In the true spirit of Florence, “What Kind Of Man” is big and bold.
Florence + The Machine return this summer with their highly anticipated new album How Big How Blue How Beautiful, featuring the standout single “What Kind Of Man.” Florence Welch’s ethereal voice is layered with brass and a sharply defined beat – an epic return to the spotlight.
Honoring a fallen soldier in the production game, this box set explores the original boom bap sound that made J Dilla famous producing for A Tribe Called Quest, De La Soul, Pharcyde and countless others.
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RuPaul kicks out the jams with help from her seventh season Drag Race queens.
CoverGurlz2 is much more than a soundtrack. It’s a life preserver! Is your party suffering from a downtempo DJ? Throw him out like yesterday’s dirty denim and put on CoverGurlz2! Lip sync for your life to “Can I Get an Amen” – but don’t f*** it up!
El Divo a Dúo.
Juan Gabriel never shies away from reworking his own material as further evidenced on Los Dúo, a series of collaborations with top-shelf artists of past and present, including Juanes, Marco Antonio Solís and Vicente Fernández. The arrangements oscillate between polished pop and string-laden mariachis, but the real stars here are Juanga’s enduring voice and timeless compositions.
Fuzzy, dreamy, reverb-drenched, surf-pop from the Jersey Shore.
Dentist’s eponymous debut is a deliriously infectious collection of fuzzy, California styled, indie-pop jangle and sun-dappled, garage-rock crunch. At times it sounds like Best Coast crossed with the Ramones – other times, like a revved up Mazzy Star. Fans of Alvvays, the Drums and Wavves will feel right at home.
Low fidelity, high quality.
Like a smarter Ariel Pink, Sonny & The Sunsets swaddle clever lyrics in a deliberately lo-fi production. But unlike their contemporaries, the prerequisite vintage Tascam eight-track sounds like an afterthought. Talent Night at the Ashram recalls the genius of Farmer Dave Scher – where his peers try to recreate the past, Sonny uses old tones for new ideas.
Red dirt goes bluegrass.
If we can decode anything from the title of Robert Earl Keen’s Happy Prisoner: The Bluegrass Sessions, it’s this – since he’s notable for being an innovative Americana songwriter, Keen is content here to be locked down with a grip of traditional stringband cover songs (save for an old-timey take on Richard Thompson’s “1952 Vincent Black Lightning”).