3/6/20 New Releases instock
NCT 127's 2nd full length album `NCT #127 Neo Zone' will be released on March 6th with 13 tracks expressing NCT 127's unique music color. The album's exclusive title `Neo Zone' builds high expectation while implying a brand-new introduction to NCT 127's music world. The album includes a photo book, lyric book, postcard, a folded poster (initial run only), 1 sticker, 1 circle card (random 1 of every 9), and 1 photo card (random 1 of every 9).
Lauded as an experimental, alternative band that's never been married to one genre, Phantogram-comprised of lifelong friends Josh Carter and Sarah Barthel-challenge the zeitgeist with their signature blend of hard-hitting beats, guitar-driven dark psychedelia and electronic pop. On March 6th they will release highly anticipated fourth studio album, Ceremony, which marks a rebirth and embodies a dark but hopeful chapter for the duo. Features recent singles "In A Spiral" and "Into Happiness".
Here comes SUPERSTAR the bigger, badder, glitter-driven record by Caroline Rose. Written as a sequel to 2018's LONER, the forthcoming 2020 release 'plays out like an epic movie about the pursuit of fame and fortune,' Rose states. 'I've always been fascinated by this pursuit, but what's even more fascinating is what happens when it fails.' Indeed, gone are the successful Hollywood hunks and starlets of old. SUPERSTAR chronicles a quirky anti-hero, who after receiving a wrong call from the elite hotel Chateau Marmont, decides to leave their old life behind in order to become a big Hollywood star.
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2020 release. Born from the DIY/all-ages scene in New York, Thick make music with the raw defiance of punk and addictive melodies of pop, punchy and catchy and wildly tongue-in-cheek. With their live show typically spawning a mosh pit described by Stereogum as "more like an aggressive hug," the Brooklyn-based trio brings an unchecked intimacy while building a deep and unshakable solidarity with the audience.
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Few artists understand the human condition like 6-time Grammy nominee Brandy Clark. Working again with acclaimed producer Jay Joyce, Your Life is a Record takes her unerring eye for detail and a genre-melting sense of melody to examine personal truths, revelations and emancipations with wit, grace and compassion. Working with just four acoustic-based musicians, intimacy was the goal. Memphis strings and horns, guest appearances from Randy Newman (“Bigger Boat”) and guitarist John Osborne color in the sketches – creating a depth to what is easily Clark’s most revelatory record yet
Circles is the sixth and final studio album by Mac Miller. Conceived as a sister album to 2018's full length Swimming, the album was completed with the assistance of Jon Brion, with whom Miller worked on Swimming and had been working together on Circles at the time of his passing. While sonically distinctly different than its predecessor, Circles features many of the hallmarks for which Swimming was critically-acclaimed upon its release -- Miller further realizing his singing voice in addition to rapping, live instrumentation and earnest, confessional lyrical content. Listeners will hear shades of some of the album's influences in its songs, from the T-Rex guitar tone of "Surf" to the Plastic Ono Band-era John Lennon feel of its production and the inspired cover of Arthur Lee's 1972 single "Everybody's Gotta Live." It's a momentous final entry into the discography of an artist that remains at the center of reimagining the limits of rap.
Emmy-, Grammy- and Golden Globe-nominated actress, singer, and songwriter, Mandy Moore returns to music with her first album in a decade, Silver Landings. In a purposeful departure from the more tightly structured pop of her previous material, she's worked closely with long-time collaborator and producer Mike Viola and with her husband, Taylor Goldsmith (singer/guitarist/songwriter for L.A.-based folk-rock band Dawes), creating the album's lyrics on her own and recording each song live with a full band setup. The album deftly moves from 70s inspired soft-rock (When I Wasn’t Watching, I’d Rather Lose) to contemporary pop (Save A Little For Yourself, Tryin’ My Best, Los Angeles). “I wanted to make a California-inspired record, something that feels airy and natural”, says Moore.
Moore looks forward to embarking on the next chapter of her music career with a newfound sense of agency. “I very much feel like I'm at the helm of the ship now, where I'm stepping back into music completely on my own terms,” she says. “Everything that's happened up until this point has gotten me to where I am today, and I'm so excited to just keep moving forward.”
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For over 20 years, Atmosphere have pursued the underbelly of what it means to be human with a rabid curiosity. Ant’s dusky production has provided the pulse for Slug’s evolving and matter-of-fact pen. As Slug transitioned from throwing-up-in-the-backseat-raps to holding-hands-when-you-cross-the-street-raps, Ant has grown to be a master of crate digging and unearthing the humanity of a drum loop. Thriving at the intersection of guttural and self-effacing, Atmosphere will go down as some of America’s best archivists. On Whenever, the duo continue to move in lockstep. Within the minutiae lie clues they’re still struggling with mortality and the need to protect emotional energy, as on previous releases, but there’s a quiet romanticism now, with Slug sounding—reluctantly—in love with life. And no other producer can pull truths out of a rapper like Ant fishes the blues out of Slug. Be it the twinkle of “Bde Maka Ska” leading into twanging guitars, or the anxious skitter of “Lovely,” Slug finds obvious comfort in working with Ant. “Postal Lady” recounts the simplicity of Slug’s life over warm and enveloping production, while “Romance” recalls God Loves Ugly with its undulating glitches, as if we crawled through Ant’s drum machine. It’s clear the pair’s harmony is reaching new peaks. These aren’t dad-raps, these aren’t anti-establishment-raps, and these aren’t chasing-old-fire-raps. Even at its darkest (“You’re Gonna Go”) Whenever houses blessed-to-be-alive-raps. The album breathes in the way only Slug and Ant could summon a collective breath. On Whenever, the duo inhale panic and exhale greatness.
Banjo virtuoso Danny Barnes announces his new album Man On Fire, due out March 6 on ATO Records. The record was executive produced by Dave Matthews and finds Barnes collaborating with musical legends including Led Zeppelin's John Paul Jones on bass & mandolin, Bill Frisell on guitar & Matt Chamberlain on percussion.
Wildwood is without question one of Chatham County Line's most beloved records. PopMatters called it '...accomplished and entirely delightful'' while American Songwriter suggested that you '[p]ut Chatham County Line on your playlist, pronto.' Now, 10 years after its release, the album has been digitally remastered. Incredible song craftsmanship and superb musicianship ensure that this album remains a timeless classic now and for years to come.
Disq have assembled a razor-sharp, teetering-on-the-edge-of-chaos melange of sounds, experiences, memories, and influences. Due out March 6 on Saddle Creek, Collector ought to be taken literally—it is a place to explore and catalogue the Madison, Wisconsin band’s relationships to themselves, their pasts, and the world beyond the American Midwest as they careen from their teens into their 20s. This turbulence is backdropped by gnarled power pop, anxious post-punk, warm psych-folk, and hectic, formless, tongue-in-cheek indie rock.
Collector, like the band itself, is defined and tightly-contoured by the ties between the five members. Raina Bock (bass/vocals) and Isaac deBroux-Slone (guitar/vocals) have known each other from infancy, growing up and into music together. Through gigging around Madison, they met and befriended Shannon Connor (guitar/keys/vocals), Logan Severson (guitar/vocals), and Brendan Manley (drums)—three equally dedicated and adventurous musicians committed to coaxing genre boundaries.
Produced by Rob Schnapf, Collector is a set of songs largely pulled from each of the five members’ demo piles over the years. They’re organic representations of each moment in time, gathered together to tell a mixtape-story of growing up in 21st century America. The songs are marked by urgency, introspection, tongue-in-cheek nihilism, and a shrewd under- standing of pop and rock structures and their corollaries—as well as a keen desire to dialogue with and upset them.
Beat Poetry For The Survivalist is the new collaboration between Peter Buck and Luke Haines. Peter Buck was the guitarist for the biggest band in the world—R.E.M. Luke Haines was the guitarist for The Auteurs. The Auteurs were not the biggest band in the world. They were pretty good though. Luke Haines also does paintings of Lou Reed. One day, Peter Buck bought one of Luke Haines’ Lou Reed paintings (for £99.00) They had never met before but decided that the fates had brought them together and they should write some songs together and make an album. Beat Poetry For The Survivalist is that album. With songs about legendary rocket scientist and occultist Jack Parsons, The Enfield Hauntings, (of 1978) a post-apocalyptic radio station that only plays Donovan records, Bigfoot, and Pol Pot.
Two-time Oscar-winner Tom Hanks portrays Mister Rogers in A Beautiful Day in the Neighborhood, a timely story of kindness triumphing over cynicism, based on the true story of a real-life friendship between Fred Rogers and journalist Tom Junod. After a jaded magazine writer (Emmy-winner Matthew Rhys) is assigned a profile of Fred Rogers, he overcomes his skepticism, learning about empathy, kindness, and decency from America's most beloved neighbor. For his work, Hanks was nominated at the Golden Globes, Critics' Choice and Screen Actors Guild Awards.Nate Heller (Can You Ever Forgive Me?, The Diary of a Teenage Girl) composed the music for the movie. To start recording the tracks he took a close look at all the music Fred Rogers wrote and recorded for the show. The musicians took little melodies from the show and weaved them in and out of the score as well. The soundtrack also features songs by Nick Drake, Cat Stevens, Chris Cooper, Uptown String Quarter and Fred Rogers. This exclusive and extremely limited edition contains a 4-page booklet with movie pictures and liner notes by Marielle Heller and Nate Heller. Only 500 individually numbered copies on translucent red vinyl are available.
‘Teenage Snuff Film’ was the long awaited first solo album recorded and released by Rowland S.Howard in 1999. Rowland recorded the album at the Birdland & Sing Sing recording studios in Melbourne with longtime colleague and collaborator Mick Harvey contributing drums, organ and guitar and Brian Hooper on bass. The album was produced by Lindsay Gravina and engineered by James Mason & Jade Martin, and released to critical acclaim both here in Australia and internationally.
‘Teenage Snuff Film’ featured 8 original songs; ‘Dead Radio’, ‘Breakdown (and then...)’, ‘I Burnt Your Clothes’, ‘Exit Everything’, ‘Silver Chain’, ‘Undone’, ‘Autoluminescent’, ‘Sleep Alone’ and 2 cover versions; ‘White Wedding’ (Billy Idol) and ‘She Cried’ (The Shangri-Las).
Fat Possum Records are set to release a limited edition double vinyl set of the long out of print ‘Teenage Snuff Film’. This record is highly sought after by collectors, with rare copies appearing on eBay selling for huge $ amounts.
- Pressed on 180 g black vinyl
- 3 sided double album, with Side D featuring an etching of a Rowland illustration
- Brand new vinyl remaster from the original tapes October 2019 by Lindsay Gravina, who produced the album in 1999
- First American pressing of the album
2020 release from the Austin, TX based prolific guitarist, vocalist, composer, and multi-instrumentalist. EJ Vol II follows it's predecessor from 2016 which was simply EJ, an all-acoustic collection of songs which showcased nine original compositions and four covers. Johnson's approach was deeply honest, intimate, personal and delivered with organic emotion. With EJ Vol II, he presents new repertoire that combines electric and acoustic arrangements and once again represents a collection of originals with a couple of select covers.
Traditional Techniques is new phase folk music for new phase folks, with Malkmus as attuned as ever to the rhythms of the ever-evolving lingual slipstream. Instead of roses, briars, and long black veils, prepare for owns, cracked emojis, and shadowbans. Centered around the songwriter's 12-string acoustic guitar, and informed by a half-century of folk-rock reference points, Traditional Techniques is the product of Malkmus and engineer/arranger Chris Funk (The Decemberists). Playing guitar is friend-to-all-heads Matt Sweeney (Bonnie 'Prince' Billy, Chavez, too many others to count), who'd previously crossed paths with Malkmus on the opposite end of the longhairs' map of the world, most lately gnarling out together back east in the jam conglomerate Endless Boogie.
The Mastersons are singer-songwriters/multi-instrumentalists Chris Masterson and Eleanor Whitmore. Longtime members of Steve Earle's band the Dukes, the musical and marital twosome make inspired albums of their own vivid, deeply humanistic songs. Their fourth album, No Time for Love Songs, marks the 10th anniversary of their partnership and creative journey with a collection of songs that could easily serve as the soundtrack to our lives-or at least one version of it. Produced by Shooter Jennings and recorded at L.A.'s legendary Sunset Sound Recorders, the album was engineered and mixed by five-time Grammy Award-winning engineer, Ryan Freeland.No Time for Love Songs explores the emotional challenges of a morally compromised era, and reflects the experiences that the pair has accumulated in their travels. Those experiences helped to inspire the big-hearted songcraft of such compelling new tunes as "Spellbound," "Circle the Sun," "Eyes Open Wide," "The Silver Line," "There Is A Song to Sing," and the album's poignant title track, and showcase the Mastersons' organic harmonies, stirring melodies and insightful lyrics, which consistently offer clear-eyed optimism in the face of loss and discouragement.