To celebrate the good kid, m.A.A.d city 10-year anniversary, Kendrick Lamar brings us exclusive new offerings.
Available October 21, 2022. Indie Exclusive Milky Clear Translucent 2 LP.

The Beach Boys “Sail On Sailor“ collection celebrates the landmark 1972 albums “Carl And The Passions” and “Holland.” This 5LP set features a 38-page book with extensive liner notes, rare photos and more. The collection includes remastered versions of the original albums as well as a previously unreleased concert from Carnegie Hall recorded in 1972. It has 4 previously unreleased additional tracks and includes the original “Mount Vernon and Fairway” 7inch EP from Holland, unavailable on vinyl since the 1970s.

WILLOW's new album features "(maybe) it’s my fault," "hover like a GODDESS" and more. On tour with MGK and international festivals, plus appearances on NPR, SNL and more through 2022.

Magnetically energetic and eternally hopeful, Dayglow (the project of Austin, TX based Sloan Struble) excels in creating catchy, carefully crafted, effervescent indie pop. His home-recorded 2018 debut album Fuzzybrain featured the Platinum Certified single “Can I Call You Tonight?”, which went on to be hailed as 2020’s biggest independent alternative hit. Following up with his sophomore album Harmony House in 2021, Dayglow generated a mountain of indie buzz and critical acclaim anchored by lead single "Close To You". Now, after racking up over a billion streams and selling out headline tours around the world, Dayglow returns with his third album People In Motion. Fun and colorful, People In Motion meditates on the ideas of commitment, inner peace, and movement, while inviting the listener to the dance floor to leave the chaos and noise of our current culture behind.

Alvvays' third album, the nervy joyride that is the compulsively lovable Blue Rev, doesn't simply reassert what's always been great about Alvvays but instead reimagines it. They have, in part and sum, never been better. There are newly aggressive moments here-the gleeful and snarling guitar solo at the heart of opener "Pharmacist," or the explosive cacophony near the middle of "Many Mirrors." And there are some purely beautiful spans, too-the church- organ fantasia of "Fourth Figure," or the blue-skies bridge of "Belinda Says." But the power and magic of Blue Rev stems from Alvvays' ability to bridge ostensible binaries, to fuse elements that seem antithetical in single songs-cynicism and empathy, anger and play, clatter and melody, the soft and the steely. The luminous poser kiss-off of "Velveteen," the lovelorn confusion of "Tile by Tile," the panicked but somehow reassuring rush of "After the Earthquake."In October 2021, when they arrived at a Los Angeles studio with fellow Canadian Shawn Everett, he urged them to forget the careful planning they'd done and just play the stuff, straight to tape. On the second day, they ripped through Blue Rev front-to-back twice, pausing only 15 seconds between songs and only 30 minutes between full album takes. And then, as Everett has done on recent albums by The War on Drugs and Kacey Musgraves, he spent an obsessive amount of time alongside Alvvays filling in the cracks, roughing up the surfaces, and mixing the results. This hybridized approach allowed the band to harness each song's absolute core, then grace it with texture and depth.

Bobby Weir & Wolf Bros—consisting of Bobby Weir, Don Was, Jay Lane and Jeff Chimenti—are set for the release of their second vinyl collection of recorded material, Bobby Weir & Wolf Bros: Live in Colorado Vol. 2, October 7 on Third Man Records. “This was our first quick tour with The Wolfpack,” Weir says. “There’s a rawness to it that we’ll prolly never get again…”The album follows Bobby Weir & Wolf Bros: Live in Colorado, which was released this past February to critical acclaim.

Vol. 2 also features songs recorded live at Red Rocks Amphitheatre and the Gerald R. Ford Amphitheater in Colorado in June, 2021—a documentation of their first live audience concerts in over a year due to the pandemic—featuring Greg Leisz on pedal steel, along with The Wolfpack: Alex Kelly, Brian Switzer, Adam Theis, Mads Tolling and Sheldon Brown.

Years before forming one of Nashville's most genre-bending bands, the members of Judah &the Lion grew up in separate corners of the U.S., listening to every type of music that came their way. They loved it all: the twang of folk, the beat of hip-hop, the drive of rock & roll, the punch of pop. Later, after college brought all four musicians to Tennessee, it only made sense to combine those different backgrounds # and different sounds # together. With their second full-length album, Folk Hop N Roll, the guys shine a light on the place where their influences overlap. It's a wide-ranging sound, with fuzz bass, hip-hop percussion, distorted banjo riffs, and super-sized melodies all stirred into the same mixing pot. There's no boundaries, says frontman Judah Akers, who shares the band's lineup with drummer Spencer Cross, mandolin player Brian Macdonald, and banjo wiz Nate Zuercher. We wanted to make something raw, something with attitude. We all grew up loving these hip-hop beats, so why not make an album that has the grit of Run DMC or Beastie Boys, along with all the folk instruments that we play?

Blood Money is etched. It’s scratched out in bold, dark lines, with marimba, trumpet, and bass clarinet and contains some songs of Tom Waits’ most memorable melodies. The songs are declarative, sardonic, unforgiving, musical dispatches, from the bottom of the heap. “Blood Money is flesh and bone, earthbound,” said Waits. “The songs are rooted in reality: jealousy, rage, the human meat wheel...They are more car- nal. I like a beautiful song that tells you terrible things. We all like bad news out of a pretty mouth. I like songs to sound as though they’ve been aging in a barrel and distressed.”

In just a few years, Cuban-born, Nashville-based quintet Sweet Lizzy Project has gone from its members never having been in an arena, to mesmerizing an audience of 20,000 people opening for their idols, Heart and Joan Jett.  Along the way, the anthemic rock band earned a prime performance broadcast for PBS’s Havana Time Machine; an artist profile on NPR’s “Weekend Edition”; and a cover story in the Miami Herald. For its latest album, Pirate Radio / Radio Pirata (Thirty Tigers), the band collaborated with major songwriters such as Blair Daly, Zac Maloy, and Sam Hollander for a triumphant and empowering collection of rock fused with an accessible pop structure and some of the everyday heart infused by Nashville’s country sound.

SLP’s sophomore American release, Pirate Radio / Radio Pirata, is an artistic and personal milestone for the group. It is a concept album that loosely mirrors SLP’s journey to be artistically liberated against a stifling government regime, and the story unfolds with theatrical grandeur.  The album’s unique melding of ultra-hooky choruses with ethereal ambience and passionate vocals and lyrics recalls such diverse artists as Paramore, Muse, and Olivia Rodrigo.

Pirate Radio / Radio Pirata will be released in both English and Spanish, and Diaz explains: “It was hard to do this because words that sounded beautiful in English didn’t always translate in Spanish. It was a labor of love—we want our message to be universal—it was like having to write new songs with the same idea for the Spanish version.” The 11-song album is a sleekly modern rock record with explosive dynamics, ace musicianship, and powerful lyrics. Throughout, Diaz’s magnetism and conviction recalls the power and passion of late Cranberries singer Dolores O'Riordan.

It’s been something of a freedom fairytale for Sweet Lizzy Project, and one standout moment, so far, has been sharing the stage with Heart and Joan Jett. “As a Cuban girl, it was surreal playing with artists that you couldn’t readily listen to back home,” Diaz shares. “I was so proud of us, and I hope our story provides light and hope for others.” 

In just a few years, Cuban-born, Nashville-based quintet Sweet Lizzy Project has gone from its members never having been in an arena, to mesmerizing an audience of 20,000 people opening for their idols, Heart and Joan Jett.  Along the way, the anthemic rock band earned a prime performance broadcast for PBS’s Havana Time Machine; an artist profile on NPR’s “Weekend Edition”; and a cover story in the Miami Herald. For its latest album, Pirate Radio / Radio Pirata (Thirty Tigers), the band collaborated with major songwriters such as Blair Daly, Zac Maloy, and Sam Hollander for a triumphant and empowering collection of rock fused with an accessible pop structure and some of the everyday heart infused by Nashville’s country sound.

SLP’s sophomore American release, Pirate Radio / Radio Pirata, is an artistic and personal milestone for the group. It is a concept album that loosely mirrors SLP’s journey to be artistically liberated against a stifling government regime, and the story unfolds with theatrical grandeur.  The album’s unique melding of ultra-hooky choruses with ethereal ambience and passionate vocals and lyrics recalls such diverse artists as Paramore, Muse, and Olivia Rodrigo.

Pirate Radio / Radio Pirata will be released in both English and Spanish, and Diaz explains: “It was hard to do this because words that sounded beautiful in English didn’t always translate in Spanish. It was a labor of love—we want our message to be universal—it was like having to write new songs with the same idea for the Spanish version.” The 11-song album is a sleekly modern rock record with explosive dynamics, ace musicianship, and powerful lyrics. Throughout, Diaz’s magnetism and conviction recalls the power and passion of late Cranberries singer Dolores O'Riordan.

It’s been something of a freedom fairytale for Sweet Lizzy Project, and one standout moment, so far, has been sharing the stage with Heart and Joan Jett. “As a Cuban girl, it was surreal playing with artists that you couldn’t readily listen to back home,” Diaz shares. “I was so proud of us, and I hope our story provides light and hope for others.” 

It’s impossible to describe Action Bronson in a way he hasn’t already thought of. First and foremost though, Action Bronson is a principled MC, a Queens legend respected for his idiosyncratic pen and vivid raps, now a decade into his career and still deepening his skillset. “TRUST WHEN I SAY IT AIN’T SAFE FOR ANY OF THESE ANIMALS THE ANCIENT APEX PREDATOR IS BACK ON THE PROWL.” – ACTION BRONSON

Hitting play on the debut album from Plains, the duo composed of Waxahatchee's Katie Crutchfield and Jess Williamson, we're immediately teleported into a world of Southern sunsets, wide open spaces, and the unapologetic nature of Country music. Plains began out of Crutchfield's and Williamson's mutual love for each other's music and after trading albums (Saint Cloud and Sorceress, respectively) in early 2020. Feeling that it was time to have a separate project that could reflect a different side of her creative inspirations, Katie felt that Jess was the perfect fit for a collaboration, and they set off to create I Walked With You A Ways.Written between Kansas City, Los Angeles, and Marfa, the album was recorded in Durham, NC with collaborator and producer Brad Cook. The creative magic of only a few vocal takes, tracking with a band comprised of Spencer Tweedy and Phil Cook, gives the album a feel of fresh, on-the-spot conception. The trust and history of Crutchfield and Cook's collaborations (Saint Cloud, Great Thunder EP) set the tone for this new container of spontaneity and experimentation.And that's the thing about Country music, and what so much of this album nods to - from Waylon and Willie, to The Judds, The Chicks, Trio, and beyond - these are groups that are formed out of family and friendship, that lyrically take their listeners on a voyage of sorrow and hope. Crutchfield's sharp, honest edge of truth telling paired with Williamson's ability to paint the scene with candles, plains, sunsets, and small Texas towns is one of the strongest parts of this album.While Williamson sings "Texas in my rearview / Plains in my heart" and Crutchfield echoes "Got a heartbreak burn, take the quickest route / On this 4 lane highway I'll trace it in the clouds," the true gift of this album emerges. We're in the backseat with these two, truck windows open, wide open spaces in front of us. The feeling of being both a mess and unstoppable at our fingertips. May this album bring us all closer to ourselves and to each other.