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    Nathaniel Rateliff + The Nightsweats – Self Titled
    Nathaniel Rateliff has never been afraid to bare his soul. Solo or with The Wheel, his music sounds as if it’s been yanked out from between the ribs, each song a painful, non-elective excision. “Early Spring Till” is the typical Rateliff gateway track for good reason: it hits like a cheap shot to the solar plexus. Here as in the rest of his best, he breaks in the door with a primal howl and lingers long after you’ve put away your earphones. Read the full review on Hey Reverb

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    Ghost – Meliora
    Leading off from “Infestissumam,” “Meliora” feels quite different from the roiling and darker feel of that album. Whereas “Infestissumam” had more of a stripped down metal side to it, “Meliora” moves in the progressive side of things more than ever. Immediately from track one, the organ fueled intro-to-double-kick-drum swing draws us into a growing search for the “Spirit” (ahah), one which leads us from euphoric chorus through to a beautifully crafted guitar harmony, ending on a choral high note. And then it turns it around and starts getting down and dirty with “From the Pinnacle to the Pit,” a song that has one of the strongest set of riffs you’ll likely hear this year. Read the full review on Ultimate Guitar

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    Dr. Dre – Compton
    Free T-Shirt with Purchase!
    If there’s a surprise here, it’s that Dre, a 50-year-old near-billionaire long suspected of drifting out of touch, sounds charged-up, nimble, and relevant. Dre has always relied on other rappers and producers for inspiration and his own legacy is tied up in showcasing talent, lifting and rearranging it for his own cause. On Compton he’s taken the approach and doubled down, and while the album is frequently personal, it’s also communal, pushing his own voice towards the margins in favor of other vocalists. Read the full review on Pitchfork

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    Wilco – Star Wars
    The music’s urgent, live-in-the-studio feel pairs well with Tweedy’s lyrics, which seem more direct and compact than they have in a while. He’s working his usual themes — doubt, devotion, everyday fears and resigned hopes — without any of the literary obscurity that sometimes creeps into his writing. “I was only after a friend to follow through,” he sings on the lovely “Taste the Ceiling,” sounding like John Lennon in a moment of hard-fought grace. Read the full review on Rolling Stone

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    The New Grace Potter Album drops Friday the 14th! Pick it up in-store and then come down on the 20th to have your copy signed by Grace herself! RSVP via FACEBOOK for more information!

    Checkout some of the new tracks below:

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    Mac DeMarco – Another One
    On Another One, we learn stuff. The first thing we learn is how beneficial an eight-track record can be for a singer songwriter. When it comes to conviction, album length matters. Burying the lead is a very real threat in any genre, but artists of this one specifically are much more susceptible. At eight tracks long, however, Another One feels totally deliberate in its abbreviation, and it positions DeMarco as a guy who understands his audience’s attention span. Read the full review on Pretty Much Amazing

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    Iris DeMent – Trackless Woods
    “The Trackless Woods” (Flariella) finds the Arkansas-born singer creating music for a series of poems left behind by a Russian writer, Anna Akhmatova, who was persecuted by Soviet authorities and denied an income, and saw her only child imprisoned. Through it all she continued to write rather than flee her homeland, in an effort to bolster the spirits of her countrymen and most certainly her own. Read the full review at The Chicago Tribune

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    Chelsea Wolfe – Abyss
    Wolfe has incorporated metallic elements into her music since the beginning—especially on 2013’s Pain Is Beauty—but she’s never really gone full-on metal. And, honestly, she still hasn’t, but on Abyss she comes closer than ever, externalizing those tendencies. She’s thrown in moments of distortion, animal-like growling, or hiss on her other records, but it could come off like an affectation or add-on; here, it’s built into, and integral to, the music, which frequently booms with distorted doom-metal guitar. Read the full review on Pitchfork

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    This week’s Vinyl Tuesday releases included 4 Red House Painters re-issues, a Pavement rarities compilation & the Replacements TwinTone years vinyl box set.

     

     

     

     

     

    Sale prices for a limited time:

    Red House Painters

    Down Colorful Hills $20.99

    Ocean Beach/Shock Me $27.49

    Red House Painters(Rollercoaster)$27.49

    Red House Painters(Bridge) $20.99

    Pavement-Secret History 1 $24.99

    Replacements-Twintone years Box Set $69.99

    So they have moved the new release day for music releases to Friday starting earlier this month.  It has been of a weird adjustment to our work schedule down here at Pure Pop.  A new promotion that comes along with this change is Vinyl Tuesday.   This will be the release of certain vinyl albums 3 days early exclusively at independent record stores.  These will come in the form of exclusive special editions or the just the early release of albums due out Friday of that particular week.  So keep an eye out here or at recordstoreday.com for upcoming titles.

    This week includes:

    Joan Jett “I Love Rock ‘N’ Roll” 33 1/3 anniversary edition (Exclusive White Vinyl)

    Health  “Death Magic”  New Album from the LA indie rockers.

    Next week will include the Red House Painters re-issues & the Pavement rarities album.

     

     

     

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    Ashes & Dust reveals a far more rustic musical slant. That along with the give and take synergy from veteran roots outfit Railroad Earth makes this a unique entry into Haynes’ prolific catalog. The singer/songwriter appropriately allows the sextet a “featuring” cover credit since it’s impossible to imagine these songs resonating so fully without them to flesh out the sound. The music leans towards bluegrass and folk with tunes primarily about salt-of-the-earth, proudly blue-collar Americans struggling to make it through the next week or paycheck. From the miner in “Coal Tattoo” to the honest hard worker screwed by the corporation in “Company Man” and the dogged bounty hunter of “Glory Road,” Haynes sings these lyrics with the compassion and understanding of someone who knows these folks well. His flinty voice seems less gruff here, which melds well with the lighter instrumental touch of the music.

    CD $13.99
    DLX CD $17.49

     

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    Titus Andronicus – Most Lamentable Tragedy
    The Most Lamentable Tragedy is a story told in five acts that follows the Hero, an unnamed man (who’s someone like Stickles) in an unnamed city (which is somewhere like New York) grappling with his neuroses. He’s confronted by his doppelgänger—an alternate self that seems to have everything figured out, and pushes him to find solace outside of sin. It’s a protracted allegory for manic depression, which Stickles has publicly struggled with since the band first came to attention. Read the full review on Pitchfork

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    Lianne La Havas – Blood
    Throughout, Blood drips with rich, ambrosial textures, commencing with the dreamlike lush of ‘Unstoppable,’ where a rhapsodic La Havas sings of a sublime, celestial love. Following an excursion to Jamaica to explore her family heritage, La Havas unearthed not only a firm sense of self, but a lucidity about the world. Her newfound keenness pervades the entire album, especially in the equal parts sonic memoir and tribute ‘Green & Gold.’ Over acoustic guitar and soft-pedaled drums, La Havas ceremonialises her maturation from a perplexed little girl to self-assured songstress, equipped with the heirloom of her majestic lineage. Read the full review on Drowned in Sound

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    Daniel Romano – If I’ve Only One Time Askin’
    Bred on the obstinate perseverance and first-thought-best-thought of punk, Romano tends to play all of the instruments on his records, which he makes in his home studio in Welland, Ontario. Every time he sends a new album out into the world, he ups the ante. Here, his witty lyrics are more heartfelt than hokey, and he employs a two-piece string section to inject a certain drama into I’m Gonna Teach You and Old Fires Die. (A curious bass/strings segue also divides each track.) Read the full review on NOW Toronto

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    Tame Impala – Currents

    This is a breakup record on a number of levels—the most obvious one being the dissolution of a romantic relationship, but also a split with the guitar as a primary instrument of expression and even the end of the notion that Tame Impala is anything besides Kevin Parker and a touring band of hired guns. Because of these shifts, the question of whether Currentsis better than his first two albums is beside the point: it stands completely apart.  Read the full review on Pitchfork

     

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    Jason Isbell – Something More Than Free

    Isbell’s lyrics are nearly always evocative, and that is still much in evidence here. He has a knack for detail, and that specificity combines with his melodic gifts to make his songs memorable. The gentle acoustic pop arrangement of “The Life You Chose” could pass for early ‘90s Barenaked Ladies in a different context. Lyrically, though, verses like, “I got lucky when I finished school / Lost three fingers to a faulty tool / Settled out of court I’m no one’s fool”, mark the song as uniquely Isbell. Similarly, the grooving “Palmetto Rose”, an ode to South Carolina, goes for the big, populist country statement with its chorus, “It’s the women I love and the law that I hate / But Lord let me die in the Iodine State.” Read the full review on Pop Matters

     

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    Galactic – In the Deep

    After three Mardi Gras and Carnivale-themed releases, Galactic has once again invited a host of talented friends to join them on their latest LP, Into The Deep. The opening “Sugar Doosie” bursts with a wild and deep groove underneath the kind of airtight brass romp one might hear out their window during a New Orleans second line. From there, an eclectic array of collaborations are interspersed—including guests Ryan Montbleau, David Shaw of The Revivalists and JJ Grey—most notably, Macy Gray’s contribution on the title track stands out as Galactic’s most radio-accessible cut since 2010’s “Heart Of Steel.” Read the full review on Relix

     

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    Between the Buried + Me – Coma Ecliptic

    Coma Ecliptic’s conceptual sprawl is so ingenious and bursting with colour that it often feels too potent, too enthralling, to belong amid the empty, transient squall of the present day. From the rock opera crescendos of the opening Node onwards, the album dares to be both a quintessentially prog-rock experience and a timely act of modern metal derring-do. Read the full review on The Guardian 

     

    2902_ghostGhostface Killah – 12 Reasons to Die II

    Spanning 13 tracks, the LP is the sequel to their 2013 concept record, Twelve Reasons to Die, and continues to follow the story of protagonist Tony Stark (played by Ghostface), an enforcer who worked for the New York City DeLuca crime family. The album features a host of special guests in Bilal, Vince Staples, and Lyrics Born, and also sees Ghostface teaming up with his fellow Wu-Tang Clan comrades Raekwon and RZA. Read and Stream on Consequence of Sound

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    Jerry Garcia – On Broadway

    These Broadway shows were historic events that consisted of two sets. His acoustic band opened the shows performing a set of a variety of roots music including gospel, blues, and war-time songs that was followed by a set from his electric band. Read the full review on Best of Website

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    Richard Thompson – Still

    Though Thompson’s music has always been rooted in England’s deepest folk traditions, beginning with his teenage days in Fairport Convention during the ’60s, he has consistently wedded that respect to a modernist’s quest for surprise and the unconventional chord, the dissonant phrase, the oblique path. Just days after the death of Ornette Coleman, another improviser who absorbed the work of the greats that came before him and then remade the music to suit his own idiosyncratic vision, Thompson’s new album arrives as another example of how a mature artist can continue to innovate. read the full review on Chicago Tribune 

    front_GUIDE5Desaparecidos – Payola

    Payola is a discovery of their inner Sex Pistols: more cynical, more in character, taking advantage of no-win, no-future situations to create potent, punk rock theater. Up against institutions too big to fail but also too big to defend themselves, Desaparecidos provide heavy ammo for cathartic finger-pointing and maximum collateral damage. read the full review on Pitchfork

    2GRE_CD_1042_D3011MDave Douglas + High Risk Feat. Sigeto 

    It represents the lastest musical twist in an intriguing journey filled with them for Dave Douglas, whose roving creativity has already led him to an early association with John Zorn but also the Trisha Brown Dance Company, to covering Mary Lou Williams but also exploring Balkan improvisations with his own Tiny Bell Trio, to referencing Rufus Wainwright, Bjork and Thom Yorke but also playing with Bill Frisell and Lee Konitz. Read the full review on Something Else