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Trinity Lane is a raw, country-fried rock-and-roll album. This record was written mostly in the summer of 2016 in my apartment off of Trinity Lane. A few tunes came out on the road as well. After moving out of an ex's house, I settled into a new neighbourhood down the road. Shortly after, I picked up a tour with my good friend John Moreland where we went to the West Coast and back. I was trailing them in my little 2002 Honda Accord that has literally been all over the country with me. A woman in my early 30s, I found myself sick of my same old shit. I was inspired by the landscape of the west. My faith was tested on the curves of the Highway 101 through the Red Woods. I got terrifyingly stoned on weed gummy bears in Denver. I saw real cowboys in Wyoming and drove through a flood in Arkansas. I felt displaced, but connected. Upon returning to the south, my home of Tennessee, I slunk back into my nook off of Trinity. I went over all the things I'd seen. There had been a freedom in being so far away - a lack of responsibility, a distance from some of the issues, if you will, though I'd carried them right with me, back to my birthplace of Los Angeles, peering over the ocean, wondering how you can come so far yet end up in the same place. I contemplated fleeing and just staying in California, but the south is my home and I had to deal with what needed to be dealt with. I started to write. And go to the park. And listen to records. And play my guitar every night. Every time I wanted a man, I picked up my guitar. Every time I wanted a drink, I picked up my guitar. Love will take you to the darkest places but also to the most honest places if you let it. Learning how to love myself is something I've always been lousy with, and I spent some time on that. I thought about my sobriety, what that means to me, the struggles I'd had throughout the years, since I was a 27-year-old and hung up my toxic drinking habit. I thought about my mother, who took her own life when I was a baby, not far from my age at 30 years old, and I related to her more than ever. As you can see, there was plenty of time spent on my own. I didn't talk to that many folks, albeit a few close friends, and leaned into my family. I stayed away from men, and danced alone in the evenings, looking out my window observing my humble and lively neighborhood. I found power in being by myself. I found peace in the people I was surrounded with - we didn't really know one another, but we smiled when passed on the street. One time I almost rear-ended an older woman in her car backing out of my driveway and I said, "Oh man, I'm just not used to any cars coming around this bend." She replied, "This is our little hideout, baby.” And it really was. The woods were behind me, Dickerson Pike was in the front. So after a while, I had all these songs to play, and wanted to share them. I wanted to get out of town to get some distance from everything, so after an ongoing conversation with Michael Trent, I took my band to Johns Island, SC and we holed up for a few weeks. I poured my heart out, and trusted them with it, and these guys gave it right back. I think we all understood what it's like to question home, intention, demons, love....I think most people understand that. I hope you love this record, I made it for you. Record Label: Pias UK/New West Records Style: Singer / Songwriter

FOR THE FIRST TIME EVER ON VINYL!! LIMITED EDITION OF 500 COPIES ON BLACK VINYL INKL. DOWNLOAD-CODE LBW Records re-masters, and re-releases the Kaiser's 1997 CD only release "Wishing Street" (originally released on NO HIT Records) on CD format, but more imprtantly, for the first time ever on the format it is made for, VINYL!! Yes, the first ever vinyl version of this album is finally hitting the shelves.. Formed in 1992, The Kaisers exist in the same timezone as famous beat combos of 1962 etc, they look and sound like they could be on the way to play the Cavern, or on their way back from Hamburg, but this aint simply some "retro" beat sound they are dishing out, this is a proper old fashioned rave up; you will dance and jive yourself into a frenzy!! A mono recording, the Kaisers' fourth long-play outing recreates the swinging sounds of very early Beatles and other Merseybeat bands with considerable gusto. The album cover also evokes another era, and a dozen of the album's 14 songs are originals, including a couple of wild instrumentals in the style of the Ventures and Shadows. Record Label: Lbw Records Style: Garage Rock

LP - Heavyweight Vinyl with Download. In The Kingdom Of Dreams is the debut solo album from Ian Felice of The Felice Brothers. The album was recorded in his childhood home of Palenville NY, with his brother Simone Felice on production duties. Simone produced and co-wrote recent hit albums from The Lumineers and Bat For Lashes. On the album, Ian was joined by fellow Felice Brothers James Felice on keys, Simone Felice on drums and Josh Rawson on bass. The Felice Brothers was conceived in 2006 after the recording of Iantown, a 10 song album of Ian’s first songs recorded in one night in January of 2006. In The Kingdom of Dreams is a collection of songs Ian wrote in 2016 and recorded over the course of 4 days in February of 2017, with his brother Simone at the helm. Record Label: Loose Music Style: Rock

London-based outfit whose psychic charge- equal parts brittle rhythmic drive, angular contortions and monochrome minimalism - is as punishing in approach as the band are enigmatic in aspect. FF061116 follows their debut Work (released on Hands in The Dark) and previous tapes and 7" releases (on Faux Discs and Blank Editions). The band shows no sign of compromise whatsoever, being as stark, harsh and stubbornly inhospitable as the strobe-haunted, feverishly kinetic live shows that have earned them a fearsome reputation. Split into seven excerpts and built on powerful repetition, it's a mind-melding travail into abstraction and abjection which draws on post-punk, jazz, drone, electronic and avant-garde tropes to create an unclassifiable assault that feels oddly timeless. Whilst some may be able to detect influences like This Heat (whose Charles Hayward approvingly described their sound as redolent of "a barely controlled anger, hypnotic and building from the simplest elements") or Einsturzende Neubauten, Housewives are carving out their own unique place in the darker quarters of the underground. Record Label: Rocket Style: Experimental

S.N.A.C.K. - Students Need Athletics, Culture, And Kicks - was a way for Bill Graham to give back to the San Francisco community. When city budget cuts meant an end to all extracurricular activities in schools, he staged a concert with an amazing list of performers and over 50 guest celebrities. 50,000 attendees at Kezar Stadium raised enough money to keep extracurricular activities in San Francisco schools going for one year. Presented here is the entire day's worth of music in the Vault from that benefit concert. It began with some early morning funk from Tower of Power and Graham Central Station and ended with an all-star jam where Bob Dylan and Neil Young played with members of The Band and the Stray Gators. In between were sets by Bay Area regulars like the Doobie Brothers, Santana, the Grateful Dead (in one of their very few 1975 appearances) and Jefferson Starship; as well as some beautiful folk from Joan Baez and some Latin jazz from Eddie Palmieri. This was Bill Graham's first large, outdoor, multi-artist stadium concert and certainly one for the ages. Record Label: Roxvox Style: Rock

It's hard to imagine who Forsyth's contemporaries might be, but it's always been that way: the greats tend to feel a little out-of-plumb with their moment (only hindsight lets us see it otherwise), and Forsyth's music has been sparring with some large forces from the beginning. He's always united the homely with the astral, the abstract with the visceral in his Solar Motels and Intensity Ghosts. There's something different about Dreaming In The Non-Dream, though. There's a fresh economy involved here, a sense, strange as this is to say about a record with two songs longer than eleven minutes, of not a note wasted. Despite psychedelic leanings, Forsyth's records have always trained toward concision -- plenty of space, yet never slack -- but these tunes erupt with startling swiftness, then spend the rest of their quick-burning lives teasing multiple moods and patterns out of relatively simple materials Record Label: No Quarter Style: Rock

Japan’s all-female metal powerhouse Mary’s Blood have their first overseas release with latest album FATE. This edition features exclusive digipak design, housing an 18-page poster booklet containing the original Japanese lyrics and their transliteration, plus a poster. This ferocious album sees the band collaborate with BABYMETAL producer Yuyoyuppe (“KARATE”, “Megutsune”) on two songs, the first time they’ve allowed writing duties to someone outside of the band. Expect powerful vocals, insane guitar solos and catchy hooks from one of Japan’s most powerful metal outfits, signed to an overseas label due to high demand. Record Label: Jpu Records Style: Heavy Metal

S.N.A.C.K. - Students Need Athletics, Culture, And Kicks - was a way for Bill Graham to give back to the San Francisco community. When city budget cuts meant an end to all extracurricular activities in schools, he staged a concert with an amazing list of performers and over 50 guest celebrities. 50,000 attendees at Kezar Stadium raised enough money to keep extracurricular activities in San Francisco schools going for one year. Presented here is the entire day's worth of music in the Vault from that benefit concert. It began with some early morning funk from Tower of Power and Graham Central Station and ended with an all-star jam where Bob Dylan and Neil Young played with members of The Band and the Stray Gators. In between were sets by Bay Area regulars like the Doobie Brothers, Santana, the Grateful Dead (in one of their very few 1975 appearances) and Jefferson Starship; as well as some beautiful folk from Joan Baez and some Latin jazz from Eddie Palmieri. This was Bill Graham's first large, outdoor, multi-artist stadium concert and certainly one for the ages. Record Label: Roxvox Style: Rock

Artist: Andy Summers Label: Private Music

Artist: John Mayer Label: Mis

Artist: Madeline Kenney Label: Company Records

Artist: Waterboys Label: CHRYSALIS RECORDS

Artist: Grateful Dead Label: Real Gone Music

Artist: Richie Furay Label: Rockbeat Records

Artist: Stephen Stills; Artist: Judy Collins Label: Wildflower

Artist: Rolling Blackouts Coastal Fever Label: Sub Pop Records

Artist: Kesha Label: Mis

Artist: John Mayer Label: Mis

Artist: Waterboys Label: BMG Rights Management (UK) Ltd

Artist: Ricky Martin Label: Mis