Ventriloquism is the forthcoming album from Meshell Ndegeocello. It is due to be released on March 16, 2018. The album covers eleven R&B and pop tracks originally recorded in the 1980s and 1990s.

A prolific songwriter for over twenty years, Laura Veirs proves the depth of her musical skill on her tenth solo album, The Lookout. Here is a batch of inimitable, churning, exquisite folk-pop songs; a concept album about the fragility of precious things. Produced by Grammy-nominated Tucker Martine, Veirs’ longtime collaborator, The Lookout is a soundtrack for turbulent times, full of allusions to protectors: the camper stoking a watch fire, a mother tending her children, a sailor in a crows nest and a lightning rod channeling energy.

Juliana Hatfield (born July 27, 1967) is an American musician and singer-songwriter from the Boston area, formerly of the indie rock bands Blake Babies, Some Girls, and The Lemonheads.

Brock Van Wey's bvdub project reaches its landmark 30th full-length album with a special tale of unexpected love and loyalty found, innocence lost, and the silent spaces that remain.
Black sky hides your stars,
Fall from the heavens with might,
Silent you arrive.
Giants in your path,
Perish those who stand opposed,
Felled by love they know.
Empty spaces yearn,
To know once again,
A lost yesterday.
Through sun and sands dry,
Oceans drown hearts of steel stars,
This place remembers.
We, unstoppable,
For now we know our two hearts,
No you, me, only us.
We fall together,
Pillars raise towers through sky,
We rise beyond all.

"Know thy history. Let it horrify you; let it inspire you. Let it show you how the future can look, for nothing in this world has not come around before. These songs are based on slave narratives from the 1800s, African American experiences of the last century, and the Civil Rights movement of the 1960s and headlines from streets of Ferguson and Baltimore today. Voices demanding to be heard, to impart the hard-earned wisdom of a tangled, difficult, complicated history; we just try to open the door and let them through." —Rhiannon Giddens
Freedom Highway, Grammy Award–winner and 2017 Grammy nominee Rhiannon Giddens' follow-up to her highly praised debut album Tomorrow Is My Turn, will be released by Nonesuch Records on February 24, 2017. The record includes nine original songs Giddens wrote or co-wrote while she and her band toured after Tomorrow Is My Turn's 2015 release, along with a traditional song and two civil rights-era songs, "Birmingham Sunday" and Staple Singers' well-known "Freedom Highway," from which the album takes its name. Giddens and the band will tour the U.S. in the spring; details will be announced shortly.
Giddens' writing for Freedom Highway is a departure from Tomorrow Is My Turn, which included one original song, with the rest being her interpretations of songs written or performed by a wide variety of female musicians. Giddens co-produced Freedom Highway with multi-instrumentalist Dirk Powell in his Breaux Bridge, Louisiana studio, with the bulk of recording done in wooden rooms built prior to the Civil War. As producers, Giddens and Powell sought to release the stories already in the walls, allowing the space to be a voice in itself. This approach allowed for an emotional fearlessness and presence not always easy to achieve in the studio. Together they assembled the players, which included her superb touring band, local musicians from the bayou, a soulful horn section from New York, and talented family members. The principle recording was done over an intense eight day period. The result is an album that is rawer and more personal than its predecessor.
Giddens wrote of the title track:
"I am a daughter of the South; of the white working class, of the black working class; of the Democrat, and the Republican; of the gay, and the straight; and I can tell you one thing—we are far more alike than we are different. We cannot let hate divide us; we cannot let ignorance diminish us; we cannot let those whose greed fills their every waking hour take our country from us. They can't take U.S. from US—unless we let them. I recorded this with Bhi Bhiman, all-American singer-songwriter from St. Louis, whose parents are from Sri Lanka. America's strength are her people, whether they came 4,000, 400, or 40 years ago, and we can't leave anyone behind. Let's walk down Freedom Highway together. Written by Pops Staples in 1965."

A woozy dynamic of pushing people away while simultaneously drawing them close courses throughout Lavender, a striking album of beautifully rendered and deeply layered synth-pop.

Sleep's first full-length album of new recordings since 1998. Years after the release of Volume One in 1991, Sleep's Holy Mountain in 1992 and Dopesmoker in 2003, the sonic titans reaffirm their place at the top of the riff pyramid with this brand-new double album, The Sciences.

After a major hit with a live version of its 1988 song "Mother", the band experimented with industrial music but later returned to heavy metal. To date, Danzig has released twelve studio albums (two consisting entirely of cover versions), two EPs, one live album and one compilation album.

SUMMER: The Original Hits features Donna Summer’s classic hits that inspired a Broadway musical, serving as a soundtrack to an extraordinary career in which Donna busted barriers and genres to become the “Queen of Disco” and a member of the Rock & Roll Hall of Fame. Included are the No. 1 smashes “Love to Love You Baby,” “MacArthur Park,” “No More Tears (Enough Is Enough)” with Barbra Streisand, “Hot Stuff,” “Bad Girls,” “She Works Hard For the Money,” and so much more.

Last Signs is Eli’s first solo release since 2012’s Catching
Net (PAN Records) and explores a very different side of his
unique acoustic universe. One in which the macrocosmic
percussive collisions of his earlier work give way to a gradual
unfolding of dub-influenced rhythmic constellations. Eli
has described Last Signs as his response to playing in club
environments over the last few years; an attempt to negotiate
a delicate balance between the materiality of his acoustic
instrument and the hyper-mediated sonic ecosystem of
the club sound system. Coming off like an inspired synthesis
between Scientist and Xenakis, Last Signs of Speed
is a truly unique work by an artist at the height of his
powers.

Eartheater (aka Queens based artist Alexandra Drewchin) distills foley-filled digital production, a three-octave vocal range, and classical composition into works suspended between obsessively detailed sonic tapestries and almost recklessly romantic and gestural electronica. A body of viscerally emotive live performance stands alongside her recorded output, realized by her fearless physical investment and gut-wrenching vocal sincerity.
IRISIRI, Eartheater's third full-length record, lays out a shifting network of abstract song craft, laced with sudden structural upheavals and collisions of mutated tropes from numerous sonic vocabularies. Modular synth staccato plucks hammer out in arrhythmic spirals over a carefully muzzled grid of pumping kicks - unleashed in unpredictable disruptions. Technoid stabs mingle with crushed black metal. An icy OS reads poetry against a bed of granular synth swells. Drewchin's sirening whistle-tone vocals drape over relentless harp arpeggios. Eartheater confounds expectations of structure and resolution before deciding to thread in a sugary melody that snaps us back into some conception, however hazy, of pop songwriting. Guest spots on IRISIRI charge Drewchin's ideas with concordant energies, from the stark imagist poetry of Odwalla1221 on Inhale Baby, to the sheer lacerating force of Moor Mother's unflinching verse on MMXXX.
Drewchin's lyrics, strewn with flourishes of wordplay and symbolism, explore themes of her autodidactic experience - playing with the tutelage of the ‘pupil’ within the ‘iris' mirrored in the palindrome IRISIRI. One motif appears as a song name, C.L.I.T., which Drewchin breaks down into "Curiosity Liberates Infinite Truth." The acronym stands as a microcosm of the Eartheater project in its holistic combination of idiosyncratic spirituality and cheekiness, presented with an earnest confidence that some could consider confrontational. In spite of this lexicon’s maximal effect, it comes from a very personal place as she states, “curiosity has had to be the currency of my education". On OS In Vitro, she reminds us that "These tits are just a side-effect," and "You can't compute her," as if to acknowledge the clouding effect of sexuality and technology in the face of a higher self-significance. In the record’s accompanying video piece, Claustra, she slides between "the owning of my loneliness" and "the end of the loaning of my onliness”, encapsulating images of self-purifying isolation and the rejection of artistic exploitation with the flip of two syllables. The transmuting landscape of IRISIRI is riddled with evocative poetry and evidence of Drewchin’s development as an artist since her debut in 2015.
Drewchin performs and collaborates with art duo and close friends FLUCT. In February 2017, she starred in Raul de Nieves and Colin Self’s opera The Fool at the Kitchen. In April 2017, featured on two tracks from Show Me The Body’s Corpus I mixtape alongside Denzel Curry and Moor Mother. She’s currently composing work for the contemporary chamber orchestra, Alarm Will Sound, that will debut in May 2018. Her new live set sees her accompanied by the concert harpist Marilu Donivan.