In just three remarkable solo albums Margo Price has cemented herself as a force in American music and a generational talent. On her fourth full-length Strays, recorded in Topanga Canyon and produced by Jonathan Wilson, the singer and songwriter presents a clear-eyed mission statement delivered in blistering rock and roll. Margo Price has something to say, and nothing to prove. 

Recorded in the same sessions as A Bit of Previous, Late Developers doesn’t feel like a collection of lesser-than songs that weren’t good enough to go on the “real” record. Rather, it’s an embrace of the freedom that comes with a jumbo-sized canvas, skilled students left unsupervised to paint whatever picture they feel like. Late Developers takes you on a journey as the band floats through genres with ease – from the frantic Billy Bragg-with-hella-flute-energy of the opening track and what I think might be Stevie Jackson’s best song, into a legit all-out radio-ready dance party in the third quarter of the record which includes a Belle & Sebastian first, a co-write with young pop composer Pete Ferguson. They then unearth a 1994-era pre-Belle and Sebastian tune, with the help of Camera Obscura’s Tracyanne Campbell right before they bring you home at the end with a true bop.

A limited edition pressing of Mumford and Son’s much-loved album ‘Babel’, in celebration of its 10th anniversary. The album features hit singles I Will Wait and Lover Of The Light, and this anniversary edition features alternate artwork and will be pressed on 180g cream coloured vinyl.

Undecided, a four-song studio release from ascending rock quintet Goose, is the musical byproduct created from a fusion of long- time songwriting with fresh recording practices. The songs have been reimagined by the band in an organic and intuitive way; allowing their unique spirit to shine through. Produced by D. James Goodwin and captured during the recording sessions for Goose's critically acclaimed 2022 release Dripfield, the EP project is a testament to the band's versatility, with propulsive guitar riffs, infectious grooves, and emotive lyrics that seamlessly intertwine.

Building for the last seven years, Gaz Coombes' new album Turn The Car Around is a record of feeling, an album that captures the ups and downs of modern life and all the small print in between. Written and recorded by Coombes in his gloriously ramshackle Oxfordshire outhouse studio, he has emerged with the best work of his illustrious career. Ten years since his debut, Turn The Car Around carves a bold new way forward for one of the UK’s most gifted and cherished singer-songwriters. Indie Exclusive Yellow LP.

Magnetically energetic and eternally hopeful, Dayglow (the project of Austin, TX based Sloan Struble) excels in creating catchy, carefully crafted, effervescent indie pop. His home-recorded 2018 debut album Fuzzybrain featured the Platinum Certified single “Can I Call You Tonight?”, which went on to be hailed as 2020’s biggest independent alternative hit. Following up with his sophomore album Harmony House in 2021, Dayglow generated a mountain of indie buzz and critical acclaim anchored by lead single "Close To You". Now, after racking up over a billion streams and selling out headline tours around the world, Dayglow returns with his third album People In Motion. Fun and colorful, People In Motion meditates on the ideas of commitment, inner peace, and movement, while inviting the listener to the dance floor to leave the chaos and noise of our current culture behind.

Calling himself “an emotional sad boy”, the frankness of Joesef’s lyrics are unflinchingly self-aware and are an honest insight into his life experiences & relationships that connects him to a mass audience.

Joesef owes the emotional transparency of his music & his confidence in his sexuality  to Glasgow’s liberality.  

“I’ve been with girls, I’ve been with boys. I feel like now is the best time to be that kind of person. In Glasgow, people are more likely to slag your shoes than your sexuality. Glasgow is so vibrant and colourful. You can be whoever you want to be, and you won’t get hassled for it.”

This was recorded in San Francisco with Ryan Greene at Motor Studios. A nice place to record a punk record. The title is not referring to Airwalk or Vans, it is from a Douglas Adams book called, “So Long and Thanks For All the Fish.” We tend to get hit with a lot of shoes when we play so we thought it was a good title. It’s not our last album. Nate from the Bosstones came by and played guitar on a couple songs. That was pretty cool. We kinda went for more of an old school sound on this record. More hardcore than the previous one. I like it. Favorite song-Desperation’s Gone. Too bad about ska getting mainstream, I don’t think I wanna play it anymore. -NOFX

Making their big screen debut, the ever-relatable Belcher Family faces an all-new catastrophe in this bold, brassy and bone-dry murder-mystery comedy adventure. With plenty of hilarity, heart and show-stopping musical numbers, The Bob’s Burgers Movie will deeply satisfy fans, while serving up a tasty treat for new adventures.

Sarathy Korwar returns with new album KALAK. The follow up to the politically charged, award-winning More Arriving is an Indo-futurist manifesto - in rhythmic step with the past and the present, it sets out to describe a route forward. It celebrates a rich South Asian culture of music and literature, which resonates with spirituality and community, while envisaging a better future from those building blocks. Recorded at Real World studios with meticulous production by New York electronic musician, DJ and producer Photay, who translates these communal rhythms and practices into a timeless and groundbreaking electronic record. There’s a spirituality and warmth at play in the polyrhythms, group vocals and melodic flourishes. The KALAK rhythm is the fulcrum upon which the 11-track project balances. After an intense lockdown induced period of reflection and meticulous note-making, Korwar boiled this down to the circular KALAK symbol which he then presented to his band before recording began. With the symbol projected on the walls in order to de-code and improvise around, Korwar had utter faith in the musicians he’d assembled and conviction in the concept. The final part of the KALAK project is realised in the cover artwork by New Delhi-based designer Sijya Gupta. Korwar and photographer friend Fabrice Bourgelle took a light sculpture of the KALAK symbol on a road trip around Southern India, through Chennai, Pondicherry and Auroville. The evocative shots appear on the cover of the various formats, with each one offering a different angle on the country, continent and culture that inspired the album.

Pittsburgh’s feeble little horse is a 4-piece band that writes intricately catchy, digitized noise pop songs. Formed by Sebastian Kinsler (guitar, production, vocals, bass) and Ryan Walchonski (guitar, vocals) in Ryan’s student apartment in South Oakland, PA in February 2021, the duo soon added Ryan’s roommate Jake Kelley on drums, and, inspired by a wave of creativity, the trio released their first EP – modern tourism, in May 2021, with artwork contributed by future member Lydia Slocum (vocals, bass). 

After officially joining the band in June of that year as bassist and vocalist, Lydia added her own sweet vocals, rich melodies, and punchy lyrics to the band’s heady mix. From summer to fall of that year, the quartet played their first shows at DIY establishments across Pittsburgh and Philadelphia, gaining a word-of-mouth reputation as one of the most exciting new bands on the scene. 

In October 2021 feeble little horse released their first full-length album, Hayday, via Julia’s War Recordings. Full of dense textures and exhilarating tension, the album’s eleven songs bristle with pent-up energy, the mood flipping between sweet noise-pop elements and more visceral discharges, the whole thing balanced on a knife-edge between the light and dark, the earnest and unhinged. 

The band continues to expand and evolve in 2022, with new music on the horizon that looks set to redefine the band’s sound once again. Before that, however, comes a reissue of Hayday, in conjunction with Unstable – a record label started by the band. Available on vinyl for the first time, this reissue also features two bonus tracks: the previously unreleased "Dog Song 2" and a remix of "Termites" by Full Body 2. 

The legendary Death Metal icons OBITUARY return with their highly anticipated new album, Dying of Everything.

Dying Of Everything destroys in the time-honored tradition of early OBITUARY classics Slowly We Rot and Cause of Death while maintaining the killer studio sound that the band has been perfecting in their own studio since 2007’s monstrous Xecutioner’s Return.

You can hear the results on lead single “The Wrong Time” which boasts a slamming mid-tempo groove. Meanwhile, the title track boasts punishing riffs and songwriting by Ken Andrews. The album’s third single, “My Will To Live,” is a total skull-crusher. Track after track, OBITUARY solidify their legacy as a Death Metal institution, churning out some of the heaviest riffs in their career.

Like just about every album in OBITUARY’s vast catalog, Dying Of Everything is instantly memorable; it’s a skill that OBITUARY have only improved upon over the years. It’s unusual for a band that’s been around since the ’80s to be doing some of their best work in the 2020s, but that’s exactly what OBITUARY have accomplished through their do-it-yourself attitude and relentless touring on a worldwide level. “I think it comes down to passion,” vocalist John Tardy offers. “I say this all the time, but if something’s not fun, I’m not gonna do it. And we’re having more fun than ever.”

Tracked at Dial Back Sound in Water Valley, Mississippi with Bronson Tew and Matt Patton at the helm, and drums and bass, respectively. Featuring Jimbo Mathus on keys and leading the band along with his Squirrel Nut Zippers' horns and strings. What's left is a fiery offering of funky blues with equal measures of soul and rock'n'roll interspersed for a delectable bayou audible feast. Funkier than last week's gumbo with a psych blues side order.

Ace 50th (Anniversary Remaster) now on Limited Edition Translucent Red Vinyl. Limited to 5,000. Remixed by Derek Featherstone and mastered by GRAMMY® Award-winning engineer David Glasser. Produced for Release by Bobby Weir and Derek Featherstone. When Bobby started working on ACE at Wally Heider’s Studio in San Francisco in early 1972, he wasn’t planning for the Grateful Dead to be his backing band. It just happened. “I pretty much knew in the back of my mind what would happen,” Weir told Crawdaddy a few months after the sessions. “I go and get the time booked and start putting the material together. Everybody gets wind of the fact I got the time booked and I may be going into the studio. So, one by one, they start coming around…” It made sense, the band was already familiar with most of the music, having road-tested six of the album’s eight songs, including “Greatest Story Ever Told,” “Mexicali Blues,” and “Playing In The Band,” destined to become one of Weir’s signature tunes. ACE also marked the beginning of Weir’s long-running collaboration with lyricist John Perry Barlow and includes early standouts “Cassidy” and “Looks Like Rain.”

Chicago's 5X Platinum Greatest Hits collection, now on a picture disc. Includes the hits "25 or 6 to 4," "Make Me Smile, " "Saturday In The Park," "Colour My World," and "Feelin' Stronger Every Day."

Chaos in Bloom, arriving August 12th, 2022 via Warner Records. Marking the first album of their career to be produced by frontman John Rzeznik, the record finds the band at the top of their game and continuing to constantly evolve just as they have for nearly four decades together. Consisting of 10 tracks, Chaos in Bloom is an album of biting sarcasm, stadium-ready choruses, and the type of spear-sharp songwriting that’s led them to becoming one of the most influential alternative rock groups of all time.

While Chaos in Bloom isn’t necessarily an album borne out by the pandemic, many of the tracks reflect on all of the things in daily life that became amplified while everyone was isolated from one another and sequestered at home. “Chaos in Bloom reminded us how special this whole thing is and to cherish the relationships that we have together,” says Rzeznik about the album. “Where we’ve been, and where we’re going.” Oscillating from personal reflections on the state of the world to societal commentaries, the songs on the album grapple with observations about our dystopian modernity while searching for optimism and pushing for a more empathetic world. “I’ve been trying to have a relationship with the bigger picture,” adds bassist and songwriter Robby Takac, “and refining happiness and what it means from that perspective.”

To record the album, Rzeznik and Takac retreated to Dreamland Studios just outside Woodstock, New York during the pandemic. An environment as remote as it is rich with historic rock music roots, the location proved to be the perfect setting for clearing the noise and creating such a record, which carries a true live quality that the band captured by blending vintage instruments and gear with new-age recording processes and techniques.

Kid Cudi takes you ENTERGALACTIC with his (final?) 10th studio and 8th solo album. The music inspired the new Netflix special while framing the story of two young, ambitious artists falling in love. The multi-hyphenate stars in and serves as the exec producer with Kenya Barris for the critically acclaimed animated event. Features for the 15- track album include castmate Ty Dolla $ign, Don Toliver and 2 Chainz with Steve Aoki and Dot Da Genius credited for the bonus track "Burrows.”

Live At Bonnaroo '22 ORANGE BUZZSAW SHAPED - King Gizzard & The Lizard Wizard - Recorded by our sound crew: Sam Joseph, Nico Wilson and Gaspard de Meulemeester. Mixed by Stu Mackenzie. Mastered by Noah Mintz Drums: Michael Cavanagh - Guitar / Keys / Vocals: Cook Craig - Bass: Lucas Harwood - Harmonica / Vocals / Keys / Percussion: Ambrose Kenny-Smith - Vocals / Guitar / Flute: Stu Mackenzie - Guitar / Synthsiser / Vocals: Joey Walker LP Orange Buzzsaw Shaped Vinyl

Superman’s Hands is the lead off track to The Nervous Eaters’ comeback album Monsters + Angels. is the comeback album for the Boston punk pioneers, The Nervous Eaters. The Nervous Eaters are Boston punk pioneers which was formed in the mid-1970s and served as the house band for the Boston punk rock club, The Rat. They played with The Ramones, The Cars, Patti Smith, and plenty more. They also had the 1976 hit, ‘Loretta.’ The band dissolved in 1981, and has sporadically reunited throughout the years. This lineup of the band has existed since 2018, and the band is excited to be releasing all new music. Of his lifelong career in rock and roll, frontman Steve Cataldo says, “You get out there and do it. It doesn’t matter what vein of rock ‘n’ roll you’re in. If you’re creating art, it’s just in your system and that’s what you do.”

The German symphonic metal band Beyond the Black return with their 5th full length record, the self-titled Beyond the Black.

With nothing more than a Gibson Les Paul slung over his shoulder, a warm amp turned all the way up, and a hot microphone on and ready, Jared James Nichols churns out the kind of rock that rips, roars and rolls without filter or apology. The Wisconsin-born and Nashville-based singer, songwriter and guitarist delivers a one-two punch of gritty vocals straight from the gut and incendiary fret fireworks. After earning widespread acclaim from the likes of American Songwriter, Guitar, Guitar World, Relix and more, tallying millions of streams, and packing houses at countless shows, he showcases every side of himself on his 2023 self-titled third full-length offering.

Rachael & Vilray—the duo singer/songwriter Rachael Price (Lake Street Dive) and the guitarist/singer/songwriter Vilray—return with their second studio album, I Love a Love Song!  The album features eleven new songs plus one 1930s classic.

Combining Rachael Price’s singular voice with Vilray’s knack for songwriting, I Love a Love Song! showcases Rachael & Vilray’s respect for their jazz predecessors, taking the best of the past and creating something new.

Recorded at United Recording in Los Angeles, CA, the twelve-track album was produced, engineered, and mixed by Dan Knobler and features arrangements from Jacob Zimmerman . All songs were written by Vilray except for “Goodnight My Love,” which was written by Mack Gordon and Harry Revel.