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14 Songs, Johnny Cash, Willie Nelson, Waylon Jennings $ Kris Kristofferson. Live at Nassau Coliseum features live classics such as "Mammas Don't Let Your Babies Grow Up to Be Cowboys," "Ring of Fire", "Me and Bobby McGee", and more.

Jade Hairpins waste no time fulfilling their second album's titular demand. From its harmony-drenched opening note to its baroque-anthemic conclusion, Get Me the Good Stuff is positively loaded with musical ideas, an absurdist buffet of sound and aesthetic that comes with one hell of a floorshow as the Hairpins stack those ideas higher and higher, almost daring them to crash to the floor. Instead, those elements - punksploitation, power pop, baggy, funk, and Italo disco are just some touchstones - are not only held aloft, they defy gravity and convention. These pyrotechnics are, in true Jade Hairpins fashion, something of a sleight of hand. While the music swaggers and gallops, Get Me the Good Stuff grapples with anxiety and self-doubt, obfuscating pain and alienation with sparkling wit and some straight-up ravers. Get Me the Good Stuff opens with one of those, "Let It Be Me," in which Jonah Falco shouts lyrics about being alone with one's shortcomings against guitars, synths, and harmonized vocals that are on the verge of closing in. The song is just over 90 seconds long, hitting with the gnarled-barb ferocity of punk and the gleeful insanity of theatrical art rock. It is, in other words, overwhelming. Or it would be if Jade Hairpins - Jonah Falco and Mike Haliechuk - weren't remarkably nimble in their ability to bring unity to sounds by placing them in competition against each other. When those sounds are adjacent, like the glam and disco that saturate "Drifting Superstition," the thrill of those universes colliding in the heat of an absolutely filthy clavichord line turns its lyrics, about the habit of solving personal problems by ignoring them, into a winner's anthem on the order of Bowie or Hot Chocolate. Get Me the Good Stuff arcs towards unequivocal joy as Falco, Jade Hairpins' primary lyricist, breaks these cycles and attempts to run away with his dreams. The arc is roughly analogous to how the album came to fruition. Four years removed from Harmony Avenue, an album of material that proved too strong to be contained within the narrative universe of Fucked Up's Dose Your Dreams, Jade Hairpins have gelled as a live act - with Tamsin M. Leach and Jack Goldstein centering them on stage - and planted their flag in the UK punk scene in which Falco has embedded himself. Working out new material live, Falco noticed that crowds were digging into his unfinished lyrics, and the album tightened around the anxieties of being in the spotlight, of being worthy of attention. At times, those songs are eager to please, like the album's title track in which a winking self-deprecation rubs up against the self-congratulatory bombast of Freddie Mercury, Falco simultaneously turning heads as a shooting star and a burning car. Elsewhere, as in "Better Here Than in Love," Jade Hairpins pitch themselves towards creating gorgeous soundscapes that exist nowhere else, channeling postpunk through the glimmering haze of '80s Japanese electronic music. Theatrical and personal, absurd and true-to-life, playful and serious, Get Me the Good Stuff is album of tremendous personal and artistic growth that signposts towards dozens of potential futures to come. It's not only worth the attention, it continuously rewards it.

Jade Hairpins waste no time fulfilling their second album's titular demand. From its harmony-drenched opening note to its baroque-anthemic conclusion, Get Me the Good Stuff is positively loaded with musical ideas, an absurdist buffet of sound and aesthetic that comes with one hell of a floorshow as the Hairpins stack those ideas higher and higher, almost daring them to crash to the floor. Instead, those elements_punksploitation, power pop, baggy, funk, and Italo disco are just some touchstones_are not only held aloft, they defy gravity and convention. These pyrotechnics are, in true Jade Hairpins fashion, something of a sleight of hand. While the music swaggers and gallops, Get Me the Good Stuff grapples with anxiety and self-doubt, obfuscating pain and alienation with sparkling wit and some straight-up ravers. Get Me the Good Stuff opens with one of those, "Let It Be Me," in which Jonah Falco shouts lyrics about being alone with one's shortcomings against guitars, synths, and harmonized vocals that are on the verge of closing in. The song is just over 90 seconds long, hitting with the gnarled-barb ferocity of punk and the gleeful insanity of theatrical art rock. It is, in other words, overwhelming. Or it would be if Jade Hairpins_Jonah Falco and Mike Haliechuk_weren't remarkably nimble in their ability to bring unity to sounds by placing them in competition against each other. When those sounds are adjacent, like the glam and disco that saturate "Drifting Superstition," the thrill of those universes colliding in the heat of an absolutely filthy clavichord line turns its lyrics, about the habit of solving personal problems by ignoring them, into a winner's anthem on the order of Bowie or Hot Chocolate. Get Me the Good Stuff arcs towards unequivocal joy as Falco, Jade Hairpins' primary lyricist, breaks these cycles and attempts to run away with his dreams. The arc is roughly analogous to how the album came to fruition. Four years removed from Harmony Avenue, an album of material that proved too strong to be contained within the narrative universe of Fucked Up's Dose Your Dreams, Jade Hairpins have gelled as a live act_with Tamsin M. Leach and Jack Goldstein centering them on stage_and planted their flag in the UK punk scene in which Falco has embedded himself. Working out new material live, Falco noticed that crowds were digging into his unfinished lyrics, and the album tightened around the anxieties of being in the spotlight, of being worthy of attention. At times, those songs are eager to please, like the album's title track in which a winking self-deprecation rubs up against the self-congratulatory bombast of Freddie Mercury, Falco simultaneously turning heads as a shooting star and a burning car. Elsewhere, as in "Better Here Than in Love," Jade Hairpins pitch themselves towards creating gorgeous soundscapes that exist nowhere else, channeling postpunk through the glimmering haze of '80s Japanese electronic music. Theatrical and personal, absurd and true-to-life, playful and serious, Get Me the Good Stuff is album of tremendous personal and artistic growth that signposts towards dozens of potential futures to come. It's not only worth the attention, it continuously rewards it.

Mutant is proud to present Academy Award-winning composer Michael Giacchino's latest album, Exotic Themes for the Silver Screen – Volume 1, featuring iconic scores from Giacchino's extensive portfolio rendered in the retro lounge style of Exotica from the 1950s.



“It's no secret that we at Mutant are huge fans of Michael Giacchino,” says Spencer Hickman, Co-Founder of Mutant. “We're excited to release a retrospective of his astonishing three decades as a composer. Rather than just curating a simple compilation of his previous works, Michael went back into the studio, rearranged and re-recorded every major theme from his career. These tracks have been recorded in an Easy Listening style inspired by such greats as Martin Denny and Les Baxter, creating not just a unique and incredible look back at some of the most beloved movie and television themes of the modern age, but also bringing a fresh, exciting take to the beautiful journey he has taken us all on with him. It feels like you are discovering these songs for the very first time: timeless, beautiful, and a joy to listen to. These newly recorded themes transport you to a far-off sunset, looking out at the ocean, complete with a cocktail in hand, providing a much-needed escape from the stress of modern times, and we can all agree that is something we all crave right now.”



Exotic Themes for the Silver Screen – Volume 1 spans nearly two decades of Michael Giacchino’s music, from his early video game scores to his television hits and blockbuster films. The album transforms these works through the lens of Exotica, replacing epic strings and thundering drums with vibraphones and marimbas.



“This album was inspired by the work of Arthur Lyman and Martin Denny,” says Giacchino. “What would they do with the Star Trek theme? Or video games like Medal of Honor? It was a way for me to play in that world I loved so much growing up. I thought it would be fun to create a fantasy world, where this album was recorded back in 1967 and then lost, only to resurface today.”

The album showcases Giacchino’s unerring talent for melody, stripping down grand symphonies to their essential elements while retaining their aesthetic and emotional core.



“So much was rooted in the big orchestral sound, so it was really about scaling it back. The real trick is figuring out the little fun hooks and things you can add along the way. There were no rules; I was up for anything. It was a way to re-engage with the material and be creative in a new way.”



Exotic Themes for the Silver Screen – Volume 1 includes an array of reinterpreted pieces from Michael Giacchino’s career. Highlights include ‘Primordial Forest’ from the 1997 video game The Lost World: Jurassic Park, ‘Life and Death’ from Lost, the theme from Ratatouille, ‘Roar!’ from Cloverfield, ‘Enterprising Young Men’ from Star Trek (2009), ‘A Man, A Plan, A Code, Dubai’ from Mission: Impossible - Ghost Protocol, and a Super 8 suite.



Featuring package design by Luke Insect, and liner notes by Charlie Brigden.

Robyn Hitchcock is a rock’n’roll surrealist. Born in London on March 3rd, 1953 he describes his songs as “pictures you can listen to”. As much a child of Dali, De Chirico, and JG Ballard as of his 1960s musical heroes, he is a master of the absurd, reveling in the beauty of the unexpected. His first publicly visible band The Soft Boys (1976 - 81) has remained an influential art-rock touchstone for generations of musicians. “I just want to be an obscure cult fringe,” he told the NME in 1978; the NME didn’t believe him, but he’s been true to his ambition. Without ever breaking the surface of pop culture Hitchcock has floated at a tangent to the mainstream for nearly 5 decades. His songs have been performed by REM, The Replacements, Neko Case, Gillian Welch & David Rawlings, Lou Barlow, Grant Lee Phillips, Sparklehorse, and Suzanne Vega with the Grateful Dead among others. A confirmed outsider, he nonetheless has devoted listeners around the world who attend his concerts, and also tune into the online streaming shows Robyn seasonally does with his wife, the singer Emma Swift. In 1996 he was the subject of Jonathan Demme’s in-concert film, ‘Storefront Hitchcock’. Robyn Hitchcock came of age in the 1960s when he attended Winchester College, an eccentric hothouse boarding school in the south of England. This is the subject of “1967”, which is both a memoir and an album, due for release in June this year. The memoir is a book “1967: How I Got There And Why I Never Left”, describing how the music of Bob Dylan, The Beatles, Jimi Hendrix and others drastically transformed the direction of his life when he left home for this strange new world. The companion record album “1967: Vacations In The Past” is a selection of the (mostly) hit songs of that year, re-recorded acoustically by Robyn with the help of some friends in Cambridge, San Francisco, and Sydney. He is currently preparing new material to release in 2025. “I like to keep busy”, he says: “We have all eternity to not exist”.

"Call Of The Champions is an album by legendary American composer John Williams. The piece of the same name was composed by Williams especially for the Olympic Winter Games of 2002 in Salt Lake City. It is the opening track of this album which features over a dozen original tracks by Williams, plus an additional bonus track: ""Summon The Heroes"", the anthem written for the 1996 Olympic Summer Games in Atlanta. The album also features ""American Journey""; a six-part orchestral composition by Williams that was commissioned by U.S. President Bill Clinton for the 2000 Millenium celebrations in Washington D.C. ""American Journey"" is presented for the first time as a complete concert work on this album.

This album features The Mormon Tabernacle Choir, the Utah Symphony, The Boston Pops Orchestra and the Recording Arts Orchestra of Los Angeles. The album was released as An American Journey in the United States.

Call Of The Champions is available for the first time on vinyl as a limited edition of 800 copies on turquoise coloured vinyl and includes an insert with liner notes by music journalist Jackson Braider.

Bobo Integral Records announces the Deluxe Edition of "Dead Calm", the debut album by The Boys With The Perpetual Nervousness, available September 13, 2024. This edition enriches the original tracks (now remastered), which were met with immediate success and critical acclaim, with new material and acoustic demos. Also incorporates an expected insert with all lyrics. Upon its initial release in 2019 by Pretty Olivia Records, "Dead Calm" was celebrated for its melodic craftsmanship. Purepopradio praised it asa "masterpiece of melody and harmony", Powerpopaholic rated it 9/10 and included it in their "best of 2019 list for best power pop this year", and Section 26 recommended it as "Presque indispensable". After two other records, "Songs From Another Life" and "The Third Wave Of_", that are now cult classics in the genre, it's the time to come back to the record that started it all. The Deluxe Edition offers fans an exclusive track from the original sessions, "Wouldn't Be Anywhere Else", and six acoustic demos that provide insight into the band's creative process. Reflecting their musical influences, such as The Byrds, R.E.M., Big Star, The Go-Betweens, Teenage Fanclub and the classic power pop era, the band's sound is a contemporary homage to these inspirations. Andrew Taylor is the leader and soul of Dropkick, a wonderful Scottish power pop group with touches of altcountry. Gonzalo Marcos is part of the cult Spanish indie pop group El Palacio de Linares and founder of the Bobo Integral Records label. The two forged a friendship during Dropkick's first tour of Spain and Dropkick ended up releasing a couple of albums on the label. "The most perfect voice in jangle/power-pop at present (sorry Teenage Fanclub fans!)" - Janglepophub

"Call Of The Champions is an album by legendary American composer John Williams. The piece of the same name was composed by Williams especially for the Olympic Winter Games of 2002 in Salt Lake City. It is the opening track of this album which features over a dozen original tracks by Williams, plus an additional bonus track: ""Summon The Heroes"", the anthem written for the 1996 Olympic Summer Games in Atlanta. The album also features ""American Journey""; a six-part orchestral composition by Williams that was commissioned by U.S. President Bill Clinton for the 2000 Millenium celebrations in Washington D.C. ""American Journey"" is presented for the first time as a complete concert work on this album.

This album features The Mormon Tabernacle Choir, the Utah Symphony, The Boston Pops Orchestra and the Recording Arts Orchestra of Los Angeles. The album was released as An American Journey in the United States.

Call Of The Champions is available for the first time on vinyl as a limited edition of 800 copies on turquoise coloured vinyl and includes an insert with liner notes by music journalist Jackson Braider.

The Balcony (10 year anniversary) - Debut and breakthrough record The Balcony has become a career-defining album for Catfish and the Bottlemen, with Double Platinum status and 9 BPI Certified Singles including ‘Cocoon’ and ‘Kathleen’, it was originally released through Communion/Island Records on 15th September 2014. Written by Van McCann and produced by Jim Abbiss, the collection of songs on this album showcase McCann’s talent for posing everyday, easily identifiable observations through his lyrics. The album’s success and the many sold out shows resulted in a Brit Award for British Breakthrough Act. The expanded album will be available on a collector’s 7” boxset, a beautiful black slipcase housing 7 discs, each with original artwork, and a tracklist that includes the full The Balcony album plus bonus tracks ‘Hourglass (Ewan McGregor Version)’ and ‘ASA’ This boxset will be numbered and limited to 2,000 copies worldwide. LTD 2LP - In celebration of the 10 Year Anniversary and after their biggest headline shows to date this Summer, The Balcony will be released on limited edition ultra-clear 2LP with inverted white artwork and 6 bonus tracks including a selection of previously unreleased acoustic versions of ‘Cocoon’, ‘Kathleen’ and ‘Pacifier’, ‘Rango’ (single version), ‘Hourglass’ (Ewan McGregor version) and rare bonus track ‘ASA’ available on a vinyl 12” for the first time after the original pressing of the limited edition 7” single 10 years ago.1CD - In celebration of the 10 Year Anniversary and after their biggest headline shows to date this Summer, The Balcony will be released on limited edition 1CD with inverted white artwork. This CD features the full album, plus a selection of previously unreleased acoustic versions of ‘Cocoon’, ‘Kathleen’ and ‘Pacifier’, ‘Rango’ (single version), ‘Hourglass’ (Ewan McGregor version) and rare bonus track ‘ASA’ available on CD for the first time after the original pressing of the limited edition 7” single 10 years ago.

Formed in London in 1976, The Damned became one of the most groundbreaking and influential bands coming out of the 70s British punk rock scene. Their debut single “New Rose” (1976) is considered the first punk single to be ever released in the UK. Throughout their impressive 45+ year career (and counting), The Damned have experimented with various musical styles, incorporating elements of gothic rock, psychedelia, and new wave into their sound. In October 2020, over 40 years after the founding members parted ways, The Damned announced a series of reunion shows with the original line-up consisting of Dave Vanian (vocals), Brian James (guitar), Captain Sensible (bass), and Rat Scabies (drums). However, due to the pandemic, they were forced to postpone the shows until 2022. November 3rd, 2022, saw the band performing at the fully packed O2 Apollo in Manchester, UK, delivering an energetic 21-song set drawn from the first two albums, the 1977’s “Damned Damned Damned” and “Music for Pleasure”, the only albums to feature the four founding members. This legendary reunion show is captured on the worldwide release “AD 2022 – Live In Manchester” which perfectly portrays the unique magic around The Damned.

"Allegra Krieger’s ""Art of the Unseen Infinity Machine"", her second full-length album with Double Double Whammy, is a collection of 12 songs that pick at the fragile membrane between life and death.

Krieger’s previous album, ""I Keep My Feet on the Fragile Plane"", hewed more closely to the domestic spaces of city and mind. Rolling Stone regarded the album as “ten songs of heady philosophical meanderings packed with emotional dynamite,” and likened her “finely phrased lyrics” to those of “Joni Mitchell, Leonard Cohen, and David Berman.” Krieger’s existential meditations remain on ""Art of the Unseen Infinity Machine"", however her meandering melodies have taken on a stronger sense of direction. She narrates candidly and assertively; the full-band arrangements never overpower, only offer a robust platform on which Krieger’s voice reaches new heights.

The full band brings a heightened sense of drama to the album’s arrangements, which contrasts the quieter approach of Krieger’s previous LP. There are noisy interludes, jazz-inflected discursions, impactful stops and starts, and occasional spaces for Krieger to stretch out her impressive vocal range (most prominently at the dazzling climax of album stand out “Came”). In ""Art of the Unseen Infinity Machine"", Krieger invites us to a place where transfiguration is not only possible but actively happening. From this place, the beautiful and the banal and the terrible are all laid out before us. And Krieger asks us not to look away. Instead, she invites us to stare down the beautiful and terrible in the world, and to realize that sometimes the only way out is through."

Ltd Edition!

The Mystery Lights return with their most ambitious offering to date. With Wayne Gordon back in the producer's chair, the group delivers an eclectic mix of real-deal psychedelia, punk, art rock, and even a splash of country via the Kinks(y) pop earworm "I'm Sorry I Forgot Your Name". The psychedelic highlights of the album, "Purgatory", "Cerebral Crack" and "Can't Sleep Through the Silence", are dark and trippy, landing somewhere between the guitar-driven, lysergic mayhem of the 13th Floor Elevators and the punked-up, tongue-in-cheek insanity of The Monks. But throughout there's a cohesiveness threaded by the elevated musicianship, earnest lyrics and attention to detail that make for a fiercely raw, yet unabashedly catchy album-dripping with all of the sing along hooks that have made Mystery Lights one of the most exciting live bands on the scene.