Rock & Pop

As Milky Chance prepare to share the idiosyncratic and inventive alt-pop songs that populate their new album Living In A Haze, they proudly boast over 10 million monthly Spotify listeners, an enviable touring resume (including stops at Coachella and Lollapalooza), and an upcoming schedule of world-trotting 2023 dates featuring the biggest shows of their career. Over the past decade, they've proven themselves to be, in their own low-key way, one of the biggest bands in the world. Their runaway hit debut "Stolen Dance" - which recently surpassed over 1 billion streams on Spotify - gifted Rehbein and Dausch with a platform far beyond what the duo could have imagined. They capitalized on that momentum with their 2014 debut Sadnecessary, which broke them as a global streaming and touring act, and followed that up with 2017's Blossom and 2019's Mind The Moon, which found them taking advantage of new resources to collaborate with heroes like Jack Johnson and Ladysmith Black Mambazo. On their independent debut Living In A Haze, Milky Chance thrive on writing the tightest, most groove-forward alt-pop songs imaginable - and then going back and distorting each sound into it's wildest iteration. Recorded at Jazzanova Recording Studios in Berlin with production help from DECCO, Jonas Holle, Tobias Kuhn, and Dennis Neuer as well as guest appearances from Fatoumata Diawara and Charlotte Cardin, Living In A Haze applies the band's endless musical curiosity to the propulsive logic of the best club music while delivering masterful songcraft. There are sublime moments throughout: Album opener and lead single "Living In A Haze" is an economical haymaker of a track that unfolds with an enigmatic logic, going from elegiac triplet guitar figure to a tight, post-Strokes rhythmic feel that provides the ideal musical metaphor to accompany Rehbein's dreamy delivery. Afrobeat rhythms power both "Flicker In The Dark" and "Feeling For You" - on the first providing a canvas on which to liberally splatter earthy acoustic textures and a cartoonishly colorful guitar solo, on the second lending a swiveling counterpoint to a narcotized vocal. And on "History Of Yesterday," Milky Chance marry a UKG shuffle with sunny atmospherics and cascades of reverberating piano to propel the band's breeziest chorus to date. Living In A Haze vibrates with possibility and passion - it's a thrilling juncture for band as they look forward to a heavy touring schedule in 2023 and beyond.

Alison Goldfrapp has set a towering bar for British synth-pop in the 21st century and she’s only just getting started. The magnetic London-born singer, songwriter and producer’s seven albums with Goldfrapp were fuelled by an unfailing modernity and a sixth sense for sounds that were more timeless than any trend. With the release of her debut solo album The Love Invention—an electrifying dance-pop suite—her multi-faceted musicianship reaches a new peak.

The Love Invention marks Alison’s reawakening as a dancefloor priestess, in an intoxicating showcase of the disco and house influences that have always been at the heart of her musical DNA. “So Hard So Hot” bottles the ephemeral joy of a dancefloor with its anthemic house beat, disco handclaps, and an exquisitely alluring vocal from Alison. The sense of uninhibited liberation courses through album highlights like “In Electric Blue,” a yearning synth-pop confection with a chorus as blissful as love’s first butterflies. On “Never Stop,” she is flooded with the rush of an all-encompassing love over a buoyant, rubberised beat; the sublime synth-pop of “Fever” is an ode to the intoxicating majesty of the dancefloor, with a chorus that explodes as if setting off a glitter cannon.

Ltd. Edition glow in the dark transparent vinyl. Hailing from New York, New Jersey & Pennsylvania, North Eastern U.S.A. Kings Never Die walk the line between positive, uplifting messages and dead serious subject matter. A musical and lyrical mix of hardcore, punk and metal with chat or sing along vocals. In the band's words, "We love making music together and this is what gets spit out". Comprised of members, Dylan Gadino (vocals) Dan Nastasi (guitar/add vocals) Danny Schuler (drums) Larry Nieroda (guitar) & Evan Ivkovich (bass). The original version of the band started working in late 2019 and released an EP "Raise A Glass" in early 2020 right before the covid pandemic, essentially shutting down the rest of it's 20',21' plans. Since the goal had always been to formally release a full-length album, the band used the down time to focus in on writing and recording. The band emerged with some new members and another EP "Good Times and The Bad" in 2022 as a taster while completing their upcoming "All The Rats" debut full length album.

Lukas Nelson & Promise of the Real are back with Sticks and Stones, releasing 7/14 via 6ACE Records / Thirty Tigers. This self-produced, honest and emotional new album highlights Nelson's strength as a songwriter and the band's uncompromising commitment to clarity, compassionate tones, and exceptional melodic moments. Lyrically, Sticks and Stones spans the themes of Drinking, Heartbreak, Love, Lying, Hope, Nature, Self-Reflection, Work-Life Balance, Settling Down, Home, Time, Longing and more.

Avenged Sevenfold’s new album, Life Is But A Dream is a timeless work of art that blurs genres. Best served as a whole and consumed en masse to truly appreciate its musical breadth and sonic depth, it marks their boldest statement and most revolutionary work to date. Written and recorded over the span of 4 years, it was produced by Joe Barresi and Avenged Sevenfold in Los Angeles and mixed by Andy Wallace in the Poconos, PA. Inspired by Albert Camus’ The Stranger, the album is a journey through an existential crisis; a very personal exploration into the meaning, purpose and value of human existence with the anxiety of death always looming. Immerse into this experience…

On the heels of his latest single “Forget Me,” Lewis Capaldi returns with his sophomore album, Broken By Desire To Be Heavenly Sent. It is the follow-up to his debut release, Divinely Uninspired To A Hellish Extent. Indie Exclusive White 180-gram vinyl LP.

A River Running to Your Heart represents the fullest realization of Johnson's creative vision to date. It's a sonically diverse effort that largely explores the importance of what it means to be home, both physically and spiritually. Self-produced by Johnson-a first for Fruit Bats-with Jeremy Harris at Panoramic House just north of San Francisco, A River Running to Your Heart is Fruit Bats' tenth full-length release. The album finds the project in the middle of a people-powered climb leading to the biggest shows, loudest accolades, and most enthusiastic new fans in Fruit Bats history! It's hard to pinpoint a single reason for this mid-career resurgence. But after two decades of making music, hard-earned emotional maturity has clearly seeped into Johnson's already inviting songs, resulting in a sound that's connected with audiences like no other previous version of the band.

Kristian Matsson has never remained in one place for very long. Having spent much of the last decade touring around the world as The Tallest Man on Earth, Matsson has captivated audiences using, as The New York Times describes, “every inch of his long guitar cord to roam the stage: darting around, crouching, stretching, hip-twitching, perching briefly and jittering away...Mr. Matsson is a guitar-slinger rooted in folk, and his songs are troubadour ballads at heart.”

Now, Matsson returns as The Tallest Man on Earth with Henry St., his sixth studio album following 2012’s There’s No Leaving Now, full of “vivid imagery, clever turns-of-phrase, and devastating, world-weary observations” (Under The Radar) and 2015’s Dark Bird Is A Home, his “most personal record... surreal and dreamlike” (Pitchfork). Henry St. notably marks the first time he recorded an album in a band setting. “My entire career I’ve been a DIY person––mostly fueled by the feeling that I didn’t know what I was doing, so I’d just do everything myself.” But now, longing for the energy that’s only released when creating together with others, Matsson invited his friends to come and play.

Nick Sanborn (of Sylvan Esso) produced Henry St., which includes contributions from Ryan Gustafson (of The Dead Tongues) on guitar, lap steel and ukulele, TJ Maiani on drums, CJ Camerieri (of Bon Iver) on trumpet and French horn, Phil Cook on piano and organ, Rob Moose (of Bon Iver, yMusic) on strings and Adam Schatz on saxophone.

Last year’s Big Time brought Angel Olsen to a deeper, truer sense of self than ever before. Borne from the twin stars of grief and love, the album delivered beautiful sense of certainty, the sure-footed sound of an artist fully, finally at home with herself. But within that wisdom comes the realization that there is no finish line, no destination or static end point to life while you’re living it, and Forever Means collects songs from the Big Time sessions that hold this common theme. They are, in Olsen’s words, “in search of something else.”

“I was somewhere traveling,” says Olsen, “stopped for a few days and wandering the city, and I was thinking ‘what does ‘forever’ really mean? What are the things I’m seeking in friendship or love, and how can ‘forever’ be attainable if we’re always changing?’” Sitting with the reality of that entropy, Olsen realized “maybe the secret to ongoing love is to embrace change as part of love itself, that forever must have something to do with playing, looking, constantly searching things out for yourself, never letting yourself think you’re finished learning or exploring.”

Forever, says Olsen, “remains curious while trying also to be kind and honest.”

All this packs into the four precious songs that comprise Forever Means, songs from Olsen’s roads traveled and the ones ahead. “Nothing’s free / like breaking free” Olsen sings, comfortable with the costs of her clarity, her heart and voice fixed on the present, the future, the not-yet-known and the beautifully unknowable.

Closing Time foreshadows the distinctly lyrical storytelling and original blending of jazz, blues, and folk styles that would come to be associated with Waits. It is on this debut album that Waits performs enduring classics of his career “Ol’ 55” (famously covered by the Eagles), the heartbreaking “Martha” and the gentle acoustic folk of “I Hope That I Don’t Fall In Love With You”. Reissued for the first time as a double LP to commemorate the 50th anniversary of the landmark debut with newly half speed mastering at Abbey Road Studios.

3 LP Packaging: 3 LP 180-gram heavy vinyl edition, 20 new songs.

Christine and the Queens presents his new album PARANOÏA, ANGELS, TRUE LOVE. Includes “To be honest” and guest appearances from Madonna and 070 Shake.

The Signals Super Deluxe celebrates 40 years with a brand-new Hugh Syme cover & the 2015 remaster on CD for the first time. The album vinyl was cut for the first time at half-speed via DMM & pressed on 180g black vinyl for optimal vinyl quality with new Hugh Syme art in a premium tip-on jacket. A Blu-ray Audio disc features brand-new immersive Dolby Atmos & 5.1 surround mixes by Richard Chycki, the 2015 48kHz 24-bit stereo remaster, new animated visualizers for each song & 2 bonus music videos for “Subdivisions” and “Countdown”. Bonus items include a 40-page hardcover book with new song illustrations and unreleased photos from the Signals Tour, four 7-inches with new art, three lenticulars that transition from the original black & white band headshots into the original album “Digital Man” color headshots, four Signals Tour band lithos, Hugh’s original album cover sketch litho & a double-sided 24-inch by 24-inch poster featuring Hugh’s new art on one side and an outtake photo from the original album cover shoot on the other side.

Since their 2012 debut, Protomartyr have mastered the art of evoking place: the grinding Midwest humility of their hometown, as well as the x-rayed elucidation of America that comes with their vantage. The group’s sixth album was recorded at Sonic Ranch in Tornillo, TX with producer Jake Aron. “The desert is more of a metaphor or symbol,” singer Joe Casey says, “of emotional deserts, or a place or time that seems to lack life.” The “growth” came from a period of colossal transition for Casey, including the death of his mother. But life does go on, and Casey describes the great theme of Formal Growth In The Desert as an embrace and acknowledgment of that fact: a 12-song testament to “getting on with life,” even when it feels impossibly hard.

Nigerian-American musician, songwriter and producer Joy Oladokun announces her new album, Proof of Life, out April 28, 2023 on Amigo/Verve Forecast/Republic Records. Her third original full-length album vividly captures the human experience with a profound simplicity, celebrating the little details and simple pleasures of being alive, while giving voice to some of life’s most complex experiences in a way only she can. The album boasts feats from Chris Stapleton, Noah Kahan, Mt. Joy and more.

This is the first official release by The Ducks - a short lived group that Neil played with in 1977. The Ducks featured Neil (guitar, harmonica and vocals), Bob Mosely (bass and vocals), Jeff Blackburn (guitar and vocals) and Johnny Craviotto (drums). Mosely was an original member of Bay Area band Moby Grape; Blackburn had previously fronted his own band and co-wrote with Neil the classic track “My My Hey Hey (Out of the Blue)”.
 
The band played several shows in Santa Cruz, CA and other California venues during two months in 1977, and this 3-LP, 2 CD, 25-track live album features highlights from those shows. The set lists were very democratic, with each member of the band taking the lead in turn. 5 Neil Young songs are showcased, including a rocking version of “Mr. Soul”, plus beautiful renditions of “Are You Ready For The Country”, “Little Wing”, “Sail Away” and “Human Highway”. (3 LP, 2 CD)
 
The Ducks:
Neil Young - Guitar, Harmonica & Vocals
Bob Mosley - Bass & Vocals
Jeff Blackburn - Guitar & Vocals
Johnny Craviotto - Drums & Vocals
 
Produced by Tim Mulligan with Jeff Blackburn & Neil Young
 
Live from Santa Cruz, Summer 1977
At The Catalyst, The Crossroads, The Steamship, Veterans Auditorium and Magic Devices Studio
 
Sticker Copy:
Jeff Blackburn
Johnny Craviotto
Bob Mosley
Neil Young
 
25 tracks on 2 CDs (or 3 LPs)
Recorded Live in California, 1977

Neil Young and The Santa Monica Flyers
The Legendary Tonight’s The Night Tour
The Rainbow Theatre - London, England 
November 5, 1973
 
Neil Young and the Santa Monica Flyers (Neil Young, Nils Lofgren, Ben Keith, Billy Talbot, Ralph Molina) played London’s Rainbow Theatre on November 5th, 1973, with the first half of the concert dedicated to Neil Young’s masterpiece album Tonight’s The Night. The intense concert was recorded by Pete Long, and includes riveting versions of the Tonight’s The Night tracks, plus Young classics “Cowgirl In The Sand”, “Don’t Be Denied” and “Flying On The Ground Is Wrong”. (2 LP, 2 CD)

Neil Young - Guitar, Vocals 
 
The Santa Monica Flyers:
Nils Lofgren - lead and rhythm guitars, piano, accordion, vocals
Ben Keith - steel guitar, vocals
Billy Talbot - bass, vocals
Ralph Molina – drums, vocals

Recorded by Pete Long at The Rainbow Theatre, London, November 5, 1973
Mixed and Mastered by The Volume Dealers: Neil Young and Niko Bolas

The third full-length from Olivia Jean, Raving Ghost, is an album populated by mysterious characters in various states of danger: cursed lovers, doomed souls, women deliriously haunted by unseen forces. Over the course of its 12 spellbinding tracks, the Detroit-born singer/songwriter/multi-instrumentalist amplifies that drama with her wildly melodic take on garage-rock, handling each riff with the power and precision she’s previously shown as a member of the Black Belles (and as an in-demand session/touring musician who’s played with legends like Wanda Jackson). A stunning evolution of the retro-surf sound of her past solo work, Raving Ghost ultimately makes for the most magnificently heavy and mesmerizing output yet from an endlessly fascinating artist. 

Ed Sheeran is set to release his new album ‘-‘ (Subtract) - the last in his decade-spanning mathematical album era - on May 5, 2023. An album that revisits Ed’s singer/songwriter roots, and one that was written against a backdrop of personal grief and hope, ‘-’ (Subtract) presents one of the biggest stars on the planet at his most vulnerable and honest.

Stephen Stills is an unyielding force of nature.  

The amount of music pouring out of this man could’ve fueled a half-dozen bands. Following the June 1971 release of his second solo album, Stephen Stills 2, he announced his first solo tour designed to showcase all aspects of the ever-growing artist. Fans who were lucky enough to catch his historic debut trek, dubbed “The Memphis Horns Tour,” were treated to the balladeer, the raving troubadour, the acoustic bluesman, the soul driver, and by far the most passionate music maker offering his goods across the better auditoriums and arenas that summer.  

This previously unissued live album, with performances hand-picked by Stills from his personal archives, was recorded on August 20 and 21, 1971 at The Berkeley Community Theater. This 3,500-seat venue made this one of the most unique and intimate stops on the tour that included his iconic concert at New York’s Madison Square Garden. In many ways, these Northern California shows in Berkeley sound as if Stills is leaving it all on the stage during a hometown gig. 

In addition to The Memphis Horns, Stills is backed by a loyal cast of friends, including his usual steady rhythm section—drummer Dallas Taylor and bassist Calvin “Fuzzy” Samuels—along with keyboardist Paul Harris, guitarist Steve Fromholz, and percussionist Joe Lala. Guesting on both nights of these recordings was David Crosby, singing on his own nautical classic “The Lee Shore,” and the Stills-penned “You Don’t Have To Cry,” a Crosby, Stills & Nash favorite. 

The music on these grooves—timeless and era-defining performances— “Word Game,” “Love The One You’re With,” “Sugar Babe,” “Cherokee,” among others, hasn’t aged a day since they were captured on tape. This album, rather than being an artifact from a bygone era, sparkles and stimulates. It cajoles you into thinking, feeling and—most importantly—moving. This is music that’s been unearthed because it’s simply too good not to be blasting out of cars and exploding from apartment windows and onto the streets.  

Stephen Stills Live At Berkeley 1971 is a cornucopia of priceless sound—and all of it bears the distinct and loving fingerprint of Stephen Stills.

—Howie Edelson, New York City, December 2022

KISS's fifth authorized Soundboard live release is from the November 28, 1984 Animalize Tour show from the Mid-Hudson Civic Arena in Poughkeepsie, NY featuring the only known soundboard recording with Mark St. John. "Young And Wasted" and "Rock And Roll All Nite" are unfortunately incomplete recordings but due to the historical importance of this show with Mark we hope you all rock out to this as hard as we have. Available on 2LP 180G black vinyl.

The Jonas Brothers took the world by storm in 2019 with the surprise release of their critically acclaimed and widely successful single "Sucker" following a six-year hiatus. The triple-platinum single debuted at #1 on Billboard's Hot 100. Their third #1 album ‘Happiness Begins’ went platinum, and they recently celebrated receiving a star on the Hollywood Walk of Fame. Their next album 'The Album' will release on May 12, 2023 and was produced by Jon Bellion.

Completing their seventh studio album was a hard-won victory for The Milk Carton Kids, but I Only See the Moon was worth the effort for Kenneth Pattengale and Joey Ryan. “It feels like returning to something that’s natural and comfortable, and also just as inspiring and new as when we first met,” says Pattengale, who formed The Milk Carton Kids with Ryan in 2011.

What started as a three-week recording session in the fall of 2021, with Pattengale producing the contemporary folk duo himself for the first time, stretched into a monthslong project that found the pair digging deeper into their craft than ever before. With a new studio of their own in Los Angeles and the realization that they were in no hurry, The Milk Carton Kids took the time they needed to be fully satisfied with I Only See the Moon.

“I haven’t been as happy with the collection of songs that we’ve put on record probably since our first record, and it’s because of a lot of the lessons we’ve learned over the years, including giving yourself time and space,” Ryan says.The three-time Grammy nominees sound refreshed on 10 new songs distilled to the essence of The Milk Carton Kids: two voices blended together in spellbinding harmony, accompanied by subtly perfect acoustic instrumentation. Turns out that’s a tough sound to get just right, but I Only See the Moon shows just how much Pattengale and Ryan were willing to work for it. 

With over 12 billion global streams, 4 billion official YouTube views, more than 53 million followers across social media platforms, and 27 million videos posted on socials using her music, Melanie Martinez reemerges with a spellbinding new trailer heralding the arrival of her hugely anticipated new album, PORTALS. 
 
Martinez lifted the curtain on PORTALS earlier this week with an instantly viral TikTok video confirming the death of her notorious alter-ego “Cry Baby,” last seen considering whether to walk into the light at the beguiling conclusion of 2019’s internationally acclaimed full-length film, K-12. Today’s exclusive trailer – directed by Martinez and streaming now - now sees the appearance of a mysterious egg from which an enigmatic figure emerges. 
 
“Portals screams death is life is death is life is death is life. A continuous loop. A circle.” – MELANIE MARTINEZ
 
PORTALS marks the 27-year-old NYC-born singer-songwriter-filmmaker’s first full-length release in nearly four years following her 2 billion-streaming, RIAA Gold-certified second album, K-12, which proved a sensation upon its September 2019 release, entering the Billboard 200 at #3 – Martinez’s highest chart placement thus far – with further debuts at #1 on the Alternative album chart, and #1 on the Soundtrack album chart.

Niall Horan's `The Show' - his third solo album and first since 2020's chart-topping `Heartbreak Weather' - will be released on June 9, 2023. Preceded by its lead single "Heaven," the album matches the pure emotion of his globally beloved past work with a powerful new element of soul-searching reflection. Each vinyl copy of `The Show' includes a randomly selected print of a letter handwritten by Niall about a song from the album.

A Jason Isbell record always lands like a decoder ring in the ears and hearts of his audience, a soundtrack to his world and magically to theirs, too. Weathervanes carries the same revelatory power. This is a storyteller at the peak of his craft, observing his fellow wanderers, looking inside and trying to understand, reducing a universe to four minutes. He shrinks life small enough to name the fear and then strip it away, helping his listeners make sense of how two plus two stops equaling four once you reach a certain age -- and carry a certain amount of scars.

“There is something about boundaries on this record,” Isbell says. “As you mature, you still attempt to keep the ability to love somebody fully and completely while you’re growing into an adult and learning how to love yourself.”

Weathervanes is a collection of grown-up songs: Songs about adult love, about change, about the danger of nostalgia and the interrogation of myths, about cruelty and regret and redemption. Life and death songs played for and by grown ass people. Some will make you cry alone in your car and others will make you sing along with thousands of strangers in a big summer pavilion, united in the great miracle of being alive. The record features the rolling thunder of Isbell’s fearsome 400 Unit, who’ve earned a place in the rock ‘n’ roll cosmos alongside the greatest backing ensembles, as powerful and essential to the storytelling as The E Street Band or the Wailers.

They make a big noise, as Isbell puts it, and he feels so comfortable letting them be a main prism through which much of the world hears his art. He can be private but with them behind him he transforms, and there is a version of himself that can only exist in their presence. When he plays a solo show, he is in charge of the entire complicated juggle. On stage with the 400 Unit, he can be a guitar hero when he wants, and a conductor when he wants, and a smiling fan of the majesty of his bandmates when he wants to hang back and listen to the sound.

Autographed Color LP

“More than anything, I wanted to make an album that was generous, that was useful,” says Ben Folds. “I want you to finish this record with something you didn’t have when you started.” Indeed, Folds’ masterful new collection, What Matters Most, isn’t so much a statement as it is an offering, an open hand reaching out to all those wounded and bewildered by a world that seems to make less and less sense every day. Recorded in East Nashville with co-producer Joe Pisapia, the album marks Folds’ first new studio release in eight years, and it’s a bold, timely, cinematic work, one that examines the tragic and the absurd in equal measure as it reckons with hope and despair, gratitude and loss, identity and perspective. The songs are bittersweet here, hilarious at times, but often laced with a quiet sense of longing and dread: a text message goes unanswered; an old classmate descends into the dark depths of internet conspiracies; a relationship unravels in the middle of a lake. And yet, taken as a whole, the result is an undeniably joyful record that refuses to succumb to the weight of the world around it, an ecstatic reminder of all the beauty and promise hiding in plain sight for anyone willing (and present enough) to recognize their moments as they arrive.

Feist will release Multitudes – the 11-time Juno Award-winning artist’s sixth full-length album and first release since 2017’s critically acclaimed Pleasure – on April 14, 2023 via Interscope Records. Multitudes took shape soon after the birth of Feist’s daughter and the sudden death of her father. Amid meditations on mortality, connection and the frenetic state of the human condition, Multitudes ultimately radiates an ineffable sense of hope. Indie Exclusive Clear LP.

“I was finally able to trust myself fully,” says Indigo De Souza of making her masterful third album All of This Will End. Across 11 its songs, the LP is a raw and radically optimistic work that grapples with mortality, the rejuvenation that community brings, and the importance of centering yourself now. These tracks come from the most resonant moments of her life: childhood memories, collecting herself in parking lots, the ecstatic trips spent wandering Appalachian mountains and southern swamps with friends, and the times she had to stand up for herself. “All of This Will End feels more true to me than anything ever has,” she says.

In many ways, All of This Will End has become a personal motto for Indigo. “Every day I wake up with the thought that this could be the end,” she says. “You could look at it as a sad thing, or you could look at it as a really precious thing: Today I'm alive and at some point, I will not be in this body anymore. But for now, I can do so much with being alive.” There’s a peacefulness in acceptance throughout. As she sings on the title track, “I’m only loving only moving through and trying my best / Sometimes it’s not enough but I’m still real and I forgive.” She describes the experience of writing this song as “magic,” as if everything about it from the words and melody had felt timeless and intangible and that she was just writing it down. Like the hues of reds and oranges that her mother painted on the LP cover, All of This Will End marks a warmer and unmistakably audacious era for her. It’s a statement about fearlessly moving forward from the past into a gratitude-filled present, feeling it all every step of the way, and choosing to embody loving awareness.

Meteora, Linkin Park’s ground-breaking second album, was released in March 2003 and included the global hit singles “Somewhere I Belong”, “Faint”, “Numb”, “Breaking The Habit” and “From The Inside.” It has sold over 8 million copies in the US and has been certified multi-platinum, platinum, or gold in 15 countries. 
 
To mark the 20th anniversary of this landmark release, it is being re-issued in multiple formats: Limited Edition Super Deluxe Box Set, 4 LP Deluxe Vinyl Box, 3-disc Deluxe CD and digital: all containing a wealth of previously unreleased or rare tracks. Among the unreleased tracks are several gems unknown to Linkin Park fans, including “Lost” - a fully realized track from the 2002 album recording sessions featuring stunning vocals from Chester Bennington.
 
The Super Deluxe Box contains 5 LPs, 4 CDs and 3 DVDs:
VINYL: Meteora, Live In Texas – the full concert released on vinyl for the first time, and Live in Nottingham 2003, an unreleased legendary live concert from March 2003. The two live albums on vinyl are exclusive to the Super Deluxe Edition
CD: Meteora, LPU Rarities 2.0, Live Rarities 2003-2004, Lost Demos
DVD: 4 previously unreleased concerts, plus the new “Work In Progress” lifestyle documentary.
The beautifully designed box also includes many exclusive contents: 40-page book with band commentary, 36 x 24 poster, sticker sheet, stencil, and 12 x 12 litho designed by Delta: the renowned street artist featured on the album cover.
 
The 4-LP Deluxe Vinyl Box and 3 CD formats include:  Meteora, plus LPU Rarities 2.0 and Live Rarities 2003-2004 (unavailable on vinyl elsewhere). 

When Paul Janeway learned he was going to be a father he decided to scribe his thoughts (joy, fear, confusion) as messages to his then-unborn daughter. Those letters became Angels in Science Fiction, the stunning fifth album from St. Paul & The Broken Bones. Produced by Matt Ross-Spang at the legendary Sam Phillips Recording Studio in Memphis, it finds the band stretching further out, building on the shadowy psychedelia and intricate, experimental R&B of 2022’s The Alien Coast. Indie Exclusive Black & White LP.

The Valley of Vision is a 27-minute, breakthrough salvo of six songs that finds the band re-inspired once again, & is accompanied by an album length film shot in VR + 3D computed radiography technology. Andy Hull was inspired to start writing the record while rummaging around in his suitcase looking for his lyric notebook & instead found The Valley of Vision, a 1975 book of old Puritan prayers his mom had given to him the previous Christmas. Capital Karma is the first new music from the project.

On Last Man Dancing, Jake Shears turns his lifelong love affair with club culture into his most ambitious pop music to date. The album was brought to vivid life by Jake Shears and a close crew of collaborators, including head-turning features from Kylie Minogue, Jane Fonda, Iggy Pop, Amber Martin, and a pre-Renaissance turn from the iconic Big Freedia.

The time is now for Caroline Rose. Their last record, Superstar, was released on March 6, 2020. The record was critically acclaimed and positioned Rose as the next big breakthrough in music. Needless to say, the resulting pandemic grinded all momentum to a halt while at the same time throwing Rose’s personal life into turmoil. The result of that turmoil is the fuel that fired the creation of their latest album, The Art of Forgetting. With The Art of Forgetting, Rose took on the dual role of writer and producer. The album encapsulates the feeling of experiencing recent memories, having them turn into old ones and then ultimately forgetting those memories altogether. There is a romantic nature within the sonic landscape of this record. Tape effects and loops emulate the feeling of aging while the juxtaposition of modern acoustic-electronic textures, like lo-fi tape next to hi-fi granular synths result in some of their most mature and honest work to date.

Phoenix-based indie punk band, AJJ, is back with their 10th studio album, Disposable Everything. After years of cult-like indie success and underground critical acclaim, AJJ has continued to evolve with each album, adding more layers and texture musically, while still maintaining their trademark wit and irreverent lyricism. Not every band can juxtapose apocalyptic despair with the warm comfort of an electric blanket, while hitting fans with rousing punk anthems one minute, and beautiful acoustic balladry the next. With Disposable Everything, AJJ has created an album that is both important and beautiful, that will make you feel better about everything while telling you just how terrible everything is, and will be sung loudly at shows for years to come.