{"title":"ReVinyl","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003eReVinyl color is chosen at random - pressed using 100% reclaimed vinyl material\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","products":[{"product_id":"for-emma-forever-ago-revinyl","title":"For Emma, Forever Ago (ReVinyl)","description":"\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cstrong\u003eAvailable to pre-order now, releasing 5th June 2026. Please note that this will ship on or around release date.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cstrong\u003eReVinyl color is chosen at random - pressed using 100% reclaimed vinyl material\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eBon Iver (pronounced: bohn eevair; French for \"good winter\" and spelled wrong on purpose) is a greeting, a celebration and a sentiment. It is a new statement of an artist moving on and establishing the groundwork for a lasting career. For Emma, Forever Ago is the debut of this lineage of songs. As a whole, the record is entirely cohesive throughout and remains centered around a particular aesthetic, prompted by the time and place for which it was recorded. Justin Vernon, the primary force behind Bon Iver, seems to have tested his boundaries to the maximum, and in doing so has managed to break free from any pre-cursing or finished forms.\u003c\/p\u003e","brand":"Bon Iver","offers":[{"title":"LP","offer_id":47595471012003,"sku":"JAG115LP-C3","price":22.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag115.boniver.foremma.mock.jpg?v=1777412708"},{"product_id":"youre-living-all-over-me-revinyl","title":"You're Living All Over Me (ReVinyl)","description":"\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cstrong\u003eAvailable to pre-order now, releasing 5th June 2026. Please note that this will ship on or around release date.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cstrong\u003eReVinyl color is chosen at random - pressed using 100% reclaimed vinyl material\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eJagjaguwar is honored to reissue the band's second album, You're Living All Over Me, on vinyl. Originally released on the venerable Homestead and SST labels in the 1980's, the reissues stay true to form and include the cardinal track lists.\u003c\/p\u003e","brand":"Dinosaur Jr.","offers":[{"title":"LP","offer_id":47595466588323,"sku":"JAG197LP-C3","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag197.dinojr.living.all.over.me.eco.mix.c3.mock.jpg?v=1777412708"},{"product_id":"black-mountain-revinyl","title":"Black Mountain (ReVinyl)","description":"\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cstrong\u003eAvailable to pre-order now, releasing 5th June 2026. Please note that this will ship on or around release date.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eReVinyl color is chosen at random - pressed using 100% reclaimed vinyl material\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eBlack Mountain, the front-line soldiers for the Black Mountain Army, an arts collective from Vancouver, British Columbia, write, perform and record music that speaks (and sings) to this realization: that solutions are rarely simple, that the world is as complex as it is ambiguous, and that music sprinkled with an inoculating dose of madness may well be the Pied Piper that takes us all back into the primordial mountain, where our hearts can be made steady and our minds can be set free. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eTheir debut self-titled record, like a space probe built of erector set parts and transmitting secret and arcane messages to earth by string, charts territories unknown yet remains grounded by the roots of classic rock and roll. It is easy to discern these roots: Black Sabbath, 'Animals'-era Pink Floyd, Blue Cheer, Led Zeppelin and Can. Principal songwriter Stephen McBean’s vocals are a smoother, bluesier amalgam of the voices of Neil Young, Mick Jagger and perhaps James Brown loaded on cough syrup. And when Amber Webber’s voice joins Stephen’s, the combination brings to mind the potency and chemistry of Richard and Linda Thompson singing together on 'Shoot Out The Lights,' or of Meat Loaf and Ellen Foley howling together on 'Bat Out Of Hell.' Musical comparisons aside, the Black Mountain full-length is one part protest song, one part pop-cultural commentary, and one part sick-groove-rock casserole peppered with mesmerizing ballads and intoxicating ditties. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Modern Music” is the lead-off hitter and counts its way to the imposing and riff-rife “Don’t Run Our Hearts Around”. Immediately thereafter, the sludge-rock masterpiece “Druganaut” establishes the fecund heart and tone of the record. This special 20th anniversary edition of 'Black Mountain' adopts the remastered audio from 2015's expanded release, and is available in limited quantity on clear shadow wave vinyl.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"A rollicking, wildly adventurous reconfiguring of 1960s and 70s nostalgia that's as duty-bound to the present as it is sympathetic to the past.\"\u003cbr\u003e- Pitchfork, Best New Music [2005]\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Black Mountain’s love for old school rock tropes and its jam band tendencies lend its debut a protective and timeless aura.\" \u003cbr\u003e- FLOOD Magazine [2015]\u003c\/p\u003e","brand":"Black Mountain","offers":[{"title":"LP","offer_id":47595463934115,"sku":"JAG070lp-C2","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/jag70.bm.revinyl.mock.jpg?v=1777412706"},{"product_id":"twin-plagues-revinyl","title":"Twin Plagues (ReVinyl)","description":"\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cstrong\u003eAvailable to pre-order now, releasing 5th June 2026. Please note that this will ship on or around release date.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003e\u003cstrong\u003eReVinyl color is chosen at random - pressed using 100% reclaimed vinyl material\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn a long and emotionally exhausting year of being inside (alone, in my case,) I have found myself thinking about mirrors. How to avoid spending too much time in them, most days. Taking inventory of the real, physical self is difficult work, work that I’m not entirely opposed to but work that became immediately more treacherous for me when I had to witness the very real toll that time, modern anxieties, isolation, and boredom were taking on me. It was easier, it seemed, to spiral into a not-so-distant glorious past, to use memory as a tool of both excitement and healing. But, speaking of excitement, I like to stumble towards a band with no agenda, no purpose, uncovering sound almost on accident. This is how I first heard Wednesday. The band came to me and I don’t remember how, or why. They simply arrived, as if we’d been traveling toward each other our whole lives. I Was Trying To Describe You To Someone soaked into my summer of 2020, and in sound, in spirit, in central concerns and the execution of them, it\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003etook me back to an era before the current era, which I’d needed at the time. The past can feel less hellish than the present if we are, sometimes, not fully honest with ourselves.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThere is the trick of nostalgia that I spend a lot of time playing with in my own writing, and somewhat tormented by in my own living. The very real idea that nostalgia is both a useful tool and also a weapon if it isn’t paired with something that approaches a type of rigorous honesty.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBut if I may go back to all of these ideas of nostalgia and our old, tricky, past selves that are, indeed, a part of the house of bricks that make up our present self, what I also hope you, listener, might adore about this album is the exact moment at the start of “The Burned Down Dairy Queen” when Karly sings I was hiding in a room in my mind \/ and I made me take a look at myself. Because if you, like me, have been avoiding mirrors – both metaphorical and real – this is where the album becomes a lighthouse, echoing bright across the darkness of my otherwise dark and empty chambers. So much of these songs meditate on the past in far less romantic ways than I have found myself meditating on the past, and I was desperate for the recalibration that this album provided.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSo, yes, the songs are good. You will maybe roll down your windows on a comfortable day on the right stretch of road in a warm season and turn the volume up when “Birthday Song” gets good and loud and sing-along-able. You might sit atop a rooftop at night, closer to the moon than you were on the ground, and let “Ghost Of A Dog” churn and rattle you to some nighttime realization that you couldn’t have had in silence.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBut, even on top of all of this, on top of all the pleasures and the mercies that the sounds on this album might afford. I hope and think, too, that it will remind anyone who listens that we are a collection of many reflections. All of them deserving patience.\u003c\/span\u003e\u003c\/p\u003e","brand":"Wednesday","offers":[{"title":"LP","offer_id":47595463016611,"sku":"DOC327LP-C2","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc337.wednesday.mock.jpg?v=1777412707"},{"product_id":"didn-t-it-rain-revinyl","title":"Didn’t It Rain (ReVinyl)","description":"\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cstrong\u003eAvailable to pre-order now, releasing 5th June 2026. Please note that this will ship on or around release date.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cstrong\u003eReVinyl color is chosen at random - pressed using 100% reclaimed vinyl material\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eDidn't It Rain is Jason Molina's first perfect record. Recorded live in a single room, with no overdubs and musicians creating their parts on the fly, the overall approach to the recording was nothing new for Molina. But something in the air and execution of Didn't It Rain clearly sets it apart from his existing body of work. His albums had always been full of space, but never had Molina sculpted the space as masterfully as he does on Didn't It Rain.\u003c\/p\u003e","brand":"Songs: Ohia","offers":[{"title":"LP","offer_id":47595515642019,"sku":"SC065LP-C1","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/sc65.songs.mock.jpg?v=1777412707"},{"product_id":"introducing-revinyl","title":"Introducing… (ReVinyl)","description":"\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cstrong\u003eAvailable to pre-order now, releasing 5th June 2026. Please note that this will ship on or around release date.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cstrong\u003eReVinyl color is chosen at random - pressed using 100% reclaimed vinyl material\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eSoft-spoken with the look of a slightly disaffected 1950s matinee idol, Aaron Frazer possesses a unique voice that’s both contemporary and timeless. His higher register conveys a wide emotional palate and a progressive worldview in the tradition of musical masterminds like Curtis Mayfield. While Aaron’s stirring falsetto and thoughtful songwriting have made him established in the world of revival soul music, he refuses to be pigeonholed.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e'Introducing...', Aaron Frazer’s debut solo album, co-released on Easy Eye Sound and Dead Oceans, is a testament to his wide-ranging influence and showcases deep gratitude for his musical community. “I didn't want 'Introducing...' to be an exact recreation of an era or a style. We have this opportunity to be inspired by and take direction from our musical forerunners, and also what's happening now -- from contemporary hip hop, from pop music,” Frazer says. “I’m excited to keep breaking some of the expectations around what exactly I'm supposed to be artistically and musically, or what this scene as a whole can be.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe Brooklyn-based, Baltimore-raised songwriter first came into the international spotlight as multi-instrumentalist and co-lead singer for Durand Jones \u0026amp; The Indications. He penned some of the group’s most notable tracks, including \"Morning In America,\" and sang lead on \"Is It Any Wonder?\" – the latter an instant sweet soul classic anchored by Aaron’s falsetto, which caught the ear of producer and Black Keys guitarist Dan Auerbach. “Aaron is just so incredibly gifted; to be so good at drums and sing like that at the same time. It just hit so hard and I reached out immediately after I heard ‘Is it Any Wonder.’ I love falsetto singing – there’s something so vulnerable about it,” Auerbach recalls.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe 12 songs on Introducing... – a mixture of mid-‘60s soul with Auerbach’s particular sensibilities (“Over You”), songs with a message in the key of Gil Scott-Heron (\"Bad News\"), and uplifting tales of love told through a blend of disco, gospel, and doo-wop (\"Have Mercy\") – were recorded in a week at Auerbach’s antique and ephemera-laden studio in Nashville following a rapid and prolific songwriting session.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Dan likes to have this writing process where you just let go and embrace the kind of pressure cooker environment that comes with extreme time limitation,” Aaron says, adding that the writing sessions pushed him creatively. “My influences are perfectionists; architects creating palaces. So it was definitely scary to do some letting go and try to get in touch with that kind of intuitive process.” Dan brought in legendary songwriters such as 80-year-old L. Russell Brown, who wrote hits for fellow falsetto Frankie Valli and co-wrote \"You Don’t Wanna Be My Baby,\" a pleading midtempo soul number and the album’s opening track. “As soon as Aaron started singing, Russell looked at me and his eyes lit up. He instantly understood Aaron; it was a perfect, effortless way to start the record.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“A lot of these songs are inspired by the relationship that I'm currently in, which is the healthiest relationship I've ever been in,” Aaron reflects. “Throughout the process, I was feeling a lot of gratitude. Not just for my sweetheart, but for my bandmates, for my family and friends who have helped me get to the point where I can have this experience.” Aaron has certainly created a community through his work with the Indications, gospel-soul project The Flying Stars of Brooklyn (Colemine Records), and countless side shows in Bloomington and New York- though his taste has propelled him to the far reaches of American music. From his roots in the mid-Atlantic, Aaron traveled to Indiana where he studied audio engineering and met the Indications, headed down to the Mississippi hill country to do archival recordings of blues music, developed his singing and writing chops while playing in New York folk clubs like the Jalopy Theatre, and continues to tour internationally with Durand Jones \u0026amp; The Indications.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThroughout, Aaron has used music to call attention to issues of inequity and injustice, while highlighting the work of organizations like the Poor People’s Campaign. “It’s important ethically to try to use music for good. If you have something to say politically, don’t hide it until it’s asked about,” he says, adding that Introducing... balances songs of happiness with more political messages. The unique blend of ‘90s R\u0026amp;B and Chicago steppers on “Done Lyin’” reflects on friends’ battles with addiction, while “Bad News” is a soul-jazz rumination on the tumultuous state of the earth with a folk inflection, reflecting on the ways we choose to tune out in the face of crises like homelessness and climate change. “It’s hard to wrap our minds around a truly existential threat, so a lot of us ignore it. The song “Bad News” is almost like the earth itself gets on the subway asking for help.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAaron expertly calibrates consciousness-raising and the desire to be enveloped by love, presenting listeners with a multiplicity of emotions. Where previous records were written in a partial state of turmoil, Aaron’s debut LP shows maturation and range. 'Introducing...' is both loving and gracious, critical without losing hope.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“We can sustain a movement and not a moment by following the lead of artists like Gil Scott- Heron, who wrote ‘We Almost Lost Detroit’ as well as ‘Your Daddy Loves You.’ Artists like Curtis Mayfield who wrote ‘We The People Are Darker Than Blue’ and also wrote ‘The Makings of You.’ And on and on with the balances of critical political commentary and a fearlessness to be tender. Those are my heroes and I can see a path forward in their work.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAuerbach called on a crew of heavy session players -- including members of the Memphis Boys (who played on Dusty Springfield’s \"Son of A Preacher Man\" and Aretha Franklin’s \"You Make Me Feel Like A Natural Woman\"), symphony percussionist Sam Bacco, and members of the Daptone-Big Crown Records universe -- to record over six days. “I really didn't want to make a retro record with Aaron; I wanted it to be its own thing, have its own sound. The crew had not made records together before, so it was a very fresh feeling that I think will strike a chord with people. There's this amazing cross-section of musicians, young and old, with Aaron leading the way.” With a collaborative vision, Introducing... manages to hit the sweet spot between intuition, intentionality, and craft – a love song that’s both personal and universal.\u003c\/span\u003e\u003c\/p\u003e","brand":"Aaron Frazer","offers":[{"title":"LP","offer_id":47595460690083,"sku":"DOC220LP-C5","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc220.aaron.frazer.introducing.revinyl.mock.jpg?v=1777412706"},{"product_id":"songs-of-praise-revinyl","title":"Songs of Praise (ReVinyl)","description":"\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cstrong\u003eAvailable to pre-order now, releasing 5th June 2026. Please note that this will ship on or around release date.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cstrong\u003eReVinyl color is chosen at random - pressed using 100% reclaimed vinyl material\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eShame thrives on confrontation. Whether it be the seething intensity crackling throughout debut LP Songs of Praise or the adrenaline-pumping chaos that unfolds at Shame’s shows, it’s all fueled by feeling. NPR’s Bob Boilen noted, “Of the 70 bands I saw at this year’s SXSW, the band Shame seemed to mean what they played more than any other.\"\u003c\/p\u003e\n\u003cp\u003eComprised of vocalist Charlie Steen, guitarists Sean Coyle-Smith and Eddie Green, bassist John Finerty, and drummer Charlie Forbes, the London-based five-piece began as school boys. From the outset, Shame built the band up from a foundation of DIY ethos while citing The Fall and Wire among its biggest musical influences.\u003c\/p\u003e\n\u003cp\u003eUtilizing both the grit and sincerity of that musical background, Shame carved out a niche in the South London music scene and then barreled fearlessly into the angular, thrashing post-punk that would go on to make up Songs of Praise, their Dead Oceans debut. From “Gold Hole,” a tongue-in-cheek takedown of rock narcissism, to lead single “Concrete” detailing the overwhelming moment of realizing a relationship is doomed, to the frustrated “Tasteless” taking aim at the monotony of people droning through their day-to-day, Songs of Praise never pauses to catch its breath.\u003c\/p\u003e","brand":"Shame","offers":[{"title":"LP","offer_id":47595457282211,"sku":"DOC144LP-C6","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc144.shame.songs.of.praise.revinyl.mock.jpg?v=1777412706"},{"product_id":"private-space-revinyl","title":"Private Space (ReVinyl)","description":"\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cstrong\u003eAvailable to pre-order now, releasing 5th June 2026. Please note that this will ship on or around release date.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cstrong\u003eReVinyl color is chosen at random - pressed using 100% reclaimed vinyl material\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFollowing the “immaculate and eternal soul” (The Guardian) of The Indications’ 2019 album, \u003cem\u003eAmerican Love Call\u003c\/em\u003e, \u003cem\u003ePrivate Space\u003c\/em\u003e unlocks the door to a wider range of sounds, boldly launching the band into a world of synthy modern soul and disco beats dotted with strings. Anchored by the high-low harmonies of Aaron Frazer (drums\/vocals) and Durand Jones (vocals), and rounded out by Blake Rhein (guitar), Steve Okonski (keys), and Mike Montgomery (bass), The Indications are true masters at melding revival sounds with a modern attitude.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe ten tracks across \u003cem\u003ePrivate Space\u003c\/em\u003e provide for both an escapist fantasy and a much-needed recentering after a tumultuous 2020. “At the end of the day, I just want people to close their eyes and forget where they are. Just the way a Stevie Wonder album does for me,” says Jones. Developed after being apart for much of the year, \u003cem\u003ePrivate Space\u003c\/em\u003e is creatively explosive and delights in upending expectations. Throughout, The Indications highlight a collective resiliency – as well as the power of a good song to be a light in the darkness.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFrom an Indiana basement (where the band recorded their 2016 self-titled debut LP as college students), The Indications have catapulted into the soul limelight and an international stage. Following their sophomore album \u003cem\u003eAmerican Love Call\u003c\/em\u003e — a dreamy but pensive record of big string arrangements and sweet soul stylings — The Indications became revered by vintage music fans, the lowrider community and late-night television. Between production work, solo efforts and major sold-out shows, Durand Jones \u0026amp; The Indications continue on an unstoppable upswing.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eWith live music temporarily out of the equation, The Indications were able to dive deep into recording their third LP. Uptempo tracks like “Witchoo,” \"The Way That I Do\" and “Sea of Love” practically manifest the flicker of a disco ball, their pop-funk grooves recalling Idris Muhammad and Raphael Saadiq as well as Pete Rock and DJ Premier. You’ll slow it down as the group evokes the likes of Teddy Pendergrass, the Isley Brothers and Sylvia on “Ride or Die” or “More Than Ever” (“I’ve never felt so sexy as when I was singing that track,” says Jones). While \u003cem\u003ePrivate Space\u003c\/em\u003e is an intentional departure from The Indications' roots in ‘60s funk and soul, its exploratory vibe is true to their origins and evolving tastes. “There’s a lot of the band’s original DNA, but it’s not a time capsule,” says Rhein. The sound of \u003cem\u003ePrivate Space\u003c\/em\u003e isn't a stretch, Frazer adds. \"We're actually revealing more of ourselves, a deeper and broader look into who we are as musicians and fans.\"\u003c\/p\u003e\n\u003cp\u003e Settled in a cabin in upstate New York, the five-piece spent significantly more time experimenting with sound than previous releases. “It was like this buildup of all the ideas, the love, and the need to make music with these guys again,” Jones says. They leaned into songwriting and brought in vibraphonist Joel Ross (Blue Note), an eight-piece string section and friends from the group 79.5 to sing backups. From ideation to the final album cut, \u003cem\u003ePrivate Space\u003c\/em\u003e is a meditation on what gets us through isolation and loss: community, love and friendship. Each Indications album opens with a statement of political consciousness; a musical State of the Union that sets a tone.\u003c\/p\u003e\n\u003cp\u003eAs Nina Simone once declared, \"I choose to reflect the times and situations in which I find myself. That to me is my duty.\" \u003cem\u003ePrivate Space\u003c\/em\u003e leans into hope, coalescing around the idea that joy can set us free. “I want listeners to know that through really rough times something beautiful can be birthed,” says Jones, who proclaims on “Love Will Work It Out” that “All the people lost made me fall right onto my knees\/all I could do was cry and shout\/I knew I had to trust the faith that love would work it out.” As the world slowly resets from the chaos of the past year, \u003cem\u003ePrivate Space\u003c\/em\u003e is arriving at just the right time. “I feel we’ll be arriving into people's lives as they're exiting a really tough period,” Frazer theorizes. “We’re not out of the woods, but hopefully this allows people to get together again, to share and experience catharsis.”\u003c\/p\u003e","brand":"Durand Jones \u0026 The Indications","offers":[{"title":"LP","offer_id":47595444109475,"sku":"DOC227lp-C11","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc227.dj.indications.privatespace.revinyl.mock.jpg?v=1777412706"},{"product_id":"bleeds-revinyl","title":"Bleeds (ReVinyl)","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003eAvailable to pre-order now, releasing 5th June 2026. Please note that this will ship on or around release date.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cstrong\u003eReVinyl color is chosen at random - pressed using 100% reclaimed vinyl material\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCan a self-portrait be a collage? Can empathy be autobiographical? What’s the point of living if we’re not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday’s new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that—like many of the most arresting passages from the North Carolina band’s highlight reel so far—thoughtfully explores the vivid link between curiosity and confession.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cbr\u003eBleeds is not only the best Wednesday record—it’s also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman—founder, frontwoman, and primary lyricist—credits Wednesday’s tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that’s been both rewarding and relentless. “Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential ‘Wednesday Creek Rock’ album,” Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they’ve refined the formula that makes them one of the most interesting rock bands of their generation. “This is what Wednesday songs are supposed to sound like,” she said. “We’ve devoted a lot of our lives to figuring this out—and I feel like we did.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eJust like Rat Saw God, one of the defining rock \u0026amp; roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who’s been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates—Xandy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake “M.J.” Lenderman (guitar)—worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism—not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman’s masterfully subjective approach to detail selection.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEvery image or scene is filtered through Hartzman’s agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman’s specific obsessions and vulnerabilities, about the fragmented way she processes the world. Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else’s.\u003c\/span\u003e\u003c\/p\u003e","brand":"Wednesday","offers":[{"title":"LP","offer_id":47608799166627,"sku":"DOC428lp-C1","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc428.wednesday.bleeds.LP.mock.c1.eco_b0c2a082-de7e-47f1-9c98-7a00992392cd.jpg?v=1777412706"},{"product_id":"im-wide-awake-its-morning","title":"I'm Wide Awake, It's Morning","description":"\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cem\u003e\u003cstrong\u003eAvailable to pre-order now, releasing 5th June 2026. Please note that this will ship on or around release date.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eReVinyl color is chosen at random - pressed using 100% reclaimed vinyl material\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“It’s a meaningful way to connect with the past that doesn’t feel totally nostalgic and self-indulgent,” says Conor Oberst of the forthcoming Bright Eyes reissue project. “We are taking these songs and making them interesting to us all over again. I like that. I like a challenge. I like to be forced to do something that’s slightly hard, just to see if we can.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Just to see if we can” could be the unofficial motto of Bright Eyes, the band Oberst founded as a teenager and plays in with two of his oldest friends, multi-instrumentalists Mike Mogis and Nate Walcott. “We’ve never made the same record twice,” the singer says. “I’m proud of that.” From warm folk-rock to austere electro, plaintive, earnest ballads to glacially cool guitar noise, Bright Eyes has tried on pretty much every sound that’s ever inspired them, just to see if they could. Along the way they’ve collaborated with many of their influences, heroes, and peers, from Gillian Welch and Emmylou Harris to Jenny Lewis, Nick Zinner and Britt Daniel. And they’ve seen their songs covered by many more, including Lorde, The Killers, and Mac Miller.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFor a band that’s often been perceived as an outlier – the ingenious but quixotic group fronted by that wunderkind singer-songwriter with the floppy hair and bedroom eyes - the depth, breadth, and impact of the Bright Eyes canon is remarkable. And that’s what really strikes you when you sit down to fully take in the nine Bright Eyes albums that will be reissued, in chronological order, in groups of three, beginning this spring. Over the last two-plus decades, as Bright Eyes has released one after another time capsule LP’s –urgent dispatches from transcendent, fleeting eras of our collective lives – they’ve also simultaneously been assembling a robust, mature, narratively cohesive discography. “I’ve written a looooot of songs,” Oberst says, laughing. “And by no means are they all good, but the fact that we can cull through these records and find ones that I’m not ashamed to sing years later makes me feel pretty happy.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt’s the desire to celebrate that sonic bounty that first got Oberst and the band excited about the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment devoted to appreciating the past weren’t turned into an opportunity to connect with the future. That’s where the nine companion EPs come in. Or as Oberst puts it, “the supplemental reading” for the primary reissues: One six-track EP per reissued album, each featuring five reworked songs from that album. “My thing was they had to sound different from the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the era” in which that particular albums was made – a song that meant something to the band at the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends, like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of Waxahatchee.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt was the band’s way of reframing, rediscovering, and renewing the past. It was also a hilarious amount of work. “I thought it was a cool concept,” Oberst says. “Then I realized its nine records, six songs a piece, so that’s like 54 different songs you have to record!” He laughs. But if there’s a mantra more central to the Bright Eyes ethos as trying something new just to see if you can get away with it, it’s signing up for way more than you can handle just to see if you can make it work. “We always bite off more than we can chew,” Oberst summarizes. “It keeps things interesting.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eI’m Wide Awake, It’s Morning (2005)\u003c\/em\u003e\u003cbr\u003e\u003cspan\u003e“The first three are innocent in a way, because we didn’t have an audience when we were making them,” Oberst says. “But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash.” Those two albums came out simultaneously. And their lead singles – “Take It Easy (Love Nothing),” from the austere, remote Digital Ash, and “Lua,” from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. “First Day of My Life,” also from Wide Awake, would later be voted the Number One love song of all time by NPR Music’s reader’s poll.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBright Eyes had officially broken through. It was a heady, exciting time, but also fraught and tense, both because of the band’s careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, “When The President Talks To God.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThese days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era’s releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of “harmonica and mandolins – folky vibes,” Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.\u003c\/span\u003e\u003c\/p\u003e","brand":"Bright Eyes","offers":[{"title":"LP","offer_id":47654017826979,"sku":"DOC290lp-C3","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc290.be.wide_50cd0ce4-e7f7-45e8-b272-a2e02cd925c9.jpg?v=1778722567"},{"product_id":"sometimes-the-blues-is-just-a-passing-bird-revinyl","title":"Sometimes The Blues Is Just A Passing Bird (ReVinyl)","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003eReVinyl color is chosen at random - pressed using 100% reclaimed vinyl material\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe Tallest Man on Earth released The Wild Hunt this past April, and the album found its way into the hearts of fans everywhere. The connection that the Tallest Man on Earth (aka songwriter Kristian Matsson) has with his fans is a sight to behold - he has performed around the world, at clubs and festivals, and the bond between Matsson and his audience is breathtaking. Matsson is the rarest of performers, charismatic and captivating, and his passion for performance bleeds through every single time he takes the stage. At many of the Tallest Man on Earth shows this year, Matsson closed his set with a new song titled \"Like the Wheel.\" It quickly became a fan favorite, with YouTube videos spreading virally, and the sets closing on a high note night after night. \"Like the Wheel,\" along with four other new songs, make up Sometimes The Blues Is Just a Passing Bird, an EP written entirely after The Wild Hunt. Recorded during a quick break from touring in the summer of 2010, \"Like the Wheel\" is joined by \"The Dreamer,\" a soon-to-be-classic that Matsson performs on electric guitar. Sometimes The Blues Is Just a Passing Bird is an open and shut chapter in the Tallest Man on Earth's songbook - five new additions to those magical performances.\u003c\/p\u003e","brand":"The Tallest Man On Earth","offers":[{"title":"ReVinyl","offer_id":47710160421027,"sku":"DOC048lp-C1","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc048.tallest.jpg?v=1779972972"}],"url":"https:\/\/secretlystore.com\/collections\/revinyl.oembed","provider":"Secretly Store","version":"1.0","type":"link"}