Celebrating a quarter-century of Ryan Adams’ 2000 debut solo album release 'Heartbreaker'. This release features 11 re-imagined tracks from the critically acclaimed record that helped define a generation of alt-country and Americana.

Newly re-worked with fresh emotion and stripped-back intensity, these new versions offer a deeper take on the originals with a sprinkling of strings. The heartbreak never ended.

TRACK LISTING

1. Damn, Sam (I Love A Woman That Rains)
2. My Winding Wheel
3. To Be Young (Is To Be Sad, Is To Be High)
4. Why Do They Leave?
5. Oh My Sweet Carolina
6. Amy
7. Bartering Lines
8. Shakedown On 9th Street
9. In My Time Of Need
10. Come Pick Me Up
11. Call Me On Your Way Back Home

2023’s 'Dancing On The Edge' was quickly beloved by those who stumbled upon it, earning high praise from publications like Pitchfork & The Line Of Best Fit, who deemed it a “remarkable, endlessly rewarding debut.” His second album, 'New Threats From The Soul', reckons mightily with the perplexities of human efficacy and agency in an absurd and debased world. This probably sounds hopelessly plodding and severe. It is not—not remotely. It’s a shit-ton of fun. The songs are all earwigs; the arrangements genuinely thrilling, enlivening efforts by the crackerjacks that comprise the sprawling Roadhouse Band. Each trip through the record reveals more of the depth and breadth and tangle of its tapestry.

Across 'New Threats…', Ryan manages near-rhymes that a hundred years’ worth of monkeys labouring at Chat GPT-enabled typewriters couldn’t achieve: “bromeliad” and “necrophiliac”; “urinal” and “de Chirico.” Kinky Friedman lamented that people thought his funny songs were sad and his sad songs were funny, when they were both simultaneously. Like the Kinkster, Ryan can make you laugh through a lump in your throat. In his formidable crew of harmony singers there are four of the most gifted lyricists & vocalists to currently walk among us—Catherine Irwin, Will Oldham, Lou Turner, Myriam Gendron— which testifies to the profound heft of his writing (these folks don’t often sign up to sing pap).

'New Threats From The Soul' is a masterclass in reducing the sublime to the prosaic, immensity to infinitesimally, and vice versa (the trick can only work both ways). Everything in our universe is essentially flotsam or jetsam, rubbish heaps of fragments and shards. We, especially, are jerry-rigs of bubblegum and driftwood, inconsistencies and incoherencies, dead dreams and necrophagous hopes, “mismeasurements between the place where [we are] and the place where [we] could have been,” although somehow not—miracle of miracles—bereft of simple joys, as Davis sings on today’s single.

The record functions in parallel with Kafka’s winking dictum that there is an infinite amount of hope in the universe, just not for us. 'New Threats…' suggests that maybe, just maybe, something like redemption is possible, but only once we’re entirely emptied out and hawked in toto down at Walden Pawn.

TRACK LISTING

1. New Threats From The Soul
2. Monte Carlo / No Limits
3. Mutilation Springs
4. Better If You Make Me
5. The Simple Joy
6. Mutilation Falls
7. Crass Shadows At Walden Pawn

Ryan Adams has always included a number of cover versions in his live sets. Most prominent is  Oasis' Wonderwall (not included here) which went on to be one of his biggest ever songs when it was physically released as a single. He's an artist, also, that's whizzed between genres, unashamedly wearing his musical heart on his sleeve.

Finally Adams has released the album we've all been waiting for: his soulful, unique take on some of his favourite ever songs. Here we have 20 tracks from all over the musical spectrum taking in the Velvets, Bob Dylan, Neil Young, Repalcements , Alice in Chains, then beautiful "surprises" like  The Smiths, Prince, Pixies and even Simple Minds. My personal favourite though is his moving reading of the gorgeous Black Sabbath song "Changes".

Ryan Adams has been in deep and choppy waters in recent times, and its hard not to think that his enduring love of music, coupled with his ridiculous and undeniable talent , is the one thing that's kept him afloat. Maybe these songs are his "rubber rings"? Sounds like it to me. It makes for a superb record.

STAFF COMMENTS

Andy says: Beautiful album featuring 20 cover songs from across the musical spectrum. Powerful renditions.

TRACK LISTING

Side A
1.Powderfinger
2.Panic
3.Aching To Be
4.Don’t You Forget About Me
5.Changes

Side B
6.Headshrinker
7.The Man In Me
8.Candy Says
9.Runaway Train
10.Queen Of Hearts

Side C
11.Sympathy For The Devil
12.Harvest Moon
13.After The Gold Rush
14.Atlantic City
15.Living On A Prayer

Side D
16.Nutshell
17.Monkey Gone To Heaven
18.The Crystal Ship
19.When Doves Cry
20.True Love Will Find You In The End

In his debut LP with Kill Rock Stars, 'Greetings from Echo Park', Ryan Cassata (he/him), a genre-defying powerhouse musician and activist, constructs a raw collection of folk punk, blues, and pop punk songs that soundtrack stories of anxiety, escapism, illness, and transphobia.

'In Greetings from Echo Park', Cassata has seemingly spent the past few years swallowing down all the feelings of isolation and anxiety he could hold. Now he’s spitting it back up like bile. The result is a rich mosaic of influences and voices, bringing in collaborators such as Jason Hiller, David Scott Stone (Melvins, LCD Soundsystem), Mark Pelli (MAGIC!), and utilizing styles from emo pop-punk to Springsteen-style guitar. The album art even plays homage to Bruce Springsteen's iconic 'Greetings from Asbury Park'. Ryan Cassata’s music has long been intertwined with activism; he is an award-winning singer-songwriter, actor, performer, published writer, LGBTQ+ activist, and transgender motivational speaker.

TRACK LISTING

1. I Feel Like Throwing Up
2. A Knack For Overthinking
3. If You Ever Leave Long Island
4. Scriptures, Scripts, & Bottles
5. My Body’s My Home
6. He’s My Man
7. R U Safe?
8. If You’re Not Dead Yet, Will You Be My Friend?
9. Bad Things
10. Wants & Needs
11. QUEER American DREAM
12. HOWL (Protest Song)
13. Halfway House

Discover another take on Adams’ acclaimed 2020 release Wednesdays with this re-worked edition of the record on double black vinyl. The new collection curated by Adams breathes fresh life into the record, offering fans and newcomers a chance to experience the album in a new perspective. Featuring refreshed takes on some of the original track listing, Another Wednesday reinvents the sound and spirit of the album. The re-work includes a selection of thoughtfully chosen cover tracks—paying homage to the music that inspired the original album’s creation.

TRACK LISTING

When You Cross Over
Wednesdays
Poison & Pain
Mamma
Tracks Of My Tears
Walk In The Dark
Birmingham
I’m Sorry And I Love You
It’s Not That Kind Of Night
So, Anyways
Moon River
Dreaming You Backwards
Who’s Going To Love Me Now

Ryan Adams’ infamous cult classic album “Blackhole” is released on classic black vinyl and CD for the very first time. The album’s contents and final tracklisting have been widely speculated since its conception in the early 00’s. After nearly two decades of anticipation, Adams is now ready to unveil the official release of Blackhole. Featuring “Catherine”, heard only in live performances, alongside previously unheard material, Blackhole captures the raw, unfiltered emotion that defines Adam’s songwriting. The shelved album, first demoed in 2006, became heavily bootlegged, with fans circulating low-quality recordings and snippets from live performances, fuelling a demand for the album’s official release. This long-awaited, full-length album not only satisfies years of fan speculation, but also reclaims a crucial moment in Ryan Adam’s history. 

STAFF COMMENTS

Barry says: After nearly two decades of anticipation, Adams is now ready to unveil the official release of Blackhole. Featuring “Catherine”, heard only in live performances, alongside previously unheard material, Blackhole captures the raw, unfiltered emotion that defines Adam’s songwriting

What the hell is shoegaze? A scene? A movement? A sound? Back in the Nineties, many would have said the so-called genre was entirely fabricated. The term itself, an offensive piss-take given by the notoriously catty and scene-obsessed British music press, was plainly rejected by the absurdly small collection of bands to which it supposedly applied.

Today shoegaze is undeniable. As a descriptor and as a source of influence, it is used in more ways and by more bands than anyone could have dreamed of 30 years ago. Between those periods of invention and ubiquity, the term, along with the bands it first described, all but disappeared off the face of the earth.

In this ambitious oral history of a genre that has eluded definition for three decades, Ryan Pinkard unearths the first wave of shoegaze, following the core bands, their sounds, their influence, and their journeys in and out of obscurity. His analysis is woven through dozens of original interviews with artists, label heads, and critics. What he discovers is the unlikely odyssey of this esoteric, experimental music form, which nearly became a mainstream entity, only to be viciously killed off, forgotten, and rediscovered by a new generation that regards it as one of the most influential alternative music events since the Velvet Underground.

When LCD Soundsystem broke up in 2011, they left behind a small but remarkable catalog of music. On top of the genius singles and a longform composition for Nike, there was a trilogy of full-length albums. During that initial run, LCD Soundsystem—and the project's mastermind, James Murphy—were at the center of several 21st century developments in pop culture: indie music's growing mainstream clout, Brooklyn surpassing Manhattan as an epicenter of creativity in America, the collision and eventual erosion of genre perceptions, and the rapid and profound growth and impact of digital culture.

Amidst this storm, Murphy crafted Sound Of Silver, the centerpiece of LCD's work. At the time of Sound Of Silver’s creation and release, Murphy was a man closing in on 40 while fronting a critically-adored band still on the ascent. This album was the first place where he earnestly grappled with questions of aging, of being an artist, and the decisions we make with the time we have left.

Anchored by a series of colossal, intense dance-rock songs, Sound Of Silver called upon the rhythms of New York City in order to draw out, dissect, and ultimately rip open these meditations. By the time LCD Soundsystem reunited in 2016, Sound Of Silver had already proven to be a generational touchstone, living on as a document of what it's like to be alive in the 21st century.

We all know the Boxer. The fighter who remembers every glove but still remains. That grisly, bruised American allegory who somehow gets up more times than he’s knocked down.

This is the fight that nearly broke The National. The one that allowed them to become champions. Released in 2007, The National’s fourth full-length album is the one that saved them.

For fans, Boxer is a profound personal meditation on the unmagnificent lives of adults, an elegant culmination of their sophisticated songwriting, and the first National album many fell in love with. For the band, Boxer symbolizes an obsession, a years-long struggle, a love story, a final give-it-everything-you’ve-got effort to keep their fantasy of being a real rock band alive. Based on extensive original interviews with the fighters who were in the ring and the spectators who witnessed it unfold, Ryan Pinkard obsessively reconstructs a transformative chapter in The National’s story, revealing how the Ohio-via-Brooklyn five-piece found the sound, success, and spiritual growth to evolve into one of the most critically acclaimed bands of their time.

"At the frayed bottom-edge of Indiana – just a moderate bike ride north of Louisville, Kentucky – multi-instrumentalist, artist and songwriter Ryan Davis’’ Americana-noir soundwaves have been emanating for years in a myriad of forms. As driving force for the lauded State Champion, long-running member of Tropical Trash, administrator of the esoteric and excellent Cropped Out festival, and lone proprietor of the Sophomore Lounge label, Davis lays down his first proper ‘solo’ release with Dancing On The Edge, a rich, 2LP tapestry of tunes that absolutely glows over seven expansive cuts. It’s a pure collage of modernity and heritage.

After a period of introspection spent re-immersing himself in his drawing & painting practice, as well as his newfound delvings into instrumental music, Davis’ sea change was imminent. “I wasn't sure I would ever make another record of ‘song’ songs,” he says, “but last year I started writing again and it eventually took the shape of the record at hand. I worked painstakingly hard on the material. It felt virtually impossible to complete for a bulk of the time I spent trying to enter into it, but the process pulled me out of a strange place. I was eventually able to live inside of the songs enough to understand the world within them – to ultimately help shape them into what I understood them to be.” Indeed, there’s a load of inspiration captured in the grooves with Ryan’s unfiltered, folk-traditioned approach to poetic twists-of-tongue meeting head on with sublime instrumentation.

TRACK LISTING

1. Free From The Guillotine (08:22)
2. Learn 2 Re-Luv (06:03)
3. Flashes Of Orange (09:56)
4. Bluebirds In A Fight (07:07)
5. Junk Drawer Heart (06:25)
6. A Suitable Exit (09:20)
7. Bluebirds Revisited (03:57)

Fast paced and hypnotic, this transcendental transportation device courtesy of Ryan James Ford utilizes techno's deep set repetition to create states of suspended liminal bless. Sits really nice to that recent record by Erin Hopes, and others on Altered Circuits. Really nice stuff indeed for the up all nite crowd. Tip!

TRACK LISTING

01 Xtra Tall Tee
02 Tricycle (proto Mix)
03 Sensitive Needs
04 Bodge (closing Mix)

Posh Swat, an all percussion improvisation album with John Dwyer, Ryan Sawyer & Andres Renteria. Trap kit, Hand percussion, homemade percussion instruments and electronic percussion over flow here with extra weirdness. Sick pop rhythms grinding thru the wasteland. Sand in your hair and bugs in your teeth. Hand on your knife, knife in your sheath. Grimy bass burps thru a fried stack. And the crack of the snare is a mighty pink smack. Bells, whistles conga and vibes. This is a drug record. One thousand times.

For fans of Niagra, Black Pus, Container, Bruce Ditmas and all things beat driven and drum craven. 

STAFF COMMENTS

Barry says: You never expect John Dwyer to stay still for too long, but I really didn't expect his foray with Ryan Sawyer & Andres Renteria to be quite this *drummy*. It's a beautifully expressive and brilliantly organic sounding suite of rhythms punctuated with incidental synth stabs and jagged groove. Unsurprisingly inventive and unique.

TRACK LISTING

Intro
The Spent Sadist
Chit Chat
Scavenger
Red Clay Wall
Dungeon Crawler
Bug City
The Sythe Is Remorseless
Bricked Rune
Scatter
The Hostile Womb
More Will Be Revealed

• Latest in quickly selling-out series of John Dwyer (OSEES frontman) with friends lock down experimentations and improvisations.

• Featuring fantastic collage art by Dan Lean.

• Recorded at Stu-Stu-Studio by John Dwyer in the peak of dope smoke lock down.

What’s this? Today’s holiday gift? One final transmission from the core of the planet! Cresting slabs of concrete and powdered bone, rich soil—improvisation freak flag flitters atop a gutted highrise: Gong Splat. Featuring Ryan Sawyer on drums, Greg Coates on upright bass, Wilder Zoby on synth and mellotron, Andres Renteria on conga, bongos and hand percussion, and John Dwyer on guitar, synths, pan flute, cuíca, hand percussion, space drum and effects.

This one is spitting fat and neon night-light city drives, white in the corner of the pilot’s mouth. Furry, fuzzy and frenetic, motorik and full of blood-rich ticks…maggots unite! There’s a show tonight! Welcome back humans.

STAFF COMMENTS

Barry says: You always know you're in safe hands with Dwyer & co, and this one is a brilliantly heavy swerve into eastern-influenced psychedelia via garage percussion and brain-melting avant-synth swells. Elsewhere loungy keys meet jazzy tentative drum fills. Predictably brilliant, entirely mad.

TRACK LISTING

1. Gong Splat
2. Cultivated Graves
3. Toagut
4. Anther Dust
5. Yuggoth Travel Agency
6. Hypogeum
7. Oneironaut
8. Minor Protocides
9. Giedi Prime

Slow Wave of Long Comfort was co-produced by Matthew Redfern at Sunny Side Sound Studio in Burton Upon Trent, in between stretches of isolation in 2020.

Mastered by Chesney.

Matthew Redfern appears on all pieces, contributing various synthesisers and tape delay manipulations. Jonny Hill appears on all pieces adding guitar, clarinet and voice.

Overwhelming love to Ami and Lucas.

Thank you to Matthew for his patience and generosity, to Jonny for his continuous support and to Woodford Halse for their confidence.

Dedicated to our dear friend Miles Cooper Seaton. I still think of you being out there.

STAFF COMMENTS

Barry says: Part tribal folk, driven ambient and soaring, ritualistic drone, 'Slow Wave..' is a wonderfully effective statement and a wildly evocative, moving listen. Absolutely packed with twists and turns and every bit the exciting prospect from a great artist on an enduringly wonderful label.

TRACK LISTING

1. Still 13:15
2. Other Light 06:44
3. Inner Light 06:12
4. Golden Spear 08:22
5. Meet Me Here 05:04

“For this EP I was trying to live less in nostalgia and function less off obvious references. I worked on ‘Pout’ while becoming a dad, sitting a lot in my garden, and trying to kill my ego. Tracks like ‘Mountain Access’ make me think about driving around Hamilton, Ontario, my home as of a year ago. I hope people can still get a chance to walk around with this on headphones or daydream while listening to this project.” - Ryan Hemsworth

Features from Ms. John Soda and BADBADNOTGOOD’s Leland Whitty.

TRACK LISTING

Hail
All These Dreams
Here I Stand (feat. Ms. John Soda)
Mountain Access
Keep Touch (feat. Leland Whitty)

The ideal of the residency was to mix things up with special guests, different band lineups, and varied set lists, keeping things fresh and new week-to-week, and this show was the wild card of the bunch.

That's because although Ryan and I have played together for years, and Dave and Spencer have played together for years, neither half of the band had ever met each other. I was tangentially aware of Dave and his music and was intrigued by what I'd heard, so I thought it was a cool idea when Chris Tart, the residency promoter, suggested a collaboration.

So, about 30 minutes after we'd all heard each others voices for the first time, we got up and played for a little over an hour, uninterrupted. The only thing discussed beforehand was that we shouldn't discuss anything beforehand - not a key or a riff to start with, nothing - so as to preserve maximum spontaneity.

I think this music demonstrates a real connection on stage. In other words, each player was completely present and actively listening on the bandstand. Listening back, there are moments I can hear Ryan saying - musically - "Hey, let's go over here! Check this out!," or Spencer being like "Wouldn't it be cool to go down this path?" And we followed. And it was cool.

In my mind, that listening thing is the number one most important factor in any collaboration or cooperative effort, but especially in improvised music.

And I think it's fair to say that a little more listening, a little more presence, would do the whole world some good right about now, don't you think?

-Chris Forsyth

Uniting two of the Ireland’s most forward-thinking musical propositions — Eoin O’Callaghan AKA Elma Orkestra and Ryan Vail — Borders is a singular collaborative project. Spanning symphonic ambience to widescreen electronica, it’s a genre-warping meeting of the minds from two of the country's most innovative artists. Having both been releasing music independently of one another since 2012, the album is a project that has almost felt destined to happen. As two artists residing on either sides of the border in Derry/Londonderry, their paths have entwined several times in the past. Now, mirroring the spirit of the times — of grasping for unity and togetherness in an unpredictable, ultimately borderless world — Borders is a release that sees those creative paths meet head-on. Across eight tracks, from opener ‘Droves’ to the beat-laden outro ‘Arlene’, O’Callaghan and Vail masterfully blur the contours between contemporary electronic and classical realms.

This breaking of new ground — of pushing boundaries and thwarting expectations via attention to detail and a joint penchant for analogue equipment — is what underpins Borders. They create a new continent of sound, a world where Borders don’t exist. Though it was titled before the looming spectre of Brexit, Borders, as an album, encompasses much bigger universal themes about belonging in a world where division is more rife than ever. And yet, there’s a uniquely personal aspect that runs throughout the release. “The album was written with the mindset that we were scoring the border between the North and South of Ireland,” reveals Vail. “While performing the album live, the audience will see a visual journey across various parts of the border.” Underlining the collaborative nature of the release is the presence of Dublin spoken word poet, Stephen James Smith (‘My Island’) and Moya Brennan, who sings in both Gaelic and English on ‘Colours’). Combined with O’Callaghan and Vail’s meticulous, inspired compositions, these tracks only serve to highlight the album’s staggering feat of collaborative spirit. The ‘Borders’ album will be toured as either a two-piece solely with Elma Orkestra and Ryan Vail or alternatively as a four-piece or six-piece which includes a string section. 

Recorded between the chaos and bustle of a New York cinema on Bedford Avenue, Brooklyn and the windswept loneliness on the south-side of the Isle of Wight in the spring of 2017, I Can't Stand The Sound is the second album from Berlin based English/Irish songwriter Ryan O'Reilly. Produced by David Granshaw and in collaboration with Canadian, Tyler Kyte the album is an exploration in searching for meaning, the meaning in a fatal car accident, the beauty and darkness on the streets of Berlin, comprehending the American landscape at the end of 2016 and trying to filter out the noise of relentless opinions on 24 hour news TV and online.

Littered with snapshots from myriad conversations; A Grandmother's warning that ghosts are never as dangerous as humans, talking to a loved one after a terror attack, a fall from a horse, with a hangover whilst reading in the bath and the faceless people who blithely tell you to 'live your dreams' the characters and conversations restlessly change locations and perspectives.

I Can't Stand The Sound began life on the journey between New York and Tennessee in the aftermath of the American election in 2016, the long conversations, the search for conclusions and reasoning in a void of reason. Written on municipal Frisbee-golf course in East Nashville, a front porch in Hamilton, Ontario and along side the beautiful, dirty Spree in Ryan's adopted hometown of Berlin each place finds it's way into the heart of the album. In May 2017 Ryan, Tyler and Dave travelled back to New York. Joined by members of Toronto's Dwayne Gretzky and Ryan's European touring partners The O'Pears to begin recording of I Can't Stand The Sound in the Cinema/bar where the journey towards the album began six months earlier. 

TRACK LISTING

1. Don’t You Know That
2. Make It Holy
3. Never Be Afraid Of Ghosts
4. I Can’t Stand The Sound
5. People Tell You
6. The Modern World
7. Flesh & Blood
8. Conversation
9. Somethings Really Wrong
10. Till It Ends

Eric Chenaux is one of Toronto's most prolific and respected musical iconoclasts, an experimental guitar virtuoso with over two decades of dedicated and diverse service to an artistic community that encompasses post-punk, lo-fi, folk, multimedia composition and performance (chiefly in collaboration with modern dance) and free and improvised music.

"Warm Weather" With Ryan Driver is Eric's third album for Constellation, which has been the conduit for his primary song-oriented solo work since 2006. Building on his fruitful collaboration with piano/synth/melodica player Ryan Driver - whose key role on the new album is signalled by his inclusion in its very title - the new record is without doubt Chenaux's most accomplished and focused work of forward-looking, contemporary balladry.

The album is available on CD and 180g LP in 100% recycled paperboard jackets.

TRACK LISTING

1. And So We Say
2. Since We're Smokey
3. Warm Charleston
4. Lavalliere #2
5. New Boon Harp
6. Mynah Bird
7. Ronnie-Mary
8. Cool Down
9. Warm Weather
10. Cold Dream