{"title":"Featured Items (D2C)","description":"","products":[{"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":"xiu-xiu-xiu-xiu-necklace","title":"Xiu Xiu - Xiu Xiu Necklace","description":"\u003cp\u003eXiu Xiu logo pendant in antique silver finish on 18\" chain.\u003c\/p\u003e","brand":"Polyvinyl Accessories","offers":[{"title":"18\" Chain","offer_id":50774535733555,"sku":"PRC-JWLRY1003","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/90c1b718bab086147c03b4961d4c1c86cff2026b_6f065d8218444317945e6dc6c6d97ce773f7eff1_photo_jpg.jpg?v=1735838754"},{"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. 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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":"jay-som-belong","title":"Jay Som - Belong","description":"\u003cp\u003eWhere, you are almost certainly asking, has \u003cstrong\u003eJay Som \u003c\/strong\u003ebeen? \u003c\/p\u003e\n\u003cp\u003eSix years ago, in 2019, Melina Duterte released \u003cem\u003eAnak Ko\u003c\/em\u003e, the expansive sophomore album from the project that had quickly grown far beyond its so-called bedroom pop origins into something resembling an actual band. Duterte still wrote and produced that Jay Som record, but her friends now surrounded her, playing parts of their own. But when a shuttered touring industry scrapped Jay Som’s ambitious 2020 plans, Duterte realized she had long needed a reset from the road after several years of constant pivots between touring and writing, anyway. She decided to splurge on herself and her lifelong interest in recording, funneling her government stimulus check into a piece of dream gear she’d repeatedly seen advertised—a vintage Neve console. She committed herself to manuals and online tutorials, peppering experienced friends with questions about becoming more than her own home-recording engineer. 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The new friends she’d actually had time to make in Los Angeles now that she was off the road—especially Joao Gonzalez (of Soft Glas) and Mal Hauser (a collaborator to Mk.gee and Illuminati Hotties)—became key partners, as Duterte opened her music to others like never before. But she also opened up her music to herself and her memories, writing songs that revisited the sounds of her youth with the benefit of her experiences as a musician, producer, and performer. She was neither shy about her influences nor limited about where they might lead her. And so no previous Jay Som album sounds quite like the new \u003cem\u003eBelong\u003c\/em\u003e, a gripping 11-song set about self-definition and, well, belonging, that floats between supercharged power-pop hits and hazy ballads, between electronic curiosities and lighters-up anthems. It is a map of the first 31 years of Duterte’s life, all leading to the present that is \u003cem\u003eBelong\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e“When you try something for the first time, you’re always going to hold some type of fear, but I had to come to terms with the fact that I had to let go of some control,” she explains. “This record is essentially still me, but a lot of choices were made by friends who helped me, because I trusted them.”\u003c\/p\u003e\n\u003cp\u003eDuterte grew up with rock radio outside of San Francisco, memorizing the hits of early ’00s pop-punk and emo as a teen. Though she was 400 miles north along the California coast, The O.C. soundtracks—Imogen Heap, Bloc Party, Death Cab for Cutie, and so on—became major touchstones, too. You immediately hear the collision of it all in “Float,” the first song Duterte wrote for \u003cem\u003eBelong\u003c\/em\u003e. She was experimenting with the vocal synths that still frame the intro when a melody spilled out, inspiring the riff that soon slashes between those sampled synths and the buoyant beat. A top-down radio wonder, its massive chorus—“Float, don’t fight\/I’m not the same”—documents the toggle between pressing into the unknown and trying the unexpected or staying still and doing what you have always done in a push to stay safe and sane. Fittingly, that is Jimmy Eat World’s Jim Adkins, one of those childhood heroes, offering background vocals; that’s a first for a Jay Som album, as Duterte pulls past and future toward an explosive present. Duterte grins unabashedly at her adolescent impulses, too, during “Casino Stars,” a lusty bit of acoustic emo about betting everything on love and trusting that this time you leave a winner. \u003c\/p\u003e\n\u003cp\u003e“I turned 30 while I was making this record. There is a portion of your 20s about being cool and hip and who can come up with the craziest ideas,” says Duterte, who also began her longest relationship ever while recording \u003cem\u003eBelong\u003c\/em\u003e. (The new couple even adopted a dog.) “But as I’ve gotten older, I am more nostalgic about the music I experienced and want to relive that—by being inspired by that music.”\u003c\/p\u003e\n\u003cp\u003eThose aren’t, of course, the only references she brandishes. Where “D.H.” bops like a prime piece of garage-rock smeared with the stain of, say, Sonic Youth, “Appointments” is a beautiful waltz between the sad-eyed wonder of Elliott Smith and the twilit glow of Phoebe Bridgers. Despite those kinships, it is a deeply personal reflection on rejection, acceptance, and imposter syndrome, or the realization that, even as we allegedly become good at something, we’re still capable of flaws and fears. “Missed your appointment\/Your head on my lap,” she sings softly over chiming guitars as the second verse begins. “Changed your phone background\/Smiling again.” It’s about finding a way to make it through these hangups, about enduring. In a way, all of \u003cem\u003eBelong\u003c\/em\u003e’s songs carry that implicit message—if you can’t embrace the sounds of your heroes to sort through your own mess, what are you doing, anyway?\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBelong\u003c\/em\u003e, though, isn’t just Duterte’s record. Many of these songs emerged from relationships rooted in friendship first, collaboration second. Duterte and Gonzalez, for instance, became true pals only after she stopped touring so hard. When he brought her a sample early in the writing process, telling her it reminded him of Jay Som, she immediately agreed, the stuttering rhythm inspiring the melody that became “What You Need.” They built the song together, eventually moving beyond a beat borrowed from “Young Folks” to something that is as springy yet sad as the lyrics, a tight-rope walk between adoration and annoyance. Addictive on first listen, it’s a subtle wonder of production, too, its layers of drums and curdled synths serving as a platform for the bright guitars that bend through it.\u003c\/p\u003e\n\u003cp\u003eThough Duterte has never been one for special guests on Jay Som’s intimate records, Hayley Williams had insisted on singing together at some point since the band opened for Paramore in 2018. So Duterte and Steph Marziano—another new friend who has written with Bartees Strange and Cassandra Jenkins and who began working and hanging with Duterte after Williams introduced them—went to Nashville to try a song together. Williams’ soft harmonies on the arcing “Past Lives” reinforce its forlorn sense of drifting in and out of doldrums, of finding momentum only to watch it fade. It is a powerhouse of a tune, its downshifted midsection landing like a fistfight with oneself. \u003c\/p\u003e\n\u003cp\u003eAnd while Duterte’s production credits have mounted spectacularly since 2020, she knows enough to know she might not always know best. As she neared the end of \u003cem\u003eBelong\u003c\/em\u003e, she went to Philadelphia’s Headroom Studios, where producer Kyle Pulley told her that, simply as a Jay Som fan, he wanted to hear more of her. This became her first time working with another producer on Jay Som, yet another sign of her opening the band to others’ ideas. You can detect that insight and burgeoning conviction from the very first notes she sings on opener “Cards On The Table,” a brilliant piece of electronic pop where her warped voice cascades over tessellated drum machines and synths. (By the way, that’s Lexi Vega, of Mini Trees, offering harmonies; again, she, Williams, and Adkins are Jay Som’s first-ever guest vocalists, representing Duterte’s push to try new things with people she trusts.) The track is a pronouncement of renewed intentions for Jay Som, running from those first notes through the underwater experimentation of “Meander” and to the wall of noise and field recordings that end the finale, “Want It All.”\u003c\/p\u003e\n\u003cp\u003eThough “Want It All” is the capstone for \u003cem\u003eBelong\u003c\/em\u003e, it is also the thesis, the moment where Duterte makes the push and pull she feels in her life and career right now abundantly clear. For the better part of six years, she mostly checked out of Jay Som, cultivating and tending to the other side of her artistry. Now that she has returned to the band itself, she wonders where she belongs within an indie rock ecosystem, or how much of the rest of her life and work she is willing to give up to live up to that role. This is why she named these songs \u003cem\u003eBelong\u003c\/em\u003e, after all, as she tries to figure out where she fits into the wider world as an artist, producer, and person. “Do you really want to go? Will you hate what you will find?” she sings near the start of that title track, built on a seesaw of repetition. Duterte doesn’t know the answer yet, how she balances being an acclaimed and in-demand producer with being a proper bandleader, too. She just knows that Jay Som is back, invigorated by more ideas, experiences, and inputs than it’s ever enjoyed before.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAll songs written, composed, and performed by Melina Duterte, Joao Gonzalez, Mal Hauser, Steph Marziano, and Madden Klass\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced by Melina Duterte, Joao Gonzalez, Kyle Pulley, Mal Hauser, and Steph Marziano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRecorded at EMA Studios in Los Angeles CA, Headroom Studios in Philadelphia PA, and Klass Drums in Los Angeles CA\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eEngineered by Melina Duterte, Kyle Pulley, Steph Marziano, and Johanna Baumann\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAssistant Engineering by Theo Cobb, Meredith Glover, Eli Glovas-Kurtz\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMixed by Melina Duterte and Kyle Pulley\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Ruairi O'Flaherty at Nomograph Mastering\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eArt design \u0026amp; layout by Sab Mai\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Early Bird Vinyl (Lavender Sky Swirl)","offer_id":51759889285427,"sku":"PRC-517LP-EB","price":26.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (Indigo \u0026 Cerulean Splatter)","offer_id":52813074628915,"sku":"PRC-9717LP-SPTFY","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (White)","offer_id":51759889318195,"sku":"PRC-517LP","price":24.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":51759889350963,"sku":"PRC-517CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape","offer_id":51759889383731,"sku":"PRC-517TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":51759889416499,"sku":"PRC-517DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/JaySom_Belong_SQ1wlogo_b7e2992e-9a3d-4b63-9df0-fc31bb2db2b7.jpg?v=1760070591"},{"product_id":"texas-is-the-reason-texas-is-the-reason-tx30-special-edition","title":"Texas Is The Reason - Texas Is The Reason (TX30 Special Edition)","description":"\u003cp\u003eThey came from some of the most popular, if not polarizing hardcore bands of the early '90s (Shelter, 108, Resurrection), but by the time \u003cstrong\u003eTexas Is The Reason\u003c\/strong\u003e formed in 1994, a new aesthetic crystallized almost instantly and reduced its members' previous efforts to history.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIndeed, it was only a year later, when Revelation Records released the band's self-titled EP – their name derived from a lyric in the Misfits song \"Bullet\" \u003cmeta charset=\"utf-8\"\u003e– that Texas Is The Reason were already headlining their own tours in America and well on their way to defining a new moment in post-punk.\u003c\/p\u003e\n\u003cp\u003eTexas Is The Reason's self-titled \u003cem\u003eTX30 Special Edition\u003c\/em\u003e 12\"EP includes the bonus track \"Something to Forget (Version I)\" which was originally released in 1995 on a limited split 7\" with Samuel. 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After cutting their teeth programming music with playable Nintendo cartridges and helping to bring a wider audience to a largely internet based 8-bit chiptune scene, the band was brought in to score the fan-favorite soundtrack for \u003c\/span\u003e\u003cem\u003eScott Pilgrim vs. the World: The Game\u003c\/em\u003e\u003cspan\u003e. The success of this game soundtrack would help them to launch an early crowdfunding success story with their campaign for their debut album, 2013's \u003c\/span\u003e\u003cem\u003eEndless Fantasy\u003c\/em\u003e\u003cspan\u003e. From there, the band would go on to collaborate with virtual pop star Hatsune Miku (resulting in the perpetually viral, Fortnite-featured hit, “Miku”), and later develop the intricately soundscaped compositions displayed across their second album, \u003c\/span\u003e\u003cem\u003e[USA]\u003c\/em\u003e\u003cspan\u003e, but throughout it all the connection between the band and the Scott Pilgrim universe would remain a pivotal source of inspiration.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAfter being brought in to score the animated Netflix series, \u003c\/span\u003e\u003cem\u003eScott Pilgrim Takes Off\u003c\/em\u003e\u003cspan\u003e, in 2023, band members Peter Berkman and Luke Silas would credit the live kinetic energy they channeled when writing songs for the in-universe garage band Sex Bob-Omb with helping them get back in touch with the roots of how they learned to play music even before Anamanaguchi's earliest releases. This process would eventually lead to Peter and Luke–alongside guitarist Ary Warnaar and bassist James DeVito–flipping their typically meticulous digital writing process for the more collaborative, straight to tape, distorted angst that can be found on 2025's acclaimed \u003c\/span\u003e\u003cem\u003eAnyway\u003c\/em\u003e\u003cspan\u003e. That album marked another significant evolutionary turn for the band to come out of their relationship with Scott Pilgrim.    \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA shift towards a more organic songwriting process would not be the only significant development crucial to the band’s involvement in the new soundtrack, however. While Anamanaguchi have always viewed video game scores as a unique medium that is just as influential or important as any other, gaming culture has now developed to a point that many game soundtracks are being looked at with the same degree of reverence as a film or a tv score within the cultural zeitgeist. As exciting a development as that might be, the band have found that it has become increasingly important for them to hold onto the aspects of video game music that made it a unique compositional medium in the first place. Accordingly, most of the band’s compositions for \u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eScott Pilgrim EX\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e were completed with minimal gear while on their bus touring in support of \u003c\/span\u003e\u003cspan\u003eAnyway\u003c\/span\u003e\u003cspan\u003e, which led them to lean into software designed for older gaming systems. This process would allow the band to write together while continuing to uphold the legacy of classic trackers in video game music and chiptune, helping to preserve a compositional artform intrinsically loved by the band’s members that, due to the widespread availability of modern DAWs, could be at risk of being lost to time.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs Anamanaguchi’s work has continued to develop since their initial collaboration within the Scott Pilgrim universe, the cultural footprint of Scott Pilgrim has evolved as well. Moving from something akin to a cult classic niche comic into a widespread coming of age story for multiple generations across movies, anime, TV, and video games, the story rides the line of being crucially important to its core fanbase while simultaneously existing as a widespread franchise known to the masses.  \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNow fresh off the heels of a nationwide tour in support of\u003c\/span\u003e\u003cspan\u003e \u003cem\u003eAnyway\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e\u003cem\u003e,\u003c\/em\u003e Anamanaguchi have committed themselves to maintaining a similarly tense throughline within their own work by returning to the 8-bit beat em up world of Scott Pilgrim with a relentlessly high energy and genre defying original soundtrack for \u003c\/span\u003e\u003cem\u003eScott Pilgrim EX\u003c\/em\u003e\u003cspan\u003e. Just as a new generation might be coming online to discover the joys of cloud rock, laptop twee, and lofi electronic indie, Anamanaguchi are here to provide a return to form with a depth of knowledge and innovation that has consistently allowed them to evolve and grow alongside the characters in the Scott Pilgrim universe and the multi-generational fanbase that continues to follow them.\u003c\/span\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMusic and lyrics by Anamanaguchi:\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003ePeter Berkman, Ary Warnaar, Luke Silas, James DeVito\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRecorded by Casey di Iorio \u003c\/span\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eat Valve Studios, Dallas, TX. \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional editing by \u003c\/span\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMike Fridmann\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eDesign: Jacob Ferguson\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003ePhotography: Paul Hillier\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003ePixel art: Tribute Games\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eArt direction: Bryan Lee O’Malley\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eScott Pilgrim EX © 2026 Universal City Studios LLC.  All Rights Reserved.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e“Scott Pilgrim vs. The World” graphic novel and related characters TM \u0026amp; © 2026 Bryan Lee O’Malley.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl 2xLP (Sky Blue \u0026 Hot Pink Blend)","offer_id":53093203280179,"sku":"PRC-532LP","price":35.0,"currency_code":"USD","in_stock":true},{"title":"2xCD","offer_id":53093203312947,"sku":"PRC-532CD","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53093203411251,"sku":"PRC-532DIGITAL","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/SPEX_LPMockups_Retail_SQ.jpg?v=1772494368"},{"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; 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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. 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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. 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What began 10 years ago as a solo project that launched her to indie-critical-darling status, over time has evolved into something more atmospheric and less containable: a porous altar, a mirror, a weather system. There are stretches when the line between Jilian and “IAN SWEET” disappears entirely—this time around a very real life trifecta of battling industry pressures, the ending of a 3-year relationship, and a return to living in her native city of Los Angeles. These serve as the backdrop under which \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eShiverstruck\u003c\/em\u003e, her fifth album as IAN SWEET, has found its way into the world.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eShiverstruck\u003c\/em\u003e arrives from a place of deliberate separation. Where earlier works collapsed the distance between Jilian and IAN SWEET, this record gently reestablishes it. The writing process became an act of surrender and an intentional relinquishing of control. “I was thinking about how easy it is to mistake survival for connection,” Medford explains about \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eShiverstruck\u003c\/em\u003e album opener “987.” “Music has pushed me to be more empathetic, to pay attention to emotions and experiences that aren’t always comfortable, and channel that into something that feels authentic.” Rather than meticulously sculpting every emotion, she allowed the songs to assume their own architecture. In doing so, she discovered a new softness—a compassion for herself that doesn’t require total collapse to feel human. \u003c\/p\u003e\n\u003cp\u003eAcross her career, Medford has cultivated a body of work defined by emotional precision and dynamic force—guitars that lurch from whisper to rupture, melodies that carry both ache and defiance. Her songs interrogate identity not as a fixed condition, but as something negotiated daily. Often associated with a lineage of confessional indie rock, she has been labeled a “sad girl,” an archetype she once embraced, whether as armor or proof of depth. But her trajectory has never been about sadness itself; it has been about understanding it, metabolizing it, and ultimately refusing to be reduced by it.\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eShiverstruck\u003c\/em\u003e was written during her second year living in New York City, a period that shaped her in ways both profound and messy. In 2023, to make ends meet amidst the increasingly unsustainable economies of touring and streaming as an independent musician, Medford put her strengths as a songwriter to the test, taking an unexpected job working with children. \"Singing to babies, leading classes, playing guitar, dancing in circles, singing about sheep, frogs, trains, trees…you name it. It was absurd in one register but transformative in another,” Medford expounds \"Watching children respond to music for the first time; their faces lighting up completely unselfconscious, it rewires your brain as a songwriter and steers you more towards honesty. Everything felt immediate and real.”\u003c\/p\u003e\n\u003cp\u003eSimultaneously, Medford was confronting the less visible pressures of the industry around her. There were moments that tested not just her career, but her sense of agency as a working musician within it. She saw AI-generated IAN SWEET soundalikes impersonating her music show up as official IAN SWEET releases on streaming platforms and had to fight off confusion among fans. In another instance, Medford found out that her music was being used by a popular production house for a film trailer, without permission or payment for its licensing. Upon confronting them, she was only then offered compensation if she signed an NDA, agreeing to not mention the situation had ever occurred at all (Medford declined). \u003c\/p\u003e\n\u003cp\u003eAlthough these experiences proved frustrating, they clarified something: Medford would not ascribe to the unspoken expectation for women in music to stay agreeable and absorb the impact quietly. This sentiment lends itself to the album single \"Wildheart.\" “I used to define myself by sadness, and would wear the ‘saddest girl in the room’ superlative like a badge of honor,” Medford explains, “But I’ve let that go. I exist beyond that narrative, even while still feeling deeply. The ‘wild heart’ idea is what keeps me moving through fear, doubt, and the pressure of this industry. 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From there, Medford and Allen worked together with drummer Harold Brown and engineer Ben Etter to build them into ten thoughtfully constructed tracks.\u003c\/p\u003e\n\u003cp\u003eIn their completion, something came into focus, what had once been abstract became undeniable. As Medford was wrapping up production on the album, she ended a long term relationship, a decision that arrived with a sense of clarity the songs themselves seemed to foreshadow–the “wreckage” referenced in “987,” or the thrill of reliving nostalgic emotions for someone as heard on the propulsive lead single “Criminal Kissing.” \u003c\/p\u003e\n\u003cp\u003eIn a way, the album’s focal point naturally falls to “Jilian,” written by Medford in tribute to all of the pitfalls and lessons learned from her time living in New York. “Sad singer, such an idiot. 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What followed was not a reinvention, but a recognition: a coming back to herself with greater honesty, and a deeper trust in what that self requires.\u003cbr\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAll songs written by IAN SWEET. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced and mixed by Ben H. Allen III at Maze Studios (Atlanta, GA) and Rock Lobster Recording (Blue Hill, ME). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eEngineered by Ben Etter. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional recording by Tomas Uribe and Kegan Krogh. 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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"},{"product_id":"julia-jacklin-the-gem","title":"Julia Jacklin - The Gem","description":"\u003cp class=\"p1\"\u003e“I want to love and be loved, but I also want to feel free. The tension between those two things has been the central question of my life,” says \u003cstrong\u003eJulia Jacklin\u003c\/strong\u003e. It’s also the theme that underpins her fourth album \u003ci\u003eThe Gem\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhen Julia Jacklin first moved to Melbourne from Sydney in 2017, she discovered a little bar on a back street in Collingwood, where bands pushed dining tables to the side and set up in a corner on the floor. She didn’t really know anyone in town too well, but she knew she wanted to make the city her home, and so she started hanging out there, forcing herself out of her comfort zone. The pub was aptly named The Gem.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFast forward eight years, and Jacklin, with three celebrated solo records under her belt – \u003ci\u003eDon’t Let the Kids Win \u003c\/i\u003e(2016), \u003ci\u003eCrushing\u003c\/i\u003e (2019) and \u003ci\u003ePRE PLEASURE\u003c\/i\u003e (2022) – was looking to make a fourth. She’d been touring flat-out for years, had come out of contract with her record label, was looking for a new manager. “For the first time since I started out, I had this big chunk of time without any industry expectations and no-one to ask me what was going on,” she remembers. “It was liberating and it was scary.” Jacklin wanted to do things intentionally this time around. She wanted to back herself. And she wanted to make the record at home in Melbourne: something she’d never done before.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eSo she called up her old drinking buddy Robert Muinos, owner of Rat Shack studios, which is located above her favourite old pub. For \u003ci\u003eThe Gem\u003c\/i\u003e sessions she was also joined by longtime friends Jacob Diamond on guitar, Mimi Gilbert on bass, and Jess Elwood (Alex Lahey, Angie McMahon) on drums. She thought she’d smash out the new record in two weeks, like she’d always done – but that was not the case.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e“\u003ci\u003eThe Gem\u003c\/i\u003e felt like a metaphor for the whole process, because a lot of it did feel like digging. I felt like I was almost doing it in the dark, just trusting that I was going to find something,” says Jacklin of the record, which conjures images of excavation, of reinvention, of trusting your instincts and surrounding yourself with the people and things that make life worthwhile. It’s a soaring document of the songwriter’s journey back to herself.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e“I thought I’d finished the record a year before I actually did. It was mixed. It was mastered. We had a listening party. We celebrated. And two days later, I was like, \u003ci\u003eIt's not done\u003c\/i\u003e. I realised that I had not yet healed from some things. I was trying to prove something. I could hear it in the music. I was making choices that I thought like, \u003ci\u003eSomebody will like this, right? \u003c\/i\u003eWithout fully liking it myself.” Jacklin met up with Muinos and together they spent another eleven months tinkering in the studio, working until they arrived at something Jacklin could stand behind. Some tracks, like ‘Real Life’ and album opener ‘Brand New’,\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003ehave been totally reimagined.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eIt’s an electric opener, a statement of intent, a song about deluding yourself into believing it’s possible to leave your former self behind. “I’m free, now let me be brand new,” trills Jacklin over Elwood’s compressed live drums and Diamond's chopped up country guitar line. It feels like the song is playing in-utero: an embodied, tactile dance music that winks and nods to Jacklin’s previous records while pushing towards rebirth.\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e“When you get to this phase of being an artist, people have an idea of what you are and the kind of musician you are and the kind of things you write about and the kind of ways you write about them. And then it's pretty difficult to not let that inform your own sense of self. It can get really weird, where you’re like, \u003ci\u003eIs this what Julia Jacklin would do?\u003c\/i\u003e And you’re like, \u003ci\u003eWait – I’m Julia Jacklin\u003c\/i\u003e.”\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e‘God Sometimes,’ with its driving rhythm section and images of flipped tables, is about choosing not to be a passenger in your own life, while ‘If I Had the Hand of God’ asks if it’s possible to be a touring musician and a good person at the same time. On ‘The Hardest Thing’, Jacklin mourns the end of a relationship. Sonically, it’s huge: total surrender.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eRecording happened in close quarters, in converted hotel room accommodation upstairs at the pub, and sound bleed was a glorious constraint: foot traffic to the hairdresser and the tattoo parlour next door, loud music from the bands and the kitchen crew downstairs. Because it’s a working pub in a residential suburb, they couldn’t record late into the night for fear of bothering the neighbours. But all this came with unexpected delights. Jacklin and the band played two unannounced shows downstairs to try out the songs before recording them. “And if I needed a break from the sessions I would just go downstairs and watch the band playing,” says Jacklin. “There was something so beautifully cyclical about it.”\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e‘Get Away from Me (I Think I’ll Love You Soon)’ is bright and big and fun: a nod to eighties jangle rock and to the Melbourne sound she fell in love with, while ‘Walk on Me’ swells and swells over six minutes, showcasing Jacklin in full flight. It’s a haunting track that reflects on a degrading relationship: “Walk on me if you like,” she sings, “Take off your shoes, turn off the light\/ Don’t want anyone else to see\/ What I let you do to me.”\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eFor album closer ‘I Wish’, Jacklin teams up with siblings Elsie and Maggie Rigby of The Maes. It’s a lullaby penned for Jacklin’s younger self – a practice that after four albums has become a tradition. There’s images of juddering growth, of change, of a fledgling bird about to flee its nest as the three vocalists harmonise: “I got through, yeah I’ll be fine\/ Still I wish someone had been there at the time.”\u003ci\u003e \u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe band got matching tattoos on the last day of \u003ci\u003eThe Gem\u003c\/i\u003e sessions: a neat little circle to represent an opal – Jacklin’s favourite gemstone. Fittingly, one of the bartenders at The Gem did it. “It did really feel like we’d done something special together. And I think as a group, it felt important to commemorate it. I’m glad we all have these little gems on us.”\u003c\/p\u003e","brand":"4AD","offers":[{"title":"Vinyl (Green Opal)","offer_id":53473164460339,"sku":"NPV-JJ-GEM","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/Julia_Jacklin_The_Gem_1x1_Green_Opal_LP_Front.png?v=1781234055"},{"product_id":"squirrel-flower-say-a-prayer-to-the-gods-of-getting-going","title":"Squirrel Flower - Say a Prayer to the Gods of Getting Going","description":"\u003cp\u003eIf a throughline exists in the decade of \u003cstrong\u003eSquirrel Flower\u003c\/strong\u003e’s repertoire, it’s a projection of time and place. A ‘Squirrel Flower song’ is, if anything, a snapshot of Chicago-based songwriter Ella Williams’ feelings in a given moment, extrapolated into a character, or a train of thought, or a (super)natural phenomenon. Of her fourth studio album released by Polyvinyl Records (and sixth full-length to date), \u003cem\u003eSay A Prayer to the Gods of Getting Going\u003c\/em\u003e, Williams describes each song as a living archive of a moment or a place, given the space to live on its own outside of the forceful progression of time. \u003c\/p\u003e\n\u003cp\u003eThe transcendent title track begins where 2023’s \u003cem\u003eTomorrow’s Fire\u003c\/em\u003e leaves off. Both spacious and thunderous, it’s a meditation on movement and stasis, future and past, delivered with a power that verges on mystical. This is where \u003cem\u003eSay a Prayer\u003c\/em\u003e stands out as a singular and monumental classic. In crafting a collage of landscapes and characters (Williams wrote over thirty songs in the process), she skillfully weaves together a timeless love album. Just as the generational richness of Williams’ voice cuts through each track’s darkness or playfulness, so does an unmistakable depth of feeling. Love for friends, for landscape, for relentless touring, for her own ideas and feelings, for life itself, for some elusive lover Williams chases to each of her stops along the road. \u003c\/p\u003e\n\u003cp\u003eSpanning 2024 and 2025, the writing process for \u003cem\u003eSay A Prayer\u003c\/em\u003e is an account of the locations and the characters Williams encountered as she traveled across vast American biomes: “Canyons of New Mexico \/ Factories of Indiana \/ Bunkers of California \/ Harbors of New England calling \/ She ends up in borderlands \/ She ends up in familiar places.” Williams chronicles the changing landscapes of a solo traveller, untethered to anyone or anything other than the experience itself, and bolstered by a vast network of friends and companions.\u003c\/p\u003e\n\u003cp\u003eTracked live at makeshift studio Merry Meadow in Door County, WI with a cast of Chicago music heads including co-producers Seth Engel and Jack Henry, and later painstakingly refined and rerecorded to perfection in Asheville, NC at Alex Farrar’s Drop of Sun studios, \u003cem\u003eSay a Prayer\u003c\/em\u003e’s production mirrors its songwriting process. In addition to Dave Hartley (The War on Drugs) and Seth Kauffman (Angel Olsen), both of whom played on Williams’ 2023 album \u003cem\u003eTomorrow’s Fire\u003c\/em\u003e, Williams enlisted a cast of friends including Dimitri Giannopolous (Horse Jumper of Love), Sofia Jensen (Free Range), Clay Frankel (Twin Peaks), Andy Krull (Red PK), Book not Brooke (Babywave), and even family members Jameson, Jesse, and Nate Williams. \u003c\/p\u003e\n\u003cp\u003eFarrar, a producer known for a prolific indie rock sound (Wednesday, MJ Lenderman), surprised Williams by amplifying the quietest, most delicate aspects of her music. “He was encouraging me to lean into this ethereal, yet grounded, spacious yet textured folk music that’s so true to the early days of Squirrel Flower,” Williams states. “It felt like a breakthrough.” Exemplified by the sparkling acoustic arrangement of 12-string guitars, recorder, and accordion on lead single “Reelin,” Williams envelops herself in a shimmering and timeless sound inspired by legendary wild-women Stevie Nicks, Linda Ronstadt, and Joni Mitchell. Williams herself draws from the independent spirits of her heroes, setting scenes both domestic and cosmic, “Trash on Sunday, boy in the yard”—before letting her love and the road take her where they will: “‘Til bad things call me back again.”\u003c\/p\u003e\n\u003cp\u003eThis energy deepens with “Not Me,” a heartland rock single emerging from a dream Williams had one night in New Mexico, in which the subtleties of her voice demand room to shine. “I’d been listening to Linda Ronstadt so much when I wrote it,” says Williams, “and I think that really came through. I wanted to just sing.” Ringing with the tensions of desire and independence, the heartfelt track follows the pop effortlessness of “Cleveland.” Co-written with Ella’s sibling Nate, a first for the typically solo songwriter, “Cleveland” toys with a classic love story in the context of the unmoored angst held by so many young people: “It’s a love song, but she’s choosing the city over the boy,” says Williams.\u003cbr\u003e \u003cbr\u003eHalfway through the tracklist lies “Highway Woman,” the thematic heart of the album. Somewhere between autobiography and fiction, the song earnestly displays Williams’ commitment to a creative life and to the process of creation itself. “I’m singing about myself, to myself, but also to and about every wild person who lives on the margins, on the wind, on the road, who flirts with immortality through art and restlessness.” Williams navigates a bohemian lifestyle in an era that refuses to accommodate it, and catalogues her life in an attempt to grasp some form of independence and immortality: “She’ll never be yours and yours alone \/ She doesn’t plan on dying.” The recording captures Williams’ voice with newfound clarity; she has never sounded so much like herself. Layers of acoustic guitars draw in and comfort weary listeners as guitarist Andy Krull’s crooning beckons them back out to the road. \u003c\/p\u003e\n\u003cp\u003eIn many ways, \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eSay A Prayer to the Gods of Getting Going\u003c\/em\u003e is about itself, about the process of its creation on the road. That isn’t to say that \u003cem\u003eSay a Prayer\u003c\/em\u003e is a travelogue. It’s more of a bittersweet testament to exploration and self-possession, longing and musing. Vividly personal, it’s like a set of abandoned scrapbooks filled with ephemera, harvested from the side of the dusty freeway by some highway woman over her decades, piled up in a banker’s box in a backyard shed, tenuously protected from a desert monsoon. Past experiences lovingly chronicled, the future remains open for Williams as she hopes for a sign to help her know when to get going and when to stay still. “And this life is free \/ ‘You gotta take what you can get’ \/ Not me”.\u003cbr\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cmeta charset=\"utf-8\"\u003eAll songs written by Ella Williams except “Cleveland,” written by Ella Williams \u0026amp; Nate Williams.\u003cbr\u003eVocal harmony on “Highway Woman” co-written by Seth Engel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRecorded at Merry Meadow (Door County, WI) and Drop of Sun (Asheville, NC)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced by Ella Williams, Alex Farrar, Seth Engel \u0026amp; Jack Henry Lickerman\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eEngineered by Alex Farrar, Seth Engel \u0026amp; Jack Henry Lickerman\u003cbr\u003eAssistant Engineer: Lawson Alderson\u003cbr\u003eAdditional Engineering on “Surfing USA”: Eric Kilburn at Wellspring Sound Studio\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMixed by Alex Farrar\u003cbr\u003eMastered by Bob Weston\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMUSICIANS\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eElla Williams (\u003cem\u003eall tracks\u003c\/em\u003e) — voice, guitar, Fender Rhodes, accordion, recorder, percussion\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAlex Farrar (\u003cem\u003eSay a Prayer to the Gods of Getting Going\u003c\/em\u003e, \u003cem\u003eCleveland\u003c\/em\u003e, \u003cem\u003eNot Me\u003c\/em\u003e, \u003cem\u003eHighway Woman\u003c\/em\u003e, \u003cem\u003eReelin\u003c\/em\u003e, \u003cem\u003eSurfing USA\u003c\/em\u003e, \u003cem\u003eWeightless, Untethered\u003c\/em\u003e) — bass, guitar, drums, piano, keys, percussion\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eSeth Engel (\u003cem\u003eSay a Prayer to the Gods of Getting Going\u003c\/em\u003e, \u003cem\u003eHelicopters\u003c\/em\u003e, \u003cem\u003eFoot Thick Ice\u003c\/em\u003e, \u003cem\u003eSick Tooth\u003c\/em\u003e) — bass, drums\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eJack Henry Lickerman (\u003cem\u003eSay a Prayer to the Gods of Getting Going\u003c\/em\u003e, \u003cem\u003eHelicopters\u003c\/em\u003e) — drums\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAndy Krull (\u003cem\u003eCleveland\u003c\/em\u003e, \u003cem\u003eNot Me\u003c\/em\u003e, \u003cem\u003eHelicopters\u003c\/em\u003e, \u003cem\u003eHighway Woman\u003c\/em\u003e, \u003cem\u003eFoot Thick Ice\u003c\/em\u003e, \u003cem\u003eSick Tooth\u003c\/em\u003e) — guitar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eDave Hartley (\u003cem\u003eNot Me\u003c\/em\u003e, \u003cem\u003eHighway Woman\u003c\/em\u003e, \u003cem\u003eFought a Hornet\u003c\/em\u003e, \u003cem\u003eWeightless, Untethered\u003c\/em\u003e) — bass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eNate Williams (\u003cem\u003eCleveland\u003c\/em\u003e, \u003cem\u003eNot Me\u003c\/em\u003e) — voice\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eDimitri Giannopoulos (\u003cem\u003eCleveland\u003c\/em\u003e, \u003cem\u003eNot Me\u003c\/em\u003e) — guitar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eClay Frankel (\u003cem\u003eNot Me\u003c\/em\u003e, \u003cem\u003eReelin\u003c\/em\u003e) — viola, voice\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eSofia Jensen (\u003cem\u003eHelicopters\u003c\/em\u003e, \u003cem\u003eFoot Thick Ice\u003c\/em\u003e) — Fender Rhodes\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eJameson Williams (\u003cem\u003eNot Me\u003c\/em\u003e) — guitar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eSeth Kauffman (\u003cem\u003eNot Me\u003c\/em\u003e) — 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