It's been seven years since Detroit singer and songwriter Stef Chura released her last album, 'Midnight'. Plenty of dramatic and life-altering things happened in those seven years: She broke off an engagement, she left Detroit for New Orleans (and then Louisville), she gave birth to her first child, she ultimately returned to Detroit. But those events are not the true story of 'Dancing Alone on the Concrete', her third album and second for Saddle Creek. Here's what happened while Stef Chura was writing the songs that would eventually become 'Dancing Alone on the Concrete': She practiced the piano and the guitar a whole lot, and she went on dates.

Single for the first time in years, Chura used the 2020 Covid lockdowns as an excuse to start over in New Orleans, where, like everyone else, she was mostly stuck indoors, unable to tour or play locally. "I was just writing and practicing," she says. "I was going back and forth, playing songs on the guitar and the piano, and it lent itself to the writing process in a nice way." Chura's singing voice has always been unique—it's brassy but contained, like a muted trumpet.

The album, recorded at Athens' Chase Park Transduction studio with David Barbe (Sugar) and Andy LeMaster (Now It’s Overhead) and produced by Robert Schneider of Apples in Stereo, even features R.E.M.'s Peter Buck and Mike Mills on "Danny.”

Much of 'Dancing Alone on the Concrete' concerns the ways in which our need for love convinces us to betray ourselves just to keep the other person around. "I tried to change my thoughts for you, I tried to rearrange who I was for you," she sings in 'The Concrete', "But you found out." It's an unusual framing—the issue isn't the narrator's selling herself out, it's her getting caught doing so.

"When I was in New Orleans, the freedom to date was exciting," Chura says. "But there's this search for love in the album, and no real arrival at any point in time."

'Dancing Alone on the Concrete's key is right there, the adverb in the album's title: alone. Not loneliness, but personal comfort, self-affirmation, healthy solitude. And while these songs never quite arrive at the love they're searching for, the rightful object of her affection is right there in every song, in the form of the person singing them. 

TRACK LISTING

1. Leadweight
2. The Concrete
3. Babydoll
4. Lovesick
5. Wishin’
6. Thunder and Lightning
7. Danny
8. Be My Hound
9. Heavy Hitter 

Feeble Little Horse is naturally delighted to present their third full-length LP, 'Bitknot'. The album was written, arranged, produced, and recorded by Sebastian Kinsler, Lydia Slocum, and Jake Kelley across their respective homes in Pittsburgh, Pennsylvania. A spirited investigation into the unnatural space created between human nature and a culture of convenience, a synthesis of dirt and digital, 'Bitknot' by Feeble Little Horse creates a language wherein one can re-imbue a sanctity of interdependence away from consumptive “self-suciency” and materialism. Slocum’s meandering introspection playfully harmonizes against Kinsler’s hooks, walls of noise, a supercharged car battery’s worth of synths and samples dropped in the ocean of their guitar-driven songwriting framework. Meanwhile, some of Kelley’s most laser-focused drums to date create a sonic chimera that is as likely to be found nascently developing in the early aughts as some unknown, chromatic future.

STAFF COMMENTS

Barry says: Roaring distorted guitars and swirling chorus give the impression of a more melodic 90's shoegaze aesthetic, but it's the off-kilter percussion and lilting vocal that bring this into a much more (personally) desirable 90's grunge / pop-punk aesthetic. A superb album either way, and a truly remarkable listen.

TRACK LISTING

1. Doorway
2. Poison
3. Rewind
4. Shady
5. Dior
6. Paris
7. Cradle
8. Upside Down
9. Guts
10. Shopping
11. DMT

“The hand knows best,” the painter Margaux Williamson says. “A shape produces itself, where I go toward what is intuitive, rather than logical.” The shapely, intuitive songs that comprise Ada Lea's third album, 'When I Paint My Masterpiece', are surprising, imagistic, tactile. They stand before us and we feel their brushstrokes. Alexandra Levy holds her guitar against the backdrop of a sea of her paintings on the album cover and it’s tempting to ask: is painting a metaphor here, for music or life? No! As ever, she resists tidy metaphors. She’s a master of this kind of thorny lowercase title that germinates and grows with time. In a real, profound way, music and painting go hand-in-hand as she unveils a new style of subversion and surrealism inspired by her transdisciplinarity.

Levy is a Renaissance woman, and Ada Lea’s albums have been swelling in scope alongside the evolution of her artistic life. Her recent turn toward pedagogy—teaching a songwriting course at Concordia University and co-facilitating a community-based group called The Songwriting Method—weaves another vivid thread into her multifaceted practice. Her debut LP, what we say in private, blurred the lines between interior and performative worlds. Her sophomore record, one hand on the steering wheel the other sewing a garden, featured vignettes centered on Montreal. On this sprawling and ambitious album, written over three years and whittled down from over 200 songs, she asks: what happens when you… pause? How can a life be held suspended in song? The album is a kaleidoscopic exploration of the transformations art can bring: the vision of an uncompromising artist dancing bravely and freely between registers and across mediums.

The album marks a reset—a quiet revolution. After years of relentless international touring, Levy felt an urgent need for community and renewal. Gruelling road schedules with very little support left her wondering: who am I really doing all this for? The system was uncaring and broken, and so it was that she came to envision a new healthy and healing mode of musical genesis. “For me, that looked like resting, extending my creative reach, going back to school, studying painting and poetry,” she explains. “Taking a step away from music as guided by industry expectations. Simplifying things. Getting a job, starting to teach. Engaging with the process rather than the product.” This need for a more deliberate creative renewal was rejected by her existing systems of support, so she began the search for an alternative. 

TRACK LISTING

1. Death Phase Of 2024 (rainlight)
2. Moon Blossom
3. Baby Blue Frigidaire Mini Fridge
4. Something In The Wind
5. Midnight Magic
6. It Isn't Enough
7. Snowglobe
8. Everything Under The Sun
9. Just Like In The Museum
10. Bob Dylan's 115th Haircut
11. Diner
12. There Is Only One Thing On My Mind
13. Dogs Playing In The Backyard
14. Down Under The Van Horne Overpass
15. I Want It All
16. Somebody Is Walking In The Water 

For the superfan and the curious alike, this is the band-curated entry point and career-spanning collection of songs from the one and only Rilo Kiley, who defined a generation and continues to influence indie rock to this day.

After a long absence, Rilo Kiley—Jenny Lewis, Blake Sennett, Jason Boesel, and Pierre “Duke” de Reeder— are back, with arms outstretched.

Over the years, a reunion “felt like a possibility, but it was never the right time,” explains Boesel. “Planning this reunion over these past months has been like reconnecting with family. We haven’t missed a beat,” says De Reeder. “The stakes are only to have a good time, to revel in this nostalgia. Getting to revisit and celebrate the music from that special time of our lives while experiencing it alongside a lot of people that lived it with us back when, and new folks alike.”

The new Rilo Kiley album, 'That’s How We Choose to Remember It', is a collection of career-spanning songs that hit its audience with a breath of honest, fresh air. “For some people, Rilo Kiley evokes a formative, emotional time in life, when you were maybe grasping for your place in the universe. We were too,” says Sennett.

We’ve all got a memory or two with the songs of Rilo Kiley. Maybe belting 'I Never' or requesting 'The Frug' at a show in the early 2000s. This latest collection celebrates the music so deeply held by many of us. Here’s to Rilo Kiley, their reunion, and the next generation of listeners to love this band as much as we do. Long live Rilo Kiley. 

TRACK LISTING

1. Silver Lining
2. Portions For Foxes
3. With Arms Outstretched
4. Dreamworld
5. A Better Son/Daughter
6. The Execution Of All Things
7. The Moneymaker
8. I Never
9. Wires And Waves
10. The Frug
11. Does He Love You? 

Rilo Kiley was born from hunger, from the insatiable desire to write one’s own story. The band’s origins can be traced back to Los Angeles in the late 1990s, when Jenny Lewis and Blake Sennett discovered a shared songwriting obsession and began performing together. After some starts and stops, a band was formed with Pierre “Duke” de Reeder playing bass. They called themselves Rilo Kiley, borrowing a name that came to Sennett in a dream.

For their second record, Rilo Kiley headed to Nebraska to record with Bright Eyes’ Mike Mogis alongside new drummer Jason Boesel. Here, Lewis truly becomes a generational songwriter, spinning interior mysteries regarding romance, depression, trauma, hope, and isolation into cathartic revelations. 'The Execution of All Things' was a triumphant arrival.

Originally released in 2002, the celebrated and beloved album 'The Execution of All Things' is a hallmark of indie rock. Hailed by fans and critics alike as an essential component to any record collection.

TRACK LISTING

1. The Good That Won't Come Out
2. Paint's Peeling
3. The Execution Of All Things
4. So Long
5. Capturing Moods
6. A Better Son/Daughter
7. Hail To Whatever You Found In The Sunlight That Surrounds You
8. My Slumbering Heart
9. Three Hopeful Thoughts
10. With Arms Outstretched
11. Spectacular Views
12. Outro

7" Tracklist:
1. Jenny You're Barely Alive
2. Emotional (Until Crickets Guide You Back)
3. After Hours

The Faint do it their way.

Before Electroclash and the wave of 00's Dance-rock there was The Faint, emerging in the late 1990s in Omaha, Nebraska - a place known more for stoic practicality than synth-punk. In that unlikely setting of beige restraint, they pioneered a sound that combined the melodic essence of new wave, the raw edge of post-punk, and the robotic futurism of Detroit electro. Breaking free from indie rock’s humble comfort, they arrived armed with synths, dark eyeliner, and a raw, frenetic energy that dared audiences to actually feel something real, something primal. The late ’90s and early 2000s indie scene was primed for a shock, and The Faint delivered—not just as a band, but as an invitation to cast off coolness, to sweat, to move, and to live fully in the moment.

By 'Danse Macabre' (2001), The Faint’s new wave postpunk had crystallized into something darker and more expansive - and the world was paying attention. The album fused Berlin’s underground pulse with Omaha’s DIY grit, where punk was as much about rhythm as rebellion. With the addition of death metal guitarist Dapose, the sound tipped their lo-fi technopop into some truly strange territory. The band’s propaganda-inspired album cover served as both a rallying cry for bodily liberation and a veiled warning about the coming digital age.

As major labels came calling, The Faint chose to stay true to their DIY ethos, maintaining control over their vision and sticking with their hometown imprint Saddle Creek. When 'Wet From Birth' arrived in 2004, it built on their synth-punk foundation. Orchestral layers and more intricate arrangements added depth without taming its confrontational and sometimes paranoid spirit. The band toured relentlessly, including an unexpected arena tour with No Doubt that ended with a stage prank that sent Todd to a New Mexico jail cell. (Don’t worry, Gwen bailed him out.)

Twenty years removed from its release, The Faint are returning to announce a reissue of 'Wet From Birth'. The reissue includes the original release - meticulously remastered for vinyl from the original tapes by Justin Shturtz at Sterling Sound - two never-before-heard ‘unrealized’ tracks from the album’s sessions, unreleased demos, and previously released remixes.

TRACK LISTING

1. Desperate Guys
2. How Could I Forget?
3. I Disappear
4. Southern Belles In London Sing
5. Erection
6. Paranoiattack
7. Dropkick The Punks
8. Phone Call
9. Symptom Finger
10. Birth
11. Zealots (Unrealized)
12. Mister (Unrealized)
13. Birth (Thailand Demo)
14. Desperate Guys (Demo)
15. Symptom Finger (Demo)
16. Paranoiattack (Demo)
17. Hypnotised
18. I Disappear (FC Kahuna Remix) 

The Faint do it their way.

Before Electroclash and the wave of 00's Dance-rock there was The Faint, emerging in the late 1990s in Omaha, Nebraska - a place known more for stoic practicality than synth-punk. In that unlikely setting of beige restraint, they pioneered a sound that combined the melodic essence of new wave, the raw edge of post-punk, and the robotic futurism of Detroit electro. Breaking free from indie rock’s humble comfort, they arrived armed with synths, dark eyeliner, and a raw, frenetic energy that dared audiences to actually feel something real, something primal. The late ’90s and early 2000s indie scene was primed for a shock, and The Faint delivered - not just as a band, but as an invitation to cast off coolness, to sweat, to move, and to live fully in the moment.

The distinctive, synth-driven sound that brought The Faint to wide acclaim first surfaced on 1999's 'Blank-Wave Arcade'. The album was raw and daring, striking its own chord between early synth-pop pioneers (The Human League, New Order) and more recent heroes like Fugazi and Sonic Youth. The band's blend of new wave, post-punk and the DIY spirit of the independent music they were a part of was trailblazing, and when the new millennium dawned that sound took hold of the zeitgeist, launching the band to new critical commercial peaks with the release of their follow up 'Danse Macabre' and 2004's 'Wet From Birth'.

Twenty-five years removed from its release, The Faint are returning to announce a reissue of 'Blank-Wave Arcade'. The reissue includes the original release - meticulously remastered for vinyl from the original tapes by Justin Shturtz at Sterling Sound - a new remix from the band, remixes from the era, live tracks, and a rarity previously only available on an out of print 7”. 

TRACK LISTING

1. Sex Is Personal
2. Call Call
3. Victim Convenience
4. The Passives
5. Worked Up So Sexual
6. Cars Pass In Cold Blood
7. Casual Sex
8. In Concert
9. Sealed Human
10. Cars Pass In Cold Blood (Recordist Remix)
11. Worked Up So Sexual (The Laces Remix)
12. The Passives (AJ/DJ Remix)
13. In Concert (The New Gender Remix)
14. Call Call (Transistor3 Remix)
15. Sealed Human (][’m Remix)
16. Sex Is Personal (The Faint 2024 Remix)
17. Brokers, Priests, And Analysts
18. Cars Pass In Cold Blood (Live)
19. In Concert (The New Gender Remix (Live))
20. Call Call (Live)

For the past decade, Spirit Of The Beehive have honed an aesthetic like no other. They’ve chopped up samples, chewed them up, spit them back out again, baby birded it. Across four albums and a smattering of EPs, Zack Schwartz, Corey Wichlin, and Rivka Ravede have fully solidified their stance as some of rock’s weirdest and best deconstructionists. 2018’s 'Hypnic Jerks' was a study in noise punk sampledelia. It was a breakthrough for the band. Frank Ocean became a fan, spinning “fell asleep with a vision,” on Blonded Radio. 2021’s ENTERTAINMENT DEATH, was nasty dream pop by way of K-Mart realism and hitting the channel search setting on an old TV set.

Their last release, 2023’s 'i’m so lucky', explored the breakup between Schwartz and Ravede, setting the stage and emotional territory for the band’s fifth record, 'YOU’LL HAVE TO LOSE SOMETHING'. This latest offering is the most crystallized version of the band’s aesthetic, a continued meditation on the end of relationships and the unsteadiness that follows. It is a meticulous, beautiful, and quietly heartbreaking collection of songs. More often than not, it sounds like listening to a walkman from inside of a hurricane, like the YouTube videos you’d watch in bed for 18 hours straight after you break your wrist from a skateboarding accident.

The goal in making 'YOU’LL HAVE TO LOSE SOMETHING' was to soften out some of the edges. “Less hard left turns,” says Wichlin. “We wanted to make something intentionally less antagonistic,” he jokes. In practice, this means the record has slightly fewer drastic arrangement changes, and it is more stripped down. Take 'I’VE BEEN EVIL', one of the newest songs on the record, as one such offering. It is straightforward in that its tempo is consistent, in that the song keeps us in the same place. It does not digress. It holds itself steady, with bleary-eyed guitars and hushed vocals. The song is weary, the song is a whisper. The utterance “I’ve been evil,” is like the shrug of a shoulder, a so what, ha ha.

Less straightforward is the sublime 'LET THE VIRGIN DRIVE', a genuinely frightening pop track that anchors itself on fucked up Japanese City pop samples and a demented news clip of someone screaming. The song was originally written around the time the band was touring 'ENTERTAINMENT, DEATH', and took a few years to fully flesh itself out. It is like staring into the sun, like waking up in a body bag “It’s about unrequited love and making up a situation or whole life in your head,” says Schwartz of its thematic underpinning, “The other person finally ‘sees you’ and your ‘problems are solved,’ but they aren’t, really.” The song hiccups and warbles — you can hear the tape hiss, the instability, how it kind of feels like the whole song might get sucked into a black hole’s event horizon. “Heaven is a lie/cause you are earthly/and you’re alive,” Schwartz sings at the song’s outset.

'YOU’LL HAVE TO LOSE SOMETHING' is a record of provocations. It wants you to think it is just normal rock ‘n’ roll music. That it is purely pleasure oriented. But beneath these intentions is a collection of songs that are as complex as ever. The Ravede-led 'FOUND A BODY', is a downtempo smoke cloud of variegated synths. “Found a body,” she sings “No one can touch me.” 'SUN SWEPT THE EVENING RED', starts out disconcertingly chipper, before breaking down into an assault of sludged out guitars, auto-tuned vocals, a flurry of strings. Like all SPIRIT records, it is music made by three distinct voices, written independently and then assembled together. Despite being written all over the globe, with Ravede in Portugal and Schwartz and Wichlin back in Philadelphia, the trio arrived at the same themes: that of the brutality of coming to terms with reality, that of what it means to lie to protect yourself and your heart. Schwartz says he writes songs more or less in a stream of consciousness. The band listens to very little outside music when working. The result is a record that very much is its own world. Where chaos is carefully organised, where being able to ever actually chill out is totally illusory, a trick mirror.

TRACK LISTING

1. The Disruption (Featuring Mspaint)
2. Stranger Alive
3. The Cut Depicts The Cut
4. Let The Virgin Drive
5. Sorry Pore Injector
6. Found A Body
7. Sun Swept The Evening Red
8. Something’s Ending
9. I’ve Been Evil
10. 1/500
11. Duplicate Spotted
12. Earth Kit

Lizzie Powell has always been a risk-taker. As the creative force behind the influential Canadian outfit Land of Talk, the Montreal-based songwriter has over the past 15 years amassed a catalog of four unimpeachable albums that stretch the boundaries of indie rock. But Performances, their fifth LP, feels like a total reinvention: an unflinching statement from an artist who’s not afraid to say how they feel. Though it trades muscular guitar rock for understated piano, it’s still the most urgent, cathartic, and personal release of Powell’s career so far. “It's the weirdest, mightiest little record I've made since I used to write music on my four-track when I was 14,” says Powell. “I needed to make a love letter to my teenage self by being more vulnerable and doing all the production myself.” Here, they doggedly value their own intuition over anything else to make their most rewarding album yet. 

Performances is a defiant and resonant blow against expectations and outside pressure. It’s an LP showcasing an artist without constraints and allowing themself to be radically honest. “The album title is very literal,” says Powell. “I'm performing what's in my brain but I'm tired of performing femininity for the music industry, femininity in my life, respectability, and vulnerability. I'm trying to grow out of these and break out of these roles in my life.” Powell’s fearlessness as a songwriter has already led to Land of Talk boasting an unmistakably essential discography but with this album, they find the perfect opportunity to give themself the grace to truly double down on their own vital sensibilities. They usher the songs every step of the way from demoing to producing, imbuing each track with immense care and unfiltered feeling. 

“This is me reclaiming Land of Talk as it always has been,” says Powell. “Every record we've made has just been one step closer to me figuring out how I want to make a record myself. I might not ever make an album like this again, but I just felt like I owed it to myself to try.” 

TRACK LISTING

1. Intro (high Bright High)
2. Your Beautiful Self
3. Fluorescent Blood
4. Marry It
5. Rainbow Protection
6. Clarinet Dance Jam
7. Sitcom
8. Semi-Precious
9. August 13
10. Pwintiques 

Pittsburgh, PA’s feeble little horse makes thrilling and wildly unpredictable songs that are a reflection of the joys that come with making music with your best friends. The band’s sophomore album was made focusing on intuition over intention: letting the magic of collaboration come first. “Anything that makes us laugh or puts a smile on our faces, we usually end up keeping in the songs,” explains drummer Jake Kelley. Across 11 self-recorded and self-produced tracks, the band careens from blissed-out pop to harsh noise, glitchy programmed drum beats, and off-kilter indie rock—sometimes all in one song. As a follow-up to their critically acclaimed 2021 debut Hayday, Girl with Fish, with its overwhelmingly inviting and emotionally resonant tracklist, is a document of four people trusting their instincts and most importantly each other.

TRACK LISTING

1. Freak
2. Tin Man
3. Steamroller
4. Heaven
5. Paces
6. Sweet
7. Slide
8. Healing
9. Pocket
10. Station
11. Heavy Water 

Indigo De Souza announces her new album All of This Will End, the anticipated follow-up to her acclaimed 2021 breakthrough album Any Shape You Take. All of This Will End marks a warmer and unmistakably audacious era for her. It’s a statement about fearlessly moving forward from the past into a gratitude-filled present, feeling it all every step of the way, and choosing to embody loving awareness.

Across 11 songs, the album is a raw and radically optimistic work that grapples with mortality, the rejuvenation that community brings, and the importance of centering yourself now. These tracks come from the most resonant moments of her life: childhood memories, collecting herself in parking lots, the ecstatic trips spent wandering the Appalachian mountains and southern swamps with friends, and the times she had to stand up for herself. “All of This Will End feels more true to me than anything ever has,” she says.

TRACK LISTING

1. Time Back
2. You Can Be Mean
3. Losing
4. Wasting Your Time
5. Parking Lot
6. All Of This Will End
7. Smog
8. The Water
9. Always
10. Not My Body
11. Younger And Dumber

Though initially formed as an extension of the lifelong friendship between guitarist Isaac DeBroux-Slone and bassist Raina Bock, Disq has evolved into a far more egalitarian organization, as Desperately Imagining Someplace Quiet finds guitarists Logan Severson and Shannon Conor splitting singing and songwriting duties with Debroux-Slone and Bock. Such an approach could have easily fallen into the trap of “satisfying everyone, pleasing no one,” but happily, the opposite is true. Disq has emerged a stronger band, more daring and more deant, ready to finish the job.

Wrangling a melange of styles such as this is no simple task, but Desperately Imagining Someplace Quiet is held together by the powerful yet nimble rhythm section of Bock and drummer Stu Manley, whose muscular and hyperactive playing alternately keeps these adventurous compositions tethered firmly to the Earth and sends them soaring into stratosphere. Producer Matt Schuessler rarely lets a verse or chorus go by without adding some new sonic sparkle, keeping the arrangements an ever-shifting kaleidoscope of textures and moods. If there is a record in 2022 which squeezes more ideas into 41 minutes, then that record could surely only be the unlistenable mess that Desperately Imagining Someplace Quiet avoids becoming so deftly.

Pushing play on Desperately Imagining Someplace Quiet, it is easy to imagine that it is the year 1998, and your cool older sister has returned from her freshman year at college only to hand you the sort of mind-altering mixtape out of which lifelong rock fanatics are born. Though, things being how they are in the world today, the idea of nding “someplace quiet” feels like an increasingly remote possibility, and the act of imagining such a place does, indeed, feel more and more desperate. With Desperately Imagining Someplace Quiet, Disq take a valiant stand against the temptation of complacency. As for that “someplace quiet?” It will have to wait... it's about to get loud in here. 

TRACK LISTING

01. Civilization Four
02. Prize Contest Life
03. Cujo Kiddies
04. This Time
05. The Curtain
06. The Hardest Part
07. If Only
08. Charley Chimp
09. Tightrope
10. (With Respect To) Loyal Serfs
11. Meant To Be
11. Hitting A Nail With A BB Gun

“Oberst and company have effectively crafted a searing punk fueled half-hour funeral march for both small-town life and the days when you were more likely to hear the words mom and pop than multinational corporation. At the record's core, there is a sense of great disillusionment with watching the cold, calculated displacement of human interaction and community while the world tries to fill the void with money and chain stores.” - Tiny Mix Tapes

“Desaparecidos is like finding gold when you're looking for silver.” - Exclaim!


2022 finds us releasing the 20th Anniversary Edition of Desaparecidos' Read Music/Speak Spanish into a world in which the dread and disenfranchisement detailed throughout the album feel as pertinent today as they did then. The characters and settings may have changed, but the startling narrative has not.

In late 2001, Conor Oberst, Denver Dalley, Landon Hedges, Ian McElroy, and Matt Baum spent a week at Presto! Recording Studio in Lincoln, NE recording a punk album. That debut album, released in the post-9/11 fog of early 2002, screamed out observational commentary on urban development, the sacrifice of human value for the dollar bill, and the new American Dream in a way that felt distinctly out of sync with the hyper-patriotic atmosphere of peak G.W. Bush-era America.

The band toured, got a bit of attention, and then went their separate ways for a long spell. In the ensuing years, Read Music/Speak Spanish gained cult status and became one of the most beloved and meaningful documents of the era, capturing the alienation that those who had seen through the fog of war for $$$$ experienced at the time.

20 years on, those feelings are just as, if not more, relevant than they were in that moment. America has mutated into a new confused version of itself, in many ways unimaginable two decades ago. Yet, the fear and disgust voiced on Read Music/Speak Spanish now sound more prophetic than paranoid, making the album’s message as necessary as ever.

TRACK LISTING

01. Man And Wife, The Former (Financial Planning)
02. Mañana
03. Greater Omaha
04. Man And Wife, The Latter (Damaged Goods)
05. Mall Of America
06. The Happiest Place On Earth
07. Survival Of The Fittest / It's A Jungle Out There
08. $$$$
09. Hole In One

There is a moment halfway through Hand Habits’ Fun Houseat which musician Meg Duffy asks the question, “How many times must I rewind the tape?”It’s a fitting question planted squarely in the middle of a sonically adventurous record concerned largely with making sense and taking stock. How much time must we spend examining our own past in order to fully understand it? How can we safely acknowledge pain in order to release it and fully actualize who we are supposed to be? Buffeted by strings, synths, and a gently-shook tambourine, the aptly-titled track, “The Answer,” highlights the emotional engine at the heart of the record. “I know the answer,”Duffy sings, “Here’s what I hope to find - it’s always mine.”

Fun Houseis Duffy’s most ambitious Hand Habits album to date. Produced by Sasami Ashworth (SASAMI) and engineered by Kyle Thomas (King Tuff), the record was not intended as a reaction to the pandemic, but it was very much the result of taking a difficult, if much-needed, moment of pause. “When the pandemic happened, everything stopped,” recalls Duffy. “I had been touring consistently for five years, both on my own and playing in other people’s bands, so I wasn’t really writing a lot in between. It had been full pedal to the metal in terms of traveling and scheduling, which meant I really didn’t have a lot of time to think about how I felt or really check in with myself. Then, when the world basically stopped, it turned out to be the longest I’ve been alone in my entire life — without being in a relationship, without being on the road, without working myself to exhaustion — and the result was really like, holy shit. I slammed on the brakes and everything psychologically that I’d been pushing down and ignoring for the past few years suddenly flew to the foreground.”

What started out as a very personal reckoning eventually blossomed into a fruitful and convenient means of making new music. Grounded in LA and sharing a house with Ashworth and Thomas, who also runs a studio space in the building, Duffy began to flesh out the songs that would eventually become Fun House. Embold-ened by going into therapy and coaxed by Ashworth to push the songs into unexpected new shapes, the resulting music was more acutely personal and stylistically adventurous than anything they had attempted before. The new songs also became a prism through which Duffy could begin to self-actualize in a new way.

While Fun Houseshares some of the same hallmarks as previous Hand Habits releases —a kind of outré queer sensibility, a gentle sense of vulnerability — the record is a marked sonic departure from the often muted tones of 2019’s Placeholder and 2017’s Wildly Idle (Humble Before the Void). Instead, the tracks on Fun Housesparkle, moving in unexpected directions and eschewing any specific genre. Tracks like “Aquamarine” and “More than Love” package narratives about loss, romantic longing, and childhood trauma inside polished synth pop (“Suicide / Lost a life / Well then who am I? / Why can’t you talk about it?”) while “Gold Rust” and “Concrete and Feathers” have a ragged, Neil Young quality. Friend and collaborator Mike Hadreas (of Perfume Genius) contributes vocals on “No Difference” and “Just to Hear You,” making for one of the record’s most sanguine moments, his voice providing a perfect counterpoint to Duffy. The push/pull of styles, paired with songs that move deftly between the present and past, give the record a wildly diverse, hall of mirrors quality that befits its name. Where previous Hand Habits records could be fairly insular affairs, both in their creation and their execution, Fun Housefeels ebullient, lush, a fully-realized conversation.

TRACK LISTING

01. More Than Love 4:02
02. Aquamarine 4:15
03. Just To Hear You (feat. Perfume Genius) 2:53
04. No Difference 2:51
05. The Answer 2:04
06. Gold/Rust 3:58
07. Clean Air 3:08
08. Control 3:40
09. Concrete & Feathers 3:38
10. False Start 4:06
11. Graves 3:13

one hand on the steering wheel the other sewing a garden is the name of the second album by Canadian songwriter Alexandra Levy, publicly known by the moniker Ada Lea. On one hand, it’s a collection of walking-paced, cathartic pop/folk songs, on the other it’s a book of heart-twisting, rear-view stories of city life. Ada Lea has followed up the creative, indie-rock songcraft of her debut what we say in private with surprising arrangements and new perspectives. The album is set in Montreal and each song exists as a dot on a personal history map of the city where Levy grew up. Due on September 24th from Saddle Creek and Next Door Records in Canada, the physical record will be released alongside a map of song locations and a songbook with chords and lyrics, inspired by Levy’s love of real book standards.

Levy penned and demoed this batch of songs in an artist residency in Banff, Alberta. After sorting and editing she made her way to Los Angeles to record with producer/engineer Marshall Vore (Phoebe Bridgers) who had previously worked on 2020’s woman, here E.P. After a long walk to the studio each morning, Levy spent her session days diving into the arrangements, playfully letting everything fall in place with complete trust for her collaborators. She notes “Marshall’s expertise and experience with drumming and songwriting was the perfect blend for what the songs needed. He was able to support me in a harmonic, lyrical, and rhythmic sense.” Other contributors that left a notable fingerprint on the soundscape include drummer Tasy Hudson, guitarist Harrison Whitford (of Phoebe Bridgers band), and mixing engineer Burke Reid (Courtney Barnett). Many songs came together with a blend of studio tracks and elements from the pre-recorded demos.

The resulting sounds range from classic, soft-rock beauty to intimate finger-picked folk passages and night-drive art-pop. And the textures are frequently surprising due to the collage of lo-fi and hi-fi sounds that tastefully decorate the album without ever clouding the heart-center of the song. Tracks like “damn” and “oranges” feel timeless with their AM gold groove and 70’s studio sheen, while songs like “my love 4 u is real '', “salt spring” and “can’t stop me from dying” sound completely modern in their use of electronics, sound effects, and pitched vocals. In their subtle, sonic variety, all of the album’s songs flow together with ease into one big, romantic dream for Levy’s silken vocals to float above.

Inspired by personal experience, daydreams, and Elena Ferrante’s Neapolitan novels, the lyrics of one hand... center storytelling on a bigger scale. The experience and emotions of a year are communicated through Levy’s vignettes of city life. Her prose is centered in its setting of the St Denis area of Montreal as it draws up memories from local haunts like Fameux, La Rockette, and Quai des Brumes in rearview reverie. Levy creates a balance through the album’s year by splitting her songs evenly into four seasons. Opening track “damn”, as a song of winter, kicks off the narrative with the events of a cursed New Year’s Eve party. Immediately this timeline becomes jumbled into a Proustian haziness. The listener is then led through the heat-stricken, brain fog of Summer song, “can’t stop me from dying” and then into the autumnal romanticism of “oranges” before returning back to New Year’s on “partner,” which Levy describes as “a woozy late-night taxi blues reflection on moments when timing can be so right, yet so wrong…”. These collected stories as a whole chart the unavoidable growth that comes with experience. “All is forgiven in time. All is forgotten in time. And when the music stopped, I heard an answer” (from “my love 4 u is real”).

Whether to consider these songs fiction or memoir remains unknown. On one hand, Levy says “Why would I try to write a story that’s not my own? What good would that do?” but on the other hand, she is quick to note the ways that language fails to describe reality, and how difficult this makes it to tell an actually true story. The poetic misuse of the word “sewing” in the album’s title serves as a nod to the limitations words provide. What does it mean to sew the garden? And how can we appreciate its carefully knit blooms when the rearview mirror is so full of car exhaust?

STAFF COMMENTS

Barry says: Ada Lea's new album is a wonderful mix of honest, hearfelt lyricism and psychedelic instrumentation, ranging from subtly swaying indie-pop to jagged punky drive. It's a beguiling and beautiful outing, and one that deserves to be heard.

TRACK LISTING

01. Damn 4:21
02. Can't Stop Me From Dying 3:09
03. Oranges 4:54
04. Partner 3:45
05. Saltspring 4:23
06. And My Newness Spoke To Your Newness And It Was A Thing Of Endless 0:56
07. My Love 4 U Is Real 4:31
08. Backyard 2:56
09. Writer In Ny 3:19
10. Violence 4:26
11. Hurt 3:31

Ever since Spirit Of The Beehive released their self-titled debut in 2014, they’ve developed a reputation for being your favourite band’s favourite band. Theirs is the music of immersion, of confrontation, the kind that makes a listener stop and wonder, “How are they even doing that?” And as the years wear on, that sense of bafflement has made room for Spirit Of The Beehive to quietly but steadily ascend, with their most recent album, 2018’s Hypnic Jerks, leaving them poised on the precipice of wider recognition.

Spirit Of The Beehive now release their fourth album and Saddle Creek debut, Entertainment, Death. The album signals new chapters for the band on multiple fronts, being the first to feature their new three-piece lineup, as well as the first to be entirely self-recorded and produced. Guitarist/vocalist Zack Schwartz and bassist/vocalist Rivka Ravede are now joined by new member Corey Wichlin, a multi-instrumentalist who relocated from Chicago to the band’s home territory of Philadelphia last year. In the spring of 2020, the trio began to write their new album at a distance by emailing les back and forth. “The process of making this album was basically the exact opposite of our experience creating Hypnic Jerks,” Schwartz explains. “We had to record that in seven days, because that was the studio time we had, whereas Entertainment, Death was made over the course of three, four months.”

An abundance of time wasn’t the only difference. Recording remotely offered the band an incentive to experiment with new possibilities for their sound, resulting in an album that is unlike any Spirit Of The Beehive has released before. Once the band finished recording and mixing the album digitally, they mastered it to tape, lending the collection a textured, dimensional quality. “We knew we wanted to use some new instrumental elements on this album,” Wichlin says. “We're not going fully electronic,” Schwartz adds, “But guitar, bass, drums just get kind of monotonous.” Though Entertainment, Death doesn’t cohere in a single, unifying theme, the band samples old obscure commercials throughout, many of which guided the process of writing a song instead of serving as an appendage. Schwartz describes his songwriting process as a stream-of-consciousness, while Ravede asserts that she doesn’t typically write vocal parts with any specific intention in mind. “When I write, the narrative usually doesn’t present itself until after the song is done. And even then, it depends on how the listener interprets the words,” she reflects. Regardless of how dreamlike Entertainment, Death’s lyrics can be, reality rears its head throughout Entertainment, Death. The album isn’t a metamorphosis, it’s simply the newest iteration of a longstanding project. “There’s a line in the Bee Gees documentary that I think applies to us. I’ll paraphrase: ‘We may not have always connected, but we always stuck around,’” Ravede says. Schwartz jumps in, “Entertainment, Death: we’re still here.”

TRACK LISTING

01. Entertainment
02. There’s Nothing You Can Do
03. Wrong Circle
04. Bad Son
05. Give Up Your Life
06. Rapid & Complete Recovery
07. The Server Is Immersed
08. It Might Take Some Time
09. Wake Up (In Rotation)
10. I Suck The Devil’s Cock
11. Death

Meg Duffy grew up in a small town in Upstate New York and they cut their teeth as a session guitarist and touring member of Kevin Morby’s band. The Hand Habits project emerged after Meg moved to Los Angeles; it started as a private songwriting outlet but soon evolved into a fully-fledged band with Meg at the helm. Hand Habits’ debut album, Wildly Idle (Humble Before The Void), was released by Woodsist Records in 2017. The LP was entirely self-produced and recorded in Meg’s home during spare moments when they weren’t touring. Wildly Idle (Humble Before The Void) is a lush, homespun collection of folk songs that found Meg in an exploratory state as an artist moving out on their own for the first time.

Two years later, Hand Habits has returned with their sophomore album, placeholder. To make this album, Meg chose to work in a studio and bring in collaborators, entrusting them with what had previously been a very personal creative process. Over the course of 12 tracks, Meg emerges with new confidence as both a bandleader and singer. This album is as tender and immediate as anything Meg’s ever written, but it’s also intensely focused and refined, the work of a meticulous musician ready to share their singular vision with the world.

The name placeholder stems from Meg’s fascination with the undefinable. Their songs serve as openings -- carved-out spaces waiting to be endowed with meaning. As a lyricist, Meg is drawn to the in-between, and the songs on this new album primarily confront the ways in which certain experiences can serve as a stepping stone on the road to self-discovery. “A big aspect of my songwriting and the way I move through the world depends on my relationships with people. The songs on placeholder are about accountability and forgiveness,” Meg says. “These are all real stories. I don’t fictionalize much.”

Meg describes these songs as their most direct to date, crafted with clear intention, and unlike Wildly Humble (Idle Before The Void), placeholder doesn’t meander. “It’s less of a submerged landscape and more a concise series of thoughts,” Meg explains. Instrumentally, placeholder can be situated alongside some of Meg’s folk-adjacent contemporaries like Angel Olsen or Big Thief, and the guitar work on this album proves that Meg continues to be one of the finest young musicians working today. placeholder is another entry in the Hand Habits songbook, but it’s also a valuable testament of our time. While placeholder inspires a sense of ease, simple questions rarely beget easy answers and Meg honors the indescribable joy and profound sorrow that comes with figuring things out, one step at a time.

TRACK LISTING

1. Placeholder
2. Can’t Calm Down
3. Pacify
4. Jessica
5. Yr Heart [Reprise]
6. Heat
7. Are You Serious?
8. Wildfire
9. What’s The Use
10. Guardrail/Pwrline
11. What Lovers Do
12. The Book On How To Change Part II

Stef Chura’s debut studio album, Messes, is born of her years of experience playing around the Michigan underground, setting up DIY shows in the area, and moving around the state. “Right when it starts to feel like home/It's time to go," she sings on its opening cut, 'Slow Motion', a twisty, dim-lit guitar pop song where she curls and stretches every word. There are worlds of emotion in the ways Chura pronounces phrases with twang and grit, alternatingly full of despair, playfulness, and abandon. Chura calls her music “emotional collage,” eschewing start-to-finish storylines in favour of writing intuitively about feelings, drawing from experiences and references related to a certain sentiment.

Originally from Alpena, Michigan, Chura moved to the Ypsilanti area in 2009, where she began playing shows before ultimately moving to Detroit in 2012. Chura has been home-recording and self-releasing her songs for six years, playing bass in friends’ bands as well. With a trove of demos and 4-track home recordings, some of which she’d released on small runs of cassettes over the years, Chura says she wasn’t sure what to do with her life before heading into the studio. “One of my best friends passed away and I thought, what do I have to do before I die? I have to at least make one record.”

She recorded the entire album with Fred Thomas (Saturday Looks Good To Me) throughout 2015. Thomas plays bass on most of the record, and a bit of guitar and drums. Drummer Ryan Clancy of Jamaican Queens and Dale Earnhardt Jr. Jr. adds the bulk of the drums. Through intricate guitar work and warm, textured production, Messes finds her trying to make sense of life’s ups and downs. “It’s about emotional mess, not physical mess,” Chura says. “The title track is about knowing that you are going to do something the wrong way, but you’re doing it anyway because you want that experience. I’ve had to do a lot of things the wrong way in order to figure out how to live my life.”

TRACK LISTING

01. Slow Motion 2:07
02. You 3:59
03. Thin 2:09
04. Human Being 3:17
05. Faded Heart 2:59
06. Spotted Gold 2:20
07. Time To Go 2:50
08. Messes 3:47
09. On And Off For You 3:39
10. Becoming Shadows 2:31
11. Speeding Ticket 4:25

Young Jesus, an indie rock quartet from Los Angeles, looks to communicate the tensions between proximity and distance, chaos and order. On their upcoming record S/T, to be released by Saddle Creek, the band focuses on seemingly small moments in everyday life: phone calls with Mom, landscapes along the highway, crows in a tree. Yet with time these strange intimacies add up to a life. A life full of anxiety, confusion, sadness, joy, boredom, and ultimately wonder.

Young Jesus mixes the emotional intensity of bands like Slint, Pile, and Built To Spill with the quiet contemplation of Yo La Tengo, Mogwai, and Laughing Stock-era Talk Talk. They give themselves to moments of aggression and volume, balanced alongside near-silence.

Influenced by the writings of Donna Haraway, Timothy Morton, Wang An-Shih, Wang Wei, Joy Williams, and Marilynne Robinson, singer/songwriter John Rossiter hopes for a making-do with what we have, a sometimes wide-eyed learning process. Life may be too massive to grasp, but that does not mean we should shy away from it. Rather, Young Jesus tries to look toward the complexity and imperfection. “As ever, the questions Rossiter and co. raise are too big to expect any sort of clear answer, but Young Jesus offer a model of coping, a way to remain hopeful and human within their jaws” (Various Small Flames).

Rossiter states, “the ethos is to push each other to express things that are not common-- like ideas of love and trust within friendships-- through being extremely vulnerable and making mistakes. Hopefully those mistakes become framed as an important and necessary part of process. It's about communication between four people. Hopefully it is the sound of four very good friends who want to let other people into that space.” These may be small things, but observed with thought and care they come to make the world of Young Jesus

TRACK LISTING

1. Green 5:46
2. River 3:09
3. Eddy 6:25
4. Under 2:15
5. Desert 6:46
6. Feeling 9:49
7. Storm 12:42

Premium is the glistening debut album from New York-based Sam Evian. Sam describes the album as; “an analogue dream in a digital world.” Like flowing water, its cool surface entices and refreshes - then reveals hidden emotional depths. The sound of Premium recalls a sunbaked cassette of Pet Sounds or All Things Must Pass, composed with glowing guitar chords, aching pedal steel, Wurlitzers and iconic 20th-century synths. Inspired by the soulful classic sounds of Jackson Browne, Shuggie Otis, Sly and the Family Stone and The Band, as well as contemporary influences such as Cass McCombs, Broadcast, Cate Le Bon, and Chris Cohen, this is music meant for a close-up experience; spacious, dreamy, fun, and disarmingly open and honest.

The music came together quickly when Sam found himself in what he calls, “a premium set of circumstances.” An engineer and producer as well as in-demand guitarist, Sam befriended the founders of Brooklyn’s Figure 8 Studio, Eli Crews and the enigmatic and inspiring Shahzad Ismaily. After helping them to build and wire the studio, Sam explains how he found himself at the centre of a musical community; “I was surrounded by endlessly talented and fun musicians in a beautiful recording environment that I helped build. I felt confident and happy, so the music came together easily.”

That musical community included the group that recorded Premium. The album’s nine songs reflect the casual, relaxed atmosphere Sam created for himself at Figure 8, gathering his friends to record in o¬ff hours, capturing moments of o¬ffhand inspiration and laughter. There was Austin Vaughn on drums (Here We Go Magic, Luke Temple), a long-time friend from North Carolina School of the Arts, and Brian Betancourt on bass (Hospitality, Here We Go Magic, Luke Temple). They were joined by Michael Coleman on keys, a prolific player and producer, as well as being Figure 8’s studio manager. Pedal steel was provided by Dan Iead (Cass McCombs), and recorded at New York’s legendary Magic Shop studios in the days just before it closed. The tracks were some of the very last recordings in the room that had witnessed sessions by David Bowie, the Ramones, Blondie, Real Estate, Kurt Vile and generations of others. Other guest performers include vocalists Cassandra Jenkins and Hannah Cohen, Shahzad Ismaily, Eddie Barbash (the saxophonist on the Colbert show) and Steve Marion (aka Delicate Steve)

TRACK LISTING

1. Sleep Easy 4:19
2. Cactus 3:31
3. Dark Love 4:47
4. Big Car 3:30
5. Carolina 4:03
6. I Need A Man 3:20
7. Summer Running 3:24
8. Golden Skull 2:40
9. Tear 4:49

Produced by Chris Walla (formerly of Death Cab For Cutie), with whom the band has worked frequently, We Disappear was recorded in Portland at Kung Fu Bakery (The Shins, Tegan and Sara) and in Seattle, WA at The Hall of Justice (Nirvana, Mudhoney). The album – which will arrive ahead of the 10th anniversary of their acclaimed third LP The Body, The Blood, The Machine– is an authentic, dark, and deeply personal album couched in The Thermals’ trademark catchy and boundless pop/rock. The band examines technology, love, and death throughout: how separation in humanity can come through any of these avenues; how people try to outrun the demise of lives and relationships; how technology can isolate us and impact our relationships even as we completely – and willingly – assimilate ourselves into it (or go “Into The Code,” as the opening track suggests); and how we’ve begun to forego privacy for a feeling of immortality in order to not be ignored or forgotten.

Harris explains, “Technology, love and death are the three obsessions of the record. Our privacy used to be so important to us and now everything has changed - we freely off¬er once private information about relationships and reveal everything about our day-to-day lives. We’re trying to preserve our life digitally so when we’re gone people won’t forget us. We’re using technology to become immortal. You can even set up Facebook and Twitter accounts to continue updating after you die! We Disappear is about how humans fight the inevitable.

”Harris’s heartfelt lyrics – which draw heavily from his own recent experiences in contrast to his earlier, mostly fictitious tales – are both complimented and contrasted by the music. The galloping anthem “Hey You” depicts a paranoid fantasy of fleeing from the Grim Reaper as he calls after you; the poppy, sing-along sadness of “My Heart Went Cold” plays on the double metaphor of the loss of love/life; and the surprisingly uplifting, soaring “Thinking Of You” is both a straight-forward love song and relationship eulogy. We Disappear is a walk through modern life and love, and despite its dark themes, The Thermals here deliver one of their most spirited, anthemic, and rousing releases to date.

After touring the world as a member of the Postal Service in 2013, Laura Burhenn (The Mynabirds) took a year to get lost. She drove across the US twice, toured South Africa solo, made her first appearance in London (also solo), and trekked all over Europe with William Faulkner’s words ringing in her ears: “You cannot swim for new horizons until you have courage to lose sight of the shore.” Finally she found herself in Los Angeles with a suitcase of songs to fill a whole new album. Lovers Know, The Mynabirds’ third full-length release, was produced by Bradley Hanan Carter (Black English) and recorded over a yearlong period in Los Angeles, Joshua Tree, Nashville, and Auckland, New Zealand.

It’s definitely new territory for Burhenn, forging into 80s, 90s and futuristic soundscapes, recalling Kate Bush, Sinead O’Connor, The Jesus and Mary Chain, My Bloody Valentine and even 90s hip hop and R&B. The album may be loaded with a fresh palette of new sounds (swarms of synths, gauzy electric guitars, and electronic drums), but her brooding, unmistakable voice leads the way. Lyrically this is her most personal and confessional work to date, and also her most accessible. Whereas her last album, GENERALS, watched from a wide angle to understand the world at a distance, Lovers Know pulls in close.

“There’s something about wandering the world over,” Laura says, “that makes you realize how similar we all are – everyone searching for something, so often the same thing: love. It may sound trite, but it’s true. Love – or the lack of it – is the thing we all have in common. It can destroy us. It can break us open and let the light in. And it’s also the thing that can make us sing.” Burhenn has released two previous albums as The Mynabirds on Saddle Creek, What We Lose in the Fire We Gain in the Flood (2010) and GENERALS (2012), both of which were produced by Richard Swift and met by critical acclaim.

TRACK LISTING

1. All My Heart 4:09
2. Believer 3:00
3. Semantics 4:20
4. Say Something 3:52
5. Orion 4:57
6. Velveteen 3:46
7. Shake Your Head Yes 3:54
8. Wildfire 3:12
9. Omaha 5:42
10. One Foot 3:18
11. Hanged Man 5:25
12. Last Time 5:19

Kludge idiosyncratically captures life as it exists in our weird almost future world of flying robots, cancer from food, cell phone wire taps, metadata, $7.25ish minimum wage and $15.50 an hour endless choice buffets. Yet, the album possesses that inherent sense of timelessness that exists in all great music. Thanks to its combination of addictively fetching rock ‘n’ roll and Daniel Pujol’s lyrical brilliance, the end result proves yet again that Daniel Pujol is, first and foremost, a songwriter.

Examining well-worn subjects like love, death, authenticity, identity, alienation and society, Pujol applies a filter completely his own and brings these ideas to a place they’ve never existed before. His words examine the world with his signature brand of skepticism, humor, idealism, and an unmistakable earnestness and sincerity. Lead single “Circles” perfectly illustrates this with lines like “Show me that your sacred heart’s the human kindness kind / Show me more than 3D printers drawing skulls and knives / Show me more than kleptocratic demagogue control/Show me that you ain’t a lizard, show you’ve got a soul.”

TRACK LISTING

1. Judas Booth
2. Manufactured Crisis Control
3. Pitch Black
4. Circles
5. Dark Haired Suitor
6. Post Grad
7. Sacred Harp BFK
8. No Words
9. Spooky Scary
10. Small World
11. Youniverse

After a breakthrough 2009 that saw them earn comparisons to Arcade Fire and Neutral Milk Hotel, capture SXSW buzz playing on a bill with Grizzly Bear, sell out a tour, sign to Saddle Creek, and score a ‘Breaking Out’ featuring in Spin Magazine, The Rural Alberta Advantage are poised to explode in 2011 with the "Departing".

With The Rural Alberta Advantage’s new album, the band further refines the exuberant guitar work; everything-on-the-table singing; songwriting full of conviction and detail; and majestic, keyboard-sprinkled arrangements that have won them so many fans. "Departing" strings together themes of small towns, Canadian fall and winter, breakup, and redemption and serves as a companion piece to their beloved debut album "Hometowns". Highlights include the affecting "North Star", the stark regret of "Tornado", and the storming, percussive surge of "Stamp", all of which vividly set the scene.

The group consists of singer/guitarist Nils Edenloff, also the chief writer in the group; Paul Banwatt, whose raucous percussion pushes the songs into overdrive; and multi-instrumental Amy Cole, who provides keys, percussion, and backing vocals. Edenloff grew up in rural Fort McMurray, Alberta, and draws on his experiences there in his songwriting.

TRACK LISTING

1. Two Lovers
2. The Breakup
3. Under The Knife
4. Muscle Relaxants
5. North Star
6. Stamp
7. Tornado ‘87
8. Barnes’ Yard
9. Coldest Days
10. Good Night

The eagerly anticipated follow up to 2006's "What The Toll Tells" is here. Two Gallants feel that this album so perfectly captures their sound that they could only name it "Two Gallants". Touring schedules that would break many lesser bands have helped the duo refine and hone their sound. Recorded by Alex Newport (At the Drive-In, The Locust) in Two Gallants home town of San Francisco, the bands electric side is in full effect after the well received "Scenery Of Farewell" EP from earlier in 2007.

Known for their aggressive, electric live shows, Two Gallants have fostered a dual musical personality by occasionally recording and playing songs with a more stripped down sound. Following on from 2006's acclaimed "What The Toll Tells", the duo showcase this different side to their music on "The Scenery Of Farewell", a five track mini-LP. Since the bands extensive touring schedule left little time for proper rehearsals, some of these songs, that were always meant for an album, evolved in such places as sound checks and radio show appearances, where it was more conducive for them to be performed. This release will be followed by a full-length album by Two Gallants in September 2007.

"Noise Floor" collects selected Bright Eyes singles, one-offs, unreleased tracks, collaborations and covers recorded between 1998 and 2005. Variously recorded to cassette four-track, minidisc, reel-to-reel tape machine, ADAT and computer, these songs trace Bright Eyes' evolution from basement project to band of international repute. Many of these gems previously lost to out-of-print obscurity are hereby resurrected.