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Mother Love Bone‘s debut EP, ‘Shine’, and their classic 1990 album, ‘Apple’, are being reissued with remastered audio for the first time since its initial release.
…Mother Love Bone played an integral role in the rise of grunge and alternative rock, spearheading the Seattle scene before many of its bigger bands rose to prominence. Apple, in particular, is cited as a turning point, melding the hard-rock/glam-metal sound of the late ’80s with the more relatable aesthetics and lyricism that would define the grunge movement.
Sadly, the album would arrive five months after the tragic death of singer Andrew Wood, signaling the end of Mother Love Bone. Remaining members Jeff Ament and Stone Gossard would…

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The next project in the Deep Purple 50th Anniversary series is seminal Deep Purple live album Made In Japan.
Made In Japan stands among the most iconic Rock live albums of all time. It was recorded rather spontaneously during three nights in Osaka and Tokyo, respectively, in August 1972. Deep Purples so-called Mark II line-up delivered incredible highly energetic performances of landmark songs such as “Smoke On The Water”, “Highway Star”, “Child In Time” and “Space Truckin’”. Seven tracks were originally selected for the double album.
To celebrate the (belated) 50th anniversary of Made In Japan, Steven Wilson sat down to come up with a brand new remix of the original album in Stereo as well as in Dolby Atmos.

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Multi-instrumentalists, improvisers and electronicists Rob Mazurek and Chad Taylor have been playing together since 1994, inside and outside their Chicago Underground Duo project. The 11-track Hyperglyph marks their International Anthem debut, and their first outing in 11 years. With engineer Dave Vettraino assuming the role of a Teo Macero-esqe presence in the studio, these men – always creative in recording situations-employed the recording studio as an instrument. Post-production, always as an important part of their process, is on another level here.
On opener “Click,” Taylor’s drumming offers evidence of his many years studying African music and its percussion techniques. Mazurek’s multi-tracked trumpet is playful and strident…

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“The sleeve of this album has faces that tell a thousand stories. In Hackney, east London, where photographer Andrew Holligan created a series of inspired pictures, every day people developed a vibrant culture, enlivening a part of the capital that was much maligned during the Thatcher years. The street was a lounge, a place to meet, talk, laugh, and, generally, hang. This was also the golden age of the house party.
At the dawn of the 80s the sound of black popular music that these good folk were listening to was in the grip of change. For the most part bands with horn sections were scaling down and the 8-10 piece unit gave way to much smaller ensembles with a less orchestral sound, as saxophonists, trumpeters and trombonists…

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…includes a new feature or remix of each song on the original album.
Words fail us as often as they serve us. As we filter the world through our many feelings and sensations, as everything becomes addled by us, too great a burden is placed on language; one word to neatly sum up a phenomenon becomes a rambling sentence that often shrugs toward something incommunicable. Luna Li‘s (née Hannah Bussiere Kim) sophomore album When a Thought Grows Wings seems to know this.
It is simultaneously tough and easy to express what it feels like to listen to the album from front to back. It feels a bit like donning vestments for the day. It feels a bit like the moment when tiny dewdrops ripple in a chilly breeze yet to…

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Kaytranada has always been a groove master, knowing exactly how far to push into something cerebral and spiritual, owning the space between introspection and movement. But it took him a long time to get here. Over the course of his first three feature-heavy albums, the Montreal-raised producer evolved from behind the boards as a producer to curator to full-on main act. Now, he is very much the star of the show on Ain’t No Damn Way!, his first-ever album with no original features, one that proves he can stand tall alone.
Across the 12 tracks, laid-back snare thrums, fizzing synths and a buoyant computerised xylophone lull you into a boogie. And just when you think you’ve got it, a quick fade out, stutter or pause jolts you back into motion.

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Big Stir Records presents a very special new album from power pop legends The Spongetones, celebrating the band’s illustrious past, their live onstage present, and the promise of future recordings yet to come: The 40th Anniversary Concert… and Beyond. Featuring 18 live tracks from the band’s rapturously-received 2021 homestate gig, drawing from all four decades of the Power Pop Hall Of Famers’ catalog, as well as three brand new studio tracks released as singles this year, it’s a comprehensive look at what makes The Spongetones so beloved… and a cornucopia of hooks and harmonies for the ages.
The Spongetones likely need no introduction to our audience: singer-songwriters Jamie Hoover (guitar), Steve Stoeckel (bass) and Pat Walters (guitar)…

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Any impartial assessment of My Ideal, Sam Dillon‘s second album for Cellar Music (following 2018’s Out in the Open), should leave no doubt that the New York-born and based tenor saxophonist has definitely hit his stride, punctuating an already strong and persuasive voice on the horn with ample self-confidence and and a bounteous wellspring of innovative concepts and ingenious phrases. In other words, Dillon is the whole package, swinging in the same league as such heralded contemporaries as Eric Alexander, Chris Potter, Joshua Redman and Chad Lefkowitz-Brown, while proving a worthy successor to such legendary masters as John Coltrane, Sonny Rollins, Hank Mobley, Sonny Stitt, Joe Henderson and a host of others. Before dismissing that…

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Trevor Sensor is the type of artist that, Spotify algorithm failing, you might discover in a fever dream, conjured up in a dark music club among theatre eccentrics. There’s something not quite belonging to the digital age in his sound, even if thematically he navigates the emotional landscape of the modern world. His music evokes artists such as Tom Waits, Bob Dylan, Lou Reed, Elliot Smith… The list is endless. But, paradoxically, this profusion of association comes about precisely because Sensor is a true original, and as such is so full of ideas that he breathes new life into classic sounds. In his latest album A Few Tears of Eros roots music and myriad popular genres are passed through a blender, to stimulating results further enriched by a cultural baggage…

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After focusing on the rhythmic, proto-techno side of Krautrock with the second volume, the third installment of Bureau B’s Silberland series gathers ambient, new age, and progressive electronic selections from the vast catalog of the reissue-heavy German label. This covers a lot of ground, from eerie, washed-out soundscapes to driving tracks that feel propulsive enough, even without drums. The set starts with Cluster & Eno’s gently contemplative “Ho Renomo,” immediately followed by a tranquil, shimmering Roedelius piece that feels like a pleasant drift down a river. Vono’s “Hitze” inhabits a much different mood, resembling a voyage into a bat-filled cave, and Der Plan’s “Die Wüste” is a haunting gothic miniature. You’s “E-Night” paints a sky-like canvas…

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Delving into the Great American Songbook of Howe Gelb, Sandworms is a new collection that rephrases and rephases the legacy of Giant Sand across generations. This release offers bold reinterpretations from Water from Your Eyes, Deradoorian, Jesca Hoop & John Parish, Holiday Ghosts, Lily Konigsberg, Ella Raphael, Monde UFO, The Golden Dregs, and Gently Tender.
…Giant Sandworms does a reasonably good job of covering the gamut, enlisting a diverse and notably young group of artists to reimagine 13 songs recorded between 1986 and 2013. They’re predominantly Giant Sand covers, with a few solo cuts mixed in. None of the covering artists are especially intuitive — no past collaborators, no strong and obvious lines of influence.

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Making Room for the Light, Mae Powell’s debut for Karma Chief Records, is the campfire at dawn, when the firepit is replaced with the first stirring of day. Embers, ashes, and smoke of memory give way to percolating coffee and cast-iron breakfasts. Powell’s jazz-assured vocals wrap around the headphones with a gauzy dew, as shimmering chords and keys radiate with coming warmth. Its sound is dream, fully giving way to morning, shared with friends and lovers both absent and present.
Writing the album over a transitional period in her life, Powell’s sophomore album presents the singer/songwriter as both healer and healed, grounded by her connection to nature and sound, ever seeking out spaces to stretch and grow as an artist. The sketches that compose…

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Live at the Warfield celebrates the Jerry Garcia Band’s magical three-night run at their beloved Bay Area home on February 28th, March 1st, & March 2nd, 1991. This 6-CD collection, newly mastered from soundboard recordings, features every note from all six complete sets-along with a few the audience likely never heard.
The band always seemed to be having fun on stage, and that energy is felt from the runs opening notes, with a particularly bubbly rendition of “The Way You Do the Things You Do” kicking things off. Highlights from February 28 include a primo “You Never Can Tell,” a dynamite duo of “My Sisters and Brothers” and “Deal” to close the first set, and soulful takes on “Waiting for a Miracle,” “Stop That Train,” and “Midnight Moonlight.”

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The Heavy Heavy create the kind of unfettered rock-and-roll that warps time and place, immediately pulling the audience into a euphoric fugue state with its own sun-soaked atmosphere. Led by lifelong musicians Will Turner and Georgie Fuller, the Brighton, UK-based band breathe an incandescent new energy into sounds from decades ago, transcending eras with a hypnotic ease.
Made up of fan favorites from the road and live in-studio sessions, The Heavy Heavy Live is a 10-track testimonial to their unique sound & style. Side A features live performances from tour and the first ever recording of set opener “Parakeets.” Side B brings their live chops to the studio with iconic takes on Father John Misty’s “Real Love Baby” and Khruangbin & Leon Bridges’ “Texas sun.”

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The band’s eighth album No Place to Run, originally released in 1980, reissued as a 2CD or 3LP set. It pairs a new remaster of the original album created at London’s AIR Studios alongside selections from a concurrent live set at the Marquee Club in London. Some of the live material was reissued as bonus tracks on various sets between 2009 and 2013, but has been newly remixed for the set by engineer Brian Kehew. The package include new liner notes by Michael Hann that feature new interviews and commentary with original band members Phil Mogg and Andy Parker.
For more than a decade, UFO had offered audiences a new type of rock on the U.K. airwaves, anticipating the so-called “New Wave of British heavy metal” that would hit its stride later…

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Rise Against are not the first punk band to embrace the trappings of arena rock, but few of their forerunners can say they moved between those opposing states with the confidence and style displayed here. Having spent two decades retrofitting the breakneck melodic hardcore of their early work with rafter-shaking hooks and gleaming production, the Chicago veterans’ 10th album is a hulking thing, its bombast and righteous anger fed by vocalist Tim McIlrath, who finds the middle ground between Strike Anywhere and Creedence Clearwater Revival more often than you might think possible.
Working in tandem with producer Catherine Marks, fresh from Grammy wins for her work on Boygenius’s The Record, and…

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Woody at Home is a two-volume secret treasure trove of Woody’s home recordings — recordings that Woody was unable to release in his lifetime, a life cut short by Huntington’s disease.
…The contents of Woody at Home were recorded from 1951 to 1952 in his Gravesend, Brooklyn home. Of the 22 tracks, 13 of them were only ever recorded at this New York residence. Guthrie employed one microphone and a reel-to-reel tape machine to capture the collected songs.
Steve Rosenthal transferred and produced the album while Jessica Thompson handled mixing and mastering duties. The duo utilized “pioneering software and antique tape machines to de-mix and mix the voice and guitar,” on Woody at Home to achieve a homespun but clearer sound.

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Georgia Harmer’s sophomore album, Eye of the Storm, is an empathetic exchange between past and future selves, and a deep breath of life into the veins of relationships over time. Where Harmer’s 2022 debut, Stay In Touch, chronicled introspection and growth, the heart of Eye of the Storm lies in the deeper matter of self-realization and understanding. It seeks to answer questions of what to carry, what to leave behind, and what to follow forward.
Self-produced by Georgia’s steady hand, the songs of Eye of the Storm are raw, real, vulnerable and detailed. The title track joins the idyllic “Can We Be Still,” the delicate and tender “Little Light,” and the deeply introspective “Take it On” singles that subtly piece together the holistic vision…

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