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(Japan Exclusive)","description":"\u003cp\u003e\u003cspan\u003eJapan Exclusive Ultra Clear Vinyl Edition!\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEver since childhood, learning to play various instruments in a suburban Cincinnati basement alongside his brother Bryce, Aaron Dessner has consistently sought an emotional outlet and deep human connection through music — be it as a primary songwriter in The National, a founder and architect of beloved collaboration-driven music festivals, or collaborator on two critically acclaimed and chart-topping Taylor Swift albums recorded in complete pandemic-era isolation at his Long Pond Studio in upstate New York, among many other projects. Through it all, Dessner has brought together an unlikely community of musicians that share his impulse to connect, celebrate and, most of all, process emotion and experience through music.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis generous spirit and desire to push music forward has never been more deeply felt than on Big Red Machine’s How Long Do You Think It’s Gonna Last?, the second album from Dessner’s ever-morphing project with Bon Iver’s Justin Vernon. In 2008, while assembling material for the charity compilation Dark Was the Night, Dessner sent Vernon a song sketch titled “big red machine”. Vernon interpreted “big red machine” as a beating heart and finished the song accordingly — a metaphor Dessner says “still sticks with me today. This project goes to many places and is always on some level about experimentation, but it shines a light on why I make music in the first place, which is an emotional need. It’s one of my therapies and one of the ways I interrogate the past.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eReleased in 2018, Big Red Machine’s self-titled debut album evolved from improvisation and what Dessner calls “structured experimentalism,” with an ear toward building tracks that would work well in a live setting alongside visual elements. When Dessner and Vernon started the Eaux Claires Music Festival in 2015, they staged the original “Big Red Machine” as an improvisation-based performance piece. They later took that show to the PEOPLE collective’s Berlin residency and festival, and to Dessner’s Haven Festival in Copenhagen. “Big Red Machine started as this thing we would do for fun, and we fell in love with the feeling of it,” says Dessner.” Vernon agrees: “I remember it feeling really easy, but we never knew what would happen. It was exciting. As time went on, we just kept doing things together. And our friendship has grown strong, alongside all the collaborative stuff.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eNew Big Red Machine material began taking shape in spring 2019, when Vernon came to visit Dessner at Long Pond. The first week produced songs such as “Reese,” “8:22am” and eventual album opener “Latter Days,” a haunting number sung by Vernon and Anaïs Mitchell that set the emotional tenor for what was to come. “It was clear to her that the early sketch Justin and I made of Latter Days was about childhood, or loss of innocence and nostalgia for a time before you’ve grown into adulthood — before you’ve hurt people or lost people and made mistakes. Anaïs defined the whole record when she sang that, as these same themes kept appearing again and again,” Dessner says. In the ensuing months, Vernon and Dessner would meet up when they could, and in the meantime, Dessner developed the existing material and wrote new instrumental tracks which he sent Vernon, always eager to hear what he would receive back.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Justin is incredibly gifted, but he’s also disruptive in the best way,” says Dessner, pointing to the first note of the song “Birch” as a prime example. “It’s absolutely brilliant, but it was very surprising when I heard it the first time. I can’t tell you what that interval is. There are many moments working with him where your head hits the wall in amazement like that.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn the early stages of the pandemic, Swift approached Dessner to work with her on what would become the sister albums folklore and evermore. Dessner describes this period as a “creative blur,” during which he’d be writing material for Swift and Big Red Machine simultaneously. “I think this was an intense growing period for me, I was learning so much from Taylor and the process. Along the way, I shared all of our unfinished Big Red Machine songs with her and she really found them inspiring and gave me so much positive feedback and encouragement,” he says. “I think that helped me realize how connected this Big Red Machine music was to everything else I was doing and that I was always supposed to be chasing these ideas. I was finding new sounds and ways of working through these songs. I just hadn’t been able to finish them. So, I did.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBeyond Vernon and Swift’s encouragement, many of Dessner’s previous collaborators and friends show up for him here, continuing the reciprocal exchange of ideas that has come to define his creative community. Songs feature guest vocals and writing contributions from artist friends including Fleet Foxes’ Robin Pecknold (“Phoenix”), Ben Howard and This Is The Kit (“June’s a River”), Naeem (“Easy to Sabotage’), Sharon Van Etten, Lisa Hannigan and My Brightest Diamond’s Shara Nova (“Hutch,” a tune inspired by Dessner’s late friend, Frightened Rabbit frontman Scott Hutchison) and Swift herself (“Birch” and “Renegade,” the latter an instant-classic Taylor earworm summed up by the poignant lyric “Is it insensitive for me to say \/ get your shit together so I can love you.” The song was recorded in Los Angeles at the Kitty Committee studio in March 2021, the same week when Swift and Dessner took home the GRAMMY for Album of the Year for folklore.)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“This is all music I generated, but it is interesting to hear how different people relate to it, or how different voices collide with it,” Dessner says. “That’s what makes it special. With everyone that's on this record, there's an openness, a creative generosity and an emotional quality that connects it all together.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAs he continued writing prolifically on his own, Dessner noticed a theme emerging -- the idea of sitting with the uncomfortability of personal and family darkness from his childhood and reflecting on how emotional issues he dealt with growing up have reverberated through his adult life. It became clear that some of these he’d need to sing himself; songs such as “The Ghost of Cincinnati” and “Magnolia” address the disintegration of marriage and family and mental health, asking pointed questions of himself and those closest to him. “Brycie” is an ode to his aforementioned twin and National bandmate, who picked up on the musical vibes immediately when Dessner played the song for him for the first time backstage at a National show in Washington D.C.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“He picked along to it with me and it immediately sounded like Aaron and Bryce playing the guitar in the basement as kids, which was my intent,” Dessner remembers. “The words mean a lot to me. It’s about my childhood with Bryce, and how I had pretty severe depression in high school. He was the one who kept me going and took care of me until I was back on my feet. I’ve lost close friends to depression and this song is about how important it was that Bryce was there for me at that time and is still here.” In addition to being one of the more lyrically significant tracks on the album, Dessner says singing it himself felt like an important act of self-acceptance.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I always sing under my breath when I write music, but I usually hand it off to [National vocalist] Matt [Berninger] or others\" he says. “When you're in a band for so long and somebody else is that person, you come to rely on it and I’ve always loved Matt’s voice and his words. But singing ‘Brycie’ myself helped rewire my brain to realize that maybe Big Red Machine is the project that not only enables me to create songs with other people, but also sometimes finish songs on my own.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRecalling sessions at Sonic Ranch in Texas when Dessner recorded his vocal takes, Vernon says, “Aaron showed me ‘Brycie’ a couple years ago now. I was like, this is beautiful, and you should do more singing. Not only would it be good for the future of your songwriting, but your voice sounds really good to me. It was exciting to see him flourish in that way — to now be a part of that process and realize the hardships in that and also the victories. On this record, he’s leading the charge, wholly and completely.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMusically, How Long Do You Think It’s Gonna Last? features what Dessner calls maybe the “clearest distillation” of his varying songwriting and production styles. Songs like “Reese,” the Dessner-sung “Magnolia” and the elegiac “Hutch” are built on the kinds of tear-jerking piano melodies millions of fans have come to love from The National, but then move at their own pace toward unusual sonic destinations. “Aaron’s greatest gift as a collaborator is his ability to evolve and experiment with the emotional sound that is so natural to him,\" Vernon says of the material.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eElsewhere, the dream-like “Hoping Then” sets layered vocals by Vernon, Dessner and Hannigan (“It’s the on the edge of why I can’t sleep soundly”) atop chopped and phased violin lines, programmed drums and countermelodies played on a rubber bridge guitar. His brother Bryce’s orchestration ebbs and flows throughout this song and many others. The main instrumental track of the chugging, groovy “Easy to Sabotage” was stitched together from two different live recordings and later enveloped in warm keyboard textures and the head-nodding vocals of Naeem. “It just feels alive and electric, and it just happened,” Dessner says of the song.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThat sense of shared experience extended to the new album’s title, which was coined by Swift after Dessner told her he wasn’t sure what to call the new album. Intuitively summing up the themes, she suggested titling it “How Long Do You Think It’s Gonna Last?,” a question which she pointed out could refer to multiple subjects addressed therein: “childhood, family, marriages, a depression, a losing streak, a winning streak or a creative streak. Taylor saw it all so clearly,” Dessner says. “A year ago, we’d never even worked together. 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With Supermoon, Carey has broken these songs down to their essential, acoustic parts with his forever humming vocals laid over top, lilting yet percussive piano, and a subtle swath of harmonic strings. You can hear Carey's breath between words and the pat of his fingers on the keys; you can hear the living room in which his family's baby grand piano sits. These songs are beautiful, intimate and so potently personal. This collection is a stark presentation of S. Carey laid bare, an open invitation for the listener to climb into his world. One particularly poignant piece is the re-imagined Range of Light closer, \"Neverending Fountain,\" perhaps an apt metaphor for the life of the songs themselves. Says Carey, \"The longer you spend with a song, the more you can see it in its pure form.\" Supermoon also features a heartrending cover of \"Bullet Proof.. I Wish I Was\" from Radiohead's classic album The Bends, and a new song, the EP's namesake, \"Supermoon,\" which takes its inspiration, like much of Carey's work, from the natural world around him. Another source of inspiration quoted by Carey is the excitement of working out arrangements for pre-existing songs on the spot, for various sessions on tour. He brought that spirit to the recording of Supermoon, which took place over the course of a single weekend. Already known as an artist of impeccable craft, S. Carey worked with long-time friends and collaborators (Mike Noyce played viola, Zach Hanson engineered, mixed, and mastered) to add a chapter to the still unfolding story of Sean Carey as an artist. We can hear the songwriting, singing and performance for what it truly is; understated, true and pure beauty.\u003c\/p\u003e","brand":"S. Carey","offers":[{"title":"12\" Black Vinyl EP","offer_id":44536211275939,"sku":"JAG264lp","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/supermoon-jagjaguwar-jag264.jpg?v=1776689406"},{"product_id":"unmap-volcano-choir","title":"Unmap","description":"\u003cp\u003eVolcano Choir is an assembly of Wisconsinites Jon Mueller, Chris Rosenau, Jim Schoenecker, Daniel Spack, Justin Vernon, and Thomas Wincek. You might find these old friends also frequenting records and stages under different monikers, Collections of Colonies of Bees and Bon Iver. The collaboration predates the meteoric rise of Justin Vernon's Bon Iver project, with original songwriting dating back to the summer of 2005, right around the time the Bees first toured with Vernon's previous band DeYarmond Edison.  While entirely a studio record, the collection doesn't suffer from the overburdens of a digital pile up or over-thinking. Rather it breathes and convulses in equal measure, radiating an inherent dynamism found only in the voluntary bondage of intimacy. With influences ranging from David Sylvian and Steve Reich to Mahalia Jackson and Tom Waits, it might be more accurate to say the group's influence is music itself. You can hear it in the care and real love generously applied to each moment of Unmap. With the vibe of some intimate backwoods gospel, plus a spirit of patience and thoughtful repetition, the music of Volcano Choir is as dynamic as it is lovely. Unmap ultimately came together over a weekend in November 2008 in Fall Creek, Wisconsin, at Justin and Nate Vernon's recording studio. And while it is at its heart a record about the allure of being with people you need and making something with them, it is also a document created by musicians with rare gifts getting together to exorcise their ideas about beauty. This scaffolding of loops and off grid tempos for choral style vocals offers a state of continual surprise, call it unexpectation.  Unmap marks the debut full-length from Volcano Choir, the collaboration between Collections of Colonies of Bees and Justin Vernon of Bon Iver.\u003c\/p\u003e","brand":"Volcano Choir","offers":[{"title":"CD","offer_id":44536222220451,"sku":"JAG156cd","price":12.99,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":44536222253219,"sku":"JAG156lp","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/JAG156.jpg?v=1776689170"},{"product_id":"22-a-million-bon-iver","title":"22, A Million","description":"\u003cp\u003e'22, A Million' is part love letter, part final resting place of two decades of searching for self-understanding like a religion. And the inner-resolution of maybe never finding that understanding.  The album’s 10 poly-fi recordings are a collection of sacred moments, love’s torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard as coincidence. If 'Bon Iver, Bon Iver' built a habitat rooted in physical spaces, then '22, A Million' is the letting go of that attachment to a place.\u003c\/p\u003e","brand":"Bon Iver","offers":[{"title":"CD","offer_id":44673903427747,"sku":"JAG300cd","price":13.99,"currency_code":"USD","in_stock":true},{"title":"LP Black Vinyl","offer_id":44673903460515,"sku":"JAG300lp","price":23.99,"currency_code":"USD","in_stock":true},{"title":"LP Translucent Red Vinyl","offer_id":44673903591587,"sku":"JAG333lp-C2","price":15.99,"currency_code":"USD","in_stock":false},{"title":"Cassette","offer_id":45954208202915,"sku":"JAG300cass","price":7.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag333lp-c2-380.jpg?v=1776689047"},{"product_id":"all-we-grow-tenth-anniversary-deluxe-edition-s-carey","title":"All We Grow (10th Anniversary Deluxe Edition)","description":"\u003cp\u003e'All We Grow' was and is a convergence of S. Carey's young lifetime spent immersed in music: his Waltz For Debby-era Bill Evans inflected jazz tendencies; his performance degree in classical percussion from the University of Wisconsin, Eau Claire; his central role in the galeforce power of the Bon Iver live show; his hints of Mark Hollis' Talk Talk. In his downtime on tour with Bon Iver, Sean would spend time pining for his life at home, dreaming and composing in that headspace. During infrequent tour breaks at home he would patiently record these pieces, adding layers each time. Two years later, those parts converged to make an album. Engineered by Jaime Hansen and Brian Joseph, intermittently at home and at April Base (Justin Vernon's studio outside Eau Claire), 'All We Grow' is an all-encompassing headphone experience as intimate as chamber music and as ambitious as a symphony.  \u003c\/p\u003e\n\n\u003cp\u003e'All We Grow' also retests the waters of modern classical composition, investigating the moodiness generated by percussive repetition in a manner familiar to fans of Steve Reich. For as spacious as they are, Carey's compositions are incredibly dynamic, with moments of bombast held right next to moments of subtle depth and texture. Carey's formal training may have been as a percussionist, but he also sings with as much beauty, power and precision as he plays. What seems like a melodic whisper is actually much bigger, rich and acrobatic, soothing in the particular way that it pulls you close. How apropos, then, that this anniversary edition of 'All We Grow' adds a cover of Tom Waits' \"Take it With Me\", a timeless lullaby from another artist whose voice strikes us in bracing, unexpected ways.     \u003c\/p\u003e\n\n\u003cp\u003eTen years ago, S. Carey and 'All We Grow' crept into our world like a seedling — delicate and unassuming, but putting down roots that would deepen and grow whether we saw them or not. Ten years later, S. Carey and 'All We Grow' endure as a part of our soil, an earthen, inextricable part of planet Jagjaguwar. At a time when serenity feels particularly scarce, 'All We Grow' stands as a classic album - born without expectation and met with adoration - a cathartic result of Carey's extraordinary and vibrant life experiences that resonates loss, dreams and heart in a manner so instantly relatable, you feel as though you can touch it.\u003c\/p\u003e","brand":"S. Carey","offers":[{"title":"LP Seaglass Wave Translucent Vinyl","offer_id":44673904115875,"sku":"JAG181dlx-C1","price":25.99,"currency_code":"USD","in_stock":true},{"title":"LP Blue Ocean Waves Vinyl","offer_id":44673904148643,"sku":"JAG181dlx-C2","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag181dlx.jpg?v=1776689046"},{"product_id":"blood-bank-bon-iver","title":"Blood Bank","description":"\u003csection class=\"col-12 col-md-12 col-lg pr-lg-0 pl-4 mb-5\"\u003e\n\u003cp class=\"catalog-description d-none d-md-block text-justify\"\u003eThe four song Blood Bank collection continues down the path forged by 2008's critically acclaimed 'For Emma, Forever Ago'. From the title track's remembrance of the winter warmth we seek, to the summer love tribute of b-side gem \"Babys,\" Bon Iver's snow-blanketed harmonies live across the seasons. Both expansive and intimate, these four songs explore the darker and lighter natures of the seasons and what they signify, and offer a dynamic glimpse into the natural energy and refined craftsmanship that characterize Justin Vernon's music.\u003c\/p\u003e\n\u003c\/section\u003e\n\u003csection class=\"col-12 col-md-12 col-lg pr-lg-0\"\u003e\n\u003cdiv class=\"product-image-container\"\u003e\u003ca href=\"https:\/\/www.secretlystore.com\/resources\/product\/380\/blood-bank-jagjaguwar-jag134cd.jpg\" class=\"fancybox\"\u003e\u003cpicture\u003e\u003csource type=\"image\/webp\" srcset=\"https:\/\/www.secretlystore.com\/resources\/product\/380\/blood-bank-jagjaguwar-jag134cd.webp\"\u003e\u003csource type=\"image\/jpg\" srcset=\"https:\/\/www.secretlystore.com\/resources\/product\/380\/blood-bank-jagjaguwar-jag134cd.jpg\"\u003e\u003c\/source\u003e\u003c\/picture\u003e\u003c\/a\u003e\u003c\/div\u003e\n\u003c\/section\u003e","brand":"Bon Iver","offers":[{"title":"CDEP","offer_id":44673905688739,"sku":"JAG134cd","price":7.5,"currency_code":"USD","in_stock":true},{"title":"12\"","offer_id":44673905721507,"sku":"JAG134lp","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/blood-bank-jagjaguwar-jag134.jpg?v=1776689046"},{"product_id":"s-carey-break-me-open","title":"Break Me Open","description":"\u003cem\u003eAll orders of CD (or LP) come with a limited edition Signed Break Me Open foldable Poster (while supplies last).\u003c\/em\u003e\n\n\n\nS. Carey is the moniker of Eau Claire, Wisconsin-based multi-instrumentalist, songwriter, and producer Sean Carey, commonly recognized as the drummer, backing vocalist, and second-longest serving member of Bon Iver. Over the past decade, Carey has fostered his flourishing solo career via themes of nature and sustainability, songwriting built from jazz beginnings, and heartfelt, emotive lyricism. His latest and fourth album, Break Me Open, adds to a discography of three full-length releases, two EPs, and countless collaborations.\n\n \n\nAs S. Carey developed his songwriting and producing talents, he was commissioned by Will Arnett to write the track \"Rose Petals\" for his Netflix series Flaked, co-wrote \"Hold The Light\" with Dierks Bentley for feature-length film Only The Brave, contributed to Sufjan Stevens' album Carrie \u0026amp; Lowell, and has produced for and written with the likes of Low, Mike Kinsella, Pieta Brown, and Ed Tullett of Novo Amor. Carey and his adept band of longtime friends and collaborators celebrate their 12th year of touring everywhere from international headline shows to intimate living room performances to theater stages.","brand":"S. Carey","offers":[{"title":"CD","offer_id":44673905852579,"sku":"JAG423cd","price":14.99,"currency_code":"USD","in_stock":true},{"title":"LP Black Vinyl LP","offer_id":44673905885347,"sku":"JAG423lp","price":22.99,"currency_code":"USD","in_stock":true},{"title":"LP Opaque Yellow \u0026 Black vinyl","offer_id":44673905918115,"sku":"JAG423lp-C2","price":26.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag423.scarey.breakmeopen.mock.cd.1.jpg?v=1776689047"},{"product_id":"deyarmond-edison-epoch","title":"Epoch Box Set","description":"\u003cp\u003e\u003cspan\u003e'Epoch’ features:\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e· The full story and sonic history of DeYarmond Edison, the band that launched Megafaun and Bon Iver comprising Brad Cook, Phil Cook, Joe Westerlund and Justin Vernon.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e· Five LPs\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e· Four CDs of exclusive live recordings capturing the band’s creative peak in 2006\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e· Remastered albums and never-before-released songs\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e· Exclusive digital content not available on streaming services\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e· Rare and never-before-seen photos\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e· A 120-page book featuring the complete history of DeYarmond Edison and the origins for Megafaun and Bon Iver, written by Epoch’s executive producer, Grayson Haver Currin.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e· Hand-numbering and digital download card\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLet’s cut straight to the quick, OK? The only reason you may know DeYarmond Edison—the short-lived band at the core of this 5-LP, 4-CD, 60,000-word tome, Epoch—is that it birthed two other bands you almost absolutely know: Bon Iver and Megafaun.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAnd no, birthed is not too strong a word. When the Wisconsin-founded quartet broke up in August 2006 in their new hometown of Raleigh, North Carolina, three-quarters of the band started Megafaun within days. Within weeks, Justin Vernon was returning north, shaping Bon Iver amid his season of hibernation. The ideas that DeYarmond Edison developed together unequivocally prompted its more famous successors, splitting it apart before you or most anyone else could know about it. One aim of Epoch is to offer retrospective insight, or to trace For Emma, Forever Ago and Bury the Square, Heretofore and 22, A Million back to true headwaters: these bonds of small-town childhood friendship and collective artistic ambition, even if they became too much to bear.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison emerged in the early days of the 21st Century, the remnants of a pinballing funk-rock-reggae-jazz high-school group called Mount Vernon reordering themselves to try on charming folk songs about the idylls of Wisconsin’s serene Chippewa Valley. With DeYarmond Edison, Vernon sang these scenes in his sincere baritone, flanked by two brothers—bassist Brad Cook and multi-instrumental whiz Phil Cook—with whom he shared a preternatural musical ease and personal rapport. As they prepared their self-titled debut, a primo bit of Midwestern melancholia graced by the inspiration of Bill Frisell, assorted drummers and friends rotated in and out. Still in their early 20s, DeYarmond Edison already seemed and sounded like elder statesman of Eau Claire, Wisconsin, framing the horizon with folk-rock genteelness.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBut other bands soon infiltrated this safe bubble, straining the familiar dynamic and prompting a choice: Stay in Wisconsin and settle into old patterns, or head anywhere else and try to become the more interesting band they imagined, to join the emerging vanguard of uncanny American folk. They chose the latter. Their old friend and bandmate Joe Westerlund had just finished studying with Milford Graves in the Vermont mountains, and he too craved a next phase. As they finished their subtly stunning second album, Silent Signs, they all picked Raleigh, North Carolina, without ever having visited or even knowing anything at all about the place.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt was the correct decision, even if ultimately fatal. Though a capital city, Raleigh, like Eau Claire, was somewhat fallow terrain, its long-storied music scene slowly rising from a temporary trough toward a brilliant new peak. DeYarmond Edison slipped right into that upward arc upon arrival on August 1, 2005, making fast friends in record stores and rock clubs and restaurant kitchens and playing at almost every chance. The pivotal moment emerged four months after their landing, when a local producer who had worked on Elliott Smith’s final album offered them the invitation they craved—a monthly residency at the region’s best art gallery, no strings attached or expectations imparted. Just play.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThey took this chance to reinvent themselves by digging into the musical disciplines they each loved, then teaching one another how to do it. Phil studied the blues and bluegrass so rich in their adopted home. Joe focused on expanding his improvisational practice, leading his bandmates toward spontaneous composition. Brad studied minimalism and electronics, fashioning them into inquisitive pieces. And Justin pondered the voice, not only goading the rest of DeYarmond Edison to sing but also trying out novel modes for himself—namely, a falsetto. Their rehearsals and sets became skill-share seminars, each member offering the intel that would push DeYarmond Edison far beyond Midwestern melancholia.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt worked. A year after their arrival in North Carolina, they were, remarkably, a new band, suddenly resurfacing old songs with microtonal drones and spectral harmonies and wispy electronics. DeYarmond Edison had just finished translating it all into a brilliant EP, as rewarding as it was challenging, when they snapped, a once-productive tension suddenly ratcheted by sickness, sadness, solo albums, and Southern heat. At the very height of their collective power, DeYarmond Edison broke up in August 2006. More than a decade of powerful music—Bon Iver, Megafaun, Gayngs, Volcano Choir, and on and on and on—flowed out of what seemed in that bygone moment to be utter disaster.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEpoch stretches from the beginning to far beyond what once felt like the dismal end. Those early and perhaps embarrassing days as Mount Vernon begin this massive set, alongside choice cuts from DeYarmond Edison’s debut. Silent Signs has been remastered and pressed to vinyl for the first time, as well as that EP, long lurking in a quiet MySpace corner. Those residency sets and a triumphant return to a palatial Wisconsin theater are here, too.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eJustin’s stunning solo For Emma precursor, hazeltons, is here in full, as are tapes from the very first Megafaun rehearsal. And then there are the reunions, whether it’s Justin welcoming Megafaun onstage with Bon Iver or vice versa. The circle closes, reopens, and slowly closes again. This saga is all exhaustively documented in a loving book (loaded with previously unpublished photos) by music journalist and executive producer Grayson Haver Currin, who met DeYarmond Edison five days after they moved to Raleigh and became (remains?) their biggest fan.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEpoch is a massive feat of vulnerability. These musicians all have solid careers now, whether as celebrated session drummer or exquisite solo pianist, generational songwriting pathfinder or in-demand record producer. What is to gain, then, by pulling these skeletons out of the closet, by exposing these naked baby photos, even in the loving context of a completist box set made by an old friend? There is so much to say here about mended fences, about the past coming back to haunt and sometimes to heal.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBut the prevailing lesson may be one of small-town transcendence, of big dreams and bigger bonds in little places you’ve never considered reaching far beyond their city limits. Epoch is a testament to the magic that can happen when no one is looking, when all that imagination and innovation require are a cheap house and the drive to reshape your world, together.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLP1 - All of Us Free\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMount Vernon - We Can Look Up\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMount Vernon - Morning\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePhil Cook \u0026amp; Justin Vernon - Feel the Light\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJustin Vernon - Breathe\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - The Lake\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Dusty Road, So Kind\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - As Long as I Can Go\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJustin Vernon - Right Down There in Your Tributary\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - The Orient\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLP2 - Silent Signs\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Lift\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Silent Signs\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Heroin(e)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Love Long Gone\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - First Impression\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Bones\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Heart for Hire\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Dead Anchor\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Ragstock\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - We\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Dash\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Time to Know\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLP3 - Epoch, etc.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Song for a Lover (of Long Ago)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Epoch\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Baby Done Got Your Number\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Brief Scene\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Where We Belong\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Red Shoes\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDeYarmond Edison - Heroin(e)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLP4 - hazeltons\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJustin Vernon - hazelton\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJustin Vernon - frail sail\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJustin Vernon - game night\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJustin Vernon - easy\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJustin Vernon - liner\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJustin Vernon - song for a lover (of long ago)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJustin Vernon - hannah, my ophelia\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLP5 - Where We Belong\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJustin Vernon - Look Down That Long, Lonesome Road\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJustin Vernon - Handwriting on the Wall\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eTiconderoga (feat. 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The first week produced songs such as “Reese,” “8:22am” and eventual album opener “Latter Days,” a haunting number sung by Vernon and Anaïs Mitchell that set the emotional tenor for what was to come. “It was clear to her that the early sketch Justin and I made of Latter Days was about childhood, or loss of innocence and nostalgia for a time before you’ve grown into adulthood — before you’ve hurt people or lost people and made mistakes. Anaïs defined the whole record when she sang that, as these same themes kept appearing again and again,” Dessner says. In the ensuing months, Vernon and Dessner would meet up when they could, and in the meantime, Dessner developed the existing material and wrote new instrumental tracks which he sent Vernon, always eager to hear what he would receive back.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Justin is incredibly gifted, but he’s also disruptive in the best way,” says Dessner, pointing to the first note of the song “Birch” as a prime example. “It’s absolutely brilliant, but it was very surprising when I heard it the first time. I can’t tell you what that interval is. There are many moments working with him where your head hits the wall in amazement like that.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn the early stages of the pandemic, Swift approached Dessner to work with her on what would become the sister albums \u003c\/span\u003e\u003cem\u003efolklore\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003eevermore\u003c\/em\u003e\u003cspan\u003e. Dessner describes this period as a “creative blur,” during which he’d be writing material for Swift and Big Red Machine simultaneously. “I think this was an intense growing period for me, I was learning so much from Taylor and the process. Along the way, I shared all of our unfinished Big Red Machine songs with her and she really found them inspiring and gave me so much positive feedback and encouragement,” he says. “I think that helped me realize how connected this Big Red Machine music was to everything else I was doing and that I was always supposed to be chasing these ideas. I was finding new sounds and ways of working through these songs. I just hadn’t been able to finish them. So, I did.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBeyond Vernon and Swift’s encouragement, many of Dessner’s previous collaborators and friends show up for him here, continuing the reciprocal exchange of ideas that has come to define his creative community. Songs feature guest vocals and writing contributions from artist friends including Fleet Foxes’ Robin Pecknold (“Phoenix”), Ben Howard and This Is The Kit (“June’s a River”), Naeem (“Easy to Sabotage’), Sharon Van Etten, Lisa Hannigan and My Brightest Diamond’s Shara Nova (“Hutch,” a tune inspired by Dessner’s late friend, Frightened Rabbit frontman Scott Hutchison) and Swift herself (“Birch” and “Renegade,” the latter an instant-classic Taylor earworm summed up by the poignant lyric “Is it insensitive for me to say \/ get your shit together so I can love you.” The song was recorded in Los Angeles at the Kitty Committee studio in March 2021, the same week when Swift and Dessner took home the GRAMMY for Album of the Year for \u003c\/span\u003e\u003cem\u003efolklore\u003c\/em\u003e\u003cspan\u003e.)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“This is all music I generated, but it is interesting to hear how different people relate to it, or how different voices collide with it,” Dessner says. “That’s what makes it special. With everyone that's on this record, there's an openness, a creative generosity and an emotional quality that connects it all together.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAs he continued writing prolifically on his own, Dessner noticed a theme emerging -- the idea of sitting with the uncomfortability of personal and family darkness from his childhood and reflecting on how emotional issues he dealt with growing up have reverberated through his adult life. It became clear that some of these he’d need to sing himself; songs such as “The Ghost of Cincinnati” and “Magnolia” address the disintegration of marriage and family and mental health, asking pointed questions of himself and those closest to him. “Brycie” is an ode to his aforementioned twin and National bandmate, who picked up on the musical vibes immediately when Dessner played the song for him for the first time backstage at a National show in Washington D.C.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“He picked along to it with me and it immediately sounded like Aaron and Bryce playing the guitar in the basement as kids, which was my intent,” Dessner remembers. “The words mean a lot to me. It’s about my childhood with Bryce, and how I had pretty severe depression in high school. He was the one who kept me going and took care of me until I was back on my feet. I’ve lost close friends to depression and this song is about how important it was that Bryce was there for me at that time and is still here.” In addition to being one of the more lyrically significant tracks on the album, Dessner says singing it himself felt like an important act of self-acceptance.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I always sing under my breath when I write music, but I usually hand it off to [National vocalist] Matt [Berninger] or others\" he says. “When you're in a band for so long and somebody else is that person, you come to rely on it and I’ve always loved Matt’s voice and his words. But singing ‘Brycie’ myself helped rewire my brain to realize that maybe Big Red Machine is the project that not only enables me to create songs with other people, but also sometimes finish songs on my own.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRecalling sessions at Sonic Ranch in Texas when Dessner recorded his vocal takes, Vernon says, “Aaron showed me ‘Brycie’ a couple years ago now. I was like, this is beautiful, and you should do more singing. Not only would it be good for the future of your songwriting, but your voice sounds really good to me. It was exciting to see him flourish in that way — to now be a part of that process and realize the hardships in that and also the victories. On this record, he’s leading the charge, wholly and completely.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMusically, \u003c\/span\u003e\u003cem\u003eHow Long Do You Think It’s Gonna Last?\u003c\/em\u003e\u003cspan\u003e features what Dessner calls maybe the “clearest distillation” of his varying songwriting and production styles. Songs like “Reese,” the Dessner-sung “Magnolia” and the elegiac “Hutch” are built on the kinds of tear-jerking piano melodies millions of fans have come to love from The National, but then move at their own pace toward unusual sonic destinations. “Aaron’s greatest gift as a collaborator is his ability to evolve and experiment with the emotional sound that is so natural to him,\" Vernon says of the material.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eElsewhere, the dream-like “Hoping Then” sets layered vocals by Vernon, Dessner and Hannigan (“It’s the on the edge of why I can’t sleep soundly”) atop chopped and phased violin lines, programmed drums and countermelodies played on a rubber bridge guitar. His brother Bryce’s orchestration ebbs and flows throughout this song and many others. The main instrumental track of the chugging, groovy “Easy to Sabotage” was stitched together from two different live recordings and later enveloped in warm keyboard textures and the head-nodding vocals of Naeem. “It just feels alive and electric, and it just happened,” Dessner says of the song.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThat sense of shared experience extended to the new album’s title, which was coined by Swift after Dessner told her he wasn’t sure what to call the new album. Intuitively summing up the themes, she suggested titling it “How Long Do You Think It’s Gonna Last?,” a question which she pointed out could refer to multiple subjects addressed therein: “childhood, family, marriages, a depression, a losing streak, a winning streak or a creative streak. Taylor saw it all so clearly,” Dessner says. “A year ago, we’d never even worked together. It’s so cool that this community keeps extending and that everyone who contributed to this album connected so naturally to the emotions at the heart of the music.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Big Red Machine","offers":[{"title":"2xLP (tri-color split )","offer_id":45553403101347,"sku":"JAG415lp-C2","price":27.99,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":45904650862755,"sku":"JAG415cd","price":12.99,"currency_code":"USD","in_stock":true},{"title":"2xLP (black vinyl)","offer_id":45904650895523,"sku":"JAG415lp","price":25.99,"currency_code":"USD","in_stock":true},{"title":"2xLP (opaque red)","offer_id":45904650928291,"sku":"JAG415lp-C1","price":25.99,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":45904650961059,"sku":"JAG415cass","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag415.brm.preorder.mocks.c1-web.webp?v=1776688687"},{"product_id":"sable-fable","title":"SABLE, fABLE","description":"\u003cp\u003e\u003cstrong\u003eCD:\u003c\/strong\u003e\u003cspan\u003e EcoCD featuring 90% recycled polycarbonate sourced from post-consumer waste streams, resulting in approximately 78% CO2\/kg emission reduction. 6-panel wallet with matte varnish and spot gloss, containing a full-color 16 page booklet.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCassette:\u003c\/strong\u003e\u003cspan\u003e Light grey cassette in a full color o-card\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eLP:\u003c\/strong\u003e\u003cspan\u003e Double 12\" LP inside a tip-on gatefold jacket with matte varnish and spot gloss, with custom cardstock inner sleeves. Packaging is printed in sable black and salmon, with custom interior floods on gatefold.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eArtist\/label store edition features second LP pressed to limited edition yellow vinyl. Exclusive to Bon Iver HQ, Secretly Store and Bon Iver Bandcamp.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e---\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBon Iver’s three-song collection SABLE, was an act of vulnerability and unburdening. Written and recorded at a breaking point, they were songs of reflection, fear, depression, solitude, and atonement. The word “sable” implies darkness, and in that triptych, Justin Vernon sought to unpack some long-compounded pain. Then, at the tail end of its final track “AWARDS SEASON,” there’s the barest thread of a lighter melody—a drone, a glimmer, an ember, hope for something more. SABLE, was the prologue, a controlled burn clearing the way for new possibilities. fABLE is the book. Stories of introduction and celebration. The fresh growth that blankets the charred ground. Where SABLE, was a work of solitude, fABLE is an outstretched hand.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eCompared to the sparse minimalism of its three-song table setter, fABLE is all lush vibrance. Radiant, ornate pop music gleams around Vernon’s voice as he focuses on a new and beautiful era. On every song, his eyes are locked with one specific person. It’s love, which means there’s an intense clarity, focus, and honesty within fABLE. It’s a portrait of a man flooded and overwhelmed by that first meeting (“Everything Is Peaceful Love”). There’s a tableau defined by sex and irrepressible desire (“Walk Home”). This is someone filled with light and purpose seeing an entire future right in front of him: a partner, new memories, maybe a family.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhile not as minimal as its companion EP, fABLE’s sound appears to walk back the dense layers of sound Vernon hid behind on records like i,i and 22, a million. There’s nothing evasive or boundary-busting about this music. It’s a canvas for truth laid bare. Much of the album was recorded at Vernon’s April Base in Wisconsin after years of the studio laying dormant during a renovation. The album’s conceptual genesis happened on 2.22.22 when Jim-E Stack, Vernon’s close collaborator and guide throughout the creative process, arrived at the base with Danielle Haim. Snowed in for multiple days, their voices intertwined for the ballad “If Only I Could Wait.” Suddenly, Haim gave voice to this crucial perspective—the one Vernon seems to hold in sacred regard across fABLE. Accompanied by Rob Moose’s strings, it’s a track about weariness—about not having the strength to be the best version of yourself outside the glow of new love.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThere’s something undeniably healing about infatuation. Cleaving to someone else can feel like light pouring in from a door that’s suddenly swung wide. But there’s a reason SABLE, is of a piece with fABLE; even after you put in the work, the shadow still rears its head from time to time. On “There’s A Rhythmn,” Vernon finds himself back in an old feeling, this time seeking an alternative instead of erasure: “Can I feel another way?” There’s an understanding that even when you’ve reached a new chapter, you’ll always find yourself back in your own foundational muck. A fable isn’t a fairy tale. Yes, there’s the good shit: unbridled joy, trips to Spain, the color salmon as far as the eye can see. But fables aren’t interested in happy endings or even endings at all; they’re here to instill a lesson.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAs the album winds to a close, he acknowledges the need for patience and a commitment to put in the work. There’s a selfless rhythm required when you’re enmeshing yourself with another person. The song—and by extension the entire album—is a pledge. He’s ready to find that pace.\u003c\/span\u003e\u003c\/p\u003e","brand":"Bon Iver","offers":[{"title":"2xLP","offer_id":45796517642403,"sku":"JAG450lp","price":30.99,"currency_code":"USD","in_stock":true},{"title":"2xLP (Black + Yellow)","offer_id":45796517609635,"sku":"JAG450lp-C2","price":31.99,"currency_code":"USD","in_stock":false},{"title":"CD (Eco CD)","offer_id":45796517675171,"sku":"JAG450cd","price":14.99,"currency_code":"USD","in_stock":false},{"title":"Cassette","offer_id":45796517707939,"sku":"JAG450cass","price":11.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/black-caaccd1bb1caf02b601a8f5b8c4d87de.webp?v=1776688626"},{"product_id":"watercress","title":"Watercress","description":"\u003cp\u003eThere’s a cool, clean strum that introduces ‘Watercress'. An immediately noticeable shift in mood from the last time we checked in with S. Carey. He was heavy-hearted on 2022’s ‘Break Me Open’ — crestfallen and reckoning after a big love lost. And so, ‘Watercress’ sets us off with the ringing of hard-won hope. It is in fact only in the clear, shallow waters that watercress grows. And these are the very places that Sean Carey the human being returns to again and again — to fish, to reflect, and to grow. Seasons have passed over and he’s spent time healing in the water, flowing and still. The pieces have been collected and reassembled. Of course, there’s always gonna be a wistful quality to S. Carey’s music. But here, it’s the bright, crisp October morning kind of wistful.\u003cbr\u003e \u003cbr\u003eThese guitar-forward songs are in many ways an extension of 2018’s beloved ‘Hundred Acres.’ The guitars are driving the bus. The drums are the backbone. And Sean’s voice is telling the tale. Seems like a simple recipe but there’s more nuance here than highwire act. Recorded at Hive in Eau Claire by Zach Hanson and Brian Joseph, there's the usual cast of characters providing instrumentation and co-writes when needed, and guest singers Gia Margaret and Hannah Hebl blending into the fabric beautifully to create a sound that's familiar to S. Carey, almost nostalgic — but also shiny and new.\u003cbr\u003e \u003cbr\u003eSean Carey has been a vital organ of Justin Vernon’s Bon Iver project for over fifteen years. Beginning with 2010’s ‘All We Grow,’ his four albums and some epic EPs have all been, in ways both overt and subtle, naturalistic explorations of landscapes of the heart and of the real world, each crafted with the patience of a true fisherman and the acumen of a folk-jazz phenom.\u003c\/p\u003e","brand":"S. 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