Music Releases 06-29-18
Six-time Grammy-nominee Florence + the Machine to release hugely-anticipated new album ‘High As Hope’ June 29th via Virgin EMI / Republic Records. ‘High As Hope’ is the sound of an artist who appears more certain than ever of herself. Florence writes about her teens and twenties with a renewed, more mature perspective: of growing up in South London, of family, relationships and art itself. The first official single ‘Hunger,’ is out now.
My head feels like it is exploding with the amount of information we are forced to consume on a daily basis, and how that information is so DISTORTED there is almost no longer any tangible truth,” says James. “The name of my new record is UNIFORM DISTORTION because I feel like there is this blanket distortion on society/media and the way we gather our ‘news and important information. More and more of us are feeling lost and looking for new ways out of this distortion and back to the truth…and finding hope in places like the desert where I write this now...finding hope in the land and in the water and in old books offering new ideas and most importantly in each other and love.
Single LP on black vinyl with printed inner sleeve. Includes coupon for full download
Formed in Brooklyn in 1998, The Essex Green released four albums between 1999 and 2006. They became one of the few bands from the Northeast to be associated with the groundbreaking Elephant 6 Collective. Their unique blend of harmony-infused pop music culminated in the 2006 release of Cannibal Sea.
Sasha Bell, Jeff Baron, and Christopher Ziter were last seen together in the late aughts, waving from their van as they bid farewell to Brooklyn. And then, the unthinkable: The Essex Green went silent. But why? Legal cannabis? Climate change? Bad oysters? Nothing so dramatic. It was a simple promise made among them to chase down their separate dreams: Baron to build a houseboat and navigate the mighty Allegheny, Monongahela, and Ohio Rivers; Ziter to return to his home state of Vermont and lead local fermentation efforts; and Bell to decamp to Montana to study elk rutting.
Having achieved their goals or not, they vowed to break their silence in secret on the frigid waters of Lake Champlain during the blood moon eclipse of 2015 when the effect of the moon in Libra would be most powerful. Over the next two years, the three continued to meet and record in undisclosed locations. The result is Hardly Electronic, a music mapping of the trio’s personal journeys over the past decade.
Reissued almost 20 years to the day of the album’s original release date - this first (and only) live album from the Godfathers of Punk comprises a double LP set and features a replica of the rare poster that came with the original 1998 pressing (featuring frontman Mike Ness on stage). The set includes such favorites as “Story of my Life,” “Don’t Drag Me Down,” “Bad Luck,” “Mommy’s Little Monster” and a cover of Johnny Cash’s “Ring of Fire.” Typical of Social Distortion’s reputation, the band performs with a fierce energy onstage and Live at the Roxy captures this intensity.
Single LP on black vinyl in single sleeve. Includes coupon for full download
Born in Cabbagetown, Georgia, the Rock*A*Teens carved their signature echo-wrapped, wounded-heart music on the edges of the Atlanta music scene more than 20 years ago. Led by songwriter and lead singer/guitarist Christopher Lopez, the band released a handful of reverb-drenched singles and full-lengths on the independent Daemon and Merge labels in the late ’90s and early 2000s.
Following their reunion at the Merge 25 festival and the reissue of their last LP Sweet Bird of Youth (Merge, 2000), the group returned to touring and playing live. Restless with the need to move forward, the band began writing and recording new music.
Guided by a batch of home recordings and demos, Lopez, guitarist Justin Hughes, bassist William R. Joiner, and drummer Ballard Lesemann convened with Tim Delaney at Electron Gardens Studio and Rafael Pereira at Tribo Studios to shape their ideas into the glorious, bombastic new album Sixth House.
At 80 years old, NEA Jazz Master Charles Lloyd remains an intrepid musical pioneer, entering his ninth decade at a creative peak in what now stands as a mountainous and formidable career. With his newest band The Marvels—a guitar-driven group featuring Bill Frisell, Greg Leisz, Reuben Rogers, and Eric Harland—Lloyd released the 2016 album I Long To See You which NPR called “music that evokes an uncommon state of grace.” Now on Vanished Gardens, The Marvels add a new dimension by collaborating with revered singer-songwriter Lucinda Williams to pioneer a new genre of Americana Jazz that draws on the musicians many influences and experiences with reimagined versions of Williams favorites, new Lloyd originals, and covers of Jimi Hendrix, Thelonious Monk, and more.
There comes a point in every career of note, when it’s time to dig a trench in the turf; to define exactly who you are in a way that resonates in the broadest possible manner. For Bullet For My Valentine – now two decades deep into their story, one of rock and metal’s foremost names, a genuine success – that time is now.
Produced and mixed by Carl Bown, ‘Gravity’ (the UK band’s sixth studio album, the follow-up to 2015’s ‘Venom’) sees the musicians delivering a body of work that looks set to add extra layers of excitement and meaning both to their own trajectory and to the genre per se. At a time when the international scene feels ready for a serious shot in the arm, ‘Gravity’ is an album of true craft and vision – an ambitious labour of love with the weight and the punch that the band’s extensive, ever-burgeoning fan-base has come to expect, a point made in style by lead single / video ‘Over It’, whilst adding enough in terms of atmosphere, melody and contemporary sheen to spin heads in wider circles.
Backed up by an extensive worldwide touring plan that sees BFMV’s strongest ever line-up playing major shows and festivals for the whole of 2018 (and beyond), ‘Gravity’ already feels like an important album. Simply, this is frontman Matt Tuck and his fellow players thinking big and bold and refusing to compromise or back down.
The title is ‘Gravity’, but the music is set to rise like a rocket. Let the countdown commence…
Equals is The Alarm’s first album since 2010. It is a barnstorming collection of 11 songs that act as a retrenchment of old values and a poignant reflection of the tough times Mike and his wife Jules have been through in recent years. Equals was produced by George Williams. Mike and Jules are joined by drummer Smiley (Joe Strummer & The Muscaleros) and guitarist James Stevenson (Gen X, The Cult). Guitarist Billy Duffy (The Cult) is featured on the track, "Coming Backwards." LP is standard weight, black vinyl.
Fronted by Zahira Gutierrez (vocals/keyboard) and Cody Swann (guitar/vocals), Wild Moccasins’ forthcoming third full-length serves as a new beginning for the group. Look Together tackles themes of repairing relationships, shedding insecurities, and fresh starts, with vibrant guitar and synth lines layered under Gutierrez’s soaring pop melodies. Look Together is highly pop-powered, with Ben H. Allen (Gnarls Barkley, Deerhunter, Animal Collective) at the production helm. Recorded at Atlanta’s Maze studios, Allen encouraged the group to revise their approach to the writing and recording process. The result is a diverse album that blends the signature, guitar-driven elements of Wild Moccasins’ early discography with expansive electronic and '80s/'90s pop components. The impassioned 12-track LP began to form merely a week after the release of 2014’s 88 92, as Gutierrez and Swann’s decade-long romantic relationship dissolved. Healing proved to be a burdensome task, as Wild Moccasins were charted for two years of extensive touring. Gutierrez and Swann would spend countless hours positioned in a shared tour van, painfully staring each other down on stage and ultimately exchanging exaggerated he-said-she-said’s through songwriting. For most romantically intertwined bands, Look Together would have never happened. Dissolving the group would seem to be the logical conclusion of their romantic split, but instead, the former couple chose to reconcile their differences the only way they knew how – working towards a common musical goal.