Albums

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Alternative & Indie - To be released May 17, 2019 | Anti - Epitaph

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Alternative & Indie - To be released May 17, 2019 | Anti - Epitaph

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Soul - To be released May 10, 2019 | Anti - Epitaph

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Soul - To be released May 10, 2019 | Anti - Epitaph

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Alternative & Indie - To be released May 3, 2019 | Anti - Epitaph

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Alternative & Indie - To be released May 3, 2019 | Anti - Epitaph

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World - To be released May 3, 2019 | Anti - Epitaph

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Alternative & Indie - Released April 18, 2019 | Anti - Epitaph

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Soul - Released April 17, 2019 | Anti - Epitaph

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Alternative & Indie - Released April 16, 2019 | Anti - Epitaph

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Rock - Released April 12, 2019 | Anti - Epitaph

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The opening track on 2019's This Wild Willing, "I'll Be You, Be Me," begins with a fuzzy rhythm track and a bass patiently thumping over a clanky rhythm machine as Glen Hansard delivers his lyrics in an ominous murmur. Four minutes later it snowballs into a massive tower of cacophony with guitars, keyboards, and strings united in a howling frenzy of sonic force. It's a powerful way to start an album, and while it's easily the set's boldest departure from the introspective but passionate indie folk that has been Hansard's trademark, it sets the stage for a set that finds Hansard pushing his stylistic boundaries. This Wild Willing was primarily written during a four-week working holiday in Paris, and Hansard received input and inspiration from a wide variety of fellow artists, running the gamut from Irish traditional folk instrumentalists to experimental electronic musicians. Hansard merged his subdued but passionate melodies and lyrics with the many musical favors of his collaborators and has given us an album that pushes him forward as a recording artist. The craggy murmur of Hansard's voice turns out to be more versatile than one might imagine, given how well it responds to the forbidding squall of "I'll Be You, Be Me," the slinky sax-accented grooves of "Race to the Bottom," and the stark dynamics of "Fool's Game." Much of the rest of This Wild Willing seems to more readily fit Hansard's typical working method, but there is a rich and spacious sound that producer David Odlum brings to the recordings that, like the flavorful arrangements, doesn't simply give Hansard's compositions a suitable backdrop, but expands them into something deeper and more compelling. Glen Hansard has long been a gifted and effective vocalist and songwriter, but on This Wild Willing, he reveals a greater vision and intelligence in using the studio to give his music life, and it's an unusually strong offering from him. ~ Mark Deming
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Rock - Released April 12, 2019 | Anti - Epitaph

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Pop - Released April 9, 2019 | Anti - Epitaph

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Alternative & Indie - Released April 5, 2019 | Anti - Epitaph

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Alternative & Indie - Released April 5, 2019 | Anti - Epitaph

On Brutalism, Jonny Pierce continues the self-reflection and self-healing he began on Abysmal Thoughts, which, thanks to the ways his music grew to accommodate more complicated emotional states, was a breakthrough album for the Drums in more ways than one. As part of the healing process, Pierce collaborated with outside musicians on Brutalism and brought in Chris Coady to mix the album. With a bigger creative team supporting him, Pierce takes inspiration from his longtime affection for synth pop and electronic music, letting the shiny production and instrumentation act as candy-coated armor for his musings on love and lust. It's a notably different approach from Abysmal Thoughts' cloistered indie pop, yet Pierce sounds just as self-aware as he deals with the aftermath of his divorce and the frustrations of relationships, especially the one he has with himself. "Maybe I know too much about the world/Or about myself," he sings over brassy synths on "Body Chemistry"; later, the restless beat of "Loner" mirrors the impersonality of hookup culture. As on the Drums' previous album, Brutalism showcases Pierce's knack for portraying the thrilling and terrifying sides of romance and juxtaposing joyous moments with devastating ones. "I bet my life on one kiss," he sighs on the witty, heartfelt title track, which feels like a prelude to Brutalism's euphoric finale "Blip of Joy." The album's finest song, however, is "Nervous," an acoustic lament that captures the tiny yet unforgettable details of saying a final goodbye to an ex. Moments like these prove that Pierce's soul-baring is paying off in music that allows him to express himself to the fullest on the way back from heartache. ~ Heather Phares
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Alternative & Indie - Released April 3, 2019 | Anti - Epitaph

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Alternative & Indie - Released April 3, 2019 | Anti - Epitaph

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Alternative & Indie - Released April 3, 2019 | Anti - Epitaph

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Alternative & Indie - Released April 2, 2019 | Anti - Epitaph

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Alternative & Indie - Released March 28, 2019 | Anti - Epitaph