{"title":"Chris Farren + Oceanator","description":"","products":[{"product_id":"antarctigo-vespucci-the-essential-antarctigo-vespucci-vol-1","title":"Antarctigo Vespucci - The Essential Antarctigo Vespucci Vol. 1","description":"\u003cp\u003e  Collection of songs from \u003cem\u003eSoulmate Stuff\u003c\/em\u003e and \u003cem\u003eI'm So Tethered\u003c\/em\u003e as well as some B-sides.\u003c\/p\u003e","brand":"Asian Man Records","offers":[{"title":"Vinyl (Random Color)","offer_id":50775620452659,"sku":"NPV-AM-334LP","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/6375f34725de10852675ac6ee7dc9e40_8f59c73944460cdfecbdb90403325cd164037e7d_product_photo.jpg?v=1737061537"},{"product_id":"antarctigo-vespucci-love-in-the-time-of-e-mail","title":"Antarctigo Vespucci - Love in the Time of E-Mail","description":"\u003cp\u003eIn 2013, \u003cstrong\u003eChris Farren\u003c\/strong\u003e faced an uncomfortable certainty: his band was breaking up. For the last eight years, the one constant in his life had been Fake Problems, the indie punk group he had started as a teenager and successfully steered for almost a decade. In that time the scrappy group of Floridians had put out two albums on LA label SideOneDummy, toured all over the world, and even landed a few songs on TV. But now, that was all over. Not knowing what else to do, Chris went to New York.\u003c\/p\u003e\n\u003cp\u003eThe idea was to collaborate, to find writing partners, something the musician had never done before. After a few days in the city he ran into his friend \u003cstrong\u003eJeff Rosenstock\u003c\/strong\u003e at a party. At the time, Jeff was fronting the band Bomb the Music Industry!, a Brooklyn-based punk collective that Fake Problems had often crossed paths with on tour. The two decided to give writing together a try.\u003c\/p\u003e\n\u003cp\u003eIt was only the next day, as Chris was walking up the three flights of stairs to Jeff’s apartment, guitar in hand, that he realized the two of them barely knew each other. Fake Problems and BTMI had toured together once, half a decade earlier. Every few months they’d play a show together, and hang for a few hours. But was that a close friendship? Up at the top of the stairs, listening to Chris come up the narrow stairway, Jeff was having similar thoughts. What if the collaboration was a disaster?\u003c\/p\u003e\n\u003cp\u003eSomething clicked that first day. Though neither musician had written collaboratively before, they planned another session a few months later. During that time, they made \u003cstrong\u003eAntarctigo Vespucci\u003c\/strong\u003e’s first EP, \u003ci\u003eSoulmate Stuff\u003c\/i\u003e (an album whose name should put to bed any lingering fears). Written and recorded over a few days in a 3x6’ shoebox, 2014’s \u003ci\u003eSoulmate Stuff\u003c\/i\u003e was a natural combination of the Springsteen-like excess of Bomb the Music Industry! and the bubblegum melodicism Chris had cultivated in Fake Problems. Six months later, Antarctigo Vespucci self-released their second EP, \u003ci\u003eI’m So Tethered\u003c\/i\u003e. A year after that, their first LP, 2015’s \u003ci\u003eLeavin’ La Vida Loca\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eShortly after Chris came to New York knowing his band was ending, Bomb the Music Industry! played their final shows. Like Chris, Jeff had spent the better part of a decade on the group, and had arrived at the end of an era. Throughout 2015-2017 both musicians launched successful solo careers: Chris’s defined by “pure power-pop goodness” (AV Club), and Jeff’s leading to Pitchfork calling him “one of punk rock’s greatest, most effusive living songwriters.”\u003c\/p\u003e\n\u003cp\u003eWhich brings us to today. After three (let’s say “eventful”) years, Antarctigo Vespucci have returned from the 3x6’ closet with \u003ci\u003eLove in the Time of E-Mail\u003c\/i\u003e, their first album for Polyvinyl. While by this point there is something of an established Antarctigo sound, \u003ci\u003eLove in the Time of E-Mail\u003c\/i\u003e finds the group expanding their sonic palette in exciting ways, reaching out further to unabashedly embrace all their poppiest instincts.\u003c\/p\u003e\n\u003cp\u003e“I wanted to see you, to see if I still wanted to see you,” Farren sings, quoting Jean-Paul Belmondo on the insanely catchy “Breathless on DVD.” The mid-album track might get its bridge lyrics from Godard, but with its shimmering synth pads and Tom Tom Club-esque chorus, its lineage is equally New Wave pop as it is French New Wave cinema. On single “White Noise,” the tightly wound verse leads seamlessly into a chorus of “Can’t get you out of my head, I’ll listen to white noise instead,” a chorus that, between playful blasts of speaker fuzz, will stick with you for days. Elements like these are littered throughout \u003ci\u003eLove in the Time of E-Mail\u003c\/i\u003e, some flying by so quickly you might miss them on the first pass. And while the raw material for songs like “Another Good Thing,” “So Vivid!,”or the restless “Freakin’ U Out” could have easily fit on a solo record by either musician, the studious pop flourishes here bring them to new heights.\u003c\/p\u003e\n\u003cp\u003eIt may have all started on a whim in a cramped apartment, but like the friendship at its core, Antarctigo Vespucci has blossomed into something much more. And like the non-existent explorer they’re named after, Antarctigo Vespucci chart a map of something at once new and familiar: missed connections, texts lingering on “read,” and the words that go unspoken. Maybe it’s just a passing feeling. 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But with his irrepressible sense of humor and utter lack of self-seriousness, Farren defuses the pain of even the deepest insecurity, gracefully paving the way for pure pop catharsis.\u003c\/p\u003e\u003cp\u003eOn \u003ci\u003eBorn Hot\u003c\/i\u003e Farren fully embodies the sensitive-goofball dichotomy found in all his work, especially his exuberant live show: a solo performance in which he plays to live-recorded backing tracks while projecting purposely wacky visuals (his own face duplicated thousands of times, text that reads “ANOTHER PERFECT SET” at the end of each closing song). By the same token, Farren went full-on tongue-in-cheek in choosing \u003ci\u003eBorn Hot\u003c\/i\u003e’s title and cover art—a crudely drawn self-portrait that captures him lounging shirtless, looking every bit the ’70s-pop Lothario.\u003c\/p\u003e\u003cp\u003e“In my lyrics there’s so much self-examination that teeters on self-loathing, and I like to juxtapose that with an aesthetic that’s completely the opposite,” says Farren. “It’s a defense mechanism, because I feel embarrassed talking about my feelings so very plainly, but at the same time I also just find the idea of having that much self-confidence really funny.”\u003c\/p\u003e\u003cp\u003eIn the making of \u003ci\u003eBorn Hot\u003c\/i\u003e, Farren recorded in his L.A. apartment and worked entirely on his own, embedding his inventive take on classic power-pop with flashes of folk and punk and ’50s doo-wop. On “Love Theme from ‘Born Hot,’” he slips into a sunny synth-pop reverie, bringing bouncy rhythms and radiant synth tones to a heart-on-sleeve message of romantic determination. “I wrote that when two different couples in my life were splitting up, and I felt kind of rattled but also so lucky to have my wife,” says Farren. Moodier and more darkly charged, “Search 4 Me” reveals his struggle to live in the present, articulating his anxiety in pieces of fragile poetry (e.g., “And you glared at me so loudly that I burst into confetti”). And on “Surrender,” \u003ci\u003eBorn Hot\u003c\/i\u003e turns exquisitely melancholy as Farren details the specific hurt of a sudden friendship breakup. “I was friends with their ex, and they told me it was too painful to stay friends with me,” Farren recalls. “‘Surrender’ is about that feeling of wanting to respect someone’s wishes, but also missing that person and just wishing you could talk to them again.”\u003c\/p\u003e\u003cp\u003eElsewhere on \u003ci\u003eBorn Hot\u003c\/i\u003e, Farren shifts from exacting introspection to more outward reflection, exploring life-changing matters like the recent death of his father-in-law and his wife’s experience of the ensuing grief. In each moment on the album, he instills his lyrics with the resolute sincerity he’s embraced since immersing himself in songwriting at the age of 17. Originally from Naples, Farren formed his first band when he was 18, later teaming up with songwriter\/musician Jeff Rosenstock to co-found the indie-rock duo \u003cstrong\u003eAntarctigo Vespucci\u003c\/strong\u003e. In 2016 he made his solo debut with an album called \u003ci\u003eCan’t Die\u003c\/i\u003e, and soon began dreaming up the outrageous spectacle of his live set. “I love being able to entertain in that way,” says Farren. “It’s one of the rare times when I feel confident, just completely in the groove.”\u003c\/p\u003e\u003cp\u003eDespite the fleeting nature of that confidence, Farren’s music ultimately nudges the listener toward greater self-acceptance—or, at the very least, a more pronounced patience with their own messy feelings. “When I was younger I wanted people to listen to my music and think I was good at making music—now I couldn’t care less about that,” he says. “I just want people to feel good, like they’re understood or less alone, because that’s what the music I love does for me. 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Quarantine lockdowns and hovering dread shifted the fabric of time in a way that’s ongoing, but was at its most vivid in those early days when a new reality was sinking in. Before people eventually adapted and started using the newly mandatory downtime to learn new languages and bake bread, hours lurched by as the world sat restlessly indoors. All the shows were slowly cancelled one by one, the tours and recording sessions were scrapped, hangs and practices just stopped happening. Everything was on hold indefinitely, time lost meaning, every day felt unreal.\u003c\/div\u003e\u003cp\u003eDuring the first days of lockdown, Rainer Maria’s Kaia Fischer came up with the concept of \u003cem\u003eExquisite Corpse\u003c\/em\u003e by meditating on their perspective of the newly unfolding weirdness they and so many of their creative friends were going through. Obviously a deadly pandemic was wrought with negatives, and those in particular to independent music scenes were especially devastating. But could there be another side to what felt so all-consumingly terrible? “We know what the pandemic \u003cem\u003eisn’t \u003c\/em\u003egood for,” Fischer said, “but let’s find out what it\u003cem\u003e is\u003c\/em\u003e good for.”\u003c\/p\u003e\u003cp\u003eSearching for silver linings in the earliest days of lockdown wasn’t easy, but one idea led to another. It began with the realization that every Polyvinyl artist now had a completely clear schedule at the same time. They were also mostly sitting around waiting for the storm to pass, in different states of boredom, anxiety, worry and malaise. Logistically speaking, there might not be another time when pretty much everyone was available for a collaborative project and needed something to occupy their frazzled minds. A round of emails went out explaining the project and inviting members of the Polyvinyl roster to participate. Eleven teams of four or five musicians were assembled more or less at random, bringing together artists that had in many cases never met, much less worked on music together. Remotely, each team worked from scratch to create an original song, a reworked sonic adaptation of the game where each player adds to a collaborative drawing.\u003c\/p\u003e\u003cp\u003eThe scope alone is exciting, with these 11 songs combining the talents of 47 musicians from all corners of the world and all ends of the Polyvinyl family tree. Even the artwork was assembled through remote collaboration, with visual artists from Chicago, Minneapolis, and Seattle collaborating on the design in true Exquisite Corpse fashion. Musically, the results are every bit as exciting and unpredictable as the concept envisioned. New creative chemistries between the different artists and a complete absence of expectations or precedent sounds made for fearless choices in production, genre experimentation and stylistic curveballs. Artists known for sparkling pop worked with more ragged rockers or folks from acoustic-leaning emo bands, and the end results almost always defied the expected sum of their parts. Even though \u003cem\u003eExquisite Corpse\u003c\/em\u003e is timestamped with traces of the overwhelming uncertainty that colored the pandemic’s onset, the music is by-and-large joyful, daring, and fun. More than reflecting the hanging gloom of the non-stop news cycle and spiking graphs, artists tapped into expressions of hope and exploration. This moment of universal upheaval cast a shadow on the entire world, but also allowed for a meeting of minds that was truly unprecedented.\u003c\/p\u003e\u003cp\u003eMost indie labels share some degree of familial connection, but Polyvinyl is built on that feeling of family. The label was born in the late ‘90s out of the closely knit regional diy scenes of the Midwest, and every aspect of growth since has been informed by the earnest connectivity of those early days. Polyvinyl bands go on tour together, collaborate regularly and exist within a framework facilitated by the label that values friendship and the sharing of ideas above all else. 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The type of anxieties that form when thoughts bottle up and stress gets the best of you. Throughout the record, allusions to intrusive thoughts and depression-induced stasis are weaved in between references to falling skies, rolling fires, and the possibility of the world literally falling apart. “If the sun never came up tomorrow \/ do you think we would even notice?” Okusami asks in “I Would Find You,” a moody ode to staying out late and sleeping until the afternoon. Or as Okusami puts it, “keeping to the shadows.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003eHowever, while her emotional and physical solitude makes for a resilient foe, \u003ci\u003eThings I Never Said \u003c\/i\u003eis ultimately a record about finding comfort in the face of destruction. Whether it be through appreciating the little things, like “hot tea on a cold fall day \/ and dressing up for Halloween,” or forming a bond with someone you can mutually confide in about mental afflictions (“I told you I could never be enough \/ you took me by the hand \/ and told me you understand”). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003eComplementary to the extraordinarily direct subject matter, the songs themselves are punchy, sticky, and immediately engrossing pieces of heavy grunge-pop. The album opens with pounding power-chords that Okusami tastefully palm-mutes in order to accentuate the hook, and then lets rip by the song’s gratifying climax, adding a simple yet hooky lead riff for extra emphasis. Although she recruited a couple friends\/members of the Oceanator touring band to play many of the bass and drum parts, Okusami is the sole songwriter\/arranger of her music, and the instrumentation feels intimately connected with her lyrics. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003e“Heartbeat” is a racing power-pop cut with a joyously shreddy guitar arpeggio that perfectly translates the chest-thumping rush of being near your loved one into song. “The Sky Is Falling” is a song about being consumed by depression and witnessing everything fall down around you while you remain stuck in a state of paralysis. In it, Okusami’s voice is cleverly quiet, stark, and resigned as the chaotic, walloping guitars thrash and burn around her. One of the record’s standouts, “A Crack In The World,” breaks down into a half-tempo churn toward its end, as Okusami swears that “I’m still trying my best” despite the news on the TV. The song literally sounds like it’s spiraling down into its titular crevice, while Okusami desperately claws at the ground to keep “the skies blue anyway.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003eThere’s no concrete resolution to the album, but rather a vital reminder that love and friendship, both with others and herself, will always reign victorious in our darkest moments. The album ends with a song aptly titled, “Sunshine,” in which Okusami, backed by just her chugging guitar, details a day of venturing outside into the sun and subsequently accepting herself in solitude. “I’m okay,” she repeats a few times at the end of the track, before resolving with the renewed comfort of “on my own.” The album artwork features a cartoon sketch of Okusami sitting alone in a chair in front of a blue background that could very well be those blue skies she was fighting to maintain sight of. Her tepidly peaceful demeanor on the cover art suggests that she’s wise enough to know that this feeling won’t last forever, but that it will in fact return—echoing two of the last lines on the album: “Sometimes it gets me down \/ but I usually come around.” \u003c\/span\u003e\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Half Hot Pink\/Half Light Blue)","offer_id":50775413195059,"sku":"PRC-425LP","price":20.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":52708193304883,"sku":"PRC-425CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708193337651,"sku":"PRC-425DIGITAL","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (Orange Swirl) – OUT OF PRINT","offer_id":52708193272115,"sku":"PRC-425LP-SWIRL","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/1a71535bd58be25daf0c8b73f4fb7fc6a496009a_12c14423615ea142fcd52b9f702699fbc25afbfd_photo_jpg.jpg?v=1764947202"},{"product_id":"chris-farren-death-dont-wait-original-motion-picture-soundtrack","title":"Chris Farren - Death Don't Wait (Original Motion Picture Soundtrack)","description":"\u003cp\u003e\u003cstrong\u003eChris Farren\u003c\/strong\u003e believes in chasing his ridiculous ideas until the end. Whether it’s creating a series of paintings depicting the funerals of famous cartoon characters or releasing a Christmas album of completely original holiday songs, he will commit to a project once he’s got it in his head. A little after 4 AM one night in April, he was lying in bed when he had an idea so wild that it fully woke him up.\u003c\/p\u003e\u003cp\u003e“I’d been listening to this album called \u003ci\u003eTrouble Man\u003c\/i\u003e, this movie soundtrack by Marvin Gaye,” Farren says. “I thought: Man, I can’t wait for the time in my career when I’m able to do something like that. But then I thought: Well, I could just do it, and not wait, because it seems like a fun creative thing to do, to make music for movies. Maybe I won’t wait. Maybe I’ll make a soundtrack to a movie that doesn't even exist.” Before he knew it, he was sitting up, jotting down ideas and potential song titles for a film soundtrack—“Attacked by Dogs,” “Red Wire Blue Wire,” “Car Chase!”—and then a title for this imaginary movie struck him: \u003ci\u003eDeath Don’t Wait\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003eFarren started studying action movies and their scores for inspiration, specifically thrillers from French, Italian, and American cinema of the 60s and 70s , and of course, a healthy dose of James Bond flicks. “I thought about what every action movie has,” he says. “There’s usually at least two car chases, maybe a boat chase, hand-to-hand combat, a heist scene. So I just chose 15 different types of scenes, and I’d watch those types of scenes in different movies. I watched a lot of bank heist scenes and scenes of people diffusing bombs, and tried to pay attention to what the music was doing, and thought about how I could do that in my own way.”\u003c\/p\u003e\u003cp\u003eIn under just three months, Farren scored his entire made-up movie—11 instrumental tracks that would properly suit the specific moods of helicopter shoot-outs or villain headquarter explosions, yet somehow feel distinct to his own style of indie rock. And while he didn’t have the luxury of employing a full orchestra like Ennio Morricone or John Carpenter, he did rope in a few hired guns to help flesh out the sound of \u003ci\u003eDeath Don’t Wait\u003c\/i\u003e, including Jeff Rosenstock, Macseal’s Frankie Impastato, and AJJ’s Mark Glick.\u003c\/p\u003e\u003cp\u003eAnd of course, every good action movie needs a killer title track with an elegantly delivered vocal performance. For that, Farren enlisted his secret weapon, his friend and collaborator Laura Stevenson. “I didn't want to sing on it,” he says. “I thought it would take away from the concept of the record if I sang on it. And the nature of the song, it wasn’t meant for my voice. It’s meant for more of a classic voice, and Laura has one of the great voices of our time, I say.” Like Nancy Sinatra or Shirley Bassey before her, Stevenson croons a sultry title track that brilliantly sets the tone for the entire film, albeit a fictional one.\u003c\/p\u003e\u003cp\u003eThe novelty of \u003ci\u003eDeath Don’t Wait\u003c\/i\u003e ended up being the perfect pandemic project to pull Farren out of a songwriting rut. Without having to worry about touring or performing live, he was able to focus entirely on this fresh avenue of songwriting. “During the heart of the pandemic, I'd tried to write some of my normal songs, and I was just not feeling it. I wasn’t excited about anything I was coming up with,” he says. “But this was a great muse to follow, and it became a good use for all my pent-up creative energy.”\u003c\/p\u003e\u003cp\u003eBut while his passion for the project led him into exciting new directions as a musician, he was still concerned about how his record label, Polyvinyl Records, would react to the unconventional idea. “I can’t imagine any record label being stoked about their artist coming to them and saying, ‘Hey, I made a new record, but guess what, I don’t sing on it, it’s all instrumental, and it’s a specific concept. Are you ready?’” he laughs. He compiled the potential art and larger concepts together into a pitch deck and presented it to the label and, to his surprise, they were just as excited as he was. And with their backing, \u003ci\u003eDeath Don’t Wait\u003c\/i\u003e became real. Or, as real as a soundtrack for a nonexistent movie could be.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cblockquote\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMusic composed \u0026amp; performed by Chris Farren\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eLyrics on “Main Title” written by Chris Farren\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e \u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eADDITIONAL CAST + CREW:\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eCassie Farren - Voice on track 6\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMark Glick - Cello on track 1\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eFrankie Impastato - Drums on tracks 1, 2, 5, 8 \u0026amp; 11\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMarianna Impastato - Voice on track 7\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eJimmy Montague - Piano on track 1\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eJeff Rosenstock - Tenor \u0026amp; baritone saxophone on tracks 2, 4, 5-8, \u0026amp; 11, clarinet on track 3\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eLaura Stevenson - Vocals on track 1\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e \u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eRecorded \u0026amp; mixed by Chris Farren at Wave 42 in Los Angeles, CA\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMastered by Jack Shirley at Atomic Garden in Oakland, CA\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAdditional recording by Cole Szilagyi in Northampton, MA\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAlbum illustrations by Chris Farren\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAlbum cover layout by Jeff Rosenstock\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAdditional layout design by Mikaela Kennaway\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e \u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eChris Farren plays Fender guitars and uses Ernie Ball strings. He plays with those little gray .73mm Dunlop picks. He has an iPhone with service provided by T-Mobile. Chris doesn’t own a car but his wife Cassie Farren (no relation) drives a Toyota Prius, and if he really needs it she lets him borrow it.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eThanks for listening.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eChris Farren will return in… DOOM SINGER!\u003c\/span\u003e\u003c\/p\u003e\n \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Clear)","offer_id":50775420141875,"sku":"PRC-454LP-RETAIL","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":50819002794291,"sku":"PRC-454DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/2bafd960f23d6e28bcfe90f907bcc0969c7da41b_cb94d371279fb0ed2e04d5ffb03377df1e42cd41_photo_jpg.jpg?v=1735838786"},{"product_id":"chris-farren-death-dont-wait-original-motion-picture-t-shirt","title":"Chris Farren - Death Don't Wait (Original Motion Picture T-Shirt)","description":"\u003cp\u003eBRAND: Bella + Canvas\u003c\/p\u003e\u003cp\u003eSHIRT COLOR: Black\u003c\/p\u003e\u003cp\u003eINK COLOR: Aqua, Purple, and Lime\u003c\/p\u003e\u003cp\u003eDesigned by Chris Farren\u003c\/p\u003e","brand":"Polyvinyl Accessories","offers":[{"title":"X-Large","offer_id":51477587198259,"sku":"PRC-TS1083-XL","price":16.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/2a3e5e5a7fa897d0390af1148db46fd807664d5f_b7fa28ca04458f0b752eeff03487d41a9195e985_photo_jpg.jpg?v=1735838783"},{"product_id":"chris-farren-death-dont-wait-original-motion-picture-poster-27-x-40","title":"Chris Farren - Death Don't Wait (Original Motion Picture Poster) (27x40)","description":"\u003cp\u003eFull color print on 100# gloss paper. 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But in her most recent cataclysmic telling, she keeps the camera focused on the people who survive and need to keep on living. A couple escapes the wreckage in a classic pickup truck, their dog riding in the back. They find a new home in the woods and consider how to start over. “It could either be hopeful or negative,” Okusami explains of the tale’s ambiguous ending. “You’re either walking off into a nice sunset or going off into a black hole. For me, it depends on the mood; it can be both ways.”\u003c\/p\u003e\u003cp\u003eThose speculative vignettes inspired polymathic Okusami to begin writing a short film—one she ultimately scrapped in favor of putting those themes to music. These vividly imagined scenes comprise the sunrise-to-sunset arc of her resplendent new record \u003ci\u003eNothing’s Ever Fine\u003c\/i\u003e, the first Oceanator has recorded for Polyvinyl and the already-shredding project’s heaviest collection yet. This narrative of doom and hope told over the span of a single day is reinforced by a thrice-recurring leitmotif—appearing on the tracks “Morning,” “Post Meridian,” and “Evening”—composed on Okusami’s newly beloved Reverend baritone guitar. She used it to write several of the songs’ knottiest riffs, lending a gut-punching low register (perhaps indebted to her past experiences playing in thrash and hardcore bands). But like on previous Oceanator recordings, Okusami’s characteristic ease with bright hooks still shines, and the wide-ranging influences of ‘80s power pop, ‘90s melodic punk, Americana, film scores and Civil Rights-era vocal groups lend textured complexity to the collection. Okusami uses these sounds to explore anxious nightmares, nostalgia for late night adventure, the fog of depression, climate catastrophe and cautious optimism for the future. It’s material ripe for an end-of-days flick, sure; but it’s also the reality of living with the noise in your own brain in America’s 2020s.\u003c\/p\u003e\u003cp\u003eThough \u003ci\u003eNothing’s Ever Fine\u003c\/i\u003e’s earliest song dates back to 2014, and several others were written on or after tours in the intervening years, Okusami reconfigured and demoed these songs alone at home between 2019 and 2020. Thanks to the covers recording, live streaming, and documentary scoring she partook in over the past few years, as well as wisdom gained from running the record label Plastic Miracles, Okusami brought a leveled-up ear for production to this album. She also found herself reinvigorated on the guitar, unafraid to tackle some of Oceanator’s most ambitious and masterful playing yet. On the album itself, in addition to performing guitars, synths, bass, keys, and vocals, she serves as co-producer. That role is shared with her brother and longtime bandmate Mike Okusami, as well as her friend Bartees Strange. Working at Falls Church, VA’s 38 North and at Mike’s space in Maryland, the trio eschewed traditional live tracking in favor of recording parts separately as overdubs. They focused on sonic exploration and worldbuilding, dialing in sounds and experimenting with a Wurlitzer, B3, Leslie, and mellotron, among other synths and boutique effects. While the Okusami siblings have decades of collaboration and trust built up between them, which informs Mike’s seamless contributions on bass, drums, and piano, Bartees proved to be a trusted third partner, matching Mike’s excitement on the technical side and working closely with Okusami to find the dream guitar tones she sought—equal parts crystalline and crushing.\u003c\/p\u003e\u003cp\u003eLongtime Oceanator collaborator Andrew Whitehurst performed drums on most tracks, bringing extra care and attention to his parts; he sounds especially buoyant powering through the skate-speed fills of “The Last Summer,” a Cherry Coke and french fry-flavored recollection of Okusami’s DC-area teenagedom. Chords push and pull like the twists and turns of the Saturday night Okusami revisits; “I’m feeling so alive with my heart open wide,” she sings in an in-the-round vocal coda, just after blazing through an eviscerating solo. \u003ci\u003eThings I Never Said\u003c\/i\u003e engineer and bassist Eva Lawitts played a five-string bass on “From the Van” and on “Stuck,” amplifying the sound of two of the album’s most massive tracks. The latter of those songs swirls around a detuned guitar climb, using layers of fuzz, palm muted riffs and sludgy, grooving drums to blast through the feelings of stagnancy Okusami outlines: “I feel heavier than I used to,” she deadpans, sinking in to the parallel heaviness of the recording.\u003c\/p\u003e\u003cp\u003eOn lead single “Bad Brain Daze,” which busts through the hazy pallor of unavoidable anxiety with stop-start guitar rhythms, telephonic synths and juxtapositionally cheerful melodies, Okusami recruited labelmate and recent tourmate Jeff Rosenstock for saxophone. Of their 2021 gigs together, Okusami says: “It felt like going on tour with a bunch of friends. It felt cool to know that even as shows get bigger, we could still have a little community.” To weave an even greater web of support through the track, she threaded in gang vocals from friends and peers in the bands Groupie, Bad Moves, Maneka, Sonder Bombs, Long Neck, Late Bloomer and Alright. “It’s a chorus of friends all going through it,” Okusami explains. “It felt nice to have that connection, even if it was pieced together with emails of files.”\u003c\/p\u003e\u003cp\u003eWith a lifetime of playing in and alongside so many bands of friends, it makes sense Okusami would seek communal joy on this record, especially from musicians in the Brooklyn scene that has given Oceanator its home and the DC scene from which she got her start. Lonely feelings can skew apocalyptic when compounded with mental health struggles and an ever-frightening planet, but Okusami’s exuberant songwriting and brawny arrangements manage to form a complexly colored and auspiciously bright sunset on the horizon. On \u003ci\u003eNothing’s Ever Fine\u003c\/i\u003e, the world might end. But it might not. And while we wait to find out, Oceanator delivers a revitalizing smack of sound and energy, helping us to remember that even if things don’t turn out fine, we can make our time here worth it.\u003c\/p\u003e\u003cblockquote\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eRecorded at 38North Studio and Mike Okusami’s Studio\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eEngineered by Mike Okusami\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eProduced by Elise Okusami, Mike Okusami, and Bartees Strange\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMixed by Mike Okusami\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMastered by Sarah Register\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003ePhotography by Mike Bilik\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eArt Layout by Karl Kuehn\u003c\/span\u003e\u003c\/p\u003e\n  \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Pink)","offer_id":50819002073395,"sku":"PRC-455LP-RETAIL","price":21.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50819002106163,"sku":"PRC-455CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708180394291,"sku":"PRC-455DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/79227b98f467c347f12e53e908d0ba36a4dc9cae_8139fc63adac420d0e750a28a5be6fc0f4b5425e_photo_jpg.jpg?v=1735838783"},{"product_id":"chris-farren-doom-singer","title":"Chris Farren - Doom Singer","description":"\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eAsk \u003cstrong\u003eChris Farren\u003c\/strong\u003e how he feels when he finishes an album and he won’t hesitate to respond with: “Miserable. Miserable. Miserable.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eAt least, that’s how it’s been over the years he’s been writing and recording solo. When the time came to make a record, Farren would be overtaken by an unparalleled anxiety, forcing him into the home studio he describes as “barely bigger than a closet,” where he agonized over the minute details of his work in progress. “Looking back on those records… I have no good memories of making them,” he admits. “It’s always been a lonely, doubt-ridden process.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eIt’s surprising to hear this, knowing Farren’s reputation as a prolific songwriter who made his name recording with Jeff Rosenstock in Antarctigo Vespucci and before that, the Floridian punk band Fake Problems. In 2014, Farren started releasing music under his own name all while continuing his project alongside Rosenstock, and his first album, \u003ci\u003eLike a Gift From God or Whatever\u003c\/i\u003e endeared him to fans of the now-defunct Fake Problems and new listeners who had yet to experience the delight of a new Chris Farren song. \u003ci\u003eLike a Gift From God or Whatever\u003c\/i\u003e was followed by\u003ci\u003e Can’t Die\u003c\/i\u003e and Farren’s Polyvinyl debut, \u003ci\u003eBorn Hot\u003c\/i\u003e. Last year, Farren wrote what he describes as a soundtrack to a spy film he invented that will never be committed to film. Inspired by Marvin Gaye’s soundtrack to \u003ci\u003eTrouble Man\u003c\/i\u003e, \u003ci\u003eDeath Don’t Wait (Original Motion Picture Soundtrack) \u003c\/i\u003ewas a creative exercise, one Farren completed in mere months that stands apart from the extensive, at times arduous, process of making a Chris Farren album. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eAfter releasing \u003ci\u003eBorn Hot \u003c\/i\u003ein 2019, Farren knew he needed to make changes to the creative process, but he wasn’t yet sure how to. Enter Frankie \u003c\/span\u003e\u003cspan style=\"color:#202122;\"\u003eImpastato\u003c\/span\u003e\u003cspan style=\"color:#000000;\"\u003e, drummer of Macseal, who Farren met on tour and who became one of his dearest friends and confidants. He told Impastato about the misery, the barely-bigger-than-a-closet studio, the barren memory chest, and together they hatched a plan: they’d make Farren’s next album together. So, Farren got in touch with multi-instrumentalist\/producer, and Jay Som mastermind, Melina Duterte (also, a Polyvinyl labelmate), who invited him by her studio where she’s collaborated with a steady stream of notable artists since first opening it in 2020. That’s where \u003ci\u003eDoom Singer\u003c\/i\u003e, his new full-length album due out August 4th, would be made.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e“Looking back, I feel bad, because Melina brought me in to show me her space and was describing the gear to me and I was totally checked out,” Farren says. “I mean, the space is amazing, she’s super talented, but I told her: ‘I don’t care about any of this stuff. I just want to make a record with you and have fun. I want to make a record and have a good time.’”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eCollaboration not only untethered Farren from his misery (fun was had) but also his overbearing need to control every aspect of the creative process. While on previous albums like 2019’s \u003ci\u003eBorn Hot \u003c\/i\u003eor 2016’s \u003ci\u003eCan’t Die \u003c\/i\u003eFarren might’ve spent hours on end tweaking a single canned drumbeat, Impastato’s live drums offer a spontaneity that breathed new dimensionality into the Chris Farren project. He wanted this new effort to be “bombastic,” to sound like it could fill the immense negative space of an arena. “I wanted to open these songs up, make them less frenetic, and not feel the pressure to cram every moment,” he says. You hear that impulse on lead single “Cosmic Leash,” which opens with a wall of sound that careens to a halt, as Farren delivers his interlude over the slight strumming of a guitar. That sense of reprieve lasts only a moment, before the enormous chorus shreds through the silence as Farren wails: “Change your heart\/ Wait your turn.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eThe choruses on \u003ci\u003eDoom Singer\u003c\/i\u003e are all like this, huge, cathartic, catchy as hell, and inspired by what Farren describes as the “sixties-tinged girl group vibe, not retro, but playful” employed by Belle and Sebastian. “First Place” is a shining example, a song Farren describes as being about worrying you might grow apart from your partner and, “Not being able to cum because of Lexapro.” It’s hard to describe the single as anything but “jaunty,” the buoyancy of Farren’s delivery belying any sense of disquiet humming beneath its surface.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eFarren says \u003ci\u003eDoom Singer\u003c\/i\u003e communicates an “optimistic nihilism,” and that lyrically, he’s trying to embrace nuances inspired by films like\u003ci\u003e TÁR\u003c\/i\u003e and \u003ci\u003eI’m Thinking of Ending Things\u003c\/i\u003e. “In these movies, the truth of the narrative isn’t handed to you, and it’s not easy to figure out where your sympathies should lie,” he says. Against certainty, \u003ci\u003eDoom Singer \u003c\/i\u003eopens with a confession. “I don’t remember how to do this,” Farren croons on “Bluish,” admitting to feeling codependent in his marriage, worried he is too much to manage, that his neuroses might disrupt a delicate domestic balance. It was the first song he wrote for the album and the one that determined its narrative course. We’re made to believe aging makes you wiser, but as Farren has grown into the prodigious songwriter you hear on \u003ci\u003eDoom Singer\u003c\/i\u003e, he’s only grown less certain. “I’m constantly processing the way I feel about things, and I didn’t want any of these songs to sound sure of themselves, or to communicate any clear message,” he says.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eCiting My Bloody Valentine, TV on the Radio, and Camera Obscura as clear influences, Farren says he can’t listen to much music until it’s time to make a new record, but when it’s time, he submerges himself in music that moves him. “I wrote between fifty and eighty songs for this album,” he says. The final cut is as genuine, empathetic, and of course, funny, as Farren is, and though he claims nihilistic tendencies, it’s the dogged optimism that endures. On “All We Ever,” Farren compiles a list of things he wants (to stop paying rent, to love the government, to get drunk with friends) that accumulate into a three-minute reminder that no life is ever pristine, that there will always be wants unfulfilled, and that that’s okay. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e“There will be struggle in everything. I’ll always be fighting with myself, and I need to find a certain peace with that,” he says, but on \u003ci\u003eDoom Singer\u003c\/i\u003e, Farren rejects closure, and he’s still seeking that sense of peace. Maybe we all are, whether we’re bold enough to sing about it or not. \u003c\/span\u003e\u003c\/p\u003e\u003cblockquote\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAll songs written by Chris Farren and Frankie Impastato, except “Only U” written by Chris Farren, Frankie Impastato and Celeste Taucher.\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eProduced, engineered and mixed by Melina Duterte in Atwater Village, CA.\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAdditional recording by Chris Farren at Wave 42.\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eMastered by Jack Shirley at Atomic Garden in Oakland, CA.\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eFrankie Impastato played drums on every song. She also sings on “Bluish”, “My Beauty” and “Only U”.\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eJeff Rosenstock played bass on “All We Ever”, “Get Over U” and “Screen Saver”, and saxophone on “Doom Singer” and “First Place”.\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eMelina Duterte played bass on “Only U” and “Statue Song” and sang on ”All We Ever”.\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eMia Mazzaferro did group vocals with Melina, Frankie and Chris.\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAlbum art and design by Chris Farren.\u003c\/span\u003e\u003c\/p\u003e\n  \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Transparent Bluish)","offer_id":50819002433843,"sku":"PRC-478LP","price":21.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":52708170858803,"sku":"PRC-478CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708170891571,"sku":"PRC-478DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/3c88df49e0a39fdccbc1804d4a85488f1d677423_d2593e295f3ab2d14fc55702dcb80a76e28f0e5c_photo_jpg.jpg?v=1735838812"},{"product_id":"chris-farren-prayboy-t-shirt","title":"Chris Farren - Prayboy T-Shirt","description":"\u003cp\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003eBRAND: Gildan\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003eSHIRT COLOR: Black\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003eDESIGN COLOR: Navy, Lavender, Beige\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eDesigned by Chris Farren\u003c\/p\u003e","brand":"Polyvinyl Accessories","offers":[{"title":"Small","offer_id":51477587362099,"sku":"PRC-TS1154-S","price":16.5,"currency_code":"USD","in_stock":true},{"title":"Medium","offer_id":51477587394867,"sku":"PRC-TS1154-M","price":16.5,"currency_code":"USD","in_stock":true},{"title":"Large","offer_id":51477587427635,"sku":"PRC-TS1154-L","price":16.5,"currency_code":"USD","in_stock":true},{"title":"X-Large","offer_id":51477587460403,"sku":"PRC-TS1154-XL","price":16.5,"currency_code":"USD","in_stock":true},{"title":"2X-Large","offer_id":51477587493171,"sku":"PRC-TS1154-2XL","price":16.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/6eba53472687506c7062abcfb2ba07ac208bf9df_d9b43db0b6ca90300ecb5706d1edcb4e6abde45d_photo_JPG.jpg?v=1735838816"},{"product_id":"oceanator-part-time","title":"Oceanator - Part Time","description":"\u003cp\u003eOn \u003cstrong\u003eOceanator\u003c\/strong\u003e’s new single “Part Time,” songwriter Elise Okusami showcases her exceptional pop sensibilities, delivering a catchy rock anthem with a wealth of melodic depth and lively energy. Co-written with Cheekface’s Greg Katz and mixed by Alex Newport (Death Cab For Cutie, Bloc Party), the song glides with bouncy piano and chunky guitar riffs that harken back to early 60’s rock n’ roll. \u003c\/p\u003e\u003cp\u003eOceanator’s music has been praised in outlets such as Stereogum, Pitchfork, NPR and SPIN, who described Okusami as having “the kind of voice that can silence a room.” The band has shared the stage with the likes of Jeff Rosenstock, Laura Jane Grace, PUP, and others with a notable touring history across North America and Europe. \u003c\/p\u003e\u003cblockquote\u003e\u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eVocals - Elise Okusami\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eBacking vocals - Greg Katz\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eGuitar - Elise Okusami and Greg Katz\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eBass - Elise Okusami\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eDrums - Elise Okusami\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eTambo - Elise Okusami\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eShaker - Elise Okusami\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eClaps - Elise Okusami\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eEngineered by Greg Katz, Elise Okusami, and Mike Okusami\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eProduced by Elise Okusami and Greg Katz\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eMixed by Alex Newport\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eMastered by Sarah Register\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eWritten by Elise Okusami and Greg\u003c\/span\u003e\u003c\/p\u003e\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"7\" Flexi (Orange)","offer_id":50776264507699,"sku":"PRC-9656-7","price":6.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708170400051,"sku":"PRC-9656DIGITAL","price":1.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/4d90ace591bf8f317145df8796e29f0f31be454e_aa1dddf77311b1103650bcc4fdba78248d528649_photo_jpg.jpg?v=1735838812"},{"product_id":"oceanator-everything-is-love-and-death","title":"Oceanator - Everything is Love and Death","description":"\u003cp\u003eThere is a fundamental principle to all things, building blocks and equations to rely on that build out the bones of a world. Elise Okusami, the creative vision known to hearts and minds as \u003cstrong\u003eOceanator\u003c\/strong\u003e, has theories on her own trusted framework: “In the literal sense, all my songs are about apocalypse and love.” The evidence of this lives in the work she has revealed to date; her 2020 debut album \u003ci\u003eThings I Never Said\u003c\/i\u003e and 2022’s follow-up \u003ci\u003eNothing’s Ever Fine\u003c\/i\u003e. These are collections rife with songs sung to these two ideas; apocalyptic terror and desperate love holding strong in the face of unimaginable hardship. “I think that most of the events in your life that are important can be put into either or both of those categories,” she says, “with \u003ci\u003eThings I Never Said\u003c\/i\u003e and then \u003ci\u003eNothing's Ever Fine\u003c\/i\u003e, \u003ci\u003eEverything is Love and Death\u003c\/i\u003e feels like a summation of those ideas.”\u003c\/p\u003e\u003cp\u003eThis idea became the title of her new record: \u003ci\u003eEverything is Love and Death\u003c\/i\u003e, a name that came to Okusami as if it were premonition and reminder of the tether between all things. Years on the road and recorded to wax have proven that Oceanator deftly commands the elements of infectious rhythms, constructing songs built around hook-laden melodies that inspire movement in even the sturdiest of feet. Okusami’s edge for writing indelible classics has become sharpened on stone over time, hardened by the influences in her rearview; power pop, skate punk, the beautiful melodrama of pop stars and 90s alt-rock. Essential pieces that nurtured the ground of the songs on her latest and most dynamic record to date. Working for the first time with Grammy nominated producer Will Yip (Turnstile, The Wonder Years, Bartees Strange), Okusami was given an opportunity to spend a full month in the studio, longer than on previous outings, in order to take time in build out the songs she had written around the core tenants of love and death.\u003c\/p\u003e\u003cp\u003eLead single “Get Out” announces itself with the grandiloquent thump of a kick drum, swift and heavy like a frantic heartbeat racing to the end, making way for otherworldly guitars that trade polished and gritty chords swirling like a fire in the night. An instant sing-along classic with an anthemic chorus anchoring a chaotic tempo, close your eyes and you can picture fists as they find the air, chanting “get up, get up, get out tonight”. Album opener “First Time” rings clear and bright, familiar like a memory you never knew had been locked away, guitars ringing like fireworks and Okusami’s voice pushing and pulling you with symphonic delight, urging you through and onwards. “Be Here” opens with dueling guitars as they echo against each other, conjuring haunting synths that shine like cosmic memories. Wavelengths of the past intertwining with tones of the present.\u003c\/p\u003e\u003cp\u003eSpeaking to her love of sci-fi and fantasy storytelling, Okusami says “I like the heightened stakes in those worlds, where even the smallest thing feels like the world's gonna end if something doesn't happen.” Everything is proven to be love and death, alive even in the heaviest moments on the record. “Drift Away” (featuring Chicago-based multi-instrumentalist Nnamdi), powers through with a slow and pulsing dynamic, an earworm crafted partially from a dream Okusami had about writing songs for a hardcore band. And then, at the finale of all things, “Won’t Someone” washes you out and away, gentle guitars, the brassy lull of mountainous horns and the steady, measured march of a drum. Love and death, the heart of all things.\u003c\/p\u003e\u003cp\u003eThese themes announce themselves here with bombast and static fury, a bigger and louder sound than Oceanator has delivered in times past. “The feeling that these songs were giving me was that they needed to be a big, loud rock band with shredding guitars,” Okusami says. A big, loud rock band is what has grown in the soil of the record, grown from trusted vision and nurtured by Okusami and Yip’s shared understanding of a collective vision. Okusami and her polymathic mastery of instruments finds her playing guitar, bass, synths and drums, alongside her brother and frequent collaborator Mike Okusami on bass and piano and paired with the dynamic rhythms of Yip on drums and other percussion. All of these components gorgeously elaborated on by additional instrumentation from Megan Siebe, Andrew Whitehurst, Eric Sherman and David Haik. With the time afforded at Will Yip’s Studio 4 Recording space, demos became climatic singles, ringing big and loud and clear, instant classics that feel like beloved reminiscences.\u003c\/p\u003e\u003cp\u003eStanding at the forefront of this cascading wall of sound are Okusami’s lyrics, the strongest and most clarified of Oceanator’s catalog that came to her easier than ever before. Molding punchy turns of phrases into their own instruments, taking moments in the studio to tighten and shape but never overthink herself and her vision. Trusting that she knows where all things started and where they may still lead, even when they are hard or tender. An unshakable relationship to the beautiful fragility of futile efforts, an unwavering commitment to going through them all the same.\u003c\/p\u003e\u003cp\u003e“I feel like these songs are honing in on and parsing the same themes as previous records, more settled and clearer.” Okusami says of her arrival here at \u003ci\u003eEverything is Love and Death\u003c\/i\u003e, “I’ve gotten better at listening to the rational part of my brain, the understanding that things aren't going to work. I know better but I'm gonna do it anyway, because everything is love and death.”\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cblockquote\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAll lyrics by Elise Okusami except the line “I’m sick over the feelings that got away” in “Cut String” by Evan Bernard\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAll songs by Elise Okusami except “Cut String” by Elise Okusami and Will Yip\u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e \u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eProduced, Engineered, Mixed and Mastered by Will Yip \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAdditional Engineering by Josh Hernandez and Justin Bartlett \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eStudio Assistant - Annelise Parenti \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e \u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003ePerformed by: \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eElise Okusami - guitar, bass, synth, vocals, drums \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eMike Okusami - bass, piano \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eWill Yip - drums, percussion, additional key pads \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eAndrew Whitehurst - additional drums \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eEric Sherman - Trumpet \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eDavid Haik - Timpani \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eMegan Siebe - Cello \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eGang vocals - Matheson Glass, Miri Devora, Josh Hernandez \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e \u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003ePhotography by Elise Okusami \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eCover Art by Elise Okusami \u003c\/span\u003e\u003c\/p\u003e\n  \u003cp\u003e\u003cspan style=\"color:hsl(0, 75%, 60%);\"\u003eArtwork Layout by Janelle Abad \u003c\/span\u003e\u003c\/p\u003e\n  \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Transparent Teal)","offer_id":50819005612339,"sku":"PRC-495LP-RETAIL","price":21.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50819005645107,"sku":"PRC-495CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708160110899,"sku":"PRC-495DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/04c15ed2b916c766a2b80f2761b8a0db98ef85cb_40d1e175288925b34a13f5944dbdc92a8af3622e_photo_jpg.jpg?v=1735838836"},{"product_id":"oceanator-everything-is-love-and-death-t-shirt","title":"Oceanator - 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Miserable. Miserable.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eAt least, that’s how it’s been over the years he’s been writing and recording solo. When the time came to make a record, Farren would be overtaken by an unparalleled anxiety, forcing him into the home studio he describes as “barely bigger than a closet,” where he agonized over the minute details of his work in progress. “Looking back on those records… I have no good memories of making them,” he admits. “It’s always been a lonely, doubt-ridden process.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eIt’s surprising to hear this, knowing Farren’s reputation as a prolific songwriter who made his name recording with Jeff Rosenstock in Antarctigo Vespucci and before that, the Floridian punk band Fake Problems. In 2014, Farren started releasing music under his own name all while continuing his project alongside Rosenstock, and his first album, \u003ci\u003eLike a Gift From God or Whatever\u003c\/i\u003e endeared him to fans of the now-defunct Fake Problems and new listeners who had yet to experience the delight of a new Chris Farren song. \u003ci\u003eLike a Gift From God or Whatever\u003c\/i\u003e was followed by\u003ci\u003e Can’t Die\u003c\/i\u003e and Farren’s Polyvinyl debut, \u003ci\u003eBorn Hot\u003c\/i\u003e. Last year, Farren wrote what he describes as a soundtrack to a spy film he invented that will never be committed to film. Inspired by Marvin Gaye’s soundtrack to \u003ci\u003eTrouble Man\u003c\/i\u003e, \u003ci\u003eDeath Don’t Wait (Original Motion Picture Soundtrack) \u003c\/i\u003ewas a creative exercise, one Farren completed in mere months that stands apart from the extensive, at times arduous, process of making a Chris Farren album. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eAfter releasing \u003ci\u003eBorn Hot \u003c\/i\u003ein 2019, Farren knew he needed to make changes to the creative process, but he wasn’t yet sure how to. Enter Frankie \u003c\/span\u003e\u003cspan style=\"color:#202122;\"\u003eImpastato\u003c\/span\u003e\u003cspan style=\"color:#000000;\"\u003e, drummer of Macseal, who Farren met on tour and who became one of his dearest friends and confidants. He told Impastato about the misery, the barely-bigger-than-a-closet studio, the barren memory chest, and together they hatched a plan: they’d make Farren’s next album together. So, Farren got in touch with multi-instrumentalist\/producer, and Jay Som mastermind, Melina Duterte (also, a Polyvinyl labelmate), who invited him by her studio where she’s collaborated with a steady stream of notable artists since first opening it in 2020. That’s where \u003ci\u003eDoom Singer\u003c\/i\u003e, his new full-length album due out August 4th, would be made.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e“Looking back, I feel bad, because Melina brought me in to show me her space and was describing the gear to me and I was totally checked out,” Farren says. “I mean, the space is amazing, she’s super talented, but I told her: ‘I don’t care about any of this stuff. I just want to make a record with you and have fun. I want to make a record and have a good time.’”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eCollaboration not only untethered Farren from his misery (fun was had) but also his overbearing need to control every aspect of the creative process. While on previous albums like 2019’s \u003ci\u003eBorn Hot \u003c\/i\u003eor 2016’s \u003ci\u003eCan’t Die \u003c\/i\u003eFarren might’ve spent hours on end tweaking a single canned drumbeat, Impastato’s live drums offer a spontaneity that breathed new dimensionality into the Chris Farren project. He wanted this new effort to be “bombastic,” to sound like it could fill the immense negative space of an arena. “I wanted to open these songs up, make them less frenetic, and not feel the pressure to cram every moment,” he says. You hear that impulse on lead single “Cosmic Leash,” which opens with a wall of sound that careens to a halt, as Farren delivers his interlude over the slight strumming of a guitar. That sense of reprieve lasts only a moment, before the enormous chorus shreds through the silence as Farren wails: “Change your heart\/ Wait your turn.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eThe choruses on \u003ci\u003eDoom Singer\u003c\/i\u003e are all like this, huge, cathartic, catchy as hell, and inspired by what Farren describes as the “sixties-tinged girl group vibe, not retro, but playful” employed by Belle and Sebastian. “First Place” is a shining example, a song Farren describes as being about worrying you might grow apart from your partner and, “Not being able to cum because of Lexapro.” It’s hard to describe the single as anything but “jaunty,” the buoyancy of Farren’s delivery belying any sense of disquiet humming beneath its surface.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eFarren says \u003ci\u003eDoom Singer\u003c\/i\u003e communicates an “optimistic nihilism,” and that lyrically, he’s trying to embrace nuances inspired by films like\u003ci\u003e TÁR\u003c\/i\u003e and \u003ci\u003eI’m Thinking of Ending Things\u003c\/i\u003e. “In these movies, the truth of the narrative isn’t handed to you, and it’s not easy to figure out where your sympathies should lie,” he says. Against certainty, \u003ci\u003eDoom Singer \u003c\/i\u003eopens with a confession. “I don’t remember how to do this,” Farren croons on “Bluish,” admitting to feeling codependent in his marriage, worried he is too much to manage, that his neuroses might disrupt a delicate domestic balance. It was the first song he wrote for the album and the one that determined its narrative course. We’re made to believe aging makes you wiser, but as Farren has grown into the prodigious songwriter you hear on \u003ci\u003eDoom Singer\u003c\/i\u003e, he’s only grown less certain. “I’m constantly processing the way I feel about things, and I didn’t want any of these songs to sound sure of themselves, or to communicate any clear message,” he says.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003eCiting My Bloody Valentine, TV on the Radio, and Camera Obscura as clear influences, Farren says he can’t listen to much music until it’s time to make a new record, but when it’s time, he submerges himself in music that moves him. “I wrote between fifty and eighty songs for this album,” he says. The final cut is as genuine, empathetic, and of course, funny, as Farren is, and though he claims nihilistic tendencies, it’s the dogged optimism that endures. On “All We Ever,” Farren compiles a list of things he wants (to stop paying rent, to love the government, to get drunk with friends) that accumulate into a three-minute reminder that no life is ever pristine, that there will always be wants unfulfilled, and that that’s okay. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color:#000000;\"\u003e“There will be struggle in everything. I’ll always be fighting with myself, and I need to find a certain peace with that,” he says, but on \u003ci\u003eDoom Singer\u003c\/i\u003e, Farren rejects closure, and he’s still seeking that sense of peace. Maybe we all are, whether we’re bold enough to sing about it or not. \u003c\/span\u003e\u003c\/p\u003e\u003cblockquote\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAll songs written by Chris Farren and Frankie Impastato, except “Only U” written by Chris Farren, Frankie Impastato and Celeste Taucher.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eProduced, engineered and mixed by Melina Duterte in Atwater Village, CA.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAdditional recording by Chris Farren at Wave 42.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMastered by Jack Shirley at Atomic Garden in Oakland, CA.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eFrankie Impastato played drums on every song. 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dread. \u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e“Just tell me it could never happen to me!,” Farren shouts, over a swirl of distortion \u0026amp; slide guitar. \u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e“Cause of Death” follows his recent album \u003cem\u003eDoom Singer\u003c\/em\u003e produced by Melina Duterte (Jay Som, boygenius) and showcases Farren’s seemingly effortless knack for melody.\u003c\/span\u003e\u003c\/p\u003e\n \u003cblockquote\u003e\n \u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\n \u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eWritten \u0026amp; Performed by Chris Farren\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003ewith\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eFrankie Impastato - Drums \u0026amp; Vocals\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eG Leonardo - Vocals\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eLexi McCoy-Caso - Vocals\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced + Mixed by Chris Farren @ Wave 42 (Los Angeles CA)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eDrum Tracking by Billy Mannino @ Two Worlds (Queens NY)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Jack Shirley @ The Atomic Garden (Oakland CA)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Digital","offer_id":51405321404723,"sku":"PRC-9713DIGITAL","price":1.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/4f065e7583779adfa2978a6589ae5d9e726f1a53_473363f2f5b268b6a71a14642a06a0a3b131dac6_photo_jpg.jpg?v=1745697964"},{"product_id":"oceanator-everything-is-love-and-death-garage-sale-vinyl","title":"Oceanator - Everything is Love and Death (Garage Sale Transparent Teal Vinyl)","description":"","brand":"Polyvinyl Garage Sale","offers":[{"title":"Vinyl (Transparent Teal)","offer_id":53464492441907,"sku":"PRC-495LP","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/ed98a43af37e90a2e9649392a50822a4737ef0b6_30c7b09014225ffd2c2bfd21bab749d169e13d87_photo_jpg.jpg?v=1735838847"},{"product_id":"oceanator-everything-is-love-and-death-deluxe-edition","title":"Oceanator - Everything is Love and Death (Deluxe Edition)","description":"\u003cp\u003eAfter a year spent playing shows with the likes of Jeff Rosenstock and Open Mike Eagle, \u003cstrong\u003eOceanator\u003c\/strong\u003e is back with a deluxe edition of their third full-length album \u003cem\u003eEverything is Love and Death\u003c\/em\u003e. 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