Absent In Body is a new industrial death/doom project featuring Scott Kelly (Neurosis), Iggor Cavalera (Sepultura) and Mathieu Vandekerckhove + Colin H Van Eeckhout from Amenra. 

Fighting Demons, the fourth studio album and second posthumous album from Juice WRLD, is now available on vinyl, CD, and cassette with features from Justin Bieber, Polo G, Trippie Redd, and more!

Like only the most gifted storytellers, Matisyahu spins the rare kind of stories that simultaneously enlighten and enthral and expand the audience’s sense of possibility. On his eponymous new album, the Grammy Award-nominated singer/songwriter/rapper shares his most autobiographical work to date, merging that personal revelation with a shapeshifting collision of reggae and hip-hop and boldly inventive pop. Produced by Salt Cathedral (a Brooklyn-based duo comprised of Colombian musicians Juliana Ronderos and Nicolas Losada), the result is an undeniably transformative album, one that invites both intense introspection and unbridled celebration.

Like the creeks that run and tributaries that trickle throughout singer-songwriter Ian Noe’s homelands in Eastern Kentucky, water flows throughout his new LP. Thoughtfully and intentionally named, River Fools & Mountain Saints highlights Noe’s storytelling prowess through 12 country rockers and Appalachian ballads, depicting contemporary and historical life in the region.

Water’s in the name, of course — River Fools & Mountain Saints, which is due out March 25 via Thirty Tigers — but water also informs the tales Noe tells and the metaphors of perseverance, sustenance, and strength within them. The major floods that decimated the southeastern part of the state in February 2020 remained close at heart during his writing process, as well.

The album title came to Noe before any of the songs, serving as a concept and a guiding principle. “That landscape and that geography of growing up in Lee County, Kentucky,” he begins, “I've got so much material of things that I can write about, of stories of all these people and just life in general of growing up there.

“You think about the river? It's down here. It’s low. And then you got the mountains up high. You've got everything in this way! You can go all over the place with that type of landscape, and that's how [the writing] starts.” 

From there, Noe pieced together what would become Side A, or “River Fools,” and Side B, “Mountain Saints.” He writes in character studies — the man who introduced him to “Johnny B. Goode” while working in the Lee County oilfields, the woman he saw hustling weed in the foothills, and even state legends like Muhammad Ali and family members become their own heroes in songs like “River Fool,” Mountain Saint,” and “Strip Job Blues,” respectively.

Noe often sings about members of his community, honoring the Indigenous people and cultures of the region on “Burning Down the Prairie” or the many veterans of the town on songs like “POW Blues” and “Tom Barrett.” But on other tracks like on the pedal-steel laced “Lonesome As It Gets,” he takes a more autobiographical approach, turning the lens back on himself while living alone in his grandparents’ old house.

Even with nature’s guidance, people remain at the core of the record. And while Noe calls Bowling Green home these days and Kentuckians influenced the songs’ creation, these stories capture universal themes relatable to all listeners.

Broader in scope and brighter in tone than his lauded debut, 2019’s Between the Country, River Fools & Mountain Saints boasts a fuller sound with more diverse instrumentation. Noe name-drops full-length masterpieces like Bruce Springsteen’s Darkness on the Edge of Town as readily as Arcade Fire’s Neon Bible for structural inspiration, as well as Neil Young’s harmonica work in “Heart of Gold” and Jimi Hendrix’s guitar playing in a rare version of “Voodoo Child (Slight Return)” from 1970 for specific tones.

Noe also cites Alabama Shakes’ self-titled debut and Margo Price’s records as sounds that led him to work with producer Andrija Tokic in Nashville. “The fact that I got to work with him is surreal to me after all these years later…romanticizing the sound he’s getting here and the name of the place — The Bomb Shelter,” he exudes. Noe also expanded his sound with the help of band members including "Little" Jack Lawrence (The Raconteurs) on bass and Derry deBorja (Jason Isbell & the 400 Unit) on keys.

They recorded on reel-to-reel tapes in short spurts over the course of two years, without the pressure of time, which enabled a wider range of experimentations, collaborations, and sounds. As a result, River Fools & Mountain Saints switched from rocking like Creedence Clearwater Revival to intoning like John Prine or Tom T. Hall; it swaggers with keys on on songs like “Pine Grave (Madhouse),” bursts with French horn bombast “On More Night,” and swells with orchestrated strings on the gutting closing ballad, “Road May Flood/It’s A Heartache.”

“You wanna write a song that’s been there forever,” he says. “When you listen to ‘Up On Cripple Creek’ by The Band, you don't think about what year it is. It sounds like it’s always been there.”

He continues, “But you just can't sit down and make it happen like that. If it happens, then you have to recognize that you’re on to something. I tried to make each song like that; I wanted to make each song a solid as possible. That was my goal.”

Despite being written in quarantine and in the wake of natural disasters, River Fools & Mountain Saints remains a positive record. Noe maintains it’s about good moments growing up in a hard place. But most importantly, it’s about music as redemption, romanticism, and release.

Placebo have unveiled their long-awaited 8th studio album. Nine years on from the release of their last outing Loud Like Love, Never Let Me Go is set for release on March 25^th, 2022.

Produced by Oliver Wood and Jano Rix of The Wood Brothers. "Steve Poltz is a living example of the American music tradition, a songwriter who can bend your ear with a hooky melody, then break your heart with a wry observation about the human condition." - Popmatters "Steve is the ultimate troubadour-a highly engaging storyteller and performer. I'm glad our paths crossed all those years ago." -Jewel Throughout over three decades in music, Steve Poltz has done it all and more - he co-wrote Jewel's Hot 100-topping megahit "You Were Meant For Me," fronted '90s underground legends The Rugburns and has built a huge cult following for his solo tours. A gonzo entertainer, storyteller and prolific collaborator (Billy Strings, Molly Tuttle, to name just two), Poltz, now in Nashville, enlisted members of The Wood Brothers for Stardust and Satellites. It's an album dealing with loss (he's lost both parent's in the past two years), simple joys and childhood memories - summer baseball games, a stint he did with Up with People, and more. This could be his best yet!

Ever-evolving band Wallows announce their highly anticipated sophomore album, Tell Me That It’s Over, today and release new single “Especially You” with an accompanying music video directed by Jason Lester. Tell Me That It’s Over, out March 25th, was produced by the multi-GRAMMY Award winning Ariel Rechtshaid (Vampire Weekend, Haim, Adele) and contains 10 tracks informed by everything from lo-fi post-punk to indie-folk to early-’90s dance-pop psychedelia.

Absent In Body is a new industrial death/doom project featuring Scott Kelly (Neurosis), Iggor Cavalera (Sepultura) and Mathieu Vandekerckhove + Colin H Van Eeckhout from Amenra. 

LABYRINTHITIS brims with mystic and intoxicating terrain, the threads of Dan Bejar’s notes woven through by allusions at once eerily familiar and intimately perplexing. The record circuitously draws ever inward, each turn offering giddy surprise, anxious esoterica, and thumping emotionality at equal odds. “Do you remember the mythic beast?” Bejar asks at the outset of “Tintoretto, It’s for You,” the album’s first single, casting torchlight over the labyrinth’s corridors. Delivered in a Marlene Dietrich smolder, Bejar’s lyrical menace seeps like smoke through the brazen march’s woozy synths and dizzied guitar. “There’s some character here that feels new to me, a low drawl, an evening gown draped over a piano,” Bejar says of the song. Throughout, LABYRINTHITIS insists that everything’s not all right, but that even isolation and dissolution can be a source of joy—stepping into the sunlight at the other end of the maze in your ear, Bejar strolling alongside like a wildmaned,
leisure-suited minotaur.

More than an arcane puzzle for the listener, LABYRINTHITIS warps and winds through unfamiliar territory for Bejar as well. Written largely in 2020 and recorded the following spring, the album most often finds Bejar and frequent collaborator John Collins seeking the mythic artifacts buried somewhere under the dance floor, from the glitzy spiral of “It Takes a Thief ” to the Books-ian collage bliss of the title track. Initial song ideas ventured forth from disco, Art of Noise, and New Order, Bejar and Collins championing the over-the-top madcappery. “John is in his 50s, and I’m almost there, but we used to go to clubs,” Bejar laughs. “Our version may have been punk clubs, but our touchstones for the album were more true to disco.”

Bejar and Collins conducted their questing in the height of isolation, Collins on the remote Galiano Island and Bejar in nearby Vancouver, sending ideas back and forth when restrictions didn’t allow them to meet. “From the vocal manipulation to the layered electronics, making this record pushed us to a new place, and reaching that place felt stressful,” Bejar recalls. “But I trust that that stress is a good feeling.” That cuddly anxiety excels in tracks like “Eat the Wine, Drink the Bread.”

Lyrically, LABYRINTHITIS embraces a widescreen maximalism, blocks of text dotted with subversions and hedges. Building from the koans of Have We Met, Bejar continues to carve his words precisely, toying with expectations and staid symbols, while Collins’ production reconstructs the pieces into a unified whole. “Even though everyone recorded in their own isolated corners, this is the most band record that we’ve done in the last few years,” Bejar says. “Everything’s manipulated, but the band is really present, and our plans wound up betrayed by what the tracks wanted. I’ve written 300, 400 songs in my adult life—I don’t know how to do anything else—but this album feels like a breakthrough into new territory.”

That unprepared synchronicity and mutual discovery shines on “June,” a six-and-a-halfminute track that features a blend of funk bass, fluttering synth, and charred poetry recitation. While Bejar initially envisioned LABYRINTHITIS as a straight dance record (“just like Donna Summer’s greatest hits”), the end of “June” explodes that simplicity into a million shining pieces, finding joy in mutual discovery instead of isolated certainty. LABYRINTHITIS closes on “The Last Song,” Bejar singing and strumming all alone, a gentle yet no more settled exodus out of the fractured dance party. “I try and sneak in sweet moments where I can,” Bejar laughs. As LABYRINTHITIS closes, the reorienting vertigo lingers, its implacable aura and bewitching lyrics wriggling ever deeper into the mind.

Fighting Demons, the fourth studio album and second posthumous album from Juice WRLD, is now available on vinyl, CD, and cassette with features from Justin Bieber, Polo G, Trippie Redd, and more!

Like only the most gifted storytellers, Matisyahu spins the rare kind of stories that simultaneously enlighten and enthral and expand the audience’s sense of possibility. On his eponymous new album, the Grammy Award-nominated singer/songwriter/rapper shares his most autobiographical work to date, merging that personal revelation with a shapeshifting collision of reggae and hip-hop and boldly inventive pop. Produced by Salt Cathedral (a Brooklyn-based duo comprised of Colombian musicians Juliana Ronderos and Nicolas Losada), the result is an undeniably transformative album, one that invites both intense introspection and unbridled celebration.

Ever-evolving band Wallows announce their highly anticipated sophomore album, Tell Me That It’s Over, today and release new single “Especially You” with an accompanying music video directed by Jason Lester. Tell Me That It’s Over, out March 25th, was produced by the multi-GRAMMY Award winning Ariel Rechtshaid (Vampire Weekend, Haim, Adele) and contains 10 tracks informed by everything from lo-fi post-punk to indie-folk to early-’90s dance-pop psychedelia.

Absent In Body is a new industrial death/doom project featuring Scott Kelly (Neurosis), Iggor Cavalera (Sepultura) and Mathieu Vandekerckhove + Colin H Van Eeckhout from Amenra.