{"title":"This Week's New Releases - WAREHOUSE (ships to you or the store in a few days!)","description":"","products":[{"product_id":"pre-order-jorg-halubek-organ-landscapes-lp","title":"Jorg Halubek - Organ Landscapes [LP]","description":"\u003cp\u003eBaroque mastermind Jorg Halubek finishes his journey around the great historic organs of Germany. The final: a compilation of his series 'Organ Landscapes' on Vinyl?. 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Featuring original artwork by Oliver Barrett, featuring liner notes by the films director Dan Trachtenberg, and pressed on 140gm Red vinyl, this release is essential for fans of the series. 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Bold, personal, and largely autobiographical, Anticipation announces the arrival of an artist who won't back down. While Simon stands her ground on her eponymous debut, she elevates her passion and persona to heightened levels throughout this gold-certified record, dealing in private matters related to love, relationships, and desire. At times, Simon is nothing short of primal. She reflects on the difficulties of retaining your own identity while giving yourself to a partner. Simon's connection to her folk roots would never be stronger.Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity's 180g 45RPM 2LP set of Anticipation lays bare the rich tapestries afforded by the spare blend of soft guitars, mellow orchestration, and dreamy melodies. This is the first time Anticipation has been available on 45RPM. The wide grooves prove extremely rewarding. The rhythmic framework sounds dynamic and balanced, with songs benefiting from a focused midrange and taut low-end. Simon's investment in each lyric is made evident by way of the hushed atmospherics and expansive responsiveness. She would achieve international fame with her next album. 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Includes insert \u0026amp; housed in a gatefold jacket. Ten years ago, Adolph Robert Thornton Jr. Planted his flag. Released on February 19, 2016, King of Memphis wasn't just a debut studio album; it was a bold declaration of independence and a flawless blueprint for self-made success. To celebrate a decade of this foundational Southern rap masterpiece, Paper Route Empire is honoring Young Dolph's legacy with a series of exclusive, limited-edition 10th Anniversary vinyl variants. Before King of Memphis, Dolph had already built a massive underground following through a relentless run of mixtapes. But this official debut elevated him from a local hero to a national powerhouse. By bypassing the major label system and releasing the project entirely through his own Paper Route Empire (PRE), Dolph proved that undeniable talent, relentless hustle, and business savvy were all you needed to take the crown. The album peaked in the Top 50 of the Billboard 200, an incredible feat for a fiercely independent artist at the time, and cemented his status as a CEO who called his own shots. King of Memphis is all killer, no filler. Over 11 tracks, Dolph's signature slow-flow delivery and larger-than-life charisma glide over heavy-hitting, trap-defining production from a legendary lineup of producers, including Mike WiLL Made-It, Zaytoven, TM88, and Cassius Jay. With zero guest features, the project relies entirely on Dolph's magnetic presence. 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Her passionate relationship with the singer Amedee-Louis Hettich was frowned upon by her parents, who pressured her to marry edouard Domange, a twice-widowed industrialist with five children. Bonis threw herself into her role as wife and stepmother, until a reunion with Hettich in the 1890s reignited her serious interest in composition. She composed more than 300 works, including pieces for solo piano, chamber music, and over forty melodies for voice and piano. As Bonis was too modest for self-promotion, and a victim of gender-bias, her music fell into obscurity after the First World War, and she became bedridden from arthritis. She continued to compose until her death, in 1937. 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After years of exploring different musical landscapes, Tarja stands firmly where she belongs: in metal.\u003c\/p\u003e\u003cp\u003e“Frisson Noir” reflects Tarja’s ongoing dialogue between cinematic orchestration, classical heritage, and the power and intensity of contemporary metal. The album moves between intimate piano passages, dramatic orchestral textures, and powerful guitar-driven moments.\u003c\/p\u003e\u003cp\u003eAcross 10 tracks, Tarja delivers intensity, emotion, and strength, joined by special guest Dani Filth (Cradle of Filth), Apocalyptica, Marko Hietala (ex-Nightwish), and Chad Smith (Red Hot Chili Peppers). Mixed by GRAMMY-winning producer Neal Avron (Linkin Park, Skillet, Disturbed), the album blends a modern, hard-hitting sound with the dramatic and emotional elements that define Tarja’s unmistakable metal identity.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFrisson Noir\u003c\/li\u003e\n\u003cli\u003eThe Eternal Return\u003c\/li\u003e\n\u003cli\u003eLeap of Faith                                feat. Marko Hietala\u003c\/li\u003e\n\u003cli\u003eAt Sea                                           feat. Mervi Myllyoja \u0026amp;amp; Niklas Pokki\u003c\/li\u003e\n\u003cli\u003eBlaze Forever\u003c\/li\u003e\n\u003cli\u003eThe Trace Outlives                     feat. Sayo Komada\u003c\/li\u003e\n\u003cli\u003eTango                                             feat. Apocalyptica\u003c\/li\u003e\n\u003cli\u003eAnemoia                                       feat. 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In the interpretation of the ensembles Zeronove and I pizzicanti under the direction of Lukas Wanner, these works unfold their full emotional and dramaturgical depth. Zelenka's Missa Paschalis, composed for Easter, is one of the Bohemian master's most original mass settings. It is juxtaposed with Handel's Funeral Anthem for Queen Caroline, a work of monumental dignity and haunting simplicity. The ensembles Zeronove and I pizzicanti approach these works with stylistic sensitivity and tonal transparency. 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Superficially similar, they reveal Haydn's inexhaustible creativity whether in the astonishingly colourful introduction to No. 84, the rustic interludes in the trio section of No. 85 - a favourite of Marie Antoinette, or in the greatest of the Paris symphonies, No. 86, where the transition from the slow introduction to the main section is unequalled in his music.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 747313452071\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Naxos\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.12.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Naxos","offers":[{"title":"Default Title","offer_id":48106734813284,"sku":"135549113","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0564\/2777\/4052\/files\/4503302-3553391.jpg?v=1774331165"},{"product_id":"pre-order-kelsey-lu-so-help-me-god-black","title":"Kelsey Lu - So Help Me God [Black]","description":"\u003cp\u003eSo Help Me God is the long-awaited second album from Kelsey Lu, arriving June 12 2026 via Dirty Hit. Moving between shadow and release, the 10-track record follows her groundbreaking 2019 debut Blood and is co-produced by Lu, Jack Antonoff and Yves Rothman, mixed by Oli Jacobs, with contributions from Sampha, Kamasi Washington and Kim Gordon. Across the record, Lu blends distorted guitars, choral swells and dark electronic pulses into a sonic landscape that moves between devotional intensity and cinematic scale. 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Bach: Berlin Syms I [CD]","description":"\u003cp\u003eTwo years ago, the Arte dei Suonatori ensemble and it's dynamic conductor and harpsichordist Marcin Swiatkiewicz presented C.P.E. Bach's 'Hamburg' Symphonies (BIS-2459) - highly expressive and personal works. Nervous, full of unexpected twists and turns, surprises, contrasts and 'affects', they are, in a word, marked by Empfindsamkeit (heightened emotionality). This time, Arte dei Suonatori and Marcin Swiatkiewicz present six 'Berlin' Symphonies, composed between 1755 and 1758, that is, before the 'Hamburg' Symphonies. Arte dei Suonatori and it's conductor chose the original versions for strings alone with harpsichord continuo, making this recording the first to offer all these works together in their original forms without the wind parts, which were added later. The chamber-like aspect of the writing is highlighted here by the ensemble's compact instrumental force, where each musician participates on an equal footing and everyone is heard. Swiatkiewicz also points out that their interpretation, resting on historically oriented performance practices, is \"grounded in a constant search for analogies between music and poetry, alongside a close attention to prosody and dance forms\", ensuring that they will undoubtedly delight music lovers of the 21st century.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 7318599927596\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Bis\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.12.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Bis","offers":[{"title":"Default Title","offer_id":48106736910436,"sku":"135529538","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0564\/2777\/4052\/files\/4503236-3553377.jpg?v=1774331193"},{"product_id":"pre-order-ruth-sabadino-nobodys-perfect-cd","title":"Ruth Sabadino - Nobodys Perfect [CD]","description":"\u003cp\u003eSaxophonist Ruth Sabadino's new album celebrates life in all it's colors and nuances. 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In The Bells, radiant choral textures and richly coloured orchestration trace a journey from youthful shimmer and lyrical warmth to ominous tolling, overwhelming drama and a final vision of serene transcendence. The outstanding soloists - Dmytro Popov, Kristina Mkhitaryan and Alexander Vinogradov - bring vocal brilliance and emotional depth, while the choir illuminates the text with clarity and a glowing, golden sound. In Symphonic Dances, rhythmic vitality and earthy drive give way to moments of nostalgia and introspection, culminating in a bold and exhilarating finale that captures the composer's unmistakable voice in his final orchestral work.Internationally acclaimed for her emotionally charged performances, technical command and interpretative depth, Canellakis has become one of the most in-demand conductors of her generation. 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Feels both impossibly detailed and eminently human. The twelve pieces assembled are layered, interwoven, tonally and rhythmically complex-moirÃ©-like patterns of interaction and tessellation that play out for both mind and body, full of sonic warrens with an inescapable groove. Artists aren't necessarily scientists, logicians, or spiritual leaders, but through their personal understanding of order and experience, they provide experiential access to heightened states of both materiality and immateriality. Horse Lords were founded in Baltimore in 2010; they evolved from another group called Teeth Mountain and began as a trio with guitarist Owen Gardner, bassist Max Eilbacher, drummer Sam Haberman, soon adding alto saxophonist Andrew Bernstein to the core ensemble. Though the quartet grew out of a fertile noise and experimental rock scene, a storied environment for artists and weirdos that has nurtured many an influential outsider band, their approach across six albums, various collaborations and as a celebrated live act has been more omnivorous than the stippled rhythms of instrumental electric rock would indicate. For this outing, they are augmented by bass clarinetist Madison Greenstone, trombonist Weston Olencki, and in a first for Horse Lords, vocals courtesy Nina Guo and Evelyn Saylor. Constructing D2BT2HA! #involved geographic hurdles, as the unit's four members have live in different cities. Gardner, Eilbacher, and Bernstein met in Berlin for tracking sessions while Haberman put together drum parts in Baltimore. The band notes that \"trusting each other's concepts and visions was more important than repeatedly playing a section to see if the music worked, although this trust was only made possible through working very closely together.\" D2BT2HA! #influences and interacts with itself in complex linkages. Horse Lords observe that \"we like the idea of art as a tool for changing your perspective, being able to rotate ideas and see\/hear\/feel them from a different vantage point.\" Or to use a phrase attributed to Swami Satchidananda Saraswati, \"understanding is standing under where you are already standing.\" The opening piece, \"Eureka 378-B,\" is an arrangement of 19th century sacred harp music, lead by Guo and Saylor's vocals; it's melody flowers outward, setting a tonal launching pad for much of the music that follows. There are the brief \"Rotations,\" which isolate fragments from other pieces; and \"a transformation algorithm was used to structure the title track, 'Brain of the Firm,' and part of 'Second Galactic Utopia.' This lends itself to a recursive approach where... The compositional scale becomes more ambiguous.\" There's clearly a lot of weight in the language used to title pieces, and D2BTA2H! #is no exception-transcendence and uplift are inherent in the music's operation and if all art is political, Horse Lords' leanings are optimistic and community-centered. Transformation and re-viewing are not just a compositional strategy but a philosophical outlook. As they put it, \"we try to make music that challenges the status quo and offers a path toward liberation for the listener. The study and exploration of sound and music has a spiritual and ecstatic dimension, and we have a great reverence for it's impact on the individual and the world.\" The tension between striving for something beyond and what constitutes our lived reality is not lost, either, as \"After the Last Sky\" draws from poet Mahmoud Darwish's \"The Earth Is Closing in on Us,\" which \"uses the Palestinian case to problematize our utopian quest, acknowledging that this rests on a sense of security that is out of reach for many.\" There are numerous sonic and conceptual layers in D2BTA2H!, but given the music's undeniable power and humanity, the process of unpacking them is enthusiastic and deeply rewarding. Rare indeed is the record that grabs one by the lapels yet lands utterly anew on each hearing.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEureka 378-B\u003c\/li\u003e\n\u003cli\u003eBrain of the Firm\u003c\/li\u003e\n\u003cli\u003eRotation I\u003c\/li\u003e\n\u003cli\u003ePlaying and Reality\u003c\/li\u003e\n\u003cli\u003eRotation II\u003c\/li\u003e\n\u003cli\u003eFirst Galactic Utopia\u003c\/li\u003e\n\u003cli\u003eRotation III\u003c\/li\u003e\n\u003cli\u003eBefore the Law\u003c\/li\u003e\n\u003cli\u003eAfter the Last Sky\u003c\/li\u003e\n\u003cli\u003eA City Yet to Come\u003c\/li\u003e\n\u003cli\u003eSecond Galactic Utopia\u003c\/li\u003e\n\u003cli\u003eDemand to Be Taken to Heaven Alive!\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e*** Indie Exclusive ***\u003cbr\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 747742388224\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Rvng Int'l\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.12.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Rvng Int'l","offers":[{"title":"Default Title","offer_id":48124601630820,"sku":"141124153","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0564\/2777\/4052\/files\/4505250-3555802.jpg?v=1774553934"},{"product_id":"pre-order-horse-lords-demand-to-be-taken-to-heaven-alive-lp","title":"Horse Lords - Demand To Be Taken To Heaven Alive [LP]","description":"\u003cp\u003eThe music on Horse Lords' Demand to Be Taken to Heaven Alive! Feels both impossibly detailed and eminently human. The twelve pieces assembled are layered, interwoven, tonally and rhythmically complex-moirÃ©-like patterns of interaction and tessellation that play out for both mind and body, full of sonic warrens with an inescapable groove. Artists aren't necessarily scientists, logicians, or spiritual leaders, but through their personal understanding of order and experience, they provide experiential access to heightened states of both materiality and immateriality. Horse Lords were founded in Baltimore in 2010; they evolved from another group called Teeth Mountain and began as a trio with guitarist Owen Gardner, bassist Max Eilbacher, drummer Sam Haberman, soon adding alto saxophonist Andrew Bernstein to the core ensemble. Though the quartet grew out of a fertile noise and experimental rock scene, a storied environment for artists and weirdos that has nurtured many an influential outsider band, their approach across six albums, various collaborations and as a celebrated live act has been more omnivorous than the stippled rhythms of instrumental electric rock would indicate. For this outing, they are augmented by bass clarinetist Madison Greenstone, trombonist Weston Olencki, and in a first for Horse Lords, vocals courtesy Nina Guo and Evelyn Saylor. Constructing D2BT2HA! #involved geographic hurdles, as the unit's four members have live in different cities. Gardner, Eilbacher, and Bernstein met in Berlin for tracking sessions while Haberman put together drum parts in Baltimore. The band notes that \"trusting each other's concepts and visions was more important than repeatedly playing a section to see if the music worked, although this trust was only made possible through working very closely together.\" D2BT2HA! #influences and interacts with itself in complex linkages. Horse Lords observe that \"we like the idea of art as a tool for changing your perspective, being able to rotate ideas and see\/hear\/feel them from a different vantage point.\" Or to use a phrase attributed to Swami Satchidananda Saraswati, \"understanding is standing under where you are already standing.\" The opening piece, \"Eureka 378-B,\" is an arrangement of 19th century sacred harp music, lead by Guo and Saylor's vocals; it's melody flowers outward, setting a tonal launching pad for much of the music that follows. There are the brief \"Rotations,\" which isolate fragments from other pieces; and \"a transformation algorithm was used to structure the title track, 'Brain of the Firm,' and part of 'Second Galactic Utopia.' This lends itself to a recursive approach where... The compositional scale becomes more ambiguous.\" There's clearly a lot of weight in the language used to title pieces, and D2BTA2H! #is no exception-transcendence and uplift are inherent in the music's operation and if all art is political, Horse Lords' leanings are optimistic and community-centered. Transformation and re-viewing are not just a compositional strategy but a philosophical outlook. As they put it, \"we try to make music that challenges the status quo and offers a path toward liberation for the listener. The study and exploration of sound and music has a spiritual and ecstatic dimension, and we have a great reverence for it's impact on the individual and the world.\" The tension between striving for something beyond and what constitutes our lived reality is not lost, either, as \"After the Last Sky\" draws from poet Mahmoud Darwish's \"The Earth Is Closing in on Us,\" which \"uses the Palestinian case to problematize our utopian quest, acknowledging that this rests on a sense of security that is out of reach for many.\" There are numerous sonic and conceptual layers in D2BTA2H!, but given the music's undeniable power and humanity, the process of unpacking them is enthusiastic and deeply rewarding. 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Johnson hails from, is a largely flatexpanse. Zipping through it on the highway, you'll see cities and towns rise up in the distance,but blink and you'll miss other man-made rejoinders to horizontal living dotting the landscape,hill after hill, built from the refuse of the past: landfills. Some of these hills make for greatsledding spots, parks, and trails. Others turn organic waste into compost. The Landfill issomething else entirely: a mountain dominating the landscape of Johnson's heart.Over the course of his now 25-year career under the Fruit Bats moniker, most of Eric D.Johnson's output has been the product of patience and fine-tuning. His songs, to borrow aphrase, are slow growers, given life on albums that encompass long stretches of time andmemory. Baby Man changed that - he disallowed himself from referring to material he'dbeen working on before laying the album down, utilizing the morning pages technique ofstream-of-consciousness, observational songwriting which flowed directly into his afternoonrecording sessions. It was both a breathtaking document of Johnson's skill as a singer-songwriter and an unvarnished account of the two weeks in which he recorded the album.Baby Man's closeness to Johnson's heart and the close attention to his voice and instrument it'sminimalist-maximalist ethos required uncorked something in him as he wrote towards a newfull band effort. \"That session was over,\" he explains, \"but there was way more to explore. Iliked the immediacy of it, and I wanted to see how that would translate into a full-band FruitBats record.\" Within weeks, he was back in a studio, this time with his band - David Dawda(bass), Josh Mease (guitars, synth), Frank LoCrasto (piano, synth), and Kosta Galanopoulos(drums) - with whom Johnson has spent over a decade building Fruit Bats into one of themost in-demand live acts in indie rock. Listening to The Landfill, it's not hard to understand why:simply put, this band smokes.Producing the initial recording sessions in Washington's Bear Creek Studios, Johnson set outto capture \"the sound of this band I constantly marvel at, the feeling of being in a room withmusicians you love and trust enough to let them cook.\" They laid most of it down on thefloor - no click tracks, no comped vocals, and minimal overdubs, with frequent collaboratorThom Monahan returning to provide additional production and The Landfill's final mix. \"It'show we do things with my other band, Bonny Light Horseman, and I was curious to see howit would work with Fruit Bats,\" Johnson notes. \"It's both a very personal record, and my mostcollaborative to date.\"It's also the most live a Fruit Bats record has been since 2009's The Ruminant Band, and inparing back the number of tracks that typically layer a full-band song, the psychedelic,technicolor dreaminess of their sound is more vivid than ever. Time and space melt into thesublime as the band gels around Johnson's hazy croon on \"That Goddamn Sun,\" stretching outto accommodate him as he trips from California to North Carolina. In striking a balancebetween ecstatic romance and melancholia, \"Think Aboutcha\" occupies the blissful-but-doomed intersection of the E Street Band and Paul McCartney, playful but playing for stakesthat are larger than life, while \"Perhaps We're a Storm\" charges headlong into the unknown.All of these songs - most of the songs on The Landfill, in fact - mark themselvesimmediately as some of the best in Eric D. Johnson's ever-expanding songbook, seekers andanthems alike. 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