{"title":"Wholesale New Releases","description":"\u003cp\u003e\u003cstrong\u003eXiu Xiu - \u003cem\u003eEraserhead Xiu Xiu\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eStreet Date: July 10, 2026\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/yme4f2qq6bzdsw3wori28\/XiuXiu_Eraserhead_VinylMock_Retail_SQ.png?rlkey=60i5xcf8ovrfztbdvrnt3hulg\u0026amp;st=baubpm7k\u0026amp;dl=0\" target=\"_blank\"\u003eLP (Ultra Clear)\u003c\/a\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/l5kfne2szdunxqfj1n6k5\/IANSWEET_Shiverstruck_VinylMock_Retail_SQ.png?rlkey=7d8pqhjwl5pz1ymfpfabik2vu\u0026amp;st=clvw3od4\u0026amp;dl=0\" target=\"_blank\"\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e| UPC: \u003c\/span\u003e644110052711 \u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e| List \u003c\/span\u003e\u003cspan\u003e$26.98\u003c\/span\u003e\u003cspan\u003e | Store \u003c\/span\u003e\u003cspan\u003e$17.54\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/lfwbuk0i2f321pyayzy2c\/XiuXiu_Eraserhead_CDMock_SQ.png?rlkey=svr94f7xddc9yugbhwvl7qa6v\u0026amp;st=efenscjh\u0026amp;dl=0\" target=\"_blank\"\u003eCD\u003c\/a\u003e | UPC: 644110052728 | List $14.98 | Store $9.74\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/sff6p5lo0q1fogwluwsm5\/XiuXiu_Eraserhead_TapeMock_SQ.png?rlkey=g95qzfzvclpmnav9ghlq9faso\u0026amp;st=grcy60xy\u0026amp;dl=0\" target=\"_blank\"\u003eTape\u003c\/a\u003e | UPC: 644110052742 | List $14.98 | Store $9.74\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOrdering opens 6\/26. Stock will ship immediately \u003c\/span\u003e\u003cspan\u003eafter stock is paid for.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/forms.gle\/fQDrUiL2HzRqwJJU9\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan\u003eReserve stock here\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIAN SWEET - \u003cem\u003eShiverstruck\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eStreet Date: July 24, 2026\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/l5kfne2szdunxqfj1n6k5\/IANSWEET_Shiverstruck_VinylMock_Retail_SQ.png?rlkey=7d8pqhjwl5pz1ymfpfabik2vu\u0026amp;st=clvw3od4\u0026amp;dl=0\" target=\"_blank\"\u003eLP (Baby Blue)\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e| UPC: \u003c\/span\u003e644110052919 \u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e| List \u003c\/span\u003e\u003cspan\u003e$25.98\u003c\/span\u003e\u003cspan\u003e | Store \u003c\/span\u003e\u003cspan\u003e$16.89\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOrdering opens 7\/10. Stock will ship immediately \u003c\/span\u003e\u003cspan\u003eafter stock is paid for.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/forms.gle\/jeS4AtjaEP7t6zLt9\" target=\"_blank\"\u003e\u003cspan\u003eReserve stock here\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDummy - \u003cem\u003eMandatory Enjoyment\u003c\/em\u003e \u0026amp; Free \u003cem\u003eEnergy\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eStreet Date: July 31, 2026\u003c\/p\u003e\n\u003cp\u003eMandatory Enjoyment:\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/zhosw7odv74hr9mon8vc5\/Dummy_MandatoryEnjoyment_VinylMock_Retail_SQ.png?rlkey=8gzu8587kvrql98ynjrhcvtjs\u0026amp;st=qyypt0xs\u0026amp;dl=0\" target=\"_blank\"\u003eLP (Cobalt Blue)\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e| UPC: \u003c\/span\u003e644110053411\u003cspan\u003e\u003c\/span\u003e \u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e| List \u003c\/span\u003e\u003cspan\u003e$28.98\u003c\/span\u003e\u003cspan\u003e | Store \u003c\/span\u003e\u003cspan\u003e$18.84\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/y7l3x6zarm7lm6zvopkoa\/Dummy_MandatoryEnjoyment_CDMock_SQ.png?rlkey=2j9vnv6z2acqo390vjy1juwde\u0026amp;st=fn736ih8\u0026amp;dl=0\" target=\"_blank\"\u003eCD\u003c\/a\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/lfwbuk0i2f321pyayzy2c\/XiuXiu_Eraserhead_CDMock_SQ.png?rlkey=svr94f7xddc9yugbhwvl7qa6v\u0026amp;st=efenscjh\u0026amp;dl=0\" target=\"_blank\"\u003e\u003c\/a\u003e | UPC: 644110053428 | List $16.98 | Store $11.04\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/9yv2zjys44qh2d37344dt\/Dummy_MandatoryEnjoyment_TapeMock_SQ.png?rlkey=jcew5356mu4mxgy1tziju9zuy\u0026amp;st=h6s18kis\u0026amp;dl=0\" target=\"_blank\"\u003eTape\u003c\/a\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/sff6p5lo0q1fogwluwsm5\/XiuXiu_Eraserhead_TapeMock_SQ.png?rlkey=g95qzfzvclpmnav9ghlq9faso\u0026amp;st=grcy60xy\u0026amp;dl=0\" target=\"_blank\"\u003e\u003c\/a\u003e | UPC: 644110053442 | List $16.98 | Store $11.04\u003c\/p\u003e\n\u003cp\u003eFree Energy:\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/l5kfne2szdunxqfj1n6k5\/IANSWEET_Shiverstruck_VinylMock_Retail_SQ.png?rlkey=7d8pqhjwl5pz1ymfpfabik2vu\u0026amp;st=clvw3od4\u0026amp;dl=0\" target=\"_blank\"\u003e\u003c\/a\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/a2ovq0mc97n7alscuoe73\/Dummy_FreeEnergy_VinylMock_Retail_SQ.png?rlkey=rltqporrivg8gguvfyk62rw5r\u0026amp;st=atyfcbzu\u0026amp;dl=0\" target=\"_blank\"\u003eLP (Seaweed Green)\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e| UPC: 644110053510 \u003c\/span\u003e\u003cspan\u003e| List \u003c\/span\u003e\u003cspan\u003e$28.98\u003c\/span\u003e\u003cspan\u003e | Store \u003c\/span\u003e\u003cspan\u003e$18.84\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/plfl9vlk0tmzbo2ea6ufm\/Dummy_FreeEnergy_CDMock_SQ.png?rlkey=lipgjmugob3iu6gk5bz6e39kd\u0026amp;st=myjbttjl\u0026amp;dl=0\" target=\"_blank\"\u003eCD\u003c\/a\u003e | UPC: 644110053527 | List $16.98 | Store $11.04\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/7382qduzf7dgnzezjainu\/Dummy_FreeEnergy_TapeMock_SQ.png?rlkey=hvd6kn5s0b05plynnub1a9tny\u0026amp;st=m7ve5b87\u0026amp;dl=0\" target=\"_blank\"\u003eTape\u003c\/a\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/sff6p5lo0q1fogwluwsm5\/XiuXiu_Eraserhead_TapeMock_SQ.png?rlkey=g95qzfzvclpmnav9ghlq9faso\u0026amp;st=grcy60xy\u0026amp;dl=0\" target=\"_blank\"\u003e\u003c\/a\u003e | UPC: 644110053541 | List $16.98 | Store $11.04\u003c\/p\u003e\n\u003cp\u003eOrdering opens 7\/17. Stock will ship immediately after stock is paid for.\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/forms.gle\/cR76DQECUtHFMypQ9\" target=\"_blank\"\u003e\u003cspan\u003eReserve stock here\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e \u003cb id=\"docs-internal-guid-1650afe4-7fff-3106-e6ba-18cf1245dc40\"\u003e\u003cspan\u003eAnamanaguchi\u003c\/span\u003e\u003c\/b\u003e - \u003cem\u003eScott Pilgrim EX (Original Soundtrack)\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fi\/dm8vj542pf5l6s0evz2ms\/SPEX_LPMockups_Retail_SQ.jpg?rlkey=bg7woo1uy3xc4xj3ofjmjmcuv\u0026amp;st=mu395ogf\u0026amp;dl=0\" target=\"_blank\" rel=\"noopener\"\u003e2xLP (Sky Blue \u0026amp; Hot Pink Blend)\u003c\/a\u003e | UPC: 644110053213  | List: $36.98 | Store Price: $24.04\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eLP Street Date: August 7, 2026 | Ordering opens July 24\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/forms.gle\/sJkHH4cK6XJ2FzqY7\" rel=\"noopener\" target=\"_blank\"\u003eReserve stock here\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSquirrel Flower - \u003cem\u003eSay a Prayer to the Gods of Getting Going\u003c\/em\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eStreet Date: August 21, 2026\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fi\/cjpsqtdruxu0j31qmtlfw\/SquirrelFlower_SayaPrayer_VinylMockups_SQ.jpg?rlkey=lep3zzb6tgbynv26ajq9ea83u\u0026amp;st=72eewkld\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003eLP (Sage Green)\u003c\/a\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/l5kfne2szdunxqfj1n6k5\/IANSWEET_Shiverstruck_VinylMock_Retail_SQ.png?rlkey=7d8pqhjwl5pz1ymfpfabik2vu\u0026amp;st=clvw3od4\u0026amp;dl=0\" target=\"_blank\"\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e| UPC: 644110052612\u003c\/span\u003e \u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e| List \u003c\/span\u003e\u003cspan\u003e$24.98\u003c\/span\u003e\u003cspan\u003e | Store $16.24\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fi\/lhsk9e25lh0lutxpg7jv8\/SquirrelFlower-SayaPrayer_CDMockup_SQ.jpg?rlkey=nj4dqvutjbec7cvrh47m4ljcx\u0026amp;st=p6uooscy\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003eCD\u003c\/a\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/lfwbuk0i2f321pyayzy2c\/XiuXiu_Eraserhead_CDMock_SQ.png?rlkey=svr94f7xddc9yugbhwvl7qa6v\u0026amp;st=efenscjh\u0026amp;dl=0\" target=\"_blank\"\u003e\u003c\/a\u003e | UPC: 644110052629 | List $14.98 | Store $9.74\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fi\/t5sf8oo6locfhc008mral\/SquirrelFlower_SayaPrayer_TapeMockup_SQ.jpg?rlkey=bp2b7qgmgx3mm6teq2be73pl7\u0026amp;st=ogtm38id\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003eTape\u003c\/a\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fi\/sff6p5lo0q1fogwluwsm5\/XiuXiu_Eraserhead_TapeMock_SQ.png?rlkey=g95qzfzvclpmnav9ghlq9faso\u0026amp;st=grcy60xy\u0026amp;dl=0\" target=\"_blank\"\u003e\u003c\/a\u003e | UPC: 644110052643 | List $14.98 | Store $9.74\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOrdering opens 8\/7. Stock will ship immediately \u003c\/span\u003e\u003cspan\u003eafter stock is paid for.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/forms.gle\/HgbEbrQ2bwDnCRBm6\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan\u003eReserve stock here\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eDistro Pricing available on request for eligible accounts \u003c\/p\u003e","products":[{"product_id":"laura-jane-grace-adventure-club","title":"Laura Jane Grace - Adventure Club","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eBefore the phrase \"Adventure Club\" became the title of \u003cstrong\u003eLaura Jane Grace\u003c\/strong\u003e’s electrifying and affirming new album, it was the name for her gaggle of adventurous friends in Greece. In the summer of 2024, Grace joined an artist residency program in Athens, embedding with Greek punk rockers there while she wrote songs about the sordid trials of her life and world—sobriety, autocracy, identity. By night, this new pickup band, including Grace’s wife and collaborator, Paris Campbell Grace, would often play and record. But by day, they’d explore the ancient and beautiful landscape and the city’s vibrant culture. They dove from beaches nestled in seaside caves into the Aegean and swam with sea turtles. They submitted to tourism, seeing the Parthenon and Epidaurus and breaking into the Panathenaic Stadium to run its track. They became addicted to Freddo espresso, a locals-only iced coffee topped with whipped milk. The lifestyle of this Adventure Club inspired her so much that, by the time she left Greece, she’d unexpectedly finished \u003cem\u003eAdventure Club\u003c\/em\u003e, a new career apogee built from equal parts fun and fury, self-definition and self-deprecation. It is all Grace, continuing to recalibrate what punk rock means for her now. \u003c\/p\u003e\n\u003cp\u003eTwo years ago, the Onassis Foundation—launched a half-century earlier, after the shipping titan directed that his fortune be used to promote “aid, progress and development” following his death—invited Grace to Greece. They wanted her to transform “Walls,” a century-old poem of isolation and doubt by Greece’s Constantine P. Cavafy, into a song for a short documentary about inmates learning to express themselves through film while in prison. When she traveled there in early 2024, the filmmaker assembled a pick-up band of local punk rockers (plus Paris) for a string of shows. When the brief tour was done, bad weather delayed her flight home. Waiting for her early-morning exit, she stayed up all night with the ad hoc group and Paris. They recorded a new version of “Walls,” then flew home in a delighted daze. \u003c\/p\u003e\n\u003cp\u003eHad that really just happened? Had she formed a transcontinental quartet, playfully dubbed the Trauma Tropes, with a Greek rhythm section she’d just met? When she returned six months later after earning a full residency with the Onassis Foundation, the answer instantly became clear: Yes. She’d expected to \u003cem\u003emaybe\u003c\/em\u003e write an EP. Instead, she cowrote and cut an entire LP with Paris, bassist Jacopo Fokas, and drummer Orestis Lagadinos, that pickup group called The Trauma Tropes. Grace is happily a solo artist these days, a free agent who has moved among different configurations of musicians since her epochal punk band Against Me! began a break in 2020. The Trauma Tropes are less a new band, per se, than a group of new friends finding one another and inspiration in a surprising but right place and time.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAdventure Club\u003c\/em\u003e is frequently a record about learning to take up space, about feeling free to be yourself as the bullshit of our ahistoric moment mounts. There is, for instance, the riotous “Wearing Black,” a thundering and hook-bound ode to being the punk or goth amid the rainbows, sparkles, and glitter of a massive Pride Parade. “My pride’s a riot,” she sings during this anthem of self-acceptance. “Not a parade.” There is “I Love to Get High,” a tragicomic blast about enjoying weed so much it no longer works but still trying, anyway. Grace is unapologetic about her choices, howling about dabs, diesel, and her beloved sticky joints as she waits for the next fix to hit. And then there’s “Fuck You Harry Potter,” less a J.K. Rowling diss track than an inspired retelling of the moment when a soused Englishman at a bar near Grace’s St. Louis studio insisted that she reminded him of Eddie Redmayne. She went home and wrote this ripper. \u003c\/p\u003e\n\u003cp\u003eProtest songs and personal tunes have never been a binary for Grace, and she delivers some of her most profound—and, yes, playful—work ever at that particular intersection here. Written in the Onassis Foundation’s window-walled offices as tourists peered inside the fishtank, “Your God (God’s Dick)” is a hilarious, heretic, and brilliant excoriation of religious devotion, or of using God’s supposed words and one’s belief in them to fuck your fellow citizens. A balancing act among Queen, L7, and Elton Motello, it is an instantly addictive tune, a should-be-hit that feels like a brazen test of the new right’s alleged devotion to free speech. (Grace notably plays the Baglamas here, historically associated with Greek protest music, \u003cem\u003eRebetiko\u003c\/em\u003e.) Like classic power-pop propelled by Oi!’s revolutionary oomph, “Mine Me Mine” similarly lambastes endless capitalist avarice, or how it is used to manufacture suffering for others. And opener “WWIII,” a song Grace has been trying to perfect for years, is a call to solidarity against all these harmful forces, be they financiers or fascists. “I don’t want to die in World War III,” Grace sings, like Bartleby staring into an impending apocalypse with a scowl. “I don’t want to kill for blood money.”   \u003c\/p\u003e\n\u003cp\u003eBut the most prominent thread through \u003cem\u003eAdventure Club\u003c\/em\u003e’s dozen tracks is one of evolution, of letting yourself become something new. In Grace’s case, that is sometimes reckoning with so-called California sobriety. “The hardest part of getting sober\/is pouring yourself out of the bottle,” she sings alongside Paris on “New Years Day” during one of the album’s most poignant moments. It is a theme song for the ever-renewing possibility of always trying again. It’s not unlike “Active Trauma,” really, a stomping number about recognizing that you can never outrun the past (even if, as Grace half-jokes, you actually \u003cem\u003erun\u003c\/em\u003e to attempt just that). You may, however, be able to overpower it, to “burn this house to the fucking ground.” The other side of this evolution is Grace simply giving herself space to have fun, as with the caffeinated hijinks of “Espresso Freddie,” penned alongside bassist Fokas. Isn’t growing up, again and again, the real Adventure Club, anyway?\u003c\/p\u003e\n\u003cp\u003eGrace talks often about her age, about nearing the second half of her 40s after a lifetime as a punk. What does it mean, really, to remain a punk for 44 years? For Grace, it is the same as it’s always been—a resolve to question everything about oneself and the world around you and to allow yourself to evolve within that framework. \u003cem\u003eAdventure Club\u003c\/em\u003e epitomizes that spirit the way that the best of Laura Jane Grace’s music always has. The young punk from Florida may never have imagined making a record in Greece, but it does not change the spirit of the songs that inspired them: to create a place where we’re all burdened by less bullshit, whether it’s our own baggage or the stuff that autocrats, capitalists, and assholes simply want to put on us because they don’t know the thrill of being happy and free themselves. Maybe they need to try writing a rock song, or simply jump into the sea.\u003cbr\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eLaura Jane Grace\/ Vocals, Guitar\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eParis Campbell Grace\/ Vocals\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eJacopo \"Jack\" Fokas\/ Bass Guitar, Vocals\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eOrestis Lagadinos\/ Drums, Vocals\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional backing vocals by Chiristina Blioumpa \u0026amp; Georgia Kollyra\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRecorded at Villa Giusseppe, Piraeus, Greece\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eEngineered and Mixed by Jackopo Fokas\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Engineering by Konstantinos Ragiadakos \u0026amp; Marios Adamopoulos \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced by Laura Jane Grace, Jacopho Fokas \u0026amp; the Onassis Foundation\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eExecutive Producer \/ Christos Sarris\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Jason Livermore at the Blasting Room\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eArtwork by Bassment Rats\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAll songs written by Laura Jane Grace, Total Treble Music BMI, Rough Trade Publishing\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\"Wearing Black\" \u0026amp; \"I Love To Get High\" Written By Laura Jane Grace \u0026amp; Paris Campbell Grace\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\"Espresso Freddie\" written by Laura Jane Grace \u0026amp; Jacopo Fokas\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\"Poison In Me\" written by Laura Jane Grace \u0026amp; Jacocopo Fokas\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\"Walls\" Is Original Music by Laura Jane Grace featuring an English adaptation and expansion by Laura Jane Grace of the poem \"Walls\" by CP Cavafy\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Hot Pink)","offer_id":51268420796723,"sku":"PRC-507LP","price":20.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":51268420829491,"sku":"PRC-507CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape (Purple Tint)","offer_id":51268420862259,"sku":"PRC-507TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":51268420895027,"sku":"PRC-507DIGITAL","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Early Bird Vinyl (Black, Purple, Blue Fusion) – SOLD OUT","offer_id":51268420763955,"sku":"PRC-507LP-EB","price":22.0,"currency_code":"USD","in_stock":false},{"title":"Test Pressing + Early Bird Vinyl","offer_id":51268605509939,"sku":"PRC-507TEST","price":125.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/LJG_AdventureClub_RetailSQ1.jpg?v=1764947051"},{"product_id":"post-animal-iron","title":"Post Animal - Iron","description":"\u003cp\u003eWhen \u003cstrong\u003ePost Animal \u003c\/strong\u003estepped into the studio for their new album, it was the first time all six original members were in the studio together for nearly a decade. Three band members had recently relocated away from Chicago, not to mention Joe Keery having left the band in 2017 to focus on acting. In the end they started right back up at the beginning, rediscovering that uncompromising closeness of connection they all shared from those endless hours spent in practice spaces and the late-night diner runs that follow. Prolonged stretches of time together not only reinforced the strength of their friendship—it reinvigorated their music. “If you want to get one hour of good painting in, you have to have four hours of uninterrupted time,” David Lynch once said. The product of a few straight weeks together, \u003cem\u003eIRON\u003c\/em\u003e not only finds them reunited with Keery but is the embodiment of 30 days of camaraderie and unbound musical exploration, their renewed connection ironclad.\u003c\/p\u003e\n\u003cp\u003eAfter 2022’s sublime \u003cem\u003eLove Gibberish\u003c\/em\u003e, Post Animal found themselves sunk deeper into their work than ever before. That record was their first released independently, with all the extra effort that entails. They also toured extensively, both on their own and with UK psych band Temples. By the time things started settling down, Post Animal was scattered to the wind. Guitarist Javi Reyes and drummer Wesley Toledo dropped back home to Chicago, while guitarist Matt Williams moved to Los Angeles, bassist Dalton Allison decamped for Ithaca, and multi-instrumentalist Jake Hirshland relocated to Brooklyn. “There was some burnout happening,” Allison says. “We were ruthlessly fighting and grinding.”\u003c\/p\u003e\n\u003cp\u003eBut then Keery showed up at a New York tour stop, and the idea was hatched that they cut another record—all six band members together again, for the first time since 2017. “When we made \u003cem\u003eWhen I Think of You in a Castle\u003c\/em\u003e, that was near the start of \u003cem\u003eStranger Things\u003c\/em\u003e,” Keery recalls. “And now with it kind of coming to an end in my own life, we all felt it'd be great to do something like that again, to go somewhere and be isolated and work on music together. It was a labor of love.” A big part of that process was focusing on the experience rather than putting pressure on an outcome. “We all agreed that even if we went and just hung out, we’d be happy with it,” Toledo says. “We're just heartfelt, sentimental, and emotional, but there was a real positivity and optimism among us.” They would set up camp at the Indiana home of their friends Malcolm Brown and Charles Glanders, an A-frame tucked into some woodlands with massive windows for views of the fall foliage. In addition to the lush surroundings, the band’s hosts pitched in: Glanders engineered the tracks with Allison, while Brown inspired via chef-caliber meals. “We got back to our roots, hanging out and writing music without the expectations or pressure,” Hirshland says.\u003c\/p\u003e\n\u003cp\u003eThe creativity driven by comfort is apparent from the opening instrumental track; “Malcolm’s Cooking” was recorded in part on a balcony overlooking the woods, complete with the humid wind, insect whirring, and euphorically clinking bottles. Lead single “Last Goodbye” follows, a slow-loping look at the end of a relationship, a point in time somehow both uneasy and familiar. “I try to love every corner of your mind\/ But we’ve been going off the deep end,” they sing, buffeted by choppy acoustic, prickly electric staccato, and waves of harmony. There’s a vintage AM radio glow to follow-up “Pie in the Sky”, a giddy-up bass and thumping percussion giving way to layered harmony. “Make me wanna sell my soul for just a bit of your shine\/ How am I gonna fill this hole, if your heart ain’t mine?” they sigh in a fit of honest, unadorned adoration.\u003c\/p\u003e\n\u003cp\u003e“This record felt like a revitalization of our friendships and our band,” Hirshland says. “We always work collaboratively, but it’s amazing how reintroducing Joe into the mix brought back that dynamic from 2017.” Keery agrees, noting both how close they’ve remained and also much has changed since their last work together. \"We're all still such great friends, but now everybody has a lot more experience under their belts,\" he says. \"I was just appreciative to be spending this time, knowing we might not get another chance to do this the way we're doing it right now. The record reflects that enjoyment, and you can feel the fun.\" Not only did the six members work closely together, each brought in song ideas and took their turn taking the lead. In perhaps the most intimate example, the glistening, punchy “Maybe You Have To” opens with a voicemail of Toledo’s abuela prior to her passing. The track that follows stares at the pain of that loss, unflinchingly. “The song is about coming to terms with death, with the absence of someone you love,” he says. “She was a warrior.”\u003c\/p\u003e\n\u003cp\u003eEven when \u003cem\u003eIRON\u003c\/em\u003e touches on heavy themes, Post Animal finds fluidity and strength in their compositions—a clear result of sharing so much time together. Members of the group would come and go from the home studio, a free-flowing stream of ideas. “This is the easiest experience I’ve had making an album,” Williams says. Reyes agrees, noting that ease comes from understanding—and growing from—your past: “It’s a return to ourselves, but down the road, feeling better than we ever have.”\u003c\/p\u003e\n\u003cp\u003eThroughout the album, Post Animal use that honed edge to push and pull at genre threads, imbuing some synthpop here and some folk there, vintage radio rock on one track and twitchy psychedelia on the next. Like the six sides of a die, the members of Post Animal each brought their own energy and style into an interconnected whole. Whether in the tumbling, interlocking eighth notes of the sugary “Common Denominator” or the cloudlike, piano-driven title track, \u003cem\u003eIRON\u003c\/em\u003e lives deliciously in its moment, in the room. Or, as Hirshland explains it: “This is an exploration of being alive and in this group of friends.” The beguiling “Setting Sun” churns and flares across that spectrum, opening on a burnt synth wash, a chunky electric guitar matching the lead vocals step for step. Psych pop “Dorien Kregg”, meanwhile, taps into some Elephant 6 orchestral energy, Allison taking on the mantle of the title character with childlike glee. “I remember Jake coming home from a grocery run and I was standing in the driveway being a creep, channeling this character,” Allison laughs.\u003c\/p\u003e\n\u003cp\u003eSurreal ideas like that only come about (let alone get chased down to such a brilliant conclusion) with the punchy energy that comes from a month of working this closely together. \u003cem\u003eIRON\u003c\/em\u003e puts the listener directly into the room with the band, freewheeling and experimental yet played with precision. That atmosphere should be palpable as the band hits the road with Keery’s Djo project, Toledo and Reyes pulling double duty as well by working in his backing band—the whole group getting to spend even more time together. “We’re having fun making things that we’re proud of. It’s a more mature period for us as collaborators and as friends,” Reyes says. “We’re all vibing with each other creatively, enjoying the momentum and our friendship.” Allison vehemently agrees: “All of these creative forces coming together, it was like iron sharpening iron,” he says. “When we’re in proximity with one another, we make each other better.”\u003cbr\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAll songs written \u0026amp; produced by Post Animal (Dalton Allison, Jake Hirshland, Joe Keery, Javier Reyes, Wesley Toledo, Matt Williams)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eEngineered by Dalton Allison \u0026amp; Charles Glanders\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMixed by Adam Thein \u0026amp; Dalton Allison\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Jared Hirshland\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Ivory)","offer_id":51358079189299,"sku":"PRC-516LP","price":22.0,"currency_code":"USD","in_stock":true},{"title":"Early Bird Vinyl (Metallic Iron Mist) – SOLD OUT","offer_id":51357976789299,"sku":"PRC-516LP-EB","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/PostAnimal_IRON_SQ1.jpg?v=1753411379"},{"product_id":"anamanaguchi-anyway","title":"Anamanaguchi - Anyway","description":"\u003cp\u003eLast summer, after living across the country from each other for several years, the four members of \u003cstrong\u003eAnamanaguchi\u003c\/strong\u003e decided to try something new. Their label Polyvinyl had rescued the famed American Football house from potential destruction, so the band took the opportunity to move in and write together. Over the course of a month, Anamanaguchi – pioneers of hyper-melodic 8-bit rock, whose extraordinary ascent has led them to topping charts with a virtual pop star – flipped their typically meticulous digital process on its head. The result is \u003cem\u003eAnyway\u003c\/em\u003e. Written in the converted living room-turned-practice space, Anamanaguchi walked away with the most personal record of their career. And it's a rock record for the ages.\u003c\/p\u003e\n\u003cp\u003e“Crazy sounds come from normal-looking houses,“ notes singer\/songwriter\/guitarist Peter Berkman. “We made the decision to be physically in the same room for nearly every step, writing everything as a group instead of editing and tweaking files over the internet.”\u003c\/p\u003e\n\u003cp\u003eThe band brought these demos to Grammy-winning rock producer Dave Fridmann (The Flaming Lips, MGMT, Sleater-Kinney), whose old school approach drove the point home. Once again staying under the same roof – this time at the Fridmann family’s cozy Tarbox Road Studios in western New York – they recorded \u003cem\u003eAnyway\u003c\/em\u003e straight to tape, uniting around live instruments and lyrics sung by everybody in the band. Fridmann encouraged live tracking and spontaneous performances, which were shaped by Luke Silas’ propulsive drumming. The album’s analog sound comes in part from their search for vintage gear, including an extremely rare set of Marshall guitar cabinet speakers from the late-1960s – previously used on recordings by Jimi Hendrix, Van Halen, Nirvana, and Weezer – that give Berkman and co-guitarist\/vocalist Ary Warnaar their distinct sound. “Every detail came from this need to do it right the first time,” Berkman notes about this significant shift for such consummate tinkerers. Adds bassist\/vocalist James DeVito, “This time there was no undo button, no alternate versions. The decisions had to be made before, not after.”\u003c\/p\u003e\n\u003cp\u003eAt first, Anamanaguchi aimed to explore rage as the record's main theme, reflecting the various frustrations of the world. But quickly they found themselves distracted by having fun together, and \u003cem\u003eAnyway\u003c\/em\u003e instead captures a band creatively and personally energized: the experience of four best friends reviving their connection in a disconnected world. As Anamanaguchi has always been an instrumental band, the decision to sing suddenly confronted them with the question of what the band’s voice would ultimately be. They explore this newfound power in every song, making it their most emotionally resonant work yet. \u003c\/p\u003e\n\u003cp\u003e\"The overarching theme of \u003cem\u003e[USA]\u003c\/em\u003e was about a voice forming and learning how to speak–a kind of artificial one. \u003cem\u003eAnyway\u003c\/em\u003e is the next step – it’s about discovering the band’s voice,” Berkman explains. “There’s a now-or-never feeling to it, a kind of ‘why not.’ Loss is a part of life, no one is immune to it. There’s that Phil Ochs song ‘When I’m Gone:’ ‘you won’t find me singin’ on this song when I’m gone, my pen won’t pour a lyric line when I’m gone, so I guess I’ll have to do it while I’m here.’ We’re making the most of our lives and what we love doing which happens to be writing, playing, and singing music all together.”\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAnyway\u003c\/em\u003e has moments of anger, love, humor, paranoia, and sadness – but the band’s sense of light-heartedness shines through. On “Rage (Kitchen Sink),” the band confront loneliness and boredom, two epidemics of the digital age that seem to be humanity’s only common bond. The anthemic, fuzzed-out “Magnet” is about the surreal attraction that’s possible between two people – a feeling echoed by the combination of such a heavy track with delicate lyrics. The power-pop ballad “Darcie” finds inspiration in small gestures from a local unsung hero, who brightens their lives and allows unforeseen amounts of fun to happen. Taut and dynamic, “Buckwild” is a rock sing-along that serves as the album’s genesis story: a band making an effort to do something new, while accepting the risks that may bring. \u003c\/p\u003e\n\u003cp\u003eFormed in New York in the mid-2000s, Anamanaguchi made their name with emotionally-charged turbo-electric experiments in chiptune. Known for programming their early music on Nintendo cartridges you can actually play, their accomplishments include scoring \u003cem\u003eScott Pilgrim vs. the World: The Game\u003c\/em\u003e and launching one of music’s most successful crowdfunded projects to this day with their Kickstarter for their debut album \u003cem\u003eEndless Fantasy\u003c\/em\u003e. The band’s reputation for innovation grew worldwide, leading them to develop and release their own experimental video game (\u003cem\u003eCapsule Silence XXIV\u003c\/em\u003e), as well as to officially collaborate and perform with the virtual pop star Hatsune Miku on her hologram tour (their collaborative hit “Miku” is not just her biggest English language song to date, it’s also recently a prominent music fixture of Epic Games’ global smash hit \u003cem\u003eFortnite\u003c\/em\u003e). They even launched a pizza into space. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e[USA]\u003c\/em\u003e, Anamanaguchi’s critically-acclaimed second album and debut for Polyvinyl, anticipated a crucial cultural shift in moving from escapist, nostalgic fantasy to a more introspective exploration of digital identity. Described by\u003cem\u003e Pitchfork\u003c\/em\u003e as the band’s “most emotionally grounded record,” \u003cem\u003e[USA]\u003c\/em\u003e laid the foundation for the openness and honesty that defines \u003cem\u003eAnyway\u003c\/em\u003e. Where \u003cem\u003e[USA]\u003c\/em\u003e made sense of life online, their third album \u003cem\u003eAnyway\u003c\/em\u003e ventures into the world outside the front door.\u003c\/p\u003e\n\u003cp\u003eAnamanaguchi’s greatest strength isn’t their devotion to doing things differently, or their ability to translate net-life into emotionally resonant tunes – though they are incredible at both. It’s the way their actual, enduring friendships have allowed them to evolve together. “We’ve always stretched the limits of what counts as ‘being a band’,” says Warnaar, “but \u003cem\u003eAnyway\u003c\/em\u003e honors that special glue that’s kept us together all along.” \u003cbr\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAll songs written by Anamanaguchi\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eSome lyrics by Josh Knapp\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003ePeter Berkman - Guitar, vocals\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAry Warnaar - Guitar, vocals\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eJames DeVito - Bass, vocals\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eLuke Silas - Drums, vocals\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced, Recorded and Mixed by Dave Fridmann at Tarbox Road Studios, Cassadaga, N.Y. \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Production by Anamanaguchi.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Editing by Geoffrey Mutchnick\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAssistant Engineering by Michael Fridmann.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eVocal Engineering by Casey Di Iorio\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Chris Gehringer at Sterling Sound, Edgewater, NJ.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRecorded June 2024 at Tarbox Road Studios, Cassadaga, NY, and August 2024 at Valve Studios, Dallas, TX.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eArt Direction: Simon Whybray\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eDesign: Supermodel\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003ePhotography: Anna Longworth\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Vinyl (Red w\/ Black, White, Yellow Splatter)","offer_id":51462339232051,"sku":"PRC-508LP-EB","price":32.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (Black-in-Red)","offer_id":51463056785715,"sku":"PRC-508LP","price":30.0,"currency_code":"USD","in_stock":true},{"title":"CD (Red Jewel Case)","offer_id":52746482975027,"sku":"PRC-508CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"CD (Clear Jewel Case)","offer_id":51463056851251,"sku":"PRC-508CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape","offer_id":51463056884019,"sku":"PRC-508TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":51462339264819,"sku":"PRC-508DIGITAL","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Test Pressing + Early Bird Vinyl","offer_id":51463056818483,"sku":"PRC-508TEST","price":150.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/Anamanaguchi_Anyway_SQ1.jpg?v=1754626837"},{"product_id":"castor-moving-backgrounds","title":"Castor - Moving Backgrounds","description":"\u003cp\u003e\u003cem\u003eMoving Backgrounds\u003c\/em\u003e is \u003cstrong\u003eCastor\u003c\/strong\u003e's complete body of work, pressed on vinyl for the first time ever.\u003c\/p\u003e\n\u003cp\u003eCastor arrived in 1994 just as fellow Champaign-Urbana, IL, bands Hum and Braid broke through and rose to prominence. While Hum and Braid redefined their respective genres, Castor took an experimental approach to slow-core indie on their self-titled debut and eventually landed on post-shoegaze rock with the sophomore album \u003cem\u003eTracking Sounds Alone\u003c\/em\u003e. Castor earned touring slots with The Promise Ring, Braid, Dianogah, Hum, and Shiner. Eventually collapsing under the pressure of life and work, Castor played its last show in January 1998.\u003c\/p\u003e\n\u003cp\u003eTwenty years later the band reunited and performed with their old pals Hum, and quickly realized Castor needed a vinyl treatment. Six years later, (between television and film scoring gigs), singer\/guitarist Jeff Garber finished a reimagined remix of 1997's \u003cem\u003eTracking Sounds Alone\u003c\/em\u003e and a pristine remaster of 1995's \u003cem\u003eCastor\u003c\/em\u003e, culminating in 2025's \u003cem\u003eMoving Backgrounds\u003c\/em\u003e, a 2xLP set featuring both Castor full-length albums and five bonus tracks.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMoving Backgrounds\u003c\/em\u003e is being released via Earth Analog Records, with exclusive distribution from Polyvinyl Record Co. The release features new artwork from longtime collaborator Andy Mueller, colored 180-gram vinyl, original artwork jackets, pullout color inserts with liner notes from the band, Braid's Bob Nanna, Shiner's Allen Epley, and Honcho Overload\/Parasol mailorder guru Bill Johnson: a fitting package for a group that rubbed shoulders with some of the late-90's most influential bands.\u003c\/p\u003e","brand":"Earth Analog Records","offers":[{"title":"Vinyl 2xLP (180-Gram Clear Orange \u0026 Clear)","offer_id":51593500426547,"sku":"D-EAR-008LP","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/front.jpg?v=1748896373"},{"product_id":"jay-som-belong","title":"Jay Som - Belong","description":"\u003cp\u003eWhere, you are almost certainly asking, has \u003cstrong\u003eJay Som \u003c\/strong\u003ebeen? \u003c\/p\u003e\n\u003cp\u003eSix years ago, in 2019, Melina Duterte released \u003cem\u003eAnak Ko\u003c\/em\u003e, the expansive sophomore album from the project that had quickly grown far beyond its so-called bedroom pop origins into something resembling an actual band. Duterte still wrote and produced that Jay Som record, but her friends now surrounded her, playing parts of their own. But when a shuttered touring industry scrapped Jay Som’s ambitious 2020 plans, Duterte realized she had long needed a reset from the road after several years of constant pivots between touring and writing, anyway. She decided to splurge on herself and her lifelong interest in recording, funneling her government stimulus check into a piece of dream gear she’d repeatedly seen advertised—a vintage Neve console. She committed herself to manuals and online tutorials, peppering experienced friends with questions about becoming more than her own home-recording engineer. Five years later, she’s got a rich résumé of album credits, guest spots alongside the likes of Troye Sivan and beabadoobee, the centerpiece of the \u003cem\u003eI Saw the TV Glow\u003c\/em\u003e soundtrack, and a Grammy for her work on \u003cem\u003eThe Record\u003c\/em\u003e by boygenius, the band she subsequently joined as a touring member. Yes, Jay Som itself has been on a bit of a break; Duterte, however, has perhaps been busier than ever.\u003c\/p\u003e\n\u003cp\u003eWhen Duterte reckoned the time had come to revisit Jay Som, she did not pretend to be hidebound by the project’s past. Instead, she let the half-decade of life she’d lived and work she’d done since releasing \u003cem\u003eAnak Ko\u003c\/em\u003e filter not only into her songs but also her process. The new friends she’d actually had time to make in Los Angeles now that she was off the road—especially Joao Gonzalez (of Soft Glas) and Mal Hauser (a collaborator to Mk.gee and Illuminati Hotties)—became key partners, as Duterte opened her music to others like never before. But she also opened up her music to herself and her memories, writing songs that revisited the sounds of her youth with the benefit of her experiences as a musician, producer, and performer. She was neither shy about her influences nor limited about where they might lead her. And so no previous Jay Som album sounds quite like the new \u003cem\u003eBelong\u003c\/em\u003e, a gripping 11-song set about self-definition and, well, belonging, that floats between supercharged power-pop hits and hazy ballads, between electronic curiosities and lighters-up anthems. It is a map of the first 31 years of Duterte’s life, all leading to the present that is \u003cem\u003eBelong\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e“When you try something for the first time, you’re always going to hold some type of fear, but I had to come to terms with the fact that I had to let go of some control,” she explains. “This record is essentially still me, but a lot of choices were made by friends who helped me, because I trusted them.”\u003c\/p\u003e\n\u003cp\u003eDuterte grew up with rock radio outside of San Francisco, memorizing the hits of early ’00s pop-punk and emo as a teen. Though she was 400 miles north along the California coast, The O.C. soundtracks—Imogen Heap, Bloc Party, Death Cab for Cutie, and so on—became major touchstones, too. You immediately hear the collision of it all in “Float,” the first song Duterte wrote for \u003cem\u003eBelong\u003c\/em\u003e. She was experimenting with the vocal synths that still frame the intro when a melody spilled out, inspiring the riff that soon slashes between those sampled synths and the buoyant beat. A top-down radio wonder, its massive chorus—“Float, don’t fight\/I’m not the same”—documents the toggle between pressing into the unknown and trying the unexpected or staying still and doing what you have always done in a push to stay safe and sane. Fittingly, that is Jimmy Eat World’s Jim Adkins, one of those childhood heroes, offering background vocals; that’s a first for a Jay Som album, as Duterte pulls past and future toward an explosive present. Duterte grins unabashedly at her adolescent impulses, too, during “Casino Stars,” a lusty bit of acoustic emo about betting everything on love and trusting that this time you leave a winner. \u003c\/p\u003e\n\u003cp\u003e“I turned 30 while I was making this record. There is a portion of your 20s about being cool and hip and who can come up with the craziest ideas,” says Duterte, who also began her longest relationship ever while recording \u003cem\u003eBelong\u003c\/em\u003e. (The new couple even adopted a dog.) “But as I’ve gotten older, I am more nostalgic about the music I experienced and want to relive that—by being inspired by that music.”\u003c\/p\u003e\n\u003cp\u003eThose aren’t, of course, the only references she brandishes. Where “D.H.” bops like a prime piece of garage-rock smeared with the stain of, say, Sonic Youth, “Appointments” is a beautiful waltz between the sad-eyed wonder of Elliott Smith and the twilit glow of Phoebe Bridgers. Despite those kinships, it is a deeply personal reflection on rejection, acceptance, and imposter syndrome, or the realization that, even as we allegedly become good at something, we’re still capable of flaws and fears. “Missed your appointment\/Your head on my lap,” she sings softly over chiming guitars as the second verse begins. “Changed your phone background\/Smiling again.” It’s about finding a way to make it through these hangups, about enduring. In a way, all of \u003cem\u003eBelong\u003c\/em\u003e’s songs carry that implicit message—if you can’t embrace the sounds of your heroes to sort through your own mess, what are you doing, anyway?\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBelong\u003c\/em\u003e, though, isn’t just Duterte’s record. Many of these songs emerged from relationships rooted in friendship first, collaboration second. Duterte and Gonzalez, for instance, became true pals only after she stopped touring so hard. When he brought her a sample early in the writing process, telling her it reminded him of Jay Som, she immediately agreed, the stuttering rhythm inspiring the melody that became “What You Need.” They built the song together, eventually moving beyond a beat borrowed from “Young Folks” to something that is as springy yet sad as the lyrics, a tight-rope walk between adoration and annoyance. Addictive on first listen, it’s a subtle wonder of production, too, its layers of drums and curdled synths serving as a platform for the bright guitars that bend through it.\u003c\/p\u003e\n\u003cp\u003eThough Duterte has never been one for special guests on Jay Som’s intimate records, Hayley Williams had insisted on singing together at some point since the band opened for Paramore in 2018. So Duterte and Steph Marziano—another new friend who has written with Bartees Strange and Cassandra Jenkins and who began working and hanging with Duterte after Williams introduced them—went to Nashville to try a song together. Williams’ soft harmonies on the arcing “Past Lives” reinforce its forlorn sense of drifting in and out of doldrums, of finding momentum only to watch it fade. It is a powerhouse of a tune, its downshifted midsection landing like a fistfight with oneself. \u003c\/p\u003e\n\u003cp\u003eAnd while Duterte’s production credits have mounted spectacularly since 2020, she knows enough to know she might not always know best. As she neared the end of \u003cem\u003eBelong\u003c\/em\u003e, she went to Philadelphia’s Headroom Studios, where producer Kyle Pulley told her that, simply as a Jay Som fan, he wanted to hear more of her. This became her first time working with another producer on Jay Som, yet another sign of her opening the band to others’ ideas. You can detect that insight and burgeoning conviction from the very first notes she sings on opener “Cards On The Table,” a brilliant piece of electronic pop where her warped voice cascades over tessellated drum machines and synths. (By the way, that’s Lexi Vega, of Mini Trees, offering harmonies; again, she, Williams, and Adkins are Jay Som’s first-ever guest vocalists, representing Duterte’s push to try new things with people she trusts.) The track is a pronouncement of renewed intentions for Jay Som, running from those first notes through the underwater experimentation of “Meander” and to the wall of noise and field recordings that end the finale, “Want It All.”\u003c\/p\u003e\n\u003cp\u003eThough “Want It All” is the capstone for \u003cem\u003eBelong\u003c\/em\u003e, it is also the thesis, the moment where Duterte makes the push and pull she feels in her life and career right now abundantly clear. For the better part of six years, she mostly checked out of Jay Som, cultivating and tending to the other side of her artistry. Now that she has returned to the band itself, she wonders where she belongs within an indie rock ecosystem, or how much of the rest of her life and work she is willing to give up to live up to that role. This is why she named these songs \u003cem\u003eBelong\u003c\/em\u003e, after all, as she tries to figure out where she fits into the wider world as an artist, producer, and person. “Do you really want to go? Will you hate what you will find?” she sings near the start of that title track, built on a seesaw of repetition. Duterte doesn’t know the answer yet, how she balances being an acclaimed and in-demand producer with being a proper bandleader, too. She just knows that Jay Som is back, invigorated by more ideas, experiences, and inputs than it’s ever enjoyed before.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAll songs written, composed, and performed by Melina Duterte, Joao Gonzalez, Mal Hauser, Steph Marziano, and Madden Klass\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced by Melina Duterte, Joao Gonzalez, Kyle Pulley, Mal Hauser, and Steph Marziano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRecorded at EMA Studios in Los Angeles CA, Headroom Studios in Philadelphia PA, and Klass Drums in Los Angeles CA\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eEngineered by Melina Duterte, Kyle Pulley, Steph Marziano, and Johanna Baumann\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAssistant Engineering by Theo Cobb, Meredith Glover, Eli Glovas-Kurtz\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMixed by Melina Duterte and Kyle Pulley\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Ruairi O'Flaherty at Nomograph Mastering\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eArt design \u0026amp; layout by Sab Mai\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Early Bird Vinyl (Lavender Sky Swirl)","offer_id":51759889285427,"sku":"PRC-517LP-EB","price":26.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (Indigo \u0026 Cerulean Splatter)","offer_id":52813074628915,"sku":"PRC-9717LP-SPTFY","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl (White)","offer_id":51759889318195,"sku":"PRC-517LP","price":24.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":51759889350963,"sku":"PRC-517CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Tape","offer_id":51759889383731,"sku":"PRC-517TAPE","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":51759889416499,"sku":"PRC-517DIGITAL","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Test Pressing + Early Bird Vinyl","offer_id":51759889449267,"sku":"PRC-517TEST","price":125.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/JaySom_Belong_SQ1wlogo_b7e2992e-9a3d-4b63-9df0-fc31bb2db2b7.jpg?v=1760070591"},{"product_id":"someone-still-loves-you-boris-yeltsin-broom-20th-anniversary-edition","title":"Someone Still Loves You Boris Yeltsin - Broom (20th Anniversary Edition)","description":"\u003cp\u003eThe members of \u003cstrong\u003eSomeone Still Loves You Boris Yeltsin\u003c\/strong\u003e couldn’t list a single music blog until their lo-fi MP3s and low-res JPEGs made them worldwide icons of Blogdom in 2005. Even \u003cem\u003eSpin\u003c\/em\u003e read an SSLYBY blog, downloaded their music and declared the Missouri band “could succeed The Shins as the band that will change your life.\"\u003c\/p\u003e\n\u003cp\u003eRecorded in the attic and living room of guitarist Will Knauer's home,\u003cem\u003e Broom\u003c\/em\u003e, SSLYBY's debut record, is an expertly crafted indie pop gem.\u003c\/p\u003e\n\u003cp\u003eOriginally, SSLYBY had a simple ambition: to make the “Local Releases” bin at CD Warehouse. However, \u003cem\u003eBroom\u003c\/em\u003e turned into a classic rock ‘n’ roll record -- the kind where pop perfectionism meets studio experimentations and each track flows effortlessly. 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Inspired by the \"grown folks music\" of artists like Earth, Wind and Fire, Chic, Maze and the Isley Brothers, the artist born Ryan Silva has constructed an album that throbs with the mature, step-ready sounds of vintage soul and post-disco, but roils with the lacerating emotional insight of hip-hop. With a rhyme style that's part country rap, part Criterion Closet — \"I’m Mike Jones meets Spike Jonze\/‘96 Bulls when my mic on,\" he raps in \"Stable\" — Plato examines his complex relationship to capital while at the precipice of adulthood. Or, as he says, \"Yeah, I'm out the mud, but I clean up nice.\" \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs the first rap artist to sign to independent stalwart Polyvinyl (Alvvays, Julia Jacklin, Momma), Plato III emerged in 2022 with the noisy, southern-fried, indie hip-hop of \u003c\/span\u003e\u003cem\u003eThe Devil Has Texas\u003c\/em\u003e\u003cspan\u003e – an unflinching suite about growing up penniless in the Lone Star State. \u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eGrown\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e, however, is firmly planted in his current homebase of Los Angeles, as Plato's life was increasingly making him look forward instead of back. He was nearing 30, had plans to propose to his now-wife and held a job that had him making above poverty wage for the first time in his life. The Netflix movie \u003c\/span\u003e\u003cem\u003eAlways Be My Maybe\u003c\/em\u003e\u003cspan\u003e licensed his song \"Illuminate\"—which soon became the #2 most Shazamed song in America—and Plato opened his first savings account. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"Suddenly the music I was listening to started slowing down a little,\" says Plato. \"This Al Green?  Let's throw on this whole album. The Isleys? I don't need the Ice Cube sample. Let's go the original!\" Instead of just listening to \"September,\" I would go back and listen to a whole Earth, Wind and Fire record. That was good studying, but also it was soothing. This is what's speaking to my temperament right now. If you want to rage, you can listen to Travis Scott, you can listen to BabyChiefDoit. That's not where I'm at in my life.\"\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe original seeds of \u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eGrown\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e were planted in no less auspicious surroundings than the Dungeon, the studio that birthed game-changing Atlanta rap records from Outkast and Goodie Mob. Perhaps appropriate considering \u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eGrown\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e'\u003c\/span\u003e\u003cspan\u003es sideways view of art and commerce, \"the Dungeon\" is now an AirB\u0026amp;B, a piece of hip-hop tourism complete with an in-house studio, turntable and stripper's pole. Staying four nights to celebrate his 30th birthday, a creative outpouring resulted in demos for the album's funkiest tunes — \"Good Problems\" \"I Want (Money),\" \"Grown\" and \"Coulda Died\" — visions of vintage '70s soul skewed through the prism of classic Southernplayalisticadillacmuzik.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"I was thinking, 'How did I end up on this guitar label? What am I gonna do for another album?' says Plato. \"And then I'm playing those records in the Dungeon, listening to old Outkast, and just remembering that a lot of the Southern hip-hop I grew up on — UGK, Devin the Dude, CunninLyngists — was guitar-based, whether it was samples or original guitar. I left with the bones of like five of the 10 songs.\"\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTo match his gleaming, retro-futuristic disco-funk dream, Plato recruited producer and multi-instrumentalist Phillip Odom (Ceremony, Glare), whom he knew from frequenting Abilene punk shows as a teenager. Plato supplied him with guide tracks bursting with Chic, Patrice Rushen, Prince, and DJ Quik. Through an online musician marketplace, Plato found his “Nile Rodgers” in a Worcestershire UK session guitarist, Lewis Spencer, and his chicken-scratch grooves and tender solos grace eight of \u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eGrown\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e's 10 tracks. Their collaborative powers collide on first single \"Good Problems\" and second single \"I Want (Money),\" two optimistic, \"Le Freak\"-y odes to the joy of adult obligations.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\"I wanted to flip the switch to kind of make [responsibility] feel like a blessing. I'm on this emo label, it's still emo, we still got problems — but what if there's a silver lining? This is real shit we're talking about: having to take care of a family, having to struggle to make money, having friends that are struggling reach out for $20. But, let's not dwell on it. Let's try to celebrate being in the situation because, in some ways, this is what we wanted.\" \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"Stay Sane\" is a plaintive meditation on the rat-race where Plato raps \"Tryna be happy as Sisyphus\/Never whipped a brick but I get the gist.\" The track is built around the guzheng of Bei Bei Monter, who has supplied the glistening Chinese folk instrument for films like \u003c\/span\u003e\u003cem\u003eTurning Red\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003eKung-Fu Panda 4\u003c\/em\u003e\u003cspan\u003e and the live action remake of \u003c\/span\u003e\u003cem\u003eMulan\u003c\/em\u003e\u003cspan\u003e. \"Coulda Died\" is a rejection of capitalism's temptations that churns like Blondie's disco-rock era. Closer \"Let's Get Old\" is a timeless acoustic love ballad that feels like a porchside sing-along with guest guitarist Eli Winter (Three Lobed, American Dreams). \u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePlato is finally living his best life on \u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eGrown\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e. However, don't confuse stability for complacency — five albums into his career, his music still teems with the searing political barbs and off-the-wall punchlines that made \u003c\/span\u003e\u003cem\u003eThe Devil Has Texas\u003c\/em\u003e\u003cspan\u003e an acclaimed indie-rap gem. \"The music is more palatable,\" he explains, \"but hip-hop, in its essence to me, is supposed to be challenging and anti-establishment. So when it's getting a little comfy, let me hit you with some things that make you a little uncomfortable.\"\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"There still isn’t many rap albums for people in their 30s, for those out of the clubs and the streets, but still not bragging about having it made. \u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eGrown\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e is for the cusp of settling down and entering a new phase in life. 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However, after growing tired of the boundaries it so needlessly applied, the internationally recognized frontrunners eventually transcended the genre with their later albums and found themselves at home with a more indie sound.\u003c\/p\u003e\n\u003cp\u003eMost recently, on his latest album under his given name, Matt Pryor has presented the world with \u003cem\u003eThe Salton Sea\u003c\/em\u003e, and it is abundantly clear that this is the continuation of a decades-long love affair with music and being outright obsessed with songwriting. Steadfast fans of Pryor’s prolific career will also find themselves treated to a style that is more reminiscent of the works of Paul Westerberg and Red House Painters, that is of course laden with Pryor’s signature style, whose DNA is deeply rooted in artists like Elvis Costello and The Afghan Whigs. \u003c\/p\u003e\n\u003cp\u003eIt should be noted that the chosen title for the album is not one that was picked arbitrarily, and while not a concept album, the period of time when the songs were written were some of the darkest days of Pryor’s life. After spending six months in a downward spiral in what he sarcastically refers to as the penultimate moments of his “drinking career”, Pryor finally hit rock bottom. 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The album’s opening track, “Split Decision,” illustrates this feeling perfectly, providing the perfect backbone for the rambunctious and chaotic guitar work to follow. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eThat same intensity carries throughout the album, particularly on lead single, “A Small Act of Defiance,” which brims with nervous energy as Long’s rallying call to stop and reset before it’s too late conveys nothing short of immediate urgency. The song’s pummeling percussion and pulsating saxophones rock in syncopation, giving way to the sensation of barreling down an unforgivingly steep Bay Area street. It’s Long’s aim to awaken in time to pull the emergency break, singing \u003c\/span\u003e\u003cspan\u003e“We’re on a fast track down to hell \/ Thinking it’s some heaven you built \/ Who will be resting on the spit \/ When it’s the celebration’s end?”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eWith the standout exception of vocal contributions from Spacemoth’s Maryam Qudus, and saxophonist Forrest Day, \u003c\/span\u003e\u003cem\u003eKablooey\u003c\/em\u003e\u003cspan\u003e is the sound of Long in a solitary quest of sound and inspiration – playing every other instrument by himself, often tinkering deep into the night after finishing another artist’s session hours earlier. \u003c\/span\u003e\u003cem\u003eKablooey\u003c\/em\u003e\u003cspan\u003e is yet another meaningful snapshot into the mind of Meric Long, whose decades-spanning contributions to music have been a major influence to California’s indie rock scene. 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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. 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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, \u003cem\u003eLP4\u003c\/em\u003e stares matter-of-factly at despair while refusing the comforts of melodrama or easy resolution.\u003c\/p\u003e\n\u003cp\u003eIndeed, on “Patron Saint of Pale,” frontman Mike Kinsella proposes playing Rock Paper Scissors with his soon-to-be ex-wife as a way to avoid signing their divorce papers. And on the gripping, eight-minute “Bad Moons,” he jokes about actually being two little kids disguised in a trench coat rather than a flesh-and-blood 40-something dad of two teens, before the reality of the situation can no longer be avoided: “I lost my mind in the dark \/ I told all my lies in the dark \/ I poured my drinks in the dark \/ I explored new kinks in the dark,” he sings, his voice seemingly cracking at times under the cold, hard truths.\u003c\/p\u003e\n\u003cp\u003e“That's the one where I was like, ‘Oh, fuck. My mom's gonna listen to this.’ But I’m proud of it,” Kinsella says. “I think only a grown person would think those things or say those things, and I'm a grown man.” “Those are not funny lyrics,” drummer Steve Lamos adds, “but there’s a weird ‘fuck it’ to the whole thing that I love.”\u003c\/p\u003e\n\u003cp\u003eThat restless desire to grow and evolve has guided American Football since its return. The band’s 1999 self-titled debut became a touchstone almost accidentally — a record whose elliptical lyrics and interlocking guitar lines sneakily rewired Midwestern emo and post-rock alike. During the 2014 tour, the quartet was surprised to find itself playing larger rooms than it ever had the first time around. “It felt like stumbling into being a mid-level band without having earned it,” guitarist Steve Holmes says of those first shows back.\u003c\/p\u003e\n\u003cp\u003eBut over time, American Football leapfrogged existing as a mere reunion act and instead became a vibrant, ongoing concern. \u003cem\u003eLP2\u003c\/em\u003e (2016) and \u003cem\u003eLP3\u003c\/em\u003e (2019) documented that transition — the former cautious and connective, the latter expansive, exploratory and welcoming of new voices such as Paramore’s Hayley Williams and Slowdive’s Rachel Goswell. \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLP4\u003c\/em\u003e completes this arc with one astonishing song after another.\u003c\/p\u003e\n\u003cp\u003e“The charm of the first record is that it could have only been made by kids,” Holmes says. “This record could only have been made by adults. There's a swagger that comes with the confidence of having done this for a long time, and there’s gravitas to Mike's lyrics. There's still breakup and heartbreak in there, but it’s much more real.”\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLP4\u003c\/em\u003e was initially born out of an interruption. After touring \u003cem\u003eLP3\u003c\/em\u003e in 2019,  the band planned a break. The pandemic stretched that pause into a three-year hiatus, during which Lamos, by day a college English professor in Colorado, stepped away for personal and professional reasons. Attempts to write remotely faltered. “It was not easy to do on Zoom,” Holmes admits. “And honestly, it wasn’t clicking.”\u003c\/p\u003e\n\u003cp\u003eIn the meantime, Kinsella and his cousin Nate channeled some of that material into an album for their synth-y side project, LIES, sharpening their shared language in the process and beginning the relationship with Sonny DiPerri, who they enlisted to mix. When Lamos returned and the band reconvened in earnest, something shifted. “It felt much more like a band again,” Lamos says. “There was a certain organic piece to this one that harkened back to what I associate with the first record.”\u003c\/p\u003e\n\u003cp\u003eThe Kinsellas then suggested recording \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLP4\u003c\/em\u003e in Stinson Beach, Ca., with DiPerri (My Bloody Valentine, Trent Reznor), whose presence proved crucial. “Sonny was a great, calming influence,” Holmes says. “Thanks to his energy and approach, it was easy for me to do what I felt like I needed to do,” Lamos explains. “For me personally as a player, this is maybe the best representation of what I would want to say on the drums.”\u003c\/p\u003e\n\u003cp\u003eAmerican Football also overhauled its process. Nate Kinsella devised an elaborate system of scratch tracks and modular demos, allowing ideas to evolve before the band ever entered the studio, while touring members Cory Bracken and Mike Garzon added the kinds of subtle touches that have made them indispensable onstage. “This record would not exist in the way it does without Nate masterminding a lot of the sonic details,” Holmes says. “He’s our Brian Eno or Jonny Greenwood.”\u003c\/p\u003e\n\u003cp\u003eThe result is American Football’s most sonically ambitious album: layered, dissonant, occasionally confrontational and always deeply felt. Piano, vibraphone, synths, trumpet and unexpected harmonic and tonal shifts disrupt the band’s famously smooth surfaces but invite new levels of depth and discovery. “The goal was to make the best record we could possibly make and not worry about how we’re going to recreate it live,” Holmes laughs. “That’s somebody else’s problem — which is currently our problem.”\u003c\/p\u003e\n\u003cp\u003eThat ambition is evident immediately. Expansive opener “Man Overboard” is built around a knotty, almost prog-like drum pattern that Lamos admits he had to later relearn. Lyrically, it sets the tone: resignation without self-pity, isolation rendered in stark maritime imagery. “I was born castaway \/ Lost at sea,” Kinsella sings, before the devastating refrain “Man overboard \/ It’s hopeless” previews what’s to come.\u003c\/p\u003e\n\u003cp\u003eAcross \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLP4\u003c\/em\u003e, Kinsella’s narratives are unflinchingly heavy. Suicide, shame, divorce, addiction, self-loathing and rebirth all surface, often within the same song. “If you read the lyrics on the page, they can seem grim,” Holmes says. “But there’s hope in them.”\u003c\/p\u003e\n\u003cp\u003eThat tension is central to the album’s emotional arc. “It feels like stages of grief to me,” Lamos offers. “Raging against how things work, and then increasing moments of acceptance as the record goes on.” Mike Kinsella doesn’t frame it so explicitly, but acknowledges the weight. “The goal has always been to say something giant and heavy in a very plain way,” he says. “On this record, I keep things a little more vague — and I think that makes it more honest.”\u003c\/p\u003e\n\u003cp\u003eSongs like “No Feeling” and “No Soul To Save” flirt openly with annihilation, yet the music beneath them is lush, even inviting. “Bad Moons” stitches together two previously unrelated demos into a towering release Holmes describes as “maybe our most cathartic song ever,” while “Desdemona” threads phased, wordless vocals straight out of Steve Reich’s \u003cem\u003eMusic for 18 Musicians\u003c\/em\u003e through the kinds of classic American Football guitar lines that still make people cry in bedrooms around the globe (“It's incredible,” Mike Kinsella raves about the musical juxtaposition. “That might actually be my favorite part of the record”).\u003c\/p\u003e\n\u003cp\u003eGuest vocalists further deepen the world of \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLP4\u003c\/em\u003e. Longtime peer Caithlin De Marrais of Rainer Maria brings history and familiarity to “Blood on My Blood,” Wisp’s Natalie Lu provides the perfect ethereal contrast on the almost poppy “Wake Her Up” and Turnstile’s Brendan Yates contributes a key vocal harmony on “No Feeling” that was recorded the day after the band casually asked if he’d like to stop by DiPerri’s L.A. studio. Says Nate Kinsella, “There’s a shimmery, sort of silver quality to his voice when he sings high and nails those long pitches. It’s so beyond what I expected on that song.”\u003c\/p\u003e\n\u003cp\u003eAmerican Football now speaks with rare authority — not because Kinsella has raised his voice, but because he’s earned the weight behind it. \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLP4\u003c\/em\u003e stands as a document of endurance, friendship, creative trust and the strange grace of growing older without growing static.\u003c\/p\u003e\n\u003cp\u003e“From the instrumentation to the arrangements to Nate running into a microphone and apologizing and us leaving it on the album, I’m really proud of the decisions we made,” Mike Kinsella says. “We’ve gotten nothing but better at writing songs.  We worked together way better than we ever had before. This album is a leap of faith, musically, but I’m proud of us for being ambitious enough to try something different.”\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAmerican Football is Mike Kinsella, Nate Kinsella, Steve Holmes \u0026amp; Steve Lamos\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAll songs written and performed by American Football\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eProduced by Sonny DiPerri and American Football\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMixed by Sonny DiPerri at Octopus Beak\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Engineering by Nate Kinsella\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRecorded at Panoramic House, Shirk Studios, Open House Contemporary and Octopus Beak\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Stephen Marcussen at Marcussen Mastering\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAssisted by John Baccigaluppi, Jeff Kolhede, Stephen Shirk and Zach Capitti Fenton\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eVibraphone on all songs and additional synthesis on “Man Overboard,” “Blood On My Blood,” “No Feeling,” and \"Bad Moons\" by Cory Bracken\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional production on “Bad Moons” by Nate Kinsella\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional writing on “Blood On My Blood” by Cory Bracken\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eViolin on “Bad Moons” by Ben Russell\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Vocals on “No Feeling” by Brendan Yates\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAdditional Vocals on “Wake Her Up” by Natalie R. 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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. 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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\u003cli\u003eIn Every Dream Home a Heartache [Roxy Music]\u003c\/li\u003e\n\u003cli\u003ePain [Boy Harsher]\u003c\/li\u003e\n\u003cli\u003eBreakdown and Then [Rowland S. Howard]\u003c\/li\u003e\n\u003cli\u003eJolene [Dolly Parton]\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 - alto saxophone \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMary Halverson - guitar\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eDavid Kendrick - drum set\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eTony Malaby - tenor saxophone\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eFabrizio Modonese Palumbo - viola, vox\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAngela Seo - vox, backing vox, synths, percussion\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eChes Smith - drum set\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eJamie Stewart - vox, guitar, drum machine, synths, organ, bass, piano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eHouda Zakeri - backing vox\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRecorded in Los Angeles at Nurse and Berlin at Krankenschwester\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eMastered by Alan Douches in Hudson Valley at West Westside \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eDesign by Janelle Abad\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eThis record would not be possible without the past \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u0026amp; present mind bogglingly generous XMFX subscribers.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Polyvinyl Records","offers":[{"title":"Digital","offer_id":53150870372659,"sku":"PRC-9736DIGITAL","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/39f2714c163916c7602a37c555e48b541c3554a8_ac5f449e8b1d476d28a7e0ff9c5f23280de224b4_photo_jpg.jpg?v=1773954074"},{"product_id":"phantastic-ferniture-change-my-mind-dare-to-fall-in-love","title":"Phantastic Ferniture - Change My Mind \/ Dare to Fall in Love","description":"\u003cp\u003e\u003cstrong\u003ePhantastic Ferniture\u003c\/strong\u003e are back with their jubilant garage pop, releasing not one but two singles - their very first recordings since their critically acclaimed 2018 debut album.\u003c\/p\u003e\n\u003cp\u003eRecorded at Golden Retriever Studios in Sydney, produced by Phan Fern themselves, and mixed and mastered by previous collaborators Tim Carr and Andrew Edgson respectively, tracks “Change My Mind” and “Dare to Fall in Love” immediately evoke everything about this band we have come to know and love.\u003c\/p\u003e\n\u003cp\u003eJulia Jacklin’s ability to write a catchy yet effortlessly cool vocal hook is evident on first listen, but it’s the magic that Phan Fern creates together that really brings the songs home. \u003c\/p\u003e\n","brand":"Polyvinyl Records","offers":[{"title":"7\" Vinyl (Orange, Black, and White Mix)","offer_id":53160789246259,"sku":"PRC-528-7","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0881\/7655\/8387\/files\/PhantasticFerniture_ChangeMyMind-DaretoFallinLove_RetailSQ1.jpg?v=1775683620"},{"product_id":"of-montreal-aethermead","title":"of Montreal - aethermead","description":"\u003cp\u003eAs any \u003cstrong\u003eof Montreal \u003c\/strong\u003edevotée knows, Kevin Barnes has long been known to make diaristic and compelling hay out of chronicling the unfiltered nuances of his personal life. 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. Following his move to Vermont with his then-fiancé two years ago, Barnes experienced a dual split with both his isolated surroundings and his significant other of the time. “I tried to make it out there, but it's difficult if you're not made from the right stock,” he reflects. “I couldn't really function.” After the relationship officially dissolved last year, Barnes relocated to Brooklyn, effectively falling in love with his new environment while rebuilding his mental state: “I've always had a romantic fascination with New York, but for forever I couldn't figure out how to make it work. The timing was perfect this time around.”\u003c\/p\u003e\n\u003cp\u003eWith the new setting came a burst of prolific creativity, which is saying something for an artist who’s already released four albums this decade, the latest being 2024’s eclectic \u003cem\u003eLady on the Cusp\u003c\/em\u003e. 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. But I was in a really intense period when I wrote a lot of the songs, and they come from a place of pain.”\u003c\/p\u003e\n\u003cp\u003eFrom that place, Barnes emerges with a record that feels singular and newly energized, cementing himself yet again as one of indie rock’s most daring risk-takers and persistent curator of arguably the genre’s most sprawling and fascinating catalog of music.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eAll songs written, produced and mixed by Kevin Barnes\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eKevin Barnes - vocals, guitars, slide guitars, pianos, synths, percussion \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRoss Brand - bass guitars, guitars\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eClayton Rychlik - drums, vibraphone, synths, percussion\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eJojo Glidewell - 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