Mark your calendars now for a brand new music festival hitting London early next summer, All Points East. Produced by Goldenvoice, the company behind Coachella, FYF, Panorama, and more, the three-day festival and 10-day conference will take place in Victoia Park May 23 through June 3, 2018.

While full details for All Points East are scheduled to be released in early November, we do know the festival will present music across six stages during the main festival portion, Friday, May 25 to Sunday, May 27, plus additional stand-alone shows.

If the artists already announced are any indication, this lineup will be worth the trip. The bill already includes Björk  LCD Soundsystem, the xx, The War On Drugs, the National, Warpaint, and Future Islands, with more to be announced.

Tickets for All Points East's main festival and the first additional show are on sale now the festival's website.

Kayzo, NGHTMRE Added To 2018 OMFG NYE Lineup

In 2002, against the advice of his friends, a 34-year-old James Murphy released "Losing My Edge," an eight-minute track with a simple, slow-building drum machine pattern. On it, Murphy humorously questions his relevance: "But I'm losing my edge to better-looking people with better ideas and more talent/ And they're actually really, really nice."

The track would, somewhat ironically, make Murphy's LCD Soundsystem and his burgeoning Brooklyn indie label DFA Records the cool new kids on the block.

Murphy started getting booked off of the song and decided to put an actual band behind LCD Soundsystem, calling on Nancy Whang (synths, keys and vocals) and Pat Mahoney (drums and drum machines). Two years later, bassist Tyler Pope became a core member; stellar musicians from the punk/indie/art rock world would join them in the studio and/or on tour over the years.

In January 2005, LCD Soundsystem released their eponymous two-disc debut album, which opens with one of their beloved classics "Daft Punk Is Playing at My House," a No. 1 hit on the UK Dance chart. The aforementioned track and album also earned them their first two GRAMMY nominations in 2006, for Best Electronic/Dance Album and Best Dance Recording respectively, and the album reached No. 6 on Billboard's Top Dance/Electronic Album chart in March 2005. Murphy and company hadn't lost their edge — rather, they were certified big-time indie stars.

Twenty-one years after their tongue-in-cheek debut and 12 years after their not-so-final farewell shows at Madison Square Garden, the beloved Brooklyn band is back with their third residency on their home turf, this time with twelve shows across three New York City venues: Brooklyn Steel (where they had their 2021 and 2022 residencies), Terminal 5 in Manhattan and Knockdown Center in Queens. The shows sold out in a matter of seconds and saw high resale prices clocking double to triple face value, just as their "final" show at Madison Square Garden did in 2011.

In the midst of their highly anticipated Tri Boro Tour — which wraps Dec. 10 — GRAMMY.com examines why LCD Soundsystem still resonates so strongly, even as the dance music and indie scenes around them have changed so much.

They're Y2K's Answer To The Talking Heads

LCD Soundsystem was born during the early aughts, their punk DIY ethos part of New York's brief but thriving indie rock scene (led by the popularity of the Strokes). As documented in Lizzy Goodman's 2017 book, Meet Me in the Bathroom, Murphy fell in love with dance music after trying ecstasy on a New York dance floor, promptly expanding his sonic world.

After this blissful experience, he finally felt comfortable dancing. He started DJing his favorite deep-cut records and throwing parties with DFA co-founder Tim Goldsworthy. 

With LCD Soundsystem, he brought garage and indie rock to the rave, mixing the euphoria and energy of disco, acid house, and electronic instrumentation with guitars and snarky, self-deprecating lyrics. Their influences — ESG, Loose Joints, David Bowie, Talking Heads, CAN, Daft Punk, Kraftwerk — were spiritually present but seamlessly mixed in. Chopped up and flipped until a whole new thing was born, LCD's sound was as inventive as the house music and hip-hop producers and DJs that came before him.

"For many overstimulated and underwhelmed New York hipsters, LCD Soundsystem provided the soundtrack for making sense of the late 2000s," Ryan Pinkard wrote for Tidal. "LCD was to 2000s New York what the Velvet Underground and the Talking Heads were in their own eras. And their legacy is no less hefty nor contentious."

While music labels and outlets became obsessed with finding "the next Strokes," LCD and DFA paved their own path in indie dance. They made significant contributions to the era of loud, chaotic danceable music largely made by bands or DJs' edits of bands, which would later be coined bloghouse or indie sleaze. The Rapture's 2002 single "House of Jealous Lovers" and subsequent debut album, Echoes, were produced by Murphy and Goldsworthy. It brought the post-punk band into a dancier arena that proved successful for them and DFA.

Like the Talking Heads — who, 30 years prior, made music "abuzz with nervous energy… [that] articulated the strangeness and anxiety of modern times" — LCD Soundsystem created artsy, humorous, danceable punk for the people, with an open-minded yet meticulously crafted DIY ethos.

Yet Murphy was a reluctant king of the indie dance scene. His own insecurities, perfectionism and jadedness around the scene and his own creative output resonated with his fans. He became — and remains — the moody, accidently cool Gen X father of his younger Gen X and older millennial fans; the younger generations are slowly catching up.

The Music — Lyrically and Sonically — Still Resonates

"It still kinda weighs on me a bit because we keep getting better and better at playing it live. It's surprising how long 'Losing My Edge' lingers around, for a dance song. But everyone's silly and shallow and insipid and vain and the more they accept it the less boring records we'll have," Murphy said of the ongoing popularity of "Losing My Edge."

"I made 'Yeah', which pretty much consists of me saying yeah over and over, to try and erase the expectation that it was gonna be another clever diatribe of lyrics. Etched into the vinyl of 'Yeah' is, 'Not as good as Losing My Edge.'"

The theme of relevancy and aging out youth culture is as old as time.  "Losing My Edge" is an anthem for aging DJs and music fans, who are loyal to their scene but no longer at the center of it. With his debut track, Murphy is knocking too-cool-for-school hipsters, but most of all, he's knocking himself — the music video is a close up of him getting repeatedly smacked as he says the lyrics with a straight face.

It is this playful self-depreciation and jaded introspection that permeates Murphy's lyrics — often sing-spoken, sometimes shouted — makes them so relatable. Just as Murphy found catharsis during his first experience with ecstasy, LCD's upbeat music and contemplative lyrics provide a similar energy for the band's loyal fans.

And as guitars gave way for perfectly programmed EDM-level drops at the end of the 2000s, LCD's music was a necessary balm. The group united emo rave kids and moody guitar heads under the disco ball, creating a cathartic dance party. Here, celebrating, crying, shouting and dancing like a weirdo are all okay, because Murphy does it too.

"Someone Great," placed midway through their second album 2007's Sound of Silver, is a heart-wrenching meditation on grief, pierced by droning synths, sparkling bells and a tender-sounding Murphy. It's easy to place your own story in the song (I thought it was about an ex no longer in his life), which is about his therapist Dr. George Kamen, who died in 2006. The album is also dedicated to him.

Sound of Silver ends with another melancholic track, "New York, I Love You but You're Bringing Me Down," a slow-burning piano ballad that erupts into a can't-help-but-shout-along-chorus. It's a bittersweet love letter to the city that birthed the band (and that they still reside in), speaking to rapid gentrification and police crackdowns that pushed out (and continue to) creatives, venues and working-class people. Even when performed outside of NYC, the song feels poignant given the struggles of living in a capitalist society.

LCD Soundsystem's GRAMMY-nominated fourth studio album, american dream, was released in 2017, in Trump's dystopian America. The anxiety and discontentment are understandably still there, and Murphy is older, but no less disillusioned. "tonite" is a catchy GRAMMY-nominated acid house-tinged tune about all the songs on the radio declaring "you only live once, let's party!" Murphy's response is poetic: "I never realized these artists thought so much about dying/ But truth be told we all have the same end /Could make you cry, cry, cry, cry, cry."

The band has grown up (as have its core fanbase) but there are still plenty of feelings to be processed, sung out loud and danced out.

Their Sound Transcends Trends

LCD Soundsystem's first three albums were released during the first decade of the millennium and peak indie rock/bloghouse era, yet they don't feel dated. Instead, their music channeled something vintage without being nostalgic, and was incredibly fresh-sounding. They remain timeless and are among the era's standouts that still make great music and play killer shows, like the Yeah Yeah Yeahs.

Murphy famously attempted to dissolve the band at the peak of their fame in 2011 — a year after their release of their third album, This is Happening. He didn't want to become a band he hated, to keep getting bigger regardless of if their music was better or not. The hiatus lasted for four years.

"As things mature — whether they be real estate, rock 'n' roll, politics, festivals, radio — there's an efficiency that develops and with it, very often, comes some soul-crushing truths. If you keep doing it, you get bigger even if the records get worse," Murphy told the New York Times in 2017. "It was our turn, And something about that turned my stomach."

When Murphy was working on music that sounded like his beloved band, it seemed silly to not release it because he killed the project. The band's first — rather surprising — new song in five years, "christmas will break your heart," was released in December 2015. A much-hyped Coachella 2016 headline set, followed by a summer tour including other big fests like Lollapalooza, Primavera Sound and Glastonbury, meant LCD was very much back.

While some fans derided the band for making a big deal about breaking up and then coming back, they were clearly missed. And with their 2017 album, they've been able to avoid getting stuck in the nostalgia trap.  Of course, LCD Soundsystem's latest tune, 2022's "new body rhumba," was created to close out the absurd grocery store dance scene in Noah Bambauch's White Noise (based on Don DeLillo's dystopian 1985 novel of the same name).

"There's a lot of music that came out in the '80s around the time of that book that I love," Murphy told Netflix about writing the song. "I didn't want to do anything that was sounding like '80s Radiohead… And I don't want to do emotions for emotions sake. Because I feel that life and death and fear and feelings and these things are too important to use cheap shorthand."

The Band Is Tight & A Joy To See Live

LCD Soundsystem are beloved for their energetic, cathartic live shows, where each song leads into the next and the bandmates riff with each other. They fill the stage with their talented musicians and their many instruments — several drum kits, percussion instruments and cowbells, Nancy Whang's keyboards and synths, and a whole vintage modular synth set up — and play with deft precision.

"We didn't set out to be cool. We set out to be an extremely tight band. We wanted to defy expectations," the frontman told GQ in 2018. And that they did — and continue to do.

Their live sets weave back and forth through their gem-laden catalog — when they performed 2017's "tonite" after 2005's "Tribulations" on the first night of their latest NYC residency, it's easy to forget how far apart they were recorded.

Whang and drummer Pat Mahoney helped bring LCD Soundsystem from the studio to the stage in its earliest days. Like Murphy, Mahoney played in punk bands (most notably Les Savy Fav) and his precise drumming drives LCD's music forward. Other band members include Al Doyle of Hot Chip and Tyler Pope of !!!, who bring funky guitar and bass, respectively, into the mix. Gavilán Rayna Russom offered her modular synth expertise on This Is Happening and on the farewell and reunion tours.

LCD Does Things On Their Own Terms

James Murphy cares about his art and is painstakingly perfectionist about sound quality. His stellar Despacio mobile sound room is a dark, joyful sonic wonderland — records sound as crisp and bright as ever — but is so costly to transport, they lose money when they use it.

After quitting at the height of their career, they came back when they were ready. Sure, Murphy thought painstakingly about whether he should or could release the music he'd been working on and knew there'd be backlash, but that didn't stop them. In fact, it was one of his idols, David Bowie, that encouraged him to do it.

"When I was working on Blackstar, I was talking to David Bowie, which is a luxurious thing to say. I said to him, 'I'm really freaked out as I've started writing music, what am I going to do? What if I come back after we quit so perfectly?'" Murphy told Crack Magazine in 2017.

"David said to me, 'Does it make you feel uncomfortable to come back?' I said 'Yes.' He said 'Good, you should be uncomfortable to do something. You need to be uncomfortable.' It was a funny thing to hear from him, because I always assumed he was comfortable all the time."

The band returned after four years away with a Christmas song, of all things. Almost two years later, they dropped their reunion album. They take their time with their music and release it when they're ready, on their own terms.

As the COVID-19 lockdowns eased up, they've experimented with different touring and festival formats, with their fans in mind as well as their older bodies and changing priorities. Their 2021 return kicked off their first NYC residency, with 20 shows at Brooklyn Steel (although the last three dates were canceled due to a new COVID variant spreading). They returned to Brooklyn Steel for 20 shows in late 2022, and kicked off their 2023 Tri Boro Tour on Nov. 16. The new format gives the band breaks in-between each venue, as Murphy explained the last run was a tough grind.

Murphy has also brought Despacio to more festivals recently, including his 2022 Ain't No Picnic in Pasadena, California and at Coachella 2023. He also launched the Re:Set Concert Series during summer 2023, which featured no set-time overlap and had LCD and the artists traveling shorter distances between shows.

What will 2024 hold for LCD Soundsystem? Hopefully new music to dance off the funk of 2023, more festivals with Despacio and LCD, and quotable moments from Murphy interviews, but who knows. They'll give us something great when they're ready and that will likely be just when we need it most.

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Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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Coachella 2023 has now come to a close. The second weekend of the Southern California mega-festival concluded with another series of bespoke performances that continued to build the event’s reputation as a place where legendary moments become history.

Weekend two was packed with drama and intrigue, led by the last-minute removal of Frank Ocean from the Sunday lineup due to injury. Fans were already buzzing following his controversial first weekend performance, while organizers worked quickly to replace his headlining set. The results were top notch, closing Coachella on a very energetic and celebratory note.

As a result, Blink-182 — who had a surprise set on Friday afternoon of the first weekend — were given a main stage slot on Sunday night, followed by an act to be announced. 

The mystery act didn't remain hush-hush for long, though. Sunday's headliners were revealed to be the supergroup DJ trio of Skrillex, Four Tet, and Fred Again.., who in their brief time playing music together have become one of the most sought-after acts in the world. (So much so that they sold out Madison Square Garden in two minutes after announcing the show.) 

Beyond the Sunday scramble, weekend two of Coachella 2023 brought much of the same excitement as the previous week — replete with more stand-out sets than even the most experienced festival goer could manage to catch. Below, relive seven sets that showcase Coachella’s reign as one of the most popular festivals in the world. 

Wet Leg Encourages Communal Release 

The British alternative rock band only has one self-titled album’s worth of material, which they've been diligently touring around the globe. And yet they still managed to bring a sense of zeal and authentic excitement to their second Coachella set.

Wet Leg's Rhian Teasdale and Hester Chambers set the example of this energy. Throughout the performance, they shared excitable looks, occasionally dropping lyrics in favor of laughter. Other times, they led the crowd in an epic scream, just for the sake of it. Dave Grohl even showed up to scream with them.

The climax of the performance at the Mojave stage on Friday afternoon was "Chaise Longue," the upbeat rock and roll heater that earned the group a 2022 GRAMMY for Best Alternative Performance. When Teasdale would ask, "Excuse me," the crowd would shout back "What?!" with all their might. Then the rapid fire guitar came in, and everyone in the crowd understood that the assignment was to dance.

Gorillaz Take Special Guests Appearances To The Next Level

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Gorillaz last performed at Coachella in 2010 as Sunday headliners, and brought headliner energy to Friday night's penultimate set. When it comes to special guests — a Coachella tradition already ingrained in Gorillaz's music — the group stepped up their game. 

By the third song, the L.A. alternative legend Beck was on stage to sing his feature on "Valley of the Pagans" from Gorillaz’s 2020 album, Song Machine, Season One: Strange Timez. From there, more than half of the 17-song set included a guest.

Thundercat came on for his contribution to the title track of Gorillaz's latest, Cracker Island, Little Simz performed "Garage Palace" off 2017's Humanz, and Yasiin Bey, formerly known as Mos Def, joined Gorillaz along with the Hypnotic Brass Ensemble for "Sweepstakes" from 2010’s Plastic Beach. Minutes before his own headlining set, Bad Bunny came out in a mask to perform "Tormenta," his feature on Cracker Island. 

An IRL Bad Bunny collab may have been the ultimate surprise guest coup de grâce, but Gorillaz weren't finished yet. In a touching moment of unity, Gorillaz paid tribute to their late collaborator David Jolicoeur after the surviving members of De La Soul joined Gorillaz for a performance of "Feel Good, Inc."

Eric Prydz Brings Artificial Into Reality With His HOLO Show

If Eric Prydz had decided to simply play a DJ set, he still likely would have landed one of the festival's top booking slots; instead, he brought his HOLO show to Indio. 

This unique live production is known in the global dance music circuit for pushing the limits of visuals in the live space. There are hundreds of videos on the internet heralding its epicness, but those videos don’t compare to experiencing it in person.

Prydz’s closing set at Outdoor Theater on Saturday night was scheduled to begin at 10:20 p.m., but when the time rolled around, the screens remained dark. However, a keen ear could tell that the scene had actually begun; a subtle line emanated through the speakers and, for 20 minutes, kept getting louder and extending in its repetition.

At 10:40, a giant mechanical hand appeared on the screen, as if it was floating out into the audience. With an iPhone between its Transformers-esque fingers, the hand took photos as a wash of electronic music started building. Then as the hand flipped the phone to show an image of the audience on its screen, the first track of the set took full form, and a tidal wave of energy was released from the crowd.

For the remainder of the set, every new song was accompanied by an evermore impressive audiovisual creation. One frame was Prydz himself wearing a spacesuit. Another was a team of spacemen firing laser guns at the crowd. It felt so real that someone probably ducked to avoid the virtual projectiles.

Christine & The Queens Do So Much With Not-So-Much

Coachella is a festival where most artists like to do a lot, but Christine & The Queens demonstrated that you can actually do a lot with a little. 

Production during the Sunday sunset slot at Mojave was minimalistic: two separate platforms on stage, one for Christine and her three-piece band, the other open for use. Like her stage setup, Christine & The Queens' music is generally minimalistic — though Christine doesn't require much to completely enthrall her audience. 

Songs began calmer, exemplified by the use of Red Hot Chili Peppers' alt-rock ballad of "By The Way" as a transition into her hit song, "Tilted." As that steady and simple beat moved along the intensity only increased. Christine threw her body around, ending up on the floor, on the platform, all the while nailing every note with her serenading tones.

Other than her soothing yet powerful vocals and mesmerizing stage presence, Christine was just as much a preacher as a musician. She decried patriarchal capitalism and stood strong in her belief that music is the greatest weapon against it.

"You are not going to surrender!" she shouted as her drummer threw down a high speed solo. 

Boygenius Provide A Musical Safe Space

When the indie supergroup took the Outdoor stage for the first set of Saturday night in complete darkness, everyone was primed and ready to feel all the things. Thus commenced the musical therapy session that was boygenius' Coachella performance, as members Phoebe Bridgers, Lucy Dacus, and Julien Baker sang the first few lines of "Without You Without Them" together on a single mic.

"I want to hear your story and be a part of it," the trio sang — their message a call to everyone in earshot, from the audience to the security guards and production workers. 

Although the crowd wasn’t the biggest that the Outdoor stage would see throughout the weekend, the environment allowed for plenty of space for the audience to be with themselves under the stars. Then as the band went through the various moods on their debut album, the record, the audience responded to their energy in kind.

When the trio were rocking out on songs like "$20" and "Satanist," the energy was high and lively as everyone took in Bridgers' towering shouts before returning with their own. Then when the volume came down for the raw, unfiltered honesty in songs like "True Blue" and "Emily I’m Sorry," the people who were shouting before began to gently sway, murmuring the lyrics to themselves word for word, experiencing them on a personal level.

Björk Reworks Her Classics With An Orchestra 

Iceland’s own Björk last performed at Coachella in 2007, when she headlined Friday. For her first Coachella set in over 15 years, the artist returned with a full orchestra that performed original interpretations of her past works.

Backed by the Hollywood String Ensemble and conducted by fellow Icelander, Bjarni Frímann, pleasant indie songs such as "Aurora" and "Come To Me" became operatic epics. The orchestra allowed her to accurately and succinctly reproduce "Freefall," a song from her latest album, 2022’s Fossora, which integrates orchestral composition with alternative production. 

Closing the set, Björk embarked on an exploration of orchestral techno, as Hollywood String Ensemble rearranged her industrial masterpiece, "Pluto."

Visually, Björk satisfied expectations on all levels. Her dress was reminiscent of a spider web, with feathers caught in the adhesive like several birds all flew through at the precise angle. Above the stage, an aerial drone show reacted to her voice as if her tones were literally reaching the heavens.

Skrillex, Four Tet & Fred Again.. Party In The Round

Saving the day, Skrillex, Four Tet, and Fred Again.. took their last-minute headlining set to epic proportions. The trio of DJs performed in the round on the satellite stage, while extra speakers were brought in so fans in every part of the field could bathe in their electronic sounds.

Their set was just a straight party, complete with plumes of glowsticks flying into the air during various drops. Then when they fell other people would scavenge the field and pick them up so they could throw them on the next great drop.

At other performances like MSG where they were the sole act, the trio had as long as five hours to explore all the music they wanted. This time they had less than two, and filled the set with as many bangers as they could. 

Some examples were the scraping dubstep track "COUNTRY RIDDIM" by the rising dubstep producer HOL!, "RATATA," a breakbeat tune supported by a vocal feature from Missy Elliott, and even "Party In The USA" by Miley Cyrus.

But the glue holding together the set were the booming bass tones of UK grime rapper Flowdan. The new trio made new versions of his hook from the massive collaboration with Skrillex and Fred Agan.., "Rumble." 

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From Post Malone to Peppa Pig vinyls, record stores around the world are stocking up on limited exclusive releases for Record Store Day 2023.

Held annually every April since 2007, the event honors independently owned record stores and the unity of fans and artists. This year, many stores will globally welcome more than 300 limited, exclusive records ranging from rock to jazz to rap on April 22.

With former official ambassadors including Taylor Swift, Metallica, Ozzy Osbourne, Jack White, Chuck D, and St. Vincent, Record Store Day celebrates music of all genres. And that's exactly the case with this year's lineup of special releases, spanning from Miles Davis to Beach House.

In honor of Record Store Day 2023, get excited about these 10 limited, exclusive releases dropping in your local participating store.

The 1975 — I like it when you sleep, for you are so beautiful yet so unaware of it: Live With The BBC Philharmonic Orchestra

Serving as the official Record Store Day UK Ambassadors this year, the 1975 take us back to 2016 with their second LP, I like it when you sleep, for you are so beautiful yet so unaware of it — this time, along with the BBC Philharmonic Orchestra. Available for the first time on double clear vinyl, this orchestral version of the British rock band's second studio album also features a version of their breakout hit, "Chocolate."

Miles Davis — TURNAROUND: Unreleased Rare Vinyl from On the Corner

Miles Davis' album On the Corner celebrated its 50th birthday last October, and its innovation takes yet another turn on Record Store Day. Titled Turnaround, this sky-blue vinyl features four cuts from the expanded 2007 album The Complete On The Corner Sessions, also offering appearances from Herbie Hancock, Dave Liebman and Bennie Maupin.

Björk — the fossora remixes

Fill your record collection with some flora and fauna — natural, eccentric scarlet and green patterns adorn each vinyl sleeve of Björk's exclusive the fossora remixes. The release features two dynamic songs: A1 Ovule featuring Shygirl (Sega Bodega remix) and A2 Atopos (sideproject remix).

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Beach House — Become

Fourteen months after psychedelic pop duo Beach House unveiled their eighth studio album, Once Twice Melody, they continue the story with a new EP. Titled Become, the five-song project — which is available on crystal-clear vinyl on Record Store Day — features five formerly unreleased songs from their 2022 LP.

Nas — Made You Look: God's Son Live 2002

Just over 20 years ago, Nas gave a spectacular performance at Webster Hall in New York City, further solidifying his status as a legend of East Coast hip-hop. The spirited 20-song concert now appears on vinyl for the first time, with familiar artwork calling back to its original DVD release in 2003.

Dolly Parton — The Monument Singles Collection 1964-1968

More than six decades into her career, Dolly Parton joins the Record Store Day fun with a celebration of her early years. The country legend's remastered singles from the 1960s are hitting record store shelves, and the special first-time collection also features liner notes from two-time GRAMMY nominee Holly George-Warren.

The Rolling Stones — Beggars Banquet

As the Rolling Stones sang of "a swirling mass of grey, blue, black, and white" on "Salt Of The Earth," the rock band's upcoming limited vinyl for Beggars Banquet will be pressed with a swirl pattern of the same four colors in tribute. The group merges classic rock with their blues roots on Beggars Banquet, and the vinyl of their 1968 critically-acclaimed album features the original artwork and window display poster.

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Taylor Swift — folklore: the long pond studio sessions

In September 2020, Taylor Swift's GRAMMY-winning album folklore was reimagined at New York's Long Pond Studio with a pair of the singer's closest collaborators, Aaron Dessner (The National) and Jack Antonoff (fun./Bleachers). And in November that year, fans got to witness those sessions in a Disney+ documentary. Now, more than two years later, the serene album's acoustic studio sessions are available on vinyl for the first time, including four sides and bonus track "the lakes."

'Ol Dirty Bastard — Return to the 36 Chambers: The Dirty Version

ODB's memory lives on in the vinyl rerelease of his iconic 1995 debut album, Return to the 36 Chambers: The Dirty Version. Featuring the 2020 remasters of 15 tracks, this drop is the first posthumous release from ODB since 2011, but not the first time fans have heard his voice since then: SZA's SOS track "Forgiveless" concludes with a previously unreleased verse from the late rapper.

Donna Summer — A Hot Summer Night (40th Anniversary Edition)

This year marks the 40th anniversary of Donna Summer's momentous Hard For The Money Tour. This exclusive vinyl celebrates the Queen of Disco in all her glory, capturing her live concert at Costa Mesa's Pacific Amphitheatre from August 1983. The vinyl offers performances by special guests Musical Youth, her sisters Dara and Mary Ellen, and her eldest daughter Mimi.

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