Original Motion Picture Soundtrack (OST) from the film Annabelle Comes Home (2019). The soundtrack music composed by Joseph Bishara (The Prodigy, The Worthy, The Further). Annabelle Comes Home is a 2019 supernatural horror film, the sequel to Annabelle and Annabelle: Creation, the seventh installment in the Conjuring Universe. The film is written by James Wan and Gary Dauberman, directed by Gary Dauberman, stars Mckenna Grace, Madison Iseman, Katie Sarife, Patrick Wilson, Vera Farmiga.

A multi-talented producer of music for films, television, and video games, Iranian-German composer Ramin Djawadi honed his considerable talents alongside contemporaries like Klaus Badelt, John Debney, Harry Gregson-Williams, and Steve Jablonsky while working for veteran composer Hans Zimmer's Remote Control Productions film score company. He worked as an assistant to Badelt before venturing out on his own with the RZA-assisted score for director David Goyer's Blade: Trinity (2004).

The husband and wife songwriting team reunite here for their first set of new songs in ten years. In truth the songs have been written by Julie in the period Buddy was busy working with a host of luminaries from the world of Americana. Back in 2009 the duo released ‘Written In Chalk’ and eight years before that their ‘Buddy and Julie Miller’ album won the “Album of the Year” Award from the Americana Music Association. The 2010s have seen the couple have quite different experiences. Julie struggled with illness and that led to some depression. Buddy on the other hand was still in demand, a list of the people he worked with would take up the rest of this review. It’s worth throwing in a few to get a sense of the geography of his experience; how about Emmylou Harris, Linda Ronstadt, Steve Earle and Gillian Welch. And that is before we mention touring with Robert Plant and Alison Krauss with ‘Raising Sand’ and joining Plant’s Band of Holy Joy.

It seems like it was just yesterday that Scone Cash Players delivered their debut LP, “Blast Furnace” to the people and unexpectedly their follow up to one of my favorite albums of the year arrives at the door insisting that I immediately remove the shrink wrap and drop the needle down. With that said, Scone Cash Players have recorded another tight slice of grooves that elevates their sound from the previous effort and shows that they’re definitely going in the right direction. Organ funk, grit, deep grooves and plenty of soul is what you’re going to get on “As The Screw Turns”, a knockout 10 tracker long player of instrumental tunes as well as a few vocal cuts mixed in. For this album, they’ve enlisted a star studded cast to join including legend Naomi Shelton, Jason Joshua and John Dokes.

Texas mainstays Reckless Kelly will reprise their breakthrough 2008 album Bulletproof with a new live recording set to be released in June. The first release from the new project, “You Don’t Have to Stay Forever,” is out now. Bulletproof Live, a track-by-track recreation of the original, was recorded during the band’s 2018 West Coast tour as they were celebrating the 10-year anniversary of Bulletproof. That album, issued by Yep Roc, landed at Number Two on the Billboard Heatseekers chart upon its release. With “You Don’t Have to Stay Forever,” they’re in fine form — brothers Willy and Cody Braun harmonize while the rest of the band cranks out the scruffy country-rock that made them such a popular draw in the fertile Texas and Oklahoma music scenes.

The third full-length from Mannequin Pussy, Patience is an album fascinated with the physical experience of the body, its songs tracking the movements of mouths and hands and racing hearts, skin and spit and teeth and blood. Deeply attuned to the power of their own physicality, the Philadelphia-based band channels complex emotion in blistering riffs, thrashing rhythms, vocals that feel as immediate and untamed as a gut reaction. But throughout Patience, the Philadelphia-based band contrasts that raw vitality with intricate melodies and finely detailed arrangements, building a strange and potent tension that makes the album all the more cathartic.

Unfamiliar with Fences, aka Christopher Mansfield I could be forgiven by taking the visual and assuming what I was going to hear matches up to the image of the man himself. Instead within seconds, I realized I was not in Kansas anymore, a melodic, emotive range of songwriting flowed across the headphones immersed in soft poised vocals that told a story beyond the lyrics itself. What you get is a beautiful collection of melancholy, heartfelt songs that envelope you in an instant, hard to remove yourself from the deep intrinsic stories, you simply get swept away within the melodies and easy on the ear songs that resonate across the album. Like many of the modern day storytellers, capturing life within three minutes you could find comparisons in the likes of Passenger, or Damien Rice with soulful immersive songwriting, yet Fences delivers his songs in a personal way that resonates with the listener in an equally intimate way.

All ears on deck as one of the more disarming yet creative bands out there has new music on the horizon. Meet Martin Cartagena, Jose Aybar, Patsy Carroll, Giovanni Kincade and Rob Bryn who serve as the crooked backbone to one of Brooklyn’s most beloved rock bands – Wild Yaks. The band returns with Great Admirer, a brand new LP from Ernest Jenning Record Co on June 21st. The Yaks maintain wild group vocals lead by Bryn’s sea-soaked romanticism, yet the sound is more expansive than past records. Produced by Matt Walsh (The Forms) at Oceanus in Rockaway, we see the Yaks employ a horn section, strings, flute and saxophone, without it ever taking away from the energy and immediacy of the songs anchored by the melodic bass and shuffling drums of Aybar and Cartagena and the rough poetry of Bryn.

My lucky number and I’m a lucky girl! This collection of self-penned songs shows the evolution of Elisabeth as an artist, lyricist, and composer; raising the bar to a new energetic level of urban sound, while staying in touch with my acoustic folk roots. I’m happy to be working again with my favorite producer and collaborator, Filippo De Laura, who runs a fun, productive, and successful recording session!

Grown up in a three-village village in the middle of the Lower Saxon forest between classical piano education and trombone choirs, CATT surrounded the music of childhood. Before she could speak properly, she sang. Already as a seven-year-old, she forced her family on long car rides to sing self-composed polyphonic chants or took their first home recording strides with the children's cassette recorder.