James Brandon Lewis is a New York-based jazz tenor saxophonist, composer,�and bandleader. His instrumental voice marries the emotional power of gospel�and the grit and groove of blues and R&B to the modal and vanguard influences of Albert Ayler and John Coltrane, and Sonny Rollins� expressive melodic�and tonal discipline. Moments, his 2010 debut, was followed by two outings�for Sony Masterworks� revived OKeh imprint: Divine Travels in 2014 and the�widely celebrated Days of Freeman the following year. After working American�stages and clubs, he toured European and Asian festivals. Radiant Imprints,�a duo outing with drummer Chad Taylor, appeared in 2018 and was followed�by the quintet offering An UnRuly Manifesto a year later. In 2021, after he was�selected as the �Rising Star Tenor Saxophonist� in the Downbeat International�Critics Poll, Lewis issued The Jesup Wagon, his debut for Tao Forms.

Along the way, Lewis drew the attention of many improvising artists, most notably the saxophonist and jazz deity Sonny Rollins, who doesn�t offer effusive�praise very often. Moved by Lewis� deep, spirit-seeking sound, Rollins said��When I listen to you, I listen to Buddha, I listen to Confucius ... I listen to the�deeper meaning of life. You are keeping the world in balance.�

Eye of I opens with 44 seconds of gritty, high-throttling low-down groove, an�ear pulverizing opening designed to cleanse all traces of ordinary from the�palette. From there, Lewis offers a prayerful cover of Donnie Hathaway�s��Someday We�ll All Be Free� and then the first of his disarmingly addictive�originals, �The Blues Still Blossoms� in addition to many others.

2023 release. Syml's music has a sacred quality. The solo venture of Seattle artist Brian Fennell, it's themes tap into the instincts that drive us to places of sanctuary, whether that be a place or person. "It comes back to your identity of being human; throughout time we've shared the same drive," he explains. His own upbringing - interwoven with experiences of abandonment, adoption, loss, grief and love - is what drives him to question how connections between people shape us as individuals. The Day My Father Died is an exceptional record. Over 15 songs, Syml offers a profound exploration of the ways in which our lives intertwine. Throughout the album, Syml weaves in familiar iconography as a means of examining his feelings towards others, and about himself.

Joe Chambers, Andres Vial and the Montreal-based musicians on the Dance Kobina have a shared interest in exploring the deep musical connection between jazz, Latin and African music. Vial's original composition Dance Kobina, draws specific inspiration from African-American, Brazilian, Argentinian and Central African music. Originally lacking a title, Chambers suggested Dance Kobina as the name for the piece because of its uplifting, dancing quality.

Marvin Gaye performs a hit-laden set at a sold-out show at the Edenhalle Concert Hall in Amsterdam during his first tour of Europe in 1976. The concert features a number of classics, including "What's Going On," "I Heard It Through The Grapevine," "Ain't No Mountain High Enough," "Let's Get It On," and many more. Originally released on DVD, this is the first time the audio is being made available on CD.

With One Day, Fucked Up have delivered one of the most energizing and intricate�albums of their career, a massive-sounding record that arrives in deceptively small�confines. The Canadian hardcore legends have been known for their epic scale in the�past, so it might be a surprise that Fucked Up�s sixth studio album is their shortest to�date, written and recorded in the confines of one literal day (hence the title). Don�t�mistake size for substance, though: The band�s sound has only gotten bigger, more�hard-charging, with even denser thickets of melody.�

�I wanted to see what I could record in literally one day.� That singular idea came�to mind for guitarist Mike Haliechuk in the closing months of 2019. Haliechuk got�himself into a studio and proceeded to write and record the record�s ten tracks over�three eight-hour sessions, reconnecting with the core the band�s songwriting essence�in the process.�

Initially, Fucked Up vocalist Damian Abraham was also set to complete his vocals in�similar fashion�that is, before the lockdowns of 2020 took place. As it turns out,�the isolation yielded creative dividends, as Abraham returned to contributing lyrics�as well for the first time since 2014�s Glass Boys. �It almost felt like it might be the�last time I�d ever get to record vocals for anything,� Abraham says of the stakes he�felt while putting his part to tape, before reflecting on how he approached the lyrical�process: �What do I want to say to friends who aren�t here anymore? What do I want�to say to myself?��

Over swarms of tuneful noise that evoke Sonic Youth circa Daydream Nation,�Abraham lets loose on gentrification in �Lords of Kensington,� which was inspired�by an �incredible� Toronto neighborhood that was regularly subject to life-ruining�police surveillance and structural violence. �The police chief during that era�he just�opened a cannabis store,� Abraham explains. �It�s so cynical and gross, what society�has come to�but by being in a band, we�re culpable in changing the neighborhood,�too, since the punk spaces and cool happenings that pop up are part of�gentrification. Are you building a culture? Or are you ruining something that�s already�been there?��

Then there�s the dusky burn of �Cicada,� a sonic cousin to Dose Your Dreams��excellent standout �The One I Want Will Come for Me� that features Haliechuk�taking lead-vocal duty. The song is dedicated to lost friends, and in his words, it�s�about �what life is like after you lose people, and our responsibility to carry them�forward into the future, using the things they taught us as a light. I like to imagine the�sound of cicadas as a metaphor for our strange life in the subculture�we all just live�these weird little hidden lives under the dirt, and then once in a generation, one of�us gets to bust out of the dirt and intone their song so loud that it can be heard all�over.�

One Day is an undeniable work of confidence from a band that continues to operate�at the top of their game, making music that�s guaranteed to last a lifetime and beyond.

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape-at times calm, at times turbulent, and ever changing? H.C. McEntire's new album Every Acre grapples with those themes-themes that encompass grief, loss, and links to land and loved ones. And naming-claiming land, claiming self, being claimed by ancestry and heritage-permeates the hauntingly beautiful landscape that is this poignant collection of songs.

The first solo album from Kenny Beats is a spontaneous burst of creativity spurred by an avalanche of despair and imagination. Only after sharing it with a few close friends - who mentioned the elegiac pathos it evoked - did Kenny become convinced to release it for public consumption. Just 17 songs and 33 minutes, LOUIE is a hypnotic odyssey of wounded, teardrop soul. LOUIE presents a side of Kenny, best known for producing seminal full-length albums for some of the world's most exciting artists (Vince Staples, IDLES, Rico Nasty, Freddie Gibbs, Dominic Fike, and many more) that has not been seen by the world before. Charismatic, self-effacing and generous, the album reveals the duality of the artist -an enigmatic, introspective searcher who has experienced pain and duress, and alchemized it via looped samples and hypnotic drum patterns. LOUIE gives testament to our most personal thoughts, recollections and stories. It is an intimate and personal gift that achieves the rarest condition -a sense of the universal.

Elle King can do many things, ranging from exuberant alternative/punk to soul pop. She�s also been a compelling presence in country music; winning both Country Music Association and Academy of Country Music Awards and breaking the 30 year old, glass-ceiling record for women on the radio charts with the lead single �Drunk (And I Don�t Want To Go Home).��She�s collaborated with Dierks Bentley, Miranda Lambert, Ashley McBryde and been on tour with Chris Stapleton for the better part of 2022; it�s been an unbridled love fest with Nashville�s music community.

Now she makes it country music official with�Come Get Your Wife, a dozen glorious tracks that run a gauntlet of styles and attitudes leaving King�s roots showing. �Set for release on Jan. 27, the quadruple Grammy nominee co-produced the album with award winning songwriter Ross Copperman and the result is a collection that moves through all the topics. From being a hot mess, a glorious excess and a woman coming into her own, King has created a very real, small-town frayed at the edges but solid at core missal.

Elle King, singular, swaggering, sardonic, is a musically and personally fearless woman.�With�Come Get Your Wife, she sharpens her gaze, digs into her roots, puts her banjo front and center and creates a record that�s as alive and electric as she is. Taking all the pieces � the rock, soul, (blue)grass and country that she loves � she�s made an album that demands your attention, then delivers on all cylinders.

�There�s something about how you put the pieces together,� King offers of her first true country project. �This whole album is a crazy quilt of all sorts of moments and things that might not seem to go together, but because they�re me, they do. It�s very Southern Ohio, very who we are � and very much a lot of people who are just like me, because I know they�re out there.�

Illiterate Light thrives on subverting expectations. Though just a duo, the Harrisonburg, Virginia-based singer-guitarist Jeff Gorman along with Nashville, Tennessee-based drummer Jake Cochran make surprisingly pummeling and thoughtful alternative rock. Since the band�s 2015 inception, they�ve intently focused on their unorthodox live show with Cochran standing behind his kit and Gorman playing synth bass with his foot as he sings and strums his guitar. Fiercely egalitarian and independent, the two not only split up songwriting duties and arrangement ideas, they even built bike-powered stages: bringing the fans into the live experience and envisioning a greener future for shows.

But with their latest album Sunburned, out January 27 via Thirty Tigers, Gorman and Cochran have turned their attention inward to their songwriting and studio craft. It�s their most fully-realized and ambitious LP yet, one that�s full of immediate songs that update and revolutionize the band�s approach to making music. There are rich keyboard and programmed percussion textures now populating their songs, as well as soaringly anthemic choruses, and hefty doses of fuzz. �On our first record, we were very live-focused and wanted to make sure whatever we were writing was translated in person,� says Gorman. �Without that crutch, we could be more adventurous and take more risks. We definitely weren�t timid in the studio.��

As their writing started, Gorman�s father died after a years-long battle with multiple system atrophy (MSA). While his grief was devastating and palpable, it also gave him clarity and newfound motivation. �These songs aren't about my dad dying but there�s been such a shift in my own life that my own writing took on a certain fearlessness,� says Gorman. �I saw the thin veil between life and death and I realized there's nothing to be afraid of anymore. I wanted to embrace the things I love and the weird things that'll come to us in life. My grief found its way into the record, sonically and emotionally, but not topically.��

The songs on Sunburned find their resonance in dichotomies, the connection between light and dark, life and death, and heaven and hell. Gorman and Cochran work best in contradictions, gray areas, and difficult questions that don�t have easy answers. On single �Fuck LA,� what looks like a kiss-off to a major city is actually an anthem for the homesick as Gorman sings, �Wherever you are / Fuck that place / And come back home.� Meanwhile, �Feb 1st� captures the other side of the coin: the desperation of being stir-crazy cooped up at home. Gorman snarls, �So take me somewhere I�m a stranger / Yeah take me back to Santa Fe / And show me faces unfamiliar / Yeah show me somebody like you.��

Sunburned is an album for searchers, the people who channel the darkest energy into something healing and positive. Even on songs like the adventurous and experimental �Hellraiser,� which takes on a menacing undertone in its lyrics, Illiterate Light presents it in a way that�s universal and inviting. �This record was all about chasing a gut feeling and going for songs that had more depth and darkness and pain,� says Gorman. �We'd rather share what we're really going through and let that come out.�

2023 release. "Every year, about 6 weeks before Valentine's Day, I make the following post on social media: 'If you send me the name of your Valentine, and the reason you love them, I'll write a song for them on your behalf.' That is how Dream House was born, 3 years ago. Over the past three years, I have received over 300 requests from fans to write songs for their loved ones. All of the songs on Dream House come from this project, some of them have been reworked to speak more to the artist's life, others have remained exactly as they were first written. Ultimately, this is an album about caring for others, and the way we express it."

There�s a line on Honey, the latest album from Nashville-via-NYC songwriter Samia, about Aspen Grove, a collection of 40,000 trees in the plains of North America, all connected by a single expansive root system. There�s no stronger metaphor for the audience the 25-year-old empathy engine has been generating since she began releasing music seven years ago. Her songs, her fans, her friends: one enormous, interconnected ecosystem. Honey, comprised of eleven new moments of catharsis, is by and for that organism. Set for release on January 23rd 2023 via Grand Jury Music, the album was recorded at North Carolina studio Betty�s �- owned and operated by Sylvan Esso�s Nick Sandborn and Amelia Meath, frequent touring partners of Samia�s. It was produced by Caleb Wright, part of the team that helmed Samia�s breakthrough 2020 debut The Baby, and a founding member of one of Samia�s favorite bands, The Happy Children. It features some of her nearest and dearest friends: Christian Lee Hutson, Briston Maroney, Jake Luppen, Raffaella. Its songs were surreptitiously road tested for her devotees while opening for Lucy Dacus, Courtney Barnett, and more. The end result is what Samia calls simply �a real community record.�

Digitally remastered reissue of the iconic American rock band's 1980 album.

In 2015, Dan Auerbach entered the studio with Leon Michels, Nick Movshon, Homer Steinweiss, and the late Richard Swift (who passed away in 2018) to record The Arcs' debut album Yours, Dreamily in a handful of freewheeling sessions over two weeks. Now, more than 7 years later, those same sessions became the bedrock on which the surviving members fleshed out the anticipated follow-up album, Electrophonic Chronic, a collection of psychedelic rock, gritty funk, and heady, soulful grooves.

RIAA multi-platinum certified global pop sensation Ava Max is celebrating her newest single �Maybe You�re The Problem�. Along with delivering the debut national television performance of her upbeat and confident new single, Ava gave the exclusive announcement that her sophomore album, DIAMONDS AND DANCEFLOORS, is coming October 14thThe announcement comes hot on the heels of the recent RIAA Platinum certification of her debut album HEAVEN & HELL, featuring smash hits such as the newly 4x Platinum �Sweet but Psycho,� 2x Platinum �Kings & Queens,� and Platinum �My Head & My Heart.� �Maybe You�re The Problem� offers the first preview of Ava�s fiercely personal upcoming album and is available now.

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

Following the global success of the unstoppable single �Unholy� featuring pop diva Kim Petras, Sam Smith will be releasing their fourth studio album, Gloria, on January 27, 2023. The 13-track record will be Sam�s boldest statement yet and comes off the back of an undeniable run of success with the lead single from the album.

Ella Fitzgerald's Live At Montreux 1969 features the First Lady of Song backed by the Tommy Flanagan Trio performing a set combining contemporary tracks, such as "Sunshine Of Your Love" and "Hey Jude" alongside classics like "I Won't Dance," "That Old Black Magic," and a host of others. Available on CD for the first time.

The Murder Capital�s second studio album Gigi�s Recovery, produced by John Congleton, will be released on January 20, 2023 via Human Season Records. The CD will be housed in a printed inner sleeve in a recycled wallet-style jacket. Painting by Peter Doyle and designed by Aidan Cochrane.

The Bad Ends are a band of veteran musicians from Athens, GA featuring Bill Berry (R.E.M), Mike Manitone (Five Eight) Christian Lopez (Curly Maple) Geoff Melkonian (Josh Joplin Group) and local guitar-shop-owner, Dave Domizi. Their New West Records debut, The Power And The Glory, was recorded at the legendary local studio, Espresso Machine, and features guitar driven songs like ""Mile Marker 29,"" ""Thanksgiving 1915,"" and ""Honestly."" An immediate classic referencing the best of early 90s college rock. Athens, GA to the max.

Rush! Is the latest full length from global sensation, M�neskin.� The band is a critically acclaimed four-piece-rock band that began busking on the streets of Rome as teenagers, and now just a few years later, are a razor tight group of captivating musicians widely hailed for being at the forefront of driving a worldwide resurgence of Rock music. Rush! contains the track �Kools Kids� that was recently debuted live along with �The Loneliest,� the band�s latest global-smash-in-waiting, an ode to classic old-school rock ballads.

2023 release, the first album in 10 years from the country music singer/songwriter.

2023 release. Overall, it's yet another mostly remarkable album from Walker but there are admittedly a couple of weaker tracks here - specifically the duet "Stateline Fireworks," which seems a little out of place here and the plodding "Slow Leak," which kills a little of the momentum here. The set, complete with a "tip your waitstaff" intro is meant to sound like the live soundtrack to a piano player club act, includes a 45 second bar fight to split up the album (aptly titled "Bar Fight"). All momentum is quickly brough back up to speed on the rambunctious "Tell Me I'm Pretty (Bethamphetamine Pt. 2)" one of the few guitar-heavy tracks here. And as fun as raucous moments like that are, it's a song like "Holy Water Hangover," the first single and easily one of the most addictively catchy songs Walker has ever written, that makes this album a need to own.

While Black influences are inextricably intertwined with the formation of the genre, there is a very short list of Black country performers who made a splash on the national charts or the public consciousness in the 20th century. After winning the 1974 "Trucker's Jamboree" at the Hollywood Palladium, Inglewood California firefighter Howdy Glenn began a recording career that not only gained him regional hits on an independent label, but found him appearing to rapturous crowds whenever and wherever he performed live. After singing at the Academy of Country Music's general meeting, he was signed to Warner Bros. Records by Andy Wickham (who had also signed Joni Mitchell, Gram Parsons, Emmylou Harris, Buck Owens, and more). Warner Bros. Released his first Wickham-produced single in 1977. His second, a cover of Willie Nelson's "Touch Me," spent six weeks on the charts. Glenn headlined at Gilley's in Pasadena, Texas, and found himself nominated for the ACM's Top New Male Vocalist award. It appeared as though country music had a possible new star on the rise. But, as happens inexplicably for some artists, after a few singles, and more material left in the can, a new album from "The Singing Fireman" (as he was dubbed by Warner Bros.) never materialized. Glenn's early singles were compiled on the Indian Head label LP I Can Almost See Houston, and he recorded another single, released on his own Fire Records imprint. Both failed to land further success, and Glenn continued on with his career in firefighting. I Can Almost See Houston: The Complete Howdy Glenn collects all the recordings and reexamines the importance and legacy of Howdy Glenn. Containing all 8 of his singles, plus 6 newly mixed, previously unissued tracks from the Warner Bros. #vaults, plus an outtake from his Fire Records sessions, this 23-track collection was Produced for release by Grammy� nominee Scott B. Bomar (The Bakersfield Sound) and Grammy� winner Cheryl Pawelski (Hank Williams - The Garden Spot Programs, 1950). With Restoration and Mastering by Grammy� winner Michael Graves, the packaging contains photos, ephemera, and new liner notes from Bomar, outlining not only a brief history of Black artists in country music, but Howdy Glenn's rightful place in the story.

Beauty, disposability and fragility of the culture that surrounds us, and the exhilaration of freeing yourself from those structures� these are the themes Ladytron return to on Time�s�Arrow, their seventh album.

Driven by analogue synths, distorted chimes and hallucinogenic soundscapes, Ladytron crash-landed into electroclash at the turn of the century, using the dancefloor as a bridgehead�to the collective unconscious. �On Time�s Arrow the group add new richness, distant shimmers and a shoegaze-adjacent glow with Helen Marnie and Mira Aroyo�s trademark�understated voices now inhabiting a space somewhere between cloudscape and dream.