Фирма Anti-

Artist: Dr. Dog Label: Anti/Epitaph

Downloadcode.Wilco are one of the most respected bands on the planet — paragons of good taste, masters of genre-bridging craftsmanship and chill independence. Considering that heavy rep, it's strange to think that when Jeff Tweedy put together Wilco's first lineup 20 years ago, their loose bar-band vibe was a defiant response to the weighty myth he'd shouldered as a member of alt-country pioneers Uncle Tupelo. Wilco's first album in four years recalls their early "hey, what the hell" freedom, in spirit if not in sound. It's their most concise, catchy, naturally songful album in at least a decade — the sound of a band reconnecting with the fun of rocking out together in a room. Wilco's two most recent studio LPs — 2011's The Whole Love and 2009's Wilco (The Album) — were musically lavish, but also a touch staid, with their rough edges burnished to a too-smooth finish. Everything about Star Wars betrays ease and immediacy: They released it online for free with no warning. The jokey title references one of the most universally held pleasures in the history of human culture. The music is built on some pretty essential influences as well — from the Abbey Road majesty of "More. . ." and the roughnecked T. Rex shoogity-oogity of "Random Name Generator" to the basement-glam punk attack of "Pickled Ginger" and the sad-ballad sweetness of "Magnetized." Wilco have gotten back in touch with their own strengths, too — especially the ability to match instantly familiar melodies with beautifully jarring noise, which made 2002's Yankee Hotel Foxtrot and 1996's Being There into watersheds. "The Joke Explained" is a cute folk-rock ditty made full-on awesome by peals of searing Sonic Youth-style drone poetry. And then there's "You Satellite," the incandescent jam that serves as the album's elusive centerpiece. It's a seething yet warm meditation on clinging to faint light in dark times, with what sounds like a battalion of guitars roiling against drummer Glenn Kotche's avant-jazz tumble. Only Wilco could make something this eruptive feel so comfy, like a steel-wool security blanket. The music's urgent, live-in-the-studio feel pairs well with Tweedy's lyrics, which seem more direct and compact than they have in a while. He's working his usual themes — doubt, devotion, everyday fears and resigned hopes — without any of the literary obscurity that sometimes creeps into his writing. "I was only after a friend to follow through," he sings on the lovely "Taste the Ceiling," sounding like John Lennon in a moment of hard-fought grace. You can't help wonder if Sukierae, the deeply personal side project he recorded last year with his teenage son Spencer on drums, might have helped revive Tweedy's feel for music's elemental joy. In the album's most carefree moments, of which there are many, he sounds at home in himself — never an easy move for one of rock's top chroniclers of midlife man-malaise. "I belong to the stars in the sky," he sings on "Random Name Generator," making a blues boast out of spacey poesy and totally pulling it off. Give it up for the man. He's got the Force by the spaceballs. Read more: http://www.rollingstone.com/music/albumreviews/wilco-star-wars-20150724#ixzz3hHnwv1jZ Follow us: @rollingstone on Twitter | RollingStone on Facebook Record Label: Anti Style: Alternative Rock

Saintseneca’s powerful new album Such Things is the band’s most cohesive, catchy and accessible output, and a work that solidifies the group’s singer and songwriter Zac Little’s status as one of modern indie music’s most thoughtful and talented artists. The record arrives October 9th via Anti-. The first single, “Sleeper Hold” is a pulsating and infectious rock song that utilizes elements of punk, folk and straight up rock and roll, all centered around a soaring and beautifully anthemic chorus. Such Things is the anticipated follow up to Saintseneca’s acclaimed album Dark Arc, which Stereogum celebrated writing, “Dark Arc shines in all the ways Saintseneca always has — gorgeous harmonies, rampant strumming, glimpses of both humanity’s fragility and power — but it also finds the band branching out into fuller arrangements and wilder instrumentation. (Wilder, even, than the plastic trash can they used to beat on.) It’s what an underground folk band stepping into the spotlight should sound like.” Moving away from the cinematic, linear quality of Dark Arc, Little sought even higher ground for the new songs, and to incorporate the synapses and charges of his fellow members. “I was pushing myself with Such Things to try to explore the pop motif further, to try to use and bend that formula of having a groove, a beat, locking in and using that as scaffolding to build a song,” he says. “And even though it oftentimes might seem like this singular vision, at the core my creative strategy for the band is one that inherently involves other people. I think the best work I’ll make involves working that way.” Those disparate pieces and parts have come together, like so many molecules, to form a solid rock object called Such Things. You can hold it in your hands and hear it in your head, this culmination of tiny, beautiful moments and fluctuations of energy and information, compressed and etched into an LP sleeve and eternity and all tied up in a rock and roll record. “It’s definitely a new way of songs manifesting, and it feels like a step forward,” Little says. “I’m gonna push myself and try this thing I’ve wanted to try. I think it’s the best thing we’ve done so far, but then again I won’t write a song that I don’t think isn’t the best thing I’ve done. When I finish it I have to feel like it’s the best thing I’ve made. And if I don’t feel that way, it’s like, why bother? Record Label: Anti Style: Alternative Rock

Son Little’s new album is, in its purest form, American music. The artist formerly known as Aaron Livingston knows his nation and its sounds well. He was born to a preacher and a teacher in Los Angeles, where he learned how to listen and how to play before moving east to New York and New Jersey. He dropped in and out of schools and scenes in Manhattan then Philadelphia, and there he collaborated with acts like The Roots and RJD2. He first planted his flag as Son Little with last year’s highly praised EP, Things I Forgot, a small collection of big songs that showcased his ability to hop across genres as well as he does state lines. And so it only makes sense that the pastiche and reach of his music is all over the map, literally. And he can hear a map in his music. In it, he can recognize the places he’s lived, traveled, and played to, places explored and discovered. “I hear places in the songs without trying to evoke them while writing. I can trace where a lot of my music came from, as my life and my family touch so many different places. I can hear Lake Charles, Louisiana in my voice, the way I say some of the words; I hear New York in my lyrics. Detroit is a place I haven’t spent a ton of time in, but if I explore the music of Detroit, I can hear myself in there, too.” The songs on Son Little follow suit. They teem with small moments creating a bigger picture, a pointillist art piece made from junkyards and viewed from space. Pulling inspiration from the color wheel diaspora of American music, Son Little draws from a deep well, using different buckets to visit and revisit, finding flourishes to add to the core of his songs. There, at the end of “Doctor’s In,” is a roving banjo; there, at the start of “Go Blue Blood Red,” is a keyboard riff culled from a kid’s Blue Man Group keyboard; there, in “Carbon,” is an electric Howlin’ Wolf stomp and start. For Son Little, studio time is a joy, where every good idea leads to four more. Record Label: Anti Style: Soul

Saintseneca’s powerful new album Such Things is the band’s most cohesive, catchy and accessible output, and a work that solidifies the group’s singer and songwriter Zac Little’s status as one of modern indie music’s most thoughtful and talented artists. The record arrives October 9th via Anti-. The first single, “Sleeper Hold” is a pulsating and infectious rock song that utilizes elements of punk, folk and straight up rock and roll, all centered around a soaring and beautifully anthemic chorus. Such Things is the anticipated follow up to Saintseneca’s acclaimed album Dark Arc, which Stereogum celebrated writing, “Dark Arc shines in all the ways Saintseneca always has — gorgeous harmonies, rampant strumming, glimpses of both humanity’s fragility and power — but it also finds the band branching out into fuller arrangements and wilder instrumentation. (Wilder, even, than the plastic trash can they used to beat on.) It’s what an underground folk band stepping into the spotlight should sound like.” Moving away from the cinematic, linear quality of Dark Arc, Little sought even higher ground for the new songs, and to incorporate the synapses and charges of his fellow members. “I was pushing myself with Such Things to try to explore the pop motif further, to try to use and bend that formula of having a groove, a beat, locking in and using that as scaffolding to build a song,” he says. “And even though it oftentimes might seem like this singular vision, at the core my creative strategy for the band is one that inherently involves other people. I think the best work I’ll make involves working that way.” Those disparate pieces and parts have come together, like so many molecules, to form a solid rock object called Such Things. You can hold it in your hands and hear it in your head, this culmination of tiny, beautiful moments and fluctuations of energy and information, compressed and etched into an LP sleeve and eternity and all tied up in a rock and roll record. “It’s definitely a new way of songs manifesting, and it feels like a step forward,” Little says. “I’m gonna push myself and try this thing I’ve wanted to try. I think it’s the best thing we’ve done so far, but then again I won’t write a song that I don’t think isn’t the best thing I’ve done. When I finish it I have to feel like it’s the best thing I’ve made. And if I don’t feel that way, it’s like, why bother? Record Label: Anti Style: Alternative Rock

Record Label: Anti Style: Singer / Songwriter

Record Label: Anti Style: Singer / Songwriter

Wilco are one of the most respected bands on the planet — paragons of good taste, masters of genre-bridging craftsmanship and chill independence. Considering that heavy rep, it's strange to think that when Jeff Tweedy put together Wilco's first lineup 20 years ago, their loose bar-band vibe was a defiant response to the weighty myth he'd shouldered as a member of alt-country pioneers Uncle Tupelo. Wilco's first album in four years recalls their early "hey, what the hell" freedom, in spirit if not in sound. It's their most concise, catchy, naturally songful album in at least a decade — the sound of a band reconnecting with the fun of rocking out together in a room. Wilco's two most recent studio LPs — 2011's The Whole Love and 2009's Wilco (The Album) — were musically lavish, but also a touch staid, with their rough edges burnished to a too-smooth finish. Everything about Star Wars betrays ease and immediacy: They released it online for free with no warning. The jokey title references one of the most universally held pleasures in the history of human culture. The music is built on some pretty essential influences as well — from the Abbey Road majesty of "More. . ." and the roughnecked T. Rex shoogity-oogity of "Random Name Generator" to the basement-glam punk attack of "Pickled Ginger" and the sad-ballad sweetness of "Magnetized." Wilco have gotten back in touch with their own strengths, too — especially the ability to match instantly familiar melodies with beautifully jarring noise, which made 2002's Yankee Hotel Foxtrot and 1996's Being There into watersheds. "The Joke Explained" is a cute folk-rock ditty made full-on awesome by peals of searing Sonic Youth-style drone poetry. And then there's "You Satellite," the incandescent jam that serves as the album's elusive centerpiece. It's a seething yet warm meditation on clinging to faint light in dark times, with what sounds like a battalion of guitars roiling against drummer Glenn Kotche's avant-jazz tumble. Only Wilco could make something this eruptive feel so comfy, like a steel-wool security blanket. The music's urgent, live-in-the-studio feel pairs well with Tweedy's lyrics, which seem more direct and compact than they have in a while. He's working his usual themes — doubt, devotion, everyday fears and resigned hopes — without any of the literary obscurity that sometimes creeps into his writing. "I was only after a friend to follow through," he sings on the lovely "Taste the Ceiling," sounding like John Lennon in a moment of hard-fought grace. You can't help wonder if Sukierae, the deeply personal side project he recorded last year with his teenage son Spencer on drums, might have helped revive Tweedy's feel for music's elemental joy. In the album's most carefree moments, of which there are many, he sounds at home in himself — never an easy move for one of rock's top chroniclers of midlife man-malaise. "I belong to the stars in the sky," he sings on "Random Name Generator," making a blues boast out of spacey poesy and totally pulling it off. Give it up for the man. He's got the Force by the spaceballs. Read more: http://www.rollingstone.com/music/albumreviews/wilco-star-wars-20150724#ixzz3hHnwv1jZ Follow us: @rollingstone on Twitter | RollingStone on Facebook Record Label: Anti Style: Alternative Rock

Record Label: Anti Style: Irish Folk

Record Label: Anti Style: Irish Folk

Record Label: Anti Style: Singer / Songwriter

Record Label: Anti Style: Singer / Songwriter

Record Label: Anti Style: R&B

Record Label: Anti Style: R&B

Brandnew album! Throughout a storied career as a musician, producer and engineer, Daniel Lanois helped push the ambient genre forward into celestial new territory as Brian Eno’s foremost protégé; he has recorded landmark albums for U2 and Peter Gabriel and helped to revitalize the sonic dimensions of Bob Dylan and Neil Young. But Flesh And Machine (out October 28) marks the first time Lanois has truly deployed every sonic weapon in his arsenal in hopes that it may reach the position of headphone album of the year. Flesh And Machine was initially conceived as an ambient album, and tracks such as ‘Forest City’ take the classic Brian Eno albums that he worked on Ambient 4: On Land (1982) and Apollo: Atmospheres And Soundtracks (1983) as a wonderful bedrock to stand on to see the sonic future. The album bristles with new ideas. He spent countless hours processing an array of source sounds - steel and electric guitar, piano and human voice - to create the sound palette that is Flesh and Machine. Record Label: Anti Style: Ambient

Brandnew album! Throughout a storied career as a musician, producer and engineer, Daniel Lanois helped push the ambient genre forward into celestial new territory as Brian Eno’s foremost protégé; he has recorded landmark albums for U2 and Peter Gabriel and helped to revitalize the sonic dimensions of Bob Dylan and Neil Young. But Flesh And Machine (out October 28) marks the first time Lanois has truly deployed every sonic weapon in his arsenal in hopes that it may reach the position of headphone album of the year. Flesh And Machine was initially conceived as an ambient album, and tracks such as ‘Forest City’ take the classic Brian Eno albums that he worked on Ambient 4: On Land (1982) and Apollo: Atmospheres And Soundtracks (1983) as a wonderful bedrock to stand on to see the sonic future. The album bristles with new ideas. He spent countless hours processing an array of source sounds - steel and electric guitar, piano and human voice - to create the sound palette that is Flesh and Machine. Record Label: Anti Style: Ambient

Artist: Jolie Holland Label: Epitaph

Artist: Chuck E. Weiss Label: Anti (Indigo)

Artist: Chuck E. Weiss Label: ANTI Records

Artist: Jolie Holland Label: Anti