{"title":"Artists","description":"\u003cp\u003eBrowse our Artists collection. Hot Sale.\u003c\/p\u003e","products":[{"product_id":"venus-on-ninth-flies-for-travis","title":"Venus on Ninth \/  Flies For Travis","description":"\u003cp\u003eReleased 5\/96.\u003cbr\u003e\u003c\/p\u003e","brand":"Juno","offers":[{"title":"7 inch","offer_id":49049092292793,"sku":"jip1788117803925","price":4.02,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/venus-on-ninth-flies-for-travis_1.gif?v=1788117808"},{"product_id":"proof-of-youth","title":"Proof of Youth","description":"\u003cp\u003eA six-piece from Brighton, England, The Go! Team and their brilliant, critically-lauded debut album, \u003cem\u003eThunder, Lightning, Strike\u003c\/em\u003e, lit 2005 a-fire with a fast and furious mix of ‘60s girl groups, ‘70s car chase TV themes, ‘80s lady MCs, ‘90s guitar squalor, and an incendiary live show. Nominated for the UK’s prestigious Mercury Prize, \u003cem\u003eThunder, Lightning, Strike\u003c\/em\u003e landed on 2005 year-end lists in \u003cem\u003eRolling Stone\u003c\/em\u003e, \u003cem\u003eBlender\u003c\/em\u003e and \u003cem\u003eSpin\u003c\/em\u003e, with \u003cem\u003eTime Magazine\u003c\/em\u003e calling it one of “5 CDs You Should Not Miss” in early 2006. The Go! Team’s subsequent American tours included incredible performances at Coachella and Lollapalooza, and opening for the likes of The Flaming Lips and Sonic Youth. Whereas \u003cem\u003eThunder, Lightning, Strike\u003c\/em\u003e was sample-heavy, \u003cem\u003eProof of Youth\u003c\/em\u003e was recorded by all six Go! Team members, and produced by The Go! Team and Gareth Parton, resulting in a wider sound that is still unmistakably their own. The album is another treble-heavy adventure in audio, bombing melodies into the stone-age with its needle-in-the-red, anti-production approach and lurching from bubblegum pop to white noise in a heartbeat. And this time, it’s not just the band—they’ve invited some of their friends to the party, including hip-hop luminary Chuck D of Public Enemy, the original Double Dutch Divas, Maryland’s pint-sized Rapper’s Delight Club, Marina from Bonde Do Role, Amsterdam’s Solex, and Washington, DC’s Frederick Douglas All Star Cheer Team. Your 2007 and 2008 is about to be a whole lot more fun.\u003c\/p\u003e\r\u003cp\u003eWatch the video for Grip Like a Vice here!\u003c\/p\u003e\r\u003cp\u003eOne note on the \u003cem\u003eProof of Youth\u003c\/em\u003e LP: the vinyl of this release will \u003cstrong\u003e\u003cspan class=\"caps\"\u003eNOT\u003c\/span\u003e\u003c\/strong\u003e include a coupon for download of the album as mp3s. We were prohibited from doing so, and we’re sorry.\u003c\/p\u003e\r\u003cp\u003eSP750\u003c\/p\u003e\r\u003cp\u003eRelease date: September 11, 2007\u003c\/p\u003e\r\u003cp\u003e\u003cspan class=\"caps\"\u003eNPR\u003c\/span\u003e review of \u003ccite\u003eProof of Youth\u003c\/cite\u003e!\u003c\/p\u003e","brand":"The Go! Team","offers":[{"title":"CD","offer_id":49049092423865,"sku":"kll1788117806273","price":8.04,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":49049092456633,"sku":"els1788117806274","price":6.6,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/proof-of-youth_1.jpg?v=1788117811"},{"product_id":"rag-n-roll","title":"Rag-N-Roll","description":"\u003cp\u003eThe debut record from North Carolina’s the Blue Rags is a party of an album, a rollicking good time from a bunch of Southern boys with influences that range from ragtime to punk. From the opening notes of “Be My Salty Dog,” these fellas make it clear that they know their musical history as well as they know how to write a timeless hook. Swelling with throaty vocals, the plunk of a stand-up bass, bluegrass guitars, and saloon-style piano playing, Rag-n-Roll feels uncommonly genuine, like serious musicians having the drunken time of their lives. Juggling styles from swing music to the upbeat lament of “Bourgeois Blues,” there is nary a relaxing moment over the course of the band’s 13 unrelenting hyper-stomps. Even the cover of “I Got Rhythm” that closes out the record sounds like a legitimate relic of an era past, and a few pleasing liberties are taken that allow the band members to show off their abilities on their respective instruments. While this debut was a bit overlooked as far as mainstream media went, its infectious energy still managed to capture the hearts of those lucky enough to hear it. The Blue Rags never really managed to equal this power on future recordings, but as their live show attested, the music was in them and the record is no fluke.\u003c\/p\u003e","brand":"The Blue Rags","offers":[{"title":"LP","offer_id":49049092554937,"sku":"bru1788117808784","price":5.46,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":49049092587705,"sku":"mjg1788117808785","price":7.5,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":49049092620473,"sku":"ujl1788117808786","price":7.6,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/rag-n-roll_1.jpg?v=1788117813"},{"product_id":"rehab-doll-deluxe-edition","title":"Rehab Doll (Deluxe Edition)","description":"\u003cp class=\"MsoNormal\"\u003eThe story of Seattle's rise to global rock supremacy in the late '80s and early '90s begins with Green River. Made up of Jeff Ament (bass), Mark Arm (guitar\/vocals), Bruce Fairweather (guitar), Stone Gossard (guitar), and Alex Shumway (drums), the quintet put out three 12”s and a 7” single during its brief existence. Green River's influence on Seattle's music scene spread far and wide thanks to the members' dispersion into bands including Pearl Jam, Mudhoney, and Love Battery, as well as the punk-glam-sludge-rock songs they left behind.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\"By '83, '84, there was definitely a movement that was happening within hardcore, like Black Flag slowing down for \u003ci\u003eMy War\u003c\/i\u003e,\" says Arm. \"The Replacements and Butthole Surfers were rearing their heads, and they're very different bands, but they're not hardcore—the Replacements are pretty much straight-up rock, and Butthole Surfers were God knows what. Sonic Youth's \u003ci\u003eBad Moon Rising\u003c\/i\u003e was around, and a lot of really interesting post-hardcore things were happening.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGreen River, which formed in 1984, was part of that evolution, with a sound that straddled a lot of different genres—blues, punk, bloozy straight-ahead rock. The mini-LP \u003ci\u003eDry As A Bone\u003c\/i\u003e, which came out in 1987, and the band's lone full-length \u003ci\u003eRehab Doll\u003c\/i\u003e, which came out in 1988, were released as a single CD with a few bonus cuts, including their sneering cover of David Bowie's \"Queen Bitch\" and their marauding version of Dead Boys' \"Ain't Nothin' to Do,\" in 1990—but they've been unavailable on vinyl for years. Now, these slices of Seattle music history are not only back in print, they're accompanied by items from the vaults that had been forgotten about for decades.   \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003eDry As A Bone\u003c\/i\u003e\u003cspan\u003e was recorded at Jack Endino's Reciprocal Recording in 1986, and it shows the band in furious form, with Arm's yowl battling Fairweather and Gossard's ferocious guitar playing on \"This Town\" and \"Unwind\" opening as a slow bluesy grind then jump-starting itself into a hyperactive chase. The deluxe edition includes Green River's cuts from the crucial Seattle-scene compilation \u003ci\u003eDeep Six\u003c\/i\u003e, as well as long-lost songs that were recorded to the now-archaic format Betamax.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003eRehab Doll\u003c\/i\u003e\u003cspan\u003e, recorded largely at Seattle's Steve Lawson Studios., bridges the gap between the taut, punky energy of \u003ci\u003eDry As a Bone\u003c\/i\u003e and the bigger drums and thicker riffs that were coming to dominate rock in the late '80s. This new edition of \u003ci\u003eRehab Doll\u003c\/i\u003e includes a version of “Swallow My Pride” recorded to 8-track at Endino's Reciprocal Recording, which features a more accurate depiction of how the band sounded when they played live. \"When I listen to these mixes, I think, 'This is how we actually sounded—this is the kind of energy we had,'\" says Shumway.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eGreen River's place in American music history is without question, but these recordings paint a more complete picture of the band—and of rock in the mid- to late-'80s, when punk's faster-and-louder ideals had begun shape-shifting into other ideas.\u003c\/p\u003e","brand":"Green River","offers":[{"title":"Loser (color) 2xLP","offer_id":49049093308601,"sku":"ssl1788117824622","price":20.16,"currency_code":"USD","in_stock":true},{"title":"Color 2xLP","offer_id":49049093341369,"sku":"xlr1788117824623","price":18.2,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":49049093374137,"sku":"bkm1788117824624","price":17.64,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":49049093406905,"sku":"swu1788117824625","price":10.27,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":49049093439673,"sku":"ezf1788117824626","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/rehab-doll-deluxe-edition_1.jpg?v=1788117828"},{"product_id":"close-to-the-glass","title":"Close to the Glass","description":"\u003cp\u003eDuring the recording of \u003ccite\u003eClose to the Glass\u003c\/cite\u003e, Martin Gretchmann was more the mad-scientist than ever before, standing behind a small mountain of analog modular synths, not only playing but also manipulating the performance of his bandmates as they played. The strong connection and creative trust between band members allowed for the traditional lines between roles to blur more than ever before. With everyone playing anything, the band felt they could take their music anywhere, from sheer noise to kraut-rock beat pocket to arena rock ride out. \u003ccite\u003eClose to the Glass\u003c\/cite\u003e is also full of vocal leaps for Markus Acher, experimenting not only with effects but also with his range, leaving the comforts of his signature style to take this album somewhere new.\u003c\/p\u003e\r\u003cp\u003e“Run Run Run” is an electronic renovation of a simple blues song, every member of the band manipulating each other’s performance. This was the first song created for the album with its blend of classic approach and cutting edge execution, and it would set the tone for the rest of the recording process.\u003c\/p\u003e\r\u003cp\u003e“Casino” is a perfect display of the self-sampling freedom that went into the recording of \u003ccite\u003eClose to the Glass\u003c\/cite\u003e. What began as an instrumental by Micha or Andy, was resampled by Martin, then sung on by Markus and played live on tour. But when they went to record it for the album, it felt off until they played it as a band in the sparer final form it has today.\u003c\/p\u003e\r\u003cp\u003e“Kong” driven by its beat and anthemic guitar chords is The Notwist’s homage to ’90s indie-pop. The lyrics are a true story about a young Markus and his family trapped in their home by a flood, dreaming as hard as he could about being saved by superheroes as the water rose around them.\u003c\/p\u003e\r\u003cp\u003eNow in 2014, we find the most excited\/exciting evocation of The Notwist releasing their most adventurous record yet. Proud as always to be on their long-time European label \u003cspan class=\"caps\"\u003eCITY\u003c\/span\u003e \u003cspan class=\"caps\"\u003eSLANG\u003c\/span\u003e, they are now over the moon to be on \u003cspan class=\"caps\"\u003eSUB\u003c\/span\u003e \u003cspan class=\"caps\"\u003ePOP\u003c\/span\u003e in the Americas, a label that is home to dozens of their favorite bands and LPs. Here’s to one and all enjoying \u003ccite\u003eClose to the Glass\u003c\/cite\u003e, a record that feels as good in expensive headphones as it does in the trunk, a seamless soundtrack for that movie always going on inside you.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMP3 download included with all vinyl releases\u003c\/strong\u003e\u003c\/p\u003e","brand":"The Notwist","offers":[{"title":"2xLP","offer_id":49049093570745,"sku":"yeu1788117827542","price":18.76,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":49049093603513,"sku":"hcm1788117827543","price":9.36,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/close-to-the-glass_1.jpg?v=1788117832"},{"product_id":"the-french-press","title":"The French Press","description":"\u003cp\u003e\u003cb\u003e*Loser edition sold out! 4\/26\/17\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eIn early 2016, the release of \u003ci\u003eTalk Tight\u003c\/i\u003e put Rolling Blackouts Coastal Fever on the map with glowing reviews from SPIN, Stereogum, and Pitchfork, praising them as stand-outs even among the fertile landscape of Melbourne music. Chock full of snappy riffs, spritely drumming and quick-witted wordplay, \u003ci\u003eTalk Tight\u003c\/i\u003e was praised by Pitchfork “for the precision of their melodies, the streamlined sophistication of their arrangements, and the undercurrent of melancholy that motivates every note.\"\u003c\/p\u003e\n\u003cp\u003eThe band was born from late night jam sessions in singer\/guitarist Fran Keaney’s bedroom and honed in the thrumming confines of Melbourne’s live music venues. Sharing tastes and songwriting duties, cousins Joe White and Fran Keaney, brothers Tom and Joe Russo, and drummer Marcel Tussie started out with softer, melody-focused songs. The more shows they played, the more those driving rhythms that now trademark their songs emerged. Since then, Rolling Blackouts Coastal Fever rode that wave from strength to strength. Touring around the country on headline bills and festival slots all the way to BIGSOUND, the entrenched themselves with their thrilling live shows while prepping their next release.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eThe French Press\u003c\/i\u003e levels up on everything that made \u003ci\u003eTalk Tight\u003c\/i\u003e such an immediate draw. Multi-tracked melodies which curl around one another, charging drums and addictive bass lines converge to give each track its driving momentum. Honed through their live shows, this relentless energy carries the record through new chapters in the band’s Australian storybook.\u003c\/p\u003e\n\u003cp\u003eRolling Blackouts Coastal Fever’s songs have always had all the page-turning qualities of a good yarn and \u003ci\u003eThe French Press\u003c\/i\u003e is no different. Somewhere between impressionists and fabulists, lyricists Fran Keaney, Tom Russo and Joe White often start with something rooted in real life – the melancholy of travel on ‘French Press,’ having a hopeless crush on ‘Julie’s Place’ – before building them into clever, quick vignettes. The result is lines blurred between fiction and reality – vibrant stories which get closer at a particular truth than either could alone.\u003c\/p\u003e\n\u003cp\u003eBlending critical insight and literate love songs, \u003ci\u003eThe French Press\u003c\/i\u003e cements Rolling Blackouts Coastal Fever as one of Australia’s smartest working bands. \u003c\/p\u003e","brand":"Rolling Blackouts Coastal Fever","offers":[{"title":"LP","offer_id":49049093669049,"sku":"ovi1788117830305","price":13.86,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":49049093701817,"sku":"ykv1788117830306","price":8.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":49049093734585,"sku":"isn1788117830307","price":4.08,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/the-french-press_1.jpg?v=1788117835"},{"product_id":"rose-windows","title":"Rose Windows","description":"\u003cp\u003e*\u003cb\u003eLoser edition vinyl SOLD OUT. Black vinyl available now. \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eWhen Chris Cheveyo abandoned the finalized recording of his heavy instrumental post-rock band towards the end of 2010, it wasn’t out of a general cynicism towards expansive, heady music. There was just something about that specific palette of tones and the cut-and-dry melodrama of the songwriting that wasn’t satisfying anymore. So he culled his old habits and made a fresh start with Rose Windows, a Seattle-based sextet that drew upon everything from American folk to West Saharan guitar rock, from pentatonic proto-metal to traditional Persian music, from the darker corners of California’s early psych scene to the hazy atmospherics of contemporary drone artists.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e*\u003ci\u003eRead the rest here!\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Rose Windows","offers":[{"title":"LP","offer_id":49049093963961,"sku":"fzc1788117841102","price":12.41,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":49049093996729,"sku":"pxa1788117841103","price":8.52,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":49049094029497,"sku":"mcr1788117841104","price":5.68,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/rose-windows_1.jpg?v=1788117844"},{"product_id":"losing-feeling","title":"Losing Feeling","description":"\u003cp\u003e\u003ccite\u003eLosing Feeling\u003c\/cite\u003e is a 4-song EP from our Southern Californian friends No Age. All four songs were written in the band’s practice space. “Genie” was even recorded there; the other three were recorded at Infrasonic Sound. All of it took place in Los Angeles. \u003ccite\u003eLosing Feeling\u003c\/cite\u003e is available as a 12\" vinyl EP and as magical, invisible, digital files, but not as a compact disc.\u003cbr\u003e\u003c\/p\u003e","brand":"No Age","offers":[{"title":"12 inch","offer_id":49049094750393,"sku":"rjj1788117830984","price":5.76,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":49049094783161,"sku":"hdf1788117830985","price":2.48,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/losing-feeling_1.jpg?v=1788117858"},{"product_id":"end-of-daze","title":"End of Daze","description":"\u003cp\u003eTime heals all wounds, or so the phrase goes. For the dreamers however, time gives them — or maybe demands — the perspective of every angle, every possibility, every opportunity to wring out whatever is born from experience.  Simple moments alone can magnify these perspectives, culminating in a deeper empathy, and for a select few, a muse for new artistic expression.  Such seems the fate of Dee Dee of Dum Dum Girls.\u003c\/p\u003e\r\u003cp\u003eMuch has been written of Dee Dee’s personal trials, but no words speak better of her handling of experience than her musical output. End of Daze offers a bracing, daring sonic example of an artist evolving in her understanding of the world.\u003c\/p\u003e\r\u003cp\u003eEnd of Daze flows from a pair of bombastic opening tracks, through the simmering, plaintive cover of Strawberry Switchblade’s “Trees and Flowers”, to the regretful ballad “Lord Knows”, in which  Dee Dee’s voice remains rich yet crystalline, a gorgeous, toned instrument revealing an awareness of fear and misstep. Closing the EP is “Season in Hell”, a raucous and practically joyful closing of the book on past pains, and, perhaps more importantly, a looking forward (“Doesn’t the dawn look divine?”) to the future.  It is the last stages of grief and its repercussions, a hopeful awakening somewhere on the other side, caught on tape.\u003c\/p\u003e\r\u003cp\u003eThe EP was recorded in 2011 and 2012 with Sune Rose Wagner of The Raveonettes and Dee Dee’s longtime producer Richard Gottehrer, whose track record includes the Brill Building, \u003cspan class=\"caps\"\u003eCBGB\u003c\/span\u003e, and Sire Records.\u003c\/p\u003e\r\u003cp\u003eVinyl includes an mp3 download.\u003c\/p\u003e","brand":"Dum Dum Girls","offers":[{"title":"12 inch","offer_id":49049094947001,"sku":"niz1788117862135","price":9.12,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":49049094979769,"sku":"mxt1788117862136","price":3.75,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":49049095012537,"sku":"hec1788117862137","price":2.6,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/end-of-daze_1.jpg?v=1788117866"},{"product_id":"standing","title":"Standing","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eFirst, the basics: Strange Wilds formed\rin Olympia, WA in 2012. The band grew out of the fertile Pacific-Northwest punk\rscene, with members from Negative Press, Outlook, Wreck, and a bunch of other\rpunk\/hardcore bands of the last few years. Sometime in 2014, the band settled\rinto the classic, economical, power-trio configuration of bass, drums, and a\rsingle guitar, and recorded “Standing,” their second release (their first being\rthe four-song \u003ci\u003eWet\u003c\/i\u003e 7” on Inimical\rRecords). \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eNow, about this record: “Standing” is a taut,\rchurning slice of Northwest punk fit for the ages. Its B-sides, “Gator Cough”\rand “Never Warm”, are, respectively, a fist-banging slammer and a slow-burn\rrumination on low feelings. Strange Wilds’ music is soaked in the deadpan gloom\rendemic to their home region. And yet it is not music to wallow to. Tense,\rquick and tight, Strange Wilds make anthems for the anxious. 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In 2009, while touring in support of \u003ccite\u003eKeep Your Eyes Ahead\u003c\/cite\u003e, singer-guitarist Brandon Summers got an unexpected phone call in the middle of the night. Back home in Portland, OR, the band’s studio\/practice space was under nearly a foot of water. Heavy rains had caused the building’s plumbing to overflow like a geyser. But Summers and drummer-keyboardist, Benjamin Weikel, were lucky: All of their best equipment was either on tour with them, or racked high enough off the studio floor to be spared.\u003c\/p\u003e\r\u003cp\u003eStill, the band needed a new home. After three months of searching, Summers and Weikel settled into a 1500-square-foot, former breakroom-cafeteria in an old warehouse. They no longer had to work their recording schedule around loud rehearsals by neighboring bands, but were free to create late into the night in uninterrupted seclusion. With twice the square footage, the space also had room for more gear, a lot more gear. They decided to use this opportunity to try something different.\u003c\/p\u003e\r\u003cp\u003eSummers and Weikel, who started playing together in 1996 and self-produced their first EP in 1999, have always been gearheads. But it wasn’t until the success of \u003ccite\u003eKeep Your Eyes Ahead\u003c\/cite\u003e that they could afford to step things up: The duo spent months (and many hard-earned dollars) retooling their studio. They left behind much of the cleaner-sounding modern digital studio equipment and instruments they’d always relied on, and embraced vintage gear that would color their recordings with a warmer, deeper sound: Tape and analog delays, spring and plate reverbs, tube preamps, ribbon microphones, and analog synths.\u003c\/p\u003e\r\u003cp\u003eAs the new studio came together, so did the songwriting. It proved to be the most spontaneous, open, and varied writing process they had ever experienced. Weikel, who was listening to minimalist\/ambient composers like Roedelius and Manuel Goettsching, had created dozens of abstract synth loops of chord progressions and arpeggios. The two would put a loop on and improvise together with Summers on guitar and Weikel on drums, recording one take of each jam. Other songs like “One More Time”, “October” and “The Measure” quickly formed from rough one-minute sketches by Summers, while the down tempo “Harvester of Souls” was completely improvised musically and lyrically in a single take.\u003c\/p\u003e\r\u003cp\u003eTempering the free form approach to writing was Summers and Weikel’s meticulous attention to production and arrangement. Taking cues from the spaciousness, subtlety, and detail of Brian Eno and late-era Talk Talk records, they moved forward. Listening to the recorded live jam sessions, they set to work transforming the ditties into actual songs. “Open Letter,” “Silence on Silence”,  “Downward Spiral” and the title track — some of the spacier, mesmerizing songs on Negotiations — came together in this way. Summers’ one-minute demos were brought to life in collaboration by Weikel spending weeks working on sound treatments and synth landscapes to enhance the songs.\u003c\/p\u003e\r\u003cp\u003eLyrically, Summers affirmed the improvised ethos, working deep into the night ad-libbing alone in front of the mic, abandoning pre-written lyrics and instead preferring to create in the moment. His delivery was largely inspired by the starkness and understated romanticism of Sinatra’s Capitol era “Suicide Albums”, imparting a more introspective and personal tone. “I used to view a lyric as a statement,” he says, “Now, I see it more as a letter you’re writing to yourself or a conversation with your subconscious.”\u003c\/p\u003e\r\u003cp\u003eThis collection of shimmering, reverb-heavy songs is a meditation on those inner dialogues (hence, Negotiations) with solitude, memory, misgivings, loss, atonement, acceptance and hope. 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A band for little more than six months now, they’re already forcing people to take notice (Seattle’s The Stranger had this recent bit of praise: “Million is one of those records that makes the worst spells of depression instantly seem like hazy, nonsensical, memories and fills you with gushing desire and lust for life.”).\u003c\/p\u003e","brand":"Thermals","offers":[{"title":"LP","offer_id":49049100353721,"sku":"ucp1788117981702","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":49049100386489,"sku":"alj1788117981703","price":9.24,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":49049100419257,"sku":"dfz1788117981704","price":7.6,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/more-parts-per-million_1.gif?v=1788117986"},{"product_id":"linternationale","title":"L’Internationale","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe \u003c\/span\u003eDowntown Boys\u003cspan\u003e have contributed their arrangement of communist anthem “L’Internationale” to the Italian film \u003c\/span\u003e\u003cem\u003eMiss Marx\u003c\/em\u003e\u003cspan\u003e. Directed by Susanna Nicchiarelli, \u003c\/span\u003e\u003cem\u003eMiss Marx \u003c\/em\u003e\u003cspan\u003eis a biopic about Karl Marx’s daughter, who was an important but often overlooked organizer and writer. She led many women to take up their\/our rightful power in socialism. 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Having pencilled in gigs for the rest of 2020 and readied debut single “House Of York,” a searing examination of the Monarchy set over wiry post-punk and fronted by a Mark E. Smith-like mouthpiece in Charlie, the coronavirus pandemic hit.\u003c\/p\u003e\n\u003cp\u003eUnsurprisingly, there isn’t a precedent for launching a band during a global pandemic, but among the general sense of anxiety and unease pervading everything at the moment, TV Priest’s entrance in April with the release of “House Of York” served as a breath of fresh air among the chaos, its anger and confusion making some kind of twisted sense to the nation’s fried brains.\u003c\/p\u003e\n\u003cp\u003eIt’s the same continued global sense of anxiety that will greet the release of ‘Uppers’, and it’s an album that has a lot to say right now. Taking musical cues from post-punk stalwarts The Fall and Protomartyr as well as the mechanical, pulsating grooves of krautrock, it’s a record that moves with an untamed energy. Over the top of this rumbling musical machine is vocalist Charlie, a cuttingly funny, angry, confused, real frontman. “I found singularity at the bottom of the Mail Online comments section \/ HAHAHA, laugh it up,” he deadpans on new single ‘This Island’, and the tales he weaves across the new album feel plucked straight from the country’s collective consciousness right now.\u003c\/p\u003e\n\u003cp\u003eA song Charlie wrote in response to \"a parochialism that feels rampant in the UK,\" “This Island” addresses creeping nationalism in the country. \"It's a howl of frustration, and is a bit incoherent,\" the frontman says. It's a word that could easily seem like he's putting himself down, but the incoherence here, and across the entirety of Uppers, is one borne of trying desperately to seek enlightenment, while also basking in the unknowability of things. 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She recorded and produced \u003cem\u003eCovers\u003c\/em\u003e between home and her parents’ house, then got the legendary David Wrench (Frank Ocean, The xx, Let’s Eat Grandma) to mix it. David also co-produced her excellent 2019 record \u003cem\u003eAny Human Friend\u003c\/em\u003e. In contrast to her last two albums (including 2017’s \u003cem\u003eI’m Not Your Man\u003c\/em\u003e), this collection of songs is more akin in tone and feel to her debut \u003cem\u003eWe Slept At Last\u003c\/em\u003e, with a darker and more introspective sound. On \u003cem\u003eCovers\u003c\/em\u003e, we hear Marika’s emotive voice set against sparse arrangements of guitars and strings with the occasional synth or scattered drum groove.\u003cbr\u003e \u003cbr\u003eBreathing new life into the songs she’s chosen, Marika reimagines work by some of the world's most beloved artists such as Radiohead, Grimes and Elliott Smith. It’s a suitably varied collection, but Marika’s intimate delivery and soft, nuanced and atmospheric touch to production, thread them all together effortlessly.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eMarika explains how she came to choose the material: “When it comes to covers, I like to pick songs which I have been listening to obsessively for a while. It gives me a natural understanding of the music, and lets me be more innovative with how I transform it.”\u003cbr\u003e \u003cbr\u003eFirst single “Realiti” is a stripped back piano and guitar based version of the Grimes classic from her most celebrated album \u003cem\u003eArt Angels\u003c\/em\u003e. Marika’s take is a total reinvention and yet it feels wholly her own. Muna’s “Pink Light” from their 2019 record \u003cem\u003eSaves The World\u003c\/em\u003e is a slice of dark pop, reminiscent of The Cure. In Marika’s hands, it’s a remarkably seamless switch-up to convert these into slower, brooding soft jams.\u003cbr\u003e \u003cbr\u003eMarika’s version of Air’s “Playground Love” is one of the highlights, taken from the soundtrack the group composed for Sofia Coppola’s coming of age \u003cem\u003eThe\u003c\/em\u003e \u003cem\u003eVirgin Suicides\u003c\/em\u003e, the result being a moodier, disorientating reworking of a classic modern moment.\u003cbr\u003e \u003cbr\u003eFinal track “All Night” sees Marika tackling one of the standouts from Beyonce’s Grammy-nominated \u003cem\u003eLemonade\u003c\/em\u003e. Again, Marika flips the song on its head. Joined by a choir of stacked vocal harmonies, Marika’s voice transcends to conjure a deep emotional resonance.\u003cbr\u003e \u003cbr\u003eAdventurous and versatile, \u003cem\u003eCovers\u003c\/em\u003e continues Marika’s lineage in turning each body of work into a new take and perspective on her creative vision. She twists and turns, always surprises, and is never afraid to wear her heart on her sleeve. 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The beloved band’s 15-track set, which features fan favorites ”Such Great Heights,” “The District Sleeps Alone Tonight,” “Sleeping In” and “Natural Anthem,” along with a cover of Beat Happening’s “Our Secret” and a rare live take on Dntel’s “(This Is) The Dream of Evan and Chan,” was performed live at the Greek Theatre in Berkeley, CA, during their 2013 reunion tour. This 2020 release of Everything Will Change was remixed by Don Gunn and remastered by Dave Cooley earlier this year, from the recordings that were originally released as part of the the 2014 concert film.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRelive that night by watching live performances of “The District Sleeps Alone Tonight,” and “Natural Anthem” now.\u003c\/p\u003e\n\u003cp\u003eA collaboration between Benjamin Gibbard (of Death Cab for Cutie) and Jimmy Tamborello (from Dntel), with Rilo Kiley’s Jenny Lewis, The Postal Service released Give Up, their one and only album, in 2003. 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On their sophomoric smash-up released world-wide by Sub Pop Records, Kiwi Jr cycle through the recent zigs \u0026amp; looming zags of the new decade, squinting anew at New Year’s parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what’s coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines \u0026amp; ancient kings buried under parking lots. \u003c\/p\u003e\n\u003cp\u003eNot so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a long-form narrative record, a 3,000 word tract for stakeholders to pore over. Opener “Tyler” builds a Frankenstein of all your musician exes; don’t you remember “falling apart in the green room while they drank half the headliner’s rider?” In “Waiting In Line” we’re still slumbering at the bar, agitation skyrocketing contemplating “what breed of beast protects the back door.” We hear \"it isn’t past until it burns,\" in “Maid Marian’s Toast” but what explains the accompanying \u0026amp; extensive itinerary of incinerated Eastern Canadian eateries? Investigated off the clock by Kiwi’s amateur arson division, suspicion is cast on all: The Cook, The Regular : Ms. Scarlett, Colonel Mustard. Throughout these crises, histories, and head games Kiwi Jr. don’t expect you to be taking notes or checking dates - and on the back nine, when “Omaha” demands proof that “Woodstock ever happened in the first place,” perhaps the freewheeling guitar groove underfoot tells us all we need to know about who’s been flipping through the festival files, air-drumming along to the complete 10-CD set. These stories - memories of Augusts past, unrepressed \u0026amp; transcribed fast - go down easier thanks to meaningful changes enacted in 2019’s KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed \u0026amp; pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps \u0026amp; freshly fluted harmonica.\u003c\/p\u003e\n\u003cp\u003eA chronically de-tuned spin of the dial through swivel-chair distractions \u0026amp; WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja-vu destruction of the Glasgow School of Art, Kiwi Jr sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates -  Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r  R e t u r n s !\u003c\/p\u003e\n\u003cp\u003e-------------------------------------------------------------------------------------------------------------------------------\u003c\/p\u003e\n\u003cp\u003eKiwi Jr.’s Cooler Returns, featuring the title track, “Undecided Voters,” “Maid Marion’s Toast,” and “Waiting in Line,” will be available January 22nd, 2021 worldwide through Sub Pop with the exception of Canada through the band’s Kiwi Club imprint. The album was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully, Preoccupations) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario. \u003c\/p\u003e\n\u003cp\u003eKiwi Jr. is Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar).\u003c\/p\u003e","brand":"Kiwi Jr.","offers":[{"title":"Black LP","offer_id":49049105989817,"sku":"fjy1788118495457","price":8.86,"currency_code":"USD","in_stock":true},{"title":"Loser (color) LP","offer_id":49049106022585,"sku":"wrv1788118495458","price":15.64,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":49049106055353,"sku":"hse1788118495459","price":8.04,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":49049106088121,"sku":"iau1788118495460","price":7.1,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":49049106120889,"sku":"pkr1788118495461","price":6.8,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/cooler-returns_1.jpg?v=1788118504"},{"product_id":"me","title":"M.E.","description":"\u003cp\u003eOn July 12th, 2019 Sub Pop released \u003ci\u003eAutomat\u003c\/i\u003e, a collection of METZ non-album singles, B-sides, and rarities dating back to 2009, available on LP for the first time, and including the band’s long out-of-print early (pre-Sub Pop) recordings. 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And then also go listen to: a cover of Sparklehorse’s “Pig,” from a very limited 2012 Record Store Day split single originally released by Toronto’s Sonic Boom record shop; “I’m a Bug,” a cover of the Urinals’ art-punk classic, originally released on YouTube (not an actual record label) in 2014; and METZ’s previously unreleased rendition of Gary Numan’s “M.E.” You can also watch the mesmerizing video\u003c\/span\u003e for “M.E,” featuring a \u003cspan\u003ethree-headed \u003ci\u003ePleasure Principle\u003c\/i\u003e hydra illustrated by Kirin Booth and animated by Martin MacPherson \u003c\/span\u003e\u003cspan\u003eby clicking\u003cb\u003e here.\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"METZ","offers":[{"title":"Digital","offer_id":49049106186425,"sku":"vkj1788118503438","price":1.83,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/me_1.jpg?v=1788118509"},{"product_id":"lift-every-voice-and-sing-theme-from-mlkfbi","title":"Lift Every Voice and Sing \/ Theme from MLK\/FBI","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eGerald Clayton’s “Theme From MLK\/FBI” is from the powerful, award-winning film \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eMLK\/FBI\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003eand is now available on a 7” single along with Preservation Hall’s Jazz Band’s “Lift Every Voice \u0026amp; Sing,”.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eClayton’s “Theme…” is a gorgeous, affecting, and chilling arrangement that acts as the perfect accompaniment to the film’s tragic and searing storytelling. 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I wanted some tension and didn’t want to give it to you all at once.\" \u003c\/p\u003e","brand":"Cartel Madras","offers":[{"title":"Digital","offer_id":49049106317497,"sku":"qcw1788118506831","price":0.65,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/working_1.jpg?v=1788118511"},{"product_id":"itunes-session-2011","title":"iTunes Session (2011)","description":"\u003cp\u003eIn mid-October of this year, in the midst of their first-ever headlining tour, Seattle’s The Head and the Heart stopped at LA’s EastWest Studios to record an exclusive session for iTunes. The band spent a full day recording eight songs, including alternate versions of “Lost in My Mind” and “Cats and Dogs” from their breakthrough 2011 self-titled release. The session also features “Chasing a Ghost” and “When I Fall Asleep,” two brand new songs that have become live show staples and fan favorites. 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Does your body want to move with it?” These are the questions he asked himself as he and bandmates Shiraz Bhatti, Drew McBride, and Kevin Fairbairn were writing and recording \u003cem\u003eCareful!\u003c\/em\u003e, their third record and Sub Pop debut. “I wanted these to be interesting songs, but in a way where a two-year-old would vibe out to it,” Gohl adds. “It’s pop music, basically.”\u003c\/p\u003e\n\u003cp\u003eThat “basically” qualifier is working pretty hard, as fans of 2020’s \u003cem\u003eAuto-Pain\u003c\/em\u003e might suppose. \u003cem\u003eAuto-Pain\u003c\/em\u003e was an album of thick brutalist architecture, full of straight lines and sharp angles, making hard shapes strong enough to carry a heavy thematic burden. On \u003cem\u003eCareful!\u003c\/em\u003e, they’re reshaping the facades and splashing color, not reimagining their sound so much as testing its limits. There are synth experiments, there are moments of nauseatingly powerful darkwave and coldbeat. There are massive rock’n’roll songs that you can imagine 10,000 people singing along to in some beautiful outdoor setting. There is a remarkably moving love song. Is there pop? There’s some pop, yes, a wiry bit of Cars-esque neon called “Everynight.” Look around the right corners, and you might see some of the old buildings peeking through, too, but in this context—on a song like “Sub,” say, a song that began life as a slow and dark prog jam but is now an elegantly cresting wave of post-punk—they feel more sophisticated, lit up in the cold, bright glow of Television. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAuto-Pain\u003c\/em\u003e was released in March 2020, which means Deeper wasn’t able to play their new album live for nearly a year and a half. “It was hard living in the vacuum of depending on Spotify numbers to quantify what your music means to other people,” McBride says. Nature abhors a vacuum, though, and the band rushed to fill not only their empty time but the suddenly empty idea of what, exactly, their identity was. “Isolated by ourselves, we were like, ‘What is Deeper?’” Bhatti says. “We’ve always talked about how we didn’t want to stay in one genre as a band,” Gohl says, and absent any audience expectations, they gave themselves the freedom to tinker. \u003c\/p\u003e\n\u003cp\u003e“One vibe I thought about a lot was Bowie’s most coked-out productions,” Gohl says. If you want to, you can hear echoes of \u003cem\u003eLow\u003c\/em\u003e in the snapping rhythm and gray-sky synths of “Tele,” but you can also hear a bit of \u003cem\u003eAuto-Pain\u003c\/em\u003e in the nailed-in, stippling lines being spit out by Bhatti’s drum programming and McBride’s synthesizer. “Fame” seems to stumble together and nearly fall apart, the dialed-up noise making the beat feel maniacal and a little invincible, the whole thing a series of short, snipped, autonomous gestures that are by now Deeper’s trademark. \u003c\/p\u003e\n\u003cp\u003e“Build a Bridge” pushes in the opposite direction, using a prickly guitar line to launch into big, smeary art-pop, its emotional palette clear, well-defined, and easy to latch onto. On “Sub,” Gohl sings above and below the melody like Ian McCulloch, bellowing and wondering and ruminating and rounding into swaggering confidence that the band rises to meet. It’s festival headliner music that still feels like it was written in a garage. \u003c\/p\u003e\n\u003cp\u003eThe album’s title, exclamation point, and all come from the song “Airplane Air,” and it’s echoed in the album’s final song, “Pressure,” a song Gohl wrote for his wife and longtime partner. “Be safe,” he sings, “I will need you around.” It’s a song that sounds like nothing else in their catalog—ringing harmonics, chiming chords, vocal harmonies—but the sense of interdependence is near the center of Deeper’s music, from the way Gohl and McBride’s guitars jigsaw together and interlock with Bhatti’s drum patterns and Fairbairn’s bass to the lyrical vulnerability at the album’s core. That sense of mutuality makes this restlessly curious, stylistically broad album feel like the most coherent portrait of who Deeper is. 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Recording Co. with assistance from Phil Ek (Built to Spill, Modest Mouse, David Cross, Les Savy Fav, etc.). With ten songs clocking in at just over 30 minutes, the record is a brief yet scintillating glimpse at chiming, reflective, and perfectly skewed pop innovation.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eChutes Too Narrow was released to widespread acclaim in 2003, garnering Pitchfork’s “Best New Music,” four stars from Rolling Stone, and raves from the New York Times, MOJO, the Village Voice, and SPIN. It subsequently made best-of-the-decade lists from The AV Club, NME, Paste, Pitchfork, and Uncut.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMercer says of Chutes Too Narrow, “I was very aware at the time that I had struck gold with the first record, and it was unlikely to happen again. “Sophomore slump” and all that. The pressure to prove myself as a viable writer had never been so pronounced. Midway through the mixing process, I realized one of the songs would not work, so I stayed up after everyone went to bed and wrote ‘Young Pilgrims.’ And with Ek’s help, it worked! 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With \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eRobed In Rareness\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, there’s \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003ea respectful eye on the past, an embrace of an ever-evolving present, and its feet are firmly planted in the future. 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In its place was a domesticity that the singer hadn’t felt in a long time, and although it was filled with many rewards, making music was not one of them. Reflecting on that time, Beam notes:\u003c\/p\u003e\n\u003cp\u003e“I feel blessed and grateful that I and most of my friends and family made it through the pandemic relatively unscathed compared to so many others, but it completely paralyzed the songwriter in me. While so many artists, fortunately, found inspiration in the chaos, I was the opposite and withered with the constant background noise of uncertainty and fear. The last thing I wanted to write about was COVID, and yet every moment I sat with my pen, it lingered around the edges and wouldn’t leave. I struggled to focus until I gave up, and this lasted for over two years.”\u003c\/p\u003e\n\u003cp\u003eThe journey back began with a recording session in Memphis to record a handful of Lori McKenna tracks for the EP Lori with friend and producer Matt Ross-Spang. \u003c\/p\u003e\n\u003cp\u003e“Recording has always been my favorite, and that session was an attempt to reconnect with what I love most about making music. I could finally feel the blood coming back into the body and the creative muscles beginning to relax and move again.”\u003c\/p\u003e\n\u003cp\u003eSoon a series of short tours were booked entitled “Back to Basics,” which, out of necessity, were solo acoustic shows in smaller venues. They had an unspoken weight to them for Beam and the audiences alike, and also an incredible sense of relief for finally sharing art together and being back to work! A larger tour with Andrew Bird followed in the summer of ’22, and Beam was inspired even more by the excitement of collaborating with Andrew and his band and the warmth of musical friends. \u003c\/p\u003e\n\u003cp\u003e“By the time I got home, the paralysis had officially passed, and I was finishing lyrics and booking studio time for what would become Light Verse!”\u003c\/p\u003e\n\u003cp\u003eAs Beam began to assemble the musicians he wanted for his record, one common thread arose- they all lived in Los Angeles!  Outside of his own pedigree, the decision to work with engineer and mixer Dave Way at his studio Waystation high up in Laurel Canyon was a logical step based on recommendations from two of the joining players on the record. An additional session would also take place at Silent Zoo Studio, where a 24-piece orchestra would lay claim to a handful of songs, helping prepare them for lift-off.   \u003c\/p\u003e\n\u003cp\u003e“I’ve met and played with so many talented musicians from Los Angeles over the years but never recorded there, and this felt like the perfect time to try. Tyler Chester plays all the keyboards, Sebastian Steinberg plays the bass, David Garza guitar and slide and stuff, Griffin Goldsmith, Beth Goodfellow, and Kyle Crane all play drums here and there, and Paul Cartwright plays many various sizes of violin and mandolin and wrote some wonderful string arrangements for the orchestra! Even Fiona Apple was kind and generous enough to lend us her voice (that miracle that sounds like both a sacrifice and a weapon at the same time) to a duet called “All In Good Time.” \u003c\/p\u003e\n\u003cp\u003eBeam lyrically once again takes focus on a series of both fictional and personal insights, filled with desperate characters and wide-eyed optimists, offering promise and a dose of heartache, tears and laughter, life and love. Taking stock in the album’s title, he jokes, “Light verse is a form of poetry about playful themes that often uses nonsense and wordplay, and it’s my first official Iron \u0026amp; Wine comedy album!…. Just kidding….”\u003c\/p\u003e\n\u003cp\u003eWhile true this may be Iron \u0026amp; Wine’s most playful record, Beam says the title mostly reflects the way the songs were born with joy after the heaviness and anxiety of the pandemic. Where recent records like Beast Epic or Weed Garden gave air to the disquiet of middle-aged frailty and brokenness, these songs trade that for the focus acceptance can bring. Moment by moment, they delight in being pointed or silly (or both) and attempt beauty over prettiness.\u003c\/p\u003e\n\u003cp\u003eLight Verse arrives April 26th, and it’s Iron \u0026amp; Wine’s seventh full-length overall and fifth for Sub Pop Records. Fashioned as an album that should be taken as a whole, it sounds lovingly handmade and self-assured as a secret handshake. 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These songs skewer the tension between youthful optimism and the sobering realities of adulthood, and when viewed through frontman Matt Korvette’s scowl, everything takes on a level of violent absurdity.\u003c\/p\u003e\u003cp\u003ePissed Jeans’ notorious acerbic sense of humor remains sharper than ever as they dismember some of the joys that contemporary adult life has to offer, from helicopter parents to stolen catalytic converters to being $62,000 in debt. On “Seatbelt Alarm Silencer,” Korvette growls, “Call it a death drive but that ain’t fair \/ Drive implies I’m headed somewhere.”\u003c\/p\u003e\u003cp\u003eSo where does a band like Pissed Jeans go after nearly twenty years of making music, after becoming fathers, after marriages, and after divorces? Existence has festered to a boiling point. Korvette said, “Half-Divorced has an aggression within it, in terms of saying, I don’t want this reality. There’s a power in being able to say, I realize you want me to pay attention to these things, but I’m telling you that they don’t matter. I’m already looking elsewhere.”\u003c\/p\u003e\u003cp\u003eEven within the brutality that Korvette conjures on songs like “Killing All the Wrong People” (“If violence is now their form of play \/ Let’s aim em towards those who made em that way”), the energy on some of these songs is inadvertently, well, fun. Listening to this album will give even the most jaded nine-to-fiver the sense that unrestrained freedom is still possible. And who else is going to rhyme “colonizer” with “moisturizer” anyway? \u003c\/p\u003e\u003cp\u003eKorvette, Brad Fry (guitar), Randy Huth (bass) and Sean McGuinness (drums) weren’t in any rush to finish Half-Divorced, which was recorded by Don Godwin at Tonal Park in Takoma Park, Maryland. “We’re not the kind of band that bangs out a new record every two years,” Korvette said. “Pissed Jeans is truly like an art project for us, which is what makes it so fun.” This lack of restraint rages within the songs that unexpectedly veer into classic hardcore punk territory—often coming in at under two minutes long and erupting like the “butane tank explosion” Korvette sings about in “Junktime.”  \u003c\/p\u003e\u003cp\u003eThis distilled energy makes Half-Divorced sound menacing and dangerous. Korvette said, “We realized we’d never really fucked with pop punk, and we thought, this is something that isn’t going to be immediately recognizable as cool. 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A rectangular notification had popped into view, obscuring the view of the road. \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u0026gt;You have an update pending.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e“No thank you,” she said, and brusquely waved it out of her field of view.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePING.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eHer head jerked up again in annoyance. \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u0026gt;Stellify Subscriber alert: new album from Shabazz Palaces: Exotic Birds of Prey. \u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e“Oh.” Her eyebrows arched, her fingers lightly drummed her tablet. “Play,” she said, voice softening.\u003c\/p\u003e\n\u003cp\u003eThe integrated Bang \u0026amp; Olufsen speakers cut on. Lyrics and info danced on the windscreen, casting the cabin in a crimson glow.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u0026gt;Shabazz Palaces’ latest is a foreboding foray into final-days funk. Cold-forged synths cut like steel underneath paranoiac playerisms and science-faction set pieces. What will you do when the robots don't recognize your face?\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e“Pour more bass on my mids.” \u003c\/p\u003e\n\u003cp\u003e“Mmm.” The bio-reactive seat gently reclined as the whole vehicle body, composed of recycled marine plastics and seaweed, throbbed with deep, monstrous tones. Her eyes closed. \u003c\/p\u003e\n\u003cp\u003e“ETA,” she mumbled. \u003cb\u003e77 minutes\u003c\/b\u003e, the car said softly.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePING. \u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u0026gt;BrainBroom Subscriber: your weekly ketamine session is ready to transmit. Initiate?\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShe opened her eyes. Hers was the only vehicle in sight. Rain sheeted across the windscreen. In the corner, the heads-up relayed a leisurely 160 km\/h and fully charged hydrogen cells. The road ahead was lit in a deep violet; the ancient LED’s on this stretch of highway had delaminated over time.\u003c\/p\u003e\n\u003cp\u003e“..Sure.”\u003c\/p\u003e\n\u003cp\u003eShe laid back. As the corners of her sensory perception started to curl up, she heard different voices, new and old to the Shabazz cinematic universe. Stas the Boss, Irene Barber. OCnotes, Jahpreme Magnetic. Purple Tape Nate, Lavarr the Starr. \u003c\/p\u003e\n\u003cp\u003e“Many among them…traded in myths.”\u003c\/p\u003e\n\u003cp\u003eAs she submerged into innerspace, the soundtrack repeated, undermining her sense of time. The softly rocking motion of the vehicle, bee-lining it’s way home, did the same to her sense of space. Swirling in her mind’s eye, she saw ancient bones dancing underneath the solar-powered roadway; empty eye sockets turned and locked on her own. \u003c\/p\u003e\n\u003cp\u003e“Going back to the essence is not a bad thing.”\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePING.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDirectly ahead, zooming towards her, was an old Tesla, stopped, blue flames feathering out from the windows. The scream caught in her throat, a choked sob her only sound.\u003c\/p\u003e\n\u003cp\u003eShe opened gummy eyelids and raised her face. She was at the high, fortified gate of her rural high-rise community. She cleared her throat, and eased the windshield down. She faced the sensor.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u0026gt;Face Not Recognized. Try Again.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e“What?” Sweat rolled down her ribs.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u0026gt;Face Not Recognized. Try Again.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShe looked around, poked her head out and looked back at the forest, dark and featureless. \u003c\/p\u003e\n\u003cp\u003e“Hello?”\u003c\/p\u003e\n\u003cp\u003eUnseen wings flapped in the trees, dark bodies taking flight against the moon.\u003c\/p\u003e","brand":"Shabazz Palaces","offers":[{"title":"Loser (color) LP","offer_id":49049110118585,"sku":"stz1788118633437","price":11.52,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":49049110151353,"sku":"ofp1788118633438","price":6.4,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":49049110184121,"sku":"fnc1788118633439","price":6.9,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/exotic-birds-of-prey_1.png?v=1788118639"},{"product_id":"souvenir","title":"Souvenir","description":"\u003cp\u003eThe music of Atlanta trio Omni has always swung fast and hit hard. And Souvenir, their fourth album and second for Sub Pop, packs their biggest punch yet. Inactive during the majority of the pandemic–the longest downtime in their history–they approached this recording with lots of pent-up energy. Guitarist Frankie Broyles, singer\/bassist Philip Frobos, and drummer Chris Yonker converted their creative fuel into sharp, driving songs that land immediately, sporting chopping riffs, staccato beats, and wiry melodies.\u003c\/p\u003e\u003cp\u003eWhy does Souvenir sound so sharp? Because each track is a compact unit that stands on its own, reflecting the time and place in which it was created. That’s why Omni called the album Souvenir: it’s a collection of audio objects, a stash of musical miniatures. Think of it as a family photo album, a binder of rare playing cards, a shoebox holding precious gems.\u003c\/p\u003e\u003cp\u003eTake “Plastic Pyramid,” the first song Omni wrote after coming out of lockdown. Filled with twists and turns, it’s a journey unto itself, charged by clanging chords, spinning rhythm, and Frobos trading lines with Izzy Glaudini of Automatic, with whom Omni toured with last fall. (Glaudini sings on two other Souvenir tracks, the first guest vocalist the band has collaborated with). Or take opener “Exacto,” a slicing web of intertwined guitar and bass. Its razor-fine notes and syncopated beats perfectly match pointillist Frobos lyrics such as “Exacto, de facto, concise, quite right”–a line that could well be an Omni mantra. \u003c\/p\u003e\u003cp\u003eThe precision and clarity of Souvenir comes from some new Omni developments. For one, this is their first album with Yonker as their full-time drummer, and his forceful playing adds exclamation points to every pointed moment on Souvenir. In addition, the trio worked with Atlanta-based engineer Kristofer Sampson for the first time. Sampson pushed the band to a higher degree of power, with Frobos’s vocals more upfront in his pulsing mix and the rest of the music leaping out of the speakers. \u003c\/p\u003e\u003cp\u003eYou might notice that Frobos’ singing is a bit more emotional and even nostalgic this time around. In crafting his vocals, he was inspired by the early college radio rock of formative favorites like REM, the Cure, and Big Audio Dynamite–the kind of bands whose melodies could have been top 40 hits in an alternative universe. The lyrics on Souvenir are also by turns funny, absurd, and even cryptic. A wry humor has always coursed through Omni’s songs, and this time, it comes in shades of both dark and light. In “Granite Kiss,” an “astronomical” love story concludes with the hope that “we can decay together,” while in “PG,” a romantic walk in the park includes a rose-colored mugging.\u003c\/p\u003e\u003cp\u003eImmediacy rushes throughout every moment of Souvenir, making it the band's most powerful album to date. Omni has truly crafted a musical keepsake–a set of songs that you’ll want to keep close, an aural memento you'll cherish for the rest of time. \u003c\/p\u003e","brand":"Omni","offers":[{"title":"Loser (color) LP","offer_id":49049110216889,"sku":"gsx1788118636126","price":14.49,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":49049110249657,"sku":"egq1788118636127","price":8.28,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":49049110282425,"sku":"epo1788118636128","price":6.9,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/souvenir_1.jpg?v=1788118642"},{"product_id":"a-close-shave-with-heaven","title":"A Close Shave With Heaven","description":"\u003cp\u003eNot enough has been said about Derrick Brown’s new classic comedy and poetry album. His popularity has grown enormously, comparatively, to other comedian poets. It began with his years as a paratrooper for the 82nd Airborne, (which he is prone to mention every time the lunch bill is set down on the table.) His love for poetry grew from the foxhole to the coffee house. Soon his pairing of comedy with poetry would take hold at All Tomorrow’s Parties in 2009, a ‘cool’ fact he will mention after two beers.\u003cbr\u003e\u003cbr\u003eShould he be in films? His destructive good looks, shocking sensitivity and personal hotline to the heavens make him a winner in our book... and that’s a book that isn’t selling that great! \u003cbr\u003e\u003cbr\u003eThere is a triumphant atmosphere to this record. If sadness is\u003cbr\u003ethe absence of stupidity, then this record is madcap stupid. The listening pleasure is maximized by Brown’s smooth-as-yogurt voice. On behalf of all of us at the label, we humbly thank you for listening and buying a back-up copy in case this one melts.\u003c\/p\u003e","brand":"Derrick Brown","offers":[{"title":"Color LP","offer_id":49049110413497,"sku":"ivt1788118639776","price":21.84,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/a-close-shave-with-heaven_1.png?v=1788118645"},{"product_id":"how-will-i-live-without-a-body","title":"How Will I Live Without a Body?","description":"\u003cp\u003e“this is how it starts\u003cbr\u003eto move again”\u003c\/p\u003e\u003cp\u003eJanuary 2023, Dorset. Snow is piled at the door, icy roads are closed, and Emily Cross is in a coffin. Not a setting typical for a rebirth. But for Loma, this is where they bring their band back from the brink.\u003c\/p\u003e\u003cp\u003e“It's like a demon enters the room, whenever we get together”, writer, singer and instrumentalist Cross says of the struggle to bring new Loma music into the world. Following the release of their 2020 second album Don’t Shy Away, Loma’s three members were cast around the globe and the band—not for the first time—entered a deep sleep. Multi-instrumentalist and recording engineer Dan Duszynski remained in his studio in Don’t Shy Away’s central Texas heart, but Cross, a UK citizen, moved to Dorset, and writer and instrumentalist Jonathan Meiburg left the US for Germany to research a book. In the pandemic years, even being in the same room was impossible, and attempts to start a new record faltered.\u003c\/p\u003e\u003cp\u003e\"We got lost,\" admits Meiburg, \"and stayed that way for a long time.” The trio's personal lives diverged, and remote sessions didn't gel; a post-pandemic reunion in Texas was cut to a few frustrating days by an illness, and a pile of half-finished tracks was an unruly mess. The following winter, in an attempt to salvage the record and the band, Cross suggested they regroup in the UK, in the tiny stone house—once a coffin-maker’s workshop—where she works as an end-of-life doula. With minimal recording gear and few instruments, Loma turned two whitewashed rooms into a makeshift studio, using a padded coffin as a vocal booth.\u003c\/p\u003e\u003cp\u003eIt was a turning point. \"There was a sense of, well, this is it,\" Meiburg recalls. \"And I had my doubts, especially when that ice storm swept in; I thought, here we go again.  But sitting in our heavy coats around a little electric radiator, we realized how much we'd missed each other—and that just being together was precious.”  \u003c\/p\u003e\u003cp\u003eThey scrapped much of what they'd made, letting a new place set a new course. The first two Loma albums feature the sounds of Texan animals and landscapes, and the one-lane roads, hedgerows and dark skies of Dorset gave the new songs an ineffable but unmistakable Englishness. The band used the ruin of a 12th-century chapel as a reverb chamber—surprising hillwalkers who peeked in to find them singing to no one—and the sounds of Cross’s chilly workshop wormed their way into the recording: a leaky pipe, a drummer’s brushes on a metal lampshade, the voices left on an ancient answering machine.\u003c\/p\u003e\u003cp\u003eWhat emerged was How Will I Live Without A Body?: a gorgeous, unique, and oddly comforting album about partnership, loss, regeneration, and fighting the feeling that we're all in this alone. Many of its songs have a feeling of restless motion; faceless characters drift through meetings and partings, tangling together and slipping away. ‘I Swallowed A Stone’ is like a nightmare with a happy ending; ‘How It Starts’ and ‘Broken Doorbell’ reflect on the challenge (and necessity) of wrestling with agoraphobia.  Though the record nods to the trio’s separate lives— a German percussion ensemble, a pair of Texan owls, and the surf at Chesil Beach make guest appearances—the core of Loma's sound remains intact: earthy, organic and deeply human, anchored by Cross's cool, clear voice.\u003c\/p\u003e\u003cp\u003eMost artists want their records to be listened to as a whole. But with Loma, it’s particularly rewarding, and How Will I Live Without A Body? reveals itself more with every listen. Songs that begin as riddles swim into focus when listened to in sequence; images return and interact in unexpected ways, and something like a narrative begins to form. It’s also a record of two distinct halves. A compelling sense of wandering engulfs the A-side, as the trudging progress of opener ‘Please, Come In’ staggers and sways through succeeding tracks to the album’s centerpiece, ‘How It Starts’—which gathers strength and purpose, flooding the B-side with a hope that embraces darkness without surrendering to it.\u003c\/p\u003e\u003cp\u003eLoma’s previous album, Don’t Shy Away, was galvanised by the unexpected encouragement (and eventual contributions) of Brian Eno. This time, they found inspiration in another hero, Laurie Anderson, who offered a chance to work with an AI trained on her entire body of work. Meiburg sent her a photo from his book-in-progress about the once and future life of Antarctica; Anderson’s AI responded with two haunting poems. “We used parts of them in a few songs,” he says. “And then Dan noticed that one of its lines, “How will I live without a body?” would be a perfect name for the album, since we nearly lost sight of each other in the recording process.” Anderson, Meiburg adds, was happy for the band to use the title. “I think she was tickled that her AI doppelganger is running around naming other people’s records.”\u003c\/p\u003e\u003cp\u003e\u003cspan id=\"docs-internal-guid-06c8be0d-7fff-04db-51fb-6e7c34d29bba\"\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eBut in the end, Loma’s efforts to reconnect with one another are the album's central focus: what do you owe a shared past, when everyone and everything has changed? “Making this record tested us all,” says Duszynski. “I think that feeling was alchemized through the music.”  Alchemized, because How Will I Live Without A Body? is by no means a stressed-out record: an undercurrent of deep calm runs through it. “Somehow, out of the chaos, we made something that sounds very relaxed,” Cross notes, mystified. But maybe ‘relaxed’ isn’t the right word. It’s more like a feeling of relief, of making it through a tough journey together. “I've never run a marathon,” Cross says. “But I can imagine it's kind of what that feels like.” This is how it starts, to move again.\u003c\/p\u003e","brand":"Loma","offers":[{"title":"Loser (color) LP","offer_id":49049110642873,"sku":"ylk1788118658913","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":49049110675641,"sku":"url1788118658914","price":8.4,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":49049110708409,"sku":"aho1788118658915","price":7.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/4666\/3865\/files\/how-will-i-live-without-a-body_1.jpg?v=1788118663"},{"product_id":"a-sparrow-in-a-swallows-nest","title":"A Sparrow in a Swallow's Nest","description":"\u003cp\u003ePatrick Shiroishi is a Japanese-American multi-instrumentalist and composer based in Los Angeles who is perhaps best known for his extensive and incredibly intense work with the saxophone. Over the last decade he has established himself as one of the premier improvising musicians in Los Angeles, playing solo and in numerous collaborative projects. Shiroishi may well be considered a foundational player in the city’s vast musical expanse. He has presented work and performed at the Museum of Contemporary Art, the Metropolitan Museum of Art, the International Museum of Surgical Sciences and has toured around the world in various solo and band configurations including The Armed, contemporary classical ensemble Wild Up and Upsilon Acrux.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis new single features an exclusive, original A side, “Sparrow in a Swallow’s Nest,” which features Emma Ruth Rundle on vocals, backed with a new original, “The Light is Not Afraid,” featuring Patrick on vocals. 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