Dean Blunt's new album Black Metal 2 will be released by Rough Trade Records on Friday 22nd October. Available on heavyweight LP and CD.

Coming October 22: Circuit des Yeux's first studio album since 2017, -io, and her first for Matador Records. The sky over -io is Florida's strange, radiant orange. It's a built environment, unnatural, made from concrete and glass, with skyscrapers that stretch to the vanishing point as you gaze up at them.

It's crumbling and suffocating, a city perpetually on the brink of collapse, where tension never topples over into catharsis, where the heat never breaks.

Inside this world and its closed loop of time, Fohr found her- self able to begin moving again. 'I was haunted by memories in the pandemic,' she says. 'As someone with PTSD, memories are all twisted up inside of me in a way that doesn't help my higher self. Making this album was once again an exercise of trying to relieve myself of some of that darkness in a way that music has always done for me.'

This newly discovered live-recording of a performance of the Love Supreme suite is a revelation. Recorded at The Penthouse in Seattle on October 2, 1965, this recording transports the listener to a prime seat for piece of musical history. While not studio-quality audio, the power of the performance shines through. This version is also of the full suite and features an expanded band that includes the same Classic Quartet and Pharoah Sanders in his first official gig as part of Coltrane’s group.

Double vinyl LP pressing.

On their new full-length - the first new music since The Waterfall (2015) - My Morning Jacket reaffirm the rarefied magic that has made them so beloved, embedding each song with moments of discovery, revelation and ecstatic catharsis. It comes after a near permanent hiatus for the band until performing four shows in summer '19 left them with a new energy. Jim James engineered/produced at 64 Sound in LA where the band spent weeks in intentional seclusion emerging with their self-titled 9th album.

Parquet Courts' thought-provoking rock is dancing to a new tune. Sympathy For Life finds the Brooklyn band at both their most instinctive and electronic, spinning their bewitching, psy- chedelic storytelling into fresh territory, yet maintaining their unique identity. Built largely from improvised jams, inspired by New York clubs, Primal Scream and Pink Floyd and produced in league with Ro- daidh McDonald (The xx, Hot Chip, David Byrne), Sympathy For Life was always destined to be dancey. Unlike its globally adored predecessor, 2018"s Wide Awake! the focus fell on grooves rather than rhythm. 'Wide Awake! was a record you could put on at a party,' says co-frontman Austin Brown. 'Sympathy For Life is influenced by the party itself. Historically, some amazing rock records have been made from mingling in dance music culture ' from Talking Heads to Screamadelica. Our goal was to bring that into our own music.'

Parquet Courts' thought-provoking rock is dancing to a new tune. Sympathy For Life finds the Brooklyn band at both their most instinctive and electronic, spinning their bewitching, psychedelic storytelling into fresh territory, yet maintaining their unique identity. Built largely from improvised jams, inspired by New York clubs, Primal Scream and Pink Floyd and produced in league with Ro- daidh McDonald (The xx, Hot Chip, David Byrne), Sympathy For Life was always destined to be dancey. Unlike its globally adored predecessor, 2018"s Wide Awake! the focus fell on grooves rather than rhythm. 'Wide Awake! was a record you could put on at a party,' says co-frontman Austin Brown. 'Sympathy For Life is influenced by the party itself. Historically, some amazing rock records have been made from mingling in dance music culture ' from Talking Heads to Screamadelica. Our goal was to bring that into our own music.'

Gary Allan will be releasing a brand new album on vinyl of all new material on October 22nd. This is Gary’s first studio album in over 8 years. Overall, Allan's nine studio and greatest hits albums have produced 26 singles on the U.S. Billboard Hot Country Songs and Country Airplay charts, including the number one hits "Man to Man", "Tough Little Boys" (both 2003), "Nothing On but the Radio" (2004), and "Every Storm (Runs Out of Rain)" (2013). Seven more of his singles have reached the Top 10 on this chart as well: his debut single "Her Man", "It Would Be You" (both at #7), "Right Where I Need to Be" (at #5), "The One" (at #3), "Best I Ever Had" (a cover of a Vertical Horizon song) (at #7), "Life Ain't Always Beautiful" (at #4), and "Watching Airplanes" (#2).

Rejoice is a very special collaboration between Tony Allen, the legendary drummer and co-founder of Afrobeat, and Hugh Masekela, the master trumpet player of South African jazz. Having first met in the '70s thanks to their respective close associations with Fela Kuti, the two world-renowned musicians talked for decades about making an album together. When, in 2010, their touring schedules coincided in the UK, the moment presented itself and producer Nick Gold took the opportunity to record their encounter. The unfinished sessions, consisting of all original compositions by the pair, lay in archive until after Masekela passed away in 2018. With renewed resolution, Allen and Gold, with the blessing and participation of Masekela's estate, unearthed the original tapes and finished recording the album in summer 2019 at the same London studio where the original sessions had taken place. Rejoice can be seen as the long overdue confluence of two mighty African musical rivers - a union of two free-flowing souls for whom borders, whether physical or stylistic, are things to pass through or ignore completely. According to Allen, the album deals in "a kind of South African-Nigerian swing-jazz stew," with it's roots firmly in Afrobeat. Allen and Masekela are accompanied on the record by a new generation of well-respected jazz musicians including Tom Herbert (Acoustic Ladyland, The Invisible), Joe Armon-Jones (Ezra Collective), Mutale Chashi (Kokoroko) and Steve Williamson.

Limited Edition Pink Vinyl Double LP!

Only 3000 Copies Pressed!

Part Of The Ten Bands One Cause Campaign To Support Cancer Patients & Their Caretakers!

Ten Bands re-issue their albums on limited edition pink vinyl, all for one cause. This is the 8th year for the initiative, and a portion of the proceeds from each shipment will go towards the Red Door Community (formerly Gilda's Club NYC).

The nonprofit's mission is to create a welcoming community of FREE cancer support to bring knowledge, hope, and empowerment to anyone and everyone impacted by cancer and their families. They are committed to expanding their program and broadening their reach to meet the growing needs of individuals living with cancer, in more places, and in more ways than ever before.

Recorded over three nights in February 1970 when the Allman Brothers Band opened for the Grateful Dead for the first time, these shows were recorded by Owsley Stanley, the Dead's pioneering soundman, whose "Sonic Journal" recordings are sought after for their purity and uncanny ability to place the listener in the venue. This is essential listening for Allman Brothers Band fans, showcasing an early incarnation of the band with Duane Allman in full form and featuring the earliest known live concert recording of "In Memory of Elizabeth Reed", which had just been penned by Dickey Betts shortly before these shows. The tapes were recorded just one year before the band's landmark At Fillmore East album from the same venue.

Long out-of-print, this set was freshly restored and mastered from original tapes in Owsley Stanley's archives, and includes all new album art and liner notes, including a series of rare band photos from the Fillmore East in February 1970, original cover artwork ("Electric Mushroom"), and new notes from the Allman Brothers Band and the Owsley Stanley Foundation. This is the second release in the award-winning "Bear's Sonic Journals" series and the first joint presentation by the Allman Brothers Band and the Owsley Stanley Foundation.

BEAR'S SONIC JOURNALS: FILLMORE EAST FEBRUARY 1970 2LP (Pink Vinyl)

Seong-Jin Cho garnered international attention and critical accolades through his first prize victory in the 2015 Warsaw Chopin Competition, followed by a studio recording pairing Chopin's Piano Concerto No. 1 and the 4 Ballades. Five years later, Seong-Jin returns to Chopin with a complementary program consisting of the romantic Piano Concerto No. 2 and the 4 Scherzi.

The Church's Starfish is a dreamy, atmospheric masterpiece, guitar-driven alt-rock before alt-rock was a term. It includes the timeless smash hit 'Under the Milky Way,' and 'Reptile,' both First Wave staples. Intervention's 2X 180-Gram LP, Artist-Approved Expanded Edition is 18-tracks total, including 8 amazing bonus tracks that were not on the original LP. These bonus tracks kick off with wonderful acoustic versions of 'Under the Milky Way' and 'Antenna.' The other tracks are so strong that it's very apparent that Starfish could have been a potent double LP. Starfish is 100% Analog Mastered from THE Original Master Tapes by Ryan K. Smith at Sterling Sound. Intervention's cut expands the original 10-song repertoire to three vinyl sides opening up the already massive soundstage and presenting this amazing recording with FULL bass extension and dynamic power. All of the 8 bonus tracks are 100% Analog Mastered from tapes assembled by Ryan K. Smith. The 180-gram LPs are ultra-quiet, pressed at boutique press, RTI in Camarillo, CA. Intervention replaces it's stampers every 500 copies so every pressing is is a hot stamper. Starfish's album art was lovingly restored by Intervention's Art Director Tom Vadakan, and the original inner sleeve here is printed as the interior of a gorgeous gatefold jacket. The jacket is an 'Old Style' gatefold made by wizards at Stoughton printing in LA. It's printed on heavy stock and film-laminated for superior color depth, beauty and durability. The center labels are printed by Dorado.

Referencing H.G. Wells' Things to Come, Marshall McLuhan's The Medium is the Massage and Sombrero Fallout by Richard Brautigan, the themes Clinic explore on Fantasy Island are time, music and entertainment. In a (coco) nutshell, Clinic have gone funky disco, broadening their sonic palette with the addition of several new gadgets including an electronic acid bass machine, a 1970s cocktail rhythm unit, a Casio digital horn and space drum.

Jarvis Cocker has announced the release of a new album titled Chansons D'Ennui Tip-Top, which will consist of covers of classic French songs. Cocker has subsequently released the album's lead single, a cover of Christophe's 1965 song "Aline." The cover was originally featured in the first trailer for Wes Anderson's latest film The French Dispatch, and the new album is meant to be somewhat of a companion piece to the film.

FUTURE PAST is the highly anticipated 15th studio album from Duran Duran and boasts esteemed producers Erol Alkan, Giorgio Moroder and Mark Ronson behind the board. It features special guests Graham Coxon of Blur on guitar, Mike Garson from David Bowie's band on piano, and guest vocals from Lykke Li, with more exciting collaborations to be announced soon

The Emanuelle soundtracks are well known among collectors with originals fetching three figures and re-releases being in high demand. Emanuelle and the White Slave Trade has never been released on vinyl before now, giving collectors an opportunity to own this album of Italian disco and library sounds for the first time. Limited to 500 copies

A swinging Christmas and a jazzy new year-that's what this joyous 1960 Ella LP will bring you. She sings (and swings) Jingle Bells; Sleigh Ride; Winter Wonderland , and more! Verve's Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Recorded in 1961, Ready for Freddie was trumpeter Freddie Hubbard's fourth album for Blue Note Records. Featuring a unique sextet line-up with Wayne Shorter on tenor saxophone, Bernard McKinney on euphonium, McCoy Tyner on piano, Art Davis on bass, and Elvin Jones on drums, the album stands as one of the finest of Hubbard's career. This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Vinyl LP pressing. Originally released in 1974 on Mamba, Flesh Of My Skin Blood Of My Blood is the most hallowed of all those reggae albums which remain unavailable, and Keith Hudson's key achievement in a career launched when, as a fourteen-year-old, he recorded members of The Skatalites on his "Shades Of Hudson" rhythm.

The defining blues voice of his generation releases the eagerly-anticipated follow-up to his Grammy-nominated debut, 2019's Kingfish. 662 (the area code of his Clarksdale stomping grounds) is a powerful and personal album, a fiery coming-of-age record. The lyrics reflect Ingram's newfound maturity and how your roots inspire where you're heading. Musically, the record delivers a heaping helping of the deep, visceral Ingram guitar magic his fans love, fueling a combustible mix of molten blues rock, down home shuffles and soulful grooves.

In November of 1970, James Taylor and Carole King first performed together at The Troubadour in West Hollywood, California. Thirty-six years later, they returned for a three-night, six-show run to celebrate the venue's 50th anniversary. This remarkable recording features 15 songs and 75 minutes of stunning performances of their collective biggest hits including “You’ve Got A Friend,” “Fire and Rain,” “I Feel The Earth Move” and more. This album is available for the first time on vinyl and comes as a 180g 2-LP set.

Vinyl LP pressing. Static Tensions is the fourth studio album by the American band Kylesa, released in 2009. The artwork and layout was created by John Dyer Baizley of the band Baroness. Static Tensions is a sludge metal album. On the album, Kylesa features a three singer- and two drummer-lineup, which distinguishes the band from all the others. On the album there's a lot of downtuned guitars and different singing styles such as shouting, crooning or croaked singing styles, along with elements from stoner rock, sludge rock, psych-rock and alternative rock.

Vinyl LP pressing. Time Will Fuse It's Worth is Kylesa's third full-length album, released in 2006. "The riffs are thick, dirty, and pulverizing, topped by vaguely melodic yelled vocals of both genders. Imagine Fugazi brawling with The Melvins and Eyehategod, with Remission-era Mastodon throwing in some kicks for good measure. This is sludgy stuff, but the riffs are catchy and direct. Previous album To Walk a Middle Course was a harrowing psychological ride, but Time Will Fuse It's Worth is more about the rock. If this album were a drink, it would be a Christmas ale with surprisingly high alcohol content that hits you fast between the eyes." -Metal Injection.

Vinyl LP pressing. To Walk a Middle Course is the second studio album by American band Kylesa, released in 2005. The album incorporates elements of sludge metal, alternative metal and stoner rock. To Walk A Middle Course features a variety of metal and non-metal influences, including doom metal, stoner rock, punk rock and gothic rock.

On their self-titled fourth album, La Luz launch themselves into a new realm of emotional intimacy for a collection of songs steeped in the mysteries of the natural world and the magic of human chemistry that has found manifestation in the musical ESP between guitarist and songwriter Shana Cleveland, bassist Lena Simon, and keyboardist Alice Sandahl.To help shape La Luz, the band found a kindred spirit in producer Adrian Younge. Though primarily known for his work with hip-hop, soul, and jazz acts, Younge saw in La Luz a shared vision that transcended genre. "We both create music with the same attitude, and that's what I love about them," he says. "They are never afraid to be risky and their style is captivating. It was an honor to work with them."The result is an album that is both the most naturalistic and psychedelic of the band's career. All the elements of classic La Luz are still present-the lush harmonies, the impeccable musicianship, the gorgeous melodies-but it's a richer, earthier iteration, replete with inorganic sounds that mimic the surreality of nature-the humming of invisible bugs, the atmospheric sizzle of a hot day. After spending the last few years living in rural northern California, Cleveland's lyrics have become more grounded, less interested in traveling to other dimensions than in peeking behind the curtain of this one.With sounds ranging from ghostly electric guitar shimmers, charging fuzz-guitar rock, soulful organ-driven dream-funk, galactic synths, and breezy '70s folk-pop, La Luz is an album that celebrates love-of music, of friendship, of life in all it's forms. -Mariana Timony

Limited clear colored vinyl LP pressing. 2021 release. Coming off of 2018's acclaimed The Lamb, an introspective indie rock album recorded live with a three-piece band, West knew she was ready to make something sonically bigger and thematically more outward-looking than anything she'd done before; a record that would be less a straightforward documentation of her own personal struggles and more like a poem or a puzzle box, with sonic and lyrical clues that would allow the listener to, as the title says, open the door to the greater meaning of those struggles. The result is I Want The Door To Open, a bold exploration of persona and presence from an artist questioning how to be herself fully in a world where the self is in constant negotiation. From the moment West declares "I want to look right into the camera" over a cascade of dreamy vocal loops on opening track "Lava," I Want The Door To Open distinguishes itself from anything she's done before in scope and intensity. The ultra-magnified iteration of Lala Lala is fully encapsulated in the monumental "DIVER." Inspired by a character from a Jennifer Egan novel, it's a pop song of Kate Bush-esque proportions replete with layered synths and booming, wide open drumming by fellow Chicago musician Nnamdi Ogbonnaya, and West pushing her vocals to the ragged edge. I Want The Door To Open is a musical quest undertaken with the knowledge that the titular door may never open; but it is through falling in love with the quest itself that one may find the closest thing to total freedom, total possibility, and total acceptance available to us on this plane of existence.

Pat explains, “I wanted to create an ongoing platform to host a rotating cast of the newer generations of musicians who have particularly caught my interest along the way. From my earliest days in Kansas City onward, I was the beneficiary of so many older musicians hiring me, which gave me a chance to develop through the prism of their experiences and the particular demands of what their music implied.” Metheny has given this band concept the name Side-Eye and hopes that it might become a rotating group of musicians who could come and go in different combinations. So far, there have been four iterations, hence the V.1-IV sub-heading on the record. Whether searingly electric, powerfully intense or deeply contemplative, highly composed or totally improvised, or even with some new-fangled contraption of his own design, there is always that unmistakable Metheny sensibility at work that has stood at the forefront of jazz for what is now approaching five decades. The Side-Eye series is the latest chapter in his continually unfolding story.

Get yo ass in the house, robot- you cyber-spectre, you outhouse prime minister, you hard-headed mirror ninja, snapping selfies, living in the pixelated seams between bursts the of flashing images, birthed in a pool of TV static and Tik Tok dust. BLACK ENCYCLOPEDIA OF THE AIR is here, not to save but to drown you. Heads better learn how to swim cause listen, this record is beat soup, hearty yet still minimal, a sonic mirage of prophetic soul that drop kicks your "chill beats to study to" Youtube playlist and hyper-intellectual rap podcasts into a hadron collider; it's only black matter on the other side- 13 mesmerizing tracks about memory and imprinting and the future, all of them wafting through untouched space like the ghostly cinders of a world on fire, unbound and uncharted, vast and stretching across the universe. Moor Mother is a holographic figment of an Afrotopian dream, all at once goddess and warrior, mystic and cyborg, griot and future time traveller, etching noisy pieces of reverie into our consciousness for decades now. But check it: on BLACK ENCYCLOPEDIA she's joined by a wide-range of friends, collaborators and co-conspirators on a trip through the murky cosmos, navigating the black universe with stardust as currency. In these times, they'll say, as they click and mash their way through the same inter-webs that seek to strangle them, BLACK ENCYCLOPEDIA OF THE AIR is just what we need: a post-everything, 12:01 on the doomsday clock, anti-trip hop type of situation. "We ain't gotta fight no more," they'll say; the rest of us, we'll put this record on and imagine again that it's real.

Fanatics of '70s Italian giallos take note... Behold a veritable smorgasbord of sounds that is Ennio Morricone's score to Dario Argento's debut film, THE BIRD WITH THE CRYSTAL PLUMAGE (a.k.a. L'uccello dalle piume di cristallo) from 1970. Considered one of the genre's gold standards, Maestro Morricone's stunning sonic work is a masterful accompaniment to the knife-wielding images on the screen. This colorful (yet dark) score features il Maestro's trademark scat vocal harmonies, beautiful melodies, and mandatory sinister themes - perfect musica for this wonderfully stylistic giallo masterpiece. The first of Argento's "animal trilogy" series, the music on THE BIRD WITH THE CRYSTAL PLUMAGE is a lovely mix of string-infused bossa, to tenser and instrumentally sparse passages that Morricone does so well. Just be sure to handle the piumaggio cristallino with care... we suggest wearing your black gloves.

Pi Recordings continues it's 20th anniversary celebration with the release on limited-edition vinyl of perhaps the most popular release from the label's illustrious catalogue: master guitarist Marc Ribot's Silent Movies. Originally put out in 2010, Rolling Stone called it "emotive, graceful, but with a glint of mischief in his method," while PopMatter said "Heavy on atmospherics and light on histrionics, this has got to be one of Ribot's best recordings." The Absolute Sound gave the album 5 Stars for both the performance and the recordings' gorgeous sonics.One might expect a program of solo guitar music from Ribot to be imbued with bracing atonality or studies in texture. Instead, Silent Movies is filled with performances of gorgeous contemplation and quiet reverie. The album reflects Ribot's fascination with movies and contains pieces intended to function as music for films: some are adaptations of music he has actually written for films, others for classic silent movies that he scored for his personal amusement, still others for films of his own imagination. His goal is to explore, as he says, "the strange area between language and spatiality that exists partly in between music and visual image, and partly as a common property of both." Performed in complete takes, with only minimal atmospheric overdubs, Silent Movies is replete with beautiful melodies and wistful playing of a sort seldom heard from Ribot. He delivers an intimate program filled with gentle, haunting songs that evoke the feel that Ribot describes as possessing "the feeling of having walked backwards into the beautiful frame of a silent movie.

SEETHER’s new 5-track EP features 3 never-before-heard tracks and an alternate take of “Wasteland” (along with the original album version.) Written and produced by Shaun Morgan, and mixed by Matt Hyde, Wasteland – The Purgatory EP, follows the fall 2020 release of their 9th album, Si Vis Pacem Para Bellum. That album debuted with impressive chart success and has already spawned two #1 rock radio hits: the anthemic, “Dangerous,” and hard-hitting “Bruised and Bloodied.”