Released ahead of 1995's The Gold Experience, the first album credited to Prince's infamously unpronounceable symbol, The VERSACE Experience (PRELUDE 2 GOLD) was a gift to attendees of the designer's collection at Fashion Week in Paris. Produced at the time as only a very limited edition promotional cassette, it featured remixed versions of future favorites ""Pussy Control,"" ""Gold"" and ""Eye Hate U"" as well as rare and commercially unreleased selections by The New Power Generation and Prince's jazz-fusion project Madhouse. The rare promotional cassette went on to be incredibly sought after, with one copy setting a record as the highest priced cassette ever sold, fetching over $4,000.

The concept of STARSET is a multimedia experience with a cinematic rock band at the center. The narrative, branding and music driving the new campaign is fully integrated and is set in a near future and centered around showcasing the positive and negative effects of technology on society - futuristic on one side, post-apocalyptic on the other. Think Tron meets Mad Max. They�re harnessing the power of their rabid core fan base and influencer supporters to hack traditional forms of music promotion and do something truly innovative, as appealing for the Comicon crowd wanting to deep dive into the story as casual listeners.

Post Malone stirs a mix of genres into his own sonic sound that�s both intoxicating and invigorating. His RIAA 3x Platinum certified debut album, Stoney, led the genre-bending Dallas, TX artist to his first Top 10 Billboard 200 and first #1 R&B/Hip-Hop Album while being the �#1 Debut Hip-Hop Artist of 2016�. 2019 has been packed with one milestone and achievement after another for Post Malone including �Congratulations� being certified Diamond by the RIAA.

The Highwomen are a cleverly named new supergroup comprising country and roots rock stars Brandi Carlile, Amanda Shires, Maren Morris, and Natalie Hemby. After a few months of teasers and a soft debut at April�s Loretta Lynn tribute, they�re making their official introduction to the world.

The group has announced its self-titled debut album, out in September and produced by Dave Cobb, the Nashville mainstay who always seems to be behind the boards for these types of projects. (He�s also produced recent albums by Jason Isbell, Sturgill Simpson, Chris Stapleton, Lori McKenna, Ashley Monroe� you get the idea.) The album features 12 songs written by various combinations of the core members plus some notable collaborators like Isbell, McKenna, Miranda Lambert, and Ray LaMontagne. It features guest appearances from Isbell, Cobb, Sheryl Crow, Yola, the Hanseroth twins, Chris Powell, and Peter Levin.

Amadjar means �the unknown visitor� in the language of Tamashek, the one who seeks hospitality and who�s condemned to an inner exile, within a territory or within himself. The story of Amadjar, the ninth Tinariwen album, begins at the end of 2018, at the Taragalte Festival of nomadic cultures in the Moroccan Sahara. After a concert and a sandstorm, Tinariwen hit the road and head for Mauritania, via southern Morocco, Western Sahara and the Atlantic coast. The destination is important but no more so than the journey itself. Tinariwen are joined by their French production team, who arrive in old camper van that�s been converted into a makeshift studio. The journey to Nouakchott, capital of Mauritania, takes a dozen days or so. Every evening, the caravan stops to set up camp and the members of Tinariwen get to work under the stars � to prepare for the recording, talking things through, letting their guitar motifs, thoughts and long buried songs come. Then, during a final camp in the desert around Nouakchott that lasts about fifteen days, to an audience of scorpions, the band record their songs under large tent. In a few takes, without headphones or effects. The Mauritanian griotte Noura Mint Seymali and her guitarist husband, Jeiche Ould Chigaly, come to throw their musical tradition on the embers lit by Tinariwen � the curling vocals of Noura Mint Seymali on the song �Amalouna� will become a highlight. This nomadic album, recorded in a natural setting, is as close as you can get to Tinariwen. And also, therefore, to the idea that things can evolve: bassist Eyadou plays a lot of acoustic guitar; percussionist Said tries his hand at new instruments; Abdallah exhumes songs that he�s never played on stage with Tinariwen. And that violin that appears on several songs and reminds you of the traditional imzad ; It�s actually played by Warren Ellis. The violinist in Nick Cave�s band is one of several western guests on the album. We also hear the mandolin and charango of Micah Nelson (son of the country music giant Willie Nelson, and Neil Young�s guitarist), and the guitars of Stephen O�Malley (Sunn O)))), Cass McCombs and Rodolphe Burger. The album is mixed by Joshua Vance Smith.

i,i is Bon Iver's most expansive, joyful and generous album to date. If 'For Emma, Forever Ago was the crisp, heart-strung isolation of a northern Winter; Bon Iver the rise and whirr of burgeoning Spring; and '22, A Million', a blistering, crazy energy Summer record, i,i completes the cycle: a fall record; Autumn-colored, ruminative, steeped. The autumn of Bon Iver is a celebration of self acceptance and gratitude, bolstered by community and delivering the bounty of an infinite American music. The sales and accolades are well-known multiple Gold albums, multiple Grammys, chart-topping collaborations and festival headlines. But even more significantly, with each release Bon Iver quietly shifts the state of modern music. From the boundaries of folk, to the rules of autotune, to production work for others, Bon Iver s fingerprint finds its way across the mainstream every time. Vernon has always been a master collaborator, and on i,i that desire becomes maximal, with guests ranging from Moses Sumney and Bruce Hornsby to Wye Oak's Jenn Wasner and the Brooklyn Youth Chorus. Here, the music and band, and themes, and creative space are bigger than ever.

Olivia Jean is back on the beat with her second full-length (and first self-produced) album, Night Owl, due out August 30, 2019 on Third Man Records. The album mines the shared spaces between bubblegum, beach pop undercurrents and fuzzed out garage a la B-52s and Dick Dale, lyrically diving headfirst into the frustrations of perfectionism, mental barriers, obsession and modern heartache. Unlike Bathtub Love Killings on which we found Olivia playing every instrument on the vast majority of the album, Night Owl is decidedly more collaborative, with a studio band of buddies backing up her up.

Night Owl is exactly what it sounds like: the wee-hour workings of an artist engrossed in a project, pushing against omnipresent forces of fear and judgment to do exactly what you�ve always wanted to do and be exactly what you�ve known you are. It's candy-coated and also bittersweet, fully aware and also full-hearted.

�How does brokenness walk? Or move through the world?� says guitarist/vocalist Carrie Brownstein about The Center Won�t Hold, Sleater-Kinney�s tenth studio album. �We�re always mixing the personal and the political but on this record, despite obviously thinking so much about politics, we were really thinking about the person � ourselves or versions of ourselves or iterations of depression or loneliness � in the middle of the chaos.� The Center Won�t Hold is Sleater-Kinney�s midnight record on the doomsday clock. After twenty-five years of legendary collaboration, rock�n�roll giants Brownstein, Corin Tucker, and Janet Weiss rise to meet the moment by digging deeper and sounding bigger than we�ve heard them yet. Here are intimate battle cries. Here are shattered songs for the shattered survivors. The Center Won�t Hold drops you into the world of catastrophe that touches on the election,� says guitarist/vocalist Tucker of the title track. �We�re not taking it easy on the audience. That song is meant to be really heavy and dark. And almost like a mission statement, at the end of that song, it�s like we�re finding our way out of that space by becoming a rock band.�

Ride return with the 6th studio album of their career and their second since reforming in 2015 and signing to Wichita. As with their previous album, the highly acclaimed Weather Diaries, Erol Alkan was in the producers chair, whilst career-long collaborator Alan Moulder (with Caesar Edmunds) mixed the album. The albums title was inspired by one of the hobo code symbols once used by those who travelled the railroads of the US, and then found in the early artwork of Jean-Michel Basquiat. The phrase clearly resonates with the current state of the world politically and environmentally. This Is Not A Safe Place is arguably the Ride album with the broadest sonic palette thus far. You can hear sounds and styles that span their entire catalogue but, both musically and lyrically, this is clearly an album made by a band who love being back together and who are at the very top of their game.

Five new songs not previously released along with five songs from the collection of singles released between November 2017 and March 2019

All songs produced by Josh Kaufman and engineered by D. James Goodwin. Formed in 2003, The Hold Steady have released six albums, numerous singles and played over 1000 shows during the past 16 years. The Brooklyn-based band, by way of the Midwest, has performed in all 50 states in the USA, and throughout Canada, the UK, Europe and Australia.

The Hold Steady began releasing two-song singles in November 2017 ahead of the sold-out weekend shows they do in select cities each year and have released five new singles (nine songs total) thru March 2019. The band will launch "Constructive Summer 2019" in August + September four weekends of US shows in Seattle, Chicago, Nashville and Boston.

Craig Finn: "I've been saying for a few years now - since Franz came back- that this six piece lineup of The Hold Steady is the best band we've ever been. The new songs recorded by this version of the band are super exciting to us. It's been a very fun and creative period for The Hold Steady.�