{"title":"Saddle Creek","description":null,"products":[{"product_id":"big-thief-mythological-beauty-7-vinyl","title":"BIG THIEF - Mythological Beauty - 7\" - Vinyl","description":"\u003ch2 style=\"margin: 0in; font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eLABEL: Saddle Creek\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: LBJ254\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: 648401025477\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. Mythological Beauty  (5:07)\u003cbr\u003e\n2. Breathe In My Lungs  (2:52)\u003c\/p\u003e\n\u003cbr\u003e\u003ch3\u003eBIG THIEF – Mythological Beauty\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003e7″ – Vinyl\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003e(Includes download code)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eBig Thief ’s debut album, \u003cem\u003eMasterpiece\u003c\/em\u003e, met wide critical acclaim, landing spots on countless “Best of 2016” lists. Their music, rooted in the songs of Adrianne Lenker, paints in vivid tones “the process of harnessing pain, loss, and love, while simultaneously letting go, looking into your own eyes through someone else’s, and being okay with the inevitability of death,” says Adrianne. Big Thief has continued to write and record as they tour their debut. Mythological Beauty is the band’s first release of 2017.\u003c\/p\u003e\n","brand":"Saddle Creek","offers":[{"title":"Default Title","offer_id":41684918763681,"sku":"655","price":10.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/myth_e8f84ef8-d2bc-445c-8584-92c1c71f51dd.jpg?v=1646750418"},{"product_id":"indigo-de-souza-any-shape-you-take-lp-marbled-tangerine-vinyl","title":"INDIGO DE SOUZA - Any Shape You Take - LP - Marbled Tangerine Vinyl","description":"\u003ch2 style=\"margin: 0in; font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eLABEL: Saddle Creek\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: LBJ318LPC1\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: LPC: 648401031836\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. 17\u003cbr\u003e\n02. Darker Than Death\u003cbr\u003e\n03. Die\/Cry\u003cbr\u003e\n04. Pretty Pictures\u003cbr\u003e\n05. Real Pain\u003cbr\u003e\n06. Bad Dream\u003cbr\u003e\n07. Late Night Crawler\u003cbr\u003e\n08. Hold U\u003cbr\u003e\n09. Way Out\u003cbr\u003e\n10. Kill Me\u003c\/p\u003e\n\u003cbr\u003e\u003ch3\u003eINDIGO DE SOUZA – Any Shape You Take\u003c\/h3\u003e\n\u003ch3\u003e\u003cstrong style=\"color: #ff0000; font-size: 16px;\"\u003eLP –  Indies Exclusive Marbled Tangerine Vinyl\u003c\/strong\u003e\u003c\/h3\u003e\n\u003chr\u003e\n\u003cp\u003e“Everything has to be said.” This is the conviction guiding Indigo De Souza’s sophomore album, \u003cem\u003eAny Shape You Take\u003c\/em\u003e. This dynamic record successfully creates a container for the full spectrum—pushing through and against every emotion: “I wanted this album to give a feeling of shifting with and embracing change. These songs came from a turbulent time when I was coming to self-love through many existential crises and shifts in perspective.”\u003c\/p\u003e\n\u003cp\u003eFaithful to its name, \u003cem\u003eAny Shape You Take\u003c\/em\u003e changes form to match the tenor of each story it tells. “The album title is a nod to the many shapes I take musically. I don’t feel that I fully embody any particular genre—all of the music just comes from the universe that is my ever-shifting brain\/heart\/world,” says Indigo. This sonic range is unified by Indigo’s strikingly confessional and effortless approach to songwriting, a signature first introduced in her debut, self-released LP, \u003cem\u003eI Love My Mom\u003c\/em\u003e. Written in quick succession, Indigo sees these two records as companion pieces, both distinct but in communion with each other: “Many of the songs on these two records came from the same season in my life and a certain version of myself which I feel much further from now.”\u003c\/p\u003e\n\u003cp\u003eThroughout Any Shape You Take, Indigo reflects on her relationships as she reckons with a deeper need to redefine how to fully inhabit spaces of love and connection. “It feels so important for me to see people through change. To accept people for the many shapes they take, whether those shapes fit into your life or not. This album is a reflection of that. I have undergone so much change in my life and I am so deeply grateful to the people who have seen me through it without judgment and without attachment to skins I’m shifting out of.”\u003c\/p\u003e\n\u003cp\u003eGrowing up in a conservative small town in the mountains of North Carolina, Indigo started playing guitar when she was nine years old. “Music was a natural occurrence in my life. My dad is a bossanova guitarist and singer from Brazil and so I think I just had it in my blood from birth.” It wasn’t until moving to Asheville, NC that Indigo began to move into her current sound, developing a writing practice that feeds from the currents that surround her: “Sometimes it feels like I am soaking up the energies of people around me and making art from a space that is more a collective body than just my own.”\u003c\/p\u003e\n\u003cp\u003eAt the forefront of all De Souza’s projects is her magnetism—her unique quality of spirit that is both buoyant and wise. While her backing band has undergone shifts between releases, her sound has stayed tethered to her vision. \u003cem\u003eAny Shape You Take\u003c\/em\u003e is the first full-length album that Indigo produced herself. Teaming up with executive producer Brad Cook (Bon Iver, Waxahatchee, The War on Drugs) and engineers\/producers Alex Farrar and Adam McDaniel, Indigo recorded the album at Betty’s, Sylvan Esso’s studio in Chapel Hill, NC and finished it with additional production and mixing at Drop of Sun Studios in Asheville. Moving past the limitations of a home studio, Indigo could finally embody the full reach of her sound: “It felt really exciting to lean into my pop tendencies more than I have in the past and to trust my intuition to take the songs where I felt they should go. I had the tools to do it and collaborators who were willing to go there with me.”\u003c\/p\u003e\n\u003cp\u003e“I feel very much like a shape-shifter with my music, I’m always trying to embody a balance between the existential weight and the overflowing sense of love I feel in the world.” It is exactly this balance that Indigo strikes in her Saddle Creek debut, \u003cem\u003eAny Shape You Take\u003c\/em\u003e. A listening experience that gives back, as you shed and shape-shift along with her.\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":"Saddle Creek","offers":[{"title":"Default Title","offer_id":41685375647905,"sku":"15394","price":17.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/Indigo_De_Souza_Any_Shape_You_Take_Marbled_Orange_Vinyl_bca6b75d-fad6-4e64-a598-1f1a02d03b26.jpg?v=1646756712"},{"product_id":"spirit-of-the-beehive-entertainment-death-lp-blood-red-vinyl","title":"SPIRIT OF THE BEEHIVE - Entertainment, Death - LP - Blood Red Vinyl","description":"\u003ch2 style=\"margin: 0in; font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eLABEL: Saddle Creek\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\u003eLBJ322LPC2\u003c\/h2\u003e\n\u003ch2 style=\"margin: 0in; font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eBARCODE: 648401632200\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. Entertainment\u003cbr\u003e\n02. There’s Nothing You Can Do\u003cbr\u003e\n03. Wrong Circle\u003cbr\u003e\n04. Bad Son\u003cbr\u003e\n05. Give Up Your Life\u003cbr\u003e\n06. Rapid \u0026amp; Complete Recovery\u003cbr\u003e\n07. The Server Is Immersed\u003cbr\u003e\n08. It Might Take Some Time\u003cbr\u003e\n09. Wake Up (In Rotation)\u003cbr\u003e\n10. I Suck The Devil’s Cock\u003cbr\u003e\n11. Death\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; -webkit-font-smoothing: initial; -webkit-locale: initial; -webkit-text-orientation: initial; -webkit-writing-mode: initial; writing-mode: initial; zoom: initial; place-content: initial; place-items: initial; place-self: initial; alignment-baseline: initial; animation: initial; appearance: initial; aspect-ratio: initial; backdrop-filter: initial; backface-visibility: initial; background: initial; background-blend-mode: initial; baseline-shift: initial; block-size: initial; border-block: initial; border: initial; border-radius: initial; border-collapse: initial; border-end-end-radius: initial; border-end-start-radius: initial; border-inline: initial; border-start-end-radius: initial; border-start-start-radius: initial; 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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; text-align: initial; text-align-last: initial; text-anchor: initial; text-combine-upright: initial; text-decoration: initial; text-decoration-skip-ink: initial; text-indent: initial; text-overflow: initial; text-shadow: initial; text-size-adjust: initial; text-transform: initial; text-underline-offset: initial; text-underline-position: initial; touch-action: initial; transform: initial; transform-box: initial; transform-origin: initial; transform-style: initial; transition: initial; user-select: initial; vector-effect: initial; vertical-align: initial; visibility: initial; -webkit-app-region: initial; border-spacing: initial; -webkit-border-image: initial; -webkit-box-align: initial; -webkit-box-decoration-break: initial; -webkit-box-direction: initial; -webkit-box-flex: initial; -webkit-box-ordinal-group: initial; -webkit-box-orient: initial; -webkit-box-pack: initial; -webkit-box-reflect: initial; -webkit-highlight: initial; -webkit-hyphenate-character: initial; -webkit-line-break: initial; -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\u003eSPIRIT OF THE BEEHIVE\u003cbr\u003e\n– Entertainment, Death\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eLP – ‘Big Blood’ (Blood Red) Vinyl\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003e(Includes download code.)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eSpirit of the Beehive release their fourth album and Saddle Creek debut, Entertainment, Death. The album signals new chapters for the band on multiple fronts, being the first to feature their new three-piece lineup, as well as the first to be entirely self-recorded and produced.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003eAn abundance of time wasn’t the only dierence. Recording remotely oered the band an incentive to experiment with new possibilities for their sound, resulting in an album that is unlike any Spirit of the Beehive has released before. Once the band nished recording and mixing the album digitally, they mastered it to tape, lending the collection a textured, dimensional quality. Though Entertainment, Death doesn’t cohere in a single, unifying theme, the band samples old obscure commercials throughout, many of which guided the process of writing a song instead of serving as an appendage.\u003c\/p\u003e\n\u003c\/div\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; -webkit-font-smoothing: initial; -webkit-locale: initial; -webkit-text-orientation: initial; -webkit-writing-mode: initial; writing-mode: initial; zoom: initial; place-content: initial; place-items: initial; place-self: initial; alignment-baseline: initial; animation: initial; appearance: initial; aspect-ratio: initial; backdrop-filter: initial; backface-visibility: initial; background: initial; background-blend-mode: initial; baseline-shift: initial; block-size: initial; 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font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eBARCODE: \u003c\/span\u003e\u003cspan style=\"font-weight: bold;\"\u003e648401030600\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. damn\u003cbr\u003e\n2. can’t stop me from dying\u003cbr\u003e\n3. oranges\u003cbr\u003e\n4. partner\u003cbr\u003e\n5. saltspring\u003cbr\u003e\n6. and my newness spoke to your newness and it was a thing of endless\u003cbr\u003e\n7. my love 4 u is real\u003cbr\u003e\n8. backyard\u003cbr\u003e\n9. writer in ny\u003cbr\u003e\n10. violence\u003cbr\u003e\n11. hurt\u003c\/p\u003e\n\u003cbr\u003e\u003ch3\u003eADA LEA – One Hand on the Steering Wheel The Other Sewing A Garden\u003c\/h3\u003e\n\u003ch3\u003e\u003cstrong style=\"color: #ff0000; font-size: 16px;\"\u003eLP –  Indies Exclusive Limited Edition Wine Stain Transparent Red Vinyl\u003cbr\u003e\n(*Only 500 copies pressed in this edition. Includes digital download.)\u003c\/strong\u003e\u003c\/h3\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cem\u003eOne Hand on the Steering Wheel the Other Sewing a Garden\u003c\/em\u003e is the name of the second album by Canadian songwriter Alexandra Levy, publicly known by the moniker Ada Lea. On one hand, it’s a collection of walking-paced, cathartic pop\/folk songs, on the other it’s a book of heart-twisting, rear-view stories of city life. Ada Lea has followed up the creative, indie-rock songcraft of her debut what we say in private with surprising arrangements and new perspectives. The album is set in Montreal and each song exists as a dot on a personal history map of the city where Levy grew up. The physical record is released alongside a map of song locations and a songbook with chords and lyrics, inspired by Levy’s love of real book standards.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003eLevy penned and demoed this batch of songs in an artist residency in Banff, Alberta. After sorting and editing she made her way to Los Angeles to record with producer \/ engineer Marshall Vore (Phoebe Bridgers) who had previously worked on 2020’s woman, here E.P. After a long walk to the studio each morning, Levy spent her session days diving into the arrangements, playfully letting everything fall in place with complete trust for her collaborators. She notes “Marshall’s expertise and experience with drumming and songwriting was the perfect blend for what the songs needed. He was able to support me in a harmonic, lyrical, and rhythmic sense.” Other contributors that left a notable fingerprint on the soundscape include drummer Tasy Hudson, guitarist Harrison Whitford (of Phoebe Bridgers band), and mixing engineer Burke Reid (Courtney Barnett). Many songs came together with a blend of studio tracks and elements from the pre-recorded demos.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eThe resulting sounds range from classic, soft-rock beauty to intimate finger-picked folk passages and night-drive art-pop. And the textures are frequently surprising due to the collage of lo-fi and hi-fi sounds that tastefully decorate the album without ever clouding the heart-center of the song. Tracks like “\u003cem\u003edamn\u003c\/em\u003e” and “\u003cem\u003eoranges\u003c\/em\u003e” feel timeless with their AM gold groove and 70’s studio sheen, while songs like “\u003cem\u003emy love 4 u is real\u003c\/em\u003e ”, “\u003cem\u003esalt spring\u003c\/em\u003e” and “\u003cem\u003ecan’t stop me from dying\u003c\/em\u003e” sound completely modern in their use of electronics, sound effects, and pitched vocals. In their subtle, sonic variety, all of the album’s songs flow together with ease into one big, romantic dream for Levy’s silken vocals to float above.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eInspired by personal experience, daydreams, and Elena Ferrante’s Neapolitan novels, the lyrics of one hand… center storytelling on a bigger scale. The experience and emotions of a year are communicated through Levy’s vignettes of city life. Her prose is centered in its setting of the St Denis area of Montreal as it draws up memories from local haunts like Fameux, La Rockette, and Quai des Brumes in rearview reverie. Levy creates a balance through the album’s year by splitting her songs evenly into four seasons. Opening track “damn”, as a song of winter, kicks off the narrative with the events of a cursed New Year’s Eve party. Immediately this timeline becomes jumbled into a Proustian haziness. The listener is then led through the heat-stricken, brain fog of Summer song, “\u003cem\u003ecan’t stop me from dying\u003c\/em\u003e” and then into the autumnal romanticism of “\u003cem\u003eoranges\u003c\/em\u003e” before returning back to New Year’s on “\u003cem\u003epartner\u003c\/em\u003e,” which Levy describes as “a woozy late-night taxi blues reflection on moments when timing can be so right, yet so wrong…”. These collected stories as a whole chart the unavoidable growth that comes with experience. “\u003cem\u003eAll is forgiven in time. All is forgotten in time. And when the music stopped, I heard an answer\u003c\/em\u003e” (from “\u003cem\u003emy love 4 u is real\u003c\/em\u003e”).\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eWhether to consider these songs fiction or memoir remains unknown. On one hand, Levy says “Why would I try to write a story that’s not my own? What good would that do?” but on the other hand, she is quick to note the ways that language fails to describe reality, and how difficult this makes it to tell an actually true story. The poetic misuse of the word “\u003cem\u003esewing\u003c\/em\u003e” in the album’s title serves as a nod to the limitations words provide. What does it mean to sew the garden? And how can we appreciate its carefully knit blooms when the rear view mirror is so full of car exhaust?\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cstrong\u003eSee below for tracklisting…\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n","brand":"Saddle Creek","offers":[{"title":"Default Title","offer_id":41685415526561,"sku":"15625","price":14.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/ADA_LEE_One_Hand_On_The_Steering_Wheel_vinyl.jpg?v=1646757510"},{"product_id":"hand-habits-fun-house-cd","title":"HAND HABITS - Fun House - CD","description":"\u003ch2 style=\"margin: 0in; font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eLABEL: Saddle Creek\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: LBJ326CD\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;\"\u003eBARCODE: \u003c\/span\u003e\u003cspan style=\"font-weight: bold;\"\u003e648401032628\u003c\/span\u003e\n\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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Buffeted by strings, synths, and a gently-shook tambourine, the aptly-titled track, “\u003cem\u003eThe Answer\u003c\/em\u003e,” highlights the emotional engine at the heart of the record. “\u003cem\u003eI know the answer,\u003c\/em\u003e “Duffy sings, “\u003cem\u003eHere’s what I hope to find – it’s always mine\u003c\/em\u003e.”\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":"Saddle Creek","offers":[{"title":"Default Title","offer_id":41685418901665,"sku":"1228","price":14.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/Hand-Habits_Fun-House_CD_63951405-c09d-4aee-9d95-e1d5ca68f2b3.jpg?v=1646757605"},{"product_id":"hand-habits-fun-house-lp-red-vinyl","title":"HAND HABITS - Fun House - LP - Red Vinyl","description":"\u003ch2 style=\"margin: 0in; font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eLABEL: Saddle Creek\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: LBJ326LP\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;\"\u003eBARCODE: \u003c\/span\u003e\u003cspan style=\"font-weight: bold;\"\u003e648401032611\u003c\/span\u003e\n\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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Buffeted by strings, synths, and a gently-shook tambourine, the aptly-titled track, “\u003cem\u003eThe Answer\u003c\/em\u003e,” highlights the emotional engine at the heart of the record. “\u003cem\u003eI know the answer,\u003c\/em\u003e “Duffy sings, “\u003cem\u003eHere’s what I hope to find – it’s always mine\u003c\/em\u003e.”\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":"Saddle Creek","offers":[{"title":"Default Title","offer_id":41685434204321,"sku":"15782","price":24.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/Hand-Habits_Fun-House_Red-Vinyl-LP_0c9416c7-ca60-4a8e-a7b2-a4f0dd7d2cf8.jpg?v=1646757961"},{"product_id":"hand-habits-fun-house-lp-black-light-blue-a-side-b-vinyl","title":"HAND HABITS - Fun House - LP - Black \/ Light Blue (A Side\/B) Vinyl","description":"\u003ch2 style=\"margin: 0in; font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eLABEL: Saddle Creek\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\u003eLBJ326LPC1\u003c\/h2\u003e\n\u003ch2 style=\"margin: 0in; font-family: Calibri; font-size: 14.0pt; color: black;\"\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eBARCODE: \u003c\/span\u003e\u003cspan style=\"font-weight: bold;\"\u003e648401032604\u003c\/span\u003e\n\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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Brooklyn is also where her new album i don’t know who needs to hear this… was recorded, at Figure 8 studios over the course of two weeks, with producer and engineer Phil Weinrobe (who played a variety of instruments on the collection), and later mastered by Josh Bonati, also in Brooklyn.\u003c\/p\u003e\n\u003cp\u003e“The theme of the record,” she explains, “is to examine, hold space, make an altar for the feelings.” Hold space: Tomberlin’s songs do it literally, making it heard space. Her full-length debut, At Weddings, was widely praised for the sparsity and delicacy of its instrumentation, especially in contrast with the emotional heft of her lyrics. Here, the space feels larger and holier, built to echo. Pedal steel. Old acoustic guitars, freshly plucked. A drifting synthesiser. Chill, brushy percussion. Ambient, expansive clarinet and saxophone. Aleatory piano trills, a lot of piddling with the occasional splash. 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Brooklyn is also where her new album i don’t know who needs to hear this… was recorded, at Figure 8 studios over the course of two weeks, with producer and engineer Phil Weinrobe (who played a variety of instruments on the collection), and later mastered by Josh Bonati, also in Brooklyn.\u003c\/p\u003e\n\u003cp\u003e“The theme of the record,” she explains, “is to examine, hold space, make an altar for the feelings.” Hold space: Tomberlin’s songs do it literally, making it heard space. Her full-length debut, At Weddings, was widely praised for the sparsity and delicacy of its instrumentation, especially in contrast with the emotional heft of her lyrics. Here, the space feels larger and holier, built to echo. Pedal steel. Old acoustic guitars, freshly plucked. A drifting synthesiser. Chill, brushy percussion. Ambient, expansive clarinet and saxophone. Aleatory piano trills, a lot of piddling with the occasional splash. 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Then there is the instrument of her voice, which has the endearing quality of being perfectly tuned but reluctantly played. “I’m not a singer,” she sings on “\u003cem\u003eidkwntht\u003c\/em\u003e.” “I’m just someone who’s guilty.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e01. easy\u003cbr\u003e 02. born again runner\u003cbr\u003e 03. tap\u003cbr\u003e 04. memory\u003cbr\u003e 05. unsaid\u003cbr\u003e 06. sunstruck\u003cbr\u003e 07. collect caller\u003cbr\u003e 08. stoned\u003cbr\u003e 09. happy accident\u003cbr\u003e 10. possessed\u003cbr\u003e 11. idkwntht\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e","brand":"Saddle Creek","offers":[{"title":"Default Title","offer_id":41685718171809,"sku":"31034","price":22.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/Tomberlin_-_I-Don_t-Know-Who-Needs-To-Hear-This_-_Orange-Vinyl-LP.jpg?v=1646762344"},{"product_id":"desaparecidos-read-music-speak-spanish-remastered-lp-tri-colour-vinyl-jul-1","title":"DESAPARECIDOS - Read Music \/Speak Spanish (20th Anniv. 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The characters and settings may have changed, but the startling narrative has not.\u003cbr\u003e\u003cbr\u003eIn late 2001, \u003cstrong\u003eConor Oberst\u003c\/strong\u003e, \u003cstrong\u003eDenver Dalley\u003c\/strong\u003e, \u003cstrong\u003eLandon Hedges\u003c\/strong\u003e, \u003cstrong\u003eIan McElroy\u003c\/strong\u003e, and \u003cstrong\u003eMatt Baum\u003c\/strong\u003e spent a week at Presto! Recording Studio in Lincoln, NE recording a punk album. That debut album, released in the post-9\/11 fog of early 2002, screamed out observational commentary on urban development, the sacrifice of human value for the dollar bill, and the new American Dream in a way that felt distinctly out of sync with the hyper-patriotic atmosphere of peak G.W. Bush-era America.\u003cbr\u003e\u003cbr\u003eThe band toured, got a bit of attention, and then went their separate ways for a long spell. 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Before that, however, comes a reissue of Hayday, in conjunction with Unstable – a record label started by the band. Available on vinyl for the first time, this reissue also features two bonus tracks: the previously unreleased \"\u003cem\u003eDog Song 2\u003c\/em\u003e\" and a remix of \"\u003cem\u003eTermites\u003c\/em\u003e\" by \u003cstrong\u003eFull Body 2\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e* Vinyl image shown is for mock-up purposes only. Actual vinyl colour\/shade may vary after pressing.\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Worth It (Intro)\u003cbr\u003e2. Termites\u003cbr\u003e3. Chores\u003cbr\u003e4. Tricks\u003cbr\u003e5. Too Much\u003cbr\u003e6. Sherman's Last Ride\u003cbr\u003e7. Picture\u003cbr\u003e8. You Got It Babe\u003cbr\u003e9. Kennedy\u003cbr\u003e10. Drama Queen\u003cbr\u003e11. Grace (Outro)\u003cbr\u003e12. Dog Song 2\u003cstrong\u003e*\u003c\/strong\u003e\u003cbr\u003e13. Termites\u003cstrong\u003e*\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e*\u003c\/strong\u003eBonus Track\u003c\/p\u003e","brand":"Saddle Creek","offers":[{"title":"Default Title","offer_id":42760588558497,"sku":"22666","price":25.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/Feeble_Little_Horse_-_Hayday_-_LP_Transparent_Blue_Vinyl_2ba45985-545e-4daa-8d53-2e93c7eb02fd.jpg?v=1670527012"},{"product_id":"shalom-sublimation-lp-vinyl-mar-10","title":"SHALOM - Sublimation - LP - Vinyl [MAR 10]","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eLP - Black Vinyl. Includes download card.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShalom\u003c\/strong\u003e makes strikingly direct music with such emotional openness and clarity that each track on her debut album \u003cem data-mce-fragment=\"1\"\u003eSublimation\u003c\/em\u003e feels like a quiet revelation. While the Brooklyn-based, South Africa-raised artist writes fearlessly personal songs about moments in her life combining the storytelling of Lucy Dacus with the urgency of Indigo De Souza, her honesty is so blunt it’s inviting. Her lyrics clear whatever tension there is to make room for catharsis. These 13 tracks are a reflection of the many sides of herself with stories of heartbreak, feeling like an outsider, self-medicating and partying, and ultimately choosing love over fear. While she paints the edges of indie rock, Shalom along with her collaborator \u003cstrong\u003eRyan Hemsworth\u003c\/strong\u003e (Quarter-Life Crisis) team up for challenging and vivid arrangements that are danceable, driving, and also delicate.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThough Shalom has only been writing her own songs since the summer of 2020, she’d played bass in a band in the New Brunswick DIY scene. Following the dissolution of her band, she went through a period of mourning and writer’s block. “It was some of the most painful, creative experiences I've ever had,” she says. She wrote “\u003cem\u003eConcrete\u003c\/em\u003e,” the first song she ever wrote and produced herself, as a way to process the loss of that creative outlet. It’s a gorgeous track complete with yearning strings and Shalom singing, “We watched the future that we built just slip away \/ I still think of you almost every day \/ But there are good things in life no one can force you to take.” Even though it was her debut song, there’s depth and generosity tucked in each line.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eShe quietly released “\u003cem\u003eConcrete\u003c\/em\u003e” and a couple of other early home-recorded demos on a self-released EP titled the first snowstorm of the year in December 2020, which eventually caught the ear of producer Ryan Hemsworth. Impressed by her already-fully formed perspective and tight melodic sensibility, Hemsworth asked Shalom to write some more. “When I started writing I just kept having people believe in me and I started realizing that these were good songs,” she says. “I received the validation that I needed to keep going.” They quickly began collaborating with Shalom writing on bass and Hemsworth emailing tracks back for her to tweak and find a home for her lyrics. Among the earliest songs of their partnership is the rocking “\u003cem\u003eSoccer Mommy\u003c\/em\u003e,” which bluntly opens with, “I did a bunch of drugs before I turned 21 \/ Ate two tabs once a week for a whole month straight.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhat started as a casual email collaboration quickly garnered enough material to make an album. Lead single “\u003cem\u003eHappenstance\u003c\/em\u003e” finds Shalom world sick. Over a muscular bassline, she sings, “I’m waiting for the day that I can finally walk away from all this bullshit.\" As the track settles into a mesmerizing groove, she sings over the chorus, “I’m just trying to erase myself whenever I get the chance \/ my need to evaporate and receive validation at the same time.” It’s in these contradictions where Shalom’s writing thrives and is at the core of \u003cem data-mce-fragment=\"1\"\u003eSublimation\u003c\/em\u003e. On opener “\u003cem\u003eNarcissist\u003c\/em\u003e,” which is so anthemic it’s meant to be played almost violently loud, the hook goes, “and maybe I’m a narcissist \/ I don’t even know if I exist \/ I wish I’d evaporate.” Shalom explains, “When I do something really embarrassing, the thing that I hear in my brain is literally “evaporate.” Her songwriting gets at two fundamental but at-odds emotions, effortlessly speaking truth to something that’s hard to articulate in real life: simultaneously wanting to be the center of attention and wanting to disappear completely.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs much as the album hones in on processing her trauma like on “\u003cem\u003eTrain Station\u003c\/em\u003e,” which deals with a sudden breakup, and “\u003cem\u003eNowadays\u003c\/em\u003e” which deals with profound grief, there’s a resiliency that stays constant throughout \u003cem data-mce-fragment=\"1\"\u003eSublimation\u003c\/em\u003e. On the ebullient and funky “\u003cem\u003eDid It To Myself\u003c\/em\u003e,” she opens herself up. She sings, “what hurts can be amazing \/ and now I’m back on my own, oh” over bouncy synths and a sparkling arrangement. Shalom explains, “Anytime you move forward, you have to remember the past: Most of my songs are about moving forward by dealing with a memory.” Few songwriters not only fail to match Shalom’s excavating introspection but also the grace with which she deals with these uncomfortable truths.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMany of the songs on \u003cem\u003eSublimation\u003c\/em\u003e came together almost instantly with Shalom sitting down with her bass and coming out with a fully-written song in a couple of hours. Standout “\u003cem\u003eLighter\u003c\/em\u003e,” Shalom recalls, took 45 minutes. 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Mine First\u003cbr\u003e12. Live Through This \u003cbr\u003e13. End In Sight\u003c\/p\u003e","brand":"Saddle Creek","offers":[{"title":"Default Title","offer_id":42825350971553,"sku":"","price":27.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/products\/Shalom_-_Sublimation.jpg?v=1673604606"},{"product_id":"indigo-de-souza-all-of-this-will-end-lp-opaque-red-vinyl-apr-28","title":"INDIGO DE SOUZA - All of This Will End - LP - Opaque Red Vinyl [APR 28]","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eLP - Limited Edition Opaque Red Vinyl. \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIndigo De Souza\u003c\/strong\u003e announces her new album \u003cem\u003eAll of This Will End\u003c\/em\u003e, the anticipated follow-up to her acclaimed 2021 breakthrough album \u003cem\u003eAny Shape You Take\u003c\/em\u003e, out April 28th via \u003cstrong\u003eSaddle Creek\u003c\/strong\u003e. All of This Will End marks a warmer and unmistakably audacious era for her. It’s a statement about fearlessly moving forward from the past into a gratitude-filled present, feeling it all every step of the way, and choosing to embody loving awareness. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAcross 11 songs, the album is a raw and radically optimistic work that grapples with mortality, the rejuvenation that community brings, and the importance of centering yourself now. These tracks come from the most resonant moments of her life: childhood memories, collecting herself in parking lots, the ecstatic trips spent wandering the Appalachian mountains and southern swamps with friends, and the times she had to stand up for herself. “All of This Will End feels more true to me than anything ever has,” she says. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Time Back\u003cbr\u003e2. You Can Be Mean\u003cbr\u003e3. Losing\u003cbr\u003e4. Wasting Your Time\u003cbr\u003e5. Parking Lot\u003cbr\u003e6. All of This Will End\u003cbr\u003e7. Smog\u003cbr\u003e8. The Water\u003cbr\u003e9. Always\u003cbr\u003e10. Not My Body\u003cbr\u003e11. 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The Pittsburgh quartet’s sophomore album, \u003cem\u003eGirl with Fish\u003c\/em\u003e, was made focusing on intuition over intention: letting the magic of collaboration come first. “Anything that makes us laugh or puts a smile on our faces, we usually end up keeping in the songs,” explains drummer \u003cstrong\u003eJake Kelley\u003c\/strong\u003e. Across 11 self-recorded and self-produced tracks, the band careens from blissed-out pop to harsh noise, glitchy programmed drum beats, and off-kilter indie rock—sometimes all in one song. As a follow-up to their critically acclaimed 2021 debut \u003cem\u003eHayday\u003c\/em\u003e, this LP, with its overwhelmingly inviting and emotionally resonant tracklist, is a document of four people trusting their instincts and most importantly each other.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLike the album name, which came from an inside joke the band shared about imagined painting titles at a museum, there’s a sense of humor that’s welcoming and light. The bruising opener “\u003cem\u003eFreak\u003c\/em\u003e,” for all its pummeling drums and guitar blasts, is a breezy track about an unrequited crush on a college star athlete (\u003cstrong\u003eSlocum\u003c\/strong\u003e sings, “how can you be satisfied \/ she's 5'1 and you're 6'5”). “I think we just felt more confident on this album,” says Slocum. “We could have\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003efelt more pressure and more unsure of ourselves. But we just wanted to try new things, and learn from what people liked about \u003cem\u003eHayday\u003c\/em\u003e but not make the same song again.”\u003cbr\u003e\u003cbr\u003e\u003cem\u003eGirl with Fish\u003c\/em\u003e is a testament to the power of self-recording, doing it yourself, and taking a leap with the people you are closest with. “Besides our friendship getting stronger and our songs becoming more interesting to us, nothing’s really changed,” says \u003cstrong\u003eKinsler\u003c\/strong\u003e. “It's still us just hanging out: This is what we do instead of playing video games.”\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Freak\u003cbr\u003e2. Tin Man\u003cbr\u003e3. Steamroller\u003cbr\u003e4. Heaven\u003cbr\u003e5. Paces\u003cbr\u003e6. Sweet\u003cbr\u003e7. Slide\u003cbr\u003e8. Healing\u003cbr\u003e9. 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The bruising opener “\u003cem\u003eFreak\u003c\/em\u003e,” for all its pummeling drums and guitar blasts, is a breezy track about an unrequited crush on a college star athlete (\u003cstrong\u003eSlocum\u003c\/strong\u003e sings, “how can you be satisfied \/ she's 5'1 and you're 6'5”). “I think we just felt more confident on this album,” says Slocum. “We could have\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003efelt more pressure and more unsure of ourselves. But we just wanted to try new things, and learn from what people liked about \u003cem\u003eHayday\u003c\/em\u003e but not make the same song again.”\u003cbr\u003e\u003cbr\u003e\u003cem\u003eGirl with Fish\u003c\/em\u003e is a testament to the power of self-recording, doing it yourself, and taking a leap with the people you are closest with. “Besides our friendship getting stronger and our songs becoming more interesting to us, nothing’s really changed,” says \u003cstrong\u003eKinsler\u003c\/strong\u003e. “It's still us just hanging out: This is what we do instead of playing video games.”\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Freak\u003cbr\u003e2. Tin Man\u003cbr\u003e3. Steamroller\u003cbr\u003e4. Heaven\u003cbr\u003e5. Paces\u003cbr\u003e6. Sweet\u003cbr\u003e7. Slide\u003cbr\u003e8. Healing\u003cbr\u003e9. 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She met \u003cstrong\u003eBuck Meek\u003c\/strong\u003e the day she moved there, at a corner market called Mr. Kiwi (although, technically they had already played a show together in Boston, so they recognized each other but weren’t sure from where). The two explored the city by bicycle and eventually began to play songs together. \"It was one of those friendships that developed extremely fast where suddenly you're each other's best friend,\" Lenker says. \"We hung out every day from the moment we met.”\u003cbr\u003e\u003cbr\u003eMeek’s off-kilter, piercing guitar licks and solos are the perfect juxtaposition to bring Lenker’s melodic and stirring vocals and lyrics to fruition. \"I guess what struck me as a songwriter then was that her songs all seemed to be really human, and really emotional, and really honest — vulnerable — but at the same time they all somehow had this ineffable quality,\" Meek says. \"Like, all of that human content was serving as a medium for something beyond.” Soon they picked up a white conversion van, named her Bonnie, and made touring their whole lives. \u003cbr\u003e\u003cbr\u003eIn 2014, songs crafted on the road were captured on two EPs released under the \u003cstrong\u003eBuck and Anne\u003c\/strong\u003e moniker: one called a-sides and one called b-sides. 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Though it trades muscular guitar rock for understated piano, it’s still the most urgent, cathartic, and personal release of Powell’s career so far. “It's the weirdest, mightiest little record I've made since I used to write music on my four-track when I was 14,” says Powell. “I needed to make a love letter to my teenage self by being more vulnerable and doing all the production myself.” Here, they doggedly value their own intuition over anything else to make their most rewarding album yet.\u003cbr\u003e\u003cbr\u003e\u003cem\u003ePerformances\u003c\/em\u003e is a defiant and resonant blow against expectations and outside pressure. It’s an LP showcasing an artist without constraints and allowing themself to be radically honest. “The album title is very literal,” says Powell. “I'm performing what's in my brain but I'm tired of performing femininity for the music industry, femininity in my life, respectability, and vulnerability. 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He said, “You know, when gardening, the right decision to make for the landscape is usually the one that is already happening. It just takes time to read what that is.\" \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSo, John left the orchard to meet \u003cstrong\u003eShahzad Ismaily\u003c\/strong\u003e (Feist, Lou Reed, Arooj Aftab) for lunch. They instantly bonded, talking about improvisation, rhythm, the heart. On a lark, Shahzad invited John to New York. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSongs started to form, songs about shame and grief, love and redemption. They came fast, a song a day for two weeks. It was different from past albums, which felt like years of hammering out lyrics and ideas. This one came in the wake of a long illness, where tunes came in a rush, as if they were physical, as if the body couldn’t heal without them. 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Across 11 self-record-ed and self-produced tracks, the band careens from blissed-out pop to harsh noise, glitchy programmed drum beats, and o-kilter indie rock—sometimes all in one song. As a follow-up to their critically acclaimed 2021 debut \u003cem\u003eHayday\u003c\/em\u003e, this LP, with its overwhelmingly inviting and emotionally resonant tracklist, is a document of four people trusting their instincts and most importantly each other. \u003c\/p\u003e\n\u003cp\u003eFor the members of \u003cstrong\u003efeeble little horse\u003c\/strong\u003e, \u003cem\u003eHaydaywas \u003c\/em\u003eoriginally going to be their rst and last album. 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Led by \u003cstrong\u003eElizabeth Powell\u003c\/strong\u003e, they have spent the last 18 years carving their own path through the music scene, captivating audiences with their emotive soundscapes and raw vulnerability.\u003c\/p\u003e\n\u003cp\u003eThe EPs brings 2009's \u003cem\u003eFun And Laughter\u003c\/em\u003e and 2021's \u003cem\u003eCalming Night Partner\u003c\/em\u003e together on vinyl for the first time, combining two distinct chapters in Land of Talk's sonic journey while offering fans a unique perspective on the evolution of their sound.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFun And Laughter\u003c\/em\u003e showcases the band's early experimentation with texture and tone. From the shimmering guitars of \"\u003cem\u003eMay You Never\u003c\/em\u003e,\" to the haunting melodies of \"\u003cem\u003eA Series Of Small Flames\u003c\/em\u003e,\" each track exudes a sense of youthful energy and introspection.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCalming Night Partner\u003c\/em\u003e is an equally mesmerizing collection of songs that delves into themes of longing and redemption. With tracks like \"\u003cem\u003eLeave Life Alone\u003c\/em\u003e,\" and \"\u003cem\u003eSomething Will Be Said\u003c\/em\u003e,\" the EP showcases Powell's continuing evolution as a songwriter and lyricist.\u003c\/p\u003e\n\u003cp\u003eThis release represents more than just a collection of songs; they are a testament to the band's unwavering commitment to their craft and their unyielding passion for storytelling through music. As they continue to push the boundaries of their sound and forge new paths in the indie rock landscape, one thing remains certain: the echoes of Land of Talk will linger on, resonating in the hearts and minds of listeners for years to come. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide A - \"\u003cem\u003eFun And Laughter\":\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e1. Sixteen Asterisk\u003cbr\u003e2. May You Never\u003cbr\u003e3. As Me\u003cbr\u003e4. A Series Of Small Flames\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide B - \"\u003cem\u003eCalming Night Partner\"\u003c\/em\u003e:\u003c\/strong\u003e\u003cbr\u003e1. Leave Life Alone\u003cbr\u003e2. Moment Feed\u003cbr\u003e3. Calming Night Partner\u003cbr\u003e4. 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This latest offering is the most crystallized version of the band’s aesthetic, a continued meditation on the end of relationships and the unsteadiness that follows. It is a meticulous, beautiful, and quietly heartbreaking collection of songs. More often than not, it sounds like listening to a walkman from inside of a hurricane, like the YouTube videos you’d watch in bed for 18 hours straight after you break your wrist from a skateboarding accident.\u003c\/p\u003e\n\u003cp\u003eThe goal in making \u003cem\u003eYOU’LL HAVE TO LOSE SOMETHING\u003c\/em\u003e was to soften out some of the edges. “Less hard left turns,” says \u003cstrong\u003eWichlin\u003c\/strong\u003e. “We wanted to make something intentionally less antagonistic,” he jokes. In practice, this means the record has slightly fewer drastic arrangement changes, and it is more stripped down. Take “\u003cem\u003eI’VE BEEN EVIL\u003c\/em\u003e,” one of the newest songs on the record, as one such offering. It is straightforward in that its tempo is consistent, in that the song keeps us in the same place. It does not digress. It holds itself steady, with bleary-eyed guitars and hushed vocals. The song is weary, the song is a whisper. The utterance “I’ve been evil,” is like the shrug of a shoulder, a so what, ha ha.\u003c\/p\u003e\n\u003cp\u003eLess straightforward is the sublime “\u003cem\u003eLET THE VIRGIN DRIVE\u003c\/em\u003e,” a genuinely frightening pop track that anchors itself on fucked up Japanese City pop samples and a demented news clip of someone screaming. The song was originally written around the time the band was touring \u003cem\u003eENTERTAINMENT, DEATH\u003c\/em\u003e, and took a few years to fully flesh itself out. It is like staring into the sun, like waking up in a body bag “It’s about unrequited love and making up a situation or whole life in your head,” says \u003cstrong\u003eSchwartz\u003c\/strong\u003e of its thematic underpinning, “The other person finally ‘sees you’ and your ‘problems are solved,’ but they aren’t, really.” The song hiccups and warbles — you can hear the tape hiss, the instability, how it kind of feels like the whole song might get sucked into a black hole’s event horizon. “Heaven is a lie\/cause you are earthly\/and you’re alive,” Schwartz sings at the song’s outset.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eYOU’LL HAVE TO LOSE SOMETHING\u003c\/em\u003e is a record of provocations. It wants you to think it is just normal rock ‘n’ roll music. That it is purely pleasure oriented. But beneath these intentions is a collection of songs that are as complex as ever. The Ravede-led “\u003cem\u003eFOUND A BODY\u003c\/em\u003e,” is a downtempo smoke cloud of variegated synths. “Found a body,” she sings “No one can touch me.” “\u003cem\u003eSUN SWEPT THE EVENING RED\u003c\/em\u003e,” starts out disconcertingly chipper, before breaking down into an assault of sludged out guitars, auto-tuned vocals, a flurry of strings. Like all SPIRIT records, It is music made by three distinct voices, written independently and then assembled together. Despite being written all over the globe, with Ravede in Portugal and Schwartz and Wichlin back in Philadelphia, the trio arrived at the same themes: that of the brutality of coming to terms with reality, that of what it means to lie to protect yourself and your heart. Schwartz says he writes songs more or less in a stream of consciousness. The band listens to very little outside music when working. The result is a record that very much is its own world. Where chaos is carefully organized, where being able to ever actually chill out is totally illusory, a trick mirror. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1.   THE DISRUPTION (featuring \u003cstrong\u003eMSPAINT\u003c\/strong\u003e)\u003cbr\u003e2.   STRANGER ALIVE\u003cbr\u003e3.   THE CUT DEPICTS THE CUT\u003cbr\u003e4.   LET THE VIRGIN DRIVE\u003cbr\u003e5.   SORRY PORE INJECTOR\u003cbr\u003e6.   FOUND A BODY\u003cbr\u003e7.   SUN SWEPT THE EVENING RED\u003cbr\u003e8.   SOMETHING’S ENDING\u003cbr\u003e9.   I’VE BEEN EVIL\u003cbr\u003e10. 1\/500\u003cbr\u003e11. DUPLICATE SPOTTED\u003cbr\u003e12. 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This latest offering is the most crystallized version of the band’s aesthetic, a continued meditation on the end of relationships and the unsteadiness that follows. It is a meticulous, beautiful, and quietly heartbreaking collection of songs. More often than not, it sounds like listening to a walkman from inside of a hurricane, like the YouTube videos you’d watch in bed for 18 hours straight after you break your wrist from a skateboarding accident.\u003c\/p\u003e\n\u003cp\u003eThe goal in making \u003cem\u003eYOU’LL HAVE TO LOSE SOMETHING\u003c\/em\u003e was to soften out some of the edges. “Less hard left turns,” says \u003cstrong\u003eWichlin\u003c\/strong\u003e. “We wanted to make something intentionally less antagonistic,” he jokes. In practice, this means the record has slightly fewer drastic arrangement changes, and it is more stripped down. Take “\u003cem\u003eI’VE BEEN EVIL\u003c\/em\u003e,” one of the newest songs on the record, as one such offering. It is straightforward in that its tempo is consistent, in that the song keeps us in the same place. It does not digress. It holds itself steady, with bleary-eyed guitars and hushed vocals. The song is weary, the song is a whisper. The utterance “I’ve been evil,” is like the shrug of a shoulder, a so what, ha ha.\u003c\/p\u003e\n\u003cp\u003eLess straightforward is the sublime “\u003cem\u003eLET THE VIRGIN DRIVE\u003c\/em\u003e,” a genuinely frightening pop track that anchors itself on fucked up Japanese City pop samples and a demented news clip of someone screaming. The song was originally written around the time the band was touring \u003cem\u003eENTERTAINMENT, DEATH\u003c\/em\u003e, and took a few years to fully flesh itself out. It is like staring into the sun, like waking up in a body bag “It’s about unrequited love and making up a situation or whole life in your head,” says \u003cstrong\u003eSchwartz\u003c\/strong\u003e of its thematic underpinning, “The other person finally ‘sees you’ and your ‘problems are solved,’ but they aren’t, really.” The song hiccups and warbles — you can hear the tape hiss, the instability, how it kind of feels like the whole song might get sucked into a black hole’s event horizon. “Heaven is a lie\/cause you are earthly\/and you’re alive,” Schwartz sings at the song’s outset.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eYOU’LL HAVE TO LOSE SOMETHING\u003c\/em\u003e is a record of provocations. It wants you to think it is just normal rock ‘n’ roll music. That it is purely pleasure oriented. But beneath these intentions is a collection of songs that are as complex as ever. The Ravede-led “\u003cem\u003eFOUND A BODY\u003c\/em\u003e,” is a downtempo smoke cloud of variegated synths. “Found a body,” she sings “No one can touch me.” “\u003cem\u003eSUN SWEPT THE EVENING RED\u003c\/em\u003e,” starts out disconcertingly chipper, before breaking down into an assault of sludged out guitars, auto-tuned vocals, a flurry of strings. Like all SPIRIT records, It is music made by three distinct voices, written independently and then assembled together. Despite being written all over the globe, with Ravede in Portugal and Schwartz and Wichlin back in Philadelphia, the trio arrived at the same themes: that of the brutality of coming to terms with reality, that of what it means to lie to protect yourself and your heart. Schwartz says he writes songs more or less in a stream of consciousness. The band listens to very little outside music when working. The result is a record that very much is its own world. Where chaos is carefully organized, where being able to ever actually chill out is totally illusory, a trick mirror. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e*\u003c\/strong\u003e Depiction of this product is a digital rendering and for illustrative purposes only. Actual product detailing may vary.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1.   THE DISRUPTION (featuring \u003cstrong\u003eMSPAINT\u003c\/strong\u003e)\u003cbr\u003e2.   STRANGER ALIVE\u003cbr\u003e3.   THE CUT DEPICTS THE CUT\u003cbr\u003e4.   LET THE VIRGIN DRIVE\u003cbr\u003e5.   SORRY PORE INJECTOR\u003cbr\u003e6.   FOUND A BODY\u003cbr\u003e7.   SUN SWEPT THE EVENING RED\u003cbr\u003e8.   SOMETHING’S ENDING\u003cbr\u003e9.   I’VE BEEN EVIL\u003cbr\u003e10. 1\/500\u003cbr\u003e11. DUPLICATE SPOTTED\u003cbr\u003e12. 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It is straightforward in that its tempo is consistent, in that the song keeps us in the same place. It does not digress. It holds itself steady, with bleary-eyed guitars and hushed vocals. The song is weary, the song is a whisper. The utterance “I’ve been evil,” is like the shrug of a shoulder, a so what, ha ha.\u003c\/p\u003e\n\u003cp\u003eLess straightforward is the sublime “\u003cem\u003eLET THE VIRGIN DRIVE\u003c\/em\u003e,” a genuinely frightening pop track that anchors itself on fucked up Japanese City pop samples and a demented news clip of someone screaming. The song was originally written around the time the band was touring \u003cem\u003eENTERTAINMENT, DEATH\u003c\/em\u003e, and took a few years to fully flesh itself out. It is like staring into the sun, like waking up in a body bag “It’s about unrequited love and making up a situation or whole life in your head,” says \u003cstrong\u003eSchwartz\u003c\/strong\u003e of its thematic underpinning, “The other person finally ‘sees you’ and your ‘problems are solved,’ but they aren’t, really.” The song hiccups and warbles — you can hear the tape hiss, the instability, how it kind of feels like the whole song might get sucked into a black hole’s event horizon. “Heaven is a lie\/cause you are earthly\/and you’re alive,” Schwartz sings at the song’s outset.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eYOU’LL HAVE TO LOSE SOMETHING\u003c\/em\u003e is a record of provocations. It wants you to think it is just normal rock ‘n’ roll music. That it is purely pleasure oriented. But beneath these intentions is a collection of songs that are as complex as ever. The Ravede-led “\u003cem\u003eFOUND A BODY\u003c\/em\u003e,” is a downtempo smoke cloud of variegated synths. “Found a body,” she sings “No one can touch me.” “\u003cem\u003eSUN SWEPT THE EVENING RED\u003c\/em\u003e,” starts out disconcertingly chipper, before breaking down into an assault of sludged out guitars, auto-tuned vocals, a flurry of strings. Like all SPIRIT records, It is music made by three distinct voices, written independently and then assembled together. Despite being written all over the globe, with Ravede in Portugal and Schwartz and Wichlin back in Philadelphia, the trio arrived at the same themes: that of the brutality of coming to terms with reality, that of what it means to lie to protect yourself and your heart. Schwartz says he writes songs more or less in a stream of consciousness. The band listens to very little outside music when working. The result is a record that very much is its own world. Where chaos is carefully organized, where being able to ever actually chill out is totally illusory, a trick mirror. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1.   THE DISRUPTION (featuring \u003cstrong\u003eMSPAINT\u003c\/strong\u003e)\u003cbr\u003e2.   STRANGER ALIVE\u003cbr\u003e3.   THE CUT DEPICTS THE CUT\u003cbr\u003e4.   LET THE VIRGIN DRIVE\u003cbr\u003e5.   SORRY PORE INJECTOR\u003cbr\u003e6.   FOUND A BODY\u003cbr\u003e7.   SUN SWEPT THE EVENING RED\u003cbr\u003e8.   SOMETHING’S ENDING\u003cbr\u003e9.   I’VE BEEN EVIL\u003cbr\u003e10. 1\/500\u003cbr\u003e11. DUPLICATE SPOTTED\u003cbr\u003e12. 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Centered on the “energy vampire” archetype — the exasperating windbag we’ve all encountered at some point — its lyrics are at once intellectually biting and unmistakably hilarious. His tender voice rings out like the ghost of Roy Orbison or a misfit Everly brother.   \u003c\/p\u003e\n\u003cp\u003eJohnson spent years tending bar at Al’s Tavern in Seattle’s Wallingford neighbourhood. There, he encountered folks of all stripes; and regulars enthusiastically murmured about his budding musical greatness — There’s the best songwriter in town! Johnson was a kind of local lore, a long-held family secret, before the singer finally broke out in 2023 with his debut album, Nothing For Me Please, at age 50. \u003cem\u003eI Hope We Can Still Be Friends\u003c\/em\u003e is essentially an anthology that bridges Johnson’s earliest days as a songwriter with his present-day outlook and abilities. There are songs that have been in his setlists for years, and others that will be new to fans. Each of its 11 tracks contains jocular social commentary or lovingly rendered affairs of the heart. The album’s songs about love and relationships offer another way to interpret its title: as a parting thought to an ex.  \u003c\/p\u003e\n\u003cp\u003eLike all of Johnson’s cable-knit writing, the title is a clever banner for the album’s dual nature, the thing that binds its tragedy and comedy masks. Johnson explains that he didn’t set out to make a concept album. It’s a coincidence that about half of the album’s songs are a bit sardonic, and the other half are more lighthearted. The singer playfully refers to the former as his “mean” songs, which is why the album’s back cover is adorned with a warning that says “\u003cem\u003eBeware of Dean\u003c\/em\u003e.” \u003c\/p\u003e\n\u003cp\u003eLike John Prine or Kris Kristofferson’s country-adjacent sound, devastating humour and economical profundity refracted through a barroom’s haze, the album is filled with easygoing twang, sad characters, universal truths and the absurdity of everyday life. “\u003cem\u003eCarol\u003c\/em\u003e” recounts the numb consumption and dissipating cultural attention that is besieging America. 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Centered on the “energy vampire” archetype — the exasperating windbag we’ve all encountered at some point — its lyrics are at once intellectually biting and unmistakably hilarious. His tender voice rings out like the ghost of Roy Orbison or a misfit Everly brother.   \u003c\/p\u003e\n\u003cp\u003eJohnson spent years tending bar at Al’s Tavern in Seattle’s Wallingford neighbourhood. There, he encountered folks of all stripes; and regulars enthusiastically murmured about his budding musical greatness — There’s the best songwriter in town! Johnson was a kind of local lore, a long-held family secret, before the singer finally broke out in 2023 with his debut album, Nothing For Me Please, at age 50. \u003cem\u003eI Hope We Can Still Be Friends\u003c\/em\u003e is essentially an anthology that bridges Johnson’s earliest days as a songwriter with his present-day outlook and abilities. There are songs that have been in his setlists for years, and others that will be new to fans. 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The singer playfully refers to the former as his “mean” songs, which is why the album’s back cover is adorned with a warning that says “\u003cem\u003eBeware of Dean\u003c\/em\u003e.” \u003c\/p\u003e\n\u003cp\u003eLike John Prine or Kris Kristofferson’s country-adjacent sound, devastating humour and economical profundity refracted through a barroom’s haze, the album is filled with easygoing twang, sad characters, universal truths and the absurdity of everyday life. “\u003cem\u003eCarol\u003c\/em\u003e” recounts the numb consumption and dissipating cultural attention that is besieging America. 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Centered on the “energy vampire” archetype — the exasperating windbag we’ve all encountered at some point — its lyrics are at once intellectually biting and unmistakably hilarious. His tender voice rings out like the ghost of Roy Orbison or a misfit Everly brother.   \u003c\/p\u003e\n\u003cp\u003eJohnson spent years tending bar at Al’s Tavern in Seattle’s Wallingford neighbourhood. There, he encountered folks of all stripes; and regulars enthusiastically murmured about his budding musical greatness — There’s the best songwriter in town! Johnson was a kind of local lore, a long-held family secret, before the singer finally broke out in 2023 with his debut album, Nothing For Me Please, at age 50. \u003cem\u003eI Hope We Can Still Be Friends\u003c\/em\u003e is essentially an anthology that bridges Johnson’s earliest days as a songwriter with his present-day outlook and abilities. There are songs that have been in his setlists for years, and others that will be new to fans. Each of its 11 tracks contains jocular social commentary or lovingly rendered affairs of the heart. The album’s songs about love and relationships offer another way to interpret its title: as a parting thought to an ex.  \u003c\/p\u003e\n\u003cp\u003eLike all of Johnson’s cable-knit writing, the title is a clever banner for the album’s dual nature, the thing that binds its tragedy and comedy masks. Johnson explains that he didn’t set out to make a concept album. It’s a coincidence that about half of the album’s songs are a bit sardonic, and the other half are more lighthearted. The singer playfully refers to the former as his “mean” songs, which is why the album’s back cover is adorned with a warning that says “\u003cem\u003eBeware of Dean\u003c\/em\u003e.” \u003c\/p\u003e\n\u003cp\u003eLike John Prine or Kris Kristofferson’s country-adjacent sound, devastating humour and economical profundity refracted through a barroom’s haze, the album is filled with easygoing twang, sad characters, universal truths and the absurdity of everyday life. “\u003cem\u003eCarol\u003c\/em\u003e” recounts the numb consumption and dissipating cultural attention that is besieging America. 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It’s also the first with their original lineup—vocalist-bassist \u003cstrong\u003ePeter Helmis\u003c\/strong\u003e, guitarists \u003cstrong\u003eJoe Reinhart\u003c\/strong\u003e and \u003cstrong\u003eColin Mahony\u003c\/strong\u003e, and drummer \u003cstrong\u003eNick Tazza\u003c\/strong\u003e—since Algernon’s seminal 2008 debut, \u003cem\u003eSome Kind of Cadwallader\u003c\/em\u003e. Shortly after that album was recorded—and long before it was heralded as a lodestar for the 2010s “emo revival”—Tazza and Mahony departed the band. Despite their looming influence on the aforementioned “revival,” Algernon broke up in 2012 following the release of \u003cem\u003eParrot Flies\u003c\/em\u003e and remained stubbornly deceased until their fiendishly anticipated resurrection in 2022.\u003c\/p\u003e\n\u003cp\u003e“I almost see it as fate that it boiled us down to this core, our original form,” Helmis says. “There’s a certain magic to that that couldn’t really be replicated.”\u003c\/p\u003e\n\u003cp\u003eThere was no expectation that the reunion tour would precipitate new music. However, as the band began rehearsing their classic songs, new ideas started leaking out in the form of off-the-cuff jams, and the seeds of \u003cem\u003eTrying Not to Have a Thought\u003c\/em\u003e began to germinate. Reinhart was pleasantly surprised that, even after 17 years of not playing together under the Algernon umbrella, the foursome’s foundational musical chemistry was still surging.\u003c\/p\u003e\n\u003cp\u003e“I’m kind of hearing in my head what this person’s already doing,” Reinhart says, recalling the intuitive flow of those improvisational jams.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTrying Not to Have a Thought\u003c\/em\u003e is simultaneously the most considered and off-the-cuff Algernon Cadwallader album yet. The 11-song classic was written across two rural retreats on either side of the country, first in Snoqualmie, Washington (mythically known as Twin Peaks), and then in the Poconos in the woods of Pennsylvania. After an initial session at \u003cstrong\u003ePachyderm Studios\u003c\/strong\u003e in Cannon Falls, Minnesota, the collection was largely recorded and self-produced at Reinhart’s \u003cstrong\u003eHeadroom Studios\u003c\/strong\u003e in Philadelphia. Whereas some reunion records sound stilted and forced, this record sounds resplendently natural: the production warm and lively, the musicianship congenial yet exacting, and the hooks effortlessly sticky. Fans who've been listening to Algernon since their 2005 formation will be fondly reminded of the band’s familiar ring, but the album feels distinctly uncoupled from any of the ephemeral trends that Algernon were previously filed under. Their musical touchpoints remain unchanged—“Joan of Arc and Pavement in a blender is where we end up sitting,” Reinhart says with a smile—but the band sounds more comfortably singular than ever before.\u003c\/p\u003e\n\u003cp\u003eAlgernon Cadwallader are certainly cognizant of their cult legacy, a status that's transformed their fanbase into a unique convergence of graying punk lifers and fresh-faced teens who first discovered “midwest emo” on TikTok. Given the long gap between albums and the critical acclaim they’ve garnered in that time, it would’ve been understandable for the guys to feel pressured to live up to their own standards while making this new record. Thankfully, the opposite was the case.\u003c\/p\u003e\n\u003cp\u003e“If anything, I think [our legacy] made us feel like we had more freedom to be ourselves and let it come out naturally,“ Helmis says. Reinhart doubles down on their creative autonomy: “The only thing we ever try to do is entertain ourselves. Do we like this? Good. No? Let’s try harder.\"\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTrying Not to Have a Thought\u003c\/em\u003e differs most from previous Algernon records in its lyrical content. On their first two albums, Helmis avoided heart-on-sleeve emo tropes by penning prose that was ambiguous and out there. For this batch of songs, Helmis felt compelled to be a little more thematically explicit, pointedly exploring the tension between the necessity of self-improvement and the urgency of the external. Specifically, the doom-scrollable apocalypse that is modern American life. Album opener “\u003cem\u003eHawk\u003c\/em\u003e” is a brisk, poignant meditation on grief that weighs the ache of loss against the bittersweet memories that keep the deceased ever present. “Revelation 420” and “\u003cem\u003eMillion Dollars\u003c\/em\u003e” are scorching political diatribes that excoriate capitalism’s failures and venerate protest. “\u003cem\u003eAttn MOVE\u003c\/em\u003e” is a historical reminder of the MOVE 9, a group of Black radical activists whose Philadelphia homes were notoriously bombed by police in 1985—a block of houses that's located right between Reinhart’s current house and Headroom Studios.\u003c\/p\u003e\n\u003cp\u003eWith \u003cem\u003eTrying Not to Have a Thought\u003c\/em\u003e, Algernon Cadwallader juggle intrinsic musical connection and shrewd lyrical intention with remarkable poise. The album’s title perfectly captures that dual approach: the effort to resist being mentally bogged down by the bottomless list of daily atrocities, and the band’s decision to let their unspoken connection guide this rejuvenated take on their classic sound. “This is just what comes out of us when these four people get in a room,” Helmis says. And this record is exactly that: an Algernon Cadwallader album that's leisurely, intensely, tremendously their own.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e1. Hawk \u003cbr\u003e2. Shameless Faces (even the guy who made the thing was a piece of shit)\u003cbr\u003e3. What's Mine\u003cbr\u003e4. noitanitsarcorP\u003cbr\u003e5. Koyaanisqatsi\u003cbr\u003e6. Trying Not To Have A Thought\u003cbr\u003e7. You've Always Been Here\u003cbr\u003e8. Revelation 420\u003cbr\u003e9. Million Dollars\u003cbr\u003e10. Attn MOVE\u003cbr\u003e11. World Of Difference\u003c\/p\u003e","brand":"Saddle Creek","offers":[{"title":"Default Title","offer_id":55927713726809,"sku":null,"price":14.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/files\/Algernon_Cadwallader_-_Trying_Not_To_Have_A_Thought_-_CD_-_2025.jpg?v=1755108984"},{"product_id":"algernon-cadwallader-trying-not-to-have-a-thought-white-lie-colour-vinyl","title":"ALGERNON CADWALLADER - Trying Not To Have A Thought - 'White Lie' Colour Vinyl [SEP 19]","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eLP - Limited Edition 'White Lie' (Opaque White) Colour Vinyl Pressed at GZ. \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTrying Not to Have a Thought\u003c\/em\u003e isn’t just the first \u003cstrong\u003eAlgernon Cadwallader\u003c\/strong\u003e album since 2011’s \u003cem\u003eParrot Flies\u003c\/em\u003e. It’s also the first with their original lineup—vocalist-bassist \u003cstrong\u003ePeter Helmis\u003c\/strong\u003e, guitarists \u003cstrong\u003eJoe Reinhart\u003c\/strong\u003e and \u003cstrong\u003eColin Mahony\u003c\/strong\u003e, and drummer \u003cstrong\u003eNick Tazza\u003c\/strong\u003e—since Algernon’s seminal 2008 debut, \u003cem\u003eSome Kind of Cadwallader\u003c\/em\u003e. Shortly after that album was recorded—and long before it was heralded as a lodestar for the 2010s “emo revival”—Tazza and Mahony departed the band. Despite their looming influence on the aforementioned “revival,” Algernon broke up in 2012 following the release of \u003cem\u003eParrot Flies\u003c\/em\u003e and remained stubbornly deceased until their fiendishly anticipated resurrection in 2022.\u003c\/p\u003e\n\u003cp\u003e“I almost see it as fate that it boiled us down to this core, our original form,” Helmis says. “There’s a certain magic to that that couldn’t really be replicated.”\u003c\/p\u003e\n\u003cp\u003eThere was no expectation that the reunion tour would precipitate new music. However, as the band began rehearsing their classic songs, new ideas started leaking out in the form of off-the-cuff jams, and the seeds of \u003cem\u003eTrying Not to Have a Thought\u003c\/em\u003e began to germinate. Reinhart was pleasantly surprised that, even after 17 years of not playing together under the Algernon umbrella, the foursome’s foundational musical chemistry was still surging.\u003c\/p\u003e\n\u003cp\u003e“I’m kind of hearing in my head what this person’s already doing,” Reinhart says, recalling the intuitive flow of those improvisational jams.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTrying Not to Have a Thought\u003c\/em\u003e is simultaneously the most considered and off-the-cuff Algernon Cadwallader album yet. The 11-song classic was written across two rural retreats on either side of the country, first in Snoqualmie, Washington (mythically known as Twin Peaks), and then in the Poconos in the woods of Pennsylvania. After an initial session at \u003cstrong\u003ePachyderm Studios\u003c\/strong\u003e in Cannon Falls, Minnesota, the collection was largely recorded and self-produced at Reinhart’s \u003cstrong\u003eHeadroom Studios\u003c\/strong\u003e in Philadelphia. Whereas some reunion records sound stilted and forced, this record sounds resplendently natural: the production warm and lively, the musicianship congenial yet exacting, and the hooks effortlessly sticky. Fans who've been listening to Algernon since their 2005 formation will be fondly reminded of the band’s familiar ring, but the album feels distinctly uncoupled from any of the ephemeral trends that Algernon were previously filed under. Their musical touchpoints remain unchanged—“Joan of Arc and Pavement in a blender is where we end up sitting,” Reinhart says with a smile—but the band sounds more comfortably singular than ever before.\u003c\/p\u003e\n\u003cp\u003eAlgernon Cadwallader are certainly cognizant of their cult legacy, a status that's transformed their fanbase into a unique convergence of graying punk lifers and fresh-faced teens who first discovered “midwest emo” on TikTok. Given the long gap between albums and the critical acclaim they’ve garnered in that time, it would’ve been understandable for the guys to feel pressured to live up to their own standards while making this new record. Thankfully, the opposite was the case.\u003c\/p\u003e\n\u003cp\u003e“If anything, I think [our legacy] made us feel like we had more freedom to be ourselves and let it come out naturally,“ Helmis says. Reinhart doubles down on their creative autonomy: “The only thing we ever try to do is entertain ourselves. Do we like this? Good. No? Let’s try harder.\"\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTrying Not to Have a Thought\u003c\/em\u003e differs most from previous Algernon records in its lyrical content. On their first two albums, Helmis avoided heart-on-sleeve emo tropes by penning prose that was ambiguous and out there. For this batch of songs, Helmis felt compelled to be a little more thematically explicit, pointedly exploring the tension between the necessity of self-improvement and the urgency of the external. Specifically, the doom-scrollable apocalypse that is modern American life. Album opener “\u003cem\u003eHawk\u003c\/em\u003e” is a brisk, poignant meditation on grief that weighs the ache of loss against the bittersweet memories that keep the deceased ever present. “Revelation 420” and “\u003cem\u003eMillion Dollars\u003c\/em\u003e” are scorching political diatribes that excoriate capitalism’s failures and venerate protest. “\u003cem\u003eAttn MOVE\u003c\/em\u003e” is a historical reminder of the MOVE 9, a group of Black radical activists whose Philadelphia homes were notoriously bombed by police in 1985—a block of houses that's located right between Reinhart’s current house and Headroom Studios.\u003c\/p\u003e\n\u003cp\u003eWith \u003cem\u003eTrying Not to Have a Thought\u003c\/em\u003e, Algernon Cadwallader juggle intrinsic musical connection and shrewd lyrical intention with remarkable poise. The album’s title perfectly captures that dual approach: the effort to resist being mentally bogged down by the bottomless list of daily atrocities, and the band’s decision to let their unspoken connection guide this rejuvenated take on their classic sound. “This is just what comes out of us when these four people get in a room,” Helmis says. And this record is exactly that: an Algernon Cadwallader album that's leisurely, intensely, tremendously their own.\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\u003e1. Hawk \u003cbr\u003e2. Shameless Faces (even the guy who made the thing was a piece of shit)\u003cbr\u003e3. What's Mine\u003cbr\u003e4. noitanitsarcorP\u003cbr\u003e5. Koyaanisqatsi\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e1. Trying Not To Have A Thought\u003cbr\u003e2. You've Always Been Here\u003cbr\u003e3. Revelation 420\u003cbr\u003e4. Million Dollars\u003cbr\u003e5. Attn MOVE\u003cbr\u003e6. World Of Difference\u003c\/p\u003e","brand":"Saddle Creek","offers":[{"title":"Default Title","offer_id":55927735648601,"sku":null,"price":31.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/files\/Algernon_Cadwallader_-_Trying_Not_To_Have_A_Thought_-_LP_White_Lie_Colour_Vinyl_-_2025.jpg?v=1755109299"},{"product_id":"algernon-cadwallader-trying-not-to-have-a-thought-sharpie-yellow-colour-vinyl","title":"ALGERNON CADWALLADER - Trying Not To Have A Thought - 'Sharpie Yellow' Colour Vinyl [SEP 19]","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eLP - Limited Edition 'Sharpie Yellow' (Opaque Yellow) Colour Vinyl Pressed at GZ. \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTrying Not to Have a Thought\u003c\/em\u003e isn’t just the first \u003cstrong\u003eAlgernon Cadwallader\u003c\/strong\u003e album since 2011’s \u003cem\u003eParrot Flies\u003c\/em\u003e. It’s also the first with their original lineup—vocalist-bassist \u003cstrong\u003ePeter Helmis\u003c\/strong\u003e, guitarists \u003cstrong\u003eJoe Reinhart\u003c\/strong\u003e and \u003cstrong\u003eColin Mahony\u003c\/strong\u003e, and drummer \u003cstrong\u003eNick Tazza\u003c\/strong\u003e—since Algernon’s seminal 2008 debut, \u003cem\u003eSome Kind of Cadwallader\u003c\/em\u003e. Shortly after that album was recorded—and long before it was heralded as a lodestar for the 2010s “emo revival”—Tazza and Mahony departed the band. Despite their looming influence on the aforementioned “revival,” Algernon broke up in 2012 following the release of \u003cem\u003eParrot Flies\u003c\/em\u003e and remained stubbornly deceased until their fiendishly anticipated resurrection in 2022.\u003c\/p\u003e\n\u003cp\u003e“I almost see it as fate that it boiled us down to this core, our original form,” Helmis says. “There’s a certain magic to that that couldn’t really be replicated.”\u003c\/p\u003e\n\u003cp\u003eThere was no expectation that the reunion tour would precipitate new music. However, as the band began rehearsing their classic songs, new ideas started leaking out in the form of off-the-cuff jams, and the seeds of \u003cem\u003eTrying Not to Have a Thought\u003c\/em\u003e began to germinate. Reinhart was pleasantly surprised that, even after 17 years of not playing together under the Algernon umbrella, the foursome’s foundational musical chemistry was still surging.\u003c\/p\u003e\n\u003cp\u003e“I’m kind of hearing in my head what this person’s already doing,” Reinhart says, recalling the intuitive flow of those improvisational jams.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTrying Not to Have a Thought\u003c\/em\u003e is simultaneously the most considered and off-the-cuff Algernon Cadwallader album yet. The 11-song classic was written across two rural retreats on either side of the country, first in Snoqualmie, Washington (mythically known as Twin Peaks), and then in the Poconos in the woods of Pennsylvania. After an initial session at \u003cstrong\u003ePachyderm Studios\u003c\/strong\u003e in Cannon Falls, Minnesota, the collection was largely recorded and self-produced at Reinhart’s \u003cstrong\u003eHeadroom Studios\u003c\/strong\u003e in Philadelphia. Whereas some reunion records sound stilted and forced, this record sounds resplendently natural: the production warm and lively, the musicianship congenial yet exacting, and the hooks effortlessly sticky. Fans who've been listening to Algernon since their 2005 formation will be fondly reminded of the band’s familiar ring, but the album feels distinctly uncoupled from any of the ephemeral trends that Algernon were previously filed under. Their musical touchpoints remain unchanged—“Joan of Arc and Pavement in a blender is where we end up sitting,” Reinhart says with a smile—but the band sounds more comfortably singular than ever before.\u003c\/p\u003e\n\u003cp\u003eAlgernon Cadwallader are certainly cognizant of their cult legacy, a status that's transformed their fanbase into a unique convergence of graying punk lifers and fresh-faced teens who first discovered “midwest emo” on TikTok. Given the long gap between albums and the critical acclaim they’ve garnered in that time, it would’ve been understandable for the guys to feel pressured to live up to their own standards while making this new record. Thankfully, the opposite was the case.\u003c\/p\u003e\n\u003cp\u003e“If anything, I think [our legacy] made us feel like we had more freedom to be ourselves and let it come out naturally,“ Helmis says. Reinhart doubles down on their creative autonomy: “The only thing we ever try to do is entertain ourselves. Do we like this? Good. No? Let’s try harder.\"\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTrying Not to Have a Thought\u003c\/em\u003e differs most from previous Algernon records in its lyrical content. On their first two albums, Helmis avoided heart-on-sleeve emo tropes by penning prose that was ambiguous and out there. For this batch of songs, Helmis felt compelled to be a little more thematically explicit, pointedly exploring the tension between the necessity of self-improvement and the urgency of the external. Specifically, the doom-scrollable apocalypse that is modern American life. Album opener “\u003cem\u003eHawk\u003c\/em\u003e” is a brisk, poignant meditation on grief that weighs the ache of loss against the bittersweet memories that keep the deceased ever present. “Revelation 420” and “\u003cem\u003eMillion Dollars\u003c\/em\u003e” are scorching political diatribes that excoriate capitalism’s failures and venerate protest. “\u003cem\u003eAttn MOVE\u003c\/em\u003e” is a historical reminder of the MOVE 9, a group of Black radical activists whose Philadelphia homes were notoriously bombed by police in 1985—a block of houses that's located right between Reinhart’s current house and Headroom Studios.\u003c\/p\u003e\n\u003cp\u003eWith \u003cem\u003eTrying Not to Have a Thought\u003c\/em\u003e, Algernon Cadwallader juggle intrinsic musical connection and shrewd lyrical intention with remarkable poise. The album’s title perfectly captures that dual approach: the effort to resist being mentally bogged down by the bottomless list of daily atrocities, and the band’s decision to let their unspoken connection guide this rejuvenated take on their classic sound. “This is just what comes out of us when these four people get in a room,” Helmis says. And this record is exactly that: an Algernon Cadwallader album that's leisurely, intensely, tremendously their own.\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\u003e1. Hawk \u003cbr\u003e2. Shameless Faces (even the guy who made the thing was a piece of shit)\u003cbr\u003e3. What's Mine\u003cbr\u003e4. noitanitsarcorP\u003cbr\u003e5. Koyaanisqatsi\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e1. 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They pop out on late-night drives between cities. They pop out in green rooms, hotel stairwells, gardens, and kitchens around the world. In the hands of Lenker, songwriting is not an old dead craft. It is alive. It is vital.\u003c\/p\u003e\n\u003cp\u003eThe result is her new album, \u003cem\u003eAbysskiss\u003c\/em\u003e. \"I want to archive the songs in their original forms every few years,\" explains Lenker. \"My first solo record I made was Hours Were the Birds. I had just turned 21 and moved to New York City where I was sleeping in a warehouse, working in a restaurant and photographing pigeons. Now five years later, another skin is being shed.\"\u003c\/p\u003e\n\u003cp\u003eFollowing a two-week road trip through the southwestern United States, Lenker headed into the studio with longtime friend Luke Temple. Temple put on his loosely fitting, bright orange, 100% wool producer hat and for one week they made music. The songs chosen for this collection were the songs that felt the most alive in the room. These are not castaways or B-sides.\u003c\/p\u003e\n\u003cp\u003eSome of these songs have been alive for years while some were written just days before the session. Some will appear in different future forms, some will not. The thread that connects these songs is not something that can easily be put down in words. Intuition connects these songs. They are a record of a time. With this collection, Lenker further illuminates to the listening public what those close to her already know; here we have a songwriter of the highest order, following her voice and the greater Voices that pass through her with an unflinching openness and clarity of translation.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA1        Terminal Paradise\u003cbr\u003eA2        From\u003cbr\u003eA3        Womb\u003cbr\u003eA4        Out Of Your Mind\u003cbr\u003eA5        Cradle\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eB1        Symbol\u003cbr\u003eB2        Blue And Red Horses\u003cbr\u003eB3        Abyss Kiss\u003cbr\u003eB4        What Can You Say\u003cbr\u003eB5        10 Miles\u003c\/p\u003e","brand":"Saddle Creek","offers":[{"title":"Default Title","offer_id":57347853910361,"sku":"L, FOLK","price":26.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/files\/ADRIANNELENKER-Abysskiss-LP-Vinyl.jpg?v=1771671629"}],"url":"https:\/\/spindizzyrecords.com\/collections\/saddle-creek\/country.oembed","provider":"Spindizzy","version":"1.0","type":"link"}