After his debut in collaboration with The Night Sweats, Nathaniel Rateliff will release a new solo album. "And It's Still Alright" is a personal album that consists 10 songs from lively country blues, ballads, Americana and jazz-bent R&B. The album was produced by Nathaniel Rateliff himself, Patrick Meese and James Barone of the band Beach House and it is mainly recorded in National Freedom in Oregon. The new album "And It's Still Alright" will be released on CD, Ltd. LP (coke bottle green colored) and Indie LP (ocean green colored) on the 14th of February.

Track list
What a Drag
And It's Still Alright
All or Nothing
Expecting to Lose
Tonight #2
Mavis
You Need Me
Time Stands
Kissing Our Friends
Rush on

Track list
5am
I Just Don't Think That You Like Me That Much Anymore
To Me
Interlude
Orlando
We'll Never Have Sex
Guts
Ask First
Everything Ends
(You) on My Arm
To Learn
Too Much Time in My House Alone

Cicada Rhythm is Andrea DeMarcus and Dave Kirslis.

The band consciously decided to build upon their homespun, stripped-down folk sound by bringing in more musicians and multiple producers to this record, "Everywhere I Go".

Recorded in a string of studios across the southeast, it's a snapshot of a band on the move, with new members filling their lineup and a louder set of influences propelling their sound forward. There are roots-rock tunes, slow waltzes, front-porch folksongs and backwoods ballads, all delivered by a group of road warriors who've cut their teeth not only in the writing room, but on stage, too. Kenneth Pattengale (Milk Carton Kids) and Oliver Wood (The Wood Brothers) share production duties, giving "Everywhere I Go" a broad, diverse punch.

Track list
America's Open Roads
Even in the Shallows
Shake Up
Dream Alone
Roses by My Side
Straight Scared
Out Alive
Do I Deserve It Yet?
Kaleidoscope Rose
Where the Dogwood Dies
Bare Minimum
Back Homeand Narrative's on Loner Reflect

Live concert from the American folk blues singer celebrating three decades in the music business. Recorded in New York's Madison Square Garden, Dylan was joined on stage by a plethora of musical icons from Johnny Cash to Stevie Wonder and Eric Clapton to Neil Young. The songs performed include 'Like a Rolling Stone', 'It Ain't Me Babe' and 'I'll Be Your Baby Tonight'.

Track list
Starter Home
No Way to Know
Dreamin'
Easy Money
Mister Wrong
Drinking with a Friend
Waiting
This Loneliness
Shadows

Re-issue with bonus tracks.

Track Listings
1 : Spider
2 : Fly
3 : Match
4 : OK Corral
5 : Serpent Love
6 : Long Haul
7 : Sad One
8 : Slow Down Day Friend
9 : I'm High I'm On High
10 : Poethearted
11 : Hello Vietnam
12 : Train Inside
13 : 331 (bonus track)
14 : Second Coming (bonus track)
15 : J'aurais Voulu (bonus track)

While Indigo Girls is still very much alive and well, 'Murmuration Nation' is Saliers' first release under her own name, and it's a surprising journey indeed. The record brims over with life and energy, blurring both musical and geographical boundaries as Saliers breaks down barriers with a bold and infectious spirit of adventure. Recorded with an all-star band—including bassist Tim LeFebvre (David Bowie, Tedeschi Trucks Band), keyboardist Rachel Eckroth (KT Tunstall), and drummers Robert "Sput" Searight (Snarky Puppy) and Will Calhoun (Living Colour)—and featuring guest appearances from fellow luminaries like Lucy Wainwright Roche, Jonatha Brooke, and Jennifer Nettles, the album explores the kind of rhythmically centered, globally inspired music that's always held a special place in Saliers' heart. "I was born in a predominantly African American neighborhood in New Haven," she explains. "Most of my friends growing up were black, so I was steeped in a musical culture that included James Brown, Otis Redding, and all the great R&B artists of the time. That's the music that really stirred my spirit and made my body want to move. I found myself loving music from West Africa and South America for the same reasons. I think of it all as 'body music.'" It was folk music, however, that first brought Saliers to national prominence. Indigo Girls released their breakout self-titled album in 1989, and in the ensuing decades, racked up a slew of Gold and Platinum records, took home a coveted GRAMMY Award, and earned the respect of high profile peers-turned-collaborators from Michael Stipe to Joan Baez. NPR's Mountain Stage called the band "one of the finest folk duos of all time," while Rolling Stone said they "personify what happens when two distinct sensibilities, voices, and worldviews come together to create something transcendently its own," and The New York Times raved that "gleeful profanities, righteous protest anthems and impeccable folk songwriting have carried this duo for thirty years." Known for their outspoken political activism in addition to their brilliant songwriting, Indigo Girls became a household name and a fixture of American pop culture, but Saliers has never been one to rest on her laurels. Throughout her rise to stardom, she toyed with the idea of recording a solo album that combined her love of folk storytelling with her passion for the grooves and beats of that "body music" she'd always been so innately drawn to. When she met Juliard-trained violinist Lyris Hung, now a frequent Indigo Girls collaborator, Saliers found that her dream no longer seemed that farfetched. The result is a record that defies easy categorization, with Saliers effortlessly mixing disparate musical traditions underneath poetic lyrics that take their cues from the natural world around us. Album opener "Spider," for instance, brings together hints of heavy metal and Native American a capella music as Saliers weaves an arachno-centric metaphor for geopolitical trickery, while Spanish guitar gives way to orchestral strings and an electronic beat on the slithering "Serpent Love," and the elegant "Fly" draws on avian inspiration for its message of community and cooperation. In much the same way, Saliers' songwriting and Hung's production reach across divides to a broad and diverse audience. Though the musical setting may be different, Indigo Girls fans who have grown up with Saliers will recognize her trademark passion and perception, while younger listeners unfamiliar with her illustrious back catalog will discover in this record a voice of great clarity and understanding that speaks to these unique and troubling times. By drawing on her love of so many cultures and her insatiable appetite for great songwriting, regardless of genre or era, Saliers has crafted an album that is at once classic and modern, timeless and daring.

Helen Ballentine’s spellbinding first full-length album Quiet the Room is the sound of a window opening, a barrier dissolving. Across these fourteen tracks, the outside world seeps in and the inside world crawls out.

The result is a stunning and quietly moving work that reflects the journeys we take through the physical and spiritual realms of ourselves in order to show up for the world.