Ultrasound reissue their classic debut Everything Picture as a Deluxe Edition boxset to commemorate its 22nd anniversary.

The Charlatans have kept going as long as they have partly due to their adaptability. Since the early ’90s they’ve followed their instincts and incrementally evolved record by record, whether doing so put them in or out of sync with the pop moment. Their eponymous fourth album was the point where everything fully clicked, and it remains a benchmark for the band.

Lillie West’s third album as Lala Lala is a reflection of the self, and all the distortions that make us who we are. I Want The Door To Open is at once introspective and existential, atmospheric and surreal—a distant destination from the guitar-driven focus of 2018’s acclaimed The Lamb.

London’s own Little Simz is an enigmatic rarity. For one thing, the very fact that she’s a female rapper in a male dominated genre (regrettably hip-hop is hardly alone in this phenomenon) allows her to provide unique perspectives when contrasted with her male counterparts. Unlike so many of her contemporaries, she isn’t a product of well-placed marketing. Her social media presence is negligible and her public profile non-existent.

Here is the long-awaited deluxe reissue of what is many fans’ favorite Supergrass album, their 1997 sophomore LP, In it for the Money.

Much less a Christmas record than it is a crucial staple of West Coast jazz culture, Vince Guaraldi’s A Charlie Brown Christmas soundtrack possessed a dual cultural significance. Not only did it help to further popularize Charles M. Schulz’s beloved Peanuts comic strip and its corresponding CBS holiday special, but it also played an integral part in reintroducing jazz music to the 1960s mainstream.

Illuminati hotties mastermind Sarah Tudzin is in control of pretty much every aspect of the band’s aesthetic, from writing to production to creating her own genre, labelling it “tender punk.”

Following the smash success of A Charlie Brown Christmas, Peanuts creator Charles M. Schulz regrouped once more with producer Lee Mendelson, director Bill Melendez, and legendary jazz composer Vince Guaraldi for a follow-up special, 1966’s Halloween-themed It’s the Great Pumpkin, Charlie Brown.

In his time, San Francisco-born pianist Vince Guaraldi, along with an elite circle of esteemed contemporaries, helped to further, and then ensure, the legacy of post-war Bay Area jazz.