In the spirit of the classic Jamaican recordings of the late 1970s and early 80s, Pachyman brings us his sophomore record with ventures in dub and roots reggae.

Inspired by Roots Radics band, this time Pachyman extends his exploration of the early Studio One sound, Sly & Robbie’s steppers style and a bit of soul jazz reggae.

Mixed using the techniques of Scientist and King Tubby, Pachyman pays tribute to the sonic pallet of the dub masters themselves.

Recorded in between the months of April and October 2019 at his own 333 House studio.

TRACK LISTING

1. Sensi
2. Dose It
3. 333 House
4. Guy Goodwin
5. Babylon Will Fall
6. Easy St. Special
7. I High
8. Smokeshop
9. Feeling Good
10. Zion Love Sound
11. Javius Malones
12. In A Yard
13. Dust To Dust

Envisioned in the style of early dancehall records, Pachy García took upon the task of recreating the sonic endeavours of Scientist, King Tubby, Lee ‘Scratch’ Perry and the great engineers and players of instruments of early Jamaican reggae music.

Inspired by Channel One Studios and Roots Radics band, the tone was set in a dancehall fashion with some detours into Rub-a-Dub and Rockers style playing.

Recorded at Pachy’s own 333 House from January to March in 2019, with him writing, producing and playing the instruments.

TRACK LISTING

1. Saturday
2. Rocking
3. Space Camp
4. In A Fashion
5. Taserak
6. Jumpy!
7. Bring The Herb
8. Uptown
9. Big & Easy
10. Rootsman Classic
11. Coming Home
12. Flash The Riddim
13. Meet With Friends

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

CIVIC’s breakthrough first EP, ‘New Vietnam’, plus a collection of early singles originally released between 2018-19, available for the first time outside of Australia. Single LP in a standard jacket, pressed on clear vinyl.

STAFF COMMENTS

Barry says: Those of you that haven't heard CIVIC should give them a listen if you're into the more melodic end of the Discord releases. It's punk rock, but cleverly written and perfectly played so the result ends up more like Bad Religion than Bad Brains. Brilliant.

TRACK LISTING

1. New Vietnam
2. Satellites
3. Street Machine Dream
4. Call The Doctor
5. Shackled Man
6. Burning Steel
7. Flick The Station
8. Pleasure
9. Heat
10. Needle In The Camel's Eye
11. Selling, Sucking, Blackmail, Bribes
12. Velvet Casino
13. New Vietnam [Live]

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.

Led by the freewheeling vision of Will Turner and Georgie Fuller, The Heavy Heavy “write and play music with that lick of madness that makes early Fleetwood Mac and peak Stones so thrilling” (The Guardian), blending Turner's roots as a studio musician with Fuller's operatic, irresistibly raspy vocal range and background in the London theater.

This expanded edition of their debut EP ‘Life and Life Only’ features runaway hits like the Top 5 AAA radio-charting “Miles and Miles,” current Top 15 breakout “Go Down River,” and rapturous opener “All My Dreams” in addition to hypnotic, harmony-laden takes on Father John Misty’s “Real Love Baby,” Crosby, Stills & Nash’s “Guinnevere” and a previously unheard rendition of Jonathan Wilson’s “Desert Raven,” plus a roaring live recording of “Man of The Hills” and an acoustic arrangement of “Go Down River.”

TRACK LISTING

1. All My Dreams
2. Go Down River
3. Man Of The Hills
4. Miles And Miles
5. Sleeping On Grassy Ground
6. Why Don’t You Call
7. Desert Raven
8. Man Of The Hills (Live)
9. Real Love Baby
10. Guinnevere
11. Go Down River (Acoustic)

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

Love Record Stores Edition available instore from 10am on Saturday September 4th, any remaining copies will be available on online from 9pm on the same day.
Limited to one per person.

Though she’d been writing songs in her head since she was six, and on the guitar since she was 12, it took a long time for Nilüfer Yanya to work up the courage to show anyone her music. 'I knew I wanted to sing, but the idea of actually having to do it wasreally horrifying,' says the 23-year-old. When she was finally persuaded to do so, by a music teacher in West London where she grew up, she says 'it was horrible. I loved it'.

At 18, Nilüfer, who is of Turkish-Irish-Bajan heritage, uploaded a few demos to SoundCloud. Though she’s preternaturally shy, her music, which uniquely blends elements of soul and jazz into intimate pop songs with electronic flourishes and a newly expressed grungy guitar soun, isn’t. And it didn’t take long for it to catch people’s attention. She signed with independent New York label ATO, following three EPs on esteemed London indie label Blue Flowers, and earned a place on the BBC Sound of 2018 longlist. She also supported the likes of The XX, Interpol, Broken Social Scene and Mitski on tour.

Now, Nilüfer is ready to release her debut album, "Miss Universe". Though she recorded much of it in the same remote Cornwall studio she used to jam in as a much younger person, it is bigger and more ambitious than anything she has done before. "Angels", with its muted, harmonic riffs, channels ideas 'of paranoid thoughts and anxiety' - a theme that runs through the album, not least in its conceptual spoken word interludes which emanate from a fictional health management company WWAY HEALTH TM. 'You sign up, and you pay a fee,' explains Nilüfer of the automated messages, which are littered through the album and are narrated by the titular Miss Universe. 'They sort out all of your dietary requirements, and then they move onto medication, and then maybe you can get a better organ or something... and then suddenly it starts to get a bit weird. You're giving them more of you and to what end?'

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.