"Our band is a lot like this place," says Chatham County Line guitarist, lead singer and songwriter Dave Wilson. His eyes wander across the original hardwood lanes of the mid-century Raleigh bowling alley where he just finished rolling and drinking two rounds. Playing traditional string band instrumentation around a single microphone while clad in suits and ties visually projects a similar sepia-toned timelessness. "We create a product that you're familiar with and you'll enjoy going back to because you know what to expect. My dad ran a local hardware store years ago and I always felt like we shared that."

From the vaults of Alligator, a groundbreaking Lonnie Mack album featuring Stevie Ray Vaughan who was a big fan and inspired by his playing. On 140g translucent red vinyl. 

Hound Dog Man|Satisfy Suzie|Stop|Long Way from Memphis|Double Whammy|Strike Like Lightning|Falling Back in Love Again|If You Have to Know|You Aint Got Me|Oreo Cookie Blues

Sisters Eleanor and Bonnie Whitmore, two of roots music's most accomplished songwriter/instrumentalist/ vocalists, are releasing their first album together as The Whitmore sisters. Titled Ghost Stories, it's inspired by the loss of family, friends, ex-boyfriends and - on the title track - people who died by police violence. These "ghosts" chose to appear right as Covid became entrenched - when live music evaporated and people were isolated from each other. Bonnie, whose four solo albums are all state-of-a-real-woman's-heart jewels, decided to join sister Eleanor and her husband Chris Masterson in their Los Angeles closed circle for a break. Chris, who's recorded four albums with his wife as The Mastersons, saw the visit as an opportunity to issue a mandate: If Bonnie was coming, it was time for the sisters to make a record. Not just an album, but "the album" - the musical inevitability that's been simmering since a 22-year-old Eleanor was protecting her curly-headed 15-year-old sister at gigs in local bars. The Whitmore Sisters' original songs, along with two covers - a song by their pal Aaron Lee Tasjan ("Big Heart Sick Mind" and "On the Wings of a Nightingale" (written by Paul McCartney for iconic siblings The Everly Brothers) - was produced by Chris Masterson and completes Ghost Stories, their debut album set for release on January 21, 2022.

As the daughter of a blues musician, Chastity Brown was born with an innate ability to channel complex circumstances into beautiful, uplifting songs. But after surviving the isolation of the early pandemic and witnessing the global racial reckoning that manifested itself in the riots mere blocks from her South Minneapolis home, even she is surprised to hear the way her new album Sing To The Walls turned out. "It's a love album, in a way I didn't plan on," Chastity says. Like so many artists who endured the uncertainty of the 2020 lockdown, Chastity's instinct was to turn inward, at first out of self-preservation, and then because the new songs kept coming and coming. Since finishing her last album, 2017's Silhouette Of Sirens, she estimates she's written nearly 100 new songs, 10 of which found their way onto Sing To The Walls. These songs unfold with Chastity's expressive voice and expansive melodies, leading the listener through intertwining tendrils of atmospheric sounds. Even the titles hint at the album's sense of optimistic yearning, from the dreamy opening track "Wonderment," to her ode to healing a broken heart post-breakup "Curiosity," to the pulsing promise of "Hope. " With the exception of "Golden," a searing indictment of white complacency and a cathartic release of post-uprising rage that comes halfway through the album (and was released in an earlier form in mid-2020), Sing To The Walls is ultimately an album about hope, connection, and love; an ode to the sweetness of life, even amidst a pandemic, even in a city that's experienced so much pain. The album was started in Stockholm, Sweden with revered session drummer and producer Brady Blade, with the rest completed at Chastity's own home studio with her longtime drummer Greg Schutte. Additional production and mixing was done by Chris Bell in Austin, Texas. Sing To The Walls is a sonically expansive album; it mines the roots of Americana, folk, and soul music, but Chastity's stories are delivered in a style that feels remarkably timely, modern, and forward-thinking. "I celebrate the emotional richness in the tradition, but in my music I've committed myself to moving forward and reflecting the experiences of those overlooked by tradition. " Chastity Brown has been praised by NPR, CMT, American Songwriter, the London Times, Paste Magazine, and The Independent, among many others, and appeared on the U. K. 's Later... with Jools Holland. She tours nationally and internationally, having shared the stage and supported artists such as the Indigo Girls, Ani Di Franco, Andrea Gibson, Jayhawks, The National, and Micheal Kiwanuka.

Smash cut to Kiwi Jr.'s third album, Chopper, overseen by trusted pilot Dan Boeckner (Wolf Parade, Handsome Furs) on storied Sub Pop Records. Turning nocturnal with necks mock turtle, our Local Kiwi Jr. Takes neon flight off the digital cliff - like The Monkees starring in Blade Runner; like Michael Mann directs Encino Man. Ten songs with synth shimmer, zen gongs with yard strimmer. The signs along the highway read "LESS BAR, MORE NOIR AHEAD." Ah, those late summer, Joe Strummer, Home on the Range Rover Blues. There's a melancholy to all forms of flight, and the view out the Chopper is as hazy as it gets: mission-oriented, both stealth and self-realized. This album is decidedly (yet almost secretly) anti-patio-sunscreen-Beach Boys bachelor cruise sing-a-long. Sure, these songs let a little light through the blinds, but they sting insomnia, corrupt mayors, Kennedy Curses, sex tapes, and deer rifles. Chopper is the bird's eye view of the big event - a real nighttime character of oil stain, film grain, search light, night flight. It is muscular and fragile; loud yet quiet: both an observer and somehow the observed spectacle itself. What was slack in the slacker phase, got tauter, with lacquer glaze. Slick gloss, rightened wrongs; murdered boss, promoted pawns. With Boeckner transmitting high-voltage shocks upon every reach for a familiar instrument, Kiwi Jr. #expands the palette with string machine song, synthesizered oblong, and Dentyne Classic Menthol vocals from area soprano Dorothea Paas (US Girls, Badge Epoch Ensemble) like the missing piece all along. Kiwi Jr. #brings the Chopper to a new space, demilitarizing the technology just like flasks, aviators, and cargo shorts. Graceful in the air above, but when the Chopper lands, there's chaos on the ground. Kiwi Jr. #shout, "Look Out!" When it gets close, it'll blow the hat right off of your head.Hold onto your hats, Babies.Kiwi Jr. #is Jeremy Gaudet vocals and guitar, Brian Murphy guitar, Mike Walker bass, Brohan Moore drums, and everybody played a little bit of keyboard.

The vinyl LP will be produced in Multi-colored splatter vinyl. The new album from Boston band Tall Heights, Pretty Colors For Your Actions, finds the duo, Paul Wright (cello and vocals) and Tim Harrington (guitars and vocals), exploring a range of musical influences and emotions. The album, co-produced by Oliver Hill and Steve Wall (both of whom worked on Tall Heights 2016 album Neptune), is underpinned by the duo's signature melodies, layered and shaped with live instrumentations and contemporary production to create the sonic universe that is Pretty Colors For Your Actions. The songs range from hard-hitting ballads ("House on Fire" and "Not Like It Was") to hook-laden, synth-heavy numbers ("Oslo" and "White Frost") to sprawling jams ("Over Now") and philosophical trips ("Roanoke"). The lead single from the album, "The Deep End," is both buoyant and upbeat, yet clouded by a feeling of darkness, a conflict of emotions further explored in "Midnight Oil," from which the album's title is taken. The highly-anticipated release of Pretty Colors For Your Actions is just the start of a huge fall for the group, who will then take their newly-released music across North America for 30+ headlining tour dates beginning this October. The energy, focus and inspiration that Tall Heights are harnessing in 2018 feels like a rebirth. Having amassed over 120 million streams, the duo are currently on their biggest winning streak, touring the US and Europe alongside acts like Ben Folds, CAKE, Judah & the Lion and Colony House, and racking up accolades across the press world from the likes of Paste, SPIN, Huffington Post, NPR and Stereogum, in addition to making their broadcast performance debut on Conan.

Recorded live at Montreal's acclaimed studio Hotel 2 Tango and featuring 20 odd session musicians, Heavy Light is an architectural achievement for an artist whose career began with a 4 track tape recorder and a Greyhound bus pass. Following the subversive sheen of 2018's In A Poem Unlimited, Remy has taken a deeply introspective about-face to produce a set of mindful compositions on hindsight, the passage of time, the delicate balance of the conscious and the unconscious, and the pursuit of a radical empathy.

Remy worked with co-writers Basia Bulat and Rich Morel to develop the core of Heavy Light, a set of songs conceived as a richly arranged balance between orchestral percussion (as arranged by percussionist Ed Squires) and the human voice. In studio, group harmony vocals were undertaken by a cast of diverse singers (conducted by Kritty Uranowski) who lent not only their voices, but also shared reflections on childhood experience. These memories were prompted by Remy in recorded interviews she later collaged into moving spoken word interludes, stitching together the record's thematic tapestry. The songs themselves provide a sonic departure from those featured on Poem. With arrangements collaboratively spearheaded, the production features no trap kit drums, but a cornucopia of acoustic frequency from vibes, marimbas, piano and upright bass. The resulting album finds Remy casting herself as lead voice among a harmonious multitude.

Building on the warm, elemental soundscape of 2021’s ‘Antidotes’ EPs and the moody, elegant timbre of her cello, Chua self-produced and engineered 8 of YIAN’s 10 tracks, spurred on by a call to true artistic integrity and authorship. A deeply introspective and fully realised vessel of creative expression, YIAN emerges as less an album than a worldview, a commitment to learning and uncovering one’s own selfhood honed over Chua’s lifelong reconciliation with her own personal history and identity.

The only artist to ever achieve #1 albums in SIX consecutive decades, Barbra Streisand’s Release Me 2 is yet another musical gem in her unparalleled career.  The follow-up to her acclaimed 2012 album, Release Me, this new collection contains previously unreleased tracks from Barbra’s vault, including duets with Willie Nelson and Kermit the Frog. With songs by Burt Bacharach, Hal David, Barry Gibb, Paul Williams, Randy Newman, Michel Legrand and Alan & Marilyn Bergman, Harold Arlen, and Carole King, Barbra describes Release Me 2 as, “A lovely walk down memory lane…a chance to revisit, and in some cases, add a finishing instrumental touch to songs that still resonate for me in meaningful ways.”

Vinyl LP pressing. Manifest was created over 10 days during lockdown and recorded at Westlake Studios where Michael Jackson recorded the Thriller album. It covers the story of his growth, mental health and spirituality. He is the epitome of manifesting your dreams; he's envisioned, written and voiced the life he wants. This album takes you through a journey of gaining material wealth, then challenging you to look within for more meaningful happiness and purpose. Manifest is a self-help audiobook in hip-hop form.

Perennial indie rockers Born Ruffians return with Squeeze, their seventh album. Squeeze (a companion piece to their previous album, Juice) finds the trio expanding their sound into more psychedelic territory, especially apparent on tracks like "Sinking Ships" and "Death Bed." Lead singer and songwriter Luke Lalonde shares vocal duties with indie pop luminary Hannah Georgas on "Waylaid," and the band finds a way to incorporate their anthemic, hooky roots within their new sound on "30th Century War" and "Sentimental Saddle."

1. Sentimental Saddle 2. 30th Century War 3. Waylaid (feat. Hannah Georgas) 4. Rainbow Superfriends 5. Sinking Ships 6. Death Bed 7. Leaning on You 8. Noodle Soup 9. Albatross

After putting out music since 2016, Kid Bloom released his debut album, "Highway", in June 2022 to critical success. (SPIN, Alternative Press, and more). Kid Bloom toured the US as main support for the Bad Suns early in 2022 and embarks on his first-ever nationwide headline tour this September. 3M+ listeners hear his music every month and his music has been streamed over 150M times. This special LP is a limited run of 750 clear pink vinyl.

Though it’s the first album released under her name, Coco Hames is no wide-eyed ingénue. As the singer, songwriter, frontwoman, and indomitable force behind beloved garage-pop combo The Ettes, she blazed a memorable trail across the ’00s underground. The proverbial “little band that could,” the group would record five critically acclaimed albums, establish a fervent international fan base, and tour extensively with everyone from Kings of Leon to the Go-Go’s, the Black Keys to the Dead Weather. Leading a gypsy existence, the Ettes variously called Los Angeles, London, Berlin and Madrid home, before finally settling in Nashville in 2008. A Florida native and once-aspiring Disney kid, Hames had found salvation and what should’ve been a satisfying success in rock ’n’ roll: packed concerts, TV appearances, and soundtrack placements. But after nearly a decade together, the idealized notion of the band was crumbling around her. Following a final bittersweet album and tour in 2011, Hames decided to bring the curtain down on the Ettes’ run. But Hames was pulled towards music again. “The thing I loved, that I was always drawn to, was songs—the magic of creating something out of a fleeting idea and a few chords,” says Hames. “That passion never left me. I began to realize I had more that I wanted to write, and a lot more that I needed to say.” Hunkering down at Nashville’s The Bomb Shelter studio, Hames co-produced the record with Andrija Tokic, who’d helped sire career-making albums for Alabama Shakes and Hurray for the Riff Raff, among others. Playing guitar, piano, and electric harpsichord, Hames was aided in her effort by a pair of longtime pals in bassist Jack Lawrence (The Raconteurs, The Dead Weather) and drummer Julian Dorio (The Whigs, Eagles of Death Metal). Lead guitar was supplied by young Nashville hotshot Adam Meisterhans (The Weight, JP5) while other friends and musical foils contributed, including veteran keyboard/organ wizard Dave Amels of Reigning Sound. Hames also enlisted top Music City vocalists Carey Kotsionis (Bobby Bare, Jr., Clem Snide) and Third Man artist Lillie Mae Rische (Jack White, Jypsi) to form an angelic mini-choir for the sessions. Hames says she had no agenda with the project, apart from fashioning an album that would resist easy genre tags. “I grew up listening to ’60s pop like Dusty Springfield, but also classic country music, like Patsy Cline, and things that bridged both worlds, like Bobbie Gentry. I guess I’m a fan of artists who can move between styles pretty seamlessly,” notes Hames. “Somehow, with this record, the end result doesn’t fit into any one category. Which is an exciting thing to me.” The album’s nine originals are rounded out by a cover of “Tiny Pieces,” a lost ’90s gem penned by Tommy Stinson of alt-rock legends the Replacements. “It’s a really unique song,” says Hames, who delivers it as a duet with John McCauley of Deer Tick, the pair making like a dissolute Gram and Emmylou. “I just love John’s voice—particularly in the way we play off each other.” “I couldn’t have made this album when I was 22,” says Hames, a decade on. “I had to get to the place where I could write and sing the way I do now. I had to earn my way to making this record. I’m glad I didn’t give up before I got here.”

In July of 2015, noted rock band Titus Andronicus [hereafter +@] made history, twice. The wider world shook upon the impact of The Most Lamentable Tragedy [hereafter TMLT], the triple-LP rock opera that immediately established itself as the most ambitious punk record of all time, a distinction challenged only by a foolish few. Meanwhile, in the hallowed halls of Shea Stadium, New York City’s longest-running active all-ages DIY space, +@ was doing the unthinkable again, becoming the first band in the history of NYC DIY to sell out five consecutive nights at the same venue. While these epic shows ostensibly served as a record-release celebration for TMLT (as well as an uproarious shindig for the 30th birthday of +@ singer-songwriter Patrick Stickles), they shattered the limits of mere promotional exercise and reached mythical status. Sadly for the wider world, you had to be there… until now. +@ and their patient patrons at Merge Records are pleased to announce the new live LP, S+@DIUM ROCK: Five Nights at the Opera, a record which will allow fans everywhere their chance to relive the auspicious occasion from the comforts of their own home. +@’s position as the most thrilling live act in rock and roll has long been etched in stone, but never before has that riveting energy been captured on wax as it is here. The A-side to S+@DIUM ROCK revisits some of TMLT’s most celebrated hits in a newly concise context, stripping away all studio wizardry until only the primal passion remains. The B-side offers fresh electric arrangements of the largely acoustic fifth act of TMLT’s rock opera narrative, presenting a new perspective on the material Tiny Mix Tapes praised for “emotional intensity… unrivaled anywhere in rock music,” as well as debuting the previously unreleased TMLT outtake, “69 Stones.” Taken as a whole, S+@DIUM ROCK is a whirlwind journey through a moment in time never to be repeated, preserved for future generations starving for “the real deal.” The live LP will also be accompanied by a full-length concert film, available to stream online, which will serve to further immerse the consumer. Take an early taste of this sensory assault today with the world premiere video of +@ performing “I Lost My Mind” and “Fatal Flaw” as one of their signature, seamless medleys.

"Intimate acoustic folk anchored by butter-smooth close-harmony vocals and minimalist-yet-sophisticated arrangements" - Rolling Stone Country "wonderful... fabulous old-time playing and sibling harmony." - NPR "natural harmonies and evocative lyricism that reflect a timeless sound and spirit." - Relix "soulful folk" - BillboardAvailable in Limited Edtion Green Vinyl. Brooklyn's The Brother Brothers will release their sophomore album Calla Lily on April 16th. CALLA LILY is the follow-up to real-life siblings The Moss Brothers' debut album, Some People I Know, which garnered praise from tastemakers including NPR, Billboard and Rolling Stone Country. The album's lead single, "On the Road Again," sets mood of the album and showcases the brothers' warm, immediate harmonies. Ironically, the Moss brothers wrote "On The Road Again" - a quintessential road that explores the life of the touring musician and speaks to one's longing for the road - before the pandemic hit; it's a paean to the connection and company of that diasporic artist community forged across stages, festival grounds, and long, winding roads. The music video for "On The Road Again" kicks off with the brothers leaving New York City in the tour van and features a convoy of whimsical animated creatures who are along for the ride, culminating in a cartoon concert along the Hudson River. David Moss says of the track: "There's no denying that life in motion can leave a person lonesome or aimless, but so can sitting still. The same part of our beings that gets homesick aches for life on the road. This song's an exploration of that duality - a celebration and a lamentation in one." CALLA LILY was produced and mixed by GRAMMY-nominated Ryan Hadlock (The Lumineers, Brandi Carlile, Vance Joy) at Bear Creek Studios in Woodinville, Washington and mastered by Grammy-nominated Phillip Shaw Bova (Andy Shauf, Father John Misty).

White Stuff not only maintains the magic chemistry between Jennifer Herrema (vocal, moog, guitar, melodica) and Neil Hagerty (vocal, guitar) but expands upon it greatly with their natural ability to give us something unexpected, necessary, and truly unique. Their own formidable and informed imaginations. The same two creative minds that brought us (to name a few) Twin Infinitives, Cats and Dogs and Accelerator, are present in the unadulterated, exhilarating energy that has the album listed on Pitchfork and Stereogum's most highly anticipated albums of 2019 lists. The newest single, "White Stuff," follows on the heels of the recently released "Every Day Swan" and "Get Used To This" (with Kool Keith). Indie exclusive pizza color LP.

Relapse Records presents the all new, blood-soaked Contaminated Comp 2024! This vinyl-only compilation features 8 tracks of disgusting, brutal Death Metal from the label's newest and finest underground signings. The comp includes new music from GRUESOME, MAMMOTH GRINDER, RIPPED TO SHREDS, DREAMLESS VEIL, VACUOUS, WALKING WOUNDED, PRIMAL CODE, and LIVING GATE for the low price of $9.99!

Dessa, the rapper, singer, writer, academic, and all-around polymath, who NPR hailed as a "national treasure," will release her first solo full-length album in five years, Bury the Lede, September 29th, 2023 on Doomtree Records. It's an eleven-track project of hard-hitting rap verses, big, catchy pop hooks, and a couple melancholic tracks. Dessa (an anthropology and psychology-enthusiast whose 2018 album, Chime, was inspired by neuroscience) conceptualized Bury the Lede as an examination of human nature and mortality. Reflecting on the pleasure-seeking and loss-aversion that define us as a species, the album ultimately endorses a Camus-with-a-lime-twist take on life. "It's about indulging in a measure of hedonism even as the threat on the horizon mounts... Survival is, at best, indefinite. So maybe get a cocktail with an umbrella in it," says Dessa. The new album leans into the light more than past projects-more moments of levity and abandon, more danceable-but it's still very much a product of Dessa's lyrical style, writerly and multi-layered, and meticulous. Executively produced with longtime collaborators and friends Lazerbeak (Doomtree, Lizzo) and Andy Thompson (Taylor Swift, Dan Wilson), Dessa and company's indie-rock, soul, and Swedish-pop inflected rap on Bury the Lede create an album that's hard to imagine hearing from anyone else. And, despite the wide range of influences, it's also one of Dessa's most cohesive albums to date.

Just out of high school, feeling stuck in a wasted gap year in her New Hampshire hometown before heading to college, Emily Moales found herself in serious need of an escape. Looking around at her rural New England surroundings, the multi-instrumentalist began blurring the lush greenery of reality with that of Medieval Britain. "I'm perpetually reading TH White's The Once and Future King. I'll pick it back up again every few months, and it will always resonate with what's going on in my life," Moales explains. Infusing imagery from the epic tale of King Arthur, Lancelot, and Guinevere into intensely personal songwriting, Moales found that escape in creating the sublime Camelot. First released digitally in 2018 and now getting it's first physical issue via Earth Libraries on TK, the record is a sterling statement of the New Hampshirite's work as Star Moles and her ability to craft timeless yet eternally present bedroom pop gems.Though she first envisioned Camelot as a way to escape her reality, the record equally provided a way to address it head on. As a prime example, album highlight "Not My Heart" takes a tale of unrequited love on a Casiotone waltz before bursting into a classic AM pop jangle, the imagery of Camelot swirling through the mix like a fluttering banner. Moales' bronzed vocals sit front and center on the track and album at large, surrounded by a robust instrumental tapestry-though much like the album cover's blend of Medieval font and shag carpeting, every bit of regal clarity is matched with warmly retro tones.1. Bloodhounds (Bad News Babe)2. On the Loam3. Spider Queen4. Agravaine5. Mad Cow Disease6. Not My Heart7. Customer Service Dreams8. Comforter9. Stoneman

On his aptly-titled Mascot Records’ debut, What Happens Next, roots singer-songwriter and guitarist Davy Knowles boldly steps forward with timeless and cohesive songwriting; sleek modern production; and a lyrical, play-for-the-song guitar approach informed from soul, folk, rock, and blues. The 12-song album is just as influenced by The Black Keys, Fantastic Negrito, Gary Clark Jr., as it is Muddy Waters, Junior Kimbrough, and R.L. Burnside. It is a cohesive body of work rather than a collection of disparate songs. On What Happens Next, Knowles’s poetic songwriting, and his soulfully emotive singing steal the show. The 12-song body of work offers forth a peaks-and-valleys album experience winding through brawny riffs, jazzy blues balladry, and vintage soul before concluding with one of Knowles’s most personal songs released to date. Throughout it all, his guitar playing is brilliantly understated, his rhythm work is deft and dynamic—beefy on the rockers, and subtly supportive on the slower tunes—and his leads are economical but feature juicy blues bends and thick as molasses lead guitar tones. "What Happens Next" is released on CD and digitally on October 22, 2021 and on vinyl on December 3, 2021 via Mascot Label Group/Provogue Records.