New Releases 5/10/19 @ Mills Record Company
Mac DeMarco returns with his newest album, Here Comes the Cowboy, the first album to be released on his new independent label, Mac’s Record Label. The album features lead single “Nobody,” and is available on May 10.
After releasing their highly anticipated Kicker EP in the summer of 2018 (which Pitchfork described as the band's "most satisfying release in nearly 20 years"), The Get Up Kids have returned with an invigorating new full-length album, Problems. Produced by Peter Katis (The National, Interpol, Sharon Van Etten), Problems sees the band expanding on the unmatched energy and emotion found on Kicker and channeling it into a fresh collection of songs that showcases the highly developed songwriting characteristics and impeccable use of melody we've come to expect from the Kansas 5-piece. Standouts like "Satellite" and "The Problem Is Me" make it clear the band has come full circle while continuing to evolve.
Live At The Observatory was recorded on 9/8/18 at the sold out kick-off show for the band’s Hypochondriac album tour. The San Diego based band will be supporting the live album with performances at the Coachella Music & Arts Festival (Indio, CA) in April, and additional tour dates to follow. The live record features tracks from the band’s entire catalog including five tracks from their 2018 album Hypochondriac. A must have any fan of The Frights!
Mavis Staples returns with a brand new studio album produced and written by Ben Harper. Backed by Mavis’ critically acclaimed live band, We Get By features 10 songs of longing, strength, and spirituality, presented with simplicity, grit and sublime beauty. Highlights include the buoyant, “Anytime”, the cathartic, “Change”, and the title track, an uplifting duet with Ben Harper.
Bear Hands is releasing their fourth studio album Fake Tunes, produced by POP ETC, on May 10th. The album features the alternative radio hit "Blue Lips (featuring Ursula Rose)." Two days later, they'll embark on a tour opening for Twenty One Pilots in the US.
Since their inception in 2008, Defeater have stood apart as storytellers in the world of hardcore. Hailing from Boston, Massachusetts, the band’s lineup consists of Derek Archambault (vocals), Adam Crowe (guitar), Jake Woodruff (guitar), Joe Longobardi (drums) and Mike Poulin (bass). They have toured with the likes of La Dispute, Comeback Kid, and August Burns Red. Defeater will be the band’s fifth studio album
The Mystery Lights's sophomore album on Daptone's rock subsidiary, Wick Records, finds the group digging deeper into their well of eclectic influences, enriching their sound without echoing the past. It mixes the eerie, insistent synth sounds of groups like The Normal and Suicide, the energy and swagger of punks golden age, the pop sensibility of The Kinks, and the stark, deliberate execution of Television. The Mystery Lights are taking their idiosyncratic brand of rock and roll to dizzying new heights.
Lowdown Ways marks a quantum creative leap for DADDY LONG LEGS, the scrappy New York trio known for their stripped-down roots sound and in-your- face intensity thats garnered them fans in their hometown and overseas, where theyve toured with such kindred spirits as The Damned, Blackfoot Gypsies, Hurray for the Riff Raff and the Jon Spencer Blues Explosion. Theyve been recognized by Rolling Stone, who aptly compared them to Chicago blues fired at the moon, played by the demented children of the Pretty Things. This expansive, new territory that the band covers on Lowdown Ways is thanks to producer (and JD McPherson bassist) Jimmy Sutton, with whom the band recorded the album at Chicagos Hi-Style Studios, applies his technical know-how to broaden the sound of such instantly memorable tunes as Pink Lemonade (co-written by McPherson), Ding Dong Dang and Bad Neighborhood, which resonate with the down-and-dirty roots that have always been DADDY LONG LEGS inspiration. Meanwhile, the band ventures successfully into unfamiliar territory with the pub-rock-style Winners Circle, the bittersweet acoustic ballad Back Door Fool and the dramatic album-closer Wrong Side of the River. Pressed on opaque white vinyl.
Toth is a new project of Brooklyn multi-instrumentalist songwriter Alex Toth, known for collaborating and writing with Kimbra, Alexander F, Rubblebucket, Cuddle Magic and others. As Toth, he presents his most vulnerable songs and performances yet, often sung in a style reminiscent of Arthur Russell, while also adding trumpet and guitar.
Charly Bliss are back with their sophomore album Young Enough. Produced by Joe Chiccarelli (U2, Beck, Alanis, The Strokes, The Killers, My Morning Jacket, Cage The Elephant), the album finds the band exploring both the darker and poppier side of their sound while expanding on what made their debut album Guppy a critically acclaimed success by outlets such as NPR, Stereogum, Pitchfork, FADER, The Ringer and more. The band toured extensively in 2017 and 2018 as they headlined several tours, appeared at festivals like Shakey Knees, Boston Calling and Sasquatch and supported the likes of Wolf Parade, Tokyo Police Club, Pup, Sleater-Kinney and Veruca Salt. They just opened all of the Death Cab for Cutie shows this past fall across the entire US which coincided with the release of their standalone single Heaven which got a ton of press, including Pitchforks coveted Best New Track moniker. Pressed on translucent blue vinyl.
Jamila Woods has a voice and lyrical sensibility that transcends generations, and so it makes sense to have this lush and layered album that bounces seamlessly from one sonic aesthetic to another. This was the case on 2016's HEAVN, which found Woods hopeful and exploratory, looking along the edges resilience and exhaustion for some measures of joy. Her new album, Legacy! Legacy! Is the logical conclusion to that looking. From the airy boom-bap of "Giovanni" to the psychedelic flourishes of "Sonia," the instrument which ties the musical threads together is the ability of Woods to find her pockets in the waves of instrumentation, stretching syllables and vowels over the harmony of noise until each puzzle piece has a home. The whimsical and malleable nature of sonic delights also grants a path for collaborators to flourish: the sparkling flows of Nitty Scott on "Sonia" and Saba on "Basquiat," or the bloom of Nico Segal's horns on "Baldwin." More than just giving the song titles the names of historical black and brown icons of literature, art, and music, Jamila Woods builds a sonic and lyrical monument to the various modes of how these icons tried to push beyond the margins a country had assigned to them. On "Sun Ra," Woods sings "I just gotta get away from this earth, man / this marble was doomed from the start" and that type of dreaming and vision honors not only the legacy of Sun Ra, but the idea that there is a better future, and in it, there will still be black people. Soul music did not just appear in America, and soul does not just mean music. Rather, soul is what gold can be dug from the depths of ruin, and refashioned by those who have true vision. True soul lives in the pages of a worn novel that no one talks about anymore, or a painting that sits in a gallery for a while but then in an attic forever. Soul is all the things a country tries to force itself into forgetting. Soul is all of those things come back to claim what is theirs. Jamila Woods is a singular soul singer who, in voice, holds the rhetorical demand. The knowing that there is no compromise for someone with vision this endless. That the revolution must take many forms, and it sometimes starts with songs like these. Songs that feel like the sun on your face and the wind pushing flowers against your back while you kick your head to the heavens and laugh at how foolish the world seems.
Guitar Wolf! They are the keepers of all blasted, hard, spazzed out songs, building a whole life on the bedrock of hyperactive RNR exhilaration. This Japanese power-group has been stupefying audiences at home and on the road since the late ‘80s and finally are back to unveil their capital-L loud jams. Third Man is fortunate to be releasing their lucky 13th full-length album LOVE&JETT and to have a hand in supporting Guitar Wolf’s noisy and canonical rise to their rightful place in underground music's highest hall of fame.
LOVE&JETT is full of Guitar Wolf’s sweet, sweet love songs, all recorded in Japan. While each song’s words (apart from a handful of song titles, 1-2-3-4s plus a clever cover of Spencer Davis Group's Gimme Some Lovin’) punch out in their native Japanese, the adoring English-speaking public will be granted an insert enclosed in each LP and CD with all lyrics translated to English. (That means NO excuses to not have a haphazard bilingual sing-along on their upcoming US tour.) The energy explodes on the scene with the title track’s opening 1-2 bass-snare piston-fire and truly does not let up at any point on the full album. Seiji, Tōru, and Gotz shine especially bright on Sex Jaguar, barely clocking in just over 2 minutes with chorus catchphrases and feline roars.
LOVE&JETT hits the streets May 10, 2019. It is the first album recorded with newest Bass Wolf (IV), Gotz, who joined the band in 2018. A full US tour with Nashville Pussy is coming up from May 8-June 2.
So with your heart flying high and faster than Mach speed, the untouchable legends Guitar Wolf are back to rush you away into another dimension.
Esperanza Spalding has announced an audacious new project called ‘12 Little Spells’ that finds Spalding conjuring in the medium of musical creation, through an exploration of the body, human energy and healing. Esperanza released one new spell per day on her website and social platforms as well as a “Liner Notes Live” hosted on Facebook all resulting in over 3.1 million views. The spells come in the form of new music, which was crafted by Spalding at a castle in Italy last month, and then recorded in sessions completed just yesterday in Brooklyn. Each spell will be presented with song-specific imagery and video spells (short films that will accompany each release).