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RYAN ADAMSPRISONERReleased Friday, February 17, 2017
Price: $11.99 (sale priced)Rock & Pop
Prisoner positions Adams in a comfortable pocket: one foot in a cowboy boot, a sneaker in Paul Westerbergs garage, and enough quirky proclivities to prevent him from sounding like anyone but Ryan Adams. The opening guitar crunch on lead single Do You Still Love Me? could cue an 80s training montage before it settles into a power ballad buoyed by swirling keys. Westerberg once had a dyslexic heart, but here Adams diagnoses himself as having a blind one, an impairment that he knows will keep him asking that titular question for years to come. This struggle against his own nature and hangups surfaces throughout the record. On the gorgeous, mid-tempo Doomsday, Adams cant help but proclaim that he could wait a thousand years while at the same time admitting that he doesnt know how to let [his] feelings go. To what extent is Adams both a prisoner and his own jailer (Prisoner), the man still residing in a house full of memories and the one whos actually haunting it these days (Haunted House)? The heart has a remarkable knack for mending itself, but too often this patient just cant stay out of his own way.

Price: $11.99 (sale priced)Rock & Pop

GUY CLARKBEST OF THE DUALTONE YEARSReleased Friday, March 03, 2017
Price: $14.99 (sale priced)Folk

DIRTY PROJECTORSDIRTY PROJECTORSReleased Friday, February 24, 2017
Price: $10.99 (sale priced)Rock & Pop
So now that we return to Longstreth five years out from releasing anything resembling new work, with the added sting of an ended relationship, a dissolved band, and a hyper-specific sound completely dashed, the matter of language feels as prevalent as ever. On Dirty Projectors (perhaps the first self-titled album whose eponymous name feels as if it were addressing the project in a separate, past tense), Longstreth makes some of the same strides that he did on Swing Lo Magellan towards reaching a simpler, more common musical vocabulary, negotiating the reality of fame and royalties with his longstanding quest for individuality. If Dirty Projectors R&B leanings were implied before, here they are blown out to bombastic levels of flair and personal drama, openly touting Longstreths newfound songwriting connections to artists like Rih Rih and Solange. In brief moments, Dirty Projectors feels like a great rediscovery, a path forward for the project that unifies Longstreths fetishistic eccentricity with his peculiar knack for the accessible.

RHIANNON GIDDENSFREEDOM HIGHWAYReleased Friday, February 24, 2017
Price: $14.99 (sale priced)Folk
The album is a neat flip on Tomorrow Is My Turn, the Carolina Chocolate Drops singer's 2015 solo debut. That album features only one original composition, showcasing Giddens not just as an interpretive singer of tremendous vision and ingenuity, but also as a folklorist who's able to dip into the well of American song and from it draw moral clarity for the present day. Conversely, Giddens has writing credits on nine of Freedom Highway's dozen songs, but that's not to say she's tucked her folklorist's tools in a drawer somewhere. Like Bob Dylan, Giddens has completely absorbed the language of the American folk songfrom country-blues to jug-band anthems, from Pentecostal music to hip-hopand even the original numbers here pilfer words, images, and ideas from traditional music. Every song on the album is abundant in these acts of love and theft.

GRANDADDYLAST PLACE (DIG)Released Friday, March 03, 2017
Price: $11.99 (sale priced)Rock & Pop
Long considered the de facto leader of Grandaddy, Lytle moved from Modesto, California to Montana, and put out a few projects under his own name, or as part of Admiral Radley. The other members? Who is to say. But if Last Place is a time capsule of this period of separation, it sounds like the members of Grandaddy disbanded to gnaw on the more trying experiences of life. The album careens sort of helplessly between the depths of heartbreak and the disconcerting observations of a paranoid mind. Characters are frequently on the run, living on the roof of a big box store, or surreptitiously followed by hidden recording devices.

Price: $10.99 (sale priced)Rock & Pop
If Nonagon Infinity was a destruction-wreaking psych tornado, then Flying Microtonal Banana is the aftermath, marked by a certain eeriness and a touch of uncertainty. The gust-like effects that sweep through the closing minutes of foreboding opener Rattlesnake and into Melting might most explicitly evoke such a metaphor, but the whole mood of the album is a more subdued one by comparison to the breathless intensity of its predecessor. Lyrically, Flying Microtonal Banana charts undeniably dark territory, which needless to say only intensifies the aura of inevitable doom that persists through its instrumentation modified guitars, basses, keyboards and harmonica are all at work here, not to mention a Turkish zurna horn. From the earth Melting down, to drowning in Open Water, to Anoxia, this is psychedelic rock at the more apocalyptic and macabre end of the spectrum. But obviously thats only a good thing in the hands of such maestros of the genre.

LITTLE BIG TOWNBREAKERReleased Friday, February 24, 2017
Price: $12.99 (sale priced)Country

MINUS THE BEARVOIDSReleased Friday, March 03, 2017
Price: $12.99 (sale priced)Rock & Pop
On their sixth album VOIDS, Minus the Bear started with a blank slate, and inadvertently found themselves applying the same starting-from-scratch strategies that fueled their initial creative process. Album opener 'Last Kiss' immediately establishes the band's renewed fervor. An appropriately dizzying guitar line plunges into a propulsive groove before the chorus unfolds into a multi-tiered pop chorus. From there the album flows into 'Give & Take', a tightly wound exercise in syncopation that recalls the celebratory pulse of early Bear classics like 'Fine + 2 Pts' while exploring new textures and timbres. 'Invisible' is arguably the catchiest song of the band's career, with Jake Snider's vocal melodies and Knudson's imaginative guitar work battling for the strongest hooks. 'What About the Boat?' reminds us of the 'math-rock' tag that followed the band in their early years, with understated instrumentation disguising an odd-time beat. 'Erase,' recalls the merging of forlorn indie pop and electronica that the band dabbled with on their early EPs, but demonstrates the Bear's ongoing melodic sophistication and tonal exploration.

OLD 97'SGRAVEYARD WHISTLINGReleased Friday, February 24, 2017
Price: $10.99 (sale priced)Rock & Pop
And so when it came time for the Old 97 s to record the follow-up to the highest-charting album of their career, 2014 s Most Messed Up, producer Vance Powell brought up the idea of returning to Tornillo. We knew instantly that it was the perfect move, says Miller. The result is the eleven songs of Graveyard Whistling, the eleventh studio album from the Old 97 s. Knowing that he wanted to consider as many options as possible, Miller handed over a huge pile of songs to the band; they whittled his thirty selections down to eleven. It grapples with spirituality and mortality, Rhett says. Our songs normally hide deeper meanings in the subtext, but they re more on the surface for this record.' The trick the Old 97 s have held on to is to take a song that may have a darker theme and present it as something to be screamed along to in a club. The emotional range and musical scope of Graveyard Whistling also benefits from the contributions of some remarkable co-writers including Brandi Carlile, Caitlin Rose, Nicole Atkins, and Butch Walker.

Price: $11.99 (sale priced)Punk / Hardcore

SON VOLTNOTES OF BLUEReleased Friday, February 17, 2017
Price: $11.99 (sale priced)Rock & Pop
Notes of Blue's first two songs initially make it seem as though the album is going to be a mid-'90s throwback. Son Volt's lineup has been a revolving door over the years, acting more as a dictator-ruled outlet for Farrar's shifting creative whims. On the lilting opener, Promise the World, the band convincingly mimics the original lineup's sound. Jason Kardong's pristine pedal steel and Gary Hunt's husky fiddle sound like they're being performed by Dave Boquist, who last played with Son Volt in 1999. Adding to the nostalgia is the fact that the song itselfgentle, soulful, and confidentcould have easily been lifted from Trace's formidable tracklist, both in terms of both style and substance. The loping strummer Back Against the Wall likewise could be a lost single from the same era, with the added cherry on top of Farrar's own jagged, Neil Young-influenced lead guitar, a source of grit and unpredictability that's been sorely missed in nearly all of his post-Uncle Tupelo work.