1. EAT THE ELEPHANT 2. DISILLUSIONED 3. CONTRARIAN 4. THE DOOMED 5. SO LONG, AND THANKS FOR ALL THE FISH 6. TALKTALK 7. BY AND...

Donovan Woods’ new album is a study in contrasts, as one would expect from its name: Both Ways. “What started the idea was people telling me, ‘You can't have it both ways.’ Or, ‘You can't have a record full of thoughtful lyrics that also gets played on the radio. You can't have those things both ways.’ This is just me trying to have both.” That push‐and‐pull, especially in relationships, has long been Woods’ stock in trade. That perspective has led to nominations for the Polaris Prize and the Juno Awards. In addition, his single “What Kind of Love Is That?” climbed to No. 1 on the CBC Top 20 Chart, while his catalog has accrued over 60 million streams. Woods is also a notable songwriter in Nashville with credits by Billy Currington, Charles Kelley, Tim McGraw and Charlie Worsham. NPR Music stated, "There are very few writers who can make you laugh and break your heart in the same song.” No Depression noted that Woods’ style is “as fresh and captivating as any out there.” Both Ways progresses with the first single, “Burn That Bridge,” as well as the radio‐friendly songs like “I Live a Little Lie” and “Easy Street,” which employ a full‐band sound to flesh out the sonic landscape. A number of the songs are guitar‐driven, yet they stop short of full‐blown rock ‘n’ roll. With his typically droll sense of humor, Woods notes, “I know that nobody likes rock music anymore. I don't even really like it anymore.” But he says the more aggressive moments on Both Ways are inspired by camaraderie in the studio and on tour, as well as the pop and R&B music he heard growing up in Sarnia, Ontario, where he could pick up the radio stations out of Detroit. Produced by James Bunton, the album also includes a duet with Rose Cousins, called “I Ain't Ever Loved No One.”

*Vinyl release date: May 25, 2018 Deluxe CD available In creating their collaborative, island‐inspired album 44/876, Sting and Shaggy drew from the many unlikely connections at the heart of their music. With its title referencing their hometown area codes, 44/876 first and foremost honors the duo’s deep‐rooted love for Jamaica: Shaggy’s homeland, and the place where Sting penned such classics as The Police’s “Every Breath You Take.” The lead single from 44/876, “Don’t Make Me Wait” came to life after the musicians were introduced by Martin Kierszenbaum (Sting’s manager/ Shaggy’s former A&R executive). Although the initial plan was for Sting to lend his vocals and musical finesse to the track, the two soon discovered that their distinct voices blended with unbelievable ease, and compelled by their creative synergy, Sting and Shaggy soon amassed a near‐album’s worth of material. Recording in New York City, they enlisted a lineup of esteemed musicians and writers from Jamaica and New York, including the legendary Robbie Shakespeare of Sly and Robbie, dancehall sensation Aidonia, Morgan Heritage, Agent Sasco as well as Branford Marsalis and Sting’s longtime guitarist Dominic Miller. 44/876 fuses infectious Afro‐Caribbean rhythms with irresistible pop melody and plenty of massive hooks, and in their lyrics, Sting and Shaggy take a cue from their mutual hero Bob Marley and present a powerful message of love, hope, freedom, and unity. On their collaboration, both artists felt equally challenged and inspired by the other’s singular creative approach. While Shaggy says he learned from Sting’s meticulous experimentation in the songwriting process, Sting points out that Shaggy’s purposeful spontaneity helped to expand his artistry. The deluxe edition includes 4 extra tracks.

Deluxe CD available 'Resistance Is Futile', the band's 13th studio album, heralds a return to a classic Manics sound described by the band as "widescreen melancholia". The songs on the album are the first recorded in the band’s new Door to the River studio (near Newport). Of their first new recordings in four years, the band said: "The main themes of ‘Resistance is Futile’ are memory and loss; forgotten history; confused reality and art as a hiding place and inspiration. It’s obsessively melodic - in many ways referencing both the naive energy of ‘Generation Terrorists’ and the orchestral sweep of ‘Everything Must Go’. After delay and difficulties getting started, the record has come together really quickly over the last few months through a surge of creativity and some old school hard work."