Flume kicks off a new cycle with his highly anticipated third album, Palaces. The 13-track LP shows off his ability to expertly push the boundaries of a sound he helped define, while delivering songs that are still undeniably "Flume." Flume is an artist that has remained uncompromising in his vision and artistry since the beginning, and Palaces is no exception. Featuring a diverse range of artists from rising stars like Caroline Polachek, to established tastemakers like Damon Albarn, this album spans across genres, igniting his fan base and taking him to new heights, creating the perfect launch pad for his upcoming world tour.

In April of 2021, 13 months into quarantine, Rick Springfield and his band performed his most iconic album, “Working Class Dog,” from start to finish live at Rick’s home in Malibu in celebration of its 40th Anniversary. The resulting work is a renewed interpretation of a classic. The DVD features behind-the-scenes footage, all the joyful live performances, plus 4 bonus Rick Springfield hits: “Love Somebody,” “Don't Talk to Strangers,” “State of the Heart,” and “Affair of the Heart.”

Songs My Friends Wrote is an album I’ve been threatening to make for years. It’s a bunch of tracks that are my versions of a bunch of…songs my friends wrote. I’m fortunate to count a lot of world class songwriters as good pals and I wanted to shine a little light on some of my favourite examples of their work. In most cases I’ve picked relatively obscure songs that have always spoken to me, even though many of them won’t be so familiar to people. There’s a pretty good chance of a Volume Two, Three and Four eventually, because there were a lot of friends and a lot of songs to choose from. The best part about recording all these tunes was that they reminded me of all the people who I haven’t been able to hang out with for the past two years because of the plague we’ve all been dealing with. All of these tunes bring a smile to my face and I hope they do the same for you. - Corb Lund

Foals take a fresh, thrilling new direction on with their upcoming album ‘Life Is Yours’, which will be released on June 17^th via Warner Records. ‘Life Is Yours’ is the follow-up to the triumphant, two-part ‘Everything Not Saved Will Be Lost’, which proved to be a pivotal pinnacle in the band’s story. Not only did it result in the band’s first ever UK #1album, but the ambitious scale of the Mercury-nominated album saw Foals win their first BRIT Award for Best Group.

‘Life Is Yours’ feels like a natural evolution for Foals, its disco-tinged guitars, tight syncopated rhythms and punchy, insistent hooks echoing their roots as purveyors of rambunctious house party chaos. Thematically, it’s escapist, transportive and in rapture at life’s endless possibilities. It’s a record that’s perfectly in tune with the prevailing atmosphere of this moment in time – a life-affirming celebration as the world is reunited.

Not The Smile as in ha-ha-ha, more The Smile as in the guy who lies to you every day"... so speaks Thom Yorke on the inspiration behind the name of the new trio consisting of himself, his Radiohead bandmate Jonny Greenwood and drummer Tom Skinner of UK jazz outfit Sons of Kemet. The description is borne out by The Smile's acerbic first single "You Will Never Work In Television Again," a 2:48 blast of ragged, raw energy that moved The New York Times to rave: "Over a bruising 5/4 beat and flailing guitars climbing through three chords, Yorke snarl-sings his avenging fury at 'some gangster troll promising the moon' who'd devour 'all those beautiful young hopes and dreams,' and you can almost feel the spittle flying." Additional singles "The Smoke", "Skrting the Surface" and "Pana-Vision" - which epically closed the series finale of hit show Peaky Blinders - followed with equal critical acclaim; all are collected on The Smile's first album, A Light For Attracting Attention, produced by Nigel Godrich.

Rufus Does Judy at Capitol Studios is a live album by Rufus Wainwright, slated to be released by BMG in June 2022. The album was recorded at Capitol Studios, during a virtual concert of the same name, which saw Wainwright re-create Judy Garland's live album Judy at Carnegie Hall.

GRAMMY® Award- nominated artist/producer/songwriter Maggie Rogers new album, Surrender, will be released via Capitol Records on July 29. Co-produced Kid Harpoon (Florence + the Machine, Harry Styles) and Rogers, Surrender is the follow-up to Heard It in a Past Life,Rogers’ massively beloved 2019 debut album, which entered Billboard’s Top Album Sales chart at No. 1 and debuted at No. 2 on the Billboard 200. Praised by the likes of NPR, The New York Times, Rolling Stone, Pitchfork, TIME Magazine, and many others, Heard It in a Past Life landed Rogers a nomination for Best New Artist and went on to amass over one billion combined global streams.

Nicki Bluhm's creative confidence and authentic vocals are front and center on AVONDALE DRIVE, her sophomore solo album and the follow up to her critically-acclaimed 2018 release To Rise You Gotta Fall. The native San Franciscan who now calls Tennessee home possesses a gorgeously emotive voice and her clear-eyed perspective on life informs the 10 tracks on the new release. Produced by Jesse Noah Wilson and recorded in East Nashville, the new album features a cast of musical luminaries including Oliver Wood, James Pennebaker, Jay Bellerose, Jen Condos, Erik Slick, Erin Rae, Karl Denson and AJ Croce. The album combines nostalgic country-rock with distinctly modern lyricism-an apt contrast for the process of studying one's past in order to make a better future. Stand out tracks include a duet with Oliver Wood on "Friends", the folksy "Juniper Woodsmoke, the reflective "Learn to Love Myself and "Wheels Rolling," a windows-down, hit-the-gas banger that ends the album Bluhm's music career began in the Cow Hollow area of San Francisco, where she recorded two solo albums and co-founded Nicki Bluhm and The Gramblers. After gaining widespread attention for their "Van Sessions" on YouTube, in particular their cover of the Hall and Oates classic "I Can't Go For That" which has garnered nearly 4 million YouTube views, they toured internationally and recorded two albums as a band. Since embarking on her solo career, Bluhm has carved a niche for herself as a powerful and incisive writer as well as an unparalleled vocalist. In addition to her solo work, Bluhm is also a sought-after collaborator with an A-list of icons and tastemakers including The Wood Brothers, George Porter Jr., The Infamous Stringdusters and Phil Lesh.

As the daughter of a blues musician, Chastity Brown was born with an innate ability to channel complex circumstances into beautiful, uplifting songs. But after surviving the isolation of the early pandemic and witnessing the global racial reckoning that manifested itself in the riots mere blocks from her South Minneapolis home, even she is surprised to hear the way her new album Sing To The Walls turned out. "It's a love album, in a way I didn't plan on," Chastity says. Like so many artists who endured the uncertainty of the 2020 lockdown, Chastity's instinct was to turn inward, at first out of self-preservation, and then because the new songs kept coming and coming. Since finishing her last album, 2017's Silhouette Of Sirens, she estimates she's written nearly 100 new songs, 10 of which found their way onto Sing To The Walls. These songs unfold with Chastity's expressive voice and expansive melodies, leading the listener through intertwining tendrils of atmospheric sounds. Even the titles hint at the album's sense of optimistic yearning, from the dreamy opening track "Wonderment," to her ode to healing a broken heart post-breakup "Curiosity," to the pulsing promise of "Hope. " With the exception of "Golden," a searing indictment of white complacency and a cathartic release of post-uprising rage that comes halfway through the album (and was released in an earlier form in mid-2020), Sing To The Walls is ultimately an album about hope, connection, and love; an ode to the sweetness of life, even amidst a pandemic, even in a city that's experienced so much pain. The album was started in Stockholm, Sweden with revered session drummer and producer Brady Blade, with the rest completed at Chastity's own home studio with her longtime drummer Greg Schutte. Additional production and mixing was done by Chris Bell in Austin, Texas. Sing To The Walls is a sonically expansive album; it mines the roots of Americana, folk, and soul music, but Chastity's stories are delivered in a style that feels remarkably timely, modern, and forward-thinking. "I celebrate the emotional richness in the tradition, but in my music I've committed myself to moving forward and reflecting the experiences of those overlooked by tradition. " Chastity Brown has been praised by NPR, CMT, American Songwriter, the London Times, Paste Magazine, and The Independent, among many others, and appeared on the U. K. 's Later... with Jools Holland. She tours nationally and internationally, having shared the stage and supported artists such as the Indigo Girls, Ani Di Franco, Andrea Gibson, Jayhawks, The National, and Micheal Kiwanuka.

Meet The Moonlight, Johnson's eighth studio LP and first full-length release in five years, was produced by Blake Mills (Alabama Shakes, Perfume Genius, Jim James) and recorded in Los Angeles and Hawaii. The creation process marks a major artistic milestone from past work, taking shape from a one-on-one collaboration with Mills and unveiled an intimate and highly experimental process that involved embedding Johnson's elegantly stripped-back arrangements with enchanting sonic details.

2022 release. Introduced to the world ten years ago, Emeli Sandé MBE has become an icon of British singer-songwriting; emotional, honest, and prolific in the kind of manner that cements you as a go-to artist for heartfelt pop sensibility. In 2021, it's time for a reintroduction. Newly signed to independent label Chrysalis Records, Sandé has freed herself from the expectations of others in order to make an album of expansive creativity, flexing her holistic skills as a songwriter, producer and vocalist in new, versatile ways. Something of an artistic rebirth, it draws on old familiarities and brave beginnings, uniting fans old and new in her endless drive to use music as a tool for inspirational lift.

2022 release. Otherness is the first album in over a decade from the group Rolling Stone declared "put Canadian post-hardcore on the map." Five guys playing aggressive rock grew to a hockey-arena headlining phenomenon while pushing and pulling between spirited guitar leads, melodic might, and emotional weight. The guys never sacrificed the punk soul summoned in beat-up vans and basement shows. Blending their classic sound with new and forward-thinking textures, they produced Otherness themselves. Jonah Falco of Fucked Up mixed.

A product of generations of underground music in L.A. and beyond, The Linda Lindas’ debut, Growing Up, channels classic punk, post punk, power pop, new wave, and other surprises into timelessly catchy and cool songs sung by all four members—each with her own style and energy. A handful of cuts have already been previewed at shows and enthusiastically approved by diehard followers in the pit at L.A.’s DIY punk institution The Smell and Head in the Cloud festival goers at The Rose Bowl alike. The Linda Lindas are stoked to unleash Growing Up.

The Linda Lindas first played together as members of a pickup new wave cover band of kids assembled by Kristin Kontrol (Dum Dum Girls) for Girlschool LA in 2018 and then formed their own garage punk group just for fun. Sisters Mila de la Garza (drummer, now 11) and Lucia de la Garza (guitar, 14), cousin Eloise Wong (bass, 13), and family friend Bela Salazar (guitar, 17) developed their chops as regulars at all-ages matinees in Chinatown, where they played with original L.A. punks like The Dils, Phranc, and Alley Cats; went on to open for riot grrrl legends Bikini Kill and architect Alice Bag as well as DIY heavyweights Best Coast and Bleached; and were eventually featured in Amy Poehler’s movie Moxie.

When the pandemic put a pause on shows, The Linda Lindas went on to self-release a four-song EP, make their own videos and grow a following beyond Los Angeles. But they never expected or could have even dreamed that their performance of “Racist, Sexist Boy” for the Los Angeles Public Library in May 2021 would take them from punk shows to TV shows.

A month later, when the school year ended and summer began, The Linda Lindas got to work on their first full-length LP. Having written a mountain of new material individually while sheltering in place and attending class virtually, the
band was more than ready to enter the studio where Mila and Lucia’s dad (and Eloise’s uncle and Bela’s “uncle”) Carlos de la Garza oversaw recording and production. The Grammy-winning producer’s work includes Paramore, Bad Religion, Best Coast, and Bleached.

Multi-platinum rock band Shinedown have released their lead single “Planet Zero,” the title track from their newly announced seventh studio album out April 22 on Atlantic Records. Planet Zero serves up an incisive look at the issues at hand: cancel culture run rampant, the corrosive effects of social media on mental health and society, and the increasingly toxic division among those of differing ideologies. Featuring Shinedown’s explosive yet artfully crafted sound and urgent lyrics, single “Planet Zero” rings the alarm on a dystopian warning of the dangerous consequences to come when it all goes too far, and we begin to lose our respect for those with differing opinions and our compassion for one another.

Says Brent, “If we shut each other down and allow ourselves to be divided by the information we consume and the way we talk to each other, we lose our humanity. When you look outside of your phone, you’ll see there are so many people doing good things and trying to take care of each other. But we’re starting to see parts of society slip into an unknown. Planet Zero was written for all of us. The fact is that we’re all here on this planet no matter what, so it’s time to actually move forward together with empathy, perseverance and strength. With that said….welcome to PLANET ZERO.”  

Over the last two decades, Shinedown have cemented their status as one of the most vital and forward-thinking powerhouses in modern rock.Their most ambitious and masterfully realized work to date, Planet Zerois a high-concept, ultra-vivid, viscerally charged saga. A critical yet optimistic look at the fractures and frays of a society that has undergone many challenges in the last few years, the album is part social commentary and part in-depth exploration of the human psyche. Produced by Shinedown’s Eric Bass (who also produced the band’s 2018 acclaimed album ATTENTION ATTENTION,) and recorded at Bass’ newly built Big Animal Studio in South Carolina, Planet Zero matches its immersive world-building and takedown of authoritarianism with a deliberately unvarnished sound, and the album is spliced with interludes featuring Cyren, an insidious and unsettling robot character that appears throughout the Planet Zero journey. While a raw ferocity fuels much of Planet Zero on tracks like “The Saints of Violence and Innuendo,” “No Sleep Tonight,” and “America Burning,” there is also hope, triumph, and reminders that we all need one another on songs like “Daylight,” “Dysfunctional You,” and “A Symptom of Being Human.” After all, it is the band’s impassioned striving for unity that has long been at the heart of their creative output and deeply informed the making of Planet Zero.Not only a driving force for their songwriting, their humanitarian outlook led Shinedown to be one of the first artists to fundraise for non-profit humanitarian aid organization Direct Relief in the early days of the COVID-19 pandemic, raising more than $400,000 with their “Atlas Falls” relief effort.

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.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on it's wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest. " Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for it's "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of it's release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did. " As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments. Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in. ""It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening. "This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

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."

Robin Pecknold brings light to the bleakest of winters with Fleet Foxes' 'A Very Lonely Solstice,' a 13-track career spanning collection recorded in December 2020, at Brooklyn, NY's St. Ann & the Holy Trinity Church. Now being released for the first time on vinyl, CD and digital formats, 'A Very Lonely Solstice' captures a poignant moment in time. The recording was originally broadcasted as a live-stream event on the winter solstice of 2020, just days after New York declared a state of emergency tightening restrictions again in response to increasing COVID-19 cases. Pecknold describes the set as "me by myself on the longest night of the year... honoring the loneliness of 2020 with a nylon string and some songs new and old." Fans worldwide tuned in while quarantined at home, finding solace and a sense of community in a period of extreme isolation. Much of 'A Very Lonely Solstice' showcases a solo focus on Pecknold who offers up acoustic arrangements of fan-favorite songs spanning Fleet Foxes' catalog. Selections cover all four of the band's studio albums, including their 2008 self-titled debut album ("Tiger Mountain Peasant Song") to 2011's Helplessness Blues ("Blue Spotted Tail") and 2017's Crack-Up ("If You Need To, Keep Time On Me"), all the way to their latest release, Shore. Resistance Revival Chorus joins Pecknold on Shore tracks "Wading In Waist-High Water" and "Can I Believe You." Also featured: a cover of Nina Simone's "In The Morning" and a rearrangement of the traditional "Silver Dagger."

Mixing old school blues and folk with new school hip-hop and funk, G. Love’s electrifying new album, Philadelphia Mississippi, brings together both sides of the genre-bending pioneer’s eclectic career in a wildly innovative and deeply reverent sonic pilgrimage to the heart of the South. Produced by North Mississippi All-Stars’ Luther Dickinson, the collection is loose and spontaneous, full of joyful, improvised performances and freewheeling collaborations with a slew of special guests including blues torchbearers like Alvin Youngblood Hart and Christone “Kingfish” Ingram and rap icons like Schoolly D and Speech. It would have been easy for G. Love to play it safe coming off his GRAMMY-nominated 2020 release, The Juice, but Philadelphia Mississippi is perhaps his most adventurous collection to date, ditching all the rules as it experiments with form and function in an ecstatic celebration of music’s power to connect across genres and generations.

Born Garrett Dutton in Philadelphia, PA, G. Love first broke out in the early ’90s with his band, Special Sauce, on the strength of their Gold-selling self-titled debut. Over the next three decades, he would go on to release seven more critically acclaimed albums with Special Sauce (plus five on his own), become a fixture on festival lineups from Bonnaroo to Lollapalooza, and collaborate on the road and in the studio with artists as diverse as Lucinda Williams, Dave Matthews, The Avett Brothers, Jack Johnson, Keb’ Mo’, and DJ Logic.

The Deslondes are a five-piece band from New Orleans. The band splits up songwriting and lead vocal duties among its five members, continuing its democratic ethos and musical versatility. Multiple members have released solo recordings between their sophomore release, Hurry Home (2016) and their latest release Ways & Means but throughout the time between albums the Deslondes continued to build on their inventive take on New Orleans country and R&B. Ways & Means finds the band leaning on the country-folk of their debut along with the sometimes-psychedelic, electrified gospel-soul sound of Hurry Home. The sound will continue to draw comparisons to the country-funkiness of The Band, Link Wray and others but Ways & Means is the sound of a band that understands the history of American music, while embracing their own contemporary approach. 

Conan Gray has emerged as one of the pre-eminent pop superstars of his generation. After the commercial success of the global multi-platinum hits, “Heather” and “Maniac,” his music maintains its unflinching authenticity and originality. Gray’s debut album, Kid Krow, reached #5 on the Billboard 200, #1 on the Billboard Pop Albums chart, and was the biggest new artist debut of the year. Gray’s much anticipated sophomore album, SUPERACHE, is set for release on June 24, 2022.