A Night At The Odeon (CD)

After airing live on the BBC in 1975, this legendary concert had been lost to the annals of time. Queen now returns ready to destroy your speaker with operatic rock and wailing guitars. Watch Freddie Mercury in his prime not just perform, but perform rock history right in front of you. Incredible.

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Primus & The Chocolate Factory With The Fungi Ensemble [5.1 Dolby Surround Sound] (CD)

The masters of cheese, Primus, have their latest album mastered in 5.1 surround sound. Taking their stoned, cartoon POV look at the Willy Wonka & The Chocolate Factory soundtrack, they morph the essential chidren's classic into a strange, grotesque joke onto itself. Far out!

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Classic Quadrophenia (CD)

The Who's Quadrophenia is, without a doubt, one of the great rock albums. Now Pete Townshend converts the already surprisingly operatic album into a glorious full on symphony. With the Royal Philharmonic Orchestra and featuring special appearances by Billy Idol and Alfie Boe, Classic Quadrophenia reinvents and subverts rock into something even more spectacular.

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Timeline (CD)
The ever expanding Stones Throw Records deviates completely away from hip hop and electronic beats and treads into the world of spacey, funky, Johnathan Richman-esque vistas. In a sort of low-fi, bedroom take on indie by-way-of soul, Mile High Club's Alexander Britten shows off his skills after previously cutting his teeth with Ariel Pink, R. Stevie Moore and Mac DeMarco. The jams for windy, cold mornings. Read more
Glitterbug (CD)

This Liverpool indie-pop band's third album emits exuberance from every angle. Bright electronics, dreamy distorted guitars, and Matthew Murphy's charming, engaging vocals come together for festival-ready singalong anthems like "Emoticons." "Give Me a Try's" gleaming synth strut suggests they're successors to The Killers—smarter, but just as hooky. On "Greek Tragedy," the band proves they're more than just a party band, delivering a convincing pop power-ballad about knowing it's time to walk away. The band has said Glitterbug was written with an L.A. mindset, and it's easy to see The Wombats fitting in with the many electro-pop bands of Los Angeles. With Glitterbug, The Wombats are ready for their close-up.

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Joy, Departed (CD)
It's been a while since we've had a great emo band. Sorority Noise reminds us of what we loved about acts like The Promise Ring and Sunny Day Real Estate with their loud, melodic guitars and sweet vocals. "All I wanna be is the one you sometime miss," they sing on "Corrigan" among some truly Corgan-ish guitar theatrics—how can you resist? Not all of Sorority Noise's lyrics are bummers—"Using" is an ode to getting your mojo back, with terrific shout-along vocals. When you're feeling like some heart-on-sleeve action, Sorority Noise has got your number. Read more
Boxed In (CD)

British producer Oli Bayston crafts compositions that'll tickle your brainstem and get your booty shaking at the same time. Bayston borrows the best bits from alternative disco, house, and post-punk for catchy tunes like "Mystery," its off-time piano hits and disco beat creating infectious positive energy. "All Your Love is Gone" rides a simple groove into five minutes of krautrock-pop bliss, its chorus-effected guitars and driving beat building and building ecstatically. Any fan of bands like LCD Soundsystem, Hot Chip or Tanlines should be in heaven here. Despite his moniker of choice, Boxed In makes you want to jump out of your seat and get moving—so do it!

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Half Free (CD)

Meg Remy sings with a Sioux​sie sneer over Middle Eastern-flavored beats on her latest release, her best yet. She embodies various female perspectives in often bleak circumstances — the otherwise festive first single “Damn That Valley” sees Remy take on the role of a war widow, singing, “He promised me he’d come back alive/Where is my man?” in mock-girl group despair. Meanwhile, “Telephone Play No. 1” sees Remy talking to a friend on the phone about a disturbing dream and paternity, ending with the admission of being “just another woman with no self esteem” to creepy canned laughter. It may sound like difficult listening, but Half Free pairs its feminist critiques with snaking lo-fi beats by producer Onakabazien and Remy’s engaging, snarling delivery. Strangely addictive and affecting.

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Cranekiss (CD)

Tamaryn’s addictive new album finds the Bay Area shoegazers going new wave, but in their own insular way. The title track’s syncopated drum machine pulse and layers of floating vocals by frontwoman Tamaryn Brown call to mind turn-of-the-’90s fantasy pop from the likes of Cocteau Twins, Shakespear’s Sister and even a bit of Tori Amos. The band replicates its groaning My Bloody Valentine-style chords as synth blasts on the glittering “Hands All Over Me, while Brown’s vocals go from maximum ethereal on “Collection” to high and engaging on standout “Last,” which sounds pulled from the closing credits to an unmade Top Gun sequel. Lest you think Tamaryn have gone fully soft though, a track like “Softcore” introduces some menace, albeit in the chewed up industrial bubblegum style of Garbage or Curve. Though they lose a bit of the depressive allure that made their last few albums so appealing, Cranekiss’ playful hookiness is a welcome development from the band. Dream pop afficionados, rejoice — you won’t be able to stop spinning Cranekiss.

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Art Angels (CD)

After three years and a false start, Grimes aka Claire Boucher has returned with the follow-up to her breakthrough, Visions, and it’s a brightly colored collection of artpop magical realism. The drumline beats and sunny guitars and melodies of “California” and the title track could almost pass for something on mainstream radio, if not for Boucher’s clarion voice cutting through. Similarly, the nimble “Flesh Without Blood” might not be the most original song Grimes has put to tape, but it’s the catchiest and is damn near irresistible. Yet in between those songs we get “Scream,” which has none of the safety of her more accessible tunes, between Taiwanese rapper Aristophanes’ twisting flow and Boucher’s curdled screech. The previously released “REALiTi” throws fans of her more straightforward electro-pop a bone, though it continues with the posi vibes and influences of K-pop and early ’90s house that flow through the rest of the album. Meanwhile, “Venus Fly,” her spacey hip hop duet with Janelle Monae, is a pure delight, coming off like a futuristic art-school spin on the Spice Girls, and “Kill vs. Maim” has the feel of the drama kids taking over a pep rally with Boucher’s yelp simultaneously spirited and demented. Boucher has no use for genre boundaries and is seemingly allergic to negativity, all of which gives Art Angels an unbeatable all-embracing energy. The biggest change from Visions is that Boucher’s personality is more front-and-center; whereas that album could be more cold and cerebral in its in-between tracks, Art Angels is entirely engaging, and even its most digitized moments are stained with blood. 

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