{"title":"Recent Best Sellers","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eOur top selling items from recent months, presented for your \u003c\/span\u003e\u003cs\u003econsumption\u003c\/s\u003e\u003cspan\u003e consideration.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"american-football-american-football-transcriptions-and-tablature-book","title":"American Football - American Football: Transcriptions and Tablature Book","description":"\u003cp\u003eTranscriptions and Tablature for Guitar, Bass, Trumpet and Vocal: Self-titled Album (1999) \u0026amp; EP (1998)\u003c\/p\u003e\n\u003cp\u003eTranscribed by Nate Kinsella\u003c\/p\u003e\n\u003cp\u003eIncludes illustrations by Bradley Hale and handwritten lyrics by Mike Kinsella.\u003c\/p\u003e","brand":"American Football","offers":[{"title":"Book (Softcover)","offer_id":50773821391155,"sku":"NPV","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/f7bdb0e100275600f9e183e25d81822d.jpg?v=1739894079"},{"product_id":"american-football-american-football","title":"American Football - American Football","description":"\u003cp\u003e\u003cstrong\u003eAmerican Football\u003c\/strong\u003e's first album showcases cleanly picked guitars, intricate drumming, and the vocals of Mike Kinsella (\u003cstrong\u003eOwen\u003c\/strong\u003e, \u003cstrong\u003eCap'n Jazz\u003c\/strong\u003e). The band, made up of Kinsella, Steve Holmes and Steve Lamos rooted itself in Champaign and recorded this album at Private Studios with Brendan Gamble (Braid).\u003c\/p\u003e\n\u003cp\u003eDespite little touring and with only an EP behind them, these nine songs highlight the trio's uncanny songwriting abilities.\u003c\/p\u003e\n\u003cp\u003eThe album's photos and layout mark the first Polyvinyl design done by Chris Strong.\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Blue Smoke)","offer_id":50775264395571,"sku":"PRC-025LP","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818973794611,"sku":"PRC-025CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":50818973827379,"sku":"PRC-025DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/b7a8436b63e8fcf65a5d0573c7ddfdc253d4a0df_c556be4338a80ffabad4200893ff9f61d1c26736_photo_jpg.jpg?v=1735838695"},{"product_id":"alvvays-antisocialites","title":"Alvvays - Antisocialites","description":"\u003cp\u003eAcross \u003ci\u003eAntisocialites\u003c\/i\u003e' 10 tracks and 33 minutes the Toronto-based group dive back into the deep end of reckless romance and altered dates. Through thoughtful consideration in basement and abroad, \u003cstrong\u003eAlvvays\u003c\/strong\u003e has renewed its Scot-pop vows with a powerful new collection of manic emotional collage.\u003c\/p\u003e\u003cp\u003eThe album opens with the excellent strum-’n-thrummer ‘In Undertow,’ a hi-amp breakup fantasy that is both crushing and charming for its level-headedness. \"You find a wave and try to hold on for as long as you can, you made a mistake you'd like to erase and I understand,\" sings Rankin, her voice full longing not for another person necessarily, but for what to do next. \"Meditate, play solitaire, take up self-defense,\" Molly continues, laundry-listing some strategies for moving on. \"What's next for you and me? I'll take suggestions,\" she deadpans under crashing waves of feedback and Farfisa.\u003c\/p\u003e\u003cp\u003eReplete with more songs about drinking (‘Forget About Life,’ ‘Hey’), drugging (‘Lollipop (Ode To Jim)’), and drowning (‘Already Gone’), \u003ci\u003eAntisocialites\u003c\/i\u003e is a multipolar period piece fueled by isolation and loss. Perversely enjoyable dark drama springs from Rankin’s phonetic twists, quick-sung rhymes and irreverent syllable-play. “So morose for me, seeing ghosts of me, writing oaths to me,” the self-described introvert sings on the Cocteau-pop stunner ‘Dreams Tonite,’ the song from which the album’s name is derived. “In fluorescent light, antisocialites watch a wilting flower.”\u003c\/p\u003e\u003cp\u003eTo write \u003ci\u003eAntisocialites\u003c\/i\u003e, Rankin traveled to Toronto Island -- working in an abandoned classroom by day and sleeping a few feet from shore at night -- to avoid a stifling heat wave in the city. “I carried a small PA on the ferry in a wheelbarrow,” she recalls. “Every morning I would listen to my favorite records on the beach, then I’d write melodies and record demos in the classroom.” After tracking with keyboardist Kerri MacLellan and bassist Brian Murphy at Kingsize in LA, Rankin and guitarist Alec O’Hanley continued recording and mixing in their Toronto basement. A few friends descended to play on the record, including Teenage Fanclub’s Norman Blake.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eAntisocialites\u003c\/i\u003e details a world of ice cream truck jingles and radiophonic workshop noise, where Rankin's shining wit is refracted through crystalline counterpoint. ‘Not My Baby’ is a centerpiece, a meditation on the rapture of escape following the sadness of separation. Elsewhere, ‘Plimsoll Punks’ is the band’s answer to Television Personalities’ ‘Part-Time Punks’ and a winking surf opus indictment of the self-righteous who intend to condescend. Molly wrote the rapid-fire sugar stream ‘Lollipop (Ode to Jim)’ after singing ‘Just Like Honey’ with Jesus and Mary Chain. ‘Your Type’ is a beautiful primitive stomp about running around Paris with vomit on your feet post-Louvre ejection.\u003c\/p\u003e\u003cp\u003eThe record concludes with a movement that is at once stark and celebratory. On ‘Forget About Life,’ the apartment stands in disarray as undrinkable wine is inhaled: “When the failures of the past multiply and you trivialize the things that keep your hand from mine, did you want to forget about life with me tonite?” The resonant freaks in Rankin’s tales don’t find much resolve, but with equal doses of black humor and heartstring-tugging, \u003ci\u003eAntisocialites\u003c\/i\u003e rings a truer tone.\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Orange\/Blue Mix)","offer_id":51621498093875,"sku":"PRC-9676LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (Clear w\/ Yellow Splatter)","offer_id":50775279534387,"sku":"PRC-334LP","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818988966195,"sku":"PRC-334CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape (Yellow)","offer_id":50818988998963,"sku":"PRC-334TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":50818989064499,"sku":"PRC-334DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/Alvvays_Antisocialites_Bandbox2025_MOCKUP_SQ.jpg?v=1749175869"},{"product_id":"braid-frame-canvas","title":"Braid - Frame \u0026 Canvas","description":"\u003cp\u003eConsidered by many to be the definitive \u003cstrong\u003eBraid\u003c\/strong\u003e album, \u003ci\u003eFrame \u0026amp; Canvas\u003c\/i\u003e was recorded by J. Robbins (Jawbox\/Burning Airlines) at Inner Ear studios in December 1997. Braid's leaner, more focused sound on the album was in direct correlation to the band's constant and prolific touring.\u003c\/p\u003e\u003cp\u003eBraid's third album features the bombastic crowd pleaser \"The New Nathan Detroits,\" the lovesick math rock dance anthem \"A Dozen Roses\" and the shimmery mini-epic of \"I Keep a Diary.\"\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Blue\/Silver Swirl)","offer_id":50888641151283,"sku":"PRC-018LP-SWIRL","price":22.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (180-Gram Black)","offer_id":50775408279859,"sku":"PRC-018LP-BLK","price":21.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818986049843,"sku":"PRC-018CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":50818986115379,"sku":"PRC-018DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/654b08f67a5392411132f48994bf3c6e5a5b2446_4bbc59e115131374bc6d1d5d7dfe4fc3883dcd33_photo_jpg.jpg?v=1735838706"},{"product_id":"xiu-xiu-plays-the-music-of-twin-peaks","title":"Xiu Xiu - Plays the Music of Twin Peaks","description":"\u003cp\u003eIn 2015, Australia’s Gallery of Modern Art in Queensland commissioned \u003cstrong\u003eXiu Xiu\u003c\/strong\u003e to reinterpret the music from Twin Peaks for their \u003ca href=\"https:\/\/www.qagoma.qld.gov.au\/whats-on\/exhibitions\/past-exhibitions\/david-lynch\"\u003e\u003ci\u003eDavid Lynch: Between Two Worlds exhibition\u003c\/i\u003e\u003c\/a\u003e. Since then, the band has performed select concerts all over the globe culminating in a proper studio album of the compositions, released in August 2016.\u003c\/p\u003e\u003cp\u003e2021: To mark the five-year anniversary of \u003ci\u003ePlays the Music of Twin Peaks\u003c\/i\u003e, Xiu Xiu’s Stewart and Angela Seo returned to The White Lodge (in this case, Xiu Xiu’s NURSE studios) to resurrect their previously unreleased cover of “A Real Indication,” written by David Lynch’s musical muse and Twin Peaks composer, \u003cstrong\u003eAngelo Badalamenti\u003c\/strong\u003e. \u003c\/p\u003e\u003cp\u003eOriginally featured in the 1992 series prequel film, \u003ci\u003eFire Walk With Me\u003c\/i\u003e, Xiu Xiu’s cover of “A Real Indication” features contributions from drummer David Kendrick (Gleaming Spires, Devo, Sparks) and arco double bassist Jherek Bischoff, original producer of \u003ci\u003ePlays the Music of Twin Peaks\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003e\"Until Angela and I read an interview with David Lynch wherein he described his doubt that Angelo Badalamenti would be able to do the vocals on \"A Real Indication,\" but then was left laughing on the floor in delight at what an amazing job he did, we were confused by the song. We always loved it but thought it was a song from outside the Twin Peaks universe; a song by other artists that they used on the soundtrack. When we read this interview and realized how deeply it in fact was in the universe AND had Angelo Badalamenti singing, we regretted not including it on \u003ci\u003ePlays the Music of Twin Peaks\u003c\/i\u003e. When Polyvinyl approached us about an anniversary release, the opportunity to do it as a bonus track thankfully gave us a chance to redeem ourselves.\u003c\/p\u003e\u003cp\u003eIt is funny how lucky we were to have released \u003ci\u003ePlays the Music of Twin Peaks\u003c\/i\u003e when we did. The third season was announced while we were in Australia preparing for the first concert of the soundtrack we would ever play. It was fully back in the zeitgeist at the exact time we were working on it. The White Lodge had given us a little kiss. It was amazing to have been able to inhabit that monumentally inspiring world for a couple of years. As crazed and devoted fans, who could have asked for more? In the meantime we have watched Season 3 over and over and our love for this epic has only grown. It is irresistible although more than a little on the nose to say this of the reissue but, we are so excited that It Is Happening Again.\" –Jamie Stewart, Xiu Xiu\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl 2xLP (White \u0026 Clear)","offer_id":50775129948467,"sku":"PRC-312LP","price":30.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818987393331,"sku":"PRC-312CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape (Clear)","offer_id":50818987458867,"sku":"PRC-312TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":50818987491635,"sku":"PRC-312DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/XiuXiu-Twin_Peaks-white-clear-001.jpg?v=1746220559"},{"product_id":"the-promise-ring-nothing-feels-good","title":"The Promise Ring - Nothing Feels Good","description":"\u003cp\u003eIf there was ever a straw that broke a camel's back, this was it. The kids had their say and, for once, they agreed on something.\u003c\/p\u003e\n\u003cp\u003eEveryone from SPIN Magazine to MTV's Matt Pinfield was marveling over this record. \u003cstrong\u003eThe Promise Ring\u003c\/strong\u003e themselves were catapulted from the tiny basement scene into the, erm, bigger basement and club scene.\u003c\/p\u003e\n\u003cp\u003eOn their 1997 release, The Promise Ring made emo more accessible, which laid the groundwork for the commercially successful acts that would follow. The band showed it doesn't always have to be such a pity party, and that catharsis can come in many forms, particularly in the naively optimistic power-pop of \u003ci\u003eNothing Feels Good\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eThe pioneering band walked the line between brusque sentimentality and uplifting hooks, making them emo's first pop emissaries. Cheap Trick for hardcore kids. If Fountains of Wayne, Sebadoh, and Jonathan Richman had an emo love-child, \u003ci\u003eNothing Feels Good\u003c\/i\u003e might be its name.\u003c\/p\u003e\n\u003cp\u003eThe record was a high point for many fans of the band, and is considered one of the pillars of the genre. Perhaps because of this light-hearted yet concentrated approach, \u003ci\u003eNothing Feels Good\u003c\/i\u003e landed with the kind of fanfare that hadn't been seen for a band from emo's sophomore class.\u003c\/p\u003e","brand":"Jade Tree","offers":[{"title":"Vinyl (Half Orange\/Half Yellow)","offer_id":53192567849267,"sku":"NPV","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (Blue \u0026 White Galaxy) – OUT OF PRINT","offer_id":50775611998515,"sku":"NPV","price":28.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/ThePromiseRing_NothingFeelsGood_WLOGOSQ1.jpg?v=1777904437"},{"product_id":"kero-kero-bonito-time-n-place","title":"Kero Kero Bonito - Time ‘n’ Place","description":"\u003cp\u003eThe sophomore full-length from \u003cstrong\u003eKero Kero Bonito\u003c\/strong\u003e, \u003ci\u003eTime ‘n’ Place\u003c\/i\u003e is an album ineffably shaped by the subconscious. Lead singer and chief lyricist Sarah Bonito (who was raised in the suburbs on the Japanese island Hokkaido) found herself rattled in recent years by recurring images in her dreams: a water park from when she was little, a hallway in her primary school. After those dreams started, she also received an unexpected photo from her brother: a picture of a plot of bare land that once held her childhood home, the house now demolished. (“I felt like I’d lost something, even though I didn’t know I needed it,” she says.) And in another heartbreak for Sarah, 2017 saw the death of her beloved childhood pet, a boy budgie named Nana whom she received soon after moving to the UK at age 13.\u003c\/p\u003e\u003cp\u003eAt the same time, Sarah’s fellow KKB members experienced some life-changing upheaval, including the loss of several close family members. So when the London trio began writing again, they felt compelled to diverge from the carefree sensibilities of their early work (a form of kitsch electro-pop that jumbled up lo-fi dance music with bilingual lyrics, British TV references, and stories about animals). Resuming a very teenage and visceral approach to making music, KKB effectively morphed into a band, with Sarah on vocals, Jamie on bass, Gus on drums, and their friend James Rowland on guitar. Their debut for Polyvinyl, \u003ci\u003eTime ‘n’ Place\u003c\/i\u003e is a document of that band finding its voice, a coming-of-age story told in warped guitar solos, shining melodies, unnervingly tender lyrics about yogurt and seafoam and feral parakeets.\u003c\/p\u003e\u003cp\u003eThough much of \u003ci\u003eTime ‘n’ Place\u003c\/i\u003e was self-produced in Gus’s bedroom in the London suburb of Bromley, it was also partly recorded by Jimmy Robertson (Arctic Monkeys, Fuck Buttons) and Stereolab drummer Andy Ramsay (King Krule, Wire) at Ramsay’s Press Play Studio in South London. Along with Rowland, the album features contributions from noise\/electronic musician Jennifer Walton, a string arrangement by composer Calum Bowen (aka bo en), and a three-part choir made up of Cecile Believe, Oscar Scheller, and Crying’s z (aka Elaiza Santos). Built on the same volatile energy that’s made KKB’s live shows famously mosh-heavy, \u003ci\u003eTime ‘n’ Place\u003c\/i\u003e collages those elements together in a sound that’s both chaotic as punk and symphonic as ’60s pop.\u003c\/p\u003e\u003cp\u003eFor KKB the urgency of \u003ci\u003eTime ‘n’ Place\u003c\/i\u003e was imperative—they needed to process their pain and confusion in frantic, kinetic movements, and bashing away on drums and guitars felt more fitting than assembling songs on a laptop. It’s also much more true to their upbringing as musicians, back when Gus and Jamie were growing up in the South London suburbs and played in garage bands together all during their school days. With the added vision and otherworldly voice of Sarah—who spent her adolescence in the UK town of Kenilworth, and met Gus and Jamie on a web forum five years ago—the classically dissident music of their indie-rock forebears takes on weirder and more wonderful textures and colors, giving way to something dreamy and transcendent but not without its nightmare moments.\u003c\/p\u003e\u003cp\u003eWhile loss of innocence is an overriding theme on \u003ci\u003eTime ‘n’ Place\u003c\/i\u003e, the album is weighted with existential reflections of all kinds. “Make Believe” is partly about lucid dreaming, but it’s also about self-inflicted anxiety, and the danger in slipping into fantasy as a way to escape fear. “Time Today” is about waking up early and feeling determined to make the most of the day, and the sad\/sweet naïveté of that optimism in the face of self-sabotage. “Only Acting” follows a social-media-age identity crisis, the song itself coming unhinged as its narrator spins out of control. And on “Dear Future Self,” KKB examine their worries about the state of the world, bending time by including a line about global warming in a song styled toward Brill Building pop.\u003c\/p\u003e\u003cp\u003eElsewhere on \u003ci\u003eTime ‘n’ Place\u003c\/i\u003e, KKB look into multiverse theory (on “If I’d Known,” a Randy Newman-inspired song featuring a verse rapped by Jamie) and the shift in perspective that comes with getting older (on “Swimming,” a bittersweet tribute to singer-songwriter Yumi Matsutoya). Recorded with a gang of their dearest friends, all singing together in a ragtag chorus, “Sometimes” is a tear-jerkingly hopeful song about pushing through depression. An album concerned with the sanctity of physical space in an increasingly virtual world, \u003ci\u003eTime ‘n’ Place\u003c\/i\u003e also speaks to the thrill of going outside (on “Outside”), the tranquility of the town dump (on “Dump”), and the surreal stillness of a deserted rest stop (on “Rest Stop,” a track that finishes the album in a beautifully glitched-out non-ending).\u003c\/p\u003e\u003cp\u003eWithin the cartography of \u003ci\u003eTime ‘n’ Place\u003c\/i\u003e, the most important space is the suburbs, an aspect of their shared past that KKB find infinitely formative. As kids, each member quickly learned the need to invent their own wildness and excitement, embracing misfit status in a place where any form of self-expression could be seen as aberrant. That iconoclastic spirit has carried over to KKB’s current role in the musical landscape, with \u003ci\u003eTime ‘n’ Place\u003c\/i\u003e partly conceived as a reaction against the sterility of playlist culture. It’s a sublimely untidy album, anarchic but balletic in grace, music born from willful imagination and a sense of purpose best captured in the band’s own words: “More than ever music needs to be set free, because it can be anything, so we just decided to do whatever the fuck we wanted.”\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Black)","offer_id":50818992406835,"sku":"PRC-377LP","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818992439603,"sku":"PRC-377CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape (Clear)","offer_id":50818992472371,"sku":"PRC-377TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":50818992505139,"sku":"PRC-377DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/4cd31d31e16ac873f5f421d5880e88d6_2d2da9d94b039a6310628cafff23e9fac3892e36_product_photo.jpg?v=1735838716"},{"product_id":"kero-kero-bonito-bonito-generation","title":"Kero Kero Bonito - Bonito Generation","description":"\u003cp\u003eLondon trio \u003cstrong\u003eKero Kero Bonito\u003c\/strong\u003e (Sarah, Jamie, Gus) seemed to bounce onto the scene fully-formed with their effervescent DIY mixtape, \u003cem\u003eIntro Bonito\u003c\/em\u003e, in 2014.\u003c\/p\u003e\u003cp\u003e  They’d created a technicolor world all their own-one wherein J-pop, K-pop, video games, art, club and electronic music all danced together and everyone was invited.\u003c\/p\u003e\u003cp\u003e  On this “official” debut full-length, their diverse musical influences blend as seamlessly as Sarah’s combination Anglo-Japanese lyrics.\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Blue)","offer_id":50775376331059,"sku":"PRC-375LP","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818993783091,"sku":"PRC-375CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape (Light Blue)","offer_id":50818993815859,"sku":"PRC-375TAPE","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/BonitoGen-LP-Retail-2000.jpg?v=1746219122"},{"product_id":"anamanaguchi-endless-fantasy","title":"Anamanaguchi - Endless Fantasy","description":"\u003cp\u003eAfter doing the soundtrack for the 2010 Scott Pilgrim video game, New York 8-bit geniuses \u003cstrong\u003eAnamanaguchi\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003edove headfirst into the recording of their second album. Three years (and many ideas, plans, and diversions) later, the 22-song \u003cem\u003eEndless Fantasy\u003c\/em\u003e finally saw the light of day in early 2013 on their own dream.hax label.\u003c\/p\u003e\u003cp\u003eAll the time and effort put into recording the music paid off in the end, and the album is something of an 8-bit masterpiece. The band uses hacked Nintendo systems, Game Boys, and live instruments to make (mostly) instrumental music that is blindingly bright and insanely fun.\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl 2xLP (Clear w\/ Rainbow Splatter)","offer_id":50775144038707,"sku":"PRC-406LP","price":35.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":52708194451763,"sku":"PRC-406CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708194484531,"sku":"PRC-406DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/22a4e95edf0023b1b79f0e23682069702ab79c44_f8c99420c0a8a3bb6bdf4d34e1c45dfeaf3ae0ea_photo_jpg.jpg?v=1735838736"},{"product_id":"title-fight-the-last-thing-you-forget","title":"Title Fight - The Last Thing You Forget","description":"\u003cp\u003e\u003cstrong\u003eTitle Fight\u003c\/strong\u003e's breakthrough EP \u003cem\u003eThe Last Thing You Forget\u003c\/em\u003e has aged from a fan-favorite collection of songs into a genre-defining classic that has been undeniably influential. In three short songs, \u003cem\u003eThe Last Thing You Forget \u003c\/em\u003eshows a young band with a precocious knack for genre-blending demonstrate a mastery of melodic hardcore, droning indie rock and angst-ridden punk from the blistering intro of \"Symmetry\" to the final sing-a-long moments of \"No One Stays at the Top Forever.\"\u003c\/p\u003e\n\u003cp\u003eThough this EP was not Title Fight's first release, it has served as an introduction for many to one of the biggest up-and-coming bands in modern punk. This reissue features new, revised artwork and never-before-seen photos from the band.\u003c\/p\u003e","brand":"Run For Cover Records","offers":[{"title":"7\" (Black)","offer_id":50776248877363,"sku":"NPV","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/a1f69f6000f7a8b5883b7134fcf8d558_6b1bfa966fb59d5aa2d7d51a6214b9ff0dc70e6e_product_photo.jpg?v=1739893888"},{"product_id":"hum-youd-prefer-an-astronaut","title":"Hum - You'd Prefer An Astronaut","description":"\u003cp\u003eChampaign, Illinois band \u003cstrong\u003eHum\u003c\/strong\u003e is re-issuing its four-album catalog (\u003ci\u003eElectra 2000\u003c\/i\u003e, \u003ci\u003eYou'd Prefer An Astronaut\u003c\/i\u003e, \u003ci\u003eDownward Is Heavenward\u003c\/i\u003e, \u003ci\u003eInlet\u003c\/i\u003e) with exclusive distribution by Polyvinyl. The band members oversaw every step of the re-mastering, lacquer cutting, and manufacturing stages while working with original designer Andy Mueller\/OhioGirl in updating the artwork.\u003c\/p\u003e\n\u003cp\u003eAll records manufactured at Record Technology, Inc., Camarillo, CA.\u003c\/p\u003e\n\u003cp\u003e-----------------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eYou’d Prefer an Astronaut\u003c\/i\u003e (1995 – RCA Records)\u003c\/p\u003e\n\u003cp\u003eRecorded and mixed by Keith Cleversley at The Playground, Chicago, IL.\u003c\/p\u003e\n\u003cp\u003eLicensed from Sony Music and re-mastered by Ryan Smith at Sterling Sound, Nashville, TN.\u003c\/p\u003e","brand":"Earth Analog Records","offers":[{"title":"Vinyl 2xLP (180-Gram Clear Green)","offer_id":50775510319411,"sku":"D-EAR-007LP-GREEN","price":39.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818999943475,"sku":"D-EAR-007CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/507220de6d9d0814e10682b3d7a8e305f4c1abab_1cd273deceeb8e38549f553314933e7c6bc117a4_photo_jpg.jpg?v=1737061283"},{"product_id":"hum-downward-is-heavenward","title":"Hum - Downward Is Heavenward","description":"\u003cp\u003eChampaign, Illinois band \u003cstrong\u003eHum\u003c\/strong\u003e is re-issuing its four-album catalog (\u003ci\u003eElectra 2000\u003c\/i\u003e, \u003ci\u003eYou'd Prefer An Astronaut\u003c\/i\u003e, \u003ci\u003eDownward Is Heavenward\u003c\/i\u003e, \u003ci\u003eInlet\u003c\/i\u003e) with exclusive distribution by Polyvinyl. The band members oversaw every step of the re-mastering, lacquer cutting, and manufacturing stages while working with original designer Andy Mueller\/OhioGirl in updating the artwork.\u003c\/p\u003e\n\u003cp\u003eAll records manufactured at Record Technology, Inc., Camarillo, CA.\u003c\/p\u003e\n\u003cp\u003e-----------------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eDownward is Heavenward\u003c\/i\u003e (1998 – RCA Records)\u003c\/p\u003e\n\u003cp\u003eRecorded by Mark Rubel at Pogo Studio, Champaign, IL. Mixed by Brian Malouf at Pacifique, LA.\u003c\/p\u003e\n\u003cp\u003eLicensed from Sony Music and re-mastered by Ryan Smith at Sterling Sound, New York, NY.\u003c\/p\u003e","brand":"Earth Analog Records","offers":[{"title":"Vinyl 2xLP (180-Gram Clear Yellow)","offer_id":50775517692211,"sku":"D-EAR-003LP-YELLOW","price":39.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818999976243,"sku":"D-EAR-003CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/6027e2c8d143d95d99817e470b6ef0b1313f2e3b_ea69b33edca72de33bd9f6e9a448a15798bf1d71_photo_jpg.jpg?v=1737061225"},{"product_id":"alvvays-blue-rev","title":"Alvvays - Blue Rev","description":"\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003eAlvvays\u003c\/strong\u003e never intended to take five years to finish their third album, the nervy joyride that is the compulsively lovable \u003ci\u003eBlue Rev\u003c\/i\u003e. In fact, the band began writing and cutting its first bits soon after releasing 2017’s \u003ci\u003eAntisocialites\u003c\/i\u003e, that stunning sophomore record that confirmed the Toronto quintet’s status atop a new generation of winning and whip-smart indie rock.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: #000000;\"\u003eGlobal lockdowns notwithstanding, circumstances both ordinary and entirely unpredictable stunted those sessions. Alvvays toured more than expected, a surefire interruption for a band that doesn’t write on the road. A watchful thief then broke into singer Molly Rankin’s apartment and swiped a recorder full of demos, one day before a basement flood nearly ruined all the band’s gear. They subsequently lost a rhythm section and, due to border closures, couldn’t rehearse for months with their masterful new one, drummer Sheridan Riley and bassist Abbey Blackwell.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: #000000;\"\u003eAt least the five-year wait was worthwhile: \u003ci\u003eBlue Rev \u003c\/i\u003edoesn’t simply reassert what’s always been great about Alvvays but instead reimagines it. They have, in part and sum, never been better. There are 14 songs on \u003ci\u003eBlue Rev\u003c\/i\u003e, making it not only the longest Alvvays album but also the most harmonically rich and lyrically provocative. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: #000000;\"\u003eThere are newly aggressive moments here—the gleeful and snarling guitar solo at the heart of opener “Pharmacist,” or the explosive cacophony near the middle of “Many Mirrors.” And there are some purely beautiful spans, too—the church- organ fantasia of “Fourth Figure,” or the blue-skies bridge of “Belinda Says.” But the power and magic of \u003ci\u003eBlue Rev\u003c\/i\u003e stems from Alvvays’ ability to bridge ostensible binaries, to fuse elements that seem antithetical in single songs—cynicism and empathy, anger and play, clatter and melody, the soft and the steely. The luminous poser kiss-off of “Velveteen,” the lovelorn confusion of “Tile by Tile,” the panicked but somehow reassuring rush of “After the Earthquake”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: #000000;\"\u003eThe songs of \u003ci\u003eBlue Rev\u003c\/i\u003e thrive on immediacy and intricacy, so good on first listen that the subsequent spins where you hear all the details are an inevitability.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: #000000;\"\u003eThis perfectly dovetailed sound stems from an unorthodox—and, for Alvvays, wholly surprising—recording process, unlike anything they’ve ever done. Alvvays are fans of fastidious demos, making maps of new tunes so complete they might as well have topographical contour lines. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: #000000;\"\u003eBut in October 2021, when they arrived at a Los Angeles studio with fellow Canadian Shawn Everett, he urged them to forget the careful planning they’d done and just play the stuff, straight to tape. On the second day, they ripped through \u003ci\u003eBlue Rev\u003c\/i\u003e front-to-back twice, pausing only 15 seconds between songs and only 30 minutes between full album takes. And then, as Everett has done on recent albums by The War on Drugs and Kacey Musgraves, he spent an obsessive amount of time alongside Alvvays filling in the cracks, roughing up the surfaces, and mixing the results. This hybridized approach allowed the band to harness each song’s absolute core, then grace it with texture and depth. Notice the way, for instance, that “Tom Verlaine” bursts into a jittery jangle; then marvel at the drums and drum machines ricocheting off one another, the harmonies that crisscross, and the stacks of guitar that rise between riff and hiss, subtle but essential layers that reveal themselves in time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: #000000;\"\u003eEvery element of Alvvays leveled up in the long interim between albums: Riley is a classic dynamo of a drummer, with the power of a rock deity and the finesse of a jazz pedigree. Their roommate, in-demand bassist Blackwell, finds the center of a song and entrenches it. Keyboardist Kerri MacLellan joined Rankin and guitarist Alec O’Hanley to write more this time, reinforcing the band’s collective quest to break patterns heard on their first two albums. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: #000000;\"\u003eThe results are beyond question: \u003ci\u003eBlue Rev\u003c\/i\u003e has more twists and surprises than Alvvays’ cumulative past, and the band seems to revel in these taken chances. This record is fun and often funny, from the hilarious reply-guy bash of “Very Online Guy” to the parodic grind of “Pomeranian Spinster.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: #000000;\"\u003eAlvvays’ self-titled debut, released when much of the band was still in its early 20s, offered speculation about a distant future—marriage, professionalism, interplanetary citizenship. \u003ci\u003eAntisocialites\u003c\/i\u003e wrestled with the woes of the now, especially the anxieties of inching toward adulthood. Named for the sugary alcoholic beverage Rankin and MacLellan used to drink as teens on rural Cape Breton, \u003ci\u003eBlue Rev\u003c\/i\u003e looks both back at that country past and forward at an uncertain world, reckoning with what we lose whenever we make a choice about what we want to become.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: #000000;\"\u003eThe spinster with her Pomeranians or Belinda with her babies? The kid fleeing Bristol by train or the loyalist stunned to see old friends return? “How do I gauge whether this is stasis or change?” Rankin sings during the first verse of the plangent and infectious “Easy on Your Own?” In that moment, she pulls the ties tight between past, present, and future to ask hard questions about who we’re going to become, and how. Sure, it arrives a few years later than expected, but the answer for Alvvays is actually simple: They’ve changed gradually, growing on \u003ci\u003eBlue Rev\u003c\/i\u003e into one of their generation’s most complete and riveting rock bands.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eMolly Rankin : Vocals, Guitar, Production\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eAlec O’Hanley : Guitar, Keyboards, Bass, Production, Mixing, Engineering\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eKerri MacLellan : Keyboards, Vocals\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eSheridan Riley : Drums\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eAbbey Blackwell : Bass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eChris Dadge : Drums\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eMoshe Fisher-Rozenberg : Drums\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eDrew Jurecka - Cello, Viola\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eJoseph Shabason - Flute, Baritone Saxophone\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003ePhil Hartunian - Guitar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eShawn Everett : Production, Mixing, Engineering\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eAdditional Engineering : Stephen Koszler, Phil Hotz, Robbie Lackritz, Nyles Spencer, Julian Decorte, Amy Fort, Ivan Wayman\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eDesign \/ Layout by Scott Fitzpatrick, MR + AO\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003ePhotography by Janet Vanzutphen\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eAdditional Work by Nora MacLeod + KM\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"color: hsl(0,75%,60%);\"\u003eAll Songs Written by MR + AO\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Black\/Blue Mix)","offer_id":51621493670195,"sku":"PRC-9677LP","price":28.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (Blue)","offer_id":50934861168947,"sku":"PRC-465LP","price":26.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50934861201715,"sku":"PRC-465CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape (Black)","offer_id":50934861234483,"sku":"PRC-465TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":50934861267251,"sku":"PRC-465DIGITAL","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (Silver \u0026 Light Blue Mix) – SOLD OUT","offer_id":52707524903219,"sku":"PRC-9688LP","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/Alvvays_BlueRev_Bandbox2025_MOCKUP_SQ.jpg?v=1763417443"},{"product_id":"jeff-rosenstock-hellmode","title":"Jeff Rosenstock - HELLMODE","description":"\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e\u003cstrong\u003eJeff Rosenstock\u003c\/strong\u003e makes increasingly chaotic albums for an increasingly chaotic world. With each passing year, it feels like the temperature of the universe boils five degrees hotter, and with each new album, Rosenstock’s music grows more unwieldy and lawless. Louder, faster, more feral. Which brings us to 2023—a planet on fire, a mere 90 seconds to midnight on the doomsday clock, and the release of Rosenstock’s appropriately titled, anarchic record, \u003ci\u003eHELLMODE\u003c\/i\u003e.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e“To me, the album feels like the chaos of being alive right now,” Rosenstock says of \u003ci\u003eHELLMODE\u003c\/i\u003e. “We’re experiencing all these things at the same time that trigger our senses, and emotions that make us feel terrible. We’re just feeling way too much all at once!” But for all its textured turmoil, there are also surprising glimpses of clarity and grace to be found in \u003ci\u003eHELLMODE\u003c\/i\u003e, when Rosenstock deliberately slows things down in places that are prettier and more delicate, rare moments of shelter in the storm. Which only makes it more rewarding when these moments unexpectedly unravel and spiral back into extreme, manic chaos, like abruptly being flung into a Nintendo game on level 99.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e\u003ci\u003eHELLMODE\u003c\/i\u003e marks the fifth studio album the prolific Rosenstock has released in the last ten years under his own name, following the dissolution of his beloved cult projects Bomb the Music Industry! and The Arrogant Sons of Bitches. Also tucked into his rapidly expanding catalog is a live record, a ska reimagining of his 2020 album \u003ci\u003eNO DREAM\u003c\/i\u003e, and various dumps of stray songs and loose singles. And somewhere on the side, he has found time to score the Emmy-nominated animated series \u003ci\u003eCraig of the Creek\u003c\/i\u003e.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eRosenstock’s rising profile and critical acclaim over the last decade have been something of an anomaly. He’s a proud torchbearer of the punk sonics, aesthetics, and ethos of his youth, leaning into pop punk and ska sensibilities that were deemed Decidedly Uncool by the gatekeepers of the time. (On any given day at a big outdoor music festival, he is likely the only musician who will bust out a saxophone solo.) But when Rosenstock celebrates these styles, he somehow ends up getting praise from tastemakers and landing on prominent year-end lists. Maybe it’s because his appreciation doesn’t feel like cheap nostalgia or surface-level cosplay. Everything he does is just so damned sincere.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eThat success is something Rosenstock has been conflicted about, and fuels some of the anxiety that runs through \u003ci\u003eHELLMODE\u003c\/i\u003e. “It’s weird feeling success at the worst possible time, while the world falls apart,” he says. “These things I’ve been unintentionally working towards for the last two decades have come to fruition now, when everything is on fire.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eTo record \u003ci\u003eHELLMODE\u003c\/i\u003e in the summer of 2022, Rosenstock once again enlisted his longtime studio collaborator, Jack Shirley, the Grammy-nominated master of heaviness who has recorded all of Rosenstock’s studio albums. But this time, they took a slightly more ambitious approach, booking time at the legendary EastWest Studios in Hollywood. They recorded to tape in Studio 2, the same hallowed ground where System of a Down recorded \u003ci\u003eToxicity\u003c\/i\u003e, and where Whitney Houston laid down vocal tracks for \u003ci\u003eThe Bodyguard \u003c\/i\u003esoundtrack. The newfound studio resources produced the biggest and most expansive Jeff Rosenstock record to date. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e“I looked at it like: Well, we’re never gonna make a major label debut record. But I really like the sound of a lot of those records from the 90s—the Rob Cavallo stuff, the Jerry Finn stuff,” Rosenstock says. “So what would we do if we were in the studio trying to make that kind of record? It’s funny, I feel like in 2023, you can write an unabashedly poppy punk song and it’s probably not gonna be on the radio anyway, so it doesn’t feel like a sellout move. We felt free to make something that just kicks as much ass as possible.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eJOHN DEDOMENICI - BASS\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eKEVIN HIGUCHI - DRUMS, PERCUSSION\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMIKE HUGUENOR - ELECTRIC GUITAR\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eDAN POTTHAST - ACOUSTIC GUITAR, WURLITZER, VOCALS\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eJEFF ROSENSTOCK - ACOUSTIC \u0026amp; ELECTRIC GUITARS, SAXOPHONES, CLARINET, ORGAN, SYNTHESIZERS, PIANO, VOCALS\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eADDITIONAL VOCALS BY CHRIS FARREN \u0026amp; LAURA STEVENSON\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eTROMBONE ON “WILL U STILL U” BY JEREMY HUNTER\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eVIBRAPHONE ON “HEALMODE” BY SKYLAR SUOREZ\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eTRASH CAN ON “LIFE ADMIN” BY CHRISTINE MACKIE\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eRECORDED BY JACK SHIRLEY AT EAST WEST STUDIOS IN LOS ANGELES, CA AND THE ATOMIC GARDEN IN EAST OAKLAND, CA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMIXED BY JACK \u0026amp; JEFF | MASTERED BY JACK\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eENGINEERINGLY ASSISTED BY LOGAN TAYLOR\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eADDITIONAL RECORDING BY JEFF, JEREMY \u0026amp; SKYLAR IN THEIR PLACES OF LIVING\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003ePRE-PRODUCTION AT BALBOA STUDIOS IN LOS ANGELES, CA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eINTERNATIONAL VOX \u0026amp; CLAP CO. CLASS OF 2022: GILBERT ARMENDARÍZ, LAUREN BRIEF, SIM CASTRO, LAURA HAMMOND, PUP \u0026amp; NEIL SHARMA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eILLUSTRATIONS BY DAVE ALEGRE\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003ePHOTOS BY JEFF ROSENSTOCK \u0026amp; HIRO TANAKA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eLAYOUT BY JEFF ROSENSTOCK\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Neon Pink)","offer_id":50775429447987,"sku":"PRC-475LP","price":21.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50819003253043,"sku":"PRC-475CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape (Red)","offer_id":50819003285811,"sku":"PRC-475TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":50819003318579,"sku":"PRC-475DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/c1d0045fe2b28595fb113300953e290901028204_42808c048bb1ba050f3e7109374f6239fc81046e_photo_jpg.jpg?v=1735838818"},{"product_id":"zebra-t-shirt","title":"Hum - Zebra T-Shirt","description":"\u003cp\u003eBRAND: American Apparel Heavyweight Tee \u003c\/p\u003e\u003cp\u003eSHIRT COLOR: Black\u003c\/p\u003e\u003cp\u003eDESIGN COLOR: Teal and White\u003c\/p\u003e","brand":"Earth Analog Records","offers":[{"title":"Small","offer_id":50799313223987,"sku":"D-DPD-TS015-S","price":30.0,"currency_code":"USD","in_stock":true},{"title":"Medium","offer_id":50799313256755,"sku":"D-DPD-TS015-M","price":30.0,"currency_code":"USD","in_stock":true},{"title":"Large","offer_id":50799313289523,"sku":"D-DPD-TS015-L","price":30.0,"currency_code":"USD","in_stock":true},{"title":"X-Large","offer_id":50799313322291,"sku":"D-DPD-TS015-XL","price":30.0,"currency_code":"USD","in_stock":true},{"title":"2X-Large","offer_id":50799313355059,"sku":"D-DPD-TS015-2XL","price":30.0,"currency_code":"USD","in_stock":true},{"title":"3X-Large","offer_id":50799313387827,"sku":"D-DPD-TS015-3XL","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/Hum_Zebra_SQ1.jpg?v=1737500880"},{"product_id":"momma-welcome-to-my-blue-sky","title":"Momma - Welcome to My Blue Sky","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike so many coming-of-age stories that leave a long-lasting impact, \u003cstrong\u003eMomma\u003c\/strong\u003e’s new album \u003c\/span\u003e\u003cem\u003eWelcome to My Blue Sky\u003c\/em\u003e\u003cspan\u003e takes place during a charmed and turbulent summer—a transformative moment in time that co-founders Etta Friedman and Allegra Weingarten sum up as a period of “parallel chaos.” The Brooklyn-based band’s fourth LP, over the course of 12 immaculately composed yet immediately potent songs, documents all the life-altering upheaval the two singer\/songwriter\/guitarists experienced during a whirlwind mid-2022 tour. Equal parts shared memoir, communal outpouring, and riveting emotional travelogue, each track is infused with both unsparing self-awareness and immense sensitivity, and the result is a bold leap forward for one of the most creatively uncompromising and singular voices in indie-rock.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“This record came from a very formative time for us—there was a lot of change that felt so fun and exciting, but also a lot of instability and heartbreak,” says Weingarten, who met Friedman during their high-school years in L.A. and soon struck up a close musical collaboration. As they dealt with the fallout of that phase of their lives (a moment marked by infidelity, loneliness, heavy drinking, and the start of new romance), the two friends made a pact to wade through the mess together. “In a way it felt like we flipped our entire lives upside-down,” says Friedman. “We needed to lean on each other to cope with everything we were going through, and writing songs together was a big part of working through those feelings and finally putting them to rest.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003eWelcome to My Blue Sky\u003c\/em\u003e\u003cspan\u003e, produced by their bandmate Aron Kobayashi Ritch,\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003emarks the follow-up to \u003c\/span\u003e\u003cem\u003eHousehold Name\u003c\/em\u003e\u003cspan\u003e—a 2022 release that earned acclaim from the likes of \u003c\/span\u003e\u003cspan\u003ePitchfork\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eNYLON\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eNME\u003c\/span\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cspan\u003eRolling Stone\u003c\/span\u003e\u003cspan\u003e (including landing on Rob Sheffield’s “Top 20 Albums of 2022” list). In creating their most autobiographical and exactingly realized work to date, Friedman and Weingarten wrote most of the album together on acoustic guitars before sharing those songs with Kobayashi Ritch. The multi-instrumentalist\/engineer then guided the band through a highly methodical demoing process aimed at elevating their sound (or, as the band puts it, “setting a new standard for ourselves”) while harnessing the infectious energy they’ve shown in touring with seminal bands like Death Cab For Cutie and Weezer, and performing at major festivals like Coachella. With the help of drummer Preston Fulks, Momma arrived at an album matching the raw urgency of rock with the sticky melodies and taut arrangements of pop—a dynamic born from their deepened commitment to finding the most direct vessel for their emotional expression. “With this album we were less concerned with sounding cool and heavy and rock \u0026amp; roll and much more focused on good, clean songwriting that hopefully inspires people to sing along and mean every word,” Weingarten reveals.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the first songs completed for \u003c\/span\u003e\u003cem\u003eWelcome to My Blue Sky\u003c\/em\u003e\u003cspan\u003e, “I Want You (Fever)” served as an essential breakthrough in shaping the album’s viscerally charged, inventive, and detailed sound. “I remember us writing that in my bedroom and coming up with a riff for the pre-chorus, and then deciding to sing that part instead of playing it on guitar—which felt so fun and fresh and took the song in a whole new direction,” Friedman recalls. “I Want You (Fever),” with its frenetic textures and hypnotic chorus, soon evolved into a fantastically loopy portrait of forbidden love. “When we were recording that song I felt such an intense joy that I couldn’t stop smiling,” says Weingarten. “It felt completely authentic to Momma, but also like stepping into a whole new era.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMainly recorded live with the full band at Studio G in Brooklyn, \u003c\/span\u003e\u003cem\u003eWelcome to My Blue Sky \u003c\/em\u003e\u003cspan\u003etakes its title from a gorgeous, sprawling track embodying a far more wistful mood, where Momma’s tender introspection is adorned with bittersweet strings and graceful acoustic-guitar work. “We were on tour and stopped at a gas station and saw a sign that said ‘Welcome to My Blue Sky,’ which hit me as really poetic—although it turned out to be an ad for an oil company,” Weingarten explains. “We got to the venue and wrote that song so quickly, and it ended up being about the experience of going on tour and leaving people behind, and all the unknowns as far as what the future holds for us.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eReferring to \u003c\/span\u003e\u003cem\u003eWelcome to My Blue Sky\u003c\/em\u003e\u003cspan\u003e as “an open letter to those who have come in and out of our lives,” across the album Momma explores the full spectrum of their emotional experience during that summer 2022 tour. On “Ohio All The Time,” the band slips into a lovely nostalgia as they reminisce about a fleeting moment Friedman likens to “living in our own little dream world,” imbuing the track with all the punchy effervescence of early-aughts alt-pop.  “Rodeo” is written from the perspective of their former romantic partners, offering up a heavy-hearted anthem channeling both frustration and longing—a tension perfectly echoed in its pummeling riffs, staccato drum beats, and indelibly sweet vocal delivery. “There was a lot of infidelity that happened on that tour, and we wrote ‘Rodeo’ as a way to process that and own up to how we might have made other people feel,” Friedman points out. Meanwhile, on “Bottle Blonde,” Momma brings moody breakbeats and lush synth loops to an intimate meditation on the complexities of their friendship. “That song is partly us talking to our younger selves and telling them everything’s going to be okay, but it’s also us talking to each other right now,” says Weingarten. “It’s saying that even if our relationship ebbs and flows, we know that we’ll always be each other’s anchors no matter what we go through.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor the bookends to \u003c\/span\u003e\u003cem\u003eWelcome to My Blue Sky\u003c\/em\u003e\u003cspan\u003e, Momma selected two songs that took them far beyond their comfort zone: the album-opening “Sincerely” (a free-flowing, acoustic-guitar-driven piece conceived as a farewell to their former lives) and fuzzed-out closing track “My Old Street” (a brutally honest look back at their childhoods). “I’m still really nervous for certain people in my life to hear these songs; they all have a level of vulnerability that feels pretty scary,” says Weingarten in reflecting on the latter. But in their dedication to, in Friedman’s words, “learning how to confess the hard things,” Momma hopes to inspire others to make peace with the messiest and most uncomfortable truths of their personal experience—and, in turn, head into the wild unknown of their own blue sky with confidence, curiosity, and self-compassion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eEtta Friedman - Guitar, vocals, lyrics, additional instrumentation\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eAllegra Weingarten - Guitar, vocals, lyrics, additional instrumentation\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eAron Kobayashi Ritch - Produced, mixed, head-engineered, co-written, bass, additional instrumentation, sampling\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003ePreston Fulks - Drums, percussion\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eHayden Ticehurst - Assistant engineer at Studio G\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eSebastian Jones - Assistant engineer at Wasatch studios, double bass on Sincerely \u0026amp; Take Me With You, piano on Welcome to My Blue Sky \u0026amp; My Old Street\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eDorothy Carlos - Cello on Welcome to My Blue Sky \u0026amp; How to Breathe\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eAlbum art photos by Daria Kobayashi Ritch\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eAlbum art design \u0026amp; layout by Etta Friedman\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eStyling by Kelly Sachiko Page\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eMastered by Matt Colton\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eRecorded at Studio G in Brooklyn \u0026amp; Wasatch Studios in Los Angeles\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Coke Bottle Clear)","offer_id":51012140499251,"sku":"PRC-503LP","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":51012140532019,"sku":"PRC-503CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape (Blue Tint)","offer_id":51012140564787,"sku":"PRC-503TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":51012140597555,"sku":"PRC-503DIGITAL","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Early Bird Vinyl (Sky Blue Mix) – SOLD OUT","offer_id":51012140630323,"sku":"PRC-503LP-EB","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/Momma_WTMBS_SQ1Retail.jpg?v=1763439241"},{"product_id":"cursive-the-ugly-organ","title":"Cursive - The Ugly Organ","description":"\u003cp\u003eFrom the maniacal opening notes and carnival barker howl that launch the album, \u003cem\u003eThe Ugly Organ\u003c\/em\u003e wasted no time searing itself into a listener's ears and quickly established \u003cstrong\u003eCursive\u003c\/strong\u003e as a musical force with which to be reckoned. A self aware examination of artistic constraints (or lack thereof), relationships, sex, and the intersection of all three, \u003cem\u003eThe Ugly Organ\u003c\/em\u003e wowed critics and audiences alike with its cerebral, cathartic blend of songs.\u003c\/p\u003e\n\u003cp\u003eFiercely intelligent and cohesive – the liner notes laid the songs out like a play, complete with stage directions – across its diverse sonic landscape, the album landed Cursive on the Sunday Arts \u0026amp; Leisure section cover of \u003cem\u003eThe New York Times\u003c\/em\u003e (which also called it \"a marvelous collection of riddles and left turns, conceived as a single piece of musical theater\") and earned accolades from \u003cem\u003eRolling Stone\u003c\/em\u003e (\"brilliant leap forward\"), \u003cem\u003eEntertainment Weekly, Billboard, Alternative Press, MAGNET\u003c\/em\u003e (\"The best punk record you'll hear all year\"), \u003cem\u003eEsquire\u003c\/em\u003e, and \u003cem\u003eSPIN\u003c\/em\u003e, among many others, as well as a place on numerous year-end best lists.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Ugly Organ\u003c\/em\u003e feels as vibrant and vital today as it did upon release more than 20 years ago. A landmark album, it not only catapulted Cursive from the simmering indie underground to the forefront of a genre, but also served to inspire a host of young bands in its wake.\u003c\/p\u003e","brand":"Run For Cover Records","offers":[{"title":"Vinyl (Clear Green)","offer_id":52700054028595,"sku":"NPV","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/i_ee8826a2-c961-4a51-a34c-8508b9c598cd.jpg?v=1763222662"},{"product_id":"american-football-american-football-lp4","title":"American Football - American Football (LP4)","description":"\u003cp\u003eThe quietest voices don’t just endure — sometimes they deepen.\u003c\/p\u003e\n\u003cp\u003eFor a band once defined by understatement, \u003cstrong\u003eAmerican Football\u003c\/strong\u003e has become something increasingly rare: one whose stature has grown less by nostalgia than through patience, self-interrogation and the long view. Since reuniting in 2014 after a decade-plus dormancy, American Football hasn’t simply returned to its past. It has moved forward in parallel with its audience, writing music that reflects the disorientation, compromise, grief and hard-won perspective of middle age.\u003c\/p\u003e\n\u003cp\u003eIts fourth self-titled album \u003cem\u003e(LP4)\u003c\/em\u003e is the clearest and most satisfying expression of that evolution yet. It’s simultaneously the band’s darkest and most playful, its most complex and — paradoxically — its most generous. Throughout, \u003cem\u003eLP4\u003c\/em\u003e stares matter-of-factly at despair while refusing the comforts of melodrama or easy resolution.\u003c\/p\u003e\n\u003cp\u003eIndeed, on “Patron Saint of Pale,” frontman Mike Kinsella proposes playing Rock Paper Scissors with his soon-to-be ex-wife as a way to avoid signing their divorce papers. And on the gripping, eight-minute “Bad Moons,” he jokes about actually being two little kids disguised in a trench coat rather than a flesh-and-blood 40-something dad of two teens, before the reality of the situation can no longer be avoided: “I lost my mind in the dark \/ I told all my lies in the dark \/ I poured my drinks in the dark \/ I explored new kinks in the dark,” he sings, his voice seemingly cracking at times under the cold, hard truths.\u003c\/p\u003e\n\u003cp\u003e“That's the one where I was like, ‘Oh, fuck. My mom's gonna listen to this.’ But I’m proud of it,” Kinsella says. “I think only a grown person would think those things or say those things, and I'm a grown man.” “Those are not funny lyrics,” drummer Steve Lamos adds, “but there’s a weird ‘fuck it’ to the whole thing that I love.”\u003c\/p\u003e\n\u003cp\u003eThat restless desire to grow and evolve has guided American Football since its return. The band’s 1999 self-titled debut became a touchstone almost accidentally — a record whose elliptical lyrics and interlocking guitar lines sneakily rewired Midwestern emo and post-rock alike. During the 2014 tour, the quartet was surprised to find itself playing larger rooms than it ever had the first time around. “It felt like stumbling into being a mid-level band without having earned it,” guitarist Steve Holmes says of those first shows back.\u003c\/p\u003e\n\u003cp\u003eBut over time, American Football leapfrogged existing as a mere reunion act and instead became a vibrant, ongoing concern. \u003cem\u003eLP2\u003c\/em\u003e (2016) and \u003cem\u003eLP3\u003c\/em\u003e (2019) documented that transition — the former cautious and connective, the latter expansive, exploratory and welcoming of new voices such as Paramore’s Hayley Williams and Slowdive’s Rachel Goswell. \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLP4\u003c\/em\u003e completes this arc with one astonishing song after another.\u003c\/p\u003e\n\u003cp\u003e“The charm of the first record is that it could have only been made by kids,” Holmes says. “This record could only have been made by adults. There's a swagger that comes with the confidence of having done this for a long time, and there’s gravitas to Mike's lyrics. There's still breakup and heartbreak in there, but it’s much more real.”\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLP4\u003c\/em\u003e was initially born out of an interruption. After touring \u003cem\u003eLP3\u003c\/em\u003e in 2019,  the band planned a break. The pandemic stretched that pause into a three-year hiatus, during which Lamos, by day a college English professor in Colorado, stepped away for personal and professional reasons. Attempts to write remotely faltered. “It was not easy to do on Zoom,” Holmes admits. “And honestly, it wasn’t clicking.”\u003c\/p\u003e\n\u003cp\u003eIn the meantime, Kinsella and his cousin Nate channeled some of that material into an album for their synth-y side project, LIES, sharpening their shared language in the process and beginning the relationship with Sonny DiPerri, who they enlisted to mix. When Lamos returned and the band reconvened in earnest, something shifted. “It felt much more like a band again,” Lamos says. “There was a certain organic piece to this one that harkened back to what I associate with the first record.”\u003c\/p\u003e\n\u003cp\u003eThe Kinsellas then suggested recording \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLP4\u003c\/em\u003e in Stinson Beach, Ca., with DiPerri (My Bloody Valentine, Trent Reznor), whose presence proved crucial. “Sonny was a great, calming influence,” Holmes says. “Thanks to his energy and approach, it was easy for me to do what I felt like I needed to do,” Lamos explains. “For me personally as a player, this is maybe the best representation of what I would want to say on the drums.”\u003c\/p\u003e\n\u003cp\u003eAmerican Football also overhauled its process. Nate Kinsella devised an elaborate system of scratch tracks and modular demos, allowing ideas to evolve before the band ever entered the studio, while touring members Cory Bracken and Mike Garzon added the kinds of subtle touches that have made them indispensable onstage. “This record would not exist in the way it does without Nate masterminding a lot of the sonic details,” Holmes says. “He’s our Brian Eno or Jonny Greenwood.”\u003c\/p\u003e\n\u003cp\u003eThe result is American Football’s most sonically ambitious album: layered, dissonant, occasionally confrontational and always deeply felt. Piano, vibraphone, synths, trumpet and unexpected harmonic and tonal shifts disrupt the band’s famously smooth surfaces but invite new levels of depth and discovery. “The goal was to make the best record we could possibly make and not worry about how we’re going to recreate it live,” Holmes laughs. “That’s somebody else’s problem — which is currently our problem.”\u003c\/p\u003e\n\u003cp\u003eThat ambition is evident immediately. Expansive opener “Man Overboard” is built around a knotty, almost prog-like drum pattern that Lamos admits he had to later relearn. Lyrically, it sets the tone: resignation without self-pity, isolation rendered in stark maritime imagery. “I was born castaway \/ Lost at sea,” Kinsella sings, before the devastating refrain “Man overboard \/ It’s hopeless” previews what’s to come.\u003c\/p\u003e\n\u003cp\u003eAcross \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLP4\u003c\/em\u003e, Kinsella’s narratives are unflinchingly heavy. Suicide, shame, divorce, addiction, self-loathing and rebirth all surface, often within the same song. “If you read the lyrics on the page, they can seem grim,” Holmes says. “But there’s hope in them.”\u003c\/p\u003e\n\u003cp\u003eThat tension is central to the album’s emotional arc. “It feels like stages of grief to me,” Lamos offers. “Raging against how things work, and then increasing moments of acceptance as the record goes on.” Mike Kinsella doesn’t frame it so explicitly, but acknowledges the weight. “The goal has always been to say something giant and heavy in a very plain way,” he says. “On this record, I keep things a little more vague — and I think that makes it more honest.”\u003c\/p\u003e\n\u003cp\u003eSongs like “No Feeling” and “No Soul To Save” flirt openly with annihilation, yet the music beneath them is lush, even inviting. “Bad Moons” stitches together two previously unrelated demos into a towering release Holmes describes as “maybe our most cathartic song ever,” while “Desdemona” threads phased, wordless vocals straight out of Steve Reich’s \u003cem\u003eMusic for 18 Musicians\u003c\/em\u003e through the kinds of classic American Football guitar lines that still make people cry in bedrooms around the globe (“It's incredible,” Mike Kinsella raves about the musical juxtaposition. “That might actually be my favorite part of the record”).\u003c\/p\u003e\n\u003cp\u003eGuest vocalists further deepen the world of \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLP4\u003c\/em\u003e. Longtime peer Caithlin De Marrais of Rainer Maria brings history and familiarity to “Blood on My Blood,” Wisp’s Natalie Lu provides the perfect ethereal contrast on the almost poppy “Wake Her Up” and Turnstile’s Brendan Yates contributes a key vocal harmony on “No Feeling” that was recorded the day after the band casually asked if he’d like to stop by DiPerri’s L.A. studio. Says Nate Kinsella, “There’s a shimmery, sort of silver quality to his voice when he sings high and nails those long pitches. It’s so beyond what I expected on that song.”\u003c\/p\u003e\n\u003cp\u003eAmerican Football now speaks with rare authority — not because Kinsella has raised his voice, but because he’s earned the weight behind it. \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLP4\u003c\/em\u003e stands as a document of endurance, friendship, creative trust and the strange grace of growing older without growing static.\u003c\/p\u003e\n\u003cp\u003e“From the instrumentation to the arrangements to Nate running into a microphone and apologizing and us leaving it on the album, I’m really proud of the decisions we made,” Mike Kinsella says. “We’ve gotten nothing but better at writing songs.  We worked together way better than we ever had before. This album is a leap of faith, musically, but I’m proud of us for being ambitious enough to try something different.”\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAmerican Football is Mike Kinsella, Nate Kinsella, Steve Holmes \u0026amp; Steve Lamos\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAll songs written and performed by American Football\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced by Sonny DiPerri and American Football\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMixed by Sonny DiPerri at Octopus Beak\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Engineering by Nate Kinsella\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRecorded at Panoramic House, Shirk Studios, Open House Contemporary and Octopus Beak\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Stephen Marcussen at Marcussen Mastering\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAssisted by John Baccigaluppi, Jeff Kolhede, Stephen Shirk and Zach Capitti Fenton\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eVibraphone on all songs and additional synthesis on “Man Overboard,” “Blood On My Blood,” “No Feeling,” and \"Bad Moons\" by Cory Bracken\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional production on “Bad Moons” by Nate Kinsella\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional writing on “Blood On My Blood” by Cory Bracken\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eViolin on “Bad Moons” by Ben Russell\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Vocals on “No Feeling” by Brendan Yates\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Vocals on “Wake Her Up” by Natalie R. Lu\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Vocals on “Blood On My Blood” by Caithlin De Marrais, Recorded by Steve Silverstein\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Vocals on “Desdemona” by Gelsey Bell\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Vocals on “Man Overboard” \u0026amp;“No Feeling” by Mike Garzon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Vocals on “Patron Saint of Pale” by Stella Sen and Lila Deckenbach\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eChoir on “No Soul to Save” is Yomi George, Chinwe and Ayobami Adebanjo, Recorded by Temitope Momorbe\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003ePhotography by Chris Strong\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Photography by Sonny DiPerri \u0026amp; Caroline Marchildon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eArt Direction \u0026amp; Additional Photo Coloring by Janelle Abad\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eArtwork by Bradley Pinkerton\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl 2xLP (Red)","offer_id":53120796393779,"sku":"PRC-515LP-RETAIL","price":30.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53120781254963,"sku":"PRC-515CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape","offer_id":53120796459315,"sku":"PRC-515TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53120781287731,"sku":"PRC-515DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/AmericanFootball_LP4_RetailSQ1_110a949b-b156-4354-996b-faed0c9cc2b4.jpg?v=1777658134"},{"product_id":"american-football-the-one-with-the-piano-t-shirt","title":"American Football - The One with the Piano T-Shirt","description":"\u003cp dir=\"ltr\"\u003eBRAND: Hanes Beefy Tee\u003cbr\u003eSHIRT COLOR: Black\u003cbr\u003eDESIGN COLOR: Red\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eDesign by Bradley Pinkerton\u003c\/p\u003e","brand":"Polyvinyl Accessories","offers":[{"title":"Small","offer_id":53123339780403,"sku":"PRC-TS1274-S","price":22.0,"currency_code":"USD","in_stock":true},{"title":"Medium","offer_id":53123339813171,"sku":"PRC-TS1274-M","price":22.0,"currency_code":"USD","in_stock":true},{"title":"Large","offer_id":53123339845939,"sku":"PRC-TS1274-L","price":22.0,"currency_code":"USD","in_stock":true},{"title":"X-Large","offer_id":53123339878707,"sku":"PRC-TS1274-XL","price":22.0,"currency_code":"USD","in_stock":true},{"title":"2X-Large","offer_id":53123339911475,"sku":"PRC-TS1274-2XL","price":22.0,"currency_code":"USD","in_stock":true},{"title":"3X-Large","offer_id":53123339944243,"sku":"PRC-TS1274-3XL","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/AmericanFootball_LP4_BlackShirt_SQ.png?v=1773184513"},{"product_id":"of-montreal-aethermead","title":"of Montreal - aethermead","description":"\u003cp\u003eAs any \u003cstrong\u003eof Montreal \u003c\/strong\u003edevotée knows, Kevin Barnes has long been known to make diaristic and compelling hay out of chronicling the unfiltered nuances of his personal life. As the long-running musical project enters its 30th year of existence, Barnes has remained true to form, continuing to evolve while navigating the murkiest waters life has to offer.\u003c\/p\u003e\n\u003cp\u003eEmerging out of great personal upheaval in Barnes’s life, \u003cem\u003eaethermead\u003c\/em\u003e, of Montreal’s 20th album, recalls the beauty-in-the-breakdown immediacy of \u003cem\u003eHissing Fauna, Are You the Destroyer?\u003c\/em\u003e mixed with the garage-y jangle of \u003cem\u003eLousy With Sylvanbriar\u003c\/em\u003e and \u003cem\u003eCherry Peel\u003c\/em\u003e’s homespun intimacy—but, remember, the last band that you’ll ever hear truly repeat themselves is of Montreal. “I don't need to reinvent the wheel every time, but I really don't want to repeat myself either—and aiming for that is always a little bit hard, but it’s fun too,” Barnes says about the new approaches and perspectives that color this latest irresistible batch of songs.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eaethermead\u003c\/em\u003e is something of a breakup record, but more importantly, it’s an account of personal rebirth. Following his move to Vermont with his then-fiancé two years ago, Barnes experienced a dual split with both his isolated surroundings and his significant other of the time. “I tried to make it out there, but it's difficult if you're not made from the right stock,” he reflects. “I couldn't really function.” After the relationship officially dissolved last year, Barnes relocated to Brooklyn, effectively falling in love with his new environment while rebuilding his mental state: “I've always had a romantic fascination with New York, but for forever I couldn't figure out how to make it work. The timing was perfect this time around.”\u003c\/p\u003e\n\u003cp\u003eWith the new setting came a burst of prolific creativity, which is saying something for an artist who’s already released four albums this decade, the latest being 2024’s eclectic \u003cem\u003eLady on the Cusp\u003c\/em\u003e. Straying from the electronic leanings of more recent of Montreal records, Barnes hunkered down in Brooklyn recording studio the Honey Jar with engineer Drew Vandenberg and members of the live band – drummer Clayton Rychlik, keyboardist Jojo Glidwell, and bassist Ross Brand – to record the bones of the album in five days, before completing overdubs alone in his home studio. “It's a subterranean, windowless space,” Barnes says of the Honey Jar, “and you can hear the subway train going by. It's a really atmospheric, dreamy zone down there, and it was perfect for the state of mind that I was in. I was feeling dirty and dusty and needed to be buried for a while.”\u003c\/p\u003e\n\u003cp\u003eTo hear Barnes tell it, bringing in other people was crucial to navigating the pain and uncertainty that \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eaethermead\u003c\/em\u003e emerged from. “I was in a depressed and sad state of mind,” he recalls. “I’d just left this eight-year relationship with someone that I was planning on getting married to. It was difficult to come out of that and find my footing again as an individual outside of a partnership. The floor fell out from under me after my relationship dissolved, and connecting with these important people in my life was extremely beneficial and positive.”\u003c\/p\u003e\n\u003cp\u003eBarnes refers to aethermead as personal and confessional “to an embarrassing degree” – a descriptor that says less about its contents than what it took to lay them bare. “It's a form of therapy, in a lot of ways, for me to work out my personal life through songs,” he explains. “You have these moments that aren’t yet fully realized that you're documenting – confusion, anger, frustration, bitterness, and resentment – and they get trapped in these songs so you can move past them.”\u003c\/p\u003e\n\u003cp\u003eThe word “aethermead” itself draws direct inspiration from the sources of healing that Barnes has since embraced in his Brooklyn era; the title was partially inspired by the Nethermead area within Prospect Park where he takes his dog for daily walks and has encountered new friends, while also referencing Barnes’s recent practice of meditating to guide him along new paths in this life. ”I sit by the window where the sun comes in, I take off my shirt, and I absorb the sunlight,” he says, describing his process. “It makes me feel grounded in my body, and if I have any internal conflict, it helps untangle and release that.” Basking in the warmth of his new surroundings, Barnes also has an added benefit of having family nearby, serving as a balm for this current phase in his life. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eaethermead\u003c\/em\u003e’s second single, “Already Dreaming,” was actually written before Barnes’ romantic split, but the impending fissure made its way into the song’s robust, dreamy jangle. “It has a clairvoyant quality to it that I didn't understand at the time,” he explains. “Part of me understood that the relationship was dissolving, and that part of me was lamenting the loss of this extremely important relationship and watching it dissolve into nothingness.”\u003c\/p\u003e\n\u003cp\u003eElsewhere on the album, “Take the Form” wrestles with personal wants and desires and how they run aground in a mismatched relationship amidst shreds of jagged guitar and a Velvets-recalling pulse; meanwhile, the speedy, almost punk-ish, “When” chronicles a relationship that took place shortly after Barnes arrived in NYC, as well as what he discovered about himself in the process. “It’s about a deep yearning for some sort of fulfillment that I’m not getting, as well as what function sex serves for an emotionally needy person,” he says while reflecting on the song’s lyrical expression. “It might sound sort of crass on the surface, but it's not really even about sex – it’s about the things I most want, like being valued.”\u003c\/p\u003e\n\u003cp\u003eSuch emotional nakedness has always been part and parcel when it comes to the of Montreal experience, and on \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eaethermead\u003c\/em\u003e Barnes is as fully immersed as ever when it comes to exposing his inner workings. “It's a tricky thing, sharing your personal life in your art,” he reflects. “I'm trying to get better at being more generous and less resentful. But I was in a really intense period when I wrote a lot of the songs, and they come from a place of pain.”\u003c\/p\u003e\n\u003cp\u003eFrom that place, Barnes emerges with a record that feels singular and newly energized, cementing himself yet again as one of indie rock’s most daring risk-takers and persistent curator of arguably the genre’s most sprawling and fascinating catalog of music.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAll songs written, produced and mixed by Kevin Barnes\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eKevin Barnes - vocals, guitars, slide guitars, pianos, synths, percussion \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRoss Brand - bass guitars, guitars\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eClayton Rychlik - drums, vibraphone, synths, percussion\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eJojo Glidewell - pianos, synths, keys\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eEngineered by Drew Vandenberg at Honey Jar studios in Brooklyn NY and by Kevin Barnes at Sunlandic Studios Brooklyn NY \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Mike Nolte \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eArtwork by David Barnes\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eLayout by Ryan Miller\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Cloudy Clear)","offer_id":53191007404339,"sku":"PRC-530LP-RETAIL","price":22.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53191007437107,"sku":"PRC-530CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53191007469875,"sku":"PRC-530DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/OfMontreal_Athermead_RetailSQ1.jpg?v=1780087638"},{"product_id":"of-montreal-aethermead-t-shirt","title":"of Montreal - aethermead T-Shirt","description":"\u003cp\u003eBRAND: Hanes Beefy Tee\u003cbr\u003eSHIRT COLOR: Black\u003cbr\u003eDESIGN COLOR: White\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Polyvinyl Accessories","offers":[{"title":"Small","offer_id":53191040926003,"sku":"PRC-TS1281-S","price":22.0,"currency_code":"USD","in_stock":true},{"title":"Medium","offer_id":53191040958771,"sku":"PRC-TS1281-M","price":22.0,"currency_code":"USD","in_stock":true},{"title":"Large","offer_id":53191040991539,"sku":"PRC-TS1281-L","price":22.0,"currency_code":"USD","in_stock":true},{"title":"X-Large","offer_id":53191041024307,"sku":"PRC-TS1281-XL","price":22.0,"currency_code":"USD","in_stock":true},{"title":"2X-Large","offer_id":53191041057075,"sku":"PRC-TS1281-2XL","price":22.0,"currency_code":"USD","in_stock":false},{"title":"3X-Large","offer_id":53191041089843,"sku":"PRC-TS1281-3XL","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/ofMontreal_aethermead_BlackTShirt_Mockup_SQ.jpg?v=1780946051"},{"product_id":"of-montreal-listen-to-music-and-cry-sticker","title":"of Montreal - Listen to Music and Cry Sticker","description":"\u003cp\u003e6\" x 2.5\" black and white vinyl sticker.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Polyvinyl Accessories","offers":[{"title":"6\" x 2.5\"","offer_id":53191072481587,"sku":"PRC-STK1283","price":4.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/oM_aethermead_Bumper_SQ.png?v=1775233879"},{"product_id":"xiu-xiu-eraserhead-xiu-xiu","title":"Xiu Xiu - Eraserhead Xiu Xiu","description":"\u003cp\u003e\u003cspan\u003eIn 2016, with the blessing of David Lynch and Angelo Badalamenti, \u003cstrong\u003eXiu Xiu\u003c\/strong\u003e released and toured the surprisingly successful album and concert, \u003c\/span\u003e\u003cem\u003ePlays the Music of Twin Peaks\u003c\/em\u003e\u003cspan\u003e. Out of respect and deference to the beloved series, the band decided to put the concert to rest in 2018. After the recent and untimely passing of David Lynch, Xiu Xiu began to receive several high-profile requests to revive their interpretation of this iconic music. However, in wanting to always try to follow, honor, and continue to be inspired by the incredibly high bar of artistic challenge set by David Lynch, Xiu Xiu is instead going deeper.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEraserhead Xiu Xiu\u003c\/em\u003e\u003cspan\u003e is a new live concert with accompanying film \u0026amp; full-length album that uses field recordings, concert specific homemade instruments, organ, modular synths, vocals, flashlights, electrical interference, and elements of musique concrete to express the bizarre emotionality, conflicted sexuality, relentless darkness, and singularly unsettled moonscape of this most incredible of midnight masterpieces. The album itself is a masterpiece in sound collage and experimentation, with tracks like “Tetra” and “Sleep Synth” shifting from minimal auditory sensations to a clobbering, grotesque cacophony. The album’s closing track, “In Heaven,” is a beautiful rendition of Peter Ivers’ original composition, with Stewart’s delicate and soft vocals showcasing the elegance and wonder found on Lynch’s directorial-debut.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eEraserhead\u003c\/em\u003e’s\u003c\/span\u003e\u003cspan\u003e original sound design and score by Alan Splet and Lynch guide Xiu Xiu’s expanded interpretation, reflecting their influence as fans and musicians. The original film gives birth to Xiu Xiu's visual lens through which to be baffled and pummeled by the band's imaginary unused auxiliary footage.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIs it a short term art installation, an exploded tribute to a cinematic triumph, epitaph to an idol, via an entirely new work? YES. Is it intense, odd, curious, and shrouded in the gloomiest of nights? OF COURSE. After all, it is \u003c\/span\u003e\u003cem\u003eEraserhead\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMusic played and recorded by Angela Seo and Jamie Stewart at Krankenschwester, Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Alan Douches at West Westside Music, New Windsor, NY\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eDesign by Joe Stewart\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Ultra Clear)","offer_id":53366777545011,"sku":"PRC-527LP-RETAIL","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53366777577779,"sku":"PRC-527CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape","offer_id":53366777610547,"sku":"PRC-527TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53366777643315,"sku":"PRC-527DIGITAL","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Early Bird Vinyl (Black \u0026 Silver Swirl) – SOLD OUT","offer_id":53366777676083,"sku":"PRC-527LP-EB","price":25.0,"currency_code":"USD","in_stock":false},{"title":"Test Pressing + Early Bird Vinyl – SOLD OUT","offer_id":53366777708851,"sku":"PRC-527TEST","price":125.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/XiuXiu_Eraserhead_VinylMock_Retail_SQ.png?v=1779163210"},{"product_id":"xiu-xiu-eraserhead-xiu-xiu-vhs","title":"Xiu Xiu - Eraserhead Xiu Xiu VHS","description":"\u003cblockquote\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"VHS Cassette","offer_id":53366807527731,"sku":"PRC-VHS1290","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/EraserheadXiuXiu_VHSMockups_SQ.jpg?v=1779165965"},{"product_id":"dummy-mandatory-enjoyment","title":"Dummy - Mandatory Enjoyment","description":"\u003cp\u003eLos Angeles band \u003cstrong\u003eDummy\u003c\/strong\u003e refuses to slow down. After releasing two cassette EPs in 2020 (on Popwig and Born Yesterday, respectively), Dummy’s debut full-length album arrives via Chicago’s Trouble in Mind Records. Employing pummeling guitars and celestial ambience within the same breath, the band folds a myriad of reference points into their drone-pop style. Influence from '60s melodicism and '90s UK noise pop can be found woven in with inspiration from spiritual jazz, Japanese new age, and Italian minimalism.\u003c\/p\u003e\n\u003cp\u003eDummy dodges the brooding, dark, dramatic tropes of contemporary \"artistic\" music often found in punk, experimental, and electronic, instead insisting on joyous and euphoric sonic palettes. They refuse to be artistically stagnant, continuously shifting their approach to writing across 12 tracks. Shaped by performances around Los Angeles in 2019, songs like \"Daffodils\" and \"Fissured Ceramics\" feature relentless driving energy and ample psychedelic noise. Elsewhere, Dummy counterbalances the aggression with meditative synthscapes focused on sound design and studio experimentation, like on the motorik \"X-Static Blanket\". Finally, centerpiece \"H.V.A.C.\" and the album's final track, \"Atonal Poem\", seek to synthesize these two poles, offering multi-part journeys through uncharted sonic territory.\u003c\/p\u003e\n\u003cp\u003eIn contrast to blissed-out instrumentation, Dummy's sardonic lyricism examines \"the burden of modern life, consumerism, environmental collapse, alienation, and other anxieties born out of living in this absurd moment in history\". Interior design, marine pollution, the psychology of commercial architecture, and nuclear testing are all featured subjects. Dummy's restless creativity keeps them moving ever-forward, continuously challenging themselves and pushing their sound into exciting and exhilarating places. This is - as the album title suggests - \u003cem\u003eMandatory Enjoyment\u003c\/em\u003e. \u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Early Bird Vinyl (Blue Marble)","offer_id":53452710248755,"sku":"PRC-534LP-EB","price":26.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (Cobalt)","offer_id":53452710117683,"sku":"PRC-534LP-RETAIL","price":24.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53452710150451,"sku":"PRC-534CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape","offer_id":53452710183219,"sku":"PRC-534TAPE","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/Dummy_MandatoryEnjoyment_VinylMock_EB_SQ.png?v=1780943365"},{"product_id":"dummy-free-energy","title":"Dummy - Free Energy","description":"\u003cp\u003e\u003cstrong\u003eDummy \u003c\/strong\u003eis a rock band from Los Angeles comprised of Alex Ewell, Emma Maatman, Nathan O’Dell, and Joe Trainor. Their debut full-length \u003cem\u003eMandatory Enjoyment\u003c\/em\u003e (Trouble in Mind) arrived in late 2021, becoming one of the year’s sleeper hits and garnering praise from Pitchfork, Stereogum, and more. Coming out of lockdown, the band spent two years touring in support of the record, and it is this transformational experience that pulses through \u003cem\u003eFree Energy\u003c\/em\u003e, the exhilarating follow-up to \u003cem\u003eMandatory Enjoyment\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eA creatively restless band, Dummy (Ewell: drums, synths, bass; Maatman: vocals, synths, organ; O'Dell: vocals, guitar, organ; Trainor: guitar, bass, synths) wanted to get harder, dancier, more psychedelic for their next record. This meant applying explorative potentials of electronic textures to the elemental qualities of rock i.e. more vocal loops, sampling, more crazy rhythms, and playful synths - but make those samples of Trainor’s guitar, let Maatman sing bolder, experiment with using cold mechanical elements in warm and sparkly ways, and lean harder into traditional-yet-still-awesome forms of rock guitar experimentation like feedback. The result is a record that celebrates music’s ability to move the body, whether that be through a teeth-rattling wall of MBV-esque noise, a sticky pop chorus, or a joyous drum machine—or, if you’re Dummy, maybe all of them in the same song.\u2028\u003c\/p\u003e\n\u003cp\u003ePop music has always been a big part of Dummy’s sound and it manifests in different ways all over \u003cem\u003eFree Energy\u003c\/em\u003e: the bubbly synth sequence made with a Korg EM1 popping all over “Nullspace,” the revved-up drone-pop inspired by second and third wave Dunedin Sound bands like Look Blue Go Purple and Dadamah, and the motorik beat powering “Nine Clean Nails,” perhaps the most confidently pop song Dummy has ever recorded and one that exemplifies \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eFree Energy\u003c\/em\u003e’s balancing of live performance intensity with electronic augmentations, the dancier rhythmic elements created out of a drum loop recorded by Ewell while the bridge recalls the Feelies with call-and-response guitars from O’Dell and expressive vocals from Maatman.\u2028\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eFree Energy\u003c\/em\u003e also features guest appearances from Oakland-based saxophonist and electroacoustic artist Cole Pulice (Moon Glyph) contributes saxophone and wind synths and Jen Powers of Powers \/ Rolin Duo (Astral Editions, Feeding Tube Records). \u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Early Bird Vinyl (Spruce Torrent)","offer_id":53452801507635,"sku":"PRC-535LP-EB","price":26.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (Spruce)","offer_id":53452801540403,"sku":"PRC-535LP-RETAIL","price":24.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53452801573171,"sku":"PRC-535CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape","offer_id":53452801605939,"sku":"PRC-535TAPE","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/Dummy_FreeEnergy_VinylMock_EB_SQ.png?v=1780944731"},{"product_id":"dummy-mandatory-enjoyment-free-energy-bundle","title":"Dummy - Mandatory Enjoyment + Free Energy Bundle","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003ePre-orders are scheduled to ship July 31, 2026.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Polyvinyl Bundle","offers":[{"title":"Default Title","offer_id":53452958368051,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/Dummy_FreeEnergy_VinylMocks_SQ.jpg?v=1780947402"}],"url":"https:\/\/www.polyvinylrecords.com\/collections\/best-sellers.oembed?page=3","provider":"Polyvinyl Record Co.","version":"1.0","type":"link"}