{"title":"Pre-Orders \u0026 New Releases","description":"","products":[{"product_id":"the-promise-ring-nothing-feels-good","title":"The Promise Ring - Nothing Feels Good","description":"\u003cp\u003eIf there was ever a straw that broke a camel's back, this was it. The kids had their say and, for once, they agreed on something.\u003c\/p\u003e\n\u003cp\u003eEveryone from SPIN Magazine to MTV's Matt Pinfield was marveling over this record. \u003cstrong\u003eThe Promise Ring\u003c\/strong\u003e themselves were catapulted from the tiny basement scene into the, erm, bigger basement and club scene.\u003c\/p\u003e\n\u003cp\u003eOn their 1997 release, The Promise Ring made emo more accessible, which laid the groundwork for the commercially successful acts that would follow. The band showed it doesn't always have to be such a pity party, and that catharsis can come in many forms, particularly in the naively optimistic power-pop of \u003ci\u003eNothing Feels Good\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eThe pioneering band walked the line between brusque sentimentality and uplifting hooks, making them emo's first pop emissaries. Cheap Trick for hardcore kids. If Fountains of Wayne, Sebadoh, and Jonathan Richman had an emo love-child, \u003ci\u003eNothing Feels Good\u003c\/i\u003e might be its name.\u003c\/p\u003e\n\u003cp\u003eThe record was a high point for many fans of the band, and is considered one of the pillars of the genre. Perhaps because of this light-hearted yet concentrated approach, \u003ci\u003eNothing Feels Good\u003c\/i\u003e landed with the kind of fanfare that hadn't been seen for a band from emo's sophomore class.\u003c\/p\u003e","brand":"Jade Tree","offers":[{"title":"Vinyl (Half Orange\/Half Yellow)","offer_id":53192567849267,"sku":"NPV","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (Blue \u0026 White Galaxy) – OUT OF PRINT","offer_id":50775611998515,"sku":"NPV","price":28.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/ThePromiseRing_NothingFeelsGood_WLOGOSQ1.jpg?v=1777904437"},{"product_id":"momma-welcome-to-my-blue-sky-deluxe-edition","title":"Momma - Welcome to My Blue Sky (Deluxe Edition)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eMomma\u003c\/strong\u003e on the Deluxe Edition:\u003c\/span\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis deluxe edition has four b-sides that never made it onto the record, because we never got to a point where we felt like we could fully finish them. It features two solo acoustic songs that have always been in the back of our minds, but we hadn't figured out how to transition them into a full band setting. We decided to record them live with acoustics, and felt like that was the best way to give them justice.  Wrapping the deluxe editions is our cover of the song \"Christian Brothers\" by Elliott Smith\/Heatmiser, which is a song that we have been covering and playing live since high school. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003eWelcome to My Blue Sky\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike so many coming-of-age stories that leave a long-lasting impact, \u003cstrong\u003eMomma\u003c\/strong\u003e’s new album \u003c\/span\u003e\u003cem\u003eWelcome to My Blue Sky\u003c\/em\u003e\u003cspan\u003e takes place during a charmed and turbulent summer—a transformative moment in time that co-founders Etta Friedman and Allegra Weingarten sum up as a period of “parallel chaos.” The Brooklyn-based band’s fourth LP, over the course of 12 immaculately composed yet immediately potent songs, documents all the life-altering upheaval the two singer\/songwriter\/guitarists experienced during a whirlwind mid-2022 tour. Equal parts shared memoir, communal outpouring, and riveting emotional travelogue, each track is infused with both unsparing self-awareness and immense sensitivity, and the result is a bold leap forward for one of the most creatively uncompromising and singular voices in indie-rock.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“This record came from a very formative time for us—there was a lot of change that felt so fun and exciting, but also a lot of instability and heartbreak,” says Weingarten, who met Friedman during their high-school years in L.A. and soon struck up a close musical collaboration. As they dealt with the fallout of that phase of their lives (a moment marked by infidelity, loneliness, heavy drinking, and the start of new romance), the two friends made a pact to wade through the mess together. “In a way it felt like we flipped our entire lives upside-down,” says Friedman. “We needed to lean on each other to cope with everything we were going through, and writing songs together was a big part of working through those feelings and finally putting them to rest.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003eWelcome to My Blue Sky\u003c\/em\u003e\u003cspan\u003e, produced by their bandmate Aron Kobayashi Ritch,\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003emarks the follow-up to \u003c\/span\u003e\u003cem\u003eHousehold Name\u003c\/em\u003e\u003cspan\u003e—a 2022 release that earned acclaim from the likes of \u003c\/span\u003e\u003cspan\u003ePitchfork\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eNYLON\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eNME\u003c\/span\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cspan\u003eRolling Stone\u003c\/span\u003e\u003cspan\u003e (including landing on Rob Sheffield’s “Top 20 Albums of 2022” list). In creating their most autobiographical and exactingly realized work to date, Friedman and Weingarten wrote most of the album together on acoustic guitars before sharing those songs with Kobayashi Ritch. The multi-instrumentalist\/engineer then guided the band through a highly methodical demoing process aimed at elevating their sound (or, as the band puts it, “setting a new standard for ourselves”) while harnessing the infectious energy they’ve shown in touring with seminal bands like Death Cab For Cutie and Weezer, and performing at major festivals like Coachella. With the help of drummer Preston Fulks, Momma arrived at an album matching the raw urgency of rock with the sticky melodies and taut arrangements of pop—a dynamic born from their deepened commitment to finding the most direct vessel for their emotional expression. “With this album we were less concerned with sounding cool and heavy and rock \u0026amp; roll and much more focused on good, clean songwriting that hopefully inspires people to sing along and mean every word,” Weingarten reveals.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the first songs completed for \u003c\/span\u003e\u003cem\u003eWelcome to My Blue Sky\u003c\/em\u003e\u003cspan\u003e, “I Want You (Fever)” served as an essential breakthrough in shaping the album’s viscerally charged, inventive, and detailed sound. “I remember us writing that in my bedroom and coming up with a riff for the pre-chorus, and then deciding to sing that part instead of playing it on guitar—which felt so fun and fresh and took the song in a whole new direction,” Friedman recalls. “I Want You (Fever),” with its frenetic textures and hypnotic chorus, soon evolved into a fantastically loopy portrait of forbidden love. “When we were recording that song I felt such an intense joy that I couldn’t stop smiling,” says Weingarten. “It felt completely authentic to Momma, but also like stepping into a whole new era.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMainly recorded live with the full band at Studio G in Brooklyn, \u003c\/span\u003e\u003cem\u003eWelcome to My Blue Sky \u003c\/em\u003e\u003cspan\u003etakes its title from a gorgeous, sprawling track embodying a far more wistful mood, where Momma’s tender introspection is adorned with bittersweet strings and graceful acoustic-guitar work. “We were on tour and stopped at a gas station and saw a sign that said ‘Welcome to My Blue Sky,’ which hit me as really poetic—although it turned out to be an ad for an oil company,” Weingarten explains. “We got to the venue and wrote that song so quickly, and it ended up being about the experience of going on tour and leaving people behind, and all the unknowns as far as what the future holds for us.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eReferring to \u003c\/span\u003e\u003cem\u003eWelcome to My Blue Sky\u003c\/em\u003e\u003cspan\u003e as “an open letter to those who have come in and out of our lives,” across the album Momma explores the full spectrum of their emotional experience during that summer 2022 tour. On “Ohio All The Time,” the band slips into a lovely nostalgia as they reminisce about a fleeting moment Friedman likens to “living in our own little dream world,” imbuing the track with all the punchy effervescence of early-aughts alt-pop.  “Rodeo” is written from the perspective of their former romantic partners, offering up a heavy-hearted anthem channeling both frustration and longing—a tension perfectly echoed in its pummeling riffs, staccato drum beats, and indelibly sweet vocal delivery. “There was a lot of infidelity that happened on that tour, and we wrote ‘Rodeo’ as a way to process that and own up to how we might have made other people feel,” Friedman points out. Meanwhile, on “Bottle Blonde,” Momma brings moody breakbeats and lush synth loops to an intimate meditation on the complexities of their friendship. “That song is partly us talking to our younger selves and telling them everything’s going to be okay, but it’s also us talking to each other right now,” says Weingarten. “It’s saying that even if our relationship ebbs and flows, we know that we’ll always be each other’s anchors no matter what we go through.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor the bookends to \u003c\/span\u003e\u003cem\u003eWelcome to My Blue Sky\u003c\/em\u003e\u003cspan\u003e, Momma selected two songs that took them far beyond their comfort zone: the album-opening “Sincerely” (a free-flowing, acoustic-guitar-driven piece conceived as a farewell to their former lives) and fuzzed-out closing track “My Old Street” (a brutally honest look back at their childhoods). “I’m still really nervous for certain people in my life to hear these songs; they all have a level of vulnerability that feels pretty scary,” says Weingarten in reflecting on the latter. But in their dedication to, in Friedman’s words, “learning how to confess the hard things,” Momma hopes to inspire others to make peace with the messiest and most uncomfortable truths of their personal experience—and, in turn, head into the wild unknown of their own blue sky with confidence, curiosity, and self-compassion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eEtta Friedman - Guitar, vocals, lyrics, additional instrumentation\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAllegra Weingarten - Guitar, vocals, lyrics, additional instrumentation\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAron Kobayashi Ritch - Produced, mixed, head-engineered, co-written, bass, additional instrumentation, sampling\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003ePreston Fulks - Drums, percussion\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eHayden Ticehurst - Assistant engineer at Studio G\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\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\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eDorothy Carlos - Cello on Welcome to My Blue Sky \u0026amp; How to Breathe\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eCover art photo by Daria Kobayashi Ritch\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eCover art design by Etta Friedman\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Matt Colton\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRecorded at Studio G and Nighthawk Studios in Brooklyn\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eCross Your Heart\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eWritten by Allegra Weingarten, Etta Friedman, Aron Kobayashi Ritch\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eGuitar, vocals and lyrics by Etta Friedman and Allegra Weingarten\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eBass and additional instrumentation by Aron Kobayashi Ritch \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eDrums and percussion by Preston Fulks\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced, mixed, and engineered by Aron Kobayashi Ritch\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAssistant engineer Hayden Ticehurst\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Matt Colton\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eNot Sacred\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eWritten by Allegra Weingarten, Etta Friedman, and Aron Kobayashi Ritch\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eGuitar, vocals and lyrics by Etta Friedman, Allegra Weingarten\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eBass and additional instrumentation by Aron Kobayashi Ritch\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eDrums and percussion by Preston Fulks\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced, mixed, and engineered by Aron Kobayashi Ritch\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAssistant engineer Hayden Ticehurst\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Matt Colton\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eSunrise\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eWritten \u0026amp; performed by Etta Friedman\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eLyrics And guitar by Etta Friedman\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional instrumentation by Aron Kobayashi Ritch\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced, mixed, and engineered by Aron Kobayashi Ritch \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Matt Colton\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eSeattle\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eWritten \u0026amp; performed by Allegra Weingarten\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eLyrics and guitar by Allegra Weingarten\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional instrumentation by Aron Kobayashi Ritch \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced, mixed, and engineered by Aron Kobayashi Ritch\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Matt Colton\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eChristian Brothers\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eWritten by Elliott Smith\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eGuitars \u0026amp; vocals by Etta Friedman and Allegra Weingarten\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eBass and additional guitar by Aron Kobayashi Ritch\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eDrums by Preston Fulks \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced, mixed, and engineered by Aron Kobayashi Ritch\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAssistant Engineer Meredith Okamoto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Matt Colton\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Digital","offer_id":52464215097651,"sku":"PRC-9727DIGITAL","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/d0d0192b3057a2a4c5aaf3e8426d685cc642fb49_a4acc29733c5518db3534bc3469af5d75aa82e59_photo_jpg.jpg?v=1759357804"},{"product_id":"xiu-xiu-xiu-mutha-fuckin-xiu-vol-1","title":"Xiu Xiu - Xiu Mutha Fuckin' Xiu: Vol. 1","description":"\u003cp\u003eThe most exciting and terrifying parts of dreams (or nightmares) are the ones we recognize. Familiar fragments collide and reassemble into something strange. Things we thought we knew are turned upside down or ripped apart and sewn together backwards. That unnerving thrill — the shiver of recognition followed by disorientation — is at the core of \u003cem\u003eXiu Mutha Fuckin' Xiu: Vol. 1\u003c\/em\u003e, the latest collection of covers from prolific music provocateurs \u003cstrong\u003eXiu Xiu\u003c\/strong\u003e. Jamie Stewart, Angela Seo and David Kendrick warp and distort classics spanning decades and genres — from 1950s rock n’ roll to new wave, Robyn to Throbbing Gristle.\u003c\/p\u003e\n\u003cp\u003eXiu Xiu are no strangers to interpretation. Since the group’s inception in 2002, they’ve regularly paid homage to artists they revere — from New Order’s “Ceremony” (featured on \u003cem\u003eChapel Of Chimes\u003c\/em\u003e EP) to David Bowie and Queen’s “Under Pressure” (for 2008’s \u003cem\u003eWomen As Lovers\u003c\/em\u003e).\u003c\/p\u003e\n\u003cp\u003eThey’ve done tribute albums — 2013’s \u003cem\u003eNina\u003c\/em\u003e, honoring Nina Simone, and 2016’s \u003cem\u003eXiu Xiu Plays the Music of Twin Peaks\u003c\/em\u003e — cementing their reputation for considered reimaginings. Across twelve tracks, \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eXiu Mutha Fuckin' Xiu: Vol. 1\u003c\/em\u003e compiles a heady selection of monthly covers the band began releasing in 2020 through their subscription series via Bandcamp, expanding their bewildering universe to commune with artists throughout time. \u003c\/p\u003e\n\u003cp\u003eFor Xiu Xiu, covers aren’t about improvement, but reverence. “We never approach them thinking ‘how can we improve these’ but really ‘what can we learn from these,’” Stewart says of the process. Xiu Xiu explores the music that’s moved them, as if each artist were a singular creative deity. The result is “a small honorific offering to the muse that created us.”\u003c\/p\u003e\n\u003cp\u003eSome covers are a shadowed vision of the original, zooming in on the song’s pronounced aura. The Runaways’ “Cherry Bomb” bratty defiance funneled through industrial pulses and slithering percussion — a ticking time bomb of acidic distortion and rebellion. Their version of Talking Heads’ “Psycho Killer” is reborn with howling ‘60s organs, flute spirals, and swirls of reverbed vocals. It feels older than the original, as if Question Mark \u0026amp; The Mysterians or 13th Floor Elevators have been drawn into the conversation. Other reworkings with Robyn’s “Dancing On My Own,” or GloRilla’s “Lick Or Sum” unearth new understandings of contemporary hits. \u003c\/p\u003e\n\u003cp\u003eCertain songs provided unexpected obstacles. “In Dreams” tested the limits of Stewart's vocal prowess; Coil’s “Triple Sun” allowed them the opportunity to study a band that listeners are constantly linking them to; Stewart was moved to tears while recording Daniel Johnston’s “Some Things Last a Long Time”— “If there ever were a sincere and wounded voice in the world it is his.” On \u003cem\u003eXMFX\u003c\/em\u003e, Xiu Xiu reshapes echoes of pop history into séances, lucid dreams, and sonic rituals — breathing new life into music’s past through a years-long, sustainable practice.\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePsycho Killer [Talking Heads]\u003c\/li\u003e\n\u003cli\u003eWarm Leatherette [The Normal]\u003c\/li\u003e\n\u003cli\u003eI Put a Spell on You [Screamin’ Jay Hawkins]\u003c\/li\u003e\n\u003cli\u003eHamburger Lady [Throbbing Gristle]\u003c\/li\u003e\n\u003cli\u003eIn Dreams [Roy Orbison]\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eSex Dwarf [Soft Cell]\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eDancing on My Own [Robyn]\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eSPQR [This Heat]\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eLick or Sum [Glo Rilla]\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eSome Things Last a Long Time [Daniel Johnston]\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eTriple Sun [Coil]\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eCherry Bomb [The Runaways]\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMusic played by \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eTim Berne - 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The sprawling 71-track soundtrack, recorded at Valve Studios in Dallas, TX with Casey di Iorio (Andre 3000, Slayer, Marvel Studios), synthesizes the band's legendary electronic origins with their fuzzed out garage rock present, while maintaining their unmistakable punchy style. Known for resonant world building across past projects, the depth of emotion and the range of styles displayed on \u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eScott Pilgrim EX\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eare uniquely Anamanaguchi, delivering a host of melodically anthemic and new energetic hooks that are sure to pack a punch for both newcomers and old school fans alike. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAnamanaguchi's collaborative relationship with the Scott Pilgrim universe goes back to the early days of the band. 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, \u003cmeta charset=\"utf-8\"\u003e\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\u003cblockquote\u003e\n\u003cp\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\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAll songs written and performed by American Football\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced by Sonny DiPerri and American Football\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMixed by Sonny DiPerri at Octopus Beak\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Engineering by Nate Kinsella\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRecorded at Panoramic House, Shirk Studios, Open House Contemporary and Octopus Beak\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Stephen Marcussen at Marcussen Mastering \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAssisted by John Baccigaluppi, Jeff Kolhede, Stephen Shirk and Zach CapittiFenton \u003c\/span\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cblockquote\u003e\n\u003cp\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\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional production on “Bad Moons” by Nate Kinsella \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional writing on “Blood On My Blood” by Cory Bracken\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eViolin on “Bad Moons” by Ben Russell \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Vocals on “No Feeling” by Brendan Yates\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Vocals on “Wake Her Up” by Natalie R. Lu\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\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\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Vocals on “Desdemona” by Gelsey Bell\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Vocals on  “Man Overboard” \u0026amp; “No Feeling” by Mike Garzon \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Vocals on “Patron Saint of Pale” by Stella Sen and Lila Deckenbach\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\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\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003ePhotography by Chris Strong\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\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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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. I’m just trying to exist beyond my insecurities and beyond what anyone else thinks of me.” That shift shaped \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eShiverstruck\u003c\/em\u003e into something that began to feel less like documentation and more like manifestation—intuitive signals pointing toward changes she hadn’t yet consciously named. \u003c\/p\u003e\n\u003cp\u003e“It was the hardest I've worked and ruminated on lyrics,” says Medford. The writing was the heart of everything and had to feel really grounded. I put in crazy amounts of time and energy to make them feel like the truest reflection of who I am and where I’m at in my life right now.” By the time Medford got to Maze Studios in Atlanta to work with \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eShiverstruck\u003c\/em\u003e producer Ben H. Allen (Deerhunter, Animal Collective, Soccer Mommy), the song's foundations were already solid. 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. Bad sex, cigarettes, all the little mistakes that make life feel cruel and hilarious at the same time,” says Medford. “I know I sound dramatic and maybe I am (yeah, I am). My time living in New York made every mistake and every misstep feel larger than life. This song is messy, self-aware and full of the contradictions that make me who I am.” In the aftermath, she relocated back to Los Angeles, returning to the place she felt most at home. “New York is incredible. It pulls something out of you and expands you in ways you can’t anticipate,” Medford elaborates. “I think everyone should experience that. But for me, I kind of always knew I’d return home to LA to rejoin forces with myself.” The process of making \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eShiverstruck \u003c\/em\u003ehad quietly set that return in motion. 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. Drums by Harold “HB” Brown. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eDrum tuning and prep by Tom Bruno. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Joe LaPorta at Sterling Sound. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eJilian Medford — vocals, electric \u0026amp; acoustic guitar, piano, synthesizers, rhodes. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eBen H. 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The album itself is a masterpiece in sound collage and experimentation, with tracks like “Tetra” and “Sleep Synth” shifting from minimal auditory sensations to a clobbering, grotesque cacophony. The album’s closing track, “In Heaven,” is a beautiful rendition of Peter Ivers’ original composition, with Stewart’s delicate and soft vocals showcasing the elegance and wonder found on Lynch’s directorial-debut.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eEraserhead\u003c\/em\u003e’s\u003c\/span\u003e\u003cspan\u003e original sound design and score by Alan Splet and Lynch guide Xiu Xiu’s expanded interpretation, reflecting their influence as fans and musicians. 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The album itself is a masterpiece in sound collage and experimentation, with tracks like “Tetra” and “Sleep Synth” shifting from minimal auditory sensations to a clobbering, grotesque cacophony. The album’s closing track, “In Heaven,” is a beautiful rendition of Peter Ivers’ original composition, with Stewart’s delicate and soft vocals showcasing the elegance and wonder found on Lynch’s directorial-debut.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eEraserhead\u003c\/em\u003e’s\u003c\/span\u003e\u003cspan\u003e original sound design and score by Alan Splet and Lynch guide Xiu Xiu’s expanded interpretation, reflecting their influence as fans and musicians. 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