This Is How Tomorrow Moves is the third album from artist beabadoobee, recorded at Shangri-La in Malibu with renowned producer Rick Rubin
and released on her long-standing label, Dirty Hit. This Is How Tomorrow Moves captures beabadoobee's confidence and introspection, with
themes of self-acceptance and personal growth woven throughout. It stands as a testament to her artistic evolution and resilience, marking a
significant milestone in her career.

Phoebe Bridgers wrote her first song at age 11, spent her adolescence at open mic nights, and busked through her teenage years at farmers markets in her native Los Angeles. By age 20, she'd caught the ear of Ryan Adams, who listened to her perform her song "Killer" in his L.A. studio, inviting her to come back and record it there the next day. The session blossomed into the three-song ‘Killer’ EP, released to much acclaim on Adams’s Pax-Am label in 2015. In the two short years since, Bridgers has toured or played with Conor Oberst, Julien Baker, City and Colour, Violent Femmes, Mitski, Television and Blake Babies among others. On September 22nd, Phoebe Bridgers will release her debut full-length, Stranger In The Alps. From the weeping strings and Twin Peaks twangs of opening track Smoke Signals, to the simple heartbreak of Funeral and melancholic crescendo of Scott Street, Stranger in the Alps is a swooningly beautiful record with a gothic heart.

Luke Combs - Fathers & Sons - Vinyl

A collection of 12 poignant tracks, Fathers & Sons was recorded entirely live and features Combs most personal songwriting to date, as he reflects on his own experiences being a dad to his two sons and the unique bond between parents and their children.

Reflecting on "The Man He Sees In Me," Combs shares a message he wrote to his young sons, "To my boys, first and foremost, I will always love you, no matter what. With this song I want you to know that even though I'm not perfect, I try my hardest every day to be the best version of myself for you both. I'll make mistakes along the way and some days you'll be sick of your old man, I'm sure, but, dang, we'll have some fun too. I can't wait to see what you both turn out to be like and I hope someday down the road, I get to watch you and your kids do the same. Love, Dad."

In addition to Combs, Fathers & Sons also features acclaimed musicians Jim "Moose" Brown (keys), Sam Bush (mandolin), Stuart Duncan (fiddle), Mark Hill (bass), Josh Hunt (drums), Joey Landreth (electric guitar), Steve Mackey (bass), Josh Matheny (dobro), Jerry Roe (drums), Jonathan Singleton (acoustic guitar), Bryan Sutton (acoustic guitar) and Charlie Worsham (acoustic guitar).

Private Space, the group’s third album, is a previously untapped vibe at the heart of The Indications. Pushing beyond the boundaries of the funk and soul on their previous releases, Private Space unlocks the door to a wider range of sounds and launches boldly into a world of synthy modern soul and disco beats dotted with strings. It’s an organic, timeless record that’s as fresh as clean kicks and familiar as your favorite well-worn LP. Developed after being apart for much of the year, Private Space is creatively explosive and delights in upending expectations. Its 10 tracks are both an escapist fantasy and a much-needed recentering after a tumultuous 2020. Throughout, The Indications highlight a collective resiliency – as well as the power of a good song to be a light in the darkness.

Durand Jones & The Indications have long provided the soulful soundtrack for such deep thoughts, both on stage and on your turntable. But as the world slowly resets from the chaos of the past year, Durand Jones & The Indications’ Private Space is arriving at just the right time.

Billie Eilish has announced her highly anticipated sophomore album. The 16-track studio album, titled Happier Than Ever, will be released via Darkroom/Interscope Records on July 30. Continuing the tradition on from her multi-GRAMMY Award, record-breaking debut album WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, Happier Than Ever features no outside songwriters or producers, and was written by 19-year-old Billie Eilish and her brother FINNEAS who produced the album in Los Angeles. The album includes Top 40 #1 single “Therefore I Am” and “my future.”

Billie Eilish’s third studio album, "HIT ME HARD AND SOFT", released via Darkroom/Interscope Records is her most daring body of work to date, a diverse yet cohesive collection of songs— ideally listened to in its entirety from beginning to end—does exactly as the album title suggests; hits you hard and soft both lyrically and sonically, while bending genres and defying trends along the way. With the help of her brother and sole collaborator, FINNEAS, the pair wrote, recorded, and produced the album together in their hometown of Los Angeles. This album comes on the heels of her two massively successful albums “WHEN WE ALL FALL ASLEEP WHERE DO WE GO?" and "Happier Than Ever" and works to further develop the world of Billie Eilish.

The vinyl is made with recyclable compound, collecting all first run scraps to re-use for additional runs later. All vinyl packaging is made from FSC® certified recycled paper/boards made 100% from post-consumer waste and recycled pre-consumer fibers. The ink used is raw plant-based and water-based dispersion varnish. In place of shrink-wrap, the sleeves are 100% recycled and re-usable. For shipping, all finished goods are packaged and shipped to depots in up to 93% recycled and 100% recyclable shipping boxes.

If you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for plants. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back to the dawn of time, but apparently, they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.

Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”

But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. 

“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.

Hearing Plantasia in the 21^st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia'snew renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

**Comes with fully restored original booklet with new liner notes by Andy Beta (Pitchfork). All vinyl copies come with seed paper download card – plant it and watch it sprout!**

RITE HERE RITE NOW is Ghost's debut feature film.  A unique phantasmagorical blend of mesmerizing live performance & intriguing narrative, started haunting cinemas (nearly 2000 across 50 countries) on June 20. RITE HERE RITE NOW: The Original Motion Picture Soundtrack will be released worldwide on July 26 (2xLP, 2xCD, Digital).  A fitting 18-song complement to the film, captured at their now-legendary sold-out two-night stand at the Forum, & includes a new single "The Future Is A Foreign Land".

The Original Motion Picture Soundtrack for Ghost's debut feature film includes the first single "Absolution."

All vinyl configurations include an official movie poster + 16-page photo book

Theatre Of Pain -Mötley Crüe - Theatre of Pain isMötley Crüe's third studio album originally released in 1985. Released in the aftermath of lead vocalist Vince Neil's arrest for manslaughter on a drunk driving charge, the album marked the beginning of the band's transition away from the traditional heavy metal sound of Too Fast for Love and Shout at the Devil, towards a more glam metal style. Theatre of Pain contains the hit singles "Smokin' in the Boys Room" and the power ballad "Home Sweet Home". The album was certified quadruple platinum by the RIAA in 1995.

The Alexander Technique, Rex Orange County’s fifth studio album, is a detailed portrait of Alex’s lived experience from his early to mid 20’s.

The album was produced by Rex himself alongside Teo Halm and Jim Reed, in addition to James Blake who produced and features on the track Look Me In The Eyes.  

Longer than any project he’s ever made and more musically varied, The Alexander Technique was made over a matter of years and recorded at various studios including Abbey Road, Henson, Conway, Decoy & Black Rock.