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Formed by Cleveland in 2012, La Luz is beloved for their ability to balance bedlam and bliss, each new record another fine-tuning of the band's mix of swaggering riffs with angelic vocals borrowed from doo-wop and folk; a band so reliably great that it makes the huge step forward in confidence and sheer musicality that is News of the Universe all the more formidable. Cleveland, also a writer and painter, has developed into a truly original songwriter with her own canon of haunted psychedelia. Yet if Cleveland has spent years writing songs about ghosts, what lurks in the shadows of News of the Universe is nothing less than death itself. \"There are moments on this album that sound to me like the last frantic confession before an asteroid destroys the earth,\" says Cleveland. The powerful sense of openness that permeates News of the Universe is at least partially due to the fact that it is a record made entirely by women-from the performing, writing, and producing all the way through to the recording, engineering, and mastering. Working with producer Maryam Qudos (Spacemoth), the all-female environment allowed Cleveland to feel safe tapping into difficult places and expressing hard emotions women are socialized to suppress. Unashamedly vulnerable, unabashedly feminine, and undeniably triumphant, News of the Universe is another knockout record from a band so reliably great that it has perhaps led people to overlook how pioneering La Luz really are: women of color in indie music forging their own path by following their own artistic star into galaxies beyond current musical trends, always led by an earnest belief in the cosmic power of love and a great riff. 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With equal parts soulful intensity and fiery grit, the Kentucky-bred singer-songwriter delivers 12 deeply cathartic co-written songs about his most devastating experiences, including losing his father to addiction at a young age. 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As the creative force behind the pioneering group N2Deep and a key member of Latino Velvet, Jay Tee has consistently crafted a sound that is quintessentially Northern Californian. This album continues that tradition, immersing listeners in his signature laid-back, yet unflinchingly raw, lyrical style. \"End of an Era\" unfolds as a sprawling narrative, with a tracklist that reads like a testament to Jay Tee's enduring artistic vision. Songs such as \"Came From Nothing,\" \"I'm From Vallejo,\" and \"Hustlin' With The Best\" reaffirm his deep roots in the Bay Area street life and music scene. The album is bolstered by collaborations with a roster of new and familiar voices, including long-time associate Baby Bash, which underscores Jay Tee's role as both a respected OG and a continuing influence. The production throughout the album maintains the classic mobb music feel that has been a staple of his sound, characterized by heavy basslines and smooth, melodic synths. 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You may be familiar with the hypnotic, entrancing tones of Ibarra's vocals through his work with the Latin Grammy award-winning, four-piece, Bala Desejo and the band Dônica. He has also toured with the musical titan, Milton Nascimento, performing guitar and vocals, which is quite the honour and a testament to Ibarra's craft. As a solo artist, he has performed headline solo shows in Japan, Portugal and the US, as well as recently completing a support tour with the great, Seu Jorge. 'AFIM' is comprised of eight tracks, featuring Zé's own compositions as well as cover versions of tracks by contemporaries and friends, Sophia Chablau, Tom Veloso, and Dora Morelenbaum. It combines elements of MPB, jazz, pop and progressive rock in a bold, authoritative style. The album represents the intersection between different facets of the artist, from the stripped-down, intimate, guitar singer-songwriter, to dense arrangements with sweeping strings sections. Writing this album allowed Ibarra \"to explore sides of myself that had not yet been organized in an album: a certain darkness, a more cinematic musicality, a desire for new soundscapes. The album features the single, 'Transe', a song with an instantly comforting tone reminiscent of classic Brazilian songs of the past (think Caetano Veloso). It is built on a rhythmic guitar that supports dynamic sound layers, opening space for Ibarra's intense interpretation. Cinematic atmospheres that lend an air of mystery come courtesy of string arrangements by Jaques Morelenbaum.His unique cover version of Sophia Chablau's 'Segredo' is equally compelling, taking Sophia's punky-indie original in a different direction and making it feel like his own. 'Essa Confusao', a song celebrating the intensity of love and co-written by Dora Morelenbaum, is steered into epic, 70's AOR, singer-songwriter territory with wind arrangements by Ibarra, Jorge Continentino and strings by Jaques Morelenbaum. 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Shedding thumping 808s and intricate production in favor of a no-frills band and sparse live recording, the album is a stirring collection of hazy folk rock songs that prove Wicca Phase Springs Eternal can truly be anything.  \"I always kind of thought that as long as I have the Wicca Phase Springs Eternal name that I can do whatever I want,\" Andrzejewski explains. \"The name provides a framework for the lyrics and aesthetics of the project-my songwriting with a mystical overlay to it-and as long as I can make something work within that, then the genre doesn't totally matter.\" That daring creative mentality is what steered Andrzejewski when he first started the WPSE project, through his work as a co-founder of the influential GothBoiClique collective, or as member of Thraxxhouse and Misery Club, and even with his punk side project, Pay For Pain. 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This edition presents their iconic 1962 album A Bossa dos Cariocas in it's entirety, enhanced with eight superb bonus tracks that highlight their trademark blend of rich vocal harmonies and bossa nova's elegant syncopations. Among the highlights is the historical recording of \"Chega de Saudade\" featuring Joao Gilberto on guitar. 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Following their 1988 debut, the band refined their sound and achieved a more accessible, polished production while retaining their core indie rock essence. The album is produced by Tim Palmer, known for working with The Cure and U2, and features jangly guitars, lush production, and emotionally resonant lyrics. The music is a blend of indie rock, alternative, and Britpop influences, with elements of post-punk and psychedelia. \"Shine On\" is the album's biggest hit; this track became the band's highest-charting single, reaching No. 16 on the UK Singles Chart. With it's soaring chorus and anthemic feel, it remains one of their most beloved songs. Other notable tracks are \"Beatles and the Stones\", a playful homage to the legendary rock bands, which showcases the band's knack for catchy, riff-driven melodies; \"Shake and Crawl,\" which stands out with it's driving rhythm and infectious energy, capturing the band's indie rock vibe: and \"Hedonist\", a song that features a deeper, darker tone with lyrics exploring themes of excess and self-destruction.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHannah\u003c\/li\u003e\n\u003cli\u003eShine On\u003c\/li\u003e\n\u003cli\u003eBeatles And The Stones\u003c\/li\u003e\n\u003cli\u003eShake And Crawl\u003c\/li\u003e\n\u003cli\u003eHedonist\u003c\/li\u003e\n\u003cli\u003eI Don't Know Why I Love You\u003c\/li\u003e\n\u003cli\u003eNever\u003c\/li\u003e\n\u003cli\u003eSomeone's Got To Love You\u003c\/li\u003e\n\u003cli\u003eIn a Room\u003c\/li\u003e\n\u003cli\u003eBlind\u003c\/li\u003e\n\u003cli\u003e32nd Floor\u003c\/li\u003e\n\u003cli\u003eSe Dest\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 602488522267\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Music On Cd\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 9.19.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Music On Cd","offers":[{"title":"Default Title","offer_id":44744093466761,"sku":"47444","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0299\/1338\/3049\/files\/4443641-3418615.jpg?v=1759952027"},{"product_id":"kendra-morris-next-lp","title":"Kendra Morris - Next [LP]","description":"\u003cp\u003eWith her fourth full-length album of original material, idiosyncratic singer\/songwriter Kendra Morris invites you to join her in the DIY kaleidoscope world of Next. Morris's latest record for Karma Chief strips away the veneers of layered production and slick sounds to create an album that may be Kendra at her most authentic, one in which the creative process is vibrant, beautiful, and messy, buoyed by heart and the imperfectly perfect now. A concept album in reverse, Next ties Kendra's cast of characters (including her band: guitarist Supremo \"Premo\" Massiv, bassist Monti Miramonti, and drummer Chauncey Yearwood) to a vintage board game in the spirit of Milton Bradley's finest retro dice-rolling moments. Travel along Next's block-to-block journey, and this universe reveals itself as a mosaic of corals, creams, and pale lilac tiles. You can hear the sonic palette resonate with Morris's influences and inspirations. Decades of New York sounds and voices bend and blend at the seams of these tracks-a world where the Brill Building and Warhol's Factory thrive on the same block while Blondie and the Frightnrs explore rocksteady sounds. Doo-wop and boom-bap soundtrack a UHF network's worth of cut-and-paste stylings, all the while paced by Morris, an artist equally at home behind the lens as she is in front of a microphone. Next is an album of firsts. The album's extended gestation provided Morris with an opportunity to explore her ideas and demos. \"I've been living in this record for over a year,\" says Morris. \"I've always been a writer, and [Next] was a chance to write a record from scratch on my own.\" The New York (by way of Loveland, Ohio) production is co-helmed by Kendra Morris and Leroi Conroy. It's production trades the steel and chrome sleekness for a more personal and scaled-down sound, exposing the songcraft. While earlier albums were awash in IMAX-level cinematic sweep, Next explores Kendra's perspective with a handheld 8mm kinetic energy, all the while showcasing the dynamic, soulful range of her powerhouse voice - equal parts Roberta Flack, Betty Wright, and Minnie Riperton. With recording done at Portage Studios in Loveland and additional vocals recorded at Kendra's Brooklyn apartment, the symmetry is as poignant as it is reflected in the home cooking vibe throughout. \"I wrote and recorded my demos right here at this desk with my guitar, drum loops, and my Casio keyboard,\" Morris reflects. \"To then have Leroi come here, stay a few doors down, and record the vocals felt right and right now and I'm also playing guitar [on Next] which I'm excited about, too.\" Much like the best board games, you may end your journey where you began it, but the path you take along the way is where moments are made. Additional guests on the album include Ray Jacildo of Jr. Thomas and the Volcanos, lending his organ and piano to lo-fi reggae banger \"Flat Tire.\" It's a track that traces the throughline from Kingstown to Bushwick and back again all with Morris' signature AM radio-ready vocals. Kendra Morris and Karma Chief Records invite you to play along with Next, a sonic journey where the roll of the dice means excitement and adventure. Explore the world, tile by tile, meet new friends like Jerry \u0026amp; Roger, help the gang with a \"Flat Tire,\" or read a letter to \"Dear Buddy.\" Maybe you can avoid crossing paths with \"Bill.\" It's Next, complete with 10 tracks and hours of fun for the whole family. Some assembly required. 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Angela Gheorghiu embodies an incandescent Tosca of rarely seen dramatic power and vocal flawlessness, and Roberto Alagna is an ideal Mario Cavaradossi, also at the peak of his art. Supported by a great artistic complicity, the warm and ample voices of these two star singers can flourish without restraint and unleash all the fires of passion. Ruggero Raimondi, masterful, portrays the infamous Scarpia as a model of perversity and darkness. Antonio Pappano, leading the Orchestra of the Royal Opera House, Covent Garden, once again proves himself one of the greatest operatic conductors of our time, preserving the slightest nuances of this multi-coloured score.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTosca, Act 1: \"Ah! Finalmente! 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Son qui!\" (Tosca, Cavaradossi)\u003c\/li\u003e\n\u003cli\u003eAct 1: \"Ora stammi a sentir\" (Tosca, Cavaradossi)\u003c\/li\u003e\n\u003cli\u003eAct 1: \"Non la sospiri, la nostra casetta\" (Tosca, Cavaradossi)\u003c\/li\u003e\n\u003cli\u003eAct 1: \"Or lasciami al lavoro\" (Cavaradossi, Tosca)\u003c\/li\u003e\n\u003cli\u003eAct 1: \"Ah, quegli occhi\" (Tosca, Cavaradossi)\u003c\/li\u003e\n\u003cli\u003eAct 1: \"Mia gelosa!\" (Cavaradossi, Tosca)\u003c\/li\u003e\n\u003cli\u003eAct 1: \"E buona la mia Tosca\" (Cavaradossi, Angelotti)\u003c\/li\u003e\n\u003cli\u003eAct 1: \"Il cannon del castello! Sommo giubilo, Eccellenza!\" (Angelotti, Cavaradossi, Sagrestano)\u003c\/li\u003e\n\u003cli\u003eAct 1: \"Tutta qui la cantoria! Presto!\" (Sagrestano, Coro)\u003c\/li\u003e\n\u003cli\u003eAct 1: \"Un tal baccano in chiesa!\" (Scarpia, Sagrestano, Spoletta)\u003c\/li\u003e\n\u003cli\u003eAct 1: \"Or tutto è chiaro\" (Scarpia, Tosca, Sagrestano)\u003c\/li\u003e\n\u003cli\u003eAct 1: \"La corona! Lo stemma!\" (Tosca, Scarpia)\u003c\/li\u003e\n\u003cli\u003eAct 1: \"Oh mio bel nido insozzato di fango!\" (Tosca, Scarpia)\u003c\/li\u003e\n\u003cli\u003eAct 1: \"Tre sbirri, una carrozza\" (Scarpia, Spoletta, Coro)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Tosca è un buon falco!\" (Scarpia, Sciarrone)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Ha più forte sapore\" (Scarpia, Sciarrone)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"O galantuomo, come andò la caccia?\" (Scarpia, Spoletta)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Ch'io lo trassi in arresto\" (Spoletta, Scarpia, Cavaradossi, Coro, Tosca)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Dov'è Angelotti?\" (Scarpia, Cavaradossi, Spoletta, Tosca)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Pria le forme ordinarie\" (Scarpia)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Ed or fra noi parliam da buoni amici\" (Scarpia, Tosca)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Sciarrone, che dice il Cavalier?\" (Scarpia, Sciarrone, Tosca, Cavaradossi)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Orsù, Tosca, parlate\" (Scarpia, Tosca, Cavaradossi, Spoletta, Sciarrone)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Floria! Amore\" (Cavaradossi, Tosca)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Nel pozzo, nel giardino. Va, Spoletta\" (Scarpia, Cavaradossi, Tosca, Sciarrone)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"L'alba vindice appar\" (Cavaradossi, Tosca, Scarpia)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"La povera mia cena fu interrotta\" (Scarpia)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Quanto? Il prezzo\" (Tosca, Scarpia)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Se la giurata fede debbo tradir\" (Scarpia, Tosca)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Come tu mi odi!\" (Scarpia, Tosca)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Vissi d'arte, vissi d'amore\" (Tosca, Scarpia)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Vedi, le man giunte io stendo a te!\" (Tosca, Scarpia)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Chi è là?\" (Scarpia, Spoletta, Tosca)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Io tenni la promessa\" (Scarpia, Tosca)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Tosca, finalmente mia!\" (Scarpia, Tosca)\u003c\/li\u003e\n\u003cli\u003eAct 2: \"Or gli perdono!\" (Tosca)\u003c\/li\u003e\n\u003cli\u003eAct 3: Introduzione\u003c\/li\u003e\n\u003cli\u003eAct 3: \"Io de' sospiri\" (Un pastore)\u003c\/li\u003e\n\u003cli\u003eAct 3: Le campane suonano mattutino\u003c\/li\u003e\n\u003cli\u003eAct 3: \"Mario Cavaradossi? A voi\" (Carceriere)\u003c\/li\u003e\n\u003cli\u003eAct 3: \"Vi resta un'ora\" (Carceriere, Cavaradossi)\u003c\/li\u003e\n\u003cli\u003eAct 3: Cavaradossi si mette a scrivere\u003c\/li\u003e\n\u003cli\u003eAct 3: \"E lucevan le stelle\" (Cavaradossi)\u003c\/li\u003e\n\u003cli\u003eAct 3: \"Ah! Franchigia a Floria Tosca\" (Cavaradossi, Tosca)\u003c\/li\u003e\n\u003cli\u003eAct 3: \"Il tuo sangue o il mio amore volea\" (Tosca, Cavaradossi)\u003c\/li\u003e\n\u003cli\u003eAct 3: \"O dolci mani mansuete e pure\" (Cavaradossi)\u003c\/li\u003e\n\u003cli\u003eAct 3: \"Senti, l'ora è vicina\" (Tosca, Cavaradossi)\u003c\/li\u003e\n\u003cli\u003eAct 3: \"Amaro sol per te m'era il morire\" (Cavaradossi, Tosca)\u003c\/li\u003e\n\u003cli\u003eAct 3: \"E non giungono\" (Tosca, Cavaradossi, Carceriere)\u003c\/li\u003e\n\u003cli\u003eAct 3: \"Com'è lunga l'attesa!\" (Tosca)\u003c\/li\u003e\n\u003cli\u003eAct 3: \"Presto! 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In celebration of her 80th birthday, Anne Murray releases Here You Are, her 33rd studio album. The album features 11 never-before-heard songs recorded between 1978 and 1995. Executive produced by Grammy and JUNO Awardwinner, Bob Rock and mixed by Adam Greenholtz, Here You Are revitalizes a collection of rare studio recordings, masterfully updated for release. These rediscovered songs expand Murray's timeless catalog, giving fans music that bridges the past and present. 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Their sound fuses elements of classical, symphonic, singer-songwriter, hard rock, and pop, with a twist: Art in America is the first-known rock band to feature a concert pedal harp as a key component of their lineup. Their CBS\/Pavillion first album, 'Art in America,' was produced by progressive rock legend Eddy Offord, whose work with iconic artists like Yes and Emerson, Lake and Palmer made him the only natural choice to produce Art in America. Their video for the album title track \"Art in America\" was featured in heavy rotation on MTV. They toured extensively in support of the album, headlining their own shows and opening up for such bands as U2, King Crimson, Bill Bruford, and Roxy Music. The band's instantly-classic album cover, designed by the late renowned artist Ioannis, is celebrated in Michael Ochs book \"1000 Record Covers\" as one of the best album covers of all time. 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Following six long years after their acclaimed latest opus \"Nephilim Grove\" (2019), the American dark metal stalwarts have raised the stakes even higher by creating a conceptual album that thematically draws inspiration from tarot and divination. This overarching theme reflects in the artwork and design of \"Major Arcana\" as well as in the lyrical storytelling throughout the album. Founded in 1989 in Chicago, Illinois by vocalist Paul Kuhr, Novembers Doom have continued to grow and evolve over more than three decades. Initially emerging as one of the leaders of American death doom, their debut album \"Amid It's Hallowed Mirth\" in early 1995 set the band firmly on a dark musical course. Over the following years, they have gradually refined and developed a style that they have coined \"dark metal\". 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