{"title":"2024 Releases","description":"","products":[{"product_id":"laura-jane-grace-hole-in-my-head","title":"Laura Jane Grace - Hole In My Head","description":"\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eIn the Summer of 2022, a 10-year journey came to an end in Amsterdam. Its final score, as the curtain closed and the lights came up, was comprised of the orchestrations that preceded and followed the final act: the buzz of a barber's razor, the droning resonance of a tattoo machine, and the brush of electric sound from the surprise gift of a friend. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eFor a decade, a leading figure and frontwoman of post-punk staple band Against Me!, Laura Jane Grace, had been slowly accruing black-laden bodywork by master Japanese tattoo artists Gakkin and Kenji Alucky. Beginning at her feet, Gakkin's freehanded, organic figures and Alucky's high-contrast geometric works had taken the three all over the world together just as it had taken inches all over Laura Jane's figure. Finally, though this artistic exercise in time and tattoo ink came to a head. Literally. The last place Laura Jane Grace needed tattooed, was her head. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eWhilst on tour in Europe that Summer, Laura Jane Grace, reached out to Gakkin. His shop had been relocated to Amsterdam and the two agreed to meet while they were both there. Pain of course was a consideration, but the most decisive action was that Laura Jane Grace needed to shave her head. As a prominent figure in the trans community, Grace’s hair is tied to their physical identity, and she understood that shaving it would come with questions. That didn’t stop her though, and soon enough her scalp was bare, and she was under the deft hand of her trusted tattoo artist. Two days later, Laura Jane Grace’s head was adorned with bold stroked roses crying around and the wings of a bird of prey, the story was at its close. Or so she thought.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eJust before her departure, Gakkin presented with a token of their work together over the years; a black hollow-body Gretsch guitar, adorned with swirling white and silver cloud-like shapes hand-painted by Gakkin. And it was on this guitar, in the American Hotel in Amsterdam, that Laura Jane Grace commemorated this experience by writing the sixth track “Birds Talk Too” on her newest album \u003ci\u003eHole In My Head\u003c\/i\u003e. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eA musical force since Against Me!'s debut in the late 90's, Laura Jane Grace has never shied away from themes of political commentary, environmentalism, social critique, and candid self-exploration. Following the 2012 public announcement of her gender transition in the pages of Rolling Stone, Laura Jane Grace racked up several accolades. Against Me! released its most acclaimed record to date, \u003ci\u003eTransgender Dysphoria Blues\u003c\/i\u003e in 2014, which was followed by an Emmy-nominated 10-episode companion documentary, \u003ci\u003eTrue Trans with Laura Jane Grace\u003c\/i\u003e. In 2016, Laura Jane Grace teamed up with journalist Dan Ozzi, to co-write her acclaimed memoir \u003ci\u003eTRANNY: Confessions of Punk Rock’s Most Infamous Anarchist\u003c\/i\u003e which went on to be featured on \u003ci\u003eLate Night with Seth Meyers\u003c\/i\u003e, \u003ci\u003eFresh Air with Terry Gross\u003c\/i\u003e, and \u003ci\u003eThe Daily Show with Trevor Noah\u003c\/i\u003e, and rightfully named one of Billboard’s “100 Greatest Music Books of All Time”. \u003ci\u003eHole In My Head\u003c\/i\u003e is Grace’s twelfth album and an exciting hallmark in her colorful and extensive career. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eRecorded at Native Sound in St. Louis, Missouri with David Beeman and mixed \u0026amp; mastered by Matt Allison (engineer for acts such as Lawrence Arms and Rise Against), the album is a sonic curio cabinet containing multitudes. \u003ci\u003eHole In My Head\u003c\/i\u003e features warm 50s-rock-influenced guitar riffs, saved-for-later lyrics, love letters to St. Louis, dysphoria apparel, and thoughtful reflections on a punk life lived. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eThe record's title track \"Hole In My Head\" takes off with a driving guitar-heavy approach that will be welcome to long-time fans of Against Me! Electric machinations drive the song for about 10 seconds before launching into the first verse and punctuated by two lines that serve as the chorus as the song progresses, \"I won’t learn to feel less\/ I need a hole in my head\". The lyrics are captured visually in the album's cover art done by the talented Australian artist and designer Annie Walters. Walters contrasts a black and white photograph of the crumpled, short-haired figure of Laura Jane Grace against a barrage of bright color and illustrative imagery that bursts upward from Grace's splitting head. Much like the song, the cover at first comes off as explosive, possibly violent but upon closer inspection, it becomes clear that the stream of color stems from a physical need for comfort and release. Grace's clutching hands (in image and in writing) are opening herself up.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eBaby what’s the scene?\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eI’ve got places to be\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eSomething left unsaid \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003ewill explode if not released\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eI need a hole in my head\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eI won’t learn to feel less\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eKeeping up the pace, \"Hole In My Head\" is followed by \"I'm Not a Cop\" and \"Dysphoria Hoodie\" in that order. \"I'm Not a Cop\" continues in the themes of self-examination and is backed by a 50\/60's rock style melody a la Jonathan Richman and Eddie Cochran. Richman's influences make several appearances throughout the record. Grace replicates Richman's distinctive musical styling in the form of jangly guitar rhythms and staccato response harmonies. As the melody is juxtaposed against present-tense ruminative lyrics, the song creates a melodic microcosm of sorts. A space in which the listener cannot stop themselves from examining the progression of rock music as a constant form of counter-culture form of expression.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eThe first single from the record is one which audiences who have seen Laura Jane Grace play in the last couple of years may be familiar with. “Dysphoria Hoodie” (released on October 4th), has been a staple in Grace’s setlist, and one which is as personal as it is pertinent in today’s climate. When asked about the song Grace says, \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e\u003ci\u003e\"This is a song about gender dysphoria and your favorite hooded sweatshirt. Any trans person out there knows what a dysphoria hoodie is — it's the hoodie you wear when feeling low and dysphoric and you don't want the world reading your gender. Hide your body shape, hide your head, and disappear as much as you can. Wrap yourself up in it like a blanket anywhere you go. Make your flesh become cotton. Instant protection from the outside world. My dysphoria hoodie happens to be an Adidas hoodie, so yes, this is in fact really just a tribute song to my favorite Adidas hoodie.\"\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eFalling away from the comforts of \"Dysphoria Hoodie\" and following \"Birds Talk Too\", the album pivots back to the influences of Jonathan Richman in the following song \"Punk Rock in Basements\". Heavily inspired by Richman's \"Parties in the USA” and Dion’s “The Wanderer”, \"Punk Rock in Basements\" was written through a post-pandemic rose-colored lens. In the song, Laura Jane Grace looks back on the formative underground spaces of her youth. For decades, basement shows were hallmark experiences for anyone involved in their local punk scenes. They shaped movements, connections, and culture through the forced, sweaty proximity necessary to pour over raucous punk music. It's hard to say whether we'll ever be able to recapture the feelings of those spaces the way they were before the pandemic. Difficult meditations which Grace considers in the lyrics of the song. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eYeah we were loud, we were proud, we were freaking out\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eIt was the sound of revolution that translated into action\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eI can still taste the sweat\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eI have been carried by the motion\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eI have been deafened by the volume\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eThe music gave us freedom\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eIt was a reason to believe in\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eWay, way loud!\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eSee the past appearing \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eDon’t it make you wonder, \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eif you’re coming or you’re leaving?\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eWay, way loud!\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eSee the past repeating\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eDon’t it make you wonder,\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eif you’re following or leading?\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eAs the album's sound begins to settle, Laura Jane Grace's writing shifts to reflect her surroundings. For the last couple of years, Grace has split her time between Chicago and St. Louis, Missouri. And despite her 2018 song \"I Hate Chicago\", Grace wants it known she, in fact, does not hate the Windy City. As a parent, home is wherever Grace's daughter is. But after spending the pandemic cooped up in an apartment where she was unable to make music the way she wanted, she needed to get out. Shortly after, Laura Jane Grace landed in St. Louis and (quite serendipitously) posted up in a studio that formerly belonged to Jay Farrar, frontman of Son Volt and founding member of Uncle Tupelo. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eIt was in St. Louis that Grace celebrated her 42nd birthday, a day commemorated in \u003ci\u003eHole In My Head\u003c\/i\u003e's seventh track \"Tacos and Toast\". This track in addition to its predecessor \"Cuffing Season\" slows down the tempo of the record moving forward as its lyrics delve into Grace's renewed ability to make music in a new place. Grace follows up this love for St. Louis in the album's ninth track, \"Keep Your Wheels Straight\" as well. Immortalizing a night of CBGB's and nonalcoholic beers, a city plagued by urban decay is brought back to life. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e\u003ci\u003e“St. Louis really opened its arms to me and I just have such a great time when I’m there… it’s a really special city … It’s like, to me it feels like the way every city in America felt when I first started touring in the late 90’s. And this crazy mix of like, fun and adventure, but danger and possibility”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eBacked by her own drumming, Grace's forward vocals complement her skills as a guitarist on \u003ci\u003eHole In My Head\u003c\/i\u003e, while the added contributions of Drive-By Truckers bassist, Matt Patton, bolsters a full-band sound throughout the album. Patton, who was recruited through a brief conversation with Grace over Twitter, brought a smooth and collaborative experience to the project, despite the genre differences between the two. When asked, Matt said:\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e\u003ci\u003e\"I would say that our working relationship was immediately comfortable just in the way that she was able to articulate you know, what it was that she wanted me to do. And you know, she had the musical cue and vocabulary to get her points across to where we can work efficiently without any confusion or disagreements. It was a, you know, it was a different level for me.\"\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003ePatton’s playing is all over the record, but really took his moment to shine when given a blank slate with the song “Mercenary”. According to Laura Jane, “Mercenary” is the oldest song on the record and had been workshopped on and off over the years. Patton had wrapped up his time in the studio with Grace and was headed home when Grace sent him the track and told him to do whatever he wanted with it. “Mercenary” has a more roots-based sound with a metronomic sliding bass sound which allows it to stand out on the album. Grace’s ever clear vocals keep it consistent with the rest of the songs though. There is a sharp edge in her voice, almost as if she’s breathing out a challenge as she sings:\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eIf there’s money on the table \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eyou can take it and leave\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eIf there’s a seat in the car \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eno one rides for free\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eI’ve got gold, solid gold\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eCome on and shine with me\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eGo on and take all you want\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eThere’s nothing here that I need\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eWriting from life is easy to do but it’s difficult to master. Life is strange, it’s messy, and for all the talk of it being short, living is the longest thing we can do. How do we get to the point of it all? Writing about it is just one way to make sense of it all. In taking these strange moments, it’s tempting to crowd the story with metaphor or description in an effort to entertain others as we invite them to these parts of our lives. Laura Jane Grace has honed her craft as a songwriter, and takes on the difficult task of telling her stories without losing the details. In the final two tracks of the album “Hard Feelings” and “Give Up the Ghost”, there is almost a stream of consciousness where Grace flows between apologies and regrets to seemingly embellished experiences. Except when she sings “I’m standing at the center of the universe\/ screaming at god, I’m not done” in the final track “Give Up the Ghost”, she’s being serious. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eThe Center of the Universe, an auditory phenomena on a footbridge in downtown Tulsa, Oklahoma. A place where tourists can stand at its center and yell yet not be heard by those standing outside of them. It is an isolating experience for some, where in one space you can say everything or nothing and maybe only god will hear you. Or not. “Give Up the Ghost” is relatively sparse compared to the rest of the record. As it was in the American Hotel in Amsterdam and the bedroom of her childhood, it is just Laura Jane Grace and a guitar, setting her time and memory to melody the hard-edged yet honest way she’s mastered. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e\u003ci\u003eHole In My Head \u003c\/i\u003eis a record which captures the nuances of humanity and experience in a strangely optimistic manner. The lightness of its influence and the journalistic recollection of experience set against a battered and warm folk-punk delivery from beginning to end makes \u003ci\u003eHole In My Head\u003c\/i\u003e a fun comfort. It is a welcome embrace of life and just the start of a new chapter in Laura Jane Grace’s raucous journey.\u003c\/span\u003e\u003c\/p\u003e\u003cblockquote\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAll songs written \u0026amp; performed by Laura Jane Grace, Total Treble Music BMI \/ Rough Trade Publishing \u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eMatt Patton plays bass and sings backing vocals on Hole In My Head, I’m Not A Cop, Birds Talk too, Punk Rock In Basements, Mercenary and Keep Your Wheels Straight\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eLaura Jane Grace proudly uses Ernie Ball strings and plays Yamaha acoustic guitars \u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eRecorded by David Beeman at Native Sound in St Louis, Missouri February 2023\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eMixed by Matt Allison at Atlas Studios\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eMastered by Collin Jordan at The Boiler Room\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eCover photo by Dave Decker\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eArtwork by \u003c\/span\u003e\u003ca href=\"https:\/\/www.anniewalter.com\/\"\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAnnie Walter\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Opaque Hot Pink)","offer_id":50819005448499,"sku":"PRC-488LP","price":20.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":52708167024947,"sku":"PRC-488CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape","offer_id":52708167057715,"sku":"PRC-488TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708167090483,"sku":"PRC-488DIGITAL","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (Light Pink w\/ Purple and Blue Splatter) – OUT OF PRINT","offer_id":50819005415731,"sku":"PRC-488LP-EB","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/39aaaf82ad948fb3d4fbb6a274caf1053285e160_2b60bbed9445b6eb223b44080d61c0482b392c15_photo_jpg.jpg?v=1735838860"},{"product_id":"birthmark-birth-of-omni","title":"Birthmark - Birth of Omni","description":"\u003cp\u003e\u003cspan\u003e\u003ci\u003eBirth of Omni\u003c\/i\u003e began in the dark. Five years ago, when Nate Kinsella began writing his fifth album under the name Birthmark, his world, like that of so many others, felt upside down. This was early 2018, a year into the Trump presidency and amid the ubiquitous American fever of mass shootings and racist violence. Just months earlier, the dawning revelations of the MeToo movement had jolted him, ending his naivete and giving him insight into how the women in his life often saw the men in theirs. Nearing 40, he was finally a father, too, with a newborn daughter and another on the way. Into what kind of world, he sensibly wondered, was he bringing these kids? Early songs wallowed in this anxious question, the dim start of what he thought might be a not-especially-uplifting EP.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBut five years later, \u003ci\u003eBirth of Omni\u003c\/i\u003e is a kaleidoscopic wonder of sound and sentiment, asking the same question Kinsella first posed for himself but arriving at a surprising answer—maybe a better world, in fact, if only we can all be a little more open. Opportunities to grieve and fret overflowed, he reckoned, but he also wanted to celebrate the possibility of change, the joy of wonder, the essence of being. The result is the most dazzling and dynamic album of his storied career, with heavy beats and heavenly harps, cascading harmonies and quiet hymns, brutal noise and blissful arpeggios woven into 10 songs that capture the highs and lows, the vexations and victories of marriage, parenthood, and life itself. Maybe you’ve heard every Joan of Arc, American Football, LIES, and Make Believe record, but you’ve never heard Kinsella quite like this, because he’s never sounded quite like this—totally open to every idea and emotion, unrestrained as he tries to frame the future in whatever light he can find.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe sequence of upending events that yielded those first sketches didn’t end, of course. But when the pandemic began two years into work on \u003ci\u003eBirth of Omni\u003c\/i\u003e, Kinsella took its suspension of reality as an invitation to forget his own rules. He warped his voice with software until he questioned if it was still his, fluttering as it did through electric fractals or stretched until it seemed to trickle with sweat. And in a series of residencies in isolated cabins and the New York City art space Pioneer Works, he dove in and out of genres like never before, fusing ASMR readings and sampled voicemails to mutated disco and cherubic pop and orchestral emoting. A panoply of guests and friends—Arone Dyer, Greg Fox, Jeff Tobias, Richmond’s Spacebomb crew, among many others—helped him reach these unexpected syntheses. What was the past in a present so unprecedented?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ci\u003eBirth of Omni\u003c\/i\u003e is rooted in parenthood—specifically, the way it reflects back on one’s own prerogatives or prejudices. His voice distended into a codeine drip, Kinsella wonders during opener “Snowflake in My Palm (Not for Long)” if giving his time and attention to his kids means the end of his own life, or the thing that actually makes him matter. During “Butterfly,” as beautiful as an early Sufjan Stevens symphony, he cavorts with his giggling daughters in the backyard, only to realize that their innocent game of chase presages the way they may one day need to flee some toxic dude. (A cover of Joan Armatrading’s secretly devastating “Baby Woncha Come Home,” sung by Dyer, affirms such encounters.) Can his kids, as he sings, “help me change”? \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“I’m Awake” steadily rises from a piano meditation on memory and ontology into an ode to maintaining a sense of innocence even as experience comes. Kinsella and his kids work through the spelling of “rainbow” until they get it right; the song shudders brilliantly, the future opening like a break in ominous clouds. There’s that change, cast in love. One track later, however, gunshots cutting through the sound of screaming children interrupt closer “Pretty Flowers.” It’s an honest reflection of the doomsday reel that runs through this new father’s mind when it wanders, a jarring reminder of life’s real stakes. But “Pretty Flowers” returns in a tribute to his children, to “the good that I feel.” It’s \u003ci\u003eBirth of Omni\u003c\/i\u003e’s arc, cast in miniature. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMany of these songs confront the realities of aging, or the exigencies of long romantic relationships morphing into domestic partnerships. He ponders how to recapture a bit of that youthful lust in “Red Meadow,” offering up what he can—new clothes, a haircut, a romp in a field—to disrupt their routine “in a little box on a hill.” But during “Boyfriend,” he coos like Usher about washing dishes and taking babies on neighborhood walks; it is a fully adult seduction, Kinsella saying come hither above rattling bass and ricocheting synths, apron still on. Roles and the relational bonds between us change, he realizes, and it’s up to us to make good on that. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIndeed, as he worked on \u003ci\u003eBirth of Omni\u003c\/i\u003e, Kinsella reckoned with his own sexuality, coming to grips with the acceptance that he’d never really fit into the social straitjacket of masculinity he’d tried to don neatly for 40 years. Now with a family and approaching middle age, could he admit that he was more than someone’s straight husband? Could he deal with it? The gorgeous and compulsive “Rodney” is a lustful song for the would-be paramour that gives the track its name, countered by Kinsella’s awareness that maybe the escapades of his youth are behind him, that he’s got other commitments in his life. Shudder to Think’s Craig Wedren backs Kinsella here, playing the real role of the supportive voice who has been here before. We make choices for those we love, Kinsella affirms during “Rodney,” but the adventures of our imaginations can and should remain endless.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eKinsella has a confession about \u003ci\u003eBirth of Omni\u003c\/i\u003e: No one may care about what he calls his “dad record,” his reckonings with approaching middle age, or the manifold musical fascinations of his chameleonic songs. Perhaps that’s bad for business, he admits, especially since Polyvinyl has been such a steadfast advocate of his work. 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The band’s energetic, danceable pop has assumed many forms since they first emerged in 2007, always reliably delivering unshakeable melodies and larger-than-life anthems infused with intellectually challenging lyrics. In recent years, STRFKR explored more experimental waters when they constructed a fuzzy dream world with their home-recorded 2020 album \u003ci\u003eFuture Past Life\u003c\/i\u003e or subtracted structure entirely from fully instrumental collection \u003ci\u003eAmbient 1\u003c\/i\u003e. New album \u003ci\u003eParallel Realms\u003c\/i\u003e finds yet another path, redefining the kind of direct, high-impact songwriting that’s long been the core of the band’s strongest material. Streamlined and immediate, the album distills STRFKR’s 15 plus years of artistic growth without forfeiting any of the perspective they’ve gained along the way. It’s their clearest, most organized, and most exciting work yet.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eAs with many other albums, \u003ci\u003eParallel Realms\u003c\/i\u003e started with sorting through a mountain of ideas looking for inspiration. While combing through stacks of partially-realized demos, it became clear that the most interesting songs all had a consistent playfulness to them. A through-line of upbeat fun gradually came into view, with a joyous vibe that sometimes bordered on ‘80s synth pop euphoria. STRFKR followed this impulse further, digging back through their archives to seek out songs that hadn’t made sense until now, but matched the specific uplifting feeling that was becoming the connective tissue for the new album. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eSubconscious lyrical patterns started arising, as well, repeatedly circling back to the idea of how different people can experience the same thing from wildly different emotional vantage points. This kind of parallel intake served as the inspiration for many of the songs, and ultimately the title of the album. Songs gelled around this concept quickly. Relentlessly hooky, “Together Forever” uses its rubbery bass line and melodic instrumentation to express different sides of the frustration and satisfaction of love. “Holding On” ping-pongs through tormented indecision about keeping a relationship alive or letting it go with a dreamy instrumental that sounds like sunbeams tearing apart the sky. Dark-yet-bubbly single “Armatron” evolves from tension to tenderness, mirroring a heated lover’s argument that settles into softness when tempers cool. This is reflected in how the song’s sassiness transitions into a more introspective feel in its second half, and is one of many moments on the album that STRFKR arrived at through heightened collaboration, not just between the band members, but with valuable input from network of trusted friends and advisors. For a band used to getting into the weeds with their highly controlled writing process, everything fell into place almost a little too effortlessly. At some point, though, they made a conscious decision to step out of their own way, not overcomplicate things, and just let the album come together around this new, singular energy. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eThis approach continued into the album’s recording phase. The band returned to the stripped-down mindset they’d used when making \u003ci\u003eFuture Past Life\u003c\/i\u003e, but instead of that record’s psychedelic blurriness, they applied uncluttered, no-nonsense arrangements to electro-pop bangers. The abrupt gear-shifting and experimental detours of previous albums are reshaped into concise, song-serving flashes. Minute-long ambient interludes provide palate cleansers between immediately catchy floor-filling dance tracks, and neither overstay their welcome. What really rocketed the album past the finish line was handing over mixing duties to Chris Coady (Beach House, Yeah Yeah Yeahs, Blonde Redhead). This marked the most hands-off STRFKR has ever been with the final step of any of their records, relinquishing control and just letting Coady work his magic. This followed\u003ci\u003e Parallel Realms\u003c\/i\u003e’ tendency toward collective creation, and Coady’s mixing rivaled anything the band had achieved before. The rhythm sections are huge, the hooks are crystalline, and the entire album gels into a cohesive, dynamic whole. Gone are any hints of “indie” caliber production; these songs sound enormous, with a level of glitter that contends with modern commercial radio hits. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eMore than anything STRFKR has made before, \u003ci\u003eParallel Realms\u003c\/i\u003e carries a triumphant sense of renewal. Though never implicitly stated, the elevated sound, straightforward songwriting, and especially unclouded vision of the album all convey the feeling of breaking through to new possibilities. Somehow, this many years into an ever-changing evolution, STRFKR has made some of their most accessible music yet while still furthering the introspective thinking and self-imposed challenges that have always pushed their art forward. \u003ci\u003eParallel Realms\u003c\/i\u003e courses with positivity even in its heaviest moments. 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It’s all downhill from here.\u003c\/p\u003e\n \u003cblockquote\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eMade and mostly played by Stefan Blair and Liam Parsons at the old GMMCW HQ in Preston, VIC. \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eIt got mixed by Tyler Karmen at Sunfair Studios in Joshua Tree, CA and then mastered by Fred Kevorkian in Brooklyn, NY.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eAll songs were written by Stefan Blair and Liam Parsons and published by Sub Pop Publishing \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eEXCEPT:\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eExcalibur which was written by Stefan Blair, Liam Parsons and Dylan Young\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eDog Years which contains elements of Fuck and Run, written by Liz Phair\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eToy which contains elements of You Better Go Now, written by Irvin Graham\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eThe Fear! which contains elements of Bitter with the Sweet, written by Carole King\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eFEATURED PLAYERS:\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eStrings on Queen of Comedy, Toy and Dogs on the Beach arranged by Chloe Sanger and played by:\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eLucy Rash - Violin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eChloe Sanger - Violin\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eJenny Thomas - Viola\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eKıya van der Linden-Kian - Cello\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eGlenn Blair played Clarinet and Saxophones on Arcade, As the Dogs Were Playing, Diane Said, Toy and The Fear!\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eGreer Clemens and Dannika Horvat sang on Ahhhhh (This Isn’t Ideal), Monster of the Week, As the Dogs Were Playing, Dog Years, The Lake, Diane Said, One Night, Excalibur, Real I’m Told, Just In Time and Toy\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eGood Morning are managed by Lorrae McKenna for Our Golden Friend\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl 2xLP (Yellow in Cloudy Clear w\/ Blue Splatter)","offer_id":50775159374131,"sku":"PRC-486LP-EB","price":33.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl 2xLP (Blue)","offer_id":50775159406899,"sku":"PRC-486LP-RETAIL","price":31.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl 2xLP (Black)","offer_id":50775159439667,"sku":"PRC-486LP-BLACK","price":30.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":52708163682611,"sku":"PRC-486CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708163649843,"sku":"PRC-486DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/175b2f93a0dbbc01a35b7ae269510cd2acd48c8a_2dc276d021d9123c1fdfbe75bf0c749063958bc9_photo_jpg.jpg?v=1735838834"},{"product_id":"katy-kirby-blue-raspberry","title":"Katy Kirby - Blue Raspberry","description":"\u003cp\u003e\u003ci\u003eBlue Raspberry\u003c\/i\u003e is \u003cstrong\u003eKaty Kirby\u003c\/strong\u003e's follow up to her renowned 2021 debut album \u003ci\u003eCool Dry Place\u003c\/i\u003e. Singer\/songwriter Katy Kirby introduced her warm, articulate vocals, perceptive lyrics, and playful adult-alternative style on her debut album as she toured tirelessly supporting bands like Waxahatchee, Andy Shauf, Julia Jacklin and Alex G.\u003c\/p\u003e\u003cp\u003eThat record was a tried-and-true folk collection, perfectly displaying the chops of a young songwriter and emanating the warm feel of a band in a room; \u003ci\u003eBlue Raspberry\u003c\/i\u003e, made with the same band and producers (Logan Chung and Alberto Sewald), hits the gas and enters completely new territory as we see Katy truly step into her own as a songwriting force. She fearlessly leans far into baroque piano pop on tracks like 'Redemption Arc' and the title track 'Blue Raspberry', and lyrically she explores themes of loss and queer love. Very few are able to capture the same emotional, theatrical magic of artists like Fiona Apple, Tom Waits and Joanna Newsom but Katy pulls it off on this record.\u003c\/p\u003e","brand":"ANTI-","offers":[{"title":"Vinyl (Clear)","offer_id":50775934927155,"sku":"NPV","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/i_8d0ec358-6d88-4850-b7e6-d4aa209dc73b.jpg?v=1739893524"},{"product_id":"owen-the-falls-of-sioux","title":"Owen - The Falls of Sioux","description":"\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003eSpanning more than two decades, Mike Kinsella's widely influential songwriting has steadily sharpened and evolved with each new chapter. In his solo vehicle as \u003cstrong\u003eOwen\u003c\/strong\u003e (in addition to his roles along the way with American Football, Cap'n Jazz, the more recent LIES, and other collaborative ventures), Kinsella’s ability to seamlessly stitch jagged emotional currents into crushingly beautiful songs has remained at the forefront of his art. This contrast has become more distinct as Owen expanded from unassuming acoustic beginnings into more ornate production, reaching new levels of complexity and clarity by the release of 2020’s \u003ci\u003eThe Avalanche\u003c\/i\u003e. \u003ci\u003eThe Falls of Sioux\u003c\/i\u003e, Kinsella’s newest Owen full-length, levels up even further. As much as these nine songs represent a type of reinvention, they also feel like the natural next step in Kinsella’s growth, both artistic and personal. The album perforates an established sound to explore unlikely musical ideas, while the songs document a time of moving through life-altering turmoil into brighter days. Heavy themes are turned over with a gentle hand, and Kinsella inhabits the deeper perspectives that come with hard-earned life experience. \u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color: #000000;\"\u003e\u003ci\u003eThe Avalanche\u003c\/i\u003e was an unbuffered exposition of some of Kinsella’s darkest days, laying bare the emotional fallout of his divorce along with several other gradients of grief and loss. Those days aren’t forgotten, but the pieces have been picked up on \u003ci\u003eThe Falls of Sioux\u003c\/i\u003e. Solidly on the other side of a painful chasm, moments of intensity now come across as confident and exploratory rather than tormented. The songs detail interpersonal situations that might have instilled panic and self-loathing in younger days, but now Kinsella meets them with a relaxed smirk. It’s there in the way gliding synths and warm vocal harmonies juxtapose brutal lyrics of doomed love on “Virtue Misspent,” one of the album’s most upbeat songs. It’s also there in the jaunty, nearly classic-rock bounce of “Mount Cleverest,” a lively banger that feels like the highpoint of a sunny summer day but boils down to exhausted, “fuck all y’all” sentiments. \u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color: #000000;\"\u003eAs with the past few Owen albums, Kinsella worked with co-producers Sean Carey (Bon Iver) and Zach Hanson (Bon Iver, Low, Waxahatchee) and also brought in Now, Now’s KC Dalager to contribute backing vocals. Russell Durham (Fleet Foxes, Andrew Bird) composed the string arrangements, Corey Bracken (from American Football’s touring band) played synths, and a few other friends stopped through to add upright bass, pedal steel, and various auxiliary contributions. Kinsella’s sound palette was influenced heavily by his recent work with his cousin Nate in their boundary-pushing group LIES. Experimenting with the limits of electronic production inspired Kinsella to lean into sounds he hadn’t considered before when writing for Owen. The acoustic guitar strums of “Beaucoup” are slowly washed up against by a bedding of shoegaze texture, a deep synth bass sequence, and waves of noisy electronics. “Hit and Run” is steady and restrained chamber pop, speckled with gorgeous strings and distant piano, while the Western-noir vibes of opener “A Reckoning” are emphasized by tubular bells so dramatic Kineslla had to fight with his producers to keep them on the song. The aim was to embrace the excitement of the unknown rather than make safe, surefire choices.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color: #000000;\"\u003eThe open-ness of the music offers even Kinsella’s weariest lyrics an almost playful counterweighting, giving \u003ci\u003eThe Falls of Sioux \u003c\/i\u003ea new positioning that hasn’t quite appeared before now in the Owen discography. It’s like watching a difficult winter melt into a nicer-than-expected spring, with the kind of distance from bad times that makes them easier to laugh at in retrospect. More than anything, the album is marked by a sense of self-acceptance that can be felt regardless of how cutting the one-liners or how melancholy the songs. Kinsella seems comfortable with himself and his craft in a way that only happens when artists round a certain corner on their creative path. On \u003ci\u003eThe Falls of Sioux\u003c\/i\u003e, he’s unafraid to share any and all angles by which he might be viewed. To some extent, this has always been Kinsella’s M.O., but it’s different when the songs stop being about the hungover guilt and communication breakdowns of early adulthood and move into the very real disappointments and discontinuations that inevitably surface as life keeps happening. Never one to retreat, Kinsella portrays the confusion, regret, and renewal of where he’s at presently with grace, honesty, and of course some biting humor. Throughout \u003ci\u003eThe Falls of Sioux\u003c\/i\u003e, the things about Owen that have changed become just as valuable as those that have remained the same.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e \u003c\/p\u003e\n \u003cblockquote\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eRecorded at hive. in Eau Claire, Wisconsin and SHIRK Studios in Chicago, Illinois\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eProduced by S. Carey, Zach Hanson and Mike Kinsella\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eEngineered and Mixed by Zach Hanson\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eMastered by Huntley Miller\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eAll songs written by Mike Kinsella\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e \u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eMike Kinsella - Drums, Percussion, Guitars, Bass, Synths, Voice\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eS. Carey - Drums, Percussion, Piano, Synths, Voice\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eBen Lester - Synths, Pedal Steel\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eJeremy Boettcher - Upright Bass\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eRussell Durham - Strings and String Arrangements\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eJustine Fallon - Voice\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eCacie Dalager - Voice\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eCory Bracken - Synths\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003cp\u003e \u003c\/p\u003e\n \u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eArtwork by Bradley Hale\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Mineral Grey)","offer_id":50819006529843,"sku":"PRC-490LP","price":21.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50819006562611,"sku":"PRC-490CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708162928947,"sku":"PRC-490DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/4cd24b86b3e81dccc7cd408645c361da61ef26e8_03c1a0a54f8aaa5348607ce51ddd1277f3d1be5a_photo_jpg.jpg?v=1736645770"},{"product_id":"of-montreal-lady-on-the-cusp","title":"of Montreal - Lady On The Cusp","description":"\u003cp\u003eKevin Barnes did not believe they could ever leave Georgia. Barnes arrived in the erstwhile college-rock hub of Athens around 1996, a pop four-tracker in their early twenties with permissive images of Bowie, Prince, and Iggy Pop prancing through their head. Almost immediately, \u003cstrong\u003eof Montreal\u003c\/strong\u003e became a signal flare for a slowly changing South. Barnes, who will answer to any pronoun you proffer, bent gender and genre through complicated and ever-delightful records, trouble and woe fueling kinetic tunes of radical incandescence. But there is only so much energy one can expend on the vanguard, living in a town that often felt like a frat house suffused with regressive notions of race, sexuality, and decency. It all exhausted Barnes. They had, however, built a life there—a home, a family, a studio, a reputation. Could Barnes ever really exit?\u003c\/p\u003e\n \u003cp\u003eThe new \u003ci\u003eLady On The Cusp\u003c\/i\u003e is not only a rapturous synthesis of most everything of Montreal has ever done but also Barnes’ final transmission from Athens, as they’re now a fresh Southern expatriate delighted to be living among the snowy peaks and progressive politics of southern Vermont. Written and recorded in the months when Barnes and partner, musician Christina Schneider, prepared to leave, \u003ci\u003eLady On The Cusp\u003c\/i\u003e combines a keen reckoning with the past with hopeful glimpses of the future, all clad in Barnes’ purposefully scattershot pop kaleidoscopes. The glittering trauma confrontation of “PI$$ PI$$,” the devotional R\u0026amp;B surrealist fantasy of “Soporific Cell,” the nuevo jazz lamentation of “Sea Mines That Mr Gone”: These 10 tracks—funny and sad, sexy and brooding, playful and serious—find Barnes finding new paths ahead. Barnes is moving both from situations that felt suffocating and toward musical ideas that feel evermore freeing.\u003c\/p\u003e\n \u003cp\u003eBarnes and Schneider met nearly seven years ago, when of Montreal and Schneider’s Locate S,1, shared a tour. They fell in love on the road, and she relocated to Athens to begin their life together there. Barnes had certainly contemplated leaving the South but worried about the existential anxieties: Where would they go, for instance, and how would they make friends wherever that was? Easier just to stay in place, right? But the couple began visiting Vermont together, slowly seeing every season in the state where Schneider had gone to school. Barnes imagined another way to exist. What’s more, Schneider—whose own band was in part a vehicle for confronting childhood damage—encouraged Barnes to engage with the wreckage of their past, to grow beyond it in a way they admit they never had. “Christina has been extremely helpful,” Barnes says with more than a touch of relief, “in realizing that who you’ve been doesn’t make you who you are.”\u003c\/p\u003e\n \u003cp\u003e“2 Depressed 2 Fuck” was the first song to emerge for \u003ci\u003eLady On The Cusp\u003c\/i\u003e, the despair of its title and hook speaking as much to modern intergenerational malaise as any specific encounter. It begins with busted drums and electronic gashes, but Barnes slowly twists those caustic noises into a buoyant gem where the refrain lingers like a warm spring dream. Likewise, “PI$$ PI$$” uses the flotsam of past trauma as a springboard into a thundering dance jam about leaving that shit behind, about discarding “the Amygdala hijack furies” that plant us in emotional concrete. Barnes dreams of the personal frontier of Vermont in the Byrds-like beauty “Rude Girl On Rotation,” referencing not only the lush forests of the Green Mountain State but also a new neighbor who loves just intonation and the possibilities it presents. And the brilliant “Soporific Cell” is an unbridled and infectious love song, Barnes’ lissome falsetto offering up every bit of themselves to Christina and their life together. “I’m prepared to make an everyday beast of myself,” Barnes vows over sashaying guitars and splashing cymbals, “only for you.”\u003c\/p\u003e\n \u003cp\u003eBarnes has always been fond of linguistic tricks, of Montreal’s catalog loaded with alliteration, puns, and florid phrases that dare you to tease out a meaning for yourself. But the two-part finale of \u003ci\u003eLady On The Cusp\u003c\/i\u003e levels up in that regard, as Barnes slides into the amniotic haze of dream language for the two-part finale. They compiled “Poetry Surf” by cutting together words and ideas found in books by Ezra Pound and James Joyce or life at large, so that “chryselephantine chiaroscuro cerements [are] unearthed.” The track is a devilish whirlwind, Barnes delighting in these games over a martial beat and vertiginous keys. As the song slams into “Genius in the Wind,” the bass strutting in endless circles now, Barnes sings that “Unwittingly temporalist scorched earth is radio violence,” seeming to set up another delirious round of wordplay. But listen closely, and notice that it is instead a pledge of allegiance—to follow someone into the darkness of their life and hopefully come out better on the other side, with some sex and music and fun along the way. All of this perfectly coils together for the infectious “Yung Hearts Bleed Free,” a Bootsy Collins-influenced, self-deprecating ode to Barnes’ heroes—“sex maniacs” and “drug-addled creeps,” all—that indulges in freedom and fetish. It is candid, too, about the doubts and shortcomings of any life lived fully.\u003c\/p\u003e\n \u003cp\u003eNostalgia is not Barnes’ thing, never really has been. While of Montreal’s peers from the mid-’00s indie bloom have often circled back for seemingly endless reissues, reunions, and retreads, Barnes mostly hasn’t, choosing instead to press for novel ways to make the kind of jubilant but tumultuous tunes they have long loved. With its views of the past not as a crutch but as a cage, its nods to what’s next, and sounds that tinker with the idea of what it means to make pop at all, \u003ci\u003eLady On The Cusp\u003c\/i\u003e is a compelling reintroduction to of Montreal—a project that has never stalled but has here found and used several new wellsprings of inspiration, all at once.\u003c\/p\u003e\n \u003cblockquote\u003e\n \u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eAll songs written, performed, produced, engineered, and mixed by Kevin Barnes\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eClayton Rychlik - drums, percussion, xylophone on \"Soporific Cell\"\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color: hsl(0, 75%, 60%);\"\u003eJojo Glidewell - piano, synths on \"Soporific Cell\" and saxophone on \"Sea Mines That Mr Gone\"\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color: hsl(0, 75%, 60%);\"\u003eArtwork by David Barnes\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color: hsl(0, 75%, 60%);\"\u003eLayout by Christina Schneider\u003c\/span\u003e\u003c\/p\u003e\n \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Clear Sky Blue)","offer_id":52708161257779,"sku":"PRC-491LP","price":22.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50819006398771,"sku":"PRC-491CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708161290547,"sku":"PRC-491DIGITAL","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Early Bird Vinyl (Watermelon w\/ Blue Splatter) - SOLD OUT","offer_id":52708675748147,"sku":"PRC-491LP-EB","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/efdead6bdab4157a815d5293bced35c04746583f_fa927d9b0e3fb7bf2c75738a917408679356ad7b_photo_jpg.jpg?v=1763440475"},{"product_id":"mannequin-pussy-i-got-heaven","title":"Mannequin Pussy - I Got Heaven","description":"\u003cp\u003e\u003cstrong\u003eMannequin Pussy\u003c\/strong\u003e's music feels like a resilient and galvanizing shout that demands to be heard. Across four albums, the Philadelphia rock band that consists of Colins \"\"Bear\"\" Regisford (bass, vocals), Kaleen Reading (drums, percussion), Maxine Steen (guitar, synths), and Marisa Dabice (guitar, vocals) has made cathartic tunes about despairing times. \"\"There's just so much constantly going on that feels intentionally evil that trying to make something beautiful feels like a radical act,\"\" says Dabice. \"\"The ethos of this band has always been to bring people together.\"\"\u003c\/p\u003e\u003cp\u003eTheir new album, \u003ci\u003eI Got Heaven\u003c\/i\u003e, is the band's most fully realized recording yet. Over ten ambitious tracks which abruptly turn from searing punk to inviting alternative pop, the album is deeply concerned with desire, the power in being alone, and how to live in an unfeeling and unkind world. It's a document of a band doubling down on their unshakable bond to make something furious, thrilling, and wholly alive. \u003c\/p\u003e\u003cp\u003eFollowing the 2019 release of their critically acclaimed third album \u003ci\u003ePatience\u003c\/i\u003e, Mannequin Pussy returned in 2021 for their EP \u003ci\u003ePerfect\u003c\/i\u003e. They toured that release relentlessly and added guitarist Maxine Steen to the band's official lineup. The band changed their entire creative formula, choosing to write together in the studio in Los Angeles with producer John Congleton, over slowly crafting tracks at home. \"\"Everyone felt empowered to speak up about their own ideas to make this thing the best it could possibly be,\"\" says Regisford.\"\u003c\/p\u003e","brand":"Epitaph","offers":[{"title":"Vinyl (Tie Dye Splash)","offer_id":50775942267187,"sku":"NPV","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/i_1765a6e3-b433-496f-92f8-53221bf765f3.jpg?v=1739893510"},{"product_id":"faye-webster-underdressed-at-the-symphony","title":"Faye Webster - Underdressed at the Symphony","description":"\u003cp\u003eThe title of \u003cstrong\u003eFaye Webster\u003c\/strong\u003e's new album is inspired by her occasional compulsion to lose herself amongst concertgoers at the Atlanta Symphony Orchestra. Craving company and distraction but also leaning into the anonymity of a bustling crowd, Webster often bought a ticket to a performance at the last possible second. “Going to the symphony was almost like therapy for me,” she says. “I was quite literally underdressed at the symphony because I would just decide at the last moment that that's what I wanted to do. I got to leave what I felt like was kind of a shitty time in my life and be in this different world for a minute. I liked that I didn’t feel like I belonged”\u003c\/p\u003e\u003cp\u003eThe world around Webster may be moving faster and faster, but despite an influx of new fans and attention, she’s still singing about it in an almost impossibly low-key way on her fifth album. Indeed, the first time we hear her voice on \u003ci\u003eUnderdressed at the Symphony\u003c\/i\u003e, she’s navigating the unmapped space between comfort and vigilance: “I’m asleep in the moment when you’re holding my head \/ but I want to remember I’ll sleep when I’m dead,” she sings on “Thinking About You.” Instead of turning the dissolution of a relationship into a morality play, she details the solitary moments where her brain is in conflict with itself, allowing unhurried insight to come naturally.\u003c\/p\u003e\u003cp\u003eWebster has never been more comfortable in her own skin than right now, which makes her unique ascent into the vanguard of young, independent artists even sweeter. At any given moment, Webster might be making country-tinged indie rock flecked simultaneously by pedal steel guitar and modern R\u0026amp;B production and songwriting techniques – a bespoke sound which has won her ardent fans and turned her into something of a stealth superstar beloved by everyone from southern hip-hop heads and alt-rock tastemakers.\u003c\/p\u003e\u003cp\u003eAt Webster’s increasingly sold-out concerts, it’s not uncommon to observe these fans singing along with every word – even when she unironically performs theme songs from Pokemon. In an even more delicious twist, Webster doesn’t even have an account on TikTok, where several of her songs have gone viral, including \"\"Kingston,” “Right Side of My Neck,” “In a Good Way” and most recently “I Know You.”\u003c\/p\u003e\u003cp\u003eRecorded at Sonic Ranch Studios in Texas with her longtime band, \u003ci\u003eUnderdressed at the Symphony\u003c\/i\u003e revels in experimentation, playfulness and adventurousness. Moments of vocoder, flourishes of an orchestra and spooky harmonies and synths arrive without sacrificing the spacious quality of Webster’s prior music, allowing each lyric to burble to the surface with added layers of meaning. Matt “Pistol” Stoessel’s arcs of pedal steel add just the right shimmer, while Wilco’s Nels Cline contributes his undeniably emotive fretwork on a number of songs.\u003c\/p\u003e\u003cp\u003eHunkering down at the literal U.S.\/Mexico border provided the musicians space to isolate, focus and experiment. All the songs here are live-room recordings, with several captured on the first or second take. In this way, they can be seen as direct lines to the human subconscious, showcasing Webster’s knack for pulling a universal experience from a highly specific moment.\u003c\/p\u003e\u003cp\u003eOn “But Not Kiss,” her voice lilts “I want to sleep in your arms…” before Nicholas Rosen’s propulsive piano and Bryan Howard’s sumptuous bass burst in, prompting Webster to rush out the rest of the line: “... but not kiss.” What better shorthand descriptor for the quietest of moments in a relationship? The rest of the song echoes that first line, emphasizing the duality of intimacy. To be sure, Underdressed at the Symphony is a document of what happens once you start to create a new life from the ashes of old routines. This rebirth isn’t flashy or definitive, but is instead a series of healing moments scattered across weeks and months.\u003c\/p\u003e\u003cp\u003eThat new life is documented on the autotuned “Feeling Good Today,” which finds Webster running through the details of her day in barely 90 seconds. She’s got plans to go see her brother, and she knows she’ll “probably buy something dumb” because she just got paid. “I definitely think I turn to humor sometimes just for distraction almost,” she says. “But a lot of it is just like the truth. Even if I'm saying it, I'm not really meaning to be funny. That's genuinely how I feel, and I'm feeling good today.”\u003c\/p\u003e\u003cp\u003eA strain of lightheartedness with a melancholic backbone is the driving force behind “Lego Ring,” which features Atlanta multi-hyphenate Lil Yachty as the only guest voice on the album. Webster and Yachty have been friends since middle school and have stayed close ever since. At points, his ghostly warble floats just under Webster’s voice, jabbing through emptiness as it trembles over a low rumble of bass. It’s the kind of sonic collaboration that succeeds based on a lifelong understanding of each other, and a close bond predating both artists’ tenure in the music industry.\u003c\/p\u003e\u003cp\u003e“I think I hit a point in songwriting during this record where I was just like, man, I said a lot” admits Webster. “The record feels like a mouthful to me, but I don’t always have to be deep. I can just sit down and sing about this ring made of crystal Lego that I really want.”\u003c\/p\u003e\u003cp\u003eIf there’s one song that amounts to a mission statement for \u003ci\u003eUnderdressed at the Symphony\u003c\/i\u003e, it’s “Lifetime,” a lush slow burner that emphasizes Webster’s brilliant use of space and phrasing. Epiphanies become mantras, her voice lilting and fading over expertly placed snares and a soft piano twinkle. Is there any better encapsulation of the vagaries of love than the contradictory “When I said I mean it \/ I didn’t really mean it?”\u003c\/p\u003e\u003cp\u003eLike the rest of the album, Webster isn’t providing answers here, nor is she on some epic journey of healing and self-care. Instead, she’s choosing to just live, to document heartbreak and ridiculous moments right next to each other until they start to blur, becoming real enough for us all to feel.\u003c\/p\u003e","brand":"Secretly Canadian","offers":[{"title":"Vinyl (Black)","offer_id":50775944233267,"sku":"NPV","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/i_0e9d1f24-7521-444c-8687-0152478a57a3.jpg?v=1739893509"},{"product_id":"waxahatchee-tigers-blood","title":"Waxahatchee - Tigers Blood","description":"\u003cp\u003eOne of the hardest working singer-songwriters in the game is named Katie Crutchfield. She was born in Alabama, grew up near Waxahatchee Creek. Skipped town and struck out on her own as \u003cstrong\u003eWaxahatchee\u003c\/strong\u003e. That was over a decade ago. Crutchfield says she never knew the road would lead her here, but after six critically acclaimed albums, she's never felt more confident in herself as an artist. While her sound has evolved from lo-fi folk to lush alt-tinged country, her voice has always remained the same. Honest and close, poetic with Southern lilting. Much like Carson McCullers's Mick Kelly, determined in her desires and convictions, ready to tell whoever will listen.\u003c\/p\u003e\u003cp\u003eAnd after years of being sober and stable in Kansas City-after years of sacrificing herself to her work and the road-Crutchfield has arrived at her most potent songwriting yet. On her new album, \u003ci\u003eTigers Blood\u003c\/i\u003e, Crutchfield emerges as a powerhouse-an ethnologist of the self-forever dedicated to revisiting her wins and losses. But now she's arriving at revelations and she ain't holding them back.\u003c\/p\u003e","brand":"ANTI-","offers":[{"title":"Vinyl (Black)","offer_id":50775947018547,"sku":"NPV","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/i_df244d08-7176-447b-b062-e7e1e25353fa.jpg?v=1739893507"},{"product_id":"pedro-the-lion-santa-cruz","title":"Pedro The Lion - Santa Cruz","description":"\u003cp\u003eEarly into \u003ci\u003eSanta Cruz\u003c\/i\u003e, the poignant third album in David Bazan's ongoing musical memoir of his sometimes-uncanny life, he discovers the Beatles. He is the new kid from Arizona in a new school in the famous California coastal town where his dad has accepted another post at a Bible college. He and his first friend there, Matt, are sitting on the carpet in Matt's little bedroom, flipping through the records bequeathed by his father, when Bazan spots a familiar cover –\u003ci\u003eThe White Album\u003c\/i\u003e, known only from a church documentary that warned children of the Satanic secrets of \"Revolution 9.\" Play it backwards, the propaganda said, and it would offer a command: \"Turn me on, dead man.\"\u003c\/p\u003e\n\u003cp\u003eSo, of course, the kids played it forward and were fascinated by the sound, by the imagination, by the act of consecrated creativity far outside of Christian rock. Bazan was 13. \"Treading water on the open ocean\/Then you threw me out a life ring,\" he sings, the smile obvious just through the sound as the beat picks up like a racing pulse, more than three decades later. \"All I needed was a little help from a friend.\" That is the moment where, in many ways, the remarkable songs of Pedro the Lion begin to take shape.\u003c\/p\u003e\n\u003cp\u003eIn 2019, after a 15-year break filled with solo records and side-projects, Bazan returned to the moniker under which he had become one of indie rock's most identifiable voices and incisive songwriters, \u003cstrong\u003ePedro the Lion\u003c\/strong\u003e. He sort of stumbled into 2019‚Äôs \u003ci\u003ePhoenix\u003c\/i\u003e, a charged chronicle of his childhood there, while spending the night with his grandparents during a tour stop. But he soon understood that unpacking his peripatetic youth, where his music minister father shifted around the country like a Marine moving bases, was helpful, healing, and maybe even interesting. The gripping \u003ci\u003eHavasu\u003c\/i\u003e followed in 2022. Bazan was onto something, untangling all the ways his past had both shaped and misshaped his present inside some of his best songs ever.\u003c\/p\u003e\n\u003cp\u003eThat past truly begins to become the present on \u003ci\u003eSanta Cruz\u003c\/i\u003e, the most fraught and frank album yet in a planned five-album arc; this one covers a little less than a decade, from just after he turned 13 until he turns toward adulthood around 21. These songs ripple with the anxiety and energy of teenage awakening – of hearing rock 'n' roll, of understanding that independent music exists, of making out with an older schoolmate in deepest secret, of falling in love, of finally starting to understand that in order to be yourself you're going to need to be something other than your parents' vision of you. It is the rawest, most affecting and affirming album Pedro the Lion has ever made.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSanta Cruz\u003c\/i\u003e begins with a prayer that feels like a dirge, a synth-led funeral march to another town where Bazan knows no one. \"If I lay it down\/And I keep my eyes on you,\" he moans, steeling himself through self-sacrifice. \"It'll all work out.\" But when he arrives in Santa Cruz to begin eighth grade, the self-flagellation comes quickly, Bazan lecturing himself for the lameness of the neon-green backpack he picked out in Phoenix and the Christian rock that is his lifeblood. For decades now, Bazan has been known for his music's deliberate pace, often linked to slowcore. Here, however, he renders detailed images in rapid-fire waves, his voice stapled atop the quick rhythm like never before in order to capture his nerves as he learns there might be life outside of his family's Christian fiefdom – apocrypha, whispers of sex, mere games of ping-pong.\u003c\/p\u003e\n\u003cp\u003eBut every time stability seems to appear during these 11 songs, the family is off to another job. By ninth grade, amid the metronomic mile markers of \"Tall Pines,\" they are headed for little Paradise, where there are dreams of drum sets and clandestine shirtless make-out sessions when his parents are away. With the stirring \"Don't Cry Now,\" as close to a dance track as Pedro the Lion has ever made, they're bound for Seattle, where Bazan found his own fledgling music scene, deepening friendships, and the dawn rays of what would become his future.\u003c\/p\u003e\n\u003cp\u003eWhen his family splits for California yet again, he stays behind, living with a friend just so he can graduate from the place where he's become so invested in drums, guitars, and songs that he's barely maintained his grades. The day after he graduates, he stuffs everything he owns into plastic garbage bags and heads south with his mom, returning to the family flock, now in Modesto. \"You sweetly slept in the passenger seat\/I gripped the wheel, messed up inside,\" he sings of his mother during \"Parting,\" his voice a true-to-life admixture of love and longing, of devotion and doubt.\u003c\/p\u003e\n\u003cp\u003eThe six-month stay in Modesto, though, would prove to be among the most transformative moments of his life, the slow-motion catapult that sent him into right now. After he quits selling vacuum cleaners to sad women, he nabs a gig at a guitar store. That's where he hears a crisp piece of lo-fi wizardry from a local Modesto band, a moment that feels almost like a Beatles-sized revelation, a permission slip that says he can, in fact, make music on a scale as small as he wants. He writes the first Pedro the Lion songs there, and, in the cathartic and gorgeous climax of \"Modesto,\" vows to return to Seattle, to be in a band, to fall in love, to be himself. Its successor, \"Spend Time,\" feels like some skeletal and celebratory arena-rock anthem, with incandescent harmonies and sharp harmonics and slicing riffs. Back in Seattle – back in his room, drumming with Paul – he is on the precipice of the rest of his life, the life that you now know as a listener.\u003c\/p\u003e\n\u003cp\u003eWhen Bazan began considering the times and the songs that would soon become \u003ci\u003eSanta Cruz\u003c\/i\u003e, he thought about fictionalizing it all. He could break with the narratives of \u003ci\u003ePhoenix\u003c\/i\u003e and \u003ci\u003eHavasu\u003c\/i\u003e to give himself and everyone else in the story some critical distance. These events are not old news, after all, and he worried about untangling the active threads of the rather recent past from right now. And would it seem like he was scolding his parents, two people trying to raise kids the best they knew how? The result does not feel like blame. It feels like redemption, like finding the way forward for yourself, however it happens. \"Your grief is not a burden,\" Bazan beautifully sings in one of the final verses. \"It's energy.\" And it's currently powering one of the most real, riveting, and powerful song cycles in memory, happening right now.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eProduced by Andy D. Park \u0026amp; David Bazan\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eLyrics by David Bazan\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eMusic on all tracks written by David Bazan with Erik Walters \u0026amp; Andy D. 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Elise Okusami, the creative vision known to hearts and minds as \u003cstrong\u003eOceanator\u003c\/strong\u003e, has theories on her own trusted framework: “In the literal sense, all my songs are about apocalypse and love.” The evidence of this lives in the work she has revealed to date; her 2020 debut album \u003ci\u003eThings I Never Said\u003c\/i\u003e and 2022’s follow-up \u003ci\u003eNothing’s Ever Fine\u003c\/i\u003e. These are collections rife with songs sung to these two ideas; apocalyptic terror and desperate love holding strong in the face of unimaginable hardship. “I think that most of the events in your life that are important can be put into either or both of those categories,” she says, “with \u003ci\u003eThings I Never Said\u003c\/i\u003e and then \u003ci\u003eNothing's Ever Fine\u003c\/i\u003e, \u003ci\u003eEverything is Love and Death\u003c\/i\u003e feels like a summation of those ideas.”\u003c\/p\u003e\u003cp\u003eThis idea became the title of her new record: \u003ci\u003eEverything is Love and Death\u003c\/i\u003e, a name that came to Okusami as if it were premonition and reminder of the tether between all things. Years on the road and recorded to wax have proven that Oceanator deftly commands the elements of infectious rhythms, constructing songs built around hook-laden melodies that inspire movement in even the sturdiest of feet. Okusami’s edge for writing indelible classics has become sharpened on stone over time, hardened by the influences in her rearview; power pop, skate punk, the beautiful melodrama of pop stars and 90s alt-rock. Essential pieces that nurtured the ground of the songs on her latest and most dynamic record to date. Working for the first time with Grammy nominated producer Will Yip (Turnstile, The Wonder Years, Bartees Strange), Okusami was given an opportunity to spend a full month in the studio, longer than on previous outings, in order to take time in build out the songs she had written around the core tenants of love and death.\u003c\/p\u003e\u003cp\u003eLead single “Get Out” announces itself with the grandiloquent thump of a kick drum, swift and heavy like a frantic heartbeat racing to the end, making way for otherworldly guitars that trade polished and gritty chords swirling like a fire in the night. An instant sing-along classic with an anthemic chorus anchoring a chaotic tempo, close your eyes and you can picture fists as they find the air, chanting “get up, get up, get out tonight”. Album opener “First Time” rings clear and bright, familiar like a memory you never knew had been locked away, guitars ringing like fireworks and Okusami’s voice pushing and pulling you with symphonic delight, urging you through and onwards. “Be Here” opens with dueling guitars as they echo against each other, conjuring haunting synths that shine like cosmic memories. Wavelengths of the past intertwining with tones of the present.\u003c\/p\u003e\u003cp\u003eSpeaking to her love of sci-fi and fantasy storytelling, Okusami says “I like the heightened stakes in those worlds, where even the smallest thing feels like the world's gonna end if something doesn't happen.” Everything is proven to be love and death, alive even in the heaviest moments on the record. “Drift Away” (featuring Chicago-based multi-instrumentalist Nnamdi), powers through with a slow and pulsing dynamic, an earworm crafted partially from a dream Okusami had about writing songs for a hardcore band. And then, at the finale of all things, “Won’t Someone” washes you out and away, gentle guitars, the brassy lull of mountainous horns and the steady, measured march of a drum. Love and death, the heart of all things.\u003c\/p\u003e\u003cp\u003eThese themes announce themselves here with bombast and static fury, a bigger and louder sound than Oceanator has delivered in times past. “The feeling that these songs were giving me was that they needed to be a big, loud rock band with shredding guitars,” Okusami says. A big, loud rock band is what has grown in the soil of the record, grown from trusted vision and nurtured by Okusami and Yip’s shared understanding of a collective vision. Okusami and her polymathic mastery of instruments finds her playing guitar, bass, synths and drums, alongside her brother and frequent collaborator Mike Okusami on bass and piano and paired with the dynamic rhythms of Yip on drums and other percussion. All of these components gorgeously elaborated on by additional instrumentation from Megan Siebe, Andrew Whitehurst, Eric Sherman and David Haik. With the time afforded at Will Yip’s Studio 4 Recording space, demos became climatic singles, ringing big and loud and clear, instant classics that feel like beloved reminiscences.\u003c\/p\u003e\u003cp\u003eStanding at the forefront of this cascading wall of sound are Okusami’s lyrics, the strongest and most clarified of Oceanator’s catalog that came to her easier than ever before. Molding punchy turns of phrases into their own instruments, taking moments in the studio to tighten and shape but never overthink herself and her vision. Trusting that she knows where all things started and where they may still lead, even when they are hard or tender. An unshakable relationship to the beautiful fragility of futile efforts, an unwavering commitment to going through them all the same.\u003c\/p\u003e\u003cp\u003e“I feel like these songs are honing in on and parsing the same themes as previous records, more settled and clearer.” Okusami says of her arrival here at \u003ci\u003eEverything is Love and Death\u003c\/i\u003e, “I’ve gotten better at listening to the rational part of my brain, the understanding that things aren't going to work. I know better but I'm gonna do it anyway, because everything is love and death.”\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cblockquote\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAll lyrics by Elise Okusami except the line “I’m sick over the feelings that got away” in “Cut String” by Evan Bernard\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAll songs by Elise Okusami except “Cut String” by Elise Okusami and Will Yip\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e \u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eProduced, Engineered, Mixed and Mastered by Will Yip \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAdditional Engineering by Josh Hernandez and Justin Bartlett \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eStudio Assistant - Annelise Parenti \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e \u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003ePerformed by: \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eElise Okusami - guitar, bass, synth, vocals, drums \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eMike Okusami - bass, piano \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eWill Yip - drums, percussion, additional key pads \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAndrew Whitehurst - additional drums \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eEric Sherman - Trumpet \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eDavid Haik - Timpani \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eMegan Siebe - Cello \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eGang vocals - Matheson Glass, Miri Devora, Josh Hernandez \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e \u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003ePhotography by Elise Okusami \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eCover Art by Elise Okusami \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eArtwork Layout by Janelle Abad \u003c\/span\u003e\u003c\/p\u003e\n  \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Transparent Teal)","offer_id":50819005612339,"sku":"PRC-495LP-RETAIL","price":21.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50819005645107,"sku":"PRC-495CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708160110899,"sku":"PRC-495DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/04c15ed2b916c766a2b80f2761b8a0db98ef85cb_40d1e175288925b34a13f5944dbdc92a8af3622e_photo_jpg.jpg?v=1735838836"},{"product_id":"s-raekwon-steven","title":"S. Raekwon - Steven","description":"\u003cp\u003eSteven Raekwon Reynolds performs as \u003cstrong\u003eS. Raekwon\u003c\/strong\u003e, but his second LP is simply called \u003ci\u003eSteven\u003c\/i\u003e. Across 10 tracks of furious and subtly strumming guitars, groovy bass riffs, and whispering revelations, S. Raekwon’s newest album strips back sonic and personal layers to present his most vulnerable, yet authentic self.\u003c\/p\u003e\u003cp\u003eStill, stage names can be masks of sorts, creating distance between art and artists themselves. A bi-racial, multi-hyphenate born in Buffalo and now based in the East Village of New York City, Steven wrote, produced, engineered, and mixed everything on the record, in addition to playing every instrument except the drums. Mastered by Heba Kadry (Kara Jackson, serpentwithfeet, L'Rain), Steven sounds exposed and immediate, a palpable evolution from S. Raekwon’s 2021 debut album \u003ci\u003eWhere I’m at Now\u003c\/i\u003e and 2022 EP \u003ci\u003eI Like It When You Smile\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003eTo achieve this, Steven packed up a rental car with all his gear and returned to his fiancée’s parents’ home in Southern Illinois, where they rode out the pandemic and where he recorded half of \u003ci\u003eWhere I’m at Now\u003c\/i\u003e. The house, more than 100 years old, proved to be a nontraditional recording space, but one that provided plenty of physical space as well as spiritual room for experimentation.\u003c\/p\u003e\u003cp\u003eSteven and drummer Mario Malachi, longtime friends since their college days in Cleveland, Ohio, spent a week in July 2023 transforming the living room into a makeshift studio, rearranging furniture, sitting face-to-face in front of a mic, and tracking songs in single takes. It was a new way of working together; Mario hadn’t heard any music before the sessions, which created a sense of spontaneity and improvisation for the duo.\u003c\/p\u003e\u003cp\u003eEven the writing process was a change for \u003ci\u003eSteven\u003c\/i\u003e. Mostly written between 2022 and 2023, some of the musical ideas date back to 2018. On earlier projects, the writing, recording, and production almost always took place simultaneously. But for \u003ci\u003eSteven\u003c\/i\u003e, he wanted the songs to be able to stand on their own, independent of the production. He composed on guitar and sat with the music, revisiting chords, lyrics, and melodies until he felt they were complete. Each song carried a weight, a purpose, he says. “I constantly asked myself when writing: ‘What are the stakes?’ Every song needed to tell a story, or to serve the broader story of the record.”\u003c\/p\u003e\u003cp\u003eAs they were recording, though, Steven realized the songs offered a certain structural organization. At first, it seemed just musical: The first third bobs and sways with rock, blues, and soul influences. Lead track and lead single “Steven’s Smile,” sets the upbeat mood with a sprinkling of keys from an old Baldwin piano, leading into the head-bopping falsetto of “Old Thing,” and the steady groove of “Winners \u0026amp; Losers.” The middle section, featuring the gut-wrenching centerpiece “If There Is No God…” stretches and soars, showcasing Steven’s vocals — at times hushed and at other times heavy — at the forefront of the mix. The final third settles into an oft-acoustic, singer-songwriter quietude, carried by the off-kilter waltz “What Love Makes You Do.”\u003c\/p\u003e\u003cp\u003eSitting with the final songs, Steven realized that they seemed to coalesce thematically as well. “Maybe subliminally or unconsciously, the songs kind of grouped together in a certain way to explore different areas of myself.” He elaborates, “The beginning is rage and angriness in a certain way. The middle is this uncertainty of questioning yourself, who you are, and if you're a good person. And then at the end, I think it comes to a place of resolution. I’m just examining myself and trying to come to a better understanding of who I am.”\u003c\/p\u003e\u003cp\u003ePosing in pensive tricolor on the album cover, Steven could be conveying a range of emotions — curious, patient, regretful, insecure, annoyed, tolerant, understanding. Rather, his neutral expression and body language seems to express all of those complexities and nuances of human existence and more.\u003c\/p\u003e\u003cp\u003eTaken as a whole, \u003ci\u003eSteven\u003c\/i\u003e doesn’t just offer snapshots in song. Baring himself in full musical honesty across the album, S. Raekwon attempts to bridge the gap between the art and the artist. It’s a portrait of strengths and weaknesses, flaws, and fulfillments. “\u003ci\u003eSteven\u003c\/i\u003e is the sound of me holding a mirror up to and critically reflecting on who I am — the good, the bad, the ugly,” he says. “It’s about trying to understand the multitudes within me.”\u003c\/p\u003e\u003cp\u003eWritten by S. Raekwon\u003cbr\u003eProduced, Engineered \u0026amp; Mixed by S. 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And I’m here for my COMPUTER!”\u003c\/p\u003e\u003cp\u003e– Also Blixa Bargeld, when picking up said computer from a computer store in Berlin where Xiu Xiu now resides\u003c\/p\u003e\u003cp\u003eThere’s a dance, and on occasion a place to go dancing, where we while away the inevitable in the distinct hopes that we can better embrace what’s left of clocks that only run one way. You see, time is the issue and the issue is all about doing a dance that measures out life, and chance, and smooths the groove into something that can comfortably be swallowed.\u003c\/p\u003e\u003cp\u003eLike \u003ci\u003e13\" Frank Beltrame Italian Stiletto with Bison Horn Grips\u003c\/i\u003e?\u003c\/p\u003e\u003cp\u003ePrecisely like \u003ci\u003e13\" Frank Beltrame Italian Stiletto with Bison Horn Grips\u003c\/i\u003e. Which, on the face of it is the newest record from \u003cstrong\u003eXiu Xiu\u003c\/strong\u003e, but only on the face of it. Underneath that face, the sinews and struggles of a need that seeks to name itself over every record, and every song on every record, ever written by Xiu Xiu of course, but also anyone who ever sought to make a record that’s worth a good goddamned. And this record is precisely that.\u003c\/p\u003e\u003cp\u003eThat is: a good goddamned. Nine songs of it, in fact. Nine songs to seal the deal for those who will still listen to all nine songs, in order, because an album is a message that can’t be read piecemeal. Mixed by John Congleton with a band-directed dictum that he should feel free to both “go crazy” and if there was ever any doubt as to what that meant please, by all means “choose iconoclasm.”\u003c\/p\u003e\u003cp\u003eWhich, if your ears are not liars, he has very specifically done. Even if it was not that heavy of a lift to do so since Xiu Xiu has made doing so their raison d’etre for the better part of forever. Formally formalized here under Xiu Xiu’s sense that “the destruction of an original aesthetic notion as a motivation was new for us.”\u003c\/p\u003e\u003cp\u003eWere it also a marching order for anyone committing to actualizing a musical experience of some significance, it seems we’d all be a lot better off. Or at least feeling a lot better off. Which in the end is the only measurement that matters in the face of lives of weighty import. Or even lightweight frivolity. It’s there and everywhere in-between.\u003c\/p\u003e\u003cp\u003eAnd while it sounds like in a volitional sense something easy to do, doing so song after song on record after record doesn’t always clarify or make things easy. Something driven home on their song “Veneficium,” a word with Latin roots connected to poisoning potions.\u003c\/p\u003e\u003cp\u003e“Being lost, literally lost, emotionally lost, lost in a smashed psychological dimension beyond your control, being overwhelmed by the weight of one’s insignificance in the face of time, space and death and pointlessly railing against what does not notice let along care about you”\u003c\/p\u003e\u003cp\u003eThis record though, it must be said, sounds (and feels) like it does care about you. A sense that might mask the randomness of our place in space or more completely, sets it off as the true face of all of our public endeavors.\u003c\/p\u003e\u003cp\u003eBeyond that? Songs like “Common Loon,” “Arp Omni,” and “T.D.F.T.W.” tip the scales toward a dangerous kind of listening experience. One that both takes a lot, but gives more, in almost equal measure.\u003c\/p\u003e\u003cp\u003eSomething set off by Xiu Xiu when they say, as they do, that if they want us to feel anything for this record, it would be “unafraid.”\u003c\/p\u003e\u003cp\u003eDamned straight. We’ve had our fill of that shit lately, and if Xiu Xiu’s move to Berlin is any indication – “we wanted to stay ahead of disaster this time” – it is no less important of a thing than anything else we measure life and death with.\u003c\/p\u003e\u003cp\u003eSo, \u003ci\u003e13\" Frank Beltrame Italian Stiletto with Bison Horn Grips\u003c\/i\u003e?\u003c\/p\u003e\u003cp\u003eYes, \u003ci\u003e13\" Frank Beltrame Italian Stiletto with Bison Horn Grips\u003c\/i\u003e. While regret is for children and old people, rest assured that if you’re not one, you’ll be the other. And out of the long laundry list of things on your regret list, you will most definitely not find \u003ci\u003e13\" Frank Beltrame Italian Stiletto with Bison Horn Grips\u003c\/i\u003e. It’s a mitzvah. For what we should be well pleased.\u003c\/p\u003e\u003cp\u003eYou are alive. And, oh yeah, long live Xiu Xiu.\u003c\/p\u003e\u003cp\u003e–Eugene S. 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Its imperfections are one of the things that people like about it,\" says frontman Matt Pryor. \"But I personally wanted us to record something that sounded like a real band, that sounded professional and, you know, big.\" Working for the first time with Chad Blinman, who co-produced the record with Alex Brahl, the band achieved the massive sound they sought.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSomething to Write Home About\u003c\/i\u003e captured the band's growing musicianship – their playing pivots from aggressive to sensitive from track to track, sometimes even within songs – and featured keyboard textures from James Dewees that realized the band's ambitions to push beyond stripped-down punk. \"The record sounds bigger and more expensive than it actually is,\" says Pryor, \"which I think is a testament to both our ability as a band and to Blinman's ability as a producer.\" Drummer Ryan Pope describes the \"little magical moments\" in the songwriting and arrangements, where maturity and nuance merged with the unexpected touches that sprang from the young band's instincts. \"It was pretty natural,\" he says, \"which is kind of how a lot of cool things happen – when you don't overthink it too much.\"\u003c\/p\u003e\n\u003cp\u003eReleased mere months after the band's stint in the studio, \u003cem\u003eSomething to Write Home About\u003c\/em\u003e emerged into a rock landscape dominated by commercial rock, post-grunge, and nu-metal. \"Nothing that was popular sounded like our album,\" says lead guitarist Jim Suptic. \"That style of music wasn't mainstream.\" Yet \u003ci\u003eSomething to Write Home About\u003c\/i\u003e, along with fellow 1999 releases like Jimmy Eat World's \u003ci\u003eClarity\u003c\/i\u003e and the Promise Ring's \u003ci\u003eVery Emergency\u003c\/i\u003e, solidified a canon of expansive, pop-leaning emo that would guide the genre's explosion in the new millennium, and go on to inspire platinum-selling bands like Fall Out Boy and My Chemical Romance, as well as wave upon wave of emo revival acts.\u003c\/p\u003e\n\u003cp\u003eBut \u003ci\u003eSomething to Write Home About'\u003c\/i\u003es success wasn't limited to its immeasurable influence. It also positioned Vagrant, which would later add emo luminaries like Saves the Day and Dashboard Confessional to its roster, as the genre's preeminent label. It also led to the band's opening slots for Green Day and Weezer, and sold-out shows across a two-year headline tour that, by its end, had pushed the album's Billboard Heatseekers chart summit to #31 and its unit sales into six figures (a rarity for an indie record in the late '90s).\u003c\/p\u003e\n\u003cp\u003eFor the 2024 reissue, the original album tracks were remastered by Joe LaPorta at Sterling Sound and the packaging features expanded artwork plus an album's worth of demos, including four-track acoustic recordings by Pryor. This combined effort reveals the sturdiness of \u003ci\u003eSomething to Write Home About'\u003c\/i\u003es songs – a tracklist battle-tested in hundreds of live settings. The demos also reveal key changes to lyrics, as in opener \"Holiday,\" and abandoned instrumental ideas; Pryor points to a \"twangy\" guitar line in \"Valentine\" jettisoned by Suptic. \"It's so funny listening to it now,\" Suptic says. \"My better taste prevailed.\" For the Get Up Kids, these demos also have the same transportive quality as the finished album, warping them right back to downtown Kansas City and the five-story decommissioned ROTC training facility that – for $100 a month – served as their practice space. \"When I hear those particular demos,\" says Rob Pope, \"it takes me right back to that rehearsal room.\"\u003c\/p\u003e\n\u003cp\u003eIn both the early drafts and remastered tracks contained on this definitive version of \u003ci\u003eSomething to Write Home About\u003c\/i\u003e, longtime fans will return to places familiar and formative, and rediscover plenty of moments as vivid as they were on first listen.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eRecorded in June and July of Nineteen Ninety Nine \u003c\/span\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eat Mad Hatter Studios in Silverlake, CA.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eProduced by The Get Up Kids,\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eCo-Produced by Chad Blinman \u0026amp; Alex Brahl\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eRecorded \u0026amp; Mixed by Chad Blinman\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eAdditional Engineering by Alex Brahl\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eAssisted by Dale Lawton\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eOriginally Mastered by Ramon Breton at Oceanview Mastering\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eRemastered in 2024 by Joe LaPorta at Sterling Sound\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eDemo tracks 1-7 Recorded by Lance McCurdy at our practice space in 1999.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eDemo track 8 recorded by Jared Anderson and Trevor Sherwood in Seattle, WA in 1998.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eDemos 9-12 recorded by Matt Pryor at his apartment in 1998-1999.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eDemo tracks mastered by Mike Nolte at Eureka Mastering in Portland,OR.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eCover painting and inside painting: Travis M. 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Ford\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003ePhotos by (but not limited to)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eSean Capone, Kathryn Magoon, Glen Maricende, David Dack, Maki Shred, Michael Paddock, Jeff Simon Kazue Sakamoto Wise, Ryan Pope, Michael Dubin, Leia Bell, Lance McCurdy.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl 2xLP (Silver Nugget)","offer_id":50819007349043,"sku":"PRC-497LP","price":36.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":50819007381811,"sku":"PRC-497DIGITAL","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Early Bird Vinyl 2xLP (Purple, Pink \u0026 Blonde Striped) - SOLD OUT","offer_id":52707413066035,"sku":"PRC-497LP-EB","price":38.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/c878d590c6cf064abc714a42b6661e521f34c946_6ccc05c71a114e45a6973bbcd97a2b56aa0ca7a4_photo_jpg.jpg?v=1763416341"},{"product_id":"perennial-art-history","title":"Perennial - Art History","description":"\u003cp\u003e\u003cstrong\u003ePerennial\u003c\/strong\u003e is an art project: Mod pop, post-hardcore, 60s soul, ambient electronic music, midcentury design, abstract expressionism, French New Wave cinema; it’s all collage material for Perennial.\u003c\/p\u003e\u003cp\u003eThe band — electric organist Chelsey Hahn, guitarist Chad Jewett and drummer Ceej Dioguardi — is equal parts manic basement show bombast and studio-as-instrument headphone listening. To see the New England three-piece in person is to experience a 20-minute burst of kinetic energy: dynamic, reckless, electrifying. To put on one of Perennial’s records is to spend almost the same amount of time with impeccably layered studio-as-instrument punk modernism.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eArt History\u003c\/i\u003e, the band’s newest full-length album (out June 7 via Ernest Jenning Record Co.), finds Perennial further experimenting with their angular cut-and-glue aesthetic. 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Written in part while the Vancouver duo—guitarist-vocalist Brian King and drummer-vocalist David Prowse—were touring behind their 2017 ANTI- debut, \u003ci\u003eNear to the Wild Heart of Life\u003c\/i\u003e, the album is at once a return to form and a thrilling step forward, testament to the sort of chemistry that they’ve honed over the course of 18 years and hundreds of shows side-by-side.\u003c\/p\u003e\u003cp\u003eTheir aim was simply to write songs that they’d enjoy playing live, without sacrificing any of the nuance or ambition that marked their previous effort. Nowhere on this record is that more deeply felt than lead single “Chicago,” a song whose sheer momentum feels inevitable and true—from the inherent romance of its opening chords to the series of snare-led explosions that see it through. Like the rest of \u003ci\u003eFate and Alcohol\u003c\/i\u003e, it was recorded in Vancouver with longtime collaborator Jesse Gander, who also engineered 2009’s \u003ci\u003ePost-Nothing\u003c\/i\u003e and 2012’s \u003ci\u003eCelebration Rock\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003e“The very first demo we have of “Chicago” was recorded in our jam space on February 4th, 2020,” King says, “and if you listen to that, it just sounds like a rough version of what you hear on the record. But it's all there. That, in some ways, is the most ideal circumstance for a band like us: just having something that really rips in your jam space, something that feels good, something that you're excited about.”\u003c\/p\u003e","brand":"ANTI-","offers":[{"title":"Vinyl (Clear w\/ Pink Swirl)","offer_id":50775987847475,"sku":"NPV","price":33.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (Clear)","offer_id":50959755051315,"sku":"NPV","price":31.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/Japadroids_Fate_Alc_SQ1WSTICKER.jpg?v=1764093077"},{"product_id":"good-looks-lived-here-for-a-while","title":"Good Looks - Lived Here For A While","description":"\u003cp\u003e\u003cstrong\u003eGood Looks\u003c\/strong\u003e write kindhearted and cathartic rock songs about the persistence required to make it through hard times. In April 2022, the Austin, Texas quartet released their critically acclaimed debut \u003ci\u003eBummer Year\u003c\/i\u003e. Immediately after their triumphant hometown record release show, lead guitarist Jake Ames was hit by a car crossing the street, fracturing his skull and tailbone. Thankfully, Ames made a full recovery. The traumatic accident strengthened the bond that built their electric new album \u003ci\u003eLived Here For A While\u003c\/i\u003e,  a collection of fearlessly direct music that captures the full-throated intensity of their galvanizing live show.  \u003c\/p\u003e\u003cp\u003eReinvigorated, Good Looks tracked \u003ci\u003eLived Here For A While\u003c\/i\u003e at Texas' Dandy Sounds with producer\/engineer Dan Duszynski (of Loma and Cross Record) the following summer. Though Ames had to relearn some of his parts, his palpably energetic performances elevated the entire record. On the LP, the band trades the Americana sound that colored in the lines o\u003ci\u003ef Bummer Year\u003c\/i\u003e for clanging post-punk guitars and expansive indie rock. Lyrically, the songs on this album are healing meditations on family dysfunction, new relationships, and how a home can become unrecognizable. Lyricist Tyler Jordan’s songs explore how relationships can crumble irrevocably but also how those partnerships can be centering, hopeful, and exciting.  \u003c\/p\u003e\u003cp\u003eIn another horrific accident in July 2023, their tour van was rear-ended by a speeding car, causing their van, instruments, merch, and records, to become engulfed in flames. Thankfully, none of the band members suffered serious injuries. 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Aside from a few shows, they would break up at the end of the school year and perhaps go on to other bands, jobs, and lives. And for a long while, of course, that is exactly what happened: American Football's sole album was a twinkling and circuitous entry in the annals of Midwest emo, remarkable for its musical tenderness and lyrical ellipses but largely unremarked upon, too.\u003c\/p\u003e\n\u003cp\u003eBut what happened over the next two decades is an inspiring saga of wonderful work slowly finding its audience. \u003ci\u003eAmerican Football\u003c\/i\u003e went from cult classic to emo linchpin, its reputation and sales accreting like sand piling up in some endless hourglass. The little white house on its cover, a physical manifestation of the Anywhere, U.S.A. melancholy of its songs, became a musical landmark. Reunions, reissues, and two new albums followed, American Football finally climbing atop its own steady growth curve and staring out to the massive and enchanted crowd it had created, to the scene it had helped foster. Made at the end of the last century, \u003ci\u003eAmerican Football\u003c\/i\u003e, or \u003ci\u003eLP1\u003c\/i\u003e, unequivocally stands as one of this century's most influential rock records.\u003c\/p\u003e\n\u003cp\u003eWhen Polyvinyl released\u003ci\u003e American Football\u003c\/i\u003e in 1999, it was still an upstart label, an outgrowth of a fanzine with a simple business model and a pure passion for releasing the music co-founders Matt and Darcie Lunsford loved. They didn't gripe much, then, when their new trio splintered into other acts. Both label and band have grown in the quarter-century since in ways neither would have predicted. After a years-long hunt for the original Digital Audio Tapes and a subsequent quest for a machine that would render them properly, \u003ci\u003eAmerican Football\u003c\/i\u003e has been lovingly remastered by original mastering engineer Jonathan Pines in Urbana's Private Studios, where it was recorded. The intertwined guitars have more sparkle, the drums more bounce and flash, the occasional bass more depth. This is the definitive version.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0, 75%, 60%);\"\u003eAmerican Football\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: hsl(0, 75%, 60%);\"\u003eSteve Holmes - guitars, wurlitzer\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: hsl(0, 75%, 60%);\"\u003eSteve Lamos - drums, percussion, trumpet\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: hsl(0, 75%, 60%);\"\u003eMike Kinsella - vocals, guitars, bass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0, 75%, 60%);\"\u003eAlbum Packaging Design by Joby Ford\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: hsl(0, 75%, 60%);\"\u003eArt Direction by Janelle Abad\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: hsl(0, 75%, 60%);\"\u003eDAT Tapes Photography by Jonathan Pines\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0, 75%, 60%);\"\u003eOriginal Recording by Brendan Gamble at Private Studios Urbana, IL.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: hsl(0, 75%, 60%);\"\u003eRemastered by Jonathan Pines at Private Studios, Urbana, IL.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: hsl(0, 75%, 60%);\"\u003eOriginal Photography by Chris Strong\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: hsl(0, 75%, 60%);\"\u003eOriginal Design by Chris Strong and Suraiya Nathani\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: hsl(0, 75%, 60%);\"\u003eIllustrations by Brad Hale\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl 2xLP (Silver)","offer_id":50775163437363,"sku":"PRC-499LP","price":36.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":50819004825907,"sku":"PRC-499DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/eed9aea872fd9eb95a520b4b22d8f9940ef9aa1b_023d239fc6c513ce200ba63cba81c794cd40f393_photo_jpg.jpg?v=1735838842"},{"product_id":"american-football-american-football-covers","title":"American Football - American Football (Covers)","description":"\u003cp\u003e1. Iron \u0026amp; Wine - \"Never Meant\"\u003c\/p\u003e\u003cp\u003e2. Blondshell - \"The Summer Ends\"\u003c\/p\u003e\u003cp\u003e3. Novo Amor \u0026amp; Lowswimmer - \"Honestly?\"\u003c\/p\u003e\u003cp\u003e4. Ethel Cain - \"For Sure\"\u003c\/p\u003e\u003cp\u003e5. Yvette Young - \"You Know I Should Be Leaving Soon\"\u003c\/p\u003e\u003cp\u003e6. Girl Ultra - \"But the Regrets Are Killing Me\"\u003c\/p\u003e\u003cp\u003e7. M.A.G.S. - \"I’ll See You When We're Both Not So Emotional\"\u003c\/p\u003e\u003cp\u003e8. Manchester Orchestra - \"Stay Home\"\u003c\/p\u003e\u003cp\u003e9. John McEntire - \"The One With the Wurlitzer\"\u003c\/p\u003e\u003cp\u003eAlongside and in celebration of \u003ci\u003eAmerican Football (25th Anniversary Edition)\u003c\/i\u003e arrives \u003ci\u003eAmerican Football (Covers), \u003c\/i\u003ean ingeniously programmed set that highlights not only the way \u003cstrong\u003eAmerican Football \u003c\/strong\u003efueled an eventual “emo revival,” but also and perhaps more important how their songs and sounds infiltrated and inspired so many corners of music. From string-swept and imaginative folk to idiosyncratic international pop, from intricate instrumental splendor to open-road shoegaze wonder,\u003ci\u003e (Covers) \u003c\/i\u003etraces—or at least teases—the endless ways the source material has cut across borders of generation, genre, and geography. It affirms just how important the nine songs three college kids cut in four days remain.\u003c\/p\u003e\u003cp\u003eKinsella’s lyrics on \u003ci\u003eAmerican Football\u003c\/i\u003e were specific in detail but vague in situation. What we knew was that a relationship was collapsing with less animosity than regret, a sense of future nostalgia shaping words that asked how an ex-couple might feel as the summer passed and they maybe saw each other again. This framework, then, is a perfect invitation for different singers to climb inside and find their own interpretation. There is, for instance, a sweet sense of hope to Iron \u0026amp; Wine’s opening rendition of “Never Meant,” Sam Beam’s singular falsetto pealing like an apology, hoping to pull his lover back toward a relationship’s center. Ethel Cain, meanwhile, lingers and wallows in the uncertainty of the paradoxically titled “For Sure.” Above long, soft drones and guitars that twinkle like stars being extinguished forever, she settles into this song about never really knowing what’s happening. Doom is a foregone conclusion. It is beautiful and tragic, every scene of being together rendered as a pure hypothetical.\u003c\/p\u003e\u003cp\u003eIn one of the most faithful interpretations here, M.A.G.S. borrows the bitterness and conviction of “I’ll See You When We’re Both Not So Emotional,” less a break-up song than a reckoning with the breaks reality sometimes requires. His keyboard-traced and drum-driven version is sweet but sharp, a reminder that a stop can be an act of self-care. Blondshell slinks into a similar realization during “The Summer Ends,” taking shelter beneath a haze of multi-tracked harmonies and circular guitars to wonder what it’s going to take to move toward happiness—for herself and her partner, either together or apart. “Both been so unhappy,” she sings faintly after a fever breaks. “So let’s just see what happens\/when summer ends.” Appropriate for a band who could never have predicted what the future held for these songs, \u003ci\u003eAmerican Football\u003c\/i\u003e is about not knowing what’s up ahead. Each band here sings that eternal plight in their own tone and tongue.\u003c\/p\u003e\u003cp\u003eWhen American Football wrote and recorded these nine songs in 1999, they were also punk kids who were becoming interested in jazz and modern classical. The touchstones that always appear are Miles Davis, Steve Reich, and The Sea and Cake, but the bigger lesson is their interest in engaging other textures and approaches than distortion and drive. That’s clear in the sparkling guitars and shifting rhythms, in the traces of trumpet and whiffs of keys. And it is obvious on\u003ci\u003e (Covers)\u003c\/i\u003e in the assorted shapes these songs take.\u003c\/p\u003e\u003cp\u003eThough never forsaking the tune itself, Manchester Orchestra imbue “Stay Home” with Reich’s pulsing repetition and Electric Miles’ opalescent glow. They find a way to reconnect the song to its burgeoning references. Yvette Young, of Covet, uses webs of guitar, layers of granular synthesis, and lines of mercurial strings to turn the once-skeletal “You Know I Should Be Leaving Soon” into a lush world. And there at the end, John McEntire, busy back in 1999 scheming Tortoise’s \u003ci\u003eStandards\u003c\/i\u003e and The Sea and Cake’s \u003ci\u003eOui\u003c\/i\u003e, routes “The One With the Wurlitzer” into a Motorik anthem. It feels as emotionally unsure as all of \u003ci\u003eAmerican Football\u003c\/i\u003e, the beat pushing forever forward while the bittersweet keys seem to turn backward, staring off at what might have been.\u003c\/p\u003e\u003cp\u003eOn the sidewalk outside of the famous house on the cover of \u003ci\u003eAmerican Football\u003c\/i\u003e, several lines mark where Chris Strong likely stood when he snapped the photo. They are invitations to capture the scene, just as Strong did in 1999. But on the cover of \u003ci\u003e(Covers)\u003c\/i\u003e, nine different images show the home during subsequent phases of the night, the glow from the upstairs window eventually overrunning the frame. That’s more fun than a mere replication, the same lesson that this compilation holds: Eschewing mimics for acts that took a little bit of \u003ci\u003eAmerican Football\u003c\/i\u003e and made their own way, \u003ci\u003e(Covers)\u003c\/i\u003e is a testament to the imagination not only of the original but to those who continue to find it twenty-five years after the band assumed they were done.\u003c\/p\u003e\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAll songs originally by American Football\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eExecutive Producers: American Football, Amber Leone, Natalie Davila, Seth Hubbard \u0026amp; Matt Lunsford\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eArt Direction by Janelle Abad \u0026amp; Ryan Miller\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eLayout by Bradley Hale\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMastered by Emily Lazar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003e\u003cstrong\u003eNever Meant\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eProduced By Brad Cook and Sam Beam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eEngineered By Paul Voran\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMixed by Paul Voran and Brad Cook\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAcoustic Guitar and all Vocals: Sam Beam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eDrums and OP-1 Synth: Matt McCaughan\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAcoustic Guitar, Organ, Samples and Additional Production: Brad Cook\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAdditional Production: Paul Voran\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003e\u003cstrong\u003eThe Summer Ends\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eProduced By Yves Rothman\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eEngineered By Yves Rothman \u0026amp; 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When the time came to make a record, Farren would be overtaken by an unparalleled anxiety, forcing him into the home studio he describes as “barely bigger than a closet,” where he agonized over the minute details of his work in progress. “Looking back on those records… I have no good memories of making them,” he admits. “It’s always been a lonely, doubt-ridden process.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eIt’s surprising to hear this, knowing Farren’s reputation as a prolific songwriter who made his name recording with Jeff Rosenstock in Antarctigo Vespucci and before that, the Floridian punk band Fake Problems. In 2014, Farren started releasing music under his own name all while continuing his project alongside Rosenstock, and his first album, \u003ci\u003eLike a Gift From God or Whatever\u003c\/i\u003e endeared him to fans of the now-defunct Fake Problems and new listeners who had yet to experience the delight of a new Chris Farren song. \u003ci\u003eLike a Gift From God or Whatever\u003c\/i\u003e was followed by\u003ci\u003e Can’t Die\u003c\/i\u003e and Farren’s Polyvinyl debut, \u003ci\u003eBorn Hot\u003c\/i\u003e. Last year, Farren wrote what he describes as a soundtrack to a spy film he invented that will never be committed to film. Inspired by Marvin Gaye’s soundtrack to \u003ci\u003eTrouble Man\u003c\/i\u003e, \u003ci\u003eDeath Don’t Wait (Original Motion Picture Soundtrack) \u003c\/i\u003ewas a creative exercise, one Farren completed in mere months that stands apart from the extensive, at times arduous, process of making a Chris Farren album. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eAfter releasing \u003ci\u003eBorn Hot \u003c\/i\u003ein 2019, Farren knew he needed to make changes to the creative process, but he wasn’t yet sure how to. Enter Frankie \u003c\/span\u003e\u003cspan style=\"color:#202122;\"\u003eImpastato\u003c\/span\u003e\u003cspan style=\"color:#000000;\"\u003e, drummer of Macseal, who Farren met on tour and who became one of his dearest friends and confidants. He told Impastato about the misery, the barely-bigger-than-a-closet studio, the barren memory chest, and together they hatched a plan: they’d make Farren’s next album together. So, Farren got in touch with multi-instrumentalist\/producer, and Jay Som mastermind, Melina Duterte (also, a Polyvinyl labelmate), who invited him by her studio where she’s collaborated with a steady stream of notable artists since first opening it in 2020. That’s where \u003ci\u003eDoom Singer\u003c\/i\u003e, his new full-length album due out August 4th, would be made.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e“Looking back, I feel bad, because Melina brought me in to show me her space and was describing the gear to me and I was totally checked out,” Farren says. “I mean, the space is amazing, she’s super talented, but I told her: ‘I don’t care about any of this stuff. I just want to make a record with you and have fun. I want to make a record and have a good time.’”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eCollaboration not only untethered Farren from his misery (fun was had) but also his overbearing need to control every aspect of the creative process. While on previous albums like 2019’s \u003ci\u003eBorn Hot \u003c\/i\u003eor 2016’s \u003ci\u003eCan’t Die \u003c\/i\u003eFarren might’ve spent hours on end tweaking a single canned drumbeat, Impastato’s live drums offer a spontaneity that breathed new dimensionality into the Chris Farren project. He wanted this new effort to be “bombastic,” to sound like it could fill the immense negative space of an arena. “I wanted to open these songs up, make them less frenetic, and not feel the pressure to cram every moment,” he says. You hear that impulse on lead single “Cosmic Leash,” which opens with a wall of sound that careens to a halt, as Farren delivers his interlude over the slight strumming of a guitar. That sense of reprieve lasts only a moment, before the enormous chorus shreds through the silence as Farren wails: “Change your heart\/ Wait your turn.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eThe choruses on \u003ci\u003eDoom Singer\u003c\/i\u003e are all like this, huge, cathartic, catchy as hell, and inspired by what Farren describes as the “sixties-tinged girl group vibe, not retro, but playful” employed by Belle and Sebastian. “First Place” is a shining example, a song Farren describes as being about worrying you might grow apart from your partner and, “Not being able to cum because of Lexapro.” It’s hard to describe the single as anything but “jaunty,” the buoyancy of Farren’s delivery belying any sense of disquiet humming beneath its surface.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eFarren says \u003ci\u003eDoom Singer\u003c\/i\u003e communicates an “optimistic nihilism,” and that lyrically, he’s trying to embrace nuances inspired by films like\u003ci\u003e TÁR\u003c\/i\u003e and \u003ci\u003eI’m Thinking of Ending Things\u003c\/i\u003e. “In these movies, the truth of the narrative isn’t handed to you, and it’s not easy to figure out where your sympathies should lie,” he says. Against certainty, \u003ci\u003eDoom Singer \u003c\/i\u003eopens with a confession. “I don’t remember how to do this,” Farren croons on “Bluish,” admitting to feeling codependent in his marriage, worried he is too much to manage, that his neuroses might disrupt a delicate domestic balance. It was the first song he wrote for the album and the one that determined its narrative course. We’re made to believe aging makes you wiser, but as Farren has grown into the prodigious songwriter you hear on \u003ci\u003eDoom Singer\u003c\/i\u003e, he’s only grown less certain. “I’m constantly processing the way I feel about things, and I didn’t want any of these songs to sound sure of themselves, or to communicate any clear message,” he says.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eCiting My Bloody Valentine, TV on the Radio, and Camera Obscura as clear influences, Farren says he can’t listen to much music until it’s time to make a new record, but when it’s time, he submerges himself in music that moves him. “I wrote between fifty and eighty songs for this album,” he says. The final cut is as genuine, empathetic, and of course, funny, as Farren is, and though he claims nihilistic tendencies, it’s the dogged optimism that endures. On “All We Ever,” Farren compiles a list of things he wants (to stop paying rent, to love the government, to get drunk with friends) that accumulate into a three-minute reminder that no life is ever pristine, that there will always be wants unfulfilled, and that that’s okay. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e“There will be struggle in everything. I’ll always be fighting with myself, and I need to find a certain peace with that,” he says, but on \u003ci\u003eDoom Singer\u003c\/i\u003e, Farren rejects closure, and he’s still seeking that sense of peace. 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I played two shows in four years: one was in Barcelona, and one was at my rehab talent show. I wasn’t really making music or even planning on making an album. But God has his ways.\u003c\/p\u003e\u003cp\u003eMy dear friend and long-time collaborator Dylan White and his wife married in Las Vegas in late 2021. It was there that we came up with the idea of making a record together.\u003c\/p\u003e\u003cp\u003eI had many song fragments that came from one of my main nighttime hobbies during the lockdowns: sitting on the back steps of where I was living, drinking from a flask of cheap liquor, setting small bonfires in these aluminum cans, and singing to myself. I would record myself singing a capella into my phone’s voice recorder—pieces of an idea that came into my head like a ghost. 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