Track Listings
1 : Love Can't Be the Only Reason to Stay
2 : How to Begin to Say Goodbye
3 : If I Had Wings
4 : The Day I Lose My Mind

Le Ren's close-to-the-bone, heartbreak folk songs seem, at first, to tap into a shared musical memory. A melody swirls forward and you're just sure it's known to the back of your mind; was it in from a movie you saw, some classic mid-60s setpiece? Maybe it's something you heard as a kid, in the backseat of your mom's Cutlass, or the shotgun seat of your own. But before you can zero in through the fog, your heart is torn apart by her voice - rich, direct and mellifluous - steering you through these slowburn tunes about real-life loss. "Discussing songwriting feels the same as when someone asks about your tattoo," says Lauren Spear, 26, the sole voice and songwriter behind Montreal's Le Ren. "You're putting it out there, showing it in public right on your arm. Then, when someone asks you 'Hey, what's that tattoo mean?,' you're shocked to have to explain it, as it is a choice that feels essential for a particular moment." Two years ago, Spear's ex-boyfriend was killed in a car accident. Since then, she has been struggling with the immeasurable weight of being the sole keeper of their shared memories and in response, translated a sliver of that experience into music. Her EP, Morning & Melancholia, is a mediation on mourning, memory and how to live with the ellipses you're forever left with in the wake of loss. The way Le Ren is able to look tragedy directly in it's eyes and never let her voice so much as quiver is owed to a few things. Raised on rural Bowen Island, British Columbia, the isolated lifestyle allows for a certain independent dedication to craft that is evident in her performances. Spear has studied folk and bluegrass going back to her early teens, partaking in workshops and festivals all over North America. You can hear in her acumen the gorgeous folk formalism of Canadian heroes Kate and Anna McGerrigle. But it's not all rigor and acuity that makes Le Ren's music so stunning. She was also raised on The Holy Trinity of songwriters John Prine, Neil Young and Bob Dylan, and their curious, deadpan and cosmic approach to life's most brutal swipes also feed Le Ren's sensibilities. Her lyrical couplets are as simply put as they are devastating. "So here we are at the end of all things // I guess I learned too late // that love can't be the only reason to stay," she sings on the closer "Love Can't Be the Only Reason To Stay". It's gut wrenching, but sure-footed. And you can almost hear the slight smile on one side of her mouth as she sings, the knowing smile of someone who knows real pain, knows there's surely more to come, but who also knows it doesn't erase life's humorous, enduring beauty.

Track Listings
1 : Karolina
2 : A Moving-On Blues
3 : Dudette
4 : Empty Nights
5 : Kick-Around Johnny
6 : Sacred Place
7 : Do You Know Ida No?
8 : Having a Good Time
9 : I Came to Tell You in Plain English (I'm Leaving You)
10 : Losing My Way

“Jack Name’s songs sound like memories, as familiar as they are foreign. I am addicted to this record.” – Cate Le Bon In a time rife with alienation, Magic Touch, the third album by the ubiquitous and mysterious Jack Name, offers the comfort of contact. With a body of work that ranges from the catchy to the cacophonous, Name has earned the reputation of a musician who’s difficult to define. For over a decade, he’s been a fixture in the Los Angeles underground. His songs have appeared on albums by U.S. Girls (Heavy Light, 2020) and White Fence (Family Perfume, 2012); he’s produced recordings for Cass McCombs; and his experimental music has been performed at the Museum of Contemporary Art in Los Angeles. Magic Touch reveals yet another side of Jack Name. While it’s every bit as intricate as his previous releases, 2014’s Light Show and 2015’s Weird Moons, here he’s done away with the dense production of his earlier work to make a record that feels stark, personal, and effortlessly natural. On Light Show and Weird Moons, Name took a sci-fi approach to dealing with heavy subjects like the role of psych meds in an increasingly authoritarian society, and his own bout with beating cancer. With ​Magic Touch,​ Name brings his lyrical and conceptual focus away from the dream worlds of his first two albums and back to Earth: a simpler place, or so it seems, where humans are falling in and out of love, struggling with loneliness, reaching for connections to each other, and, for better or worse, affecting each other. In a year like 2020, it’s a place that feels familiar and far away all at once. The almost subliminal story arc of ​Magic Touch​ reminds us that ​touch itself is magic.​ Name offers private glimpses of new love as it comes together “Lips on Lips, Hips on Hips,” in the startlingly confidential opener “Karolina;” and in its bitter endings, as on the ice-cold “I Came To Tell You In Plain English (I’m Leaving You).”​ Introspective gems like “Kick-around Johnny” and “Sacred Place” seem to muse about ancient traumas and possibilities of a hopeful future. Then, coming face-to-face with the limits of his own swagger in “Losing My Way,” he advises his listener, “If you still have intuition, hold onto it. Don’t throw it away.” The vocals, recorded close-up and completely dry, make the brutal honesty in the lyrics even more personal and compelling. Name’s delivery is at all times understated, to the point, and utterly believable — a rare and special thing. It takes a certain kind of bravery to step up to that mic without the cloak of allegory, the medicine bag of studio tricks, or even the formulas of modern “pop music” to protect you. It’s mature—but not dull or heavy-handed. Recorded predominantly in Name’s Hollywood apartment with only a RADAR 24-track, even the production on Magic Touch is an intimate affair, with a crystal-clear aesthetic that’s shockingly present— almost as if the band is playing these songs inside your head.

Track Listings:
Disc: 1
1 : Existential Celebration
2 : Warmth In The Coldest Acre
3 : Is It Right?
4 : Fanfare For 7.83 Hz
5 : A Beautiful Silence Prevails

Disc: 2
1 : The People
2 : Rhythm Research
3 : Pressure
4 : Est

It’s 2020, and everyone is exhausted. Things are falling apart, and then there’s the day-to-day stress of simply existing in the modern world. Screens are everywhere, we’re all tethered to our phones and social media; trying to keep up with it all seems just as impossible as unplugging altogether, especially when we’re all feeling that neverending push to always be productive—inspiration and motivation be damned. For NYC artist Photay (a.k.a. Evan Shornstein), none of this is particularly conducive to living a healthy existence, let alone being creative, but he’s decided to face it head on. Waking Hours, his second full-length (following 2017’s Onism), is a meditation on time and, more specifically, our obsessive need to fill every moment with activity. “It’s about getting back to a really simple notion of just celebrating your existence and not necessarily attaching this huge story of who you are and what you do,” he says. “It’s about finding comfort in just being.” Photay’s search for calm is at the very core of Waking Hours, and while he admits that making the album was therapeutic, it shouldn’t be mistaken for some sort of healing ambient excursion. The LP is largely electronic, but frequently verges on pop and extensively features Shornstein’s own vocals. The music is intimate and inviting, but it also suggests that Photay is perhaps at his best when he’s blurring genre boundaries. “I really truly love so many different types of music,” he says, “and for this album I opened things up and gave myself the freedom to go anywhere.”

Alice in Chains returned to the popular music eye with this live, acoustic performance in New York on 10th April, 1996. After an absence from the stage of three years the band performed a 13-song set, including 'Heaven Beside You', 'Rooster' and 'Would?'.

Track Listings
1 Blue Paint
2 Hungry Clouds
3 The Monk in the Moon
4 The Things in the Room
Product description
The music of Fixity is composed and/or produced by Dan Walsh. The project's first self-titled album FIXITY was released on the Kantcope cassette Label in July 2016 and presents multi-tracked versions by Walsh of 7 new compositions. In August 2016 'FIXITY 2' and 'Live In What Used To Be A Church' (with Emil Nerstrand-Saxophones, Kevin Terry-Guitar, James Fortune-Guitar, Declan O'Shea-Bass and Dan Walsh-Drums) were released on fixity.Bandcamp.com and presented further explorations in the form of solo produced and Live ensemble-based releases respectively. The Things In The Room is the fourth release by Fixity. Recorded in Malmö on the 13th of February 2016 with a band made of up Dan Walsh on Drum Kit joined by Swedish Improvisers Tenor Saxophonist Emil Nerstrand (Brigaden/Heavy Water/The Nod), Guitarist Nils Andersson (Ljom/Ava) and bassist Fredrik Persson (Sista Bossen/The Good Morning Spider/Leo Kall/Cassus) this album comprises of four pieces composed by Walsh explored in collective improvisation with other individuals. Each performance was captured in one take with everyone in the same space. The Things In The Room will be released in late 2016 by Penske Recordings on 2xLP and CD."...incredible abstract psychedelia..." - Tristan Bath, The Quietus - ...defined by its disregard for parameters." - Brian Coney, The Thin Air "Few Irish artists push the invisible paramaters of sonic exploration quite like Walsh a fact mercurially confirmed across these four tracks" Brian Coney, The Thin Air

2021 release. Selena Gomez's first Spanish-language album. Revelación translates to English as revelation, an act of revealing or communicating divine truth, similar to what Gomez is musically experiencing. The Texas native said she's exploring music in another language because she's "so, so proud of my heritage."

Track list
De Una Vez (2:35)
Buscando Amor (3:08)
Baila Conmigo (3:06)
Dámelo To' (3:04)
Vicio (2:40)
Adiós (2:10)
Selfish Love (2:48)

The fourth album from the internationally successful singer/songwriter.

Sport and Policy is the first book of its kind to critically analyse the regulatory role of the state and its impact on sport and the intersections of sport with other areas of government policy. Offering a unique and comprehensive examination of how sport is affected by a range of government policy, each chapter uses an international comparative approach in order to facilitate a broad understanding of sport and policy in a global context.

This book is essential reading for any student or practitioner studying or working in policy today, and is:

The first book to examine the intersection of sport with other (non-sport) policies from an international perspective including topics such as gambling, the media, social inclusion and economic development

Far-reaching in scope encompassing government regulation and sport’s intersections with other government policies

This challenging text provides an accessible critical analysis of the intersections of sport with government policy.

Table of Contents

PART I: SPORT POLICY CONTEXT, CONTENT AND PROCESS; Chapter 1: Introduction: The sport policy context; Chapter 2: Sport policy content; Chapter 3: The sport policy process - developing sport policy in the global context; PART 2: REGULATORY POLICIES; Chapter 4: Media; Chapter 5: Environment; Chapter 6: Gambling; Chapter 7: Organizational practices and standards; PART 3: POLICY INTERSECTIONS WITH SPORT; Chapter 8: Physical activity and health; Chapter 9: Physical Education; Chapter 10: Social inclusion and community development ; Chapter 11: Urban regeneration and economic development; Chapter 12: International relations; Chapter 13: Conclusion

Track Listings
1 : Order Meets Demand
2 : Broken Hours
3 : Sociopath Boogie
4 : Namouche
5 : Shelter Song (Acoustic)
6 : I'™m Ready To Make a Baby
7 : My Mule

Ahead of their co-headlining US tour with EARTH this fall, Iceage offer 'All The Junk On The Outskirts', a proud, loud misfit song tracked during the recording sessions that formed their fourth studio album Beyondless and then revisited in 2021. A puzzle piece that didn't quite fit with the Danish quartet's 2018 album, 'All The Junk On The Outskirts' has rattled around the band's ether since, and is revitalized now as an eternal anthem for those on the outside looking in.