CIMS In The Groove

Produced by Brandi Carlile and Shooter Jennings, While I’m Livin’ is Tanya Tucker’s first album of all new music in 17 years and signals the return of this country music icon. "While I'm Livin'" is an album of mostly original music written by Brandi Carlile, the twins and Tanya Tucker about her real life and the places she's seen. This album is a musical biography of sorts narrated by the greatest country and western singer this side of Johnny Cash. When the kids heard Cash stripped down on "American Recordings" they knew where their outlaw country music came from. When they hear Tanya stripped down on "While I'm Livin'", they'll know it again.

Music has been the genesis of Common’s creative life. Let Love is the culmination of a journey. Common spent 2018 and 2019 immersed in self-care and, ultimately, catharsis. In the process, he underwent a transformation as he examined God, faith, fatherhood, community, and love. He unites with prominent forces from different eras of the culture to deliver a timeless dedication to hip-hop. As such, the record details his past and present and shines a light on a bold and bright future. Of hip-hop, Common admits on lead single HER Love, “You gave me a voice in the world, it’s been hard to choose another girl.” “a State of the Rap Union as he addresses the rise and expansion of hip-hop throughout the past 25 years” – VIBE “his most impactful body of work yet,” - OkayPlayer. “Common’s homage to hip-hop” – Rolling Stone

2019 release. Redd Kross invite you to explore Beyond the Door, an album inspired by the band's "total commitment to having the best f*cking time we can have while we're all still here" (what they like to call "the Party"). It's a rock and roll record and a celebration of everything brothers Jeff and Steven McDonald love, from cultures both high and low. Musically, it's guitars, bass, and drums topped with a generous portion of sweet vocal melodies often delivered with an ambiguous edge.

Robert Randolph & The Family Band release their new album "Brighter Days" via Mascot Label Group/Provogue Records. Brighter Days, the follow-up to the Grammy-nominated "Got Soul" album, may be Robert Randolph and the Family Band’s best, most diverse album yet. Rooted in gospel and blues, and branching into rock and soul, it is the sound of a veteran artist sure of himself and confident enough to spread his wings. The album was produced by Dave Cobb, known for his acclaimed and award-winning production of albums by Chris Stapleton, Jason Isbell, Brandi Carlile, and the "A Star Is Born" soundtrack.

**NOTE** 

Tri-fold Softpack Video Brochure featuring: CD (79 minutes of music), 4” HD rechargeable screen with exclusive video footage, charging cable, 2 watt speaker, 36 page book + MP3 code (89 minutes of music).

Tool, an American rock band from Los Angeles, California. Formed in 1990.  The group's line-up includes drummer Danny Carey, guitarist Adam Jones, and vocalist Maynard James Keenan. Justin Chancellor has been the band's bassist since 1995, replacing their original bassist Paul D'Amour.

Tool has won three Grammy Awards, performed worldwide tours, and produced albums topping the charts in several countries.

To date, the band has released four studio albums, one EP and one box set. They emerged with a heavy metal sound on their first studio album, Undertow (1993), and later became a dominant act in the alternative metal movement, with the release of its follow-up album Ænima in 1996. Their efforts to unify musical experimentation, visual arts, and a message of personal evolution continued, with Lateralus (2001) and 10,000 Days (2006), gaining Tool critical acclaim, and commercial success around the world. The band's fifth studio album, their first in thirteen years, will be released on August 30, 2019.

Sinematic is an enthralling set of songs that explore the darker corridors of human nature. The 13 song collection, is his first since 2011’s How To Become Clairvoyant and themes sprang from his recent film scoring for Martin Scorsese’s organized crime pic, The Irishman and his forthcoming documentary Once Were Brothers: Robbie Robertson and The Band. The album features guest stars such as Van Morrison, Glen Hansard, and many more.

After over a year hunkered down in their basement Paris studio, Caravan Palace have emerged into the light with a brand new single, Miracle , an infectious groove-laden piece of electronica which sees their sound evolve once again. This is the first taste of the band's new album due for release in Spring 2019, and it will be accompanied by a much anticipated new video by Double Ninja, the team of directors behind Lone Digger , for a trip that promises to be memorable.

CEREMONY make their Relapse Records debut with their highly ambitious new album, 'In the Spirit World Now'. It will hit stores on CD and LP on 8/23. The album sees CEREMONY at the height of their creative output, as the always-evolving Rohnert Park quintet take various influences from post punk and rock to create one of the summer's most compelling and infectious records.

The Commonheart’s latest album, Pressure, is both rugged and refined. The 10-song album showcases raw-nerve soul musicianship pristinely recorded. The opening track boasts soulful sandpaper-y lead vocals, swoops of cosmic slide guitar, a driving Sly Stone groove, and rousing female backup vocals. It’s an up-against-a-wall tune about making a living while raising a family, and it speaks to the album’s title. The bluesy ballad title track, replete with pleading emotive vocals, drips yearning and melancholy redemption. “That’s about the daily grind—what it takes to maintain important relationships while you’re away from home, driving thousands of miles in van to pursue a dream,” Clinton confesses. 

Ezra Furman follows his ''layered, baroque pop melodrama'' (Billboard), Transangelic Exodus, with Twelve Nudes. Continuing on the same wavelength, this ''spiritually queer''punk record is both incendiary and inspiring. Across the album, Furman channels pent-up energy, distinguished by sharp, lacerating observations, confessions and proclamations. Twelve Nudes was recorded quickly in Oakland in the of Fall 2018 and was mixed by venerated producer John Congleton (Sharon Van Etten, St. Vincent). The result is less stereotypical punk and more raw, raucous rock'n'roll. The album has two spiritual heroes - the late great punk Jay Reatard and Canadian writer and philosopher Anne Carson. The title stems directly from Carson, who used the term ''nudes'' to describe the meditations she used to deal with intense pain in her life. Throughout Twelve Nudes, Furman uses both personal and outward experiences to communicate intense frustration.

2019 release. Grammy-nominated singer and songwriter Natasha Bedingfield returns with her first new album in 9 years with Roll With Me, her fourth studio album. Natasha's Roll With Me was produced by multiplatinum producer Linda Perry (Christina Aguilera, P!nk, and Alicia Keys) and released on We Are Hear, the combination label/publishing/management company co-founded by Linda Perry and Kerry Brown. "I wanted to make music that moves people and makes them move," says Natasha of the album. "It's bright and bold but in a way that is also raw and honest." Linda Perry says of Natasha and the album, "I wanted to work with Natasha because she is one of the best live performers I have ever seen and has one of the most versatile voices I have ever heard. It was important to both of us to capture the true spirit of who Natasha Bedingfield is and we nailed it!"

In Frank Turner’s latest release, No Man’s Land, he masterfully hones his song-writing skills into 13 new songs, each telling the story of real women from history whose lives have not been widely documented. From Jinny Bingham, "The Shrew of Kentish Town," to Dora Hand, the American vaudeville singer, each song is fascinating, moving, funny, and most of all, worth sharing and celebrating. Produced by Catherine J Marks and recorded with an all-female ensemble.

Written and recorded primarily in Marfa, Texas, during a transitional moment between records, cities, and relationships, Release the Dogs occupies it's own liminal space between the natural and the man-made, between the structures we create to keep ourselves safe and the terrifying enormity that exists beyond them. Throughout the record, organic and electronic elements are seamlessly woven together into a single fabric that can be both intimate and explosive. The fingerpicked guitars of "After You" appear no more or less "real" than the processed drum machine beats on album opener "Alight," just as the tarantula on the album's cover appears no more or less "real" than the white wall on which it sits. The magic of the image, and the magic of the record, is in the way they are framed together. Release the Dogs finds it's own unique voice by holding opposing ideas and aesthetics in tension with each other, and inviting the listener to find their own answer.

Seratones' aptly named sophomore release POWER is described by poet and author Hannif Abdurraquib as a glorious, swelling album [a] sonic monument, and precise lyrical tapestry. AJ Haynes bends her gloriously malleable voice seamlessly around the temples of rock, and soul, and funk. All of them, unfurling in waves of keys, staccato percussion and wailing curves of guitar. Based in Shreveport, Louisiana, Haynes and founding members, drummer Jesse Gabriel and bassist Adam Davis, form the kind of laser-focused rhythm section that you only get from bandmates who've been playing together since they were teenagers. New members Tyran Coker (keys) and Travis Stewart (guitar) bring a fresh dynamic to the band with interstellar soundscapes and entrancing melodies, all while maintaining the emotional edge and intensity from their acclaimed proto-punk debut record Get Gone. POWER exemplifies a true strength in vulnerability, a kaleidoscopic view into Haynes passions, hopes, and worries: from her love of poetry to her advocacy for Reproductive Justice and racial equity. Hard-learned lessons from lovers and intimate friends. The struggles to adapt and overcome. POWER is as much a statement as it is a question, a semiotic exploration of sound and Soul.

Cauthen first earned his reputation as a fire-breathing truth teller with the acclaimed roots rock band Sons of Fathers, but it wasnt until the 2016 release of his solo debut, My Gospel, that he truly tapped into the full depth of his prodigious talents. Rolling Stone called the album a triple-barreled blast of Texas country, soul and holy-roller rockabilly delivered by a big-voiced crooner, while Vice Noisey dubbed it a somber reminder of how lucky we are to be alive, and Texas Monthly raved that Cauthen sound[s] like the Highwaymen all rolled into one: hes got Willies phrasing, Johnnys haggard quiver, Kristoffersons knack for storytelling, and Waylons baritone. The album landed on a slew of Best Of lists at the years end and earned Cauthen dates with Elle King, Margo Price, Billy Joe Shaver, and Cody Jinks, along with festival appearances from Austin City Limits and Pickathon to Stagecoach and Tumbleweed. He followed it up two years later with Have Mercy, an EP that prompted Rolling Stoneto dub him one of the most fascinating, and eccentric, new voices in country music and NPRs Ann Powers to proclaim it the year of Paul Cauthen.

Hailed by Rolling Stone as a “stomping, swaggering rock & roll balancing act teetering between blinding light and total darkness,” Barns Courtney releases his newest album, 404, on September 6 by Capitol Records. Barns wrote and produced the 10-song collection with synth wiz and longtime friend Sam Battle. All in all, 404 is a commentary on his journey from awe struck naivety to the dark realization of adulthood. Barns Courtney has already surpassed a half billion cumulative streams globally and is currently touring with Elle King. In between headline dates, he’s opened for everyone from The Who and Blur to Ed Sheeran and The Wombats, prompting The Dallas Observer to note, “At the rate he's been performing, it won’t be long until he’s burned his name into the memory of anyone and everyone who bought a ticket to see someone different.”

Minneapolis-based experimental R&B vocalist and songwriter Velvet Negroni has announced his forthcoming 4AD debut album NEON BROWN out August 30th. Velvet Negroni is the alter-ego of creative polymath Jeremy Nutzman. Raised in an outer suburb of the Twin Cities, Jeremy - a black kid adopted into a white evangelical Christian family - split his formative years between classical piano lessons and late night jam sessions. A duality that permeates every corner of his music, with forthcoming album NEON BROWN thriving in the borderlands between indie rock and R&B. Since touring with close friend Bon Iver, Nutzman notched writing credits for Kanye West and Kid Cudi ahead of his debut single releases on NYC label b4 in 2018. Now, alongside prolific co-producers Psymun (Young Thug, Juice WLRD, The Weeknd) and Tickle Torture, Nutzman’s new releases transcend the borders between his often polarised influences, bringing R&B slow jams and nods to hometown hero Prince with guitar licks and full band energy. “Lush in its atmosphere but brutally cold in its delivery, “CONFETTI” is a warped invitation into the gorgeous contradictions of Velvet Negroni.” - FADER

R.Ring is Kelley Deal and Mike Montgomery. It is guitars, voices and keys. The music is sparse, abrasive, chaotic and lulling… often within the same song. It is a celebration of yet departure from their work in their other bands (Kelley with the Breeders and Mike with Ampline). On “Ignite the Rest”, R.Ring’s forthcoming debut full length LP (due out on SofaBurn April 28, 2017), Kelley and Mike have enlisted the help of a few friends to flesh out some of the material. The bits of drumming that appear are courtesy of Laura King (Mac MaCaughan and the Non-Believers,), Leo DeLuca (Southeast Engine) and professional skateboarder Kristian Svitak. The compelling Cello arrangements are by Lori Goldston (Earth/ Nirvana). The tracks run the gamut from plaintive meanderings to noise pieces to mid-tempo swoons to raucous barn-burners. R.Ring will be touring throughout 2017 in support of the release.

In 1964, the National Film Board of Canada asked John Coltrane to record the soundtrack for a French-language film titled “Le chat dans le sac” (“The Cat in the Bag”). In June of that year, Coltrane’s ‘Classic Quartet’ entered Rudy Van Gelder’s studio and recorded five previously-recorded Coltrane originals. For many years, viewers of the film who recognized the music thought that they were listening to the original recordings, though in fact they were new and had never been heard.

Awarded Best Country Singer in the LA Weekly s 2018 Best Of, you can feel Leslie Stevens voice reach the nails in the doorframe. She spins a high craft, with songs about donkeys and drinking and driving in heaven and just when you thought she might light your living room on fire with a giggle, she ll blast you through the skylight into outer space. The LA Times calls her "one of the city's best" and Chris Ziegler (LA Record) explains that Leslie has "the kind of voice you'll realize you've been waiting to hear since forever." She s sung on records by Jim James, Father John Misty, Jonathan Wilson, and live with Joe Walsh, Jackson Browne, and John Fogerty, as well as other musicians not beginning with the letter J. Brave lyrically and vulnerable in spirit: Leslie never shies away from laying down what s what, if only to leave a mark on the most golden part of your soul.

'It's all rock & roll -- no golf!' is how acclaimed singer/songwriter/violinist Amanda Shires describes her electrifying firth album, To The Sunset. She's borrowed a lyric from the effervescent track 'Break Out the Champagne,' one of ten deftly crafted songs that comprise her powerful new recording. The Texas-born road warrior, new mom, and recently minted MFA in creative writing has mined a range of musical influences to revel an Amanda Shires many didn't know existed. 'Isn't it refreshing?' Shires asks. Indeed. Distorted electric guitars, effects pedals, swirling keys and synths, and rockin' rhythms certainly suit Shire's visceral songcraft and lilting soprano.

Miss June is what happens when angst matures. Raised in the embers of punk rock, Miss June harness jagged, noisy guitars filtered through the unrivalled stage presence of frontperson Annabel Liddell, unafraid, unapologetic and ready to wake up the music scene. Described as "some unholy union between Sonic Youth and Le Tigre" the NZ four piece, completed by the music school alumni recruited by Liddell - guitarist Jun Park, bass player Chris Marshall and drummer Tom Leggett - has built a reputation for fierce, formidable and head-spinning live shows. Miss June have caught the attention of acts like The Foo Fighters, Shellac, Wolf Alice and Idles who have all eagerly harnessed their support on stage. Over the past 12 months Miss June have held industry figures and tastemakers alike in the palms of their hands following the buzz generated from their 2018 BIGSOUND showcase, a ground swell which culminated in the band choosing to sign early in 2019 with New York label Frenchkiss Records (Passion Pit, Bloc Party, The Hold Steady, Local Natives, The Drums, & The Antlers). 2019 is set to be a landmark year for Miss June. On May 31st they release the lead single "Best Girl", backed with fan favourite "Twitch", taken from their impending debut album Bad Luck Party (expected September 2019). Combining elements of post-punk, no-wave and rock, the Tom Healy (Jen Cloher, Tiny Ruins, Die! Die! Die!) produced record sees Miss June still holding close their DIY roots while creating a blistering, reckless sound full of melodic hooks and overdriven riffs that are at once immediately recognizable and yet entirely their own. Miss June are fast growing into a force to be reckoned with. Miss June demand attention. There has never been a better time for Miss June to make noise. Get in now. Or miss out.

The original motion picture soundtrack to the Showtime documentary film “Hitsville: The Making of Motown” releases on 8/16. Highlighting the founding years of Motown, the album celebrates icons such as The Temptations, Marvin Gaye, Smokey Robinson & the Miracles, The Supremes, Martha Reeves & The Vandellas, Stevie Wonder, and more. Revisit the music of Berry Gordy’s storied Detroit label and the artists who defined “the sound of young America”. Remastered audio on CD, deluxe double CD & Vinyl.

The ? anniversary 2CD Deluxe Edition features the original album, all of its instrumentals, and the entire A GHETTO CHRISTMAS CAROL EP. Bonus CD also includes new original material, newly remixed songs, and unreleased voice memos taken during the making of ?. Four panel digital packaging features a booklet filled with never-before-seen photos.

Power pop legends The Rubinoos are known for turning bubblegum into gold with ridiculously catchy tunes like "I Wanna Be Your Boyfriend," their cover of Tommy James & The Shondells' "I Think We're Alone Now," and the theme song to Revenge of the Nerds. They were the backing band when Jonathan Richman recorded the alternate version of "Roadrunner" and they opened 56 shows for Elvis Costello on his Armed Forces tour. But what's most impressive is that The Rubinoos are approaching their 50th anniversary and penning some of their finest songs to date. "From Home" is a homecoming recording of sorts. It reunites the original lineup of the band and was recorded in the same studio where they recorded their first single for Beserkley Records nearly half a century ago. The album was co-written and produced by Chuck Prophet, and right from the opening of the lead track "Do You Remember," you'll realize that The Rubinoos never left and are here to take you back to Berkeley with them.

A sweeping introduction to an artist deep into their practice, Kendra Amalie's Intuition is a star map to a new and developing sound space. An exploratory and (sometimes) shredding finger-style 12-string guitarist (both acoustic and electric), band leader, synthesist, new media creator, and experimental producer, the Wisconsin-based musician is also a songwriter occupying an ethereal zone between galaxy-brain cosmic transmissions and deep, personal expression. There's a concept and narrative arc to Intuition, too, the action moving from underwater locales to boat to city to global consciousness to farmland to the etheric plane and back to water. Shifting her music-making energies over the past several years, Intuition is the sound of a powerful new voice in focus. Intuition is a sound-based cross-section of a larger body of work. An arrival and a destination, Intuition is also surely a stopover, too. Meet Kendra Amalie.

There is an entire sub-genre of poetry devoted to rivers and their persistent, meditative flow. Emily Dickinson’s “My River Runs to Thee” compares them to the cycle of life, while Alfred Tennyson’s “The Brook” deems them eternal and Kathleen Raine’s “The River” muses on the dream-state they evoke. For transcendent folk-pop artist Shannon Lay, the river is all of the above: It’s the metaphor driving her latest album, the exquisitely uplifting August, which doubles as an aural baptism renewing her purpose for making music. “I always picture music as this river. Everyone’s throwing things into this river, it’s a place you can go to and feed off of that energy,” she says, “and feel nourished by the fact that so many people are feeling what you’re feeling. It’s this beautiful exchange.” The album’s name, August, refers to the month in 2017 when Lay quit her day job and fully gave herself over to music. This was her liberation as an artist, and the album is devoted to paying that forward to her listeners. Lay may be the most chilled-out artist you’ll ever meet. Despite fronting her tranquil solo act and being a guitarist/singer in the indie-rock band Feels, she never pressures herself to overachieve. Nonetheless, she regularly does: in a glowing review, Pitchfork anointed her last album, Living Water, “captivating.” With her life devoted to music, Lay often spends hours a day simply playing the guitar, challenging herself to become better. “It just feels so good, doing something that is so much bigger than myself. I think so much of music is that, realizing that it’s coming from something beyond and you are just the messenger” says Lay, who took guitar lessons at age 13, which introduced her to Neil Young and The Beatles. After high school, she moved from Redondo Beach, Calif., to Hollywood and joined an indie-rock band. “It was an energy I needed to release,” she says. The exact type of energy may have changed, but her drive hasn’t. August was mostly written in three months, during Lay’s first solo tour for Living Water. “For the most part, all of the songs were just guitar and voice,” she says. In keeping with the humbled, contemplative nature of August, most tracks clock-in at three minutes or less. She saved indulgence for the production. “Some songs as they were had this room to grow,” says Lay, who recorded the album with her longtime friend, musician Ty Segall at his home studio on the East Side. “I believe whoever you record with tends to affect the mood of music and Ty really brought this jovial sense that I hadn’t really explored yet,” she says. Also in the mix is Mikal Cronin, who played saxophone on the album’s opener, “Death Up Close.” “A lot of my friends who are really tough have admitted that they shed a tear when they hear my songs, and I think that really speaks to the visceral aspect of folk music,” Lay says. “It’s this ancient form of expressing yourself.” Think of August as a warm hug for your psyche. “I want to create as much music as I can,” she says, “and leave this spot by the river where people can go sit and enjoy.”

Two-time GRAMMY-nominated band The Lumineers are back with their third album, III, a cinematic piece presented as a narrative in three chapters, with each one centering on one main character. III’s concept began while the band was writing in the Catskill mountains, where producer Simone Felice works. Decidedly darker than their previous work in concept, but replete with their trademark expressive vocals and dynamic arrangements, III boldly and expertly goes in an artistic direction not yet traveled by the band. The Lumineers have enjoyed substantial commercial success; their 2012 self-titled debut featuring the hit single “Ho Hey” was certified triple-platinum in 2018, and their sophomore album Cleopatra was certified platinum in the same year after its 2016 release. They’ve had multiple #1 hits on the Triple A and Alternative radio charts, and have sold out tours across the world; over 300,000 tickets were sold on 2017’s Cleopatra world tour. The Lumineers have also supported icons and their musical heroes on the road, including Tom Petty and the Heartbreakers and U2’s Joshua Tree tour.

On his latest album, OVER THE RAINBOW, Herb Alpert began the same way he has done for all of his albums over the years: searching for great melodies. That search has resulted in the prolific trumpeter’s latest offering, a collection of 11 classics and 1 brand new, original track. That original song, “Skinny Dip”, opens the album with a quirky, fun vibe before things move on to recognizable tunes from the great American songbook, which are included for various reasons close to Herb’s heart. He felt the danger in the tightrope walk of recording his own version of the iconic “Over The Rainbow”, which was cemented within pop culture by Judy Garland's performance and many other fantastic recordings. And whether it’s a tribute to Gypsy jazz guitarist Django Reinhardt on “All Love”, Bill Withers on “Ain’t No Sunshine”, or the great Louis Armstrong on “What A Wonderful World”, there is always a deeper connection and meaning for Herb on every cover selected for this album, making it one of the most personal projects he has ever worked on. OVER THE RAINBOW will be available everywhere on September 20 from Herb Alpert Presents.

The Competition, the anticipated fourth album from Lower Dens, is a pop album with a concept both emotionally and politically urgent. The title is lead singer and songwriter Jana Hunter’s term for a sociopsychological phenomenon that, in different ways, binds us all. Modern capitalism by nature generates a psychosis that accelerates our insecurities and anxieties to the point of total overload, corroding our intimacies, our communities, and our senses of self. The Competition speaks, in various ways, to the necessity of “socially de-conditioning ourselves and learning how to be people,” Hunter says. “The issues that have shaped my life, for better or for worse, have to do with coming from a family and a culture that totally bought into this competitive mindset.” The band’s first three albums—Twin-Hand Movement, Nootropics, and Escape from Evil—formed a narrative of sorts, about finding community, and identifying one’s responsibilities. This trajectory was interrupted by personal crises including frustrating battles with mental health. At the same time, Hunter was and is still undergoing a gender transition they had been deferring for many years. “I repressed the idea for a long time,” Hunter says. Hunter studied Western classical music growing up, “but I was wild and in a lot of pain, and it didn’t really touch that. What did, especially as a very young person, was pop — a spectrum ranging anywhere from Prince to Anne Murray. Home life was very bleak, and pop songs were a guaranteed escape to a mental space where beauty, wonder and love were possible. I wanted to write songs that might have the potential to do that.” The Competition draws on influences ranging across decades of Western pop music and chronicles messy, vulnerable humanity at a time of upheaval and chaos — through immersive, four-minute songs meant to give pleasure as much as provoke self-examination. It channels an urgent, restless desire to connect. “My voice is gonna be different when I perform these songs than it was when I recorded them,” Hunter says. “I’m equally terrified of and excited by that, but I always want to be more myself onstage, to reach people.”

Ride return with the 6th studio album of their career and their second since reforming in 2015 and signing to Wichita. As with their previous album, the highly acclaimed Weather Diaries, Erol Alkan was in the producers chair, whilst career-long collaborator Alan Moulder (with Caesar Edmunds) mixed the album. The albums title was inspired by one of the hobo code symbols once used by those who travelled the railroads of the US, and then found in the early artwork of Jean-Michel Basquiat. The phrase clearly resonates with the current state of the world politically and environmentally. This Is Not A Safe Place is arguably the Ride album with the broadest sonic palette thus far. You can hear sounds and styles that span their entire catalogue but, both musically and lyrically, this is clearly an album made by a band who love being back together and who are at the very top of their game.

KAZU Makino, founder & leader of Blonde Redhead, celebrates the release of her-long anticipated first solo album, Adult Baby.

Combining the lulling ambience of shoegaze with the iconic melodies and vocal prowess of classic American country music, enigmatic outlaw cowboy - Orville Peck, croons love and loss from the badlands of North America. The resulting sound is one completely his own, taking the listener down dusty rose-colored desert highways, through a world where worn out gamblers, aloof road-dogs and lovesick hustlers drift in and out of his masked gaze. Orville’s upcoming debut album, Pony, delivers a diverse collection of stories that sing of heartbreak, revenge and the unrelenting tug of the cowboy ethos. Warm lap steel guitars and echoing drums move through dreamy ballads, campfire lullabies and sometimes frantic buzzsaw tunes, all the while paying homage to his country music roots. Orville’s music has been featured by Nylon magazine, ID mag, Vice, The Needle Drop, as well as numerous Apple Music and Spotify playlists. He has also had magazine features in New York’s Hello Mr. and the UK’s Notion.

Close It Quietly is a continual reframing of the known. It’s like giving yourself a haircut or rearranging your room. You know your hair. You know your room. Here’s the same hair, the same room, seen again as something new. Close It Quietly takes the trademark Frankie Cosmos micro-universe and upends it, spilling outwards into a swirl of referentiality that’s a marked departure from earlier releases, imagining and reimagining motifs and sounds throughout the album. The band’s fourth studio release is a manifestation of their collaborative spirit: Greta Kline and longtime bandmates Lauren Martin (synth), Luke Pyenson (drums), and Alex Bailey (bass) luxuriated in studio time with Gabe Wax, who engineered and co-produced the record with the band. Recording close to home— at Brooklyn’s Figure 8 Studios— grounded the band, and their process was enriched by working closely with Wax, whose intuition and attention to detail made the familiar unfamiliar and allowed the band to reshape their own contexts. On opener “Moonsea,” an unaccompanied Greta begins, “The world is crumbling and I don’t have much to say.” Take that as a wink and a metonym for the whole album, as her signature vocals are joined by Alex’s ascending bassline and Lauren’s eddying synths, invoking a loungey take on Broadcast or Stereolab’s space-disco experimental pop. There’s much more than “not much” to say here, and it's augmented and expanded by experimentation with synth patches, textures, and other recording nuances courtesy of Wax. As the lineup has solidified into the most permanent expression of full-band Frankie Cosmos, the bandmates have felt more comfortable deviating from their default instruments and contributing bigger-picture ideas to continue pushing the sound forward. The band’s closeness and aesthetic consistency freed its members to take more risks, notes Luke: "Everything will sound like Frankie Cosmos because Greta has such a distinct voice (literally and figuratively). We have so much latitude to experiment with the instrumental music, and this time around we really took advantage of that." Without losing any intimacy of prior albums, Close it Quietly is different, is outer. The album functions as a benign doppelganger, a shadow self of past releases; where other Frankie Cosmos records shine brightest looking inward, Close it Quietly refracts the self into the world, and vice versa, miraculously echoing Thoreau’s assertion that “when I reflect, I find that there is other than me.” Reflection--and refraction--isn’t tidy. “Flowers don’t grow/in an organized way/why should I?” Greta sings on “A Joke.” Growth isn’t linear. Change happens in circles. While recording the album, Alex says, “I closed my eyes a lot.” Stand in the sun, listen to Close it Quietly, and do the same.

‘Cause and Effect’ is Keane’s 5th studio album. Their 4 previous albums have all entered the UK charts at number 1 and accumulated sales of over 13m worldwide and 2.6 billion streams. The birth of this new album came as something of a surprise even to the band. Singer Tom Chaplin had released two successful solo albums but missed his old sparring partner Tim Rice-Oxley. Written by Keane and produced by David Kosten and the band themselves, the album features 11 new songs recorded in London.

Like a personal fantasy, Tove Lo invites you close enough to see, hear, and feel the moment just before it evaporates back into the ether once more. In 2018, she officially relocated to Los Angeles and dove headfirst into creating her fourth full-length, Sunshine Kitty. It represented a new season for Tove marked by a reclamation of confidence, hard-earned wisdom, more time, and a nascent romance. It starts with the confident and catchy single “Glad He’s Gone.”