard. Not compared to so many things I suppose, but it’s difficult to create something that you love and then other people love as well. Writing songs for two and a half years in front of video screens instead of being in the presence of other humans has been a long, strange trip. And now here we are,” frontman Pat Monahan shares. “It has to start with love. Love that goes into work comes out of work. We this album and our fans. Thank you for waiting so long for us. I think it was worth it. AM Gold! Here we go!“

Jo Schornikow’s new album ALTAR is the perfect counterweight to 2019’s Secret Weapon. While that album was bare and scrappy bedroom folk, this new album is a joyful announcement of synthy indie-pop.

From Melbourne, Australia, Jo’s first job at 17 was as a church organist, a job she’s picked up again now in Nashville, where she lives with her husband Matthew Houck of Phosphorescent and their two children. She’s played keyboard in that band for over 8 years now, touring heavily all over the world as a full band, and ducking into BBC to record a duo session on their grand piano.

Rolling Stone called her last album “excellent,” Pitchfork calls her piano playing “sensitive” and “impressionistic,” and Gorilla vs. Bear describes her songwriting as “gorgeous and smouldering.” But the songs on ALTAR take all of that a step further. There are still those moments of quiet beauty, but they are exploded through with joy. There are windows-down, anthemic pop moments on “Visions” and “Lose Yr Love.”

Jo Schornikow is a songwriter flexing her craft and sharing songs that have a special charm that allow them to somehow feel honest, open, intimate and funny at the same time.

Floating On A Dream is the full length solo debut from Avi Kaplan. Produced by GRAMMY Award-winner Shooter Jennings (Brandi Carlile, Tanya Tucker, American Aquarium), the album’s steadfast musical foundation showcases Avi’s signature baritone vocals. Includes feature guest Joy Williams on the track “All Is Well,” which Avi co-wrote with Joy.

Frankie and the Witch Fingers simulated reality prototype! The band's live LEVITATION session finally has a proper vinyl release! Isolated in the heart of Joshua Tree, California, The Witch Fingers recorded these sessions during 2020, the great shutdown of Earth. Plug it into your brain and experience a deep-fried, multi-colored, sensory invasion featuring nine jams off their latest LPs MEPEM & ZAM. A psychedelic rock meltdown in the 4th dimension!

When Porridge Radio’s Dana Margolin, one of the most vital new voices in rock, began to consider the themes of her new album, three vivid words began to emerge: joy, fear and endlessness. The artwork of the band’s third full-length, Waterslide, Diving Board, Ladder To The Sky, is a surreal image that evokes the ducks and dives, slippery slopes and existential angst of life in recent times. “To me, the feelings of joy, fear and endlesses coexist together,” says Dana. “You’re never just happy or unhappy.”

Following Every Bad’s release in 2020, Margolin was quickly becoming regarded as one of the most magnetic band leaders around. But if Every Bad established Dana’s bravery in laying herself bare, her band’s third record takes that to anthemic new heights. While there are moments of guttural release, she also finds soft power on songs. “I used to think I had to be loud to be heard,” she admits, “but now I’m definitely less afraid of being gentle.”

The band’s first new single, ‘Back To The Radio’, sets out their stall, a lurching call to arms that contrasts Dana’s lyrics of panic and closing herself off. This song is just one of example in WDBLTTS that explores something that has long been an important part of Porridge Radio’s process: playfulness. “I think the album needed to have that balance,” Dana explains.

Balance: that’s the word the album seems to be eternally striving for – joy, fear and endlessness in harmony but also self-acceptance. Dana is more aware of how she’s creating a persona as her star continues to rise, and how she’s singing personal songs that now belong to other people which gives her purpose. She says, “I wrote these songs for myself, but I think everyone wants to feel like what they’re doing is useful in some way. I’m ready to embrace it all now, whatever happens.

Face The River is the new album from singer-songwriter Gavin DeGraw. The album is an emotional journey that reflects recent personal losses that Gavin has suffered. Face The River was produced by Dave Cobb (Chris Stapleton, Brandi Carlile, Sturgill Simpson) in Nashville, and this collection of songs is easily the most personal work Gavin has ever created.

In May of 1957, Art Blakey and his Jazz Messengers went into the studio with Thelonious Monk to record a one-off album for Atlantic. The Jazz Messengers were a loose collective of young Jazz musicians, with a constantly rotating lineup to keep the music fresh and help launch new careers. In this iteration we find Art Blakey on drums, Thelonious Monk on piano, Johnny Griffin on tenor saxophone, Bill Hardman on trumpet and Spanky DeBrest on bass. -Blakey had recorded with Monk on various occasions, but this was the first time Monk sat in with the Jazz Messengers. This also marks Thelonious Monk’s only appearance on Atlantic Records. The result is a true meeting of the minds, a beautiful union of Monk’s melodies with Blakey’s unshakable sense of swing. This 65thAnniversary deluxe edition includes an extra disc ofunreleased outtakes, celebrating the most sensational jazz collaboration of the 1950s.

Released in 1961, My Favorite Things made John Coltrane a star with box-office pull previously reserved for the likes of Dave Brubeck and Miles Davis. The dazzling quartet treatment of the Richard Rodgers hit song features Coltrane on soprano saxophone for the first time on record and became an instant hit single in its own right. The album also became a major commercial success, receiving the Grammy Hall of Fame award in 1998 and attaining gold record status in 2018. The recently uncovered mono version of this album—once believed to be lost forever—is included in this deluxe package along with the stereo version, both having been mastered from the original tapes. This 60th Anniversary deluxe edition also includes liner notes by award-winning writer Ben Ratliff, as well as photos and Atlantic Records ephemera.

Pusha T returns with his highly-anticipated fourth studio album, It’s Almost Dry. Picking up where his GRAMMY-nominated, #1 rap album Daytona left off, Pusha stays true to his roots with his signature snarl, razor-sharp lyrics, and menacing beats. Produced entirely by Pharrell Williams and Kanye West, It’s Almost Dry features an all-star cast including Jay-Z, Ye, Pharrell, Kid Cudi, Lil Uzi, and more. The 'Rap Album Of The Year’ has arrived!

Coming fresh off his 3 year residency as lead guitarist in Frank Zappa’s band, Vai spent the majority of 1983 in the studio. These recordings resulted in the 1984 release of Flex-Able which introduced Vai to the world as a solo artist. The standout instrumental track, “The Attitude Song”, was featured in the October 1984 issue of Guitar Player magazine as the first sound sheet Flexi Disc and quickly established Vai as a bonafide and powerful innovator of guitar pyrotechnics. Flex-Able has served as an integral part of Vai’s career that paved the way for him to join Alcatrazz, David Lee Roth’s band, Whitesnake, and his follow up, platinum tour-de-force, second album Passion & Warfare. No expense or process was spared in the refurbishing and re-release packaging for Flex Able. It was remastered in 2020 by Bernie Grundman using the original ¼” analog master tapes.

Controlled By Hatred/Feel Like Shit…Deja-vu is where Suicidal Tendencies put down the Pepsi, got possessed to skate and cranked up the tempo into thrash’s proverbial red. By 1989, guitarist Mike Clark had jumped to ST from fellow Venice wrecking crew, No Mercy (who Suicidal covers on four of this record’s tracks) and upped the ante as Mike Muir’s loved-n-feared mob gave the likes of Anthrax, Slayer or Megadeth a run for their collective monies. This is Suicidal Tendencies at their fastest and deadliest.

Born into a musical family, as a child Charlie Hickey would obsessively watch videos of his parents on tour in their old band Uma, learning all the lyrics that he loved but didn’t understand. This introduction to music sowed a seed, and Hickey was soon writing songs of his own, playing on the guitars that lay around him and singing about the little details of his school days. He continued throughout his teen years, his songs becoming an outlet for the growing anxieties that Hickey now understands to be Obsessive Compulsive Disorder.

 

This journey has led to Nervous At Night, Hickey’s debut album which releases in the early Summer of 2022 via Phoebe Bridgers’ Saddest Factory Records. Where 2021’s Count The Stairs EP was an attempt to capture the rawness of his performance, Nervous At Night comes alive within its production, Hickey and producer Marshall Vore leaning into their perfectionist tendencies to find the best version of each track. “He’s always interested in how you can push things further but also reigns them in when necessary,” Hickey says. “I think that’s the true hallmark of a good producer.”

Hickey calls it a pop record but admits that sonically it moves in many directions, an amalgamation of his love for the folk singers of yesteryear and more contemporary peers, from Taylor Swift and The 1975 to the Californian songwriter and producer Blake Mills. This shifting of styles – from the album’s quiet heavy-hearted ballads to its more gleaming, hook-led tracks - mirrors its overarching theme: life’s graceless passage between teenage years and adulthood.

And so we have ‘Planet With Water’, a plaintive love song that bristles with nostalgia, Hickey singing of phone calls after school, of hearing a neighbor’s TV through the wall. Elsewhere‘Mid Air’ holds a similar weight, Hickey singing of “spinning in mid-air, waiting for some where to land, or some face to show up” as the song flourishes around his voice, delicately accompanied by guest turns from fellow LA musicians Harrison Whitford, Christian LeeHutson and Mason Stoops.

Nervous At Night comes alive in its juxtapositions, chronicling the constant push and pull of life, both its stagnancy and motion. Chiefly though, this is an album about connection, how even through those struggles we rely on the people around us to keep moving forwards.“I’d like to write songs that are for everyone, that let people into my inner world while also hopefully making people feel less alone on their own. I hope that these songs can be therefor somebody the way my favorite songs have been for me.”

Following the release Reprise - a collection of acoustic and orchestral arrangements of tracks from his 30-year career - influential EDM pioneer Moby continues to explore the terrain where electronic and acoustic sounds meet. Moby and other leading artists including Bambounou, Biscits, MaxCooper, Efdemin, Anfisa Letyago, Mathame, Planningtorock and Topic to Felsmann + Tiley, Peter Gregson and Christian Loffler have now reimagined some of these recordings for Reprise - Remixes.

The RED GREEN BLUE album will be released via 3CG Records on May 1320 The new Red Green Blue album brings together the band's three unique creative voices like never before with a third of the album written and produced by each brother (Taylor's Red, Isaac's Green and Zac's Blue). The project brings together a team of collaborators, with the album co-produced by Grammy Award-winning Producer, Engineer and Mixer Jim Scott (Tom Petty, Red Hot Chili Peppers, Wilco), and Grammy Award-winning Artist and Producer David Garza (Fiona Apple, Midland, Sharon Van Etten).

Beginning in June in Europe, the RED GREEN BLUE WORLD TOUR will bring HANSON to the US and Canada from July-September, Latin America in September and Australia & New Zealand in November. The band's first major tour since their String Theory album & tour in 2018/2019, fans will be in store for a tour which not only features the premiere of 15 songs from the new project but will also be the first tour to include live performances of 2020's Against The World as well as career spanning set lists of fan favorites.

Fresh off of the release of Against The World, featuring seven songs released consecutively each month, the prolific band of brothers are reinforcing their deep musicality and credibility as writers, performers and producers with the new project. Leading up to May's full album release of RED GREEN BLUE, fans will get a taste of the trifecta of sound, with a single featuring each of the brothers. Coming February 11 Taylor's earnest and dynamic "Child At Heart", March 11 will see the release of Isaac's organic and heartwarming "Write You A Song" and April 15 will feature the rock infused pop of Zac's "Don't Let Me Down".

HANSON / RED GREEN BLUE

Punk rock pioneer with X, songwriter, poet, actor, solo artist, published author...folk musician. With Fables in a Foreign Land, the debut release from The John Doe Folk Trio, his tales are now set in the pre-Industrial Era. And though many of the 13 songs were written over the last three years, the sound was born in loose weekly backyard jams on Kevin Smith’s (Willie Nelson and Family) patio. “I guess ‘Fables in a Foreign Land’ is my version of folk music. It started by being sick of musicians that play too much and having to orchestrate or arrange songs. ‘What if it was just less?’ Everyone says less is more, but you have to figure out for yourself what that means. I didn’t do a deep dive into folk music and concern myself with what was ‘traditional,’ it was just an outgrowth of trying to strip the songs down to the basics.” Singles include contributions from outsider country polymath Terry Allen on “Never Coming Back,” Los Lobos’ Louie Perez on “El Romance-O,” and fellow X bandmate Exene Cervenka and Shirley Manson (Garbage) on “Destroying Angels.”

Away From You is the debut album from Serbian guitarist and composer Jovan Milovanovic. The nine compositions weave catchy melodies which are playful but often with a tinge of melancholy through the peaks and valleys of extended solos while keeping groove at the center of each piece. The result is a tapestry of styles and influences tastefully blended into a complex and engaging whole filled with good vibes and a contagious positive energy.

Legendary New Zealand band The Verlaines are proud to release Live at the Windsor Castle, Auckland May 1986.

Packaged in a beautiful gatefold jacket, the artwork is a replication of the vintage gig poster. Sky Blue vinyl, complete with download code and liner notes from singer Graeme Downes: “This album may end up the hands of people who weren't even born when these performances took place, so, let me tell you what it was like. The Verlaines. at the time, were Graeme Downes, Jane Dodd and Robbie Yeats. We lived in Dunedin at the near-bottom of the South Island of New Zealand. We were at University. These gigs were recorded to try to capture a live version of Slow Sad Love Song for the upcoming Birddog album that we recorded later that year.

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.

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 replica of the original 12-track cassette compiled by The Clash.

Norah Jones’ seminal debut album, Come Away With Me, became a global phenomenon reaching #1 in 20 countries, selling nearly 30 million copies, and sweeping the 2003 GRAMMY Awards with 8 wins including Album of the Year, Record of the Year, Song of the Year, and Best New Artist. The remastered 20th Anniversary Edition captures the emergence of a singular talent on this now-classic album.

If you're looking for a raw, sugary blast of distorted pop, look no further than Weird Nightmare. The debut album from METZ guitarist and vocalist Alex Edkins contains all of his main band's bite with an unexpected, yet totally satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously hissy miniature epics of classic-era Guided by Voices combined with the bombast of Copper Blue- era Sugar-just tons of red-line distortion cut with the type of tunecraft that thrills the moment it hits your ears. These ten songs showcase a new side of Edkins' already-established songwriting, but even though the bulk of Weird Nightmare was recorded during the COVID-19 pandemic some of it's tunes date back to 2013 in demo form. "Hooks and melody have always been a big part of my writing, but they really became the main focus this time" he explains. "It was about doing what felt natural." To be clear: Weird Nightmare is not a "pandemic album," but an album-some of which had been gestating for quite a while-that just so happened to be recorded during the pandemic. "I had always planned on finishing these songs, but being unable to tour with METZ, and forced to lock down, really gave me a push." After days spent homeschooling his son, Edkins would drive to the METZ rehearsal room and tinker deep into the night on these songs' deceptively simple structures and rich, static-laden textures. "It was a godsend for me," he states about the creative process. "The hours would disappear and I would get lost in the music and record. It was a beautiful escape."Weird Nightmare is, in it's own way, a study in extremes: Edkins' melodic instincts and penchant for dissonance are both turned up to the max throughout, the latter reflecting not only the barn-burning tendencies of METZ, but Alex's own sonic predilections. "It doesn't sound right to my ears until it's pushed over the edge." He also cites other artists who are masterful at mixing the sublime and the punishing-Kim Deal and Scout Niblett among them-as influences on his own songwriting. "My favorite songs are the simple ones," he explains. "I've never been attracted to virtuosity or technicality. Certain songs have the power to lift your spirits like nothing else can. I wanted to create that type of song." A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad VanGaalen adds his unmistakable touch to the ever-escalating "Oh No," while Alicia Bognanno of Bully lends her distinctive pipes to the thrashing "Wrecked," a collaboration that effectively saved the song. "I almost didn't put it on the album because I thought it was missing something," Edkins explains. "I sent it to Alicia and she lifted it way up." And taking risks and reaching out of Edkins' comfort zone was the name of the game when it came to making Weird Nightmare. "I found myself doing new things I didn't have the guts to do before, recording everything by myself and trusting all of my musical instincts," he states. "I think when music manifests quickly, a certain amount of honesty automatically comes along with it. When it is a purely instinctual creation, there is no opportunity to obscure the truth."

The roar of Los Tigres Del Norte continues to echo through the success of their La Reunión EP with an expanded Deluxe Edition featuring the hits “¿En Dónde Estabas?,” “La Reunión,” “Pa' Los Plebes Y Mis Compas,” and 6 extra tracks. Los Tigres Del Norte is one of the most influential Regional Mexican groups and remains one of Latin Music’s leading creative and socially outspoken voices. They continue to sell millions of albums and regularly top sales and airplay charts.

With If I never know you like this again, SOAK’s Bridie Monds-Watson (they/them) have shaken the hangover of their starry Mercury-nominated debut Before We Forgot How To Dream and their ambitious follow-up album Grim Town, and the pressures that came with them. Having written much of their new album when time felt at its slowest, Bridie, who has always had an obsessive need to document each chapter of their life, now makes a marvel of the mundane. On If I never…, SOAK’s brilliant melodies are on full display. Lead single “Last July” features a masterfully off-kilter vocal set against swooning guitars, creating a lush pop song that wouldn’t be out of place in the end credits of a 90s coming-of-age film. Lyrically, Bridie manages to be both playful and self-aware. The idea of identity is central to the record, and Bridie’s lyrics are as deeply personal as they are universal. “This record is the most accurate picture of me. I felt no pressure at all, it was almost like I was ranting as I was writing,” they explain. Bridie’s memories string together to create intimate vignettes of a life richly lived. Tapping into their specific experiences, the result is a record that is deeply relatable and sparkling, as it traverses the ups and downs of their journey to becoming a fully realized person.

The undisputed Heavy Metal Kings of the UK.After a dominant summer performing across the UK's biggest festivals, Malevolence has proven themselves worthy as the UK's undisputed Kings of Heavy Metal.In early 2020 came the highly anticipated EP release, 'The Other Side', introducing a brand-new side of Malevolence. Although only 3 tracks, each song showcases a depth and diversity that is uncommon in modern metal. Heart-wrenching ballads are blended perfectly with technical shredding & crushing breakdowns, effortlessly showcasing the band's talent as genuine songwriters. Despite the hard-fought success, Malevolence remains an autonomous crew. Operating from their Sheffield-based HQ, a previously derelict warehouse the band transformed themselves, Malevolence handles as much of their in-house operations as they possibly can. Including the formation and operation of Malevolence's own label, MLVLTD Music. It was through this label that the band self-released 'The Other Side' and although it was a first for the band, the release was a resounding success - racking up close to half a million streams on Spotify and Apple Music in it's first few weeks of release.Malevolence fans will know that their records come few and far between. Emerging onto the scene in 2013 with their debut album Reign of Suffering, which is currently climbing above 2.15 million streams on Spotify. Released as teenagers, the level of song crafting skill stands the test of time and remains a defining moment in the band's career. The next four years had Malevolence grinding their way through the European continent, gaining recognition as one of the hottest prospects in this new wave of international heavy metal. 2017's Self Supremacy saw the Sheffield quintet selling out club shows all over Europe, the USA, and even south-east Asia/Japan. This in turn has earned them a cult-like following of die-hard fans, who wear the Malevolence logo on their clothing like a medal of honour.Now waiting with a brand-new album and plans to tour amongst some of the biggest names in heavy music, Malevolence are poised to become the next legacy name in all of heavy music.

Live archive release. Zero was formed in the early 1980s by guitarist Steve Kimock and drummer Greg Anton after playing with Keith and Donna Godchaux's Heart Of Gold Band with Quicksliver Messenger Service's John Cipollina. Various San Francisco Bay and international artists including Nicky Hopkins (The Beatles, The Rolling Stones, The Who) Pete Sears (Jefferson Starship), Vince Welnick (The Tubes, Grateful Dead), John Kahn (Jerry Garcia Band), and more played with the band. It seemed inevitable considering the Zero family tree, that Rock and Roll Hall of Famer and Grateful Dead lyricist Robert Hunter added lyrics to their instrumentals, it was a magic ingredient and Zero took off. After nine albums and over 1,300 shows, Zero was more than a conglomerate of talented musicians, they were a San Francisco institution. Now Zero is releasing a live performance recorded at The Great American Music Hall in 1992. Naught Again is newly mixed by Emmy-nominated Brian Risner from the original multi-track tapes recorded by Dan Healy and Don Pearson (Grateful Dead). An evening from the past ushers in a new era for Zero. Naught Again is a music treasure trove, featuring originals, as well as covers from The Who, Jimi Hendrix, and so much more.

If KiCk i is a multidimensional self-portrait that held all of Arca's many mutations, KICK ii sees her deconstruct reggaeton rhythms she grew up listening to in Caracas, balancing structure and chaos to create her most accessible work yet, without sacrificing any of her uncompromising experimentation; the rising cycle. KicK iii sees her returning to the club nights that shaped her early adult-hood where Arca was born: the surrealist DJ, warping dance music structures to fit her singular vision-relentless rhythms to drive listeners into uncharted states of euphoria, anthems for the basement-dark queer clubs of our cyberpunk near-future; the climax of the cycle. With kick iiii, the cycle resolves, and a new species of xenopop emerges, sensual and serene. Arca's talents as a composer and sound designer take the lead on closing track "Paw," setting melodies to drift on deep, gentle waves of orchestral ambience, an oceanic bliss. On kiCK iiiii the ambient ecstasy transitions swiftly into lullaby-like compositions as we come to the conclusion of the KICK series; the renewal stage.

Limited translucent black smoke colored vinyl LP pressing. Includes digital download. Led by drummer Jose Medeles (Breeders, 1939 Ensemble, Revival Drum Shop), Railroad Cadences & Melancholic Anthems is a drummer's tribute to guitarist and DIY iconoclast John Fahey. Joined for a series of guitar and drum duets with M. Ward, experimental guitarist Marisa Anderson, and Chris Funk (Decemberists, Stephen Malkmus), it's a genuinely honorific project, featuring not Fahey compositions, but rather a series of improvised rendezvous inspired and informed by his looseness and rhythmic idiosyncrasies. Recording in the comfortable setting of Bocce Recording in Vancouver, WA, in 2020, these duets are playful and spiritually deep, presented with snapshot clarity Medeles likens to the recordings of Alan Lomax or Chris Strachwitz, 'who boldly captured field recording of Southern chain gangs and juke joint raconteurs decades ago. The result here is similar: pure and honest recordings.'

2022 release from the 18-year-old pianist, composer and bandleader. His sixth album, this is his first featuring all original material.

Gothenburg's finest export of darkness Evergrey enters an astonishing new chapter in the band's history with their thirteenth studio album and Napalm Records debut, A Heartless Portrait (The Orphean Testament). This overwhelming journey through progressive heaviness and searing emotionality is repeatedly accented by sonic melancholy and gripping lyrics - leaving the listener speechless and re-cementing the Swedish five-piece at the top of the scene without a shadow of a doubt! A Heartless Portrait (The Orphean Testament) impresses with flawless, meticulous production that deftly depicts both heartfelt honesty and scorching metallic intensity, while it's instrumental force of furious, technically driven riffs, skyrocketing solos and dramatic synths merges with the expert, brooding vocal performance of Englund - one of the most distinctive vocalists in metal. He skillfully balances harsh and heavy tones with an inarguably soulful approach, all topped by melancholic, thought-provoking lyricism that digs deeper with every spin, leaving a long-lasting impact.

Everything Everything are an English rock band from Manchester that formed in late 2007. The band has released five albums to date and are twice Mercury Prize nominated, 5 time Ivor Novello nominated and critically acclaimed. As they start gearing up for the release of their sixth studio album, the band is entering a new phase of electronic exploration that pushes the ribbon on melody & rhythm. Writing with a musical and lyrical intelligence absent in much other modern music, Everything Everything are a wholly unique proposition. To date the band has accumulated over 42 Million US Streams and over 33 Million video views