Soft Cell - legendary frontman Marc Almond and producer/instrumentalist Dave Ball - are set to return with their fifth studio album *Happiness Not Included, which is set for release in Spring 2022 via a new deal with BMG. It represents their first new album since they issued ‘Cruelty Without Beauty’ back in 2002. They will build towards the album’s release by sharing a new single in the autumn and playing some UK shows in November 2021.

“Alpha Games was conceived on the road, playing in front of amazing crowds on our last tour and then brought to life with the fire and the frustrations of 2020,” says Kele Okereke on Bloc Party’s first new album in seven years.

The first Bloc Party album written and recorded as this four piece; adding the musicality of Justin Harris (bass) and the unbridled energy and power of Louise Bartle on the drums to capture the spark of their live shows and to deliver the most exciting Bloc Party album yet.

“We wanted to can what was happening at those massive gigs in 2019, to showcase what Louise can do, what Russell is capable of and most importantly the electricity coming off the audience. We knew that Nick & Adam were the right choice of producers to do that and the result feels like fire in a bottle.”

Produced by Nick Launay & Adam Greenspan (Nick Cave, Yeah Yeah Yeahs, IDLES), the 12 tracks of Alpha Games veer from the intense & confrontational (Traps, Day Drinker) to melodic and introspective (If We Get Caught, By Any Means Necessary) and marks a new and important chapter in one of music’s most important voices in Kele Okereke and important bands in Bloc Party.

2022 solo album from the former Heart vocalist. With Fierce Bliss, the legendary Rock And Roll Hall of Fame inductee Ann Wilson has created a supremely lavish, warm and seductive slice of rock 'n' roll which provides an instant soundtrack whether on the freeway or in front of the fireplace. Recorded between Fame Studios in Muscle Shoals, AL and Power Station, Waterford, CT, Wilson got together with famed Nashville session guitarist Tom Bukovac and invited several friends (including Warren Haynes, Kenny Wayne Shepherd and Vince Gill) to help fashion an album which carries the glow of an ochre sunset and the pristine vocals of a rock legend who still has every single unique octave at her fingertips. Fierce Bliss is truly an album which embraces all the finest qualities of classic American rock with the comforts and escapes that it can bring. With album art created by the famous fantasy artist Roger Dean (Yes, Asia) whose work has sold more than 150 million copies worldwide, Fierce Bliss is destined to be the American rock 'n' roll classic album that speaks to millions of people and provides them with quality, assurity and good ol' goddamn comfort in these turbulent times.

The closer you are to someone, the crueler you can treat them, but if they love you, they're inclined to forgive you. My Idea's Lily Konigsberg and Nate Amos forgive each other now, but they were in a bad way when they recorded CRY MFER - which is not to say their debut album is some kind of sonic bum out. CRY MFER proves you can still make pop music while spiraling, as evidenced by the existence of "Breathe You," a bop all about fucking Nate constructed while "high as shit in my room making fun of Justin Bieber," the vocals of which Lily tracked while "blindly sad" and "genuinely devastated." They're best friends now, and they were best friends when they recorded CRY MFER last year, but they didn't know that yet. ("We definitely were like, oh, maybe we're in love?" Lily recalls; it was a confusing time.) CRY MFER is the sound of two people figuring out what they mean to one another "in the midst of," quoth Nate, "a bunch of other chaos," up to and including being drunk as skunks; when listening to the album, Nate can "smell" the aforementioned chaos. "Thank God we're not those people [anymore]," Lily, with the clarity of newfound sobriety, marvels. When not using the other party as an emotional punching bag, Nate and Lily used one another as a creative filter and sounding board. In life, as in art, they share a language, a hive mind, finishing each other's sentences while lounging on Lily's parents' couch in the Hudson Valley. The duo joined forces in the Fall of 2020, when Lily, after a few years gobbing away in the punk trio Palberta, solicited Nate (who, at the time, was popping away as half of dance duo Water From Your Eyes) as a potential producer for her solo record; the subsequent songwriting competition that followed resulted in dozens of tracks and one EP, That's My Idea. No strangers to productivity, Nate's Water From Your Eyes recently released their fifth album, and Lily recently released her solo LP, both to high marks. CRY MFER is, true to the band's vision, a beautiful mess of different sounds, completely and effortlessly genreless (though if pressed to label it, the band settles on "Truth or Dare Pop"). While a milieu of myriad styles, from folk to dance, the album's main througH-line is truth, regardless of how much the expression thereof may hurt. It's lyrics aren't "particularly diary-ish," Nate says, they're "a little more..." "Diarrhea-ish," Lily jokes. It's a reaction against the self-seriousness that runs rampant throughout indie music, which comes as no surprise when you learn the duo originally wanted to call themselves The Grammys (Why? Because when the two of them started working together, "we were like, we're gonna get a Grammy," Lily says). They aren't ashamed to admit they listen to Ariana Grande and Justin Bieber, in much the same way they aren't ashamed to use a vocoder or lyrically play the heel. My Idea has only just begun, but already misery is in the rearview. CRY MFER is a punisher, to be sure, but it's also a banger; reflecting on the time period during which it was recorded, Nate breathes a sigh of relief: "Oof. Well, we made it, and we got something out of it, too." And so, dear listener, have you.

Nowadays, voice memos, videos, and pictures chronicle our lives in real-time. We trace where we've been and reveal where we're going. However, Suki Waterhouse catalogs the most intimate, formative, and significant moments of her life through songs. You might recognize her name or her work as singer, songwriter, actress but you'll really get to know the multi-faceted artist through her music. Memories of unrequited love, fits of longing, instances of anxiety, and unfiltered snapshots interlock like puzzle pieces into a mosaic of well-worn country, '90s-style alternative, and unassuming pop. She writes the kind of tunes meant to be grafted onto dusty old vinyl from your favorite vintage record store, yet perfect for a sun-soaked festival stage. Her first album for Sub Pop, I Can't Let Go, is a testament to her powers as a singer and songwriter. In Suki's words: "The album is called I Can't Let Go because for years it felt like I was wearing heavy moments on my sleeve and it just didn't make sense to do so anymore. There's so much that I've never spoken about. Writing music has always been where it felt safe to do so. Every song for the record was a necessity. In many ways, I've been observing my life as an outsider, even when I've been on the inside. It's like I was a visitor watching things happen." Growing up in London, Suki gravitated towards music's magnetic pull. She listened to the likes of Alanis Morissette and Fiona Apple, and Oasis held a special place in her heart. She initially teased out this facet of her creativity with a series of singles, generating nearly 20 million total streams independently. Nylon hailed her debut track, "Brutally," as "what a Lana Del Rey deep cut mixed with Joni Mitchell's 'Both Sides, Now' would sound like." In addition to raves from Garage, Vice and Lemonade Magazine, DUJOR put it best: "Suki Waterhouse's music has swagger." Suki is constantly consuming artists of all stripes, and, in the lead-up to making I Can't Let Go, she was particularly drawn to the work of Sharon Van Etten, Valerie June, Garbage, Frazey Ford, Lou Doillon, and Lucinda Williams. After falling in love with Hiss Golden Messenger's Terms of Surrender, she reached out to it's producer Brad Cook (Bon Iver, War On Drugs, Snail Mail, Waxahatchee) to help define the sound of I Can't Let Go. On I Can't Let Go, Suki not only catalogs her life up to this point, but she also fulfills a lifelong ambition. "When I've been stuck or feel out of touch with a sense of inner meaning and outer purpose, I've found both through searching my memories and finding those events buried in the shadowy areas of the psyche where they were ignored," she says. "So many times of change in my life have required return visits-especially at the transitions through to the next stages. The album is an exploration of those moments when there is nothing left to lose. What is left and can't be thrown away is the self."

The Gods We Can Touch is an elegant and celestial but provocative album about shame, desire and morality, all seen through the narrative prism of Greek mythology. In each of the album's fifteen songs we meet a different god. Featuring lead single "Cure For Me," the album is ultimately "a celebration of being human, and what makes us human."

"Sky Love" is the second single from The Kick, the highly-anticipated third album from Grammy-winning artist Foxes. Iit was written and recorded remotely via zoom during the height of the pandemic, offering a form of escapism for Foxes. Inspired by the desire for freedom that the world collectively shared over the last 18 months of lockdowns, the near-animalistic desperation to socialise, and a longing to dance again, Louisa naturally pivoted the sonics to feed that escapism and create a record that simultaneously feels close to her euphoric, dancefloor-filling pop roots that brought us hits like "Let Go For Tonight", "Youth" and "Body Talk", while still feeling completely fresh. Unafraid of the art of the well-loved melancholic-banger, lyrically The Kick touches on themes of loss and heartbreak, narrating painful places and soundtracking new beginnings to create an album for the post-pandemic world and a summer of never leaving the party early.

Ever since the release of his first album in 2003, the blues world has opened it's doors for Albert Cummings. A singer and guitarist who has played with many of the greatest players of the modern era, Cummings has received the kind of recognition that few others do. With it's 2022 release on Cummings' own indie label, Ivy Music Company, TEN is a full realization of the wider possibilities of where his music can go. The 13 songs on TEN are a compelling and emotional summation of what the artist has seen and done. The single "Need Somebody" begins the album with a sonic slugfest of back-alley power, the sound that Cummings has spent his life perfecting. Vince Gill lends background vocals to the standout track "Last Call". Upon hearing that Gill was interested in collaborating, Cummings recalled "I figured then it was a sign that anything can happen." He was certainly right. Blues is not a style of music that easily progresses, but this is exactly what Albert Cummings is able to do on TEN. Song Tracks include Need Somebody Too Old To Grow Up Hard Way Last Call Beautiful Bride Sounds Like The Road Meet The Man Two Hands Take Me Away Alive And Breathing She's The One Got You Covered Remember

Renowned author and Grammy award-winning singer Lani Hall returns to release her first new studio album in over 20 years, Seasons Of Love. Rising to fame in the 1960s as the lead singer for Sérgio Mendes & Brasil '66, Hall has been a prominent vocal talent for decades. She famously sang the title song for the 1983 James Bond film, Never Say Never Again. Her Latin albums in the 1980s yielded multiple gold records and a Grammy award for Best Latin Pop Performance. Hall continues to record and perform with husband Herb Alpert, and this new collection of songs is a major return to form. The title track, "Seasons Of Love", is an emotional rendition of the hit song from the Broadway show Rent. Bill Withers' "Lovely Day" and The Beatles' "Here Comes The Sun" are expertly reimagined. Classic standards "Waters Of March" and "Sorri" (a Portuguese take on "Smile") shine with the relaxed Bossa Nova feel that permeates the entire album. Herb Alpert co-produces and lends his unmistakable trumpet to the proceedings as well. Seasons Of Love is a can't miss effort from one of music's most enduring voices.

Let's Eat Grandma released their second album, I'm All Ears, in 2018. It came out to a blaze of critical glory, thrilled fans who'd been with them since I, Gemini, and won them interested new listeners as they widened their musical scope. The band's new album, Two Ribbons, tells the story of the last three years from both Jenny Hollingworth and Rosa Walton's points of view. As a body of work, it is astonishing: a dazzling, heart-breaking, life-affirming and mortality-facing record that reveals their growing artistry and ability to parse intense feeling into lyrics so memorable you'd scribble them on your backpack. The band has been through a lot in the last three years, and Two Ribbons is the artefact that signals some kind of progression out of very distressing times; a story of loss, change, and of survival; a proof of life.

SOFI TUKKER, the genre-defying duo of Sophie Hawley-Weld and Tucker Halpern, is celebrated for their inclusive and global perspective on electronic music as well as their work's themes of liberation, unity, and self-empowerment. They began daily livestreams at the start of the pandemic, eventually doing hundreds of streams for millions of viewers, becoming the second most live-streamed artist of 2020. The daily livestreams also birthed the Freak Fam, their vibrant fan community that assembles 24/7 online and in-person at Freak Fam meetups spanning the globe. In 2021 SOFI TUKKER dove back into the live world with field-packing, high energy festival sets at Firefly and Outside Lands. Now the group is back with their new album WET TENNIS, the highly anticipated follow-up to their GRAMMY-nominated debut album Treehouse.WET TENNIS is an acronym: When Everyone Tries to Evolve, Nothing Negative Is Safe. WET TENNIS is about forward movement, optimism and positive growth, no matter what the challenge. WET TENNIS is a dedication to constantly evolving and celebrating aliveness. WET TENNIS is a lifestyle. It says: everything's better when wet. Wetness is excitement, mother nature, movement, flow, sweat, and juice. It's athletic and elegant. It's loud and bright. All these qualities will be on full display when SOFI TUKKER comes to town, both on stage and in the audience.

Richard Thompson’s score for Grizzly Man – Werner Herzog’s 2005 documentary film of real life and death in the Alaskan wilderness – is one of the best-kept secrets in the British guitarist’s epic canon: an instrumental masterpiece disguised as a movie soundtrack. Recorded over two days as Thompson played live in the studio to Herzog’s footage – mostly alone, at times in chamber settings with cello, piano and percussion – these tenderly detailed melodies and quietly visceral improvisations are cinema in their own right, rendered with pictorial instinct and the dazzling technique forged in Thompson’s lifelong passage through traditional folk, psychedelia, North African modes and intensely personal songwriting. Here is Thompson at his natural best – finger-picking dance; snake-curl twang and singing-wire harmonics – in a solo clarity that runs from jig-like joy to deep-note meditation, the “Grizzly Man” blues march with its echoes of Fairport Convention’s “Sloth” to the long night of “Treadwell No More,” a harrowing darkness in slicing treble and tremolo shiver. Produced by guitarist Henry Kaiser, Grizzly Man is a record of powerful solitude – as bold and majestic as the land in Herzog’s film; as intimate as prayer – and essential Richard Thompson.

2022 release. Introduced to the world ten years ago, Emeli Sandé MBE has become an icon of British singer-songwriting; emotional, honest, and prolific in the kind of manner that cements you as a go-to artist for heartfelt pop sensibility. In 2021, it's time for a reintroduction. Newly signed to independent label Chrysalis Records, Sandé has freed herself from the expectations of others in order to make an album of expansive creativity, flexing her holistic skills as a songwriter, producer and vocalist in new, versatile ways. Something of an artistic rebirth, it draws on old familiarities and brave beginnings, uniting fans old and new in her endless drive to use music as a tool for inspirational lift.

Debut album being released on March 25, 2022 on Last Gang/MNRK. Anand Wilder is a multi-instrumentalist, singer and songwriter, and previously the guitarist and singer of the experimental rock band Yeasayer. Confirmed tour across North America in April/May 2022. Key Support on first two singles from Pitchfork, Stereogum, NME, Brooklyn Vegan, Consequence. For fans of: Yeasayer, Jose Gonzalez, Animal Collective, Nick Drake, Twin Shadow,.

The iconic Robin Trower returns with his new studio album, 'No More Worlds To Conquer', on April 29th, 2022 via Provogue Records. For more than six decades, Robin Trower's career has known no bounds. At the age of 76, the British guitarist can reflect on a journey in which he has planted flags across the musical sphere and played every role imaginable. Few would dispute that the title of Trower's latest album is a fair summary of the thumbprint he has left on the musical universe. But as he reminds us, it should not be misinterpreted as his mission being ac-complished. "I definitely feel like I'm still reaching," he considers, "with the guitar, and the songs, and everything else. With every album, the music is the best I can do at that time. I think that's what it's about. This album is an evolution," he adds. "I believe this album is one of the best things I've ever done."

Calexico occupy their signature sound on the new album, El Mira- dor; riding the continental divide between dream pop, Mexican folk and Americana. If any band understands how to expand their sound without losing the brilliant essence of the band, it’s Calexico. Their songs run the gamut from retro-tinged alt-rock, to sentimental folk to southwestern tracks with an impressive display of vision and expertly honed skills. With vocals that intertwine English and Spanish, El Mirador embraces the musical heritage of the southwest, and features guest artists from all musical genres including: Sam Beam (Iron & Wine) who drops backing vocals on “Harness the Wind”, Jairo Zavala of Depedro is featured vocalist on “Cumbia Peninsula” Gaby Moreno and Mexican Institute Of Sound are featured on “Cumbia Del Polvo”.

Kristine Leschper’s The Opening, Or Closing Of A Door, is a paean to the sensory world. It’s the first Leschper has released under her given name, having retired the moniker Mothers after eight years of performing and releasing music under it. Though both projects are guided by Leschper’s idiosyncratic approach to songwriting, they couldn’t sound more different. While Mothers drew inspiration from the stark, skeletal sounds of post-punk and contemporary folk, Leschper’s new work is practically baroque, integrating an array of synthesizers, strings, woodwinds, and over a dozen percussive instruments. “Earlier work didn’t involve recording as part of the writing process, recordings were simply made as a document of something that had been written and rehearsed. I have since discovered a deep affection for home recording and sound exploration, finding that I thrive in those rabbit holes of texture, timbre, rhythm, which can add so much complexity to the emotionality of a composition.”

The at-home recording process gave Leschper freedom to set her personal ethos to music divorced from the pressure of an audience. As she worked on The Opening, Or Closing Of A Door, the constellation of ideas that had guided her personal transformation began to cohere into something communicable through music. 

“We’re a bunch of outsiders who refused to be kept out,” says High Pulp drummer Bobby Granfelt. “We’ve never had an academic approach to jazz—most of us grew up playing in DIY bands—so it was the rawness and the energy and the absolute freedom of the music that called to us in the first place.”

Indeed, there’s something defiant, something utterly liberating about High Pulp’s remarkable ANTI- Records debut, Pursuit of Ends. Drawing on punk rock, shoegaze, hip-hop, and electronic music, the band’s brand of experimental jazz is both vintage and futuristic all at once, hinting at times to everything from Miles Davis and Duke Ellington to Aphex Twin and My Bloody Valentine. The songs here balance meticulous composition with visceral spontaneity, and the performances are nothing short of virtuosic, fueled by raw, ecstatic horn runs ducking and weaving their way around thick bass lines and dizzying percussion.

While the Seattle-based collective is centered around a crew of six core members, they also make judicious use of a broad network of collaborators on the album, wrangling special guests like sax star Jaleel Shaw (Roy Haynes, Mingus Big Band), harpist Brandee Younger (Ravi Coltrane, The Roots), GRAMMY-nominated trumpeter Theo Coker, and keyboardist Jacob Mann (Rufus Wainwright, Louis Cole) to help stretch the boundaries of their already-expansive sonic universe. The result is a lush, cinematic collection that’s as unpredictable as it is engrossing, an urgent, exhilarating instrumental album that manages to speak to the moment without uttering a single word.

The Epitaph debut from pop punk upstarts, Magnolia Park. Contrary to what some may say, pop punk is alive and well in 2021, and groups like Magnolia Park are making sure it stays that way. Hailing from Orlando, Florida, Magnolia Park is a five-piece consisting of lead vocalist Joshua Roberts, guitarists Tristan Torres and Freddie Criales, bassist Jared Kay, and drummer Joe Horsham. In recent years, experimental sounds and more personal lyrics have dominated the pop punk scene. While staying true to the genre's roots, the members of Magnolia Park bring their own twist to the table with louder, angrier vocals and a fusion of genres ranging from hip-hop and emo to hardcore and alt rock.

Leyla McCalla finds inspiration from her past and present. Whether it is her Haitian heritage or her adopted home of New Orleans, she — a bilingual multi-instrumentalist and alumna of Grammy award-winning African-American string band, the Carolina Chocolate Drops — has risen to produce a distinctive sound that reflects the union of her roots and experience. McCalla has produced a multi-disciplinary music, dance and theatre work, Breaking the Thermometer to Hide the Fever, which follows her personal journey as she uncovers the history of Radio Haiti, the first radio station in Haiti to report news in Haitian Kreyol - the voice of the people. Through this juxtaposition of voices - the personal and political, the anecdotal and the journalistic - McCalla gives expression to the enduring spirit of Haiti’s marginalized poor in the face of several centuries of political oppression. Performances of the theatre work are currently scheduled in New Orleans and Philadelphia with more to be announced in soon. The process of creating Breaking the Thermometer to Hide the Fever included listening to countless archival recordings of interviews by Radio Haiti’s journalists, and McCalla specifically wrote “Fort Dimanche” after listening to a testimonial interview that Michele Montas - the prominent former journalist and station director at Radio Haiti - had conducted with a survivor of Duvalier’s political prison. In the interview, the man outlined his living conditions, the daily terror and torture that these political prisoners were subjected to and the events that led to his arrest. This album is a soundtrack of sorts to the theatre piece, featuring the songs that Leyla McCalla wrote and performs in this work.

Most known for his role as songwriter and lead singer of punk rock band Pennywise, JIM LINDBERG has been making inspiring, thought-provoking music since the 1990’s. Musically, he is influenced by an array of genres from punk and folk music to old school country and americana. Lyrically, Jim takes inspiration anywhere from transcendental philosophers to real life events; seeking always to tell a story or find the answers to life’s big questions.

This acoustic solo project is the first from JIM LINDBERG. Produced and mixed by Tedd Hutt (Gaslight Anthem, Lucero, Dropkick Murphys) it’s full of heartfelt songs, some rousing some sentimental, that are a departure for Jim but will appeal to diehard Pennywise fans and fans of folky punk singers like Chuck Regan and Frank Turner.

Christian Lee Hutson starts his new album Quitters with a laugh. In this follow up to his ANTI Records debut, Beginners, Hutson moves away from a focus on growing up to the dread and complications of growing older. Written under lock down, the laugh that announces Quitters is the kind you’ll find at the end of John Huston films, one of resignation and release, and somehow a cosmic laugh that says “California,” a place where lonely people gather together like birds.

The song “Rubberneckers” follows the story a romance from beginning to breakup, with backing vocals by Phoebe Bridges, who returns as producer along with Conor Oberst. Quitters is a departure from the digital recording of his debut. Hutson shares, “With this record, Phoebe and Conor had an idea that it would be fun to make it to tape. Phoebe is my best friend and making Beginners with her was so comfortable and easy. So I wanted to work with her again and Conor is someone who I really respect as a lyricist.”

If every great record is a world, then this is Christian Lee Hutson’s world. It’s one filled with the fuzzy haze of a dream, and the half-remembered moments of a forgotten life. It’s a record brave enough to say, In the good old days, when times were bad. But beyond the songs, it is this voice. The voice of someone who was alive in 2021 and recorded a group of songs with his friends for us to hear.

Born and raised in Rochester, NY, to chemist parents who presciently gifted him the middle name Miles (for Miles Davis), a career in music beckoned from an early age with 4-year-old Spencer. lobbying his Jamaican mother and British father for trumpet lessons in tribute to his namesake. Rochester's rich and underappreciated creative scene nurtured his musical skills, and he won a place on a summer jazz program at the city's prestigious Eastman School of Music in his teens. A self-taught producer who has always recorded in isolation, he started self-releasing home recordings in 2018, and eventually dropped out of college when his EP Want U Back became a word-of-mouth hit. Now transplanted to the Brooklyn neighborhood of Bed Stuy, Spencer. is a main player in a tight-knit and supportive creative community that also boasts Clairo, Snail Mail, Claud, Advisry, Binki, Cautious Clay and Triathlon amongst its burgeoning talent. Written, recorded and produced by Spencer. during the pandemic, Are U Down's 11 songs blend R&B, hip-hop, funk, indie, pop, jazz and soul to create a sound that feels both analog and digital, honoring the past whilst staying firmly in the present. Spencer. has integrated neo-soul vocal fireworks, hip-hop flow and pop ambition into an album steeped in all the feels of a New York summer.

A Bit of Previous is a classic Belle and Sebastian album preoccupied with songs and melodies that won't leave your head and lyrics that can make you smile and ponder and sometimes be melancholic. It's an album self-produced and recorded by Belle and Sebastian (with contributions from Brian McNeil, Matt Wiggins, Kevin Burleigh and Shawn Everett) and their most hands-on since The Boy With The Arab Strap.
So what is a A Bit of Previous? It's a bit of everything, and a lot of what makes Belle and Sebastian so special and enduring. It's a band tackling the in- sight, experience and responsibility that come with getting older with humour and irreverence and lyrical exactitude and musical bravado. It's one of the UK's most beloved pop portraitists asserting themselves as an infallible source of energy and fun.

Spiritualized will release "Everything Was Beautiful" via Fat Possum on 2/25/22. It is the ninth studio album from Spiritualized and it comes 30 years after the debut album. This is the follow up to 2018's "And Nothing Hurt". Jason Pierce performs 16 different instruments across the album. It is recorded at 11 different studios and includes more than 30 musicians across the album. There will be an indie exclusive Pink vinyl inserted into a gold foil sleeve, housed in a high gloss UV Jacket that includes a removable pill box with braille inlay.  Some assembly required.  Designed by Farrow Design.

Scheduled for release in April 2022, the 10-song sophomore full-length album showcases Kirke’s unselfconscious, country-twinged vocals alongside a brightly colored candy shop of glam-twang guitar riffs, department store tv commercial synth stylings, and swooping, lilting, unabashedly feminine background vocals. Lady For Sale channels a high-spirited insouciance that feels invigorating and familiar, decidedly more easy-going and fun-loving than what we’ve come to expect from its genre (and the world in general) in recent years. This is a party you’ll want to attend.

The hellacious Rochester death metal quintet Undeath have announced their sophomore album It's Time... To Rise From The Grave. The album, which follows 2020 debut Lesions Of A Different Kind, is coming via Prosthetic, and the video for it's quasi title track is Undeath refined to it's deadliest aspects. Blood curdling vocals, bonesaw guitars, slamming bass, and skull crushing drums, fused with a focused hook that brings the decayed mass together as a banging death metal track. We hope you all enjoy, bang your head and scream along. The dead walk again! New York-based Undeath have returned from their mutilated tomb to horrify and dominate death metal's insatiable masses once again. Their blessedly sick new album, It's Time... To Rise from the Grave, shows the reconfigured quintet-Kyle Beam (guitars), Alexander Jones (vocals), Tommy Wall (bass), Jared Welch (guitars) and Matt Browning (drums)-have retained their mind-infecting sonic savagery but weren't satisfied in their pursuit to improve it through wicked (yet studied) reformulation. Certainly, Undeath's 2021 Decibel flexi, Diemented Dissection, paved the way, but it's tracks like "Fiend for Corpses," "Rise from the Grave," and "The Funeral Within" that display Undeath's terrifyingly insane trajectory. It's Time... To Rise from the Grave isn't just an early contender for death metal album of 2022-it's destined to be a modern-day classic.

'Lil G.L. Presents: Jukebox Charley' is the 4th installment in Charley Crockett's 'Lil G.L. Presents' series of releases, which focus on heartfelt renditions of songs from some of Charley's biggest musical influences. This newest cover record is packed with songs originally written by greats such as Tom T. Hall, Willie Nelson, Johnny Paycheck, George Jones and more. Look out for Charley Crockett in your local independent record store.

2022 release from the Albany, New York-based indie punk band.

Spanish Love Songs Brave Faces Etc is the deluxe version of their 2020 album Brave Faces Everyone. This deluxe album was a chance for the band to challenge themselves musically and expand the sound of the band to better reflect where they're all at in terms of songwriting and production compared to the original.

2022 release from the American hardcore band from Los Angeles produced and co-written by early Terror guitarist and Nails frontman Todd Jones.

When a few friends offered to make a debut recordon him, Nashville songwriter Aaron Raitiere simply agreed to go along with it. In the four years since that first session for what would become Single WideDreamer, the auspicious project has retained its casual charm even as its guest list gradually expanded.Anderson East and Miranda Lambert, who co-produced the album, now appear alongside Nashvillemusicians like Dave Cobb, Natalie Hemby, Ashley Monroe,and Waylon Payne, as well as RobertRandolph, Foy Vance, and Bob Weir.“I think the record kind of made itself, and that was the vibe I was going with,” Raitiere says. “It was just a bunch of friends getting together trying to help me create something, because they thought I needed a record." The first sessions took place in East Nashville, where Lambert had just completed work on her album, The Weight of These Wings. Raitiere gave his producers complete creative control, from curating the songs to suggesting arrangements to adding guest vocals.He even rode into the studio with them everyday. Two years later, to round out the project, Eastand Raitiere reunited in RCA Studio A, ultimately ending up with 18 tracks in all and narrowing them down to 10.With a laid-back, speak-singing delivery, “SingleWide Dreamer” immediately conveys Raitiere’s contentment in living a low-key life. And although every song on the album could be considered a love song in its own way, what really ties them together is his observant writing, which is sometimes reflective, sometimes irreverent, but always inspired by his own experiences.

2022 release. Filled with moments of relentless energy throwing back to their punk and hardcore roots to visionary moments of modern heavy, Silverstein's Misery Made Me fastens the group's status as torchbearers of the scene on all fronts. It's both intriguing and inspiring that a band - who could have merely rested on the impressive legacy they've already cemented - would continue to dig deep and find the inspiration to reach people in meaningful new ways. On Misery Made Me - and their 22nd lap around the scene - Silverstein ultimately find themselves spring-boarding off the heights they've reached over the past handful of years. "For the first time in our career, we truly put it all out there. We went into this with no rules and no preconceived notions of what Silverstein is or what it could be. The results are bold. We somehow wrote the heaviest, saddest, catchiest, and most emotional songs in 22 years of being a band... all on the same album," reveals vocalist Shane Told.

Collector's edition of the classic 'Hi, How Are You' album, featuring unreleased sonic surprises on side B. 

Digitally remastered and expanded edition of the final album from founding member of the Pointer Sisters with 3 previously unissued bonus tracks. After being approached by songwriters/producers Lloyd Poe and Robin Taylor to record a demo for a new Taylor Poe composition, "Answered Prayer," Bonnie agreed and brought in sister Anita to sing background vocals with her. The 2008 session laid the foundation that resulted in an entire album's worth of recordings using Taylor Poe's extensive catalog of material. Originally issued in 2011, Like A Picasso was released by Poe and Taylor on the Platinum Trini Entertainment label, although a lack of funding and promotion limited it's chances in the marketplace. Thirteen songs from the original recording are augmented by three previously unissued tracks. The artwork has been updated, the music remastered, and the packaging contains new liner notes from Scott Schinder, featuring conversations with Poe and Taylor, telling the story of how the material came about, and why it deserves another shot. Bonnie Pointer passed away in 2020, so sadly she is no longer with us to experience the joy of Like A Picasso's return. It's the worldwide release from a genuine R&B icon. That icon is Bonnie Pointer.

• Reissue of the classic 1967 release
• Contains 13 previously unissued bonus tracks
• Fully authorized by the Estate of Bobby Cole
• Produced for release by Grammy®-winner Cheryl Pawelski and remastered by Grammy®-winner Michael Graves, with a new essay from Grammy®-nominated writer Randy Poe

Frank Sinatra walks into a bar . . .

Well, Frank called it a “bistro”—and Jilly’s on 52nd Street even had matchbooks that when opened read, “My favorite bistro–Frank Sinatra.” It also featured Frank’s “favorite saloon singer,” Bobby Cole, who held court there for many years. His other gigs around New York landed him a recording contract with Columbia, but the 1960 release from The Bobby Cole Trio, while well reviewed, failed to gain traction. It featured no original material from Cole, and was essentially a recorded version of his Jilly’s act—one hard to capture on LP.

Judy Garland walks into a bar . . .

In 1964, and after hearing Cole’s performance of and after hearing Cole’s performance of one of her favorites, Cy Coleman’s “You Fascinate Me So,” Garland invited him to become the new musical arranger for CBS’s The Judy Garland Show in Los Angeles. When that show ended, Cole returned to New York and Jilly’s.

Jack Lonshein, whose day job was creating covers for artists including Sarah Vaughan, Maynard Ferguson, Coleman Hawkins, Lester Young, (and eventually Big Brother & The Holding Company and The Amboy Dukes!), was a friend of Cole’s. He knew Bobby’s magic, and original songs, were what the jazz world needed. Taking things into his own hands, A Point of View was released on Lonshein’s own Concentric Records, and as can happen, no matter how well received and reviewed a record is, finding a copy was half the battle for fans. A Point of View made waves in the boroughs, was raved about in Billboard and Cash Box, and then disappeared—but became a coveted prize by those who experienced it. Artists including Freddy Cole (Nat’s brother) and Tom Jones covered material from it.
A Point of View now returns 55 years later, fully authorized by the Estate of Bobby Cole. Produced for release by Grammy®-winner Cheryl Pawelski and lovingly remastered by Grammy®-winner Michael Graves, this new version presents the original release, plus thirteen previously unissued bonus tracks drawn from sessions likely intended for a follow up release to A Point of View that didn’t happen. A fascinating and thorough essay from Grammy®-nominated writer Randy Poe tells the story of Cole, the scene, and the music.
Available on CD and Digital April 15, 2022 (with a double-LP version slated for Fall of 2022), A Point of View will be finally seen and heard, appreciated, and revered, as originally intended.