{"title":"International Women's Day","description":"","products":[{"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. 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Adam and I had known each other for years. When the band was a bit smaller I would often rent his studio, Drop of Sun, for pre-recording \/ pre tour rehearsals.\u003c\/p\u003e\n\n\u003cp\u003eSummer 2020 was tough for many reasons. But Adam and his wife Emily opened their home to me and made it a safe space to create and let go. I told Adam I had an idea to record some covers and bring some of the band into the mix, or add other players. I wanted to record 80’s songs that I’d overheard walking the aisles at the grocery store, and I needed to laugh and have fun and be a little less serious about the recording process in general. I thought about completely changing some of the songs and turning them inside out. \u003c\/p\u003e\n\n\u003cp\u003eOne that came to mind was \"Gloria\", by Laura Branigan. I’d heard Gloria for the first time at a family Christmas gathering and I was amazed at all the aunts who got up to dance. I imagined them all dancing and laughing in slow motion, and that’s when I got the idea to slow the entire song down and try it out in this way.\u003c\/p\u003e\n\n\u003cp\u003e\"Safety Dance\" by Men Without Hats was a song that I was trying to do something similar with. I felt that it could be reinterpreted to be about this time of quarantine and the fear of being around anyone or having too much fun. It made me wonder, is it safe to laugh or dance or be free of it all for just a moment?\u003c\/p\u003e\n\n\u003cp\u003eRight after we recorded these two, we were commissioned to cover \"Eyes Without A Face\" by Billy Idol for a film due to come out later this year.\u003c\/p\u003e\n\n\u003cp\u003eI didn’t really connect to the rap part in the middle so we went for more of a tripped out instrumental instead.\u003c\/p\u003e\n\n\u003cp\u003e\"Forever Young\" by Alphaville and \"If You Leave\" by O.M.D. were the two outliers. 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His legacy and impact are hard to overstate. Ali’s sound merged his much-loved traditional Malian musical styles with distinct elements of the blues, singing in the local languages of Fulfulde, Tamasheq, Songhay and Bambara. The result was the creation of a groundbreaking new genre, now well known as the ‘desert blues’, earning him three Grammy awards, widespread reverence and the nickname of the ‘African John Lee Hooker’.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThough he transcended in 2006, Ali’s musical legacy lives on through his son, Vieux aka “the Hendrix of the Sahara,” an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original’s integrity. 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Now, given Khruangbin’s reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they’re poised to bring Malian music to broader groups of listeners.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAli is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. “I hope it takes them somewhere new, or puts them in a place they haven't felt or heard,” Lee says. “It is about the love of new friendship and making something beautiful together,” Vieux continues. “It is about pouring your love into something old to make it new again. 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This album offers the anodyne. “This is my most American album,” Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. But “maybe it’s beyond witnessing,” she says. At times, it feels like the album is an exercise in negative capability – a fearless embodiment and absorption of the pain of other bodies. When I ask her what the album would look like, if it were a person, she says it would be someone middle-aged and exhausted, perhaps someone having a midlife crisis. But through the daily indignity and exhaustion, something enormous and ecstatic is calling out. In this album, which is sonically Mitski’s most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time-traveling to bless our tender days, like the light from a distant star.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMitski wrote these songs in little bursts over the past few years, and they feel informed by moments of noticing – noticing a sound that’s out of place, a building that groans in decay, an opinion that splits a room, a feeling that can’t be contained in a body. It was recorded at both the Bomb Shelter in East Nashville and the Sunset Sound Studios in Los Angeles. The album incorporates an orchestra arranged and conducted by Drew Erickson, as well as a full choir of 17 people - 12 in LA and 5 in Nashville - arranged by Mitski. And for the first time, it felt important to Mitski to have a band recording live together in the studio, to create this new sublime sound. Working with her longtime producer Patrick Hyland, the album has a wide-range of references, from Ennio Morricone’s bombastic Spaghetti Western scores to Carter Burwell’s tundra-filling Fargo soundtrack, from the breathy intimacy of Arthur Russell to the strident aliveness of Scott Walker or Igor Stravinsky, from the jubilation of Caetano Veloso to the twangy longing of Faron Young.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFrom the first track, the album introduces and then heals a wound. “Bug Like an Angel” finds the divine in the ordinary, in the boozy drowning of sorrow. The narrator sings from the strange comfort of rock bottom: “sometimes a drink feels like family.” And suddenly, that choir of angels sings: “FAMILY!” This first track introduces a cosmic paradox: “The wrath of the devil was also given him by God.” This is an album in which dark and light exist in the same gesture, the same broken prayer. Like the Buddha inviting the demon Mara in for tea, The Land embraces brutal, daily pain — the necessary toll of transcendent love.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn “Buffalo Replaced,” the wail of a freight train replaces the vibrations of the long-gone stampeding buffalo. Here, hope itself is personified, anthropomorphized into a sleeping creature, and our narrator wonders if life would be easier without her. But then, as though in response, “Heaven” offers a beautiful moment of passion, preserved like a fossil in time even though the “dark awaits us all around the corner.” This oasis is aggressively interrupted by “I Don’t Like My Mind,” a song from the perspective of someone in extraordinary pain. They are begging to keep their job, while actively keeping terrible traumatic memories at bay. Without their employment, these memories might take over, consuming them as relentlessly as the cake that they ate one “inconvenient Christmas.” The toggling between hope and despair in these four songs is masterful — the good, the bad, and the ugly in America’s backyard.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis mythology continues to deepen with the stunning “The Deal,” in which someone is so burdened by their soul that they beg for it to be taken from them. Soon, the singer’s soul is revealed to be a bird perched on a streetlight. In a coup of songwriting, the narration does not switch into the newly-souled bird’s voice. No, we stay with the soulless “I.” The bird calls down: “You’re a cage without me. \/ Your pain is eased but you’ll never be free.” This song reinforces the album’s tug-of-war between the intoxication of love and the pain of isolation. Close on its heels is “My Love Mine All Mine,” an instant classic and the beating heart of the album, wherein the singer imagines their love shining down on the earth from the moon, long after the speaker is gone.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“It’s just witness-less me,” she sings on “The Frost,” which suddenly takes us from the anticipation of loss right into the aching loneliness of it. On the subject of witnessing, Mitski says: “I’ve always been the person on the outside watching. And I’ve also done that with myself... outside of myself, witnessing myself, watching myself.” She thinks that she might have adopted this habit as a condition of being a woman of color, and that it’s led to the occasional post-apocalyptic fantasy of being the only person left in the world. We talked about Samuel Beckett’s Krapp’s Last Tape, in which a man is profoundly alone, with only an archive of old tapes to keep him company. He remembers the seismic event of an old sexual encounter, but now it’s: “Past midnight. Never knew such silence. The earth might be uninhabited.” The Land repeatedly offers that same hypothesis. Without love, is there anyone here?\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAfter the alien lift of “Star” comes the album’s showdown. “I’m Your Man” feels as inevitable, bloody, and haunting as a Sergio Leone duel scene. The “Man” in the title isn’t some fella proclaiming devotion, Mitski says, but rather the man inside her head, the haunting patriarch who treats her like a dog and can destroy her at whim. Despite his confidence and swagger, he is tracked down by a pack of hounds — who have unionized in the name of catharsis. After this violent reckoning, a Fowler’s Toad calls out in what sounds like a human scream. The night settles into silence. The earth might be uninhabited. We glide into the liberating closer, “I Love Me After You,” in which someone is truly alone but truly free. King of all the land.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I don’t have a self,” Mitski observes. “I have a million selves, and they’re all me, and I inhabit them, and they all live inside me.” Loving all of these selves does not yield the easy burst of a pop song. It’s the “long, complex, deep love, that you can never get to the end of, that’s always evolving, like a person. And there’s just no end to it. It feels like space travel.” The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It’s a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMaybe this is what our best artists do: take a spaceship into the furthest reaches of pain, in order to bring back the elixir that we already had inside us. The unknowable known of love. “You have to go to both worlds all the time,” Mitski says, by which she means the mysterious world of making and the brutal world of living. This album is an act of hyperlocal space travel. Love is that inhospitable land, beckoning us and then rejecting us. To love this place — this earth, this America, this body — takes active work. It might be impossible. 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The audience's roaring laughter ends Tig's one hour set in Boston as it's taped and recorded for her HBO special, and, sure enough, concertgoers rise and applaud, an example of Tig's ability to connect to her fans through a sharp, dry wit and the hilarious payoff of her deadpan jokes. The special, now available as Boyish Girl Interrupted, on Secretly Canadian, is the follow up to her Grammy nominated second album, Live.  Her HBO special, a first, draws highly on personal experiences, speaking frankly and incisively about her fight with cancer, the death of her mother, her family and her wife. Known for her distinctive storytelling and offbeat sense of humor, Notaro often draws on her highly personal experience with no-holds-barred honesty.  Over the course of the show, Notaro tells stories about a number of subjects, including: performing in Las Vegas; the search for the perfect Santa Claus; her favorite laugh noises; bringing her wife to meet her Mississippi family; TSA screening; flying in small planes; unusual public signs; and - again - standing ovations; and much more.\u003c\/p\u003e","brand":"Tig Notaro","offers":[{"title":"CD","offer_id":44536158650531,"sku":"SC332cd","price":12.99,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":44536158683299,"sku":"SC332lp","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc332_380px.jpg?v=1776690428"},{"product_id":"broken-girl-julie-doiron","title":"Broken Girl","description":"\u003cp\u003eJagjaguwar is proud to release the long lost Julie Doiron album Broken Girl, expanded to include her first two 7\"es. 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In addition to the title track -“Car Therapy” - she also shares a sprawling and emotional work - “Suite: Jonny” - which combines fan-favorites “Jonny” and “Jonny (Reprise).” The two songs originally appeared on the Atlanta Millionaire’s Club tracklist, two different views on the same narrative. Here they’re presented together.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt’s remarkable how beautifully Webster’s work can take on this orchestral treatment. 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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. 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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. That people are going to feel a kind of catharsis, even if it’s a catharsis that I might never have known myself, because I’m fucked up.” McPherson added, “I hope this album helps people connect to each other the way that we, in MUNA, have learned to connect to each other.” And that’s what MUNA does, in the end: it carves out a space in the middle of whatever existential muck you’re doing the everyday dog-paddle through and transports you, suddenly — you who’ve come to music looking for an answer you can’t find anywhere else — into a room where everything is possible, where the disco ball’s never stopped throwing sparkles on the walls, where you can sweat and cry and lie down on the floor and make out with whoever, where vulnerability in the presence of those who love you can make you feel momentarily bulletproof and self-consciousness only sharpens the swell of joy.\u003c\/span\u003e\u003c\/p\u003e","brand":"MUNA","offers":[{"title":"CD","offer_id":44536190206115,"sku":"SAD005cd","price":12.99,"currency_code":"USD","in_stock":false},{"title":"LP Black Vinyl LP","offer_id":44536190238883,"sku":"SAD005lp","price":23.99,"currency_code":"USD","in_stock":true},{"title":"LP Opaque White Vinyl","offer_id":44536190271651,"sku":"SAD005lp-C2","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sad005.muna.mockup.lp-83a40a4fb31632bae144170933277e59.jpg?v=1715585063"},{"product_id":"my-light-my-destroyer-cassandra-jenkins","title":"My Light, My Destroyer","description":"\u003cp\u003eLike the night sky itself, the world of My Light, My Destroyer is always expanding. Cassandra Jenkins’ third full-length cracks open the promise of reaching the edge of the new, with a wider sonic palette than ever before—encompassing guitar-driven indie rock, new age, sophistipop, and jazz. At the center of it all is Jenkins’ curiosity towards the quarks and quasars that make up her universe, as she blends field recordings with poetic lyricism that is at turns allusive, humorous, devastating and confessional—an alchemical gesture that further deepens the richness of My Light, My Destroyer’s 13 songs.\u003c\/p\u003e\n\n\u003cp\u003eJenkins suffuses My Light, My Destroyer with an easy confidence, which betrays the simple truth that the road here was not without difficulty. Referring to the 2021 breakout An Overview on Phenomenal Nature as her “intended swan song,” she explains that she was prepared to hang it up when it came to touring and releasing her own music. “I was channeling what I knew in that moment– feeling lost,” Jenkins recalls. “When that record came out, and people started to respond to what I had written, my plans to quit were foiled in the most unexpected, heartening, and generous way. Ready or not, it reinvigorated me.”\u003c\/p\u003e\n\n\u003cp\u003eImmediately upon finishing two years of touring An Overview, Jenkins approached recording a follow-up, only to find that capturing the creative spark while “running on fumes” was tough. “I was coming from a place of burn out and depletion, and in the months following the session, I struggled to accept that I didn't like the record I had just made. It felt uninspired,” she confesses, “so I started over.” With her closest musical co-conspirators reassembled, and producer, engineer, and mixer Andrew Lappin (L’Rain, Slauson Malone 1) behind the board, Jenkins set the prior sessions aside and began constructing My Light, My Destroyer from its ashes: “When we listened back in the control room that first day, I could see a space on my record shelf start to open up, because the songs were finding their home in real time. That spark informed the blueprint for the rest of the album, and its completion was propelled by a newfound momentum.” \u003c\/p\u003e\n\n\u003cp\u003eEven as My Light, My Destroyer was developed over the course of a year, some of these 13 songs have been incubating in Jenkins’ notebooks for years; seeds of the cavernous New Age pop of “Delphinium Blue,” for instance, date back to 2018. There were sonic reference points in her mind during the album’s creation: Tom Petty’s deceptively breezy folk-rock classicism, the work of songwriters like Annie Lennox and Neil Young, her “high school CD wallet” (Radiohead’s the Bends, the Breeders, PJ Harvey, and Pavement), and David Bowie’s final gesture Blackstar; along with lyrical influences from writers like Anne Carson, Maggie Nelson, Rebecca Solnit, and the ever present work of the late David Berman.  \u003c\/p\u003e\n\n\u003cp\u003eBut above all and as ever, Jenkins is drawing inspiration from the chattering electricity of the world around her, squinting through radio static with the desire to gain a greater understanding. “I feel most energized when I'm out in the world, in the mix of things,” she says. “Coming back home to New York, being with my close friends and community, riding the subway, and going to live shows made me want to channel the palpable feeling of the electricity in a room full of people— I need to be fully immersed in my environment. New York City is endlessly stimulating, and I'm very impressionable.” Deftly weaving field recording, found sound, and ancillary audio (like train sounds \u0026amp; flight attendants) she brings attention to stranger-than-fiction moments that bring the listener in. \u003c\/p\u003e\n\n\u003cp\u003eJoining her in this immersion is a cast of friends pulled from across the modern indie rock spectrum, as My Light, My Destroyer far more represents a group effort than the largely solitary pursuits of its predecessor. Palehound’s El Kempner, Hand Habits’ Meg Duffy, Isaac Eiger (formerly of Strange Ranger), Katie Von Schleicher, Zoë Brecher (Hushpuppy), Daniel McDowell (Amen Dunes), producer and instrumentalist Josh Kaufman (of Jenkins’ An Overview), producer Stephanie Marziano (Hayley Williams, Bartees Strange), and Jenkins’ friend, director\/actor\/journalist Hailey Benton Gates, who jokingly suggested the title for album’s meditative coda “Hayley” when Jenkins didn’t come up with a follow-up to An Overview’s “Hailey.” \u003c\/p\u003e\n\n\u003cp\u003eNotions of “light” and “destruction” might seem like ideological opposites at first glance, and My Light, My Destroyer is indeed consumed with the theme of cyclical duality; temporally, the record begins and ends at dawn’s break, signifying both the hope of new beginnings and the illuminating of harsh realities that the light often brings. Amidst the crunch of “Petco,” in which Jenkins’ “landlord pink” walls seem to cave in as she looks through a window at “two doves wrapped up in filthy and true love”—before the script flips, (literally) caught in the “sideways gaze of a lizard” encased in the titular pet store. \u003c\/p\u003e\n\n\u003cp\u003e“Aurora, IL” zooms farther out in terms of its mirrored perspectives. The song begins with Jenkins looking up at the sky before trading places with “the oldest man in space up on a pleasure trip,” referring to William Shatner, Captain Kirk himself, “crying on local news, he couldn’t stop talking about the color blue.” Marooned in a hotel room, Jenkins explains, “I was spinning out, and tapping into that character was my way of getting a little of what he’s having, a small dose of the Overview Effect, in order to come back down to earth.”\u003c\/p\u003e\n\n\u003cp\u003eEven amidst such widescreen wonder, however, there remain the earthly concerns of hardship. The lush “Only One,” reminiscent of the city-street textures of legendary pop group the Blue Nile, finds Jenkins face-to-face with Sisyphus himself—or, at least, a stick-figure drawing of the eternally burdened mythical figure. “It’s about a Groundhog Day effect, finding yourself in the same situation over and over again, not knowing how to get out of that loop—and in some sense, an unwillingness to break a cycle because you’re blinded by your circumstances,” she explains. \u003c\/p\u003e\n\n\u003cp\u003eIn a street encounter with Sisyphus “behind massage parlor window glass” (a wink to Jenkins’ interest examining healing modalities), she asks the mythical figure, “How long will this pain in my chest last?” Speaking to the lyric, Jenkins explains that this is her way of “poking fun at heartbreak, and heartbreak’s world view–an inability to see anything but itself, and a need to wallow in the illusion of permanence.” The song never answers its own question, but Jenkins continues, “Long after I saw that sign in the window, Sisyphus reminded me that we always have the choice to see beauty in the world around us, even when it’s burning.”\u003c\/p\u003e\n\n\u003cp\u003eJenkins bent towards natural \u0026amp; supernatural phenomena alike appears throughout (the Earth's atmosphere, lizards, flowers, the galaxy, lab grown strawberries, etc) only to bring us back to the core parts of ourselves. The pivotal point on My Light, My Destroyer is the nocturnal “Betelgeuse,” in which Jenkins, in her words, reaches the zenith of her exploration in “trying to maintain a sense of curiosity as a way of staying connected with myself and nature.” Soft piano and a dialogue between two sylvan-sounding horns accompany a field recording of Cassandra and her mother, Sandra, stargazing in the illuminated night.  “She is in touch with curiosity like no one else,” Jenkins says of her mother, a life-long science teacher. “I caught her in one of her many teaching moments, which reminded me that learning the night sky will take a lifetime, or more—and that’s just from the vantage point of Earth.”\u003c\/p\u003e\n\n\u003cp\u003eIt is that endless gaze towards the unknown that defines My Light, My Destroyer, and it’s under that context that Jenkins decodes opposing forces contained with the album title—emphasizing the power of a straight-ahead gaze into futures, possibilities, and great unknowns in spite of how they may shake our core beings. “Awe is a function of nature that keeps us from losing connection. Staying in touch with awe, that light, is the best antidote to fear, and the powers that try to control us with fear,” she states. “So in that sense, staying in touch with awe is to keep my light intact, and that is my greatest tool for destroying and dismantling the parts of myself and the world around me that have the potential to cause harm. Frankly, this is what keeps me from quitting—it serves as a reminder to pause and appreciate my time on earth, for all its chaos and its beauty.”\u003c\/p\u003e","brand":"Cassandra Jenkins","offers":[{"title":"LP Summer Sky Splash Vinyl","offer_id":44536191484067,"sku":"DOC346lp-C2","price":26.99,"currency_code":"USD","in_stock":false},{"title":"CD Standard CD","offer_id":44536191516835,"sku":"DOC346cd","price":14.99,"currency_code":"USD","in_stock":true},{"title":"LP Black LP","offer_id":44536191549603,"sku":"DOC346lp","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc346.cjenkins.lp-c2.mock-bd9466f0364418ce0162c2cfcd1e727d.jpg?v=1776689767"},{"product_id":"psychopomp-japanese-breakfast","title":"Psychopomp","description":"\u003cp\u003eOn Psychopomp, the debut full-length for Japanese Breakfast, Michelle Zauner romanticizes need, knowing precisely how futile it can be, as she howls on the record's final song, to “cling to your sleeves 'til they're like lacerated sails.” She drew from the masters of the form—Dolly Parton, Tammy Wynette, Loretta Lynn—for “the way they sing with over-exaggerated longing, wail on the inability to go on without someone.” Originally, recorded as a straight forward rock record, indebted to country and folk lineages, Michelle co-produced Psychopomp with Ned Eisenberg to give it what she calls “a psychotic pop sound.”\u003c\/p\u003e\n\n\u003cp\u003e“Psychotic” doesn't feel quite like the right word. Psychopomp is by no means unhinged, but it unspools with an otherworldly rush—it's sky-sized dream-pop with substance, moving from the gorgeous euphoric rush of “In Heaven” through the pinwheeling “Rugged Country” and “Everybody Wants to Love You,” into the painful longing of “Jane Cum” and “Heft,” and the relief of “Triple 7”. Imagine Bat for Lashes or Tango in the Night-era Christine McVie working in the New York indie-pop scene populated by the likes of Frankie Cosmos and Porches; it's a far cry from Michelle's previous band, Little Big League, who released two brilliant (but underrated) albums of complex, knotty indie rock.\u003c\/p\u003e\n\n\u003cp\u003e“With that band, there was more of a desire to be tough,” she says. “I really liked the idea of playing in a rock band, and I was playing with three dudes that grew up on punk and hardcore, then you had me and my Pacific Northwest indie-rock background, like Death Cab for Cutie, Built to Spill. I was like, I can charge it up, this is really fun.” When it came to Psychopomp, she chose to embrace the natural briskness of her writing; not overthinking things, and embracing the pop music she loved as a kid. \u003c\/p\u003e\n\n\u003cp\u003eFor a while, Japanese Breakfast and Little Big League coexisted. Michelle released her first tape under the name in 2013: June was a writing exercise where she wrote a song a day for the month of June, the kind of process that informs much of her music. “That was such a helpful thing for me,” she says. “I needed some kind of structure to learn how to manage art as work. You can't sit around waiting for it to happen — you need to figure out how you're going to work it. For me, it has nothing to do with a long process – it starts really manically. There was another night where I took a bunch of Adderall and I wanted to write a whole album in 24 hours. After that I went to a trailer in the woods with a couple of friends, and we tried to write an album in 48 hours.”\u003c\/p\u003e\n\n\u003cp\u003eThat’s how much of Psychopomp started out, with 4 now revamped tracks appearing on previously available Japanese Breakfast releases June, Where is My Great Big Feeling and American Sound, all of which Michelle released to Bandcamp in summer 2014. About that time, Michelle’s mother was diagnosed with cancer, and she had to leave Little Big League behind to care for her in Oregon. The illness was brief and unsparing. Two weeks before she died, Michelle married her husband Peter, “because I didn't want things to end that way,” she wrote in a beautiful contemplation of her 2014 for the website Heartbreaking Bravery. “I wanted it to end with flowers and macaroons and my mom watching her only kid get married.”\u003c\/p\u003e\n\n\u003cp\u003eAfter her mum passed away, Michelle stayed on the west coast to help her dad. The family had always lived out in the woods of Eugene, Oregon—the same place that Sufjan Stevens' Carrie and Lowell is based, “which sounds kind of like the landscape,” says Michelle. “It's very quiet and grey and grainy, but also beautiful and majestic.” With time on her hands, she wrote a few new songs, and culled from the archives of her writing exercises to find older material to update. She wrote “Rugged Country,” about becoming the person who had to love and nurture her father after he had lost the woman who had been in his life for 32 years: “It's a heavy hand where I wear your death as a wedding ring in the rugged country,” she sings—two weeks after her wedding, she started wearing her mother's wedding band.\u003c\/p\u003e\n\n\u003cp\u003e“In Heaven” too was written in the wake of her death, and the ensuing assurances that she was “in a better place now,” Michelle recalls. “Oh do you believe in heaven like you believed in me?” she sings, a light beam surrounded by strings and sparkle. Unable to believe in the afterlife, the commonplace consolations of loss frustrated her, and she began investigating other frameworks to deal with her grief. In an essay by Carl Jung, she stumbled across the word 'psychopomp', a mythological guide to the afterlife who forgoes judgement on the life of its charge. The figure echoed the role she felt she had played in her parents' lives: not judging her mum when she decided to end chemotherapy after only two sessions, having seen her own sister endure dozens of treatments that ultimately proved unsuccessful. (That's a photo of her mother on Psychopomp's cover.) “I was there to support her and help her through that time, and in some ways I feel like I was there to help her die,” says Michelle. “For Jung, the psychopomp is also a mediator between the conscious and unconscious. 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In August, Dead Oceans will release it properly in the Europe, and Michelle will be making her debut UK live appearances to coincide. “It's been really overwhelming the amount of support, and people that have come up to me saying they've lost a parent. Honestly that makes me feel like my work is worthwhile. I was so surprised that there's a lot of other mixed-race girls that come up to me and feel so connected to what I do.”\u003c\/p\u003e\n\n\u003cp\u003ePsychopomp has allowed her to embrace parts of herself that she used to hide. The video for “In Heaven” is set in the giant Koreatown of Flushing, Queens, Michelle's favourite place to shop for groceries. “It gets to be much more a part of my life now,” she says of the record and her heritage. “People are interested in this really personal aspect of the record in a way that I didn't anticipate. It makes me think, maybe I can do it more. 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'Punisher,' her fourth release and second solo album, is concerned with that subject. To say she writes about heartbreak is to undersell her blue wisdom, to say she writes about pain erases all the strange joy her music emanates. The arrival of 'Punisher' cements Phoebe Bridgers as one of the most clever, tender and prolific songwriters of our era.\u003c\/p\u003e\n\n\u003cp\u003eBridgers is the rare artist with enough humor to deconstruct her own meteoric rise. Repeatedly praised by publications like The New Yorker, The New York Times, GQ, Pitchfork, The Fader, The Los Angeles Times and countless others, Bridgers herself is more interested in discussing topics on Twitter. Deadpanning meditations on the humiliating process of being a person, she presents a sweetly funny flipside to the strikingly sad songs she writes. Fittingly, Punisher is fascinated with and driven by that kind of impossible tension. 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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. 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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. That's genuinely how I feel, and I'm feeling good today.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eA strain of lightheartedness with a melancholic backbone is the driving force behind “Lego Ring,” which features Atlanta multi-hyphenate Lil Yachty as the only guest voice on the album. Webster and Yachty have been friends since middle school and have stayed close ever since. At points, his ghostly warble floats just under Webster’s voice, jabbing through emptiness as it trembles over a low rumble of bass. It’s the kind of sonic collaboration that succeeds based on a lifelong understanding of each other, and a close bond predating both artists’ tenure in the music industry.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I think I hit a point in songwriting during this record where I was just like, man, I said a lot.” admits Webster. “The record feels like a mouthful to me, but I don’t always have to be deep. I can just sit down and sing about this ring made of crystal Lego that I really want.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIf there’s one song that amounts to a mission statement for Underdressed at the Symphony, it’s “Lifetime,” a lush slow burner that emphasizes Webster’s brilliant use of space and phrasing. Epiphanies become mantras, her voice lilting and fading over expertly placed snares and a soft piano twinkle. Is there any better encapsulation of the vagaries of love than the contradictory “When I said I mean it \/ I didn’t really mean it?”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLike the rest of the album, Webster isn’t providing answers here, nor is she on some epic journey of healing and self-care. Instead, she’s choosing to just live, to document heartbreak and ridiculous moments right next to each other until they start to blur, becoming real enough for us all to feel.\u003c\/span\u003e\u003c\/p\u003e","brand":"Faye Webster","offers":[{"title":"LP Blue \u0026 White Bullseye Vinyl","offer_id":44536220811427,"sku":"SC491lp-C2","price":25.99,"currency_code":"USD","in_stock":true},{"title":"LP Black Vinyl","offer_id":44536220844195,"sku":"SC491lp","price":24.99,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":44536220876963,"sku":"SC491cd","price":14.99,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":44536220909731,"sku":"SC491cass","price":11.99,"currency_code":"USD","in_stock":false},{"title":"LP Blue Chandelier Tri-Color Vinyl","offer_id":44536221139107,"sku":"SC491lp-C3","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc491.fayewebster.underdressedatthesymphony.lp.c2.bluejay.milkyclear-e6213a1dd9f3e6c445d49788923238f7.jpg?v=1776689227"},{"product_id":"fw-underdressed-at-the-symphony-shorts","title":"Underdressed At The Symphony Shorts","description":"\u003cp\u003eExclusive 'Underdressed at the Symphony' Shorts\u003c\/p\u003e","brand":"Faye Webster","offers":[{"title":"Shorts Medium","offer_id":44536221597859,"sku":"SC491-SH01-UMD","price":34.99,"currency_code":"USD","in_stock":false},{"title":"Shorts Large","offer_id":44536221630627,"sku":"SC491-SH01-ULG","price":34.99,"currency_code":"USD","in_stock":false},{"title":"Shorts X-Large","offer_id":44536220975267,"sku":"SC491-SH01-UXL","price":34.99,"currency_code":"USD","in_stock":true},{"title":"Shorts Small","offer_id":44536221565091,"sku":"SC491-SH01-USM","price":34.99,"currency_code":"USD","in_stock":false},{"title":"Shorts XX-Large","offer_id":44536221663395,"sku":"SC491-SH01-U2XL","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc491.fayewebster.underdressedatthesymphony.shorts.2-fadf710ddb5c4c8483de86fa99fec0a8.jpg?v=1776689170"},{"product_id":"fw-underdressed-at-the-symphony-tshirt","title":"Underdressed at the Symphony T-shirt","description":"\u003cp\u003eExclusive 'Underdressed at the Symphony' T-shirt\u003c\/p\u003e","brand":"Faye Webster","offers":[{"title":"T-Shirt T-Shirt (Small)","offer_id":44536221696163,"sku":"SC491-T01-USM","price":29.99,"currency_code":"USD","in_stock":true},{"title":"T-Shirt T-Shirt (Medium)","offer_id":44536221728931,"sku":"SC491-T01-UMD","price":29.99,"currency_code":"USD","in_stock":true},{"title":"T-Shirt T-shirt Large","offer_id":44536221761699,"sku":"SC491-T01-ULG","price":29.99,"currency_code":"USD","in_stock":true},{"title":"T-Shirt T-Shirt (X-Large)","offer_id":44536221794467,"sku":"SC491-T01-UXL","price":29.99,"currency_code":"USD","in_stock":true},{"title":"T-Shirt T-shirt (XX-Large)","offer_id":44536221827235,"sku":"SC491-T01-U2XL","price":29.99,"currency_code":"USD","in_stock":true},{"title":"T-Shirt T-Shirt (XXX-Large)","offer_id":44536221008035,"sku":"SC491-T01-U3XL","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc491.fayewebster.underdressedatthesymphony.shirt.front.newblue-ee3433b50f3bb8328f937e5df49fb208.jpg?v=1753371628"},{"product_id":"fwstr-underdressed-sff","title":"Underdressed at the Symphony (Spotify Fans First)","description":"\u003cp\u003e\u003cspan\u003eThe title of Faye Webster's new album is inspired by her occasional compulsion to lose herself amongst concertgoers at the Atlanta Symphony Orchestra. 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. Indeed, the first time we hear her voice on Underdressed at the Symphony, she’s navigating the unmapped space between comfort and vigilance: “I’m asleep in the moment when you’re holding my head \/ but I want to remember I’ll sleep when I’m dead,” she sings on “Thinking About You.” Instead of turning the dissolution of a relationship into a morality play, she details the solitary moments where her brain is in conflict with itself, allowing unhurried insight to come naturally.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWebster has never been more comfortable in her own skin than right now, which makes her unique ascent into the vanguard of young, independent artists even sweeter. 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. That's genuinely how I feel, and I'm feeling good today.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eA strain of lightheartedness with a melancholic backbone is the driving force behind “Lego Ring,” which features Atlanta multi-hyphenate Lil Yachty as the only guest voice on the album. Webster and Yachty have been friends since middle school and have stayed close ever since. At points, his ghostly warble floats just under Webster’s voice, jabbing through emptiness as it trembles over a low rumble of bass. It’s the kind of sonic collaboration that succeeds based on a lifelong understanding of each other, and a close bond predating both artists’ tenure in the music industry.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I think I hit a point in songwriting during this record where I was just like, man, I said a lot.” admits Webster. “The record feels like a mouthful to me, but I don’t always have to be deep. I can just sit down and sing about this ring made of crystal Lego that I really want.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIf there’s one song that amounts to a mission statement for Underdressed at the Symphony, it’s “Lifetime,” a lush slow burner that emphasizes Webster’s brilliant use of space and phrasing. Epiphanies become mantras, her voice lilting and fading over expertly placed snares and a soft piano twinkle. Is there any better encapsulation of the vagaries of love than the contradictory “When I said I mean it \/ I didn’t really mean it?”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLike the rest of the album, Webster isn’t providing answers here, nor is she on some epic journey of healing and self-care. Instead, she’s choosing to just live, to document heartbreak and ridiculous moments right next to each other until they start to blur, becoming real enough for us all to feel.\u003c\/span\u003e\u003c\/p\u003e","brand":"Faye Webster","offers":[{"title":"LP Blue Chandelier Splatter Vinyl","offer_id":44536221106339,"sku":"SC491lp-C5","price":26.99,"currency_code":"USD","in_stock":true},{"title":"LP Blue \u0026 White Bullseye Vinyl","offer_id":44733267116195,"sku":"SC491LP-C2","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc491.fayewebster.underdressedatthesymphony.lp.c5-977478be78502d036ab3e2a492f744ad.jpg?v=1776689170"},{"product_id":"fw-underdressed-at-the-symphony-01","title":"Underdressed at the Symphony Fan Pack","description":"\u003cp\u003e\u003cspan\u003eThe title of Faye Webster's new album is inspired by her occasional compulsion to lose herself amongst concertgoers at the Atlanta Symphony Orchestra. 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. Indeed, the first time we hear her voice on Underdressed at the Symphony, she’s navigating the unmapped space between comfort and vigilance: “I’m asleep in the moment when you’re holding my head \/ but I want to remember I’ll sleep when I’m dead,” she sings on “Thinking About You.” Instead of turning the dissolution of a relationship into a morality play, she details the solitary moments where her brain is in conflict with itself, allowing unhurried insight to come naturally.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWebster has never been more comfortable in her own skin than right now, which makes her unique ascent into the vanguard of young, independent artists even sweeter. 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. That's genuinely how I feel, and I'm feeling good today.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eA strain of lightheartedness with a melancholic backbone is the driving force behind “Lego Ring,” which features Atlanta multi-hyphenate Lil Yachty as the only guest voice on the album. Webster and Yachty have been friends since middle school and have stayed close ever since. At points, his ghostly warble floats just under Webster’s voice, jabbing through emptiness as it trembles over a low rumble of bass. It’s the kind of sonic collaboration that succeeds based on a lifelong understanding of each other, and a close bond predating both artists’ tenure in the music industry.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I think I hit a point in songwriting during this record where I was just like, man, I said a lot.” admits Webster. “The record feels like a mouthful to me, but I don’t always have to be deep. I can just sit down and sing about this ring made of crystal Lego that I really want.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIf there’s one song that amounts to a mission statement for Underdressed at the Symphony, it’s “Lifetime,” a lush slow burner that emphasizes Webster’s brilliant use of space and phrasing. Epiphanies become mantras, her voice lilting and fading over expertly placed snares and a soft piano twinkle. Is there any better encapsulation of the vagaries of love than the contradictory “When I said I mean it \/ I didn’t really mean it?”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLike the rest of the album, Webster isn’t providing answers here, nor is she on some epic journey of healing and self-care. Instead, she’s choosing to just live, to document heartbreak and ridiculous moments right next to each other until they start to blur, becoming real enough for us all to feel.\u003c\/span\u003e\u003c\/p\u003e","brand":"Faye Webster","offers":[{"title":"Fanpack LP + T-shirt Fan Pack (SM)","offer_id":44536221171875,"sku":"SC491xbnd01-USM","price":49.99,"currency_code":"USD","in_stock":true},{"title":"Fanpack LP + T-shirt Fan Pack (MD)","offer_id":44536221204643,"sku":"SC491xbnd01-UMD","price":49.99,"currency_code":"USD","in_stock":true},{"title":"Fanpack LP + T-shirt Fan Pack (LG)","offer_id":44536221237411,"sku":"SC491xbnd01-ULG","price":49.99,"currency_code":"USD","in_stock":true},{"title":"Fanpack LP + T-shirt Fan Pack (XL)","offer_id":44536221270179,"sku":"SC491xbnd01-UXL","price":49.99,"currency_code":"USD","in_stock":true},{"title":"Fanpack LP + T-shirt Fan Pack (2XL)","offer_id":44536221302947,"sku":"SC491xbnd01-U2XL","price":49.99,"currency_code":"USD","in_stock":true},{"title":"Fanpack LP + T-shirt Fan Pack (3XL)","offer_id":44536221335715,"sku":"SC491xbnd01-U3XL","price":49.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc491.fayewebster.underdressedatthesymphony.lp.c2.bluejay.milkyclear.shirt.newblue-1023fd6b290bcf8244bcabce9b99c139.jpg?v=1776689170"},{"product_id":"unfinished-music-no-1-two-virgins-yoko-ono","title":"Unfinished Music No. 1: Two Virgins","description":"\u003cp\u003eTurns out the very sound of falling in love is just as abstract, subjective and loopy as the concept itself. Yoko Ono and John Lennon are two of history's greatest lovers, and Two Virgins is the musique concrète fever dream document of the pair falling in love in real time. The album is a curious and amazing suite recorded over one weekend in Spring 1968 at Lennon's Kenwood home: Distant conversations; comedic role playing and footsteps; laughter, birdcalls and plunking piano lines; silly songs and space; tape delay stretching shrieks, bass rumbles and moans to the moon and back again. It's two young people attempting to weird one another out, attempting to make one another laugh, falling deeply into one another. John mucks around with delay and loops while Yoko exercises her expressionist vocalizations. The smoke and wine is nearly audible. \"Two Virgins No. 1\" begins with a looping bird-like whistle that almost immediately threatens to clip as the magnetized tape erodes around it. But miraculously, not for a moment do these sounds ever register as foreboding or violent. It unspools into a sort of stretched and warbled piano waltz as Ono's singular vocal explorations arch above it. In the last few minutes of Side A, we hear Ono and Lennon mock domestic life over a low, ringing drone. \"Is that you? Is that you?\" Ono calls out. \"It's just me Hilda, I'm home for tea,\" Lennon responds in a shrugging lower register. It's a perfect, genius antidote to the preceding 13 or so minutes. After all the distorted samples and noisy disturbances, the humorous and commonplace exchange grounds us once again. Moments like this — moments that assure things never get too depersonalized — pepper Two Virgins.\u003c\/p\u003e\n\n\u003cp\u003eUpon its release in 1968, Two Virgins became instantly famous \/ controversial for its now-iconic cover, featuring Ono and Lennon standing nude together. For market, Apple Records interns had to bag the album up so that all but their heads were covered. Please be reminded, however, that this avant-garde domestic field recording also charted on the US Billboard album charts. Of course, that speaks to the international fame of the nude people on the cover. But I'd like to think it also speaks to the raw, universal power of the wild, creative love shared by these two people. Nothing about Two Virgins is safe. It would be a risky move today for artists in the larger, pop-culture conversation just as it was a risky move in 1969. But this is an uncomfortably private, two-person dialogue about —and celebration of — experimentation, inspiration and play. And these two souls bravely let us look through the keyhole.  \u003c\/p\u003e","brand":"John Lennon \/ Yoko Ono","offers":[{"title":"CD","offer_id":44536221925539,"sku":"SC289cd","price":13.99,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":44536221991075,"sku":"SC289lp","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc289-380.jpg?v=1776689170"},{"product_id":"unfinished-music-no-2-life-with-the-lions-yoko-ono","title":"Unfinished Music No. 2: Life With the Lions","description":"\u003cp\u003e\u003cspan\u003eIf Two Virgins is the ecstatic, musique concrète first kiss shared between two of pop culture's greatest lovers, then Life with the Lions is the sound of the pair validating their love as something impenetrable and timeless. It's when we, the listener, begin to fully understand that the scope of their recording efforts was much more than a recording collaboration, and something closer to a performative documentary, a declaration of \"Our life and our love is our art — every nitty, gritty part of it.\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe collection begins with a more straightforward — at least in terms of explaining what it is — piece of improvised music, edited down from a live performance at Cambridge University's Lady Mitchell Hall in March 1969. By Life with Lions release in May 1969, Yoko Ono and John Lennon had begun performing avant-garde music together publicly. But the 20-minute-plus, improvisational \"Cambridge 1969\" represents just the second time Lennon and Ono had performed a public concert together (the first was The Rolling Stones' long dormant concert film Rock and Roll Circus). As Ono begins a sustained, atonal throaty wail, Lennon uses his guitar feedback to match Ono's resonance. They play and share in various stops and starts of sustainment for several minutes. You can feel Lennon become more and more confident in this public avant-garde coming out party for him. And you can hear Ono feeding off the growing confidence, as the conversation between feedback and vocalizations become more varied and playful. By the time drummer John Stevens and saxophonist John Tchicai enter, it almost comes as a release from the intense exchange. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe entirety of Side B was recorded in a patient suite at London's Queen Charlotte Hospital where Ono was admitted with pregnancy complications and ultimately lost a child. The album cover photo was taken in the suite, with Ono in her hospital bed and Lennon in a sleeping bag made up on the floor next to her, both of them looking exhausted from the process. The side begins with \"No Bed For Beatle John,\" a sing-songy reading of gossipy newspaper clippings wherein the press thought it newsworthy to report upon Lennon's lack of a hotel bed. The cover image and track become especially cheeky given that Ono and Lennon spent a good amount of time \"in bed\" in 1969 as part of their famous Bed-in for peace protests against Vietnam. \"Baby's Heartbeat\" is exactly 5 minutes and 10 seconds of the unborn John Ono Lennon's heartbeat, made all that much heavier by the following piece \"Two Minutes Silence.\" The silence is the absence of that tiny heartbeat and, one must assume, a moment of personal meditation for the lost pregnancy. Where most of us would make such a sorrowful moment one of our most private. \"Radio Play\" brings a touch of levity to the preceding two tracks, at least until one considers what they would be doing in their hospital suite after the loss of the child. Likely, you'd be mindlessly doing something like flipping back forth on a radio dial until the punches of sound and static became a calming, lulling rhythm — anything to take your mind off things for a moment. \u003c\/span\u003e\u003c\/p\u003e","brand":"John Lennon \/ Yoko Ono","offers":[{"title":"CD","offer_id":44536221958307,"sku":"SC290cd","price":13.99,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":44536222056611,"sku":"SC290lp","price":23.99,"currency_code":"USD","in_stock":true},{"title":"LP White Vinyl","offer_id":44536222089379,"sku":"SC290lp-C1","price":21.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc290-380.jpg?v=1776689169"},{"product_id":"wedding-album-yoko-ono","title":"Yoko Ono Wedding Album","description":"\u003cp\u003e\u003cspan\u003eOriginally released in 1969, John Lennon and Yoko Ono’s Wedding Album was the couple’s third experimental, album-length record, following Unfinished Music No. 1: Two Virgins (1968) and Unfinished Music No. 2: Life with the Lions (1969), and one of the most remarkable of the duo’s testaments to an intense romantic and artistic partnership that would last fourteen years, until Lennon’s tragic passing in 1980.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAs Lennon later recalled, the two artists first met in late 1966, when Ono was preparing an exhibition of her conceptual art in London. On March 20, 1969, John and Yoko were married in a civil service in Gibraltar. To celebrate the event, in lieu of a conventional honeymoon, the newlyweds spent a week in bed at the Hilton Hotel in Amsterdam, inviting members of the press into their room for interviews and photo sessions, and using their fame — as one of the Beatles, Lennon was one of the best-known musicians in the world — and the publicity generated by their “Bed-in” to call attention to their campaign for world peace.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLater, Lennon told Rolling Stone: “We decided that if we were going to do anything like get married that we would dedicate it to peace.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWith Wedding Album, Lennon and Ono created an enduring snapshot of a vibrant pop-cultural moment, with the hostilities of the Vietnam War as its bracing backdrop. Featuring “John \u0026amp; Yoko,” a call-and-response duet (John and Yoko calling out each other’s names seductively, playfully, and longingly over the sound of their own heartbeats); Yoko’s “John, John, Let’s Hope for Peace”; snippets of interviews with reporters; and John’s a cappella version of the Beatles’ song “Good Night,” Wedding Album captures the humor, earnestness, and spontaneity that marked the early years of the “Ballad of John and Yoko” era.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“In our way, we’re just announcing [that] we’re open to all invitations or suggestions to work for world peace,” Yoko says in Wedding Album’s side-two sound collage, “Amsterdam.” “We’re doing it in our way,” she says. When a reporter notes that some observers were “suspicious” of Lennon and Ono’s very public actions, she responds, “Let them criticize us.” But in their own ways, she adds, others should “do something” to encourage peace, noting, “All you need is courage.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWedding Album’s innovative, original packaging, created by graphic designer John Kosh, included a box filled with souvenirs of John and Yoko’s nuptials: photographs, a copy of the couple’s marriage certificate, Lennon’s and Ono’s own drawings of their wedding and Bed-in honeymoon event, a picture of a slice of wedding cake, and more. Years later, Lennon told the BBC: “It was like our sharing our wedding with whoever wanted to share it with us.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eNow, with a faithful recreation of Wedding Album in limited-edition, white-vinyl LP; compact disc; and digital-download formats, Secretly Canadian and Chimera Music are making one of the most unusual and emblematic recordings of the Sixties available again — fifty years after John and Yoko were married — to mark the golden wedding anniversary of two of the 20th century’s most emblematic cultural figures.\u003c\/span\u003e\u003c\/p\u003e","brand":"Yoko Ono","offers":[{"title":"CD","offer_id":44536225661091,"sku":"SC291cd","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc291.yokoono.cd.jpg?v=1776689108"},{"product_id":"sharon-van-etten-weve-been-going-about-this-all-wrong","title":"We've Been Going About This All Wrong","description":"\u003cem\u003eReleased on May 6th.\u003c\/em\u003e\n\n\n\nSharon Van Etten has always been the kind of artist who helps people make sense of the world around them, and her sixth album, We’ve Been Going About This All Wrong, concerns itself with how we feel, mourn, and reclaim our agency when we think the world - or at least, our world - might be falling apart. How do we protect the things most precious to us from destructive forces beyond our control? How do we salvage something worthwhile when it seems all is lost? And if we can’t, or we don’t, have we loved as well as we could in the meantime? Did we try hard enough? In considering these questions and her own vulnerability in the face of them, Van Etten creates a stunning meditation on how life’s changes can be both terrifying and transformative. We’ve Been Going About This All Wrong articulates the beauty and power that can be rescued from our wreckages.\n\n \n\nWe’ve Been Going About This All Wrong is as much a reflection on how we manage the ending of metaphorical worlds as we do the ending of actual ones: the twin flames of terror and unrelenting love that light up with motherhood; navigating the demands of partnership when your responsibilities have changed; the loss of center and safety that can come with leaving home; how the ghosts of our past can appear without warning in our present; feeling helpless with the violence and racism in the world; and yes, what it means when a global viral outbreak forces us to relinquish control of the things that have always made us feel so human, and seek new forms of connection to replace them.\n\n \n\nSince the release of Remind Me Tomorrow, Van Etten has collaborated with artists ranging from Courtney Barnett and Joshua Homme to Norah Jones and Angel Olsen.  Earlier releases were covered by artists like Fiona Apple, Lucinda Williams, Big Red Machine and Idles, celebrating Sharon as a legendary songwriter from the very beginning. When the time came to return to her solo work, Van Etten reclaimed the reins, writing and producing the album in her new recording studio, custom built in her family’s Californian home. The more she faced – whether in new dangers emerging or old traumas resurfacing – the more tightly she held onto these songs and recordings, determined to work through grief by reasserting her power and staying squarely at the wheel of her next album. In fact, that interplay of loss and growth became a blueprint for what would become We’ve Been Going About This All Wrong. The artwork reflects that, too, inspired as much by Van Etten’s old life as her new one. “I wanted to convey that in an image with me walking away from it all” says Van Etten, “not necessarily brave, not necessarily sad, not necessarily happy…”\n\n \n\nWe’ve Been Going About This All Wrong is intensely personal, exploring themes like motherhood, love, fear, what we can and can’t control, and what it means to be human in a world that is wracked by so much trauma. The track “Home To Me,” written about Van Etten’s son, uses the trademark “dark drums” of her previous work to invoke the sonic impression of a heartbeat. Synths grow in intensity, evoking the passing of time and the terror of what it means to have your child move inevitably toward independence, wanting to hold on to them tightly enough to protect them forever. In contrast, “Come Back” reflects on the desire to reconnect with a partner. Recalling all the optimism of love felt in its infancy, Van Etten begins with the plain beauty of just her voice and a guitar, building the arrangement alongside the call to “come back” to anyone who has lost their way, be it from another person or from themselves. Hovering between darkness and light, “Born” is an exploration of the self that exists when all other labels - mother, partner, friend - are stripped back. \n\n \n\nThroughout, and as always, we are at the mercy of Van Etten’s voice: the way it loops and arcs, the startling and emotive warmth of it. What started as a certain magic in Van Etten’s early recordings has grown into confidence, clarity and wisdom, even as she sings with the vulnerable beauty that has become her trademark. Nowhere is that truer than on “Mistakes,” where Van Etten creates a defiant anthem to the mistakes we make, and to everything we gain from them.   \n\n\n\nUnlike Van Etten’s previous albums, there will be no songs off the album released prior to the record coming out. The ten tracks on We’ve Been Going About This All Wrong are designed to be listened to in order, all at once, so that a much larger story of hope, loss, longing and resilience can be told. This is, in itself, a subtle act of control, but in sharing these songs it remains an optimistic and generous one. There is darkness here but there is light too, and all of it is held together by Van Etten’s uncanny ability to both pierce the hearts of her listeners and make them whole again. Things are not dark, she reminds us, only darkish.","brand":"Sharon Van Etten","offers":[{"title":"LP Exclusive Orange Cornetto vinyl","offer_id":44536225923235,"sku":"JAG395lp-C2","price":26.99,"currency_code":"USD","in_stock":true},{"title":"LP Black Vinyl LP","offer_id":44536225890467,"sku":"JAG395lp","price":23.99,"currency_code":"USD","in_stock":true},{"title":"LP Exclusive Picture Disc","offer_id":44536225956003,"sku":"JAG395pic","price":26.99,"currency_code":"USD","in_stock":true},{"title":"LP Exclusive Ghostly Vinyl","offer_id":44733333110947,"sku":"JAG395LP-C4","price":12.99,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":44536225857699,"sku":"JAG395cd","price":12.99,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":44536225988771,"sku":"JAG395cass","price":9.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag395.sve.wbgataw.lp.mock.c2.jpg?v=1773244316"},{"product_id":"whole-new-mess-angel-olsen","title":"Whole New Mess","description":"\u003cp\u003e\u003cspan\u003eAn intimate and vulnerable emotional portrait that shows her grappling with a period of personal tumult, 'Whole New Mess' presents Angel Olsen working through her open wounds and raw nerves with just a few guitars and some microphones, isolated in a century-old church in the Pacific Northwest.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e'Whole New Mess' follows 'All Mirrors,' Olsen’s grand 2019 masterpiece (and a top 10 critically acclaimed record). At least nine of the eleven songs on 'Whole New Mess' should sound familiar to anyone who has heard 'All Mirrors.' “Lark,” “Summer,” “Chance”—they're all here, at least in some skeletal form and with slightly different titles. But these are not the demos for 'All Mirrors.' Instead, 'Whole New Mess' is its own record with its own immovable mood. If the lavish orchestral arrangements and cinematic scope of 'All Mirrors' are the sound of Olsen preparing her scars for the wider world to see, 'Whole New Mess' is the sound of her first figuring out their shape, making sense for herself of these injuries.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTo record 'Whole New Mess,' Olsen asked for a studio recommendation from Electro-Vox head engineer and a deep kindred spirit Michael Harris. She wanted to find a space where, as she puts it, “vulnerability exists.” They settled on The Unknown, the Catholic church that Mount Eerie’s Phil Elverum and producer Nicholas Wilbur converted into a recording studio in the small town of Anacortes, Washington. Anacortes would act as a kind of harbor for Olsen, limiting distractions as she tried to burrow inside of these songs. “I hadn’t been to The Unknown, but I knew about its energy. I wanted to go sit with the material and be with it in a way that felt like a residency,” Olsen says. “I didn’t need a lot, since it was just me and a guitar. But I wanted someone else there to hold me accountable for trying different things.” In late October 2018 prior to recording 'All Mirrors,' Olsen and Harris lived for 10 days in a rental and built a daily ritual of getting coffee each morning in a nearby bookstore. They hiked Mount Erie, visited state parks, and strolled the empty streets of Anacortes beneath a full moon. But mostly, the sessions were casual, relaxed, and quiet, allowing Olsen the space to fully explore these feelings.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe results are staggering, somehow disarmingly candid and dauntingly personal at once. The opener and title track—one of two songs here that did not appear on All Mirrors—is a blunt appraisal of how low Olsen got and how hard the process of pulling herself back upright was, especially when being an artist can mean turning your emotions into someone else’s entertainment. “Oh, I’ll really do the change,” she repeats at the start and finish, her voice wavering as she tries to buy the mantra she’s selling. “The reality is that artists are often never home so health, clear mindedness and grounding is hard to come by,” says Olsen. “The song is a mental note to try and stay sane, keep healthy, remember to breathe wherever I happen to be, because there is no saving it for back home.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eConsidered alongside 'All Mirrors,' 'Whole New Mess' is a poignant and pointed reminder that songs are more than mere collections of words, chords, and even melodies. They are webs of moods and moments and ideas, qualities that can change from one month to the next and can say just as much as the perfect progression or an exquisite chord. In that sense, these 11 songs—solitary, frank, and unflinching examinations of what it’s like to love, lose, and survive—are entirely new. This is the sound of Angel Olsen, sorting through the kind of trouble we’ve all known, as if just for herself and whoever else needs it.\u003c\/span\u003e\u003c\/p\u003e","brand":"Angel Olsen","offers":[{"title":"CD","offer_id":44536226807971,"sku":"JAG354cd","price":12.99,"currency_code":"USD","in_stock":true},{"title":"LP Black Vinyl","offer_id":44536226873507,"sku":"JAG354lp","price":23.99,"currency_code":"USD","in_stock":true},{"title":"LP Translucent Pink Glass Vinyl","offer_id":44536226906275,"sku":"JAG354lp-C2","price":25.99,"currency_code":"USD","in_stock":true},{"title":"7\" Smaller B\/W More Than This","offer_id":44733354475683,"sku":"","price":7.99,"currency_code":"USD","in_stock":false},{"title":"Cassette","offer_id":44536226939043,"sku":"JAG354cass","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag354.ao.wnm.7.smaller.jpg?v=1715584874"}],"url":"https:\/\/secretlystore.com\/collections\/international-womens-day.oembed","provider":"Secretly Store","version":"1.0","type":"link"}