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Richard Ashcroft is set to release the new album ‘Acoustic Hymns Vol. 1’ on October 29th via RPA / BMG. The album features twelve newly recorded acoustic versions of classic songs from his back catalogue spanning both his solo career and his time with The Verve.



ABOUT



After lockdown was lifted, Richard decided to start the project as a way to reunite the community around him, bringing a selection of great musicians and old friends back together again. As the project took shape, they discovered just how varied their new approaches could be. Some of the arrangements proved to be timeless and remained similar to the originals, with years of experience and a new found passion that saw Richard’s vocals express a fresh empathy within their lyrics. Meanwhile, other songs took on a new shape in this stripped-back set-up.



The rebirth of the iconic ‘Bittersweet Symphony’ was an emotional moment for Richard. It felt particularly poignant re-recording a song that he had written almost twenty-five years ago, especially as it's now officially his composition after Mick Jagger and Keith Richards relinquished their writing credits to him.

Another big moment comes with the new version of ‘C’Mon People (We’re Making It Now)’, a duet with Richard’s old friend Liam Gallagher. The pair have often talked about recording or performing the song together since it was first released in 2000, and now it’s finally happened - the sheer energy and delight that they shared during the session is palpable as the new recording beams with a joyous feeling of optimism.



‘Velvet Morning’ is another track that has been transformed. The vocals on the original version, as featured on The Verve’s classic ‘Urban Hymns’, were sung via a megaphone that Richard had purchased from a car boot sale the day before the recording session. Now Richard’s vocal really shines as it unleashes the song’s full magnitude.



The biggest surprise on ‘Acoustic Hymns Vol. 1’ is the inclusion of ‘This Thing Called Life’, a song which Ashcroft has rarely played live. It was originally recorded with No I.D. in the USA as a highlight of his soul-tinged RPA & The United Nations Of Sound project. Now taken back to basics, the new arrangement reveals a song that feels perfectly at home alongside Richard’s most highly regarded work.



Produced by Richard with regular collaborator Chris Potter, the album features his regular live band boosted by some special collaborators. Wil Malone provides the string arrangements, which were recorded at Abbey Road Studios. In addition, Chuck Leavell (The Rolling Stones, The Allman Brothers) performs piano, Roddy Bloomfield leads the brass section, and Steve Wyreman (Leon Bridges, Vic Mensa) contributes acoustic guitar and backing vocals.



Richard Ashcroft recently announced details of four special shows, each billed as “An acoustic evening of his classic songs.” After quickly selling out two nights at London’s Palladium, he subsequently added two bigger shows at the Royal Albert Hall and the M&S Bank Arena in Liverpool to fulfill huge public demand for tickets. He will play:

‘Time In The Sun’ is the fourth full length album
from Charleston, SC band Susto. The album was
written and recorded in the midst of a lot of life
changing events for lead writer / singer Justin
Osborne.
 Like everyone around the world, Osborne was
navigating the global issues felt from the pandemic
while normal life continued with its own blessings
and challenges. “We were navigating the global
and national issues that everyone else was dealing
with, but also I became a father and also lost my
father. There was a lot of contemplation going on
in my brain, a lot of personal evolution going on in
my life, and songwriting was my way of working
through it all. The title ‘Time In The Sun’ is meant
to be a monument to my own human existence
and also a tribute to the human experience in
general. I wouldn’t claim to understand what it
means to be a human, from the countless different
perspectives of the world, but I do have my own
experience to reflect on and I want to be able to
express and explain that in some way. I guess this
album is an attempt at that. At the core though, it’s
just a collection of songs about my life and my
feelings.”

With a decade between releases, VILDHJARTA remain as inscrutable and as close to anonymity as a band can be. VILDHJARTA's down-tuned, staccato riffs and pulverizing grooves are the sound of music stripped to its essence. Yet, the Swedish collective’s long-awaited album, måsstaden under vatten, is far more than a recitation of djent values. Clocking in at 80 minutes, it thematically picks up where the dark Swedish fable of 2011’s Måsstaden left off and delivers on the promise that record hinted at. Tracks like the recently released “när de du älskar kommer tillbaka från de döda” (“When the Ones You Love Return From the Dead.”) suggest a newfound subtlety and sophistication amidst the bombast and beauty in the breakdown.
Since dropping a minute of new live music in 2016, the band's focus has almost entirely been on the new album with drummer and now noted producer, Buster Odeholm (Born of Osiris, Shadow of Intent, Humanity’s Last Breath) heavily involved in the production, mixing and mastering of the music. Visual artist Rickard Westman, who did art for VILDHJARTA's debut as well as their Thousands of Evils EP in 2013, has also returned to the equation to reprise his disturbing visual iconography. Says the band: “Art happens when art happens.”
The sound of music is rarely this challenging, unforgettable and worth the wait.

Their eleventh studio recording “Generation 13“ saw SAGA release a concept album for the first time in their career. Inspired by the book ‘13 Gen Abort Retry Ignore Fail’ by Neill Howe and Bill Strauss, keyboardist Jim Crichton developed the (fictitious) story of young Jeremy, a member of what is known as the 13th Gen – the generation born between 1961 and 1981, identified as the 13th generation in the US since the founding fathers – whose future prospects, according to Strauss/Howe, were full of uncertainties despite the nation’s huge wealth, and whose daily life would be marked by violence and chaos. The result was a versatile album featuring haunting rock songs and an ambitioned story full of social criticism. Reissued as a Double Heavyweight Black Vinyl Gatefold Edition, “Generation 13” will be available for the first time ever on vinyl and features the acclaimed 1991 single „Gotta Love It“ as an exclusive bonus track as well as personal liner notes by Jim Crichton.

Long before John Brannon of Negative Approach cemented himself as a USHC icon, you
would hear rumblings about his pre-NA glam group, STATIC. Only a handful of people were
lucky/brave enough to see them live. Scenesters spoke of a tape but never seemed to have
one. Their most well-remembered song, Toothpaste and Pills, allegedly featured smashing
beer bottles against John’s mom’s basement wall as a percussion instrument. Could this be
real?

Fast forward to 2020 and a few months into the covid-19 lockdown, Brannon came across a
bunch of tapes he dug out of a box in his Mom’s closet - STATIC “DEMOS ‘78”, STATIC
“LIVE AT GROSSE POINTE SOUTH H.S.”, STATIC “LIVE AT PLEWA HALL”. Holy shit! The
legend is true! And best of all, STATIC rule!

John Brannon grew up in Grosse Pointe Park just a few blocks from the Detroit border. John
was always into music, but as soon as he heard T-Rex, The Stooges and Alice Cooper, he
was obsessed (and still is) and had to start a band to channel his obsessions. With the help
of neighborhood kid and collaborator Billy Daniels and a local drummer simply known as
“Red”, STATIC was born.

Before Negative Approach changed the face of punk and hardcore, before Laughing Hyenas
scared the world silly and blew everyone else off the stage and before Easy Action started
melting minds all over the world, there was STATIC. STATIC was real. STATIC was real as
shit.

Third Man Records is beyond ecstatic to be providing this long-missing piece of the
American Underground Music puzzle. We worked closely with John Brannon and Warren
Defever, one of Third Man Mastering’s resident wizards, to put together this essential
collection of demos and live recordings.

Livity 10'' series 01

5 tracks of pure heat of various styles from members of The Black Lodge global family. A1 is entitled "Atmospheres" from the ever-talented Michigan producer JTC aka Tadd Mullinix Bopside/Nation/Ghostly. A2, entitled "Arreskni" comes from newer Chilean artists MU-GA, a track we released in digital format last year from their debut EP. Finishing off the A-side is Italian super-duo SONS OF TRADERS SOT/Frigio/Black Lodge aka Tans X Mike Tansella Jr. with the acidic cut "Indianapolis" also released last year by BL on tape and digitally from their first full length album entitled "Crollo Nervoso". Side B blasts off with the early Chicago house inspired track "Passion" by prolific Dresden producer SNEAKER Uncanny Valley/Rat Life/Frigio. Closing off the comp is a dirty warehouse banger/burner by e-spirit, a new alias from LA producer DELIVERY LA Club Resource/Valcrond Video.

Formed in 1984, Sepultura are arguably Brazil’s biggest music export having enjoyed huge global success throughout their career to date. This five album box set represent the second phase of the bands career when vocalist Derrick Green joined the band on vocals after the departure of founding member Max Cavalera, although four out of the five of these records still feature his brother Iggor on drums. Spanning the years 1996 to 2009 this contains the albums; Against, Nation, Roorback, Dante XXI and A-Lex, all of which are half speed cut, remastered and back on 180g vinyl for the first time in a decade and also as a collectors LP box.

Bill Gage is a quasi-famous singer with a raw, rock ’n’ roll voice.
Cheater Slicks are an infamous, raw, rock ’n’ roll band. Put the two
together and the resulting album is a stream-of-conscious stew of
wild, fuzz-drenched rock ’n’ roll!
Some history: both Cheater Slicks and Bill Gage’s band BILL
began in Boston in 1987, and it was sometime around then that Gage
first sang with Tom and David Shannon playing guitars, in Gage’s
bedroom in Laconia, New Hampshire. It was an intense and primal
sound that was not forgotten by those involved.
Gage’s singing has been compared to Captain Beefheart, David
Thomas, Damo Suzuki, and Yoko Ono. However, Gage clearly has his
own sound, which includes guttural yells, sweet crooning, and bluesy
meanderings—all seemingly told from a tarpaper shack porch under
the oceans of Mars.
Cheater Slicks have from the start been a brain-melting rock ‘n’ roll
dream / nightmare of a band. Steeped in the wild guitar interplay and
pounding drums of classic noisy underground rock groups (Cramps,
Scientists, Velvet Underground), they have created their own unique
and ever-evolving style that has only gotten deeper and sharper over
the years.
In spring 2018, when Cheater Slicks were presented with the idea
of a collaborative record with Gage, they wasted no time, and began
writing and arranging new songs for the project. Gage traveled to
Columbus to record at the legendary Musicol studios in November of
that year. It was a great session and came together as if it were always
meant to be. After thirty years of performing, is the world finally ready
for Bill Gage—accompanied by the seismic Cheater Slicks?
All profits from this record will benefit the Arts Resources programs
of the National Association for Down Syndrome.

* UK roots classic dating from 1993 and originally appearing on the Sound `n’ Pressure label.
* A massive highly sought-after sound system favourite from the 90’s with conscious vocals and solid bassline which is not for the faint-hearted. The vocal cut is complimented with two militant dub versions, one of which is previously unreleased on vinyl.

Barenaked Ladies return with their first new album in four years, ‘Detour de Force’. The 14-track effort is the result of both pre- and post-lockdown recording sessions. The band spent five weeks at vocalist/guitarists Ed Robertson’s cabin outside Toronto pre pandemic writing and recording in a makeshift studio. During pandemic lockdown, they decided they wanted to polish things up a bit. They returned to a Toronto studio when the lockdown lifted to rework the tracks resulting in ‘Detour de Force’. The Barenaked Ladies are Ed Robertson: Guitar, Vocals Jim Creeggan: Bass, Vocals Kevin Hearn: Keyboards, Guitar, Vocals Tyler Stewart: Drums, Vocals Over the course of their remarkable career, Barenaked Ladies have sold over 15 million albums, written multiple top 20 hits (including radio staples “One Week,” “Pinch Me,” “If I Had $1,000,000”), garnered 2 GRAMMY nominations, won 8 JUNO Awards, had Ben & Jerry’s name an ice cream after them (“If I Had 1,000,000 Flavours”), participated in the first-ever “space-to-earth musical collaboration” with astronaut Chris Hadfield, and garnered an international fan base whose members number in the millions. In 2018, the band were inducted into the Canadian Music Hall of Fame and Toronto Mayor John Tory declared October 1st “Barenaked Ladies Day.”

Omara Portuondo, the leading lady of the Buena Vista Social Club, is one of Cuba’s most celebrated voices.
The album ‘Buena Vista Social Club Presents Omara Portuondo’ was released in 2000 in the wake of the phenomenal reception of the original Buena Vista Social Club album, and was remastered from the analogue tapes for its 2019 LP reissue. Omara is backed by a dream band formed of many of the original Buena Vista Social Club members including Ibrahim Ferrer (vocals), Rubén González (piano), Compay Segundo (guitar) and Orlando ‘Cachaito’ Lopez (bass).

To celebrate the “Women In Music” theme of this year’s National Album Day, this classic album will be pressed on limited edition purple colour vinyl.

Greetings Earth-o-nauts.

The worm has (re) turned! And this time the Regal Worm (Jarrod Gosling of I Monster, Cobalt Chapel) is tackling The Hideous Goblink.
An album painstakingly created by one solitary man ensconced in his darkened, tiny sky parlour of awe, wonder, and heaps of dusty old gear.

Regal Worm’s mission is putting a ‘ggressive’ back into progressive. Getting grubby with the ghosts of the old gods.
The Hideous Goblink reveals a distinct sense of urgency, expressing abstract musings on the shadow cast by our colonial history, nationalism,
terrifying overlords, and what the future might hold for the ever shrinking third tone from the sun.

The fourth Regal Worm offering draws on a number of fresh musical influences; be it space rock, cosmic funk, sludge, fusion, choirs, electronics or pop.

"WHAT THEN?" is the second album from Irish singer-storyteller David Keenan. The follow-up to his critically acclaimed 2019 debut "A Beginner's Guide To Bravery", which charted at Number One on the official Irish independent album charts, and Top 10 on the national album charts. It was also one of the best selling vinyl album releases by an Irish artist of 2019. At the end of 2019, David Keenan premiered his concert film 'Alchemy & Prose' at the London Doc'N'Roll film festival. "WHAT THEN?" has been produced by Jonathon Mooney of Portland, OR cinematic-indie rockers Other Lives. Guests on the album include celebrated Scottish author, namesake and soul brother David Keenan, Irish poet Stephen Murphy and Nashville drummer Aaron Steele, best known for his work with Portugal. The Man and Hayley Williams. David Keenan will be touring America in September as special guest of Rodrigo y Gabriela before returning to Europe to headline his own tour through October to December.

‘Different Frequencies’ is a compilation album,
pressed on transparent blue vinyl and released on
National Album Day 2021.
 With each track a standout record in its own right,
this compilation album showcases a new
generation of exciting artists at the start of their
journeys.
 The album features Different Recordings artists
such as Greentea Peng, p-rallel, NAYANA IZ,
Kojaque and many more, with genres ranging from
UK Rap, R&B and Electronic.
 ‘Different Frequencies’ brings together some of the
highlight releases over the last couple of years
from the label, this being some artists’ first tracks
cut to vinyl.

LP pressed exclusively for National Album Day 2021 on gold vinyl in
single-pocket jacket with custom dust sleeve and digital download
coupon.
 Through ‘Titanic Rising’, Weyes Blood, aka Natalie Mering, has
designed her own universe to soulfully navigate life’s mysteries.
Manoeuvring through a space time continuum, she plays the role of
melodic, sometimes melancholic, anthropologist.
 Tellingly, Mering classifies ‘Titanic Rising’ - written and recorded during
the first half of 2018, after three albums and years of touring - as The
Kinks meeting WWII or Bob Seger meets Enya. The latter captures the
album’s wilful expansiveness (“You can tell there’s not a guy pulling the
strings in Enya’s studio,” she notes, admiringly). The former relays her
imperative to connect with listeners. “The clarity of Bob Seger is
unmistakable. I’m a big fan of conversational songwriting,” she adds. “I
just try to do that in a way that uses abstract imagery as well.”
 The Weyes Blood frontwoman grew up singing in gospel and madrigal
choirs. (Listen closely to ‘Titanic Rising’ and you’ll also hear the jazz of
Hoagy Carmichael mingle with the artful mysticism of Alejandro
Jodorowsky and the monomyth of scholar Joseph Campbell.)
‘Something To Believe’, a confessional that makes judicious use of the
slide guitar, touches on that cosmological upbringing. “Belief is
something all humans need. Shared myths are part of our psychology
and survival,” she says. “Now we have a weird mishmash of capitalism
and movies and science. There have been moments where I felt very
existential and lost.”
 As a kid, she filled that void with ‘Titanic’. (Yes, the movie.) “It was
engineered for little girls and had its own mythology,” she explains.
Mering also noticed that the blockbuster romance actually offered a story
about loss born of man’s hubris. “It’s so symbolic that The Titanic would
crash into an iceberg, and now that iceberg is melting, sinking
civilization.” Today, this hubris also extends to the relentless adoption of
technology, at the expense of both happiness and attention spans.
 But Weyes Blood isn’t one to stew. Her observations play out in an
ethereal saunter: far more meditative than cynical. To Mering, listening
and thinking are concurrent experiences. “There are complicated
influences mixed in with more relatable nostalgic melodies,” she says.
“In my mind my music feels so big, a true production. I’m not a huge,
popular artist, but I feel like one when I’m in the studio. But it’s never
taking away from the music. I’m just making a bigger space for myself.”

LIZ LAWRENCE (Bombay Bicycle Club) returns with her heavily anticipated
new album THE AVALANCHE, following 2019’s critically-acclaimed Pity
Party and 2020’s Whoosh EP.
The album contains 11 brand new tracks, including the singles Where The Bodies Are Buried and Down For Fun.
Written and recorded in ‘The Coffin’ - her self-built garden shed home studio
- during the lockdown of 2020, the album showcases Liz’s growth as both a
songwriter & producer and positions her as the UK’s foremost fully independent alt-pop solo artist.
Heavy support at BBC radio, with playlists at Radio 1 & 6 Music, additional
daytime spot plays on both, as well as plays across all national specialist shows
Consistent support across DSPs with a host of New Music Friday and genre specific playlists, including being selected as the cover star of Spotify’s The Indie
List and Lo-Fi Indie playlists
Full UK headline tour announced for Autumn 2021, following festival appearances including All Points East and Deer Shed Sold out 2020 headline tour and
previous major arena/theatre support tours with Bombay Bicycle Club, Lucy
Dacus & Bloc Party FFO: St Vincent, Sufjan Stevens, R.E.M., Marika Hackman

Ross Sinclair is a drummer, guitarist and founding member of The Soup
Dragons. In the early 1990s Sinclair left the group to complete his studies at
the Glasgow School Of Art.
Ross Sinclair is best known for his Real Life project, initiated in 1994 when he
had the words ‘Real Life’ tattooed across his back. Since then Real Life has become a 23-year performance project, taking form in a wide range of exhibitions, public art and publication contexts. Over the two decades of the Real Life
project, Sinclair’s work has employed various mediums including performance,
painting and music, often at the same time.
Through installation and audience participation Real Life has sought to challenge the conventional exhibition practice and connect with the public. These
projects have been exhibited worldwide. Throughout the course of the project,
a consistent thread of Sinclair’s work has sought to address the nature of the
individual, collective and national identities of Scotland.
During August 2015, Sinclair exhibited his work in 20 Years of Real Life at Edinburgh’s Collective Gallery which celebrated 20 years of his Real Life project.
Sinclair worked with teenagers to create 5 bands and produce an LP titled Free
Instruments for Teenagers. Real Life is Dead/Long Live Real Life The most recent incarnation of the Real Life project came as part of a two-week residency
Ross Sinclair undertook at the Shanghai Himalayas Museum in China, ahead of
his solo exhibition titled Real Life is Dead/Long Live Real Life.
This exhibition served to herald a new phase of Sinclair’s on-going Real Life project. For the exhibition Sinclair added the text ‘Is Dead’ to the ‘Real Life’ tattoo.
The residency focused on the consistent themes of participation, performance
and collaboration, coupled with Sinclair’s use of music in his art throughout his
career. Sinclair worked with students at the GSOA over a period of two years to
develop and record two songs (Real Life is Dead and Long Live Real Life) which
lay at the core of the exhibition. The songs were recorded in both English and
Chinese.
In Shanghai, Sinclair worked with local musicians, artists and singers to create the Chinese-Scottish Real Life Orchestra - a musical dialogue between the
Chinese audience and Sinclair’s Real Life Project. The group came together in
a collective voice, in English and Chinese, to share experiences through music.
The orchestra presented a live performance at the opening reception of the
Phase Three exhibition of CURRENT: Contemporary Art from Scotland, which
provided the soundtrack to Sinclair’s installation consisting of multiple editions
of banners and videos representing the 23-years of the Real Life project. Participants were also invited to respond to the themes of Real Life is Dead/Long
Live Real Life with words and pictures which were displayed on banners and
placards.

LA-based, vocalist, producer, and songwriter Lykke Li announces the 10th Anniversary Deluxe Reissue of her seminal album Wounded Rhymes. The critically acclaimed album was produced by Bjorn Yttling and named one of the Best Albums of 2011 by The New York Times, Pitchfork, Entertainment Weekly, The Guardian, Clash, Paste, SPIN, and more. The album yielded singles “I Follow Rivers,” “Get Some,” “Sadness is a Blessing,” and “Youth Knows No Pain.”

Releasing 15th October 2021, ahead of National Album Day in the UK on 16th October celebrating women in music, the album will be reissued on 2LP 180g black vinyl. The first LP will feature the original album, along with a bonus LP featuring unreleased demo versions of “Youth Knows No Pain,” “Jerome,” “I Follow Rivers” and remixes by The Magician and Tyler, The Creator. The vinyl release features the original artwork on the sleeve, & an o card wrapping the release with the brand new anniversary artwork.