Alternative

Known for their explorative and restless sound, taking influence from old style rock like The Beatles, The Rolling Stones, Neil Young and Pink Floyd as well as from electronica and hip hop, each of Radiohead's albums marks a cornerstone in their musical evolution. Debut Pablo Honey (1993) was their answer to grunge while follow-up albums The Bends (1995) and OK Computer (1997) offered atmospheric, almost avant-garde tones.

With the near impossible task of following up their critically acclaimed masterpiece OK Computer, Radiohead took another bold leap at the turn of the millennium with 2000's Kid A, an experimental album built largely around the union of electronica and mood. Musically, Kid A is as accomplished as anything Radiohead has ever produced and it's overflowing with eye-opening musical mosaics which are absolutely stunning in their insight and beauty.

Kid A initially proved to be controversial as critics labeled the mixture of electronic beats, jazz horns and strings as "difficult" but tracks like the soaring "Optimistic" kept fans loyal and saw Radiohead crowned as masters of composition. A left-field hit, Kid A was eventually nominated for a Grammy for Album of the Year and won for Best Alternative Album.

LP1

1. Everything in its Right Place
2. Kid A
3. The National Anthem
4. How to Disappear Completely
5. Treefingers

LP2

1. Optimistic
2. In Limbo
3. Idioteque
4. Morning Bell
5. Motion Picture Soundtrack

Compact Disc SHED sees the band implementing various subgenres that range from old-school hardcore to aggressive punk rock that make these twelve energetic anthems instant classics for a new generation of listeners searching for music that inspires them as much as Title Fight were inspired by their heroes. This highly anticipated debut full-length was produced by Gorilla Biscuits/ Quicksand guitarist Walter Schreifels. 1 Coxton Yard 2 Shed 3 Flood of '72 4 Society 5 You Can't Say Kingston Doesn't Love You 6 Crescent-Shaped Depression 7 Safe in Your Skin 8 Where Am I? 9 Your Screen Door 10 27 11 Stab 12 GMT (Greenwich Mean Time) 13 GMT (Greenwich Mean Time)

The Strokes First Impressions of Earth on LP

Their prospects dangerously over-inflated by pundits who often hailed their debut as nothing short of rock-messianic, New York City's Strokes got a lesson in cynical rock-press dynamics when their biz-troubled, if similarly toned, 2003 sophomore set was dutifully dismissed as the proverbial sophomore slump. A lesser band might have been chastened by the experience; this one responded with a third album that positively bristles with energetic challenges. Revolving around a loose concept that allows songwriter/frontman Julian Casablancas to adopt a viewpoint that's as detached as it is world-weary and bemused, it's a record that quickly trades the often precious production conceits of its forebears for a muscular confidence that's notable from the infectious, back-to-the-80s opener 'You Only Live Once' to its perfect bookend 'Red Light.'

That often inviting sonic remodeling may come in part from Bangles/Sublime/Sugar Ray producer David Kahne (who replaces previous collaborator Gordon Raphael on all but a handful of cuts), but the band clearly has expansiveness on its mind, from a running length nearly twice its predecessors to such stylistic excursions as the cinematic, back-to-the-future riffing of the single 'Juicebox,' the spare, electro-baroque moodiness of 'Ask Me Anything,' and the dense, surprising prog flirtations of 'Electrocityscape.' 'On the Other Side' finds Casablancas convincingly casting himself as the anti-Bono while crooning 'I hate them, I hate them all, I hate myself for hating them' before chiding humanity as 'seven billion people who've got nothing to say' on the otherwise upbeat closer, 'Red Light.' 

The Strokes First Impressions of Earth Track Listing:

1. You Only Live Once      
2. Juicebox      
3. Heart In A Cage      
4. Razorblade      
5. On The Other Side      
6. Vision Of Division      
7. Ask Me Anything      
8. Electricityscape      
9. Killing Lies      
10. Fear Of Sleep      
11. 15 Minutes      
12. Ize Of The World      
13. Evening Sun      
14. Red Light      

Mitski warmly recalls a quote from sculptor El Anatsui, "Art grows out of each particular situation, and I believe that artists are better off working with whatever their environment throws up." With this nerve exposed lyrically, and having dived into her new beginning, Mitski chooses her 2014 breakthrough album Bury Me at Makeout Creek to explore uncharted sonic territory, trading in large string arrangements for guitar and bass. While studying composition at SUNY Purchase's music conservatory, she previously recorded music with a full orchestra. However as college graduation inched closer, Mitski moved away from the concert hall and into the campus' active DIY scene. Upon relocating to New York following graduation, she entered stages at Death By Audio, Silent Barn, and Bed Stuy basements, entrenching her songs of love, fear, lust, and brilliant clarity into entirely sympathetic ears.

Since releasing Bury Me at Makeout Creek, Mitski has received international acclaim for her distinct, arresting sound and profoundly reflective lyrics. Pitchfork applauded the release as "inventive and resourceful," while Rolling Stone celebrated her "deep-cutting lyrics." NME said of Bury Me, "it's a record that doesn't tug at your heart-strings as much as it mercilessly pounds at them, taking to your emotions like a lead pipe to a piñata." She has also received widespread attention for her "cathartic" live shows as dubbed by The New York Times' Jon Caramanica. "I was so young when I behaved 25," Mitski sings on "First Love / Late Spring," "yet now I find I've grown into a tall child." This veritable thesis speaks to sentiments of the poetry and beauty of struggling up the hill to adulthood.

Mitski follows El Anatsui's humbling advice, cathartically revealing snapshots from her adventures in youth, and the empowerment found in sharing these stories with others.

Tracks

1. Texas Reznikoff
2. Townie
3. First Love / Late Spring
4. Francis Forever
5. I Don't Smoke
6. Jobless Monday
7. Drunk Walk Home
8. I Will
9. Carry Me Out
10. Last Words of a Shooting Star

Compact Disc

Arctic Monkeys release their highly anticipated fifth album, entitled AM. AM was produced by James Ford and co-produced by Ross Orton at Sage & Sound Recording, LA and Rancho de la Luna, Joshua Tree. The album features 11 new songs and the Record Store Day single "R U Mine?". Josh Homme, Pete Thomas and Bill Ryder-Jones all make guest appearances on AM as do the words of poet John Cooper Clarke, on the breakout single "I Wanna Be Yours."

• 1 Do I Wanna Know?
• 2 R U Mine?
• 3 One for the Road
• 4 Arabella
• 5 I Want It All
• 6 No. 1 Party Anthem
• 7 Mad Sounds
• 8 Fireside
• 9 Why'd You Only Call Me When You're High?
• 10 Snap Out of It
• 11 Knee Socks
• 12 I Wanna Be Yours

Compact Disc

This Las Vegas band strives to create a unique sound by blending melody-driven rock with dance. This is a rock record you can dance to; that's fun and sincere at the same time. Think the Faint meets Postal Service with all the pop sensibilities of Blink 182.

• 1 Introduction
• 2 The Only Difference Between Martyrdom and Suicide Is Press Coverage
• 3 London Beckoned Songs About Money Written By Machines
• 4 Nails for Breakfast, Tacks for Snacks
• 5 Camisado
• 6 Time to Dance
• 7 Lying Is the Most Fun a Girl Can Have Without Taking Her Clothes Off
• 8 Intermission
• 9 But It's Better If You Do
• 10 I Write Sins Not Tragedies
• 11 I Constantly Thank God for Esteban
• 12 There's a Good Reason These Tables Are Numbered Honey, You Just Haven't Thought of It Yet
• 13 Build God, Then We'll Talk

The Jaws Of Life [LP] - Pierce the Veil debuted atop Billboard's Top Rock Albums, Alternative Albums, and Hard Rock Albums charts twice - first with Collide with the Sky (2012) and it's follow-up, Misadventures (2016). A decade after it's release, the already platinum "King for a Day" shot to No. 1 on Billboard's Hard Rock Streaming chart, driven by the viral #KingForADay hashtag on TikTok. Even with two gold singles; a gold album; 2022 could be their biggest year. Because this is the year of The Jaws of Life.

• - Disc 1 -
• 1 Death of An Executioner
• 2 Pass the Nirvana
• 3 Even When I'm Not with You
• 4 Emergency Contact
• 5 Flawless Execution
• 6 The Jaws of Life
• - Disc 2 -
• 1 Damn the Man, Save the Empire
• 2 Resilience
• 3 Irrational Fears [Interlude]
• 4 Shared Trauma
• 5 So Far, So Fake
• 6 12 Fractures

Ask Mitski Miyawaki about happiness and she'll warn you: "Happiness fucks you." It's a lesson that's been writ large into the New Yorker's gritty, outsider-indie for years, but never so powerfully as on her newest album, Puberty 2. "Happiness is up, sadness is down, but one's almost more destructive than the other," she says. "When you realize you can't have one without the other, it's possible to spend periods of happiness just waiting for that other wave." On Puberty 2, that tension is palpable: a both beautiful and brutal romantic hinterland, in which one of America's new voices hits a brave new stride.

"No one else can make shattering sound like such an act of strength." - Stereogum

"Her songs build a quiet fury with lyrics that pulverize the heart while still making a break-up seem almost beautiful." - Paste Magazine

1. Happy
2. Dan The Dancer
3. Once More To See You
4. Fireworks
5. Your Best American Girl
6. I Bet On Losing Dogs
7. My Body's Made Of Crushed Little Stars
8. Thursday Girl
9. A Loving Feeling
10. Crack Baby
11. A Burning Hill

Panic at the Disco's sophomore album Pretty. Odd (2008) was recorded at Las Vegas' Studio at the Palms, with additional production and mixing at the world-renowned Abbey Road Studios in London. Produced by Grammy and Emmy Award-nominated arranger/composer Rob Mathes, the album found Panic At The Disco embracing a melodic, classic rock-inspired aesthetic while still maintaining the visionary pop modernism that made their 2005 debut A Fever You Can't Sweat Out among the new millennium's most popular and successful releases. Debuting at No. 2 on the on Billboard 200, Pretty. Odd earned a veritable ream of critical acclaim with Spin awarding the set four stars, noting that PATD "have stepped up their songwriting skills to create a dazzling album that is both blindingly bright and optimistically beautiful," while the New York Times called it "A brave change...the magnum opus of a talented band."

1. We're So Starving
2. Nine In The Afternoon (Radio Mix)
3. She's A Handsome Woman
4. Do You Know What I'm Seeing?
5. That Green Gentleman (Things Have Changed)
6. I Have Friends In Holy Spaces
7. Northern Downpour
8. When The Day Met The Night
9. Pas De Cheval
10. The Piano Knows Something I Don't Know
11. Behind The Sea
12. Folkin' Around
13. She Had The World
14. From A Mountain In The Middle Of The Cabins
15. Mad As Rabbits

2007's Minutes to Midnight stands to defend Linkin Park's status as the hardest-rockin' softies in mainstream music. Like its predecessors Hybrid Theory (2000) and Meteroa (2003), Minutes to Midnight flexes plenty of decibel-heavy muscle ("Given Up," "Bleed It Out," "No More Sorrow") and made-to-order, melodic radio fare ("Leave Out All the Rest," "Shadow of the Day," "In Pieces"). But for all its volume, Linkin Park likes to paint its heart openly on its sleeve with suspicious sonic drama, as in the palpably saccharine "Valentine's Day." Fortunately, co-producer Rick Rubin brings all these elements to pinnacle effect with the surprise "Hands Held High." On past efforts, the combination of breezy keyboard, arpeggiated guitar, choral vocals, and a military snare-beat would yield another slab of smarm, here MC Mike Shinoda drops the two best verses of his career, blending vocal styles with singer Chester Bennington for a moving piece.

1. Wake
2. Given Up
3. Leave Out All The Rest
4. Bleed It Out
5. Shadow Of The Day
6. What I've Done
7. Hands Held High
8. No More Sorrow
9. Valentine's Day
10. In Between
11. In Pieces
12. The Little Things Give You Away

Geese return with their 3rd album, 'Getting Killed'. They tracked the album with Kenneth Blume in 10 fast-paced days. With scant time for overdubbing, what emerged is a chaotic comedy, shambolic in structure but passionately performed, informed by an exacting vision. Big riffs are layered on choir samples; hissing drum machines pulse softly behind screeching guitars. They balance a disarming tenderness with an intensified anger, trading their love of classic rock for a disdain for music itself.

• 1 Trinidad (03:44)
• 2 Cobra (03:05)
• 3 Husbands (04:08)
• 4 Getting Killed (04:44)
• 5 Islands of Men (05:54)
• 6 100 Horses (03:46)
• 7 Half Real (03:22)
• 8 Au Pays Du Cocaine (03:30)
• 9 Bow Down (03:28)
• 10 Taxes (03:17)
• 11 Long Island City Here Come (06:37)

Roughly 28 years ago, Depeche Mode performed the 101st date of their tour behind Music for the Masses at the Rose Bowl in Pasadena, California on June 18, 1988, a concert which was filmed and recorded for release as the film and album entitled – appropriately enough – 101.

Originally conceived by members of Depeche Mode as a method of clarifying how the group fit into the ‘80s, things changed for 101 when famed documentarian D.B. Pennebaker stepped into the role of director and felt that it was going to be too difficult to cover the topic at hand in a manner which would prove cinematically entertaining. Instead, he switched things up to follow a collective of Depeche Mode fans who'd won a "Be in a Depeche Mode Movie" contest. In turn, 101 was able to spotlight both the devotion of the band's fans and the live Depeche Mode experience.

Unfortunately, those who came into the proceedings looking for a full-fledged concert film may have walked away disappointed by the end result, which in no way showed the band's performance in its entirety, but those folks still ended up with a double-disc live album, one which did an excellent job of sampling the DM discography up to that point. Plus, whether you want to attribute it to the film, the album, or a combination of both, the end result was that Depeche Mode's profile grew so substantial as a result of 101 that their next studio album, 1990's Violator, gave them the first US top-10 album of their career.

1. Pimpf
2. Behind The Wheel
3. Strangelove
4. Sacred
5. Something To Do
6. Blasphemous Rumours
7. Stripped
8. Somebody
9. The Things You Said
10. Black Celebration
11. Shake The Disease
12. Nothing
13. Pleasure, Little Treasure
14. People Are People
15. A Question Of Time
16. Never Let Me Down Again
17. A Question Of Lust
18. Master And Servant
19. Just Can't Get Enough
20. Everything Counts

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 Oleartchik, 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. In Upstate New York, Topanga Canyon, The Rocky Mountains, and Tucson, AZ, Big Thief spent 5 months in creation and came out with 45 completed songs. The most resonant of this material was edited down into the 20 tracks that make up DNWMIBIY, a fluid and adventurous listen. The album was produced by drummer James Krivchenia who initially pitched the recording concept for DNWMIBIY back in late 2019 with the goal of encapsulating the many different aspects of Adrianne's songwriting and the band onto a single record.

All four of these sessions, in their varied states of fidelity, style, and mood, when viewed together as one album seem to stand for a more honest, zoomed-out picture of lived experience than would be possible on a traditional, 12 song record. This was exactly what the band hoped would be the outcome of this kind of massive experiment. When Max's mom asked on a phone call what it feels like to be back together with the band playing music for the first time in a year, he described to the best of abilities: "Well it's like, we're a band, we talk, we have different dynamics, we do the breaths, and then we go on stage and suddenly it feels like we are now on a dragon. And we can't really talk because we have to steer this dragon."

The attempt to capture something deeper, wider, and full of mystery, points to the inherent spirit of Big Thief. Traces of this open-hearted, non-dogmatic faith can be felt through previous albums, but here on Dragon New Warm Mountain I Believe In You lives the strongest testament to its existence.

1. Change
2. Time Escaping
3. Spud Infinity
4. Certainty
5. Dragon New Warm Mountain I Believe in You
6. Sparrow
7. Little Things
8. Heavy Bend
9. Flower of Blood
10. Blurred View
11. Red Moon
12. Dried Roses
13. No Reason
14. Wake Me up to Drive
15. Promise Is a Pendulum
16. 12,000 Lines
17. Simulation Swarm
18. Love Love Love
19. The Only Place
20. Blue Lightning

After 20+ years spent fulfilling their contract for Atlantic Records - a contract Williams signed as a mere teenager - Paramore announced in December of 2023 that they were finally an independent band. This surprise collection is self-released by Hayley Williams on her new venture Post Atlantic. These songs come as the third batch of work released from Williams as a solo artist. The COVID-era saw her release two extraordinary albums - 2020's Petals For Armor and 2021's Flowers for Vases. Both albums were gorgeous and stark meditations on loss and offered up a contrast to the high-energy and up-tempo muscle she displays in Paramore. "The record-epitomizing vulnerability and transformative growth-reveals a more mature and introspective side of Williams," said Pitchfork of Petals, and went on to say of Flowers "her voice is undoubtedly the standout feature... husky and gentle, dangerous yet warm," and explained that the minimal production "makes this a purposeful reset."

• - Disc 1 -
• 1 Ice in My Oj
• 2 Glum
• 3 Kill Me
• 4 Whim
• 5 Mirtazapine
• 6 Disappearing Man
• 7 Love Me Different
• 8 Brotherly Hate
• 9 Negative Self Talk
• 10 Ego Death at a Bachelorette Party
• - Disc 2 -
• 1 Hard
• 2 Discovery Channel
• 3 True Believer
• 4 Zissou
• 5 Dream Girl in Shibuya
• 6 Blood Bros
• 7 I Won't Quit on You
• 8 Parachute

Compact Disc

Released in 1991, Nirvana's sophomore album and major label debut elevated Kurt Cobain, Krist Novoselic and Dave Grohl from a critically acclaimed cult band to generation spokesmen who'd unwittingly created a cultural shift and musical touchstone. Rising to #1 and ultimately selling over 30 million copies worldwide, Nevermind would come to be much more than one of the most successful and influential albums of the Rock era. Now on the occasion of Nevermind's 20th anniversary, Universal presents a full spectrum re-release worthy of such a pivotal classic.

• 1 Smells Like Teen Spirit
• 2 In Bloom
• 3 Come As You Are
• 4 Breed
• 5 Lithium
• 6 Polly
• 7 Territorial Pissings
• 8 Drain You
• 9 Lounge Act
• 10 Stay Away
• 11 On a Plain
• 12 Something in the Way

A passion to create uncommonly expressive rock and roll fueled Jeremy Enigk (guitar/vocals), Dan Hoerner (guitar/vocals), William Goldsmith (drums), and Nate Mendel (bass) from the earliest incarnations of Sunny Day Real Estate. It was quickly clear they’d all stumbled upon something new and exciting. Enigk’s yearning, high-register voice was a direct contrast to Hoerner’s primal delivery, imbuing the music with a previously unrealized level of emotion, and when Mendel returned from tour, it was decided Sunny Day would henceforth be a quartet, with Enigk on lead vocals.

At the time, grunge had turned Seattle into the epicenter of the music industry, making worldwide superstars out of hometown heroes Nirvana, Pearl Jam, and Alice in Chains. But Sunny Day forged its own path, deriving a unique sound from its members’ collective talents. “It was guys that played hardcore experimenting with actually writing songs,” Goldsmith recalls of the band’s early days. “Hardcore is really fast and out of control. There was still songwriting and arranging, but this was a whole new thing, learning how to leave space. We had these melodies that were kind of triumphant; they matched what we were feeling.”

In May 1993, Sunny Day played just its second show ever at Seattle’s Crocodile Café, before a sparse crowd that just happened to include Sub Pop co-founder Jonathan Poneman. He left blown away and determined to sign the band to his label, which he did within a matter of weeks. “The thing that was so emotionally engaging about the music was that the songs were so beautiful and evocative,” he says. “It was a riveting experience.”

Poneman enlisted producer Brad Wood (Liz Phair, Smashing Pumpkins) to produce Sunny Day’s Sub Pop debut, which the band recorded at his Idful Studios in Chicago at the end of its maiden North American tour. Diary was released on May 10, 1994 and, despite substantial rock radio airplay for “Seven” and “In Circles,” failed to appear on any Billboard chart. The band wrapped itself in mystery, granting only one interview (to British journalist Everett True) and distributing a single publicity photo. The critical reception was generally positive (“poignant and painfully revealing,” said CMJ; “a stark, blinding ray of sunshine,” offered Kerrang!). But it proved a remarkably consistent seller, eventually exceeding 230,000 units to make it Sub Pop’s seventh-biggest release of all time.
 
Sub Pop Records has reissued both Diary and the band’s second full-length album, commonly known as LP2 (or “The Pink Album” for its entirely pink cover). Both re-mastered albums include rare bonus tracks as well as newly written liner notes.

Sunny Day Real Estate Diary Track Listing:

1. Seven
2. In Circles
3. Song About an Angel
4. Round
5. 47
6. The Blankets Were the Stairs
7. Pheurton Skeurto
8. Shadows
9. 48
10. Grendel
11. Sometimes
12. 8 (bonus track)
13. 9 (bonus track)

Vinyl LP pressing. 2023 release. This Is Why is the sixth studio album by Paramore. It is the band's first album in nearly six years, following After Laughter (2017), as well as their first album to feature the same line-up as it's predecessor. Includes the single This Is Why.

• - Disc 1 -
• 1 This Is Why
• 2 The News
• 3 Running Out of Time
• 4 C'est Comme Ça
• 5 Big Man, Little Dignity
• - Disc 2 -
• 1 You First
• 2 Figure 8
• 3 Liar
• 4 Crave
• 5 Thick Skull

There Is Nothing Left to Lose is the third studio album by the Foo Fighters, released November 2, 1999. The album marks the first appearance of drummer Taylor Hawkins, and is often seen as a departure from the band's previous work, showcasing a softer, more experimental sound. In a 2006 interview, Dave Grohl states that the album is "totally based on melody" and that it "might be his favorite album that they've ever done." There Is Nothing Left to Lose won the Grammy Award for Best Rock Album in 2001, marking the group's first ever Grammy Award. The band would go on to win the Grammy for Best Rock Album for three of their next four studio releases (One By One, Echoes, Silence, Patience & Grace, and Wasting Light).

• - Disc 1 -
• 1 Stacked Actors
• 2 Breakout
• 3 Learn to Fly
• 4 Gimme Stitches
• 5 Generator
• 6 Aurora
• - Disc 2 -
• 1 Live-In Skin
• 2 Next Year
• 3 Headwires
• 4 Ain't It the Life
• 5 M.I.A

Compact Disc

Digitally remastered edition of this 1993 album from the Alt-Rock band led by Billy Corgan. While their album Gish had brought them to the attention of the Alternative crowd, Siamese Dream was the album that broke the quartet in a big way. Features the hits 'Cherub Rock', 'Today' and many more.

• 1 Cherub Rock
• 2 Quiet
• 3 Today
• 4 Hummer
• 5 Rocket
• 6 Disarm
• 7 Soma
• 8 Geek U.S.A
• 9 Mayonaise
• 10 Spaceboy
• 11 Silverf***
• 12 Sweet Sweet
• 13 Luna

Atlanta Millionaires Club is in Faye Webster's feelings, and that’s the way she likes it. "Everything is way personal," Webster says. "I have to write about very personal things for me to even want to write." On the 21-year-old Atlanta native’s new album, the omnipresence of pedal steel eschews bluegrass trappings, exible under Webster's genre-bending direction. Webster didn’t set out to make it sound like any artist in particular, but she cites Aaliyah as her main musical inspiration for how she uses sound. "That's where I first heard, 'Oh, there's this weird guitar that's bendy and it could totally be in a country song,' but the way she's using it is what makes her music so special to me," Webster explains. "I try to do that. I try to change the way pedal steel is supposed to sound, or keys, to make it more R&B." Pulling from a familial lineage of folk storytelling and time spent in Atlanta's hip-hop scene, Webster's work is a study of duality, weaving through her own introversion and heartbreak; it's an idiosyncratic sadness punctuated by fleeting observations and an unexpected, sly sense of humor. And like the way Webster takes the traditional instrumentation of Americana and ips it into something else, she uses her own calm, laid-back demeanor to say you can be boldly and unapologetically yourself in a quiet way, too.