{"title":"All","description":"","products":[{"product_id":"wish-you-were-here","title":"Wish You Were Here...","description":"\u003ch2\u003eWish You Were Here Release Details\u003c\/h2\u003e\u003cp\u003e\u003cspan\u003eConsisting of five tracks the EP marks the the first time They Hate Change has used outside production featuring collaborations from Wu-Lu, 96Back, and DJ Orange Julius, as well as Odd Future\/NRK’s Vritra, a foundational influence on Change, all of whom they met on their global travels. The EP is an incredibly concise and masterful display of their rap skills and ear for production, building on their sonic omnivore aesthetic bringing together an amalgamation of musical influence. Today you can listen to “Wallabies \u0026amp; Weejuns” produced by Manchester’s 96Back, a track that brings a kaleidoscope of dance, R\u0026amp;B and hip hop production viewed through thrilling tempo changes.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe duo note of the EP:\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOur first year of touring consisted of 7 tours, multiple weeklong stints in single cities, a gang of festivals, and about 2 months total (non consecutive) spent at home in Florida. Along with this time period came a bunch of interviews, photo shoots, sessions, new friends, impeccable dinners, decent breakfasts (big up Greggs), as well as literal hundreds of missed calls, texts, DMs and emails, as we traveled across the water and back three times over. No manager to hold down our inbox, no tour manager to book our flights and hotels (if we had a hotel!), no front of house sound tech traveling with us to soundcheck before the show, nobody to set up and sell our merch for us after the show, and nobody to tell us how to get to the next city safely. Just us. These are some of the songs we made with our old and new friends in the middle of all this.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eDre and Vonne first came together in front of the apartment complex where they both lived as teens. Dre had just moved down from Rochester, NY; Vonne was trying to sell him bad weed. It was clear from the start that the two listened to music differently from most people—they’re sonic omnivores, obsessive deep-divers, lovers of rare and radical sounds. Starting as kids trawling the internet for tracks, they’ve been collecting music from around the world and across the decades, amassing a shared sonic knowledge so deep that “encyclopedic” barely begins to cover it—not just the East Coast hip-hop that Dre grew up on, or the hyperlocal bass-music variants like jook (the Gulf Coast’s twerkably raunchy answer to house) and crank (think “Miami bass meets NOLA bounce”) that Vonne grew up on, but also drum ‘n’ bass, Chicago footwork, post-punk, prog, grime, krautrock, emo, and basically any genre on the map.\u003c\/span\u003e\u003c\/p\u003e","brand":"They Hate Change","offers":[{"title":"Cassette","offer_id":44527298019491,"sku":"JAG462cass","price":12.99,"currency_code":"USD","in_stock":true},{"title":"Bundle LP + Cassette Bundle","offer_id":44536227692707,"sku":"JAG462xbnd01","price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag462.thc.wishyouwerehere.mock.cass-428225e6fbf72d00448670a133668ae4.jpg?v=1776690666"},{"product_id":"tomorrow-tomorrow-and-tomorrow","title":"Tomorrow Tomorrow and Tomorrow","description":"\u003cp\u003e\u003cspan\u003eThe temptation to mythologize Bill Fay can be overwhelming; Fay was, for decades, as prolific as he was under-appreciated. Fay was, and still is, an artist disinterested in performance and promotion while remaining as dedicated a songwriter as ever, composing stacks upon stacks of stirring, abundant new music. Fay’s unsung-hero status has changed slowly, steadily, on the order of almost twenty-five years. With each new album comes new hosannas and evangelizers — Jeff Tweedy, Kevin Morby, Adam Granduciel and Julia Jacklin, to name just a few.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBut to focus on the mythology is to distract from what’s truly special: Bill Fay writes music with the honesty and clarity of a person with much to say but nothing to prove, and in doing so delivers songs of remarkable beauty and confidence. The Bill Fay Group, in particular, is Fay’s most significant collaborative work; he records as a member of a larger group here, and the result summons a grander sonic scale, an elegant counterweight to Fay’s instincts for the understated. Tomorrow Tomorrow and Tomorrow brings to bear the galactic qualities of early rock, the intricacy of jazz improv, and Fay’s earthy folk magic. For whatever might be going on amongst the instruments, Fay’s lyrics almost inevitably come back to nature, and to a matter-of-factness about love and loving that gives his work even more depth and power.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTomorrow Tomorrow and Tomorrow has a patchy release history: recorded between 1978 and 1981, it was not released until 2005, when it appeared on CD with limited streaming and no vinyl companion. A 2006 reissue brought the album onto vinyl but with a truncated sequence and nine songs missing. Now, finally, Tomorrow Tomorrow and Tomorrow arrives in full worldwide. Available on streaming services worldwide and pressed to a double-album vinyl edition, it features the album’s original 20 songs and includes rare and previously unseen photographs from Tomorrow Tomorrow and Tomorrow’s original recording session.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWe are fortunate to have a brief history of Tomorrow and Tomorrow and Tomorrow, written by Gary Smith and Rauf Galip, missing Bill Stratton, and abbreviated from the forthcoming album notes:\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBoth Bill Stratton and Gary Smith liked Bill Fay’s albums at the time they were released. When his third album didn’t appear, Bill S. contacted Decca Records to find out why. They gave him a contact for Bill’s manager who said there wasn’t another contract in the offing, so put the two Bills in touch.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eForward to 1977, we’ve got The Acme Quartet, a trio, with Gary on guitar, Rauf on bass and Bill S. on drums (as Bill Fay said “Their sound was such though that they could have called themselves ‘The Acme Quintet’ or ‘Sextet’”). We’d been gigging for a while and got a performance at The Fulham Arts Centre in S.W. London. We asked Bill to come along and do a solo set. Nice grand piano for him and we all had a great evening. Bill asked us if we’d be interested in getting together, so we hired a rehearsal room above a pub in Wandsworth and it worked out well, socially and musically.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWe met regularly in Gary’s flat in Tooting, in a tiny living room, to talk and work on the music. Bill had a lot of songs, and it was important for us, Gary, Bill S., and Rauf, to choose what we thought were the right songs. The Acme Quartet was an intense, uncompromising group, with a lot of improvising, beyond jazz and coming out of rock music. We initially wanted to make the music extremely powerful (there are elements of this in the song ‘Life’). Also, by this time Gary had more or less left rock music and hadn’t expected to work with someone like Bill and his music, he’d spent years doing that, but Bill was different. As has been said, we all served the music.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWe chose five songs to record as finished pieces: Life, Spiritual Mansions, Cosmic Boxer, Strange Stairway, Isles of Sleep, all recorded in two studio sessions. We sent them out to try and get a record deal. There were few really independent labels back then and Punk was in the record labels’ ears. No deal.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAround this time Bill Stratton left the group. It was a difficult time, late night trains, not a lot to expect from beyond the music itself, hours in a day and we were financing everything, which wasn’t easy as we were all broke! Bazz Smith came in and generously gave his time, a brilliant drummer whom Gary and Rauf had both worked with (the same goes for Chris Merrick Hughes, John South, and Dave Bernez who gave their time and considerable skills). We knew we wanted to carry on to complete a full album, which we did.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAnd now, Dead Oceans who have a lot of faith in Bill’s music wants to re- release the ‘Tomorrow’ album. A double vinyl package. Is there any more unreleased music for the fourth side? Of course. So, we’ve been opening old boxes, finding CDRs, cassettes, a musical archaeological dig. This is our choice\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003efrom all the music we found.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFly Like a Bird.\u003c\/span\u003e\u003c\/p\u003e","brand":"Bill Fay Group","offers":[{"title":"LP (Black Vinyl)","offer_id":44527314567331,"sku":"DOC345lp","price":34.99,"currency_code":"USD","in_stock":true},{"title":"CD (Compact Disc)","offer_id":44536219369635,"sku":"DOC345cd","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc345.bf.tomorrow.lp.mock-e0ab12573200d1420c834dec0fdb3717.jpg?v=1715585204"},{"product_id":"william-eggleston-512","title":"512 + Musik LP Bundle","description":"\u003cp\u003e\u003cspan\u003e“This will be a shock to whoever listens to it for the first time,” William Eggleston says of his second album, “512,” due for release on Secretly Canadian on November 3rd 2023. That’s a strong claim, since the same could be said regarding “Musik,” Eggleston’s unanticipated 2017 debut album.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt also happens to be true.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBack when Eggleston released “Musik,” he was recognized already as one of the most original and significant visual artists of the 20th Century. It’s not a stretch to claim he legitimized the use of color photography in pursuit of fine art.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Musik” announced the arrival of Eggleston the musician: a spontaneous creator who synthesized – quite literally, with his Korg O1\/W FD digital keyboard – a deeply personal and profoundly powerful body of work. His solo fantasias reflected influences absorbed from a lifetime’s exposure to the compositions of classical-music masters like Bach and Handel, folk and country staples, the Great American Songbook, gospel, and more, all processed through the filters of a doggedly idiosyncratic artist’s sensibilities.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Surprising as “Musik” unquestionably was, its successor, “512” – named for the number on Eggleston's front door – is no mere sequel.\" Working again at his apartment in Memphis with producer Tom Lunt, Eggleston embraced traditional pop, folk, and gospel styles more directly in a collection of four standard tunes, along with “Improvisation” and “That’s Some Robert Burns.” In place of the mercurial digital keyboard he previously used, Eggleston plays a magnificent Bösendorfer grand piano, rich with sonic overtones and historical allusions.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn a more dramatic departure from the freewheeling soliloquies of “Musik,” Eggleston is heard in the company of other musicians on “512” – though none of them ever actually shared space with the artist. True, distanced recordings and virtual ensembles have become familiar especially in the years since pandemic isolation was imposed in 2020. But Lunt had something different in mind.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I was thinking about the home recordings of Charles Ives,” the producer said, referring to the rough-hewn but magical songs the great American composer recorded between 1933 and 1943.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“They were so completely genuine,” Lunt explained. “If he made a mistake, the mistake stayed in, and he responded to it. He would make everything right at that moment.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eProceeding from that inspirational starting point, Lunt spent a few days in Memphis recording Eggleston alone at the piano in his room. Then he imagined how to invite other musicians into Eggleston’s space, virtually—and which artists might be suited best to such a special invitation. “I wanted the other musicians to emerge as spirits passing through, inspired to join William,” he said. “So many wonderful artists have visited 512.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOn careful consideration, Lunt selected Sam Amidon, who he’d met years earlier while working on a Liam Hayes album. A vocalist and multi-instrumentalist from Vermont, Amidon is celebrated both as a solo artist and as a participant in projects led by Bill Frisell, Jason Moran, and Nico Muhly, among others. Amidon, working in England at the time, in turn enlisted another distinguished solo artist and arranger: Leo Abraham, whose collaborative credits include Brian Eno, Jarvis Cocker, and Imogen Heap.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe two had worked together previously on Amidon’s 2017 Nonesuch release, “The Following Mountain,” which vividly demonstrated their shared knack for making folkloric sources sound fresh and wild—an affinity that would serve them well in fashioning new contexts for Eggleston’s thoughtful and assertive piano recordings.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhat’s more, working at a physical distance felt oddly appropriate, Amidon notes, since Eggleston did all of his talking and thinking at the piano keyboard. “He leaves that space in the playing, where you can kind of hear him thinking about where to go next,” Amidon said. “And even though the music is very beautiful and very consonant, it has this ‘happening’ kind of quality: we’re in the space not only while he’s playing, but while he’s remembering all these melodies from his youth.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn addition to Abraham’s subtle synthesizer and electric guitar and Amidon’s folksy banjo and fiddle, the two collaborators enlisted other musicians to share Eggleston’s dreamlike space. The first sound on “512,” Eggleston’s voice aside, is bell tones generated by ambient-music legend Brian Eno, shimmering around the ruminative piano on “Improvisation.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOther collaborators seem to materialize at a distance; on “Smoke Gets in Your Eyes,” it’s almost as if Matana Roberts happened to be wandering by on the sidewalk outside, saxophone in hand, and felt gripped to partner with Eggleston’s reverie. Amidon’s gentle contributions enhance “Ol’ Man River,” “Over the Rainbow,” and “That’s some Robert Burns”—the last a meditative reflection inspired by the Scottish poet and songwriter of the title.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFor the epic rendition of “Onward Christian Soldiers” that closes the album, bassist Mikele Montolli and drummer Seb Rochford seem to form an almost impossibly empathetic trio with Eggleston. What Abraham hoped to conjure, he says, is the impression that the music was all coming into being at the same time.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“That approach was partly influenced by Frank Zappa’s arrangements of improvisations, where he’d arrange his guitar solos for big band,” Abraham explained. “It’s kind of an amazing thing: a way of framing a chance event as if it were planned.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eYou could say that what resulted, here and throughout “512,” is art very much akin to Eggleston’s world-changing photography: something that feels instantly familiar at first brush, yet over time and with closer examination reveals hidden depths. 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Confident and generous, it is an unvarnished offering that puts every feeling and supposed flaw out in the open. The themes are stacked high and staked even higher: love and loss, hope and sorrow, community and family, change and time all permeate Bonny Light Horseman’s most vulnerable and bounteous offering to date. Yet for all of its humanistic touchpoints, Keep Me on Your Mind\/See You Free was forged from a kind of unexplainable magic.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWritten over five months in 2023, this third album began when the band’s core trio–Anaïs Mitchell, Eric D. Johnson, and Josh Kaufman–convened in an Irish pub alongside beloved collaborators JT Bates (drums), Cameron Ralston (bass), and recording engineer Bella Blasko. Mitchell suggested the pub as their first recording location, based on her one conversation with owner Joe O’Leary. She had a feeling about the place, and was surprised by her bandmates’ enthusiasm for the idea. Stepping inside the pub’s aged confines, the trio felt an immediate connection to its palpable sense of community, and of family, forged over many decades.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe pub was Levis (pronounced: “leh-viss”) Corner House, a century-old watering hole in Ballydehob, a tiny coastal village in County Cork, and its energy became a singular source of Bonny Light Horseman’s creative engine. The pub’s upright piano, which they lubricated with olive oil to quiet its creaking, became a sort of spiritual fulcrum, a single entity that embodied all of the album’s motifs: imperfection as a badge of honor; aging, endurance and the passage of time; how the simplest of acts can heal us. The analogs–between this century-old meeting place of local folk and this trio of American folkies–were undeniable. \"It has this sense of history; it’s also small, and crammed with a bunch of stuff that’s spilling all over the place,” says Kaufman. “It was like the pub version of our band.\" A painting that hung on a wall of the pub, which watched over the band during their time working, became the album cover. “I was making eye contact with that person for most of the recording,” Johnson said of the artwork. And there was a deeper connection. Before the band had even planned to record in the pub, the owner’s wife had named the woman in the painting Bonnie.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThere’s magic in a place like Levis Corner House, yes, but it takes the right wizards to wield it. At the center of Bonny Light Horseman is, always, the singular combination of three powerful and tender artists–artists who expertly dodge superlatives but are quick to acknowledge the ways they strengthen and enrich one another, and the bond that makes each one better, braver and more vulnerable than they’d be on their own. Nowhere is this more apparent than in the force of their voices together, which work with complete trust in one another through the gentlest moments and the most ruthless wails. The result can comfort and cradle listeners, but also leaves them rattled, wrecked, and reborn.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOn a practical level, the “blessed mess” of Keep Me on Your Mind\/See You Free shows up in its fidelity to this home, as crowd noise, laughter, coughing, and field recordings (“Think of the royalties, lads!”) convey everything from this special place in time. But philosophically, the “mess” is evidence of something deeper. It’s the imperfect, soul-nourishing fruit born of a singular communal experience, one that transforms its participants through the spirit of good company. Mitchell posits the idea of a “feast” and how dinners with friends effortlessly span courses, conversations, and hours — a meal that’s nutritious on physical and spiritual levels. “I have a friend who says you should never remove the dishes from the table, that you should sit among the wreckage,” she offers.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“There was this new level of letting it all hang out,” Mitchell said of the album’s making. In its evolution from recording to release, this meant compiling a double LP—eighteen songs across two discs. It also meant two titles, if not precisely two distinct records. Keep Me on Your Mind\/See You Free is sprawling and welcoming, and encompasses the group’s captivating artistic layers: its roots in the sounds and lyrical spirit of traditional folk music, its branches in a more experimental and emotionally raw version of the band.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe group tracked about half of the songs in the main room of Levis’s. They spent two days working alone. On the evening of the third, O’Leary invited some enthusiastic residents to join in. That’s not to say it’s a live album; instead, the third day of the Ireland sessions represented a serendipitous blend of energies because the audience implicitly understood the assignment. Patrons gave the band enough space to talk about arrangements and record multiple versions of songs, but they also provided an evident sense of environmental joy as they chatted over pints with friends and family. “We were doing this in the middle of their spot and they intuitively understood what was required of them,” Johnson said. “It was pretty magic.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe band then returned to their spiritual home, upstate New York’s Dreamland Recording Studios (where they completed their first two albums), to finish the work they had started. Frequent collaborator Mike Lewis joined on bass and tenor saxophone. Annie Nero stopped by to play upright bass and sing some harmonies for an afternoon. The days were rhapsodic and restorative, filled with crying, and songs that poured out like tears.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe poignant quandary at the center of “I Know You Know” revealed itself in mere minutes. The trio attributes the speed to the fact that they’d already finished much of Keep Me on Your Mind\/See You Free and were able to “stand on the shoulders” of that creativity. It’s also demonstrative of the band’s ability to lace emotional devastation with a pop sensibility, which they’ve achieved throughout the album. Its feel-good, mandolin-laced arrangement and anthemic chorus belie how its refrain will wreck you. “I’m a fool if I love you and a fool if I let you go,” Johnson sings as Mitchell’s voice soars alongside him.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Tumblin Down” is similar in its melodic tribulation. 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His DIY fantasias found their fullest and most celebrated form in 2007 on his second album proper, the exquisite Night Falls Over Kortedala – Lekman’s self-professed “dream record”. It went to number one in Sweden and was later hailed as one of the 200 best albums of the 2000s by Pitchfork, as well as one of the top 100 albums of the 21st century so far by The Guardian.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eNow, like Oh You’re So Silent Jens, it no longer exists in its original form.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOh You’re So Silent Jens enigmatically disappeared in 2011; Night Falls Over Kortedala followed suit in early 2022. Lekman’s impulse for giving old music fresh life and context has led him to remake the records under new names, each delicately positioned in dialogue with the past – the same albums, just different. The Cherry Trees Are Still In Blossom and The Linden Trees Are Still In Blossom are a pair of lovingly and painstakingly assembled reduxes each keeping the same core tracklisting, spirit and source material as the originals, but blending brand new versions of some tracks, in part or in whole, together with many tracks left largely as they were. Both records are fleshed out with rare, previously unreleased, and even previously unfinished old songs, as well as other contemporaneous material such as cassette diaries.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOn The Cherry Trees, two of Lekman’s best-loved early breakout singles are completely reimagined – ‘Maple Leaves’ as a tender ballad burnished with warm strings; tragi-comic illegal taxi ride to oblivion ‘Black Cab’ in two different versions, a handsome full band pop song and a gentle acoustic lullaby. 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They don’t write setlists. They frequently write new songs mid-set. They deliberately provoke and sabotage sound people in a variety of cruel yet innovative ways. They can and will always surprise you. “When something goes wrong on-stage, a lot of bands will crumble under the pressure,” says Ackermann. “We like the idea of embracing the moment when things go wrong and turning it into the best thing about the show.” \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis April marks the release of Pinned, their fifth full-length and an album that finds them converting difficult moments into some of their most urgent work to date. It’s their first since the 2016 election, and their first since the 2014 closing of Death By Audio, the beloved Brooklyn DIY space where Ackerman lived, worked, and created with complete freedom. “After DBA closed, I moved to an apartment in Clinton Hill,” he says. “I couldn’t make too much noise, couldn’t disturb my neighbors. 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The strains that one can hear running through all of Bodies of Water's music are fully exhibited here; instantly familiar melodies, rich harmonic color, expansively deft arrangements, and compositions that ebb, flow, and double back on themselves in cathartic synchronicity. Though no two songs sound entirely similar, it's a cohesive that comes out feeling like the anthemic prog\/gospel\/psychedelic\/kraut-tribal movie score that Ennio Morricone and Phil Spector never got around to collaborating on. The choral hugeness that typified \"Ears Will Pop\" still rears it's emphatic head, only here it is more often held in reserve while we marinate in each movement before being pulled along into the next passage of the narrative. \"A Certain Feeling\" is the sound of a group carving out an ever-evolving, but distinct aesthetic niche for themselves. Steve Reich organ figures meet brutal Sabbath-meets-Wagner riffing. A shape-note choir is dropped into the midst of an Upsetters\/ESG jam. 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I like that. I like a challenge. I like to be forced to do something that’s slightly hard, just to see if we can.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Just to see if we can” could be the unofficial motto of Bright Eyes, the band Oberst founded as a teenager and plays in with two of his oldest friends, multi-instrumentalists Mike Mogis and Nate Wolcott. “We’ve never made the same record twice,” the singer says. “I’m proud of that.” From warm folk-rock to austere electro, plaintive, earnest ballads to glacially cool guitar noise, Bright Eyes has tried on pretty much every sound that’s ever inspired them, just to see if they could. Along the way they’ve collaborated with many of their influences, heroes, and peers, from Gillian Welch and Emmylou Harris to Jenny Lewis, Nick Zinner and Britt Daniel. And they’ve seen their songs covered by many more, including Lorde, The Killers, and Mac Miller.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFor a band that’s often been perceived as an outlier – the ingenious but quixotic group fronted by that wunderkind singer-songwriter with the floppy hair and bedroom eyes - the depth, breadth, and impact of the Bright Eyes canon is remarkable. And that’s what really strikes you when you sit down to fully take in the nine Bright Eyes albums that will be reissued, in chronological order, in groups of three, beginning this spring. Over the last two-plus decades, as Bright Eyes has released one after another time capsule LP’s –urgent dispatches from transcendent, fleeting eras of our collective lives – they’ve also simultaneously been assembling a robust, mature, narratively cohesive discography. “I’ve written a looooot of songs,” Oberst says, laughing. “And by no means are they all good, but the fact that we can cull through these records and find ones that I’m not ashamed to sing years later makes me feel pretty happy.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt’s the desire to celebrate that sonic bounty that first got Oberst and the band excited about the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment devoted to appreciating the past weren’t turned into an opportunity to connect with the future. That’s where the nine companion EPs come in. Or as Oberst puts it, “the supplemental reading” for the primary reissues: One six-track EP per reissued album, each featuring five reworked songs from that album. “My thing was they had to sound different from the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the era” in which that particular albums was made – a song that meant something to the band at the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends, like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of Waxahatchee.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt was the band’s way of reframing, rediscovering, and renewing the past. It was also a hilarious amount of work. “I thought it was a cool concept,” Oberst says. “Then I realized its nine records, six songs a piece, so that’s like 54 different songs you have to record!” He laughs. But if there’s a mantra more central to the Bright Eyes ethos as trying something new just to see if you can get away with it, it’s signing up for way more than you can handle just to see if you can make it work. “We always bite off more than we can chew,” Oberst summarizes. “It keeps things interesting.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWAVE 1: May 2022\u003cbr\u003eA Collection of Songs Written and Recorded 1995-1997 (1998)\u003cbr\u003eLetting Off The Happiness (1998)\u003cbr\u003eFevers and Mirrors (2000)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I wrote all these songs before I turned 20,” Oberst says. “And a lot of them are better than the recordings – the recordings were sometimes really bad – so it was cool to sing them in a way that doesn’t hurt my ears when I listen back.” This was the most explicitly retrospective and intimate part of the whole reissue project, as well as the most immediately gratifying. “You get a re-do,” Oberst says, smiling.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAnd then there was the pleasure of digging back into Fevers and Mirrors, one of Bright Eyes most beloved and enduringly obsessed-about records. “There’s some percentage of kids every year that get to high school and an older sister or a friend or somebody hands them that record,” Oberst says. “I know that for a fact because I see the royalty statements. It’s not a ton of people but there are a few who keep buying it over and over again, and it’s over twenty years old! That’s really cool to me. 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Recorded \u0026amp; produced by Nigel Godrich (Rodiohead, Beck), the ten songs of A Different Ship carry a consistent thematic concern -- what the band describes as an \"unresolved tension between valuing being alone and valuing being connected.\"  Says Temple: \"The music is beautiful, but feels like it's brittle and about to crack. It's always suspended in between major and minor, happy and sad, trying to find that middle ambiguous place.\"\u003c\/p\u003e","brand":"Here We Go Magic","offers":[{"title":"CD","offer_id":44536149180579,"sku":"SC230cd","price":12.99,"currency_code":"USD","in_stock":true},{"title":"2xCD Deluxe Edition","offer_id":44536149213347,"sku":"SC230dlx","price":12.99,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":44536149246115,"sku":"SC230lp","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/a-different-ship-secretly-canadian-sc230.jpg?v=1776690619"},{"product_id":"a-derby-spiritual","title":"A Derby Spiritual","description":"\u003cdiv aria-labelledby=\"primary-C07L7LSU1N1-1773679326.223459-sender primary-C07L7LSU1N1-1773679326.223459-message_text primary-C07L7LSU1N1-1773679326.223459-alt_text primary-C07L7LSU1N1-1773679326.223459-date_time primary-C07L7LSU1N1-1773679326.223459-reaction_count primary-C07L7LSU1N1-1773679326.223459-reply_count primary-C07L7LSU1N1-1773679326.223459-link_count primary-C07L7LSU1N1-1773679326.223459-attachment_count primary-C07L7LSU1N1-1773679326.223459-has_draft_reply primary-C07L7LSU1N1-1773679326.223459-pinned_state primary-C07L7LSU1N1-1773679326.223459-edited_state primary-C07L7LSU1N1-1773679326.223459-later_state primary-C07L7LSU1N1-1773679326.223459-broadcast_state primary-C07L7LSU1N1-1773679326.223459-broadcast_thread_root_message primary-C07L7LSU1N1-1773679326.223459-translated_state\" aria-setsize=\"-1\" id=\"message-list_1773679326.223459\"\u003e\n\u003cdiv\u003e\n\u003cdiv aria-roledescription=\"message\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ci\u003ePlease note that CD copies contain the original track listing of 'A Derby Spiritual,' and the newly-expanded LP includes additional bonus track \"Berlin\"\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eA revisit to Drunk’s 1996 debut ‘A Derby Spiritual’ will reveal to the listener a record more charming, gentle and — dare I say — colorful than its stoic, 90s slow-core reputation might insist. And one might even note that Rick Alverson’s voice has a defeated Tom Petty lilt heretofore unchecked. The Richmond band sound careful, creaky and lean to be sure. But the decades have allowed this old sad bastard a warming amber glow. The black hole radio play at the end of the stunning opener “Collarbone” seems to predict the coming of ‘Yankee Hotel Foxtrot.’ And here in the curious present, strummers like “Germany Skies,\" “Gideon’s Trumpet” and “Gizmo\" could be slotted in right alongside the indie-country boom of today. The odd waltz of accordion and violin on cuts like “Indeliberate Matrimony” and “Coming Home” sound — dare I say again — like ‘The Lonesome Jubilee’-era Mellencamp at the bottom of a barrel of hooch. Alverson’s lyricism drifts betwixt the hopeful nihilism of fellow VA-songwriter\/poet of the era David Berman and the profound post-beat minimalism of Robert Creeley. I swear, when he sighs “I feel willy-nill\/I pissed upon your window sill” on the high-n-lonesome harmonica-forward “Window Sill” it sounds damn-near romantic in the Lendermanian sense of the word. Yes, it’s reassessment time, friends. And what an auspicious time to reassess! As part of Jagjaguwar’s 30th anniversary, we are pressing ‘A Derby Spiritual,’ Jag’s second-ever release, on vinyl for the first time. A three-decade wrong at long last made right. In fact, we’re putting a handful of those early Charlottesville era of Jagjaguwar releases on wax as part of the label’s 30th anniversary celebration. Stay tuned for more on the matter. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eJagjaguwar is for lovers.\u003c\/p\u003e","brand":"Drunk","offers":[{"title":"CD","offer_id":44536149147811,"sku":"JAG002","price":11.99,"currency_code":"USD","in_stock":true},{"title":"LP (Vinyl Black)","offer_id":47465743351971,"sku":"JAG002lp","price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag002.DRUNK.aDerby.lp.black.jpg?v=1776690619"},{"product_id":"a-different-ship-here-we-go-magic-sc25","title":"A Different Ship","description":"*Secretly Canadian's 25th Anniversary limited edition color vinyl with exclusive anniversary cover art + obi*\n\n*Includes a 12x12 print and essay celebrating the artist and album, exclusively for direct orders*\n\n\n\n\u003cem\u003eA Different Ship\u003c\/em\u003e is Here We Go Magic's most remarkable and captivating album yet, with an emotional and musical arc that is alternately calming and anxiety-inducing, and often both at once. \"I Believe In Action\" and \"Make Up Your Mind\" sound like they're being beamed in from outer space, while more earthbound tracks such as \"Miracle of Mary,\" \"Over The Ocean\" and \"Alone But Moving\" amble in a somnolent haze, with Temple's cool timbre cutting through the fog. Recorded \u0026amp; produced by Nigel Godrich (Rodiohead, Beck), the ten songs of \u003cem\u003eA Different Ship\u003c\/em\u003e carry a consistent thematic concern -- what the band describes as an \"unresolved tension between valuing being alone and valuing being connected.\" Says Temple: \"The music is beautiful, but feels like it's brittle and about to crack. It's always suspended in between major and minor, happy and sad, trying to find that middle ambiguous place.\"","brand":"Here We Go Magic","offers":[{"title":"LP opaque blue vinyl","offer_id":44536149311651,"sku":"SC230lp-C1","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc25.lp.hwgm.b-web.jpg?v=1776690619"},{"product_id":"a-hand-through-the-cellar-door-luke-temple","title":"A Hand Through The Cellar Door","description":"\u003cp\u003eI want to call Luke Temple a disciple of Hank Williams and Roger Miller. I want to call him an avant-garde traditionalist. I want to say he’s got an unmatched intuition for the askew. I want to say his only real contemporary peer is another master songsmith named Cass McCombs. I could make a pretty infallible case for any of these statements. But at the end of the day, it’d be adding too many bells and whistles to what his new album is. At its core, it’s one of the year’s most stunning folk records. You should just let Temple’s high-and-lonesome salve of a voice raise your goose-pimples from their dormancy. You should let his insightful, devastating lyrics make tiny, tender tears in your soul. \u003c\/p\u003e\n\n\u003cp\u003eA Hand Through the Cellar Door is, in many ways, Temple’s most straightforward collection of song-storying tunes to date. There are tales of dysfunctional, broken homes and of dysfunctional, broken people. “Birds of Late December,” with its fluttering, nimble fingerpicking, paints an exacting but impressionistic portrait of divorce through the eyes of an exceptionally wistful child. In both “Maryanne Was Quiet” and “The Case of Louis Warren” we follow two characters whose lives unravel in very different ways, though their central question is the same: After you shed all the things you think make you who you are, what is left? Temple is creating small, confident stories with a massive scope — like a good Alice Munroe story. Album standout “The Complicated Men of the 1940s” is a thought experiment concerning the sacrifice of a passing generation, where the heroes of yesterday seem like the stuffy, old guard to a new generation that’s grown just a bit too entitled to their comfort. \u003c\/p\u003e\n\n\u003cp\u003eBut this being Temple and all — the creative mind behind Here We Go Magic — nothing is really ever so straightforward. The arrangements, kept to a minimal drums\/guitar\/bass\/string set-up here, expand and contract in unexpected ways.Temple writes with the eye of a painter like Eric Fischl. Whereas Fischl will put a subtle provocative image in the margins of a piece to create a feeling of imbalance, Temple will add a guitar hiccup or a just-behind-the-beat string section to create a sensation of everything being slightly off. And in that imbalance, both artists show us grace. Yes, while the tales Temple weaves are bleak, the aura of hope never quite fades from the picture. He turns the tragedies of human folly into a celebration of our eccentricities.\u003c\/p\u003e","brand":"Luke Temple","offers":[{"title":"LP","offer_id":44536149377187,"sku":"SC343lp","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc343-380.jpg?v=1776690619"},{"product_id":"kbin-a-la-sala","title":"A LA SALA","description":"\u003cp\u003e\u003cspan\u003e“‘A La Sala,’ I used to scream it around my house when I was a little girl, to get everybody in the living room; to get my family together. That’s kind of what recording the new album felt like. Emotionally there was a desire to get back to square-one between the three of us, to where we came from–in sonics and in feeling. Let’s get back there.” - Laura Lee Ochoa\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe title makes it clear. \u003c\/span\u003e\u003cem\u003eA LA SALA\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(“To the Room” in Spanish), the fourth studio album by Khruangbin, is an exercise in returning in order to go further, and do so on your own terms. It extends the air of mystery and sanctity that’s key to how bassist Laura Lee Ochoa, drummer Donald “DJ” Johnson, Jr. and guitarist Mark “Marko” Speer approach music. Yet if 2020’s Mordechai, the last studio album Khruangbin made without collaborators, was a party record whose ensuing post-lockdown tour enhanced the band’s musical reputation far and wide, \u003c\/span\u003e\u003cem\u003eA LA SALA\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eis the measured morning after. It’s a gorgeously airy album made only in the company of the group’s longtime engineer Steve Christensen, with minimal overdubs. It is a porthole onto the bounties powering Khruangbin’s vision, a reimagining and refueling for the long haul ahead. \u003c\/span\u003e\u003cem\u003eA LA SALA\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003escales Khruangbin down to scale up, a creative strategy with the future in mind.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt is also a response to the unique moment Khruangbin finds itself in now: following a decade spent cultivating extraordinary music paths, beginning a year when they'll perform for more people, in more iconic spaces, staging a live show that pushes a creative envelope peculiar to them alone. (Look for the band at major festivals and venues near you.) 2024 feels like both marker and pivot, cementing Khruangbin’s stature as a commercially and critically successful group that continues to be guided by creative possibilities.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSuch crossroads are familiar for iconic artists throughout the rock era — your Dylans, Stevies and Bowies, up thru turn-of-the-century Radiohead, all have navigated these straits. On \u003c\/span\u003e\u003cem\u003eA LA SALA\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, Khruangbin also pulls exploration inward, spurning the din of the crowd’s expectations, mapping a personal direction home. The trio’s collective musical DNA and the years spent constructing it in Houston’s local-meets-global cultural stew ensure the band carries on sounding like no one but itself. \u003c\/span\u003e\u003cem\u003eA LA SALA\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003emay in fact be Khruangbin’s purest distillation. A cascade of crisp melodies still emanates from Marko’s reverb-heavy electric, dancing gently around Laura Lee’s minimalist almost-dub bass triangles, while DJ’s drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhere prior album-by-album growth seemed to point the narratives towards music’s polyglot edges, such inquiries now sound like known intimacies. What once seemed like sonic invocations — spaghetti-western film scores, found-sounds, dancing moments more living room than rooftop disco — are ingrained characteristics. This is who they are! And there’s a freshness to the instrumental interactivity on \u003c\/span\u003e\u003cem\u003eA LA SALA\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003ethat’s less concerned with getting further out than going deeper in. That depth is not about therapeutic self-reflection, but a profound desire to celebrate the world’s external wonders.\u003c\/span\u003e\u003cbr\u003e\u003cem\u003eA LA SALA\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003einvites intimate intercontinental partying. The first single is, after all, called “A Love International.” “Pon Pón” holds the band’s table at the West African discotheque; yet the joy now moves to the corner left of the dancefloor, where the back-and-forth between Laura Lee’s bass, DJ’s hi-hat, and Marko’s tuneful rhythm scratches, is a marvel of knowing head-nods. There’s “Hold Me Up (Thank You),” a familial sweetness in its spare lyrics, feeding off the rhythm section’s sturdy funk shuffle, and a chorus on which Marko’s guitar evokes both sides of the Atlantic in confident unshowy rhythms. They’re on “Todavía Viva” too, next to DJ’s noir-soul rim-shots, synth strings and a pregnant pause that is Laura Lee’s favorite moment on the album, the mood kin to the band’s glorious live interpretations of G-funk fantasias. And the rocked-up miniature, “Juegos y Nubes,” demonstrates Khruangbin’s Houston-born superpower to culture-mix, a dancing mood less concerned with worldly glamor than communal grooving.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I read something long ago, attributed to Miles Davis. He said, ‘When they play fast, you play slow. When they play slow, you play fast.’ And it's definitely how I've approached looking at music: Don't follow the trends. And if the trend is this, then do something else.” - Marko\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFrom the get-go, Khruangbin’s journey has been emphatically its own: a sound and visual representation with few precedents, ignoring pop expectations, relying only on internal inspirations, and a multitude of visions. It’s a mindset of penetrating the self, connecting to the surrounding world, modeling your own life experiences. This ethos is threaded throughout \u003c\/span\u003e\u003cem\u003eA LA SALA\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, audible in the album’s form and function. (It’s even visible in the vinyl version’s physical package, which will be released as a set of seven distinctive covers and color-sets — more on which in a sec.)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe building blocks for the album’s 12 songs were jigsaw pieces found in Khruangbin’s creative past. Having stockpiled ideas originally set down as off-the-cuff recordings (voice-memos made at sound-checks, on long voyages, as absentminded epiphanies), they began fitting those pieces together in the studio. Which parts were apt? Which could be massaged and stretched out? Which inspired new sections or rhythms or musical interactions? Once more, Khruangbin’s familial DNA kicked in. Layer-by-layer, the intimate work, rework and re-rework bore new fruit. They also brought back a strategy once foundational to their records: seeding an album with field recordings.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSome results fold directly into \u003c\/span\u003e\u003cem\u003eA LA SALA'S\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003edown-home feel. “Three From Two” and “May Ninth” are wistful mid-tempo numbers, with guitar melodies that reside somewhere between Bakersfield and by-the-riverside, cues that, for all its borderless inclusivity, another core Khruangbin value is being steeped in American roots. And in the landscape that music comes from. Like all albums prior to Mordechai, Marko made sure environmental sounds — natural and man-made — appeared as textures. (At times philosophically: the group recorded while cricket chirps played in their headphones, presumably for terroir.) 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