CIMS In The Groove
Unknown until 2004 and unheard until now, these recordings by the John Coltrane Quartet are, as Sonny Rollins says in the liner notes, “like finding a new room in the Great Pyramid.” With the discovery of the ¼”reference tapes that Coltrane took home with him after the recording session a session that was completely unknown and for which master tapes don’t exist an important chapter in the evolution of Coltrane’s music can now be heard for the first time. Featuring the Classic Quartet John Coltrane, McCoy Tyner, Jimmy Garrison and Elvin Jones and recorded at the end of a two week run at Birdland, the music on this album represents one of the most influential groups in music history both performing in a musical style it had perfected and reaching in new, exploratory directions that were to affect the trajectory of jazz from that point forward.
The band continues with their signature gritty, rock & roll, blues sound on All Of This Life, their second album following up a Grammy-nominated and hit-filled debut. The new album incorporates the band's organic style, but provides a richer, full expanded sound using Boulevard Recording Studio and mixes by Mark Needham (The Revivalists, Blue October, Newsboys, Fleetwood Mac, The Killers, Imagine Dragons, etc...). This album is comprised of stories about moving through difficult times in life and coming through the other side as shared by their fanbase over the last two years of non-stop touring.
There comes a point in every career of note, when it’s time to dig a trench in the turf; to define exactly who you are in a way that resonates in the broadest possible manner. For Bullet For My Valentine – now two decades deep into their story, one of rock and metal’s foremost names, a genuine success – that time is now.
Produced and mixed by Carl Bown, ‘Gravity’ (the UK band’s sixth studio album, the follow-up to 2015’s ‘Venom’) sees the musicians delivering a body of work that looks set to add extra layers of excitement and meaning both to their own trajectory and to the genre per se. At a time when the international scene feels ready for a serious shot in the arm, ‘Gravity’ is an album of true craft and vision – an ambitious labour of love with the weight and the punch that the band’s extensive, ever-burgeoning fan-base has come to expect, a point made in style by lead single / video ‘Over It’, whilst adding enough in terms of atmosphere, melody and contemporary sheen to spin heads in wider circles.
Backed up by an extensive worldwide touring plan that sees BFMV’s strongest ever line-up playing major shows and festivals for the whole of 2018 (and beyond), ‘Gravity’ already feels like an important album. Simply, this is frontman Matt Tuck and his fellow players thinking big and bold and refusing to compromise or back down.
The title is ‘Gravity’, but the music is set to rise like a rocket. Let the countdown commence…
Following the group’s 1985 formation, Guns N’ Roses injected unbridled attitude into the burgeoning Los Angeles rock scene. They went on to captivate the entire world with the July 21, 1987 release of Appetite For Destruction, which remains the best-selling U.S. debut album ever, moving over 30 million copies globally. Appetite features such indelible tracks such as the No. 1 single “Sweet Child O’ Mine,” “Welcome To The Jungle,” “Nightrain,” and “Paradise City.”
The Appetite For Destruction: Deluxe Edition features 2CDs of highlights from the box and Super Deluxe Edition with the album newly remastered for the first time ever, selections of B-sides and EP tracks, and 7 unreleased recordings from the 1986 Sound City Session, “Move To The City (1988 Acoustic Version)” from the GN’R Lies session and “Shadow Of Your Love” from the November 1986 first ever recording session with the album’s producer Mike Clink.
Limited Edition Foil Art Slipcase
CD 1: First Ever Album Remaster from Original Analog Tapes
CD 2: 18 highlights from Super Deluxe CDs with 7 unreleased recordings including “Shadow Of Your Love,” 1986 Sound City Session tracks and “Move To The City (1988 Acoustic Version)”
Expanded Album Art with Unreleased Photos from Axl’s Personal Archive and Memorabilia
Kamasi Washington’s sophomore album Heaven and Earth not only fulfills its overarching ambition, but illustrates the dialectic between seen and unseen, real and imagined, citizen and culture, self and self, as well as self and other, and does so through the lens of a mature but never jaded revolutionary consciousness. The artist’s own words best convey the inspiration behind this monolith of an album “The world that my mind lives in, lives in my mind. This idea inspired me to make this album Heaven and Earth. The reality we experience is a mere creation of our consciousness, but our consciousness creates this reality based on those very same experiences. We are simultaneously the creators of our personal universe and creations of our personal universe. The Earth side of this album represents the world as I see it outwardly, the world that I am a part of. The Heaven side of this album represents the world as I see it inwardly, the world that is a part of me. Who I am and the choices I make lie somewhere in between.”
Coloured marks Renea's return to focusing on herself as an artist while spending nearly a decade as a songwriter-for-hire. Her credits read like a who's who of superstar artists and include hits for Rihanna, Selena Gomez, Mary J Blige, Madonna, Demi Lovato, Pitbull, Miranda Lambert, Chris Brown, Fifth Harmony, Mariah Carey, Charlie Puth, Nick Jonas, Train, Diple, Curren$y, and Kelly Clarkson, among others. It's a list that demonstrates not only her chameleon-like stylistic range, but also an emotional intelligence that enables her to connect with artists with varying personalities and help them sound authentic. Coloured, which Renea describes as "a big gumbo of everything that's happening in my life," showcases her powerhouse voice and engaging story-telling on such classic urban-soul ballads as "Heavenly," "If I Ever Loved You," and "Let's Build A House", as well as the rule breaking country-inspired tunes like the autobiographical "Family Tree," "Jonjo," and "Gentle Hands."
My head feels like it is exploding with the amount of information we are forced to consume on a daily basis, and how that information is so DISTORTED there is almost no longer any tangible truth,” says James. “The name of my new record is UNIFORM DISTORTION because I feel like there is this blanket distortion on society/media and the way we gather our ‘news and important information. More and more of us are feeling lost and looking for new ways out of this distortion and back to the truth…and finding hope in places like the desert where I write this now...finding hope in the land and in the water and in old books offering new ideas and most importantly in each other and love.
CHECK OUT THE SINGLES:
Scored by Radiohead guitarist/keyboardist Jonny Greenwood, who s previous soundtrack Phantom Thread was nominated for a 2017 Academy Award. As a work-in-progress, YWNRH won 2 awards (Best Actor, Best Screenplay) at the 2017 Cannes Film Festival. Film debuted in theaters 4/6/18. For Radiohead fans, the result might be his most satisfying film music to date. Rolling Stone Greenwood s You Were Never Really Here score is easily his most experimental and eclectic film music to date. IndieWire The restraint of his score is a testament to his interpretive abilities, but even as a standalone album, You Were Never Really Here is an engrossing listen. Pitchfork
Let's Eat Grandma, one of the most vital bands of our time, follow on the cult success of their debut album I, Gemini with the game-changing I'm All Ears. The British duo, comprised of teenage vocalists, multi-instrumentalists and songwriters Rosa Walton and Jenny Hollingworth, have pole-vaulted expectations and preconceptions delivering something fresh, fun and meaningful. I'm All Ears is alive with furious pop, unapologetic grandeur and intimate ballads. Featuring loops, Logic, outrageous 80s drum solos, as well as production from David Wrench (The xx, Frank Ocean, Caribou), SOPHIE (famed for her own material and work with Madonna, Charli XCX and Vince Staples) and Faris Badwan (The Horrors). I'm All Ears is the most startling, infectious, innovative and thrilling record you'll hear this year.
Chart topping singer/songwriter Bebe Rexha will release her highly anticipated debut album, EXPECTATIONS via Warner Bros. Records. In addition to Bebe co-writing and co-producing every song on the album, EXPECTATIONS is also produced by Max Martin, Ali Payami, JUSSI, Jason Evigan, Louis Bell, The Stereotypes and Hit-Boy.
MONA’s “high-energy garage rock” (Rolling Stone), featuring Brown’s “beautiful, thrusting snarl” (New York Times), has taken them to many places: the UK Top 40, tour dates with Robert Plant, Arcade Fire, Kings Of Leon and Noel Gallagher, festivals from the UK (Glastonbury + Leeds) to Australia (Splendour In The Grass) and Japan (Summer Sonic), and TV appearances on The Tonight Show, Conan and Jools Holland. Following an extended hiatus — broken by 2016’s ‘In The Middle’ EP, which Consequence Of Sound called “a rush of pure adrenaline and anthemic drive” — MONA are preparing to release their best work yet, ‘Soldier On’ coming June 1st via Bright Antenna Records.
Six-time Grammy-nominee Florence + the Machine to release hugely-anticipated new album ‘High As Hope’ June 29th via Virgin EMI / Republic Records. ‘High As Hope’ is the sound of an artist who appears more certain than ever of herself. Florence writes about her teens and twenties with a renewed, more mature perspective: of growing up in South London, of family, relationships and art itself. The first official single ‘Hunger,’ is out now.
Back Roads And Abandoned Motels consists of the Jayhawks' versions of songs originally written by front man Gary Louris with and for other artists, including "Come Cryin' to Me" (originally released on Natalie Maines' Mother in 2013); "Everybody Knows" and "Bitter End" (released on Dixie Chicks' Taking The Long Way in 2006); "Gonna Be a Darkness" (written and performed by Louris and Jakob Dylan for True Blood: Music From The HBO Original Series - Volume 3 in 2011); "Need You Tonight" (originally released on Scott Thomas' Matson Tweed in 2015); "El Dorado" (originally released on Carrie Rodriguez' She Ain't Me in 2008); "Bird Never Flies" (originally released on Ari Hest's The Break-In in 2007); "Backwards Women" (written with Wild Feathers but never recorded) and "Long Time Ago" (written with Emerson Hart of Tonic but never recorded). In addition the album premieres two brand-new songs.
"After being away in New York for months doing Kinky Boots, I just wanted to hang out at home when I got back to LA. I was so revved up that I asked some friends to come over to my home studio to help me write about all the incredible things I've experienced the last couple of years," said Brendon Urie, Panic! At The Disco frontman. "Pray For The Wicked is my 'thank you' to our fans and the most fun I've ever had making album."
The debut album from accomplished guitarist and songwriter Jason Isbell, formerly of Drive By Truckers (DBT), is reissued with 4 unreleased tracks from the original recording sessions. The addition of those 4 extra songs finds Sirens Of The Ditch clocking in at 15 total tracks. Sirens Of The Ditch's mystical quality can be partially attributed to the FAME recording studio (Aretha Franklin, Duane Allman, Otis Redding) in Isbell’s hometown of Muscle Shoals, AL where the album was recorded. Co-produced by Isbell and Patterson Hood (DBT), Sirens Of The Ditch features Isbell singing lead vocals and playing guitar throughout, joined by Shonna Tucker (Formerly of DBT) on Bass and Brad Morgan (DBT) on drums. Several musicians pop in for cameos including Spooner Oldham and David Hood (Patterson s father) on "Down In A Hole", John Neff (Formerly of DBT) on "Dress Blues" and Patterson himself guests on "Shotgun Wedding". "a strong debut, full of the kind of confident, charismatic songwriting that just can't be taught." - Pitckfork “Isbell could be roots rock’s Flannery O’Connor.” - Spin
Leading with his heart as much as with his head, AHI is an emotional yet discerning lyricist who would rather demonstrate love than use the word itself. He allows his light to shine inward but only to a degree, admitting to some autobiography on In Our Time but as glimpsed through an imaginative lens. While his music possesses a quality of timelessness, the sounds here reveal a broad spectrum of influence and also toe the line between retro and revelatory. None of that is by accident: the album, like its 2016 predecessor, We Made It Through the Wreckage, was recorded in Nashville -- a place AHI finds attractive for its sound and skilled studio hands rather than its glitzy polish -- and this time on analog-to-tape with flourishes of digital technology.
Sundays is the debut full length from Oakland-based Tanukichan, aka multi-instrumentalist Hannah van Loon. At surface level, the album sounds just how the title describes: hazy, dreamy, reflective, just like a lazy Sunday afternoon. Upon second and third listens, the dreamy music unveils a deeper world: an ever present sense of longing, an endless state of summer and a period of instability that plagues us all at one point or another in our lives. What started with a few unfocused demos, with van Loon playing all the instruments herself in her house, became a studio experience and viable collection of music after her friend Anthony Ferraro of Astronauts, Etc. introduced her to Company Records founder Chaz Bear (Toro Y Moi, Les Sins). After collaborating on her 2016 EP Radiolove, van Loon and Bear set out to make a much more sonically cohesive release, with both the producer and artist playing all the instruments on the record. The result is a slice of dream pop that could only come from the combination of the laid back atmosphere of California and the nostalgic and often difficult memories that are generally associated with coming of age.