Exiled Records

Justin Robinson and Rhiannon Giddens are two of the few people from the Black community caretaking Joe Thompson’s family tradition of fiddle and banjo music. For both, their Black banjo bodylands are primarily rooted in the North Carolina Piedmont, where Joe mentored them. The term “Black banjo bodylands” describes the deep connection between banjos, land, and the Black musicians who breathe life into them. Intimate engagements with place, nature, and community around this musical practice are essential to the tradition’s continuation. These bodylands constitute not just the individual player but the traditions, knowledge, and spirit handed down from their musical ancestors. On What Did the Blackbird Say to the Crow, Rhiannon Giddens and Justin Robinson simply chose to bring the places and people—even the season—with them. Heralded by the cawing of American crows, shot through with the round thrumming of periodical cicadas, these recordings represent the music exactly as it is: a particularly engaging piece of a particular place’s rich sonic ecosystem. Giddens and Robinson emphasize place, communication and collaboration in these sound offerings from the North Carolina Piedmont homes of Joe Thompson and Etta Baker and the historic Mill Prong House. This record is not about flashy arrangements, or displays of virtuosity for its own sake. It’s about the relaxed,understated flow that arises at the junction of long friendship, a sense of belonging, and monstrous technical proficiency. We make this music, we make it together, and we make it here. This record refuses to be removed.

Doechii - "Alligator Bites Never Heal" With her GRAMMY Award-winning mixtape "Alligator Bites Never Heal," rapper, singer and visionary artist Doechii delivers 19 tracks following the weekly "Swamp Session" installments that lit the internet on fire with eye-catching visuals and equally compelling bars. The Best Rap Album-winning project, featuring "DENIAL IS A RIVER" and "NISSAN ALTIMA," captures a rare talent in her rawest form yet giving listeners distinct windows into her one-of-a-kind artistry. EXPLICIT

Coastal is a personal, behind-the-scenes documentary on Neil Young as he cruises the coast on his 2023 solo US tour. The film gives an intimate view of the maverick musician, as he navigates a return to the stage post-Covid. From his everyday observations on the bus to his candid banter with his audience. Coastal is a rare peek behind the curtain of this unguarded iconoclast. The film was shot and directed by Daryl Hannah. Coastal - The Soundtrack features 11 Neil Young songs including "Song X", "Vampire Blues" "Expecting To Fly", "Throw Your Hatred Down", "I Am A Child", and "Prime of Life".

It is with a certain sadness for his fans across mediums that Donald Glover has declared Bando Stone and the New World the last Childish Gambino album. The ostensible soundtrack to a feature-length movie of the same name, the hour-long project includes snippets of dialogue that hint at the film’s apocalyptic subject matter. The fact that the soundtrack is preceding the actual film is part of Glover’s strategy: He wants listeners to work to figure out what they’re listening to. “The soundtrack forces the audience to participate in a way that I don't feel like most things force you to participate,” he says. “It forces you to have an imagination. I already see people being like, 'This is very cinematic, this must be the part that... This feels like a credit sequence.' A lot of stuff feels flat because it's not asking you to participate. Art used to be you had to participate on some level and have some sort of thought process on it. You can't just be like, 'Oh, this is mid.'” Even without the benefit of the full visuals, these 17 tracks make for a satisfying swan song that synthesizes what came before with fresher ideas gleaned from the threshold of finality

Just Like You is the follow up to Falling In Reverse’s 2013 release Fashionably Late. The album debuted at #2 on the Billboard Top Hard Rock Albums chart, #4 on the Modern Rock Albums chart, and #3 on the Top Independent Albums chart. Falling In Reverse’s first album, The Drug in Me Is You debuted in the Billboard Top 20 in 2011. In 2012, Alternative Press gave Falling In Reverse the title of Artist of the Year while Revolver named Ronnie Radke one of the 100 Greatest Living Rockstars. Additionally, Falling In Reverse/frontman Radke have been on numerous magazine covers worldwide, including Alternative Press, Las Vegas Weekly, Rocksound, Hysteria, and Kerrang!. In 2014, Kerrang! named Ronnie one of the 50 Greatest Living Rockstars in the World, in the company of Lemmy, Slash, Steven Tyler, and Ozzy Osbourne. Reissued on Clear with Neon Pink Splatter vinyl to celebrate the 10th anniversary of it’s release.

Released in 1957 on Prestige Records, Walkin' features a collection of songs that were originally recorded in 1954. With Davis on trumpet and as band leader, the recordings also feature Horace Silver, Lucky Thompson, J.J. Johnson, Percy Heath and Kenny Clarke. This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

Released in 1955 on Prestige Records, The Musings of Miles is the first album from legendary trumpet player Miles Davis released in the 12" LP format. With Davis as bandleader, other players include Red Garland (piano), Oscar Pettiford (bass) and Philly Joe Jones (drums). This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

Graham Jonson is drawn to the comforts of melody and noise. How the two conspire in tension, tonally and atonally, stirring up memory and mood. This quality animates the technicolor world of quickly, quickly, the psych-pop project that emanates from Kenton Sound, his basement studio in Portland, Oregon. “Everywhere your eye lands, there’s another curio to marvel over,” noted Pitchfork’s Philip Sherburne when he visited Jonson’s recording space for a Rising feature just after the release of his “strikingly original” 2021 debut LP, The Long and Short of It. Since then, Jonson formed a live band, released his Easy Listening EP in 2023, and navigated the up-and-downs of a young musician, the sustainability of tours and relationships. While shaped by personal bouts and fallouts, his highly-anticipated full-length follow-up finds Jonson making music that’s universal, open-ended, and rewarding, like great songwriters can do. He set out to make a folk album but couldn’t help coloring it in with noise; a confluence of lush instrumentation and unexpected sounds. Ambitious yet intimate, hi-fi yet homespun, the idiosyncratic songs on I Heard That Noise curve around the contours of everyday life with warmth, wit, and dissonance.

The bastard child of a Ramones/Strokes one night stand, Bad Nerves play ferociously fast distorted pop songs and drew acclaim with their previous releases ‘Dreaming’, ‘Baby Drummer’, & ‘Can’t Be Mine’. It would appear to be in the DNA of rock music, particularly punk music, that the music itself happens by some kind of happy accident. Nothing truer could be said of the Essex five piece speed punk band. For frontman Bobby, the formation of the band itself was an unintentional happenstance that just wound up taking off in unexpected but very exciting directions. Did band life choose Bad Nerves or did Bad Nerves choose band life? It's hard to say. On the eve of releasing their second album, the brilliantly titled Still Nervous, the boys are still reeling from their surprise success. Their self-made, self-funded debut put them in the hearts and minds of the cream of the alternative crop in 2020; from tastemakers such as Dan P Carter to Alyx Holcombe, and from peers like Green Day's Billie Joe Armstrong to Pearl Jam's Stone Gossard, Bad Nerves were instantaneously heralded with the poisoned chalice of saviours of a type of punk that promises to never die. They’ve toured with Royal Blood and The Darkness, and have drawn comparisons to Supergrass, the Ramones and Jay Reatard. And despite all that, their pop rock is a unique – and very fast – whack over the head that reminds us all of the future life left in hell-raising loud and fast music. Speaking from his dad's garage-come-studio in Colchester, frontman Bobby recounts how he and bandmate Will had always played in bands. By chance of a random text at the end of 2015 (“let's do a band!”), Bobby relented once more unto the breach. “Seems like a terrible idea,” he recalls. “Really?! Another band?!” However with “nothing else to do”, it became the only choice. Bad Nerves began to write songs, and promised to never play live, but the songs were so much fun they were forced to reconsider. The only challenge was the pace of said songs. “Finding a drummer was a nightmare,” he laughs. But what started off as a laugh has now become a fated mission. Gone is the blasé motivation, now Bad Nerves are laser-focused on this being the best thing they've ever done. “It feels like this is the main thing that any of us will do in our lives,” says Bobby. “If we're remembered for anything…” Given that rock doesn't have as much of a look-in on the air and in the press, Bad Nerves feel a calling to try and revive rock from the rust. Their second LP, Still Nervous, is due for release Spring 2024. Did they feel pressure approaching the sophomore slump, so to speak? Not at all. The process was more or less the same; Bobby demoing the tracks in his dad's garage, and then the band re-recording everything “properly” with their friend Mike Curtis. The only difference was in trying to ensure that they were still writing for themselves, and not just to satiate their new audience. “When I write songs thinking about what people expect I end up mimicking the first record, but not well,” says Bobby. That internal battle was new, but Bobby quickly realised you can't write like that, and in the process of being “pissed off trying to write a Bad Nerves song”, he found some of the best tracks on the album, doing whatever he wanted. Bad Nerves have been blazing at two hundred miles an hour across the live circuit for a few years now, and are showing no signs of slowing down. Despite the speed and chaotic nature of their music, they have taken great pride in challenging the traditional punk method, by playing tight and trying to replicate the sound of their record in the live setting. “We wanna deliver the songs well,” says bassist Jon. And that's why people have taken notice. Bad Nerves set the bar much higher. One of the band's most iconic gigs to date was a headliner at Sebright Arms in London in 2022, which was so electric they decided to release a live recording of it. “I'm surprised no one died that night,” says Jon. “That ceiling is so low! I've never seen so many people sweat. It was crazy. We were all sick afterwards.” The magic of rock music is in the chaos of the live performance. Bad Nerves understand that. They chase it. They crave it. They know how to create it. “My favourite Ramones record is the live one,” says Bobby. “The stakes are high. That's what makes it.” The future is loud for Bad Nerves. They proactively seek to make the type of in-your-face, opposite-of-sterile, rock music that the genre was built on. They want to play as much as they can for as long as possible, in the hope of inspiring the next generation, before it’s too late. It feels as though they have arrived just in time.

Electric War is an electrifying collaboration between British power trio, Little Barrie (Barrie Cadogan and Lewis Wharton, who wrote and performed the theme to Better Call Saul) and acclaimed producer/drummer, Malcolm Catto, fusing unique talents into a mesmerizing exploration of raw, experimental sound. Electric War delivers a blend of sharp guitar lines, thunderous drums, and swirling textures that evoke a post-apocalyptic soundscape teetering between chaos and harmony.

Vinyl LP pressing.

A Study Of Losses is the seventh studio album from Beirut, the musical project of Zach Condon. The project originated in spring 2023, when Viktoria Dalborg, director at the Swedish circus Kompani Giraff, reached out to Condon, asking if he would be interested to provide the music for their next project, a show based on an adaptation of a novel by German author Judith Schalansky. The main themes in Schalansky´s book and in the adaptation for the circus show deal with the concept of loss and the impermanence of everything known to us: from extinct animal species, lost architectural and literary treasures to more abstract concepts of loss through the process of aging. In close collaboration, A Study Of Losses, turned into a rather unexpected piece of music - at 18 songs and nearly an hour long, it is by far the largest album Beirut has ever done, and amongst some of their most beautiful work to date.

BAYKER BLANKENSHIP’S debut 6-track EP YOUNGER YEARS will be available on vinyl on 4/18!

Wyoming native Ian Munsick’s 20-track third studio album, Eagle Feather, produced by Munsick, Jared Conrad and Jeremy Spillman, arrives April 18, 2025 via Warner Music Nashville. Building on the concept of his sophomore album White Buffalo, Eagle Feather is inspired by the native symbol representing honor, strength and wisdom. Celebrated by HITS and The New Yorker alike for putting the “western back in country,” Munsick honors his roots while navigating themes of family and love amid the backdrop of the Rocky Mountains.

O?ùpá clear w/ black and white vinyl. For the last 24 years, Tunde Adebimpe has largely been known as the co-founder, co-vocalist and principal songwriter for TV On The Radio. The mostly-black art-rock band triumphed through two decades of volatile cultural change to become one of the most beloved, enduring and influential groups from New York City's early-2000s rock scene. Though Tunde's poetic songwriting and towering vocals are central to TV On The Radio, the band will always be a collaboration between a group of musicians.Tunde's personal story exists on a parallel path, as a sort of creative polymath. He is a musician but also an illustrator and painter. He's a former animator and stop-motion filmmaker (Celebrity Deathmatch). He is a television and film actor, with roles in Jump Tomorrow (2001), Rachel Getting Married (2008), Spider-Man: Homecoming (2017), Twisters (2024) and Star Wars: Skeleton Crew (2024).. And now he is also a solo artist, with his first-ever solo album, Thee Black Boltz.Tunde initially conceived of the album in 2019, while TV On The Radio was on a break. Two years later, as the world emerged from the Covid pandemic, he started a notebook of words, illustrations and ideas, forming what he calls, "mixtape of emotions the music could evoke. A feeling map of sorts." It is how Tunde begins most of his projects, and in 2011 he started translating those ideas into music with the help of multi-instrumentalist Wilder Zoby (Run The Jewels), with whom he shares a studio with in Los Angeles.Thee Black Boltz is not a TV On The Radio album. But the excitement of doing something on his own ignited a similar spark in Tunde as the early TV On The Radio days. The songwriting process is the same, but without his TVOTR bandmates Tunde "didn't have that scaffolding to hang on. That was both terrifying and exhilarating."At the heart of the album is it's title, a nod to Tunde's propensity to write and sing about the human condition, in all it's forms, under all it's stressors, both big and small. It is his response to the macro unease of a post-pandemic world careening towards violent authoritarianism and the personal grief that has come from loss in recent years, specifically the sudden passing of his younger sister while making this album. Thee Black Boltz is Tunde's desperate grasping of small moments of joy amidst the dissonance and sadness, any way he can. "It was my way of building a rock or a platform for myself in the middle of this fucking ocean."As Tunde writes in his notebook, "The sparks of inspiration/motivation/hope that flash up in the midst of (and sometimes as a result of) deep grief, depression or despair. Sort of like electrons building up in storm clouds clashing until they fire off lightning and illuminate a way out, if only for a second." "Also," he adds. "It's a good name for a cool metal band, and I think that most people would describe me as akin to a very cool metal band."

For New Orleans duo The Convenience, it's all about the search for a new level of raw expression. With their second LP, Like Cartoon Vampires, that meant creating with their hands much more than buttons or switches, entranced by a hypnotic physicality and collage-y, spur-of-the-moment approach to composition. This led to a beautifully fucked-up avant-rock soundworld, peppered with spidery, atonal guitar work, pointy rhythms, and strident feedback. Such developments may come as a shock for anyone who's heard their 2021 debut album Accelerator, a sugary funk-pop wonderland. But songwriters and multi-instrumentalists Nick Corson and Duncan Troast are following what makes them most giddy right now: cathartic noise-rock, enigmatic drone, and playful experimentalism.While in many regards, Like Cartoon Vampires is a total reinvention, it's also a return to their roots. They describe Accelerator as a pit stop into groovy synth-pop, heavily inspired by their time in fellow Crescent City group Video Age, rather than a permanent move into their sonic dream home. Corson studied guitar and performed in rock bands for most of his life, while Troast grew up primarily playing the piano and keys. Eventually, Corson experienced bouts of disillusionment with his instrument of choice, in part due to his formalist training, but once Troast fell down a rabbit hole of strange guitar music he'd never heard, a twinkle formed in Corson's eye, as he was eager to share his knowledge. Troast pored over early Fall LPs and was magnetized by the mutant disco and no wave of ZE Records, which bridged the gap between his funky predilections and post-punk fascinations. The pair also rekindled their love of krautrock and bonded over a budding interest in classical minimalism and guitarist Glenn Branca. Once they started working on new material, it was clear that they wanted to loosen up and go full-on mad scientist with the electric guitar.Sessions were characterized by gnarly, improvisational jams, which were then edited, and they tinkered with everything from cassette loops, found sounds, and 808s to prepared guitar and harmolodic tunings. As for their dual guitar work, Corson found defying conventions thrilling, and Duncan reveled in an ignorance of the notes he was playing. From both poles, it was pure frenzied emotion plugged straight into amplifiers, as they composed with a more physical, impulsive approach. Tracks like "Target Offer" and "Fake the Feeling" quake with ear-splitting guitar feedback, while "Pray'r" and "Rats" eschew their groove worship in favor of haunting minimalism. Song after song, Accelerator's pop influences are traded in for more eccentric frontiers-James Brown for James Blood Ulmer, Prince for Pere Ubu-but the clear common denominators of their first two records are spellbinding funky instincts and a mastery of texture. Their exuberant pop sensibilities also poke out with relative frequency, especially on the melodic post-punk opener "I Got Exactly What I Wanted" and the tender, bucolic "Vanity Shapes," complete with violin from Lawn's Mac Folger.Lyrically, Like Cartoon Vampires collects dispatches from a dying empire. Characters are devoured by alienation and vanity, though society doesn't bat an eye, sleeping comfortably under the blanket of American rugged individualism and consumerism-as-culture dogma. The despair is alarmingly mundane, as dystopian markers like self-driving cars and "designer toothpaste" are plentiful but matter-of-fact, and in this sphere, the only choices that seem to multiply are the ways one can shrink inside themselves. Corson paints with a slippery tongue, artfully utilizing classic Americana, phonetic improvisation, and fragmented, surrealist word play to capture a simmering discontent that is at times sickly humorous.

The title for Divide and Dissolve's new album, Insatiable, came to Takiaya Reed in a dream. Themulti-instrumentalist and composer had a vision of a better world, one that gelled seamlessly with theoptimism of her take on doom metal: "I saw people committing great acts of harm never being happy,and people committing great acts of love, always being happy," she says. "People are constantly feedinginto this genocidal energy, depleting all of these resources in the name of so-called power, just to end uppowerless. Whereas people feeding into pathways of love and decolonial energy, honouring loving andbenevolent ancestors, experience such a deep sense of fulfilment." For Takiaya, this is what it means tobe "insatiable"; it's the way we choose either a path of destruction or one of compassion, andexperience it to it's fullest. "The album's title hits on so many levels," she continues. "It's an album aboutlove, and it feels important to tap into that, now more than ever."If all of this sounds a bit heavy, wait until you hear Divide and Dissolve's music. Already legends on theinternational doom metal scene, they are able to build upon the genre's trademark sludgy guitars andthundering drums with Takaiya's deft and wondrous saxophone, adding a layer of intricacy rarely seen indoom. Over Insatiable's 10 tracks, Divide and Dissolve run the gamut of doom metal - from theear-splitting depths of lead single "Monolithic", to contemplative, dare we even say softer moments, likeon the aptly titled songs "Loneliness" and "Grief". Divide and Dissolve are a band that have honed theirsound to a fine point, and yet continue to find new ways to evolve, both musically and conceptually. Likeall of Divide and Dissolve's music, Insatiable is almost entirely instrumental, but is able to convey deepresonance and complexity.