{"title":"Polyvinyl","description":null,"products":[{"product_id":"yumi-zouma-present-tense-lp-transparent-vinyl-mar-18","title":"YUMI ZOUMA - Present Tense - LP - Transparent Vinyl","description":"\u003ch2 style=\"margin: 0in; font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong style=\"color: #ff0000; font-size: 16px;\"\u003eLP – Limited Edition Transparent Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cstrong style=\"color: #ff0000; font-size: 16px;\"\u003e (Deluxe Gatefold Jacket w\/ Embossing. Printed cardstock innersleeve.)\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eYumi Zouma\u003c\/strong\u003e’s \u003cstrong\u003eJosh Burgess\u003c\/strong\u003e likens the band’s songwriting process to gardening, “Someone brings in a seed and through collaboration, it grows into a song that is vastly different from its original form.” Like any garden, this one requires dedicated tending, a practice that seems rather inconvenient if not straight-up difficult, considering the fact that the four members live in disparate parts of the world – calling New York, London, and New Zealand home – but long-distance has always been a feature of their songwriting process, not a bug. Their new album, \u003cem\u003ePresent Tense\u003c\/em\u003e, is the product of those efforts, a work \u003cstrong\u003eChristie Simpson\u003c\/strong\u003e describes as “a gallery wall displaying these different moments in each of our lives. A process of curation, revisiting the past and making it relevant to the present.”\u003c\/p\u003e\n\u003cp\u003eYou might assume that while some artists have struggled to rethink their processes during a pandemic, Yumi Zouma would be perfectly suited to lockdown, but the opposite proved to be true. Without looming tour dates driving them to release new music, the prolific band found themselves at a standstill. On the day that the World Health Organisation declared COVID-19 a pandemic, the band released their third LP, \u003cem\u003eTruth or Consequences\u003c\/em\u003e, via \u003cstrong\u003ePolyvinyl\u003c\/strong\u003e, and had sold out their first American tour. After Yumi Zouma’s first show in Washington DC, the tour was canceled and the four members went their separate ways, an experience memorialized on \u003cem\u003ePresent Tense\u003c\/em\u003e opener “\u003cem\u003eGive It Hell\u003c\/em\u003e.” “It was disorientating,” Charlie Ryder admits. “We generally work at a quick clip and average about a record a year, but with no foreseeable plans, we lost our momentum.”\u003c\/p\u003e\n\u003cp\u003eSo they set a date. By September 1st, 2021, the album needed to be finished, regardless of whether they’d be able to tour it or even meet to record together. Before the September deadline goaded the band into action, they had what felt like endless amounts of time to record the album. What began in fits and starts became a committed practice again as Yumi Zouma dug through demos from as early as 2018 to collaborate on and make relevant to the peculiar moment in time the band, and world, was experiencing. “The lyrics on these songs feel like premonitions, in some regards,” Simpson reflects. “So much has changed for us, both personally and as a band, that things I wrote because the words sounded good together now speak to me in ways I didn’t anticipate.”\u003c\/p\u003e\n\u003cp\u003eRemote and in-person sessions in studios in Wellington, Florence, New York, Los Angeles, and London all played a role, and Yumi Zouma brought in new collaborators from different disciplines to broaden their sound. Studio recordings of drummer \u003cstrong\u003eOlivia Campion\u003c\/strong\u003e were incorporated into every song, while pedal steel, pianos, saxophones, woodwinds, and strings were played by friends around the globe who were able to lend their talents and support. The band enlisted multiple mixers in \u003cstrong\u003eAsh Workman\u003c\/strong\u003e (Christine \u0026amp; The Queens, Metronomy), \u003cstrong\u003eKenny Gilmore\u003c\/strong\u003e (Weyes Blood, Julia Holter), and \u003cstrong\u003eJake Aron\u003c\/strong\u003e (Grizzly Bear, Chairlift), and recruited the mastering expertise of \u003cstrong\u003eAntoine Chabert\u003c\/strong\u003e (Daft Punk, Charlotte Gainsbourg) for the first time. “This is our fourth album, so we wanted to pivot slightly, create more extreme versions of songs,” Ryder says. “Working with other artists helped with that, and took us far outside of our normal comfort zone.”\u003c\/p\u003e\n\u003cp\u003eYou can hear the impulse on “\u003cem\u003eIn The Eyes Of Our Love\u003c\/em\u003e,” a song that’s seemingly twice as fast as any prior release, and closer to the classic rock of Dire Straits than the dream pop aesthetics that the band has built their career on so far. Campion’s drums crash in hard from the outset, sending the accompanying band into a revelry that only breaks upon arriving at the first bridge, when Simpson sings: “But we won’t lose sight of what we said\/ I’ll sing from the dirt instead.”\u003c\/p\u003e\n\u003cp\u003eThere’s a defiance heard throughout \u003cem\u003ePresent Tense\u003c\/em\u003e, a refusal to bend to what might seem fated, communicated not only through lyrics but in the boldness of these arrangements, metamorphosing between tracks without ever losing momentum. The triumphant chorus of “\u003cem\u003eWhere The Light Used To Lay\u003c\/em\u003e” belies any of the pain beneath its surface, a technique Simpson likens to the work of folk-adjacent rock acts like Bruce Springsteen and Phoebe Bridgers. “We wanted quiet moments to give into a big, brash chorus, something that approaches cliché,” Simpson says. “The chorus feels like a dramatic encapsulation of who we want to be as a band,” Ryder adds.\u003c\/p\u003e\n\u003cp\u003eTwo years away from the road gave Yumi Zouma a new appreciation for the friendship they’ve sustained and the opportunity an abundance of time off-cycle offered. “We used to run on adrenaline, and if a song wasn’t working we’d just nip it in the bud and move on. This process gave us the opportunity to really sit with songs and rethink them until they felt like they belonged in the collection,” Burgess says. Album closer “\u003cem\u003eAstral Projection\u003c\/em\u003e” is one such song, originally conceived by Burgess, who felt as if he’d been handed a sliver of brilliance after the song had been rewritten and abandoned by Ryder and Simpson. “It was as if I’d been given this rescue cat who had the potential to be great,” he says, laughing.\u003c\/p\u003e\n\u003cp\u003eBetween them, the song developed into a bass-driven slowburner, moody and oddly prescient,“A hint of panic can do wonders for distance,” Simpson sings, her voice mirrored by Burgess’s. The outro twinkles like a summer skyline at dusk, violets and grays intermingling with the bright glow of a thousand open windows. “I daydream about playing that one live,” Burgess says. “In bed, I’ll close my eyes before sleep and imagine the drumbeat kicking in.” It’s a craving the members of Yumi Zouma all share, one they hope will be satiated someday soon. Dedicated to an embattled past, \u003cem\u003ePresent Tense\u003c\/em\u003e is the band’s offering to a tenuous future. “To 2020, and the memory of all that was lost,” they write in the album’s liner notes. “\u003cem\u003eKia Kaha\u003c\/em\u003e.”\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Give It Hell\u003cbr\u003e 2. Mona Lisa\u003cbr\u003e 3. If I Had The Heart For Chasing\u003cbr\u003e 4. Where The Light Used To Lay\u003cbr\u003e 5. Razorblade\u003cbr\u003e 6. In The Eyes Of Our Love\u003cbr\u003e 7. Of Me And You\u003cbr\u003e 8. Honestly, It’s Fine\u003cbr\u003e 9. Haunt\u003cbr\u003e 10. 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-webkit-line-clamp: initial; -webkit-mask-box-image: initial; -webkit-mask: initial; -webkit-mask-composite: initial; -webkit-perspective-origin-x: initial; -webkit-perspective-origin-y: initial; -webkit-print-color-adjust: initial; -webkit-rtl-ordering: initial; -webkit-ruby-position: initial; -webkit-tap-highlight-color: initial; -webkit-text-combine: initial; -webkit-text-decorations-in-effect: initial; -webkit-text-emphasis: initial; -webkit-text-emphasis-position: initial; -webkit-text-fill-color: initial; -webkit-text-security: initial; -webkit-text-stroke: initial; -webkit-transform-origin-x: initial; -webkit-transform-origin-y: initial; -webkit-transform-origin-z: initial; -webkit-user-drag: initial; -webkit-user-modify: initial; white-space: initial; widows: initial; width: initial; will-change: initial; word-break: initial; word-spacing: initial; x: initial; y: initial; z-index: initial;\"\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003ch3\u003eXIU XIU – Always\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eLP – Limited Edition 180g White Vinyl\u003cbr\u003e\n(Includes download code)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eAs Xiu Xiu (the brainchild of acclaimed songwriter Jamie Stewart) marks a decade in existence, it’s only fitting that such a powerful sentiment would serve as the title of its latest album: Always.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003eProduced by Deerhoof’s Greg Saunier (who also contributes drums and vocals to the album) and mixed by John Congleton (Antony and the Johnsons, Marylin Manson, the Roots) the album is positively vibrant.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eAlways transforms avant pop elements from an undertone into a bright black focal point while adding new influences such as choral music, kraut rock and animal field recordings.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"ms-editor-squiggler\" style=\"color: initial; 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Angel Guts:\u003cbr\u003e\n2. Archie’s Fades\u003cbr\u003e\n3. Stupid In The Dark\u003cbr\u003e\n4. Lawrence Liquors\u003cbr\u003e\n5. Black Dick\u003cbr\u003e\n6. New Life Immigration\u003cbr\u003e\n7. EL Naco\u003cbr\u003e\n8. Adult Friends\u003cbr\u003e\n9. The Silver Platter\u003cbr\u003e\n10. Bitter Melon\u003cbr\u003e\n11. A Knife In The Sun\u003cbr\u003e\n12. Cinthya’s Unisex\u003cbr\u003e\n13. 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padding: initial; padding-inline: initial; page: initial; page-orientation: initial; paint-order: initial; perspective: initial; perspective-origin: initial; pointer-events: initial; position: initial; quotes: initial; r: initial; resize: initial; ruby-position: initial; rx: initial; ry: initial; scroll-behavior: initial; scroll-margin-block: initial; scroll-margin: initial; scroll-margin-inline: initial; scroll-padding-block: initial; scroll-padding: initial; scroll-padding-inline: initial; scroll-snap-align: initial; scroll-snap-stop: initial; scroll-snap-type: initial; shape-image-threshold: initial; shape-margin: initial; shape-outside: initial; shape-rendering: initial; size: initial; speak: initial; stop-color: initial; stop-opacity: initial; stroke: initial; stroke-dasharray: initial; stroke-dashoffset: initial; stroke-linecap: initial; stroke-linejoin: initial; stroke-miterlimit: initial; stroke-opacity: initial; stroke-width: initial; tab-size: initial; table-layout: initial; 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-webkit-line-clamp: initial; -webkit-mask-box-image: initial; -webkit-mask: initial; -webkit-mask-composite: initial; -webkit-perspective-origin-x: initial; -webkit-perspective-origin-y: initial; -webkit-print-color-adjust: initial; -webkit-rtl-ordering: initial; -webkit-ruby-position: initial; -webkit-tap-highlight-color: initial; -webkit-text-combine: initial; -webkit-text-decorations-in-effect: initial; -webkit-text-emphasis: initial; -webkit-text-emphasis-position: initial; -webkit-text-fill-color: initial; -webkit-text-security: initial; -webkit-text-stroke: initial; -webkit-transform-origin-x: initial; -webkit-transform-origin-y: initial; -webkit-transform-origin-z: initial; -webkit-user-drag: initial; -webkit-user-modify: initial; white-space: initial; widows: initial; width: initial; will-change: initial; word-break: initial; word-spacing: initial; x: initial; y: initial; z-index: initial;\"\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003ch3\u003eXIU XIU – Angel Guts : Red Classroom\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eLP – Limited Edition Metallic Silver 180g Vinyl\u003cbr\u003e\n(Includes download code)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp style=\"margin: 0in; font-family: 'Arial Black'; font-size: 14.0pt; color: #202020;\"\u003e\u003cspan style=\"font-weight: bold; background: white;\"\u003ePlease note:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in; font-family: 'Arial Black'; font-size: 14.0pt;\"\u003e\u003cspan style=\"font-weight: bold; color: #202020; background: white;\"\u003eThis is a presale order, release date \u003c\/span\u003e\u003cspan style=\"font-weight: bold; color: #ff0010; background: white;\"\u003eAPR 30th\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in; font-family: 'Arial Black'; font-size: 14.0pt;\"\u003e\u003cspan style=\"font-weight: bold; color: #202020; background: white;\"\u003eAll orders will be shipped on or before \u003c\/span\u003e\u003cspan style=\"font-weight: bold; color: #ff0010; background: white;\"\u003eAPR 30th\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 0in; font-family: 'Arial Black'; font-size: 14.0pt; color: black;\"\u003e\u003cspan style=\"font-weight: bold; background: white;\"\u003eYou can also collect in store on release\u003c\/span\u003e\u003cspan style=\"background: white;\"\u003e day\u003c\/span\u003e\u003cspan style=\"font-weight: bold; background: white;\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eThe impulse that drove artists such as Suicide, Einsturzende Neubauten and Scott Walker to embark on extraordinary and uncompromising journeys, refusing to flinch in the face of humanity’s ugly truths and terrible beauty, also underpins the sound and vision of Xiu Xiu, aka LA- based duo Jamie Stewart and Angela Seo. \u003cem\u003eAngel Guts: Red Classroom\u003c\/em\u003e is the sound of Xiu Xiu’s descent into the deepest blackness endurable.\u003c\/p\u003e\n\u003cdiv class=\"ms-editor-squiggler\" style=\"color: initial; font: initial; font-feature-settings: initial; font-kerning: initial; font-optical-sizing: initial; font-variation-settings: initial; forced-color-adjust: initial; text-orientation: initial; text-rendering: initial; 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font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eLABEL: Polyvinyl\u003c\/span\u003e\u003c\/h2\u003e\n\u003ch2 style=\"margin: 0in; font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eCAT NO: PRC417LP\u003c\/span\u003e\u003c\/h2\u003e\n\u003ch2 style=\"margin: 0in; font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eBARCODE: 644110041715\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e01. Lonely After\u003cbr\u003e\n02. Right Track\/Wrong Man\u003cbr\u003e\n03. Southwark\u003cbr\u003e\n04. Sage\u003cbr\u003e\n05. Mirror To The Fire\u003cbr\u003e\n06. Cool For A Second\u003cbr\u003e\n07. Truer Than Ever\u003cbr\u003e\n08. My Palms Are Your Reference To Hold To Your Heart\u003cbr\u003e\n09. Magazine Bay\u003cbr\u003e\n10. Lie Like You Want Me Back\u003c\/p\u003e\n\u003cbr\u003e\u003ch3\u003eYUMI ZOUMA\u003cbr\u003e\n– Truth or Consequences: Alternate Versions\u003c\/h3\u003e\n\u003ch3\u003e\u003cstrong style=\"color: #ff0000; font-size: 16px;\"\u003eLP – Limited Edition Orange\/Coke Bottle Green Vinyl\u003cbr\u003e\n(Includes download code.)\u003c\/strong\u003e\u003c\/h3\u003e\n\u003chr\u003e\n\u003cp\u003eOn March 13, 2020, Yumi Zouma’s highly anticipated album, \u003cem\u003eTruth or Consequences\u003c\/em\u003e, was released. One day prior, the band played their first show of a fully sold-out US tour, at Washington, DC’s DC9. This was also the day the Word Health Organization declared COVID-19 an official pandemic, resulting in the band cancelling the entire tour and flying back to Europe the next day – the day of their album’s release.\u003c\/p\u003e\n\u003cp\u003e“So after returning home and spending a few numb weeks adjusting to this strange new way of life, April came, the reality set in, and we quickly started to miss that feeling of exploring our new songs by night,” the band says. “Writing new music around them, we took the songs of Truth or Consequences and found ourselves a new way of re-contextualising them safely, amidst the tragedy and fear going on in the world outside our windows – and the \u003cem\u003eAlternate Versions\u003c\/em\u003e were born. We encouraged each other to be bold, fearless, and to experiment like we would on stage – but from the comfort of our own bedrooms, living rooms and hallways. This new reimagining of \u003cem\u003eTruth or Consequences\u003c\/em\u003e is the result of that process. Ten new arrangements that reflect our feelings of optimism, helplessness, and a desire to keep exploring.”\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eSee below for tracklisting…\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n","brand":"Polyvinyl","offers":[{"title":"Default Title","offer_id":41685543780513,"sku":"24114","price":19.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/Yumi-Zouma_-_Truth-Or-Consequences-Alternate-Versions_-_Coke-Bottle-Green-Orange-Vinyl_2f66b233-c399-42bb-a6ee-1f040119ab27.jpg?v=1646760407"},{"product_id":"the-dodos-grizzly-peak-lp-light-pink-vinyl","title":"THE DODOS - Grizzly Peak - LP - Light Pink Vinyl","description":"\u003ch2 style=\"margin: 0in; font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eLABEL: Polyvinyl\u003c\/span\u003e\u003c\/h2\u003e\n\u003ch2 style=\"margin: 0in; font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eCAT NO: \u003c\/span\u003ePRC442LP\u003c\/h2\u003e\n\u003ch2 style=\"margin: 0in; font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eBARCODE: 644110044211\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. 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After widespread critical acclaim for their sophomore effort \u003cem\u003eVisiter\u003c\/em\u003e in 2008, the band toured incessantly for the next 10 years, playing countless venues all over the world including several performances on The Late Show with David Letterman and Late Night with Jimmy Fallon.\u003c\/p\u003e\n\u003cp\u003eNow, The Dodos are back with their brand new album \u003cem\u003eGrizzly Peak\u003c\/em\u003e. Meditative and sometimes painful in its emotional excavation, over the course of ten anthemic, gorgeously-rendered tracks, \u003cem\u003eGrizzly Peak\u003c\/em\u003e reveals itself as that place Long and Kroeber were always desperately trying to find. Befitting a record that hits so close to The Dodos’ career-long goal, \u003cem\u003eGrizzly Peak\u003c\/em\u003e also serves as a love letter to the fans who have devoted their hearts to Long and Kroeber’s music.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eSee below for tracklisting…\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n","brand":"Polyvinyl","offers":[{"title":"Default Title","offer_id":41685659549857,"sku":"24275","price":11.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/The-Dodos_-_Grizzly-Peak_-_Pink-Vinyl_11377d9d-9db6-4d3f-bce8-7798d9f4f54d.jpg?v=1646761841"},{"product_id":"of-montreal-freewave-lucifer-f-ck-f-ck-f-ck-lp-deluxe-gatefold-cyan-coloured-vinyl-date","title":"OF MONTREAL - Freewave Lucifer F\u003cck F^ck F\u003eck - LP - Deluxe Gatefold Cyan Coloured Vinyl","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eLP - Indies Exclusive Limited Edition Cyan Coloured Vinyl housed in a Deluxe Gatefold Sleeve. \u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eOn \u003cstrong\u003eOf Montreal\u003c\/strong\u003e’s latest album, \u003cem\u003eFreewave Lucifer f\u0026lt;ck f^ck f\u0026gt;ck\u003c\/em\u003e, Barnes continues to push the boundaries of what pop music can be. 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Includes download.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis is a record of halves.\u003cbr\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAngela Seo\u003c\/strong\u003e sings on half of the record. \u003cstrong\u003eJamie Stewart\u003c\/strong\u003e sings on half of the record. \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHalf of the songs are experimental industrial. Half of the songs are experimental modern classical.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHalf of it is real. Half of it is imaginary.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe real songs attempt to turn the worst life has offered to five people the band is connected with into some kind of desperate shape that does something, anything, other than grind and brutalize their hearts and memory within these stunningly horrendous experiences.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe imaginary songs are an expansion and abstract exploration of the early rock and roll “\u003cem\u003eTeen Tragedy\u003c\/em\u003e” genre as jumping off point to decontaminate the band’s own overwhelming emotions in knowing and living with what has happened to these five people.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWhat none of this record does and despite the oft repeated assertion, what \u003cstrong\u003eXiu Xiu\u003c\/strong\u003e has never done, is attempt to superficially shock the listener. Instead, Xiu Xiu has spent twenty years grappling with how to process, to be empathetic towards, to disobey and to reorganize horror; there is no other word for it other than horror.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe motivation for writing \u003cem\u003eIgnore Grief\u003c\/em\u003e to be about a\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003echild who was sold into prostitution by his mother, a junior high student who was kidnapped and murdered, incessantly choosing alcohol and cocaine over one’s family, becoming lost in the bleakest, darkest aspects of cultish spirituality and committing suicide as means to escape and protest a life of violent sex work is because the members of Xiu Xiu themselves are deeply shocked.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOld friend and new member \u003cstrong\u003eDavid Kendrick\u003c\/strong\u003e (Sparks, Devo, Gleaming Spires) joins Angela Seo and Jamie Stewart through whatever this may be and whatever it may mean and why ever it may have occurred. The point of aesthetic examination is to see if there is any way to come out the other side or if there is even any reason. In either case there may not be but to simply turn away would be yet a further act of destruction.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“I had now lost all confidence in myself, doubted all men immeasurably, and abandoned all hopes for the things of this world, all joy, all sympathy, eternally. This was the truly decisive incident of my life. I had been split through the forehead between the eyebrows, a wound that was to throb with pain whenever I came into contact with a human being.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e- \u003cstrong\u003eOsamu Dazai\u003c\/strong\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. The Real Chaos Cha Cha Cha\u003cbr\u003e2. 666 Photos of Nothing\u003cbr\u003e3. Esquerita, Little Richard\u003cbr\u003e4. Maybae Baeby\u003cbr\u003e5. Tarsier, Tarsier, Tarsier, Tarsier\u003cbr\u003e6. Pahrump\u003cbr\u003e7. Border Factory\u003cbr\u003e8. Dracula Parrot, Moon Moth\u003cbr\u003e9. Brothel Creeper \u003cbr\u003e10. For M.\u003c\/p\u003e","brand":"Polyvinyl","offers":[{"title":"Default Title","offer_id":42830598471841,"sku":"24261","price":22.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/XIU_XIU_-_Ignore_Grief_-_LP_Silver_Ghost_Vinyl.jpg?v=1673869454"},{"product_id":"of-montreal-skeletal-lamping-2023-deluxe-reissue-2lp-gatefold-green-black-mix-vinyl-mar-31","title":"OF MONTREAL - Skeletal Lamping (2023 Deluxe Reissue) - 2LP - Gatefold Green \/ Black Mix Vinyl [MAR 31]","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003e2LP - Limited Edition Green\/Black Mix Vinyl housed in a Deluxe Gatefold Sleeve with printed inners.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSkeletal Lamping\u003c\/em\u003e may be bizarre, complicated, and dense, but it's also extremely catchy and packed with slinky grooves that demand a physical response. Instantly ingratiating hooks abound as \u003cstrong\u003eKevin Barnes\u003c\/strong\u003e' compositions constantly mutate and shape-shift in ways that defy conventional pop song structure and album sequencing. Nevertheless, the record has its own internal logic, and its many tangents and detours feel entirely intuitive and organic in context. The movements mimic the shapeless, mystifying mingling of thoughts and emotions in the human mind, so even the most deliberately jarring transitions evoke a sudden shift in attention that is recognizable and commonplace, but rarely emulated in mainstream music. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThough \u003cstrong\u003eOf Montreal\u003c\/strong\u003e have never been strangers to expressing sexuality in their music, \u003cem\u003eSkeletal Lamping\u003c\/em\u003e finds Barnes fully immersed in the topic. Throughout the record, sexuality is presented as a broad continuum encompassing a wide range of experiences, anxieties, emotions and orientations. Barnes openly explores sex and gender roles without insecurity. They attempt to bring all of their fantasies, and terrors, to the surface, so as to better understand the machinery behind them. In \u003cem\u003eSkeletal Lamping\u003c\/em\u003e, Barnes argues that identity is fluid, malleable, and limited only by one's imagination. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA1. Nonpareil Of Favor [5:47]\u003cbr\u003eA2. Wicked Wisdom [4:57]\u003cbr\u003eA3. For Our Elegant Caste [2:33]\u003cbr\u003eA4. Touched Something's Hollow [1:27]\u003cbr\u003e\u003cbr\u003eB1. An Eluardian Instance [4:34]\u003cbr\u003eB2. Gallery Piece [3:45]\u003cbr\u003eB3. Women's Studies Victims [2:57]\u003cbr\u003eB4. St. Exquisite's Confessions [4:35]\u003cbr\u003e\u003cbr\u003eC1. Triphallus, To Punctuate! [3:22]\u003cbr\u003eC2. And I've Seen A Bloody Shadow [2:22]\u003cbr\u003eC3. Plastis Wafers [7:12]\u003cbr\u003e\u003cbr\u003eD1. Death Is Not A Parallel Move [3:02]\u003cbr\u003eD2. Beware Our Nubile Miscreants [4:49]\u003cbr\u003eD3. Mingusings [3:01]\u003cbr\u003eD4. Id Engager [4:44]\u003c\/p\u003e","brand":"Polyvinyl","offers":[{"title":"Default Title","offer_id":42897181442209,"sku":"","price":37.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/Of_Montreal_-_Skeletal_Lamping_-_2LP_Gatefold_Green_and_Black_Mix_Vinyl_ee30ae63-f9ff-46b7-bf30-f1566cb13bec.jpg?v=1676991329"},{"product_id":"japandroids-celebration-rock-2023-deluxe-reissue-lp-gatefold-black-white-mix-vinyl-apr-14","title":"JAPANDROIDS - Celebration Rock (2023 Deluxe Reissue) - LP - Gatefold Black \/ White Mix Vinyl","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eLP - Limited Edition Black\/White Mix Vinyl housed in a Deluxe Gatefold Sleeve with 20-page 12\"x12\" photos\/lyric booklet. \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis is the semi-factual promotional biography for the semi-professional rock \u0026amp; roll band \u003cstrong\u003eJapandroids\u003c\/strong\u003e. It was written in 2012 by \u003cstrong\u003eBrian King\u003c\/strong\u003e at the behest of \u003cstrong\u003ePolyvinyl\u003c\/strong\u003e \u003cstrong\u003eRecord Co.\u003c\/strong\u003e, and describes in detail all matters of concern with respect to Japandroids' 2nd album \u003cem\u003eCelebration Rock\u003c\/em\u003e. It is the second semi-factual promotional biography written by Brian King at the behest of Polyvinyl, the first describing in detail all matters of concern with respect to Japandroids' 1st album \u003cem\u003ePost-Nothing\u003c\/em\u003e. For convenience sake, the aforementioned document has been distilled into two concise paragraphs as to negate redundancy as much as possible, while at the same time provide the necessary context by which to appreciate the existence of Celebration Rock, irrespective of its quality: \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eJapandroids is a two piece band from Vancouver, BC. This 'band' started in 2006 and consists of \u003cstrong\u003eBrian King\u003c\/strong\u003e and \u003cstrong\u003eDavid Prowse\u003c\/strong\u003e. Originally intending to be a trio, the boys decided to forego the logistical nightmare of having a 'lead singer' and do it themselves. As a consequence, Japandroids are one guitar, one set of drums, and two vocalizers. Japandroids are maximal - a two piece band trying to sound like it's a five piece band. Their 'songs' run the gauntlet of rock \u0026amp; roll sub-genres, with the boys ripping off too many different bands to sound like any other duo making music right now. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAfter self-releasing two EPs, 2007's All Lies and 2008's \u003cem\u003eLullaby Death Jams\u003c\/em\u003e, Japandroids released their critically acclaimed debut album \u003cem\u003ePost-Nothing\u003c\/em\u003e via Polyvinyl in 2009. The boys toured extensively throughout 2009–2010, playing over 200 shows in more than 20 countries, and quickly gained notoriety for their extremely energetic live performances. Finding it difficult to write and record a second album in the midst of such a heavy touring schedule, Japandroids released a series of 7'' singles throughout 2010, each one recorded during a brief interval between tours. The same year, Japandroids re-released their first two EPs as a compilation titled \u003cem\u003eNo Singles\u003c\/em\u003e, which included a booklet detailing their early history. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e5 long years in 2 short paragraphs. Not bad. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePerhaps the most pertinent detail omitted from said paragraphs is the fact that at no point during this time did Brian and David even discuss the possibility of writing, let alone recording, a second Japandroids album. With the band having more or less imploded late in 2008 (after what was considered to be a valiant but ultimately fruitless effort), one single regret still lingered, and despite their wounds and subsequent estrangement, continued effortlessly to slander them and their attempts to move on, like the subtle scent of skin on the sheets days after the desecration. Ipso facto, the sole motivation for revisiting the band many months later was simply to see if they could exploit their sudden newfound internet popularity and take Japandroids on the road. Due in part to the unexpected (and untimely) discovery of the band early in 2009 by certain online entities and their congregations, what previously seemed reserved for only the most ardent hearts, presented itself to Japandroids like a deal from the devil himself. Cautiously seduced, Brian and David decided in favour of their romantic notions of the open road, and set upon a crusade to swindle the soul of a continent. Tour was the fire to which they fed themselves. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs days became weeks, so too did months become years. Finally, having exhausted themselves, as well as the immediate charm of \u003cem\u003ePost-Nothing\u003c\/em\u003e, and with only one final recording session looming on the horizon, the boys found themselves at a crossroads. Would they abandon their days on the wind and nights on the rocks in favour of the gentle lull of a geographic coma? No one knew; not even the boys themselves. That is, until one cool New York night, when under the spell of the city's swill, they cast off the demons of doubt, having come in through the out door, back out through the window. \u2028\u2028For months, they laboured. Through the endless rains and windless chills of a northwestern winter, Japandroids fought tirelessly against their own creative limitations, struggling to expand their sound beyond the simple sloganeering that dominated Post-Nothing. Stuck knee deep in the swamp of summer, time had chased them down, and caught them waiting patiently. Had it not been for the fever of fall, with the boys back on tour where they belong, all might have been lost. Run out of town, they vowed not to return in anything less than triumph. Settling under the sulfurous skies of the south, Japandroids continued to labour through the dying months of 2011, returning reluctantly with nothing short of an album. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs with countless previous recording sessions, the boys would bestow their faith solely upon Heaven's native son, \u003cstrong\u003eJesse Gander\u003c\/strong\u003e. An inexhaustible rocket of patience and dedication, Gander's unique ability to build cathedrals out of criminals was pushed to its absolute limit, as Brian and David demanded he coax only the purest nectar from their delinquent hearts. And so he did: \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"Let's make this one a little more cruising down the highway, and a little less doing crystal meth on New Year's…\" \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"That take was the perfect mixture of pee and poo - it had the fluidity of pee, and the solidness of poo…\" \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAnd so on and so forth, until not even the deepest and darkest of nights could extinguish what can only be described as living fireworks. Celebration Rock - a title in and of itself so controversial that at first utterance, it was so feared and hated that Polyvinyl felt compelled to plead for an alternative. But the band would not yield. Hell was just going to have to come and get them. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSo there you have it. 1 year, 8 songs, 35 mins. Not bad. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs for everything else, I've got no answers. Any questions?  \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA1. The Nights Of Wine And Roses [4:02]\u003cbr\u003eA2. Fire's Highway [4:44]\u003cbr\u003eA3. Evil's Sway [4:27]\u003cbr\u003eA4. For The Love Of Ivy [4:13]\u003cbr\u003e\u003cbr\u003eB1. Adrenalin Nightshift [4:26]\u003cbr\u003eB2. Younger Us [3:33]\u003cbr\u003eB3. The House That Heaven Built [4:49]\u003cbr\u003eB4. Continuous Thunder [4:59]\u003c\/p\u003e","brand":"Polyvinyl","offers":[{"title":"Default Title","offer_id":42897187668129,"sku":"35121","price":31.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/Japandroids_-_Celebration_Rock_-_2023_Reissue_-_LP_Black__White_Mix_Vinyl.jpg?v=1676988506"},{"product_id":"american-football-american-football-2023-reissue-lp-blue-smoke-vinyl-apr-28","title":"AMERICAN FOOTBALL - American Football (2023 Reissue) - LP - Blue Smoke Vinyl","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eLP - Limited Edition Blue Smoke Vinyl with lyric insert (2023 Reissue).\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eNot long after \u003cstrong\u003ePolyvinyl Records\u003c\/strong\u003e released \u003cstrong\u003eAmerican Football\u003c\/strong\u003e's self-titled debut album in 1999, the band called it quits, having only played a smattering of Champaign-Urbana college house parties and sets at small clubs like Chicago's legendary Fireside Bowl. Such an inauspicious turn of events made what followed all the more incredible.\u003cbr\u003e\u003cbr\u003eOver time, the record went on to become one of Polyvinyl's best selling releases to date, and ended up serving as \"one of the single most influential rock records of its time\" according to \u003cstrong\u003e\u003cem\u003eNoisey\u003c\/em\u003e\u003c\/strong\u003e and many others. To most everyone that found them after the fact, the band was no more than an apparition. The record the only artifact left behind as a timeless snapshot of a group of individuals in transition, newly discovered each year by a fresh crop of music fans reaching a similar inflection point in their own lives. The again self-titled '\u003cem\u003eAmerican Football\u003c\/em\u003e' finds the band with new material that takes them on a serendipitous detour down a familiar road. It is replete with the swelling emotions that might be spurred on by locked away memories unearthed by a familiar scent or crack in the concrete, or the rush of warm apprehension when coming face to face with a lover left before the fire was close to going out.\u003cbr\u003e\u003cbr\u003e\"The past still present tense\" sings \u003cstrong\u003eMike Kinsella\u003c\/strong\u003e on '\u003cem\u003eHome Is Where The Haunt Is\u003c\/em\u003e,' but while the house on the cover and the title of the album are the same, they are made strange by time and new found perspective. \"We've been here before,\" he declares on album opener '\u003cem\u003eWhere Are We Now?\u003c\/em\u003e', \"but I don't remember a lock on the door.\" At a time when reunions have become rote, American Football is decidedly an anomaly. There is no past glory to relive or reignite, nor the burden to branch out and break from a well worn formula. Seventeen years later everything still feels brand new, because for them it is. They are a band that for one reason or another closed the lid on their creative output just as they were beginning an unforeseeable upswing, and are just now after a stasis returning to uncork it with the benefit of greater maturity and better musicianship. The sound is even more expansive, the lyrics less naive and more world weary, the songs have greater depths to explore and layers to peel back throughout.\u003cbr\u003e\u003cbr\u003e\"You can't just forget all the other lives you've lived,\" Mike Kinsella sings, and every single one of the nearly two decades worth of experiences since they last put pen to paper as American Football seem to bleed through on this record.\u003cbr\u003e\u003cbr\u003eDespite little touring and with only an EP behind them, these nine songs highlight the trio's uncanny songwriting abilities.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA1. Never Meant [4:28]\u003cbr\u003eA2. The Summer Ends [4:46]\u003cbr\u003eA3. Honestly? [6:10]\u003cbr\u003eA4. For Sure [3:16]\u003cbr\u003eA5. You Know I Should Be Leaving Soon [3:43]\u003cbr\u003e\u003cbr\u003eB1. But The Regrets Are Killing Me [3:54]\u003cbr\u003eB2. 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Cut at 45RPM.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIt's hard to say exactly when it happened. It could've been during one of the 100+ shows \u003cstrong\u003eSTRFKR\u003c\/strong\u003e played over the past two years -- ecstatic sold-out dance parties that started in tiny, sweaty rooms before word of mouth spread and forced a move to larger (and even sweatier) venues. It might've been when touring guitarist \u003cstrong\u003ePatrick Morris\u003c\/strong\u003e officially became a full-time member in late 2011, rounding out a line-up that included multi-instrumentalists \u003cstrong\u003eJosh Hodges\u003c\/strong\u003e, \u003cstrong\u003eShawn Glassford\u003c\/strong\u003e, and \u003cstrong\u003eKeil Corcoran\u003c\/strong\u003e. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003eMost likely, though, there wasn't a single defining moment when the change occurred. With evolution there rarely is. Instead, progression happens naturally and steadily -- each step leading inevitably to the next until you reach a point when you realize how far you've come without even being fully aware of how you got there. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn early 2012, during a rare break in the group's touring schedule, Hodges retreated to secluded Astoria, Oregon. But this time, rather than completely isolating himself to work on new material (as had always been the case in the past), Hodges invited the other members to visit often and truly collaborate in the process of writing STRFKR's third full-length, \u003cem\u003eMiracle Mile\u003c\/em\u003e. And so it was that STRFKR became a band.\u003cbr\u003e \u003cbr data-mce-fragment=\"1\"\u003eAs a result, whether participating in all-night lyric writing sessions, fleshing out song skeletons originally conceived during European soundchecks (\"\u003cem\u003eMalmo\u003c\/em\u003e\") and long van rides (\"\u003cem\u003eLeave It All Behind\u003c\/em\u003e\"), or completing half-finished ideas kicking around Hodges' brain and hard drive, there isn't a single song on Miracle Mile that every member of STRFKR didn't contribute to and ultimately improve. For proof, look no further than first single and opening track \"\u003cem\u003eWhile I'm Alive\u003c\/em\u003e,\" a song that bursts out of the gate with what can only be described as swagger. Not overconfidence or false bravado, but the undeniable sound of a band that knows exactly who they are: swirling keyboards that take you up, down, and all around, rhythmic guitars, irresistible basslines, and drums that keep an unrelenting beat. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDisco-y standout \"\u003cem\u003eAtlantis\u003c\/em\u003e\" is the paragon of this formula, with vocal and musical hooks seemingly custom fitted to a spot so deep inside your eardrums they'll never dislodge. \u003cbr data-mce-fragment=\"1\"\u003eBut upbeat isn't \u003cem\u003eMiracle Mile\u003c\/em\u003e's only tempo. In fact, it's in quieter moments like \"\u003cem\u003eIsea\u003c\/em\u003e,\" which briefly slows down the album's pulse with gentle \"oh-oh-ohs\" over acoustic guitar, that the record truly coalesces as a complete whole that couldn't have come together any other way.  \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA1. While I'm Alive [3:48]\u003cbr\u003eA2. Sazed [3:24]\u003cbr\u003eA3. Malmö [3:34]\u003cbr\u003eA4. Beach Monster [2:09]\u003cbr\u003e\u003cbr\u003eB1. Isea [0:52]\u003cbr\u003eB2. Yayaya [2:12]\u003cbr\u003eB3. Fortune's Fool [2:05]\u003cbr\u003eB4. Kahlil Gibran [3:59]\u003cbr\u003eB5. Say To You [4:24]\u003cbr\u003e\u003cbr\u003eC1. Atlantis [2:29]\u003cbr\u003eC2. Leave It All Behind [3:14]\u003cbr\u003eC3. I Don't Want To See [3:33]\u003cbr\u003eC4. Last Words [2:55]\u003cbr\u003e\u003cbr\u003eD1. Golden Light [4:43]\u003cbr\u003eD2. Nite Rite [7:12]\u003c\/p\u003e","brand":"Polyvinyl","offers":[{"title":"Default Title","offer_id":42897202315425,"sku":"","price":37.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/STRFKR_-_MiracleMile_-_Gatefold_Red_and_Cream_Mix_Vinyl_-_2023_Reissue_with_Poster.jpg?v=1676990841"},{"product_id":"braid-frame-canvas-25th-anniversary-edition-2023-remaster-lp-deluxe-gatefold-silver-vinyl-apr-7","title":"BRAID - Frame \u0026 Canvas (25th Anniversary Edition - 2023 Remaster) - LP - Deluxe Gatefold Silver Vinyl","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eLP - Limited 25th Anniversary Edition Silver Vinyl housed in a Deluxe Gatefold Jacket with embossed covers and interior pocket print. Includes full-size 12-page booklet with lyrics, rare photos and new liner notes from each band member. Not just n\u003cspan data-mce-fragment=\"1\"\u003eewly remastered, but remixed from the original tapes. Includes Download.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFrame \u0026amp; Canvas\u003c\/em\u003e is a landmark. Released in April of 1998, \u003cstrong\u003eBraid\u003c\/strong\u003e’s third studio album and first full-length with \u003cstrong\u003ePolyvinyl\u003c\/strong\u003e wasn’t their first nor last important statement, but its urgency, precision, and non-stop rush of innovative ideas lined up perfectly with the time it was created in to effect a profound shift. In the small but growing circles of Midwestern emo of the late ‘90s, and all that would eventually ripple outward and upward from those circles, nothing was quite the same after this record. We celebrate 25 years of \u003cem\u003eFrame \u0026amp; Canvas\u003c\/em\u003e with the first proper re-release of the album, not just newly remastered, but remixed from the original tapes.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBy the time they were ready to track their third album in late 1997, Braid had become an unstoppable machine. The band hit the ground running upon forming four years earlier, churning out new material as fast as it could be put to tape and sharpening their performance chemistry with constant, nearly compulsive touring. On one of their many runs of shows, the band crossed paths with \u003cstrong\u003eJawbox\u003c\/strong\u003e’s \u003cstrong\u003eJ. Robbins\u003c\/strong\u003e, a presence in the Washington D.C. scene known not just for his bands, but for his stellar work as an engineer and producer. When this group of self-professed Jawbox superfans meekly asked Robbins if he’d be interested in producing their next album, his agreement lit an even bigger fire to the creative engines of a band already in hyperdrive. True to their road-dog work ethic, Braid booked a tour that routed them to D.C. and back, working in the middle for just five blurry days at the legendary \u003cstrong\u003eInner Ear Studios\u003c\/strong\u003e, walking away with \u003cem\u003eFrame \u0026amp; Canvas\u003c\/em\u003e.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThese twelve songs were not just the culmination of everything the band had been building up until that point, but an energized advancement. Guitarist\/vocalists \u003cstrong\u003eChris Broach\u003c\/strong\u003e and \u003cstrong\u003eBob Nanna\u003c\/strong\u003e, and bassist \u003cstrong\u003eTodd Bell\u003c\/strong\u003e had recently been joined by new drummer \u003cstrong\u003eDamon Atkinson\u003c\/strong\u003e, but even less than a year into this new configuration, Braid was locked in and making some of their most inspired work. The heightened frequency the band was operating at is immediately apparent with the way “\u003cem\u003eThe New Nathan Detroits\u003c\/em\u003e” charges out of the gates, opening the album with a barrage of speedy, dissonant hooks that hit like an orchestrated car crash. Throughout the album, the band masterfully balances intensity and control. Songs like “\u003cem\u003eConsolation Prizefighter\u003c\/em\u003e” lean into dynamic math rock construction, while the band’s restless melodicism guides “\u003cem\u003eKilling A Camera\u003c\/em\u003e” and slower moments like the yearning, twin-guitar beauty of “\u003cem\u003eNever Will Come For Us\u003c\/em\u003e.” Listening closely to “\u003cem\u003eCollect From Clark Kent\u003c\/em\u003e” is head-spinning, not just in trying to decode its intricate construction, but hearing it played with an effortlessness that sounds second nature. There are moments on every song that reflect the excitement and possibility of youth that the members of Braid were actively living at this point. These were four friends living, breathing, and constantly finding their way together with their music. With \u003cem\u003eFrame \u0026amp; Canvas\u003c\/em\u003e, they reached a new apex.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn September of 2021, J. Robbins received a message from \u003cstrong\u003eInner Ear\u003c\/strong\u003e founder \u003cstrong\u003eDon Zientara\u003c\/strong\u003e, letting him know that the studio was closing and scheduled to be demolished soon, and inviting him to stop by to see if there was anything there he wanted to salvage before the bulldozers started showing up. As Robbins was rummaging through the studio, he was surprised to find the original 2” tape reels \u003cem\u003eFrame \u0026amp; Canvas\u003c\/em\u003e was tracked to so many years earlier. Discovering these tapes got the ball rolling for ideas about the upcoming 25th anniversary of the record. Budget constraints severely limited the band’s time in the studio back in December of 1997, but now Robbins was able to take his time crafting an entirely new mix from the excavated tapes. This new mix is given the perfect finishing touch with fresh mastering from \u003cstrong\u003eDan Coutant\u003c\/strong\u003e at \u003cstrong\u003eSun Room Audio\u003c\/strong\u003e. These careful and detailed revisions bring a new clarity to the album without sacrificing any of the original spirit or intention.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor those already well-familiarized and imprinted with \u003cem\u003eFrame \u0026amp; Canvas\u003c\/em\u003e, this updated rendering offers a new way to hear an evergreen classic, and in doing so, perhaps find some new layers of meaning, new angles of remembering the people we were when these songs first became a part of our lives. For those lucky souls hearing the album for the first time, this is a perfect entry point to Braid’s world of explosivity and self-searching. The renovated \u003cem\u003eFrame \u0026amp; Canvas\u003c\/em\u003e is the brightest articulation of a document that’s been an inextricable force of influence and inspiration since it arrived 25 years ago. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide A\u003cbr\u003e\u003c\/strong\u003e1. The New Nathan Detroits (Remastered 2023)\u003cbr\u003e2. Killing A Camera (Remastered 2023)\u003cbr\u003e3. Never Will Come For Us (Remastered 2023)\u003cbr\u003e4. First Day Back (Remastered 2023)\u003cbr\u003e5. Collect From Clark Kent (Remastered 2023)\u003cbr\u003e6. Milwaukee Sky Rocket (Remastered 2023)\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eSide B\u003cbr\u003e\u003c\/strong\u003e1. A Dozen Roses (Remastered 2023)\u003cbr\u003e2. Urbana's Too Dark (Remastered 2023)\u003cbr\u003e3. Consolation Prizefighter (Remastered 2023)\u003cbr\u003e4. Ariel (Remastered 2023)\u003cbr\u003e5. Breathe In (Remastered 2023)\u003cbr\u003e6. I Keep A Diary (Remastered 2023)\u003c\/p\u003e","brand":"Polyvinyl","offers":[{"title":"Default Title","offer_id":42902898180257,"sku":"33256","price":19.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/Braid_-_Frame___Canvas_-_25th_Anniversary_Edition_-_LP_Silver_Vinyl.jpg?v=1677239674"},{"product_id":"generationals-heatherhead-lp-white-vinyl-jun-2","title":"GENERATIONALS - Heatherhead - LP - White Vinyl [JUN 2]","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eLP - Limited Edition White Vinyl. \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTed Joyner\u003c\/strong\u003e and \u003cstrong\u003eGrant Widmer\u003c\/strong\u003e knew they had balked before they even got home. In the Fall of 2021, Joyner and Widmer—for a dozen years, the beguiling garage-pop pair known as \u003cstrong\u003eGenerationals\u003c\/strong\u003e—wrapped the second of two sessions in Georgia for a new EP. They’d opted out of the process of file-sharing they had used for years. Choosing instead to cut songs straight to tape in Athens, a spiritual epicenter for their brand of twinkling tunes. The results sounded great, but they didn’t think their songs were actually that exciting or up to snuff. Why busy everyone else with the rigamarole of releasing a record when they weren’t convinced by it themselves? Joyner and Widmer scrapped the sessions, relieved. The decision, after all, did not represent some existential crisis for Generationals, some what-are-we-doing-here panic; it was, instead, a validation of trusting their process and respective enthusiasms, of releasing great records rather than churning out substandard “content.” Before the veto was final, Joyner and Widmer were working on songs they already knew passed that test.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eHeatherhead\u003c\/em\u003e is the winning result of that restart. Effortless and endearing, as settling as a long hug from an old friend, \u003cem\u003eHeatherhead\u003c\/em\u003e is not only the best Generationals album yet but also the one that, after all these years, finds Joyner and Widmer at last epitomizing their sound. These 11 songs are no-fuss, no-filler manifestations of Generationals’ bittersweet beauty, of would-be rock anthems made to feel like cozy sweaters. Maybe it’s the way the thick riff of the indelible “\u003cem\u003eDirt Diamond\u003c\/em\u003e” frames a vulnerable admission or how the taut rhythm section of “\u003cem\u003eHard Times for Heatherhead\u003c\/em\u003e” buoys a smitten plea, but this record at large feels like Joyner and Widmer digging deeper into the juxtapositions that have long made Generationals so compelling—distinct but familiar, wry but warm, soft but pointed. \u003cem\u003eHeatherhead\u003c\/em\u003e is the record Joyner and Widmer have been pursuing from the start.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAll was not lost down in Georgia, it seems, as the act of recording in the same room seemed to shake something loose for Joyner and Widmer. With Joyner still in the band’s hometown of New Orleans and Widmer now in Wisconsin, they’d grown comfortable passing ever-evolving tracks back and forth, adding parts or offering suggestions to one another as albums steadily cohered. They’d done compelling stuff that way, too. But after abandoning those in-person sessions, they decided to commingle ideas earlier this time. Joyner escaped the Louisiana heat in June 2022 by heading north, the two rendezvousing in Madison with loads of demos. They augmented one another’s takes in real time, shaping songs that fell together like puzzle pieces. When a tornado ripped through Widmer’s front yard and left them without power for days, they took it not as a sign to stop but as an invitation to just enjoy still being the buds in Generationals, drinking warm beer and listening to an emergency radio together.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBack in their respective quarters, Joyner and Widmer went to work with multi-instrumentalist, producer, and pal \u003cstrong\u003eNick Krill\u003c\/strong\u003e (The War on Drugs, Clap Your Hands Say Yeah, Spinto Band), creating a cross-country file-sharing triangle. They moved quickly, finishing \u003cem\u003eHeatherhead\u003c\/em\u003e—their sixth LP, but first in four years—that way in a mere matter of months. Despite all their fretting a year earlier about making music together in a room, these songs somehow felt more conversational and lived-in, like two old pals throwing a few back and tunefully singing of toil and joy. The true circumstances are ironic, given that, for 42 minutes, you feel like you’re right there with them.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIndeed, these are the sorts of songs you want to stay with for a while, to crawl inside of and have a look around for all the crafty details. Notice the way the sizzling little riff seems to bounce between the walls of “\u003cem\u003eElena\u003c\/em\u003e,” an enchanting collaboration with \u003cstrong\u003eSarah Jaffe\u003c\/strong\u003e that glows like a woodstove in a winter cabin. Marvel at the muted funk of “\u003cem\u003eEutropius\u003c\/em\u003e (\u003cem\u003eGive Me Lies\u003c\/em\u003e),” particularly the way the byzantine drum lines percolate beneath Joyner’s cotton-candy falsetto. And enjoy the marvelous seesaw of opener “\u003cem\u003eWaking Moment\u003c\/em\u003e,” a song that squeezes a dozen dynamic shifts and at least half as many hooks into four minutes that are as cool as a breeze. You can do this with every song on \u003cem\u003eHeatherhead\u003c\/em\u003e, limn those bits that give these seemingly billowing tunes real ballast; you could, on the other hand, just let them surround you, seemingly simple pleasures abounding.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Closer to your death than to your birth,” Joyner sings during “\u003cem\u003eFaster Than a Fever\u003c\/em\u003e,” his voice traced by spring-loaded drums and sighing keys. “You’re gonna be upset to miss your favorite part.” It would be tempting for a band like Generationals—now well into their second decade—to let such an anxious feeling override their instincts. That might mean putting out something they didn’t love or reinventing their approach to chase a fanciful trend. To the contrary, Joyner and Widmer now have a better understanding of who they want to be and how they want to sound than ever before. You can hear it in every distinct but familiar, wry but warm, soft but pointed second of \u003cem\u003eHeatherhead\u003c\/em\u003e—a perpetually renewing relationship that gave them the wherewithal to pursue these 11 songs, apart and then together and apart again.  \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide A\u003cbr\u003e\u003c\/strong\u003eA1. Waking Moment\u003cbr\u003eA2. Dirt Diamond\u003cbr\u003eA3. Strangers\u003cbr\u003eA4. Death Chasm\u003cbr\u003eA5. Eutropius (Give Me Lies)\u003cbr\u003eA6. Radar Man\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eSide B\u003cbr\u003e\u003c\/strong\u003eB1. Elena (feat. \u003cstrong\u003eSarah Jaffe\u003c\/strong\u003e)\u003cbr\u003eB2. Faster Than a Fever\u003cbr\u003eB3. Hard Times for \u003cspan class=\"il\"\u003eHeatherhead\u003c\/span\u003e\u003cbr\u003eB4. Dizzyland \u003cbr\u003eB5. Mitsubishi\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Polyvinyl","offers":[{"title":"Default Title","offer_id":46479375368537,"sku":"","price":29.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/Generationals_-_Heatherhead_-_LP_White_Vinyl.jpg?v=1680110635"},{"product_id":"palehound-eye-on-the-bat-lp-clear-orange-vinyl-jul-14","title":"PALEHOUND - Eye On The Bat - LP - Clear Orange Vinyl","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\" mce-data-marked=\"1\"\u003e\u003cstrong\u003eLP - Limited Edition Clear Orange Vinyl with 12\" x 12\" insert. \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePalehound\u003c\/strong\u003e’s new album \u003cem\u003eEye On The Bat\u003c\/em\u003e charts something that divides you into “before” and “after” – the danger of fantasy, of heartbreak, and the pain of growth. How we can surprise ourselves. It’s a documentation of illusions shattering, both of yourself and of others. A tangle of raw nerves coming undone amongst swelling, propulsive instrumentation, it’s the biggest – and best – Palehound has sounded on record.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFrom Palehound’s critically-acclaimed debut album \u003cem\u003eDry Food\u003c\/em\u003e (2015) to \u003cem\u003eA Place I’ll Always Go\u003c\/em\u003e (2017), and \u003cem\u003eBlack Friday\u003c\/em\u003e (2019) and then, \u003cem\u003eDoomin’ Sun\u003c\/em\u003e (2021) by \u003cstrong\u003eBachelor\u003c\/strong\u003e (a collaborative project with Jay Som’s \u003cstrong\u003eMelina Duterte\u003c\/strong\u003e), \u003cstrong\u003eEl Kempner\u003c\/strong\u003e’s songwriting has always been generous and personal, dispatches from a deep inner world. On \u003cem\u003eEye On The Bat\u003c\/em\u003e, though, we meet Kempner anew: a guttural howl; white-hot and blistering catharsis; a feverish and visceral and painful present.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs Palehound, Kempner’s guitar playing – their sinewy and off-kilter riffs – has always been front and center across the project’s discography, like smoke unfurling around anxiety-laden lyrics. It’s cerebral, trying to make sense of grief in a grocery store or an argument in a parking lot, plumbing the anxious depths of the interiors. Introspection, retrospection, whatever you’d like to call it, has threaded together Kempner’s songwriting, the bruising aftermath of trying times, since the very beginning. Here, though, we’re trapped in the immediate: witnessing the tiny details that build or break a relationship, and the flood that comes after.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“It’s about me, but it’s also about me in relation to others,” Kempner says of the album. “After hiding for so long – staying inside and hiding your life and hiding yourself from the world – I was ready. I think I flipped.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRecorded in brief stints across 2022 at \u003cstrong\u003eFlying Cloud Recordings\u003c\/strong\u003e in the Catskills, the space between each session gave Kempner more time to breathe, to revisit the songs after time away. Kempner co-produced \u003cem\u003eEye On The Bat\u003c\/em\u003e alongside \u003cstrong\u003eSam Owens\u003c\/strong\u003e (Big Thief, Cass McCombs), who was also crucial to the process -- lending assistance yet allowing Kempner to take the reins on producing, to call the shots on the session and step into their own as a producer. Kempner also credits multi-instrumentalist \u003cstrong\u003eLarz Brogan\u003c\/strong\u003e, who they refers to as “their platonic life partner” and longtime member of Palehound since the Boston DIY days, as a vital part of making the album come together the way it did. They make Kempner feel seen - allow them to be vulnerable, to experiment, to push themself in the studio. After playing together for so many years, Brogan and Kempner both wanted to push themselves to make a record that sounded less produced, one that simply captured the raw energy of Palehound live. Stand-out track “\u003cem\u003eU Want It U Got It\u003c\/em\u003e” was almost entirely self-produced by Kempner at home, save for Brogan’s drumming, the first time anything of the sort has made it onto a Palehound record.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“In the past, I’ve taken myself really seriously in the studio, and I’ve ended up with really serious-sounding records,” Kempner explains. “This one – it’s a break up record. I wanted it to sound raw. 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Accepting that, even if unintentional, we all act as villains in someone else’s story.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe poetry is still present – full of aching and shrine-building to minutiae – but it feels genuinely diaristic and authentic. In the past, Kempner admits to hiding behind poetic notions, burying the hurt in metaphors. But here, El’s at their most open and vulnerable. “I was trying too hard to figure out who I am - what kind of musician I want to be, what kind of person I want to be,” Kempner explains. “And now I’m just embracing my instinct, and bucking what other people’s expectations are. These songs are truly just for me. I was really intentional in processing every detail. 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In 2014, Farren started releasing music under his own name all while continuing his project alongside Rosenstock, and his first album, \u003cem\u003eLike a Gift From God or Whatever\u003c\/em\u003e endeared him to fans of the now-defunct Fake Problems and new listeners who had yet to experience the delight of a new Chris Farren song. \u003cem\u003eLike a Gift From God or Whatever\u003c\/em\u003e was followed by \u003cem\u003eCan’t Die\u003c\/em\u003e and Farren’s \u003cstrong\u003ePolyvinyl\u003c\/strong\u003e debut, \u003cem\u003eBorn Hot\u003c\/em\u003e. Last year, Farren wrote what he describes as a soundtrack to a spy film he invented that will never be committed to film. Inspired by Marvin Gaye’s soundtrack to Trouble Man, \u003cem\u003eDeath Don’t Wait\u003c\/em\u003e (Original Motion Picture Soundtrack) was a creative exercise, one Farren completed in mere months that stands apart from the extensive, at times arduous, process of making a Chris Farren album.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAfter releasing \u003cem\u003eBorn Hot\u003c\/em\u003e in 2019, Farren knew he needed to make changes to the creative process, but he wasn’t yet sure how to. Enter \u003cstrong\u003eFrankie Impastato\u003c\/strong\u003e, drummer of \u003cstrong\u003eMacseal\u003c\/strong\u003e, who Farren met on tour and who became one of his dearest friends and confidants. He told Impastato about the misery, the barely-bigger-than-a-closet studio, the barren memory chest, and together they hatched a plan: they’d make Farren’s next album together. So, Farren got in touch with multi-instrumentalist\/producer, and \u003cstrong\u003eJay Som\u003c\/strong\u003e mastermind, \u003cstrong\u003eMelina Duterte\u003c\/strong\u003e (also, a Polyvinyl labelmate), who invited him by her studio where she’s collaborated with a steady stream of notable artists since first opening it in 2020. That’s where \u003cem\u003eDoom Singer\u003c\/em\u003e, his new full-length album due out August 4th, would be made.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Looking back, I feel bad, because Melina brought me in to show me her space and was describing the gear to me and I was totally checked out,” Farren says. “I mean, the space is amazing, she’s super talented, but I told her: ‘I don’t care about any of this stuff. I just want to make a record with you and have fun. I want to make a record and have a good time.’”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCollaboration not only untethered Farren from his misery (fun was had) but also his overbearing need to control every aspect of the creative process. While on previous albums like 2019’s \u003cem\u003eBorn Hot\u003c\/em\u003e or 2016’s \u003cem\u003eCan’t Die\u003c\/em\u003e Farren might’ve spent hours on end tweaking a single canned drumbeat, \u003cstrong\u003eImpastato\u003c\/strong\u003e’s live drums offer a spontaneity that breathed new dimensionality into the Chris Farren project. He wanted this new effort to be “bombastic,” to sound like it could fill the immense negative space of an arena. “I wanted to open these songs up, make them less frenetic, and not feel the pressure to cram every moment,” he says. You hear that impulse on lead single “\u003cem\u003eCosmic Leash\u003c\/em\u003e,” which opens with a wall of sound that careens to a halt, as Farren delivers his interlude over the slight strumming of a guitar. That sense of reprieve lasts only a moment, before the enormous chorus shreds through the silence as Farren wails: “Change your heart\/ Wait your turn.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe choruses on \u003cem\u003eDoom Singer\u003c\/em\u003e are all like this, huge, cathartic, catchy as hell, and inspired by what Farren describes as the “sixties-tinged girl group vibe, not retro, but playful” employed by Belle and Sebastian. “\u003cem\u003eFirst Place\u003c\/em\u003e” is a shining example, a song Farren describes as being about worrying you might grow apart from your partner and, “Not being able to cum because of Lexapro.” It’s hard to describe the single as anything but “jaunty,” the buoyancy of Farren’s delivery belying any sense of disquiet humming beneath its surface.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFarren says \u003cem\u003eDoom Singer\u003c\/em\u003e communicates an “optimistic nihilism,” and that lyrically, he’s trying to embrace nuances inspired by films like TÁR and I’m Thinking of Ending Things. “In these movies, the truth of the narrative isn’t handed to you, and it’s not easy to figure out where your sympathies should lie,” he says. 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We’re made to believe aging makes you wiser, but as Farren has grown into the prodigious songwriter you hear on \u003cem\u003eDoom Singer\u003c\/em\u003e, he’s only grown less certain. “I’m constantly processing the way I feel about things, and I didn’t want any of these songs to sound sure of themselves, or to communicate any clear message,” he says.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCiting My Bloody Valentine, TV on the Radio, and Camera Obscura as clear influences, Farren says he can’t listen to much music until it’s time to make a new record, but when it’s time, he submerges himself in music that moves him. “I wrote between fifty and eighty songs for this album,” he says. The final cut is as genuine, empathetic, and of course, funny, as Farren is, and though he claims nihilistic tendencies, it’s the dogged optimism that endures. 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Okusami’s edge for writing indelible classics has become sharpened on stone over time, hardened by the influences in her rearview; power pop, skate punk, the beautiful melodrama of pop stars and 90s alt-rock. Essential pieces that nurtured the ground of the songs on her latest and most dynamic record to date. Working for the first time with Grammy nominated producer \u003cstrong\u003eWill Yip\u003c\/strong\u003e (Turnstile, The Wonder Years, Bartees Strange), Okusami was given an opportunity to spend a full month in the studio, longer than on previous outings, in order to take time in build out the songs she had written around the core tenants of love and death.\u003c\/p\u003e\n\u003cp\u003eLead single “\u003cem\u003eGet Out\u003c\/em\u003e” announces itself with the grandiloquent thump of a kick drum, swift and heavy like a frantic heartbeat racing to the end, making way for otherworldly guitars that trade polished and gritty chords swirling like a fire in the night. 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Wavelengths of the past intertwining with tones of the present.\u003c\/p\u003e\n\u003cp\u003eSpeaking to her love of sci-fi and fantasy storytelling, Okusami says “I like the heightened stakes in those worlds, where even the smallest thing feels like the world's gonna end if something doesn't happen.” Everything is proven to be love and death, alive even in the heaviest moments on the record. “\u003cem\u003eDrift Away\u003c\/em\u003e” (featuring Chicago-based multi-instrumentalist \u003cstrong\u003eNnamdi\u003c\/strong\u003e), powers through with a slow and pulsing dynamic, an earworm crafted partially from a dream Okusami had about writing songs for a hardcore band. And then, at the finale of all things, “\u003cem\u003eWon’t Someone\u003c\/em\u003e” washes you out and away, gentle guitars, the brassy lull of mountainous horns and the steady, measured march of a drum. 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Featuring contributions from friends like drummer \u003cstrong\u003eQuin Kirchner\u003c\/strong\u003e, harpist \u003cstrong\u003eMary Lattimore\u003c\/strong\u003e, and frequent collaborative co-producer \u003cstrong\u003eDrew Vandenberg\u003c\/strong\u003e, the album takes the next step in an artistic progression Thomas began with a trilogy of solo records that included 2015's \u003cem\u003eAll Are Saved\u003c\/em\u003e, 2017's \u003cem\u003eChanger\u003c\/em\u003e, and 2018's \u003cem\u003eAftering\u003c\/em\u003e.  \u003c\/p\u003e\n\u003cp\u003eThe album features some of Thomas’ most intricate production work to date, as heard on opening track “\u003cem\u003eEmbankment\u003c\/em\u003e” - a strikingly autobiographical song with electronic textures layered under bouncy drums and crystal clear guitar lines. 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Includes download card. \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFollowing the release of her debut album, \u003cem\u003eStay Alive\u003c\/em\u003e (2020) and its follow-up \u003cem\u003eHole In My Head\u003c\/em\u003e (2024), Emmy-nominated artist, author, musician, activist and \u003cstrong\u003eAgainst Me!\u003c\/strong\u003e founder\/songwriter, \u003cstrong\u003eLaura Jane Grace\u003c\/strong\u003e, returns with her fourth full-length album, \u003cem\u003eLaura Jane Grace in the Trauma Tropes\u003c\/em\u003e - \u003cem\u003eAdventure Club\u003c\/em\u003e - a powerful new statement featuring some of her most intense and thought-provoking work to date. 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Three band members had recently relocated away from Chicago, not to mention \u003cstrong\u003eJoe Keery\u003c\/strong\u003e having left the band in 2017 to focus on acting. In the end they started right back up at the beginning, rediscovering that uncompromising closeness of connection they all shared from those endless hours spent in practice spaces and the late-night diner runs that follow. Prolonged stretches of time together not only reinforced the strength of their friendship—it reinvigorated their music. “If you want to get one hour of good painting in, you have to have four hours of uninterrupted time,” David Lynch once said. The product of a few straight weeks together, \u003cem\u003eIRON\u003c\/em\u003e (due July 25th) not only finds them reunited with Keery but is the embodiment of 30 days of camaraderie and unbound musical exploration, their renewed connection ironclad.\u003c\/p\u003e\n\u003cp\u003eAfter 2022’s sublime \u003cem\u003eLove Gibberish\u003c\/em\u003e, Post Animal found themselves sunk deeper into their work than ever before. That record was their first released independently, with all the extra effort that entails. They also toured extensively, both on their own and with UK psych band Temples. By the time things started settling down, Post Animal was scattered to the wind. Guitarist \u003cstrong\u003eJavi Reyes\u003c\/strong\u003e and drummer \u003cstrong\u003eWesley Toledo\u003c\/strong\u003e dropped back home to Chicago, while guitarist \u003cstrong\u003eMatt Williams\u003c\/strong\u003e moved to Los Angeles, bassist \u003cstrong\u003eDalton Allison\u003c\/strong\u003e decamped for Ithaca, and multi-instrumentalist \u003cstrong\u003eJake Hirshland\u003c\/strong\u003e relocated to Brooklyn. “There was some burnout happening,” Allison says. “We were ruthlessly fighting and grinding.”\u003c\/p\u003e\n\u003cp\u003eBut then Keery showed up at a New York tour stop, and the idea was hatched that they cut another record—all six band members together again, for the first time since 2017. “When we made \u003cem\u003eWhen I Think of You in a Castle\u003c\/em\u003e, that was near the start of Stranger Things,” Keery recalls. “And now with it kind of coming to an end in my own life, we all felt it'd be great to do something like that again, to go somewhere and be isolated and work on music together. It was a labor of love.” A big part of that process was focusing on the experience rather than putting pressure on an outcome. “We all agreed that even if we went and just hung out, we’d be happy with it,” Toledo says. “We're just heartfelt, sentimental, and emotional, but there was a real positivity and optimism among us.” They would set up camp at the Indiana home of their friends \u003cstrong\u003eMalcolm Brown\u003c\/strong\u003e and \u003cstrong\u003eCharles Glanders\u003c\/strong\u003e, an A-frame tucked into some woodlands with massive windows for views of the fall foliage. In addition to the lush surroundings, the band’s hosts pitched in: Glanders engineered the tracks with Allison, while Brown inspired via chef-caliber meals. “We got back to our roots, hanging out and writing music without the expectations or pressure,” Hirshland says.\u003c\/p\u003e\n\u003cp\u003eThe creativity driven by comfort is apparent from the opening instrumental track; “\u003cem\u003eMalcolm’s Cooking\u003c\/em\u003e” was recorded in part on a balcony overlooking the woods, complete with the humid wind, insect whirring, and euphorically clinking bottles. Lead single “\u003cem\u003eLast Goodbye\u003c\/em\u003e” follows, a slow-loping look at the end of a relationship, a point in time somehow both uneasy and familiar. “I try to love every corner of your mind\/ But we’ve been going off the deep end,” they sing, buffeted by choppy acoustic, prickly electric staccato, and waves of harmony. There’s a vintage AM radio glow to follow-up “\u003cem\u003ePie in the Sky\u003c\/em\u003e”, a giddy-up bass and thumping percussion giving way to layered harmony. “Make me wanna sell my soul for just a bit of your shine\/ How am I gonna fill this hole, if your heart ain’t mine?” they sigh in a fit of honest, unadorned adoration.\u003c\/p\u003e\n\u003cp\u003e“This record felt like a revitalization of our friendships and our band,” Hirshland says. “We always work collaboratively, but it’s amazing how reintroducing Joe into the mix brought back that dynamic from 2017.” Keery agrees, noting both how close they’ve remained and also much has changed since their last work together. \"We're all still such great friends, but now everybody has a lot more experience under their belts,\" he says. \"I was just appreciative to be spending this time, knowing we might not get another chance to do this the way we're doing it right now. The record reflects that enjoyment, and you can feel the fun.\" Not only did the six members work closely together, each brought in song ideas and took their turn taking the lead. In perhaps the most intimate example, the glistening, punchy “\u003cem\u003eMaybe You Have To\u003c\/em\u003e” opens with a voicemail of Toledo’s abuela prior to her passing. The track that follows stares at the pain of that loss, unflinchingly. “The song is about coming to terms with death, with the absence of someone you love,” he says. “She was a warrior.”\u003c\/p\u003e\n\u003cp\u003eEven when \u003cem\u003eIRON\u003c\/em\u003e touches on heavy themes, Post Animal finds fluidity and strength in their compositions—a clear result of sharing so much time together. Members of the group would come and go from the home studio, a free-flowing stream of ideas. “This is the easiest experience I’ve had making an album,” Williams says. 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That atmosphere should be palpable as the band hits the road with Keery’s Djo project, Toledo and Reyes pulling double duty as well by working in his backing band—the whole group getting to spend even more time together. “We’re having fun making things that we’re proud of. It’s a more mature period for us as collaborators and as friends,” Reyes says. “We’re all vibing with each other creatively, enjoying the momentum and our friendship.” Allison vehemently agrees: “All of these creative forces coming together, it was like iron sharpening iron,” he says. “When we’re in proximity with one another, we make each other better.”\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSIDE A\u003c\/strong\u003e\u003cbr\u003e01. Malcolm’s Cooking\u003cbr\u003e02. Last Goodbye\u003cbr\u003e03. Maybe You Have To\u003cbr\u003e04. Setting Sun\u003cbr\u003e05. 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Their label \u003cstrong\u003ePolyvinyl\u003c\/strong\u003e had rescued the famed American Football house from potential destruction, so the band took the opportunity to move in and write together. Over the course of a month, Anamanaguchi – pioneers of hyper-melodic 8-bit rock, whose extraordinary ascent has led them to topping charts with virtual pop star \u003cstrong\u003eHatsune Miku\u003c\/strong\u003e and scoring \u003cem\u003eScott Pilgrim vs. the World: The Game\u003c\/em\u003e and Netflix’s \u003cem\u003eScott Pilgrim Takes Off\u003c\/em\u003e – flipped their typically meticulous digital process on its head.  Anyway, the result, is the most personal record of their career. And it's a rock record for the ages.\u003c\/p\u003e\n\u003cp\u003eRecorded straight to tape by Grammy-winning rock producer \u003cstrong\u003eDave Fridmann\u003c\/strong\u003e (The Flaming Lips, MGMT, Sleater-Kinney), Anyway united the members around live instruments and lyrics sung by everybody in the band. 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Taut and dynamic, “\u003cem\u003eBuckwild\u003c\/em\u003e” is a rock sing-along that serves as the album’s genesis story: a band making an effort to do something new, while accepting the risks that may bring.\u003c\/p\u003e\n\u003cp\u003e[USA], Anamanaguchi’s critically-acclaimed second album and debut for Polyvinyl, anticipated a crucial cultural shift in moving from escapist, nostalgic fantasy to a more introspective exploration of digital identity. Described by Pitchfork as the band’s “most emotionally grounded record,” [USA] laid the foundation for the openness and honesty that defines Anyway. Where [USA] made sense of life online, their third album \u003cem\u003eAnyway\u003c\/em\u003e ventures into the world outside the front door.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e* The band does not want the track list to be publicly available alongside the album announcement. 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The Netflix movie \u003cstrong\u003eAlways Be My Maybe\u003c\/strong\u003e licensed his song \"\u003cem\u003eIlluminate\u003c\/em\u003e\"—which soon became the #2 most Shazamed song in America—and Plato opened his first savings account.\u0026amp;nbsp;\u003cbr\u003e\u003cbr\u003e\"Suddenly the music I was listening to started slowing down a little,\" says Plato. \"This Al Green \u0026amp; let's throw on this whole album. The Isleys? I don't need the Ice Cube sample. Let's go the original!\" Instead of just listening to \"September,\" I would go back and listen to a whole Earth, Wind and Fire record. That was good studying, but also it was soothing. This is what's speaking to my temperament right now. If you want to rage, you can listen to Travis Scott, you can listen to BabyChiefDoit. That's not where I'm at in my life.\"\u003cbr\u003e\u003cbr\u003eThe original seeds of \u003cem\u003eGrown\u003c\/em\u003e were planted in no less auspicious surroundings than the Dungeon, the studio that birthed game-changing Atlanta rap records from Outkast and Goodie Mob. Perhaps appropriate considering Grown's sideways view of art and commerce, \"\u003cem\u003ethe Dungeon\u003c\/em\u003e\" is now an AirB\u0026amp;B, a piece of hip-hop tourism complete with an in-house studio, turntable and stripper's pole. Staying four nights to celebrate his 30th birthday, a creative outpouring resulted in demos for the album's funkiest tunes — \"Good Problems\" \"I Want (Money),\" \"Grown\" and \"Coulda Died\" — visions of vintage '70s soul skewed through the prism of classic Southernplayalisticadillacmuzik.\u003cbr\u003e\u003cbr\u003e\"I was thinking, 'How did I end up on this guitar label? 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Their collaborative powers collide on first single \"\u003cem\u003eGood Problems\u003c\/em\u003e\" and second single \"\u003cem\u003eI Want\u003c\/em\u003e (\u003cem\u003eMoney\u003c\/em\u003e),\" two optimistic, \"\u003cem\u003eLe Freak\u003c\/em\u003e\"-y odes to the joy of adult obligations.\u003cbr\u003e\u003cbr\u003e\"I wanted to flip the switch to kind of make [responsibility] feel like a blessing. I'm on this emo label, it's still emo, we still got problems — but what if there's a silver lining? This is real shit we're talking about: having to take care of a family, having to struggle to make money, having friends that are struggling reach out for $20. But, let's not dwell on it. Let's try to celebrate being in the situation because, in some ways, this is what we wanted.\"\u003cbr\u003e\u003cbr\u003e\"\u003cem\u003eStay Sane\u003c\/em\u003e\" is a plaintive meditation on the rat-race where Plato raps \"Tryna be happy as Sisyphus\/Never whipped a brick but I get the gist.\" The track is built around the guzheng of \u003cstrong\u003eBei Bei Monter\u003c\/strong\u003e, who has supplied the glistening Chinese folk instrument for films like Turning Red, Kung-Fu Panda 4 and the live action remake of Mulan. \"Coulda Died\" is a rejection of capitalism's temptations that churns like Blondie's disco-rock era. Closer \"\u003cem\u003eLet's Get Old\u003c\/em\u003e\" is a timeless acoustic love ballad that feels like a porchside sing-along with guest guitarist \u003cstrong\u003eEli Winter\u003c\/strong\u003e (Three Lobed, American Dreams).\"\u003cbr\u003e\u003cbr\u003ePlato is finally living his best life on \u003cem\u003eGrown\u003c\/em\u003e. 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I want people to feel the realness of trying to make a living in this economy, but I also want them to dance with the ones they love.\"\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e1. Good Problems\u003cbr\u003e2. I Want Money (feat. \u003cstrong\u003emb3merk\u003c\/strong\u003e)\u003cbr\u003e3. Stable\u003cbr\u003e4. In a Funk (feat. \u003cstrong\u003emb3merk\u003c\/strong\u003e)\u003cbr\u003e5. Marissa\u003cbr\u003e6. Grown (feat. \u003cstrong\u003eXay III\u003c\/strong\u003e)\u003cbr\u003e7. Coulda Died\u003cbr\u003e8. Stay Sane\u003cbr\u003e9. Do You Still Need My Love (feat. \u003cstrong\u003eRemi Lėkun\u003c\/strong\u003e \u0026amp; \u003cstrong\u003eWonderfox\u003c\/strong\u003e)\u003cbr\u003e10. 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After touring a year’s worth of sold-out 25th Anniversary shows around the world and releasing a covers album (featuring Iron \u0026amp; Wine, Ethel Cain, Blondshell \u0026amp; more), the quartet of \u003cstrong\u003eMike\u003c\/strong\u003e \u0026amp; \u003cstrong\u003eNate Kinsella\u003c\/strong\u003e, \u003cstrong\u003eSteve Lamos\u003c\/strong\u003e, and \u003cstrong\u003eSteve Holmes\u003c\/strong\u003e, linked up with producer \/ engineer \u003cstrong\u003eSonny Diperri\u003c\/strong\u003e (My Bloody Valentine, M83, Kurt Vile) to record what would become their most substantial record to date. Blending atmospheric textures with emotive, post-rock style catharsis, LP4 is unlike anything American Football have recorded thus far, yet it fits right in with their evolving and beautiful catalog.  \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eRecorded during a 10-day retreat at \u003cstrong\u003ePanoramic House\u003c\/strong\u003e in Stinson Beach, CA, LP4 finds the band intentionally walking into the abyss - themes of divorce, upheaval, and uncertainty are at the forefront, yet the band sounds more engaged and legitimised than ever before. Opening track, “\u003cem\u003eMan Overboard\u003c\/em\u003e,” showcases each member’s strengths - the un-matched style and jazz swing of Lamos’ drumming, the lyrical vulnerability and multi-instrumental mastery of both Kinsellas, and Holmes’ signature guitar work - all of it swirling together like a shoegaze tornado, the guitars and bass surging into something twisted and warped. Other standouts like “\u003cem\u003eBlood On My Blood\u003c\/em\u003e” showcase the band’s unique use of alternating time signatures while “Bad Moons” (the longest track the band has ever recorded) includes some of Kinsella’s most intense lyrics yet. The album also features additional guest vocals from \u003cstrong\u003eTurnstile\u003c\/strong\u003e’s \u003cstrong\u003eBrendan Yates\u003c\/strong\u003e (“\u003cem\u003eNo Feeling\u003c\/em\u003e”), \u003cstrong\u003eWisp\u003c\/strong\u003e (“\u003cem\u003eWake Her Up\u003c\/em\u003e”), and \u003cstrong\u003eRainer Maria\u003c\/strong\u003e’s \u003cstrong\u003eCaithlin De Marrais \u003c\/strong\u003e(“\u003cem\u003eBlood On My Blood\u003c\/em\u003e”).   \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLP4\u003c\/em\u003e is an ambitious artistic statement from a band who have continued to push the boundaries of genre and culture. It’s a gorgeous and elaborate album, one that takes its time to show you its beauty, while hinting at the darker parts that are trying their best to stay hidden. \u003c\/p\u003e\n\u003cp\u003eAmerican Football’s highly anticipated fourth LP, recorded with producer \/ engineer Sonny Diperri (My Bloody Valentine, M83, Kurt Vile) \u003c\/p\u003e\n\u003cp\u003eFeatures guest vocals from Turnstile’s Brendan Yates, Wisp, and Rainer Maria’s Caithlin De Marrais \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e1. Man Overboard \u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e2. No Feeling \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e3. Blood On My Blood \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e4. Bad Moons \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e5. The One with the Piano \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e6. Patron Saint of Pale \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e7. 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No Soul to Save \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Polyvinyl","offers":[{"title":"Default Title","offer_id":57541918064985,"sku":null,"price":16.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/files\/American_Football_-_LP4_-_2026.jpg?v=1773240465"},{"product_id":"american-football-lp4-2lp-red-coloured-vinyl","title":"AMERICAN FOOTBALL - American Football (LP4) - 2LP - Coloured Red Vinyl [MAY 1]","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003e2LP - Standard Limited Edition Red Coloured Vinyl housed in a Gatefold Sleeve with Printed Inners \u0026amp; Download. \u003cmeta charset=\"utf-8\"\u003eAmerican Football’s highly anticipated fourth LP, recorded with producer \/ engineer Sonny Diperri (My Bloody Valentine, M83, Kurt Vile) Features guest vocals from Turnstile’s Brendan Yates, Wisp, and Rainer Maria’s Caithlin De Marrais. \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWhen the idea of recording a 4th album came up (for the second time), \u003cstrong\u003eAmerican Football\u003c\/strong\u003e knew things were going to get darker. After touring a year’s worth of sold-out 25th Anniversary shows around the world and releasing a covers album (featuring Iron \u0026amp; Wine, Ethel Cain, Blondshell \u0026amp; more), the quartet of \u003cstrong\u003eMike\u003c\/strong\u003e \u0026amp; \u003cstrong\u003eNate Kinsella\u003c\/strong\u003e, \u003cstrong\u003eSteve Lamos\u003c\/strong\u003e, and \u003cstrong\u003eSteve Holmes\u003c\/strong\u003e, linked up with producer \/ engineer \u003cstrong\u003eSonny Diperri\u003c\/strong\u003e (My Bloody Valentine, M83, Kurt Vile) to record what would become their most substantial record to date. Blending atmospheric textures with emotive, post-rock style catharsis, LP4 is unlike anything American Football have recorded thus far, yet it fits right in with their evolving and beautiful catalog.  \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eRecorded during a 10-day retreat at \u003cstrong\u003ePanoramic House\u003c\/strong\u003e in Stinson Beach, CA, LP4 finds the band intentionally walking into the abyss - themes of divorce, upheaval, and uncertainty are at the forefront, yet the band sounds more engaged and legitimised than ever before. Opening track, “\u003cem\u003eMan Overboard\u003c\/em\u003e,” showcases each member’s strengths - the un-matched style and jazz swing of Lamos’ drumming, the lyrical vulnerability and multi-instrumental mastery of both Kinsellas, and Holmes’ signature guitar work - all of it swirling together like a shoegaze tornado, the guitars and bass surging into something twisted and warped. Other standouts like “\u003cem\u003eBlood On My Blood\u003c\/em\u003e” showcase the band’s unique use of alternating time signatures while “Bad Moons” (the longest track the band has ever recorded) includes some of Kinsella’s most intense lyrics yet. The album also features additional guest vocals from \u003cstrong\u003eTurnstile\u003c\/strong\u003e’s \u003cstrong\u003eBrendan Yates\u003c\/strong\u003e (“\u003cem\u003eNo Feeling\u003c\/em\u003e”), \u003cstrong\u003eWisp\u003c\/strong\u003e (“\u003cem\u003eWake Her Up\u003c\/em\u003e”), and \u003cstrong\u003eRainer Maria\u003c\/strong\u003e’s \u003cstrong\u003eCaithlin De Marrais \u003c\/strong\u003e(“\u003cem\u003eBlood On My Blood\u003c\/em\u003e”).   \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLP4\u003c\/em\u003e is an ambitious artistic statement from a band who have continued to push the boundaries of genre and culture. It’s a gorgeous and elaborate album, one that takes its time to show you its beauty, while hinting at the darker parts that are trying their best to stay hidden. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e1. Man Overboard \u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e2. No Feeling \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e3. Blood On My Blood \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e4. Bad Moons \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e5. The One with the Piano \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e6. Patron Saint of Pale \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e7. Wake Her Up \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e8. Desdemona \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e9. Lullabye \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e10. No Soul to Save \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Polyvinyl","offers":[{"title":"Default Title","offer_id":57541983371609,"sku":null,"price":37.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/files\/American_Football_-_LP4_-_2LP_Red_Vinyl_-_2026.jpg?v=1773240209"}],"url":"https:\/\/spindizzyrecords.com\/collections\/polyvinyl.oembed?page=3","provider":"Spindizzy","version":"1.0","type":"link"}