{"title":"Featured","description":null,"products":[{"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":"bonny-light-horseman-keep-me-on-your-mind-see-you-free","title":"Keep Me on Your Mind\/See You Free","description":"\u003cp\u003e\u003cspan\u003eBonny Light Horseman’s new album, Keep Me on Your Mind\/See You Free, is an ode to the blessed mess of our humanity. 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. A folk-rock portrayal of an unraveling relationship, it’s like the spirit of Ingmar Bergman’s “Scenes From a Marriage” set to song—light on its surface but woven from existential crisis. “When I Was Younger,” meanwhile, is a primal scream, revolutionary for its open reckoning with motherhood, maturation and all of the things polite society doesn’t say out loud. In the song, Mitchell and Johnson’s honeyed voices meet and transform into a two-headed beast formed from pent-up emotion; its roar is necessary, beautiful, and scary.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Old Dutch” originated as a voice memo recorded in a historical church of the same name in Kaufman’s home city. “It was timestamped ‘Old Dutch’ and that was too perfect; it sounded like a Bonny Light Horseman song,” he said. Its choral refrain echoes those origins; it also punctuates the band’s tale of shifting love with that alluring thing the heart is inevitably steered by—a lingering, often illogical, feeling.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWith Keep Me on Your Mind\/See You Free, Bonny Light Horseman offers a distinct sense of grace, and a reminder that life is most lived when things aren’t so perfect. Over the years, the band has accumulated many miles on the collective odometer of life. That’s all reflected here, in these modern folk songs, laced with glory and chaos. As Mitchell puts it: “It’s not concise. It’s not simple. It’s messy, and that’s OK.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Bonny Light Horseman","offers":[{"title":"LP Pink \u0026 Blue Skies Vinyl","offer_id":44536145969315,"sku":"JAG460lp-C2","price":35.99,"currency_code":"USD","in_stock":false},{"title":"LP Standard Black LP","offer_id":44536146002083,"sku":"JAG460lp","price":31.99,"currency_code":"USD","in_stock":true},{"title":"CD Standard CD","offer_id":44536146034851,"sku":"JAG460cd","price":14.99,"currency_code":"USD","in_stock":true},{"title":"LP Translucent Pink Glass Vinyl","offer_id":44536182833315,"sku":"JAG460lp-C3","price":35.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag460.blh.kmoym.syf.mock.c2.cottoncandysplash.jpg?v=1776690667"},{"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.) It’s how \u003c\/span\u003e\u003cem\u003eA LA SALA\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eachieves such interconnected set-and-setting-ness.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOther results are more metaphorical, especially in Khruangbin’s flirtation with ambient spaces. The dramatically beatless “Farolim de Felgueiras” and “Caja de la Sala” both feature only Marko’s unmistakable guitar dueting with Laura Lee’s Moog, lightly layered with sounds of shoes on stone steps, and cicadas in an open field. The closing “Les Petits Gris” more fully reduces and fleshes out the ambiance, with a piano and a simple single-note bass pattern, Marko’s plaintive spare guitar echoing the melody of a ballerina-turning music box. It feels an apt way of ending — as a passing of this particular moment, preparation for the next one, soon-come.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEven the seven different covers that adorn \u003c\/span\u003e\u003cem\u003eA LA SALA'S\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003evarious vinyl editions offer a throughline from the music into Khruangbin’s current frame. Designed by the band using Marko’s multitude of travelog photos, they are windows from the band’s living room onto a set of daydreams, scenes of impossible skies, external glances illuminating what is going on inside. These are also directly related to David Black’s images of DJ, Laura Lee and Marko which accompany \u003c\/span\u003e\u003cem\u003eA LA SALA\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, and to Khruangbin’s live staging reinvention. It’s all about looking out and looking back, in order to better look ahead.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“All the little moments you capture. You don't see how impactful they are until you hear what eventually comes of them. A lot of those scraps end up being the thing — and you don't realize it until it's ‘The Thing.’” - DJ\u003c\/span\u003e\u003c\/p\u003e","brand":"Khruangbin","offers":[{"title":"LP Black Vinyl","offer_id":44673903657123,"sku":"DOC357lp","price":24.99,"currency_code":"USD","in_stock":true},{"title":"LP Cloud Games Vinyl","offer_id":44673903624355,"sku":"DOC357lp-C2","price":25.99,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":44673903689891,"sku":"DOC357cd","price":14.99,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":44673903722659,"sku":"DOC357cass","price":12.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc357.khruangbin.als.lp-b6d116be5de5bfaa13a57894ff37852e.jpg?v=1776690619"},{"product_id":"all-mirrors-angel-olsen","title":"All Mirrors","description":"\u003cem\u003eAll LP pre-orders are 2xLP and come with a 12 page photo booklet and 24”x36” pullout poster.\u003c\/em\u003e\n\n\n\nThe descent into darkness is a trope we find time again across history, literature and film. But there’s also an abyss above. There’s a winding white staircase that goes ever upward into the great unknown — each step, each turn, requiring a greater boldness and confidence than the one before. This is the journey on which we find Angel Olsen. \n\n\n\nOlsen's artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, 'All Mirrors,' we can see her taking an introspective deep dive towards internal destinations and revelations. 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Compelled by a restless spirit, Van Etten is continuously challenging herself. Now, the result is Are We There, a self-produced album of exceptional intimacy, sublime generosity, and immense breadth. Most musicians are quite happy to leave the production end of things to someone else. It's enough to live your music without taking on the role of producer as well. Yet Van Etten knew it was time to make a record entirely on her terms. The saying goes \"fortune favors the bold\" and yet this boldness had to be tempered. For this, Van Etten found a kindred spirit in veteran music producer Stewart Lerman. Originally working together on Boardwalk Empire, they gently moved into new roles, rallying around the idea of making a record together in Lerman's studio in New Jersey. Lerman's studio expertise gave Van Etten the freedom to make Are We There the way she imagined. Van Etten also enlisted the individual talents of her band, consisting of Heather Woods Broderick, Doug Keith and Zeke Hutchins, and brought in friends Dave Hartley and Adam Granduciel from The War on Drugs, Jonathan Meiberg (Shearwater), Jana Hunter (Lower Dens), Peter Broderick, Mackenzie Scott (Torres), Stuart Bogie, Jacob C. Morris and Mickey Freeze.  It is clear from the opening chords in the first song, Afraid of Nothing, that we are witnessing a new awareness, a sign of Van Etten in full stride, writing, producing and performing from a place that seems almost mythical, were it not so touchable and real. Always direct, and never shying away even from the most personally painful narratives, Van Ettten's songwriting continues to evolve. Many of the songs deal with seemingly impossible decisions, anticipation, and then resolution. 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It’s exacting and enveloping, but unmoored in space and time: ghostly, spectral, far-out folk. Darning Woman, her debut album, feels like a dispatch from another past. Akin to lullabies or nursery rhymes, its minimal folk instrumentation contorts into something staccato and strange led by Coope's expressive, stratified vocals.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn spite of the suggestion of antiquity that runs through Darning Woman, 21-year-old, Brooklyn-based Coope is very much a contemporary artist. Born to an English father and American mother (whose original Martin acoustic she uses to compose), she was raised in the New York village of Cold Spring. The lonely landscapes and small towns of the Hudson Valley populate her songwriting, setting wintry backdrops against the acrobatics of her voice. Her experience making this record was a largely insular one, too; she began recording music while staying at a relative’s empty home in Beacon, NY, experimenting with recording software in an empty living room, singing directly into the open space. Until that point, Coope had only thought of herself as a visual artist, not a musician– but it felt right immediately. Throughout the next year, she worked to invent the lush, sweeping universe conveyed here.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHer voice is the core of this work - emotive, oscillating between shadowy effervescence and something more guttural, building atop itself. Coope spent months teaching herself to sing in a new way, through hocketing and layering her voice, constructing choirs of herself. These songs often start from a chorus or phrase that gets stuck in Coope’s head and bloom into chaotic, fractured earworms. There’s a slew of past cultural touchstones that inform her approach to music making – the avant-garde art rock of the ‘80s; Trish Keenan or Su Tissue or Brigitte Fontaine; medieval choruses; church choirs; contemporary folk; romantic close harmonies groups of the ‘50s; Meara O'Reilly’s Hockets for Two Voices. But rather than the sonics of those works, Coope was instead moved by the ephemera surrounding them, their songs’ abilities to conjure whole worlds.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHere, the lush, romantic opener “He Is On His Way Home, We Don’t Live Together” is the portal into Coope’s universe. It teeters in, disquieted, a choral slowburn building into something between hysteria and euphoria, with a slinking piano and a jarring electric guitar line closing out the din. On later songs, like “Sounds of a Giddy Woman,” the auditory illusions became tactile as she composed: “I was able to envision a room of things happening, rather than me just building something,” Coope says. “The record was me starting to think spatially about music.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eCoope’s songwriting revolves around intuition and aesthetics, rather than precise lyrical storytelling; she has a striking ability to invoke a sense of movement with her makeshift mantras. The word “woman” appears repeatedly throughout the album’s song titles, but for Coope, that was an unconscious motif. “The word ‘woman’ was having a physical idea of what my songs were trying to represent through this idea of a muse or an idol or an icon,” she says. “It was a mix of the idea of being maternal, of housekeeping, and then also the idea of a character, a star.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe title track serves as a skeleton key for the entire record; “Darning Woman” is a hyperphysical sing-song, a literal instruction to darn and repair, the wane and waxing repetitions that make up a life. It’s the umbrella under which the rest of the songs live. 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Proximity. Desire. The album Glovemaker is about the skins we craft to be seen by the world, and Loren reminds us that we are all in drag. All exposed. No matter what gloves we slip on.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eI’m a slut for all my dreams, Loren Kramar sings with Patti Smith brashness, I’m a whore for them, I’ve got more of them. Loren’s lyrics move like tinsel, shimmering bravely, then just as quickly, curling, fragile under the spotlight. Loren has always been obsessed with fame. Not with famous people, but with the electricity that perverts attention – the crushing desire to be truly seen. And all of Loren, and this obsession, is in this album. He grew up in the Valley, forced to hide his Barbies from his father, so the closet was a gorgeous Spanish ranch house on a gilded cul-de-sac crawling with celebrities. Naturally this gay boy wanted to be a child star so his mother secretly shuttled him to tap and jazz and figure skating lessons. I’ve got hands and feet to put in the concrete, Loren croons, in “Hollywood Blvd,” a song which clangs with brawny bravado. But “Gay Angels” reminds us that Loren’s infatuation with stardom is inextricably linked with his queerness and his own desire to live outside of fear. To be famous is to be out. To be known. To be himself.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Glovemaker has become a kind of code for art making itself. A glove as a covering or mask that follows the contours of the life beneath it. As a song and a symbol, this is an album about studying and tracing a life - and then sharing what’s there,” Loren says. And his desire to share truth feels urgent. To listen to Loren is to understand there is no choice; the songs must tear through the air right now. This very second. I see myself tearing and splitting and becoming a trampoline, he belts in “No Man,” breaking our hearts right alongside his. Part poet, part theatrical diva, Loren loops together the tragedy of breathing on this planet, because like Eartha Kitt or Cat Stevens, Loren is at his core – an incredible story teller. This whole album is a shrine, a mantle atop a blazing fire of life, spread with the memorabilia of Loren; all of the pain and lust dazzling on unabashed view.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis is a songwriter’s album. Loren’s lyrics are all his, and you feel it with every bright, Maraschino-cherry-like word that falls from his lips. Like a lover, You scream and I shatter, I hit like a hammer, Loren sings. And we get to feel what Loren feels. We live in his brain, riding his genre bending emotions, on a wave of modern pop. And the songs lift, they are anthems of belief, “Hollywood Blvd,” “I’m a Slut,” “Euphemism,” “Gay Angels,” are all odes to triumphing over the corroding powers of fear and doubt. 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The collection of songs is more raw, honest and vulnerable; creating a world where the emotional stakes are as equally prominent to his considered and idiosyncratic aesthetics. The new space is one to get lost in, demonstrating the beauty in its own contrasts. Simple whilst also complex, the record is heart wrenchingly deep yet accompanied with euphoric highs - and following his background in film provides a gripping and reassuring escape. GLOW is an environment in which the unworldly feels close to home and sits the bone chilling next to the harmonious. With a keen cinematic feel, it dives into the melancholy and finds nostalgia and warmth - contemplating the sweat of youth, life and love in the magic of the nights unknown. It’s a contemporary listen which points to the future, as Wesley unapologetically bends genres with unwavering precision - further reaffirming the DNA of him as an artist. At once a sonically bold, electrifying, psychedelic and romantic listen, GLOW’s story unfolds with lyrical poignancy, as avant-garde rap meets swooning falsettos; reflecting on the light in the dark and stretching his vocal presence further again. Self-produced with collaborators including A.K. 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Cherry Glazerr’s rough and tumble sound coupled with Creevy’s witty, sarcastic, occasionally self-deprecating lyricism made the band a joy to watch live, their energy unmatched by the coolly detached bent of indie rock at the time.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eCreevy describes I Don’t Want You Anymore as a “mature” album, moreso in reference to her personal growth than a reflection of the record, which in true Cherry Glazerr fashion is best described as Extremely Fun. To make it, Creevy linked up with producer Yves Rothman, who’s best known for his work with Yves Tumor. “I knew I had to work with him,” she says. The collaboration began with a cover of Metallica’s “My Friend of Misery” and grew into this new record, which Creevy considers to be Cherry Glazerr, fully-actualized. “The songs on this one are songs I’ve dreamed of making,” she says.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLead single “Soft Like a Flower” exemplifies that growth. A murky guitar riff inaugurates the track, before Creevy’s unguarded vocals enter the mix. She sings of a consuming obsession and is joined on the chorus by longtime bandmate Sami Perez. “I’m high on your something,” they wail. “I like you killing me\/ I like you killing me\/ I like you killing me.” It’s proudly emotive, what Creevy calls an “Evanescence moment.” “It’s a real ‘losing your fucking shit’ kind’ve vibe,” she says. “I wanted this album to be just heart and soul. Completely exposed.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eI Don’t Want You Anymore uses the element of surprise to its advantage; each track is a radical reimagination of what Cherry Glazerr is and can be. “Bad Habit” opens with a spiraling vocal loop that Creevy began recording at home and it expands into a delirious downtempo dance track without ever invoking a guitar. “I can’t wait to play that one live. Whenever I’m free of a guitar and I can just sing… I love having those moments on tour,” she says. The subsequent track, “Ready for You” is sung in funky staccato and the initially spare bassline on the opening verse is eventually overtaken by a massive, staticky guitar riff that reminds you this is, at its heart, a rock album. “At the start of the pandemic, I was writing a lot in the box, what I call ‘computer music’ since I’m technologically challenged,” Creevy says. “It was fun to experiment, but after a while, I just really missed rock. 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She wrote it after watching Gregg Araki’s Mysterious Skin, and wanted to mimic the sense of desperation the film inspires. “I said that I loved you!” she howls over and over again on the chorus.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMovies have always played a role in Creevy’s songwriting, and many of the songs on I Don’t Want You Anymore can be described visually. When she wrote “Sugar,” Creevy pictured playing it in a dark, seedy club, her deadpan vocal delivery mirroring the grim atmosphere. “That song tickles the part of my brain that loves driving really late at night,” she says. These are songs to soundtrack the listener’s life, a score to suit any occasion. 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What other band could have stamped the forsaken year of 2021 with spangles and pom-poms — made you sing (and maybe even believe) that “Life’s so fun, life’s so fun,” during what may well have been the most uneasy stretch of your life? “Silk Chiffon,” MUNA’s instant-classic cult smash, featuring the band’s new label head Phoebe Bridgers, hit the gray skies of the pandemic’s year-and-a-half mark like a double rainbow. Pitchfork called it a “swirl of stomach butterflies,” NPR a “queerworm,” Rolling Stone “one of the year’s sweetest melodies, radiating the kind of pure pop bliss so many bands go for but almost never get this right.” For Naomi McPherson, MUNA’s guitarist and producer, it was a “song for kids to have their first gay kiss to.” And several thousand unhinged Twitter and TikTok memes bloomed.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eKatie Gavin, MUNA’s lead singer and songwriter, wrote “Silk Chiffon” right after finishing the band’s 2019 album, Saves the World. That was an LP whose lead single began “So I heard the bad news\/ Nobody likes me and I’m gonna die alone in my bedroom\/ Looking at strangers on my telephone,” and which ended with a hypnotic, self-searching confession about failure and consolation. Since the beginning of their career, MUNA has embraced pain as a bedrock of longing, a center of radical truth, a part of growing up, and an inherent factor of marginalized experience — the band’s members belong to queer and minority communities, and play for these fellow-travelers above all. But in “Silk Chiffon,” there was just longing, and it was blissfully requited at that. “It’s kind of a smooth-brain song,” Gavin says. “Saves the World was therapy on a record, and I was starting to see changes in my life, more moments of joy. It’s a big deal that someone like me could write that smooth!” What makes the confetti-gun refrain of “Silk Chiffon” so potent, though, is the underlying sense that the band understands exactly what has to be suppressed, or reckoned with, in order to sing it. “We are three of the most depressed people you could ever come into contact with, depending on the day,” McPherson said, with a smile.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eGavin, McPherson, and Josette Maskin, MUNA’s guitarist, are coming up on ten years of friendship. They began making music together in college, at USC, and released an early hit in the 2017 single “I Know a Place,” a pent-up invocation of LGBTQ sanctuary and transcendence. Now in their late twenties, the trio has become something more like family. They spent much of the early pandemic as a pod, showing up for each other and for MUNA — a project that at this point feels bigger than them — even when they weren’t sure about anything regarding the future. They’d been dropped by RCA, and there was little in terms of income, no adrenaline to work off of, no live shows with audiences reminding them of the succor their songs provide. They asked each other: Is this career even feasible in this new reality? Can we find a way to be self-motivated, to be fulfilled intrinsically? For months, they surrendered to this confusion, to the reality of being humbled by change. “You have to let things fall apart,” Gavin said. “And it was only possible because of this tremendous trust. I have so few relationships in my life where I have the kind of trust that I do with Naomi and Jo — where I can trust that there’s a higher purpose, that we can work through all the boundaries and compromises and mess that comes with long-term relationships, and then return to form.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMUNA, the band’s self-titled third album, is more than a return. The band’s period of uncertainty and open questioning burned everything away, leaving a feat of an album — the forceful, deliberate, dimensional output of a band who has nothing to prove to anyone except themselves. The synth on “What I Want” scintillates like a Robyn dance-floor anthem; “Anything But Me,” galloping in 12\/8, gives off Shania Twain in eighties neon; “Kind of Girl,” with its soaring, plaintive The Chicks chorus, begs to be sung at max volume with your best friends. MUNA is working the source code of pop that pulls at your heartstrings; the album is full of longing and revelation and hard-won freedom. They’d made their first album themselves, with free plugins, in a home studio; they’d made the second one in proper sessions with co-producers, thinking they ought to professionalize. With MUNA, they did it all by themselves again, with newfound creative assurance and technical ability — in terms of McPherson and Maskin’s arrangements and production as well as Gavin’s songwriting, which is as propulsive as ever, but here opens up into new moments of perspective and grace.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“What ultimately keeps us together,” Maskin said, “is knowing that someone’s going to hear each one of these songs and use it to make a change they need in their life. 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Bruce Hampton (on whom the piece was ultimately focused) were all mentioned. Somehow, Alabama-born, Atlanta-based self-taught artist Lonnie Holley was left out of the piece. But Holley, 72, has improvised — nay, conjured! — ecstatic, baffling and heavy moments that can often only be described as “cosmic.” In a mere two lines of a song, Holley can zoom in on the pores of one’s skin and pull back to encompass the whole of the Milky Way.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAll that said, Holley’s music and visual art (for which he has shown at The Met, The Smithsonian and is represented by the illustrious Blum \u0026amp; Poe) is much more about our place in the cosmos than the cosmos itself. It’s about how we overcome adversity and tremendous pain; about how we develop and maintain an affection for our fellow travelers; about how we stop wishing for some “beyond” and start caring for the one rock we have. Holley has never delivered this message as clear, as concise and as exhilaratingly as he does on his new album ‘Oh Me Oh My.’\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e‘Oh Me Oh My’ is both elegant and ferocious, sharpening the work contained on his 2018 Jagjaguwar debut ‘MITH’. It is stirring in one moment and a balm the next. It details histories both global and personal. Holley’s harrowing youth and young manhood in the Jim Crow South are well-told at this point — his sale into a different home as a child for just a bottle of whiskey; his abuse at the infamous Mount Meigs correctional facility for boys; the destruction of his art environment by the Birmingham airport expansion. But, as mentioned, Holley’s music is less a performance of pain endured and more a display of perseverance, of relentless hope, of Thumbs Up For Mother Universe. Intricately and lovingly produced by LA’s Jacknife Lee (The Cure, REM, Modest Mouse), ‘Oh Me Oh My’ features both kinetic, shortwave funk that calls to mind Brian Eno’s ‘My Life in the Bush of Ghosts’ and the deep space satellite sounds of Eno’s ambient works. There are also elements of Laurie Anderson’s meditations, elements of Gil Scott-Heron’s profound longform soul, elements of John Lurie’s grabbag jazz, and yes, elements of Sun Ra’s bold afrofuturism. But ‘Oh Me Oh My’ is a triumphant sonic achievement of its own.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAcclaimed collaborators like Michael Stipe (“Oh Me, Oh My”), Sharon Van Etten (“None of Us Will Have But a Little While”), Moor Mother (“I Am Part of the Wonder,” “Earth Will Be There”), Justin Vernon of Bon Iver (“Kindness Will Follow Your Tears”) and Rokia Koné (“If We Get Lost They Will Find Us”) serve as choirs of angels and co-pilots, giving Lonnie’s message flight, and reaffirming him as a galvanizing, iconoclastic force across the music community.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHolley reflects, “My art and my music are always closely tied to what is happening around me, and the last few years have given me a lot to thoughtsmith about. When I listen back to these songs I can feel the times we were living through. I’m deeply appreciative of the collaborators, especially Jacknife, who helped the songs take shape and really inspired me to dig deeper within myself.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e‘Oh Me Oh My’ is also an achievement in the refinement of Holley’s impressionistic, stream-of-consciousness lyrics. During each session, Holley and Lee would discuss the essence of the songs and distill Holley’s words to their most immediate center. On the title track, which deals with mutual human understanding, Holley is as profound as ever in far fewer phrases: “The deeper we go, the more chances there are, for us to understand the oh-me’s and understand the oh-my’s.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Lonnie Holley","offers":[{"title":"LP Clear Blue Vinyl","offer_id":44536194498723,"sku":"JAG437lp-C1","price":26.99,"currency_code":"USD","in_stock":true},{"title":"LP Black Vinyl LP","offer_id":44536194531491,"sku":"JAG437lp","price":25.99,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":44536194564259,"sku":"JAG437cd","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag437.lonnie.ohmeohmi.lp.mock.blue.jpg?v=1776689706"},{"product_id":"oh-my-god-kevin-morby","title":"Oh My God","description":"\u003cp\u003eThroughout his four solo albums and myriad records of various collaboration, Kevin Morby has recognized in his work the ubiquity of an apparent religious theme. Though not identifying as “religious” in the slightest, Morby—the globetrotting son of Kansas City who has made music while living on both coasts before recently returning to his Midwestern stomping grounds—recognizes in himself a somewhat spiritual being with a secular attitude towards the soulful. And so, in an effort to tackle that notion head-on and once-and-for-all, he sat down in his form of church—on planes and in beds—and wrote what would become his first true concept-album: the lavish, resplendent, career-best double LP Oh My God.\u003c\/p\u003e\n\n\u003cp\u003e“Religion is around all of us,” Morby says. “It’s a universal language and there is profound beauty in it. I’ve found it a useful tool within songwriting, as it’s something everyone can relate to on some level. There are religious themes or imagery in a lot of what I’ve done, so I wanted to get all of that out and speak only that language for a whole record. It’s not a born-again thing; it’s more that ‘oh my god’ is such a profound statement we all use multiple times a day and means so many different things. It’s not about an actual god but a perceived one, and it’s an outsider’s view of the human experience in terms of religion.”\u003c\/p\u003e\n\n\u003cp\u003eMorby admits he has viewed the world through a skewed spiritual lens his entire life. As a kid he was told by his working-class parents that he was a Methodist, though the family rarely if ever made good on that claim come Sunday; he saw fire-and-brimstone billboards on Kansas roadways with the aim of scaring heathens straight. Despite his ignorance and indifference, religion seemed to be everywhere, and as Morby grew as a musician—playing bass for Woods, fronting The Babies, and with his solo career—he embraced its influence with his work. In 2016, on the heels of a trio of critically-acclaimed albums, he wrote the protest song “Beautiful Strangers” about the devastating world events of that year, and in it he inserted multiple “oh my god”s as pleas of desperation. The song took off and the phrase became a mantra for Morby, inspiring him to weave the exclamation conceptually into the fabric of an entire album. In effect, he sought to highlight how that immortal turn of phrase embodies so much of our relationship with the sacred and profane—how religion is all around us, always, and that by simply uttering an OMG we enforce its ubiquity and ability to endure while humanizing its reach.\u003c\/p\u003e\n\n\u003cp\u003eIn January 2017, preceding the release of his fourth solo record City Music, Morby went into producer Sam Cohen’s Brooklyn studio for four days to record a handful of material written with his usual folk-meets-lo-fi-electric-guitar sound in mind. Cohen, with whom Morby made his 2016 breakthrough Singing Saw, had started recording the new songs with a business-as-usual mentality when on the third day he was struck with an idea: Rather than create what was becoming Singing Saw: Part 2, what if they stripped everything back and used only a few colors at a time instead of the entire Morby rock palette, focusing on Morby as hyper-literate singer instead of guitar-slinging troubadour?\u003c\/p\u003e\n\n\u003cp\u003e“Sam suggested that we make songs that sound like sonic pop-art that only have a few colors, like a Keith Haring piece,” Morby says. “My other records had tons of colors, so we decided to keep this stark, like a painting that’s black-and-white with one vibrant blue. We went back to the drawing board and thought about what we wanted to do conceptually across an entire piece. And for the first time I could do exactly what I wanted, as I had time and the ability to get everything precise. Sam encouraged me to let my lyrics sit on top of everything else, and that discovery and the confidence that came with making my fifth record helped me realize the new direction was exactly where we needed to be. We opened it up completely and set out to make something in its own universe.”\u003c\/p\u003e\n\n\u003cp\u003eOver the remaining day-and-a-half, Morby and Cohen recorded new versions of four songs—“Oh My God,” “No Halo,” “Savannah,” and “Nothing Sacred\/All Things Wild,” the latter becoming a mission statement for the new sound and featuring Morby singing, Cohen playing a subtle organ part, and Morby’s drummer Nick Kinsey on congas. Breaking the songs down into their separate parts served Morby’s religious theme perfectly, as did the blueprint of “Beautiful Strangers,” and over the course of 2017 he wrote an album’s worth of similar songs while on tour.\u003c\/p\u003e\n\n\u003cp\u003eAs Morby jetted around the world playing shows, he came to realize that all that air travel was making its way into his music, too. He had always used his time in the sky to work on songs and listen to demos he had recorded, but he began noticing an aero-dynamic emerging in his lyrics as well. “Flying can be something of a religious experience for many people, myself included,” he says. “It’s unnatural, and it can be so scary being that high up—a few big bumps can even make an atheist pray. You’re anxious as you take off and thinking about death, then you level off and suddenly you’re in this kingdom above the clouds. There’s a holy feeling, and a big part of the record’s theme is being above the weather. The first song, ‘Oh My God,’ starts with chaotic hammering on a piano and then smooths out with a choir singing; it’s meant to mimic how I feel on an airplane.”\u003c\/p\u003e\n\n\u003cp\u003eAll that flying also meant Morby was sleeping in a new place each night, a situation he also learned to embrace creatively—most of Oh My God’s songs were written from beds. Morby typically starts and ends each day by playing guitar or writing songs while under the covers, a practice that mimics prayer in myriad ways. “There’s something sacred about working from bed,” he says. “It’s where you make love and where you dream. I always write just before I go to sleep and right when I wake up. It’s where I can access that feeling of dreams. Any bed is always a sanctuary, but my bed at home is the Holy Grail.”\u003c\/p\u003e\n\n\u003cp\u003eMorby sought to represent these sentiments visually for the release of Oh My God. In addition to using a portrait of him reclining in his own fluffy-white bed at home in Kansas City on the album cover, he also worked with the filmmaker Chris Good on a short film to accompany the release. The film stars Morby as he wanders through a dream-like series of encounters—on planes, in cars, in a diner, at home in his back yard—and presents a Gondry-esque vision of the album and its holy mood.\u003c\/p\u003e\n\n\u003cp\u003eMeanwhile, in January of 2018, a full year after their initial session, Morby and Cohen returned to the studio together to complete the album’s recording. They fine-tuned the rollicking opening trio—starting with the title track, then first single “No Halo,” and “Nothing Sacred\/All is Wild”— and played with various styles and techniques throughout. The ethereal “Congratulations” was written in a dream, a first for Morby. (“Someone had been singing the chorus to me over and over, and I woke up in the morning and walked to my piano and wrote it then and there.”) “Seven Devils” features a ripping guitar solo by Morby’s bandmate Meg Duffy that evokes a distorted hellfire, and “Piss River” is a stream-of-consciousness, poetic and profound tune featuring harp played by Morby’s friend Mary Lattimore while the singer has a call-and-response conversation with himself. Saxophone duties throughout the record were handled largely by Cochemea Gastelum, and a seven-member choir appears as well. Morby directed Cohen in the creation of a track called “Storm (Beneath the Weather),” a 90-second ambient instrumental piece made with synthesizers to mimic what it can feel like under the clouds. “Above the weather, you’re safe and nothing can get to you; it’s heavenly, like you achieved peace,” Morby says. “Below that you’re subject to the insanity of humanity, or Mother Nature. I wanted a weird, atonal sound on the record to represent a storm, which feels in-line with the pop-art idea.”\u003c\/p\u003e\n\n\u003cp\u003e“Hail Mary” may be the album’s grandest moment and is recognizable as one of the few guitar-driven songs that hearkens back to his previous work. Its heavy scope is still apparent despite the fact that Morby and Cohen edited it down from its original 15-minute-long, multiple-verse version into a concise five minutes and three verses. And as the final song, “O Behold,” makes a familiar, just-in-case farewell from an airplane seat (“If the plane’s on fire\/know I love you”), the listener can sense the credits rolling as the clouds begin to break, grips loosen, and the kingdom comes into view. At 14 tracks and four sides, Oh My God is an actualized concept album with a contemporary feel that is sure to plant its maker firmly in a window seat at the front of the plane.\u003c\/p\u003e\n\n\u003cp\u003e“This one feels full circle, my most realized record yet,” he says. “It’s a cohesive piece; all the songs fit under the umbrella of this weird religious theme. I was able to write and record the album I wanted to make. It’s one of those marks of a life: this is why I slept on floors for seven years. I’ve now gotten the keys to my own little kingdom, and I’m devoting so much of my life to music that I just want to keep it interesting. At the end of the day, the only thing I don’t want is to be bored. If someone wants to get in my face about writing a non-religious religious record? Thank god. 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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. 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Craving company and distraction but also leaning into the anonymity of a bustling crowd, Webster often bought a ticket to a performance at the last possible second. “Going to the symphony was almost like therapy for me,” she says. “I was quite literally underdressed at the symphony because I would just decide at the last moment that that's what I wanted to do. I got to leave what I felt like was kind of a shitty time in my life and be in this different world for a minute. I liked that I didn’t feel like I belonged”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe world around Webster may be moving faster and faster, but despite an influx of new fans and attention, she’s still singing about it in an almost impossibly low-key way on her fifth album. 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At any given moment, Webster might be making country-tinged indie rock flecked simultaneously by pedal steel guitar and modern R\u0026amp;B production and songwriting techniques – a bespoke sound which has won her ardent fans and turned her into something of a stealth superstar beloved by everyone from southern hip-hop heads and alt-rock tastemakers.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAt Webster’s increasingly sold-out concerts, it’s not uncommon to observe these fans singing along with every word – even when she unironically performs theme songs from Pokemon. In an even more delicious twist, Webster doesn’t even have an account on TikTok, where several of her songs have gone viral, including \"Kingston,” “Right Side of My Neck,” “In a Good Way” and most recently “I Know You.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRecorded at Sonic Ranch Studios in Texas with her longtime band, Underdressed at the Symphony revels in experimentation, playfulness and adventurousness. Moments of vocoder, flourishes of an orchestra and spooky harmonies and synths arrive without sacrificing the spacious quality of Webster’s prior music, allowing each lyric to burble to the surface with added layers of meaning. Matt “Pistol” Stoessel’s arcs of pedal steel add just the right shimmer, while Wilco’s Nels Cline contributes his undeniably emotive fretwork on a number of songs.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHunkering down at the literal U.S.\/Mexico border provided the musicians space to isolate, focus and experiment. All the songs here are live-room recordings, with several captured on the first or second take. In this way, they can be seen as direct lines to the human subconscious, showcasing Webster’s knack for pulling a universal experience from a highly specific moment.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOn “But Not Kiss,” her voice lilts “I want to sleep in your arms…” before Nicholas Rosen’s propulsive piano and Bryan Howard’s sumptuous bass burst in, prompting Webster to rush out the rest of the line: “... but not kiss.” What better shorthand descriptor for the quietest of moments in a relationship? The rest of the song echoes that first line, emphasizing the duality of intimacy. To be sure, Underdressed at the Symphony is a document of what happens once you start to create a new life from the ashes of old routines. This rebirth isn’t flashy or definitive, but is instead a series of healing moments scattered across weeks and months.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThat new life is documented on the autotuned “Feeling Good Today,” which finds Webster running through the details of her day in barely 90 seconds. She’s got plans to go see her brother, and she knows she’ll “probably buy something dumb” because she just got paid. “I definitely think I turn to humor sometimes just for distraction almost,” she says. “But a lot of it is just like the truth. Even if I'm saying it, I'm not really meaning to be funny. 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The remarkable project announces the arrival of New York-based musician Shane Lavers as a new force in experimental music. After his 2022 singles “Ef” and “True Altruism” marked his breakout on corners of the internet, Your Day Will Come sees Lavers evolving his uncanny and dreamlike sound which he achieves through layering synthetic and real instruments. His songs feel like a memory in which you can’t distinguish between what actually happened or what was a false reproduction in your mind—although the burning emotion remains intact.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eYour Day Will Come sees Lavers capturing the many contradictions of modern existence and the strange infiniteness of the digital world, as he searches for truth and faith amid competing realities. 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Lavers, who is drawn to poor MP3 rips and transitional moments in DJ mixes, knows that these inexact musical artifacts evoke human imperfection.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Idea June” is another feat of trickery from Lavers, who plays with ideas of sincerity and humor through production. To construct the moving string soundscapes on tracks like “Your Day Will Come” and “Coffee Culture,” he tinkered around with a free MIDI preset that allowed him to program recordings of the London Philharmonic Orchestra at will, making him laugh at the idea that he could compose a piece of “contemporary classical music” from just hitting “record” while in bed. 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Just, 'These drums sound sick.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe band's newfound self-discipline and motivation has evolved Cherry Glazerr into a wildly complex, hugely guitar heavy, and unapologetically loud machine. “People may be shocked by the jump in our sound,” says Sasami, eager to establish that this record isn't intended to be some fancy statement about reaching their pinnacle. It was simply an opportunity they couldn't turn down. Clem has since learned how to quit focusing her attention on the fans or wider critical response. “There was a time when I just couldn't write songs because of that. You can't do that,” she says. “You can't be emotionally free if you're pandering to anyone. Serving the music is the one and only thing that matters.” That's hard when you have people telling you what to do all the time.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Comedy in music is extremely important to me because humour is all we have as human beings,” Clem adds. The jests are particularly strong on the disgustingly catchy track 'Trash People' – it's quite literal in its self-deprecation levels. “That's a fun song about how I have dirty fucking habits,” says Clem. “It's about being road rats, nasty ass, dirty fuckers. That's how I like to live.” 'Instagratification' is a tongue-in-cheek musing on social media narcissism, which the band admit to feeding off. Sasami notes that women are shamed so much more often for their posts: “Who the fuck cares? If you wanna post a photo of your pussy go for it! The ultimate white privilege is sweating the small shit, judging people for things that don't matter.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhen it comes to sweating the major shit, Cherry Glazerr live like they want to see others live. They don't want to preach certain politics, they'd rather hold court for an open discourse. The subject of equality among the sexes, however, holds a special, unavoidable place for Clem, torchbearer for feminism in its raddest forms. That's so key to her aesthetic that it's the opening sentiment of Apocalipstick via the anthemic, disaster-laden 'Told You I'd Be With The Guys'. The song documents Clem's realization that she needed to establish solidarity with other women and stop being a “lone wolf”. “Sexism is so ingrained in me, I can often feel that men are the only ones who can help me socially, economically. The most important thing in my life is that I've realized I need to work for solidarity. That song's both hopeful and dismal!” she laughs. Clem still feels the constant need to prove herself. “Women work from behind their oppression. In order to make good art you need to be emotionally free and sadly, not a lot of women are able to do that. 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Nonetheless, after the breakout success of 2016’s Puberty 2, she was hailed as the new vanguard of indie rock, the one who would save the genre from the white dudes who’ve historically dominated it. Her carefully crafted songs have often been portrayed as emotionally raw, overflowing confessionals from a fevered chosen girl, but in her fifth album, Be The Cowboy, Mitski introduces a persona who has been teased but never so fully present until now—a woman in control. “It’s not like it just pours out,” she says about her songwriting, “it’s not like I’m a vessel. For this new record, I experimented in narrative and fiction.” Though she hesitates to go so far as to say she created full-on characters, she reveals she had in mind “a very controlled icy repressed woman who is starting to unravel. Because women have so little power and showing emotion is seen as weakness, this ‘character’ clings to any amount of control she can get. Still, there is something very primordial in her that is trying to find a way to get out.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSince Puberty 2 was released to widespread acclaim, ultimately being named one of the best albums of 2016 by Rolling Stone, TIME, Pitchfork, The Guardian, Entertainment Weekly, New York Times, NPR, and SPIN, Mitski has been touring nonstop. She’s circled the globe as the headliner, as well as opening for The Pixies, and most recently, Lorde. The less glamorous, often overlooked aspect of being a rising star is the sheer amount of work that goes into it. “I had been on the road for a long time, which is so isolating, and had to run my own business at the same time,” Mitski explains, “a lot of this record was me not having any feelings, being completely spent but then trying to rally myself and wake up and get back to Mitski. I was feeling really nihilistic and trying to make pop songs.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWe want our artists to be strong but we also expect them to be vulnerable. Rather than avoiding this dilemma, Mitski addresses directly the power that comes from appearing impenetrable and loneliness that follows. In Be The Cowboy, Mitski delves into the loneliness of being a symbol and the loneliness of being someone, and how it can feel so much like being no one. The opening song, “Geyser,” introduces us to a woman who can no longer hold it in. She’s about to burst, unleashing a torrent of desire and passion that has been building up inside.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhile recording the album with her long-time producer Patrick Hyland - “little by little in multiple studios between tours” - the pair kept returning to “the image of someone alone on a stage, singing solo with a single spotlight trained on them in an otherwise dark room. For most of the tracks, we didn’t layer the vocals with doubles or harmonies, to achieve that campy ‘person singing alone on stage’ atmosphere. We also made the music swell louder than the main vocals and left in vocal errors like when my voice breaks in “Nobody,” right when the band goes quiet, all for a similar effect.” Not a departure so much as an evolution forward from previous albums, Mitski was careful this time to not include much distorted guitar because “that became something people recognized me for, and I wanted to make sure I didn’t repeat myself or unintentionally create a signature sound.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe title of the album “is a kind of joke,” Mitski says. “There was this artist I really loved who used to have such a cowboy swagger. They were so electric live. With a lot of the romantic infatuations I’ve had, when I look back, I wonder, Did I want them or did I want to be them? Did I love them or did I want to absorb whatever power they had? I decided I could just be my own cowboy.” There is plenty of buoyant swagger to the album, but just as much interrogation into self-mythology. The music swerves from the cheerful to the plaintive. Mournful piano ballads lead into deceptively up-tempo songs like “Nobody” where our cowboy admits, “I know no one will save me\/ I just need someone to kiss”.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe self-abasement of desire is strewn across these 14 songs as our heroine seeks out old lovers for secret trysts that end in disappointment, and cannot help but indulge in the masochistic pleasure of blowing up the stability of long-term partnership. In “A Pearl” Mitski sings of how intoxicating it is to hold onto pain. “I wrote so many songs about being in love and being hurt by love. You think your life is horrible when you’re heartbroken, but when you no longer have love or heartbreak in your life, you think, wasn’t it nice when things still hurt? 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Such is the jump shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner’s blood and guts spirit, that wink and grin of devious charm, is still present, it’s just that it’s grown into something bigger, something deeper, more ambitious and unflinchingly honest.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eTo understand this creative leap you need to first understand the journey shame undertook to get here. From their beginnings as wide-eyed teenagers taken under the decrepit wing of The Fat White Family to becoming the most celebrated new band in Britain and their subsequent crash back down to earth. Come in, and close the door behind you…\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e“Never get out of the boat”\u003c\/p\u003e\n\n\u003cp\u003e                        Cap. Benjamin L. Willard\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eIt’s no exaggeration to say the members of shame have spent their entire adult life on the road. A wild-eyed tour of duty marked by glorious music and damaged psyches, when it eventually careered to a stop the band were parachuted back into home territory. Shell shocked, dislocated and grasping for some semblance of self.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eShame’s previous bases – the notorious den of iniquity that was The Queens Head pub, the musical petri dish of Brixton’s Windmill – were either gentrified into obsolescence or no longer viable as an HQ. Sometimes home just isn’t home anymore. Or at least it’s not the way you remember it.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eTo cope, guitarist Sean Coyle-Smith barricaded himself in his bedroom. Barely leaving the house and instead obsessively deconstructing his very approach to playing and making music, he picked apart the threads of the music he was devouring (Talking Heads, Nigerian High Life, the dry funk of ESG, Talk Talk…) and created work infused with panic and crackling intensity.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e“For this album I was so bored of playing guitar,” he recalls, “the thought of even playing it was mind-numbing. 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Shame had always been about exposure – be that the rogues’ gallery of characters they drew inspiration from or the cornucopia of joy to be had from simply being in a band – this time, however, they were exposed to themselves.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e“You become very aware of yourself and when all of the music stops, you’re left with the silence,” reflects Steen. “And that silence is a lot of what this record is about.”\u003c\/p\u003e\n\n\u003cp\u003ePass along the plant-strewn corridor leading into Steen and Coyle-Smith’s  shared living space in South East London and hidden away to your left is a dank, brown curtain. Pull it back and open the door… welcome to the womb.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eMore of a cupboard than a room (it used to house the washing machine until they lugged it outside and put a bed in) and painted floor to ceiling in the specific shade of pink used to calm down drunk tank inmates, the womb is where Steen cocooned himself away to reflect and write. Scraping and shaking lyrics out of himself that – through the prism of his own surrealistic dreams – addressed the psychological toll life in the band had taken on him. The disintegration of his relationship, the loss of a sense of self and the growing identity crisis both the band and an entire generation were feeling.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e“The common theme when I was catching up with my mates was this identity crisis everyone was having,” reflects Steen. “No one knows what the fuck is going on.”\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e“It didn’t matter that we’d just come back off tour thinking, 'How do we deal with reality?!?’” agrees Coyle-Smith. “I had mates that were working in a pub and they were also like, ‘How do I deal with reality?!?’ Everyone was going through it.”\u003c\/p\u003e\n\n\u003cp\u003eThe genius of 'Drunk Tank Pink' is how these lyrical themes dovetail with the music. 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All the pieces are here to stir up a dangerous amount of nostalgia. But once the needle drops, the record achieves something exactly perpendicular to nostalgia.\u003c\/p\u003e\n\n\u003cp\u003eReleased in 1970, the album not only influenced the approach of other musicians for decades, it also sounds absolutely modern 44 years out, eternally fresh despite the forward march of time. Yoko Ono\/Plastic Ono Band not only predicted the intersection of the avant-garde and rock that would take place in the second half of that decade, the album would sound right at home at where that intersection is happening today.\u003c\/p\u003e\n\n\u003cp\u003eIts closest contemporaries, White Light\/White Heat and Bitches Brew, while innovative, today sound rooted in the time in which they were recorded. Maybe only Kraftwerk's output from the same era also belongs in this all-too rare category of timelessness. Released as the mirror twin album to John Lennon\/Plastic Ono Band, Ono's record continues to inform and inspire in equal measure to its companion album. \u003c\/p\u003e\n\n\u003cp\u003eAs Yoko's voice responds to and then overpowers the white-hot dissonant guitar squalls, the reaction will be nearly immediate — maybe not immediately smitten but always, always intrigued. \"What is this music?\" might as well be \"When is this music?\" Then, smugly inform these fledglings that this searing guitar is being played by John Lennon; probably smiling ear-to-ear, free and in love and performing this powerful forward music with the love of his life.\u003c\/p\u003e\n\n\u003cp\u003eIt's a record dense with ideas and sonics; the personal and the political. But for such a monolithic, touchstone record, it's also important to remember this music is supposed to be fun. It's intended to make you feel endless possibility, to question the very walls around you. And if your Western ears have some trouble with the vocal phrasing, it's okay to smile as you process. Smile the whole way through if you need to. It's a bit simplistic to deem Ono's mythic, pre-language vocal exercises as merely feral and free. The improvisations are a lesson in directness and control. Vocal chords don't just compete with searing electric guitars and summon free jazz horns. It is a concentrated feat, indebted to traditional Japanese singing and Ono's early operatic training.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eOver a decade before the release of Plastic Ono Band, Ono created New York City's downtown loft scene. That is to say her loft was the downtown loft scene at its inception. She played Carnegie Recital Hall twice in the 60s, performing experimental pieces long before her name was ever spoken in the same breath as The Beatles. When she crossed the pond to begin the work that would become Plastic Ono Band, it garnered just as many concerns from her contemporaries in the loft scene and Fluxus movement as it did fans of The Beatles.\u003c\/p\u003e\n\n\u003cp\u003eFollowing three experimental records with John Lennon and a Live in Toronto record, Yoko Ono\/Plastic Ono Band stands as the bold first statement from the newly christened project. It's contemporaries are few: The Velvet Underground's feedback-laced motorik; Sonny and Linda Sharrock's Black Woman; The Stooges' Funhouse; Silver Apples. The electronic and collage experiments of previous Yoko and John records come full-blossom here. It forecasts fidgety, unhinged punk a few moments before it predicts post-punk, new wave and then no wave. Then, it goes on to hint at the pop-experiments of Animal Collective in the cut-and-paste of a George Harrison sitar escapade and Ringo Starr drum take on \"Greenfield Morning I Pushed An Empty Baby Carriage All Over the City,\" or the sampled train build up of \"Paper Shoes.\" And it would all sound fresh today at any experimental festival anywhere in the world. \u003c\/p\u003e\n\n\u003cp\u003eYoko Ono was born in Tokyo in 1933. Throughout her childhood, she and her family moved to New York City and back to Japan, eventually settling in Scarsdale, NY. She enrolled in Sarah Lawrence College in 1952, and during her time there cultivated her interest in the avant-garde, and ingrained herself with New York City artists, writers and experimentalists. Her art career, similarly as influential as her musical career, took form before the Fluxus movement began, having a strong influence on it, interacting with George Maciunas, LaMonte Young, Richard Maxfield, Nam June Paik, as well as John Cage, Marcel Duchamp, and others, Ono was at the forefront of Conceptualism.\u003c\/p\u003e\n\n\u003cp\u003eOno married John Lennon in 1969, sparking a period of unparalleled production including 4 studio albums in 4 years, a book, 12 films, and the beginning of a steady stream of landmark cultural events and turning points, such as the Bed-In for Peace. Ono's seemingly simple, high-concept art weaves the personal and political into clean, transcendent statements. Only her activism and philanthropy match her legendary artistic output. \u003c\/p\u003e\n\n\u003cp\u003eSecretly Canadian is honored to partner with Chimera Music on releasing Ono’s musical output from 1968 to 1985. Comprised of eleven studio albums, the reissue project’s focus is to painstakingly reconstruct the original vinyl packaging, to thoroughly excavate and appropriately curate the treasure-laden archives of never-before-seen photos and ephemera, and to re-master the audio, all for the purpose of creating the definitive editions of this timeless work. In addition to making the vinyl available for the first time in decades, each album will also be available digitally for the first time ever. We couldn’t be more proud to be a part of re-introducing Yoko Ono’s seminal work.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eThe Yoko Ono Reissue Project contains the following albums, and will be released in three groups.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e1st group:\u003c\/p\u003e\n\n\u003cp\u003eUnfinished Music No. 1: Two Virgins (1968)\u003c\/p\u003e\n\n\u003cp\u003eUnfinished Music No. 2: Life With Lions (1969)\u003c\/p\u003e\n\n\u003cp\u003ePlastic Ono Band (1970)\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e2nd group:\u003c\/p\u003e\n\n\u003cp\u003eFly (1971)\u003c\/p\u003e\n\n\u003cp\u003eApproximately Infinite Universe (1973)\u003c\/p\u003e\n\n\u003cp\u003eFeeling the Space (1973)\u003c\/p\u003e\n\n\u003cp\u003eA Story (recorded in 1974, released as part of Ono Box in 1992)\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e3rd group:\u003c\/p\u003e\n\n\u003cp\u003eSeason of Glass (1981)\u003c\/p\u003e\n\n\u003cp\u003eIt’s Alright (I See Rainbows) (1982)\u003c\/p\u003e\n\n\u003cp\u003eStarpeace (1985)\u003c\/p\u003e\n\n\u003cp\u003eUnfinished Music No. 3: Wedding Album (1969)\u003c\/p\u003e","brand":"Yoko Ono","offers":[{"title":"CD","offer_id":44673919058083,"sku":"SC281cd","price":13.99,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":44673919090851,"sku":"SC281lp","price":29.99,"currency_code":"USD","in_stock":false},{"title":"LP Clear Vinyl","offer_id":44673919156387,"sku":"SC281lp-C1","price":29.99,"currency_code":"USD","in_stock":false},{"title":"Secretly Society White Vinyl","offer_id":44673919123619,"sku":"SC281lp-c2","price":21.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/s-l1200_1.jpg?v=1776688867"},{"product_id":"slowdive-slowdive","title":"Slowdive","description":"\u003cp\u003eSlowdive 'Slowdive' Black Vinyl LP ships around July 7th 2023. “It felt like we were in a movie that had a totally implausible ending...” Slowdive’s second act as a live blockbuster has already been rapturously received around the world. Highlights thus far include a festival-conquering, sea-of-devotees Primavera Sound performance, of which Pitchfork noted: “The beauty of their crystalline sound is almost hard to believe, every note in its perfect place.” “It was just nice to realise that there was a decent amount of interest in it,” says principal songwriter Neil Halstead. The UK shoegaze pioneers have now channelled such seemingly impossible belief into a fourth studio opus which belies his characteristic modesty. Self-titled with quiet confidence, Slowdive’s stargazing alchemy is set to further entrance the faithful while beguiling a legion of fresh ears. Deftly swerving what co-vocalist\/guitarist Rachel Goswell terms “a trip down memory lane”, these eight new tracks are simultaneously expansive and the sonic pathfinders’ most direct material to date. Birthed at the band’s talismanic Oxfordshire haunt The Courtyard – “It felt like home,” enthuses guitarist Christian Savill – their diamantine melodies were mixed to a suitably hypnotic sheen at Los Angeles’ famed Sunset Sound facility by Chris Coady (perhaps best known for his work with Beach House, one of countless contemporary acts to have followed in Slowdive’s wake). “It’s poppier than I thought it was going to be,” notes Halstead, who was the primary architect of 1995‘s previous full-length transmission Pygmalion. This time out the group dynamic was all-important. “When you’re in a band and you do three records, there’s a continuous flow and a development. For us, that flow re-started with us playing live again and that has continued into the record.” Drummer and loop conductor Simon Scott enhanced the likes of ‘Slomo’ and ‘Falling Ashes’ with abstract textures conjured via his laptop’s signal processing software. A fecund period of experimentation with “40-minute iPhone jams” allowed the unit to then amplify the core of their chemistry. “Neil is such a gifted songwriter, so the songs won. He has these sparks of melodies, like ‘Sugar For The Pill’ and ‘Star Roving’, which are really special. But the new record still has a toe in that Pygmalion sound. In the future, things could get very interesting indeed.” This open-channel approach to creativity is reflected by Slowdive’s impressively wide field of influence, from indie-rock avatars to ambient voyagers – see the tribute album of cover versions released by Berlin electronic label Morr Music. As befits such evocative visionaries, you can also hear Slowdive through the silver screen: New Queer Cinema trailblazer Gregg Araki has featured them on the soundtracks to no less than four of his films. “When I moved to America in 2008 I was working in an organic grocery store,” recalls Christian. “Kids started coming in and asking if it was true I had played in Slowdive. That’s when I started thinking, ‘OK, this is weird!’” Neil Halstead: “We were always ambitious. Not in terms of trying to sell records, but in terms of making interesting records. Maybe, if you try and make interesting records, they’re still interesting in a few years time. I don’t know where we’d have gone if we had carried straight on. Now we’ve picked up a different momentum. It’s intriguing to see where it goes next.” The world has finally caught up with Slowdive. This movie could run and run...\u003c\/p\u003e","brand":"Slowdive","offers":[{"title":"CD","offer_id":44673921253539,"sku":"DOC132cd","price":14.99,"currency_code":"USD","in_stock":true},{"title":"LP Black Vinyl","offer_id":44673921286307,"sku":"DOC132lp","price":24.99,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":44673921319075,"sku":"DOC132cass","price":6.99,"currency_code":"USD","in_stock":false},{"title":"LP Apple Opaque Vinyl","offer_id":44673921417379,"sku":"DOC132lp-C6","price":25.99,"currency_code":"USD","in_stock":false},{"title":"Secretly Society Clear Vinyl","offer_id":44673921351843,"sku":"DOC132lp-C2","price":17.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc132.slowdive.mockup.c6.jpg?v=1759481913"},{"product_id":"texas-sun-khruangbin-leon-bridges","title":"Texas Sun","description":"Driving anywhere in Texas can cost you half a day, easy. For example, it’ll take you over four hours just to get from R\u0026amp;B singer Leon Bridges’ hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you’re in. And it’s all baking under the Texas Sun that lends its name to Bridges and Khruangbin’s new collaborative EP.\n\n\n\n“Big sky country, that’s what they call Texas,” Khruangbin bassist Laura Lee says. “The horizon line goes all the way from one side to another without interruption. There’s something really comforting about that.”  \n\n\n\nOn Texas Sun, these two members of the state’s musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas’ past, present, and future—a dreamy badlands where genres blur as seamlessly as the terrain.\n\n\n\n\u003cem\u003eReleased in partnership with Columbia Records and Night Time Stories Ltd\u003c\/em\u003e","brand":"Khruangbin \u0026 Leon Bridges","offers":[{"title":"CDEP","offer_id":44673924530339,"sku":"DOC214cd","price":12.99,"currency_code":"USD","in_stock":true},{"title":"12\" Purple \u0026 Blue Nebula vinyl","offer_id":44673924563107,"sku":"DOC214lp-C4","price":20.99,"currency_code":"USD","in_stock":false},{"title":"12\" Coke bottle clear vinyl","offer_id":44673924595875,"sku":"DOC214lp-C3","price":15.99,"currency_code":"USD","in_stock":false},{"title":"12\" Black vinyl","offer_id":44673924628643,"sku":"DOC214lp","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc214.cd.jpg?v=1776688807"},{"product_id":"wednesday-rat-saw-god","title":"Rat Saw God","description":"\u003cp\u003eA Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter\/vocalist\/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet’s new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album’s ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap\/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman’s voice slicing through the din.\u003c\/p\u003e\n\u003cp\u003eRat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It’s not really bright enough to see in front of you, but in that stretch of inky void – somehow – you see everything.\u003c\/p\u003e\n\u003cp\u003eRat Saw God was written in the months immediately following Twin Plagues’ completion, and recorded in a week at Asheville’s Drop of Sun studio. While Twin Plagues was a breakthrough release critically for Wednesday, it was also a creative and personal breakthrough for Hartzman. The lauded record charts feeling really fucked up, trauma, dropping acid. It had Hartzman thinking about the listener, about her mom hearing those songs, about how it feels to really spill your guts. And in the end, it felt okay. “I really jumped that hurdle with Twin Plagues where I was not worrying at all really about being vulnerable – I was finally comfortable with it, and I really wanna stay in that zone.”\u003c\/p\u003e\n\u003cp\u003eThe album opener, “Hot Rotten Grass Smell,” happens in a flash: an explosive and wailing wall-of-sound dissonance that’d sound at home on any ‘90s shoegaze album, then peters out into a chirping chorus of peepers, a nighttime sound. And then into the previously-released eight-and-half-minute sprawling, heavy single, “Bull Believer.” Other tracks, like the creeping “What’s So Funny” or “Turkey Vultures,” interrogate Hartzman’s interiority - intimate portraits of coping, of helplessness. “Chosen to Deserve” is a true-blue love song complete with ripping guitar riffs, skewing classic country. “Bath County” recounts a trip Hartzman and her partner took to Dollywood, and time spent in the actual Bath County, Virginia, where she wrote the song while visiting, sitting on a front porch. And Rat Saw God closer “TV in the Gas Pump” is a proper traveling road song, written from one long ongoing iPhone note Hartzman kept while in the van, its final moments of audio a wink toward Twin Plagues.\u003c\/p\u003e\n\u003cp\u003eThe reference-heavy stand-out “Quarry” is maybe the most obvious example of the way Hartzman seamlessly weaves together all these throughlines. It draws from imagery in Lynda Barry’s Cruddy; a collection of stories from Hartzman’s family (her dad burned down that cornfield); her current neighbors; and the West Virginia street from where her grandma lived, right next to a rock quarry, where the explosions would occasionally rock the neighborhood and everyone would just go on as normal.\u003c\/p\u003e\n\u003cp\u003eThe songs on Rat Saw God don’t recount epics, just the everyday. They’re true, they’re real life, blurry and chaotic and strange – which is in-line with Hartzman’s own ethos: “Everyone’s story is worthy,” she says, plainly. “Literally every life story is worth writing down, because people are so fascinating.”\u003c\/p\u003e\n\u003cp\u003eBut the thing about Rat Saw God - and about any Wednesday song, really - is you don’t necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it’s all in the details – how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen – but it’s mostly the way those tiny moments add up into a song or album or a person. \u003cbr\u003ecredits\u003c\/p\u003e","brand":"Wednesday","offers":[{"title":"LP Seafoam Green Vinyl","offer_id":44673926398115,"sku":"DOC328lp-C2","price":26.99,"currency_code":"USD","in_stock":true},{"title":"LP Black Vinyl LP","offer_id":44673926430883,"sku":"DOC328lp","price":24.99,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":44673926463651,"sku":"DOC328cd","price":12.99,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":44673926496419,"sku":"DOC328cass","price":9.99,"currency_code":"USD","in_stock":false},{"title":"LP Clear Green-Eyed Vinyl","offer_id":44673926529187,"sku":"DOC328lp-C3","price":27.99,"currency_code":"USD","in_stock":true},{"title":"Bundle Seafoam Green Vinyl + Quilt","offer_id":44673926561955,"sku":"DOC328xbnd01","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc328.wednesday.ratsawgod.lp.mock.c2.webp?v=1776688807"},{"product_id":"minecraft-volume-beta-c418","title":"Minecraft Volume Beta","description":"\u003cp\u003eAs C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to Minecraft, the single best-selling video game of all time, he’s developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the “8-bit” pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (VICE). In 2015, after quietly self-releasing Minecraft Volume Alpha and Minecraft Volume Beta, Rosenfeld partnered with Ghostly International to reissue Minecraft Volume Alpha on vinyl and CD. The release garnered attention from proper music critics and the gaming community alike, becoming one of the most sought after records in the Ghostly catalog. Now, following several restocks of Alpha to fervent fan response, it is time for the soundtrack’s second installment to shine. For the legion of listeners and players to, at long last, have Minecraft Volume Beta in tangible formats. The double LP arrives in August 2020 on standard black and fire splatter colored vinyl, available in regular sleeves as well an exclusive limited-edition jacket with a lenticular cover which gives depth and movement to its 3D-rendered image.\u003c\/p\u003e\n\n\u003cp\u003eOriginally self-released in 2013, Minecraft Volume Beta was C418’s longest batch of music to date at nearly 140 minutes. The collection features tracks that were \"silently\" added to Minecraft during its music updates and a few that never officially entered the game. The run time is now adapted to fit the double LP format, while digital downloads include the full set. Rosenfeld’s unmistakable abilities are on display; he creates a sweeping variety of musical ideas that mirror the limitless universe of Minecraft. Ghostly International is thrilled to give this unique collaboration its due treatment and hopes to see the creative inspiration which drives Minecraft and Rosenfeld continue to disperse by virtue of this unexpectedly universal music.\u003c\/p\u003e","brand":"C418","offers":[{"title":"2xLP Warp Speed Vinyl","offer_id":45814372106403,"sku":"GI360lp-C8","price":33.0,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":44689925308579,"sku":"GI360lp-C1","price":24.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":45814372040867,"sku":"GI360cass","price":12.0,"currency_code":"USD","in_stock":false},{"title":"2xCD","offer_id":45814372073635,"sku":"GI360cd","price":15.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/gi-360_2-_2.jpg?v=1718191073"},{"product_id":"minecraft-volume-alpha-c418","title":"Minecraft Volume Alpha","description":"\u003cp\u003e\u003cbr\u003e\u003cspan\u003eMinecraft is a dreamscape, a limitless world where anything is possible. Minecraft is a tool, a means of bringing the imagination to life. Minecraft is a community, a platform on which inventive minds of all ages can share their creations and ideas. Minecraft, of course, is also a game, the most popular and best-selling video game of all time. Created in 2009 by Swedish programmer Markus \"Notch\" Persson, this cultural phenomenon speaks volumes of our current zeitgeist's love for virtual spaces, but its unprecedented success couldn't be pinned on one factor alone. Countless layers of thoughtful artistry flow through Minecraft's singular experience, not the least of which is its transportive soundtrack. And now for the first time since releasing digitally in 2011, the music of Minecraft will be issued on vinyl and CD by Ghostly International.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMinecraft Volume Alpha, the first installment of a two-part OST, is the work of German composer and musician Daniel Rosenfeld. Using C418 as his moniker, Rosenfeld crafted the sweeping soundtrack and vibrant sound design which helped breathe life into Minecraft's voxel-based universe. Fans and critics were universally enamored with his beatless, nuanced electronic pieces upon release. Popular gaming site Kotaku named it among The Best Game Music of 2011, calling the music \"remarkably soothing,\" and The Guardian has compared Rosenfeld's delicate piano and sparse ambient motifs to legendary artists Erik Satie and Brian Eno. In an interview feature with C418, Polygon distilled Volume Alpha to its essence: \"It's not bound by the retro aesthetic of Minecraft's graphics. It transcends them. The album is an attempt to uplift the combined game\/music experience into the sublime.\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBut for all of the critical praise, C418's crowning achievement has to be his insatiable fan base, the seemingly endless swath of players and listeners who treat his music like gospel. They are exactly who this physical release of the Minecraft soundtrack was conceived for, though Ghostly hopes to bring Rosenfeld's music to a whole new audience as well. As any cursory listen of the touching sounds will reveal, this isn't a record meant solely for lifelong gamers and MineCon diehards; anyone in love with ambient, neo-classical, or minimal music needs to hear Volume Alpha.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFor the soundtrack's physical release, Ghostly has designed standard black vinyl and digipak CD packages around colorful artwork from the digital version. 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Ghostly is thrilled to count this unique collaboration among its already eclectic catalog, and hopes to see the creative inspiration which drives Minecraft and Rosenfeld continue to disperse by virtue of their timeless music.\u003c\/span\u003e\u003c\/p\u003e","brand":"C418","offers":[{"title":"LP Earth Confetti","offer_id":45814364307619,"sku":"GI243lp-C10","price":0.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":44689925374115,"sku":"GI243lp-C2","price":19.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":45814363783331,"sku":"GI243cass","price":0.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":45814364340387,"sku":"GI243cd","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/APD_Minecraft_Alpha02.jpg?v=1776688749"},{"product_id":"avanti","title":"AVANTI","description":"\"There are ghosts all across AVANTI, the debut album from Malice K - the record wades through a disarray of chaos and loss with a sharp-toothed fervor. At points it’s howling and unhinged, a grungy layer atop a lush foundation of melodic capital-s Songwriting akin to the golden-age pop of the ‘70s, but in other moments it dissolves into a gentle, wistful haunting. Malice K’s songs are blunt, uncomplicated and unflinching as he probes the interiority of memories, of mistakes – saturated with an innate intensity that sucks you into his gnarled and visceral world, so barbed it could draw blood.\n\nMalice K is a New York-based project helmed by visual artist and songwriter Alex Konschuh, but he was born and raised in Olympia, Washington. Following a stint living in Los Angeles, where he delved further into his music making and became a member of the artist collective Death Proof Inc., a trip to New York funded by a prospective label resulted in him simply never leaving the city. A period of chaos ensued, Malice K exhausted and unmoored and ultimately, unwell: “I was just... I was trying to be like a full-time performer constantly in my day to day life,” he says. “I was at every party, and doing everything, and I just wasn’t me.”  \n\nThat partying and instability caught up to him, and through necessity he found ways to let go of what wouldn’t allow him to continue making his art, or even to survive. He wades through that turmoil on AVANTI, which acts as a diary of the last two years of his life. The album title offers a double meaning, named for both the formative alternative performing arts high school Malice K attended and the Italian adverb, which, translated to English, means “to go forward.” \n\nHe started writing the songs here across the last several years, one song at a time. Perfection is never the point. As reflective as his songwriting is, Malice K isn’t interested in belaboring the work, or even his own story. Leaving room for catharsis, for connection, for a community, is what’s most important. He prefers to distill the feeling and sound of the room, of the immediate present, the way he feels when he performs it, to tape. \n\n“A microphone just recording the room, what’s around you - there’s something that comes through there and I like to preserve that as much as possible,” he says. “Even though you can’t define exactly what someone was feeling when they made a song, you can tell when somebody felt something when you hear it. It’s like how a camera can save a photo – I want to do that, but with sound.”\n\nAnd the resulting AVANTI undulates with a singular acuity, strangely romantic but tragic, tense and startling, even in its quieter, ballad-skewing moments. \n\nThe record is unpredictable across its 11 songs. The album opens with a jarring scream on “Halloween,” Malice K’s breathless vocals buried beneath a grungy, roving Nineties riff. The track emanates a manic energy, enveloping. It’s a fitting entrypoint for the record, and for the vividness of Malice K. The snarling and obsessive “You’re My Girl” has a swaggering paranoia: “I got so high I thought my hand touching my hand was your hand.” But AVANTI exists in a lot of quieter moments – “Radio,” with its fluttering morose cello (Malice K’s first time composing for the instrument), which moves at an almost glacial pace comparatively, or the aching wistfulness on both the “The Old House” and “Blue Monday.” “The Old House” is an album stand-out, anchored in an acoustic guitar, an uneasy lullaby that never quite settles into itself: “I think to myself I got the things that I wanted, but I can’t help think there’s something else that I forgot to do.”\n\nThere’s an underlying theatricality throughout - but it works because it’s built on what’s simple and true. Like on the penultimate track, “Raining,” with its propulsive, percussive heartbeat, where he wonders: “You set me on fire and put me out \/ for what is trust \/ but making up for how you fucked up to begin with?” It’s the closest the album comes to a thesis – a flawed, lovesick devotion – but the idea of a guiding story is something Malice K squarely rejects.\n\n“I don’t like albums formed solely around themes, or where you have to be told what it is,” Malice K says. “I don’t like being told what to think or feel about something – I stray away from projects where it needs to be explained to be heard properly, or where there’s only one way to hear something.”\n\nA recent press interview called Malice K a shapeshifter, but he’s not amorphous in that way. He’s decisive and intense, more concerned with carving his own path, and building his own world, rather than finding ways to fit into what already exists. Every part of Malice K is distinctly himself – felt even in the visual components, like the “Radio” single tape-and-scissors artwork, the illustrations for the inside of the album packaging, the AVANTI album cover featuring a sculpture he made in collaboration with Cheeky Ma. From his sweaty high-octane shows to the high-flash high-contrast photos; from his gnarled and unsettling illustrations to the studio recordings that vacillates between grief and tenderness at the drop of the hat, there’s an exceptional ferocity across everything Malice K touches. AVANTI feels lived in, like peering into an abandoned house through a window smeared with grimy fingerprints, relics of a life well-lived scattered inside - despite being a debut, there’s the sense that Malice K arrived fully-realized, imperfections and all.\"\n","brand":"MALICE K","offers":[{"title":"LP GOLD LP","offer_id":44802476572835,"sku":"JAG455LP-C1","price":24.99,"currency_code":"USD","in_stock":true},{"title":"LP BLACK LP","offer_id":44802476507299,"sku":"JAG455LP","price":23.99,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":44802476540067,"sku":"JAG455CD","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag455.malicek.lp-c1.mock-7ab5ea00d242f81c079e532750ff8f7d.webp?v=1776688748"},{"product_id":"red-mile","title":"RED MILE","description":"","brand":"CRACK CLOUD","offers":[{"title":"LP BLACK LP","offer_id":44802521202851,"sku":"JAG463LP","price":23.99,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":44802521235619,"sku":"JAG463CD","price":14.99,"currency_code":"USD","in_stock":true},{"title":"LP FREE FALL BLUE VINYL","offer_id":44802521268387,"sku":"JAG463LP-C1","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag463.crackcloud.redmile.preorder.lp.mock.c1-e8eb9ee76949546b349ed7947544c315.webp?v=1776688748"},{"product_id":"shinbangumi","title":"SHINBANGUMI","description":"\u003cp\u003e\n\u003cem\u003eCloud Vinyl includes “Ginger Root Plaza” Paper Pop-out Building!\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eStep inside the world of Ginger Root. Cameron Lew makes it easy to do so; every considered detail is his own manifestation, written, designed, and executed as an all-encompassing diorama of sound and sight. A multi-instrumentalist, producer, songwriter, and visual artist from Southern California, Lew has crafted his project steadily since 2017, inviting a fervent and growing legion of fans into storylines drawn across mediums: captivating albums with accompanying films and globe-spanning tours. The Ginger Root sound — handmade yet immaculately polished synth-pop, alt-disco, boogie, and soul — takes shape through Lew's lens as an Asian-American growing up enamored by 1970s and '80s music, specifically the creative and cultural dialogue between Japanese City Pop and its Western counterparts from French Pop to Philly Soul to Ram-era McCartney. He spins his retro-minded influences and proliferates savvily in the present, synthesizing a songwriter's wit, an editor's eye, and a producer’s resource into something singular and modern. SHINBANGUMI, his long-awaited third LP, and Ghostly International debut set for physical release in 2024 with a visual album component, translates roughly to a new season of a show. It finds Lew more poised, idiosyncratic, and intentional than ever in a new chapter of life, unlocking \"exactly what Ginger Root should sound and feel like,\" he says. \"In terms of instrumentation and musicality, it's the first time that I felt very confident and comfortable with what everything should be comprised of. On the more personal side, I'm coming out of the last four years of writing, touring, and living as a different person; SHINBANGUMI is a platform to showcase my new self.\"  \u003cbr\u003e\u003cbr\u003eIn parallel with the songs and his real-life artist story, unfolding across the sequential music video series, Lew resumes the conceptual narrative from his 2022 EP Nisemono, which follows Ginger Root as a newly-fired music supervisor in 1987 starting his own media conglomerate, Ginger Root Productions. \"If you watch music videos one through eight, you'll be presented with a story that’s comparable to a traditional movie; something I've always wanted to do.” Splitting sessions between locations in Japan and back in Orange County, Lew paid extra attention to SHINBANGUMI’s track arrangement, tapping his close circle for input, including members of his live band and his longtime video collaborator, David Gutel. He sees the album’s arc in multiple acts, mapping the chronological listen with \"just the right amount of like front-end punch and then letting you breathe, then sending you even faster in the middle section, and so on…I wanted to grab you by the collar in a good way and then not let you go until the last song.\"\u003cbr\u003e\u003cbr\u003e\"No Problems\" acts as the opening title sequence and a bridge to new terrain, with its singable basslines, swaggering guitar riffs, and clever keyboard hooks calling back to past fan favorites now with expanded scope. \"All the sonic logos of Ginger Root are in this song,\" Lew says. \"Better Than Monday\" pokes fun at our universal dread of the week’s reset and plays with expectations, starting in a crunchy lo-fi space before blasting into hi-fi splendor, a super-charged, bass-bending stomp that rides out on his reprise, \"It's the waitin' that you do (whatcha doin?).\"\u003cbr\u003e\u003cbr\u003eWhat makes Ginger Root special is the project's ability to weave influence beyond pastiche into a bigger picture, exploring that rarified pop pleasure center where referential meets refreshing. \"There Was A Time\" honors the homespun melody-making of his favorite solo Beatle (early ‘70s Paul). Thinking about the song's utility within the overall sequence, like a scene break, Lew sought to write a lighter pop song. It doubles as the sweet wind-up for \"All Night,\" a four-on-the-floor burner, a Ginger Root club cut albeit still with live instrumentation, inspired by his friend's seemingly endless night out in Paris. \"This was my one attempt at writing a track that you can bump all night, but being the introvert that I am, I couldn't write it about me.\"\u003cbr\u003e\u003cbr\u003eWith \"Only You,\" Lew delivers his first straightforward take on the oft-cited genre: \"I wanted to sit down and be in the mindset of, if I were to write a true City Pop song, what would I want it to sound like?” The result is an anthem brimming with deep bass disco grooves, shimmering synth glissandos, and a howling outro from the school of Prince and Chaka Khan. Meanwhile, the infectious and uncharacteristically guitar-driven \"Giddy Up\" stems from Lew’s love for The B-52s and Devo. Unpacking the message, he adds, \"It could be a relationship with something, a passion, a project or whatever. If you want to do it, you gotta giddy up, buckle in, pull your boots up, and go for it.\" For \"Kaze,\" recorded on a dusty drum kit in a karaoke bar in the middle of Tokyo's Asakusa district, he evokes the Tin Pan Alley sound of a hero, Harry Hosono (Yellow Magic Orchestra).\u003cbr\u003e\u003cbr\u003eLew considers \"Show 10\" the spiritual heart of the record, the track that reminded him why he keeps Ginger Root going. Towards the end of his last album season, Lew recalls one night when tour fatigue was setting in, feeling like he didn't want to play the same set again: “I remember walking out into the crowd and seeing all the people who had high hopes for this show. I was like, man, you know, I've got to give it 10. I've got to show people my best.\" And with SHINBANGUMI, he has.\u003c\/p\u003e","brand":"GINGER ROOT","offers":[{"title":"LP CLOUD VINYL","offer_id":44802592866467,"sku":"GI443LP-C2","price":26.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":44802592899235,"sku":"GI443LP","price":24.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":44802592932003,"sku":"GI443CD","price":13.0,"currency_code":"USD","in_stock":false},{"title":"CASSETTE ORANGE CASSETTE","offer_id":44802592964771,"sku":"GI443CASS","price":11.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/gi-443lp-c2-packshot-_1_-c484b561c7fa032094e5cf38563d290c.webp?v=1776688748"},{"product_id":"songs-from-a-thousand-frames-of-mind","title":"Songs From A Thousand Frames Of Mind","description":"\u003cp\u003eOn Songs From A Thousand Frames Of Mind, the kaleidoscopic full-length debut from Kate Bollinger, entire worlds lie in the small details. “When I’m recording a song,” the Charlottesville-born, Los Angeles-based songwriter observes, “my indication of whether it’s worth pursuing is if I’m seeing a movie in my head to go along with it.” Blending classic pop songcraft with scrappy punk instincts, Bollinger casts a collage-like vision that’s instantly memorable and uniquely mystifying. Ranging from homespun folk songs to warmly rendered psychedelic rock—like early Rolling Stones as fronted by Hope Sandoval—the resulting album can feel like flipping through your coolest friend’s record collection, finding a new favorite song with each discovery.\u003cbr\u003e\u003cbr\u003eIn order to summon this majestic blend of styles, Bollinger spent years cultivating material, challenging herself to work with new collaborators while moving across the country from her native Virginia to California. Evolving the hermetic approach of her early EPs and solo performances, she arrived at a fuller sound based on intuitive responses and in-the-moment energy. “I came to this realization that most of my favorite music is the result of friends, or players who have known each other a long time, coming together and playing live in the room,” she observes. Armed with endless hooks and wildly shifting textures, Bollinger can seem as much like a songwriter as an art-house auteur, crafting the soundtrack and scenery for a non-existent movie. (Fittingly, Bollinger studied film in college, and she also directed the striking music video for Jessica Pratt’s recent single “World on a String.”)\u003cbr\u003e\u003cbr\u003eSeveral highlights from the record were co-written with Spacebomb Records mastermind Matthew E. White, such as the jangle-pop gem “Any Day Now” and the theatrical “I See It Now.” After months of writing in Richmond and Los Angeles, Bollinger traveled to upstate New York to record with producer Sam Evian (Big Thief, Blonde Redhead, Cass McCombs), with whom she developed a similar kinship. Alongside her longtime friend and drummer Jacob Grissom, she formed a group of tight-knit collaborators able to match her wide-ranging inspiration, spanning from ’60s icons like Françoise Hardy and the Velvet Underground to ’90s touchpoints like No Doubt and Pavement. \"In some way, this album feels like my musical debut. I feel that I’ve finally been able to express all sides of myself in one record.\"\u003cbr\u003e\u003cbr\u003eFor Bollinger, the connective tissue between this disparate material is often unspoken but always deeply felt. “Songwriting is kind of like dreaming,” she explains. “They both tend to reveal to me what I don't yet consciously know. I thought of the album title before most of the songs were written, but it became a self-fulfilling prophecy in a way that tends to happen in a lot of my music.” As a lyricist, Bollinger expresses herself through subtle imagery and surrealist stream-of-conscious narratives, allowing listeners to arrive at their own interpretation. When she touches on the rise and fall of romantic relationships, there is an almost therapeutic quality to her writing. In the lilting, empathetic “To Your Own Devices,” she follows a sunswept melody to deliver a series of hushed, second-person observations: “Now you’re in a pinch\/The mirror makes you flinch,” she sings. “And all this time, were you not making sense?”\u003cbr\u003e\u003cbr\u003eIn the baroque swirl of opener “What’s This About (La La La La),” Bollinger and her band conjure a sense of cartoonish whimsy that places her in league with the mystical pop greats of the Elephant 6 Collective, a scene whose idiosyncratic spin on the classic rock era helped inform the patchwork sprawl of her record. The cumulative effect reveals the vast range of Bollinger’s vision. “I like when something is a balance of opposites,” she notes, and her tender approach as a songwriter and bandleader makes these juxtapositions feel as natural as a singalong with friends. The haunting “Sweet Devil” smolders like a jazz standard as interpreted by Feist at her smokiest and most intimate; the dramatic outro of “I See It Now” has a romping energy that feels suited for a climactic showdown at a saloon; the breezily psychedelic “Postcard From A Cloud” plays like a dreamworld collaboration between Teenage Fanclub and Broadcast, finding the warm, melodic center of their Venn Diagram.\u003cbr\u003e\u003cbr\u003eWritten during a period of transience and change, Songs From A Thousand Frames Of Mind was made to resemble a mixtape—something carefully crafted and delivered from just one person to another. In sharing this music with listeners, Bollinger took inspiration from her own formative encounters with art: quietly worshiping the early musical projects of her older brothers, attending local shows in Charlottesville and feeling empowered to write songs of her own, inheriting burned CDs from older classmates and finding a portal to another world. (Working with her friends Emma Collins and Evangeline Neuhart on the visual accompaniment, Bollinger assures the entire project feels equally communal and intuitive.) Sublimating a lifetime’s worth of musical connections into a concise 11 songs, Songs From A Thousand Frames Of Mind captures a rare sense of purpose and ambition for a debut record, managing to feel cozily familiar while still packed full of surprises. And in her gently playful and emotionally resonant performances, Bollinger sounds as enraptured by the mystery as anyone.\u003c\/p\u003e","brand":"Kate Bollinger","offers":[{"title":"LP EMERALD VINYL","offer_id":44802930475171,"sku":"GI434LP-C2","price":27.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":44802930507939,"sku":"GI434LP","price":25.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":44802930540707,"sku":"GI434CD","price":13.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/gi-434lpc2-packshot-15f6b4a5027bb496c679b7b4c30c9a2d.webp?v=1776688747"},{"product_id":"hole-erth","title":"HOLE ERTH","description":"\u003cp class=\"expandable-text d-none d-md-block text-justify\"\u003eHole Erth, Chaz Bear’s eighth full-length studio record as Toro y Moi, is the genre shapeshifter’s most unexpected and bold move to date, with Bear ping headlong into rap-rock, Soundcloud rap and Y2K emo. The album blitzes anthemic pop-punk next to autotuned, melancholic rap – two genres that inform one another now more than ever before — and packs in the most features ever on a Toro y Moi album. We get Don Toliver’s moody crooning on the anti-love song “Madonna.” We get Kevin Abstract and Lev’s breathy reflections on “Heaven.” We get emo king Benjamin Gibbard, the beating heart of millennial indie for crying out loud. Recorded in the span of a few months across late 2023 and early 2024, Hole Erth’s features built naturally over that short span, with Bear simply reaching out to long-time friends. The sum of Hole Erth’s parts is massive, and demonstrates Bear’s deft abilities as a producer, especially in hip-hop; his role in the culture has long been solidified from previous collaborations with some of rap's biggest trailblazers. It’s a daring left turn for Bear, but the feel is effortless, the make-it-look-easy of a master at work. All told, Bear pushes himself into new sonic ground for the TyM oeuvre while embracing the project’s celebrated, well-known electronic beginnings. Hole Erth is brand new, but somehow perfectly at home. \u003cbr\u003e\u003cbr\u003eThe album’s title is an homage to Whole Earth, Stewart Brand’s DIY periodical from the late ‘60s and early ‘70s, the central purpose of which was to empower people to be holistically self-sufficient. From product reviews of carpentry tools, to how-to guides for growing your own food, to techno-optimistic analyses that’d go on to inspire Silicon Valley startup culture, parallels of the catalog’s DIY ethos can be found all throughout Hole Erth. Bear cites gorpcore, a new-age fashion trend of functional, outdoorsy outerwear worn as streetwear, as influencing the album’s aesthetic. This also ties back to Brand’s influential counterculture catalog. Bear notes: “Things have gone in a more gorp-y direction. Humans are tapping into this more tribal, earthier aesthetic. The Whole Earth catalog is this encyclopedic, self-sustaining guide. With the album title alone, that’s something I wanted to spark as a conversation. We can be off the grid, and also be on the internet, and try out all of these different lifestyles at the same time.” This sense of duality exists within Hole Erth: it’s seeped in the technological world while embracing real-world human connection.\u003cbr\u003e\u003cbr\u003eThe sounds that make up Hole Erth might feel like new territory for Bear, but in reality it’s a return to form for Toro y Moi – a project that has always orbited electronic music. “Toro is not a rock band,” Bear assures. “To me, my folk records and psych rock records are the side quests. What I fell in love with with the Toro project were the electronic productions – the samples. There’s always more to be done in the electronic world.” His experimentation with electronic production is most obvious on tracks like album opener “Walking In The Rain,” an immediate immersion into the brooding pulse of Hole Erth. Given Bear’s work with some of modern rap’s most influential acts, it’s no surprise that his autotuned cadence and cheeky play-on-words calls to mind the moody braggadocio of today’s popular hip-hop. “Hollywood,” featuring Benjamin Gibbard of Death Cab for Cutie and The Postal Service fame, places warped vocals and ephemeral sound bites of internet dial-up beneath watery ruminations on celebrity and the delusions prevalent in Tinseltown. The track’s nostalgic nods in combination with Bear’s genre fluidity is a Toro y Moi trademark that can be heard throughout his discography. From the twangy, laidback reflections that comprised his most recent Sandhills EP, to the retro-futuristic grooves of 2019’s Outer Peace, Bear is no stranger to flexing his muscles as a forward-thinking musical chameleon, while still managing to make music that feels eternally familiar yet compelling.\u003cbr\u003e\u003cbr\u003eA sense of nostalgia sneaks its way into almost every Toro y Moi release, but angst is an emotion that Bear has never intentionally explored the way he does here. Tracks like “Tuesday'' channel a specific, yet forever-relatable sense of adolescent unease. A distorted guitar riff leads into a repeating chorus that conjures misunderstood teenagers singing aloud, maybe too loud, while riding bikes through American suburbs. This foreboding can also be heard on “HOV,” though not without poking some fun with lines like “Romance is so cold \/ My advice? To bring a coat.” \u003cbr\u003e\u003cbr\u003eA sense of playful ambition and experimentation sits at the core of Hole Erth. Bear has the energy, but is acutely aware that his energy isn’t forever. At a time when the internet is blending multiple genres into one at an increasingly rapid pace, Bear accomplishes the rare feat of keeping up with the contemporary alternative listener. Constantly changing, evolving and experimenting is the heart of Toro y Moi, and on Hole Erth Bear challenges but also reclaims himself, embracing the myriad sounds and eras that formed him, while crashing new worlds together.\u003c\/p\u003e\n\u003cdiv data-item-key=\"1755787226.349089\" data-qa=\"virtual-list-item\" id=\"message-list_1755787226.349089\" role=\"listitem\" class=\"c-virtual_list__item\" aria-setsize=\"-1\" tabindex=\"0\"\u003e\n\u003cdiv data-qa-placeholder=\"false\" data-qa-unprocessed=\"false\" data-qa=\"message_container\" class=\"c-message_kit__background c-message_kit__background--hovered p-message_pane_message__message c-message_kit__message\" role=\"presentation\"\u003e\n\u003cdiv data-qa-hover=\"true\" class=\"c-message_kit__hover c-message_kit__hover--hovered\" aria-roledescription=\"message\" role=\"document\"\u003e\n\u003cdiv class=\"c-message_kit__actions c-message_kit__actions--default\"\u003e\n\u003cdiv class=\"c-message_kit__gutter\"\u003e\n\u003cdiv data-qa=\"message_content\" class=\"c-message_kit__gutter__right\" role=\"presentation\"\u003e\n\u003cdiv class=\"c-message_kit__blocks c-message_kit__blocks--rich_text\"\u003e\n\u003cdiv data-qa=\"message-text\" class=\"c-message__message_blocks c-message__message_blocks--rich_text\"\u003e\n\u003cdiv data-qa=\"block-kit-renderer\" class=\"p-block_kit_renderer\"\u003e\n\u003cdiv class=\"p-block_kit_renderer__block_wrapper p-block_kit_renderer__block_wrapper--first\"\u003e\n\u003cdiv dir=\"auto\" class=\"p-rich_text_block\"\u003e\n\u003cdiv class=\"p-rich_text_section\"\u003e\n\u003cstrong\u003eGZ GreenPower Bio-attributed Compound is produced based on mass balanced renewable ethylene and made from PVC and co-polymer that was produced with renewable power from hydropower, wind power or solar\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eenergy.\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"p-rich_text_section\"\u003e\n\u003cbr\u003e\u003cstrong\u003eThe carbon-dioxide savings with GZ GreenPower Bio-attributed Compound are about 90%.\u003c\/strong\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\u003cdiv role=\"group\" class=\"c-message_actions__container c-message__actions\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Toro y Moi","offers":[{"title":"LP BLACK LP","offer_id":44804983357603,"sku":"DOC355LP-V1","price":25.99,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":44804983390371,"sku":"DOC355cd","price":14.99,"currency_code":"USD","in_stock":true},{"title":"LP SILVER SMOKE VINYL","offer_id":44804983423139,"sku":"DOC355lp-C3","price":27.99,"currency_code":"USD","in_stock":true},{"title":"LP OLIVE GREEN BIOVINYL","offer_id":46159008891043,"sku":"DOC355lp-C2","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc355.tym.he.cd.mock-ec33e7964ac6987bb0e94e4cd94e102f.webp?v=1776688747"},{"product_id":"angel-olsen-cosmic-waves","title":"Cosmic Waves Volume 1","description":"\u003cp\u003e\u003cspan\u003eA few years ago, Angel Olsen quietly formed somethingscosmic, a new imprint and a home for Olsen to have “the flexibility to release when and how I want to with the help from my longtime partners at Jagjaguwar.” Somethingscosmic’s second release, ‘Cosmic Waves Volume 1’ is a compilation reimagined as a dialogue; side A features artists chosen by Olsen, with each artist choosing their own song for the collection. Side B is a collection of songs from the same artists, but chosen by Olsen and recorded by her. Each song, unsurprisingly, illuminates a new artist Olsen finds spectacular. Hearing Olsen refract the artists’ songs back to them reveals the depth of Olsen’s imagination, while spotlighting multiple exciting artists at work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“As someone that emerged into the music scene through a small tape label,” says Olsen, “I’ve wanted to continue the spirit of discovery and of my debut release, ‘Strange Cacti’, while supporting and collaborating with artists and friends whose music I have been moved by. I feel there is something unique and special about covering another artist's song,” she continues. “We all make it our own, or we try to, but I personally always learn something new about the process when I’m engaging someone else’s words and melodies in such a close way. Time and again I find that putting myself into various different styles of songs can lead to new ways of thinking and creating.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe artists on “Cosmic Waves Volume 1” draw from a sprawling, myriad sounds, eras and inspirations. Poppy Jean Crawford’s magnetic growl and guitar-god heaviness; Coffin Prick’s reckless, psychedelic fuzz; Sarah Grace White’s hypnotic voice and melody; Maxim Ludwig’s expert minimalism; and Camp Saint Helene’s beautiful, big sky folk. “Thank you for listening and supporting this experiment,” Olsen says. “If you like what you hear, please support these artists by buying some of their music, merch, a ticket to their show, or telling your friends about them. It goes a long way. Love, Angel”\u003c\/span\u003e\u003c\/p\u003e","brand":"Angel Olsen","offers":[{"title":"LP","offer_id":45553399922851,"sku":"JAG477lp","price":24.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag477.ao.cosmicwaves.lp.mock-9917e95c317a32a5a6888c0247cbdab0.webp?v=1776688747"}],"url":"https:\/\/secretlystore.com\/collections\/featured.oembed?page=5","provider":"Secretly Store","version":"1.0","type":"link"}