After a nearly five-decade (and counting) career as one of his generation’s defining rock bassists, Flea releases his first full-length solo album, 'Honora', on Nonesuch Records. Time and space have finally allowed him to return to his first musical loves: jazz and playing the trumpet. The album features the track ‘Traffic Lights’, co-written with Thom Yorke and Josh Johnson, as well as the previously released ‘A Plea’.

For 'Honora', which takes its name from a beloved family member, Flea composed and arranged the music, and also plays trumpet and bass throughout, joined by an elite crew of modern jazz visionaries: album producer and saxophonist Josh Johnson, guitarist Jeff Parker, bassist Anna Butterss, and drummer Deantoni Parks. The record features vocals from Flea, as well as friends Thom Yorke and Nick Cave. Mauro Refosco (David Byrne, Atoms for Peace) and Nate Walcott (Bright Eyes), among others, also join the band. The album comprises six original songs – including one co-written by Flea, Johnson, and Yorke – as well as interpretations of tunes by George Clinton and Eddie Hazel, Jimmy Webb, Frank Ocean and Shea Taylor, and Ann Ronell.

“Deantoni and I played what became ‘Traffic Lights’ the first day,” Flea explains. “Something about it reminded me of Atoms for Peace, so I sent it to Thom. Just knowing him, I thought it would be a rhythm and a sensibility that he would relate to. And I was right, he did. With a gorgeous melody and the words, you know, about living in the ‘upside down’ and how do you make sense of things when we’re getting all this fake shit and real shit? Everyone has their ways of dealing with the world. But he’s just the warmest, free flowing, jamming motherf*cker.”

Best known as a founding member and bassist for the Red Hot Chili Peppers, Flea was first introduced to live jazz as a child, when family friends played the music together in his own living room. “It was the greatest thing I ever saw,” he recalls. “The wildness, warmth and we of it. Straight Bebop. Boom. I knew there were higher things on this earth, way above the pettiness that had left me disheartened. The holy trifecta of my life, music, sports and nature was complete.”

Though he dreamed of being like his heroes Dizzy Gillespie, Miles Davis, and Clifford Brown, Flea’s path went a different direction: His close friend Hillel Slovak asked him to pick up the bass and join his rock band when he was sixteen, leading Flea into a decades-long career with the hugely successful Chili Peppers.

But late one night in 1991, in the midst of that band’s ascent, Flea was acting in the now-classic Gus Van Sant film My Own Private Idaho when he shared with a friend, “I want to make an instrumental record with deep hypnotic grooves, trippy melodies layered on top, meditations on a groove.” The caveat was that he first needed to get his trumpet-playing together.

As Flea neared his sixtieth birthday, he realized if he did not pick up the trumpet again, he probably never would. So he resolved to practice every day for two years–in the midst of a stadium tour with Red Hot Chili Peppers, with a wife and newborn at home. At the end of those two years, he would make an album, regardless of where his knowledge or talents ended up.

Until 'Honora', Flea had never been scared of making music before. He worried that the all-star band he had assembled would think he was “a non-playing motherf*cker, charlatan, rock poseur or fan.” But, he says, “It turns out they were all the most genuinely supportive people, moving me deeply and daily with their generous spirits… Sitting in a room and playing the music with them made me feel like I was on drugs. I was buzzing, tripping and floating around the studio. I love them, they truly gave of themselves. I bow all the way down.”

TRACK LISTING

1. Golden Wingship
2. A Plea
3. Traffic Lights
4. Frailed
5. Morning Cry
6. Maggot Brain
7. Wichita Lineman
8. Thinkin Bout You
9. Willow Weep For Me
10. Free As I Want To Be

Nonesuch releases Oscar- and BAFTA-nominated composer Jonny Greenwood’s score to the new action comedy film written, directed, and produced by Paul Thomas Anderson, One Battle After Another. The album features eighteen new compositions performed by Greenwood - on piano, guitar, bass, percussion, and ondes Martenot - joined by the London Contemporary Orchestra and conductor Hugh Brunt, among others.

TRACK LISTING

1. One Battle After Another
2. The French 75
3. Baktan Cross
4. Baby Charlene
5. Perfidia Beverly Hills
6. Mean Alley
7. I Need The Greeting Code
8. Ocean Waves
9. Guitar For Willa
10. Battle After Battle
11. Sisters Of The Brave Beaver
12. Like Tom Fkn Cruise
13. Operation Boot Heel
14. Avanti Q
15. River Of Hills
16. Greeting Code Reprise
17. Trust Device
18. Trio For Willa

Robert Plant’s 'Saving Grace' is the first album featuring a new band of distinguished players, which he calls “a song book of the lost and found”. The genesis of 'Saving Grace' began during the lockdown in “The Shire”, when Plant’s customary wandering was all but forbidden. While his recent adventures have centred around Nashville, having reunited with Alison Krauss for 2021’s chart-topping, multi GRAMMY-nominated 'Raise The Roof', it was in the English countryside that Robert Plant connected closely to this diverse group of musicians, who through their own experiences had a shared lean towards his much-loved corners of evocative song. Together, Plant and Saving Grace – vocalist Suzi Dian, drummer Oli Jefferson, guitarist Tony Kelsey, banjo and string player Matt Worley, cellist Barney Morse-Brown – have spent the past six years growing into a wide-ranging workshop of styles and personalities, weaving through time and circumstance with joy and abandon.

“We laugh a lot, really. I think that suits me. I like laughing,” Plant says. “You know, I can't find any reason to be too serious about anything. I'm not jaded. The sweetness of the whole thing… These are sweet people and they are playing out all the stuff that they could never get out before. They have become unique stylists and together they seem to have landed in a most interesting place.”

Following his previous acclaimed releases on Nonesuch Records – 2014’s 'Lullaby and… The Ceaseless Roar' and 2017’s 'Carry Fire' – Saving Grace brings yet another chapter of Robert Plant’s ceaseless roar into the daylight. Produced by Robert Plant and Saving Grace – and recorded between April 2019 and January 2025 in the Cotswolds and on the Welsh Borders – 'Saving Grace' breathes fresh life into a collection of century-old music. A treasury of songs featured back in time by Memphis Minnie, Bob Mosley (Moby Grape), Blind Willie Johnson, The Low Anthem, Martha Scanlan, Sarah Siskind, and Mimi Parker and Alan Sparhawk’s Low. 

TRACK LISTING

1. Chevrolet
2. As I Roved Out
3. It’s A Beautiful Day Today
4. Soul Of A Man
5. Ticket Taker
6. I Never Will Marry
7. Higher Rock
8. Too Far From You
9. Everybody's Song
10. Gospel Plough

Nonesuch Records releases pianist and composer Brad Mehldau’s 'Ride into the Sun', a songbook record of music by the late singer, songwriter, and guitarist Elliott Smith. Featured musicians include singer/guitarist Daniel Rossen (Grizzly Bear); singer/mandolinist Chris Thile (Punch Brothers, Nickel Creek); bassists Felix Moseholm (Brad Mehldau Trio, Samara Joy) and John Davis (who also engineered and mixed the album); drummer Matt Chamberlain (Fiona Apple, Tori Amos, Randy Newman); and a chamber orchestra led by Dan Coleman, who also conducted on Mehldau’s 2010 album 'Highway Rider'.

'Ride into the Sun’s 10 Elliott Smith songs are complemented by four Mehldau compositions that he says are “inspired by, and reflect, Smith’s oeuvre.” Also included are interpretations of Big Star’s ‘Thirteen’, which Smith also covered, and ‘Sunday’ by Nick Drake, who Mehldau says, “I look at in some ways as sort of Smith’s visionary godfather.”

Recalling how he first got to know Smith and his music, which has been a regular part of his repertoire for years, Mehldau said that after years living in New York, he moved to Los Angeles “and there was this wonderful scene of singer-songwriters that was congregating at a club called Largo. That included Elliott but it also included artists like Rufus Wainwright, Fiona Apple. And then other musicians who had been around for a while would come down every Friday night to sit in on a gig that was led by Jon Brion. I played behind Elliott on his own tunes with Jon. It felt to me like a kind of renaissance in songwriting that flourished for a number of years.”

“Elliott Smith masterfully rendered the dark/light admix not in the least through his distinct harmony,” Mehldau continues. “Specifically, he had a way of combining major and minor modes that was all his own. You hear that on the unique, captivating chord progression that he introduced on ‘Tomorrow Tomorrow’ for just a moment before the last verse of the song. I use it, extending it for my piano solo here. This kind of minor-major gambit has a long pedigree, and my own associations as a listener include the music of Schubert and Brahms, among others.

“One of Brahms’ biographers described the feeling of one of his pieces as ‘smiling through tears’, and it would be a good description for the opening tune of Elliott’s on this set, ‘Better Be Quiet Now.’ Here is a break-up song as tender as it is rueful; the protagonist is smiling sadly as he says goodbye.”

“‘Ride into the sun’ is a beautiful point in the lyric of one of the songs that we play, ‘Colorbars’,” Mehldau says. “Elliott Smith says in the original song, ‘Everyone wants me to ride into the sun’. When I listen to music, I have a feeling that I can be in communion with somebody who is no longer in this earthly realm, like he is here. And as far as ‘riding into the sun’, it’s maybe more of a perpetual riding into the sun with him. I don’t know… There’s something mystical there.”

TRACK LISTING

1. Better Be Quiet Now
2. Everything Means Nothing To Me
3. Tomorrow Tomorrow (feat. Daniel Rossen)
4. Sweet Adeline
5. Sweet Adeline Fantasy
6. Between The Bars
7. The White Lady Loves You More
8. Ride Into The Sun: Part I
9. Thirteen
10. Everybody Cares, Everybody Understands
11. Somebody Cares, Somebody Understands
12. Southern Belle (feat. Daniel Rossen)
13. Satellite
14. Colorbars (feat. Chris Thile)
15. Sunday
16. Ride Into The Sun: Conclusion

Following back-to-back Grammy-winning albums with her band Golden Highway, along with a Best New Artist nomination, Molly Tuttle releases her new solo album, 'So Long Little Miss Sunshine', this summer. Recorded in Nashville with producer Jay Joyce (Orville Peck, Miranda Lambert, Lainey Wilson), the fifth full album from the singer, songwriter, and virtuoso guitarist marks a sonic departure from her recent work and features twelve new songs - eleven originals, including the album’s first single ‘That’s Gonna Leave a Mark’, and one cover, of Icona Pop and Charli xcx’s ‘I Love It’.

Tuttle says, “I’ve been wanting to make this record for such a long time. Part of me was scared to do such a big departure, and that went into the album title.” Eventually she decided, “‘You know what? I’m just not going to care what people think. I’m going to do what I want.’” She continues, “I wrote ‘That’s Gonna Leave a Mark’ with my friend Kevin Griffin. He has such a brilliant pop sensibility. We reworked it a little bit last year. It’s fun, sort of sassy, and that guitar part is one of my favorites that I play on the record.”

Tuttle’s career has charted a course between honouring bluegrass and stretching its boundaries. One of the most decorated female guitarist alive, she was the first woman to win the prestigious International Bluegrass Music Award’s Guitar Player of the Year in 2017, at age twenty-four, and won again the following year, with nominations nearly every year since; she has also won Americana Music Association’s Instrumentalist of the Year award.

On her new album - a hybrid of pop, country, rock, and flat-picking, plus one murder ballad - Tuttle goes to a whole new place. Her virtuoso guitar work takes centre stage on this album more than ever, and for the first time, she introduces her banjo playing into two of her recordings. “I like to be a bit of a chameleon with my music. Keep people guessing and keep it full of surprises,” she says.

'So Long Little Miss Sunshine' was recorded with drummer/percussionists Jay Bellerose and Fred Eltringham, bassist Byron House, and Joyce on multiple instruments. Ketch Secor (Old Crow Medicine Show) also plays banjo, fiddle, and harmonica, as well as singing harmony; much of the LP was co-written with Secor, who is also Tuttle’s partner. “We spend so much time together, we live together, and anytime I have a song idea, or he has one, it’s just so easy to transition from whatever we’re doing into writing a song.”

Tuttle also conceived the artwork for 'So Long Little Miss Sunshine', which features multiple Mollys, each wearing a different wig except for one with nothing on her head at all. Tuttle has been bald since she was three years old due to the autoimmune condition alopecia areata; she acts as a spokesperson for the National Alopecia Areata Foundation. 

TRACK LISTING

1. Everything Burns
2. The Highway Knows
3. Golden State Of Mind
4. Rosalee
5. I Love It
6. That's Gonna Leave A Mark
7. Easy
8. Summer Of Love
9. Old Me (New Wig)
10. Oasis
11. No Regrets
12. Story Of My So-Called Life

'A Ghost Is Born' was originally released on June 22, 2004, debuting at No. 8 on the Billboard chart. The album, which Mehr calls ‘an eclectic array of dark ballads, upbeat pop songs, Krautrock chug, noise rock freakouts, and roots rock abandon,’ was widely acclaimed as one of 2004’s best, appearing in year-end lists of Mojo, NPR, NME, the Associated Press, The Wire, Rolling Stone, the Village Voice, and Uncut, among many others. The album earned the band its first Grammy, for Best Alternative Music Album. The album also won a Grammy for Best Recording Package.

For the 'A Ghost Is Born' recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Mikael Jorgensen; Jim O’Rourke, who mixed the band’s previous release Yankee Hotel Foxtrot, co-produced the album with Wilco. Leroy Bach left Wilco at the completion of the sessions and the band announced the addition of two new members: Pat Sansone and Nels Cline. Sansone and Cline toured with Wilco to promote A Ghost Is Born and that lineup has remained unchanged since 2004. As Tweedy said to Mehr for his new liner note, “Making that record, and then finding this lineup, that was the start of something – of having a band that can play anything. That’s why, 20 years later, we’re still here and still going.”

Wilco first began sessions for what would become 'A Ghost Is Born' in early 2002 at Chicago’s Soma E.M.S., where they had mixed 'Yankee Hotel Foxtrot'. Much of the album was tracked live in the studio with O’Rourke and engineer Chris Shaw. They also reunited there with engineer and soon-to-be-bandmate Mikael Jorgensen.

At Soma, the band began sketching out music using Tweedy’s notebooks of lyrics, poetry, and prose. Mehr notes: ‘In between more traditional song tracking, the group would engage in a series of conceptual improvisations in the studio. These musical experiments, broadly known as ‘Fundamentals’… were part of what Kotche said was ‘an attempt to search for a new group identity. To see what we could make this band into.’’

In the fall of 2003, the band relocated to New York to finish recording at Sear Sound. “It seemed like the band needed to get out of Chicago, get out of the working mode they’d been in, and only be thinking about making a record,” O’Rourke told Mehr. There, playing together in the corner of a large studio, the album began to take its final shape.

Emerging from a period of addiction and rehab, Tweedy discussed how he feels about 'A Ghost Is Born' in retrospect. As he told Mehr, “I was worried the album was going to feel like something dark and not me anymore. But the album was ahead of me as a person. It was the part of me that I was trying to preserve – enthusiastic and furious about the world, as well as open and loving. I reached that in the music, before I could get there emotionally on my own.”

TRACK LISTING

9LP & 4CD Box Set/9CD Box Set Tracklist:
A Ghost Is Born
1. At Least That’s What You Said
2. Hell Is Chrome
3. Spiders (Kidsmoke)
4. Muzzle Of Bees
5. Hummingbird
6. Handshake Drugs
7. Wishful Thinking
8. Company In My Back
9. I’m A Wheel
10. Theologians
11. Less Than You Think
12. The Late Greats

dBpm: Outtakes/Alternates 1
13. At Least That’s What You Said (8/13/02 SOMA-Chicago)
14. Hell Is Chrome (10/5/03 SOMA-Chicago)
15. Spiders (Kidsmoke) (9/28/03 SOMA-Chicago)
16. Muzzle Of Bees (7/15/03 SOMA-Chicago)
17. Hummingbird (2/8/02 SOMA-Chicago)
18. Handshake Drugs (11/13/03 Sear Sound-NYC)
19. Wishful Thinking (11/1/03 Sear Sound-NYC)
20. Company In My Back (2/8/03 Hothouse-St. Kilda, Melbourne, Australia)
21. I’m A Wheel (August 2002 SOMA-Chicago)
22. Theologians (3/19/03 SOMA-Chicago)
23. Less Than You Think (11/11/03 Sear Sound-NYC)
24. The Late Greats (7/19/03 SOMA-Chicago)
25. Kicking Television (3/18/03 SOMA-Chicago)
26. The High Heat (2/5/02 SOMA-Chicago)
27. Panthers (March 2003 SOMA-Chicago)
28. Diamond Claw (3/21/03 SOMA-Chicago)
29. Bob Dylan’s 49th Beard (June 2002 SOMA-Chicago)
30. More Like The Moon (2/8/02 SOMA-Chicago)
31. Improbable Germany (10/7/03 SOMA-Chicago)

Unstitched: Outtakes/Alternates 2
32. Handshake Drugs (First Version) (6/26/02 SOMA-Chicago)
33. Hummingbird (February 2002 Recorded Live During Tracking At SOMA-Chicago)
34. The High Heat (2/4/02 SOMA-Chicago)
35. Spiders (Kidsmoke) (February 2002 SOMA-Chicago)
36. Diamond Claw (March 2003 SOMA-Chicago)
37. Muzzle Of Bees (October 2003 Sear Sound-NYC)
38. Like A Stone (11/10/03 Sear Sound-NYC)
39. Leave Me (Like You Found Me) (6/26/02 SOMA-Chicago)
40. Losing Interest (11/11/03 Sear Sound-NYC)
41. Old Maid (6/26/02 SOMA-Chicago)
42. Spiders (Kidsmoke) (August 2002 SOMA-Chicago)
43. Panthers (October 2003 Sear Sound-NYC)
44. Muzzle Of Bees (7/16/03 SOMA-Chicago)
45. Diamond Claw (10/9/03 SOMA-Chicago)
46. Losing Interest (7/20/03 SOMA-Chicago)
47. Spiders (Kidsmoke) (October 2003 SOMA-Chicago)
48. The Thanks I Get (6/26/02 SOMA-Chicago)
49. Two Hat Blues (March 2003 SOMA-Chicago)
50. Improbable Germany (January 2002 Pre-Production Loft Session-Chicago)

The Hook At The Wang (Live October 1, 2004 At The Wang Center-Boston, MA)
51. Muzzle Of Bees
52. Company In My Back
53. I Am Trying To Break Your Heart
54. A Shot In The Arm
55. Hell Is Chrome
56. Handshake Drugs
57. Jesus, Etc.
58. Hummingbird
59. I’m Always In Love
60. At Least That’s What You Said
61. Ashes Of American Flags
62. Theologians
63. I’m The Man Who Loves You
64. Poor Places
65. Spiders (Kidsmoke)
66. She’s A Jar
67. A Magazine Called Sunset
68. Kingpin
69. The Late Greats
70. I’m A Wheel
71. Via Chicago
72. California Stars
73. Christ For President

Fundamentals (On CD In The LP Boxset)
74. Fundamental 1
75. Fundamental 2
76. Fundamental 3
77. Fundamental 4
78. Fundamental 5
79. Fundamental 6
80. Fundamental 7


2CD Tracklist:
CD1 - A Ghost Is Born
1. At Least That’s What You Said
2. Hell Is Chrome
3. Spiders (Kidsmoke)
4. Muzzle Of Bees
5. Hummingbird
6. Handshake Drugs
7. Wishful Thinking
8. Company In My Back
9. I’m A Wheel
10. Theologians
11. Less Than You Think
12. The Late Greats

CD2 - DBpm: Outtakes/Alternates
13. At Least That’s What You Said (8/13/02 SOMA-Chicago)
14. Hell Is Chrome (10/5/03 SOMA-Chicago)
15. Spiders (Kidsmoke) (9/28/03 SOMA-Chicago)
16. Muzzle Of Bees (7/15/03 SOMA-Chicago)
17. Hummingbird (2/8/02 SOMA-Chicago)
18. Handshake Drugs (11/13/03 Sear Sound-NYC)
19. Wishful Thinking (11/1/03 Sear Sound-NYC)
20. Company In My Back (2/8/03 Hothouse-St. Kilda, Melbourne, Australia)
21. I’m A Wheel (August 2002 SOMA-Chicago)
22. Theologians (3/19/03 SOMA-Chicago)
23. Less Than You Think (11/11/03 Sear Sound-NYC)
24. The Late Greats (7/19/03 SOMA-Chicago)
25. Kicking Television (3/18/03 SOMA-Chicago)
26. The High Heat (2/5/02 SOMA-Chicago)
27. Panthers (March 2003 SOMA-Chicago)
28. Diamond Claw (3/21/03 SOMA-Chicago)
29. Bob Dylan’s 49th Beard (June 2002 SOMA-Chicago)
30. More Like The Moon (2/8/02 SOMA-Chicago)
31. Improbable Germany (10/7/03 SOMA-Chicago)


2LP Tracklist:
1. At Least That’s What You Said
2. Hell Is Chrome
3. Spiders (Kidsmoke)
4. Muzzle Of Bees
5. Hummingbird
6. Handshake Drugs
7. Wishful Thinking
8. Company In My Back
9. I’m A Wheel
10. Theologians
11. Less Than You Think
12. The Late Greats

"A Boot And A Shoe" is produced by T Bone Burnett, and includes Phillips' distinct vocals and vintage guitar sound, plus piano vamps and string arrangements by Patrick Warren, electric bass by T Bone Burnett, and drums by Jim Keltner, Jay Belarose, and Carla Azar (Autolux). The New York Times said of Phillips that she possesses 'touches of Kurt Weill via Tom Waits, and of the Beatles via Elvis Costello, all turned inward,' and that she sings 'torch songs banked down to a low but persistent simmer, evading melodrama by keeping quiet.'

Nonesuch Records releases Laurie Anderson’s Amelia, the 2024 Grammy Lifetime Achievement Award recipient's first new album since 2018’s Grammy-winning Landfall. The record comprises 22 tracks about renowned female aviator Amelia Earhart’s tragic last flight. Anderson, who Pitchfork says, ‘sees the future, but she starts by paying attention’, wrote the music and lyrics for this subjective narrative piece. On the album, she is joined by the Czech orchestra Filharmonie Brno, conducted by Dennis Russell Davies, and Anohni, Gabriel Cabezas, Rob Moose, Ryan Kelly, Martha Mooke, Marc Ribot, Tony Scherr, Nadia Sirota, and Kenny Wolleson.

Earhart was a passionate pioneer of early aviation, achieving fame as the first woman to cross the Atlantic, in 1932. Five years later, she embarked on a flight around the world. Before she could complete the voyage, her plane disappeared without a trace; it has never been found. “The words used in Amelia are inspired by her pilot diaries, the telegrams she wrote to her husband, and my idea of what a woman flying around the world might think about,” Anderson says. First premiered at Carnegie Hall in 2000, the updated piece was recently performed across Europe.

Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 40 years. In a recent 60 Minutes profile, Anderson Cooper said she ‘is a pioneer of the avant-garde, but ... that doesn’t begin to describe what she creates. Her work isn’t sold in galleries. It’s experienced by audiences who come to see her perform: singing, telling stories, and playing strange violins of her own invention... she [blends] the beautiful and the bizarre, challenging audiences with homilies and humor. She blurs boundaries across music, theater, dance, and film.’ The Washington Post has said she ‘doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life,’ and the Guardian has called Anderson ‘one of the great popular artists and storytellers of our time.’

Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.

Recent exhibitions and installations of Anderson’s work include Habeas Corpus at New York’s Park Avenue Armory; her largest exhibition to date, The Weather, at Washington, DC’s Smithsonian’s Hirshhorn Museum of Modern Art; and Looking into a Mirror Sideways at Stockholm’s Moderna Museet, which was her largest European exhibition to date. Anderson recently toured with Sex Mob, performing her piece Let X=X. Earlier this year, she was awarded the 2024 Stephen Hawking Medal for Science Communication, along with Christopher Nolan and David Attenborough, and the International Astronomical Union named a minor planet in her honour: Asteroid 270588, Laurieanderson.

Nonesuch released a re-mastered edition of Anderson’s landmark 1982 album Big Science in 2007 for its 25th anniversary, followed by a vinyl LP re-issue in 2021; its beloved single, ‘O Superman’, became a surprise viral hit on TikTok earlier this year. 

STAFF COMMENTS

Barry says: 'Amelia' is Laurie Anderson's beautiful tribute, charting the story of Amelia Earhart's ambition to be the first female pilot to circumnavigate Earth in 1937. It's full of soaring melodies and tender plucks of delayed guitar, topped with Anderson's evocative reading of letters and reports of the time. A stunning dedication, and a rousing, transportive listen.

TRACK LISTING

To Circle The World
I See Something Shining
Takeoff
Aloft
San Juan
Brazil
Crossing The Equator
The Badlands
Waves Of Sand
The Letter
India And On Down To Australia
This Modern World
Flying At Night
The Word For Woman
Road To Mandalay
Broken Chronometers
Nothing But Silt
The Wrong Way
Fly Into The Sun
Howland Island
Radio
Lucky Dime

Written by The Black Keys’ Dan Auerbach and Patrick Carney with longtime friends Dan “The Automator” Nakamura and Beck, the celebratory, joyful ‘Beautiful People (Stay High)’ is one of several songs on the album that feature collaborations between the band and various additional friends and colleagues, including Noel Gallagher, Greg Kurstin, and others. Speaking on the collaborative nature of the album, Carney shares, “We had this epiphany: ‘We can call our friends to help us make music.’ It’s funny because we both write songs with other people – Dan all the time [as a solo artist and producer], me when I'm producing a record. That’s what we do.”

Auerbach adds, “No matter who we work with, it never feels like we're sacrificing who we are. It only feels like it adds some special flavor. We just expanded that palette with people we wanted to work with. We were there to support them and their ideas, to do whatever we could to see that moment flourish. But when it came time to finish the album, it was just Pat and me. We'd never worked harder to make a record,” he continues. “It's never taken us this long to make an album. We took our time and did it right.”

“What we wanted to accomplish with this record was make something that was fun,” Carney says. “And something that most bands 20 years into their career don’t make, which is an approachable, fun record that is also cool.”

While making Ohio Players, a title inspired by the legendary Dayton, OH funk band of the same name, The Black Keys were also DJing dance parties in cities around the world that they called “record hangs”, spinning 45s from their own eclectic and growing collections. Mojo reports, ‘The spirit of those parties infused the album’s DNA. ‘That’s been the fun of it,’ [says] Auerbach. ‘Letting go a little bit.’”

STAFF COMMENTS

Barry says: A lovely new one from Blues-rock troubadours The Black Keys including collaborations with some of the biggest names in music today. There are a selection of classic 'Keys outings alongside some more outsider pieces, all perfectly produced with the help of Beck and Noel Gallagher. It's a beautifully produced, perfectly paced new direction for the band.

Nonesuch releases Kronos Quartet’s acclaimed album Kronos Quartet Performs Philip Glass on vinyl for the first time to coincide with Kronos Quartet: Five Decades, a year-long celebration marking the quartet’s 50th anniversary. Originally released in 1995, the album features David Harrington (violin), John Sherba, (violin), Hank Dutt (viola) and Joan Jeanrenaud (cello) performing Quartet No. 2 (Company) (1983), No. 3 (Mishima) (1985), No. 4 (Buczak) (1990), and No. 5 (1991), the first piece Glass wrote especially for Kronos. Recorded at Skywalker Sound in California, the album was produced by Judith Sherman, Kurt Munkacsi and Philip Glass. The cover art features Francesco Clemente’s painting The Four Corners (1985). At the time of the album’s release, the New York Times said, ‘It contains some of Glass's best music since Koyaanisqatsi. His ear for sumptuous string sonorities is undeniable,’ while the Washington Post called it ‘An ideal combination of composer and performers.’ It was a top 10 hit on Billboard’s Top Classical Albums, and spent 12 weeks on Billboard’s Classical chart.

In his original liner note, critic Mark Swed wrote, ‘Glass’ string quartets may contain his most intimate music. They are works through which a very public composer, perhaps the most important opera reformer of our age and a longstanding collaborator in large-scale music theater, holds up a mirror to himself and his way of composing. “In an odd way,” Glass explains, “string quartets have always functioned like that for composers. I don’t really know why, but it’s almost impossible to get away from it. It’s the way composers of the past have thought and that’s no less true for me. It’s almost as if we say we’re going to write a string quartet, we take a deep breath, and we wade in to try to write the most serious, significant piece that we can.” Glass says that as he sat down to write String Quartet No. 5, he had discovered that perhaps not taking a serious tone might be the most serious way to deal with it. “I was thinking that I had really gone beyond the need to write a serious string quartet and that I could write a quartet that is about musicality, which in a certain way is the most serious subject.”’

Glass’ first numbered quartet was written in 1966; however, he did not return to the string quartet medium until 1983, when he provided incidental music for a dramatization of Samuel Beckett’s prose poem, Company. During those 17 years, Glass had formed an ensemble and developed his style in a series of increasingly elaborate pieces for it. String Quartet No. 3 is also adapted to dramatic music, this time from his score to the 1985 Paul Schrader film, Mishima. It was with the music of Mishima that Kronos became associated with Glass, recording the string quartet sections of the soundtrack and subsequently working extensively with the composer on all five of his numbered quartets. Kronos also gave the first concert performances of Company and Mishima. String Quartet No. 4 was composed in remembrance of the artist Brian Buczak, who died of AIDS in 1988.

As Kronos’ anniversary season continues with further concerts around the world, Nonesuch will reissue Black Angels on vinyl on February 16. First released in 1990, the award-winning album includes George Crumb’s title piece, which inspired David Harrington to found the quartet. Called ‘an unusually elevated and searing Vietnam War protest’ by the New York Times, it sets a dark, powerful tone for this collection, which addresses the political/physical/spiritual consequences of war. Also featured are works by Charles Ives, István Márta, Thomas Tallis, and Dmitri Shostakovich. ‘Stylishly packaged, intelligently programmed, superbly recorded and brilliantly performed,’ proclaimed Gramophone. ‘In short, very much the sort of disc we’ve come to expect from the talented and imaginative Kronos Quartet.’ The Evening Standard included it among its ‘100 Definitive Classical Albums of the 20th Century’.

Born in Baltimore, Maryland, in 1937, Philip Glass is a graduate of the University of Chicago and the Juilliard School. By 1974, he had created a large collection of music for The Philip Glass Ensemble. The period culminated in the landmark opera, Einstein on the Beach. Since Einstein, Glass’s repertoire has grown to include music for opera, dance, theatre, orchestra, and film. His scores have received Academy Award nominations (including Kundun and The Hours, as well as Notes on a Scandal) and a Golden Globe (The Truman Show). Recent works include his memoir, Words Without Music, his first Piano Sonata, opera Circus Days and Nights, and Symphony No. 14. Glass received the Praemium Imperiale in 2012, the US National Medal of the Arts from President Barack Obama in 2016, and 41st Kennedy Center Honors in 2018.

TRACK LISTING

Side A
1. String Quartet No. 5: I
2. String Quartet No. 5: II
3. String Quartet No. 5: III
4. String Quartet No. 5: IV
5. String Quartet No. 5: V
Side B
1. String Quartet No. 4 (Buczak): I
2. String Quartet No. 4 (Buczak): II
3. String Quartet No. 4 (Buczak): III
Side C
1. String Quartet No. 2 (Company): I
2. String Quartet No. 2 (Company): II
3. String Quartet No. 2 (Company): III
4. String Quartet No. 2 (Company): IV
Side D
1. String Quartet No. 3 (Mishima): 1957 – Award Montage
2. String Quartet No. 3 (Mishima): November 25 – Ichigaya
3. String Quartet No. 3 (Mishima): 1934 – Grandmother And Kimitake
4. String Quartet No. 3 (Mishima): 1962 – Body Building
5. String Quartet No. 3 (Mishima): Blood Oath
6. String Quartet No. 3 (Mishima): Mishima/Closing

Rhiannon Giddens’ You’re the One is the Grammy- and MacArthur-winning singer, composer, and instrumentalist’s third solo studio album and her first of all original songs; her last solo album was 2017’s critically acclaimed Freedom Highway. This collection of 12 songs written over the course of Giddens’ career bursts with life-affirming energy, drawing from the folk music that she knows so deeply, as well as its pop descendants. The album was produced by Jack Splash (Kendrick Lamar, Solange, Alicia Keys, Valerie June, Tank and the Bangas) and recorded at Criteria Recording Studios in Miami with a band composed of Giddens’s closest musical collaborators from the past decade alongside musicians from Splash’s own Rolodex, topped off with a horn section, making an impressive ten- to twelve-person ensemble.

Giddens made You’re the One with some of her closest musical collaborators from the past decade, including her partner, Italian multi-instrumentalist Francesco Turrisi, plus multi-instrumentalist Dirk Powell, bassist Jason Sypher, and Congolese guitarist Niwel Tsumbu. The album features electric and upright bass, conga, Cajun and Piano accordions, guitars, a Western string section, and Miami horns, among other instruments, capturing the inclusive spirit that channels through all of her work.

"I hope that people just hear American music," Giddens says. "Blues, jazz, Cajun, country, gospel, and rock – it's all there. I like to be where it meets organically. They're fun songs, and I wanted them to have as much of a chance as they could to reach people who might dig them but don't know anything about what I do. If they're introduced to me through this record, they might go listen to other music I've made and make some new discoveries.”

You’re the One opens with ‘Too Little, Too Late, Too Bad’, an R&B blast (complete with background "shoops" and horns) that takes a titan for inspiration. "I listened to a bunch of Aretha Franklin, and then turned to fellow Aretha-nut Dirk Powell and said, ‘Let’s write a song she might have sung!'" Giddens recalls. Her danceable, vivacious tribute to Franklin's sound is a vocal showcase, spotlighting her soaring high notes and nearly-growling low ones. Another highlight, ‘If You Don't Know How Sweet It Is', intentionally puts an edgier spin on the sass of Dolly Parton's early work.

TRACK LISTING

1. Too Little, Too Late, Too Bad
2. You’re The One
3. Yet To Be (feat. Jason Isbell)
4. Wrong Kind Of Right
5. Another Wasted Life
6. You Louisiana Man
7. If You Don’t Know How Sweet It Is
8. Hen In The Foxhouse
9. Who Are You Dreaming Of
10. You Put The Sugar In My Bowl
11. Way Over Yonder
12. Good Ol’ Cider

Nonesuch Records releases Natalie Merchant’s Keep Your Courage, her ninth solo studio album and first of new material since 2014’s self-titled record. An eclectic album, produced by Merchant, it features two duets sung with vocalist Abena Koomson-Davis (Resistance Revival Chorus), contributions from the Celtic folk group Lúnasa and Syrian virtuoso clarinetist Kinan Azmeh, and horn arrangements by jazz trombonist Steve Davis. There are lush orchestrations throughout by seven composers including: Gabriel Kahane, Stephen Barber, Colin Jacobson, and Megan Gould. Keep Your Courage comprises nine original songs by Merchant as well as an interpretation of ‘Hunting the Wren’ by Ian Lynch of the Irish band Lankum. The vinyl LP edition of Keep Your Courage includes four bonus tracks from earlier albums, previously unreleased on vinyl.

Merchant writes in her album’s liner notes, “The songs contained within this album were written and recorded during the global pandemic that began in the winter of 2019 and is in its fifth wave as I write, in the autumn of 2022. It has been, and continues to be, a period of great flux and fear on every level: global, national, communal, familial, personal. But this is not an album about the coronavirus or the chaos it caused. For the most part, this is an album about the human heart.” She continues, “The word ‘courage’ has its root in the Latin word for heart, cor, and we see it over and over in many languages: le coeur, il cuore, o coração, el corazón. This is a song cycle that maps the journey of a courageous heart.”

Over her forty-year career Natalie Merchant has attained a place among America’s most respected recording artists. She has earned a reputation for being a songwriter of quality and a captivating stage performer and has distinguished herself as a social justice and environmental activist. Merchant began her musical career as the lead vocalist and lyricist of the pop music band 10,000 Maniacs and released one platinum, two double-platinum, and one triple-platinum records with the group: The Wishing Chair (1985), In My Tribe (1987), Blind Man's Zoo (1989), Hope Chest (1990), Our Time in Eden (1992), and 10,000 Maniacs MTV Unplugged (1993). Merchant left the group in 1994 and has subsequently released nine albums as a solo artist with combined sales of seven million copies: Tigerlily (1995), Ophelia (1998), Natalie Merchant Live (1999), Motherland (2001), The House Carpenter’s Daughter (2003), Leave Your Sleep (2010), Natalie Merchant (2014), Paradise Is There (2015), and Butterfly (2017).

TRACK LISTING

Side A:
1. Big Girls (feat. Abena Koomson-Davis)
2. Come On, Aphrodite (feat. Abena Koomson-Davis)
3. Sister Tilly
Side B:
1. Narcissus
2. Hunting The Wren
3. Guardian Angel
Side C:
1. Eye Of The Storm
2. Tower Of Babel
3. Song Of Himself
4. The Feast Of Saint Valentine
Side D:
1. Spring & Fall: To A Young Child (2023 Remaster)*
2. Butterfly (2023 Remaster)*
3. Giving Up Everything (2023 Remaster)*
4. Frozen Charlotte (2023 Remaster)*

*Vinyl Only Bonus Content

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.

Nonesuch Records releases the first recording of Steve Reich’s Reich/Richter, performed by Ensemble intercontemporain and conducted by George Jackson. The composition was originally written to be performed with German visual artist Gerhard Richter and Corinna Belz’s film Moving Picture (946-3).

Reich describes Richter’s book Patterns, which served as source material for the film: “It starts with one of his abstract paintings from the ’90s. He scanned a photo of the painting into a computer and then cut the scan in half and took each half, cut that in half and two of the four quarters he reversed into mirror images. He then repeated this process of ‘divide, mirror, repeat’ from half to quarter, eighth, sixteenth, thirty-second, all the way up to 4096th. The net effect is to go from an abstract painting to a series of gradually smaller anthropomorphic ‘creatures’ (since the mirroring produces bilateral symmetry) to still smaller very fine stripes.

“Belz described the film in terms of ‘pixels’. It begins with two-‘pixel’ stripes and the music begins with a two-sixteenth note oscillating pattern. When the film moves to four ‘pixels’, the music moves to a four-sixteenth note pattern, then to eight, and sixteen,” the composer continues. “After that, I began introducing longer note values – initially eighth notes, and later to quarter notes. By the middle of the film, when the images move from 512 to 1064 pixels, the music really slows to dotted half notes. Finally, as the ‘pixel’ count begins to diminish, the music moves back into more rapid eighths and then ending with the most intense rapid sixteenth movement.”

After more than one hundred performances of Reich/Richter at The Shed in New York in 2019, it was performed in London at the Barbican by the Britten Sinfonia conducted by Colin Currie and then in Paris at the Philharmonie, where this recording was made. The Austrian ensemble Windkraft Tirol, led by Kasper de Roo, will perform Reich/Richter on September 8 at Szentrum, Silbersaal in Schwaz, and the LA Phil New Music Group, led by Brad Lubman, performs the piece, accompanied by Richter and Belz’s film, at Walt Disney Concert Hall in Los Angeles on April 1, 2023.

Nonesuch has recorded every new piece of music by Steve Reich since 1985, beginning with The Desert Music and continuing through 2018’s Pulse/Quartet, resulting in twenty-two albums and the two box sets Phases in 2006 and Works: 1965-1995 in 1997. The label will put out a collection of his complete works in 2023.

Reich released a book last month, Conversations, that includes dialogues with past collaborators, fellow composers, musicians, and visual artists who have been influenced by his work, including: David Lang, Brian Eno, Richard Serra, Michael Gordon, Michael Tilson Thomas, Russell Hartenberger, Robert Hurwitz, Stephen Sondheim, Jonny Greenwood, David Harrington, Elizabeth Lim-Dutton, David Robertson, Micaela Haslam, Anne Teresa de Keersmaeker, Julia Wolfe, Nico Muhly, Beryl Korot, Colin Currie, and Brad Lubman. Booklist said in its review, ‘Iconoclastic American composer Steve Reich is singular in his own right, and when he is in conversation with other equally iconoclastic composers, conductors, sculptors, musicians, percussionists, and video artists, sparks not only fly, they sparkle. Reich and his colleagues conduct lovely give-and-takes during which they share stories, creative approaches, and viewpoints. Reich's Conversations is the best kind of eavesdropping.’

Steve Reich has been called ‘America’s greatest living composer’ (Village Voice), ‘the most original musical thinker of our time’ (New Yorker), and ‘among the great composers of the century’ (New York Times). His music has influenced composers and mainstream musicians all over the world. Music for 18 Musicians and Different Trains have earned him two Grammy Awards, and in 2009, his Double Sextet won the Pulitzer Prize. Reich’s documentary video opera works – The Cave and Three Tales, done in collaboration with video artist Beryl Korot – have been performed on four continents. His recent work Quartet, for percussionist Colin Currie, sold out two consecutive concerts at Queen Elizabeth Hall in London shortly after tens of thousands at the Glastonbury Festival heard Jonny Greenwood (of Radiohead) perform Electric Counterpoint followed by the London Sinfonietta performing his Music for 18 Musicians.

In 2012, Reich was awarded the Gold Medal in Music by the American Academy of Arts and Letters. He has additionally received the Praemium Imperiale in Tokyo, the Polar Music Prize in Stockholm, the BBVA Award in Madrid, and the Golden Lion at the Venice Biennale. He has been named Commandeur de l’Ordre des Arts et des Lettres and has been awarded honorary doctorates by the Royal College of Music in London, The Juilliard School, and the Liszt Academy in Budapest, among others. ‘There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them’, states the Guardian.

Pierre Boulez founded the Ensemble intercontemporain in 1976 with the support of Michel Guy (who was France’s Minister of Culture at the time) and the collaboration of Nicholas Snowman. The Ensemble’s thirty-one soloists share a passion for twentieth and twenty-first century music. Under the artistic direction of Matthias Pintscher, the musicians work in close collaboration with composers, exploring instrumental techniques and developing projects that interweave music, dance, theater, film, video and visual arts. In collaboration with IRCAM (Institut de Recherche et Coordination Acoustique/Musique), the Ensemble intercontemporain is also active in the field of synthetic sound generation. New pieces are commissioned and performed on a regular basis. Resident of the Cité de la musique – Philharmonie de Paris, the Ensemble performs and records in France and abroad, taking part in major festivals worldwide.

George Jackson, winner of the 2015 Aspen Conducting Prize, came to attention after stepping in at short notice with Orchestre de Paris, where he stepped in for Daniel Harding. Recent highlights include leading Ensemble intercontemporain at Festival Romaeuropa, the Rainy Days Festival in Luxembourg, and Festival D’Automne in Paris, as well as conducting the RTÉ National Symphony Orchestra, the orchestra of Opéra de Rouen and the world premiere of Tscho Theissing’s Genia with Theater an der Wien. His varied operatic experience includes performances at Opera North, Hamburg State Opera and Opera Holland Park, as well as conducting a new production of Hänsel und Gretel at Grange Park Opera.

TRACK LISTING

Reich/Richter: Opening
Reich/Richter: Patterns & Scales
Reich/Richter: Cross Fades
Reich/Richter: Ending

After 10 albums, the last five of which have gone top 10 or better, six Grammy awards, and sold-out tours around the world, The Black Keys are back: the duo, called ‘America’s Most Trusted Band’ by Stephen Colbert, and ‘One of the best rock’n’roll bands on the planet’ by Uncut, releases its eleventh studio album, Dropout Boogie, via Nonesuch Records. Dropout Boogie features collaborations with Billy F. Gibbons (ZZ Top), Greg Cartwright (Reigning Sound), and Angelo Petraglia (Kings of Leon).

Dropout Boogie is released one day before the twentieth anniversary of The Black Keys’ first album, The Big Come Up. As they have done their entire career, the duo of Dan Auerbach and Patrick Carney wrote all of the material in the studio, and the new album captures a number of first takes that hark back to the stripped-down blues rock of their early days making music together in Akron, Ohio basements.

“That’s always been the beauty of the thing Pat and I do. It’s instant,” Auerbach says. “We’ve never really had to work at it. Whenever we’d get together, we’d just make music, you know? We didn’t know what we were going to do, but we’d just do it and it would sound cool. It’s the natural chemistry Pat and I have. Being in a band this long is a testament to that. It was a real gift that we were given. I mean, the odds of being plopped down a block-and-a-half from each other in Akron, Ohio – it just seems crazy.”

After hashing out initial ideas as a duo at Auerbach’s Nashville-based Easy Eye Sound studio, Auerbach and Carney welcomed new collaborators Billy F. Gibbons, Greg Cartwright, and Angelo Petraglia to the Dropout Boogie sessions. Although The Black Keys previously co-wrote songs with frequent producer/collaborator Danger Mouse, this is the first time they have invited multiple new contributors to work simultaneously on one of their own albums. Both Cartwright and Petraglia can be heard on the new album’s first single, ‘Wild Child’.

“Living in Nashville and making records here has opened both of our minds to that experience a little bit more,” said Auerbach. “I knew Pat would love working with both of these guys, so we decided we’d give it a shot. It was the first time we’d ever really done that. It was fun as hell. We just sat around a table with acoustic guitars and worked out a song ahead of time.” “The cool thing with Greg is that he wants to approach stuff with a story in mind – there’s a plot, almost,” added Carney.

The Black Keys had previously jammed with ZZ Top guitar legend Billy F. Gibbons more than a decade ago in Los Angeles, while ZZ Top was working on an album with producer Rick Rubin. “We never even really wrote one song – we just had some ideas we put down,” Carney said. “We really just wanted to hang out with him. We stayed in touch, and Dan invited him to the studio once we started working on this album.”

Between the duo’s albums, Auerbach, through his Easy Eye Sound studio and label, has produced and co-written with artists including Yola, Marcus King, Robert Finley, Ceramic Animal, and the Velveteers.

Carney has also been busy as a producer at his Nashville-by-way-of-Akron studio Audio Eagle, where he has worked with Michelle Branch, Tennis, Jessy Wilson, Calvin Johnson, and The Sheepdogs, among others.

STAFF COMMENTS

Barry says: The inimitable Black Keys return for their sleekest and most groove-filled outing yet. Funky af, swimming with the spirit of southern rock and hazy rock and/or roll.

El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. The Black Keys won three awards at the 55th annual GRAMMY Awards for El Camino – Best Rock Performance, Best Rock Song, and Best Rock Album – among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band). The week of release, the band performed on Saturday Night Live, The Colbert Report, and the Late Show with David Letterman, and later that year, went on to perform their first Madison Square Garden show.

Rolling Stone, which featured the band on their cover around the release, hailed El Camino for bringing ‘raw, riffed-out power back to pop’s lexicon,’ and called it ‘the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.’ The Guardian said, ‘They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.’

In the newly written liner notes for El Camino (10th Anniversary Deluxe Edition), David Fricke says:
The story of the Black Keys' seventh album, named after an automobile, long out of fashion and featured nowhere in the artwork, begins on a sidewalk in the middle of a blizzard. On the afternoon of January 9, 2011, singer-guitarist Dan Auerbach and drummer Patrick Carney stood on the pavement outside the Bowery Hotel in New York City, saw the weather turning vicious, looked at each other and came to the same decision: They had to get off the road.

The night before, the duo scored another first in a season getting crowded with them: The Black Keys' debut appearance on Saturday Night Live, performing ‘Howlin' for You’ and ‘Tighten Up’, the breakout singles from their latest release, Brothers. Two days earlier, Brothers – the Keys' first Top 5 album, released in May 2010 – became their first Gold record, passing a half-million in sales thanks to heavy FM rotation and a near-year of gigging, now set to run deep into 2011 including a prestige slot at Coachella and victory laps in Europe and Australia.

The Keys "tried to settle down" after cancelling the tour, Carney says. But that didn't last. "I said, 'We should just make another record.' And I asked Dan if we should get Danger Mouse" – the hip-hop and modern-rock producer, real name Brian Burton, who worked on the Keys' 2008 record, Attack & Release, and co-produced ‘Tighten Up’. Auerbach and Carney did not have any new songs, but as the drummer notes, "Most of our records – we don't have material when we start. Brothers was made up in the studio."

In the UK, the record gave the band their first top 10 hit, and in the US it debuted at #2 on the Billboard Top 200. The band was also the #1 most played artist at Alternative and AAA radio formats for 2012 in the US. The album’s first single, ‘Lonely Boy’: reached #1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio. The second single, ‘Gold on the Ceiling’, also reached #1 on Alternative radio and the third single, ‘Little Black Submarines’, reached the top 3 at Alternative radio.

El Camino has been certified Double Platinum in the US; Platinum in the UK, Belgium, France, Ireland, and the Netherlands; Triple Platinum in Australia and New Zealand; Quadruple Platinum in Canada; and Gold in Austria, Denmark, Finland, Italy, Mexico, Norway, Spain, and Switzerland. Of the album’s singles, ‘Lonely Boy’ was certified Double Platinum in the US, nine-times Platinum in Canada, Triple Platinum in Australia, Platinum in New Zealand, and Gold in Denmark and the UK. ‘Gold on the Ceiling’ was certified Platinum in the United States, Australia, and Canada. ‘Little Black Submarines’ was certified Platinum in the United States. The Black Keys also were nominated for an MTV European Music Award in 2012.

TRACK LISTING

DISC 1: EL CAMINO (2021 REMASTER)
Side A
1. Lonely Boy
2. Dead And Gone
3. Gold On The Ceiling
4. Little Black Submarines
5. Money Maker
Side B
1. Run Right Back
2. Sister
3. Hell Of A Season
4. Stop Stop
5. Nova Baby
6. Mind Eraser

DISC 2: LIVE IN PORTLAND, ME.
(PART 1)
Side C
1. Howlin’ For You
2. Next Girl
3. Run Right Back
4. Same Old Thing
5. Dead And Gone
Side D
1. Gold On The Ceiling
2. Thickfreakness
3. Girl Is On My Mind
4. I'll Be Your Man / Your Touch
5. Little Black Submarines

DISC 3: LIVE IN PORTLAND, ME.
(PART 2)
Side E
1. Money Maker
2. Strange Times
3. Chop And Change
4. Nova Baby
5. Ten Cent Pistol
Side F
1. Tighten Up
2. Lonely Boy
3. Everlasting Light
4. She’s Long Gone
5. I Got Mine

DISC 4: BBC SESSION
Side A
1. Howlin’ For You *
2. Next Girl *
3. Gold On The Ceiling *
4. Thickfreakness *
5. I’ll Be Your Man *
6. Your Touch *
Side B
1. Little Black Submarines *
2. Dead And Gone *
3. Tighten Up *
4. Lonely Boy *
5. I Got Mine *

DISC 5: ELECTRO-VOX SESSION
Side A
1. Dead And Gone *
2. Gold On The Ceiling *
3. Howlin’ For You *
4. Lonely Boy *
Side B
1. Money Maker *
2. Next Girl *
3. Run Right Back *
4. Sister *
5. Tighten Up *

* Super Deluxe Editions Only.

The Black Keys release their tenth studio album, Delta Kream, via Nonesuch Records. The record celebrates the band’s roots, featuring eleven Mississippi hill country blues standards that they have loved since they were teenagers, before they were a band, including songs by R. L. Burnside and Junior Kimbrough, among others. Dan Auerbach and Patrick Carney recorded Delta Kream at Auerbach’s Easy Eye Sound studio in Nashville; they were joined by musicians Kenny Brown and Eric Deaton, long-time members of the bands of blues legends including R. L. Burnside and Junior Kimbrough. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Auerbach says of the album, “We made this record to honor the Mississippi hill country blues tradition that influenced us starting out. These songs are still as important to us today as they were the first day Pat and I started playing together and picked up our instruments. It was a very inspiring session with Pat and me along with Kenny Brown and Eric Deaton in a circle, playing these songs. It felt so natural.”

Auerbach says of Delta Kream’s first single ‘Crawling Kingsnake’: “I first heard [John Lee] Hooker’s version in high school. My uncle Tim would have given me that record. But our version is definitely Junior Kimbrough’s take on it. It’s almost a disco riff!” Carney adds, "We fell into this drum intro; it's kind of accidental. The ultimate goal was to highlight the interplay between the guitars. My role with Eric was to create a deeper groove."

The music from northern Mississippi, which came to life in juke joints, has long left an imprint on the band’s music, from their cover of R.L. Burnide’s ‘Busted’ and Junior Kimbrough’s ‘Do The Romp’ on their debut album, The Big Come Up; to their subsequent signing to Fat Possum Records, home to many of their musical heroes; and to their EP of Junior Kimbrough covers, Chulahoma.

TRACK LISTING

1. Crawling Kingsnake
2. Louise
3. Poor Boy A Long Way From Home
4. Stay All Night
5. Going Down South
6. Coal Black Mattie
7. Do The Romp
8. Sad Days, Lonely Nights
9. Walk With Me
10. Mellow Peaches
11. Come On And Go With Me

To coincide with its 20th anniversary, Clint Mansell's haunting score to Darren Aronofsky's 2000 film, Requiem for a Dream, performed by Kronos Quartet, returns to vinyl. This was Mansell’s second of several collaborations with Aronofsky, following 1997’s π, and features arrangements by David Lang of Bang on a Can.

TRACK LISTING

Side A
1. Summer Overture
2. Party
3. Coney Island Dreaming
4. Party
5. Chocolate Charms
6. Ghosts Of Things To Come
7. Dreams
8. Tense
9. Dr. Pill
10. High On Life
11. Ghosts
12. Crimin' & Dealin'
13. Hope Overture
14. Tense
15. Bialy & Lox Conga

Side B
1. Cleaning Apartment
2. Ghosts-Falling
3. Dreams
4. Arnold
5. Marion Barfs
6. Supermarket Sweep
7. Dreams
8. Sara Goldfarb Has Left The Building
9. Bugs Got A Devilish Grin Conga

Side C
1. Winter Overture
2. Southern Hospitality
3. Fear
4. Full Tense
5. The Beginning Of The End
6. Ghosts Of A Future Lost
7. Meltdown
8. Lux Aeterna
9. Coney Island Low

Side D
1. Purple In The Morning, Blue In The Afternoon, Orange In The Evening, Green At Night
2. 30 Days To Revolutionize Your Life!!! 1-900-976-JUICE

Nonesuch Records releases the Magnetic Fields’ Quickies, a set of five vinyl EPs that features twenty-eight new short songs by Stephin Merritt, ranging in length from thirteen seconds to two minutes and thirty-five seconds. Quickies also will be available on CD.

Merritt explains his thinking behind the Quickies concept: “I’ve been reading a lot of very short fiction, and I enjoyed writing 101 Two-Letter Words, the poetry book about the shortest words you can use in Scrabble. And I’ve been listening to a lot of French baroque harpsichord music. Harpsichord doesn’t lend itself to languor. So I’ve been thinking about one instrument at a time, playing for about a minute or so and then stopping, and I’ve been thinking of narratives that are only a few lines long. Also, I had been using a lot of small notebooks, so when I reach the bottom of the page, I’ve only gone a short way. Now that I’m working on a different album, I’m enforcing a large notebook rule so that I don’t do Quickies twice in a row.”

Quickies features Merritt and other Magnetic Fields band members Sam Davol, Claudia Gonson, Shirley Simms, and John Woo. They are joined by longtime friends and collaborators Chris Ewen, Daniel Handler, and Pinky Weitzman.

To date, Stephin Merritt has written and recorded twelve Magnetic Fields albums, including the beloved 69 Love Songs and the 2017 critically acclaimed Nonesuch box set, 50 Song Memoir, which chronicled the first fifty years of the songwriter’s life with one song per year. New York magazine called the box set ‘a celebration of Merritt’s sky-high range as a writer and a player, through the exploration of the circumstances that helped cultivate it … a delightful flip through the untold back pages of one of rock’s most singular voices, and, all in all, the best damned Magnetic Fields album in the last ten years.’ Merritt has also composed original music and lyrics for several music theatre pieces, including an off-Broadway stage musical of Neil Gaiman’s novel Coraline, for which he received an Obie Award. In 2014, Merritt composed songs and background music for the first musical episode of public radio’s This American Life. Stephin Merritt also releases albums under the band names the 6ths, the Gothic Archies, and Future Bible Heroes.

TRACK LISTING

Side A
1. Castles Of America
2. The Biggest Tits In History
3. The Day The Politicians Died

Side B
1. Castle Down A Dirt Road
2. Bathroom Quickie
3. My Stupid Boyfriend

Side C
1. Love Gone Wrong
2. Favorite Bar
3. Kill A Man A Week

Side D
1. Kraftwerk In A Blackout
2. When She Plays The Toy Piano
3. Death Pact (Let's Make A)

Side E
1. I’ve Got A Date With Jesus
2. Come, Life, Shaker Life!

Side F
1. (I Want To Join A) Biker Gang
2. Rock 'n' Roll Guy

Side G
1. You've Got A Friend In Beelzebub
2. Let's Get Drunk Again (And Get Divorced)
3. The Best Cup Of Coffee In Tennessee

Side H
1. When The Brat Upstairs Got A Drum Kit
2. The Price You Pay
3. The Boy In The Corner

Side I
1. Song Of The Ant
2. I Wish I Had Fangs And A Tail
3. Evil Rhythm

Side J
1. She Says Hello
2. The Little Robot Girl
3. I Wish I Were A Prostitute Again

David Byrne's Nonesuch Records debut album, Grown Backwards, first released in 2004, makes its vinyl debut almost fifteen years later. The vinyl edition comprises the original album plus six previously unreleased tracks, including a duet with Caetano Veloso on their song ‘Dreamworld’. The double LP was mastered for vinyl by Greg Calbi at Sterling Sound and pressed on 140g vinyl at Record Industry in the Netherlands and comes in a metallic sleeve.

‘It fits alongside the best of his career and adds another solid release to a solo catalog which will hopefully become more cherished in time,’ said Pitchfork in its review in 2004.

‘In 20 years, as we straighten our faces with botulism, braces, and stem cells, the album will stand up’. Mojo gave Grown Backwards four stars, finding that ‘some of Byrne's most deliciously quirky lyrics ensure an event-packed listen.’ The Guardian called the album ‘one of Byrne's most rewarding experiments yet. These are wonderful exercises in songcraft.’ The Daily Telegraph said: ‘This must surely be Byrne's most satisfying album. An unexpected delight.’ Uncut named it among the Albums of the Year, and the Sunday Times declared: ‘Really rather wonderful.’

In conjunction with The Criterion Collection’s special-edition DVD and Blu-ray release of David Byrne’s 1986 film True Stories, Nonesuch and Todomundo Records release a comprehensive soundtrack, collected for the first time in one package and in film sequence: True Stories, A Film by David Byrne: The Complete Soundtrack. David Byrne was inspired by tabloid headlines to make his sole foray into feature-film directing, an ode to the extraordinariness of ordinary American life and a distillation of what was in his own idiosyncratic mind. Byrne plays a visitor to Virgil, Texas, who introduces us to the citizens of the town during preparations for its Celebration of Specialness. As shot by cinematographer Ed Lachman, Texas becomes a hyper-realistic late-capitalist landscape of endless vistas, shopping malls, and prefab metal buildings.

In True Stories, Byrne uses his songs to stitch together pop iconography, voodoo rituals, and a singular variety show. Byrne calls the record “an immersive audio voyage into the little town of Virgil, Texas, in the mid-eighties.” He continues, “I always imagined that the music written for True Stories should be heard as it is in the film. It makes the most sense this way. Me singing the song that was written for John Goodman’s character, Louis Fine, always felt weird to me. It was written for that character, not for me.”

American Utopia fits hand-in-hand with Byrne’s vision for his series ‘Reasons To Be Cheerful’ - an ongoing series curated by Byrne of hopeful writings, photos, music, and lectures – named for the song by the late Ian Dury. Over the last year, Byrne has been collecting stories, news, ideas, and other items that all either embody or identify examples of things that inspire optimism, such as a tech breakthrough, a musical act, a new idea in urban planning or transportation – something seen, heard, or tasted. Just as the album questions the current state of society while offering solace through song, the content of the series recognizes the darkness and complexity of today while showcasing alternatives to the despair that threatens us. 

While David Byrne has collaborated on joint releases with Eno, Norman Cook (aka Fatboy Slim), and most recently St. Vincent over the past decade, American Utopia is Byrne’s first solo album since, 2004’s Grown Backwards, also on Nonesuch. American Utopia morphed during the writing and recording process, beginning with longtime collaborator Eno, and eventually growing to include collaboration with producer Rodaidh McDonald (The xx, King Krule, Sampha, Savages) alongside a diverse cast of creative contributors including Daniel Lopatin (aka Oneohtrix Point Never), Jam City, Thomas Bartlett (St. Vincent producer, aka Doveman), Jack Peñate, and others. The album was recorded in New York City at David’s home studio, Reservoir Studios, Oscilloscope, XL Studios, and Crowdspacer Studio and in London at Livingston Studio 1.

Speaking about the album, Byrne said:
Is this meant ironically? Is it a joke? Do I mean this seriously? In what way? Am I referring to the past or the future? Is it personal or political?

These songs don’t describe an imaginary or possibly impossible place but rather attempt to depict the world we live in now. Many of us, I suspect, are not satisfied with that world – the world we have made for ourselves. We look around and we ask ourselves – well, does it have to be like this? Is there another way? These songs are about that looking and that asking.

This album is indirectly about those aspirational impulses. Sometimes to describe is to reveal, to see other possibilities. To ask a question is to begin the process of looking for an answer. To be descriptive is also to be prescriptive, in a way. The act of asking is a big step. The songs are sincere – the title is not ironic. The title refers not to a specific utopia, but rather to our longing, frustration, aspirations, fears, and hopes regarding what could be possible, what else is possible. The description, the discontent and the desire – I have a feeling that is what these songs touch on.

I have no prescriptions or surefire answers, but I sense that I am not the only one looking and asking, wondering and still holding onto some tiny bit of hope, unwilling to succumb entirely to despair or cynicism.

It’s not easy, but music helps. Music is a kind of model – it often tells us or points us toward how we can be.

STAFF COMMENTS

Barry says: From what I garner from reading Byrne's comments on his newest release, he is commenting (possibly) sarcastically on the duality of American life... or possibly he wasn't. What is less ambiguous is just listening to the album, taking in the excellently written songs and the latent, wry politicism peppered throughout. It's wonderful, that's all you need to know.

TRACK LISTING

1. I Dance Like This
2. Gasoline And Dirty Sheets
3. Every Day Is A Miracle
4. Dog’s Mind
5. This Is That
6. It’s Not Dark Up Here
7. Bullet
8. Doing The Right Thing
9. Everybody’s Coming To My House
10. Here

Sonny Smith, of Sonny And The Sunsets, will release his tenth studio album, Rod For Your Love via Dan Auerbach's new label, Easy Eye Sound. The record, produced by Black Keys front man Dan Auerbach at his Nashville studio, roots itself in old-school, guitar-driven rock & roll, and is equally built for the garage and the dance floor, with big-hearted melodies and thick harmonies. "I think a lot of albums are made in reaction to the one that came directly before," says Smith, whose earlier recordings were released by labels like Fat Possum and Polyvinyl. "By the time we got to Nashville and began working with Dan, I was thinking 'let's just make a fun, guitar-driven record. I don't want to have any extracurricular stuff here. I just want it to be really pure.’” The album’s first single is ‘Pictures of You’.

Rod For Your Love was recorded at the end of a cross-country tour, and features Smith and his band firing on all cylinders, their rough edges sanded down by weeks of nightly shows. Hearing that The Arcs, Auerbach's side-project, had covered one of his own songs during their own tour, Smith reached out to the Black Keys singer. From there studio time was booked, and when Smith wound up finishing his countrywide tour in Nashville, he and his road band tracked the album at Auerbach's studio. The result is a deeply personal album, filled with heart-of-sleeve songwriting, which shines a light on the songs and the band, without many overdubs or assorted clutter.

Fleet Foxes are from Seattle and the members of the band are Robin Pecknold, Skye Skjelset, Josh Tillman, Casey Wescott, Christian Wargo, and Morgan Henderson. The first Fleet Foxes album ("Fleet Foxes") was released on Sub Pop in 2008, and though the band's intention was to record a new album in the 6-8 months following its release, the reception of the record was such that Fleet Foxes found themselves very busy, touring consistently through the end of 2009.

Engineered and mixed by Phil Ek and co-produced by Phil and the band, the new Fleet Foxes record is called "Helplessness Blues". Recording for "Helplessness Blues" began in April 2010 at Dreamland Recording in Woodstock, NY and continued off and on through November of that same year back in Seattle at numerous studios, including Bear Creek, Reciprocal Recording and Avast. Like very nearly every worthwhile thing, making this album was not easy; it was a difficult second album to make. Drawing inspiration from folk/rock from about 1965 to 1973, and Van Morrison's "Astral Weeks" in particular, "Helplessness Blues" sees Fleet Foxes heighten and extend themselves, adding instrumentation (clarinet, the music box, pedal steel guitar, lap steel guitar, Tibetan singing bowls, vibraphone, etc., along with more traditional band instrumentation), with a focus on clear, direct lyrics, and an emphasis on group vocal harmonies. We have it on good authority that the album is called "Helplessness Blues" for at least a couple of reasons. One, it's kind of a funny title. Secondly, one of the prevailing themes of the album is the struggle between who you are and who you want to be or who you want to end up, and how sometimes you are the only thing getting in the way of that.

Having heard "Helplessness Blues", we mean to get out of its way.

STAFF COMMENTS

Andy says: Bolder and brighter than their debut, this should consolidate their position as the poster-boys of the recent-ish folk revival. No massive departure but still very good.

TRACK LISTING

1. Montezuma
2. Bedouin Dress
3. Sim Sala Bim
4. Battery Kinzie
5. The Plains / Bitter Dancer
6. Helplessness Blues
7. The Cascades
8. Lorelai
9. Someone You'd Admire
10. The Shrine / An Argument
11. Blue Spotted Tail
12. Grown Ocean

Crack-Up is Fleet Foxes’ long awaited and highly anticipated third album. It comes six years after the 2011 release of Helplessness Blues and nearly a decade since the band’s 2008 self-titled debut. 

All eleven of the songs on Crack-Up were written by Robin Pecknold. The album was co-produced by Pecknold and Skyler Skjelset, his longtime bandmate, collaborator, and childhood friend. Crack-Up was recorded at various locations across the United States between July 2016 and January 2017: at Electric Lady Studios, Sear Sound, The Void, Rare Book Room, Avast, and The Unknown. Phil Ek mixed the album, at Sear Sound, and it was mastered by Greg Calbi at Sterling Sound. Fleet Foxes is Robin Pecknold (vocals, multi-instrumentalist), Skyler Skjelset (multi-instrumentalist, vocals), Casey Wescott (multi-instrumentalist, vocals), Christian Wargo (multi-instrumentalist, vocals), and Morgan Henderson (multi-instrumentalist).

Fleet Foxes’ self-titled debut made a profound impact on the international musical landscape, earning them Uncut’s first ever Music Award Prize, and topping numerous ‘Best of’ lists, including Rolling Stone’s 100 Best Albums of the 2000’s and Pitchfork’s 50 Best Albums of 2008. Fleet Foxes is certified Gold in North America and Platinum in both the UK and Australia. The follow-up album Helplessness Blues was met with the same critical praise as its predecessor (Mojo five stars, Rolling Stone four stars, Pitchfork Best New Music); that album debuted at No.4 on the Billboard Top 200, went Gold in the UK, and earned the band a GRAMMY nomination.

TRACK LISTING

1. I Am All That I Need / Arroyo Seco / Thumbprint Scar
2. Cassius, -
3. Naiads, Cassadies
4. Kept Woman
5. Third Of May / Ōdaigahara
6. If You Need To, Keep Time On Me
7. Mearcstapa
8. On Another Ocean (January / June)
9. Fool's Errand
10. I Should See Memphis
11. Crack-Up

Devendra Banhart was born in Houston, Texas, and moved with his mother to her native Caracas, Venezuela, when his parents separated. The family relocated to Los Angeles during his teenage years; it was there that he learned to speak English, skateboard, and play music. Banhart first began to perform in public while attending the San Francisco Art Institute. He has since lived in New York City, Paris, San Francisco, and Los Angeles, where he currently resides.

Banhart first attracted international notice with his 2002 debut album, Oh Me Oh My… The Way the Day Goes By the Sun Is Setting Dogs Are Dreaming Lovesongs of the Christmas Spirit – a collection of recordings he had made for himself. Subsequent albums include Rejoicing in the Hands (2004), Niño Rojo (2004), Cripple Crow (2005), and Smokey Rolls Down Thunder Canyon (2007), and What Will We Be (2009). Mala, his Nonesuch debut, was described by Q as a ‘career-best’ and by the Wall Street Journal as his ‘most concise, hushed and winsome effort to date’. Banhart has collaborated with fellow musicians including Anohni (formerly known as Antony) and the Johnsons, Beck, Vashti Bunyan, Os Mutantes, and Vetiver. He also has performed with both Gilberto Gil and Caetano Veloso, and was part of a David Byrne–curated concert at Carnegie Hall.

An accomplished visual artist, Banhart’s distinctive, minutely inked, often enigmatic drawings have appeared in galleries all over the world, including the Art Basel Contemporary Art Fair in Miami; the San Francisco Museum of Modern Art; the Palais des Beaux-Arts in Brussels; and Los Angeles’ Museum of Contemporary Art. In 2015 Prestel published I Left My Noodle on Ramen Street, a collection of his of drawings, paintings, and mixed media pieces. He has created the cover art for most of his records, and in 2010 his artwork and packaging for What Will We Be was nominated for a Grammy.

Ape in Pink Marble, Devendra Banhart’s ninth album, was written, produced, arranged, and recorded in Los Angeles by the singer/songwriter/guitarist with his longtime collaborators Noah Georgeson and Josiah Steinbrick, both of whom also worked on Banhart’s most recent album, Mala (2013). 

TRACK LISTING

1. Middle Names
2. Good Time Charlie
3. Jon Lends A Hand
4. Mara
5. Fancy Man
6. Fig In Leather
7. Theme For A Taiwanese Woman In Lime Green
8. Souvenirs
9. Mourner’s Dance
10. Saturday Night
11. Linda
12. Lucky
13. Celebration

Another uber-hyped album from a band that deserve all the impressive praise they've rapidly garnered, this beguiling record remains unrelenting in its sheer beauty. Appetites whetted by the absolutely stunning five-track EP "Sun Giant" (which, thank the lord, is included on the second record of the lovely double-vinyl package) this soon became a nailed-on Piccadilly album of the year, happily uniting all staff with its assured accessibility. Whilst many have been swift to dismiss their sound as too derivative – doubly accusing the Foxes of committing flagrant musical theft and lacking authenticity due to the tender age of lead singer Robin Pecknold - this record can be much better understood as a group of very talented music fans/singer-songwriters crafting effortlessly stellar tracks that, yes, borrow heavily from country-rock, gospel, baroque pop and the soft A.O.R of America, Dan Fogelberg and CSNY, yet make these influences sound utterly fresh and relevant today.

TRACK LISTING

1 Sun It Rises
2 White Winter Hymnal
3 Ragged Wood
4 Tiger Mountain Peasant Song
5 Quiet Houses
6 He Doesn't Know Why
7 Heard Them Stirring
8 Your Protector
9 Meadowlarks
10 Blue Ridge Mountains
11 Oliver James

Listening to Laura Veirs is like looking up into the night sky and suddenly witnessing a meteor shower: there's something startling and magical, both intimate and awesome, about her songs. The nature-obsessed images Veirs conjures up and the mesmerising sound she creates are as indelible as the blaze of shooting stars. "Saltbreakers", her third album release in three years, is her most beautifully realised band-oriented disc yet. Produced by Tucker Martine (Decemberists, Built To Spill), it is by turns haunting, playful, tender and fierce, embracing everything from machine-driven beats, to angelic gospel choirs, to fuzzed-out guitars and driving alt-rock rhythms. "To The Country", was recorded in the Nashville cabin once occupied by June Carter and Johnny Cash, with Veirs backed by an eight-member Baptist choir, some of whom had previously performed on the soundtrack to O Brother Where Art Thou? With its gorgeous shape notes singing, it is the stunning centrepiece of an album that is as entrancing as staring at the sea or gazing at the stars, waiting for the next one to fall.

Robin Holcomb is a genre-defying singer/songwriter similar in many ways to Jane Siberry, who mixes folk and classical elements in her songs and layers a jazz sheen over them. Clever, literate lyrics and vituoso piano work makes "The Big Time" another intelligent and at times daring collection featuring contributions from artists of the calibre of Bill Frisell, Kate and Anna McGarrigle and husband Wayne Horowitz. Two traditional folk songs "A Lazy Farmer Boy" and "Engine 143" are included in the twelve tracks on display here but their treatment is anything but traditional and as with most of her own compositions they feature arrangements that have an edge and intelligence about them that makes this album rather special.

To hear a major artist of the stature of Joni Mitchell reinterpret 22 of her greatest works is a true revelation. In these new orchestral arrangements her lyrics shine like diamonds and her voice, aged like a fine wine, brings out new nuances in the words. There is a symphonic dimension to the arrangements, they are both sympathetic and melodious, and this acts as the perfect foil for Joni's new look at her tremendous body of work.

Sam Phillips (aka Mrs T Bone Burnett) has made a darkly atmospheric Americana album that owes much to Gillian Welch (who sings and plays on the album) and Lucinda Williams. M Burnett and Marc Ribot play on it too, the album is always interesting as she explores the darker side of the American dream like a female Tom Waits or Johnny Dowd.