So that you might hear me’ was recorded at several studios in Seattle with the producer Phil Ek (The Shins, Fleet Foxes, Father John Misty) and was mixed by Craig Silvey (Arcade Fire, Metronomy).

Australian singer-songwriter, Olivia O’Brien has released her long-awaited project ‘Was It Even Real?’ album. It was released on April 26, 2019, by Universal Island Records.

Hurts 2B Human, the 8th Studio album from P!nk set for release - April 26th. The 13 track album sees P!NK reuniting with fellow collaborators Max Martin, Shellback, Julia Michaels, Nate Ruess, Greg Kurstin, Billy Mann and more, welcomes her first time work with Teddy Geiger, Sasha Sloan, Beck and Sia, and has features from Khalid, Chris Stapleton, Cash Cash and Wrabel. Includes the massive Walk Me Home.

Five years since their last album, Mexican acoustic rock guitar duo Rodrigo y Gabriela are ready to embark on the next chapter of their remarkable story, with the release of the most ambitious music of their twenty year career together.

Chip Tooth Smile is the upcoming fourth studio album by American singer Rob Thomas, scheduled to be released on April 26, 2019, through Atlantic Records. It is his first album in four years, following 2015's The Great Unknown, and was preceded by the single "One Less Day (Dying Young)", which reached the top 30 at adult contemporary radio in the United States. Thomas will tour North America in support of the album from May 2019.

They're back - and they're back with a bang! Five years after their last album Open Up Your Colouring Book, Glasgow's magnificent Pearlfishers return with a brand new album. It's their eighth on Marina Records - a superb comeback full of masterful, classic pop music, driven by main man David Scott's exceptional songwriting and arrangements.

Prism Tats front man Garett van der Spek knew from an early age that rock and roll was not only his calling but his window and rocket ship to the outside world. While proud of his South African origins, it was through his parents record collection that he was spoon fed western rock ‘n roll, pop and R’nB, and it left it’s mark. Although Prism Tats began as a one-man band with a drum machine keeping beat for van der Spek’s quite modestly self-described “yelping and noodling”, it has quickly gained momentum: after enlisting a live drummer, local performances at the Bootleg, the Echo and the Growlers 3rd annual Beach Goth Party have begun to turn Angelenos’ heads.

How it Happened is not happy or cheerful music, it is consistently calm, sometimes dark and somber. The instruments are all held deep in the glowing sound of the ambient reverberation haze. There are keyboards ranging from what sounds to me like a huge stadium-size in magnitude piano, to a whimsical harmonium, plus an actual accordion, and of course synthesizers, lush and rich in timbre and tone. Each song has lots of extra silence in the distance between one ending and one beginning. There might be just four notes played on the entire album, over and over again like waves on the shore, and they are ample. It works perfectly, just what the medicine man ordered. Relax. It is also good for your blood pressure too. Listen for yourself! Breathe out and soar into beauty. Utterly superb, highly recommended.

Soul isn't a feeling, a sound or a movement. It's a connection, a current in the air – the spark of recognition, emotions leaping across live wires. It's the way a sinewy bassline steers your hips and eyes to the stranger across the club. It's how a handful of humble words can give millions the inspiration to overcome. It's the genius of a simple chorus that can explain the hard truths you couldn't last time you saw her.

Ben Harper is a musical preacher of sorts, never one to be shy in speaking his mind about social conformity. If his first two albums Welcome to the Cruel World and Fight for Your Mind didn't clue you in, Diamonds on the Inside will definitely do so. Diamonds on the Inside marks Harper's fifth studio effort and this time he's emotionally in touch with what makes his heart burst. This is a passionate album, no doubt. His signature Weissenborn guitar joins him once more and Harper's classic groovy funk is heavy; however, Harper adds worldbeat to his musical plank. From the Marley-esque vibe of 'With My Own Two Hands' to the African soundscapes of Ladysmith Black Mambazo on 'Picture of Jesus,' Harper's purist presentation is smooth.

With their third album Monterey, The Milk Carton Kids have evolved their signature sound into its purest essence. Writing on the road, sitting around after shows in green rooms and hallways, these duo found themselves finishing and editing each other s songs, resulting in a batch of songs where, for the first time in the band s career, friends and family cannot tell who wrote what. And for all the attention the duo received for combining into one voice, on Monterey we finally hear the singers as distinct; the acclaimed harmonies move farther apart so that the quirks and kinks of two individual identities emerge, the harmonies all the while remaining lush and soaring, their beauty all the more apparent for the showing of their scars.

This is Steve, Delicate Steve’s first new record in 4 years, and first for the ANTI- imprint, is an articulation of his spirit. Joy. Love. Positivity. Perseverance. Meditation. A general communion with the people and world around him. Easy to call such things hackneyed in this cynical time, but in Steve’s case, it’s very hard to separate the person from the art. It’s real. It’s pure. This, is Steve. Melody begins with the needle drop on This is Steve, and it’s this hallmark as a songwriter on display in tune after tune that has defined all of Delicate Steve’s work. It’s his incredible capacity to write wordless songs that are impossible not to sing along to. He works in no genre, there are no words, but there is never a question as to what he is saying.

On his eighth album, the singer-songwriter connects his gentle, acerbic soul to his most politically charged, well-stated, and funniest songs. On the very first song on his very first record, Cass McCombs went to the hospital. There he received some troubling test results and found himself faced with an unanswerable question. “Is it dying that terrifies you,” he sang, in a gentle, boyish sigh that would earn him plenty of comparisons to Elliott Smith, “Or just being dead?” It was a heavy introduction, but, in its plainspoken intensity, it foretold the work to come. As McCombs’ music progressed from murky lo-fi to austere folk-rock, his on-record persona has evolved with it, becoming at once more fleshed-out and more mysterious. He’s in a strange position now of being a veteran songwriter who we’re just getting to know.

Improvising vocalist, folk singer, storyteller, pianist: on her ECM debut Areni Agbabian focuses the range of her skills in music that casts a quiet spell. A sparse music in which voice, piano and the subtle percussion of Nicolas Stocker (last heard on ECM with Nik Bärtsch's Mobile ensemble), continually shade into silence.  The California-born Agbabian, who came to international attention with the groups of Tigran Hamasyan, draws deeply upon her Armenian heritage, reinterpreting sacred hymns, a traditional tale, a folk melody transcribed by Komitas and more, and interspersing these elements among her own evocative compositions. Bloom was recorded in Lugano in October 2016 and produced by Manfred Eicher.

The Mountain Goats are John Darnielle, Peter Hughes, Jon Wurster and Matt Douglas. They have been making music together as a quartet for several years now. Their songs often seek out dark lairs within which terrible monsters dwell, but their mission is to retrieve the treasure from the dark lair and persuade the terrible monsters inside to seek out the path of redemption.