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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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I'm not talking, of course, about Kinsella's actual countenance; I'm referring to his neo-absurdist temperament and the obvious fun with which he goes about his business.\u003c\/p\u003e\n\u003cp\u003eEven when he was just the scratchy-voiced, baby-faced ringmaster of Cap'n Jazz, Tim Kinsella was already establishing himself as a first- (well, maybe second) rate semantic clown and word-gamesman. With a penchant for double-entendre and imagistic jokes, Kinsella charmed his partisans and alienated the rest of us with his Duchampesque disregard for everything, and created a contested little body of work which still polarizes fans of the genre. 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The guitarwork is nothing short of gorgeous, with Villareal arpeggiating a trebly, spidery path into your aural memory, his picking providing a textural counterpoint to Mike Kinsella's ornate drumming, which it should be said has never sounded this good.\u003c\/p\u003e\n\u003cp\u003e\"Anyone Can Have a Good Time\" starts quietly and jangly over a semi-marshal beat in non-standard time. Things seem to be meandering, only to find anchorage in what passes for a refrain. 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Often shortened to just \u003ci\u003eShmap'n Shmazz\u003c\/i\u003e, the record was released when the members – Tim Kinsella, Mike Kinsella, Victor Villarreal, Sam Zurick, and Davey von Bohlen – were mere teenagers, with future bands such as \u003cstrong\u003eAmerican Football, The Promise Ring, Joan of Arc, Owls, Owen\u003c\/strong\u003e and more but a twinkle in the eye of their collective discographies.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eRecorded and mixed the last 5 days of 1994 by Casey Rice at Idful, Chicago.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eRemastered 2024 by Mikey Young.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eAnja Westerweck; \"kitty, kitty cats\" on track 1\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eCasey; tambourine on track 3.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eKevin J. Frank; piano on track 8.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eAll words and music by Cap'n Jazz, except track 6; \"I'm dying to tell you I'm dying, I don't need a reason,\" by Bob Nanna (refer to Friction's \"Auburn\" ca. 1994.)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eTrack 11 written with Ryan Rapsys. Track 12 written with Kevin.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eArtwork and design by Tim, with layout help by Kevin.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eExpanded packaging design by Janelle Abad, 2024.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eOriginally released on Man With Gun Records, 1995.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eThank You Mark Pearsall \u0026amp; Miqual Corley.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003ethe Players\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eMike Kinsella, Tim Kinsella, Victor Villareal, Davey von Bohlen, and Sam Zurick.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003edrums, belts, guitars, guitars, and bass respectively.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Blue)","offer_id":50964845691187,"sku":"PRC-502LP-EB","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (White)","offer_id":50964845723955,"sku":"PRC-502LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Tape (Rhodamine Red)","offer_id":50773882896691,"sku":"PRC-9493TAPE","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/CAPNJAZZ_BURRITOS_BLUESQ1_c6c30dc7-0b6d-415a-b482-a765f7bc4f3a.jpg?v=1745339550"},{"product_id":"pedro-the-lion-phoenix","title":"Pedro The Lion - Phoenix","description":"\u003cp\u003e\u003cstrong\u003ePedro the Lion\u003c\/strong\u003e has always been \u003cstrong\u003eDavid Bazan\u003c\/strong\u003e, but it took a long time to get back there.\u003c\/p\u003e\n\u003cp\u003eIn August 2016, during what he now recognizes as his lowest point, Bazan was touring the country alone in an aging minivan and found himself in his hometown of Phoenix, AZ. In need of a break from the road, he spent a night off at his grandparents' house instead of driving on to San Diego. Before leaving town the next morning, after realizing that even the most familiar places can become unrecognizable, Bazan gave himself the gift of a quick detour past the house he grew up in, and on the way, experienced a breakthrough - one that would lead him both forward and back to another home he had built many years before.\u003c\/p\u003e\n\u003cp\u003eFrom the beginning, Pedro the Lion didn't work like the bands Bazan had played drums in, where each player came up with their own parts. Instead, like scripting scenes of dialogue for actors to play with, Bazan recorded and arranged all of the skeletal accompaniments for his obsessively introspective lyrics and spare melodies. Each player would then learn their parts and, together as a band, they brought the skeleton to life. While bandmates played on a few recordings, Bazan often played all or most of the instruments himself.\u003c\/p\u003e\n\u003cp\u003e\"I found so much joy working this way,\" Bazan remembers. \"It came naturally and yielded a feeling and a sound that couldn't have existed by any other process. At the same time, I was also aware that not everyone wanted to play in a band where the singer wrote all the parts and might perform them on the record. Someone even suggested it might not be a valid approach to having a band in the first place. Being insecure and wanting to find camaraderie, I became conflicted about my natural process.\"\u003c\/p\u003e\n\u003cp\u003eBy 2002, after recording \u003ci\u003eControl\u003c\/i\u003e, the high rate of turnover in the band finally caused Bazan to ditch his \"natural process\" in favor of a collaborative writing process. When, after a couple more years, this move did nothing to stabilize turnover, Bazan was perplexed. In November 2005, Bazan decided to stop doing Pedro the Lion altogether.\u003c\/p\u003e\n\u003cp\u003eIronically, Bazan didn't see \"going solo\" as a chance to revert back to his original process of writing and playing all the parts. For the next decade Pedro the Lion felt off limits, even forgotten, like a childhood home Bazan had moved out of. He pushed forward with releasing solo albums \u0026amp; relentless touring in living rooms and clubs, through every part of the US and beyond, sometimes with a band, but mostly on his own. It took a toll on his family and more acutely on himself. By the summer of 2016, he still hadn't found the personal clarity or the steady collaboration he'd been seeking and was at the end of his rope.\u003c\/p\u003e\n\u003cp\u003e\"I had abandoned my natural way of working in the hopes of creating space for a consistent band to write with...and it hadn't worked. So I got a rehearsal space, mic'd up drums, bass, and guitar, and really leaned into my original process again. It immediately felt like like home. Before long I realized it also felt like Pedro the Lion.\"\u003c\/p\u003e\n\u003cp\u003eIn June 2018, with Bazan on bass, vocals, and arrangement writing, Erik Walters on guitar and backing vocals, and Sean Lane on drums, Pedro the Lion went into Studio X and Hall of Justice with producer Andy Park to create \u003ci\u003ePhoenix\u003c\/i\u003e, the first new Pedro album in 15 years.\u003c\/p\u003e\n\u003cp\u003eThe songs themselves are the result of mining your past for who you are now. On opening track \"Yellow Bike,\" Bazan encapsulates a core ache he's been exploring since 1998's \u003ci\u003eIt's Hard to Find a Friend\u003c\/i\u003e with the line:\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eMy kingdom\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eFor someone to ride with\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003ePhoenix\u003c\/i\u003e also deals with having to be better to yourself in order to be better to others on \"Quietest Friend,\" and harkens back to \u003ci\u003eControl'\u003c\/i\u003es \"Priests and Paramedics\" with a story about EMTs facing a gruesome scene, and storytelling as coping mechanism, on \"Black Canyon.\" It bears witness to both what was around and what was inside, with the signature kindness and forgiveness that lightens Pedro the Lion's darkest notes.\u003c\/p\u003e\n\u003cp\u003eThe result is a twisting, darkly hopeful introspection into home and what it means to go back, if you ever can. 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Mike wrote lyrics in French especially for her.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eLP3\u003c\/i\u003e is contemplative, rich, expressive, yet with a queasy undercurrent. It is heavy with expectancy, revealing its ideas slowly, eliciting the hidden stories people carry around with them. \"I feel like my lyric writing has changed a lot over the years,\" says Mike. \"The goal is to be conversational, maybe to state something giant and heavy, but in a very plain way. But, definitely in this record, I keep things a little more vague.\" As on the first album, the lyrics on \u003ci\u003eLP3\u003c\/i\u003e may seem confessional and concentrated, but the more you scrutinize them, the further their meaning slinks away. Or, as Mike tellingly sings on \"I Can't Feel You\": I'm fluent in subtlety.\u003c\/p\u003e\n\u003cp\u003e\"Somewhere along the way we moved from being a reunion band to just being a band,\" says Steve Holmes. 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American Football stands as an enduring symbol of elusive emotional landscapes, where introspection can be as dramatic as confrontation.\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Light Blue)","offer_id":50775377871155,"sku":"PRC-374LP","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818997846323,"sku":"PRC-374CD","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Tape (Blue)","offer_id":50818997879091,"sku":"PRC-374TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":50818997944627,"sku":"PRC-374DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/33bb9c2c04edad73bbb877b4c9bbb8a76cdc9fdc_c53b28b53be7bafae416644557df72584aeae7cb_photo_jpg.jpg?v=1735838721"},{"product_id":"death-cab-for-cutie-transatlanticism","title":"Death Cab for Cutie - Transatlanticism","description":"\u003cp\u003eThis special anniversary edition of \u003cem\u003eTransatlanticism\u003c\/em\u003e includes a full-color, 12-page booklet.\u003c\/p\u003e\n\u003cp\u003eThe digital release (included with MP3 download in the vinyl packaging) contains the album tracks, plus an intimate peek into the landmark album's genesis: all eleven original demos, none of which have ever been released before.\u003c\/p\u003e","brand":"Barsuk","offers":[{"title":"Vinyl 2xLP (Black)","offer_id":50775475388723,"sku":"NPV","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/eb50afb7f8ea485465b559ca81c9c4740ce85c13_a59d62506d81aa9dd3c21e98042ca8d52a22b6d8_photo_jpeg.jpg?v=1739893956"},{"product_id":"the-get-up-kids-problems","title":"The Get Up Kids - Problems","description":"\u003cp\u003eOn their new album \u003cem\u003eProblems\u003c\/em\u003e‚Äîtheir first full-length in eight years‚Äî\u003cstrong\u003eThe Get Up Kids\u003c\/strong\u003e examine everything from life-changing loss to loneliness to the inevitable anxiety of existing in 2019. But by sustaining the essence of their sound‚Äîanthemic choruses with sing-along-ready melodies‚Äîthe band highlights those troubles as a shared experience, giving way to an unbreakable solidarity. And at the heart of \u003cem\u003eProblems\u003c\/em\u003e is an invaluable element the band‚Äôs embodied since their 1997 debut\u003cem\u003e Four Minute Mile\u003c\/em\u003e: a penetrating lyricism that‚Äôs both acutely introspective and indelibly resonant.\u003c\/p\u003e\n  \u003cp\u003eThe follow-up to 2018‚Äôs \u003cem\u003eKicker\u003c\/em\u003e EP,\u003cem\u003e Problems\u003c\/em\u003e came to life in Bridgeport, Connecticut, with the band holing up together for a three-week span. 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