The Hammond Organ is lead singer on this soulful and orchestral journey about industrial decay and the death of the steel town. Deep from the rusted steel mills of Youngstown Ohio, we bring you the much-anticipated reissue of the melting debut from the Scone Cash Players. It's the same organist that brought you the screaming organ on all those Daptone favorites from The Sugarman Three. Scone was behind that organ bench on the modern classics as follows. "Sugar's Boogaloo", "Soul Donkey", "Pure Cane Sugar", and "What the World Needs Now." Adam Scone entered the studio on Dunham Street in Brooklyn. He was wearing a blue Adidas jump suit. The studio had just opened. At the helm were his old compadres from The Dap-Kings. Namely Thomas Brenneck, Eric Kalb, Homer Steinweiss and lan Hendrickson-Smith. They make up the "Bliss Machine" behind Scones's groove. It was a truly rare moment to catch these masters of music and taste in between tours of Sharon Jones and Charles Bradley. Tommy put the mics around. Scone powered up the organ. The analog tape machine turned and turned until they couldn't turn any more. These songs were recorded. We worked all day and all night. Tears were shed. Espresso was made. There was beer on tap. 3 days of life were taken to make this album. We will never get them back. They were distilled to 40 minutes of pure emotion. It's a tale of woe. It's a tale of leaving art for responsibility. It's a farewell to an era. It's a journey that the Hammond B3 organ wasn't accustomed to. You can't compare this album to any other organ record. Don't expect to hear what you want. Free your mind. Be open. Your world is going to feel the heat of the BLAST FURNACE! It never quite feels how you want it to. Don't get burned

ALDOUS HARDING / WARM CHRIS Aldous Harding Announces Details Of A New Studio Album, The Follow-Up To 2019'S Acclaimed Designer. For Warm Chris, The New Zealand Musician Reunited With Producer John Parish, Continuing A Professional Partnership That Began In 2017 And Has Forged Pivotal Bodies Of Work (2017'S Party And The Aforementioned Designer). All Ten Tracks Were Recorded At Rockfield Studios And Includes Contributions From H. Hawkline, Seb Rochford, Gavin Fitzjohn, John And Hopey Parish And Jason Williamson (Sleaford Mods).

Flock' is the record that Jane Weaver always wanted to make, the most genuine version of herself, complete with unpretentious Day-Glo pop sensibilities, wit, kindness, humour and glamour. A consciously positive vision for negative times, a brooding and ethereal creation. The album features an untested new fusion of seemingly unrelated compounds fused into an eco-friendly hum; pop music for post-new-normal times. Created from elements that should never date, its pop music reinvented. Still prevalent are the cosmic sounds, but 'Flock' is a natural rebellion to the recent releases which sees her decidedly move away from conceptual roots in favour of writing pop music. Produced on a complicated diet of bygone Lebanese torch songs, 1980's Russian Aerobics records and Australian Punk. Amongst this broadcast of glistening sounds is 'The Revolution Of Super Visions', an untelevised Mothership connection, with Prince floating by as he plays scratchy guitar; it also features a funky

Nonesuch Records releases Ghost Song, the label debut of singer/songwriter C�cile McLorin Salvant, on March 4, 2021. Ghost Song features a diverse mix of seven originals and five interpretations on the themes of ghosts, nostalgia, and yearning. Salvant says, �It�s unlike anything I�ve done before�it�s getting closer to reflecting my personality as an eclectic curator. I�m embracing my weirdness!� C�cile McLorin Salvant plays four shows at SFJAZZ in February and two nights featuring the music of Ghost Song at Jazz at Lincoln Center in May.

Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio.
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The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices.
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Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind the kit, DLO3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans.

On Monday May 9th we kick off our next black midi campaign for the band's sophomore album Hellfire, with the single & Gustaf Holten�s ("Slow") directed video "Welcome To Hell". Hellfire will be out on July 15th. The album was written in London 2021 and produced by Marta Salogni and black midi, with additional production from Max Goulding. Artwork was created by David Rudnick (who's done the artwork for all previous black midi albums as well), using AI technology into which he fed lyrics from the album to generate imagery which was then printed, cut up and reconfigured into a detailed and complex collage.

No band can quite build their own universe like�black�midi. Hellfire, their third album and second in two years sees the London three piece at their most direct. "Welcome To Hell" tells the story of a debauched soldier's excess and military discharge, soundtracked by funky guitar sections, driving horns and a progressively snarling vocal.�Premiered by Steve Lamacq on 6 Music. 2022 live dates incl Coachella, Glastonbury, Somerset House, more to be announced.�

All the Rage is a fire starter wrapped in pink cream. The record is a multicourse meal with pulsing dance beats, heavy guitar riffage and the nimble inter-
weaving vocals of the three musicians. The result is a worthy successor to their first record, It's The Tips! Their sophomore album features a gaudy pink cake brought to life by the talented Boise cake artist Sugar Librarian on its

Nation of Language's A Way Forward is more relaxed and confident than anything the Brooklyn band have done before. Released in May of 2020, their debut album, Introduction, Presence, did so much better than they'd ever imagined it would that they felt it best to trust themselves and follow their instincts on the resulting follow-up. Those instincts led them to a record more rooted in Krautrock and early electronic music, with influence from artists like Kraftwerk, Laurie Spiegel, and Cluster. A Way Forward feels even more like a journey than it's predecessor, something that can be followed from start to finish with greater emotional peaks and valleys and new sonic landscapes being explored. The highs are higher, the lows are lower, and there's a palpable gratitude of the ability to be present right now and experience any of these emotions at all.

THUS LOVE is a band-but also so much more. The Brattleboro, Vermont trio stand together, a bond cemented by their experience as outsiders looking in. For THUS LOVE, DIY is an ethos that reflects not only their musical vision but their very existence as three self-identifying trans artists. From the band's inception, Echo Mars (she/her), Lu Racine (he/him) and Nathaniel van Osdol (they/them) have lived together under the same roof, designed and produced their own merch, and even created their own recording studio from scratch. "I realize that most artists don't live this way," says Mars. "But for us, it was never really a choice. The art we make is so tied to who we are and the community we're a part of, that this is the only way we can possibly do it."THUS LOVE traces it's beginnings to Mars' and Racine's serendipitous meeting at a local print shop in 2018, when the multi-instrumentalists agreed to collaborate on a new musical project. THUS LOVE's lineup clicked into place when Mars and Racine were finally able to convince their roommate van Osdol to join on bass in 2019. The band was just starting to regularly headline renowned local venue The Stone Church when everything came to a sudden and screeching halt. "The pandemic hit everyone hard, but I think it was especially difficult for new artists like us that rely on live shows to spread the word," says Racine. "At that point, we had a couple of demos and we weren't sure what the future would hold." Rather than idly wait, the band decided to take their future in their own hands. Armed with nothing but YouTube videos and her innate curiosity, Mars constructed a makeshift studio in their rented apartment above downtown Brattleboro, recording during odd hours when their next-door neighbors were out and about.Looking back now, Mars is glad the band decided to forge ahead. "I obviously would never want to go through a pandemic again, but I'm pretty confident in saying that this album would not be coming out in 2022 if we hadn't had the forced downtime." Their resulting debut, Memorial, is a stunningly accomplished album, especially considering the circumstances surrounding it's creation. The hallmarks will be unmistakable to anyone who has ever obsessed over classic LPs from indie and post-punk's progenitors-everything from the chiming, Marr-esque guitars on opener "Repitioner" to the pugnacious rhythmic punch on lead single "In Tandem". But even more impressive and exciting is how THUS LOVE manage to tap into this celebrated lineage to find their own unique voice and tell their own story."Pith & Point" and the title track, which closes the record, serve as powerful statements of purpose as the band let's down their guard to share moments of heartfelt introspection. Says Mars: "'Pith & Point' is the very first song we wrote as a band. It used to be a nearly 7 minutes when we performed it live, but it makes more sense in this condensed version on the record. It's about the sense of dread when you know something is coming but you're powerless to do anything about it. 'Memorial' is almost the flip side of the coin. There are no words but it's about making peace with what's passed." Mars is reluctant to provide additional detail out of respect for others' privacy but does allude to the deaths of several people close to the band while making the record.Although it's tempting to cast Memorial as a record dealing exclusively with grief and loss, Racine suggests that sometimes working through those feelings are the necessary precondition to true healing. He points to his own process of transition as proof. "I was in a dark place for a long time even when we were making this record. I knew what I had to do, but it didn't make it any easier. There was a long period of mourning." Racine finally completed his top surgery in September 2021, an important step in a years-long journey to embrace his true self. "Even though I was struggling at the time, the happiness I feel now makes it all worth it. I will always have positive associations with this record."Ultimately, despite the many difficulties and setbacks, the story of THUS LOVE and Memorial is one of triumph. Of seeking meaning in struggle. Of embracing community and love. Of finding joy in rebirth.

When Porridge Radio�s Dana Margolin, one of the most vital new voices in rock, began to consider the themes of her new album, three vivid words began to emerge: joy, fear and endlessness. The artwork of the band�s third full-length, Waterslide, Diving Board, Ladder To The Sky, is a surreal image that evokes the ducks and dives, slippery slopes and existential angst of life in recent times. �To me, the feelings of joy, fear and endlesses coexist together,� says Dana. �You�re never just happy or unhappy.�

Following Every Bad�s release in 2020, Margolin was quickly becoming regarded as one of the most magnetic band leaders around. But if Every Bad established Dana�s bravery in laying herself bare, her band�s third record takes that to anthemic new heights. While there are moments of guttural release, she also finds soft power on songs. �I used to think I had to be loud to be heard,� she admits, �but now I�m definitely less afraid of being gentle.�

The band�s first new single, �Back To The Radio�, sets out their stall, a lurching call to arms that contrasts Dana�s lyrics of panic and closing herself off. This song is just one of example in WDBLTTS that explores something that has long been an important part of Porridge Radio�s process: playfulness. �I think the album needed to have that balance,� Dana explains.

Balance: that�s the word the album seems to be eternally striving for � joy, fear and endlessness in harmony but also self-acceptance. Dana is more aware of how she�s creating a persona as her star continues to rise, and how she�s singing personal songs that now belong to other people which gives her purpose. She says, �I wrote these songs for myself, but I think everyone wants to feel like what they�re doing is useful in some way. I�m ready to embrace it all now, whatever happens.

2020's A Hero's Death saw Fontaines D.C. land a #2 album in the UK, receive nominations at the GRAMMYs, BRITs and Ivor Novello Awards, and sell out London's iconic Alexandra Palace. Now the band return with their third record in as many years: Skinty Fia. Used colloquially as an expletive, the title roughly translates from the Irish language into English as 'the damnation of the deer'; the spelling crassly anglicized, and its meaning diluted through generations. Part bittersweet romance, part darkly political triumph - the songs ultimately form a long-distance love letter, one that laments an increasingly privatized culture in danger of going the way of the extinct Irish giant deer.

Sounding simultaneously from the past, the present, and the future, the debut album 'MLDE' by Marxist Love Disco Ensemble seeks to eradicate both the trite from disco and the sobriety from political music. Half poetic, half tongue-in-cheek, this stunning compact eight-track album is influenced by Eastern European and Mediterranean 70s disco records. In the words of band member Paolo, 'it was written in response to hearing 'I love America' by Patrick Juvet. The song prompted the question: why does disco, a genre originally created by oppressed minorities, eventually become synonymous with American capitalist excess?" MLDE seeks to break this connection.Merging disco, post-disco 80s pop, and boogie into the fold, 'MLDE' was recorded using only analogue instruments, giving it warmth and space. Recorded on cassette, ¼ and ½ inch tape, this gives moments of lo-fi abstraction between the beats of an aggressive, tight drum kit. Instruments used for this recording range from saxophone, trumpet, harpsichord, guitar, and rare analogue synthesisers. The bass sound is shaped by early 80s boogie records, whilst the influence of artists such as Hamlet Minassian can be heard in some of MLDE's more driving-disco outings, such as 'Hues of Red'. In the tradition of Soviet vocal group records, which the band has studied, some songs are sung by a vocal quartet in homage to this tradition. Tracks such as '1905' and 'Brumaire' have a greater pop aesthetic, with Paolo's vocal style on these more pop-driven songs evoking early 80s bands such as Orange Juice and Chas Jankel. The format and message of pop and disco are commonly viewed just to entertain and move bodies around a dancefloor; however, lyrically, the subjects range from dialectical and historical materialism, class struggle, Marxist theory and praxis, as well as the concept of Marxist disco music. Adding the icing to the cake, mastering don Joker aka Liam McLean dusted the album with his magic, giving the songs space where the room is needed, as well as the kick and punch demanded by the modern dancefloor. Yes, this is a press release, and they are always full of hype, but we were blown away when we heard this album, and we hope it enriches you too.

London's funk punk gang Warmduscher are made up of members of Fat White Family, Paranoid London and Childhood. Their fourth album, At The HotSpot, was written over a year period during lockdown. Produced by Joe Goddard and Al Doyle of Hot Chip, it takes the raucous energy Warmduscher solidified on their critically acclaimed 2019 release Tainted Lunch, and injects it with a slightly more polished, 80's funk sound that is kind of like stumbling home to your squatted loft after a drunken night at the local disco. It's crunchy on the outside, smooth on the inside, and might be the most immediately enjoyable music Warmduscher have ever graced us with.

Lipphead is a production duo consisting of veteran producers Blockhead (Ninjatune, Future Archive Recordings) and Eliot Lipp (Alpha Pup) creating playful instrumental hip hop creations that traverse wide musical territories. Lipphead's sound is an infectious blend of atmospheric downtempo and driving electro funk. Releasing via Michigan label Young Heavy Souls, the duo has crafted a truly individual sonic aesthetic that benefits from the significant wealth of musical talent and experience they both bring to the project. Illustrated by artist Maddison Chaffer, the titular Lipphead character serves as the group's mascot and as a tongue-in-cheek personification of the duo's fused styles. On the production of the album Blockhead explained "I would say, with this album in general, it was both of us taking things we were working on that we liked but couldn't find a home for. For us this was a very "there are no rules" type venture. We allowed ourselves to be silly and unconventional with all these songs." Eliot Lipp went on to say "My favorite thing about the record is the audio cocktail that comes together when our two styles are blended. It's refreshing to make music with such a loose process. We found ourselves focusing on our strengths, and trusting that our individual styles would complement each other." On their debut LP, Lipphead dances effortlessly between Blockhead's journeying hip-hop beats, and Eliot Lipp's synth-laden electronic swing.

A fever dream in sonic form, The Alien Coast is the first album St. Paul & The Broken Bones recorded in their hometown of Birmingham. Produced by Matt Ross-Spang (Drive-By Truckers, Margo Price) - the bands fourth full-length is a dizzying convergence of rock & roll and R&B, psychedelia and stoner metal, gospel and jazz-funk. At turns explosive, elegant, and thrillingly unhinged - it makes for a majestic backdrop to the groups visceral exploration of the strangest dimensions of the human psyche.

Double vinyl LP pressing. Created for misfits, by misfits, Pray For Me I Don't Fit In sees Melt Yourself Down embrace a celebratory punk agenda. Having realised they are never going to fit the mould, the group deliberately draw on their myriad influences, speaking all languages musically and lyrically. Led by the potent sounds of Sax pioneer Pete Wareham, the punchy sax hooks pay homage to the traditional horn sections of late 60's early 70's era of Jazz, Soul and Rock n Roll, while showcasing African pentatonic scales and dance-inducing rhythms with raw 70's rock and punk. This album sees vocalist Kushal Gaya celebrate his diversity-tonally, texturally, and emotionally while embracing lyrical depth. Recorded and produced by band favourite Ben Hillier (Blur, Depeche Mode & Nadine Shah), delivering his distinct musical depth, resonance, and dark drive so essential to Melt Yourself Down's sound. This album is the band's most cohesive work to date.

Yard Act formed in Leeds in September 2019 when Ryan Needham found himself temporarily living in James Smith's spare bedroom. Settling into a system of programming, looping and layering, the alchemy between the two created a base from which to build their complex and ever expanding narrative world. 'Ryan is a vibe guy, whereas I overthink everything,' laughs Smith. 'It's been the greatest creative partnership I've ever had. When you find a groove that works, it just kind of looks after itself.' With just three hometown shows under their belt, world events intervened. But rather than letting the pandemic derail them Yard Act set up their own imprint, Zen F.C. and across the course of 2020 and into early 2021 released four increasingly coruscating, hilariously dark singles. Now expanded to a four-piece, joined by Sam Shjipstone (guitar) and Jay Russell (drums), they've announced their debut album 'The Overload', set for release on 7th January 2022. Their inherent wit has been sharpened down into something that speaks to the times we live in, creating a statement of intent that survives on nuance, that manages to poke fun at society without punching down from a place of left-wing superiority or right-wing anger. The Overload is a political record, but in the same way that all great observations of human nature are ' a messy, complex, knowingly hypocritical snapshot of our current state of play.

Dragon New Warm Mountain I Believe in You is a sprawling double-LP exploring the deepest elements and possibilities of Big Thief. To truly dig into all that the music of Adrianne Lenker, Max Oleartchick, Buck Meek, and James Krivchenia desired in 2020, the band decided to write and record a rambling account of growth as individuals, musicians, and chosen family over 4 distinct recording sessions.

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.

LIZZO / SPECIAL - When you love yourself, anything becomes possible. Channeling boundless self-confidence through a downright earth-quaking voice, colorful persona, and undeniable star power, Lizzo struts into the spotlight and steps up with a whole lot of sass, spirit, and soul. Embracing her vocal range like never before and celebrating herself to the fullest, she speaks her mind, censors nothing, and delivers an enviable level of honesty, pure passion, and fresh fire.

Black Country, New Road will release the second album, 'Ants From Up There' on February 4th via Ninja Tune. Following on almost exactly a year to the day from the release of their acclaimed debut 'For the first time', the band have harnessed the momentum from that record and run full pelt into their second, with 'Ants From Up There' managing to strike a skilful balance between feeling like a bold stylistic overhaul of what came before, as well as a natural progression.

Their debut 'For the first time' is a certain 2021 Album of the Year, having received ecstatic reviews from publications including as NPR, Stereogum, Pitchfork, The FADER, CRACK, Uncut, The Quietus, Loud & Quiet, The Face, Paste, The Needle Drop, DIY, NME, CLASH and fans alike, as well as recently being shortlisted� for the UK's prestigious Mercury Music Prize.� The album made a significant dent on the UK Albums Chart where it landed at #4 in its first week, as well as breaking into multiple Billboard Charts including Top Album Sales (#50), Current Album Sales (#26), Tastemaker Albums (#4), Heatseeker Albums (#15) and Emerging Artists (#22).

'For the first time' melded klezmer, post-rock, indie and an often intense spoken word delivery. On 'Ants From Up There' they have expanded on this unique concoction to create a singular sonic middle ground that traverses classical minimalism, indie-folk, pop, alt rock and a distinct tone that is already unique to the band.

Folksongs and Ballads by Tia Blake & Her Folk Group, is more than just a "lost classic".As clear and honest as can be, Folksongs and Ballads is a magnetic record, a refuge like only Nick Drake, Nico, and a few others have been able to create.A graceful, delicately minimalist approach to classic Appalachian and British folk songs, originally released only in France in 1971.When she recorded her only album at Pierre Barouh's Studios Saravah, Tia Blake was nineteen years old and had just arrived in Paris a year and a half beforehand. She spent most of her time at Disco'Thé, a record shop in the Latin Quarter, a free space, peaceful and inspiring, a hub for students as well as the local artistic community.Tia Blake's haunting, unaffected voice captivates and comforts us, wrapping us in it's cool embrace. Meanwhile, the tasteful, stripped-down, mellow acoustic arrangements provided by the guitarists, have created the space Tia Blake needed to reinvent these traditional songs.Folksongs and Ballads is a timeless record, deep and unique, a longtime companion for repeated listening, in the vein of works by Sibylle Baier, Bridget St. John and Vashti Bunyan.

Limited pink and purple colored vinyl LP pressing. The tide turns once again. From tumultuous oceanic depths French legend Blut Aus Nord erupts onland in all it's singular dissonant glory: be-tentacled, malformed, accursed, fearsome. Following up the purported 'new era' of melodicism ushered in by 2019's lauded "Hallucinogen", new work "Disharmonium - Undreamable Abysses" finds the leaders-in-perpetuity of Avant-garde Industrialised Black Metal compelled to reassume their rightful throne, crowning nigh-on 28 years of consistency with seven mesmerising tracks of bleakly-maximalist harmonic unease.

Gavin Bryars was born in Yorkshire, England in 1943. His first musical forays were as a jazz bassist working in the early 1960s with improvisors Derek Bailey and Tony Oxley. Bryars later worked with composers John Cage and Cornelius Cardew, founded the Portsmouth Sinfonia and collaborated with Brian Eno on his famed Obscure imprint.The Sinking of the Titanic, Bryars' first major composition, was inspired by the tragic event of the British passenger liner's cross-Atlantic maiden voyage. Bryars eloquently reconstructs the passengers' experience - at once forlorn and eerily calming - through assemblages of understated strings and indeterminate elements. A core principle of the piece is that the ship's band continued to play as the vessel went down. One of the most sublime works in the modern classical canon, Titanic remains Bryars' magnum opus.Jesus' Blood Never Failed Me Yet, the album's second sidelong track, is based on a tape loop of a London street singer captured in the early 1970s. Featuring Derek Bailey, Michael Nyman and John White, Bryars' composition gradually builds around the cripplingly poignant voice until it's emotional force is almost too much to bear. It's no surprise that Jesus' Blood is known as Tom Waits' all-time favorite piece of music.Produced by Brian Eno in 1975 as the inaugural release on Obscure, The Sinking of the Titanic draws the listener in to a majestic world. While these exquisite, hymn-like recordings have not changed in nearly 50 years, their deeply personal nature and the audience's attention to their subtlety have only strengthened over time.

Michael George Henry (aka Ras Michael and, for this lone release, Dadawah) was born in 1943 in Saint Mary Parish, in northeastern Jamaica. Henry was raised in a Rastafari community when the religious movement was still in it's infancy and marginalized within Jamaica. It was there that he began performing Nyahbinghi, the Rastafarian devotional music that combines the influences of African drumming and Black gospel. Henry found himself in Kingston in the late 1950s where he worked for Coxsone Dodd at the legendary Studio One. By 1968, he had formed the group Sons of Negus and the first overtly Rasta record label, Zion Disc. As Rasta filtered into the mainstream, Henry released more music including albums for Trojan, Dynamic and Grounation labels. Originally released in 1974, Peace And Love - Wadadasow is Dadawah's magnum opus. Produced by Lloyd Charmers, the album features slinky basslines, wah-wah guitar, hypnotic keyboards, dubbed-out studio trickery and, of course, the propulsive drumming and rhythmic chanting characteristic of Nyahbinghi. Antarctica Starts Here presents the first widely available domestic release of Peace and Love - Wadadasow. This reissue is part of an archival series that focuses on Trojan's essential '60s and '70s catalogue. Liner notes by JR Gonne.

Drone Mass was commissioned by ACME in 2015 in celebration of it's 10th anniversary and was premiered by the late Jøhann Jøhannsson, ACME, and Roomful of Teeth in the Temple of Dendur in the Sackler Wing at The Metropolitan Museum of Art. According to Jøhannsson, "Drone Mass is a 60-minute contemporary oratorio which fuses the sounds of string quartet, electronics and vocals, and is inspired by texts from the Nag Hammadi library, sometimes referred to as the Coptic Gospel of the Egyptians."

Reborn is the long-awaited sophomore release from Kavinsky, featuring the lead single �Zenith.� It�s the French
producer�s follow-up to his 2013 debut album, Outrun, which included his breakout single �Nightcall� from the film
Drive.

The Beach Boys �Sail On Sailor� collection celebrates the landmark 1972 albums �Carl And The Passions� and �Holland.� Includes extensive liner notes and the original �Mount Vernon and Fairway� 7inch EP from Holland, unavailable on vinyl since the 1970s. Both albums are fully remastered.

Smash cut to Kiwi Jr.'s third album, Chopper, overseen by trusted pilot Dan Boeckner (Wolf Parade, Handsome Furs) on storied Sub Pop Records. Turning nocturnal with necks mock turtle, our Local Kiwi Jr. Takes neon flight off the digital cliff - like The Monkees starring in Blade Runner; like Michael Mann directs Encino Man. Ten songs with synth shimmer, zen gongs with yard strimmer. The signs along the highway read "LESS BAR, MORE NOIR AHEAD." Ah, those late summer, Joe Strummer, Home on the Range Rover Blues. There's a melancholy to all forms of flight, and the view out the Chopper is as hazy as it gets: mission-oriented, both stealth and self-realized. This album is decidedly (yet almost secretly) anti-patio-sunscreen-Beach Boys bachelor cruise sing-a-long. Sure, these songs let a little light through the blinds, but they sting insomnia, corrupt mayors, Kennedy Curses, sex tapes, and deer rifles. Chopper is the bird's eye view of the big event - a real nighttime character of oil stain, film grain, search light, night flight. It is muscular and fragile; loud yet quiet: both an observer and somehow the observed spectacle itself. What was slack in the slacker phase, got tauter, with lacquer glaze. Slick gloss, rightened wrongs; murdered boss, promoted pawns. With Boeckner transmitting high-voltage shocks upon every reach for a familiar instrument, Kiwi Jr. #expands the palette with string machine song, synthesizered oblong, and Dentyne Classic Menthol vocals from area soprano Dorothea Paas (US Girls, Badge Epoch Ensemble) like the missing piece all along. Kiwi Jr. #brings the Chopper to a new space, demilitarizing the technology just like flasks, aviators, and cargo shorts. Graceful in the air above, but when the Chopper lands, there's chaos on the ground. Kiwi Jr. #shout, "Look Out!" When it gets close, it'll blow the hat right off of your head.Hold onto your hats, Babies.Kiwi Jr. #is Jeremy Gaudet vocals and guitar, Brian Murphy guitar, Mike Walker bass, Brohan Moore drums, and everybody played a little bit of keyboard.