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Father of the Bride is the highly anticipated new album from Vampire Weekend, and is the band’s fourth full length release. It is the follow up to 2013’s Modern Vampires of the City, which won the Grammy for Best Alternative Music Album in 2014.

Father of the Bride is produced by founding band member Ezra Koenig, and Ariel Rechtshaid (Adele, Madonna, Charli XCX, Usher, HAIM, Solange, and others). The album features 18 songs, with an array of collaborations yet to be revealed. 6 of the songs from Father of the Bride will be released ahead of the full album.

Like the first album, Contra was produced by keyboardist Rostam Batmanglij and is the realization of a whole and unique musical vision that sees the band stretching out and adding new textures, instrumentation, and rhythms into their sound.Primarily recorded in New York with a springtime sojourn to Mexico, Contra feels altogether fresh, joyous, and like nothing else but is immediately recognizable as the sound of Vampire Weekend.

Modern Vampires of the City is Vampire Weekend's third album, and it is a bustling world of voices and visions from the death of Henry Hudson to the Orthodox girl falling in love at an uptown falafel shop, from Hannah Hunt tearing up the New York Times on a distant beach to the lethal chandelier of "Everlasting Arms," from the ardent yearning of "Don't Lie" to the harmonized voice of hope in "Young Lion". Modern Vampires of the City has a grandeur and romanticism evocative of the city where it was conceived.

Six years and five albums after their debut, Van Halen had become one of the biggest bands in world around the release of 1984, which includes a number of the band s most legendary songs such as the #1 hit, "Jump," "Panama," and "Hot For Teacher." Mastering engineer Chris Bellman, who remastered the original albums at Bernie Grundman Mastering Studios, was enlisted for this new version. In order to produce the original sound the band intended, Bellman cut straight from the quarter-inch tapes for CD; for 180-gram vinyl; and for the digital versions.

The Velvet Underground's classic self-titled third album, released in March 1969, by MGM, was a departure from the band's first two albums in more ways than one. Gone was co-founding member John Cale, and in his place was a 21-year-old with Long Island roots named Doug Yule, who stepped right in. The record was also a stylistic leap, as Lou Reed describes it in Rolling Stone editor David Fricke's liner notes, 'I thought we had to demonstrate the other side of us. Fricke calls it 'a stunning turnaround… 10 tracks of mostly warm, explicit sympathy and optimism, expressed with melodic clarity, set in gleaming double-guitar jangle and near-whispered balladry. Or as the late rock critic Lester Bangs put it, 'How do you define a group like this, who moved from 'Heroin' to 'Jesus' in two short years?' Celebrating its enduring longevity, Polydor/Universal Music Enterprises (UMe) will releases The Velvet Underground - 45th Anniversary Edition.

Released 50 years ago in March 1967, 'The Velvet Underground & Nico' also referred to as the 'The Banana Album' designed by Andy Warhol - also producer of the record - is back on vinyl with the original peelable banana cover, gatefold jacket and back cover photo. An additional insert has been added for the 50th anniversary edition including a booklet of images and liner notes.

This 45th Anniversary Deluxe Vinyl Edition, features 13 tracks spread across 2LPs and features the original stereo release, completely remastered, with bonus tracks including alternate versions and unreleased outtakes. Including four newly prepared remixes, including the earliest known, previously unreleased version of 'Beginning To See The Light,' and previously unreleased versions of 'The Gift (vocal version)' and 'The Gift (instrumental version).' The vinyl set comes in a beautiful gatefold jacket with the music on 180gram audiophile virgin vinyl. The 45th anniversary editions of White Light/White Heat have been developed in conjunction with Lou Reed and John Cale.

The rare April 1966 Scepter Studios recordings captured on acetate featuring early, alternate versions of songs later issued on The Velvet Underground & Nico available now for the first time ever on 180g vinyl, gold foil stamped with individual number.

Limited pressing of blue colored vinyl ONLY available via your local indie record store

The groundbreaking band’s 10^thstudio album, HOTEL LAST RESORT resides among Violent Femmes’ finest work, simultaneously refining and redefining their one-of-a-kind take on American music, mingling front porch folk, post-punk, spiritual jazz, country blues, avant garde improvisation, and golden age rock ‘n’ roll. Founded and fronted of course by Gano and Ritchie, the group remains as warm, wise and weird as ever before, with such new favorites as “Another Chorus” and “Everlasting You” continuing to mine the vast range of ideas, melodic complexity, and organic sonic craftsmanship that has characterized the band’s body of work since their landmark 1983 debut.

The groundbreaking band’s 10^thstudio album, HOTEL LAST RESORT resides among Violent Femmes’ finest work, simultaneously refining and redefining their one-of-a-kind take on American music, mingling front porch folk, post-punk, spiritual jazz, country blues, avant garde improvisation, and golden age rock ‘n’ roll. Founded and fronted of course by Gano and Ritchie, the group remains as warm, wise and weird as ever before, with such new favorites as “Another Chorus” and “Everlasting You” continuing to mine the vast range of ideas, melodic complexity, and organic sonic craftsmanship that has characterized the band’s body of work since their landmark 1983 debut.

“We’ve always done what we wanted and how we wanted,” says Violent Femmes’ Gordon Gano says. “Fundamentally there’s no difference from then until now. It’s a natural continuation.” Violent Femmes’ ninth studio album and first full-length collection in more than 15 years, WE CAN DO ANYTHING may well be part of a long musical continuum but it is also among the most provocative and playful in the legendary band’s remarkable canon. As the title makes plain, founding Femmes Gano (vocals, guitar, banjo) and Brian Ritchie (acoustic bass guitar, vocals) remain intrepid as ever before, traversing infinite genre and emotion via their immediately identifiable mash of rambunctious folk, minimalist punk, cubist blues, cosmic jazz, and back porch rock ‘n’ roll.