Berlin and Dresden trio JAGUWAR played their way into the hearts of noise romantics with the sprawling sonic landscapes which characterized the trio's 2018 debut album. Their sophomore album GOLD, is set for release in October 2021.

GOLD is a supercharged blast of future pop, transcending borders and defying pigeonholes, an album arising from the band's predisposition to experiment. GOLD is not only danceable, poppy and endearingly intricate, it also flys in the face of the status quo, ask questions of the current state of affairs and the oppressive mechanisms in our society. GOLD is no blunt denunciation, however, but a soundtrack to accompany the realization that there is strength in individuality, thereby unlocking a new level of productiveness.

Collaboration between Bon Iver’s Justin Vernon and The National’s Aaron Dessner · Other collaborators include Phoebe Bridgers, Lisa Hannigan, Richard Reed Parry and more.

In 2008, Aaron Dessner sent Justin Vernon an instrumental sketch of a song called “Big Red Machine” for Dark Was The Night. This was before they had met in person. Justin wrote a song to it, interpreting the Big Red Machine title as a heart. 10 years of friendship later, there are 10 more songs. Big Red Machine. Each song includes a large number of collaborators via the PEOPLE platform and the record was produced by Justin and Aaron with longtime collaborator Brad Cook and engineered by Jonathan Low primarily at Aaron’s studio Long Pond in Upper Hudson Valley, NY

People is a steadily growing group of international artists who have come together to create and share our work freely, with each other and everyone. It was born outo a wish to establish an independent and nurturing space in which to make work (generally around music) that is collaborative, spontaneous and expressive in nature and where all unnecessary distractions or obstacles that get in the way are removed. People is for the benefit and development of the artists involved and just as importantly, for those who would like to access and enjoy the output. It is as much about the process of making work and showing all that openly, as the final outcome.

STAFF COMMENTS

Barry says: Such a well-heeled duo as Dessner and Vernon working together is bound to throw up some challenging and fascinating themes, and Big Red Machine doesn't fail to live up to expectations. Massive electronic scree, brittle log-cabin pieces and a collaborative chemistry that would make Dangermouse and Penfold attend a weekend retreat to iron out the creases. Top stuff.

TRACK LISTING

1. Deep Green
2. Gratitude
3. Lyla
4. Air Stryp
5. Hymnostic
6. Forest Green
7. OMDB
8. People Lullaby
9. I Won’t Run From It
10. Melt

Rock and roll is dead in New York City. Long live New York City rock and roll. Mick's Jaguar is bringing noisy, wild, unafraid big rock back to NYC. Crazy rents, corporatized venues, and kids listening to DJ's: it's hard being a band in this town.

This isn't LA and Mick's Jaguar is a product of their environment: a windowless dungeon practice space 20 feet below the trash covered sidewalk of the Lower East Side. Rats, grime, the sounds of the city; Mick's Jaguar gleefully pillages the history of rock music to create thoroughly modern, but classic rock and roll. Not quite punk, but not metal either, this is hard rock and roll that's been put through the brain blenders of 6 musicians who pair their Judas Priest shirts with Steely Dan hats. They claim no musical lineage to New York - they just live there. If you need to compare them to something, the night AC/DC played CBGB's would be about as close as you can get.

The group formed as a drunken Rolling Stones cover band, and after a few years of mainlining Stones songs and playing sporadic shows marred by violence and sprayed by beer, they started writing originals that attracted the attention of RidingEasy Records. And their new album, Fame and Fortune, sounds absolutely nothing like the Stones. The three guitarists — yes three guitars — open the album with a riff of buzzsaw intensity that would make a Ramoneproud. But then like Jim Morrison sashaying into a wine shop, it drunkenly careens into a big sounding rock and roll album somewhere in between Van Halen and Tres Hombres. Guitar solos abound, Thin Lizzy harmonies soar, the bass and drums make a groove that will shake the asses on the dance floor and put a rumble in your loins. Songs about life, death, cars, blood, murder, sex, drugs and booze are the world of Mick's Jaguar. Don't forget - this is what rock and roll is all about. Listen close and you'll hear hat tips to your bands, Mick's Jag knows their history and likes to rip it apart.

Recorded in Brooklyn at Figure 8 Recording by engineering wizard Philip Weinrobe, and fueled by a steady diet of Allen’s Coffee Brandy, the Fame And Fortune sessions resulted in only one hospital visit and it just might be your favorite album of 1978, 1988, or 2018. This is music that's made for listening to while driving fast in your car, and while relaxing at the local strip club. It's okay to have fun. Cute indie bands make everyone puke. That shit stops now. Let there be rock.

TRACK LISTING

1. The Real Boss
2. Pay To Play
3. Where We Go
4. Here Comes The Night
5. Blood On The Snow
6. Hellride
7. Damnation
8. Country & Punk
9. Call The Guy
10. New Orleans Blues

In celebration of the ten-year anniversary of this iconic album, Jagjaguwar are proud to present the ‘Black Sheep Boy: Anniversary Edition’, a 3CD / 3LP set combining Okkervil River’s classic ‘Black Sheep Boy’ album and its counterpart the ‘Black Sheep Boy Appendix’ with an all new unreleased album entitled ‘There Swims a Swan’: fullband recordings made six months prior to the release of ‘Black Sheep Boy’ which illuminate the album’s roots in the traditional American songbook. Featuring beautiful, emotional readings of songs popularized by such artists as Washington Phillips, Lead Belly, the Louvin Brothers and Roscoe Holcomb, ‘There Swims A Swan’ takes the listener on a trip through the songs that inspired the band’s Will Sheff while composing ‘Black Sheep Boy’ and reads like a run-through of that album’s themes.

‘Black Sheep Boy’ is celebrated for its album artwork as well as its music, and the Anniversary Edition collects that artwork in a meticulously reworked package, combining every previous element of William Schaff ’s imagery with a large new piece by Schaff depicting an updated ‘Black Sheep Boy’. The release also includes lengthy liner notes by Sheff walking the listener through the circumstances surrounding the album.

For Okkervil River fans (the most high-profile of whom was recently revealed to be President Barack Obama, who included ‘Down Down The Deep River’ on his 2015 summer playlist), the Anniversary Edition is a loving, comprehensive, richly expanded presentation of a record many consider to be one of the band’s best. For those new to the band, this might be the best place to start, the first step on a long road, the opening to a forest you can get lost in.

Richard Youngs' first new guitar / vocals full-length in two years, the first since his critically-acclaimed "The Naive Shaman", which landed him on the front cover of The Wire. Melody Maker once called him no less than the 'grand-meister of contemporary British improv, spiritual son of Eddie Prevost and Maddy Prior; gentle manipulator of English hymn-notics and religious incantations; protege, challenger and radicaliser of folk, blues, rock, minimalism and improvisation; translator for the sea and the rain and the sky; ambassador to war and peace, to love and anguish', and 'poet-seducer of souls'.

With "The Stage Names", Okkervil River dynamite the walls of past release, "Black Sheep Boy"'s gothic, moss-walled castle from the inside to let in the glaring sun. Where "Black Sheep Boy" presented a fairytale of dark babbling streams and high distant towers, "The Stage Names" takes place in an unmistakably modern world, where snowy televisions blast into cheap hotels the spectral images of soap stars endlessly betraying each other, where losers in late-night bars languish to the beat of their favourite songs, where broken-down actresses place their final cell calls from lonely mansions high in the hills. Riddled with characters real and fake, with true-life biography and brazenly fabricated autobiography, with the relics of high culture and the crumpled-up trash of low culture, "The Stage Names" is a cinemascopic take on the meaning of entertainment.

On Julie Doiron's first album of new material in over two years, she addresses in her signature intimate songwriting style both the heights and the fallout in a way that forces the listener to re-examine their own loves. Also important to the recording of this album was a reunion of sorts with her musical past. Founding Eric's Trip bandmate Rick White produced and played on the entire album, and a handful of the songs contain the entire original Eric's Trip band nucleus that took the Canadian indie underground by storm 15 years ago. Working with an old friend and collaborator like White was key to this album's intensely vulnerable and emotionally raw tone. What's captured is timeless and universal, in the same way as Cat Power's "Moon Pix", Leonard Cohen's "Songs Of Love And Hate", and Joni Mitchell's "Blue".

"Gypsum Strings" is Oakley Hall's second full-length record of 2006, and while the first, "Second Guessing", established Oakley Hall as one of the premier roots rock bands in the land, "Gypsum Strings" turns the volume way up and the traditions on their heads. Guitarists Fred Wallace and Pat Sullivan, and amplified fiddler Claudia Mogel trade leads with abandon on "Confidence Man" and "Lazy Susan". Cutting through the dense arrangements are powerhouse harmonies. Rachel Cox emerges as the Blue Ridge amalgam of Sandy Denny and Linda Ronstadt while Pat Sullivan's gravelly baritone anchors it all in Johnny Cash and John Doe territory. The sextet's trademark killer songwriting chops are in evidence as "Gypsum Strings" boasts some beautiful ballads that temper the heaviness, like "Living In Sin In The USA", "Nite Lights, Dark Days" and "Bury Your Burden". All told, "Gypsum Strings" cements Oakley Hall's rep as luminaries of the new psych-roots movement. They look to the past to make modern music striking in its originality.

This is the seventh album from Home. It's an album about f**king. They wrote nearly 50 songs on the subject, which were whittled down to 20 and recorded in a marathon three day weekend recording blitz. Chris shared drumming duties with Sean, while everyone switched up instruments as needed. The wide stylistic differences between the writers bleed across song borders and gelled into an overall sound that is difficult to categorize but easy to recognize as fu*k-friendly. The very sweet dudes in Oneida took an interest and offered to release it in their corner of Jagjaguwar, Brah Records; Home graciously accepted.

Brooklyn trio Parts & Labor combine tumultuous noise with enormous, triumphant melodies on their latest album, "Stay Afraid". Malfunctioning electronics howl in agony, drums rupture like fireworks, battle cries are belted through a monolithic layer of distorted bass and guitar. Parts & Labor revel in day-glo noise, charred drones, punk velocity and phoenix-like hooks - a unique blast influenced by the clamour of Husker Du, the bluster of Boredoms and the homemade spirituals of Neutral Milk Hotel.

After a summer listening to grimy hip hop beats and hooks and with the help of producers King Honey (MF Doom) and J.Sprocesss, Apsera have left behind the overwrought psychedelia of their previous records (on which they are often lumped in with the Flaming Lips and Mercury Rev) and opted for a more 80s pop production alongside elements of old school hip hop and the new school (ala Anti Pop Consortium) mixed with some experimental electronica of now (Boards Of Canada) and the electronica trailblazers (ala Brian Eno). The resultant subtle pop soundscapes have raw beasts, deep 808 / 909 textures and lush acoustic percussion.