Sharon Van Etten: Remind Me Tomorrow
Remind Me Tomorrow was written in stolen time. In the four years since Are We There, Van Etten guest-starred in The OA, performed in David Lynch’s Twin Peaks revival, and wrote her first film score and song for TV – for Kathering Dieckmann’s Strange Weather Tig Notaro’s show Tig, respectively. Van Etten also had a child, and began studying psychology. In the scraps of hours between these endeavors, Remind Me Tomorrow was born. Working with producer John Congleton, Remind Me Tomorrow reveals piano keys that churn, deep drones, distinctive sharp drums. Originally a piano ballad, “Comeback Kid” evolved into a dark, menacing anthem. “Seventeen” began as a Lucinda Williams-esque dirge, but winds up a star-spangled nod to Springsteen, exploring gentrification and generational patience. The breadth of Van Etten’s new passions have inflected Remind Me Tomorrow with a wise, warped-time perspective. She explains, “I want to be a mom, a singer, an actress, go to school, but yeah, I have a stain on my shirt, oatmeal in my hair. I feel like a mess, but I’m here. Doing it. This record is about pursuing your passions.” This is Remind Me Tomorrow, fusing a pained attentive realism and radiant lightness about new loves.
Guster: Look Alive
Look Alive – Guster’s first new album in four years – was produced by Leo Abrahams (Regina Spektor, Brian Eno/David Byrne, Belle and Sebastian) and recorded in a vintage keyboard museum in Calgary, AB, with additional sessions helmed by John Congleton (St. Vincent, Alvvays) and Collin DuPuis (Angel Olsen, Lana Del Rey). It captures the group – Adam Gardner, Ryan Miller, Luke Reynolds, and Brian Rosenworcel – at an inspired moment, creating the most layered, moody and brilliantly unpredictable music of their storied career. Perhaps it was the 30 degree below zero weather that inspired Abrahams to encourage Guster to embrace “cold sounds” during the making of Look Alive. The album’s title track opens with a stark, haunting synth refrain and veers in unexpected directions from there. “Despite having access to room after room of well-maintained analog keys, Leo gravitated to a cheap Ensoniq Mirage synth from the 1980’s,” recalls Rosenworcel. “It was the beginning of a stylistic clash that played out beautifully.”
Deerhunter: Why Hasn’t Everything Already Disappeared?
Deerhunter’s eighth LP forgets the questions and makes up unrelated answers. It gets up, walks around, it records itself in several strategic geographic points across North America. It comes home, restructures itself and goes back to bed to avoid the bad news. From the opening harpsichord and piano figures of “Death in Midsummer,” it is impossible to tell where the record came from. Is “No One’s Sleeping” an outtake of an aborted Kinks recording session in 1977 Berlin with Eno producing? No. That is nostalgia. If there is one thing Deerhunter are making clear it is that they have exhausted themselves with that toxic concept.
Malibu Ken with Aesop Rock
Aesop Rock has been credited as one of the most verbose MC’s in hip-hop today. Known for his dense and abstract wordplay, he manipulates language to illustrate elaborate stories and difficult concepts with sharp clarity. Tobacco is a member of psych-electronic band Black Moth Super Rainbow. Known for working with pre-digital electronic instruments like analog synths and tape machines, he crafts distorted, experimentalist beats that intertwine feelings of tension and anxiety with sensations of bemusement and pleasure.
Backstreet Boys: DNA
DNA is the ninth studio album by the Backstreet Boys. The album features tracks written by Lauv, Andy Grammer, and Stuart Crichton. It was preceded by the singles “Don’t Go Breaking My Heart” and “Chances”. The album is their first on Sony Music Entertainment since In a World Like This (2013) which was released independently through BMG. Band member Kevin Richardson said of the album: “We were able to bring all of our influences and styles into one coherent piece of work. These songs are a great representation of who we are as individuals and who we are as a group. It’s our DNA. We’re really proud of that.”
Linda Ronstadt First LIVE album
LIVE IN HOLLYWOOD features amazing performances from a concert that Ronstadt recorded in 1980 for her acclaimed HBO television special. Recorded on April 24, 1980 at Television Center Studios in Hollywood, and produced by John Boylan, the concert captures Ronstadt at the peak of her reign as America’s most popular female rock singer. For LIVE IN HOLLYWOOD, Ronstadt selected 12 of her favorite performances from the original concert.
New Santana !
In Search of Mona Lisa is a 2019 five-track EP from the legendary Santana. It was inspired by Carlos Santana’s interaction with the Mona Lisa painting at the Louvre in Paris, France. The EP was produced by Narada Michael Walden and Carlos Santana.
Walter Trout: Survivor Blues
Walter Trout is no ordinary artist. Survivor Blues is no ordinary covers album. From the day he conceived the project to the moment he counted off the first song in the studio, Walter Trout had a bolder plan for Survivor Blues. “I’m riding in my car sometimes,” says the US blues titan. “I’ve got a blues station on – and here’s another band doing Got My Mojo Workin’. And there’s a little voice in me that says, ‘Does the world need another version of that song?’ So I came up with an idea. I didn’t want to do Stormy Monday or Messin’ With The Kid. I didn’t want to do the blues greatest hits. I wanted to do old, obscure songs that have hardly been covered. And that’s how Survivor Blues started…”
Sneaks: Highway Hypnosis
Just as she takes up space in the male-dominated Baltimore-Washington metropolitan area punk scene, Sneaks – AKA Eva Moolchan – takes up space among the patriarchy. Highway Hypnosis, plays on hip-hop, post-punk, and invented words to fill a gap between the feminist underground and genre-specific singles charts. Through it, Moolchan joins the resistance forged by queer black feminists who create, explore, empower, conquer, and play bass.
Mike Krol: Power Chords
Power Chords picks up where 2015’s Turkey left off. It traces Krol’s journey back to punk rock, harnessing both the guitar technique and the musical redemption referenced in it’s title. He’s wielding the same influences-Misfits, The Strokes, early Weezer, Ramones-but turning up the gravity and the gain. Indeed, Krol has gone somewhere new; yes, he bludgeoned himself with over-analysis and self-loathing, but along the way he stumbled upon a trove of intricate guitar lines and artfully mutating melodies. Music ruined Krol’s life. And then saved it. In chronicling that process, Krol has made his best record-painful, voyeuristic, and angry, but ultimately transcendent and timeless. It is the sound of Krol giving in to a force greater than himself, as though the chords are playing him rather than the other way around.
Steve Hackett: At The Edge of Night
At the Edge of Light is the twenty-fifth studio album by English guitarist and songwriter Steve Hackett. It is the successor to 2017’s much acclaimed The Night Siren features 10 new tracks uniting a vast amount of styles ranging from guitar driven rock to epic orchestration, from world music to the reflective and atmospheric, all brought together in Hackett’s unique style. Steve Hackett will present the album live as part of his massive 2019 Genesis Revisited Tour celebrating ‘Selling England By The Pound’ and his own classic ‘Spectral Mornings’.
Gallipoli, Beirut’s fifth album, started life when Zach Condon returned to his old Farfisa organ, the same one he used to write his first two albums, Gulag Orkestar (2006) and The Flying Club Cup (2007). After stints writing and recording in both New York and Berlin, with time for Zach to recover from a broken arm factored in, band plus producer Gabe Wax (Speedy Ortiz, Soccer Mommy, Adrianne Lenker/Big Thief) headed to Puglia in Italy to finish the album. With the remote rural setting “the right amount of isolated”, an intense month of 12 to 16-hour days in the studio with day trips around the coastline followed. Inspired by the surroundings, Gallipoli is unintentionally more visceral than Beirut’s more recent albums, alive with an energy that is further enhanced by every creak and groan of their instruments, every detuned note, and all amp buzz and technical malfunction being left in the cracks of the songs.
Mandolin Orange: Tides of a Teardrop
Mandolin Orange’s music radiates a mysterious warmth —their songs feel like whispered secrets, one hand cupped to your ear. The North Carolina duo have built a steady and growing fanbase with this kind of intimacy, and on Tides of A Teardrop, due out February 1, it is more potent than ever.
By all accounts, it is the duo’s fullest, richest, and most personal effort. You can hear the air between them—the taut space of shared understanding, as palpable as a magnetic field, that makes their music sound like two halves of an endlessly completing thought. Singer-songwriter Andrew Marlin and multi-instrumentalist Emily Frantz have honed this lamp glow intimacy for years.
The Tides Of A Teardrop First Edition includes a bonus EP featuring 4 traditional cover songs. CD packaging is double CD. LP packaging is double LP and features blue vinyl.