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Music Releases 07-01-22

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Vinyl LP pressing. 2022 release, the fourth studio album by singer/songwriter, Paolo Nutini. It's a 70-minute epic that spans the distance from classic rock to post-punk to hypnotic Krautrock, in the process proving it's value as his deepest, most varied, most accomplished, and ultimately most rewarding set so far. The insistent Motorik rhythms of new single 'Lose It' brings shades of early '70s German bands like Can and Neu!, and are a product of Paolo writing increasingly on bass guitar. At the other end of the spectrum, 'Through The Echoes' is a timeless classic in the lineage of Ben E. King and Otis Redding, with Nutini's vocal delivery reminding us why he got snapped up by Atlantic in the first place.'Last Night In The Bittersweet' was produced by Paolo Nutini alongside Dani Castelar and Gavin Fitzjohn. It was written by Paolo, with some select co-write contributions from members of his band.
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Coming out on July 1, Jazz Codes is Moor Mother's second and latest album for Anti- and a companion to her celebrated 2021 release Black Encyclopedia of the Air. Jazz Codes uses free jazz as a starting point but the collection continues the recent turn in Moor Mother's multifaceted catalog toward more melody, more singing voices, more choruses, more complexity. In it's warm, densely layered course through jazz, blues, soul, hip-hop, and other Black classical traditions, Jazz Codes sets the ear blissfully adrift and unhitches the mind from habit. Through her work, Ayewa illuminates the principles of her multidisciplinary collaborative practice Black Quantum Futurism, a theoretical framework for perceiving and adjusting reality through art, writing, music, and performance, informed by historical Black ontologies.The songwriter, composer, vocalist, poet, and educator Camae Ayewa spent years organizing and performing in Philadelphia's underground music community before moving to Los Angeles to teach composition at the University of Southern California's Thornton School of Music. She released her debut album as Moor Mother, Fetish Bones, in 2016, and has since put out an abundance of acclaimed music, both as a solo artist and in collaboration with other musicians who share her drive to dig up the untold. She has performed and recorded with the free jazz groups Irreversible Entanglements and the Art Ensemble of Chicago, and made records with billy woods, Mental Jewelry, and YATTA.
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The roots of Naima Bock's music are far reaching. Born in Glastonbury to a Brazilian father and a Greek mother, Naima spent her early childhood in Brazil before eventually returning to England and various homes in South-East London. This heritage combines with more recent pursuits in Naima's music. From the Brazilian standards that the family listened to while driving to the beach, to the European folk traditions she tapped into on her own, and the pursuits that interest her today - studies in archaeology, work as a gardener, and walking the world's great trails - Naima's music draws from family, the earth and music handed down through generations. Naima's debut album Giant Palm is undoubtedly infused with the Brazilian music of her youth and regular family visits. She found inspiration in "the percussion, the melodies, chords - and particularly the poetic juxtaposition of tragedy and beauty held within the lyrics." By the age of 15 Naima was embedded in the music scene of South-East London, eventually forming Goat Girl with school friends and touring the world. After six years playing bass in Goat Girl, Naima left the band to try something new. She set up a gardening company and started a degree at University College London in archeology because, as she jokes, "I liked being near the ground." During this time she wrote music, played guitar, learned violin, worked with ever-shifting South-London collective Broadside Hacks, and met producer and arranger Joel Burton through Memorials of Distinction label head Josh Cohen. Joel's burgeoning interest in Western classical music, global folk music, experience in large scale arrangement and orchestration informed the collaborative process that eventually culminated in Giant Palm. Recorded with the help of over 30 musicians (including Josh Cohen on synth/electronics) by Dan Carey of Speedy Wunderground at his studio space in Streatham, South-East London, and engineered by Syd Kemp, the songs on Giant Palm represent a snapshot of a specific feeling, of brief moments in Naima's life that make up a larger whole. The expansive yet delicate arrangements highlight Naima's love for the collectivist values of traditional folk music, in which songs belong to everyone, and singing can take on countless forms without the need to exactly replicate something. "All the other representations that I'd had of singing felt so unattainable" she recalls. Giant Palm finds Naima bucking these expectations to let her unique voice and sense of communal creativity flourish.
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Thrash should leave you breathless, busted-up, and maybe even a little drunk (in a cutoff denim vest adorned with barely legible patches). Since 2001, Municipal Waste have uncompromisingly stuck to their guns as hard-partying and even harder-hitting torchbearers of 21st century thrash metal. The Richmond, VA quintet have transformed from a cult favorite into metal mainstays for a generation. Along the way, Decibel touted 2007's The Art of Partying in it's coveted "Hall of Fame" and asserted it "revved up interest in thrash and inspired a fresh wave of youthful new bands." Metal Hammer christened The Art of Partying one of "The 50 Greatest Thrash Metal Albums Ever," while Loudwire pegged The Art of Partying as "The Best Thrash Album of 2007" and Hazardous Mutation as "The Best Thrash Album of 2005." The guys have sold out countless shows on multiple continents and piled up tens of millions of streams in the process. 2017's Slime and Punishment bowed in the Top 3 of the Billboard Heatseekers Albums Chart, and The Last Rager EP only accelerated their momentum in 2019. However, Municipal Waste maintain course as vicious and vital as ever on 2022's Electrified Brain. Recorded in Philadelphia with producer Arthur Rizk [Power Trip, Code Orange], they achieved "a thicker and heavier sound" than before. The debut single "Grave Dive" hinges on a downright mean palm-muted riff as a percussive onslaught commences. It builds towards a gang chant call-and-response before a lead rips."It's in the vein of songs like 'Headbanger Face Rip' and 'Wave of Death'," vocalist Tony Foresta notes. "It's an inspirational song for our fans to cause bodily harm to themselves, but in a fun and healthy way, of course.""High Speed Steel" practically splits asphalt with it's jagged thrashing. Elsewhere, the title track "Electrified Brain" charges forward on a breakneck riff as a solo wails underneath the vocal snarl. "Crank The Heat" trudges over a thick doomy groove into menacing verses.In the end, Electrified Brain will give you everything you'd want from a Municipal Waste record or heavy metal record, period. CD long box includes cd, sticker and pin. Limited to 1000
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Charlie Gabriel

Eighty Nine

CD: $9.98 Buy

MP3 Album: $9.99 Download

I've been playing since I was 11 years old," says Charlie Gabriel, the most senior member of the legendary Preservation Hall Band, "I never did anything in my life but play music. I've been blessed with that gift that God gave me, and I've tried to nurse it the best way I knew how." While he's faced plenty of challenges nursing that gift for more than 78 years, none likely rank with last winter's passing of his brother and last living sibling, Leonard, lost to COVID-19. For the first time ever, Gabriel put down his horn, filling his days and weeks instead with dark reflection, a stubborn despondency broken now and then by regular chess matches in the studio kitchen of Hall leader Ben Jaffe, working overtime to bring his friend some light. One such afternoon also included Joshua Starkman, sitting off in a corner playing his guitar and half-watching the chess from a distance. When Charlie returned the next day, he brought his saxophone. "I was just inspired to try it, to play again. It had been a long time, and a guitar makes me feel free. I do love the sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in." That day was to be the first session for Eighty Nine, almost entirely the work of Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt Aguiluz. Charlie Gabriel's first professional gig dates to 1943, sitting in for his father in New Orleans' Eureka Brass Band. As a teenager living in Detroit, Charlie played with Lionel Hampton, whose band then included a young Charles Mingus, later spending nine years with a group led by Cab Calloway drummer J.C. Heard. While he's also fronted a bebop quintet, played and/or toured with Ella Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his name appears on the front of a record, as a bandleader. Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band, featuring prominently on That's It, So It Is, and Tuba to Cuba. Eighty Nine was different, and not simply due to a smaller ensemble. "We had no particular plan, or any particular insight on what we were gonna do. But we were enjoying what we were doing, jamming, having a musical conversation," Charlie says, further musing, "Musical conversations cancel out complications." Eighty Nine includes six standards and three newer pieces on which Gabriel is a writer: "Yellow Moon," "The Darker It Gets" and "I Get Jealous." The record also marks Charlie's return to his first instrument, clarinet, on many of the tracks. "The clarinet is the mother of the saxophone," he says. "I started playing clarinet early in life, and this [taught me] the saxophone." Finally, Eighty Nine includes three tracks of Charlie singing. "I always sung, but it wasn't my forte to become a singer," he says. "The truth is, people often develop a real relationship with a song once they hear the words. Sometimes I enjoy singing them.
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Stella makes her Sub Pop debut with the mesmerizing Up and Away, an old-school pop paean to the pangs and raptures of love. From the Greek folk-inflected get-go, we're swept up in Stella's world - and it's quite the captivating place to be. The singer-songwriter joined forces with artist and producer Tom Calvert (aka Redinho), and it was a match made in Athens; the results are heavenly. Tom caught one of Stella's gigs on a visit to the city. He reached out, they started hanging out, and the pair soon clicked creatively. Both mention chemistry when asked about their collaboration and it's clear, from what we hear, they had it in spades. The meld is seamless. Stella's songs have always riffed on American and Greek mid-century pop but Up and Away doubles down on the vintage aesthetic. Tom says he styled the record "as if it was a rare gem from the '60s found in a box of records in Athens," and Stella notes she was ready for a more "deeply Greek touch - it felt comfortable and right, smoothly fusing with the pop." The bouzouki appears on a full five tracks played by Christos Skondras who, she says, "was brilliant at improvising," while Sofia Labropoulou on the kanun "brought an insane amount of dreaminess to the last two songs. Having these amazing musicians play for Up and Away - I couldn't be more grateful."

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Founded back in 2017 by guitarists Johannes Mäkinen and Vili Vottonen, the debut album After the Storm was unleashed when the northern winds choked Horizon Ignited's hometown of Kouvola in early 2019. The completely self-published album met very positive feedback and the band has made it's mark since then. Horizon Ignited's diverse class of act - captivating and guitar-driven melodic death metal flavored with catchy metalcore elements among others. Finnish melodic death metal band, Horizon Ignited, have officially joined Nuclear Blast Records. Over the past thirty frantic years, this passion-raising heavy metal sub-genre has undeniably evolved and changed, but some complaints have also been heard in the dim alleys: where are all the magnificent entrants? Well, as so many times before, kindly turn your face towards Finland - still the most metallic country in the world - and meet melodic death metal's hottest newcomers... Horizon Ignited has arrived and this relentless sextet is here to stay.
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Conjurer

Pathos

CD: $14.98 Buy

Hailed as one of the metal world's most devastating, thrilling experiences, CONJURER are a band never content to rest. A triumphant return from CONJURER following their world-renowned 2018 debut Mire, P√°thos is a band flexing their creative muscles, deepening their approach and thought, and expanding their sound. Having returned from a sold-out headlining European tour with CELESTE, CONJURER embark on a ferocious new chapter with this ground-breaking offering.
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Massacre

Mythos

CD: $10.98 UNAVAILABLE
The magnitude of Massacre's 2021 return-with original members Kam Lee (ex-Mantas, ex-Death) and Mike Borders are back in the fold-is incontestable as they harness eldritch powers of the Great Old Ones to properly follow-up From Beyond (1991) and the Inhuman Condition EP (1992). The 2021 release "Resurgence" found Massacre born again, and stronger than ever!Massacre formed in 1985 in Tampa, Florida. The group quickly shape-changed into a more stygian form after Lee assumed the frontman position-the sheer unnaturnal quality of Lee's "death growl" on Massacre's "Aggressive Tyrant" demo (1986) is one of the reasons he's bestowed "innovator" status in death metal. Of course, across a series of full-lengths-1991 classic "From Beyond", the unorthodox "Promise" (1996), and 2014's comeback (under a different lineup) effort "Back from Beyond"-Massacre have shown resilience and perseverance befitting a band with such an eminent history."Mythos" is a new 4 track ep only available on CD & digital. The first single "Behind The Serpent's Curse" features Anders Odden of Cadaver.

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