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With the band having more or less imploded late in 2008 (after what was considered to be a valiant but ultimately fruitless effort), one single regret still lingered, and despite their wounds and subsequent estrangement, continued effortlessly to slander them and their attempts to move on, like the subtle scent of skin on the sheets days after the desecration. Ipso facto, the sole motivation for revisiting the band many months later was simply to see if they could exploit their sudden newfound internet popularity and take Japandroids on the road. Due in part to the unexpected (and untimely) discovery of the band early in 2009 by certain online entities and their congregations, what previously seemed reserved for only the most ardent hearts, presented itself to Japandroids like a deal from the devil himself. Cautiously seduced, Brian and David decided in favour of their romantic notions of the open road, and set upon a crusade to swindle the soul of a continent. 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The focus on this instrument was due in large part to the time Long spent with Reimer. Also the guitarist for Women, Reimer joined Long and percussionist Logan Kroeber to become the third member of The Dodos throughout 2011 before unexpectedly passing away early the following year.\u003c\/p\u003e\n\u003cp\u003e\"Chris was a huge influence on the way I think about guitar, songwriting, and music in general,\" reveals Long. \"Seeing how he could transform and shape sound with an electric guitar inspired me to explore more tones and use those tones to begin writing a song.\"\u003c\/p\u003e\n\u003cp\u003eAnd so, when he began to formulate the tracks that would ultimately comprise \u003cem\u003eCarrier\u003c\/em\u003e, Long employed two principles he inherited from Reimer: patience to let a song develop and a judgment-free enthusiasm for sound.\u003c\/p\u003e\n\u003cp\u003eTo this end, Long and Kroeber decided to record in their hometown of San Francisco for the first time, allowing for less time constraints and a more pressure-free experience than past out-of-state sessions had afforded.\u003c\/p\u003e\n\u003cp\u003eAlthough John Vanderslice's Tiny Telephone studio was initially chosen for its analog-friendly set-up, the duo were happy to find themselves working within a supportive community of like-minded musicians that included engineers Jay and Ian Pellicci, both of whom assisted in the production of \u003cem\u003eCarrier\u003c\/em\u003e, as well as the Magik Magik Orchestra, which appears on several tracks.\u003c\/p\u003e\n\u003cp\u003eAs a result, the album The Dodos crafted is refreshingly sincere: no computers, no gimmicks -- just eleven songs that are beautiful and solid and true and honest.\u003c\/p\u003e\n\u003cp\u003e\"Substance\" effortlessly embodies all of these traits, from the crisp drumming that announces its arrival to the bright guitar lines that weave in and out before eventually joining forces with a triumphant burst of trumpets.\u003c\/p\u003e\n\u003cp\u003e\"Confidence\" begins like a calm before the storm, its strong vocals over gentle guitar and drums soon erupting into a positively epic display of guitar riffs and hypnotizing percussion.\u003c\/p\u003e\n\u003cp\u003eThe record's second side is anchored by \"The Current,\" on which an angular guitar tone loops over a chugging guitar rhythm to satisfying effect as Long declares in a moment of catharsis, \"If this love comes unto me \/ I'm with it \/ I'm with it.\"\u003c\/p\u003e\n\u003cp\u003eMuch too soon, \u003cem\u003eCarrier\u003c\/em\u003e ends with \"The Ocean\" -- though Long and Kroeber view the track less as a conclusion and more of a \"to be continued\" into this album's follow-up, which they have already begun working on.\u003c\/p\u003e\n\u003cp\u003eFor a band briefly in flux, it's clear now that The Dodos’ outlook on the future has never looked more certain.\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (180-Gram Smoke)","offer_id":50775317479731,"sku":"PRC-265LP","price":19.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818984476979,"sku":"PRC-265CD","price":6.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":50818984542515,"sku":"PRC-265DIGITAL","price":5.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/The_Dodos_-_Carrier.jpg?v=1789770654"},{"product_id":"of-montreal-white-is-relic-irrealis-mood","title":"of Montreal - White Is Relic\/Irrealis Mood","description":"\u003cp\u003e Two important events occurred during the making of \u003cem\u003eWhite Is Relic\/Irrealis Mood\u003c\/em\u003e. I became \"Simulated Reality\" paranoid and I fell in LOVE.\u003c\/p\u003e\u003cp\u003e Well a lot more happened during the process of writing and recording, but those are the two big ones. I also reached a healthy point of self-forgiveness for my failed marriage and became deeply educated in the lies of America the Great.\u003c\/p\u003e\u003cp\u003e I feel like a switch was recently turned on in my brain and now I'm beginning to see through the lies that have been fed to me my whole life by the masters of media and by those who control and manipulate the narrative of our cultural identity and social order.\u003c\/p\u003e\u003cp\u003e My paranoia began during the presidential election cycle and reached a dangerous peak shortly after the inauguration. In the meantime I watched and read countless works of art in a mad effort to be reminded of how many truly brilliant people there are living\/struggling among us and to try to maintain a positive outlook. The works of Angela Davis, Noam Chomsky, Chris Kraus, Ta-Nehisi Coates, and the Autobiographies of Malcolm X and Mark E Smith were all great inspirations, to name a few.\u003c\/p\u003e\u003cp\u003e Musically, I was very inspired by the extended dance mixes that people used to make for pop singles back in the ‘80s. It's so cool how a lot of the 80's hits had these really intricate and interesting longer versions that wouldn't get played on the radio and could only be heard in the clubs. I used that template with these tracks, I wanted them all to feel like the extended \"club edit\" of album tracks.\u003c\/p\u003e\u003cp\u003e I also decided to abandon the \"live band in a room\" approach that I had been using on the recent albums and work more on my own or remotely with collaborators. I used the same drum sample packs throughout because I wanted the album to have a rhythmic continuity to it. I wanted the drums to have a strong and consistent identity, similar to how Prince's Linn Electronics LM-1 drum machine played such an important role on his classic albums. Zac Colwell also played a huge role on this album, adding saxophones and synths to most of the songs. I also got a lot of help from long time collaborators, and \"of Montreal\" touring members, Clayton Rychlik and JoJo Glidewell.\u003c\/p\u003e\u003cp\u003e The two title concept came to me when I was thinking about how difficult it is to frame the message of a song with just one title, because so often the songs are about so many different subjects. ‘White Is Relic’ was inspired by James Baldwin’s writings regarding the creation and propagation of a toxic American White identity. I've come to learn how it's just a tool wielded by the 1% to give poor white people a false sense of superiority in an effort to keep the masses placated and numb to how deeply we're all getting fucked by our capitalist rulers. 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Might be the only way to save the world.\u003c\/p\u003e\u003cp\u003e -Kevin Barnes, January 2018\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Blue)","offer_id":50775327342899,"sku":"PRC-350LP","price":17.25,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818984345907,"sku":"PRC-350CD","price":6.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708197007667,"sku":"PRC-350DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/OM_WhiteIsRelic_SQ1.jpg?v=1746491054"},{"product_id":"la-sera-music-for-listening-to-music-to","title":"La Sera - Music For Listening To Music To","description":"\u003cp\u003eThe title of \u003cstrong\u003eLa Sera\u003c\/strong\u003e's fourth album says a lot by saying so precious little: \u003cem\u003eMusic For Listening to Music To\u003c\/em\u003e. So, in other words, \"music.\" After the punky heft and wildness of 2014's \u003cem\u003eHour of the Dawn\u003c\/em\u003e, an LP that thrashed against expectation, Katy Goodman (Vivian Girls) returns with a set of songs that double down on solid simplicity — the power of wry lyrics, glorious guitar, driving backbeat, and the occasional pump organ groove. And as the record cover gives away, Goodman isn't alone.\u003c\/p\u003e\n \u003cp\u003eLa Sera is a duo now — that's guitarist\/cowriter\/new husband (!) Todd Wisenbaker standing up there. And Ryan Adams joins to produce the fruit of their union, La Sera's first live-recorded analog album, featuring 10 tunes about good love, bad love, dead men, and confused kids.\u003c\/p\u003e\n \u003cp\u003e\u003cem\u003eMusic For Listening to Music To\u003c\/em\u003e opens on \"High Notes,\" where rollicking guitar and punk drums chugga-chugga beneath Goodman's assured coo. Her lines deftly wrap the snark of Morrissey inside the sneer of Johnny Cash, and if you ask her what her favorite parts of the new album are, she'll tell you it's the scrappy stuff. \"Time to Go,\" which hurdles out the gate on a rocket of slide guitar and elastic bass, is another one aimed at settling old accounts — just 'cause our heroine is happily married doesn't mean she can't take swings at those who came before.\u003c\/p\u003e\n \u003cp\u003eFor a glimpse at the album's genesis, though, pull up duet \"One True Love.\" When it came time to write her fourth full-length, Goodman wasn't sure where she wanted to take the music. One night she and Wisenbaker (a Jenny and Johnny touring alum who joined La Sera in 2012 and produced \u003cem\u003eHour of the Dawn\u003c\/em\u003e) did something they'd shockingly never done before: wrote a song together. That upbeat jangle-pop cut was the result, and the rest poured out. Wisenbaker sings on two others as well — the coiffed malt shop blues of \"I Need an Angel\" and bittersweet rocker \"Nineties,\" which features synth by Adams and Greta Morgan (The Hush Sound, Gold Motel). Nate Lotz (Halsey, Madi Diaz) drummed for the weeklong PAX-AM studio sessions.\u003c\/p\u003e\n \u003cp\u003eAs a testament to the chemistry that happened in that space, \u003cem\u003eMusic For Listening to Music To\u003c\/em\u003e spawned another fruitful relationship: Adams and Wisenbaker hit it off and decided to start their own band. Instead they wound up recording a bunch of Taylor Swift covers, which became the \u003cem\u003e1989\u003c\/em\u003e album. 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As she sings on \"A Thousand Ways,\" arguably \u003cem\u003eMusic For Listening to Music To\u003c\/em\u003e's dreamiest song, \"Love can do all of these things.\" Knowing Goodman there's a sly wink in there, but it's easy to imagine, if only for a beat, that the carefree flame of the oldies La Sera hold so dear still burns here.\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (180-Gram White)","offer_id":50775342612787,"sku":"PRC-306LP","price":14.25,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818988572979,"sku":"PRC-306CD","price":6.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708196745523,"sku":"PRC-306DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/La-Sera-Music-For-Listening-white-LP-001.jpg?v=1746220171"},{"product_id":"fred-thomas-aftering","title":"Fred Thomas - Aftering","description":"\u003cp\u003e\u003cstrong\u003eFred Thomas\u003c\/strong\u003e had been making music nonstop for years when a seismic shift in his creative process happened in 2013. Something mystical opened up in the fall of that year and the prolific songwriter moved from his already emotionally open style into an unprecedentedly direct and vulnerable lyrical approach as well as new levels of detail-fixated production. The songs took on a new urgency, inspired by a feeling that life was beginning afresh while at the same time a lifetime of experiences were cementing into worlds of memory. The results of that creatively eruptive time began with 2015's critically hailed album \u003cem\u003eAll Are Saved\u003c\/em\u003e, continued into the turbulent pop of 2017’s\u003cem\u003e Change\u003c\/em\u003er and now float into \u003cem\u003eAftering\u003c\/em\u003e, a record that feels like the final chapter of an unofficial trilogy.\u003c\/p\u003e\u003cp\u003e Just as the two before it, \u003ci class=\"\"\u003eAftering\u003c\/i\u003e was produced, mixed and assembled on location in a close collaboration between Thomas and Athens, Georgia based engineer Drew Vandenberg. All cut from the same cloth, \u003cem\u003eAftering\u003c\/em\u003e ties the knots that connect all three records. Where both \u003cem\u003eAll Are Saved\u003c\/em\u003e and \u003cem\u003eChanger\u003c\/em\u003e flitted nervously between moments of jangly powerpop, electronic interludes and experimental acoustic weirdness, \u003cem\u003eAftering\u003c\/em\u003e maps out a far more intentional arc, burning through a first act of speedy, hook-heavy guitar rock before taking a sharp, brutal dive into an abyss on the album’s second half.\u003c\/p\u003e\u003cp\u003e Modeled loosely after \u003cstrong\u003eNeil Young\u003c\/strong\u003e’s \u003cem\u003eOn The Beach\u003c\/em\u003e, the nine songs here move from jumpy two minute blasts into a suite of four protracted and moody interconnected pieces. At first, Thomas' signature mesh of soaring melodies and experimental pop keeps things upbeat even when burying intense topics on songs like \"Alcohol Poisoning\" or in the post-election unrest of \"Good Times Are Gone Again.\" Beginning with 8-minute fever dream “House Show, Late December,” the ache that sits in the core of the album comes to the surface completely. From here guitars almost vanish from the instrumentation and the focus shifts to tightly arranged strings, ominous synths, ambient waves and spoken lyrics somewhere between poetry and desperate confession. These longer songs drift in and out of each other slowly, drowning into their own lush darkness and heavy observations on anxiety, family and emotional abuse.\u003c\/p\u003e\u003cp\u003e Connecting all three albums to an even deeper degree, Aftering finally realizes loose threads that began on earlier records, and calls on special guests from all phases of Thomas' life. \u003cstrong\u003eAnna Burch\u003c\/strong\u003e returns to sing on buoyant single “Altar” and longtime friend and collaborator Elliot Bergman (\u003cstrong\u003eWild Belle\u003c\/strong\u003e, \u003cstrong\u003eSaturday Looks Good To Me\u003c\/strong\u003e) helps sculpt the crystalline vibe of album closer “What The Sermon Said.” Newer friends show up as well, with members of \u003cstrong\u003eBonny Doon\u003c\/strong\u003e, \u003cstrong\u003eCommon Holly\u003c\/strong\u003e, \u003cstrong\u003eDeadbeat Beat\u003c\/strong\u003e and other artists Thomas connected with through years of touring showing up in supporting roles over the course of the record. \u003cstrong\u003eWolf Eyes\u003c\/strong\u003e member and noted memelord John Olson even contributes some fried horns and electronics.\u003c\/p\u003e\u003cp\u003e More than anything, \u003cem\u003eAftering\u003c\/em\u003e calmly sets down the restless questioning and turmoil of the trilogy. Instead of landing on any tidy conclusion or neatly wrapping up a thesis, the album illuminates the themes of observation and acceptance that have run throughout Thomas' work for the last five years. \u003cem\u003eAftering\u003c\/em\u003e reflects on an answerless and uncertain future, trying to make sense of it through scattered memories that flash like mental postcards. A sense of larger, universal dread refracts through these moments of searching. 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Questions like whether the band needed to be more than just “acoustic guitar and drums,” and just what exactly the ratio should be of acoustic vs. electric guitar suddenly took a backseat to the realization that so much emphasis was mistakenly being put on form rather than spirit.\u003c\/p\u003e\u003cp\u003ePerhaps not surprisingly, this epiphany occurred while the band was re-learning \u003cem\u003eVisiter\u003c\/em\u003e for a show in which they were to perform the record in its entirety.\u003c\/p\u003e\u003cp\u003eRecalls Long: “At the time that show happened, I was a little bit lost in terms of which direction the record should go. We had a handful of recordings, nuggets, and song potentials, but they weren't songs yet, and months had passed without any real progress. I was kind of debating whether to drop the kitchen sink, simplify things, or just leave them be.\"\u003c\/p\u003e\u003cp\u003eBut a funny thing happened when he sat down to listen to \u003cem\u003eVisiter\u003c\/em\u003e for the first time in eight years.\u003c\/p\u003e\u003cp\u003e“It completely surprised me how much electric guitar is on that record,” reveals Long. “The narrative had always been we were just acoustic guitar and drums.”\u003c\/p\u003e\u003cp\u003eThis ostensibly simple observation was pivotal in unlocking a new approach to the material Long and Kroeber would later put to tape in the studio.\u003c\/p\u003e\u003cp\u003e“Rather than thinking about the end result or considering the reaction of the listener, I tried to give in to gut reactions, first impulses, however silly or untrue to form they may be,” says Long. “If it was exciting in any way, we pursued it without hesitancy or question.”\u003c\/p\u003e\u003cp\u003eWhat began to emerge from the band’s rehearsals was a quasi post-punk sound that Long immediately gravitated toward. 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Instead, Long -- the band’s primary songwriter -- stepped away from music for a time after the birth of his first child, before returning in May with the debut album from his synth-based solo project FAN.\u003c\/p\u003e\u003cp\u003e\"Making the FAN record [\u003cem\u003eBarton’s Den\u003c\/em\u003e] was a bit of a crash course in recording, but it really opened up a lot of new possibilities for me in how I thought about making records since there were no guidelines,” says Long. “It's without question that \u003cem\u003eCertainty Waves\u003c\/em\u003e would be a completely different record, or perhaps would not have existed, had I not done \u003cem\u003eBarton's Den\u003c\/em\u003e.”\u003c\/p\u003e\u003cp\u003eLong eagerly applied this newfound sense of freedom to his approach to The Dodos, and subverting one's own processes and identities quickly developed into a central theme during the creation of \u003cem\u003eCertainty Waves\u003c\/em\u003e. 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That it was only a wave passing by.\u003c\/p\u003e\u003cp\u003e“\u003cem\u003eCertainty Waves\u003c\/em\u003e is our midlife crisis record,” acknowledges Long. “Who we thought we were, how mistaken we were, how an interference in the trajectory can flip your understanding of what came before.”\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (180-Gram Yellow)","offer_id":50775374364979,"sku":"PRC-367LP","price":14.25,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818994405683,"sku":"PRC-367CD","price":6.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708196155699,"sku":"PRC-367DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/CertWaves_LP-Yellow_2000.jpg?v=1746490870"},{"product_id":"generationals-state-dogs-singles-2017-18","title":"Generationals - State Dogs: Singles 2017-18","description":"\u003cp\u003eBy now it’s no secret that \u003cstrong\u003eGenerationals\u003c\/strong\u003e have a knack for writing hooks that just don’t quit. And neither does the band -- releasing four full-lengths, two EPs, and touring around the globe since forming in 2008.\u003c\/p\u003e\u003cp\u003eIt’s precisely due to this desire to keep moving forward that the duo’s members -- Grant Widmer and Ted Joyner -- felt something lacking in the “hurry up and wait” approach of making albums, where new songs might not be released for six months or more after being recorded.\u003c\/p\u003e\u003cp\u003eAnd so, following the release of 2014’s \u003cem\u003eAlix\u003c\/em\u003e, the pair decided to forego the traditional approach of writing, recording and releasing music in one large batch in favor of putting out singles as soon as they were completed.\u003c\/p\u003e\u003cp\u003eSays Widmer, “We can tie the energy of creating the song much closer to releasing it, which is a more satisfying feeling for us and for the audience. It's more direct. I get jealous of the way writers and video-makers can finish something and release it immediately. Releasing singles lets us get closer to that immediacy.”\u003c\/p\u003e\u003cp\u003eJoyner adds, “We let ourselves focus on individual songs at a time, letting each idea be its own thing, letting it go where it wanted to.”\u003c\/p\u003e\u003cp\u003eGenerationals satisfied this desire by releasing a slew of standalone tracks throughout 2017 and 2018 -- and now, for the first time, the nine singles the band unveiled digitally (along with an exclusive, previously unreleased tenth song) will receive a physical release via \u003cem\u003eState Dogs: Singles 2017-18\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eThough the songs on this collection were conceived at various times over the past couple of years, they stand together as a testament to Generationals’ songwriting prowess and ability to craft infectious melodies at any given moment.\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"CD","offer_id":50818993848627,"sku":"PRC-371CD","price":6.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708195828019,"sku":"PRC-371DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/Generationals_-_State_Dogs-_Singles_2017-18.jpg?v=1789399755"},{"product_id":"diane-coffee-internet-arms","title":"Diane Coffee - Internet Arms","description":"\u003cp class=\"\"\u003eThe ever-evolving spectacle that is \u003cstrong class=\"\"\u003eDiane Coffee\u003c\/strong\u003e -- the gender and genre-bending alter ego of Shaun Fleming -- returns with \u003cem class=\"\"\u003eInternet Arms\u003c\/em\u003e, a swan dive into a lush, digital glam wonderland.\u003c\/p\u003e\u003cp class=\"\"\u003eFleming’s path to stardom can be traced all the way back to his childhood days as a Disney voice actor, but for the past six years he’s explored the depths of his identity and channeled it outward in the form of the enigmatic and exuberant Diane Coffee.\u003c\/p\u003e\u003cp class=\"\"\u003eIn 2018, after performing as King Herod in the Lyric Opera’s critically-acclaimed run of \u003cem class=\"\"\u003eJesus Christ Superstar\u003c\/em\u003e, Fleming emerged from the recording studio with \u003cem class=\"\"\u003eInternet Arms\u003c\/em\u003e. Born from the fear and uncertainty of a future in which humankind is both dependent on and poisoned by technology, the album finds Diane Coffee trapped in a digital world, enslaved by AI.\u003c\/p\u003e\u003cp class=\"\"\u003e“Did you know the technology exists to take a photo of anyone you know and use it to create… well, let’s call it, ‘adult entertainment’?” Fleming asks. “And did you know that an estimated 70% of all online activity isn’t human? Where does that leave us? We don’t interact with each other anymore because we’re always online. Not to mention we can manifest any version of ourselves at the push of a button when we’re logged in, so when we encounter humans they’re not even real.”\u003c\/p\u003e\u003cp class=\"\"\u003eFacing this existential crisis, Fleming’s anxieties became his muse as his writing explored the scenarios of this dystopian future: “It’s a personal study on how I feel about living with constant blurred lines of the self and the projected self.” This notion shaped the sound of \u003cem class=\"\"\u003eInternet Arms\u003c\/em\u003e as well, compelling Fleming to gravitate toward synths, electronic drums, and other futuristic sounds from the past and present to create his version of a digital landscape, as well as a digital version of himself.\u003c\/p\u003e\u003cp class=\"\"\u003e“The songs are what have always dictated the sound. Working in the realm of clean, modern pop production has been an exhilarating change of pace. Diane Coffee now sounds like a digitization of its former self because I also feel trapped in this digital world,” Fleming explains.\u003c\/p\u003e\u003cp class=\"\"\u003eThis newly cybernated Diane Coffee is masterfully unveiled on album standouts “Not Ready to Go” and “Like a Child Does,” with both songs serving as vulnerable reflections on power and abuse. But whereas the former positions its chorus to soar high above a cityscape constructed of conduits and transistors, the driving pulse of the latter propels forward like a high-speed race through the surface streets of said city. Elsewhere, Diane Coffee’s sonic boundaries are pushed the furthest on “Lights Off,” a massive contemporary pop song that impressively showcases Fleming’s extraordinary vocal range.\u003c\/p\u003e\u003cp class=\"\"\u003eAs a whole, \u003cem class=\"\"\u003eInternet Arms\u003c\/em\u003e marks a significant new phase for Fleming, a testimony to the idea that Diane Coffee will endure as a fluid form of expression that continues to defy expectations of sound and genre.\u003c\/p\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (180-Gram Clear Mint Green)","offer_id":50775378002227,"sku":"PRC-384LP","price":14.25,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818991817011,"sku":"PRC-384CD","price":6.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708195696947,"sku":"PRC-384DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/658953f1f681915f543a40eef9acb562_31aa3b85103f5ac6cb119e9474fe5ace5f3e2b4d_product_photo.jpg?v=1735838725"},{"product_id":"katy-goodman-mugshots-katy-goodman-la-sera-vivian-girls","title":"Katy Goodman - Mugshots: Katy Goodman (La Sera, Vivian Girls)","description":"\u003cp\u003eHave you always wanted to grab a drink with your favorite Polyvinyl musician? 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Kevin and Christina discuss taking ecstasy as couple’s therapy. Kevin and Christina break down and then reconnect. The new love we heard about on the last \u003cstrong\u003eof Montreal\u003c\/strong\u003e record, \u003ci\u003eWhite is Relic\/Irrealis Mood\u003c\/i\u003e, is settling. If that was the falling-in-love record, then this is the staying-in-love record. That was the easy part; this is the interesting part, the challenging part, the next chapter of Kevin Barnes’ autobiographical album streak, \u003ci\u003eUR FUN\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003eThe public diary that started with of Montreal’s classic album \u003ci\u003eHissing Fauna, Are You The Destroyer?\u003c\/i\u003e has continued into a growing string of increasingly personal works. On \u003ci\u003eUR FUN\u003c\/i\u003e, Barnes is more candid than ever, presenting ten concise electro-pop songs that expose the depths of their current life, their private thoughts—both optimistic and brooding—and their passionate relationship with songwriter Christina Schneider of Locate S,1. This ramped-up vulnerability has inspired Barnes to strip their stage persona of costumes and drag, just appearing as themself on recent tours for the first time in many years.\u003c\/p\u003e\u003cp\u003eAfter several albums recorded with collaborators and various band members, Barnes opted to record this one completely alone. In their home studio in Athens, Georgia, Barnes isolated themself in creative hibernation, working obsessive 12-plus hour days arranging manic synth and drum machine maps on a computer screen with bouncy, melodic basslines, glam guitars and layered vocal harmonies. Inspired by albums like Cyndi Lauper’s \u003ci\u003eShe’s So Unusual\u003c\/i\u003e and Janet Jackson’s \u003ci\u003eControl\u003c\/i\u003e, Barnes set out to make \u003ci\u003eUR FUN\u003c\/i\u003e into the kind of album where every song could be a single, complete with huge hooky choruses and nostalgic dance grooves. The result is an unstoppably fun album that could also pass for a carefully sequenced greatest-hits collection if taken out of context.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eUR FUN\u003c\/i\u003e contains a fundamental contradiction that will be familiar to of Montreal fans. The songs have a youthful, contemporary dance-pop feel, but contain dense, multidimensional, adult lyrics. The album’s opener and first single, “Peace To All Freaks” is a “protest song against totalitarianism, familial terrorism and wastefulness in all its forms” (says Barnes) that expresses love to the outcasts and the gentle people in this world, leaving us with this reminder: “Hush, hush\/ Don’t let’s be cynical\/ don’t let’s be bitter\/ If you feel like you can’t do it for yourself then do it for us”. On “Polyaneurism”, Barnes playfully meditates on the ups and downs of polyamory and unconventional relationships: “Playing musical lovers is starting to feel kind of kitsch\/ if you want monogamy are you just like some basic bitch?” According to Barnes, the song “Get God’s Attention by Being an Atheist” is about “the pleasures of childlike destruction and reckless joy seeking.”\u003c\/p\u003e\u003cp\u003eLiterary and cultural references on \u003ci\u003eUR FUN \u003c\/i\u003erun thick. In the same manner that Barnes’ lyrics turned thousands of listeners onto the obscene French novel \u003ci\u003eThe Story of the Eye\u003c\/i\u003e in the past, \u003ci\u003eUR FUN\u003c\/i\u003e packs nods as diverse and obscure as the films of Itallian horror filmmaker Mario Bava, queer novel \u003ci\u003eHorse Crazy\u003c\/i\u003e by Gary Indiana, Panamanian pop star El General, 80’s sci-fi movie \u003ci\u003eLiquid Sky\u003c\/i\u003e, Big Star’s cover of “Femme Fatale,” French death metal group Death Throne, and Caetano Veloso’s beautiful rendition of the Mexican love song “Cucurucucú Paloma”, to name just a few.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eUR FUN\u003c\/i\u003e’s final moments bring the self-examination of the record full circle with some darker numbers that lament a lost friendship and slips of mental clarity. If the album’s bleak ending leaves you feeling hopeless, flip the record over again and remind yourself “Hush, hush, don’t let’s be negative.” This is all for fun after all.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cblockquote\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAll songs written by Kevin Barnes.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAll instruments and vocals by Kevin Barnes. Backing vocals by Christina Schneider.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eEngineered, Produced \u0026amp; Mixed by Kevin Barnes at Sunlandic Studios.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMastered by Mike Nolte.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eArt Direction by Kevin Barnes and Christina Schneider.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003ePhotography by Christina Schneider.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eDesign \u0026amp; Packaging Layout by Jerrod Landon Porter (\u003c\/span\u003e\u003ca href=\"https:\/\/www.instagram.com\/iheartjlp\"\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eInstagram\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003e | \u003c\/span\u003e\u003ca href=\"https:\/\/iheartjlp.com\/\"\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eWebsite\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003e).\u003c\/span\u003e\u003c\/p\u003e\n \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Red)","offer_id":50818997190963,"sku":"PRC-394LP","price":16.5,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818997223731,"sku":"PRC-394CD","price":6.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708195172659,"sku":"PRC-394DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/f2671992766736eaee5018a1de716c86_3354b1e83e9f91c8743d5bcf623d5d095256c0b0_product_photo.jpg?v=1740028202"},{"product_id":"melina-duterte-mugshots-melina-duterte-jay-som","title":"Melina Duterte - Mugshots: Melina Duterte (Jay Som)","description":"\u003cp\u003e Have you always wanted to grab a drink with your favorite Polyvinyl musician? Well, now you can, thanks to our \"\u003ca href=\"\/store\/mugshots\"\u003eMugshots\u003c\/a\u003e\" series!\u003c\/p\u003e\u003cp\u003e 10% of proceeds donated to \u003ca href=\"https:\/\/www.raicestexas.org\/about\/\" target=\"_blank\"\u003eRAICES\u003c\/a\u003e (charity chosen by Melina Duterte).\u003c\/p\u003e\u003cp\u003e Full-color artwork by Brooklyn-based illustrator \u003ca href=\"https:\/\/www.instagram.com\/laurasupnik\/\" target=\"_blank\" style=\"background-color: initial;\"\u003eLaura Supnik\u003c\/a\u003e.\u003c\/p\u003e","brand":"Polyvinyl Accessories","offers":[{"title":"11 oz.","offer_id":50774487236915,"sku":"PRC-MUG921","price":7.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/b4eb391ccdb1a22629fbf8a3b7950cb9_db23534241aa5cd481916b1491fff46699fa9ea1_product_photo.jpg?v=1735838728"},{"product_id":"anna-burch-if-youre-dreaming","title":"Anna Burch - If You're Dreaming","description":"\u003cp\u003eWhen \u003cstrong\u003eAnna Burch\u003c\/strong\u003e introduced herself on her 2018 debut \u003cem\u003eQuit the Curse\u003c\/em\u003e, it was with a concentrated wash of energetic, serotonin-boosting pop. Jangly guitars, blithe vocal harmonies and an occasional undercurrent of grungy fuzz all converged in seemingly straightforward songs that hid their complexities under sunny hooks. The impact of the songs was immediate and exciting, presenting narratives of confusion and upheaval with melodies so bright it was hard to do anything but smile. Two years later, Burch’s follow up \u003cem\u003eIf You’re Dreaming\u003c\/em\u003e takes us down a different path than its predecessor, shedding some nervous energy in favor of a deeper exploration of an internal world.\u003c\/p\u003e\n\u003cp\u003eAfter months on the road in support of \u003cem style=\"background-color: initial;\"\u003eQuit the Curse\u003c\/em\u003e, Burch disappeared for a while. The long stretches of touring had been broken up by only a few weeks off here and there, and a month spent writing in Berlin between European dates. The time she did get to spend at home in Detroit was disrupted by several unexpected housing changes, adding to the transient feelings brought on by constant touring. When things finally stabilized, Burch encamped into a slow, thoughtful and intentional writing process for what would become the second album. Days were spent playing guitar, exploring unconventional chord changes, ruminating on song structures and allowing her subconscious to wander until lyrics materialized. Though about half of the songs were already written, this time was dedicated to taking a closer look at the loose ends of three years of ideas and seeing if there were common threads that held them together.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIf You’re Dreaming\u003c\/em\u003e was tracked with producer Sam Evian in his home studio in the Catskill mountains of upstate New York. Where the first album had been a rush of inspired songwriting followed by a drawn-out process of arrangement and mixing, Burch and Evian worked with self-imposed time limitations to establish a sharper focus and get to the core of the new songs. The work was swift but somehow more relaxed, locking into a groove of tracking the basic elements and then expanding on the arrangements with overdubs and auxiliary instrumentation. The end goal was to present not just an assortment of new songs, but craft an album that moved dynamically through an interconnected emotional arc.\u003c\/p\u003e\n\u003cp\u003eWith recurring themes of isolation, weariness and longing, these songs deliver that emotional arc with a delicate but uncompromising execution. Burch’s intrinsically catchy songwriting dials down the urgency of her debut a notch, taking a turn towards airy, jazz-voiced chords, floating reverb and an expansion of the sonic palate with unexpected instrumentation. The soft-rock bass grooves and understated saxophone lines of “Not So Bad” push an impressive pop structure into exciting new territory, and the sweetly melancholic “Tell Me What’s True” centers around muted electric piano, its languid but metered vibe recalling the gentler side of Carole King.\u003c\/p\u003e\n\u003cp\u003eThe nuance of arrangements that could sometimes get buried on \u003cem\u003eQuit the Curse\u003c\/em\u003e rises to the surface on patient, opulent tunes like “Every Feeling” and in the twelve-string guitar hooks of “Party’s Over.” The album drifts dreamily as much as it hones in with a sharper clarity on some of Burch’s most personal songs.\u003c\/p\u003e\n\u003cp\u003eEven at its most introverted, \u003cem\u003eIf You’re Dreaming\u003c\/em\u003e is always warm and present. 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For Jilian Medford, it was a way to fight through her anxieties. And here, on \u003ci\u003eShow Me How You Disappear\u003c\/i\u003e, through a haze of tangled, inverted pop, her new truths push their way to the surface.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003eMesmeric and kaleidoscopic, shimmering with electrified unease, \u003ci\u003eShow Me How You Disappear \u003c\/i\u003eis both an exercise in self-forgiveness and an eventual understanding of unresolved trauma. Medford’s third record as \u003cstrong\u003eIAN SWEET\u003c\/strong\u003e unfolds at an acute juncture in her life, charting from a mental health crisis to an intensive healing process and what comes after. How do you control the thoughts that control you? What does it mean to \u003ci\u003eget better\u003c\/i\u003e? What does it mean to have a relationship with yourself?\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003eThe inklings for the record began slowly. In 2018, Medford wrote “Dumb Driver” on an acoustic guitar while living in a “hobbit hole” back house in Los Angeles. Skeletal, stripped-back versions of the undulating, amorphous “My Favorite Cloud” and “Power” emerged next. Mentally she was in a dark place. By January 2020, following increasingly severe panic attacks, Medford began a two-month intensive outpatient program, including six-hour days of therapy. It yielded an unprecedented level of self-reflection for Medford, who already plumbs the depths of her emotions for her songwriting. She took a step back from music to completely immerse herself in the program, and once she felt ready to move on at the end of February, the rest of the songs poured out of her.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003eRecorded with Andrew Sarlo (Big Thief, Empress Of), Andy Seltzer (Maggie Rogers), and Daniel Fox, among others, Medford approached this album as a curator. She handpicked the producers that fit each song, which explains the range and experimentation showcased. Medford then recruited Chris Coady to mix and tie everything together into one cohesive piece.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003eThe resulting record envelops both Medford and the listener like water: its ebb and flow, the ease with which it can switch from nourishing to endangering you. Fully immersive, with guitar lines as quick to sound grungy as they are to ascend to astral distortion, it’s a lush cacophony of experimentation. While writing the record, Medford revisited the discography of her forever favorite band, Coldplay and noted inspiration from Young Thug’s bizarre and magical vocal delivery. With these influences and many more, Medford’s pop melodies are inverted by the freak world she builds around them.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003eThe cyclical nature of obsessive thought patterns shapes \u003ci\u003eShow Me How You Disappear\u003c\/i\u003e. It’s self-referential, each song in conversation with one another, tracing the same relationship and the desire to be an escape artist from your own life. But there’s also the repetition Medford learned to help herself via Emotional Freedom Technique tapping, which involves tapping pressure points on the body and repeating mantras to curb anxiety.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003e“Since I learned that method in therapy, it has saved my life and seeped into my music,” she says. “Songwriting has always been a tool for me to process my emotions. But this technique has allowed me to apply more intention to that practice.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003eFor her, the refrain of “Get Better” hits that hardest, a sort of emotional thesis of the album. She explains, “This song came from being stuck in an infinite loop of destructive thoughts and the only way to get out of my head was to repeat my goal over and over. By saying ‘I want to get better, better, better’ out loud, I started to feel something.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003e\u003ci\u003eShow Me How You Disappear \u003c\/i\u003ealso offered a certain liberation to Medford. As personal as it is — like preceding albums \u003ci\u003eShapeshifter\u003c\/i\u003e and \u003ci\u003eCrush Crusher\u003c\/i\u003e — here, post-therapy, Medford was able to approach her songwriting in a new way. She learned how to distance herself from the immediacy of her work, to put space between her personal identity and her art. There was less concern about fitting every piece of her story into the lyrics. Instead, this time, she held back. “I think there’s something to be said for leaving things out,” Medford says. “This is the first record that I leave that space for myself. I feel a freedom on this one that I haven’t felt with the others. People always say ‘I put all of me into this’, but I actually didn’t this time — I left space.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"background-color:transparent;color:#000000;\"\u003eDizzying and enthralling, \u003ci\u003eShow Me How You Disappear\u003c\/i\u003e is the sound of someone coming apart and putting themselves back together — the moment an old mantra, repeated into the mirror time and time again, finally clicks. To look at your reflection, and finally feel seen.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cblockquote\u003e\n \u003cp\u003e\u003cspan style=\"background-color:transparent;color:hsl(0,75%,60%);\"\u003eAll songs written by IAN SWEET.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"background-color:transparent;color:hsl(0,75%,60%);\"\u003eProduced by Andrew Sarlo, Daniel Fox, Andy Seltzer, Will Van Boldrik \u0026amp; deadmen.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"background-color:transparent;color:hsl(0,75%,60%);\"\u003eMixed by Chris Coady.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"background-color:transparent;color:hsl(0,75%,60%);\"\u003eMastered by Joe LaPorta.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"background-color:transparent;color:hsl(0,75%,60%);\"\u003e*Except “Sword,” Mixed by Matt Peters and Mastered by Harris Newman.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"background-color:transparent;color:hsl(0,75%,60%);\"\u003eAlbum Artwork by Milagros Lupotti (Elfffy) (\u003c\/span\u003e\u003ca href=\"https:\/\/www.instagram.com\/eeeeelllfffyyyyyyyyy\/\"\u003e\u003cspan style=\"background-color:transparent;color:hsl(0,75%,60%);\"\u003e\u003cu\u003eInstagram\u003c\/u\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"background-color:transparent;color:hsl(0,75%,60%);\"\u003e).\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"background-color:transparent;color:hsl(0,75%,60%);\"\u003ePoster Artwork by Ema Gaspar (\u003c\/span\u003e\u003ca href=\"https:\/\/www.instagram.com\/ema_b_g\/\"\u003e\u003cspan style=\"background-color:transparent;color:hsl(0,75%,60%);\"\u003e\u003cu\u003eInstagram\u003c\/u\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"background-color:transparent;color:hsl(0,75%,60%);\"\u003e).\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"background-color:transparent;color:hsl(0,75%,60%);\"\u003ePhotography by Lucy Sandler (\u003c\/span\u003e\u003ca href=\"https:\/\/www.instagram.com\/lucysandler\/\"\u003e\u003cspan style=\"background-color:transparent;color:hsl(0,75%,60%);\"\u003e\u003cu\u003eInstagram\u003c\/u\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"background-color:transparent;color:hsl(0,75%,60%);\"\u003e).\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"background-color:transparent;color:hsl(0,75%,60%);\"\u003eDesign \u0026amp; Packaging Layout by Elyse Lankford.\u003c\/span\u003e\u003c\/p\u003e\n \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Clear Blue)","offer_id":50819149332787,"sku":"PRC-428LP-RETAIL","price":15.75,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50819149365555,"sku":"PRC-428CD","price":6.0,"currency_code":"USD","in_stock":true},{"title":"Tape (White)","offer_id":50819149398323,"sku":"PRC-428TAPE","price":6.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708193108275,"sku":"PRC-428DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/0bca159d8b20d600ae4f2ac59e51e2122677dfec_3517939e150010188b4565a59952abbaf026cc01_photo_jpg.jpg?v=1763440270"},{"product_id":"bachelor-doomin-sun","title":"Bachelor - Doomin' Sun","description":"\u003cp\u003e\u003cstrong\u003eBachelor\u003c\/strong\u003e, the new project from Melina Duterte (\u003cstrong\u003eJay Som\u003c\/strong\u003e) and Ellen Kempner (\u003cstrong\u003ePalehound\u003c\/strong\u003e), is not a band, it’s a friendship.\u003c\/p\u003e\u003cp\u003eYou could say the friendship began in 2017 when Duterte and Kempner first met in a Sacramento green room and experienced love at first sight. 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On the bass-heavy rock song “Stay in the Car,” the duo paint a yearning portrait of a woman in a supermarket parking lot, a barely-contained desire oozing out of quotidian descriptions like: “She burns out of the market\/ Plastic bags digging into wrists\/ Blood stuck in her fingertips.” The heavy bass makes another appearance on “Anything At All,” a track with a chorus so playful it could be a schoolyard taunt, defying the darker lyrical themes heard on the verses.\u003c\/p\u003e\u003cp\u003eA typical day at the house in Topanga consisted of the two late-sleepers slumping down to the kitchen at around 11AM to drink canned ice teas and make lunch before they started messing around with instruments, crafting pitch riffs and chord progressions. After Kempner and Duterte sussed the form of the song and tracked the basics, they’d spend a couple of hours apart. During that time, Kempner wrote lyrics in the backyard treehouse while Duterte worked her producer magic, or Duterte wrote lyrics on the back patio while Kempner came up with guitar parts. When they regrouped, the duo shared what they’d worked on, made dinner, and watched an unreasonable amount of TV for the rest of the night.\u003c\/p\u003e\u003cp\u003eAbout halfway through their stay in Topanga, Buck Meek and James Krivchenia of Big Thief came by the house. Meek brought guitar pedals and a beautiful old Martin acoustic to generously lend to the project, and Krivchenia elevated a few of the songs by tracking drums while Duterte’s partner Annie Truscott (Chastity Belt) recorded strings to accentuate moments on the album. Aside from those contributions, Kempner and Duterte spent most of their time in isolation, a fitting precursor to the remainder of the year, but the songs on \u003ci\u003eDoomin’ Sun\u003c\/i\u003e are anything but isolating. These songs tell stories that will surely be recognizable to listeners, especially when they offer up interpretations of modern life. “Drivin’ on to the next town\/ Keeping the rubber side down\/ But the danger is in my phone\/ And the drug of an endless scroll,” Kempner sings on the downcast, country-inflected “Sick of Spiraling.”\u003c\/p\u003e\u003cp\u003eKempner and Duterte had arrived in Topanga with no songs written and no solid plan, but after two short weeks, they had finished the 10 songs that make up \u003ci\u003eDoomin’ Sun\u003c\/i\u003e. That much work in so little time may sound exhausting, but it wasn’t, it was blissful and freeing. On the album’s powerful opener, “Back of My Hand,” it’s possible to hear echoes of Bachelor’s foundation in the opening verse, “I’m your biggest fan\/ Got your song in my head\/ And your poster’s above my bed,” but the song soon hits a more sinister register as it goes on, “You date the beauty queens\/ I see their bodies in magazines\/ Sharp jaw size 0 jeans\/ I skip a meal\/ I drink some tea.”\u003c\/p\u003e\u003cp\u003eThere was a lot of pain that went into the record, especially around themes of queerness and climate change inspired by the red skies and wildfires subsuming Australia at the time. However, when the duo did shed tears during the creative process, they weren’t tears of sadness, they were tears of laughter. When Kempner and Duterte look back on those weeks, what they remember first is shortness of breath and the inability to track vocal takes without falling to the floor howling. They couldn’t remember a time they’d ever been so delirious with creativity, so overwhelmed with joy.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cblockquote\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAll songs written, arranged, and performed by Melina Duterte and Ellen Kempner.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eProduced, engineered, and mixed by Melina Duterte and Ellen Kempner in Topanga, CA.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eDrums on “Went Out Without You”, “Sick of Spiraling”, and “Aurora” by James Krivchenia.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eStrings by Annie Truscott.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eMastered by Heba Kadry.\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eArt and design by Chris Chew (\u003c\/span\u003e\u003ca href=\"https:\/\/www.instagram.com\/chris__chew\/\"\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003e\u003cu\u003eInstagram\u003c\/u\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003e).\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eLayout design by Mikaela Jane (CD\/Tape) (\u003c\/span\u003e\u003ca href=\"https:\/\/www.instagram.com\/mikaelajane\"\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003e\u003cu\u003eInstagram\u003c\/u\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003e).\u003c\/span\u003e\u003c\/p\u003e\n \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Goldenrod)","offer_id":50818998305075,"sku":"PRC-429LP","price":15.75,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50818998337843,"sku":"PRC-429CD","price":6.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708192518451,"sku":"PRC-429DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/f307102983c3dc5160ba238d50add6a5a56a1cf9_35f3e80b20ff9b5e961dbb17e5959e94a648c3a0_photo_jpg.jpg?v=1735838762"},{"product_id":"rodrigo-amarante-puzzle-t-shirt","title":"Rodrigo Amarante - Puzzle T-Shirt","description":"\u003cp\u003eBRAND: Bella Canvas\u003c\/p\u003e\u003cp\u003eSHIRT COLOR: Rust\u003c\/p\u003e\u003cp\u003eINK COLORS: Cream\u003c\/p\u003e\u003cp\u003eFIT: Unisex\u003c\/p\u003e","brand":"Polyvinyl Accessories","offers":[{"title":"Small","offer_id":50774942220595,"sku":"PRC-TS1026-S","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Medium","offer_id":50774942253363,"sku":"PRC-TS1026-M","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/504a03a52b4a422fcdd24c7c9c3f7c47a5e690c3_f1bf8b4769c1bf39347d3d2608c26b8c9b3f0ef2_photo_jpg.jpg?v=1735838765"},{"product_id":"the-dodos-grizzly-peak","title":"The Dodos - Grizzly Peak","description":"\u003cp\u003eFor over 15 years, \u003cstrong\u003eThe Dodos\u003c\/strong\u003e have been careening, almost recklessly, towards some perfect ideal of how The Dodos should sound. First formed with the intention of creating a record that felt and sounded how the inside of a guitar might, the band have spent the intervening years sprinting towards that platonic ideal. The propulsion of that chase has always been palpable, even in the duo’s strangest, quietest moments — a gasping thrill conjured as if metallurgically from the interplay between virtuosically fingerpicked guitar and bracingly intricate drumming. Now, after so long, finally: \u003ci\u003eGrizzly Peak\u003c\/i\u003e. The eighth album by Meric Long and Logan Kroeber still plays as if in freefall, but things are different this time. Meditative and sometimes painful in its emotional excavation, over the course of ten anthemic, gorgeously-rendered tracks, \u003ci\u003eGrizzly Peak\u003c\/i\u003e reveals itself as that place Long and Kroeber were always desperately trying to find.\u003c\/p\u003e\u003cp\u003eAs he was toying with the beginnings of what would become \u003ci\u003eGrizzly Peak\u003c\/i\u003e, Long began to feel the early twinges of arthritis in his fingers. Anyone familiar with Long’s style — an aggressive, rhythmic, weighted approach to fingerpicking developed and perfected over the past 15 years — will understand that this is akin to a runner feeling their legs wear down beyond repair, or the lungs of a brass player beginning to atrophy: an unfair, natural decay that bears immense, life-changing weight. “Guitar has always been my ticket out from feeling worthless, insecure — perhaps I never quite grew out of that moment in my adolescence where I discovered playing the guitar made me feel better than what my mind or others told me,” Long says. “It also became such a huge part of identity, that I probably latched on to it a little too much, and I guess feeling the beginnings of arthritis was sort of a sign of the impermanence of that identity. If I can't play the guitar anymore — the way that, at least in my own mind, defined me so much — then what else am I?”\u003c\/p\u003e\u003cp\u003eThat driving force, then, animates \u003ci\u003eGrizzly Peak\u003c\/i\u003e. Although The Dodos have always been a band enamored, somewhat, with the idea of what it means to be ‘The Dodos’ — a duo for whom their own music provides inspiration enough — \u003ci\u003eGrizzly Peak\u003c\/i\u003e is, perhaps, the first Dodos record to look back, to take stock of Long and Kroeber’s life as one entity. (How dryly funny, and how fittingly literary, that a band in seemingly constant motion would find its ideal form to be in looking to the past.) On the wistful, gut-wrenching opener “Annie,” Long intones, in that anthemic, ever-familiar tone: “The show is about to start.” It’s an overture to the opera of The Dodos’ life, a warning and an invitation that the music enclosed therein will be challenging, true, and, befitting a band who have built such an edifice over the past near-two-decades, incredibly hard-won.\u003c\/p\u003e\u003cp\u003e“Annie,” which starts small and builds until it’s one of The Dodos’ brightest, most bombastic songs ever, is a kind of statement of intent for \u003ci\u003eGrizzly Peak\u003c\/i\u003e. “Annie,” all cavernous boom and warm, enveloping melody, reaches that place of what the inside of a guitar might sound like, wholly and triumphantly. At the same time, the song introduces themes Long grapples with over the course of the entire album: forgiveness, regret, shame, and, above all, profound, enduring love. It roils with the discontent of knowing things could have been different: “Annie, can you forgive me? We were going to ride it til the end…” You can feel the physical weight of the song’s lyrics in the production — a result of Long’s edict that there would be only physical instruments on \u003ci\u003eGrizzly Peak\u003c\/i\u003e. “I started to appreciate again the physicality of the things being hit, actual vibrations of strings, drumheads. No matter how hard you hit a synth it won't give that impact, and impact is one of those things that's really tied to the sound of this band,” he says. “One of my early production principles for this record was that everything had to be played on a real instrument. I picked up a baby grand piano and put it in my living room which is way too small for it — I can't believe my family let me do that.”\u003c\/p\u003e\u003cp\u003eComplex, heart-on-sleeve reckoning — with selfhood as well as relationships with others — recurs throughout \u003ci\u003eGrizzly Peak\u003c\/i\u003e. “Stop running away while standing still\/You’re looking away from what’s been here,” Long sings on the spare, almost funky “Sunrise\/Sunset”; “I need to know that you want what you have,” he levels on “Quiet Voices.” These songs are emotionally generous but resolute in their aim to pull apart even the most tightly-coiled of emotions. Long says no stone was left unturned in his quest to make \u003ci\u003eGrizzly Peak\u003c\/i\u003e sound like the inside of a guitar, and the same feels true of the record’s emotional content; this is The Dodos laid bare, with nothing to hide.\u003c\/p\u003e\u003cp\u003eBefitting a record that hits so close to The Dodos’ career-long goal, \u003ci\u003eGrizzly Peak\u003c\/i\u003e also serves as a love letter to the fans who have devoted their hearts to Long and Kroeber’s music. “I feel a huge debt of gratitude to our fans or anyone that paid attention enough to notice,” Long says. “I really want to say thank you; going back to our original intention and trying to perfect this sound really seemed like the best way to express that gratitude. It was a huge motivation in working through this stuff.” In its content, too, \u003ci\u003eGrizzly Peak\u003c\/i\u003e seems to speak to the lifeline music can give someone. “Sustainer,” a highlight of the record, puts it plainly: “The song will be my sustainer.” This is an album intensely in love with music as a life force, as a raison d'etre for so many of us in the world. “I never had much to say, but I said it with a guitar,” Long sings on “With A Guitar.” Years later, we’re still listening. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cblockquote\u003e\n \u003cp\u003e\u003cspan style=\"color:rgb(230,76,76);\"\u003eWritten and Produced by Meric Long\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:rgb(230,76,76);\"\u003eMixed by Beau Sorenson\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:rgb(230,76,76);\"\u003eRecorded at Bartons Den and Tiny Telephone Oakland\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:rgb(230,76,76);\"\u003eFinal mixing at New, Improved Recording\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:rgb(230,76,76);\"\u003eMastered by Sarah Register\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003eAll instruments played and sung by \u003c\/span\u003e\u003cspan style=\"color:rgb(230,76,76);\"\u003eThe Dodos\u003c\/span\u003e\u003cspan style=\"color:hsl(0,75%,60%);\"\u003e except for...\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:rgb(230,76,76);\"\u003eCello and Violin on tracks 1, 2, 3, 5 performed by Lewis and Graham Patzner\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:rgb(230,76,76);\"\u003eCover Art by Michelle McNeil\u003c\/span\u003e\u003c\/p\u003e\n \u003cp\u003e\u003cspan style=\"color:rgb(230,76,76);\"\u003eLayout\/Design by Ishaq Fahim\u003c\/span\u003e\u003c\/p\u003e\n \u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Early Bird Vinyl (Light Pink) w\/ Tab Sheet + Signed Art Print + Sticker","offer_id":67981032587571,"sku":"PRC-442LP-EB","price":22.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (Light Pink)","offer_id":50818998731059,"sku":"PRC-442LP","price":15.75,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":52708191764787,"sku":"PRC-442CD","price":6.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":52708191797555,"sku":"PRC-442DIGITAL","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/thedodos-grizzlypeak_LP-eb-1-square-disc.jpg?v=1794554595"},{"product_id":"laura-jane-grace-at-war-with-the-silverfish","title":"Laura Jane Grace - At War With The Silverfish","description":"\u003cp\u003e“These are songs of late night madness and loneliness, orphan songs that came wandering in looking to feed like insects,” \u003cstrong\u003eLaura Jane Grace\u003c\/strong\u003e says of her new EP.\u003c\/p\u003e\u003cp\u003eHalf recorded at Grace’s TinyQuietStudio in Chicago and half recorded at Electric Eel in St. Louis, and mixed by her Devouring Mothers bandmate Marc Hudson, \u003ci\u003eAt War With The Silverfish\u003c\/i\u003e finds Grace in a range of stripped-back, poignant modes that amount to an honest and holistic account of our shared humanity. 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