Wanna keep up with what’s new, what’s hot, what’s freshly pressed? Here's what's out this week:

NEW TITLES RELEASED TODAY:

→ GRANDADDY - LAST PLACE
→ MONKEES - HEAD (alternate deluxe-edition gold vinyl)
→ METHYL ETHEL - EVERYTHING IS FORGOTTEN
→ TEMPLES - VOLCANO
→ T2 TRAINSPOTTING 2 - ORIGINAL SOUNDTRACK
→ CITY AND COLOUR - PEACEFUL ROAD / RAIN
→ SLEAFORD MODS - ENGLISH TAPES

MORE DETAILS:

GRANDADDY - LAST PLACE 

brown gatefold vinyl

2017 album from the alt-rock outfit. Last Place is a perfect addition to the band's celebrated, critically-acclaimed catalog that includes their breakthrough sophomore album, Sophtware Slump, and their debut, Under the Western Freeway. It's a symphonic swirl of lo-fi sonics and mile-high harmonies, found sounds and electronics-gone-awry mingling with perfect, power pop guitar tones. 

Last Place is written, performed, and produced by Jason Lytle. Grandaddy formed in Modesto, CA in 1992, and after four albums disbanded in 2006. Jason Lytle relocated to Montana, where he happily made two solo albums, and reconnected with the natural world around him. 

Eventually, though, life uprooted him again, taking him to Portland, Oregon until he eventually returned to his former home of Modesto. 

The return to California was practical (he needed to be near his bandmates) but also appropriate, as he had started writing songs that he felt would be fitting for another Grandaddy album.

>>> GET YOURS 

MONKEES - HEAD
deluxe-edition gold vinyl)

1968 was a interesting year for The Monkees. 

Aside from releasing more hit singles & another smash Lp with "The Birds The Bees & The Monkees" (FRM-1966), future superstar and upcoming film maker Jack Nicholson, Bob Rafelson & The Monkees were developing the concept for a psychedelic film about this successful rock band who were trying to escape from their "manufactured image." 

Albeit an underlying glimpse of reality, the movie wound up being a swan song for the original line-up of the band until 1996's "Justus". 

As the "Head" movie was underrated at the time, it has since gone on to become ranked as one of the finest films in the rock genre.

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METHYL ETHEL - EVERYTHING IS FORGOTTEN

Methyl Ethel’s new album was co-produced by James Ford (Arctic Monkeys, Foals), in collaboration with the Perth trio’s frontman Jake Webb. 

Written and recorded by Webb, Everything Is Forgotten finds Methyl Ethel refining sounds and rendering them in 3D, thanks in part to London-based James Ford, who has been working with Webb on the follow-up to debut album Oh Inhuman Spectacle. 

The pair’s collaboration across the coming release has infused their shoegaze dream-pop palate with electronic flourishes, further evolving Methyl Ethel’s sound from initial EPs Guts and Teeth.

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TEMPLES - VOLCANO

James Bagshaw (vocals, guitar), Tom Warmsley (bass, backing vocals), Sam Toms (drums) and Adam Smith (keys) — are set to release their new album, Volcano, on March 3rd via Fat Possum. 

The band’s announcement comes on the heels of a sold out North American tour and a performance last week on Last Call with Carson Daly, where the English four-piece presented debut single, “Certainty,” to viewers across the nation. All the elements people loved with Temples’ debut, Sun Structures, remain intact, but this time, there is a noticeable evolution presented from the outset. 

It’s clear Volcano is the sound of Temples squaring up to their potential, immediately evident with “Certainty.” Its beefed-up beats reveal an expanded sonic firmament, one in which bright synth hooks and insistent choruses circle around each other over chord sequences that strike just the right balance between nice and queasy. 

“If there’s a sense of scale,” says frontman James Bagshaw, “It was really just a result of implementing a load of things that we didn’t know about the first time around. We didn’t even have a subwoofer to listen back to things that we did on Sun Structures, so there was nothing below 50Hz on that record. We didn’t even know those frequencies were there!”

Entirely self-produced and written by all four members of the band, Temples’ melodies seem to come effortlessly. Via Fat Possum.com

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T2 TRAINSPOTTING 2 - ORIGINAL SOUNDTRACK

[DELAYED - COMING SOON]

Original soundtrack to the 2017 motion picture, the long-awaited sequel to Transporting. 

Includes a newly commissioned remix of Iggy Pop's 'Lust for Life' (Prodigy Remix) along with two new cuts from Underworld - 'Slow Slippy' (a new take on the classic 'Born Slippy') and 'Eventually But (Spud's letter to Gail)' that features Ewen Bremner. 

Other highlights include; Wolf Alice, Young Fathers and more.

>>> GET YOURS [DELAYED - COMING SOON]

CITY AND COLOUR - PEACEFUL ROAD / RAIN

Limited 150gm twelve inch vinyl pressing cut at 45rpm, housed in a standard jacket including digital download. 

Contains two never-before-released tracks from the If I Should Go Before You sessions in Nashville. Dallas Green is a Canadian singer/songwriter who records under the alias City and Colour. 

He plays melodic acoustic and folk music and is often accompanied by a rotating number of Canadian indie rock musicians. 

He is also known for his contributions as the vocalist, guitarist and songwriter for the post-hardcore band Alexisonfire. 

The name City and Colour comes from his own name: Dallas, a city, and Green, a colour. 

His reasoning for the name was that he felt queasy "putting the album out under the name Dallas Green".

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SLEAFORD MODS - ENGLISH TAPAS

“Undoubtedly, absolutely, definitely the world’s greatest rock ‘n’ roll band.” – Iggy Pop Call them minimalist agit-rock, beat-based political punk, or…don’t, but what you can’t call Sleaford Mods is half-arsed. 

They’re aggressive, abrasive, and unabashed in their lyrical support for England’s working class and in railing against the oligarchs who deny people their basic human and civil rights. 

Vocalist Jason Wiliamson shouts against austerity-era Britain’s malaise and stagnation with plenty of profanity, but even more cleverness and wit; and while his lyrics specify conditions in his home country, his anger and call-to-arms can unite all of us who witness and work under a system that privileges the wealth of the few over the bare comfort, and even the survival, of the just-as-worthy many. 

With Andrew Fearn’s deceptively simple beats and melodies underpinning Williamson’s virtuosic vocal performances, this would be a fascinating record, message or no; but the drive, meaning, and compassion behind these catchy, and even dancefloor-ready tunes make this album as vital politically as it is artistically. Sleaford Mods are at their sneering, yowling best with English Tapas.

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