1 CD, 1 Limited Edition Poster (2 versions), 1 Photo Book (2 versions), 2 Lyric Cards, 1 Photo Card (1 of 8 each random), 1 Instant Photo Card, 1 Graphic Sticker (2 versions), 1 Folded Message Card (1 of 7 each random), 1 Photo Stand (2 versions). All sales count towards the Korean Hanteo and Gaon charts. Sales will not count toward the US Billboard charts.  

Pokey LaFarge’s 7th studio solo album, In the Blossom of Their Shade, showcases the positivity of coming out of the darkness and into the light. When the 2020 global pandemic hit, LaFarge’s rigorous work ethic powered him through the potentially challenging creative period. As days became a couple months, songs blossomed from embryonic ideas into full-formed ones and he was ready to move on, which typified his mindset as a working artist. With this record LaFarge captures the thematic notion of being the perfect summer afternoon soundtrack...the type of music you want to listen to while having a cocktail with your significant other. It makes sense musically as well — LaFarge intentionally crafted songs that created space and have melodies that can glide throughout a composition that’s a far cry from the swing and blues-infused songs of his earlier work. LaFarge is an artist who refuses to rest on his laurels and compromise. He’s always motivated and ready to create. With In the Blossom of Their Shade the album is one of LaFarge’s strongest and most mature efforts to date.  

Written, recorded, and completed during lockdown, CARNAGE is the first studio album from Nick Cave & Warren Ellis outside of the Bad Seeds and their many soundtrack collaborations.

The eight song project - developed amidst the downtime of a long, anxious, global emergency - showcases Cave & Ellis’ typical sonic and lyrical adventurism and stands as a quintessential record for these uncertain times.

CARNAGE is shot through with moments of distilled beauty and resonating with an almost defiant sense of hope. In Cave's own words, it is "a brutal but very beautiful record nested in a communal catastrophe."

A graduate from the prestigious Berklee College of Music, Ashe has been lauded by the likes of The FADER who raved about her “effortless voice”; People called her music, “deeply emotional yet so fun,” Consequence of Sound described her songs as, “accessible yet emotional” and NME declared she’s “a formidable new force in the pop world,” among other accolades. Ashe’s touring resume includes performances at Coachella with Big Gigantic, and opening slots for The Chainsmokers, LAUV, Louis The Child, Lewis Capaldi and more.  On TikTok Ashe gained 1 million followers, hitting over 2.5 billion video views and 2.5 million videos created.  On Instagram she has over 905K followers and growing, approaching 515K followers on Twitter, and over 7.3 million monthly listeners on Spotify. Her double EP Moral of the Story Chapters 1 & 2 is out now.  In 2020, Ashe also released the single “Save Myself,” which garnered over a million streams a week last summer, while the official music video saw #SaveMyselfMV trend on Twitter worldwide after its debut, including the U.S. at #5. She recently contributed an original song, “The Same,” to the new film and soundtrack, To All The Boys I’ve Loved Before, her second placement in the wildly popular Netflix franchise. Ashe made her stunning late-night TV debut alongside Niall Horan on The Late Late Show with James Corden, taped at London’s famed Royal Albert Hall and her daytime debut on Ellen at the top of 2021. “Till Forever Falls Apart” is the first hint of more exciting new music on the horizon from Ashe coming soon. Ashe and FINNEAS recently performed the song on Jimmy Kimmel Live! Ashe’s forthcoming debut album Ashlyn includes 14 songs which she describes "Ashlyn is deeply reflective and honest, full of stories of my experiences with fear and pain and turning those hard things into joy and independence. I’m an experiential writer and there was no way I was going to make an album that didn’t address my personal journey, from my brother’s death this last year to my own experiences with emotional abuse. I think you have to be vulnerable to create something really great and I believe I did that. Writing this album was also an opportunity to show that I’m not just a songwriter and a singer but a producer and a musician with a very clear vision for my art. Joni Mitchell refers to herself like a bee, gathering stories like pollen and trying to make honey from it, “whether or not the flavor suits people is something beyond my control.” I really tried to take that approach to writing this album, making something I loved above everything else. I couldn’t be more proud of Ashlyn and I hope many people happen to love it too.”

Sucker Supreme is the third album from Rosie Tucker, and first for Epitaph Records. It is a coming of age album that aches with self-discovery, self-definition, and self-redefinition. Sucker Supreme is also just the right follow-up to where their last album, 2019’s Never Not Never Not Never Not, left off: still playfully observed, still sneakily political, still indebted to folk singers of the past – but also much, much bigger, brighter, louder and noisier than anything Tucker has dared before. It delivers mightily on an ambitious M.O.: to be relentlessly catchy and muscular and noisy but also beautiful; be achingly sad and searching, but never too far away from funny, either; and to spotlight Tucker’s empathetic, yearning vocals on top of it all. It takes a unique group of people to make an album that leaps out of the speakers at you like this one. Sucker Supreme is the first record made by Tucker’s current touring band: drummer Jessy Reed, guitarist Jess Kallen, and bassist Wolfy, who also occupied the producer’s chair. It’s a group of people as eager to share their long-dead folk music heroes as they are to pay homage to their still-kicking pop-punk heartthrobs.

A new era of hope, survival, and prosperity comes calling on STYX's Magnum Opus, Crash of the Crown, the band's first studio album since 2017's The Mission. Though the 15-track album takes a hard look at some inherently dark subjects, the prevalent light at the end of the tunnel eventually becomes each song's focal point - a persistent fervor to keep moving forward and achieve the greater good. Featuring "Crash of the Crown," "Reveries" & more, available on black vinyl.

Evolfo’s homegrown musical universe is forever expanding. If the Brooklyn-based pysch rockers felt pressured to repeat the successes of their 2017 album 'Last of the Acid Cowboys' they certainly didn’t show it. One might think a band that racked up six million plus streams on their debut record would try to recreate this by doing more of the same, but Evolfo's latest album, 'Site Out Of Mind,' finds them stepping boldly forward, using 'Last of the Acid Cowboys' as a springboard for even more vivid conceptual territory, departing its earth bound adventures in melting landscapes, rat cities, and desert sojourns for metaphysical territory in the mountains of the mind. On this latest 11-track effort, Evolfo reaches far beyond the confines of genre to create a colorful echo drenched psych rock dream all their own. Partially inspired by concepts pulled from sci-fiction and one group psychedelic drug trip, 'Site Out of Mind' is a thrilling spiral into the depths of the spiritual mind and the afterlife. During late-night overdub sessions, the band would tweak lyrics line by line until it resulted in poetic verses like those of “In Time” and “White Foam." Comprised of one-take recordings, an organ-heavy song like “Orion’s Belt” feels like you’ve walked into a mind-exploding jam session where everyone is so in tune that they don’t even need to make eye contact, or a rhythm-driven cut like “Strange Lights” which jolts with an energy akin to Can. Evolfo don’t just channel ‘60s psychedelia on 'Site Out of Mind,' they warp the genre with experimental flair, from saxophone electronics to droning violinists. The result is a collection of songs that are unexpected, absorbing, and blissfully tripped out.

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

Nonesuch Records releases an album of songs written and performed by Caroline Shaw and Sō Percussion, Let the Soil Play Its Simple Part. The musicians, who have known each other since their student days, were presented with three days of gratis studio time and decided to experiment with ideas they had begun putting to tape during the sessions for their January 2021 Nonesuch release Narrow Sea. With Shaw on vocals and Sō—Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting—filling out this new band, they developed songs in the studio, with lyrics inspired by their own wide-ranging interests: James Joyce, the Sacred Harp hymn book, a poem by Anne Carson, the Bible’s Book of Ruth, the American roots tune “I’ll Fly Away,” and the pop perfection of ABBA, among others. The album is co-produced by Shaw, Sō Percussion, and the Grammy Award–winning engineer Jonathan Low (The National, Taylor Swift).

Yves Jarvis and Romy Lightman are a pair of idiosyncratic and restlessly creative artists. In the past decade, Jarvis’s ever-expanding swatch have earned international acclaim, while Lightman’s twin-sister-led band Tasseomancy has transfixed listeners since the late 2000s. The Lightman Jarvis Ecstatic Band marks the duo’s first collaboration, slingshotting both musicians out of their comfort zones into spellbinding territories of lysergic folk and impressionistic rock.

Banned was recorded in the tranquil environment of the Tree Museum, an outdoor art gallery in rural Ontario, Canada, hosting residencies for contemporary sculptors over the past 20 years. The pair credit its 200 acres of natural spaces intermingling with human-made creations as the fuel for their unfettered process. Recorded over two weeks in a free-flowing stream of improvisation, the album finds Lightman on synthesizer with Jarvis on drums and guitar, as their voices weave together into an electrified pastoral tapestry.

For both musicians, the creation offered a chance to challenge themselves: Jarvis defying his solitary practice to record with another person, while open jams provided Lightman an alternative to her preference for thoroughly composed songwriting. “This album is a loose manifesto in our shared vision for a way of being,” says Lightman. “It’s about our relationship and the dynamics in that. There’s an epicness to it and tension at times. It’s like the ways particles collide. There’s an alchemical aspect to it with these base components slamming together.”

Gary Allan will be releasing a brand new album of all new material on June 25th. 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).