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The 14-track project – which features fan-adored songs like “Lonely Island” and “Mary’s Pub” plus 8 other tracks – was recorded live, often in only a take or two, perfectly encapsulating their raw energy and authentic spirit. 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A walk across the salt flats. A pixelated moon on a touchscreen. A song set on the final day on earth. A song you can't send to someone, because they're no longer there. True, the debut album from Tenderness - the solo project of Katy Beth Young (Peggy Sue, Deep Throat Choir) - leads you by the hand through scenes like these, on deceptively simple, country-adjacent songs that shimmer with electric guitars and drones and licks of pedal steel. Songs that look sideways at romance and grief and technology. Songs that break hearts with their precise and thoughtful beauty as well as their sadness. Songs that are, by turns, tender like a touch, tender like a bruise.True is a solo album in name, but a communal one in spirit, made alongside producer Euan Hinshelwood (Younghusband, Cate Le Bon), who contributes bass as well as layers of electric guitars, synths and drones. Longtime collaborators appear throughout: Peggy Sue's Clay Slade and Olly Joyce, La Luz's Marian Li-Pino, and members of Deep Throat Choir. Pedal steel comes from Harry Bohay (Aldous Harding, Sylvie). Backing vocals come from Berlin musicians Martha Rose, Dandy Deniz and Benjamin Gregory. The album's finishing touches - strings and synths - were added by producer Chloe Kraemer. The result is an album that feels both deeply personal and quietly expansive - a collection of songs born from solitude but shaped by community, rooted in heartache yet reaching toward something hopeful. 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The album's recurrent themes of personal growth and renewal, of love's perseverance through difficulty and shame and awkwardness, are rooted there. \"That experience has pulled me out of myself and given me a different outlook on things,\" she says. \"The vulnerability and fragility and wildness of it all has made me less focused on self, more zoomed out.\" Hurts Like Hell is the most open-hearted, full-voiced album of her career, and also her most collaborative. Decamping to Philip Weinrobe's Sugar Mountain studio in Brooklyn, Cornfield was joined by a full backing band, including Palehound's El Kempner, Lake Street Dive's Bridget Kearney, Adam Brisbin, and Sean Mullins, with key contributions by Núria Graham, and Daniel Pencer. Cornfield then recruited Feist, Buck Meek, Christian Lee Hutson and Maia Friedman to sing on the album. The fruits of this process are immediately apparent on lead single \"Hurts Like Hell,\" a country-saturated yearner Cornfield calls \"a shy people love story,\" the band swelling to embrace Cornfield's idiosyncratic flow as if to cradle her protagonist's heart. That the song is so vulnerable, so lived-in, is a matter of trust between Cornfield and her bandmates, in each other and of their gut. Their sound lands somewhere between Nashville Skyline and Harvest; a warm, richly-textured response to her bruised-but-seeking call. Much of Hurts Like Hell's magic happens in the space Cornfield makes for harmony. Taken up by Meek or Hutson, characters are sung into life as if with a brushstroke. When joined by Kempner or Kearney, it's a dazzling facet of the natural, lightning-in-a-bottle chemistry of her band. On \"Kitchen,\" Friedman mirrors Cornfield's sense of astonishment at finding herself in love, rendering the emotion at it's ethereal peak. On \"Living With It,\" she's joined by Feist, who Cornfield connected through a group chat for mothers who are touring musicians. Cornfield has arrived at this album bearing both scars from her past and hope for the future. Standing outside of herself and taking stock of what she wanted her music to be in the wake of childbirth, she was brave enough to ask for space, for time, and for help from places and people familiar and unexpected - a group chat, songwriters she was fans of but wasn't acquainted with, friends whose long-forgotten song leant her the chorus for a new one. Every \"yes,\" every voice memo, every shared file, every open door leading to this moment in Charlotte Cornfield's career. Call that moment what you will - an expansion, a rebirth, a breakthrough - Hurts Like Hell is big enough to meet it and has lost none of Cornfield's charm, wit, or urgency in the offing, at once a reaffirmation of her standing among the great singer-songwriters of her generation and the first articulation of her future, whatever uncertainty and love it may bring.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBefore\u003c\/li\u003e\n\u003cli\u003eHurts Like Hell\u003c\/li\u003e\n\u003cli\u003eLost Leader\u003c\/li\u003e\n\u003cli\u003eLucky\u003c\/li\u003e\n\u003cli\u003eLiving with It Feist\u003c\/li\u003e\n\u003cli\u003eNumber\u003c\/li\u003e\n\u003cli\u003eSquiddd\u003c\/li\u003e\n\u003cli\u003eKitchen\u003c\/li\u003e\n\u003cli\u003eLong Game\u003c\/li\u003e\n\u003cli\u003eBloody and Alive\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 673855088112\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Merge Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 3.27.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Alliance Entertainment","offers":[{"title":"Default Title","offer_id":55366521651368,"sku":"101572853","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0633\/5456\/8872\/files\/4489110-3517554.jpg?v=1774554224"},{"product_id":"pre-order-nuevos-rios-nuevos-rios-lp-new-n","title":"Pre-Order: Nuevos Rios - Nuevos Rios (LP) (New (N))","description":"\u003cp\u003eThe latest creation from Colombia's effervescent scene of rich hybridizations, Nuevos Ríos offers us a breathtaking dive into the Afro-descendant traditions of the Colombian Pacific, enhanced by the input of electronic and amplified music. The result is stunning. Never losing it's course, this odyssey transcends boundaries and carries us along the discovery of a new river with countless meanders. Here we feel the heat of the tropics, the embodied power of musical traditions, and the sweat of European dancefloors in a unique cocktail-quickly addictive, sometimes introspective, and irresistibly danceable. Born from the encounter between Canalón de Timbiquí-the Colombian group founded by maestra Nidia Góngora, whose mesmerizing, instantly recognizable voice has graced projects such as Quantic, Ondatrópica, and The Bongo Hop-and the Toulouse-based trio Reco Reco, passionate explorers of trance-inducing music, especially from South America, the Nuevos Ríos project traces it's origins back to the banks of the Timbiquí River. Far from the beaten path, at the heart of Colombia's Pacific region, the two groups came together naturally in the village of Timbiquí, the very roots of Canalón's music and of Nidia Góngora herself. Through a series of improvised jam sessions in the ground floor of Nidia's home, the hybridization of their music became an obvious path-born from a shared desire to reveal to attentive listeners the strength of this human and musical encounter. This first chapter, released on ZZK Records-a label renowned for uncovering South American gems (Son Rompe Pera, Nicola Cruz, La Yegros...)-is carried by the singular writing and timbre of Nidia Góngora. Across the tracks, each element of the ensemble finds it's rightful place: the power of Colombian Pacific percussion and the poetry of the marimba de chonta catch us around a savory guitar riff never far from West Africa; the strength of the voices is heightened by layers of electronic textures; while drums interlock with bass keys to provide a double engine for the eponymous vessel, Nuevos Ríos. The lyrics tell of a daily life always close to nature, around a river that is both a central artery and a channel of exchange-without shying away from the harsh realities of a region scarred by Colombia's internal conflicts. 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Captured in 1967 - predating the release of his cult-classic debut The New Folk Sound of Terry Callier - this intimate, previously unreleased live performance reveals a young artist already operating in his own universe.These 1967 live tapes-unearthed from a private archive were recorded by Joe Segal in Chicago at The Earl of Old Town Club in 1967. Showcasing Callier's distinctive blend of folk, soul, and jazz in it's purest form. His intricate guitar work, luminous voice, and spiritual depth are presented in stunning clarity, giving both longtime fans and new listeners an unfiltered glimpse into a foundational moment in American music history. Transferred from the original tapes, restored by Joe Lizzi and mastered by Matthew Lutthans at The Mastering Lab. The limited-edition 180-gram 2-LP edition includes a booklet with rare photographs and newly commissioned liner notes. 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Her ensemble summoned orchestral grandeur from impressionistic arrangements, conducted by her exquisite voice, one of the most soulful and expressive of our generation. The body of music feels at once from another time and timeless. Her expansive vocal spans breathy whisper to heartbreaking wail, confronting the audience with a waterfall of emotions...mournful, yearning, considerate, scornful, demanding, empathic, full of love.\u003c\/p\u003e\u003cp\u003eAt times we are witness to a channel, at others led into her world, as through two goosebump-inducing chants. On Believer we repeated her refrain, ‘cause I get lonely, you get lonely too, ‘cause I get lonely, can I be lonely here with you?’, until it was impossible to feel alone. The concert was recorded at Glasshaus in Brooklyn, New York on September 20, 2025 for a studio audience of 100 guests. 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The album's recurrent themes of personal growth and renewal, of love's perseverance through difficulty and shame and awkwardness, are rooted there. \"That experience has pulled me out of myself and given me a different outlook on things,\" she says. \"The vulnerability and fragility and wildness of it all has made me less focused on self, more zoomed out.\" Hurts Like Hell is the most open-hearted, full-voiced album of her career, and also her most collaborative. Decamping to Philip Weinrobe's Sugar Mountain studio in Brooklyn, Cornfield was joined by a full backing band, including Palehound's El Kempner, Lake Street Dive's Bridget Kearney, Adam Brisbin, and Sean Mullins, with key contributions by Núria Graham, and Daniel Pencer. Cornfield then recruited Feist, Buck Meek, Christian Lee Hutson and Maia Friedman to sing on the album. The fruits of this process are immediately apparent on lead single \"Hurts Like Hell,\" a country-saturated yearner Cornfield calls \"a shy people love story,\" the band swelling to embrace Cornfield's idiosyncratic flow as if to cradle her protagonist's heart. That the song is so vulnerable, so lived-in, is a matter of trust between Cornfield and her bandmates, in each other and of their gut. Their sound lands somewhere between Nashville Skyline and Harvest; a warm, richly-textured response to her bruised-but-seeking call. Much of Hurts Like Hell's magic happens in the space Cornfield makes for harmony. Taken up by Meek or Hutson, characters are sung into life as if with a brushstroke. When joined by Kempner or Kearney, it's a dazzling facet of the natural, lightning-in-a-bottle chemistry of her band. On \"Kitchen,\" Friedman mirrors Cornfield's sense of astonishment at finding herself in love, rendering the emotion at it's ethereal peak. 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