RSDBF2025 Everything Else

Brownswood Recordings are proud to present Indaba Is – a compilation of current South African improvised music and jazz. The project is a collaboration with two luminaries of the South African Music scene, pianist / songwriter Thandi Nthuli and The Brother Moves On's Siyabonga Mthembu who act as curators / musical directors on the project.

Bokani Dyer's "Ke Nako" (now's the time) opens with an irony, because that was a slogan used to get voters to the polls in the first post-apartheid election. Now, Dyer's using it to remind us to think again about who we are and where we're going. That's always been the question for The Brother Moves On (TBMO: a genre-refusing, personnel-revolving performance collective named, with a twist, for The Wire's assassin: Brother Mouzone). Here, it's embodied in a meditation on relationships refracted through the distorting-glass of their context. It's the singing voices on both those tracks that reference roots even as they engage with contemporary spoken flows and instrumental improvisations.

Explicitly, trumpeter Lwanda Gogwana bookends his track with the idioms of the Eastern Cape – galloping rhythms, harmonies from bow music and split-tone singing, a spluttering trumpet reminiscent of Mongezi Feza – and grows from them a chill contemporary meditation: no spatial or temporal barriers here. Chill, though, is the last term you'd use for Wretched, vocalist Gabisile Motuba's Fanon-inspired project with drummer Tumi Mogorosi and sound artist Andrei van Wyk and the voices of Black Panther Kwame Toure and liberation leader Winnie Madikizela-Mandela: "What is History?.."

That, like "Ke Nako" and The Brother Moves On's bitter allusion to "black yellow and green" (the colours of the ruling ANC) is the thread of another kind of tradition – the reminders and remainders of South Africa's struggle not yet won – weaving through the album. Balm is offered by what guitarist Sibusile Xaba has described as his "modal, groove-oriented roots music". It is, he says, inspired by dreams; he sees himself as a diviner not a performer and his music as functional for healing. That echoes one of his musical masters, the late Dr Philip Nchipi Tabane. "Umdali" is a reference to the Creator, inspirer of such service.

The Ancestors weave Siyabonga Mthembu's voice into a web of musical references forward-looking and historical, including bluesy instrumentals that hark back to what South Africa's jazz bandleaders of the ‘70s and ‘80s conjured up – another aspect of South Africa's musical tradition. Then pianist/composer/vocalist Thandi Ntuli returns to the theme of identity in "Dikeledi" (‘Tears'). "Who are you?' she asks. "What do you call yourself?.. the illusion [of who you are] emerges from you." Ultimately, the song concludes, rootedness in community trumps image.

But community isn't unproblematic. The persistent fractures in South African society were deliberately engineered by apartheid, results of an attempt to impose unitary, racially-constructed identities on all. All the tracks in this collection challenge that: they demonstrate the unifying power of collective hard music work. In that context, iPhupho L'ka Biko's "Abaphezulu" ("They are coming, those who are above" – an invocation to ancestors, including the spirit of Steve Bantu Biko) is a fitting conclusion. Opening with the notes of Kinsmen's Druv Sodha's sitar, it smashes another of the walls apartheid tried to build against Black unity: between South Africans of African and South Asian heritage. The classically-inflected gospel voices of Mthembu's dialogue with Indian and modern jazz rhythms and free horn improvisations in joyous heterophony.

LP1

1. Bokani Dyer - Ke Nako
2. The Brother Moves On - Umthandazo Wamagenge
3. Lwanda Gogwana - All Ok
4. The Wretched - What is History

LP2

1. Sibusile Xaba with Naftali, Fakazile Nkosi, & AshK - Umdali
2. The Ancestors - Prelude to Writing Together
3. Thandi Ntuli - Dikeledi
4. iPhupho L'ka Biko ft Siyabonga Mthembu & Kinsmen - Abaphezulu

Formed of Laura Lee on bass, Mark Speer on guitar, and Donald "DJ" Johnson on drums; globetrotting Texan trio Khruangbin present their second album Con Todo El Mundo. Whereas their 2015 debut The Universe Smiles Upon You was influenced by '60s and '70s Thai cassettes and compilations of southeast Asian pop, rock and funk, Con Todo El Mundo hops east over India to take inspiration in similarly under discovered funk and soul sounds of the Middle-East, particularly from Iran. Laura Lee explains the album's title: "My grandpa would always ask me ‘Como me quieres?' (‘how much do you love me'?), and he'd only ever accept one response. ‘Con todo el mundo' (With all the world)." Throughout Con Todo El Mundo, Laura Lee's melodic low-end theory, Mark's lyrical, free-role guitar lines, and DJ's ever-steady, ever-ready backbeat form something greater than their parts. A vibe-synchronous soul-unit travelling the planet, honing their craft, absorbing the sights, sounds and feels from cultures across the globe, processing them through the Khruangbin filter and gifting the result...with all the world.

1. Como Me Quieres
2. Lady and Man
3. Maria Tambien
4. 10-Aug-2017
5. Como Te Quiero
6. Shades of Man
7. Evan Finds the Third Room
8. A Hymn
9. Rules
10. Friday Morning

Since their inception in the metal heartland and rock stronghold of Cleveland, OH, Trent Reznor's Nine Inch Nails have been pioneers in their field. Broadly categorized in the early days as an industrial rock band they've stuck to first principles while shifting their focus with each successive album and achieved a level of success based on a fanatical following that makes a mockery of any idea they were ever cut out to be a cult act. NIN's sales have exceeded 11 million in the U.S. alone and over 30 million worldwide.

It was second album The Downward Spiral (1994) that proved NIN's couldn't be confined. Detailing the life of a man entering his own downward spiral and influenced by the likes of David Bowie and Pink Floyd, Reznor established the sound as a provocative force with hit tracks "Hurt" and "Closer." Still working with Flood, Reznor embraced old and new technology and presented a distinguished character within both. Neither a Luddite nor a straightforward futurist the album did create shockwaves thanks to deliberately nihilistic pieces like "Heresy," "March of the Pigs" and "Big Man With A Gun" but the benefits of hindsight have been to reveal the recording's naked honesty rather than any deliberate attempt to be confrontational.

This definitive version of The Downward Spiral, meticulously prepared by Trent Reznor and NIN art director John Crawford, was remastered in 2016 and comes pressed on 180g 2LP with updated artwork and more.

LP1

1. Mr. Self Destruct
2. Piggy
3. Heresy
4. March of the Pigs
5. Closer
6. Ruiner
7. The Becoming

LP2

1. Don Not Want This
2. Big Man with a Gun
3. A Warm Place
4. Eraser
5. Reptile
6. The Downward Spiral
7. Hurt

Originally released as a DVD, The Back Parade Is Dead! documents My Chemical Romance's final performance as The Black Parade from the Palacio de los Deportes in Mexico City, Mexico on October 7, 2007. Available on vinyl for the very first time as a 2LP-set, the album served as the band's second live album and features three bonus tracks on side D that were not included in the initial 2008 release.

LP1

1. The End.
2. Dead!
3. This Is How I Disappear
4. The Sharpest Lives
5. Welcome To The Black Parade
6. I Didn't Love You
7. House Of Wolves
8. Interlude
9. Cancer
10. Mama

LP2

1. Sleep
2. Teenagers
3. The Black Parade Is Dead
4. Disenchanted
5. Famous Last Words
6. Blood
7. Kill All Your Friends
8. My Way Home Is Through You
9. Heaven Help Us

"My first introduction to Kentucky roots music came from the Smithsonian Folkways recordings of folklorists like John Cohen, Mike Seeger and Art Rosenbaum. During my time in college, the seminal 7-CD box set Kentucky Mountain Music was released on Yazoo Records and I was able to get a copy from my public library. This eventually led me to learn more about the musical styles of Roscoe Holcomb, Pete Steele, Burnett and Rutherford, Buell Kazee and a host of other early Kentucky songsters. I have always found Kentucky music to be intriguing because I found so many of the melodies to be what are known in old-time circles as "crooked" tunes, meaning that they add and subtract beats from standard musical notation. While this is a problem on staff paper, when playing old-time music for square dancing, this aesthetic actually enhances the musical experience for the dancers and the players.

"One of the most amazing aspects of learning traditional southern string band music is that in the most ideal situation it is not written down, it is played until it is correct. Like a massive mountainous landscape carved over generations by a strong and consistent river current, string band music isn't particularly a style that is discussed in terms of ‘right' and ‘wrong'. Once the fiddler sets the melody into place, the banjo finds a counterpoint and then the guitar picks out the mid-range bass notes or just strums the rhythm. This leaves a lot of room for a musician to find their place in the song so that their own style can develop naturally without any outside influences. In the same way that singers from a church background gain a strong knowledge of tone, pitch, and rhythm from singing in choirs, the musician who learns their instrument in a rich string band tradition can advance to a competent and even expert level in a relatively short period of time.

"By the early 20th century, large events around the equestrian trade such as the Kentucky Derby featured black string bands, jug bands and jazz musicians playing in the stands. This interchange between the musical influences of the north, south, east and west of Kentucky brought on a rich influx that influenced its fiddle music tradition. Not only did players have access to the long standing Indigenous, African, and European-American fiddle traditions, access to the Mississippi River brought a new wave of popular music coming from New Orleans, Mississippi, Memphis, Cincinnati, Indianapolis, Chicago, St. Louis, Minneapolis and Iowa. The ragtime, jazz, and blues melded together with the existing string band music to become a new type of American music, both rooted in the past and forged by the present.

"For this epic recording session in the mountains of eastern Kentucky, Tyler Childers and his bandmate Jesse Wells meticulously curated a modern string band known as "The Pickin' Crew". This group of stellar Americana artists included myself, 5-string Kentucky banjo specialist John Haywood, mandolinist Andrew Marlin, guitarist Josh Oliver, upright bassist John R. Miller, fiddler Chloe Edmonstone and cellist Cecelia Wright. Although Tyler has been playing the fiddle for under a year, his style and technique as learned under the tutelage of Jesse Wells proves that Kentucky string band music is in his blood. The tunes presented in this album Long Violent History showcase the variety of fiddle styles that are profoundly represented in the American music lexicon.

"Double fiddles can give even the scrappiest of string bands a sound of sophistication that is in line with a classical chamber orchestra. Whether the two fiddlers are of the same skill set is irrelevant, if locked into a strong harmony or unison style, two fiddlers can make some powerful music. Even a smooth fiddler and a scratchy fiddler playing off each other creates a texture that is so pleasing to many fans of old-time music. When one begins to explore the possibilities of a bigger string band sound beyond the standard fiddle/banjo/guitar set up, one can explore it simply by adding other instruments of the traditional string orchestra family. A few examples include the Italian-derived mandolin which in the string band setting serves to punctuate the melodic leads, drive the fiddle harder and play expressive counterpoint parts like a New Orleans clarinetist in a jazz band. While not as common in the string band, the cello, famously known as the ‘church house bass' in many traditional circles, provides a richness in tone that allows for yet another means to drive the tune. The upright bass, though a later addition to the string band sound compared to the other instruments, holds together the bottom end, and gives a bounce that keeps the dancers and the band all in one place.

"In Kentucky, the stone mason bourbon "jug" has for years served a dual function as being both a vessel for the transportation of spirits and a homegrown musical instrument capable of mimicking the sounds of the brass band: the tuba, the trombone and the trumpet. The rhythm bones, originally made from animal rib bones, add a percussive urgency to the music when locked into the fiddle and banjo's rhythm. The esoteric quills, also known as the panpipes, are known throughout the world but have been championed by only a few modern practitioners in its American form. Its pentatonic scale adds a high-pitched lilt to any tune its sound touches. The German Mouth Organ, also known as the French Harp and the harmonica, played in natural or first position, can easily slide between melody and rhythm providing both melodic reinforcement and beautiful blue notes that create rich textures around the fiddle's melody. Finally, as a special treat I brought my good friend Big Head Joe, the Giant Six String Banjo to the recording session. This one of a kind handmade instrument is an oversized Guitar-Banjo made by an African American luthier named Robert H. McGinnis who built the instrument to be a part of the Clef Club Orchestra led by pioneer ragtime composer James Reese Europe. I had a feeling that Big Head Joe's throaty tone would sound great in the context of a bigger string band and it proved to be so much so that you can hear him picking out the first notes of the album.

"The century old songs presented on this record represent a time capsule and a musical artifact. Tyler's tintype photograph on the cover transcends the modern era and harkens back to the birth of American Popular music of the 1920's when songsters and Tin Pan Alley songwriters created hits for Broadway. His presentation of Kentucky music and his debut as a fiddler are a reminder that roots music is still a thriving community. Listen to the music, meditate with it, flow along with the melodies, and let the rhythm seep into your mind. These songs are meant to last another hundred years, yet it is supposed to tell a new story about the struggles that lie within our generation. Tyler Childers, placing his fiddle on the wall chose to premiere only one original song where he sings: Long Violent History, a final powerful and poignant statement. Backed by the Pickin' Crew, the nine tracks invite us into Tyler's world deep within the mountains of eastern Kentucky where the blue grass, the high weeds, and the kudzu grow. This environment created the perfect inspiration for the record, and it's been an honor to add some extra magic to the sessions." - Dom Flemons, The American Songster

1. Send in the Clowns
2. Zollie's Retreat
3. Squirrel Hunter
4. Sludge River Stomp
5. Midnight on the Water
6. Camp Chase
7. Jenny Lynn
8. Bonaparte's Retreat
9. Long Violent History

Limited translucent purple vinyl LP pressing. 2020 EP containing four stripped-back classic Bayside songs, as well as one brand new track, "Light Me Up." Acoustic Volume 3 serves as a follow up - and a stark juxtaposition - to 2019's Interrobang, the band's heaviest record to date.

Tracks

• 1 Light Me Up
• 2 The New Flesh
• 3 Not Fair
• 4 Poison in My Veins
• 5 Prayers

Indie rock and sugary pop music collide in the sound of the Canadian band Alvvays and their self-titled debut album. Pronounced, "always" the twin v's are for artistic effect. Molly Rankin is the voice of the band, and she grew up with keyboardist Kerri MacLellan, who was her next door neighbor. Teen friend Alec Hanley on guitar rounds out the foundation of the band that also includes Brian Murphy and Eric Hamelin. Heavily influenced by the wistful Teenage Fanclub and Belle & Sebastion, Alvvays delivers with this 9-song musical snack.

Tracks

• 1 Adult Diversion
• 2 Archie, Marry Me
• 3 Ones Who Love You
• 4 Next of Kin
• 5 Party Police
• 6 The Agency Group
• 7 Dives
• 8 Atop a Cake
• 9 Red Planet

30th Anniversary 180g Vinyl 2LP Reissue with Gatefold Packaging!

Considered one of his most successful and most popular albums, No More Tears is Ozzy Osbourne's sixth solo studio effort, originally a top 10 charter upon its release in September 1991. Featuring some of Zakk Wylde's best-ever guitar work, along with four songs co-written by Motörhead's Lemmy Kilmister, No More Tears contains two of the biggest songs of Ozzy's career, including the top 5 rock radio hits "No More Tears" and "Mama, I'm Coming Home" (the latter also his highest charting top 40 radio track), along with the Grammy-winning cut "I Don't Want to Change the World." The album went on to quadruple-platinum status in the U.S., one of Ozzy's two best-selling albums alongside his groundbreaking solo debut Blizzard of Ozz. 30th anniversary 180g vinyl 2LP reissue with gatefold packaging.

LP1

1. Mr. Tinkertrain
2. I Don't Want To Change The World
3. Mama, I'm Coming Home
4. Desire
5. No More Tears

LP2

1. Won't Be Coming Home (S.I.N.)
2. Hellraiser
3. Time After Time
4. Zombie Stomp
5. A.V.H.
6. Road To Nowhere

180g vinyl cut of the Scottish rock group's sixth album from the HD masters. Includes MP3 download coupon.

• 1 Cherry-Coloured Funk
• 2 Pitch the Baby
• 3 Iceblink Luck
• 4 Fifty-Fifty Clown
• 5 Heaven or Las Vegas
• 6 I Wear Your Ring
• 7 Fotzepolitic
• 8 Wolf in the Breast
• 9 Road, River and Rail
• 10 Frou-Frou Foxes in Midsummer

Blue Note Classic Vinyl Reissue Series All-Analog 180g Vinyl LP Mastered by Kevin Gray Directly from the Original Master Tapes and Manufactured at Optimal in Germany

Blue Note Records is pleased to present the Blue Note Classic Vinyl Reissue Series, a continuation of their acclaimed Blue Note 80 Vinyl Reissue Series which was launched in celebration of the label's 80th anniversary in 2019. The Classic Series will once again feature all-analog 180g vinyl pressings in standard packaging that are mastered by Kevin Gray directly from the original master tapes and manufactured at Optimal in Germany. The first 16 titles of the Classic Series will focus on the enduring classics of the Blue Note catalog. The Classic Series will be on-going, running alongside the Tone Poet Audiophile Vinyl Reissue Series which is produced by Joe Harley.

Even by the high-water marks set by Herbie Hancock's tremendous 1960s Blue Note output, 1965's Maiden Voyage remains one of the pinnacle artistic achievements of the great pianist's career. Hancock is joined here by his Miles Davis Quintet bandmates Ron Carter on bass and Tony Williams on drums, along with Freddie Hubbard on trumpet and George Coleman on tenor saxophone. The quintet embarks on an oceanic exploration of five original Hancock compositions, several of which have since become enduring standards of the jazz lexicon including the title track, "Eye of the Hurricane," and "Dolphin Dance."

Musicians:
Herbie Hancock, piano
Ron Carter, bass
George Coleman, tenor saxophone
Freddie Hubbard, trumpet
Anthony Williams, drums

Features:
• Blue Note Classic Vinyl Reissue Series
• All analog 180g vinyl LP
• Mastered by Kevin Gray directly from the original master tapes
• Manufactured at Optimal in Germany
• Standard packaging

1. Maiden Voyage
2. The Eye Of The Hurricane
3. Little One
4. Survival Of The Fittest
5. Dolphin Dance

Over the past decade, the harpist Brandee Younger has been at the center of music's celebrated work, even if you didn't know she was there. Be it her output with the soul singer John Legend or the rapper Common, she's always put her stamp on the music in question, all while setting a new course for what classical music can entail. But with her major-label debut, Somewhere Different, she's pushing her artistry to the foreground. By her own admission, Younger would've stepped back in years past to let others shine; the harp would've been mixed behind layers of woodwind instruments. Now she's putting her instrument first.

"It was important for me to thrust the harp forward in a non-traditional setting," Younger says of her new album. "I made a conscious effort to make sure that the harp was a bit more present in this recording. It's important for the instrument." Indeed, the first sound heard on Somewhere Different is the harp, a gorgeous, tone-setting solo that ushers in "Love & Struggle," the album's meditative opener. It also sets the mission for the music that follows: Younger has spent her career breaking down the barriers between classical music and contemporary forms of R&B, hip-hop, and funk. This album synthesizes her work while forging new ground. "I started recording music that wasn't common on harp in 2006," she says. This is my way of combining all the worlds I have into one. This is me doing my own thing completely."

Listeners will hear this creative freedom throughout the LP, from the introspective tenor of "Olivia Benson," "Beautiful Is Black" and "Pretend," featuring Tarriona "Tank" Ball of the breakout New Orleans band Tank and the Bangas, to the vibrant rock and bounce-infused sounds of "Reclamation" and the title track, respectively. In that way, Younger pays homage to the pioneering harpists Alice Coltrane and Dorothy Ashby, both of whom merged the instrument with jazz, funk and soul at a time when such ingenuity wasn't commonplace. Somewhere Different is not only the realization of Younger's musical journey, it channels the spirit of a deserving performer whose life merits deeper examination. 

1. Love & Struggle
2. Olivia Benson
3. Beautiful Is Black
4. Pretend
5. Reclamation
6. Somewhere Different
7. Spirit U Will
8. Tickled Pink

Kelela's debut album, Take Me Apart emerges as an epic portrait of an artist spanning the past and future of R&B. In her hands, however, the genre knows no boundaries and so Take Me Apart exists as an absolutely singular and fearless addition to a canon of recent classics. From her very earliest work, honesty and vulnerability have been cornerstones of Kelela's art - even when clad in the armor of the avant-garde electronics she so deftly inhabits - and Take Me Apart sees her double down on both the emotional intensity and resonance of her message as well as the sonic seeking she is renowned for.

The timeless, zero-gravity ballad "Better" sees Kelela at her most unadorned - baring her soul to a nameless other over subtly transforming piano and synth textures while first single "LMK" is all staggering club swagger that manages to span the past 20 years of innovative R&B while still exploring another dimension of possibilities. These songs typify the melding of classic song-craft and inventive production approach at the album's core, but it's here where things take yet another exhilarating turn. "Truth or Dare" has the brittle snap and vocal twists of a Neptunes track while "Blue Light" sees Kelela weld her sweeping pleas to the warped sonic palette of grime, pointing the way forward to a possible future of cybernetic soul.

Now we are swept into the slipstream of a pair of breathtaking Arca collaborations in "On And On" and the otherworldly grandeur of "Turn To Dust," which conjures images of the powerful and iconic diva of Luc Besson's The Fifth Element; and it's a short trip to the unforgettable pneumatic gospel of album closer "Altadena," a perfect uroboros link back to "Frontline" to begin the saga all over again. At this point you're left with the feeling that this trip through Take Me Apart is one you'll be making many more times.

1. Frontline
2. Waitin
3. Take Me Apart
4. Enough
5. Jupiter
6. Better
7. LMK
8. Truth Or Dare
9. S.O.S.
10. Blue Light
11. On and On
12. Turn To Dust
13. Bluff
14. Altadena

Atrocity Exhibition is one of the freshest and boldest-sounding rap albums in recent memory, a sonic swirl inspired by the work of Talking Heads and Joy Division that nonetheless sounds like nothing else from the past or present. Featuring contributions from producers like Evian Christ, Petite Noir (who also lends vocals to the world-weary clang of "Rolling Stone"), Black Milk, the Alchemist and frequent collaborator Paul White, the album is full of laser-beam guitars, gym-teacher whistles, creaking vocal samples, and air-raid drones. It is the most intriguing take on hallucinatory rap since the heady heights of Cold Vein or Madvillainy.

This album is a highly personal take on Danny Brown's ruminations on life and the changes that have occurred - and those that didn't - following the ups and downs of career success. Atrocity Exhibition makes for a thrilling third installment in his singular biopic, one not to be missed.

Tracks

1. Downward Spiral
2. Tell Me What I Don't Know
3. Rolling Stone (featuring Petite Noir)
4. Really Doe (featuring Kendrick Lamar, Ab-Soul & Earl Sweatshirt)
5. Lost
6. Ain't it Funny
7. Goldust
8. White Lines
9. Pneumonia
10. Dance In The Water
11. From The Ground (featuring Kelela)
12. When It Rain
13. Today
14. Get Hi (featuring B-Real)
15. Hell For It

Vinyl 2LP Reissue Remastered at Half-Speed for Superior Quality!

Commanding a significant and uniquely loyal audience from the rock, pop, alternative, and under-the-radar regions of the music world, Tori Amos has influenced generations of artists in a myriad of platforms. Originally issued on Atlantic in 1994, Amos' extraordinary second album Under The Pink finds the eclectic singer/songwriter migrating from the confessional intensity of her breakout 1992 debut Little Earthquakes to a much more playful tone. Describing the release as her "impressionistic album," Amos explores soft-loud dynamics here amidst mostly piano-based material with weaving guitars, violins, and bass loops interspersed throughout. Propelled by the hit singles "Cornflake Girl" and "God," Under The Pink shot straight to No. 1 in the UK, her highest charting album there to date. The wonderfully evocative 12-song set also received a Grammy Award nomination for Best Alternative Music Performance.

LP1

1. Pretty Good Year
2. God
3. Bells For Her
4. Past The Mission
5. Baker Baker
6. The Wrong Band
7. The Waitress

LP2

1. Cornflake Girl
2. Icicle
3. Cloud On My Tounge
4. Space Dog
5. Yes, Anastasia

Music by Madlib Edited, Arranged and Mastered by Kieren Hebden aka Four Tet; Vinyl Lacquered by Bernie Grundman in L.A.

Gil Evans to Miles Davis...Holger Czukay to the ensemble known as Can...Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That's the only way to explain the specificity of Four Tet and Madlib's collaboration, in the special album, Sound Ancestors, that showcases a two-decade long friendship. The collection follows in the big shoes of Madlib classics like Quasimoto's The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs.

"A few months ago I completed work on an album with my friend Madlib that we'd been making for the last few years," explains Kieren Hebden aka Four Tet. "He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision."

Music by Madlib. Edited, arranged and mastered by Kieran Hebden. Lacquered by Bernie Grundman in L.A. Art direction by Errol Richardson. Photography by Richard Foster. 

1. There Is No Time (Prelude)
2. The Call
3. Theme De Crabtree
4. Road Of The Lonely Ones
5. Loose Goose
6. Dirtknock
7. Hopprock
8. Riddim Chant
9. Sound Ancestors
10. One For Quartabê/Right Now
11. Hang Out (Phone Off)
12. Two for 2 -For Dilla
13. Latino Negro
14. The New Normal
15. Chino
16. Duumbiyay

Breakout 18-year-old singer-songwriter Olivia Rodrigo delivers her highly anticipated full-length debut album Sour featuring the record-breaking global smash "Drivers License" and follow-up hit "Deja Vu." "I want it to be super versatile," Rodrigo said on the vision of the album. "My dream is to have it be an intersection between mainstream pop, folk music, and alternative rock. I love the songwriting and the lyricism and the melodies of folk music. I love the tonality of alt-rock. Obviously, I'm obsessed with pop and pop artists. So I'm going to try and take all of my sort of influences...and make something that I like." She adds, "I worked really hard to write them and produce them in a really unique way. I actually love Sour because, well, first of all, there are many different meanings to Sour and why I love the word sour and feel like it's representative of the album. But, also, an added perk was that it has OR in it."

1. Brutal
2. Traitor
3. Drivers license
4. 1 Step Forward, 3 Steps Back
5. Deja Vu
6. Good 4 U
7. Enough for You
8. Happier
9. Jealousy, Jealousy
10. Favorite Crime
11. Hope Ur Ok

This is Bill Evans' first trio date under his own name for Verve, and the deep communication he maintains throughout with Gary Peacock and Paul Motian, two brilliant rhythm players, is sublime. All of the songs are standards of one for or another, but Evans and Co. find a depth to them that's astonishing. Bill uses the spaces between phrases in a way that broadens and deepens the emotional content. Two outstanding examples of Bill's interpretive magic here are the novelty numbers "Little Lulu" and "Santa Claus Is Coming To Town," which both acquire a warmth, scope of imagery and sardonic touch that enlivens their musical essence like never before. This all-analog 180g vinyl LP reissue was mastered from the original analog tapes by Ryan K. Smith at Sterling Sound, pressed at QRP, and comes housed in a Stoughton tip-on gatefold jacket.

Tracks

1. Little Lulu
2. A Sleeping Bee
3. Always
4. Santa Claus Is Coming To Town
5. I'll See You Again
6. For Heaven's Sake
7. Dancing In The Dark
8. Everything Happens To Me

Vinyl LP pressing. Eliza Noble and Jennifer Skillman are Eli & Fur: the British live act, singer-songwriter and producer duo whose career together stretches back for nearly a decade. Having formed a close bond in their teens born out of their unwavering passion for music in all it's guises, their careers as DJs, songwriters, vocalists and producers has taken them around the globe as touring musicians and seen them grace the stages of the biggest festivals in the world including Coachella, Tomorrowland and Glastonbury.