'You are Spring!' opens with a latticed wall of sound, acapella vocals layered in lush harmony, singing the semi-eponymous Spring. Immediately, Tasha spirits us away from dull, gray winter into a world replete with images and sensations of new life. Think: a riot of bell shaped blooms; blush and citrine and butter yellow; the sky a clear, lungful of blue; warmth, everywhere, kissing skin overwintered and longing for touch; ease after suffering; a deep breath after suffocating. “Don’t die now / There’s life to be found now,” she begins.

In lyrics inspired by Gwendolyn Brooks’ poem To The Young Who Want To Die, Tasha enunciates the thesis of this album with exquisite precision.There are seasons of harshness, seasons of difficulty, yes. But, here, in this album, we meditate on spring--on a season of celebration, made all the sweeter because we know what one must endure to get there. “Alive now / It’s spring now / Alive now / You’re spring now,” she closes, borne aloft by the velvety voices of Jamila Woods and Taja Cheek of L’Rain featured on this track, inviting us into the edenic jewel box that she’s created here. For Tasha, spring is a place we arrive, but it’s also a state we’re in, a way we’ve become.

When discussing what she hopes the album conveys, she further expounds on the meaning of Spring, saying “it’s a way to say you are the thing that other people are looking forward to; you are the thing we’re waiting for; you are the beautiful thing.” If the previous album was about yearning, of stretching toward an abundance you know is coming, then 'You are Spring!' is a chance to pause and take it all in once you have stepped into your fullness.

TRACK LISTING

1. Spring (ft. Jamilla Woods & L'Rain)
2. Clarion
3. Perfect
4. Promise
5. Ending
6. Summer
7. Lucky
8. Actor
9. Special
10. Porous
11. Quick!

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

Includes 3 demos of previously released tracks, including 2 that will be exclusive to this variant forever.

'Dirt Buyer III' begins with a song about sports. “Baseball/ Is somethin’/ I’ll never get, but I/ Sleep on it/ Wake up/ And try again,” Joe Sutkowski coos over loping-then-roaring distorted guitar. But of course, anyone familiar with the emotional depths of Dirt Buyer’s music knows Sutkowski isn’t simply singing about America’s favourite pastime. “It’s about growing up with certain expectations and adhering to them for no reason other than doing what you’re told,” Sutkowski explains. “The song is about gaining autonomy and independence.” In its opening moments, 'Dirt Buyer III' goes back to origin stories, to disconnects hard-wired in childhood, to set up an album that, from there, is a visceral document of navigating the same trials in adulthood.

When 'Dirt Buyer II' arrived in 2023, it had already been sitting on the shelf for three years. By then, all the songs had been written for 'Dirt Buyer III', pouring out of Sutkowski during a particularly tumultuous stretch of life. Where in the past he would write the amount of songs necessary for an album and head right into the studio, here he had amassed more than two dozen tracks. Mere weeks after II found its way into the world, Sutkowski was recording III. “I was so ready to do something else,” he explains. He was ready to put these years behind him.

In the same way there was a sonic leap from the homemade recordings of Dirt Buyer to the moderate studio polish of 'Dirt Buyer II', Sutkowski’s music has again undergone a logical but substantial evolution between albums. The bones are the same: ragged acoustic guitars, electric riffs chiming autumnally then caustic and overdriven, drums staggering forward with the same desperate pace with which Sutkowski passed through these years. Then, his voice above it all: plaintive, weaving, breaking at times and finding new power in others. Buoyed by the bulletproof structures of these songs and more muscular production, 'Dirt Buyer III' presents the fullest, most immersive version of Sutkowski’s sound yet.

In October of 2023, Sutkowski joined his friends Hayden Ticehurst and Chris Cubeta at Brooklyn’s Studio G. He showed them all the demos, and together the trio culled it down to the “heaviest hitters of the bunch,” narrowing in on the 11 compositions featured on III. “We knew what the songs were going to be, and we tackled everything head on,” Sutkowski says. Still, they took their time getting everything just right, with recording, mixing, and finishing touches scattered across a year. As a result, Sutkowski has never been more proud of a Dirt Buyer album, adding: ““The finished product is the best representation of where I’m at now as a songwriter..”

TRACK LISTING

1. Baseball
2. For Me
3. Halfway
4. Bullshit Fuck
5. Betchu Won’t
6. Get To Choose
7. Wait On The World
8. Multizeal
9. Me Before You
10. Old As Sin
11. When You Were A Kid

Smut is the project of lyricist Tay Roebuck, guitarists Andie Min and Sam Ruschman, drummer Aidan O’Connor, and bassist John Steiner. Roebuck, Ruschman and Min started the band a decade ago in Cincinnati, Ohio. Since then, they’ve played alongside Bully, Wavves, and Nothing. After years in the Cincinnati DIY scene, they made their Bayonet Records full-length debut, 'How the Light Felt'. The record was a revelation. Pitchfork called it “a rigorous, decade-spanning study,” and a “well-oiled spin on late-’80s guitar pop.” Under the Radar called it “pop perfection,” that “blends subtle hooks with wistful lyrics.” It was a record that explored grief through the lens of melancholic dreampop, using drum machines and layered, intricate melodies.

'Tomorrow Comes Crashing', Smut's first record with O'Connor and Steiner, sees the band re-energized and trained on the limitless potential that comes with making music with people you love. Galvanized with a new lineup, Smut focused on creating a record that possessed the same towering intensity as the records that first got them into music: Three Cheers for Sweet Revenge, Relationship of Command. The outcome is ten of their most intense, bombastic, and focused songs to date.

Catharsis bursts through the seams throughout 'Tomorrow Comes Crashing'. 'Syd Sweeney', inspired by the actress, is the record's centerpiece. It's about how profoundly strange it can be to be a woman, to be misunderstood by people who don’t even know you. The song is driven by chugging guitars and big, rolling drums. In other words: stadium rock about perception. Paramore meets Dookie. “She connects to the youth and the girls in the water/All she amounts to is someone’s daughter,” sings Roebuck in one particularly poetic moment. The song comes to a thrashing metal-inspired breakdown. It’s ecstatic.

To make the record, Smut recorded “as live as they could,” alongside Aron Kobayashi-Ritch(Momma) in a studio in Red Hook, Brooklyn, over the course of ten days. “We have so much energy right now,” says Roebuck. Right before they went off to New York, Roebuck and Min got married, with the rest of the band by their side. The recording was a true labor of love — driving from Chicago with all their equipment, returning from 12 hour studio days to sleep on friends' couches and floors, Roebuck completely blowing her voice by the end. Smut has always been DIY. Because they love it. Because they have to do it–there’s no other option. 'Tomorrow Comes Crashing' is the culmination of that DIY spirit: making a record that completely encompasses the intensity, moodiness, and emotion of their journey so far.

TRACK LISTING

1. Godhead
2. Syd Sweeney
3. Dead Air
4. Waste Me
5. Ghosts (Cataclysm, Cover Me)
6. Burn Like Violet
7. Touch & Go
8. Crashing In The Coil
9. Spit
10. Sunset Hymnal

Benét thinks of his new indie rock album, 'Make ‘Em Laugh', as a game of Clue. He’s trying to map out exactly when and how a relationship failed. “I was left behind romantically and I was really feeling that,” he says. “I was wondering, ‘Am I going to be okay?’ How did I get to a place where we’re not cool? Was it all me?’” You can certainly hear moments of heartache, resentment, and regret on 'Make ‘Em Laugh'.

On 'Damn', he fixates on how much he misses someone, and on 'Need', he comes to terms with the realization that a partner can’t meet his emotional needs. But despite these moments of pain, a sense of soaring optimism drives the album forward. 'Make ‘Em Laugh' is a document of discovery and self-realization, and is full of questions rather than answers. Open-hearted inquiry is a skill he learned in therapy, which he started going to while working on the project. “You're not going to know everything,” he says. “This world does not give you cheat sheet answers. But as long as you know what you want to know, you can get a bit of freedom from just asking.” Benét’s ability to traverse many complex and conflicting emotional states informs the sound of the music too: the album is dynamic, vibrant, and genre fluid.

His warm vocals shine on contemplative indie-rock tracks like 'Pieces Of Me' and 'Demon'. On 'Too Scared to Say', he employs autotune to convey a sense of swirling confusion, a sentiment that intensifies on experimental electronic track 'Slimmer'. Benét and featured singer AnnonXL trade off verses as the production transforms from crystalline and gentle to thrillingly noisy and energized. Benét also really enjoyed working with the artists featured on the album. He discovered Margaux’s music when she performed at the Brooklyn venue Baby’s All Right, where he works, and was excited to realize that fans had already been connecting their work in the YouTube comments on his videos. Faye Webster is his best friend, and someone who he feels matches his aptitude for asking astute questions about relationships. And AnnonXL’s whirling, vibrant verse on 'Slimmer' was so good that it pushed Benét creatively. “When AnnonXL sent their versein, I hadn’t finished the second part of the song yet,” he says. “I heard what they sent and was like, ‘Oh, I gotta go harder!’”

'Make ‘Em Laugh' may have begun as a way to process a breakup, but, as a body of work, it looks far beyond the specifics of just one relationship. This is music that wonders about the big life questions that connect us all and that finds solace in community. If the album is a game of Clue, it’s one that captures all the insights and stories of the myriad players in the room as much as it focuses on the outcome of the game itself.

TRACK LISTING

1. Wonder
2. Pieces Of Me
3. Damn
4. Hope You Do
5. Too Scared To Say
6. Radio Silence Feat. Margeaux
7. Slimmer Feat. AnnonXL
8. Birds Eye
9. Need
10. Demon
11. Make 'Em Laugh Feat. Faye Webster

'In ‘All This and So Much More’ Tasha is an artist flung open. For Tasha, the last few years have been propulsive, dynamic, bursting at the seams. They've included painful encounters with grief; a sudden break up; new flirtation; new hair; the glitter of world travel and not least, a role in Tony-nominated Broadway musical ‘Illinoise’ which adapts Sufjan Steven’s ‘Illinois’ for the stage. If ‘Tell Me What You Miss The Most’ was an introspective meditation on love with a few moments of glancing toward what’s next, ‘All this and So Much More’ is Tasha turned outward, flourishing, telling us what it’s like to take life by the chin and look it in the eye.

Take, for example “Eric Song.” This was the first song to be written on the album, penned while Tasha grappled with the sudden, tragic death of Eric Littman, the co-producer of her last album. Though the instrumentation is a familiar 3/4 guitar strum, lulling us into a comforting waltz, Tasha’s voice is breathy with grief, adding depth and dimension to the hushed sound. “No, I’m not alone after all / You must be near / Facing this soaring sprawl,” she sings, transforming the experience of loss into a talisman of love and courage meant to help usher in a new self.

Said a different way, ‘All This and So Much More’ is a full-throated ode to all of the ups and downs of becoming. In the opening track, “Pretend,” when Tasha sings about “feelings outgrowing this little life,” we get the sense, both lyrically and sonically, of someone in the throes of growth. This is an album crafted with a big, ambitious sound (in part, thanks to the production of Gregory Uhlmann)—cinematic droning, orchestral woodwinds, dazzling arrays of jangling guitar, all lining up to capture a sweeping moment in Tasha’s life. Written over the course of 2022 and 2023, right on the cusp of Tasha being cast in Illinoise, the songs in this

album invoke friendship, heart ache, flirtation, doubt. From the social anxiety of “Party” (“Do they think I’m funny? / Did they like my jokes last night?”) to the questing for meaning in “So Much More,” Tasha brings us along on a journey of finding out that the person you wanted to be was inside of yourself, just waiting to bloom all along.

She sums it up neatly in her final track, “Love's Changing,” charging us with a brilliant, sweeping vision of the future, singing: “Suddenly the world is bigger than it ever felt before / Feel the weight of my future sinking in / See the joy I’m running toward." In ‘All This and So Much More,’ Tasha asks us to consider abundance in its truest form. Our lives, a deluge of possible experience if only we will surrender to it, all the way from the citric ache of heartbreak to the chest bloom of new adventure.

“'Michigan' is both instant and lovably rugged, shining boldly with an unexpected gleam that redefines expectations of wherever Tasha chooses to go next.” Gold Flake Paint.

TRACK LISTING

Pretend
The Beginning
Be Better
Good Song
Michigan
Party
Nina
Eric Song
So Much More
Love's Changing

Recommended if you like: Hand Habits, Slow Pulp, Frankie Cosmos, Lomelda, Lucy Dacus, Big Thief.

“Bloomsday’s Iris James Garrison makes achieving sonic bliss look easy.” Consequence of Sound

Produced by Ryan Albert of Babehoven; features vocals from Babehoven, Richard Orofino, h. Pruz. Mixed by Henry Stoehr of Slow Pulp.

'The way Bloomsday’s Iris James Garrison writes songs feels like somewhere between a mirror and a memory. Spacious, full-bodied folk songs, they are an ode to things that are good no matter how small; they sometimes feel like the ghost of a Mary Oliver poem. Bloomsday’s new record, 'Heart of the Artichoke', is a relic of unfettered creativity and community. They recount the miracles of the mundane, the memories that become sacred, an ode to all that is holy: nightswimming, songs plucked from the ether, the ways friendship can endure.

Like earlier Bloomsday songs, the work here is threaded with warmth; it’s simmering, crisp and deeply human, an encapsulation of the present moment. Recorded across 10 days in June 2023 in upstate New York at duo Babehoven’s studio and co-produced by Babehoven’s Ryan Albert, with mixing by Henry Stoehr of Slow Pulp. The record was built out with a wide ranging group of collaborators, including inventive drumming from Andrew Stevens (Lomelda, Hovvdy), Alex Harwood, Richard Orofino, Babehoven’s Maya Bon, Hannah Pruzinsky (h.pruz, Sister.), and Chris Daley. It was an insulated and collaborative experience: all family dinners on the back porch, bonfires, feeling a full sense of joy, of friendship, of purity in the artistic self.

Collaboration is an integral part of Bloomsday’s musical process. Garrison is malleable in the studio, their songwriting generous and spacious. But in listening to the record, there’s a sense that Garrison leaves room for the players, for the listener; for songs to find the shapes they’re meant to take. Garrison’s role as maestro is crucial, singular – it’s a collaborative, exploratory spirit harnessed by Garrison’s intuition, and by an honest commitment to carve out creative space for play, to delve into what’s known – or pushing past that, into unknown. “The ghosts of the past still come up and haunt me,” Garrison says, “but I sit in what I have and see it. All of these songs are about loved ones, about personal struggles with getting out of my head and being present.” Heart of the Artichoke was written from a healed, matured place – written in a moment of safety from chaos. It’s a prayer for the present, an appreciation of tenderness and what happens once we give ourselves the space to really see, and really feel – becoming free and whole – an ode to the way healing allows us to bloom.

TRACK LISTING

1. Where I End And You Begin
2. Virtual Hug
3. Dollar Slice
4. Artichoke
5. Look After
6. Night Swim
7. Carefully
8. Bumper Sticker
9. Object Permanence
10. Old Friend

For Fans Of: Angel Olsen, Sam Evian, Youth Lagoon, Kevin Krauter, Whitney, Tame Impala, MGMT. Through his project Lionlimb, New York-based singer/songwriter/producer Stewart Bronaugh crafts unfurling soundscapes that feel mysterious and otherworldly, yet timeless and nostalgic at the same time. He presents his most ambitious vision of these inner vistas on his new album, Limbo, arriving May 24th on Bayonet Records. Inspired by a palette of '70s Italian film soundtracks, '60s girl group music, and funk and soul ballads, Bronaugh brings these influences together to invent an immersive sound all his own with help from close collaborator Joshua Jaeger, whose live drums bring a rawness to Limbo's meticulously layered production. Led by the smoldering single "Dream of You," featuring Angel Olsen, Limbo taps into universal themes of romance, longing, and loss, while still offering a hazy escape from our present reality. Bronaugh penned the songs with "classic" songwriting in mind, transforming his personal struggles with grief and addiction into love songs. Using images inspired by nature (like the sun, moonlight, hurricanes, and deep water), he expresses being overtaken by a force greater than himself, as the psychedelic production evokes a sense of being plunged into this vast landscape. Limbo benefits from its eclectic influences, as Bronaugh overlays sitar-sounding guitar on top of funky basslines, melodramatic string arrangements, and fuzzed out guitar, making for music that could easily belong on Twin Peaks just as much as a Western cowboy film. An album of duets, Limbo features a host of female vocalists Angel Olsen, Ewa Synowiec, Justine Orrall, Bri Abram, Zoey Huynh, and Taylor Belle who each add a textural counterpoint to Bronaugh's understated vocal performance. "I think about vocals as just another instrument," he explains. "When we first tried to have someone else sing, I liked it, because I felt more akin to a producer than a songwriter." There's a dreamy quality to how these singers trade off with Bronaugh, both parties expressing his inner emotions. Limbo is a culmination of Bronaugh's years of production experience, as he composed, produced, and mixed the project almost entirely by himself, with additional recording from Robin Eaton. Always inspired to make bold and experimental choices that capture his instincts in the moment, Bronaugh's production style is informed by "wanting to do the weird thing that engineers wouldn't approve of," as he describes it. "My favorite part of making music is the mistakes." 

TRACK LISTING

Sun
Hurricane
Underwater
Hiss
Dream Of You (feat Angel Olsen)
Runaway
Two Kinds Of Tears
Nowhere To Hide
Til It's Gone
You Belong To Me

RIYL: Estelle, Mamalarkey, Crumb, Men I Trust, Faye Webster, Clairo, Taphari, Childish Major, Samia, McKinley Dixon, Arlo Parks, Anjimile.

"Benét does a great job of using the instrumentals in their music to better capture the feeling they want to convey." - Flood Mag.

'Can I go again?', the debut full-length album by Richmond, VA-based singer-songwriter Benét (Benét Nutall) is a diverse collection of contemplative, tightly-crafted indie-pop, rock, and soul tracks as emotionally resonant as they are immediate and infectious. These tracks are equally worthy of processing heart break, gaming with your friends, or finding strength in solitude growth in time requires an embrace of seriousness as well as unbridled, shameless joy.

Benét’s debut EP, 'Game Over' (2021), was an honest effort at self-reflection through electronic dance and disco atmospheres the titular question of their debut album serves as a reset on the arcade game with more knowledge, maturity, and assurance as Benét moves into more organic instrumental accompaniment and refined songwriting. The ebullient and sharp guitar riffs and driving bassline of “Insensitive” lift Benét’s vocals as they sing about feelings of nervousness, desire, and ultimately overcoming both with assuredness. Benét gets to flaunt satisfying personal growth in “Overpowering” over a smooth bassline and strutting beat. “No Alarm” offers another look at Benét’s lyrical vulnerability, moving back and forth between self-consciousness in the verses and a shimmering string emphasized certainty in the chorus.

Benét’s music has always been influenced by the environments around them and the people who they choose to create with. The album is a result of roughly three years of writing and recording at various times with different groups of friends and musical partners in Richmond, VA with Jacob Grissom, Christian Lewis, Neal Perrine, and John Trainum, in Philadelphia with Kyle Pulley and Danny Murillo, and in New York with Carlos Truly.

'Can I go again?' is about taking and recognizing time, growing deliberately, and expressing delight and nervousness with confidence. Benét uses Can I go again? To work through their own place amidst inspiring, confusing, difficult, and beautiful human connectivity and present these unforgettable, catchy, emotional songs with the hope the audience can listen and do the same.

TRACK LISTING

1 The Real Me
2 Missn’ Out
3 Overpowering
4 No Alarm
5 Things Change
6 Insensitive
7 Facts
8 If It Happens Again
9 Lose U
10 Try (Alt Version)

Joe Sutkowski (Dirt Buyer)’s new album is a documentation of making it to the other side. Sutkowski grew up in New Jersey, and although he lives in Brooklyn now, he remains “an emo kid at heart,” garnering inspiration from bands like My Chemical Romance and Muse, the latter of whose theatrical, dramatic performances inspired the band’s own vocal forward, soaring takes. Initially working together as a duo while Sutkowski and Ruben Radlauer (Model/Actriz) were at school in Berklee, the band’s self-titled 2019 debut album was recorded on an IPhone in their practice room on just drums and guitar, and the quietly striking, nuanced stylings earned them accolades far beyond the “fake record label” the two made up to originally release their music.

The band’s new album, Dirt Buyer II, was recorded in February 2020, and represents a foray into heavier material that marks a deeper shift for the band. Now working as a trio, Sutkowski is flanked by Tristan Allen on bass and Mike Costa on drums, a fellow Berklee grad who cut his teeth playing in bands across Boston including past collaborations with Sutkowski. Half-recorded while the band was on tour with Surf Curse, the record finds Sutkowski reaching out for places, people and beliefs to ground him. Throughout the album he attempts to wrap his head around the idea of fate and how you can brush up against other people and then leave them behind. The songs themselves play with this concept of light and dark intertwined. Oscillating between urgency and cathartic release and more stripped-back elegies, Sutkowski faces the reality that while the people he’d rather forget can still live on through music, he is able to move on at the same time.

Half-recorded in his mother and uncle’s upstate house where he turned the living room into a studio, he contemplates the beauty and disaster around him all refracted through visceral visual imagery of how the physical earth meets the unknown to converge in something greater than ourselves. “This is all a living chronicle of all I want to do, which is feel good and be happy,” he admits. “I’m a completely different person now a better version of myself.” Processing the past, Sutkowksi has emerged with newfound belief, fully intact and with a new path forward to the future.

RIYL: My Chemical Romance, Muse, Model/Actriz, Home Is Where, Microwave, Peaer, Pile, LVL UP, Cloud Nothings.

TRACK LISTING

1. Dirt Buyer II Theme
2. Heavy
3. Sand
4. Gathering Logs
5. Fentanyl
6. Tears My Heart In Two
7. Shame
8. Heartache
9. Wicked Branches
10. Heaven
11. Sounds Heard Through The Glass
12. On & On

Recommended If You Like: Devo, Pixies, Violent Femmes, Black Lips, King Khan & BBQ Show, The Spits, Ty Segall.

The garagey psychedelic outsider pop band Being Dead shines bright with their distinctly right-brain songcraft, mischievous humor, and implausibly great vocal harmonies. As they’ve graduated from curiosity to cult favorites, we’ve yet to encounter a single person who dislikes Being Dead.

Recorded at Radio Milk, producer Jim Vollentine (White Denim, Trail of Dead, Spoon) spit-shines Being Dead’s sound without diminishing their weirdo-best-friend vibes. Their penchant for idiosyncratic lyricism and musical unpredictability shines throughout the album as the duo moves between everything from garage rock and pop to Laurel Canyon-style folk.

“Being Dead tweaks rock tropes to be fun and interesting again." Austin Chronicle.

STAFF COMMENTS

Liam says: Funny lyrics, catchy hooks and plenty of musical detours (the jazzy excursion on 'Muriel's Big Day Off' is a highlight), 'When Horses Would Run' is a delightful morsel of surfy garage rock from Being Dead.

TRACK LISTING

1. The Great American Picnic
2. Last Living Buffalo
3. Muriel’s Big Day Off
4. God V.s Bible
5. Come On
6. Daydream
7. Treeland
8. When Horses Would Run
9. We Are Being Dead
10. Holy Team
11. Misery Lane
12. Livin’ Easy
13. Oklahoma Nova Scotia

Recommended If You Like: Wild Nothing, DIIV, Real Estate, New Order, WAVVES, Mac Demarco, Best Coast, Unknown Mortal Orchestra, Craft Spells.

Brooklyn bedroom-pop trailblazers Beach Fossils’ new album 'Bunny,' is a triumphant return for one of the 2010s most influential NYC bands. 'Bunny' is a precise blend of the luscious dream-pop atmospheres they notoriously honed on their earliest projects, the post-punk vigor expressed on 'Clash the Truth,' and the warm, sophisticated songwriting of 'Somersault.' Composer Dustin Payseur peppers the album equally with descriptions of the joy of fatherhood and the existential pleasure of smoking cigarettes out of a car window with friends - 'Bunny' features Beach Fossils' most personal lyrics to-date. This is a collection of new favorite tracks for fans of every era of Beach Fossils. Releasing on Payseur and his partner Katie Garcia’s own label, Bayonet Records, 'Bunny' will prove to be the culmination of a decade's worth of growth and experience.

STAFF COMMENTS

Liam says: Here at Piccadilly HQ, it's well known that we're purveyors of jangly indie - with Beach Fossils being one of the bands we've always come to champion over recent years. However, when we first heard 'Bunny' floating along the shop speakers, we knew we were in for something special.

Lead single “Don't Fade Away” is Beach Fossils at their very best - a perfect indie-pop track whose infectious melody you'll be humming non-stop. Similarly with “Sleeping On My Own” and “Tough Love”, tracks that have so much jangle they'll scratch any C86 (or should I say C23) itch. Elsewhere on the album, “Anything Is Anything”, “Feel So High” and “Numb” all skirt the line of treading into shoegaze, with the latter culminating in an expansive and rousing wall of sound. “Run To The Moon”s slide guitar results in Slowdive-meets-country (yes it works), whilst “(Just Like The) Setting Sun” is a shimmering slice of dream-pop. As for “Dare Me” and “Seconds”, both fit nicely into the garage/post-punky sound Beach Fossils carved out on their second record ‘Clash The Truth’.

With Beach Fossils' music in the past, there was always a sense that Dustin Payseur was making music that explored the nostalgia of a period he wasn't able to experience firsthand. But with 'Bunny', Payseur is able to look back at Beach Fossils as a whole and reminisce on a nostalgia that he himself created. In turn, this results in a flawless Beach Fossils record that is undoubtedly their best yet.

TRACK LISTING

1. Sleeping On My Own
2. Run To The Moon
3. Don’t Fade Away
4. (Just Like The) Setting Sun
5. Anything Is Anything
6. Dare Me
7. Feel So High
8. Tough Love
9. Seconds
10. Numb
11. Waterfall

Inspired by a love of artists such as Bill Evans, Lester Young, Chet Baker and Vince Guaraldi, Dustin Payseur reimagines some of his greatest hits from the Beach Fossils catalog alongside a group of formally trained jazz musicians. A rich and mellow mix of piano, saxophone, upright bass and brushed drums explore the contours of familiar songs, soaring Payseur’s melancholic harmonies to new heights.

Recommended if you like: Chet Baker, Norah Jones, Kamasi Washington, BADBADNOTGOOD, Wild Nothing, DIIV, Kevin Krauter.

"improvisational jazz, classical music, and Stereolab... his songwriting owes more to loop-based composition than garage-bound woodshedding." – Pitchfork.

TRACK LISTING

01. This Year
02. May 1st
03. Sleep Apnea
04. What A Pleasure
05. Adversity
06. Down The Line
07. Youth
08. That's All For Now

Recommended If You Like: Elliott Smith, Hand Habits, Chris Cohen, Sam Evian, Wilco, Bright Eyes, The Magnetic Fields. Press Quotes/Selling Points: "Stewart Bronaugh sings cool and steady about his close experiences with death, what it means to endure your losses, and the gift of being able to recognize the most real love in your life." Angel Olsen. "Spiral Groove" delivers us singer-songwriter Stewart Bronaugh at the height of his artistic powers both visually and sonically.

This album is studded with stories of mortality, challenges of addiction and sobriety, and the romance of a lifetime. Recovering from a seizure, Bronaugh’s sudden awareness of the limits of his own body was a “psychedelic experience” that shifted his perspective wildly. No longer “bulletproof, ” Bronaugh splits himself wide open on Spiral Groove, encapsulating all of our existential questions into tidy love songs. You’ll find pianos, string quartets, slide guitar, buzzing synth lines, and plenty of room to breathe. Each song is like a painting you can disappear into, a somber and hopeful spell for life after the end of the world.

TRACK LISTING

01. Electric
02. Everyday
03. Gone
04. Here
05. Lifespan
06. Loveland Pass
07. Nothing
08. Real Life
09. Temporary
10. Ultraviolet

Kevin Krauter’s newest album, ‘Full Hand,’ determines to be a vulnerable and honest statement from an artist exploring the boundaries of their craft. Following his 2018 debut, Krauter’s second full-length album picks up where ‘Toss Up’ left off but at a noticeably more intentional pace. 

On his sophomore album, Full Hand, Indiana musician Kevin Krauter tackles complicated emotional states and ideas through elliptical songwriting that is at once poetic and truthful. “A lot of the lyrics touch on how I was raised religiously, touch on me understanding my sexuality more and more in recent years,” Krauter says, “just growing up and becoming more confident in myself...that process of looking inward and taking stock of myself.” It’s not especially uncommon for artists to probe deep into their own psyche to uncover what makes them tic, but Krauter’s light touch feels like something all his own.

On the album’s first single, “Pretty Boy,” he sings, “Look ahead, say I see me now / Smiling at what used to stress me out / Cause it won’t be too long, but I’ll take my time with it / It won’t be too long till I come back home.” There’s a palpable sense of joy in Krauter’s acceptance of dire, stressful moments, and a liberation that comes from hearing him realize that the present will eventually be the past, and he’ll be able to look back and find peace. 

TRACK LISTING

01. Intro
02. Opportunity
03. Patience
04. Surprise
05. Kept
06. Intermission
07. Pretty Boy
08. Piper
09. Full Hand
10. Treasure
11. Green Eyes
12. How