On Slothrust’s latest album, bandleader Leah Wellbaum pushed herself to try and understand her own spirituality on a deeper level, putting a lens on the core wound of the human experience, the idea that we’re alone. With Parallel Timeline , Wellbaum explores the feeling of being trapped inside her own consciousness while simultaneously searching for a meaningful connection to the universe, and all the mysteries it contains.
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In James McMurtry’s new effort, The Horses and the Hounds, the acclaimed songwriter backs personal narratives with effortless elegance (“Canola Fields”) and endless energy (“If It Don’t Bleed”). This first collection in seven years spotlights a seasoned tunesmith in peak form as he turns toward reflection (“Vaquero”) and revelation (closer “Blackberry Winter”). Familiar foundations guide the journey. “There’s a definite Los Angeles vibe to this record,” McMurtry says. “The ghost of Warren Zevon seems to be stomping around among the guitar tracks. Don’t know how he got in there. He never signed on for work for hire.”
The Horses and the Hounds is a reunion of sorts. McMurtry recorded the new album with legendary producer Ross Hogarth (Ozzy Osbourne, John Fogerty, Van Halen, Keb’ Mo’) at Jackson Browne’s Groovemaster’s in Santa Monica, California. Hogarth recorded McMurtry’s first two albums, Too Long in the Wasteland and Candyland and later mixed McMurtry’s first self-produced album, Saint Mary of the Woods. Another veteran of those three releases, guitarist David Grissom (Joe Ely, John Mellencamp, Dixie Chicks), returns with some of his finest work.
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IIUII is a retrospective, but it’s just as much about the here and now. To re-record those songs with the maturity that Fin and his band members have achieved is about viewing the past through the lessons it has taught, not just remastering and repeating it. This was a chance to listen back through all the records, appreciate them for what they are, separate from the usual demands of which songs work on stage – and then give each song the treatment it deserves.
With a solid fan base worldwide, Fin and his band have played the venues and festivals they want, and if not plain sailing, then certainly they've been in a space where they can operate with confidence, soaring with shoegaze layers one minute, back to purist blues basics the next. Fin has also participated in a sideline in co-writes on records by the likes of John Legend, a few soundtracks and the occasional excursion into dub or techno to keep things interesting.
Says the band in a new statement: "This past year has been the first time we’ve stayed still since we were 21, and the pause gave us the opportunity to sit with ourselves and set intentions. We have long been burdened by the dichotomy between our band name and the music we strive to create—if you’ve heard the songs, you know they are personal. Now that we can see a future where music is a shared experience again, we're defining the space we share with you on a stage or in your headphones, and making it one that welcomes our creativity and anyone who wants to listen."
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2020 was not quite what Jay Farrar was expecting for the 25th anniversary of Son Volt, the band he started in 1995 after leaving the seminal group Uncle Tupelo, whose No Depression album helped define the alt-country and Americana genre. The group had just finished an Outlaw Country Cruise when the pandemic hit and sent them into their homes on lockdown.
Instead of a triumphant tour marking the illustrious landmark, Farrar was forced indoors by the pandemic, and his “Reverie” during that time helped define Electro Melodier, Son Volt’s 10th studio album – and third for influential Nashville indie Thirty Tigers. The title, taken from the names of two vintage amplifiers from the late ‘40s and early ‘50s, also describes the disc’s unique blend of folk, country, blues, soul and rock – an electric troubadour with melodies that hit and stick. Social protest songs like “Living in the U.S.A.” and “The Globe,” the former about the promises of this nation gone wrong, the latter referencing the street protests accompanying the Black Lives Matter movement, exist side by side with odes to long-term relationships (specifically his 25-year marriage) in “Diamonds and Cigarettes” and “Lucky Ones.”
Once again accompanied by the current Son Volt line up – keyboardist/steel guitarist Mark Spencer, bassist Andrew Duplantis, guitarist Chris Frame and drummer Mark Patterson – Farrar takes a slight turn from 2019’s politically pointed Union to a series of songs that asks questions rather than demanding answers – think of “Living in the U.S.A.” as Farrar’s version of Bruce Springsteen’s “Born in the U.S.A.,” Neil Young’s “Rockin’ in the Free World” or Patti Smith’s “People Have the Power,” an anthem to unite the populace.
One listen to Electro Melodier, which opens with “Reverie,” describing Farrar’s contemplative state gazing out his window, enlivened with Mark Spencer’s “Wichita Lineman” guitar riffs and the lush Big Star melodies, and you wonder why no other rock ‘n’ roll bands or singer/songwriters are making albums like this about what we’re all going through.
With tour dates scheduled before the end of 2021, Son Volt is ready to return to what they know best after a welcome period of introspection.
The songs of Electro Melodier help remind us to be thankful of what we still have – new music from Jay Farrar and Son Volt.
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Hailed upon its release last year as "vital and comfortable taking new chances” (Rolling Stone) and “cheery, resilient, forever looking forward” (The New Yorker), Paul McCartney’s McCartney III, which topped album charts across the world, is now literally moving into the future in the form of McCartney III Imagined. Personally curated by Paul, McCartney III Imagined features an A-List assortment of friends, fans and brand new acquaintances, each covering and/or reimagining their favorite McCartney III moments in their own signature styles. The result is a kaleidoscopic reinterpretation of an album Rolling Stone accurately tagged “an inspiration to us all”—one that serves as an extension of the instantly beloved McCartney III while standing on its own as brilliant and adventurous milestone in the McCartney discography.
Formed in L.A.’s South Bay in 1978, DESCENDENTS began as a power trio featuring bassist Tony Lombardo, drummer Bill Stevenson, and guitarist Frank Navetta (d. 2008). The band recruited vocalist Milo Aukerman in 1980 and began establishing themselves as major players in the Southern California Punk movement. Over the years, the band has sustained a potent chemistry and shared vision, further cementing them as punk legends.
In 2002, the original four-piece lineup — Frank Navetta, Tony Lombardo, Bill Stevenson, and Milo Aukerman — got back into the studio to finally record their first-ever songs. The songs were written by the band from 1977 through 1980, before recording the Fat EP (1981) and the Milo Goes to College LP (1982). Put simply, this is the DESCENDENTS’ earliest material, representing a “lost” pre-MGTC album. Most of these songs have not been heard—until now.
Every element of DESCENDENTS’ genre-creating sound is here: Stevenson’s hyper-caffeinated surf-beats, Lombardo’s intrepid bass, Navetta’s crunching attack, Aukerman’s impassioned, infinitely relatable singing—and all those great melodies and harmonies.
This new collection of songs was written during the great political, environmental and economic upheaval that has marked recent years. The noise of that chaos encouraged Crowell to look inward for solace and answers. The result is this series of songs that contend with these themes, but approaches them from a place of healing, love and solution. That they are being released while we find ourselves walking through a global pandemic, is a gift of perfect timing.
Merlot Wave Vinyl. Guccihighwaters is the artistic persona of 21 year -old, artist/producer, Morgan Murphy. Since his debut single in 2017, Murphy has exploded in the cloud rap community and his music has been streamed over 200 Million times. His new album, joke's on you, is his debut for Epitaph Records and will be his first available on vinyl. Guccihighwaters is the keystone to the label's dedication to this sound that we feel is the future of Alternative music. Spending his formative years growing up in rural Ireland, Murphy was shy and when his family returned to their native New York, that shy 15 year-old turned to home recording/bedroom production and starting making his own beats. He began to indulge his musical vision by exploring community on the internet, finding a place to belong that he had not found prior. As a singer, Murphy was a bit of an outsider to the SoundCloud rap world he'd begun to orbit. "I was grouped in because of the time and place and platform," he says. His use of original piano with a classic touch and his angelic singing gave him an original voice within the scene's crowded world. Even if he wanted to blend in, he didn't know how. With Jokes On You, he says, "basically my goal was to make it sound like me. " Some members of that community, like Powfu and nothing, nowhere, feature on the album, adding their voices to Murphy's signature sound. Guccihighwaters is a top digital artist in the Indie Pop/Cloud Rapspace, releasing his music on vinyl for the first time. Album features include lo-fi sensation powfu , top emo rapper Convolk and popular alt/hip hop artist, nothing, nowhere. For Fans of powfu, Lil Peep, nothing, nowhere and Lund
This LP finally brings a Clipping fan-favorite, 2016’s Wriggle, onto vinyl in an improved, expanded version that features new art, previously unreleased remixes, and a track that’s exclusive to the vinyl format.
The original, digital-only Wriggle EP was six tracks that weren’t finished in time to make it onto the group’s 2014 Sub Pop debut, CLPPNG. For “Shooter,” Clipping recorded themselves firing fifteen dierent guns, the sounds of which exclusively constituted the beat’s drums, augmented only by a synthesized tone-row. The verses referenced the well-worn technique of “hashtag rap,” but instead of using it to boast about the rapper’s personal wealth and masculine prowess, Clipping put forth imagistic narratives of three violent encounters. True to much of the group’s music, “Shooter” was an attempt to reframe a familiar style and test the limits of its formal capabilities. “Hot Fuck No Love” contains what might be the most explicit verse to date from Clipping’s favorite New Jersey rapper Cakes Da Killa. The EP’s title track, “Wriggle,” was built around a sample of the influential power-electronics song “Wriggle Like a Fucking Eel” by Whitehouse, transforming William Bennett’s torturous imperative into a instructional dance-floor banger. “Wriggle” and “Shooter” have become classic Clipping tracks and staples of their live show.
With this vinyl edition, Clipping fans old and new - and there are many new fans thanks to their breakout 2020 album, Visions of Bodies Being Burned, and Daveed Diggs’ thriving acting career - get the vinyl version of Wriggle they’ve been clamoring for.
With her musical project Half Waif, Nandi Rose dives deep into the waters of artistic expression by layering evocative vocals and synths to create a powerful form of pop music. On Mythopoetics, Rose ex- plores a full spectrum of sounds that sparkle with memorable hooks, otherworldly production and uplifting grooves. “This is the record I’ve been trying to make for 10 years,” Rose says.
Previous albums The Caretaker (2020) and Lavender (2018) garnered acclaim for their compelling journeys through solitude, desire and the search for independence. Half Waif declares a new chapter on Mytho- poetics, a collection of 12 new songs – mythical stories that transcend time, each sung with a glorious contralto wrapped up in synths and electronic percussion, and her lyrical piano serving as the backbone. It is an essential reminder that we have the power to shape the stories we tell and the myths we make of our lives. This is music that you feel.
Almost 50 years after the sessions that would make them an “accidental Texas supergroup” (Rolling Stone), The Flatlanders have returned with Treasure of Love, their first new album in more than a decade. Completed during COVID-19 lockdowns with the help of longtime friend and collaborator Lloyd Maines, the record finds the iconic trio of Joe Ely, Jimmie Dale Gilmore, and Butch Hancock in classic form, serving up a rollicking collection of twang-fueled, harmony-laden performances full of wry humor and raw heartbreak. While a few songs here are never-before-heard originals, the vast majority of the tracklist consists of tunes the band picked up during their half-century together, some stretching as far back as the group’s earliest performances in the honkytonks around Lubbock, TX, where you might have spotted Willie Nelson or Townes Van Zandt in the audience.
Largely ignored by press and radio, the initial incarnation of The Flatlanders lasted only a few years before disbanding in 1973. In the decades to come, however, Ely, Gilmore, and Hancock would all go on to considerable success as solo artists, and with the 1990 reissue of their long lost debut, The Flatlanders finally received their due. Critics hailed them as visionaries and craftsmen of the highest caliber (The New York Times dubbed their first LP a “founding document of the alternative country movement”), and the trio would spend the next 30 years collaborating and touring on and off again to widespread acclaim.
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He scrapped the demos and began a collection of songs in quarantine where the unprecedented times and topics were unavoidable. He wanted to document the era sonically and lyrically in some way.
A definitive new peak in the recorded continuum of prolific producer/percussionist Carlos Niño, elegantly presented in his unique “Spiritual, Improvisational, Space Collage” style. Featuring contributions from more than a dozen exciting voices from the creative music constellation of Los Angeles.
Yves Jarvis and Romy Lightman are a pair of idiosyncratic and restlessly creative artists. In the past decade, Jarvis’s ever-expanding swatch have earned international acclaim, while Lightman’s twin-sister-led band Tasseomancy has transfixed listeners since the late 2000s. The Lightman Jarvis Ecstatic Band marks the duo’s first collaboration, slingshotting both musicians out of their comfort zones into spellbinding territories of lysergic folk and impressionistic rock.
Banned was recorded in the tranquil environment of the Tree Museum, an outdoor art gallery in rural Ontario, Canada, hosting residencies for contemporary sculptors over the past 20 years. The pair credit its 200 acres of natural spaces intermingling with human-made creations as the fuel for their unfettered process. Recorded over two weeks in a free-flowing stream of improvisation, the album finds Lightman on synthesizer with Jarvis on drums and guitar, as their voices weave together into an electrified pastoral tapestry.
For both musicians, the creation offered a chance to challenge themselves: Jarvis defying his solitary practice to record with another person, while open jams provided Lightman an alternative to her preference for thoroughly composed songwriting. “This album is a loose manifesto in our shared vision for a way of being,” says Lightman. “It’s about our relationship and the dynamics in that. There’s an epicness to it and tension at times. It’s like the ways particles collide. There’s an alchemical aspect to it with these base components slamming together.”
Written, recorded, and completed during lockdown, CARNAGE is the first studio album from Nick Cave & Warren Ellis outside of the Bad Seeds and their many soundtrack collaborations.
The eight song project - developed amidst the downtime of a long, anxious, global emergency - showcases Cave & Ellis’ typical sonic and lyrical adventurism and stands as a quintessential record for these uncertain times.
CARNAGE is shot through with moments of distilled beauty and resonating with an almost defiant sense of hope. In Cave's own words, it is "a brutal but very beautiful record nested in a communal catastrophe."
Sucker Supreme is the third album from Rosie Tucker, and first for Epitaph Records. It is a coming of age album that aches with self-discovery, self-definition, and self-redefinition. Sucker Supreme is also just the right follow-up to where their last album, 2019’s Never Not Never Not Never Not, left off: still playfully observed, still sneakily political, still indebted to folk singers of the past – but also much, much bigger, brighter, louder and noisier than anything Tucker has dared before. It delivers mightily on an ambitious M.O.: to be relentlessly catchy and muscular and noisy but also beautiful; be achingly sad and searching, but never too far away from funny, either; and to spotlight Tucker’s empathetic, yearning vocals on top of it all. It takes a unique group of people to make an album that leaps out of the speakers at you like this one. Sucker Supreme is the first record made by Tucker’s current touring band: drummer Jessy Reed, guitarist Jess Kallen, and bassist Wolfy, who also occupied the producer’s chair. It’s a group of people as eager to share their long-dead folk music heroes as they are to pay homage to their still-kicking pop-punk heartthrobs.
A new era of hope, survival, and prosperity comes calling on STYX's Magnum Opus, Crash of the Crown, the band's first studio album since 2017's The Mission. Though the 15-track album takes a hard look at some inherently dark subjects, the prevalent light at the end of the tunnel eventually becomes each song's focal point - a persistent fervor to keep moving forward and achieve the greater good. Featuring "Crash of the Crown," "Reveries" & more, available on black vinyl.
MP3 Album: $9.99 Download
'It's about hopelessness and darkness,' says Aidan Moffat. 'But in a fun way.' The Arab Strap frontman is speaking about the band's 7th studio album and their first since 2005's The Last Romance . The band who bought you the classic and legendary "The First Big Weekend" return with new music for the first time in 15 years. 'It's definitely Arab Strap, but an older and wiser one, and quite probably a better one.' The first track lifted from the new album 'The Turning of Our Bones' saw a much welcome return to form and proved very much that Arab Strap are back from the grave and ready to rave! As the bands Malcolm Middleton told the Guardian newspaper when they profiled the band upon news of their return, 'There's no point getting back together to release mediocrity.'
"Listening to the story of Canadian duo cleopatrick is a bit like hearing the plot of the best, most righteously validating coming-of-age film never made. Two friends meet aged four in Hicksville, Nowheretown (real name: Cobourg, Ontario, population 19,000), grow up completely inseparable, form a band and, against numerous obstacles, blossom into a genuine, global underground sensation. There are heroes and villains, highs and lows and, crucially, some of the most poetic plot twists that could seem almost too perfect, were they not completely true.
Take the story of 2017 breakthrough track ‘hometown’ for example. “It’s one of the craziest, most ironic things that’s ever happened,” begins vocalist and guitarist Luke Gruntz. “I was going to college because I was too scared to put all my chips in the band pile, and that’s what ‘hometown’ is about: it’s a song about feeling like we’re doing all this stuff and we’re working so hard and we’re just never going to be heard. It’s literally a song about people probably never hearing our songs. And then by some act of the universe, that song ended up unlocking all the doors for us.”
Today, cleopatrick has logged 77 million streams and counting - all from an increasingly dedicated fanbase who’ve found the duo, completed by drummer Ian Fraser, their own way: no major label, no big budget, just two best pals knuckling down, cementing a unique sonic alchemy and filling a space of honest, empathetic yet undeniably heavy-hitting rock music that they’d been searching for themselves for years. Between multiple sold out tours in Canada, the US and the UK/EU and appearances at Lollapalooza, Austin City Limits and Reading/Leeds, the pair have been crafting BUMMER: a debut album that sees cleopatrick harness all the magic they’ve been brewing over their two-decade friendship and funnel it into a record that aims to reinvigorate the rock landscape from the ground up. Taking the ethos of their New Rock Mafia collective - a group of friends and fellow bands, united in making a more inclusive, equality-driven space in rock music - and imbuing it with the sonic ambition and ferocity of a record designed to be played hard and loud, it’s an album about two friends, who’ve been with each other since the formative first steps that adorn ‘BUMMER’’s heartwarming cover image and made something that’s a testament to the power of sticking to your guns."
Throughout their career, Blackberry Smoke has embodied Georgia’s rich musical legacy, honoring the people, places and sounds of their home state. As the band celebrates their 20th anniversary this year, their reverence for Georgia has only deepened.
On their latest album, You Hear Georgia, the follow-up to 2018’s critically acclaimed Find a Light, Blackberry Smoke is further celebrating these roots with 10 new songs that feel like Georgia, accented by the addition of Grammy-winning producer and fellow Georgia-native, Dave Cobb (Jason Isbell, Brandi Carlile). “Dave and I had spoken for the last few years about making a record,” Starr says. “Finally, it worked out, our schedule and his schedule, and we said, yes—let’s make a record.”
Blackberry Smoke worked quickly, spending just 10 days at Nashville’s famed RCA Studio A, Cobb’s home base since 2016. The band recorded live on the floor, giving You Hear Georgia a crisp, outgoing feel. Like other Blackberry Smoke efforts, this album leans into well-crafted Southern rock driven by jagged guitar riffs and rich instrumentation, as the band layers on rollicking piano (“Live It Down”), funky grooves (“Hey Delilah”), and introspective acoustic sounds (the stripped-down, folk-leaning “Old Enough to Know”).
The title song, “You Hear Georgia” features a narrator who’s underestimated because of outward appearances and misguided stereotypes, which is a theme of Starr’s lyrics this time around, particularly as it relates to the band’s Southern roots. “Lyrically, the song is about the South being misunderstood. It’s obviously a rough and tumble world, and there’s a lot of bad people. But there’s a lot of good people too. It started with the idea of how people might have a preconceived opinion of you because of a thick Southern accent, then expanded into the reality of how some people just seem to have such a hard time getting along, thanks to political or religious views, or simply what part of the country you come from.”
Many of You Hear Georgia’s songs describe characters that are restless and prone to seeking out a change of scenery, in hopes of finding a place where they belong. Against cinematic backdrops with vivid details, it’s easy to empathize with these protagonists as they share pearls of wisdom (“Don’t ever trust a grown man with a nickname”) and exhibit deep self-awareness (“Anywhere’s better than staying here, with the ghosts running thru his mind”) along the way.
You Hear Georgia reinforces that the band members have come so far together because they also can rely on one another for support and creative direction, no matter what the circumstances.
12" pink splatter vinyl (special-edition indie variant), custom printed gatefold jacket with boards and 2 open pockets, 28-page printed LP booklet on art paper with custom collage artwork/lyrics, printed sleeve, custom flower fan sticker, custom holographic "I am SLAH" fan sticker, shrinkwrap.
After years dedicated to rowdy, high-energy live shows, providing tour support for Old Crow Medicine Show, Travis Tritt, Sam Bush, and Shooter Jennings---and building their own grassroots cult-following---Strung Like a Horse teamed up with Transoceanic Records and Grammy-winning producer, Matt Ross-Spang (Jason Isbell, John Prine, Margo Price, Calexico/Iron & Wine, Lucero), to record their first studio album, WHOA!, at Nashville's famed Sound Emporium. Most of the tracks the band laid down together in one pass, without overdubs, and were sent direct to tape, making it a “record that captures the vibe of their rightfully celebrated live shows perfectly.”
WHOA! has spent over 16 consecutive weeks in the Top 40 at Americana Radio, while debuting at #2 on the Billboard Bluegrass albums chart, #1 on Amazon New Releases, #2 on the Amazon Alt-Country/Americana chart, #4 on the Alt-Country Specialty chart, #7 on Bluegrass Today’s Grassicana chart, #6 on the Folk chart, and #2 on the Alternative Folk chart. The album also made No Depression’s “Best Roots Music Albums of 2020,” Alternate Root’s “Top 100 Albums for 2020,” and Next’s “Notable Songs in 2020” year-end lists. Their official music videos of the radio hits, "Crazy Like Me" and "Till the Wheels Fall Off," premiered on Ditty TV and CMT Music channel.
MP3 Album: $11.49 Download
To mark the 50th anniversary of the release of RAM, the album will be pressed from a master cut at half speed using the original master tapes at Abbey Road.
The only album credited to both Paul and Linda McCartney, RAM reached Number 1 in the UK and stayed in the US Top 10 for five months. Recording after he’d left The Beatles and before the formation of Wings, Paul initially flew with Linda to New York to record the songs they’d written but arrived without a band. As Paul recalls, “We were thinking of forming a group at that time, Wings. We went to New York, found a really grotty little basement somewhere and auditioned a bunch of people. We got someone to throw a lot of drummers at us, out of which we picked Denny Seiwell who’s one of the best, and his personality fitted. Then we went in, worked with him, Hugh McCracken, Dave Spinozza, a couple of New York session men, and did RAM.” To avoid arousing too much interest, the auditions were held under the guise of a session for a commercial jingle. As well as Paul’s lead vocals there are harmonies from Linda. “I gave her a hard time, I must say, but we were pleased with the results. Elton John later said somewhere that he thought it was the best harmonies he’d heard in a long while. It was very much the two of us against the world at that point.”
The forthcoming album from The Steel Woods, All of Your Stones, took on a new dimension back in January when the band’s founding guitarist and principal creative force, Jason “Rowdy” Cope, passed away peacefully in his sleep at age 42.
The new album is the third offering from one of the fastest rising bands in the worlds of independent country and Southern rock. Since releasing their debut Straw In The Wind album in 2017, The Steel Woods have staked their claim as worthy successors of Southern rock icons Lynyrd Skynyrd, with a dynamic live show and a songwriting verve that draws inspiration from country icons like Willie Nelson and Waylon Jennings.
When The Steel Woods entered the studio to record All Of Your Stones, smack in the middle of a global pandemic, it’s clear they had something to prove, if only to themselves. Cope had wrestled with undiagnosed PTSD and its multitude of symptoms after the release of sophomore album Old News. Wes Bayliss, the band’s singer and co-songwriter, wasn’t always sure what the future held for the group, which is rounded out by Johnny Stanton (bass) and Isaac Senty (drums).
Reflecting on Rowdy’s vision and passion for the band, Stanley says the last thing Jason would have wanted was for the music to stop. Bayliss concurs. “We were always going to do the things you do when you put out a record. Now, there is simply a little more reason.” Indeed there is more reason.
With the release of All Of Your Stones, The Steel Woods now have the responsibility to keep the fire burning. After all, it’s what Rowdy would want.
While many know Bergman as one half of brother-sister duo Wild Belle, her forthcoming record is a cathartic collection rooted in the hopeful values and traditions of gospel that have helped her through the recent, tragic loss of her father. On the signing of Natalie Bergman, Third Man Records co-founder Ben Swank adds, “Natalie has a unique vision and has approached this album with a reverence for the sacred and healing nature of the history of this music, but has managed to update it in a way that is distinctly her own. We're very excited to welcome her to the Third Man label and family.” Alongside her brother Elliot, the island-influenced music Natalie Bergman made in Wild Belle has led to collaborations ranging from Major Lazer to Tom Tom Club, performances at Coachella and Lollapalooza, tours with Beck, Cage The Elephant, Toro y Moi and more. Helmed by her heavenly voice, Bergman’s solo album is steeped in mystic melodies and time-bending tones of psychedelic rock and soul. Showcasing her multi-instrumental and creative versatility, songs will be accompanied by visuals that blend her own abstract artwork, self-designed wardrobe and beyond. Stay tuned.