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Music Releases 02-23-24

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Real Estate’s sixth full-length album Daniel was recorded in an ebullient nine-day spree in RCA Studio A, in Nashville with celebrated producer and songwriter Daniel Tashian. In 11 compulsively tuneful songs, they connect the uninhibited wonder of their earliest work with the earned perspective of adulthood.

Martin Courtney actually learned of Tashian through his daughter, who adored an album he’d produced, Kacey Musgraves’ Golden Hour. The band reached out and spotted an instant connection despite their distinct wheelhouses—the Grammy-winning Nashville country-pop guy who’d helmed several smashes and the Northeast indie rock quintet with narcotic guitars. Real Estate had been thinking about R.E.M.’s Automatic for the People and ’90s “soft-rock radio,” the background music of their youth. Tashian helped lead them back toward it, toward an improved edition of the less self-conscious band they’d been at the start.

Several days into recording, all five members of Real Estate were discussing album titles when someone suggested “Daniel,” simply because it seemed funny to bestow a human name upon a record. Was it for Daniel Tashian? Maybe. Was it a nod to The Replacements’ Tim? Possibly. Was it the sign of a band that has now been around long enough to take its music seriously without taking itself or its perception too seriously? Absolutely.

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Neil Young with Crazy Horse

Dume [2LP]

Vinyl: $34.98 UNAVAILABLE
Dume is a 16-song album (2 LPs) by Neil Young with Crazy Horse from 1975, recorded during the Zuma recording sessions. It includes tracks and outtakes from Zuma. This album is included as CD #8 CD in Neil Young’s Archives Volume II. This is the debut release on vinyl.
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Offering fuzzy grunge-pop with doses of shimmering synths and emo angst, Ned Russin co-fronted Title Fight before halting in 2018 & Ned began playing music as Glitterer. Now a full band, Glitterer returns with Rationale combining 90s grunge, capital-R riffs a la The Stooges, & a keyboard lead that gives self-depre-cating melodrama., After relying more on synths for the entirely solo, home-recorded Glitterer LP in 2017, he involved collaborators on the crunchier Looking Through the Shades in 2019. This trend toward driving indie rock grit with ‘90s influences continued on 2021’s Life Is Not a Lesson and now Rationale.

New Vinyl: $23.98
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Dume is a 16-song album (2 LPs) by Neil Young with Crazy Horse from 1975, recorded during the Zuma recording sessions. It includes tracks and outtakes from Zuma. This album is included as CD #8 CD in Neil Young’s Archives Volume II. This is the debut release on vinyl. The D2C/Indie format includes a litho of the album cover.

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DUST BOLT are returning with their new modern metal album SOUND & FURY with an huge impact of Thrash Metal vibes, heavy guitars, rolling drums and true metal vocals! The band is known for their clear statements and their great commitment, for example, they support Fridays for Future.
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I DONT KNOW HOW BUT THEY FOUND ME's second album, GLOOM DIVISION, is a glimpse into the mind of Dallon Weekes. Produced by Dave Fridmann (Tame Impala, MGMT), the album is the follow-up to iDKHOW’s Razzmatazz (ft. the #1 Alternative Radio single "Leave Me Alone"), & an EP ft. the gold record "Choke.” The most autobiographical work to date from Weekes (formerly of Panic! At The Disco), GLOOM DIVISION leaves listeners with the same sense of euphoric fascination that sparked the album’s creation.

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The Vault: Old Friends 4 Sale is a collection of previously unreleased songs from Prince’s legendary vault that was released by Warner Bros. Records in 1999, shortly before the release of his studio album Rave Un2 the Joy Fantastic with the brief liner note: "The enclosed material was written during the period beginning 1/23/1985 and ending 6/18/1994 and was originally intended 4 private use only."

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"My first EP, June McDoom, was hugely inspired by the minimal sound of the 60s and 70s folk era. I wanted to reimagine a couple of those songs more stripped down as a follow up to that first EP. Judee Sill's songwriting and arrangements have impacted me deeply, and so I hoped to honor the music she made by recording a version of her song, “Emerald River Dance” – one of my favorite songs for many years and a song I still sing at most of my shows. The first time I heard “Black is the Color” was Tia Blake's version that she recorded in 1971, and then Nina Simone's performance inspired me to try and record a rendition of my own. While writing "On My Way" and "The City," I always imagined versions of those songs stripped down with three-part harmonies, which I was finally able to do here with dear friends, Cécile McLorin Salvant and Kate Davis, who have both been big inspirations to me throughout the years. One of my close friends, Sam Weissberg – who I met while studying in jazz school when I first moved to New York City – worked with me and arranged the harp and strings for each song. I produced the songs and tracked the remaining instruments and vocals with Evan Wright at our new studio in Greenpoint, Brooklyn that we share with our friend, Nick Hakim (who also provided backing vocals on “On My Way”)." 
- June McDoom

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“I’ve been wanting to make a record like this for a long time. The band, Franny and I produced it ourselves in my living room with no adults present. It’s all acoustic, not an electric lick on the album…banjos and mandos and string basses and stripped-down drums. I put a ton of work into the tunes and I’m pretty proud of this batch. Had a little help from my old co-writing pal Jaida Dreyer on a couple, also wrote a good one with my screenwriter buddy, Brian Koppelman. Lots of gambling songs and lots of minor keys. And my band guys absolutely killed it too, they’re all badasses.

I’m dedicating the record to my old compadre, Ian Tyson, who passed away a few months back. I’ve named the album for him as well. ‘El Viejo’, or ‘the old one’ is what our mutual friend Tom Russell took to calling him in later years. The title track is a pretty special one for us.

We had a blast making this thing, and we hope you enjoy it too.” 

- Corb Lund 

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Based on the 2018 Broadway musical adaptation of the 2004 film, the MEAN GIRLS soundtrack features songs from a number of the movie’s stars including Reneé Rapp as Regina George, Angourie Rice as Cady Heron, Auli’i Cravalho as Janis ‘Imi’ike, Avantika as Karen Shetty, and more. Also featuring the single “Not My Fault” by Reneé Rapp with rap superstar Megan Thee Stallion.

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The band’s long-awaited album, Moon Healer, is a vivid illustration of what happens when creativity, aggression, and volatility tangle for the first time in years. Like Sun Eater, Moon Healer is musically multifaceted, unabashedly brutal, and compellingly conceptual. The first single, “The Agony Seeping Storm,” is a mathematically mind-blowing hybrid of bludgeoning death metal specializing in unconventional riffing that echoes the resemblance of legendary experimentalists like Cynic, Atheist, and Gorguts. A newly refreshed and reinspired lineup--Davy, guitarists Tony Sannicandro and Al Glassman, bassist Nick Schendzielos, and drummer (since 2020) Navene Koperweis--seamlessly pick up the mantle where their previous album, Sun Eater, left off.

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When Mick Mars stepped back from touring with Mötley Crüe – the band he co-founded more than 40 years ago – following their massive summer 2022 Stadium Tour, it seemed like the end of an era. Really, it was the beginning of a new one.
The legendary guitarist, whose riffs, solos and overall devastatingly heavy sound powered the L.A. icons through four decades of world-conquering, multi-platinum sonic mayhem is, as he demonstrates on his debut solo effort, still a serious force to be reckoned with. Only now, listeners are reckoning with more Mars than ever before. “When it comes to my playing, there’s the Mötley side and the Mars side,” the guitarist says. “Either way, I always have a very clear vision of what I want to do.”
On the aptly-titled The Other Side of Mars, fans get that vision in its full, multifarious glory. To be sure, there are plenty of characteristically riff-tastic, tough-as-nails hard-rock anthems (the rampaging “Loyal to the Lie,” the deep-in-the-pocket groove-rocker “Ain’t Going Back,” the hooky and melodic “Right Side of Wrong”) to be heard on the record. But The Other Side of Mars also shows the 71-year-old guitarist heading into new and uncharted territory, tearing through caustic, modern metal (“Broken On the Inside”), conjuring gothic-tinged soundscapes (“Undone”), digging into anguished, slow-burning power balladry (“Killing Breed”) and unspooling bluesy, cinematic instrumental workouts (the album-closing guitar showcase, “L.A. Noir”). The music throughout the 10-track collection, meanwhile, is otherwise studded with slide guitars, violins, violas, keyboards, glitchy freak-outs and all manner of sonic surprises.
“There’s a lot of ideas that I have that, I don't want to call them ‘left,’ but they are, you know what I mean?” Mars says. Regarding those stylistic turns, he continues, “My feeling has always been, I might gain some fans, I might lose some fans. But what they’re hearing, it’s all me.”
The guitarist enlisted a crack team of musicians to help him along the way. A key contributor to the project was Winger and former Alice Cooper keyboardist (and, like Mars, Nashville resident) Paul Taylor, who, in addition to performing on the record and assisting Mars in co-writing many of the tracks, introduced the guitarist to powerhouse vocalist Jacob Bunton. “Jacob came into the studio and it was like, bam!” Mars recalls. “And I just said, ‘Yeah, he’s the guy.’ And most of his vocals were one take.” The supporting band was rounded out by Korn drummer Ray Luzier, as well as two additional in-demand Nashville musicians: bassist Chris Collier and singer Brion Gamboa, who contributed lead vocals to two songs, “Undone” and “Killing Breed,” both of which, Mars says, “required a little bit more of an angsty, desperation kind of thing. And Brion really came to the table with that.”
But while Mars surrounded himself with a new cast of players for the sessions, there was one figure who represented a significant link to his storied past: Michael Wagener. The much-lauded German producer and engineer worked behind the boards on Mötley Crüe’s 1981 debut, Too Fast For Love, and his relationship with Mars stretches even further back. “I had known him for a long time, and I actually brought him to Mötley,” Mars says. Working with Wagener this time, the guitarist continues, “he had such an understanding of where I wanted to go with the material. And he never said ‘Hey, do this,’ or tried to change my mind or anything like that. He was just really adamant about recording what I wanted to record, and making sure we recorded it right.”
The result is a record unlike anything Mars has offered up in his more than 40-year career. Take the piano-and-strings track “Memories,” which, Mars recalls, he began writing “back when I was still touring with Mötley. I gave it to Paul Taylor, and I had him transpose all my parts to keyboard. And then I said, ‘That’s it.’ I didn’t want any drums, I didn’t want any over-the-top, here-comes-the-sun-over-the-mountains in the chorus kind of crap. I wanted to keep it simple, and focus on the melody.”
Or “L.A. Noir,” which, Mars says, was inspired by “old ‘30s and ‘40s B-movies about sleuth detectives, flatfoots, private eyes, that kind of stuff. I came up with the main lick maybe 30 years ago, and never really had a chance to do anything with it until now. I love that big-band sound and era, so we tried to capture that, but with a real sleazy, noir-ish vibe.”
As for the album’s leadoff track and first single, “Loyal to the Lie”? Well, that one was easy. “I wanted to do something that was just big and mean,” Mars says with a laugh.
But no matter what direction he’s going in on The Other Side of Mars, what ties it all together is “that people are going to hear my tone – my sound,” Mars says. “I am what I am. Nobody else can do it. And like everyone, I’ve got a limited number of years. So I'm gonna do all I can to do a lot of stuff.” To that end, he says that even as he unleashes The Other Side of Mars on the world, he’s already working on a follow-up. And while he remains a member of Mötley Crüe (“when they need me, I’m here,” he says), Mars is no longer spending his days and nights in arenas and stadiums throughout the world. Which means, he says, he has more time to pursue his own musical muse.
“I'm trying to keep growing,” Mars says. “Because if you stop learning new things, if you stop playing new things, if you close your mind, you’re done. You have to keep moving and creating. Next!”

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Olustee is a masterpiece of soul-shaking music. JJ’s deep Southern roots and skill as a storyteller shine through, whether he’s rocking with gospel-tent fervor or slowly winding his raspy voice around a lyric of heartbreak and loss. It’s an aggressively groove-driven record fueled by JJ’s gritty vocals and funk-infused guitar playing.
New Vinyl: $28.98
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Jazmin Bean

Traumatic Livelihood [Clear LP]

Vinyl: $32.99 UNAVAILABLE

Traumatic Livelihood is the highly anticipated debut album from Jazmin Bean. The non-binary, London-based artist continues their evolution, by inviting listeners into their unparalleled universe of alternative, infectious pop. Traumatic Livelihood is emotionally laden, and explores themes of consent, addiction, and relationships. It pairs otherworldly visuals with music that represents the sound and spirit of Generation Z’s genderless subculture – unapologetic and impossible to define.

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Hurray for the Riff Raff (aka Alynda Segarra, they/them) announces their new album, The Past Is Still Alive, due February 23, 2024 on Nonesuch Records. The record represents a new phase of beginning in Segarra’s lauded evolution as a storyteller. Created during a period filled with grief, when they found inspiration in radical poetry, railroad culture, outsider art, the work of writer Eileen Myles, and the history of activist groups like ACT UP and Gran Fury, discovering a stronger, singular style of writing that felt like a long-awaited revelation. In each song, lyrics serve as memory boxes for Segarra to process their trauma, identity and dreams for the future. Segarra uses their lyrics as a way to immortalize and say goodbye to those they have loved and lost, to illustrate the many shapes and patterns of time’s passing, and honor both the heartbroken and the hopeful parts of themselves. Though the record was made in North Carolina and produced by Brad Cook (Bon Iver, Kevin Morby, Waxahatchee), the Bronx-born, New Orleans-based Segarra brings listeners to places far beyond, evoking vivid experiences of small shops and buffalo stampedes in Santa Fe, childhood road trips and Florida storms, struggles of addiction in the Lower East Side, days-long journeys to outrun the cops in Nebraska, and more. 

The followup to their acclaimed Nonesuch debut, Life on Earth—which landed on Best of 2022 lists from the New York Times, Rolling Stone, NPR Music, Mojo, Uncut, among others—The Past Is Still Alive sees Hurray for the Riff Raff reunite with Brad Cook, while further expanding their creative cast of collaborators. Anjimile, Conor Oberst and S.G. Goodman all join Alynda Segarra on vocals at various points throughout the LP, with a band of musicians including Cook, Libby Rodenbough, Matt Douglas, Meg Duffy of Hand Habits, Phil Cook, Yan Westerlund and Mike Mogis, who also mixed the album. 

The “nature punk” of Life on Earth marked a departure for Hurray for the Riff Raff, as they contemplated surviving and thriving amidst a world in crisis The Past Is Still Alive brings the focus back inwards. The arrangements are raw, the melodies direct and indelible, and the lyrics personal, yet largely rooted in family and community. There are love songs to real characters, locations and mythic figures like Sky Red Hawk (“Buffalo”), the first trans woman Segarra ever met (“Hawkmoon”), queerness and sacred spaces (“Colossus of Roads”), leaving home behind (“Snake Plant”), short-lived romances and the wisdom gained through chaos (“Vetiver”). Elsewhere, in the self-portraits painted on “Alibi,” “Ogallala” and other album highlights, Segarra reflects on the land they have traveled, the hardships witnessed and bravery gained while running away from everything and everyone they knew at age seventeen, hopping freight trains and hitchhiking across the country with a band of street urchins. 

In recent months, Hurray for the Riff Raff debuted a stage adaptation of their beloved 2017 album, The Navigator, based on their quest to reclaim their Puerto Rican identity. They also toured with Bright Eyes and First Aid Kit, performed for the Late Show with Stephen Colbert and NPR Music’s 15th Anniversary Concert, played festivals like Pitchfork and more. Next spring, they will bring the music of The Past Is Still Alive on the road, for a headline tour across the US, UK and EU, that they have partnered with PLUS1 so that $1 per ticket goes to supporting This Must Be the Place and their work to distribute Naloxone - the lifesaving medicine that reverses an overdose – at events across the nation.

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It was January 2016, in the middle of New York City’s biggest blizzard on record, when the Nashville rock-country band Those Darlins found themselves stranded in Brooklyn, trying in vain to finish their farewell tour. The group had spent ten years touring and recording together; it was time for something new. As the snow blanketed the East Coast, turning entire cities into crisp white silence, frontwoman Jessi Zazu and drummer Linwood Regensburg thought about their own blank slate in front of them. They had a plan: Take a month off, get some much-needed rest after this grueling run of gigs, then get straight back to work on a new album. The blank page never stayed blank for Jessi Zazu for very long; she was always relentlessly doing, bursting with ideas, whether she was painting or writing, mentoring young musicians in her community or leading grassroots activism initiatives. There were more songs to be sung, more notes to be played, more issues to shine a light on.

But just as the pair were set to begin their next project, Zazu was diagnosed with cervical cancer, and the project was put on hold. When they returned to it in earnest that summer, after finding out that her cancer had spread, they believed that having a creative outlet again would help. “I don’t know if she felt the same way or not,” Regensburg says, “but watching this situation play out in my head, it was like I was equating it to some kind of hero journey. This person, who I believe to be invincible, overcomes a dire circumstance and the writing and recording of the music is all just part of the legendary comeback story. But that’s not what ended up happening, unfortunately.”

A year after that snowstorm, as winter stretched into the spring and summer of 2017, Zazu and Regensburg would work under the moniker Mama Zu in fits and spurts, getting as much done as they could any time she felt well enough. When the pair first began collaborating, they had come up with a process of collaboration in which Zazu would send Regensburg a recording of lyrics she had written—sometimes in fragments, sometimes as a core of what the song would be—and he would build a demo around it. After she got sick, they found that the process synced with her treatment schedule. Zazu could send Regensburg a voice memo on a Monday, do chemo on a Tuesday, and in the following days that it took for her to recover, Regensburg could build a demo to send to her for feedback, ping-ponging back and forth until they felt they had enough to finish the tracks in the studio. By late summer, the pair had recorded and mixed an album to near-completion. Tragically, though, final work on the album was halted after Zazu passed away that September at the age of 28. The unfinished album was put back on the shelf. “After she died, I didn’t want to touch it,” Regensburg says. “I didn’t want to play the songs or listen to the songs, let alone finish them. It just seemed like such a daunting task with a lot of layers—there was a lot of work left to do, but then there was also this exhausting underlying emotional component that pops in and hangs around the moment I’d open a session.”

Years passed. Distance grew. Healing began. By 2020, Regensburg felt ready to finish what they had started,  he says, “both for her sake and for my own sanity level. I was the only person left with this project.” Working on their songs again was therapeutic, even if doing so brought on a new set of challenges as he both polished nearly-finished tracks and rebuilt songs out of disparate parts, from the drum track on an older, alternate recording to a simple phone demo. “It was a way of spending time with her, and kind of the only capacity in which I could,” he said. “But then, I was also left with a lot of creative choices without her. Even though I had played most of the instruments, it had still been a totally collaborative thing; if there was a part I played that she didn’t like, she was clear about that. If someone’s gone, you can still talk to them, but you can only assume what their feedback might be. So I was stuck with a lot of musical choices that I’d be working under the context of, I hope you like what I did here.”

The resulting album, QUILT FLOOR, out February 23rd on Thirty Tigers, is bursting at the seams with life, ferocious and fierce. The glory of QUILT FLOOR is that there’s no note of sickness or sorrow to be found in it; where all of Zazu’s songwriting was personal, rather than turn inward, her gaze—even during her greatest battle—was fixed firmly on the world around her. Colored by the aftermath of a new era in America, a period in which many were both grieving and galvanized, Zazu’s songwriting has perhaps only grown more relevant as time has passed. Men who behaved badly are returning from their supposed exile. People have forgotten how to treat others with kindness; if we’re not the main characters of our own stories, we’re the background players of someone else’s content. It seems as if, at any given moment, part of the world is on fire. There’s plenty of fury to be had at the present, but what good is it without faith in the future’s potential for change? Rejoice! Our times are terrible, as the artist Jenny Holzer once proclaimed—an ethos Zazu had in spades.

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The Good Riddance Acoustic Shows (Live) vinyl contains a series of songs performed live by Gracie Abrams and close collaborator Aaron Dessner during their limited run of shows last September. The songs were recorded live at the McKittrick Hotel in New York, Riverside Revival in Nashville, and the Masonic Lodge in Los Angeles. Magenta LP.
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After thirteen years of hibernation, Sleepytime Gorilla Museum, the most gloriously uncategorizable American band in existence, has emerged from stasis to proudly announce the imminent release of their fourth studio album, of the Last Human Being. The album marks the first release of AVANT NIGHT - a new imprint headed by Nick Ohler and facilitated by Joyful Noise Recordings.

Sleepytime Gorilla Museum, comprised of multi-instrumentalists and rotating vocalists Nils Frykdahl, Carla Kihlstedt, Michael "Iago" Mellender, Matthias Bossi, and Dan Rathbun, plays an arsenal of instruments ranging from the somewhat standard (drums, electric guitars, bass, electric violin) to the rare (bass harmonica, nyckelharpa, marxophone) to the homemade (Slide-Piano Log, Electric Pancreas, Pedal-Action Wiggler). The group has consistently evaded easy categorization, garnering accolades from across the aisles of contemporary classical music, prog rock, industrial music, metal, avant-garde improv, and more. Their music, inturns bashing and bucolic, enveloping and unsettling, tends towards long-form epics interspersed with mysterious field recordings.

"As this slow-rolling planetwide Anthropocene Extinction event deepens, Sleepy- time's work has only grown more resonant, more prescient," offers Mer Yayanos, current symposiarch and secretary of the Museum's long standing social math club, the John Kane Society. "What better time for them to Bring Back the Apocalypse than right now,with a new full-length record that integratesthe past and the future?"

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Laetitia Sadier

Rooting For Love [LP]

Vinyl: $31.98 UNAVAILABLE

Laetitia issues a call to the traumatized civilizations of Earth: we’re urged to finally evolve past our countless millennia of suffering and alienation. Her songs score the complexities and harmonies within this directive: organ, guitar, bass, synth, trombone, vibraphone, live and programmed drums, and a vocal assembly of men and women billed as The Choir, working intricate chord/tempo/and dynamic changes, as Laetitia’s empathic presence leads the way.

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Girl With No Face: Allie X’s fourth album, Girl With No Face, is a daring excavation of her identity. A maniacal journey into the mind of an artist who just spent three years in isolation, refusing any input as she became the solitary producer, writer and creative voice for the first time in her career. “This record documents an intense struggle for power and control – creatively, professionally, mentally and physically,” X explains. Inspired by the technology and hedonism of the early 80’s new wave scene, the album’s analog-leaning songs are a series of stark contradictions – retro in feel but ultra-modern in subject matter, pointed, unpredictable yet danceable, approachable while delightfully menacing. In short, Girl with No Face is completely orthogonal to the hyper-tuned, automated shapes that dominate today’s alt pop. “Instead of following any trends, I just wanted to indulge myself in all my favourite stuff this time. I wanted limitations. No plug-ins. I chose a bass synth, drum machine, string machine and embraced the shortcomings and grittiness of this old temperamental equipment. The result was something that felt messy, raw, and direct, which was really exciting to me.” Infused with early 80’s British experimentalism, with nods to The Human League and New Order, the album is a strident move away from 2020’s introspective and spare Cape God -- so much faster, more threatening. “The best comparison I can make is intentionally locking yourself in a room and sitting in front of a mirror staring at yourself. When everything is refracted through your lens you get high on the sense of power and control. But as you get to know yourself intimately, you see your own ugliness, your limitations, your pain. It’s terrifying and enlightening all at once. A total ego fuck.” - Allie X 

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GRAMMY- NOMINATED R&RHOF INDUCTEE AND GUITAR LEGEND ACE FREHLEY ANNOUNCES THE RELEASE OF HIS NEW STUDIO ALBUM, 10, 000 VOLTS, DUE OUT ON FEBRUARY 23, 2024. PRODUCED BY ACE AND STEVE BROWN (TRIXTER), THE 11-TRACK 10, 000 VOLTS SEES ACE PERFORM ELECTRIFYING, HARD-HITTING, RIFF-HEAVY ROCK'N' ROLL. Rock 'n' roll and heavy metal simply wouldn't sound, look, or feel the same without Ace Frehley. Among hundreds of accolades, The Rock and Roll Hall of Famer inducted him in 2014 as a co-founder and the original lead guitarist of Kiss. Guitar World named him in the Top 15 of it's "100 Greatest Heavy Metal Guitarists of All Time" and plugged the lead from "Shock Me" on the "50 Greatest Guitar Solos of All Time."
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REMO DRIVE, the longstanding project of brothers Erik and Stephen Paulson, want you to feel something. Following a six-year run of pristine emo-influenced rock ‘n’ roll records comes Mercy, the band’s fourth album and third for Epitaph. It’s the band’s most lyric-focused offering to date, a record about reinvention, trusting yourself, and wearing your heart on your sleeve even when it’s painful or vulnerable.

Sonically, Mercy is also a major departure for REMO DRIVE. It’s less indebted to the emo and pop punk that foregrounded the duo’s career and instead invested in thorny, baroque indie pop byway of Father John Misty and Fleet Foxes. It was produced by Phil Ek, a legendary Seattle-based indie rock producer who has previously worked with those two bands as well as the Shins and Band of Horses, among others. REMO DRIVE worked with Ek over the course of ten days. “It was refreshing to work with Phil,” says Erik, “It made music feel like how it did when we were younger. He was like fuck it, let’s go, let’s have fun.”

Mercy is a study in intimacy, in being real with yourself, in entering an exciting new creative chapter where you are making the art you really want to make. That’s where REMO DRIVE is today.

New Vinyl: $23.98
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Sir Rod Stewart and Jools Holland with his Rhythm & Blues Orchestra present the exquisite Swing Fever - a 13-track sparkling salute to the timeless songs of the big band years, reignited by two giants of their craft.
For the first time, Britain's new partners in swing have united on record to share their peerless dexterity on a tribute to such truly great songs as 'Ain't Misbehavin’, 'Frankie And Johnny’, 'Sentimental Journey' and 'Lullaby Of Broadway’.

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Music Releases 03-01-24

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