50% off vinyl, Instock at Pure Pop 3/31/20
heavyweight black vinyl 12” LP in spined sleeve, with printed inner bag and download card.
The sixth full-length studio release for the Damon Albarn's animated band features guest appearances from George Benson, Jamie Principle and Snoop Dogg.
LP will be packaged Die-cut jacket with 2 triangle flaps will have 1 pocket to hold insert. 21 minute Instrumental song, Play , featuring Dave Grohl playing all instruments Other Specifications: Project Update: Recorded at East/West Studios in LA (Concrete and Gold studio) Audio recorded by Darrell Thorp (Concrete and Gold) Project came together to help promote music education in schools
Gov’t Mule brings you a Record Store Day exclusive 12” vinyl single that features two previously unreleased tracks pulled from the critically acclaimed Revolution Come…Revolution Go recordings sessions. One that Guitar Player magazine calls “…nothing short of extraordinary.
Girl With No Self-Esteem / Bed Of Lies
With their powerful harmonies and imaginative songwriting in full force, Girlpool are making new creative leaps with their new album, What Chaos Is Imaginary. Combining elements of shoegaze, folk, and 80’s postpunk with their own melodic gifts, these two great songwriters come up with a modern classic full of great tunes and sonic surprises. Impressive growth for this already celebrated band.
Five-time Grammy Award-winning Rock and Roll Hall of Fame inductees Green Day unleash their brand new single “Father Of All…,” which is the lead track on their forthcoming thirteenth studio album of the same name, out February 7, 2020 on Reprise / Warner Records. Formed in 1986 in Berkeley, CA, Green Day is one of the world’s best-selling bands of all time, with more than 70 million records sold worldwide and 10 billion cumulative audio/visual streams. Their 1994 breakout album Dookie, which sold over 10 million and achieved diamond status, is widely credited with popularizing and reviving mainstream interest in punk rock, catapulting a career-long run of #1 hit singles. Entertainment Weekly calls Green Day, “The most influential band of their generation,” while Rolling Stone attests, “Green Day have inspired more young bands to start than any act this side of KISS, and that doesn't seem to be changing.” In 2004, Green Day released the rock opera American Idiot which captured the nation’s attention, selling more than 7 million copies in the U.S. alone and taking home the coveted Grammy Award for Rock Album of the Year. Mojo declared “It's exhilarating stuff, the kind of record that sets new parameters as to what is possible from a punk rock'n'roll band in the 21st century.” In 2010, a stage adaptation of American Idiot debuted on Broadway to critical and commercial acclaim.
By the time the world hears the performances from these two shows, Gov’t Mule will have celebrated 25 years as a band, which is something they never could have imagined. It’s no easy task keeping a band together for 25 years. You don’t get to do that without having built, nurtured, depended on, and tested important relationships. In fact, with any band that’s stayed around that long, it’s all about relationships. When the band decided to document where they are currently (musically speaking), it was immediately clear that, amongst other things, this release should be a celebration of those relationships. Available June 28th via Provogue Records, Bring On The Music: Live At The Capitol Theatre is a commemoration curated with the audience experience at the forefront. “Without our audience, there would be no chance or reason for us to be around 25 years later,” says founding member and lead guitarist Warren Haynes. “They’ve stuck with us from the beginning, and this is our way of including them in the celebration of our 25 years together.”
Following Guided By Voice's sprawling double-album Zeppelin Over China, Robert Pollard has written and recorded another full-length in record-breaking time. It's Warp And Woof, exuberantly barreling through twenty-four songs in just thirty-seven minutes with a brevity similar to mid-90s GBV albums Alien Lanes and Vampire On Titus. GBV kicked this one out in a flash, recorded in studios, club soundchecks, hotel rooms and even in the tour van. After completing Zeppelin, Pollard felt the itch to record a few EPs. Just as GBV had done back in 1994, he would use them to channel his everflowing ideas to an outlet. But when a magical boombox writing session produced six fully formed songs in under half an hour, Pollard realized he had an album on his hands. What to do?With a band so formidable they've been dubbed the Golden Age of GBV, they completed much of the recording on the road. The 2018 Space Gun Tour provided impromptu recording venues. Pollard recorded vocals in hotel rooms, complimentary condominiums, and small studios. Doug Gillard cut guitar tracks for "End It With Light" through his Mesa Boogie rig at the soundcheck at the Ottobar in Baltimore. Bobby Bare Jr. Recorded his spacey main rhythm guitars for album closer, "Time Remains in Central Position" at the same show, but in the backstage green room. Kevin March added drum tracks in a studio in his hometown Montclair, New Jersey. Gillard played guitar on "Bury the Mouse" in a van hurtling at 60-plus m.p.h., and Mark Shue laid bass on "Angelic Weirdness" as he balanced on the speeding van's bench seat.
Ethan Gruska’s sophomore album, En Garde, produced by Ethan Gruska and Tony Berg, will be released on January 24th. 2020 on Warner Records. The album features Phoebe Bridgers, Lianne La Havas & Moses Sumney.
Ethan is a highly respected and in-demand producer and co-writer. His current production credits include Phoebe Bridgers and Matt Berninger, as well as upcoming releases from Manchester Orchestra and Fiona Apple.
Recent co-writes include Amy Allen, Terrell Hines, Adam Melchor, John Robert, SWMRS and Wallows.
Vinyl LP pressing. 2020 release from the Los Angeles-based garage/indie rock band. Natural Affair features lyrics centered around social commentary, rhymes, and ruminations on the pleasures and perils of modern love. Led by singer Brooks Nielsen and music director/guitarist Matt Taylor, The Growlers self-produced the album with a backing band comprised of longtime Growlers touring members Brad Bowers on bass and Richard Gowen on drums as well as Circles Around The Sun's Adam MacDougall (keys, synth) and Dan Horne (bass).
Single LP, transparent blue vinyl, packaged in a transparent sleeve containing 5 mylar transparencies with design elements and 5 board inserts each featuring a member of the band.
Grouplove kicked off 2020 with their anarchistic, high-energy new single “Deleter,” and show no signs of slowing down in the lead-up to their fourth studio album HEALER – out March 13th via Canvasback/Atlantic Records. The Los Angeles based five-piece has spent the past two years writing and recording their most visceral and cathartic songs to date, all while experiencing and bearing witness to a great deal of change, trauma, and growth. From recording in El Paso within eyeshot of the border during the height of the family separation crisis, to brain surgery for frontwoman Hannah Hooper, to immersing themselves in new creative spaces with producers Dave Sitek and Malay – their new album represents a re-birth and a full-circle return to their initial idealism.
The Way Forth, a new folk opera from Rachel Grimes, encompasses lush layers of voices and orchestrations in an experiential, non-linear investigation highlighting perspectives of Kentucky women from 1775 to today. Inspired by a treasure-trove of family documents, photos, and letters spanning several generations, Grimes began in 2016 to research some of the more vexing questions that came to the surface about these people, places, and events. Fueled by intuition, travel to visit family, photographing, and filming present day rural Kentucky life, the research led to many more questions: What is missing? What is not being said here? What did she really think and feel? Primary historical accounts routinely glossed over people without titles or voting rights, and dehumanized most others by referring to them as objects of desire, savages, or slaves. Further examination formed a framework for trying to reconcile her state's history and how it relates to the westward expansion and settlement of the United States and ultimately how an era of domination, denial, and pain is reflected in the complex culture of today. The songs that make up The Way Forth weave back in time through a postcard, a personal account of a long life on a farm, traces of folk tunes, names, places, and rivers, all woven into an emotional fabric of yearning, nostalgia, grief, and the rich intimacies of everyday life. Initially solo voices are heard above vivid orchestrations, expanding with the choral voices of the community through fragments of traditional church music and popular tunes. The scope widens to include a modern male narrator's reflections on a place battered by greed, civil war, bigotry, and the exploitation of natural resources. Through music, voice, and film, The Way Forth honors the emotional legacy of the silenced, the holistic, the beauty in quotidian life, and explores the eternal grace and redemption of time, as symbolized by the great Dix and Kentucky Rivers.
On Age Hasn't Spoiled You, the Toronto post-punks, Greys, eschew their trademark frenzy for a more cerebral and cinematic affair. What results is a richly textured experience that draws influence from krautrock, industrial, hip hop, dub, jazz, ambient, drone and more, sometimes within the same song. That their blend of disparate sounds never obscures the album’s sharp focus is a testament to the group’s mastery of both songwriting and production. This is evident on lead single "These Things Happen," which jumps from big beat psychedelia to CSNY harmonies and back again while Jiwani considers privilege, apathy, drug use, and content fatigue in one verse. With Age Hasn’t Spoiled You, Greys strive to exist in a similar echelon of bands that seek to shatter the boundaries that contain them.
THE GOOD ONES renown is evidenced by the stellar musicians who collaborated with them on their new album: Wilco’s Nels Cline, TV on the Radio’s Tunde Adebimpe, Sleater-Kinney’s Corin Tucker, My Bloody Valentine’s Kevin Shields, and Fugazi’s Joe Lally. In 2009, Grammy-winning producer Ian Brennan (Tinariwen, Ramblin’ Jack Elliott) traveled to Rwanda in search of local music with his Italian-Rwandan wife, filmmaker and photographer, Marilena Delli. After two weeks of crisscrossing the country and listening to countless artists, they met THE GOOD ONES.
For The THE GOOD ONES’ new album, Rwanda, You Should Be Loved, bandleader Adrien Kazigira composed over forty songs. The recording was done live without overdubs on Adrien’s farm in Rwanda. Since they live without electricity and have had little access to devices to reproduce musical recordings, THE GOOD ONES’ vocalizations are based on the singing traditions and dialect of their local immediate, agricultural district more than by outside and Western influences. Primary songwriter Adrien Kazigira interweaves intricate harmonies with co-singer, Janvier Havugimana, in a style frequently referred to as “worker songs from the streets.” With the musicians rural and remote hilltop origins, the harmonic similarities to American Bluegrass vocals is often eerie. Third member, Javan Mahoro, lends additional background vocals and percussion on select songs. From the moment he laid eyes on them, Brennan said he knew, “What these guys do is precious and rare. Don’t f*** it up!”
THE GOOD ONES formed the band as a healing process after the Rwandan genocide, which marks its 25th anniversary in 2019. The band will be touring in the US for the first time this Fall, playing dates with Glen Hansard in the North West and performing at bookshops nationwide along with producer Ian Brennan, as he travels the US speaking about his latest book “Silenced By Sound.”
With over 30 years together as a band, over 12 million albums sold, and 14 number one and Top 10 hits at Hot AC -- Miracle Pill finds the band at the top of their game with a collection of songs that are complete with emotion, incredible melodies and sweeping guitars. The album observes and reflects on our current landscape of instant gratification and relief that everyone seems to be seeking.
HOLLY GOLIGHTLY IS BACK... With her first full band album since 2015's Slowtown Now! Do The Get Along features 12 songs performed by the perfect Holly Golightly band line-up of Bruce Brand (drums), Matt Radford (double bass), Ed Deegan (guitar) and Bradley Burgess (guitar). Alongide nine original tracks there are three choice covers - 'Satan is His Name' by Steve King & The Echelons, 'Love (Can't You Hear Me)' by the Knight Bros., and 'I Don't Know', originally recorded by Ruth Brown. Holly first came to musical prominence as a member of Thee Headcoatees, a Billy Childish/Thee Headcoats all-girl splinter group in 1991. Four years later she broke away from the garage punk scene with the release of her debut solo album The Good Things, which featured a mix of folk, early electric blues, & '60s beat influenced rock 'n' roll. It's a template that she's honed over the course of 13 solo albums, along the way impressing celebrity fans such as Jim Jarmusch (Holly's track Tell Me Now So I Know featured as the main title theme in his Broken Flowers movie), and most notably Jack White who duetted with Holly on It's True That We Love One Another, the final track on the classic White Stripes album Elephant. Holly's been busy over the last decade as half of blues/Americana duo Holly Golightly & The Brokeoffs (The Brokeoffs being multi-instrumentalist Lawyer Dave). The pair have released a string of well received albums, and undertaken many tours on both sides of the Atlantic.
Looking Through The Shades, is Glitterer’s debut full-length album, featuring Ned Russin, bassist/vocalist of Title Fight. This is Glitterer all glown up. Now there are live drums (twin brother Ben did the honours) and dopamine-releasing fuzzy guitars to go with the synths, the bass, and the voice. Now there’s a full 14-song tracklist to luxuriate in. Produced by Alex Giannascoli and Arthur Rizk (Code Orange, Power Trip, Sumerlands) the album delivers Glitterer’s best-yet sonics and songs. The lyrics are still insouciantly tortured, in a reluctant-college-boy kind of way, the choruses are still obscenely catchy, and the arrangements still carry not so much as an ounce of excess fat. From the saturated distortion of the opener, “The Race” (“I wish I could look at your life and know it’s mine”), through the road-weary “1001” (“I sang 1,000 songs / didn’t want to sing again”) and the vox-and-bass-only Side B outlier “The News” (“I used to be original”), the listener is simultaneously satiated and left wanting more.
'Goners' is the fifth album from acclaimed singer-songwriter and multi-instrumentalist Laura Gibson. Gibson co-produced the songs with engineer and friend John Askew (from her 2016 album, 'Empire Builder'), she enlisted a number of long time collaborators, including: guitarist/synth extraordinaire Dave Depper (Death Cab for Cutie), drummer and found-sound percussionist Dan Hunt (Neko Case), and stand-up bassist Nate Query (the Decemberists); then built horn and woodwind arrangements with Kelly Pratt (St. Vincent and David Byrne, Father John Misty) and imaginative string parts with Kyleen King (Stephen Malkmus, Case/Lang/Veirs). It marks the first record Gibson made after completing a MFA in writing. Her language has never felt more alive, her storytelling sharper, her imagination looser. I wanted to aim for wildness in my lyrics, not perfection. Trauma and grief are far messier than the stories we make of them. Despite this, we will forever keep telling our stories to each other
Domino are extremely proud to present Seeking Thrills, the second LP from Georgia. Inspired by the Chicago House and Detroit Techno of the early 80s, Seeking Thrills is a sonic feat of exploration and excellence, with textures that reflect Georgia’s background in ethnic musicology, and hours upon hours spent rifling through records. Feminine without being saccharine, Georgia’s deep, brooding reflections carry us through euphoria, heartache and melancholy but always with the memory of the good times.