Indie / Alternative

Bon Iver's Blood Bank EP was originally released in early 2009, hot on the heels of the beloved album 'For Emma, Forever Ago'. The EP was a harbinger of a new sound for Bon Iver: a movement away from the acoustic guitar-led instrumentation of the debut and the beginning of an exploration into the experimental sounds that have evolved but defined Bon Iver ever since. The reissue of this seminal EP is coupled with brand new live renditions of all the EP tracks: A reflection on the Blood Bank EP by Ryan Matteson: When I reflect on the songs that make up the Blood Bank EP, I am drawn to mantras, both musical and lyrical. The driving and pulsating rhythm of the title track is held steady by the repeated refrain, I know it well, before it eventually yields to a beautiful array of guitar distortion and noise. These moments are significant through all four songs. When the steel guitar makes it's entrance on "Beach Baby," it's transportive. A blissful, breezy feeling sweeps into the room and that puts you within the moment. Close your eyes and you can feel it. "Babys" follows perfectly. A piano guides your mind to the new beginnings that come with the changing of seasons. The awareness of time passes and makes way for another day. Then there's "Woods." A flawless finale. Foreign and new. Not just a new direction but a new beginning entirely. A place where boundaries don't exist. It was a signal change of things to come, laying the groundwork for new collaborations. A decade later, the song says so much in just three lines. Most significant to me are the words, "I'm building a sill to slow down the time." Time doesn't slow down, it races.

22 stands for Justin Vernon. The number’s recurrence in his life has become a meaningful pattern through encounter and recognition. A mile marker, a jersey number, a bill total. The reflection of '2' is his identity bound up in duality: the relationship he has with himself and the relationship he has with the rest of the world. A Million is the rest of that world: the millions of people who we will never know, the infinite and the endless, everything outside one’s self that makes you who you are. The other side of Justin’s duality is the thing that completes him and what he searches for. 22, A Million is thus part love letter, part final resting place of two decades of searching for self-understanding like a religion. And the inner-resolution of maybe never finding that understanding. When Justin sings, “I’m still standing in the need of prayer” he begs the question of what’s worth worshipping, or rather, what is possible to worship. If music is a sacred form of discovering, knowing and being, then Bon Iver’s albums are totems to that faith. The poly-fi record formed at the congruence of a bold yet delicate sonic palette. These sounds were the way out from the suffocating enclosure and captivity of anxiety. The ten songs of 22, A Million are a collection of sacred moments, love’s torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard coincidence. If 2011’s Bon Iver, Bon Iver built a habitat rooted in physical spaces, then 22, A Million is the letting go of that attachment to a place.

i,i is Bon Iver's most expansive, joyful and generous album to date. If 'For Emma, Forever Ago was the crisp, heart-strung isolation of a northern Winter; Bon Iver the rise and whirr of burgeoning Spring; and '22, A Million', a blistering, crazy energy Summer record, i,i completes the cycle: a fall record; Autumn-colored, ruminative, steeped. The autumn of Bon Iver is a celebration of self acceptance and gratitude, bolstered by community and delivering the bounty of an infinite American music. The sales and accolades are well-known multiple Gold albums, multiple Grammys, chart-topping collaborations and festival headlines. But even more significantly, with each release Bon Iver quietly shifts the state of modern music. From the boundaries of folk, to the rules of autotune, to production work for others, Bon Iver s fingerprint finds its way across the mainstream every time. Vernon has always been a master collaborator, and on i,i that desire becomes maximal, with guests ranging from Moses Sumney and Bruce Hornsby to Wye Oak's Jenn Wasner and the Brooklyn Youth Chorus. Here, the music and band, and themes, and creative space are bigger than ever.

The first-ever official anthology of recordings from the iconic rock duo, Jack and Meg White, is an essential career-spanning collection highlighting 26 previously released songs. From late Nineties flashes of brilliance through early 2000s underground anthems, masterful MTV Moon Man moments, Grammy-grabbing greatness, and worldwide stadium chants, the songs here are as wide-ranging as you can imagine. In an era of streaming where the idea of a “Greatest Hits” album may seem irrelevant – that an act’s most streamed songs are considered their de facto “hits” – we wholeheartedly believe that great bands deserve “Greatest Hits” and that a large part of Third Man Records’ and The White Stripes’ successes have been built on zigging when the rest of the music business is zagging. Thus, for a great band with great fans, a greatest hits compilation for The White Stripes is not only appropriate, but absolutely necessary.

The band's commercial break through, this 2001 album went gold, spinning off the Top 20 Modern Rock hits 'Fell In Love With A Girl' and 'Dead Leaves And The Dirty Ground.'

A1 Seven Nation Army 3:51
A2 Black Math 3:03
A3 There's No Home For You Here 3:43
B1 I Just Don't Know What To Do With Myself 2:46
B2 In The Cold, Cold Night 2:58
B3 I Want To Be The Boy To Warm Your Mother's Heart 3:20
B4 You've Got Her In Your Pocket 3:39
C1 Ball And Biscuit 7:19
C2 The Hardest Button To Button 3:32
C3 Little Acorns 4:09 (intro by Mort Crim)
D1 Hypnotize 1:48
D2 The Air Near My Fingers 3:40
D3 Girl, You Have No Faith In Medicine 3:17
D4 It's True That We Love One Another 2:42 (vocals by Holly Golightly) -- EXCLUSIVE RECORD STORE DAY RELEASE

Celebrating the 10th anniversary of this Grammy Award winning album, Third Man Records releases a special Limited Edition vinyl pressing of their acclaimed hit album, ''Elephant,'' exclusively for Record Store Day. Includes their classic, ''Seven Nation Army.''

Limited Edition Third Man Records releases are notoriously known to be some of the most sought after collectable items and with Jack White as this year's Record Store Day Ambassador, this release will certainly be on top of most customer's want lists.

LP1: Vinyl
LP2: Vinyl
(note: these are different color arrangements than the 2003 U.S. vinyl release from V2)
includes download
Tip-On double gatefold jacket
printed inner sleeves

Limited to: UNKNOWN

THE WHITE STRIPES:
Jack White - vocals, guitar, piano
Meg White - vocals, drums

Produced by: Jack White
Engineer, Mixing: Liam Watson
Mastering: Noel Summerville
Photography: Patrick Pantano
Layout Design: Bruce Brand

Recorded to eight track reel-to-reel at Toe-Rag Studios, Hackney, London in April 2002, except B1 recorded at the BBC Maida Vale Studios.

Mastered direct from analog.

Manufactured by: United Record Pressing

'Jack White Acoustic Recordings 1998-2016' is the definitive Jack White songwriting collection, spanning his 20+ year career. It includes White's acoustic-based recordings with the White Stripes, the Raconteurs, and his acclaimed solo projects. The music included here is all-encompassing, highlighting White's versatility, and the songs are presented with unique character in chronological order. As noted American author and music journalist, Greil Marcus, conveys in the albums liner notes: "The lack of electric guitar opens songs up to their own contrivance, and cuts out pretentions of seriousness and grandiosity in favor of the quiet, the ridiculous, the sly." The completely remastered collection includes album tracks, B-Sides, remixes, alternate versions, and previously unreleased studio recordings and is a must for any fan of the genius that is Jack White.

Produced by Jack White and recorded at his own Third Man Studio in Nashville, Blunderbuss has been described by White as "an album I couldn't have released until now. I've put off making records under my own name for a long time but these songs feel like they could only be presented under my name. These songs were written from scratch, had nothing to do with anyone or anything else but my own expression, my own colors on my own canvas." This album is pressed on 180 gram vinyl and includes a download code.

The Raconteurs – Jack White, Brendan Benson, Jack Lawrence, and Patrick Keeler – have announced the release of their long-awaited new album, HELP US STRANGER, which is the GRAMMY® Award-winning rock band’s third studio LP and first new album in more than a decade. Out on Friday, June 21, HELP US STRANGER sees the mighty combo reassembled, stronger and perhaps even more vital than ever before as they continue to push rock 'n' roll forward into its future, bonding prodigious riffs, blues power, sinewy psychedelia, Detroit funk, and Nashville soul via Benson and White’s uncompromising songcraft and the band’s steadfast musical muscle. With HELP US STRANGER, The Raconteurs have returned right when they are needed most, unified and invigorated with boundless ambition, infinite energy and a collectivist spirit operating at the peak of its considerable powers, once again creating a sound and fury only possible when all four of its members come together.

Arctic Monkeys and War Child UK are proud to announce the release of Arctic Monkeys - Live At The Royal Albert Hall. All proceeds from the album will go to War Child UK to help fill what could be up to a £2 million deficit they are facing in 2021 caused by the devastating impact of Covid-19 on their fundraising. These funds are urgently needed to support those who are worst hit by the virus. 

Recorded at the start of the band’s Tranquility Base Hotel + Casino tour, Arctic Monkeys - Live At The Royal Albert Hall, features 20 of the band’s finest moments to date.

“On June 7, 2018 we played a very special show at London’s Royal Albert Hall. All the proceeds from that memorable night were donated to War Child UK in support of the vital work they do protecting, educating and rehabilitating children who have experienced the trauma of conflict and the horror of war. The situation that was bad in 2018 is now desperate and those children and their families need our help more than ever. To enable War Child UK to reduce their funding deficit and continue their valuable work, we are happy to be able to release a live album, recorded that evening at The Royal Albert Hall. All proceeds will go direct to the charity. We thank all our fans in advance for their support of this release and in turn for their support of War Child UK” - Arctic Monkeys.

Arctic Monkeys release their fifth album, entitled AM. AM was produced by James Ford and co-produced by Ross Orton at Sage & Sound Recording, LA and Rancho De La Luna, Joshua Tree. The album was engineered by Ian Shea and mixed by Tchad Blake. Josh Homme, Pete Thomas and Bill Ryder-Jones all make guest appearances on AM as do the words of John Cooper Clarke, on the track "I Wanna Be Yours."

The Arctic Monkeys surely showed potential on their debut Whatever People Say I Am, but their youthful vigor often camouflaged their debt to other bands. Here on their sophomore album Favourite Worst Nightmare, they're absorbing their influences, turning their liberal borrowings from the Libertines, the Strokes, and the Jam into something that's their own distinct identity. Unlike any of those three bands, however, the Arctic Monkeys haven't stumbled on their second album; they haven't choked on hubris, they haven't overthought their sophomore salvo, nor have they cranked it out too quickly. That constant year of work resulted in startling growth as the band is testing the limits of what they can do and where they can go. The remarkable thing about the Arctic Monkeys -- which Favourite Worst Nightmare brings into sharp relief -- is their genuine guilelessness, how they restructure classic rock clichés in a way that pays little mind to how things were done in the past, and that all goes back to their youth.

Three Imaginary Boys is the debut studio album by English rock band the Cure, originally released on May 8, 1979. It was later released in the United States and Australia with a different song tracklist as Boys Don't Cry. This record will be released on 180 gram vinyl.

UK double 180gm vinyl LP pressing in gatefold sleeve. Digitally remastered edition of The Cure's seminal eighth album. Originally released in 1989, Disintegration has come of age and has been remastered by Robert Smith to coincide with it's 21st anniversary. Features the hits 'Pictures of You', 'Lovesong', 'Fascination Street' and 'Lullaby'. Universal.

Double vinyl LP pressing including download insert. 2009 collection from Dave Grohl and the Foos including two brand new tracks, 'Wheels' and 'Word Forward', both recorded with producer Butch Vig (who also produced Grohl's former band, Nirvana!). This excellent collection features some of the finest melodic Rock released in the last 15 years including 'The Pretender', 'All My Life', 'Learn To Fly', 'Best of You', 'Times Like These', 'My Hero', 'Everlong', and many more.

The Colour and The Shape is the second Foo Fighter album, and followed the band's multi-platinum debut Foo Fighters. Despite the first album's success, few people at the time thought that drummer-turned-frontman Dave Grohl could possibly have a second great album in him. Nonetheless,The Colour and The Shape exceeded all artistic and commerical expectations and established Foo Fighters as one of the most vital bands of our era. With hits like Everlong, Monkey Wrench and My Hero, Foo Fighters became a cornerstone of modern rock radio and a perennial MTV favorite.

The album that became Foo Fighters was originally just a bunch of songs that Dave Grohl had stored up over the years and finally recorded on his own. Dave had already lived the rock star life, and his only goal with the new tunes was to amuse himself and his friends. But as the tape changed hands and was copied over and over again, it quickly became clear that people were connecting to the music and that this was a project worth pursuing.

Drab Majesty's third album, Modern Mirror, is a journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems - a seemingly classic tale delivered unblinkingly through the frame of the modern world. Elements of classic tragedy weigh heavily in the reflection of Modern Mirror in songs like "The Other Side", possessing a fundamental sound that is energetic, luminous and hopeful. Fusing the sonic aesthetics of predecessors like New Order and The Cure within the cautious instruction of Greek mythology and modern science fiction, Drab Majesty has birthed a hybrid of dreamy malaise, captured for a future moment.  The first single, "Ellipsis", romantically plays up the distorted concept of courting through modern technology in a world that has yet to adapt, while on "Long Division", Deb's resounding guitar cascades around the chorus shared with No Joy frontwoman Jasamine White-Gluz, wistfully warning us against our vanity and self-obsession. Even when hope for everlasting love peeks through in "Oxytocin", a sparkling and stoic track sung by Mona D., we are firmly reminded our fleeting existence.  Produced by Josh Eustis (Telefon Tel Aviv) with appearances by Jasamine White-Gluz (No Joy) and Justin Meldal-Johnson (NIN, Beck, M83, Air).

Deb Demure's powerful presence and hypnotic sound has firmly defined the identity of Drab Majesty. After releasing the debut album, Careless, Drab Majesty split time between touring and studios, piecing together the ideas for the follow-up album, "The Demonstration", an album depicting Deb Demure as only one part of Drab Majesty's overall being and storytelling saga.With "Induction", Drab Majesty sets up an ethereal backdrop for which the rest of the album follows. Tracks such as "Dot In The Sky" and "39 By Design" (a song pointing to the doomsday Heaven's Gate cult) use lush, shoegaze approach to portray the fragility of humanity's loss of self, looking only to the heavens for answers. "Cold Souls" flawlessly executes Drab Majesty's arpeggiated finger picking signature, complete with washes of hazy noise and atmospheric reverb. With the addition of Mona D. to Drab Majesty's mysterious portfolio, songs from The Demonstration perpetually create new meanings and depth with every listen. After Drab Majesty wraps up The Demonstration with "Behind The Wall", one is left wondering what kind of identity is truly their own.Digital download features two bonus tracks plus four exclusive remixes by Cold Cave, Drew McDowall, Silent Servant and Martial Canterel.

Exploring the bins of discarded vinyl in his neighborhood thrift stores, Drab Majesty's toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt's Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry's Chris Reed as well as Steve Severin from Siouxsie and The Banshees. Studying the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS, Drab Majesty's persona and posture revolve around the ethereal. Following the release of his debut cassette EP, "UNARIAN DANCES", he also shared a split 12" with synth pop forefathers, Eleven Pond. During the Spring of 2015, Drab Majesty signed with Dais Records and released his first single, Unknown to the I, as a introduction for his first initial foray into the album format, romantically titled "Careless". Written over the course of 2 years, "Careless" is a compendium of songs that have outlasted a malicious burglary of his studio, his struggles with substance addiction, and most recently, the death of his beloved grandmother.

RADIOHEAD / OK COMPUTER - vinyl LP - Even at it's most adventurous - such as the complex, multi-segmented "Paranoid Android" - the band is tight, melodic, and muscular, and Thom Yorke's voice effortlessly shifts from a sweet falsetto to vicious snarls. It's a thoroughly astonishing demonstration of musical virtuosity and becomes even more impressive with repeated listens, which reveal subtleties like electronica rhythms, eerie keyboards, odd time signatures, and complex syncopations. - Yet all of this would simply be showmanship if the songs weren't strong in themselves, and OK Computer is filled with moody masterpieces, from the shimmering "Subterranean Homesick Alien" and the sighing "Karma Police" to the gothic crawl of "Exit Music (For a Film)." OK Computer is the album that establishes Radiohead as one of the most inventive and rewarding bands of the '90s. - Using the textured soundscapes of The Bends as a launching pad, Radiohead delivered another startlingly accomplished set of modern guitar rock with OK Computer. The anthemic guitar heroics present on Pablo Honey and even The Bends are nowhere to be heard here. Radiohead have stripped away many of the obvious elements of guitar rock, creating music that is subtle and textured yet still has the feeling of rock roll.

The Bends is the second studio album by Radiohead. In 1995, two years after an incredible debut in Pablo Honey, Radiohead were under tremendous pressure to deliver. Much to the delight of critics and fans the world over, they did more than deliver-they far exceeded expectations. - Building from the sweeping, three-guitar attack that punctuated the best movements of Pablo Honey, The Bends is grand and forceful; it resonates with anguish and despair. Although the influences-R.E.M., the Pixies, and U2-are still there, this is unmistakenly Radiohead maturing and defining their own sound.

Double vinyl LP pressing. Known for their explorative and restless sound, taking influence from old style rock like The Beatles, The Rolling Stones, Neil Young and Pink Floyd as well as from electronica and hip hop, each of Radiohead's albums marks a cornerstone in their musical evolution. Debut Pablo Honey (1993) was their answer to grunge while follow-up albums The Bends (1995) and OK Computer (1997) offered atmospheric, almost avant-garde tones. With the near impossible task of following up their critically acclaimed masterpiece OK Computer, Radiohead took another bold leap at the turn of the millennium with Kid A, an experimental album built largely around the union of electronica and mood. Musically, Kid A is as accomplished as anything Radiohead has ever produced and it's overflowing with eye-opening musical mosaics which are absolutely stunning in their insight and beauty. Kid A initially proved to be controversial as critics labeled the mixture of electronic beats, jazz horns and strings as "difficult" but tracks like the soaring "Optimistic" kept fans loyal and saw Radiohead crowned as masters of composition. A left-field hit, Kid A was eventually nominated for a Grammy for Album of the Year and won for Best Alternative Album.

Wavves will be celebrating the 10th anniversary of their album "King Of The Beach" this year with a reissue on "Purple kush vinyl" with alternate art that was originally slated to be the cover but was eventually scrapped. It will come with a bonus 7" featuring two songs from the "KIng Of The Beach" era called "Mutant" and "Stained Glass (Won't You Let Me Into Yr Heart)".

Vinyl LP pressing. Digitally remastered edition of this 1985 album from the legendary British quartet. With their second proper album Meat Is Murder, The Smiths began to branch out and diversify, while refining the jangling guitar pop of their debut. "The Headmaster Ritual" and "I Want the One I Can't Have" are fine elaborations of the formula they laid out on the debut, while "Rusholme Ruffians" is an infectious stab at Rockabilly. Such was their creative thrust at this point; they were seen as the most important British band since Joy Division. Above all though, there was no other British group making music quite like this in 1985.

Vinyl LP pressing. Digitally remastered edition of this 1986 album from the legendary British quartet. The Queen Is Dead is The Smiths' great leap forward, taking the band to new musical and lyrical heights. Opening with the storming track, the album is harder rocking record than anything the band had attempted before. Johnny Marr has created here a wide range of guitar styles that provide a musical bed for Morrissey's best set of lyrics. From which is crafted some of their finest, most affective songs, particularly "The Boy with the Thorn in His Side" and the epic "There Is a Light That Never Goes Out," two masterpieces that provide the foundation for a remarkable album.

Digitally remastered 180 gram vinyl edition of the classic 1987 collection from the legendary quartet. Compiling singles, B-sides, album tracks, and BBC sessions, LOUDER THAN BOMBS boasts a wealth of brilliant material including "Ask," "You Just Haven't Earned It Yet, Baby" and "Unlovable." LOUDER THAN BOMBS is a necessary purchase for any Smiths fan.

Carrie & Lowell sounds like memory: it spans decades yet does not trade on pastiche or nostalgia. Stevens s gauzy double-tracked vocals wash across the dashboard of long-finned, drop-top Americana, yet as we race towards the coast we are reminded that sunshine leads to shadow, for this is a landscape of terminal roads, unsteady bridges, traumatic video stores, and unhappy beds that provide the scenery for tales of jackknifed cars, funerals, and forgiveness for the dead. Each track in this collection of eleven songs begins with a fragile melody that gathers steam until it becomes nothing less than a modern hymn. Sufjan recounts the indignities of our world, of technological distraction and sad sex, of an age without neither myths nor miracle and this time around, his voice carries the burden of wisdom. Carrie & Lowell accomplishes the rare thing that any art should achieve, particularly in these noisy and fragmented days: By seeking to understand, Sufjan makes us feel less alone.

The Ascension is the eighth studio album from singer, songwriter and composer Sufjan Stevens and is the long awaited follow-up to Stevens’ Carrie & Lowell. One of the most acclaimed albums of 2015, The New York Times praised Carrie & Lowell as “restrained and meticulous” while Pitchfork declared it “a masterpiece.”

In the time between Carrie & Lowell and the forthcoming The Ascension, Stevens also released Oscar-nominated music for the Luca Guadagnino film Call Me By Your Name; a collaborative album entitled Planetarium with Nico Muhly, Bryce Dessner (The National) and James Mcalister; The Decalogue, a solo piano work performed by Timo Andres; and scored several works for ballet: Reflections (Houston Ballet) and Principia (NYCB).

The Ascension is musically expansive and sweeping in thematic scope.