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After going over 10 times platinum with his debut record, Juice WRLD is back to release his sophomore album, Death Race For Love. This album’s first two singles, “Robbery” and “Hear Me Calling”, debuted at #31 and #24 respectively on the Billboard Hot 100. Juice WRLD will perform at Coachella, followed by his highly anticipated North American headline tour.
Sweden’s Opeth are preparing to release their most important record to date with “In Cauda Venenum”. Certainly, fans and critics will have their opinion, but few records in the Swedes’ oeuvre are as engaging, delicate, panoramic, intense, and musical as Opeth’s lucky thirteenth. Sporting a clever Travis Smith cover—replete with inside jokes and a nod to King Diamond—a masterful Park Studios (The Hellacopters, Graveyard) production, Opeth’s usual five-star musicianship, and lyrics entirely in Swedish, “In Cauda Venenum” raises the bar markedly. While a record in Swedish is a first—there’s also an English version—for frontman and founding member Mikael Åkerfeldt, the 10 songs on offer feel and sound completely natural. As if years of listening to and being a fan of Swedish rock and hard rock has paid off. In a way, Opeth have come home. But the Swedish lyrics of the primary edition of “In Cauda Venenum” shouldn’t distract from the quality presented in Opeth’s new songs, the lot of which sneak up and take control after repeated listens. “In Cauda Venenum” is like that, tricky in its complicated simplicity, resourceful in its ability to charm with delightful if wistful melodies. Really, it’s just Opeth being Opeth.
311 are back with their 13th studio album VOYAGER, which features (appropriately enough) 13 new songs, four of which were recorded with Grammy-nominated producer John Feldmann (Blink-182, Panic! At the Disco) and nine of which were recorded with longtime collaborator/live engineer Scotch Ralston, who produced 311 albums Transistor, Soundsystem and Stereolithic.
The 1975’s highly anticipated third studio album A Brief Inquiry Into Online Relationships will be released on Friday, November 30th via Dirty Hit / Interscope Records. Their debut album The 1975 is now platinum with their most recently released album I like it when you sleep, for you are so beautiful yet so unaware of it surpassing Gold after having debuted at #1 on the Billboard Top 200.
Recorded entirely in Manchester, some tracks are haunted by their home city’s industrial past – and… the influence of classic Detroit techno… but the whole thing stays true to the band’s career-long focus on what comes next. Recent press in Mixmag, RA, Magnetic Mag… lead single “Tokyo Tokyo” premiered June on BBC 6Music… Tour plans announced soon. Recorded entirely in Manchester, some tracks are haunted by their home city’s industrial past – and… the influence of classic Detroit techno… but the whole thing stays true to the band’s career-long focus on what comes next. Recent press in Mixmag, RA, Magnetic Mag… lead single “Tokyo Tokyo” premiered June on BBC 6Music… Tour plans announced soon. Recorded entirely in Manchester, some tracks are haunted by their home city’s industrial past – and… the influence of classic Detroit techno… but the whole thing stays true to the band’s career-long focus on what comes next. Recent press in Mixmag, RA, Magnetic Mag… lead single “Tokyo Tokyo” premiered June on BBC 6Music… Tour plans announced soon.
ABBATH comment on the album: "Abbath, honed sharp by trial and terror, proudly present 'Outstrider' - our latest catharsis wrung from the guts of darkness. Forged in fiery furnace of adversity, hammered on an anvil of rage, this album is conjured from conflagration coughed from rift of Chaos, rising like a Phoenix from the Pit, to infect our Spitegeist with shamaniacal reflections sheathed in metal compositions, hooked and riffed by razor wire licks impaling bass-lines pulsed on drumbeats dredged from thunderous abyss, by a hive-mind wed to one whole emission: To boldly go where no band has gone before and one step further!"
The coverartwork, which is created by Kim Holm and Olav Iversen, and the track-list for 'Outstrider' can be found below.
In 2017 Built To Spill was invited to play a few shows as Daniel Johnston's back up band This is what those rehearsals sounded like. 11 tracks of Johnston's fractured pop presented through the eyes of Built To Spill.
RIAA-certified, Billboard chart-topping, Richmond, VA band LAMB OF GOD may be one of the biggest bands in modern metal, but they will never forget where they came from. Mark Morton (guitar), Willie Adler (guitar), John Campbell (bass), and Chris Adler (drums) formed the first incarnation of the band, BURN THE PRIEST, in the winter of 1994 after meeting four years earlier as students at Virginia Commonwealth University. Less than a year later, in the summer of 1995, they met vocalist Randy Blythe and the rest is global metal history. Guitarist Mark Morton says, "To truly understand the essence of the band BURN THE PRIEST, one must first consider the landscape in which it began: the mid-90s. Grunge and alternative music ruled the airwaves. Social media and the internet had yet to assume their role as our collective sources for entertainment and cultural exchange. It was a time when DIY 'zines turned us onto new bands and regional scenes, and 'copy and paste' still implied a print shop and a glue stick." BURN THE PRIEST's self-titled debut album, released via Philadelphia-based Legion Records, documented what was, in essence, a primal punk band performing metal. Ultimately, as they grew in local popularity, the five-piece chose to stray away from their name to avoid being associated with satanic metal, choosing the name LAMB OF GOD. Morton continues, "As our sound and songs developed, so did our goals... we began playing basement parties and warehouse shows and in doing so, we realized that the energy we were creating was transferable. The shows we played in those squats and warehouses [in Philadelphia] and the people we met there are forever embedded in our collective consciousness and the DNA of our band." As they enter their 20th year since releasing their first self-titled album as BURN THE PRIEST, the band will release a full-length covers album that reflects on the greatness of classic punk, hardcore, crossover and noise - rock subgenres that contributed to what LAMB OF GOD - and indeed, the world - now view as modern heavy metal. As BURN THE PRIEST, the band presents Legion: XX featuring tracks originally performed by Cro-Mags, Agnostic Front, Quicksand, Ministry, Bad Brains, Melvins, S.O.D., The Accused, Big Black and Richmond punk band Sliang Laos. The tracks are performed with the unmistakable precision that has kept the band vital for two decades, but ultimately harks back to the raw, punk-driven sound first explored by four unsuspecting college students and a line cook-turned-vocalist in their formative years. Produced with Josh Wilbur at the helm, Legion: XX exhibits BURN THE PRIEST in their true element.
To mark the 40th anniversary of the original releases, Domino are very proud to announce details of the re-issue of Buzzcocks seminal first two albums, Another Music In A Different Kitchen and Love Bites. The albums follow the Domino re-releases of their debut EP, Spiral Scratch and Time’s Up, a collection of demos, from 1976. Famously taking their name from ‘It’s the buzz, cock’, a headline from a Time Out review of 1970s TV music drama ‘Rock Follies’, Buzzcocks formed in Bolton in 1976 by Pete Shelley and Howard Devoto, who have a strong claim to have kick-started a musical revolution in Manchester having organised and played at the now infamous Sex Pistols show at Manchester’s Lesser Free Trade Hall in 1976, a show which inspired and spawned the likes of Joy Division, The Fall and The Smiths. Having recorded their debut EP, Spiral Scratch, in October 1976 for a cost of £45 (the single would go on to sell 16,000 copies in the first six months of release on their own New Hormones label), the band soon under-went personnel changes with founder Howard Devoto leaving before they signed to United Artists and embarked on the recording of their debut album. Recorded at Olympic Studios in London between December 1977 and January 1978 with producer Martin Rushent and featuring the line-up of Pete Shelley (vocals / guitar), Steve Diggle (guitar / vocals), Steve Garvey (bass) and John Maher (drums), Another Music In A Different Kitchen was released in March 1978 featuring a distinctive cover by Malcolm Garrett whose work would become inextricably linked with the band. Within six months of their debut album release, the band had recorded and released its follow up. Again working with Martin Rushent at Olympic Studios, Love Bites was recorded in late July 1978 and released in September of that year. It featured their highest charting single, and arguably best-known song, Ever Fallen In Love (With Someone You Shouldn’t’ve). By the end of 1978 with the release of these albums not only had Buzzcocks established themselves as one of the leading-lights of punk but proved themselves as deft songwriters capable of producing three-minute-mini-masterpieces that would endure long after the initial spark of punk had faded. After releasing a third album, A Different Kind Of Tension, in 1979 the band continued for a couple of years before finally disbanding in 1981. The band would re-form in 1989 for a number of shows and they have continued to play live and record albums since featuring original members Pete Shelley and Steve Diggle. Seminal release from British punk pioneers, lovingly restored and re-mastered from the original ¼ tapes Packaged in the original Malcolm Garrett designed sleeves with lavish 8-page booklets containing unseen images and extensive liner notes by famed writer, broadcaster, music journalist and punk rock commentator Jon Savage CD comes with 36-page perfect bound booklet
To mark the 40th anniversary of its original release, Domino are very proud to announce details of the re-issue of Buzzcocks’ final studio album, A Different Kind of Tension. This follows the Domino re-releases of Buzzcocks’ debut EP, Spiral Scratch, and the band’s seminal first albums, Another Music in a Different Kitchen, and Love Bites.
A Godfather figure is understood to be a purveyor of genre; a pioneer in a particular realm of creation. Perhaps more importantly, and after over 3 decades molding the Hardcore realm, AGNOSTIC FRONT have protected and nurtured Hardcore music in such a way that it still exists healthily & in its proper form, today. As a band that has cultivated their reputation with honesty, and that prioritizes affirming their social messages to the world, “GET LOUD!” is well suited as the title for their 12th, full length studio album. For such a memorable album, the reappearance of “Cause for Alarm” artist Sean Taggart was vital in order to deliver a piece of art that perfectly combined the old school with the current state of the world. Bringing the “Cause for Alarm” characters back to life in a new age, the artwork will be familiar to AGNOSTIC FRONT fans the world over, but still maintains a modern freshness. When “Cause for Alarm” was initially released in 1986 it was a distinguished and prosperous time for the world of Hardcore, and it is that time, and that vibe, that this album aspires to reassert.
Calexico and Iron & Wine first made an artistic connection with In the Reins, the 2005 EP that brought Sam Beam, Joey Burns and John Convertino together. The acclaimed collaboration introduced both acts to wider audiences and broadened Beam’s artistic horizons, but it was the shared experience of touring together in the tradition of Bob Dylan’s “Rolling Thunder Revue” that cemented their bond. Their roads diverged in the years that followed, but they kept in touch and cross-pollinated where they could. Although they often talked about rekindling their collaboration in the studio and on the stage, it wasn’t until last year that their schedules aligned. Years to Burn can’t help but be different from In the Reins. Back then, Calexico entered the studio with a long list of previous collaborations (first in Giant Sand, then backing the likes of Victoria Williams and Richard Buckner), but wondering if Beam’s material was so complete and self-contained that it lacked a way in. Beam had been intimidated by Calexico’s virtuosic playing and their deep comfort in an encyclopedic array of styles. Those fears were dispelled quickly. Calexico was bowled over by Beam’s many talents: “The arranging, the writing, his sense of rhythm, the quality of his vocals—and then there’s the experimental side of Sam,” Joey says. “They were the perfect band at the perfect time for me,” Sam adds. “I loved all their different sounds. They’re musical anthropologists, not regurgitating but absorbing what they discover.” Beam, Burns and Convertino reconvened in Nashville for four days of recording in December 2018. Nobody was keen to retread old ground. The change of venue—In the Reins was tracked in Tucson—was one part of the effort. Together with steel guitarist Paul Niehaus, Calexico trumpet player Jacob Valenzuela and frequent Beam cohorts Rob Burger (Tin Hat Trio) on piano and Sebastian Steinberg (Soul Coughing, Fiona Apple) on bass, they settled in at the Sound Emporium, a fabled studio founded in the sixties by Cowboy Jack Clement. An added ingredient was Grammy-winning engineer/co-producer Matt Ross-Spang (Margo Price’s Midwest Farmer’s Daughter, Al Green, Jason Isbell’s Something More Than Free). As on In the Reins, Beam took the lead on songwriting for Years to Burn, but Burns added one of his own in the end. They took differing approaches: Sam shared meticulous demos ahead of time and was ready with arrangement ideas and instrumental parts, while Joey came in with concepts and an eagerness to improvise. “Life is hard. Awesome. And scary as shit. But it can lift you up if you let it,” Sam offers. “These are the things Joey and I write about now. And the title can encapsulate a lot of things. ‘Years to Burn’ could mean you’re cocky, you’ve got it made. Or, our life is ours to burn, to be inspired. Or you’re burned by life, brutalized. It’s an ambiguous title, because life is complicated.”
As you listen to Shepherd In a Sheepskin Vest, a feeling of totality, of completeness, steals over you, like a thief in broad daylight. Of course it does – you’re listening to a new Bill Callahan record! The first one in almost six years! What more do you need to complete you?
Or perhaps, after all the time, the obvious needs to be made just a little more explicit?
First, it’s a different kind of record. Bill’s now writing from somewhere beyond his Eagle-Apocalypse-River headspace, and Shepherd In a Sheepskin Vest is very much its own beast. The songs are, by and large, shorter, and there are more of them. It took almost all of the previous three albums to add up to that many. Plus, twenty’s a lot of songs! But again, it goes a lot deeper than that.
Alex Cameron's newest and most musically expansive LP, the glistening Miami Memory, takes a surprising turn. Cameron's flair for narrative and character are still on full display; yet Miami Memory's most frequent narrator is, for the first time, Cameron himself - singing with stunning candor of his three-year relationship with visual artist and actor Jemima Kirke. "When you listen to these songs, and you're waiting for the twist, or the joke, or any kind of discomfort, I can assure you none of those things were there when I wrote them," says Cameron. "These are true stories, of actual events. Specific but never esoteric. And graphic but never offensive. Miami Memory is the story of a couple balancing sex positivity with contemporary family values... It's my gift to Jemima, a symbol to hoist on the totem of love." Though remnants of his synth-driven earlier work sneak in to unsettle the tone, the bulk of Miami Memory, produced by Jonathan Rado (Weyes Blood, Father John Misty) and recorded and mixed by Marta Salogni (Björk, Kelela), revels in the emotional overdrive of classic dad rock, it's warm, anthemic songs driven by bass, guitar, sax, and layers of Vegas wedding chapel-ish organ. Cameron's dad rock funhouse of an album ultimately twists and subverts the genre: it recalls classics the white male ego has historically visited for it's regular adrenaline injection, and morphs them into a singular "stepdad" rock that largely turns it's lens away from the dads, celebrating the demise of old norms of gender and power. In his depiction of his relationship with Kirke, Cameron reveals a striking honesty about love and sex in a time where a palpable fleetingness hangs over everything from relationships to human life on this planet - but also where constricting mores have deteriorated enough to let "family life," in all it's morphing forms, exist outside of social obligation. With arresting straightforwardness, Cameron now sings as himself, paying tribute to sex positivity, female empowerment, family and responsibility, and, to his love, Jemima.
Candlemass have come full circle: their first singer Johan Langquist (who left the band after singing on the legendary 1986 debut Epicus Doomicus Metallicus) has returned! The Door To Doom unsurprisingly follows the plot line mastermind, songwriter and bass player Leif Edling established in the past years: epic world class doom metal that relies on slow mammoth riffing. With Johan Langquist`s highly dramatic vocal style and the love for details, the band made this album to the next “Epicus”. This masterpiece is rounded off by a beautiful guest appearance by none other than Black Sabbath's Tony Iommi on ‘Astorolus - The Great Octopus‘.
In 2014, Dan Snaith aka Caribou released Our Love to overwhelming critical acclaim. Caribou returns now with his new studio album Suddenly, a warm, untamable, and constantly surprising record about family and the changes we go through as those relationships evolve. Most prominently, Suddenly refers to the moments of dramatic and unexpected change that occur at points in any life and within any family-universal themes that can catch you off guard and change your life in a heartbeat. Those dramatic moments are part of a slower process. These moments rear their heads, for good or bad, during the everyday flow of life. "There's a tension between those sudden things which blindside you and the more glacial, gradual day-to-day changes," he observes. "We are so caught up in the immediate-the details that require our attention every day-that we can be blind to the bigger forces shaping us. That's why so often when something drastic happens suddenly, it catalyzes all sorts of changes in our lives. Our perspective shifts." Suddenly is in the music, too. This is the most surprising and unpredictable Caribou album to date. Though it retains the trademark Caribou warmth and technicolor, this album is littered with swerves and left turns. "I wanted to balance the familiar-the sound that people associate with my music-against these moments of surprise," Snaith says. As his passion and joy in music-making remains as fresh as ever, Suddenly is the purest example of this yet.
Johnny's historic 1968 live show restored to original order, 20-bit digitally remastered and uncensored. Highlights include 3 unreleased tracks ("Busted," "Joe Bean" and "The Legend of John Henry's Hammer"), plus new personal reflection by Johnny and many unpublished photos from the entire day.
With the creation of Boneshaker, all-action Aussie rockers Airbourne decided to take the bolder path; to align with Nashville’s six-time Grammy Award-winning producer Dave Cobb, whose credits include both Chris Stapleton and the ‘Star Is Born’ soundtrack, as a way of staking out new turf away from comfort zones and safe havens…
This is straight-down-the-line pure rock ‘n’ roll: raging guitars, pounding bass ‘n’ bass, vocals packed full of real personality.
Dreams still beckon in a damaged world, and Rosanne Cash renders them with fierce grace on She Remembers Everything, a studio recording arriving November 2 from Blue Note Records. The follow-up to Cash’s 2014 release The River & the Thread, recipient of 3 Grammys including Best Americana Album, the album offers shimmering pop—with hints of twang and jazz—that could find a home in almost any year of postwar American music. But the luminescence and bright production are shot through with a darker vision, trenchant vocals, minor chords, and bent notes that destabilize the landscape. Familiar yet alien, Cash's take on being a woman in the world reveals just how much has gone awry.
Closing out the four decades Cash has spent as a recording artist, She Remembers Everything contains echoes of nearly all her previous styles. Listeners familiar with "Seven Year Ache" or Interiors will recognize the knowing ache of this record. Those who listened to recordings and live shows in subsequent years—which have included residencies at the San Francisco Jazz Center, Carnegie Hall, and the Library of Congress—will likewise find the literary voice that has framed her more recent music. Cash's time focused on roots music also lends a classic form to her songwriting that makes it universal and timeless.
Originally intended as demos, Final Transmission marks the first Cave In album in eight years and the bands last with Caleb, who performs on all of the songs. Caleb' s voice, musical and physical, are everywhere on Final Transmission. The opening title track is a voice memo of a song idea he sent to his bandmates the last time they saw each other. All proceeds from Final Transmission will be given to Caleb's wife and children.