Indie Exclusive Releases
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"Cost of Sacrifice" is Chamber's debut full-length after the 2019 EP "Ripping / Pulling / Tearing" in which Revolver says "They keep at a rapid-fire pace throughout, leading a bunch of disparate parts to one unified, perfectly crushing, breakdown." Revolver has also said of the band that they are "one of the most technically pugnacious hardcore bands around."
Alliance Entertainment is super excited to announce yet another AMAZING exclusive! To celebrate the 10th anniversary of the Black Crowes – Croweology, the fine folks at Silver Arrow Records are reissuing this beautiful 3 LP set on olive green vinyl, all housed in a deluxe pop-up gatefold sleeve! The set features staples from the band’s first 20 years, all performed acoustically. This limited edition of only 3000 is available to independent record stores exclusively!
US Retail Exclusive 2LP Clear with Blood Red Splatter Vinyl with Embossed Cover. Limited to 2000.
The first release from Mr. Bungle since 1999. The Raging Wrath Of The Easter Bunny Demo is a re-recording of the band's 1986 high school thrash metal demo along with songs written then, but never recorded. The record also features covers of classics by S.O.D. and Corrosion Of Conformity. This version of Mr. Bungle is original members Mike Patton, Trey Spruance and Trevor Dunn, joined by Scott Ian of Anthrax and Dave Lombardo of Slayer/Dead Cross
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Peak Vinyl LP: Double LP pressed on metallic gold vinyl same packaging as standard 2-LP. Includes coupon for full download.
There is always water.
In flowing rivers, in falling raindrops, in waves that will tear us to pieces, in ice cold glasses toasting the living and the dead. Water can carve away at mountainsides over eons, or come crashing over the city in an instant. Animals, fugitives, loners, and crumbling signs of life swim through the depths of the Mountain Goats’ Getting Into Knives, due October 23 via Merge. Like an eight-foot swell of blades, John Darnielle, Matt Douglas, Peter Hughes, and Jon Wurster ground the songs in the impermanence of permanence and the certainty of uncertainty, the casual and subtle threat that everything will come to an end.
My Echo' is my 11th solo album. It's my 'my songs knew I was getting divorced before I did" album. My conscious mind was trying as hard as I could to keep my family together but my subconscious mind was working on the difficult struggles in my marital life. I was part of a 'Secret Poetry Group' that met and wrote poems monthly for a year during the writing of this record. Many of my poems turned into songs for this album. By the time the album was being mixed last fall, my ex-husband/producer Tucker Martine and I had decided to go our separate ways. We were a great musical team for many years but we struggled to be compatible in our marriage and family life and that struggle is reflected in this album.
"Shadow of Life" is the ten song debut album from Umbra Vitae, recorded and mixed by Kurt Ballou at God City Studios. Guitars and bass were recorded by Mike McKenzie at The Black Coast. The album was mastered by Brad Boatright atAudiosiege. Intro “Decadence Dissolves” is a Schuldiner-esque calm before the storm. “Ethereal Emptiness” and “Atheist Aesthetic” soon rip everything apart, methodically downshifting from blackened to brutal in tone. “Mantra of Madness” then emerges as a monster of a song, driven by inhuman drumming and traditional death metal riffing. This pattern of intensity continues in “Fear is a Fossil”, “Polluted Paradise”, and “Intimate Inferno”. All are motion sickness inducing numbers that violently lurch in aural agony. It’s here one realizes that this album never lets up. “Return to Zero” takes it to another level, viciously grinding as the lines “Return to zero, bite down on the chain, bow down to no one” repeat as mantra. This leads to “Blood Blossom” an amalgamation of metal ferocity and hardcore spirit that could very well be the heaviest track of them all. Infectious closer “Shadow of Life” then screams in terror as it tells the tale of the internal battle of the dark and light within us all.
The World Only Ends When You Die is a cinematic psych folk opera about someone who finds themselves incapable of coping with a new uncertain reality that followed a near death experience. Under a spell of mixed wisdom by several “trickster guides” hailing from the future, this confused person leaps back into the world of the dead only to spend a hero’s journey climbing out, returning to this strange existence of America in 2020.
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A unique transformation occurs the moment a lover lays eyes on your bedroom for the first time: the room is suddenly, involuntarily no longer your own. Your curated “you” is subject to the impressions of the other, and you try hard to adopt this filter yourself, wondering what information the objects and their position suggest about you. If, in moments like these, the new gaze seems to almost conjure the room, a desperate question arises: what remains of the room without the other? With no external sources of appraisal or affirmation, where does the stuff of the self reside, and how does it take shape?
These blood-deep paranoias set the stage for Helena Deland’s debut album, Someone New, an exploration of gender, power, time and the “self” that finds Deland in full control of her sound and style, even as she asks whether control is ever possible. The album was written and recorded over a period of two years, beginning with Deland’s guitar and expanding into a lavish sonic sphere that blends elements of hypnagogic pop and classic folk. Deland’s voice ties it all together, sometimes hushed in a whisper, sometimes shrouded in distortion, and sometimes full and clear – but always inviting the listener into her world.
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TOUCHÉ AMORÉ has been burrowing through angst, alienation, cancer, and heartbreak throughout four adored studio albums. After over a decade of working through darkness, the band’s gorgeously gruff fifth album, Lament, finds the light at the end of the tunnel. Through 11 songs, TOUCHÉ AMORÉ looks back at its past and uses hard-won optimism to point its fans toward light, and love.
Midnight Manor, the much anticipated sophomore album of the six-piece rock outfit The Nude Party is set for release on October 2nd via New West Records. Following two years of non-stop touring in support of their eponymous debut release, the band returned to their farmhouse in New York's Catskill Mountains to record the follow up to their acclaimed 2018 self-titles debut.
Like The Band's sacred home-recording habitat The Big Pink, The Nude Party's communal dwelling provided the landscape and proximity to focus on deepening their bonds through music. It was at the Manor that the band of childhood friends could shift their energies from the archetypical emotional journeys of mid-twenty-somethings towards rebuilding their road-worn relationships with one another, leading them to write Midnight Manor - an album that lead singer Patton Magee describes as "a stone skipping over troubled waters."
With Midnight Manor, The Nude Party shine a light on their past while at the same time moving towards a brighter future.
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Massey Fucking Hall, the upcoming live album from Japandroids, captures the power and intensity that have made the band one of indie rock’s most beloved live acts. The Canadian duo on guitar and drums, bring a wall of sound that delivers a full dose of raw and un¬hinged emotion to sixteen fan favorites that span the band’s storied career. sonically this is Japandroids perfection, capturing the energy that has long made their live shows so electrifying; performed at the legendary Massey Hall in Toronto.
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Indiana’s Hoops released their critically-acclaimed debut album Routines in 2017, and, soon after, announced an indefinite hiatus. The trio - friends, singers, and multi-instrumentalists Drew Auscherman, Kevin Krauter and Keagan Beresford - had been making music together for almost half of their lives, but the band had begun to feel more like a burden than an outlet, so they decided to call it quits. “I think we had lost a lot of steam,” explains Krauter. “Hoops wasn’t moving forward organically. It was being dragged along.” Following a short but necessary break, during which the band had the opportunity to explore their own creative endeavors, Hoops have reunited and announce their incredible sophomore album today. Recorded at Bloomington’s Russian Studio, the studio that had been home to L’il Bub (RIP), and produced by the band’s friend Ben Lumsdaine, Halo is an album defined by musical exuberance, full of gratitude and generosity, and, simply, sounds like a lively conversation amongst close friends.
With his wonderful new album Stardust, Luka Kuplowsky makes a refreshing argument for the relevance of acoustic music as a place to hold thought; an open space to place impeccably chosen words, ideas, and images. A young songwriter with a calm, conversational delivery and an effortless, un-showy grasp of poetry; Kuplowsky humbly picks up the same threads of inquiry that did Cohen, asking the big questions about love, meaning, and consciousness. Musically, Stardust triangulates between Hejira and Late for the Sky, finding connections between the purity of simple melody and the tangled modulations of jazz. Luka Kuplowsky makes a music of contemplation, a music alive to the everyday possibilities of epiphany and revelation, an unhurried music that moves with the gentle and curving rhythms of thought. - Tamara Lindeman (The Weather Station)
Wu Hen is the sophomore album from Peckham visionary Kamaal Williams -- an invitation to elevate to a higher state. Cinematic strings from Miguel-Atwood Ferguson and virtuoso saxophone from Quinn Mason are textural additions that make for a deeper, multi-layered experience than previous releases. Bringing groove back to the forefront, Wu Hen oscillates between celestial jazz, funk, rap and r&b reinforced with the rugged beat-heavy attitude of grime, jungle, house and garage a self-styled fusion Kamaal describes as Wu Funk. New players on this record include LA s Greg Paul on drums (of Kalayst Collective), Rick Leon James on bass, Quinn Mason on saxophone alongside vocal features from cult rapper Mach-Hommy and Kaytranada collaborator Lauren Faith. Multi-talented renaissance musician Miguel Atwood-Ferguson (who has worked with Ray Charles, Flying Lotus, Dr. Dre, Mary J. Blige, and Seu Jorge) contributes signature strings, which add vivid colour and rich depth, evoking vintage David Axelrod.
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Single LP pressed on white, black, blue 3-color stripes color vinyl in same packaging as standard LP. Includes coupon for full download
An explosive album of pain, rage and fear with some of the most direct and confrontational lyrics of his four-decade career. According to Bob, “This is the catchiest batch of protest songs I’ve ever written in one sitting.”
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In the five years since Will Butler released his debut album, Policy, he’s toured the world both solo and as a member of Arcade Fire, released the Friday Night live album, recorded and released Arcade Fire’s international #1 album Everything Now, earned his master’s degree in public policy from Harvard, hosted a series of touring town halls on local issues (police contracts, prison reform, municipal paid sick leave, voting rights), and spent time raising his three children.
He also found the time and inspiration to write and record a new album, Generations.
“My first record, Policy, was a book of short stories,” Butler says. “Generations is more of a novel—despairing, funny, a little bit epic… A big chunk of this record is asking: What’s my place in American history? What’s my place in America’s present? Both in general—as a participant, as we all are, in the shit that’s going down—but, also extremely particularly: me as Will Butler, rich person, white person, Mormon, Yankee, parent, musician of some sort, I guess. What do I do? What can I do? The record asks that question over and over, even if it’s not much for answers.”
While the songs on Generations contain their fair share of dread and regret, there is ultimately a lightness that shines through Butler’s music. That brightness is at its most intense when he and his solo band—Miles Francis, Sara Dobbs, and Julie and Jenny Shore—perform on stage. Their electricity is palpable throughout Generations, with the bulk of the new songs having been worked out live. Wild synth production—gnarly bass synths with live drums—and anthemic backing vocals as on first single “Surrender” are punctuated by intimate, direct moments: Butler’s voice cracking on “Fine” as he conjures his ancestors, and “Promised,” a meditation on friendship, how lives are built together, and how and why they drift apart.
Generations was recorded and produced by Butler in the basement of his home in Brooklyn. Tracking finished in March 2020, as New York closed down for the pandemic. Half the record was mixed in Montreal by longtime Arcade Fire engineer Mark Lawson, the other half by Brooklyn-based producer Shiftee (who is, incidentally, bandmate Julie Shore’s husband and Will’s brother-in-law).
Generations opens a dialogue with the world. It posits answers—and deals with those answers being refuted. Ultimately, it navigates the conversation as a way to find the truth… or at least a way forward.
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Bright Light Bright Light is singer, songwriter, producer and DJ born in Wales, living in NYC and obsessed with pop culture, particularly from the 80s and 90s. Over the course of his 3 commercially released albums he's toured with Cher, Ellie Goulding and John Grant, and toured AND recorded with Sir Elton John, Scissor Sisters and Erasure. He's an avid record collector, DJing pop obscurities he finds on his vinyl treasure hunts at his weekly DJ sets (online on Twitch.tv/brightlightx2 at the moment) that have been praised by Time Out NY. Equally inspired by 80s/90s movies and artists like Kate Bush, Björk, Ace Of Base, Max Richter and Pointer Sisters, he's a music geek at heart, and a renowned artist on stage, currently the first and only unsigned (he runs his own label) artist to perform on Graham Norton's BBC One TV Show.
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“The phrase sticking in my mind when I started thinking about the lyrical direction for this album was “the other”. You could recognise at the time that there was a rapidly growing fear and paranoia being generated about everybody, from migrating people to people with fluid sexuality and this was starting to manifest itself in very antagonistic reactions that you felt were almost verging on violence. Not everybody resorts to such reactions of course, but even the basic lack of understanding can become toxic over time. I’m not saying that this is an entirely new phenomenon, but it has been stoked in recent history by some particularly attack-minded people in more political circles and, as ever, I felt that it would be the natural antidote to endorse basic humanity and solidarity with all.
The artwork specifically uses a white dove as a centrepiece, which of course is a commonly recognised symbol of peace and cooperation. The dove has been mauled very violently by a sterilising hand and in death appears particularly broken and bloodied. However, through the violence you can see an equality symbol in blood on the chest of the dove, which perhaps demonstrates – visually at least – that equality cuts through in the end. A positive amidst many negatives then, much like the album title itself being a bit of an oxymoron – the celebration of humanity even in the mangling jaws of negativity."
“I dug myself out from the well to make Closeness a record about love”, professes Devin Tuel. “When I sat down to begin what would become Closeness I felt that above all, I wanted to make it clear that, while the clock is moving, we can hold onto one another and maybe there will be tears but there will also be laughter.”
Closeness, the fourth LP from Pennsylvania’s Native Harrow, elaborates on the duo’s radiant warmth and timeless nostalgia with the inclusion of new sounds and experiences. The combustible fuzz-driven opener “Shake” gives way to slices of 70s FM groove (“The Dying of Ages” and the desert funk of “If I Could”), 60s art pop (“Even Peace” and the expansive orchestral “Sun Queen”), and the kind of graceful folk (“Smoke Burns”) and folk soul (the compassionate conviction of “Carry On”) the band is best known for. The intricate polyrhythms and grinding Moog synthesizer (“Same Every Time”), the fully realized vintage jazz combo (“Turn Turn”), and the exquisite piano ballad (the penultimate “Feeling Blue”) provide glimpses down previously unexplored streets and find the band stretching out and confidently illuminating their expansive aspirations.
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As chaos envelopes the world, Manson penned the perfect prescription. The aptly titled WE ARE CHAOS was written/produced by Manson & Shooter Jennings. Rock & roll icon and painter, Manson continues to infiltrate fashion, film, and music, leaving his fingerprints on modern culture. "Making this record, I had to think to myself: Tame your crazy, stitch your suit, try to pretend that you are not an animal. But I knew that mankind is the worst of them all.” Indie LP includes set of postcards.
ALL THEM WITCHES have built a career out of playing music that can not be pigeonholed into one specific genre. NOTHING AS THE IDEAL was recorded in Studio 2 at the world famous Abbey Road with the help of longtime mixing engineer Mikey Allred. The history and vibe of that setting laid the groundwork for what was to come. The band’s signature psychedelic blues riffs, relentless drums, melodic bass lines and non-linear lyrics are all present. The resulting album is a thought provoking head banger that is the band’s most cohesive album to date.
Zakk Sabbath is the Black Sabbath tribute band featuring guitarist/vocalist Zakk Wylde (Black Label Society, Ozzy Osbourne), bassist Blasko (Ozzy Osbourne, Rob Zombie) and drummer Joey Castillo (Danzig, Queens of the Stone Age), who have been constantly gigging since 2014 with their take on the Birmingham four's early songs. Legendarily recorded in a single day in October 1969, Black Sabbath's self-titled debut was released on a Friday the 13th in 1970, and the world was never the same. "We recorded a live EP and were wondering what we could do next as a cover band, so the 50th album anniversary came just at the right time", explains Blasko regarding Zakk Sabbath's decision to go studio. "Compared to 'Paranoid', which is almost like a best-of record, the bulk of the material on 'Black Sabbath' is deep-cut, really experimental stuff that was never thoroughly explored, so that was a challenge, not to forget that we wanted to meet our own high standards." Describing the DIY process as "very productive," the three respectfully added their own flair to make for a slightly different flavor, also revisiting various live renditions and "extending a solo here or slowing things down because that's what they tended to do on stage." Titled "Vertigo", Zakk Sabbath's ode to the masters won't be available digitally, "to make the release feel authentic to the time when vinyl ruled the earth. It was such a cool time for those of us that grew up during that time. The fan experience with the physical product is irreplaceable with digital and streaming. We wanted to capture that authenticity." The songs were faithfully recorded in the spirit of the original - live in the studio and with a film crew documenting the process - culminating in a new celebration of the greatest heavy metal band of all time and the record that started it all. Gatefold LP incl. Padded inner sleeve and special vinyl mastering, ltd. Yellow Vinyl
'Sun Racket' is the brand new album from legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges. The follow up to 2013's 'Purgatory/Paradise' is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh's well-thumbed notebook of storylines. A ten-song opus of suitably wrought tales set against a wall of sound that's at once calm and ethereal before building into glorious cacophonous crescendos. When Throwing Muses wrote their last album, they were shattered. Pieces were coming and going, elements repeating and charging the whole. 'It sounded beautiful jumping around like that'. Two-minute songs reappearing as twisted instrumentals or another song's bridge. They mimicked the effect live which kept them on their toes. Whatever was happening was already over in other words. 'Sun Racket' is the opposite. It refused to do anything but sit still. It says, 'sit here and deal'. 'All it asked of us was to comingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box. Turns out we didn't have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After thirty years of playing together, we trust each other implicitly but we trust the music more' - Kristin Hersh And so, they continue. Business unusual. 'A ground-breaking band who changed the face of alternative music rather than follow the rule book.' MXDWN 'Pioneers of the 80s/early 90s college rock sound' Pitchfork 'One of America's finest guitar bands' The Quietus
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B Is for B-sides is a 12-track album by Less Than Jake. It is composed of songs recorded for the album Anthem that did not make the release. The album was released on July 20, 2004 by Sire Records. Less Than Jake's 2003 effort Anthem was its hookiest to date. But its explosive production and energizing pop-punk/ska dynamics were guided by sobering reality. The bent toward telling the kids just where the weekends end made Anthem way more resonant than your average album in the genre, and marked the emergence of LTJ as, well, a veteran act. B Is for B-Sides backs that up. Any gaggle of greenhorn punk revivalists or would-be third-wave enthusiasts would kill to write even one of these tracks, but in Less Than Jake's world, they're just the unused portions of the Anthem sessions, put out on a record for their faithful bunch o' fans. There's even a T-shirt for the first 10,000 customers, and seven awesome illustrations by artist Jeremy Fish. Now, the music. "Portrait of a Cigarette Smoker" tingles with ragged energy and chirping horns, harking to the heyday of the Mighty Mighty Bosstones; "Last Rites to Sleepless Nights" is a rapid-fire, poppy hardcore prayer; and "Goodbye in Gasoline" is the most rousing suicide song you'll ever hear. Some might say Less Than Jake only has one or two gears, and some might be right.