Electric Fetus

"empathogen" is the sixth studio album from WILLOW. This release sees WILLOW moving in a new alternative & jazz tinged direction following her widely praised 2022 release  . The album includes features from Jon Batiste and St. Vincent.

Billie Eilish’s third studio album, "HIT ME HARD AND SOFT", released via Darkroom/Interscope Records is her most daring body of work to date, a diverse yet cohesive collection of songs— ideally listened to in its entirety from beginning to end—does exactly as the album title suggests; hits you hard and soft both lyrically and sonically, while bending genres and defying trends along the way. With the help of her brother and sole collaborator, FINNEAS, the pair wrote, recorded, and produced the album together in their hometown of Los Angeles. This album comes on the heels of her two massively successful albums “WHEN WE ALL FALL ASLEEP WHERE DO WE GO?" and "Happier Than Ever" and works to further develop the world of Billie Eilish.

Metamodern Sounds in Country Music is the second studio album by American country music singer-songwriter Sturgill Simpson. The album was produced and engineered by Dave Cobb and was released on May 13, 2014, through High Top Mountain/Thirty Tigers.

'Metamodern Sounds in Country Music' 10 Year Anniversary Edition, to be released May 10, 2024, features fully reimagined album artwork for the CD and vinyl release. The limited edition vinyl variant is packaged in an "old-style" tip-on gatefold jacket and pressed on 180g black vinyl.

St. Vincent’s first self-produced record, All Born Screaming is Annie Clark at her most unfiltered. All Born Screaming is an invitation to test the limits of what is possible–and to then keep going;  Brought to life with the aid of a highly curated dream lineup of friends — Rachel Eckroth, Josh Freese, Dave Grohl, Mark Guiliana, Cate Le Bon, Justin Meldal-Johnsen, Stella Mogzawa and David Ralicke — the album is an unadulterated expression of St. Vincent’s singular vision.

Three time Grammy nominated Hiatus Kaiyote return with their eagerly anticipated new album Love Heart Cheat Code. The band have warmed up fans with standout single 'Everything's Beautiful' and what awaits is a masterfully crafted album from a band who are firing on all cylinders and totally in sync. LHCC is a mix of their classic neo-soul sound, fused with jazz, soul and rock - which is on full display on their cover of the Jefferson Airplane classic 'White Rabbit' and a fan favorite from their live shows, 'Cinnamon Temple'. The album also includes a feature from BMO from the cult classic animated series Adventure Time (Cartoon Network/Adult Swim). Throughout the campaign the band will build a bright and vibrant world for fans to dive into, with games, artifacts, mazes and all other matter of zaniness that one can expect from Hiatus Kaiyote. Just ahead of album release the band will be embarking on a 19 day US tour, which includes stops at Montreal and Toronto Jazz Fests and Electric Forest.

The Story So Far have announced their upcoming 5th studio album, I Want To Disappear, out June 21 via Pure Noise Records. Produced by Jon Markson (Drug Church, KOYO), the album features previously-released single “Big Blind” alongside nine brand new The Story So Far tracks. I Want To Disappear comes nearly six years after the band’s previous album Proper Dose, which debuted at #19 on the Billboard 200 chart.

Wallows / MODEL / The trio - comprised of Dylan Minnette, Braeden Lemasters and Cole Preston - recently announced their upcoming album, which is set to drop May 2024 via Atlantic Records. Product info: Indie Exclusive vinyl, Solid Orchid/Translucent Orange Crush

Taylor Swift - "THE TORTURED POETS DEPARTMENT" [Ghosted White 2 LP] - Taylor Swift/Republic Records; Pop EXPLICIT

• NOTE : STREET DATE HAS BEEN BUMPED TO TBD

Within six days and “without overthinking anything,” Noah Kahan completed the five-track Cape Elizabeth EP which has amassed 200M streams. See the newly repackaged Cape Elizabeth on Aqua-colored vinyl as Noah’s “thank you to the fans who stuck around, came to shows, watched my livestreams and listened.” The vinyl features fan- favorite songs “A Troubled Mind,” “Glue Myself Shut” and “Maine.”

Over the last six years, ZAYN has been writing his fourth studio album at his home studio in rural Pennsylvania. ROOM UNDER THE STAIRS marks his most personal release to date, reflecting where he is in his life while exploring the complexities of healing, stillness and growth. It also sees the genre-bending artist explore a new sound, leaning into his soulful vocals, live instrumentation, and poetic lyricism as a songwriter. The album was co-produced by ZAYN with 9x Grammy Award-winning record producer Dave Cobb. This will be ZAYN's first album with Mercury Records.

Recording remotely over the past year from their respective homes, The Wombats have been working hard to produce some of the most captivating, inventive and forward-thinking music of their career to date. With Murph in Los Angeles, bassist Tord Øverland Knudsen in Oslo and drummer Dan Haggis in London, they discussed each day’s plan via Zoom, then recorded separately, sending individual files to producers Jacknife Lee (U2, The Killers), Gabe Simon (Dua Lipa, Lana Del Rey), Paul Meaney (Twenty One Pilots, Nothing But Thieves) and Mark Crew (Bastille, Rag‘n’Bone Man) to mix into the finished tracks. “It was pure madness, to be honest,” explains Murph. 

“We’re so excited for people to hear this new album! We’ve explored new genres and pushed ourselves further than ever musically. It will always stand out for us in our memories from our other albums as we recorded it across three cities during lockdown, and we weren’t all in the same room at the same time!” says Dan Haggis.

The blue vinyl is limited to 500 copies in North America and Electric Fetus is the only place to get it.

Feb. 8th update: NOW SHIPPING SIGNED COPIES!

Double LP on grey & white marble vinyl housed in same packaging as the standard version. Side D is an etching. Autographed. Ltd to 400 total. Full album download included.

The never-ending psychedelic web of Kurt Wagner's Lambchop continues to unravel on September 30th with a new album titled The Bible.

The story of The Bible begins with Wagner up in the middle of the night during the first year of the plague, watching his new friend from Minneapolis, Andrew Broder, play a Wurlitzer on Instagram Live. Broder was one in a group of Minneapolis musicians Wagner had met prior to the pandemic through mutual friend Justin Vernon (Bon Iver). After watching the livestream, he called Broder up. “Dude, I’ll get you in a studio,” he says, “you just go in there for like three or four hours and do your thing.” Broder sent him back twelve 20 minute-long pieces. And then Wagner found himself in Minneapolis, in the sweltering summer of 2021, in a decommissioned paint factory turned practice space. Wagner would find an immediate musical spark with Broder & his musical partner Ryan Olson (Gayngs, contributor to Taylor Swift's Evermore). Olson contributes greatly to the album, both with arrangements & production. “Ryan and Andrew, they’re like two sides of my personality,” Wagner says. “And if you put them together as a team, they represent me.” Good thing, because this would be the first time Wagner let somebody else—people who weren’t even from Nashville—produce a Lambchop record.

The music on The Bible is more unpredictable than it’s ever been on a Lambchop record. Jazz careening into country, into disco, into funk, and back to country. All tied together with Wagner’s own voice, born from a perspective on his own life inspired by taking care of his father at the end of his life. The sounds all jumbled together with snatches of observations, words torn from the headlines in Minneapolis—bumper stickers on the freeway, or graffiti from outside that decommissioned paint factory. Through the weeks, musicians (local & non-local) would come & go, putting their own thumbprints on this bible. Perhaps most strikingly, contributions from two different vocal choirs (Bells of the Lakes & Lutheran Bells) & gorgeous string arrangements courtesy of yMusic co-founder C.J. Camerieri (who has also arranged strings for Sufjan Stevens, Antony & the Johnsons & The National).

Beyoncé - Cowboy Carter - Country Vinyl LP

Maggie Rogers - "Don't Forget Me"

With more than 1 billion streams as a solo artist and two back-to-back #1 singles, Tyler Hubbard's sophomore solo album, Strong, features 13 brand-new songs, including "Back Then Right Now," "Turn" and "Wish You Would."

Ohio Players is The Black Keys’ fourth album in five years, a momentum with a simple explanation, Auerbach says: “We never stopped recording.” There was his and Carney’s reunion, after a five-year hiatus, on 2019’s "Let’s Rock”, then the 2021 blast of Mississippi-hill-country covers, Delta Kream. A rapid-fire follow-up of new originals, 2022’s Dropout Boogie, featured the duo working with outside writers for the first time: Greg Cartwright of Memphis rockers Reigning Sound and Angelo Petraglia, who has worked with Kings of Leon and the teenage Taylor Swift. (Cartwright and Petraglia are back for Ohio Players too.)
“We'd never worked harder to make a record,” Dan Auerbach says. “It's never taken us this long to make an album. We took our time and did it right.”
 
“What we wanted to accomplish with this record was make something that was fun,” Patrick Carney says. “And something that most bands 20 years into their career don’t make, which is an approachable, fun record that is also cool.”
While making Ohio Players, a title inspired by the legendary Dayton, OH funk band of the same name, The Black Keys were also DJing dance parties in cities around the world that they called “record hangs,” spinning 45s from their own eclectic and growing collections. Mojo reports, “The spirit of those parties infused the album’s DNA. ‘That’s been the fun of it,’ [says] Auerbach. ‘Letting go a little bit.’” 

Revelator is an album that speaks to “the grand sadness in life” — perennial Phosphorescent subject matter, by
Matthew Houck’s estimation. In some ways, Revelator extends seamlessly from the story begun by Muchacho and
continued by C’est La Vie. It finds Houck further mastering his unique blend of ragged, experiment-y classicism
intertwined with ethereal, lachrymose atmospherics. Across Revelator, Houck sings from a woozy, worn headspace,
but leads us to a place where dreams and reality mingle. Indie Exclusive Black Ice LP.

On her most ambitious album yet, No One Gets Out Alive, singer-songwriter Maggie Rose proves she’s a true original. Though the electrifying record is her fourth release, in many ways it feels like her first. No One Gets Out Alive is a knockout career game-changer. Filled with deeply intimate, relatable songs that showcase her masterful storytelling, the album showcases her soulful, powerful voice and pulls you in immediately. Unencumbered by genre, No One Gets Out Alive reflects Maggie’s varied influences including rock, soul, Americana, pop and folk, all colliding for a deeply satisfying listen. Maggie Rose inhabits her music and distills it into something all her own. With unflinching honesty, she does everything authentically and completely.

The precocious and prodigious drummer and composer Tony Williams had already joined the Miles Davis Quintet and participated in numerous landmark Blue Note recordings including Herbie Hancock Empyrean Isles, Eric Dolphy Out To Lunch, Andrew Hill Point Of Departure, Jackie McLean One Step Beyond, and Grachan Moncur III Evolution by the time he recorded his own adventurous debut album Life Time in August 1964, when he was still just 18 years old. Williams had no intention of playing it safe on his maiden voyage as a leader and set forth to document his uncompromising expression on this program of innovative original compositions.

Side 1 presents the expansive two movement suite "2 Pieces of One" with the drummer joined by tenor saxophonist Sam Rivers and bassists Gary Peacock and Richard Davis. Side 2 opens with the jaunty "Tomorrow Afternoon" featuring Williams, Rivers, and Peacock. Williams plays a variety of percussion on the freely improvised "Memory" which features Herbie Hancock on piano and Bobby Hutcherson on vibraphone, and lays out entirely on the ruminative piano-bass duet "Barb's Song to the Wizard" performed by Hancock and Ron Carter which closes the album.

Khruangbin’s fourth studio album, A La Sala (“To the Room” inSpanish), is an exercise in returning in order to go further, anddoing so on your own terms. It continues the mystery and sanctitythat is the key to how bassist Laura Lee Ochoa, drummer Donald“DJ” Johnson, Jr. and guitarist Mark “Marko” Speer approach music.If 2020’s Mordechai, the last studio LP Khruangbin made withoutcollaborators, was a party record that enhanced the band’s musicalreputation far and wide, then A La Sala is the measured morningafter. It’s a gorgeously airy record completed only in the companyof the group’s longtime engineer Steve Christensen, with minimaloverdubs. It’s a window onto the bounties powering Khruangbin’svision, a reimagining and refueling for the long haul ahead. A LaSala scales Khruangbin down to scale up, a creative strategy withthe future in mind. 

The trio’s collective musical DNA, the years spent constructing itin Houston’s local-meets-global cultural stew, ensures the bandcontinues to sound like no one but itself. A cascade of crispmelodies emanates from Marko’s reverb-heavy electric, dancinggently around Laura Lee’s minimalist almost-dub bass triangles,while DJ’s drums serve as the tightened-up pocket and unwaveringdance-floor on which all this movement takes place. Yet there’s afreshness to A La Sala’s instrumental interactivity, less concernedwith getting further out than going deeper in, a profound desire tocelebrate the world’s external wonders. Where prior albums strivedtowards music’s polyglot edges, such inquiries now sound likebeloved intimacies. Here, Khruangbin’s sonic touch-points —whether spaghetti-western film scores (on “Fifteen Fifty-Three”),West African discos (on “Pon Pón”), G-funk fantasias (“TodavíaViva”), living room dancing moments (the first single, “A LoveInternational”), or even ambient found-sounds (on “Farolim deFelgueiras and throughout the album”) — are ingrainedcharacteristics. This is who they are! Unique and huge (andgrowing), ambitious and driven. 

Khruangbin’s aspirations and commitment to playful creativityeven extends to A La Sala’s vinyl packages, of which there will beseven distinctive covers and color-sets. Designed by the bandusing Marko’s multitude of travelog photos, the images arewindows from the band’s living room onto a set of daydreams,scenes of impossible skies, external glances that illuminate what isgoing on inside. Each cover image comes with a matching colorvinyl. These too are all about looking out and looking back, in orderto better look ahead.

Vinyl LP pressing. Recorded in May 1963, Silver's Serenade was the last in a fantastic run of albums that pianist Horace Silver would make with the most celebrated line-up of his Quintet featuring Blue Mitchell on trumpet, Junior Cook on tenor saxophone, Gene Taylor on bass, and Roy Brooks on drums. The core of the band had been together since 1959 and recorded hard bop classics like Finger Poppin' and Blowin' the Blues Away, with Brooks joining in 1960 on Horace-Scope. The program on Silver's Serenade consists of five Silver tunes that epitomize his exceptional compositional style: captivating melodies, sophisticated harmonies, and intricate rhythmic inventions with a soulful and unerring sense of swing at the core. From the relaxed groove of the opening title track to the hard-charging finale "Nineteen Bars" the Quintet delivers their swan song with style.