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Lionel Richie’s ‘Can’t Slow Down’ Enters Definitive Sound Series In One Step Edition

Eric Alper
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Lionel Richie’s ‘Can’t Slow Down’ Enters Definitive Sound Series In One Step Edition

Interscope-Capitol Records adds Lionel Richie’s ‘Can’t Slow Down’ to its premium Definitive Sound Series, a high-end audiophile collection focused on landmark albums presented in their highest-fidelity form. The 180-gram high-definition vinyl edition is sourced directly from the original analog master tapes and limited to 3,000 hand-numbered copies.

Mastered by Chris Bellman at Bernie Grundman Mastering and pressed at Record Technology using the One Step process, the release eliminates multiple stamper stages in the plating chain. Each copy includes a certificate of authenticity detailing the mastering, plating, and pressing process — underscoring the series’ emphasis on production transparency and craftsmanship.

Originally released in 1983, ‘Can’t Slow Down’ marked a major turning point in Richie’s solo career. The album produced five U.S. Top 40 singles, including “All Night Long (All Night)” and the Grammy-winning “Hello,” and earned the 1985 Grammy Award for Album of the Year. It topped charts worldwide and expanded the blueprint for crossover pop success in the 1980s.

“The Definitive Sound Series represents the pinnacle of vinyl craftsmanship,” says Xavier Ramos, EVP D2C and eCommerce Strategy at Interscope-Capitol. “We’re proud to invest in these collectible pieces that reflect our respect for these iconic artists, their groundbreaking music, and the fans whose passion continues to keep these albums as relevant today as when they were first released.”

Track listing for ‘Can’t Slow Down’:

  1. Can’t Slow Down
  2. All Night Long (All Night)
  3. Penny Lover
  4. Stuck On You
  5. Love Will Find A Way
  6. The Only One
  7. Running With The Night
  8. Hello

CVCHE Turn Up The Heat With New Single “Private Volcano”

Eric Alper
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CVCHE Turn Up The Heat With New Single “Private Volcano”

Experimental Rural Canadian Techno supergroup CVCHE return with “Private Volcano,” the latest single from their upcoming debut album ‘Get Fluffy.’ Built in their moss-covered river studio somewhere deep in the Canadian wilderness, the track channels pressure into pulse — both creative and literal.

“‘Private Volcano’ started as a late-night experiment that got out of hand in the best way,” the band shares. “We recorded it during a heatwave, and the AC was acting funny, and we were running way too hot, which probably explains the title. The song is about pressure… the kind that builds quietly, whether it’s creative, emotional, or just the temperature in the room. ‘Private Volcano’ is us leaning into that heat instead of running from it.”

CVCHE bring together Jimmy Shaw of Metric and Broken Social Scene, Liam O’Neil of Kings of Leon, Dave Hodge of Broken Social Scene and Leisure Cruise, and conceptual artist Jon Morris of Windmill Factory and NOWHERE.io. Their self-described Rural Canadian Techno bends analog synthesizers, off-kilter grooves, and playful conceptual framing into something both hypnotic and slightly absurd.

Previous singles include “Welcome To CVCHE,” “Eyes of Darkness – A Novel by Dean Koontz,” “Get Fluffy,” “Never Whatever,” “Thumper,” and the Chris Seligman collaboration “The Star.” With “Private Volcano,” CVCHE continue to build their own strange electronic ecosystem — one vintage synth at a time.

Descendents Celebrate 40 Years Of ‘I Don’t Want To Grow Up’ With Expanded Reissue

Eric Alper
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Descendents Celebrate 40 Years Of ‘I Don’t Want To Grow Up’ With Expanded Reissue

Org Music announces the reissue of ‘I Don’t Want To Grow Up,’ the landmark second album from punk pioneers Descendents. Available across LP, CD, and cassette formats, the release also includes a special Punk Note LP edition with alternate packaging. The reissue follows the band’s reclaimed ownership of their master recordings and continues the campaign that began with ‘Milo Goes To College.’

Originally released in 1985 on New Alliance Records, founded by Minutemen’s D. Boon and Mike Watt, the album arrived after Milo Aukerman returned from college. It marked the first of two releases featuring guitarist Ray Cooper and showcased a brighter, hook-driven edge without losing the band’s urgency. Four decades later, it remains a cornerstone of melodic hardcore.

The standout Punk Note edition, designed by John Yates of Stealworks, draws inspiration from the iconic Blue Note aesthetic shaped by Reid Miles and Francis Wolff. Presented in deluxe case-wrapped jackets with new liner notes by BrooklynVegan senior editor Andrew Sacher, the series continues Org Music’s visually reimagined punk archive.

Track listing for ‘I Don’t Want To Grow Up’:

  1. Descendents
  2. I Don’t Want To Grow Up
  3. Pervert
  4. Rockstar
  5. No FB
  6. Can’t Go Back
  7. GCF
  8. My World
  9. Theme
  10. Silly Girl
  11. In Love This Way
  12. Christmas Vacation
  13. Good Good Things
  14. Ace
  15. Catalina
  16. Suburban Home

Available variants include Black LP, “Banana Peel” LP, Punk Note Edition Black Vinyl, CD, and Yellow Cassette. Limited exclusives include Transparent Yellow Punk Note LP, “Oxblood Docs” LP, Ocean LP, Pink LP, Green Bay LP, Bubble Gum LP, Black LP with Obi Strip, and Purple Swirl Cassette. The campaign continues with future reissues of ‘Enjoy!,’ ‘ALL,’ and ‘Bonus Fat,’ each overseen by the band to ensure definitive presentation.

Capsize Resurface With Brooding New Single “The Fracture”

Eric Alper
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Capsize Resurface With Brooding New Single “The Fracture”

Capsize return with “The Fracture,” their first release since signing to Roux & Ruin Records. Produced by Matt Good, whose credits include From First To Last and Asking Alexandria, the track blends sharp melodic turns with dense, emotional weight. It reintroduces the band with a sound that feels focused and unfiltered.

“This song is about taking responsibility for everything in my life, even the things that are out of my control,” shares vocalist Daniel Wand. “I’ve found holding myself accountable is the only way I’ve been able to make sense of the aftermath when things fall apart in any category of life. It’s about feeling empty from it, and still trying to find some kind of light at the end of the tunnel by being candid about internal struggle.”

“The Fracture” leans into tension and release — melodic passages give way to heavier bursts, mirroring the push and pull inside the lyrics. The production keeps the edges intact, allowing the vulnerability in Wand’s delivery to sit alongside the band’s driving instrumentation.

After several standalone singles in recent years, Capsize are preparing their first physical release since ‘A Reintroduction: The Essence Of All That Surrounds Me.’

Alissa White-Gluz Steps Into Solo Era With “The Room Where She Died”

Eric Alper
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Alissa White-Gluz Steps Into Solo Era With “The Room Where She Died”

Alissa White-Gluz has unveiled the music video for her new solo single “The Room Where She Died,” marking the beginning of a new chapter following her departure from Arch Enemy after 12 years. The track serves as the first glimpse into her forthcoming solo album and signals a shift in both tone and creative direction.

“I hope you love this first offering from my upcoming solo album,” White-Gluz shared. “‘The Room Where She Died’ is a song that feels truly satisfying to me; like I get to express myself in so many ways that have been dormant for years.” She also wrote the script for the video, underscoring her hands-on role in shaping the visual and emotional narrative.

Speaking about the transition, she stated, “After 12 years in Arch Enemy, we have parted ways. I am forever thankful to the thousands of amazing fans I have met along the way. I can’t wait to share what I have been working on with you all. Stay tuned for big news in 2026 and see you very soon.” Arch Enemy responded with appreciation, wishing her well and acknowledging that “wherever there is an ending, there is also a beginning.”

With “The Room Where She Died,” White-Gluz opens the door to a solo project she describes as diverse and deeply personal. It is a decisive first step — one that places her voice and vision firmly at the center.

Zhonk Drop Horn-Driven Bass Heat On ‘SoulSmack’ EP

Eric Alper
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Zhonk Drop Horn-Driven Bass Heat On ‘SoulSmack’ EP

Grand Alliance Music announces the release of ‘SoulSmack,’ the new EP from Austin-based brass-bass duo Zhonk. The three-track project captures a year of underground shows, late-night experimentation, and steady online growth, distilling their live energy into a tight studio statement built around saxophone, trombone, and heavy low-end production.

Formed by Patrick Donaghey on saxophone and Sawyer Green on trombone, Zhonk fuse live brass performance with glitch-hop grooves, funk bounce, and halftime bass pressure. ‘SoulSmack’ centers on improvisational horn lines that cut through thick beats, with rhythmic interplay designed for packed dance floors and festival stages.

The EP features three originals, “SoulSmack,” “Funk Your DnB,” and “Saucy,” the latter featuring electronic artist Willdabeast, known for horn-forward bass production and national touring. “This project represents what we do live — high-energy horns and unapologetic low end,” Zhonk share. “It’s loud, it’s playful, and it reflects the ‘dirty brass’ sound that’s become our identity.”

As the brass-driven bass movement continues to expand, with artists like GRiZ and Big Gigantic helping pave the way, Zhonk carve out their own lane through performance-first intensity. ‘SoulSmack’ positions the duo for a wider reach while staying grounded in the DIY ethos and community roots that built their sound.

Coroner Announce “Dissonance Over The West Tour” With Heathen

Eric Alper
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Coroner Announce “Dissonance Over The West Tour” With Heathen

Technical thrash pioneers Coroner are set to hit the road for a West Coast North American headlining run, bringing their precision and intensity to stages across the U.S. and Canada. The “Dissonance Over The West Tour” launches February 4 in Las Vegas and wraps February 22 in Mesa, with Heathen joining as direct support throughout the trek.

The tour arrives in support of Coroner’s latest album, ‘Dissonance Theory,’ released via Century Media Records. The ten-track record spans 47 minutes and leans into the band’s trademark blend of surgical riffing, shifting time signatures, and dark melodic undercurrents. It marks a focused return from a group long respected for pushing thrash into more technical territory.

‘Dissonance Theory’ was recorded by Tommy Vetterli at New Sound Studios in Switzerland and mixed and mastered by Jens Bogren at Fascination Street Studios in Sweden, whose credits include Opeth, Kreator, and Amon Amarth. The production balances clarity with weight, giving space to the intricate guitar work and rhythmic shifts that define the band’s sound.

Tour stops include San Diego, Los Angeles, Pomona, San Jose, Berkeley, Portland, Seattle, Vancouver, Billings, Butte, Salt Lake City, Denver, Albuquerque, and Mesa. With Heathen on the bill and a new record in rotation, the run lines up as a direct showcase of technical thrash delivered loud and live.

Tour Dates (with Heathen):
02/14 – Vancouver, BC @ Rickshaw Theatre
02/16 – Billings, MT @ Pub Station
02/17 – Butte, MT @ Covellite Theatre
02/18 – Salt Lake City, UT @ Ace’s High Saloon
02/20 – Denver, CO @ HQ
02/21 – Albuquerque, NM @ Launchpad
02/22 – Mesa, AZ @ Rosetta Room

Brassroots District Ignite The Floor With Fearless Funk Burner “Aim High”

Eric Alper
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Brassroots District Ignite The Floor With Fearless Funk Burner “Aim High”

Los Angeles interstellar funk collective Brassroots District fire off “Aim High,” a bold new 45 released via For The People Records. This is not background music — it is sweat-soaked, horn-blasted, bass-driven propulsion built to shake a room loose. From the first downbeat, the groove locks in and refuses to let go.

Ursa Major and Copper Jones trade lead vocals with preacher-like intensity, pushing the song’s message forward with grit and conviction. “Aim High” is less suggestion and more challenge — a call to step up, believe louder, and move with purpose. The bassline does not ask politely. It pulls you in and keeps you there.

The single sets the tone for the forthcoming LP ‘Brassroots District,’ a record already generating serious anticipation. Known for shows that feel communal and combustible, the band brings that same urgency to the studio. Every note feels lived-in and deliberate, sharpened across desert sessions, street festivals, and packed dance floors.

Next up, the group takes over Jewel’s Catch One for an eight-night album release residency, turning the Koreatown landmark into ground zero for their expanding movement. With a history that includes opening for Sly & the Family Stone and standing firm against industry pressure, Brassroots District operate on loyalty, fire, and rhythm. “Aim High” hits exactly where it’s meant to — straight at the heart, and squarely at the hips.

Nia Perez Turns Unsent Letters Into Indie-Pop Confessions On ‘Things I Wish I Said’

Eric Alper
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Nia Perez Turns Unsent Letters Into Indie-Pop Confessions On ‘Things I Wish I Said’

Venezuelan-born singer-songwriter Nia Perez introduces her debut EP ‘Things I Wish I Said,’ a five-track project that reads like a stack of unsent letters pulled from a bedroom drawer. Blending indie-pop with bedroom-pop intimacy, the release pairs polished production with lyrics that feel handwritten and personal.

Each track functions as a chapter. “Shapeshifting” explores identity loss inside a relationship, tracing the slow erosion that happens when you bend too often to meet someone else’s expectations. “Not Her,” now her most-streamed song, captures the sting of betrayal while observing an ex who keeps searching for familiarity in someone new.

“Oh Sweet July” revisits a breakup that fell on her seventeenth birthday in New York, turning a private memory into a shared ache through the repeated line, “how could you do this to me?” On “Cognitive Dissonance,” she leans into the psychology of toxic attachment, mapping how fear and desire can circle each other. Closing track “Little Old Flame” offers release, threading lyrical callbacks through the EP and landing on a pointed question, “Do you like you now that you’re all alone?”

Beyond the music, Nia extends the project’s concept into real life. Her website hosts an anonymous space where listeners can submit their own unsent letters, while her newsletter, Get My Letters, arrives three times a month. With more than 20,000 Spotify listeners and over 50,000 YouTube plays, she is building a community drawn to emotional precision and unfiltered storytelling. “We’ve all got those unsent letters,” she says. “Maybe hearing mine will help others send theirs.”

SAHAJi Storm Ahead With Soaring Debut Album ‘Don’t Touch My Soul’

Eric Alper
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0
SAHAJi Storm Ahead With Soaring Debut Album ‘Don’t Touch My Soul’

After their debut single rocketed to No. 8 on the UK charts — the highest-charting debut by a Japanese band — SAHAJi step forward with their full-length album ‘Don’t Touch My Soul’ on Flip Flop Records. The record builds on that breakthrough moment with towering choruses, melodic hooks, and a widescreen rock sound aimed straight at packed rooms.

The Sahaji brothers have shaped their sound since their early songs were recognized at a YAMAHA music audition in Japan, leading to magazine covers and placements in TV campaigns across Asia. Now signed to legendary Britpop producer Nick Brine’s Flip Flop Records, the band channel influences like Oasis, Tom Petty, The Beatles, and Jimi Hendrix into something bold and immediate.

‘Don’t Touch My Soul’ leans into 90s Britpop spirit while keeping its footing in modern rock drive — soaring vocals, chiming guitars, and rhythm sections built to move a crowd. The album carries both ambition and muscle, the sound of a band intent on carving space in the UK scene.

SAHAJi are currently tearing through a sold-out UK tour with The Skinner Brothers and have released a collaboration track with REN and the Skinner Brothers’ frontman. With sold-out shows across Japan, including appearances at Fender Japan and Tower Records Japan, SAHAJi arrive with momentum already in motion — and no signs of slowing down.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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