Over four albums, Pachyman has proven himself a dedicated craftsman working in the lineage of dub reggae while mastering the methodology of masters like King Tubby and Scientist, using vintage gear, constructing glorious walls of sound, and developing an intuitive understanding of the power of repetition. With 'Another Place', he synthesizes the myriad scenes that have recontextualized dub, from the synth-pop of William Onyeabor and Yellow Magic Orchestra to Basic Channel’s amniotic dub techno.

TRACK LISTING

1. Calor Ahora
2. In Love
3. Berlin
4. SJU
5. Take Me To Dance
6. False Moves
7. Strikes Back
8. Hard To Part
9. Another Place
10. ADSH

Patterson Hood's first solo record in over a decade was born out of a friendship with producer Chris Funk (The Decemberists). The pair would often perform together for fun and during Hood's solo tours, making far-off plans to make a record together. They eventually went into Jackpot Studios in Portland. Many of the songs were composed on piano marking a bigger departure from his work with Drive-By Truckers than prior solo efforts. Guest appearances from: Waxahatchee, Wednesday and Lydia Loveless.

TRACK LISTING

1. Exploding Trees
2. A Werewolf And A Girl Feat. Lydia Loveless
3. The Forks Of Cypress Feat. Waxahatchee
4. Miss Coldiron’s Oldsmobile
5. The Pool House
6. The Van Pelt Parties Feat. Wednesday
7. Last Hope
8. At Safe Distance
9. Airplane Screams
10. Pinocchio

American Band is the 11th studio album by Drive-By Truckers and was released during the tumultuous year of 2016, it's politically charged lyrics reflecting those troubled times.

The Chicago Tribune called it "one of the band's strongest front-to-back albums". Rolling Stone and NPR deemed it one of the best albums of that year.

It is reissued here, in another election year, with a bonus LP of live recordings + updated liners from Patterson Hood and repackaged with archival artwork from Wes Freed

TRACK LISTING

1. Ramon Casiano
2. Darkened Flags On The Cuspp Of Dawn
3. Surrender Under Protest
4. Guns Of Umpqua
5. Filthy And Fried
6. When The Sun Don't Shine
7. Kinky Hypocrite
8. Ever South
9. What It Means
10. Once They Banned Imagine
11. Baggage
12. Kinky Hypocrite (Live, 2018)
13. Guns Of Umpqua (Live, 2018)
14. Filthy And Fried (Live, 2018)
15. What It Means (Live, 2018)
16. Surrender Under Protest (Live, 2018)
17. Baggage (Live, 2018)
18. Ramon Casiano (Live, 2018)
19. Ever South (Live, 2018)

Debut album with a limited edition bonus LP featuring 11 bonus tracks made up of B-sides, live tracks and a My Bloody Valentine cover.

"Reaffirm[s] that indie rock, as a style and ethos, can still feel like the most exciting thing a young person could be into.” - Pitchfork

TRACK LISTING

1. Where We’ve Been
2. Crimson To Chrome
3. Crashing Through
4. For Ella
5. Chemical
6. Statues
7. Until I’m With You Again
8. Get Numb To It!
9. Cardinal
10. I Could
11. If I Am
12. Love You Lightly
13. Pride Trials
14. Sliip Away
15. Where We’ve Been (Live In Chicago At Metro 3/1/24)
16. Statues (Live In Chicago At Metro 3/1/24)
17. Cardinal (Live In Chicago At Metro 3/1/2)
18. Get Numb To It! (Demo Version)
19. Repeat Yourself (Demo Version)
20. When You Sleep (My Bloody Valentine Cover)

Having spent two years on stage (Bonnaroo, Boston Calling) and on TV (Jimmy Kimmel, Stephen Colbert), Brighton, UK's The Heavy Heavy now draw listeners even deeper into their dreamworld with their long-awaited debut album, 'One Of A Kind'. Written entirely by co-founders Georgie Fuller and William Turner, the album expands the sunshine psych-pop & folk sound of their debut EP which won massive acclaim from the likes of NME (who named them an essential emerging artist for 2023) and The Guardian.

TRACK LISTING

1. One Of A Kind
2. Happiness
3. Because You're Mine
4. Miracle Sun
5. Feel
6. Wild Emotion
7. Everything
8. Cherry
9. Lemonade
10. Dirt
11. Lovestruck
12. Salina

Produced by Josh Kaufman (The Hold Steady, Bonny Light Horsemen), 'In the Shadow of the Holy Mountain' brings a potent new energy to the elegantly composed folk/indie-rock of Blind Pilot. In a profound step forward for the band, their fourth full-length - and first since 'And Then Like Lions' (2016) - unfolds with an exquisite fluidity, fully harnessing the chemistry they’ve shown in sharing stages with The Shins, Andrew Bird, and Gregory Alan Isakov and on festivals like Lollapalooza and Bonnaroo.

TRACK LISTING

1. Jacaranda
2. Brave
3. Pocket Knife
4. Don’t You Know
5. Just A Bird
6. Coming Back
7. Faces Of Light
8. One Drop
9. Lucky
10. Bitter Water
11. Believe Me

Monsters of Folk - comprised of Jim James (My Morning Jacket), M. Ward, Conor Oberst and Mike Mogis (Bright Eyes) - released their first collaborative album in 2009. The set was recorded in Malibu and Omaha with all four members playing every instrument. It marked their only recorded output as a band. This reissue features revised artwork, the original 15-song record plus 5 unreleased studio tracks from 2012, intended for a never-finished 2nd album, and featuring "5th Monster" Will Johnson.

TRACK LISTING

1. Dear God
2. Say Please
3. Whole Lotta Losin'
4. Temazcal
5. The Right Place
6. Baby Boomer
7. Man Named Truth
8. Goodway
9. Ahead Of The Curve
10. Slow Down
11. Losin' Yo Head
12. Magic Marker
13. Map Of The World
14. The Sandman
15. His Master's Voice
16. Dear To The Assassin
17. Sweet Silence
18. The Living Thing
19. Museum Guard
20. Disappeared

The first live release from The Murlocs is a career-spanning 22 song set recorded at The Teragram Ballroom in Los Angeles. The show capped off a busy 2022 for the Melbourne-based band, which saw the release of their 6th album (Rapscallion) as well as a performance at Red Rocks (supporting King Gizzard, with whom the band share two members) and their biggest US headlining tour to date.

TRACK LISTING

1. Living Under A Rock
2. The Royal Vagabond
3. Virgin Criminal
4. Francesca
5. Wickr Man
6. Withstand
7. Eating At You
8. The Ballad Of Peggy Mae
9. Bowlegged Beautiful
10. Bobbing And Weaving
11. Subsidiary
12. Bellarine Ballerina
13. Russian Roulette
14. Farewell To Clemency
15. What If?
16. Comfort Zone
17. Compos Mentis
18. Growing Pains
19. Skyrocket
20. Reassurance
21. Noble Soldier
22. Rolling On

The music of Brigitte Calls Me Baby is equal parts elegant time warp and up-close exploration of our modern-day neuroses. With their name nodding to frontman Wes Leavins’ teenage pen-pal correspondence with iconic French actress Brigitte Bardot, the Chicago-based band ingeniously spans genres and eras, merging the lavish romanticism of mid-century pop with the frenetic energy and spiky intensity of early-millennium indie-rock. Centered on Leavins’ hypnotically crooning vocal work, the result is a rare convergence of sophistication and style and unabashed sincerity.

As shown on their debut EP This House Is Made Of Corners—a five-song project made with nine-time Grammy Award-winning producer Dave Cobb—Brigitte Calls Me Baby possess a singular musicality informed by Leavins’ eclectic upbringing. Originally from Southeast Texas town of Port Arthur, he grew up listening to Roy Orbison records at his grandparents’ house next door, while his parents played him new-wave bands like The Cars and Tears for Fears and his friends turned him onto Radiohead and The Strokes. At age 13, Leavins took up guitar and began writing songs of his own, quickly discovering his distinct vocal style. “At first I didn’t like the way I sang and couldn’t really do anything about it, but as I got older I started to appreciate it more,” he reveals. “My whole inclination toward music came from being in this small town in Texas with nowhere to go and nothing to do, and wanting to be understood without having to say anything.”

Upon moving to Chicago in 2016, Leavins immersed himself in the local music scene and soon linked up with guitarists Jack Fluegel and Trevor Lynch, bassist Devin Wessels, and drummer Jeremy Benshish, who joined him in co-founding Brigitte Calls Me Baby. As the band built up their catalog, Leavins was tapped to take part in recreating a series of Elvis Presley songs for Baz Luhrmann’s 2022 biopic Elvis, a turn of events that found him crossing paths with Cobb. “Dave and I hit it off right away and started talking about the music we loved, and when we reconnected later he asked me to send him some of the songs I’d been working on,” Leavins recalls. Soon after sharing a batch of demos with Cobb (whose credits include modern classics like Jason Isbell’s Southeastern and Sturgill Simpson’s Metamodern Sounds in Country Music), Brigitte Calls Me Baby headed to Nashville to record their debut body of work at the legendary RCA Studio A.

Co-produced by Cobb and Brigitte Calls Me Baby and mostly recorded live, This House Is Made Of Corners opens on a lush and cinematic track called “The Future is Our Way Out,” a prime introduction to the EP’s heightened yet palpably genuine emotionality. “I want to be earnest even when it’s uncomfortable, and write unapologetically about things like my intense fear of death,” says Leavins. “‘The Future is Our Way Out’ is about that fear, but it’s also about hoping there might be something beyond death, a way out of all the mess and the sadness that plagues us in life.” On “Impressively Average,” pounding rhythms and shimmering guitar tones form the backdrop to what Leavins refers to as a “a bit of a self-loathing song, about trying to cope with someone’s very high expectations of you.” And on “Eddie My Love,” Brigitte Calls Me Baby present a gorgeously aching portrait of obsession and despair. “‘Eddie My Love’ paved the way for all the songs that would come after it,” says Leavins, who first penned the track as a ballad. “It felt so vulnerable from the jump, and made me realize that there’s no point in being anything but vulnerable in what we do.”

Newly signed to ATO Records after a much-buzzed-about set at SXSW 2023, with their full-length debut due out in 2024, Brigitte Calls Me Baby remain intent on striking a balance between refined musicianship and absolute devotion to emotional truth. “In so much music there’s a desire to be perceived as someone who’s got it all figured out, but I never want to paint a picture that isn’t true,” says Leavins. “I know that when I was younger I was looking for something to latch onto that I could connect with and feel a part of, so I’d hope that our music could provide that for others. I want to create something that helps people feel more alive, and that will last long after we’re gone.”

Dave Matthews Band’s first album in four years, largely written throughout the pandemic, is as much a reflection on the current times as an urge to find common ground. The twelve-track album was recorded with producer Rob Evans in studios throughout Seattle, Charlottesville, and Los Angeles. “Monsters” was produced by longtime collaborator John Alagia. “'Walk Around The Moon' touches on my children, the futility of our struggles as a human race, gun violence, love, modern political discourse, gratitude.” - Dave Matthews

TRACK LISTING

1. Walk Around The Moon
2. Madman’s Eyes
3. Looking For A Vein
4. The Ocean And The Butterfly
5. It Could Happen
6. Something To Tell My Baby
7. After Everything
8. All You Wanted Was Tomorrow
9. The Only Thing
10. Break Free
11. Monsters
12. Singing From The Windows

The third full-length from Margaret Glaspy, Echo The Diamond emerged from a deliberate stripping-away of artifice to reveal life for all its harsh truths and ineffable beauty. Like the precious gem of its title, the result is an object of startling luminosity, one capable of cutting through the most elaborately constructed façades. “This record came from trying to meet life on life’s terms, instead of looking for a happy ending in everything,” says the New York-based musician. “The whole experience of creating it felt like effortless catharsis.”

Produced by Glaspy with co-production from her partner, guitarist/composer Julian Lage, Echo The Diamond expands on the frenetic vitality of her widely acclaimed debut Emotions and Math—a 2016 release The New Yorker hailed as an album “in which pretty songs often turn prickly, enriched by carefully measured infusions of dissonance and grit.” This time around, Glaspy worked with drummer/percussionist David King of The Bad Plus and bassist Chris Morrissey (Andrew Bird, Lucius, Ben Kweller), recording at Reservoir Studios in Manhattan and embracing an intentionally unfussy process that left plenty of room for spontaneity

TRACK LISTING

1. Act Natural
2. Get Back
3. Female Brain
4. Irish Goodbye
5. I Didn’t Think So
6. Memories
7. Turn The Engine
8. Hammer And The Nail
9. My Eyes
10. People Who Talk 

Deer Tick’s first new body of work since 2017, Emotional Contracts is their most collaborative to date, and sees all four members operating at peak songwriter power. Produced by Dave Fridmann, the 10 song set features guest musicians like Steve Berlin (Los Lobos) and background vocals from Courtney Marie Andrews, Vanessa Carlton, Kam Franklin, Angela Miller, and Sheree Smith. Deer Tick’s ATO Records debut adds an even greater vitality to their feverish collection of timeless rock-and-roll.

TRACK LISTING

1. If I Try To Leave
2. Forgiving Ties
3. Grey Matter
4. If She Could Only See Me Now
5. Running From Love
6. Once In A Lifetime
7. Disgrace
8. My Ship
9. A Light Can Go Out In The Heart
10. The Real Thing

My Morning Jacket’s 2011 Grammy® nominated 6th studio album plus a full LP of 10 unreleased demos. Includes 3xLP’s, a triple gatefold glow-in-the-dark jacket, & foldout poster. Pressed on limited-edition colored vinyl with zoetrope labels and side-D etching. “’Circuital’ feels like the culmination of the sonic adventures that began with ‘Z’ – while also capturing the power and dynamics that have made MMJ one of the greatest live bands of their generation.”–Rolling Stone.

My Morning Jacket, touring behind It Still Moves, took the stage at Bonnaroo on a scorching hot day in the summer of '04. Ominous dark clouds rolled in early in the performance. "I'll never forget it," reflected Jim James "We're playing & the sky just rips open & rain starts pouring down. People are losing their minds... Everybody is petrified that we're going to get electrocuted, but it was such a transcendent moment that we just didn't care." It would become one of the festivals most iconic sets.

The Murlocs had visions of creating a quintessential country-rock record when they begin recording their 7th LP - a collection of sublimely mellowed-out songs inspired by iconic albums like "Sweetheart of the Rodeo" and "Exile on Main St" - but the record soon took on its own unruly character. Spiked with The Murlocs’ signature breed of sharply crafted garage-punk "Calm Ya Farm" twists country-rock convention into a free-flowing album fully in touch with the frenetic energy of modern life. 

TRACK LISTING

1. Initiative
2. Common Sense Civilian
3. Russian Roulette
4. Superstitious Insights
5. Centennial Perspective
6. Queen Pinky
7. Undone And Unashamed
8. Captain Cotton Mouth
9. Catfish
10. Smithereens
11. Forbidden Toad
12. Aletophyte

The band’s first new music since 2015’s GRAMMY Award nominated ‘The Waterfall’, ‘My Morning Jacket’ reaffirms the rarefied magic that’s made My Morning Jacket so beloved, embedding every groove with moments of discovery, revelation and ecstatic catharsis.

Produced and engineered by James over two multi-week sessions at Los Angeles, CA’s 64 Sound, the album came to life after what looked like a permanent hiatus for the band. But after performing four shows in summer 2019 - beginning with two mind-blowing nights at Red Rocks Amphitheatre - My Morning Jacket were overcome with the urge to carry on.

That sense of purpose can be heard throughout the thrillingly expansive ‘My Morning Jacket’. For all its unbridled joy, songs like ‘Regularly Scheduled Programming’ and the otherworldly, album-closing ‘I Never Could Get Enough’ once again reveal My Morning Jacket’s hunger for exploring the most nuanced and layered existential questions in song form while simultaneously harnessing the hypnotic intensity of their legendary live show more fully than ever before.

“I hope this album brings people a lot of joy and relief, especially since we’ve all been cooped up for so long,” says James. “I know that feeling you get from driving around blasting music you love, or even lying in bed and crying to the music you love. The fact that we’re able to be a part of people’s lives in that way is so magical to us, and it feels really good that we’re still around to keep doing that.”

STAFF COMMENTS

Barry says: A wonderfully effervescent blues-indebted number from My Morning Jacket here, swimming in the grooving melodies and shimmering psychedelic grooves they do so well. Bombastic and exciting, this is the sound of a band only getting better at what they do.

TRACK LISTING

Regularly Scheduled Programming
Love Love Love
In Color
Least Expected
Never In The Real World
The Devil's In The Details
Lucky To Be Alive
Complex
Out Of Range, Pt. 2
Penny For Your Thoughts
I Never Could Get Enough

Nashville in 2010 was a time and place bristling with potential. Before the coastal dailies and culture mags had declared our town an “it city” — before rampant development was putting tall-and-skinny new-builds on every block and courting out-of-towners with mixed-use nonsense and vapid murals.

Nashville has long been characterized by a sort of underdog spirit, and in 2010, that spirit was in full display at DIY punk venues, run-down honky-tonks and hole-in-the-wall dives. Over in East Nashville’s Lockeland Springs neighborhood, a handful of us lived in a century-old home that we called Holly House. Even more of us gathered there, musicians and artists who decided to form a collective of the same name, a half-dozen or so bands hopping on shows together, playing on each other’s records, calling meetings as an excuse to drink beer and talk shop.

Most of those bands are long-gone, but not Caitlin Rose. Then as now, Caitlin — my roommate and fellow Holly House member — shined bright as a songwriter and performer.

I first started seeing Caitlin play when she was around 16 or 17 years old, toting her guitar and tambourine to house shows and public parks and an all-ages punk venue downtown called The Muse, which has since been replaced by a Domino’s Pizza. I came to know her as “Cato,” a funny, brainy little weirdo with an outsized voice and ferocious collection of brilliant punky folk songs. I remember a question that would pop up from people in the crowd at various points throughout her performances, without fail: “Is this song a cover?” Caitlin was making songs that were so good, so memorable, so emotionally mature, that folks couldn’t believe they’d been written by a teen. I always grinned when I overheard someone asking the question.

With time, Caitlin’s sound evolved — her approach to songwriting, her influences, her embrace of country music as an idiom she really excelled at. The collection of songs she was creating back in our Holly House days, a collection that would ultimately become Own Side Now, showcased Caitlin’s preternatural knack for taking a moment — an emotion, an experience, an interaction — and bottling it, turning it into something listeners can experience for themselves.

The achingly lonesome “For the Rabbits” and “Sinful Wishing Well.” The tender, sprawling “Own Side.” The satisfying nostalgia of the intoxicatingly upbeat “Shanghai Cigarettes.” I remember Caitlin honing these songs in clubs and on tours, tweaking the arrangements with her world-class band. I must’ve seen Caitlin play “Spare Me” and “T-Shirt” dozens of times, and while no two performances were exactly the same, each one was a little bit closer to where it would ultimately land. She was always orbiting the perfect version of a song she’d been pouring her heart into for months or years. Own Side Now was the product of that long journey.

Now, 10 years since the initial release of Own Side Now, it’s moving to listen back to these potent songs and remember our time in Holly House, and our time at DIY spaces and punk clubs and dives that no longer exist. As you listen, maybe you’ll recall where you were in life when you first heard Caitlin’s music. Or maybe you’re listening for the first time, discovering a batch of songs that you can connect to in a personal way. Whether it’s your first listen or your 1,000th, this is an exceptional album made by an artist truly coming into her own. Enjoy it.