{"title":"Friends \u0026 Faves Shop: Fresh Restocks","description":"","products":[{"product_id":"pavement-crooked-rain-crooked-rain","title":"Pavement - Crooked Rain, Crooked Rain","description":"","brand":"Matador","offers":[{"title":"Vinyl","offer_id":50775553605939,"sku":"NPV-OLE-079LP","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/9523147e5a6707baf674941812ee5c94_981d0519ec8db986b787e4f77a273496807def6b_product_photo.jpg?v=1739894062"},{"product_id":"lcd-soundsystem-lcd-soundsystem","title":"LCD Soundsystem - LCD Soundsystem","description":"\u003cp\u003eFrom allmusic.com:\u003c\/p\u003e\n\u003cp\u003eIf a music-nerd version of \u003ci style=\"background-color: initial;\"\u003eAnimal House\u003c\/i\u003e set in 2005 is ever made, \"Daft Punk Is Playing at My House\" -- the boisterous opener of \u003cb style=\"background-color: initial;\"\u003eLCD Soundsystem\u003c\/b\u003e -- would make an ideal theme song for the fraternity on which it is based.\u003c\/p\u003e\n\u003cp\u003eThe self-conscious, awkward music obsessives pledging into this fraternity would have to pass a complex trivia test, own a compulsory list of records, and, as a hazing ritual, ask to dance with someone in public.\u003c\/p\u003e\n\u003cp\u003eIf LCD Soundsystem's James Murphy were the least bit open to the concept, he could be the fraternity's advisor. Judging from a handful of singles and this album, he'd be more than qualified.\u003c\/p\u003e\n\u003cp\u003eHis first A-side, 2002's \"Losing My Edge,\" laid all his cards on the table, name-checking nearly everything that has been branded indispensable by a record store clerk during the past 20 years. This is someone who clearly owns tons of records and cannot escape them when making his own music.\u003c\/p\u003e\n\u003cp\u003eAcid house, post-punk, garage rock, psychedelic pop, and at least a dozen other things factor into his songs, and he's not afraid to be obvious. On occasion, he doesn't even allow fellow nerds to play guessing games. This is the case with \"Never As Tired As When I'm Waking Up\" -- drowsy\/dazed John Lennon vibes through and through -- as well as the drifting\/uplifting \"The Great Release\" -- an alternate closer to either of Brian Eno's first two solo records.\u003c\/p\u003e\n\u003cp\u003eOtherwise, Murphy's songs cough up references from his subconscious or are put together as if he's thinking more like a DJ, finding ways to combine elements from disparate sources. \"Movement\" careens into high-energy guitar squall after a pounding beat and cranky synths; \"On Repeat\" happily replicates the scratches and jabs of guitar heard from A Certain Ratio, PiL, and Gang of Four, but its mechanical pulse and curveball synth effects couldn't be any more distanced from those three groups.\u003c\/p\u003e\n\u003cp\u003eNothing here exceeds the brilliance of \"Beat Connection\" or \"Yeah.\" Like just about everybody else these days, Murphy's more skilled at creating isolated tracks than making full-lengths, even though this particular full-length has few weak spots and unfolds smoothly as you listen to it from beginning to end.\u003c\/p\u003e","brand":"DFA","offers":[{"title":"Vinyl","offer_id":50775555735859,"sku":"NPV-DFA-2138LP","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/4e2ecebbfafe27a7c00e0462fad0873a.jpg?v=1739894057"},{"product_id":"the-hotelier-home-like-noplace-is-there","title":"The Hotelier - Home, Like Noplace Is There","description":"\u003cp\u003e\"The most political music is often the most explicit, battering its audience with its beliefs. But that isn't always the case; sometimes it embeds its ideas in subtler, more successful ways.\u003c\/p\u003e\n\u003cp\u003eTake \u003cstrong\u003eThe Hotelier\u003c\/strong\u003e (previously The Hotel Year), whose second full-length \u003cem\u003eHome, Like Noplace Is There\u003c\/em\u003e is comprised of what can only be described as anthemic, cathartic rock songs, sent occasionally to delicate and destructive extremes. Singer Christian Holden pushes his clean voice until it crumbles, on \"The Scope of All of This Rebuilding\" against a strutting pace, and on the furious \"Life in Drag\", but most powerfully during the chorus of \"Your Deep Rest\" where his words are heart-wrenching and haunting. As drummer Sam Frederick stamps out an enormous beat and chords – strummed by Cody Millet, Scott Ayotte, and Chris Hoffman – clamor around him, Holden sings, \"I called in sick from your funeral \/ tradition of closure made it feel impossible \/ I should have never kept my word to you \/ Not a cry not a sound \/ Might've learned how to swim but never taught how to drown \/You said remember me for me, I need to set my spirit free.\"\u003c\/p\u003e\n\u003cp\u003eA careful listen to Holden's lyrics reveals that each song on \u003cem\u003eHome, Like Noplace Is There\u003c\/em\u003e makes a political statement, albeit by showing rather than telling. 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Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back to the dawn of time, but apparently, they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer \u003cstrong\u003eMort Garson\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eFew characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon \u0026amp; Garfunkel alike into easy listening and also dreamed up his own ditties. “An ide\u003cem\u003ear\u003c\/em\u003e” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”\u003c\/p\u003e\n\u003cp\u003eBut as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. 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