Little Oblivions is the third studio album by Julien Baker. Recorded in Memphis, TN, the record weaves together unflinching autobiography with assimilated experience and hard-won observations from the past few years, taking Baker's capacity for storytelling to new heights. It also marks a sonic shift, with the songwriter's intimate piano and guitar arrangements newly enriched by bass, drums, keyboards, banjo, and mandolin with nearly all of the instruments performed by Baker.

2021 release, the debut album from Park Hye Jin. The album-entirely written, produced and performed by the South Korean-born and now LA-based the producer, rapper, singer, and DJ-follows the release of her hugely successful How Can I EP and comes on the heels of a string of collaborations. Includes the single 'Let's Sing Let's Dance', a wistful dance track that places Hye Jin's mantra-like vocals over piano keys and rumbling bass. Elsewhere on the record she continues to expand her sonic palette, drawing on a range of influences that take in electronic, rap/hip-hop and downtempo sensibilities to present the most complete vision yet of her sound.

KK's PRIEST, the band comprised of renowned former Judas Priest guitarist, KK Downing and former vocalist Tim "Ripper" Owens, is pleased to announce the release of the debut album SERMONS OF THE SINNER via Explorer1 Music Group/EX1 Records on August 20. SERMONS OF THE SINNER is an incredible collection of future metal classics, sure to be one of the stand-out metal releases of 2021. K.K Downing's genre-defining guitar style helped establish Judas Priest's iconic sound and helped propelled them to one of the top Heavy Metal bands of all-time, earning numerous accolades including a GRAMMYr in 2010 for "Best Metal Performance," a total of five GRAMMYr nominations and multi-platinum and gold releases.With Downing on guitar, KK's PRIEST also features ex-Judas Priest member Tim "Ripper" Owens on vocals, who fronted the band for eight years and recorded two studio albums, Jugulator, featuring the GRAMMYr nominated track "Bullet Train," and Demolition, plus two live albums. They are joined by Tony Newton (Voodoo Six) on bass, A.J. Mills (Hostile) on guitar and Sean Elg (DeathRiders/Cage) on drums. Original drummer, Les Binks, unfortunately sustained a wrist injury, but will make special guest live appearances when the band tours. KEY MARKETING POINTSUK, EU & US Marketing & Promotions campaignDebut single 'Hellfire Thunderbolt' released 12 May with videoWorldwide touring planned to be announced soon

KK's PRIEST, the band comprised of renowned former Judas Priest guitarist, KK Downing and former vocalist Tim "Ripper" Owens, is pleased to announce the release of the debut album SERMONS OF THE SINNER via Explorer1 Music Group/EX1 Records on August 20. SERMONS OF THE SINNER is an incredible collection of future metal classics, sure to be one of the stand-out metal releases of 2021. K.K Downing's genre-defining guitar style helped establish Judas Priest's iconic sound and helped propelled them to one of the top Heavy Metal bands of all-time, earning numerous accolades including a GRAMMYr in 2010 for "Best Metal Performance," a total of five GRAMMYr nominations and multi-platinum and gold releases.With Downing on guitar, KK's PRIEST also features ex-Judas Priest member Tim "Ripper" Owens on vocals, who fronted the band for eight years and recorded two studio albums, Jugulator, featuring the GRAMMYr nominated track "Bullet Train," and Demolition, plus two live albums. They are joined by Tony Newton (Voodoo Six) on bass, A.J. Mills (Hostile) on guitar and Sean Elg (DeathRiders/Cage) on drums. Original drummer, Les Binks, unfortunately sustained a wrist injury, but will make special guest live appearances when the band tours. KEY MARKETING POINTSUK, EU & US Marketing & Promotions campaignDebut single 'Hellfire Thunderbolt' released 12 May with videoWorldwide touring planned to be announced soon

Mammoth WVH is the debut, self-titled album of Mammoth WVH – the band created by Wolfgang Van Halen. This collection includes the chart topping new single, "Distance” plus “Don’t Back Down,” “Epiphany,” “Mammoth” and more.

At the beginning of 2015, Wolf broke ground on what would become Mammoth WVH with producer Michael “Elvis” Baskette [Alter Bridge, Slash] behind the board. Wolf began to embrace his voice, inspired by everyone from his father, to bands like AC/DC, Foo Fighters, Nine Inch Nails, TOOL, and Jimmy Eat World. In addition to writing and singing every song on the self-title debut album, remarkably Wolfgang plays every instrument.

“The name Mammoth is really special to me.” says Wolf. “Not only was it the name of Van Halen before it became Van Halen, but my father was also the lead singer. Ever since my dad told me this, I always thought that when I grew up, I’d call my own band Mammoth, because I loved the name so much.”

The Bob’s Burgers Music Album Vol. 2 includes nearly every single musical morsel from seasons 7 through 9.

This 90-song smorgasbord will feature the Belcher family - Bob (H. Jon Benjamin), Linda (John Roberts), Tina (Dan Mintz), Gene (Eugene Mirman) and Louise (Kristen Schaal) - as well as the show’s numerous recurring and special guests. This includes actors, comedians, and musicians Adam Driver, Tiffany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall, Aparna Nancherla, and Matt Berninger (of the National).

For fans of the show, enjoying the music of Bob’s Burgers on its own is both an irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely epic disco celebration “Hot Pants Rain Dance”, sing along with the musical theater gem, “The Wedding Is My Warzone,” or do whatever you’re gonna do to “Sexy Little Tiger” but don’t miss the Bob’s Burgers Music Album Vol. 2. Fans, your order is up.

2021 release, the debut album from Park Hye Jin. The album-entirely written, produced and performed by the South Korean-born and now LA-based the producer, rapper, singer, and DJ-follows the release of her hugely successful How Can I EP and comes on the heels of a string of collaborations. Includes the single 'Let's Sing Let's Dance', a wistful dance track that places Hye Jin's mantra-like vocals over piano keys and rumbling bass. Elsewhere on the record she continues to expand her sonic palette, drawing on a range of influences that take in electronic, rap/hip-hop and downtempo sensibilities to present the most complete vision yet of her sound.

Comprised of Naomi “Nai Palm” Saalfield (guitar, vocals), Paul Bender (bass), Simon Mavin (keys), and Perrin Moss (drums), the twice-Grammy-nominated group Hiatus Kaiyote returns to announce their new album Mood Valiant via Brainfeeder Records / Ninja Tune.

The new project comes after the band has been sampled on songs by The Carters (Beyonce & Jay-Z), Kendrick Lamar, Anderson .Paak, Chance The Rapper, and Drake — with whom Nai Palm collaborated with on Scorpion.

The band travelled to Rio de Janeiro in late-2019 to work on the album with legendary Brazilian arranger Arthur Verocai, which led to the infectious lead single “Get Sun” (feat. Arthur Verocai).

The album was a six year journey, but is more of a hustle than a hiatus — it is an act of love, of courage, of brother-and-sisterhood, of altered perspective.

“Hiatus Kaiyote’s music stretches and bends every parameter.” - Jon Pareles / The New York Times

Belfast-born, London-based duo Bicep (Matt McBriar and Andy Ferguson) release their hotly anticipated second album, 'Isles', on 22 January 2021 via Ninja Tune. Two years in the making, 'Isles' expands on the artful energy of their 2018 debut 'Bicep', while digging deeper into the sounds, experiences and emotions that have influenced their lives and work, from early days in Belfast to their move to London a decade ago. 'We have strong mixed emotions, connected to growing up on an island' they say, 'wanting to leave, wanting to return'. 'Isles' is, in part, a meditation on these contradictions, the struggle between the expansive and the introspective, isolation and euphoria. Lead single 'Apricots' has a similar feel, steeped in a shimmering bath of warm synths, its spare percussion and arresting vocals bring the big room chills of 90s rave, while still evoking something lost or forlorn.

Vinyl LP pressing. Dry Cleaning burst on the scene last year, self-releasing two critically acclaimed EPs before drawing the attention of labels big and small, finally signing with legendary UK label 4AD. Their debut album (which has not been announced yet), New Long Leg, will be released April 2nd. In advance of announcing the album, the band shared the single 'Scratchcard Lanyard' in late 2020, which drew the attention and admiration of the press, including The New York Times, Pitchfork, Rolling Stone, NPR Music, and more.

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.'

Double vinyl LP pressing.

Nahawa Doumbia's new album Kanawa concisely captures this current moment in Malian history. The singer, whose storied career spans more than four decades, reflects on the immigration crisis from the Malian perspective in the title of her new album Kanawa. Across eight songs recorded in Bamako with a band including traditional and modern instruments, Doumbia merges her early work that relied on a spare expression of her trademark didadi rhythm with the bombastic range of contemporary Malian pop. The beautifully complex musical accompaniment that results is courtesy of the large ensemble she pulled together with producer and arranger (and day one collaborator) N'gou Bagayoko. The band features two highly expressive Malian string instruments, the ngoni and the slightly smaller kamalé ngoni, as well as a variety of percussion, drum programming, karignan (a metal scraper) and acoustic and electric guitars. Doumbia's daughter, a celebrated singer with her own group and busy concert schedule, Doussou Bagayoko sings on "Adjorobena," a song about patience, tolerance and living in peace. Doumbia weaves together a roadmap of her psyche when it comes to the good and bad life has to offer. She talks about marriage and women leaving home to join another through the metaphor of a tree in the garden; she includes gunshot samples in the song "Foliwilen" to honor the bravery of hunters, soldiers and other courageous people; she uses a bird in "Djougoh" to talk about lazy people; and, in "Ndiagneko" she advises people to ignore critics, just do you. Mali has gone through an intense period of regional strife and terrorist incidents over the last ten years and Doumbia roots the album in tragic local concerns with deep global implications. "The meaning of Kanawa is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them die while crossing the Sahara. Some climb over the wires across the borders and they have gotten shot. We have asked them not to leave and instead stay home. But I ask them why do they leave their country? Why do they decide to go? They said that they leave because of the family situation or problems like poverty and unemployment. I ask them to stay and work in their country. So that we can help each other find a solution to this problem. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. This song is about that message and I chose it as the title of my album because I like it. It is very meaningful and it is something we see on a daily basis. I chose it in order to alert everybody and make them sensitive to this question of illegal immigration. To reach our brothers and sisters. It is a message. That's why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. So that some will hear the message and stay home and grow the land. Leaving is not the only solution. My message is to help the youth find jobs."

The debut album from British singer/songwriter Eve Owen, Don't

Let the Ink Dry, is a work of raw sensitivity and uncontained imagination, brought to life over the course of three transformative years. During that time, the 20-year-old artist spent her summer holidays writing and recording in New York with The National's Aaron Dessner, immersing herself in a creative exploration that provided welcome refuge from her sometimes-troubled school life. As she discovered an entirely new sense of freedom and belonging, Owen devised a sonic language all her own: frenetic yet delicate, mercurial yet nuanced enough to capture the most ephemeral of feelings. Produced by Dessner at Long Pond Studio (a converted old farmhouse deep in the Hudson Valley), Don't Let the Ink Dry finds Owen embracing her affinity for folk music while pursuing the endless possibilities in electronic experimentation. "I've often felt a bit uncomfortable in myself, and I love how that came out in the music," says Owen. "I don't really care for songs that flow just right or have a perfect cadence-I'd rather there be some sort of unnerving element to them. I think Aaron and I are both attracted to weirdness in music, and we instinctively went after that without really even talking about it." For his part, Dessner reflects on the first day of their collaboration: "Eve came up to visit the studio for a day a few years ago when she was 16. I thought we would record one song but we ended up working on several in just one day. By the next morning she had written a few more songs based on her experience the previous day. This prolific songwriting continued throughout our work together. Every morning there would be new songs, written sometimes overnight. I've been lucky to work with some incredibly talented artists and it was clear to me immediately that Eve was deeply gifted, expressing herself with such force and sincerity on essentially her first proper recording day at Long Pond. I was spellbound."

The music of CARM features horns in roles typically reserved for drums, guitars, and voices, while also escaping the genre categorizations reserved for music featuring an instrumentalist as bandleader. It is not jazz or classical music, nor is it a soundtrack. This is contemporary popular music that features a sound normally used as a background color and texture as the unabashed lead voice.According to CARM, aka CJ Camerieri, "It started with the question: 'What kind of record would my trumpet-playing heroes from the past make today?' I believe they would want to work with the best producers, beat makers, song-writers, and singers to create new, truly culturally relevant music, and that's what I sought to do with this project." Produced in Minneapolis by Ryan Olson (Polica, Lizzo) and featuring collaborations with Sufjan Stevens, Justin Vernon (Bon Iver), Yo La Tengo, Shara Nova, Mouse on Mars, Francis and the Lights and many others. It is a completely unique sound that additionally serves as a survey of the collaborations that have come to define the artist's career thus far.Says Vernon, "I truly believe there isn't a more accomplished brass player in the entire world of music. And this is way more than a 'horn' record. It's a discovery of new heights with what is possible in creating music."The album begins with an orchestral brass choir of French horns, which quickly gives way to a piano sample of Francis and the Lights, as Stevens and Luppen combine voices over a lush bed of horns to sing "Song of Trouble." The album bookends with the same piano sample used as a springboard to a beautiful and iconic lyric by Vernon in the album closer "Land." Between these two generation-defining artists we have the upward sweeping melodies in "Soft Night," fanfares reminiscent of Ennio Morricone in "Nowhere," and the uncompromisingly original sound of Georgia Hubley and Ira Kaplan of Yo La Tengo in "Already Gone." Two dark and mysterious journeys in "After Hours" and "Invisible Walls" give way to the virtuoso sound of Nova's voice, who the artist stood side-by-side with in his first Sufjan Stevens tour over a decade ago. "Slantwise" and "Scarcely Out" take us back down a more experimental path before the strings from yMusic members Rob Moose and Gabriel Cabezas bring us back to the piano sample that started the record. Given the oversaturated contemporary music market that often recycles well-trodden sounds, CARM offers a respite for those seeking an original voice.

Osaka-born and New York-based pianist Erika Dohi is a multi-faceted artist with an eclectic musical background. From highly polished traditional classical to bold improvisation, she is a dynamic performer whose timeless style and unidiomatic technique sets her apart in contemporary NYC avant-garde circles. Dohi's vast repertory is impressive, but what makes her truly such a barrier-defying artist is what lies ahead. I, Castorpollux, Dohi's debut solo album, is a profound personal excavation set to a gripping landscape of wild, genre-fluid composition; a virtuosic, but emotionally generous convergence of the technical and the spiritual. With understated piano & keyboards at it's center, I, Castorpollux is equal parts hazy nostalgia, science-fiction soundtrack and electroacoustic experimentation. The project features contributions from Channy Leaneagh (Polica), Andy Akiho, Immanuel Wilkins, among others, and is produced by William Brittelle. The central theme to the album is the "split-self" and variable perceptions of time that Dohi has faced at formative moments in her life. She experienced the 1995 Kobe earthquake at age 7. Hiding under a table during the worst of it, she later emerged to find the world around her crumbled. In her immediate vicinity, a fixture of her childhood remained standing. The Tower of the Sun, a type of three-faced time machine itself from Expo 70, designed by artist Taro Okamoto is a trail-marker on Erika's journey, a stand-in sigil to unlock the mysterious sounds of her work, with 70s synths and retro sci-fi aesthetics permeating the album's narratives. Much of the album was written while living in Texas where the split between her Asian self and the idea of being an American necessitated a near mountain of self-discovery to reconcile how she felt and who she was within the social backdrop of a strongly conservative environment. It is no wonder that the character of the Dioscuri, Castor and Pollux from Greek and Roman mythology, resonate so deeply with her, or Haruki Murakami's Two Moons and their strange light. From her contributions to various projects, and her participation in the Artist in Residency collaborations, Erika has become a staple of the 37d03d community. 37d03d is honored to partner with her on her profound and moving debut.

81355 (pronounced 'bless') is a meeting of the minds between three pillars of the Indianapolis music scene; Sirius Blvck, Oreo Jones, and Sedcairn Archives. While the three have worked together in the past, this is their first start-to-finish collaboration, and the result is the stunning and distinctive debut Time I'll Be of Use. Simultaneously mystical and stark, somber and danceable, the project grapples with hard-wired truths and imagines alternate realities with better futures. These lucid wanderings amongst the street fires sound like a cross between the ghost of progressive electronic music of the 70s with it's innovative eccentricities, and acrobatic wordplay delivered with sharp resolve. While surrealist in it's metaphors and abstraction, it doesn't betray a present awareness. Reflecting on Black struggle in the pandemicridden and democracy faltering landscape of 2020, each member arrived from a synchronistic space, and the recording process ended up being largely intuitive. On "Capstone," the opening track on the album, Sirius Blvck offers a look from inside his space, "This is what we've come to. Generational curses I still can't undo. Just taught my lil girl to tie her shoes now she running to. Holy smokes lungs made of leather like it's comfortable. Climbing up this infinite ladder to get a better view." These three musical vagabonds have met up to find even themselves surprised with the results. Drawing inspiration from the likes of biting poetic commentary of the late Naptown residents, Etheridge Knight and Kurt Vonnegut, OJ summons a golden-era flow and paints a picture of the group's influences, surroundings, and trajectory in one fell swoop in "Thumbs Up." "Alright, in my feelings tonight, Honda Civic overturned as it burns through the night. Bone Thugs in these streets no Surender in sight. I'm writing poems from a jail cell, Etheridge Knight. I throw a fit when I flip it, it's all vintage. A pearl white Bronco like OJ you done did it. The sunshine shatters the rock painted so vivid. Two-hundred fifty pounds of gifted we so lifted... wassup?" Sirius, with poetry present even in his speaking voice, adds, "It's a way to carve our story in the sky before we're gone. This is us choosing to believe that this time, things will be different. It is an affirmation to the universe. This time I'll see the whole blessing. This time I'll be of use."

Neon Green Vinyl. Slow Pulp's remarkable full-length debut Moveys is a testament to hard-fought personal growth. In the process of making their new record, the Chicago-based indie rock band powered through health challenges, personal upheaval, and a pandemic, all while breaking old habits and learning how to be better songwriters and friends. Full of blistering energy and emotional catharsis, this compelling 10-track collection highlights the band's resourcefulness and resilience to come together even when they were states away.

Slow Pulp's tough adaptability is something that has formed over time thanks to the unbreakable bond of lifelong friendship. Slow Pulp's roots can be traced back to elementary school, with Alexander Leeds (bass), Theodore Mathews (drums), and Henry Stoehr (guitar) performing in bands together since the sixth grade while growing up in Madison, Wisconsin. Emily Massey (vocals/guitar) was later invited to join their new project, Slow Pulp, in 2017. "I can't describe a level of closeness with other people like we have. Having lived together, toured together, worked together, and written together, we learned so much about each other so quickly," says Massey. Slow Pulp first started working on new songs in the Spring of 2019, immediately after the release of their EP, Big Day, but they ended up scrapping the material. "When we started writing this record, I had been experiencing so much fatigue and getting sick a lot and I didn't know what it was. I got diagnosed with Lyme disease and a chronic Mono," says Massey. She adds, "The diagnosis validated a lot of what I was feeling. I got tools for how to take care of myself better." For Massey, taking care of herself meant more than just addressing her physical needs. "The way that I internalize trauma is I will hold it in and not process it for a very long time, but writing songs is the one place where I can't hide from myself. It just comes out whether or not I want it to or if I'm ready for it to. Figuring out how to write together, as a band, was like me learning how to take care of myself and learning how to communicate better." When the band toured with Alex G in the fall, new songs started to take shape. However, in March, as the band was finishing the songs and starting to realize a full-length effort, Massey's parents got in a severe car accident forcing her to pause recording and return home to Madison and take care of them. A week later, the COVID-19 pandemic hit. "I wasn't able to come back to Chicago for a while. How were we going to finish this apart from each other?" thought Massey. With Stoehr leading engineering, mixing, and production duties, the band managed to finish the record in an isolated, post-COVID world. "Thankfully most instrumentals were already written. Alex and Henry and I were all able to do that separately from a studio space that we rent in Chicago. It required a lot of FaceTime which was no substitute for us being in the room together," says Mathews. As Massey's father Michael recovered from his injuries, the two worked on completing her vocal takes from his home studio. On top of engineering all but two vocal tracks, Michael Massey also contributed the instrumental piano track "Whispers (In the Outfield)." After a handful of singles and EPs, Moveys marks a turning point for Slow Pulp, not just as musicians, but as friends and bandmates. It is a marked departure from the ramshackle coziness of their earlier output, with a more thoughtful sound that allows Massey to soar. For example, lead single "Idaho," written on the road during tour-induced disorientation that led Stoehr to confuse their gig at Colorado College for a show in an entirely different state, bursts to life thanks to Stoehr's shimmering guitar theatrics and Massey's powerful and yearning vocal delivery. Here, she sings powerfully of the mental health hurdles that come with accepting love, "I'll keep on holding out for the downside / Before I knew why." Other songs like the shoegaze-y "Channel 2" feature Leeds on lead vocals whereas the understated and delicate highlight "Falling Apart" boasts Alex G collaborator Molly Germer on violin. So much of the album broadcasts their adventurousness, from the funky and cheeky samples on the title track to the gorgeous acoustic strums on opener "New Horse." The driving, two-minute ripper, "At It Again", was written and recorded in self-isolation as the last song to make the record. Massey explains her mindset behind the track: "I was starting to feel like I was getting back to a place where I could be healthy both physically and mentally. Then when everything happened, it was like, 'sike!'" The word "moveys" is multi-faceted for Slow Pulp. It's a made-up word, and a title of the album's bonus track. It is an invitation to dance. It is a wink at the cross-country nature of the album's songwriting process, while the bandmates were literally on the move touring, sheltering in place, and going through major life changes. But, mostly, it's an inside joke. Listening to these warm, dynamic and welcoming songs, it's easy to feel like you're a part of it too.

My Heart Is An Open Field is a confident, deeply beautiful debut album from Chicago four-piece Tenci. These songs are filled with nuance- breaths of saxophone and flute, and touches of cello, piano, and pedal steel are hung on the sturdy folk songs of Jess Shoman, whose voice and range cuts through these dreams like a loved one's voice. There is enough new rawness to separate the music of Tenci from other artists working in similar genres. Ultimately these songs feel magically formed, the hazy post-snakebite psychedelia of "Serpent, " the childlike wonder and xylophone on "Joy, " the heartbreaking imagery within "Forgot My Horse's Name." Even the recording of Shoman's grandmother at the end of "Blue Spring" is something achingly refreshing. The band quietly self-released this on cassette ahead of a Midwest tour. Austin label (home to Twain, Buck Meek of Big Thief, Sun June, Erin Durant) will be releasing the album on LP, CD, cassette, and digitally on June 5, 2020.

Two Saviors is Buck Meek's second album, following 2018's self-titled LP also released on Keeled Scales and currently on it's third pressing.The Big Thief lead guitarist worked with producer and engineer Andrew Sarlo on this album (who's produced all four of Big Thief albums, as well as co-producing Bon Iver's i, i). Andrew agreed to record it only if it was made under his conditions- that they make the album in New Orleans during the hottest part of the year, spend no more than seven days tracking live, on an 8-track tape machine, with only dynamic microphones and no headphones, and not allowing the players to hear back any of the takes until the final day.

Cool Dry Place is Katy Kirby's long-awaited debut album. The 9 songs here are equal parts driving indie-pop and artful folk songwriting in the vein of Waxahatchee, Lucy Dacus, and Frankie Cosmos. Intimate, vulnerable lyrics give way to anthemic choruses, true earworm, and memorable vocal melodies.

Vinyl LP pressing. On her third album, the Chicago-based songwriter offers melody, mystery and prized imperfections. Nina Ferraro, who performs as Bonzie, had been working on the album that became Reincarnation since 2018, but finished it in quarantine.

"Woke up singing a dead man's song..." is the opening line from the Warren Haynes original "Heavy Load," a line of imagery that feels like the beginning of dirt. Blues. On this album, the iconic American band puts their unique musical stamp on an incredible collection of Blues covers and originals. Haynes, the leader of Gov't Mule, hails from a Southern rock tradition of scruffy virtuosity. Gov't Mule is Warren's show, and the Blues is the informing foundation, personal and universal.

STEVE PERRY "I hope when people hear this record, they're teleported in the same way I was when I recorded all these songs-I hope it brings them back to those golden moments with their loved ones and gives them that feeling of joy and connection and comfort that we all need so much."

All 8 tracks on the record come straight from the heart as Steve hopes to send listeners to the place they find the most comfort during the holiday season, which, for Steve, is his grandmother's home.

"When I was recording vocals for "I'll be Home For Christmas", as I was singing "Please have Snow and Mistletoe and Presents under the tree" . I was emotionally thrown into standing in my grandmother's house staring through the door that I always hung Mistletoe and then I saw her beautiful Christmas tree in front of her living room window.I had to stop singing because it felt like I was really there.I was a bit stunned.Back Home for Christmas is where everyone wants to be!"

One of the most iconic voices in rock & roll history, Steve Perry has captivated generations with the sheer power of his range and extraordinary warmth of his tone. The Season serves as the latest turn in a phenomenal career that's included landing on Rolling Stone's "100 Greatest Singers of All Time" list, fronting Journey during the band's most successful era, and gaining entry into the Rock & Roll Hall of Fame.

STEVE PERRY / SEASON

Nathaniel once again demonstrates that he is a writer and performer of the highest order, who seems to be smack dab in the middle of what we all hope is an extended creative peak. The album showcases Nathaniel's unique observations of our world and people's ongoing struggle in learning how to better understand each other.  The Future was produced by Brad Cook (Bon Iver, Kevin Morby, Waxahatchee, Hiss Golden Messenger) and R.M.B. The latter being the production team of Nathaniel himself, Patrick Meese, and James Barone (Beach House). The same team that both produced and were the core musicians behind Nathaniel's latest and greatest solo effort, And It's Still Alright.  Additional production was added by multifaceted musician, engineer, producer, Elijah Thomson (Father John Misty, Richard Swift).  Other notable contributions came from Jenny Lewis and Jess Wolfe (Lucius), whom both added backing vocals to the stunning track, "What IF I".  And Amelia Meath (Sylvan Esso) who sang on "Face Down In The Moment".  The album was recorded at Nathaniel's own Broken Creek Studio just outside of Denver, CO

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.

London-based saxophonist and composer Nubya Garcia, whose critically-acclaimed album, SOURCE, has been shortlisted for the prestigious Mercury Prize, returns with a new remix album to be released on October 22, 2021. Through musical collaboration, Nubya has teamed up with an exciting and innovative array of artists including Dengue Dengue Dengue, Kaidi Tatham, Georgia Anne Muldrow and Moses Boyd, for a reimagined look at her award-winning album. The remix album, SOURCE ⧺ WE MOVE features 9 original remixes.