{"title":"Ben's Picks","description":null,"products":[{"product_id":"jens-lekman-the-cherry-trees-are-still-in-blossom","title":"The Cherry Trees Are Still In Blossom","description":"\u003cp\u003e\u003cem\u003eThe reissue of \"Oh You're So Silent, Jens\".\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“All my friends were playing in these bass-guitar-drum bands,” speaks Jens Lekman, casting his mind back over twenty years to his first rudimentary experiments with sampling using his father’s old cassette recorder, and an instinct to create music that would set him far apart from his Swedish pop peers. “I’m going to sound like Scott Walker. But I’m going to do it in my bedroom.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWorks of sweeping, maximalist, orchestral wonder sung in a sumptuous tenor, weaving lifts from obscure fleamarket vinyl records with by turns burningly romantic and mordantly funny true-life tales from the sleepy-shadowy suburbs of Gothenburg – Lekman’s early songs come from a different time, a different place. An era when the internet was young, limitless and disruptive, sample culture was turning music inside out, and anything felt possible.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAfter initially finding an audience through peer-to-peer file sharing sites, Lekman signed to Secretly Canadian Records in 2003, and went on to release a slew of cherished material, including three cult limited-edition EPs – Maple Leaves, Rocky Dennis and Julie – later collected on the 2005 compilation album Oh You’re So Silent Jens. 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. The Linden Trees repackages all the true-life tales, magic, and mystery of Night Falls for a new age, yet in wholly familiar form, from the joyous ‘The Opposite of Hallelujah’ to hilariously uplifting missive ‘A Postcard to Nina’ and open-hearted love-song ‘Your Arms Around Me’.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTaken together, the new albums form a sort of belated farewell to Lekman’s formative days as a bedroom Scott Walker, panning for sample gold in stacks of vintage vinyl. Albeit not a farewell to the original albums themselves, which will live on in fans’ record collections, and perhaps illicit corners of the internet. Spread to the wind.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I feel like these new records are like portals that can lead you to the old records if you want,” Lekman reflects. “I think that they can lead you to another time and a place, where you could work with music in a different way.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Jens Lekman","offers":[{"title":"CD","offer_id":44536213209251,"sku":"SC388cd","price":12.99,"currency_code":"USD","in_stock":true},{"title":"2xLP Black Vinyl 2xLP","offer_id":44536213242019,"sku":"SC388lp","price":28.99,"currency_code":"USD","in_stock":true},{"title":"2xLP Baby Pink 2xLP Vinyl","offer_id":44536213471395,"sku":"SC388lp-C1","price":30.99,"currency_code":"USD","in_stock":true},{"title":"Bundle 2XLP + Shirt Bundle - SM","offer_id":44536213274787,"sku":"SC389xbnd01-USM","price":79.99,"currency_code":"USD","in_stock":false},{"title":"Bundle 2XLP + Shirt Bundle - MD","offer_id":44536213307555,"sku":"SC389xbnd01-UMD","price":79.99,"currency_code":"USD","in_stock":false},{"title":"Bundle 2XLP + Shirt Bundle - LG","offer_id":44536213340323,"sku":"SC389xbnd01-ULG","price":79.99,"currency_code":"USD","in_stock":false},{"title":"Bundle 2XLP + Shirt Bundle - UXL","offer_id":44536213373091,"sku":"SC389xbnd01-UXL","price":79.99,"currency_code":"USD","in_stock":false},{"title":"Bundle 2XLP + Shirt Bundle - UXXL","offer_id":44536213405859,"sku":"SC389xbnd01-UXXL","price":79.99,"currency_code":"USD","in_stock":false},{"title":"Bundle 2XLP + Shirt Bundle - UXXXL","offer_id":44536213438627,"sku":"SC389xbnd01-UXXXL","price":79.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc388.mock.cd.1.jpg?v=1753370777"},{"product_id":"a-different-ship-here-we-go-magic","title":"A Different Ship","description":"\u003cp\u003eA Different Ship 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 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":true},{"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-different-ship-here-we-go-magic-sc25","title":"A Different Ship (Secretly Canadian's 25th Anniversary Edition)","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. 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The album, like the working class South Philadelphia neighborhood in which it was birthed, has a real used goods kinda feel to it. Engineer Edan Cohen employed what some may consider \"old-fashioned\" recording techniques -- the entire album was recorded live with no overdubs, the full band playing in one room with the players always within arms' reach of one another; singers Jason Molina, Jennie Benford and Jim Krewson (the latter two of Jim \u0026amp; Jennie And The Pinetops) sharing microphones singing live together, sometimes sitting in chairs, sometimes standing. The result is a sound which resembles the warmth and personality of the classic Muscle Shoals Sound recordings of the early- to mid-70s: Willie Nelson's PHASES \u0026amp; STAGES, the Rolling Stones' \"Wild Horses\", and others by Aretha Franklin, Boz Scaggs, Bob Seger, Lynyrd Skynyrd and Wilson Pickett. Inspired by the Mahalia Jackson song of the same name, the title track is a beautiful song about the shifting tides of life and the old cycle of \"a lot of shit going down before shit clears up\". It's a damn fine place to start an album that seems in no hurry whatsoever to make a universal statement, instead perfectly content to walk its own path toward resolution. And damn if Songs: Ohia principal songwriter Jason Molina hasn't gone and created a record that is even more intensely personal and healing than any of his previous works. Neil Young had his AFTER THE GOLDRUSH, this is Molina's DIDN'T IT RAIN. Indeed, this is the album with which Molina really leaves his mark as a serious songwriter and artist. On 1999's genre-bending Ghost Tropic full-length, Songs: Ohia made it clear that it could make a cohesive album that took its listener on a journey from front to back. Its dislocated feel set a haunting tone, and its largely instrumental and drone-like quality was the process of the Ohia eluding itself and its own tendencies, searching for the underside of its roots freshly yanked. With DIDN'T IT RAIN, Molina \u0026amp; Co. return to the beauty of the song form and offer up a startlingly soulful and introspective song cycle in which Molina -- accepting a comfortable degree of anonymity amongst the other players -- meditates on what it means to feel rooted again (in the city of Chicago, where he's called home for the past three years), sounding more sturdy at his core than ever.\u003c\/p\u003e","brand":"Songs: Ohia","offers":[{"title":"CD","offer_id":44536164745379,"sku":"SC065cd","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/didnt-it-rain-secretly-canadian-sc065.jpg?v=1776690307"},{"product_id":"gardens-and-villa-gardens-and-villa","title":"Gardens \u0026 Villa","description":"\u003cp\u003eGardens \u0026amp; Villa channel all the taut pop precisions of 90s Britpop of bands like Blur (borrowed from the 60s anyhow), and send it through an 80s synth filter both undeniably coastal and modern. It's Spoon's Kill The Moonlight lost in a daydream, but with that same hungry energy. Gardens \u0026amp; Villa may simultaneously pull from Gary Numan, The Kinks and odder prog within one composition. And like a fine sweet tea, it's made just that right kind of sugary - though even the most upbeat tunes have an undercurrent of the bittersweet and the lost at heart. In 2010, Gardens \u0026amp; Villa traveled to Oregon to record their debut with visionary, vibemaster and labelmate Richard Swfit. Together, they put some sand in the sheets of new wave (\"Black Hills\") and pop some translucent funk (\"Orange Blossom\"). There's also a level of effortless class maintained across the whole set. Each and every lush  little gem explores the wonderful mystery between intuition and proficiency, between tension and repose. 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All the things you stopped yourself from doing on account of the fear of failure, or rejection.  Weigh that up against your ambitions.  Think about your work ethic.  We're reclaiming failure as an act of progress.  An act of learning.  Something to celebrate. A word's meaning can change depending on who utters the thing; and so we present characters - shapes are morphed and stories are delivered.  This is a collection of 4-minute tales written to provide you with insight into the inner workings of failed ambitions and self-destruction. Unedited, uncensored, and without inhibition.  I've learned to reveal what I want to unlearn.  I cast a light on the darkness and in doing so understand love and compassion.  Fear is to be confronted, and to learn strictly requires failure - over and over.  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They are a kind of an echo from the future to that album from 50 years ago.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAs the British-born, New York-based artist’s first full album since 2016’s HOPELESSNESS, ANOHNI explains that the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eA record its creator acknowledges is inextricably both personal and political, and one that is full of heartfelt music that also questions its own right to be heard, My Back Was A Bridge For You To Cross demonstrates music’s unique capacity to bring harmony to competing, sometimes contradictory, elements.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“For me, there's no heavenly respite; creation is a spectral and feminine continuum, and our souls are an inalienable part of nature.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn 2022, having sought producer recommendations from Rough Trade Records’ Jeannette Lee and Geoff Travis, ANOHNI began working with Jimmy Hogarth (Amy Winehouse, Duffy, Tina Turner) noting his sensitivity towards soul music. Having always helmed and written her previous records – bar HOPELESSNESS, for some of which, producers were invited to submit instrumentals – this kind of collaboration was a first for ANOHNI. “There was a great ease to this songwriting process,” she says of her writing and recording sessions with Hogarth. “I loved making this record in a way that I've never done before.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBringing in with her several years of texts, ANOHNI and Hogarth shared musical ideas and sketched out a series of demos with Hogarth playing guitar. Hogarth then assembled a studio band – including guitarist Leo Abrahams and string arranger\/instrumentalist Rob Moose – to record the full album.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Many of the recordings on this record – like“It Must Change”and “Can't” – capture the first and only time I have sung those songs through. There's a magic when you suddenly place words you have been thinking about for a long time into melody. A neural system awakens. It isn't personal and yet is so personal. Things connect and come alive.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHogarth’s intuitive guitar leads the listener across ten songs, touching on elements of American soul, British folk and experimental music. ANOHNI places her heart on the line and in a groove in the opening track “It Must Change,”describing systems in collapse with a note of compassion for humanity: “The truth is I always thought you were beautiful in your own way \/ That’s why this is so sad.”“Scapegoat” waivers between tenderness and instrumental brutality, “Take all of my hate into your body \/ It doesn’t matter what you’ve got to give \/ or why you want to live \/ You’re my scapegoat \/ It’s not personal.” The primordial, Kali-esque curse “Rest” positions the record at moments in conversation with experimental rock of the 1970s: “Rest like the enemy of all that sees \/ Rest like the enemy of all that breathes \/ In the poison ocean blue \/ She’ll come home to you.” “Go Ahead” presses melody through dissonance. “You are determined to take me down \/ Go ahead kill your friends \/ I can’t stop you.” My Back Was A Bridge For You To Cross shape shifts through its subject matter: the loss of loved ones, inequality, alienation, privilege, denial, ecocide and the tidal power of Earth, isolation, Future Feminism, and the intention that we might yet transform our ways of thinking, our religious ideas, our societal structures, and our relationships with the rest of nature.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“You know how they always said that light was the opposite of darkness? \/ It’s just fire in darkness, creating life \/ So those opposites, they don’t exist \/ It’s just an idea that someone told you” (“It Must Change”)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eANOHNI’s voice is sensual and smoothed, selectively reaching to the edges of what it can contain. “I don’t want you to be dead, I can’t accept it,” she cries out at the climax of “Can’t.” “We’re not getting out of here \/ No one’s getting out of here \/ This is our world,” she murmurs on “It Must Change.” “How sweet the vista, the portal view \/ On my way to black and blue,” she grieves on “Sliver of Ice,” a remembering of some of the last words Lou Reed shared with her.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eA portrait of gay rights activist Marsha P. Johnson taken by Alvin Baltrop features on the cover of My Back Was a Bridge For You To Cross, reflecting a 25-year relationship with the memory of Johnson that ANOHNI has held space for in the presentation of her own work. Paintings by Sylvester Hustito, a Zuni Two Spirit artist from New Mexico, depict another crucial vision of America, from a queer, indigenous historical point of view. On “You Be Free,” ANOHNI sings from with heartbreak about the passing of trans intergenerational knowledge: “Done my work \/ My back was broke \/ My back was a bridge for you to cross \/ Then I wished in the aftermath \/ That the Earth would take my life \/ Like she took the lives of my Mother and my Sister.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I'm careful with the emotional pathways I am drawing. The stories we tell ourselves are the basis of our cultural mythologies, and often a foreshadowing of our destinies. We live in a world where story-telling has become another abuse of power, a threat, fake news, anti-female, anti-nature,” ANOHNI says of her intentions as lyricist. The album artwork states simply ”IT’S TIME TO FEEL WHAT’S REALLY HAPPENING”. In some ways it feels as if she is reaching across her life’s expression, and has found a moment of unique composure, wearing her long exploration of disarming intensity, but with the maturity of a painter choosing colors.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOn listening to My Back Was A Bridge For You To Cross, one is reminded of music’s power and ability to articulate the political and the personal concurrently. “As much as I was British or American, I was identified as a non-viable part of family, community, church, society. At moments I was deemed not worth protecting, as being expendable, on account of my femininity. Ultimately that was a gift for me because it brought me unique insight into the societies I found myself having to navigate. It forced me to be more willing to look at who and where I really was.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWith “Mercy Mercy Me (The Ecology),” Marvin Gaye made a visionary plea for the environment in 1971, a gesture that ANOHNI has echoed across her own output, from “Rapture” in 1992 and “Another World” in 2009, to “4 Degrees” and “Why Did You Separate Me From The Earth?” from her last record HOPELESSNESS in 2016.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eANOHNI’s approach since her last record has shifted from someone tasked with challenging global denial, to an artist seeking to support others on the front lines. “I want the record to be useful. I learned with HOPELESSNESS that I can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making. I can sing of an awareness that makes others feel less alone, people for whom the frank articulation of these frightening times is not a source of discomfort but a cause for identification and relief.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I see myself as a part of a process. I know that I'm not there, but I feel that someone in the future might know how to get there. An innovation in our way of dreaming or thinking might help us get back home. I hope that this record is another step in that direction. As problematic and broken as it might be, maybe there's an element in this music that's going to be useful to a future iteration of us. They're going to be able to distill what's right about it and make something better out of it. So I do my work hoping that someone's going to be able to pick it up and take it further, that it can be a source of something positive at some later point in our evolution – if we're lucky to continue to have an evolution.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“We are each moving through massive impersonal systems that we feel powerless to change. And yet we're being asked in this moment to pull back the curtain and recognize these systems for what they are - not the preordained will of a god, but something we created over centuries. If we can’t do this collectively, we will forfeit our remaining ability to influence our trajectory. We have to dismantle systems that are destructive, and yet upon which many of us are dependent. Whether it’s because of malevolence, or fear, or addiction… ultimately it’s been one big survival strategy. We've never been faced with a challenge this consequential before as a species. Because of their structural hatred of Femaleness, Abrahamic religions and capitalism can only realize an apocalyptic future, rather than facilitate the emergence of a life-sustaining sensibility that might allow us to continue to exist as a part of Nature. So that's a challenge that we're facing now.”\u003c\/span\u003e\u003c\/p\u003e","brand":"ANOHNI and the Johnsons","offers":[{"title":"LP Opaque Yellow Vinyl","offer_id":44536191058083,"sku":"SC480lp-C2","price":31.99,"currency_code":"USD","in_stock":true},{"title":"LP White Vinyl","offer_id":48011495702691,"sku":"SC480lp-C1","price":31.99,"currency_code":"USD","in_stock":true},{"title":"LP Black Vinyl LP","offer_id":44536191090851,"sku":"SC480lp","price":31.99,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":44536191123619,"sku":"SC480cd","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc480.anohni.myback.lp.mock.c2.jpg?v=1715585163"},{"product_id":"number-seven-uptown-swearing-at-motorists","title":"Number Seven Uptown","description":"\u003cp\u003eThe masters of the rock miniature are back. Less than a year after their debut full-length, the critically acclaimed MORE SONGS FROM THE MELLOW STRUGGLE, the duo known as Swearing At Motorists have another album for the public to parade behind. We know it hasn't been long, but sometimes life's cycles run oblong and you find yourself with less things to kick the dog about than usual. Perhaps it was that '99 was such a fallow year record-wise for the Motorists, perhaps releasing no records in the last year of the '90s put a little pressure on Dave Doughman and Don Thrasher to return to their frenzied form (aside from MORE SONGS, 2000 has seen the release of two 7\"es and a handful of compilation appearances). Or perhaps songwriter Doughman had a whole lotta lousy times to inspire him to write what are easily the best songs of his career. It's the sorta thing that makes a label salivate and gleefully quake, when an artist goes through relationship troubles. Indeed, the gambling men among you will call NUMBER SEVEN UPTOWN a sour relationship album. Yes, the carcass of the relationship that spans this record is weathered, worn, and -- by the last song -- pretty much rotted. And Doughman's emotional ambivalence on what appears to be his life crumbling before his eyes is what makes this album so sweet for all the twisted souls out there -- us included -- who love to watch another man have a lousy time. Better him than us, right? Cut from the same blue cloth as the late great Hank Williams, and landing somewhere between Richard Hell's DESTINY STREET, Neil Young's ZUMA and The Breeders' THE POD, NUMBER SEVEN UPTOWN finds Swearing At Motorists at their finest hour. Drummer Thrasher, a veteran of Guided By Voices, the New Creatures and the Hope Fools, provides the perfect steady beat that echoes hallmark drummers like Charlie Watts, Moe Tucker and Hal Blaine. Singer\/guitarist Doughman, known for prowling the stage during live shows like a spastic mix of Prince and Jon Spencer, proves to be a man of all seasons, having also produced the album.\u003c\/p\u003e","brand":"Swearing At Motorists","offers":[{"title":"CD","offer_id":44536193974435,"sku":"SC032cd","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/number-seven-uptown-secretly-canadian-sc032.jpg?v=1715583897"},{"product_id":"offshore-early-day-miners","title":"Offshore","description":"\u003cp\u003eOver the course of the last decade Daniel Burton (the man behind Early Day Miners) has become one of  the mid-west's best kept secrets. Mentored by Daniel Lanois at his Teatro Studio in Los Angeles, Burton has been putting his project-oriented stamp on a variety of records for the last 10 years. Anywhere from early Songs: Ohia recordings to tribal rumblings of On Fillmore (Glenn Kotche of Wilco's band with the venerable Darin Gray) to the pink noise and melodies of Windsor For the Derby, Burton's ideas and experiences with various bands in the studio have coalesced into this career-defining work, Offshore.\u003c\/p\u003e","brand":"Early Day Miners","offers":[{"title":"CD","offer_id":44536194334883,"sku":"SC135cd","price":12.99,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":44536194367651,"sku":"SC135lp","price":11.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc135-380.jpg?v=1776689706"},{"product_id":"person-to-person-foreign-born","title":"Person To Person","description":"\u003cp\u003eAn album of dense pop that justifies the band's place among top songsmithing contemporaries like Cass McCombs and James Mercer, as well as greats like (dare I say it?) David Bowie (There, I said it). 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The thing with summer anthems is that they only last a summer, Foreign Born delivers the soundtrack for the backyard BBQ of the ages.\u003c\/p\u003e","brand":"Foreign Born","offers":[{"title":"LP","offer_id":44536197152931,"sku":"SC182lp","price":23.99,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":44536197185699,"sku":"SC182cd","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/person-to-person-secretly-canadian-sc182.jpg?v=1776689647"},{"product_id":"person-to-person-foreign-born-sc25","title":"Person to Person (Secretly Canadian's 25th Anniversary Edition)","description":"\u003cp\u003e*Secretly Canadian's 25th Anniversary limited edition color vinyl with exclusive anniversary cover art + obi*\u003c\/p\u003e\n\n\u003cp\u003e*Includes a 12x12 print and essay celebrating the artist and album, exclusively for direct orders*\u003c\/p\u003e\n\n\u003cp\u003eAn album of dense pop that justifies the band's place among top songsmithing contemporaries like Cass McCombs and James Mercer, as well as greats like (dare I say it?) 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Electronic and instrumental reprises precede songs they've yet to play, and Dr. Seuss becomes lyrical motivation for bold futuristic visions. Now, Granduciel has done it again, better than before: Slave Ambient, their proper second album, is a brilliant 47-minute sprawl of rock 'n' roll, conceptualized with a sense of adventure and captured with seasons of bravado.  Slave Ambient features a team of Philadelphia's finest musicians, including multi-instrumentalists Dave Hartley and Robbie Bennett, and drummer Mike Zanghi. Recorded throughout the last four years at Granduciel's home studio in Philly, Jeff Ziegler's Uniform Recording and Echo Mountain in Asheville, NC, the album puts the weirdest influences in just the right places. Synthesizers fall where you might expect more electric guitars (and vice versa); country-rock sidles up to the warped extravagance of '80s pop. Instant classic \"Baby Missiles\" is part Spingsteen fever dream, part motorik anthem. 'Original Slave' might sound like a hillbilly power drone, but \"City Reprise #12\" suggests Phil Collins un-retiring to back Harmonia. \"I Was There\" is Harvest rebuilt by some selection of psychedelic all-stars, while the shuffling, sleepy opener \"Best Night\" offers a band with too many ideas to be in a hurry. During the mid-album centerpiece 'Come to the City,' Granduciel howls and moans, 'All roads lead to me\/ I've been moving\/ I've been drifting.' Indeed, however unlikely that might seem, all these sounds arrive cohesively in one unmistakable place. Every song on Slave Ambient is instantly identifiable and infinitely intricate, a latticework of ideas and energies building into mile-high rock anthems.\u003c\/p\u003e","brand":"The War On Drugs","offers":[{"title":"CD","offer_id":44536207900835,"sku":"SC190cd","price":14.99,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":44536207933603,"sku":"SC190lp","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/slave-ambient-secretly-canadian-sc190.jpg?v=1776689467"},{"product_id":"baby-rose-slow-burn","title":"Slow Burn","description":"\u003cp\u003e\u003cspan\u003eLess than a year after her album Through and Through, Baby Rose returns with Slow Burn, a collection of songs that explode her sonic palette from progressive R\u0026amp;B into a rawer, richer and more sprawling lens of American music. Here, Rose asserts herself as not only a once-in-ten-lifetimes vocalist, but as a formidable songwriter connecting the dots where Muscle Shoals meets psych, psych meets jazz, jazz meets Americana, and the right players bring it all together. Produced by BADBADNOTGOOD, Rose and the band found an instant but seemingly endless well of inspiration; what started as an introduction became a day, became a song, became a night, became Slow Burn.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBaby Rose was already a powerful position player — she can share the stage with Robert Glasper without breaking a sweat, or close an epic film like Creed III, for which she performed the closing credit song, with steely confidence. When Rose first met with BADBADNOTGOOD the idea was to say hello, get acquainted, see what a collaboration could, over time, potentially become. But the connection was instant, and together they put down lead single “One Last Dance” in just that first meeting. It was Rose’s first freestyle vocal, and it snapped crucial pieces of her vision into focus. “I’ve known deep down there were new spaces and sounds that I could rise to,” Rose explains. “I’ve always been into different sounds that bring in those rawer textures.” And so while the speed of their collaboration thrilled and surprised Rose, the potential and the end results did not. “We moved quickly,” she says, “and it really was a faucet. Once we got ‘One Last Dance’, it became clear everything was going to flow.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe songs on Slow Burn were inspired in part by Rose’s experiences driving between her family’s home bases: the noise and chaos of DC and the quiet, Carolina countryside. Rose would crank music and let her mind drift, making room for the internal monologues and imagined dialogues you might not otherwise dare to hear. There’s a dreaminess in those moments, and they smolder on Slow Burn: memories lose their realities, feelings replace happenings. Slow Burn’s title track, for example, sets soft, ambling drums against Rose’s lyrical repetitions, as she traces those recollections—some lives, some felt— with patient, insistent desire.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe standout “One Last Dance” arrives disguised as a love song, but is actually an ode to a lost friendship, and an imagined dream of one more day like the old days. Reality blurs with feeling again, vocals layer into lullaby, and BADBADNOTGOOD’s bassist Chester Hansen brings that dreamlike quality to a sneaky, cautious but loving undertone. 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They suddenly sounded like a band reimagined, their once-ramshackle folk-pop now brimming with unprecedented gusto and sheen. But could they see it, too?\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSo in the ad hoc studio the Chicago duo built in the living room of their rented Portland bungalow, a shared 2020 escape hatch amid breakups and lockdowns, Julien and Max decided to find out. Somewhere between midnight and dawn every night, their brains refracted by the late hour and light psychedelics, they’d play their latest creations while a hardware store disco ball spun overhead and slowed-down music videos from megastars spooled silently on YouTube. Did their own pop songs—so much more immediate and modern than their hazy origins—fit such big-budget reels? “We’d come to the conclusion we weren’t going to be filming Super 8 videos to this stuff anymore,” Julien remembers with a grin. “How about something more hi-fi, cinematic?” When the footage and the tunes linked, Julien and Max knew they had done it, that they’d finally found Whitney’s sound.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSPARK reintroduces Whitney as a contemporary syndicate of classic pop, its dozen imaginative and endearing tracks wrapping fetching melodies around paisley-print Dilla beats and luxuriant electronics. What’s more, Whitney reduces three years of extreme emotional highs and lows into 38 brisk but deep minutes, each of these 12 tracks a singable lesson in what it is they (and, really, we) have all survived. The recalcitrant ennui of opener “NOTHING REMAINS,” the devastating loss of “TERMINAL,” the sun-streaked renewal of “REAL LOVE”: However surprising it may sound, SPARK is less a radical reinvention for Whitney than an honest accounting of how it feels when you move out of your past and into your present, when you take the next steps of your lives and careers at once and without apology. SPARK maintains the warmth and ease of Whitney’s early work; these songs glow with the newness of now.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eListen closely, and you’ll notice frequent references to smoke and fire throughout SPARK, itself a double entendre for inspiring something new or burning down the old. Max and Julien were indeed in Portland for the Fall of 2020, when smoke from nearby fires choked the city at record levels. It was terrifying and tragic, but they pressed on. “We found a way to live while the world was burning\/Real life was caving in,” Julien sings almost merrily during “BACK THEN,” an anthem for finding out what’s on the other side of hardship.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn these dire days, scientists speak increasingly of serotiny, an evolutionary miracle that causes some trees to release seeds only amid a season of fire. That is how SPARK often feels—Whitney’s circumstances were so fraught on so many levels that they hung “the past…out to dry” and began again, finding a fresh version of themselves, their relationship, and their band after the blaze. Max and Julien are back in Chicago now, sharing a cozy walkup with a little studio, where they’re already building songs for the next Whitney album. They’re both in happy romances, too. Now that they let the past burn, everything is new for Max and Julien. SPARK is not only Whitney’s best album; it is an inspiring testament to perseverance and renewal, to best friends trusting each another enough to carry one another to the other side of this season of woe.\u003c\/span\u003e\u003c\/p\u003e","brand":"Whitney","offers":[{"title":"LP Opaque Neon Green Vinyl","offer_id":44536209703075,"sku":"SC437lp-c7","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc437.whitney.spark.lp.green.jpg?v=1715585102"},{"product_id":"sweet-heart-fever-scout-niblett","title":"Sweet Heart Fever","description":"\u003cp\u003eThe beguiling Scout Niblett of Nottingham, England, is a somebody who is worth getting to know. First off, she's going to be around for some time; she's not the sort of lass who dips a toe in the water only to opt not to take a swim. Her debut album SWEET HEART FEVER is the first fruit of the artistic partnership with the inventive drummer Kristian Goddard, and is a pretty incredible \u0026amp; grand unveiling of her talent for the songcraft. Bringing to mind the harrowing intensity of PJ Harvey's debut DRY, Scout Niblett's first is an album whose exterior calm is betrayed by a fantastic inner storm -- the likes of which the legions of card-carrying members of the Trans-global Network of Damaged Souls love to immerse themselves in, if only to feel a little more potent \u0026amp; vital for a forty-minute stretch. SWEET HEART FEVER is just such an album that will keep those souls self-medicated. Indeed, the dreamlike landscape on which the fourteen songs are presented has a meandering stream of consciousness feel to it, with conventionally structured songs underscored by a few visceral song fragments that have an unresolved yet wholly intuitive feel to them. On \"Miss My Lion\", for example, Scout Niblett sings, When we get home \/ it'll be like a party. \/ He's learned to move \/ real slowly.  See how we move \/ sunlit and playful. \/ We have it all \/ but I miss my lion.  He's already there \/ waiting to greet me. For someone who can rock as hard as Scout Niblett (her live show is full of Sonic Youth-like discordant freak-outs), it must be said that it came as a bit of a surprise when she went and recorded the slow, moody and menacing SWEET HEART FEVER at Chem19 Studios in Glasgow, Scotland. Sure as hell, she'll turn heads of anyone who's ever raced across a bedroom floor to flip sides of a Sandy Denny \u0026amp; Fairport Convention, Van Morrison, Laura Nyro or even Liz Phair record.  Release date: 09\/17\/01\u003c\/p\u003e","brand":"Scout Niblett","offers":[{"title":"Default Title","offer_id":44536211669155,"sku":"SC060","price":9.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sweet-heart-fever-secretly-canadian-sc060.jpg?v=1785471247"},{"product_id":"jens-lekman-the-linden-trees-are-still-in-blossom","title":"The Linden Trees Are Still In Blossom","description":"\u003cem\u003eThe reissue of \"Night Falls Over Kortedala\".\u003c\/em\u003e\n\n\n\n“All my friends were playing in these bass-guitar-drum bands,” speaks Jens Lekman, casting his mind back over twenty years to his first rudimentary experiments with sampling using his father’s old cassette recorder, and an instinct to create music that would set him far apart from his Swedish pop peers. “I’m going to sound like Scott Walker. But I’m going to do it in my bedroom.” \n\n \n\nWorks of sweeping, maximalist, orchestral wonder sung in a sumptuous tenor, weaving lifts from obscure fleamarket vinyl records with by turns burningly romantic and mordantly funny true-life tales from the sleepy-shadowy suburbs of Gothenburg – Lekman’s early songs come from a different time, a different place. An era when the internet was young, limitless and disruptive, sample culture was turning music inside out, and anything felt possible.\n\n \n\nAfter initially finding an audience through peer-to-peer file sharing sites, Lekman signed to Secretly Canadian Records in 2003, and went on to release a slew of cherished material, including three cult limited-edition EPs – Maple Leaves, Rocky Dennis and Julie – later collected on the 2005 compilation album Oh You’re So Silent Jens. 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. \n\n \n\nNow, like Oh You’re So Silent Jens, it no longer exists in its original form. \n\n \n\nOh 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.\n\n \n\nOn 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. The Linden Trees repackages all the true-life tales, magic, and mystery of Night Falls for a new age, yet in wholly familiar form, from the joyous ‘The Opposite of Hallelujah’ to hilariously uplifting missive ‘A Postcard to Nina’ and open-hearted love-song ‘Your Arms Around Me’. \n\n \n\nTaken together, the new albums form a sort of belated farewell to Lekman’s formative days as a bedroom Scott Walker, panning for sample gold in stacks of vintage vinyl. Albeit not a farewell to the original albums themselves, which will live on in fans’ record collections, and perhaps illicit corners of the internet. Spread to the wind.\n\n \n\n“I feel like these new records are like portals that can lead you to the old records if you want,” Lekman reflects. “I think that they can lead you to another time and a place, where you could work with music in a different way.”","brand":"Jens Lekman","offers":[{"title":"CD The Linden Trees Are Still In Bl","offer_id":44536215371939,"sku":"SC389cd","price":12.99,"currency_code":"USD","in_stock":true},{"title":"2xLP Black Vinyl 2xLP The Linden Tree","offer_id":44536215404707,"sku":"SC389lp","price":29.99,"currency_code":"USD","in_stock":true},{"title":"2xLP Crystal Clear 2xLP Vinyl","offer_id":44536215437475,"sku":"SC389lp-C1","price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc389.mock.lp-c1.1.jpg?v=1755106119"},{"product_id":"the-moonstation-house-band-david-vandervelde","title":"The Moonstation House Band","description":"\u003cp\u003eDavid Vandervelde appeared before us one hot summer day like a dynamo. The sound we heard coming through in stereo was that of our coming-of-age years screaming back at us - a faithful reminder that our beauteous days of bowing before pin-up rock stars and carving iconographic logos on desktops and in famous treetrunks have not passed us by. No, David Vandervelde is here to remind us that the truest, most primal and addictive properties of rock n' roll are ageless. Indeed, this Chicagoan (by way of the dunes of West Michigan) started recording this debut full-length at age 19 yet he shows the maturity and swagger of a man much longer in the tooth. Bearing an immediate resemblance to Marc Bolan and David Bowie, deeper listening rewards the listener with a much broader musical universe. The Moonstation House Band album captures the highlights from his two-year immersion in Jay Bennett's Clubhouse - as Vandervelde refers to the studio in Chicago - where he isolated himself to record this record virtually on his own, using the former Wilco multi-instrumentalist's studio as a big toy instrument, enjoying access to much of the same gear as used on Yankee Hotel Foxtrot and Being There. Self-taught on guitar, drums, bass, piano, synth, and other studio tools, the listener can hear that Vandervelde is an adventurous artist, who embraces classic rock songwriting and whose spirit is just banging at the door to get unleashed.\u003c\/p\u003e","brand":"David Vandervelde","offers":[{"title":"LP","offer_id":44536215699619,"sku":"SC156lp","price":23.99,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":44536215732387,"sku":"SC156cd","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/the-moonstation-house-band-secretly-canadian-sc156.jpg?v=1776689288"},{"product_id":"thrush-metal-stella-donnelly","title":"Thrush Metal","description":"\u003cp\u003e\u003cspan\u003eStella Donnelly is a young songwriter with a knack for wrapping unapologetic, brutally honest lyrics with a soaring lullaby to mesmeric effect. Raised between Wales and Western Australia, where she currently lives, Donnelly got her start singing Green Day songs in her Aussie high school rock band, eventually turning her interest to jazz and contemporary as an adult studying at the West Australian Academy of Performing Arts.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWith just one EP release to boot, last year’s lauded Thrush Metal, she has already attracted critical attention worldwide. She unanimously won Bigsound 2017’s Levis Music Prize, which is given to emerging talent most likely poised for international success, amongst a swathe of industry awards in her home-soil and was a featured artist in The Great Escape’s London showcase in winter 2017. In a sterling start to 2018, she announced her signing to Secretly Canadian and will take the stage at SXSW and The Great Escape later this year amongst touring worldwide and recording her debut album.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eStella’s first single, “Boys Will Be Boys” is a particularly striking introduction to her vital, standout songwriting. New York Times described it as “A delicate waltz [that] carries a bitter reproach to blaming the victims of sexual assault. ‘Why was she all alone\/Wearing her shirt that low? she sings, and then her voice rises and roughens.” Written in late 2016, the track tackles society’s tendency to blame the victims of sexual assault and rape and making excuses for the perpetrators. Donnelly says;\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Writing this also helped me work through things that had happened to not only my friends but to me as well, it helped me relieve a lot of the shame that victims are so often forced to feel in silence. I hope that this song… will open up difficult yet important conversations between family members, friends, government bodies, organizations and most importantly, boys and men.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eYet this insightful account isn’t limited to “Boys Will Be Boys”. The rest of Thrush Metal features sharp lyrical punchlines that, when merged with Stella’s beguiling vocals, present an endearing and relatable but equally empowering guidebook to female experience in this age of Trump, Tinder and third wave feminism. Take new bonus track, “Talking”, which explores the ever-so-common feeling that you’re in a one-sided relationship from a distinctly millennial perspective and “Mechanical Bull”, a pithy but potent track that addresses the male tendency to persist unwanted sexual advances.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eStella teamed up with director Charlotte Evans (who has also worked with Aldous Harding) to create her new video for “Mechanical Bull”. Shot in a rockabilly diner, it blends dreamy Wes Anderson colourscapes with the sort of sharp humour imbued throughout the EP in a shrewd critique of the objectification of women in modern day dating scenarios. A fitting and lighthearted cut that only furthers Stella’s ability to poignantly bring the modern day women’s struggles to the forefront of her writing.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSecretly Canadian will release Thrush Metal on vinyl for the first time on June 22, 2018. The first pressing will be limited white color vinyl and includes new bonus track “Talking”.\u003c\/span\u003e\u003c\/p\u003e","brand":"Stella Donnelly","offers":[{"title":"LP White Vinyl","offer_id":44536218681507,"sku":"SC371lp-C1","price":18.99,"currency_code":"USD","in_stock":true},{"title":"LP Black Vinyl","offer_id":44536218747043,"sku":"SC371lp","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc371.lp_ssthumb.jpg?v=1776689227"},{"product_id":"today-its-you-marmoset","title":"Today It's You","description":"\u003cp\u003eAt times disturbing and uncomfortable, Marmoset present their tales of street walking, dope seeking and titty clubs in precise and pop-formatted doses. On their debut EP HIDDENFORBIDDEN critics painted Marmoset, despite the under-two-minute-mark in which their songs traveled, as a brooding and slightly twisted group borrowing from early Sonic Youth. Still, Marmoset's delightful pop sensibility is undercut by a dark underbelly that keeps the songs hanging in a complex zone of romance and reality, sharing more a vibe stylistically similar to Felt, Syd Barrett and early Roxy Music, while mixing the over-the top pomp production of SOME GIRLS-era Rolling Stones with feet planted firmly in the ALIEN LANES living room. Undoubtedly, with TODAY IT'S YOU, Marmoset finds itself on the cusp of a very dirty sleeve.\u003c\/p\u003e","brand":"Marmoset","offers":[{"title":"CD","offer_id":44536219238563,"sku":"SC020CD","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/600x600sc020.jpg?v=1776689226"},{"product_id":"tri-danielson-alpha-danielson-famile","title":"Tri-Danielson!!! (Alpha)","description":"\u003cp\u003eThe Danielson Famile's carnival of soul is deeply rooted in American folk and gospel music. Having been raised on their own father's gospel songwriting in Clarksboro, New Jersey, the Famile were raised with a reverence for a deeply personal and spiritual song form, one that relished not only the song itself but also the relationships which formed around that song. And the result of a few decades of the siblings absorbing such a family practice -- as well as an ample supply of post-punk, new wave, mid-80's to early-90's independent rock, and all the Dylan and Beatles along the way -- is something like if the Carter Family and the Jackson 5 were invited to collaborate for a Sun Session with Black Francis sitting in on lead vocals during a slightly overcast Sunday afternoon. It's a strange and fascinating collision of sounds and contexts, but that's what's so incredible about the Famile; their unashamed display of all things under the sun in their travelling family circus can be so many things to so many people, but all the while being the singular vision of one truly inspired mystic by the name of Daniel. Fact: the Danielson Famile is really and truly comprised of three brothers and two sisters whose actual surname is Smith, as well as three \"adopted\" family members. \"I'm gonna give you something that's already yours.\" And so opened their debut full-length A PRAYER FOR EVERY HOUR from 1995. It came out of nowhere and was recognized for its gall to be so original and without precedent. \"Rarely has such purity and wholesomeness been so successfully combined with clarity of vision, sense of purpose, and sheer enthusiasm,\" reported John Fortunado of BUZZ magazine. As perfect a debut as the four-tracked 24-song opus was, it was with their second record TELL ANOTHER JOKE AT THE OL' CHOPPIN' BLOCK that Danielson Famile really established themselves as premier album-makers. Recorded partly in a funeral parlor in South Jersey by Shimmy Disc guru Kramer, the album stands as a potent and surreal testament to eldest brother and chief songwriter Daniel's revisionist take on the daily moral struggle we all wage. He does so with conviction and commitment, while still maintaining a sense of humor without falling into the trap of over-ironizing. \"He worries about 'fleshly' matters, dreams of making babies, recalls his own birth and calls his mother 'Mommy,' and plays it all as a family pageant,\" said CMJ magazine. Their next two full-lengths, TRI DANIELSON!!! (ALPHA) and TRI-DANIELSON!!! (OMEGA) were recorded together and released separately as sister albums. An experiment in album form, they attempted to push out in three opposite directions from one source without a unification attempt. They proved that the Famile was a band who could translate the intensity of their increasingly famous live performances -- in which the band dons nurses uniforms that act, according to Daniel, as \"visual reminders of the spiritual and emotional healing taking place\" within audience members -- onto record. With these two records, the Famile's highly choreographed, yet still quite improvisational, songs showed a kinship with the bombastic theatricality of Queen and ABBA, the serrated and damaged edge of Captain Beefheart and early Talking Heads, the child-like perspective and uninhibited sense of adventure of Half Japanese and the Shaggs, and the deep spirituality of Washington Phillips and father Lenny Smith. Secretly Canadian is proud to announce the world-wide re-release of TELL ANOTHER JOKE AT THE OL' CHOPPIN' BLOCK, TRI DANIELSON!!! (ALPHA) and TRI-DANIELSON!!! (OMEGA).  Release date: 01\/22\/01\u003c\/p\u003e","brand":"Danielson Famile","offers":[{"title":"CD","offer_id":44536219992227,"sku":"SC043cd","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/tri-danielson_-alpha-secretly-canadian-sc043.jpg?v=1776689226"},{"product_id":"tum-the-impossible-shapes","title":"Tum","description":"\u003cp\u003eWhilst 2005's critically pumped Horus initiated escalation into a milkwood tapestry of a man vs. earth vs. spirit conceptual acorn, Tum, the 300 edition LP issued just months before is their most thoroughly realized confirmation of man as freedom as seed. Principal songwriters Chris Barth \u0026amp; Aaron Deer nefariously split that nut into mighty gush, fattening this garage cum psyche-chamber session enough to peel back grooves from the cornerstones of Shirley Collins' Folkways side False True Lovers to Bobb Trimble's Harvest of Dreams. Now reissued on unlimited CD, Tum is deliciously reborn for all. Formed in 1998 the Shapes -- Barth (guitar, vocalist), Deer (organ, bass) Jason Groth (guitar) and Mark Rice (drums) -- have kept a profoundly articulate sense of classic song\/dream structure whether they are billowing in drenched multi-tacked gauze like Indianapolis forefathers Zerfas or snarled in amp-buzz annihilation of power-quartet stage performances. Easily the rawest tapes of the Shapes canon, Tum is a potent album, self-produced and directed to articulate a peak without contemporary parallels that easily rides against the sloshed chunks of bland neo-folk\/whatevers that adds to the rising murk. As backup in the battle, original member Peter King, Amy Karr (The Mean-Agers) and Stefan Gabriel contribute throughout. These 17 songs\/moments act like spell casting vessels...as hot-mouthed barefoot children with gloved fists pounding out the body-shuddering call of all to return, neck-deep, to the earth-cult. Time to carve some bark into a ticket and get in line. The wide umbrella of activity outside The Impossible Shapes stretches to each member's participation and full-on rolls in The Coke Dares (Essay Records), John Wilkes Booze (Kill Rock Stars), Barth's solo persona Normanoak (Secretly Canadian) and Deer's solo side Horns of Happiness (Secretly Canadian).\u003c\/p\u003e","brand":"The Impossible Shapes","offers":[{"title":"CD","offer_id":44536220221603,"sku":"SC132","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/tum-secretly-canadian-sc132.jpg?v=1776689226"},{"product_id":"wagonwheel-blues-the-war-on-drugs","title":"Wagonwheel Blues","description":"\u003cp\u003eThe War On Drugs push the boundaries of a quintessentially American music. Guitars soar and colorful clouds roll past whatever sun or moon you are cruising under, through whatever old bar you are reveling within. The War On Drugs point toward a tireless horizon in the distance that you will never reach but are compelled to chase. It's a tail you've chased your whole life and will continue chasing because your life is more poetic when you are moving toward it - your cinematography is more rich. Wagonwheel Blues is one of those albums that each of us holds onto tightly. They get moved from apartment to apartment through the years; they are songs on the radio that follow us from town to town. They evoke waves of nostalgia and grow more poignant with each new bump along the road.\u003c\/p\u003e","brand":"The War On Drugs","offers":[{"title":"CD","offer_id":44536224350371,"sku":"SC167cd","price":12.99,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":44536224383139,"sku":"SC167lp","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/wagonwheel-blues-secretly-canadian-sc167.jpg?v=1776689168"},{"product_id":"we-fight-til-death-windsor-for-the-derby","title":"We Fight Til Death","description":"\u003cp\u003eThis year Windsor for the Derby celebrates its tenth year with the release of its fifth full length, We Fight Til Death.  Over those ten years Dan Matz, newly relocated to Philadelphia, and Jason Mcneely, from Austin, have managed to arduously maintain this project over the many miles.  Those years have seen personnel changes with much help along the way by their talented friends.  Over the last few years, Timothy White and Ben Cissner have jumped on board to lend their invaluable assistance to WFTD and helped to create a solid quartet.     We Fight Til Death finds WFTD in Bloomington, Indiana with Dan Burton (Early Day Miners, Ativin) at the controls.  This record was recorded and mixed over the last year at Burton's Grotto Home Studio with Burton and a few other locals sitting in. WFTD finds a way to take each release to a wholly different trajectory while at the same time creating a progressive connection to the last.  The skewed pop sensibilities of The Emotional Rescue LP are hinted at on We Fight Til Death as well as the dark refrains of 1998's Minnie Greutzfeldt.  By combining elements of previous releases and exploring new terrain, We Fight Til Death is Windsor For The Derby's most realized release to date.\u003c\/p\u003e","brand":"Windsor for the Derby","offers":[{"title":"CD","offer_id":44536225562787,"sku":"SC110cd","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/we-fight-til-death-secretly-canadian-sc110.jpg?v=1776689108"},{"product_id":"winston-park-dave-fischoff","title":"Winston Park","description":"\u003cp\u003eDuring recent years Dave Fischoff has explored various musical forms, retaining some and abandoning others. Besides the early bands he tried his hand at, the musical life of Mr. Fischoff has been in the solo realm. Coaxed on by friends and former bands mates Dave began to perform solo in the summer of 1994 in the Bloomington, Indiana area. Using only a guitar and Marshall stack Dave found himself jumping around basements and clubs. Feeling there was an integral element missing in his music, he began to employ pre-recorded sounds into his live show. With the new combination of tape letters, found sound, translucent electronics, guitar and voice, the music took on a new life. Dave used his lyrical imagery and story telling ability to enhance the deeply personal music. In November 1997 Dave recorded WINSTON PARK with friend and engineer Thom Hoff (American Analog Set). The album was recorded in Dave's living room over two weeks using a 1\/4\" Tascam 8-track and one Shure microphone.\u003c\/p\u003e","brand":"Dave Fischoff","offers":[{"title":"CD","offer_id":44536227496099,"sku":"SC010cd","price":11.99,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":44536227528867,"sku":"SC010lp","price":23.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/winston-park-secretly-canadian-sc010.jpg?v=1776689107"},{"product_id":"every-bad-porridge-radio","title":"Every Bad","description":"\u003cp\u003e\u003cspan\u003ePorridge Radio grew out of Dana Margolin’s bedroom, where she started making music in private. Living in the seaside town of Brighton, she recorded songs and slowly started playing them at open mic nights to rooms of old men who stared at her quietly as she screamed in their faces.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThough she eventually grew out of them, for Margolin these open mic nights unlocked a love of performing and songwriting, as well as a new way to express herself. She decided to form a band through which to channel it all, and be noisier while she was at it – so Porridge Radio was born.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eInspired by interpersonal relationships, her environment – in particular the sea – and her growing friendships with her new bandmates (bassist Maddie Ryall, keyboardist Georgie Stott, and drummer Sam Yardley) Margolin’s distinctive, indie-pop-but-make-it-existentialist style soon started to crystallise. Quickly, the band self-released a load of demos and a garden-shed-recorded collection on Memorials of Distinction, while tireless touring cemented their firm reputation as one of UK DIY’s most beloved and compelling live bands. 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We are all forced to watch. Every possible catastrophe vibrates in our pockets, demanding to be witnessed. A busboy in Tulsa with a below average data plan now holds more of the world in his head than Alexander the Great. The human burden continues to increase and empathy begins to seem like something belonging to a nostalgic past, like a handwritten letter or sex on a train. The classic response to this predicament has been a figure of ironic detachment, a well-groomed young man drinking out of a red plastic cup at a rooftop party. He explains with a smirk why the good thing is actually bad, the bad thing actually good. But now Alex Cameron approaches with his righthand man, Roy Molloy. Cameron knocks the cup from the young man’s hand and Molloy threatens him with his life.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWith 'Forced Witness', Cameron’s solution to the difficulties we face is a danceable and dangerous earnestness, a sense of honesty that heals and relieves even as it cleaves us or makes us laugh in self-defense. He’s offering vivid portraits of misfits’ views of the world, presented without illusion.. Recorded in Berlin in an old East German radio station and produced by Cameron along with Foxygen’s Jonathan Rado, these tracks at first seem shamelessly entertaining, the driving rhythms and rousing melodies embellished at every turn by Molloy’s warm hornwork. But the love songs and anthems contain as much raw humanity as they do a savvy grasp of the impossible loneliness of the times, especially apparent in the song “Stranger’s Kiss” -- Cameron’s affecting duet with the American singer Angel Olsen. The defiantly bloody knuckles in “Runnin’ Outta Luck” and the grime of wet dreams in “Country Figs” occupy the same space as the great sadness of the internet in the catchy and contemplative song “True Lies,” in which Cameron sings about that buzzing hive of randomized sexuality where we can either submit to the stirrings in our own laps or let our fragile hopes catfish us. Alex Cameron details penultimate track “Marlon Brando” as “a character portrait, a study of a man in the hopeless pursuit of a woman. He is a familiar character in the world, a self-assured jock, a dullard, a low grade human who uses a specific kind of language when he finds a situation outside of his control. 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In these chaotic times when we aren't able to look away, Cameron is offering us a pure account of the world as he's seen it.\u003c\/span\u003e\u003c\/p\u003e","brand":"Alex Cameron","offers":[{"title":"CD","offer_id":44673910964387,"sku":"SC336cd","price":12.99,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":44673910997155,"sku":"SC336cass","price":6.99,"currency_code":"USD","in_stock":false},{"title":"Secretly Society Clear \u0026 Blue Swirl Vinyl","offer_id":44673911029923,"sku":"SC336lp-C2","price":17.99,"currency_code":"USD","in_stock":false},{"title":"LP Black Vinyl","offer_id":44673911095459,"sku":"SC336lp","price":17.99,"currency_code":"USD","in_stock":true},{"title":"CD Signed","offer_id":44673911128227,"sku":"SC336cd-Signed","price":12.99,"currency_code":"USD","in_stock":false},{"title":"LP Signed","offer_id":44673911160995,"sku":"SC336lp-Signed","price":17.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc336cd-380.jpg?v=1776688987"},{"product_id":"life-will-see-you-now-jens-lekman","title":"Life Will See You Now","description":"\u003cp\u003e\u003cspan\u003eJens Lekman describes his new record playfully, but also honestly, as “a thirties-crisis disco album; it’s an existentialist record, about seeing the consequences of your choices”. Across three studio albums, the Swedish singer\/songwriter and musician has proven not only his flair for telling very personal stories with a sharp self-awareness, but also his skill for balancing depth of emotional expression with droll and often self-deprecating detail. It’s a winning pop combination.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHis fourth, Life Will See You Now is a typical Lekman album in several ways: sly humour is key to its heartfelt nature; it inverts pop’s writing norm by making songs with sad concerns sound happy and songs with a happy subject sound sad; and it plays with notions of identity and the self. Life Will See You Now is expansive, the upbeat sound of a revitalised Lekman, who is just one of many characters in his new stories about the magic and messiness of different kinds of relationships. It’s also the result of deliberate steps he took to create this fresh sound.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAlthough Lekman is present in all of the songs on Life Will See You Now, it’s sometimes as a listener or spectator, rather than solely as the central active figure. Male characters get more of the spotlight than before. Lekman’s previous records have been female-centric, “I wanted to see what would happen if I wrote about men. It was inspiring at first, but writing about masculinity went down a very dark path. And there was a sadness that was very real; I had trouble finding stories that weren’t horribly depressing” he admits. “How Can I Tell Him” is one of a few songs saved from that shelved plan, a touching ode to male friendship that addresses the behavioural boundaries drawn around expressions of intimacy for generations of men.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAnother big choice was a decision to experiment with different kinds of rhythms – disco, calypso, samba and bossa nova all get a bespoke twirl in the spotlight – and so he called on producer Ewan Pearson (M83, The Chemical Brothers, Goldfrapp) to help realise his new songs. “I was looking for something more rhythmical. That was just what was intriguing me at the time – how you structure rhythms and build changes and time signatures. 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More obviously upbeat are “What’s That Perfume That You Wear?”, which features a steel pans sample from Ralph MacDonald’s “The Path” of 1978 – “one of my favourite records ever,” enthuses Lekman – “To Know Your Mission”, whose jaunty, sing-along chorus belies its serious subject (self-doubt and indecision versus self-belief and faith) and the irresistibly buoyant “How We Met, The Long Version”, a disco-pop cracker with strings and piano that samples Jackie Stoudemire’s 1983 track, “Don’t Stop Dancin’”.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe writing of Life Will See You Now was somewhat of an attempt to overcome periods of self-doubt, a process helped by Lekman’s two interim projects – Postcards, in which he committed himself to writing and releasing one song every single week in 2015 and Ghostwriting, where he asked other people for their stories and wrote songs around them, rather than his own experiences. “There was a part of me that was really sick of this Jens Lekman character,” he confesses, “and I wanted to write myself out of my songs. “ Jens laughs: “After I did the Ghostwriting project I was able to let that go, and also realized how important it is to be in your own songs to be able to communicate an emotion.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt may be very much inspired by stories told to him by friends and random acquaintances, but for Lekman, Life Will See You Now is still “a very personal record”. In “To Know Your Mission”, the perky Euro-pop number set in August of 1997 that pictures him – or at least, a character called Jens – as a teenager contemplating his future, one line that’s particularly pertinent to his ideas about this singer\/songwriter business stands out. “In a world of mouths, I want to be an ear,” croons Lekman, sweetly. “If there’s a purpose to this, then that’s why God put me here.” It’s not a statement of religious belief, just a simple recognition of what he was in some way called to do. 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They suddenly sounded like a band reimagined, their once-ramshackle folk-pop now brimming with unprecedented gusto and sheen. But could they see it, too? \u003cbr\u003e\u003cbr\u003eSo in the ad hoc studio the Chicago duo built in the living room of their rented Portland bungalow, a shared 2020 escape hatch amid breakups and lockdowns, Julien and Max decided to find out. Somewhere between midnight and dawn every night, their brains refracted by the late hour and light psychedelics, they’d play their latest creations while a hardware store disco ball spun overhead and slowed-down music videos from megastars spooled silently on YouTube. Did their own pop songs—so much more immediate and modern than their hazy origins—fit such big-budget reels? “We’d come to the conclusion we weren’t going to be filming Super 8 videos to this stuff anymore,” Julien remembers with a grin. “How about something more hi-fi, cinematic?” When the footage and the tunes linked, Julien and Max knew they had done it, that they’d finally found Whitney’s sound.\u003cbr\u003e\u003cbr\u003eSPARK reintroduces Whitney as a contemporary syndicate of classic pop, its dozen imaginative and endearing tracks wrapping fetching melodies around paisley-print Dilla beats and luxuriant electronics. What’s more, Whitney reduces three years of extreme emotional highs and lows into 38 brisk but deep minutes, each of these 12 tracks a singable lesson in what it is they (and, really, we) have all survived. The recalcitrant ennui of opener “NOTHING REMAINS,” the devastating loss of “TERMINAL,” the sun-streaked renewal of “REAL LOVE”: However surprising it may sound, SPARK is less a radical reinvention for Whitney than an honest accounting of how it feels when you move out of your past and into your present, when you take the next steps of your lives and careers at once and without apology. SPARK maintains the warmth and ease of Whitney’s early work; these songs glow with the newness of now. \u003cbr\u003e\u003cbr\u003eListen closely, and you’ll notice frequent references to smoke and fire throughout SPARK, itself a double entendre for inspiring something new or burning down the old. Max and Julien were indeed in Portland for the Fall of 2020, when smoke from nearby fires choked the city at record levels. It was terrifying and tragic, but they pressed on. “We found a way to live while the world was burning\/Real life was caving in,” Julien sings almost merrily during “BACK THEN,” an anthem for finding out what’s on the other side of hardship. \u003cbr\u003e\u003cbr\u003eIn these dire days, scientists speak increasingly of serotiny, an evolutionary miracle that causes some trees to release seeds only amid a season of fire. That is how SPARK often feels—Whitney’s circumstances were so fraught on so many levels that they hung “the past…out to dry” and began again, finding a fresh version of themselves, their relationship, and their band after the blaze. Max and Julien are back in Chicago now, sharing a cozy walkup with a little studio, where they’re already building songs for the next Whitney album. They’re both in happy romances, too. Now that they let the past burn, everything is new for Max and Julien. 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He employs each of the following as central features in his songs: horn sections, string sections, a capella singing, steel drums, piano balladry, and mandolin. Lekman is a young pop crooner from Göteborg, Sweden. Eyes bright, heart wide open, he's become an overnight sensation with his home recorded magic and fantastic lyrics. It's hard to believe that he is only 23. He could as well be playing Las Vegas. His timeless elegance makes the big, beautiful suburban pop songs sound like they're already classics. Which they are. He recently hit #2 on the Swedish national pop  charts for the title track to this EP. Most everyone who's heard him believes him to be the next great pop star emerging from the streets of the DIY underground. 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Captured during a spontaneous backyard photo shoot using a dinky digital camera, the image encapsulates a record that is rough around the edges and joyfully undone with themes of longing, lust, and regret.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePilbeam began writing Liquorice in earnest while living in Brisbane over 2022-2023, and later at a home shared with Agius in Melbourne, ultimately completing the demos in mid-2024. As a musician who has previously worn her influences on her sleeve, Pilbeam strove to write from scratch without any specific musical influences in mind; allowing songs to breathe for weeks, rather than rushing ideas. 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The record marks a stellar evolutionary leap for the North London singer-songwriter who first came to attention back in 2020, aged 16, with her self-recorded lockdown release 'Won’t You Be Happy'. Eaves began working on Little Miss Sunshine after a period of reflection which saw her question whether she could ultimately do justice to the music in her head.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eTime spent with the record will reveal ten songs that look to the cycles of nature to explain and celebrate the emotional weather that makes us human. “At my lowest,” recalls Eaves, who at once point even laughs as she recalls how she resolved to give up music altogether with a view to entering a convent: “I just wanted to be unhuman, unfeeling and unmoved. Like a mountain or a tree. Or the sky. These are all things that have a purpose but I didn’t know what my purpose was. And so what I had to do was figure it out, song by song.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eOn Little Miss Sunshine, it’s a story told in thrilling instalments, from the opening seconds of the album’s sonic establishing shot and lead single 'Hurricane Girl' a sensational synergy of diaphanous shoegaze harmonies and elemental rock guitars inspired by watching documentaries about storm chasers, using the metaphor to shine a light on friends who have been compelled to seek out tempestuous relationships. “I feel like this is my Pearl Jam song,” she explains, “The first time I ever listened to Pearl Jam. I was up this huge mountain in Wales. In the same week, I also heard Jagged Little Pill by Alanis Morissette for the first time.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFrom here, right through to its achingly evocative requiem to childhood 'Summer Rolls', each song on Little Miss Sunshine acts as shining a co-ordinate in an arc of self-discovery. There’s the soaring sonic skyburst of the album’s first release 'Everybody Talks', with its rising crescendo of intrusive voices, which gained widespread radio support on both sides of the Atlantic. For 'Mountain Sized', she referenced Lily Allen’s 2009 single The Fear – “because you’ve got this one woman casually listing all the worst things about herself, the kind of stuff you should be too embarrassed to admit.” However, on Eaves’ song, this fomenting anxiety is obliterated by a panoramic chorus which sees her smash through the membrane of her real-world restrictions in order to declare, “But in my mind\/But in my mind\/I am taller than the highest mountain sides.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe achingly mellifluous 'The Great Plains' sees Eaves interrogating her earliest memories spent idolising her older sister Dora. “She was so demure and mermaid-like,” recalls Eaves, “and I was ruled by my emotions – and the harder I tried not to be, the more I realised I could never be like her.” In the song, self-acceptance of sorts comes as Eaves looks to the natural world to tell her what it’s ok to be: “As I erupt into a blaze \/It’s ok the sky will do the same\/Let no-one bat an eye when \/Every year I’ll hibernate till May\/Because no-one blames the clouds for rain\/So take me as I am, tears down my face.” \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAs the sessions gathered momentum, Eaves found drew inspiration from contemporaneous releases. Cases in point included Wolf Alice (“the only band that’s achieved the balance I’m always trying to get – the combination of guitars that go that heavy and vocals that go that high and ethereal”), Mannequin Pussy (“they gave me something of what I missed [in the era of Riot Grrrl] when L7 and Babes In Toyland were touring”); and CMAT’s “straight-up brilliant songwriting”.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eOther highlights on an album luminous with them are 'Daisy Chain Reaction', whose glistening power pop sheen conceals a lyric about the culture of competitiveness around eating disorders and the queasy mechanised attack of 'Just Say No', a song built around the brutal truths accrued from Eaves and her friends’ skirmishes with abusive men.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eOver the course of two years, Eaves worked tirelessly to finesse every single verse, chorus, pre-chorus and middle eight on Little Miss Sunshine before entering the studio with the album’s co-producer Andy Savours (My Bloody Valentine, The Killers, The Horrors). This is an album on which every single detail has earned its right to be there, bearing testament to the singular musical vision of its creator.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eLittle Miss Sunshine is released through Secretly Canadian on 17th April\u003c\/p\u003e","brand":"Eaves Wilder","offers":[{"title":"LP","offer_id":46786748776611,"sku":"SC504LP-C1","price":23.99,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":46786748809379,"sku":"SC504cd","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc504.eaveswilder.lms.lp.c1.mock.jpg?v=1776688388"},{"product_id":"didn-t-it-rain-revinyl","title":"Didn’t It Rain (ReVinyl)","description":"\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cstrong\u003eAvailable to pre-order now, releasing 5th June 2026. Please note that this will ship on or around release date.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cstrong\u003eReVinyl color is chosen at random - pressed using 100% reclaimed vinyl material\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eDidn't It Rain is Jason Molina's first perfect record. Recorded live in a single room, with no overdubs and musicians creating their parts on the fly, the overall approach to the recording was nothing new for Molina. But something in the air and execution of Didn't It Rain clearly sets it apart from his existing body of work. His albums had always been full of space, but never had Molina sculpted the space as masterfully as he does on Didn't It Rain.\u003c\/p\u003e","brand":"Songs: Ohia","offers":[{"title":"LP","offer_id":47595515642019,"sku":"SC065LP-C1","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc65.songs.mock.jpg?v=1777412707"}],"url":"https:\/\/secretlystore.com\/collections\/bens-picks.oembed?page=2","provider":"Secretly Store","version":"1.0","type":"link"}