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Pray For Me I Don’t Fit In

Melt Yourself Down

Alternative & Indie - To be released February 18, 2022 | Decca (UMO)

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Smoke & Oakum

The Longest Johns

Folk - To be released January 28, 2022 | Decca (UMO)

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The Gods We Can Touch

Aurora

Pop - Released January 21, 2022 | Decca (UMO)

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The Gods We Can Touch

Aurora

Pop - Released January 21, 2022 | Decca (UMO)

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Never Look Back

Imelda May

Pop - Released January 21, 2022 | Decca (UMO)

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Never Look Back

Imelda May

Pop - Released January 21, 2022 | Decca (UMO)

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Brightside

The Lumineers

Alternative & Indie - Released January 14, 2022 | Decca (UMO)

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Over the past decade, Colorado's The Lumineers have well proven that they are much more than the twee novelty of their hit "Ho Hey." Though they were originally lumped in with bands like Mumford and Sons, their brand of Americana folk is a more stark, incredibly intimate affair. Sometimes that can translate into an echo of Springsteen, like on the majestic title track—buzzing guitar, pomp drums, jangling tambourine—with its evocative lyrics: "I could see it in the air/ Every word was like smoke from a cigarette." At other times, there is a loose feel of Tom Petty circa Wallflowers, as on the sweet and low piano ballad "Big Shot." Produced by Simone Felice of the Felice Brothers, Brightside mostly opts for subtlety (barely plucked guitar, a wisp of piano on "A.M. Radio") that invites you to lean in and really listen. Vocalist Wesley Schultz has learned how to play his delightfully ragged voice over the years, too. To deliver the poignancy of the lyrics "Find a love, I was leveled at the sight of you/ You were wrong, what I needed was a little clue" on the great "Never Really Mine," he pushes it to a higher register—the song conveying swagger and a desperation all at once. On the daydreamy "Rollercoaster," floating lightly on piano and organ, Schultz punches unexpected words, making you think about what he really means: "I wish we could start it over, have another child." It's not so much traditional poetry as someone plainly sharing real human emotion. The Nilsson-esque "Birthday" is a bittersweet head-bob, and "Where We Are" is ready-made for a TV commercial: sentimental, folksy, warm-hearted, reassuring ("I don't know where we are/ But it will be OK," Schultz sings, with just a slight catch in his delivery). Closer "Reprise" is a treat: Starting off with a driving determination, the sub bass is lifted joyously by piano from Jeremiah Fraites. "I'm headed for the lights/ I'm headed for the bright side, baby, tonight," Schultz promises, the backing vocals rising and falling as if at sea. © Shelly Ridenour/Qobuz
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Brightside

The Lumineers

Alternative & Indie - Released January 14, 2022 | Decca (UMO)

Over the past decade, Colorado's The Lumineers have well proven that they are much more than the twee novelty of their hit "Ho Hey." Though they were originally lumped in with bands like Mumford and Sons, their brand of Americana folk is a more stark, incredibly intimate affair. Sometimes that can translate into an echo of Springsteen, like on the majestic title track—buzzing guitar, pomp drums, jangling tambourine—with its evocative lyrics: "I could see it in the air/ Every word was like smoke from a cigarette." At other times, there is a loose feel of Tom Petty circa Wallflowers, as on the sweet and low piano ballad "Big Shot." Produced by Simone Felice of the Felice Brothers, Brightside mostly opts for subtlety (barely plucked guitar, a wisp of piano on "A.M. Radio") that invites you to lean in and really listen. Vocalist Wesley Schultz has learned how to play his delightfully ragged voice over the years, too. To deliver the poignancy of the lyrics "Find a love, I was leveled at the sight of you/ You were wrong, what I needed was a little clue" on the great "Never Really Mine," he pushes it to a higher register—the song conveying swagger and a desperation all at once. On the daydreamy "Rollercoaster," floating lightly on piano and organ, Schultz punches unexpected words, making you think about what he really means: "I wish we could start it over, have another child." It's not so much traditional poetry as someone plainly sharing real human emotion. The Nilsson-esque "Birthday" is a bittersweet head-bob, and "Where We Are" is ready-made for a TV commercial: sentimental, folksy, warm-hearted, reassuring ("I don't know where we are/ But it will be OK," Schultz sings, with just a slight catch in his delivery). Closer "Reprise" is a treat: Starting off with a driving determination, the sub bass is lifted joyously by piano from Jeremiah Fraites. "I'm headed for the lights/ I'm headed for the bright side, baby, tonight," Schultz promises, the backing vocals rising and falling as if at sea. © Shelly Ridenour/Qobuz
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Get Back To The Land

The Teskey Brothers

Soul - Released January 12, 2022 | Decca (UMO)

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Get Back To The Land

The Teskey Brothers

Soul - Released January 12, 2022 | Decca (UMO)

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A Dangerous Thing

Aurora

Pop - Released January 7, 2022 | Decca (UMO)

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Fix You

Jacob Collier

Pop - Released December 24, 2021 | Decca (UMO)

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Fix You

Jacob Collier

Pop - Released December 24, 2021 | Decca (UMO)

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The Parting Glass

Ronan Keating

Pop - Released December 10, 2021 | Decca (UMO)

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Scrooge

The Longest Johns

Folk - Released December 10, 2021 | Decca (UMO)

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The Parting Glass

Ronan Keating

Pop - Released December 10, 2021 | Decca (UMO)

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Sings Merry Christmas

MC Grammar

Pop - Released December 10, 2021 | Decca (UMO)

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Sings Merry Christmas

MC Grammar

Pop - Released December 10, 2021 | Decca (UMO)

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Scrooge

The Longest Johns

Folk - Released December 10, 2021 | Decca (UMO)

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Live at Hamer Hall

The Teskey Brothers

Soul - Released December 3, 2021 | Decca (UMO)

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With their finely tuned vintage soul, The Teskey Brothers were never ones for showing off. When you have mastered all the codes of retro rhythm'n'blues, when you know the great soul music catalogues of Stax and Atlantic and everything that was recorded in the Muscle Shoals studios in Alabama in the 60's and 70's... You’ve got nothing left to prove. For this live album, recorded on December 22, 2020 at the Hamer Hall in Melbourne, the Australian gang worked together with the Orchestra Victoria. It’s a jewel box of pure silk that they sadly had to open in front of an empty hall. The Teskey Brothers (Josh on vocals, Sam on guitar) and their rhythm section (Brendon Love on bass and Liam Gough on drums) put on a particularly lively performance, boosted by the presence of the classical orchestra. With this new instrumentation, full of strings and brass, songs from their two studio albums, Half Mile Harvest (2017) and Run Home Slow (2019), rearranged by Jamie Messenger for a full orchestra, sit alongside optional 'mistletoe and wine' tracks such as Dreaming of Christmas with You and Highway Home for Christmas. Behind his microphone, Josh Teskey is an impeccable Otis Redding 2.0 who holds the show together and makes this Live at Hamer Hall a delicious and luxurious retro trip: but he never takes things too far. © Marc Zisman/Qobuz