The debut album from Andy Jenkins, released June 15th, 2018.

Track listing: 01. Hazel Woods 02. Curve of Love 03. Genuine Heart 04. Ascendant Hog 05. Sweet Bunch 06. White Linen 07. Illuminated 08. Get Together 09. Song for Me

The self-titled debut album from Bedouine, out June 23rd, 2017

Tracklisting: 01. Nice and Quiet 02. One of These Days 03. Back to You 04. Dusty Eyes 05. Solitary Daughter 06. Summer Cold 07. Mind’s Eye 08. You Kill Me 09. Heart Take Flight 10. Skyline

CD Gatefold Limited to 500 copies Released May 20, 2014

Grandma Sparrow & his Piddletractor Orchestra is a psychedelic children’s song-cycle for adults that reveals Joe Westerlund’s fascination with collage, improvisation, humor, and the convergence of atonal and popular melodies. It’s the kind of project that is rarely dreamed up these days, rarer still to be executed with such skill, bravado and glee (complete with an amateur youth choir). An over-the-top, richly realized musical vision from an over-the-top musical visionary, Westerlund (Megafaun, Gayngs, Califone) takes the listener on a wild ride of audio collage, drifts of radio static, and orchestrated grooves–the Beach Boys and Charles Ives wandering through Mr. Rogers’ Neighborhood. It’s another bold production from Spacebomb Records, ever dedicated to the redefinition of what a record can be in the 21st century.

More info on the album

Fall down the rabbit hole of Ivan Howard’s alter ego and wake up in a stylized soundscape, surrounded by twisting melodies and singing shadows. Beautiful Tired Bodies is the latest installment of chromatic-eyed soul from the man who brought us a “magnificent art-funk treasure” (SPIN) and “a symphonic funkscape worthy of Quincy Jones” (UNCUT). Talking to the mirror in the man, Howard Ivans delivers his full-length debut, co-produced by Trey Pollard and Cameron Ralston, featuring the Spacebomb house band and a VIP list of Richmond musicians. The experience is immersive, a headlong rush, shot through with highlights like Pollard’s transfixing string arrangements and bold keyboard riffs from Devonne Harrison (Stones Throw). Howard Ivans stands in the spotlight, a man who once recorded a bold, song-by-song remake of Sade’s Love Deluxe, delivering a new soft funk tone poem, a voice crooning out in the wilderness.

Track list: 1. Denise 2. King of Careless 3. Jump In 4. Idle Lights 5. Come On 6. Back to the Life 7. Second Spring 8. Supersonic Love 9. Keep Breaking It Down 10. They Don’t Know How It Feels

Chillin’ in her tower like a doomed princess, over-feeler supreme Jackie Cohen has two options: she can either stress-vomit herself into the great beyond, or she can present her debut EP. Tacoma Night Terror, Part 1: I’ve Got the Blues / Part 2: Self-Fulfilling Elegy is her first collection of English Department anti-folk songs, full of piquant poetry set to curious nods to classic and country pop and rock.

Half a decade ago, living on Spring Street in Lower Manhattan, not yet official wine-hiccoughing age, not yet (to knowledge) getting Roland Barthes quotes tattooed on her “under-boob [sic],” Cohen was absolutely of the Lower East Side. Pixie-cut, book-laden, always whooshing to or from a lit theory class — she had that particular New York hypochondria and fidgetiness, which she now comments is “actually just a byproduct of Jewishness,” and by the seriousness of her Uniqlo heat-tech turtleneck, you would never have guessed that she was actually a transplant of the “janky but charming” San Fernando Valley.

In her EP, recorded post-grad back in the SFV with some rando prog-nerds (read: Jonathan Rado and The Lemon Twigs), flavors of each location permeate her poem-songs. The Greenwich Village smartypants, fuck-fashion folk of the Moldy Peaches and Regina Spektor pokes its head up in the jaunty greek tragedy “Ladies’ Man.” Then, on Jeffrey Eugenides’ The Marriage Plot-referencing “Maddy” and desert grunge “Bold,” we hear echoes of Topanga Canyon’s finest — Stevie Nicks and On The Beach-era Neil Young, respectively.

In her songwriting, Cohen’s dissections are precise and fantastic, almost like psychological fables. In one moment (on standout “Ladies’ Man”), she recites the inner thoughts of a woman who carries a torch for some shallow, ridiculous young grifter. In the next, she zooms out for a picture of Daphne, transformed into a laurel tree only to be dry-humped by Apollo for eternity, and lets the image just hang in a pregnant silence.

“Bold” is a diss track of the highest order. Over a dirgy, lo-fi strum and a coyote-howl slide guitar, Cohen coos about a young man who fancies himself fancy, lost in some grandiose idea of himself. “There are crystals in the closet of your room/You appear in lovely colored fabrics/Dreamt up by a man bolder than you/ Oh I hope I can be bold, too/Oh I hope you’ll learn to be brave soon.” In the last lines, you understand that Cohen reproaches not only her illusion-draped subject, but herself for giving a f*ck.

Her lyrics and melodies are wonderful, careful, and winding, but they don’t feel particularly fussed over. One gets the sense that Cohen just starts singing lines on a jog or a drive, filling the dishwasher or raging against a heavy-bag in kickboxercise class. You also get the sense that Cohen’s done some hard, regular time in the therapist’s armchair, just as busy judging herself as she is everyone else. She’s developed a droll perspective on her own anxiety and depression, but it seems that the voice we’re hearing is more self-assured than it was a short time ago; it carries a nimbleness and an endearing twang to it — in some moments, you can almost hear her grinning.

The debut album from Trey Pollard, out in fall 2018.