Dead Oceans Rock & Indie 132 Items

Hole Erth, Chaz Bear's eighth full-length studio record as Toro y Moi, is the genre shapeshifter's most unexpected and bold move to date, with Bear diving headlong into rap-rock, Soundcloud rap and Y2K emo. The album blitzes anthemic pop-punk next to autotuned, melancholic rap - two genres that inform one another now more than ever before _ and packs in the most features ever on a Toro y Moi album. A sense of nostalgia sneaks its way into almost every Toro y Moi release, but angst is an emotion that Bear has never intentionally explored the way he does here. Tracks like "Tuesday'' channel a specific, yet forever-relatable sense of adolescent unease. A distorted guitar riff leads into a repeating chorus that conjures misunderstood teenagers singing aloud, maybe too loud, while riding bikes through American suburbs. This foreboding can also be heard on "HOV," though not without poking some fun with lines like "Romance is so cold / My advice? To bring a coat." Bear has the energy, but is acutely aware that his energy isn't forever. At a time when the internet is blending multiple genres into one at an increasingly rapid pace, Bear accomplishes the rare feat of keeping up with the contemporary alternative listener. Constantly changing, evolving and experimenting is the heart of Toro y Moi, and on Hole Erth Bear challenges but also reclaims himself, embracing the myriad sounds and eras that formed him, while crashing new worlds together.

Take the 101 north out of Los Angeles, and you'll pass by Agoura Hills, where the core duo of the band Dub Thompson grew up. Whatever you see in that town won't readily prepare you for the music they wrote while there, but you're free to look."Most everyone who's in a group who's our age lives on the Internet," says guitarist Matt Pulos. "The kinds of things that have shaped our band aren't anchored to any one time or place."Pulos and his bandmate, drummer Evan Laffer, are currently both 19 years old, and are putting that line of thought to the test; their musical influences travel from the Midwestern malaise of Big Black and Pere Ubu, to Kraut pioneers Can and Kraftwerk, while bowing to the British belligerence of The Fall and This Heat.Recording the album while living with Foxygen's Jonathan Rado at his rented house in Bloomington, the band had its first taste of a heavy Indiana summer, and all the humidity and insect life that buzzes along with it. "We woke up every day, ate hard-boiled eggs and stood on a porch," says Pulos of the experience.Their first collection of songs slyly unties the shoes of genre and convention, shapeshifts mischievously, and tramples on the promises delivered on the name itself.There are only eight songs on this rangy debut.Intense blasts of hook-filled noise rock ("Hayward!"), rocksteady marionette stomp ("No Time"), hypnotic bouts of doomy poetics ("Epicondyles"), outlandishly sexy groove rock ("Dograces"), and a number of other bite-sized forays into parts unknown are made manifest across 9 Songs. The vibes are strong here. Pulos sings and plays like he's working out long-standing grudges, pulling the most sinewy tones from an acoustic guitar and ripping huge chunks of demon flesh out of his electric. Laffer matches him step for step on the drums, an exacting presence behind the kit who pushes even the band's more placid moments into bouts of tension. Together they succeed in animating their musical ideas to startling, almost unnatural life. Reverb units, keyboard...

The Tallest Man on Earth released one of 2008's most powerful records, one that Pitchfork praised, calling Kristian Matsson "a natural-born folksinger, earnest, clever, and comforting." Shallow Grave could not have been more simple, just Matsson's commanding vocals with an acoustic guitar or banjo, recorded at his home in Dalarna, Sweden. Although the album was released on the Swedish label Gravitation without the help of widespread distribution, the story of The Tallest Man on Earth spread far and wide through word of mouth. In April 2010 The Tallest Man on Earth released the critically acclaimed album The Wild Hunt and has played dozens of sold-out shows on both sides of the Atlantic. Now, Gravitation is pleased to make Shallow Grave widely available on vinyl for the first time.

Kevin Morby writes (and records, and imagines) at an almost incomparable clip, and his most recent album, This Is A Photograph, studies life, time and mortality through myriad lenses. It's a dynamic, buoyant record on big, heavy themes, so it only makes sense that Morby found he wasn't quite done with it on its completion. More Photographs (A Continuum) finds new nooks, corners and vantage points. "If This Is A Photograph is a house that you have been living inside of," says Morby, "then More Photographs is, perhaps, the same home just experienced differently. As if you, its inhabitant, have taken a tab of something psychedelic and now, suddenly, you've replaced your eyeglasses with kaleidoscopes." Here, Morby returns to his landmark album's bottomless themes with new wisdom, new imagination, and the winking, looping call backs that tie his full body of work together in uniquely special ways." Everything you once thought was familiar," he continues, "suddenly appears differently, shifting shapes, color and sonic landscapes." "Five Easy Pieces Revisited" captures the same moment from Bobby's point of view; "This Is A Photograph II" takes a similar tact, revisiting its predecessor from a different angle. "Triumph" explores more of the myths and deaths that surround Memphis, TN, this time inspired by Big Star's Chris Bell. And "Kingdom Of Hearts" arrives as an origin story to both This Is A Photograph and its new companion." With every collection of songs," says Morby, "I feel I must cast them out of me before moving onto the next project, and here I knew that what I had begun with This Is A Photograph was not finished. Releasing this collection is my tying a bow on that time and place in my creative life." With a luxurious nine tracks - three re-imaginings and six brand new songs - More Photographs (A Continuum) is prequel, sequel and primer to an already rich and generous record from one of our most luminous modern songwriters.

'Live at Stubbs' features performances by Kelly Doyle, Ruben Moreno, The Suffers, Robert Ellis, and Khruangbin

It's only fitting that Khruangbin's first-ever official live releases would be albums paired with their tourmates: artists whose music they love and admire, friends who've become family along the way. Khruangbin's 'Live At' series of live LP straces just one small slice of the band's flight plan through the years: it's a taste of some of their most beloved cities, stages and nights. Most of all, Khruangbin's 'Live at' series ignites both sides of the band's magic: the warm, prismatic feeling of their albums and the bewitching energy of their performances.

“It felt like we were in a movie that had a totally implausible ending ...”, so they had to return to keep this movie running.

Cassandra Jenkins is quite simply one of the best songwriter-storytellerscurrently making music. Hers is a specific and singular corner of the Great AmericanSongwriters, artists like David Berman, Adrianne Lenker, Jeff Tweedy and Sufjan Stevens.They're artists connected by a sense of immediacy, not just in the writing - which is precise,evocative, brutal at times, pitch-back funny right when you need it - but by their delivery, bythe way they sing with an immersive, total belief that carries you through their songs. Theseare the artists and songs that sneak up and really live with us forever, and on My Light, MyDestroyer, Jenkins joins their ranks.What's most remarkable about My Light, My Destroyer is it captures anartist at an exciting leap in her evolution. So much about the album feels of-a-kind with itspredecessors; field recordings and found sound permeate, narrative songwriting crashesinto heady, swirling compositions. Jenkins sings with what can only be described as a powerwhisper(think Sufjan Stevens, Annie Lennox, Margo Timmins or YHF-era Tweedy), hervocals up close and intimate but subtly confrontational. But it all feels bigger here, morefinely honed, bolder and richer than her previous work and than her peers.Born and raised in New York City, Jenkins has been touring and performingsince she was a child, self-releasing her early recordings before releasing breakthrough AnOverview on Phenomenal Nature in 2021. On My Light, My Destroyer, many of the songs aredevoted to specific feelings, and to really getting inside those feelings as opposed to gettinginside a narrative arc. Lead single "Only one" is one example, as Jenkins's asserts that amoment, or a song, can be wholly myopic; it can embody a singular feeling, and provides noanswers.Songs like Devotion, Delphinium Blue, Clams Casino, Echo, and Only One,speak to the liberating quality of focused observation, even to the point of disillusionment."There's this idea about disillusionment that I've held on...

Bright Eyes' Christmas Album begins with a piano, flute, ambientnoise, and musical saw-driven version of "Away in a Manger,"helping weed out casual Christmas music enjoyers, but all tootempting for the most devout of Conor Oberst's disciples,who originally learned that the warmth of the holiday season istrumped only by its potential for melancholy back in 2002 withthe original Saddle Creek release. Oberst and a small army offriends at his house proceed to jamboree through Christmasclassics like "Have Yourself a Merry Little Christmas," "GodRest Ye Merry Gentlemen," and "Oh Little Town of Bethlehem,"Clear Red Vinyl.Holiday cheer, when delivered with Oberst's trademark tremble,sounds more like a lament than it does hymns of ecclesiasticaljoy. But the spirited listener will find that the fragile, homespun,and somewhat blinkered vibe that permeates the album setsitself apart from the bog-standard, less sonically humbleofferings...

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

2022 Dead Oceans' reissue of the third album by the Nebraska indie band Bright Eyes. Fevers and Mirrors was recorded in 1999 and released on May 29, 2000. The album begins with a recording of a little boy reading Mitchell Is Moving, a book by Marjorie Weinman Sharmat. On this album the band used new instruments such as the flute, piano, and accordion introduced into the song arrangements. After "An Attempt to Tip the Scales", there is a mock radio interview that features Todd Fink of The Faint doing an impression of Oberst while reading a script that Oberst wrote. In this interview, the fake Oberst presents a strange, contradictory explanation of his attitude towards his music.

Dead Oceans' 2022 reissue of the debut album by Bright Eyes. A Collection of Songs Written and Recorded 1995-1997 was the first commercial release by Conor Oberst and features his vocals and guitar. The album saw Oberst beginning to experiment with drum machines, keyboards and other instruments. The sound of the album ranges from bleating vocals to acoustic guitar songs and techno-style synthesizer instrumentals.

Toro y Moi's seventh studio album, Mahal, is the boldest and most fascinating journey yet from musical mastermind Chaz Bear. The record spans genre and sound_encompassing the shaggy psychedelic rock of the 1960s and `70s, and the airy sounds of 1990s mod-post-rock_taking listeners on an auditory expedition, as if they're riding in the back of Bear's Filipino jeepney that adorns the album's cover. But Mahal is also an unmistakably Toro y Moi experience, calling back to previous works while charting a new path forward in a way that only Bear can do. Mahal is the latest in an accomplished career for Bear, who's undoubtedly one of the decade's most influential musicians. Since the release of the electronic pop landmark Causers of This in 2009, subsequent records as Toro y Moi have repeatedly shifted the idea of what his sound can be. But there's little in Bear's catalog that will prepare you for the deep-groove excursions on Mahal, his most eclectic record to date. The second the album begins we're immediately transported into the passenger seat, jeep sounds and all, ready for the ride Chaz and company have concocted for us. Seeds of some of Mahal's 13 songs date back to the more explicitly rock-oriented What For? from 2015. Mahal was mostly completed last year in Bear's Oakland studio with the involvement of a host of collaborators, Sofie Royer and Unknown Mortal Orchestra's Ruban Neilson to Neon Indian's Alan Palomo and the Mattson 2. "I wanted to make a record that featured more musicians on it than any other record of mine," he explains. "To have them live on that record feels grounded, bringing a communal perspective to the table." As a result, Mahal is lush and surprising at every turn, from the cool-handed "The Loop," which recalls Sly and the Family Stones, to the elastic psych rock of "Foreplay" and the dizzying Mulatu Astatke-recalling of "Last Year." Lyrically, the album zooms in on generational concerns, picking up where the Outer Peace standout "Freelance" effectively left off. Bear seems to be surveying the ways in which we connect with technology, media, each other, and what disappears as a result. Cuts like the squishy "Postman" and the "Magazine" take a deep dive into our relationship with media in a changing digital world. "It's interesting to see how we adapt to this new age. We're so connected, but we're still missing out on things," Bear ruminates while discussing the album's themes. It's not all introspection. Bear cools things down near the album's end with the Mattson 2-featuring "Millennium," a laid-back jam with tricky guitar licks about ringing in new times even when everything else seems upside down. "It's about enjoying the new year, even when it's been shitty," Bear explains. "There's nothing else to do." Finding a sense of joy in the face of adversity is embedded in Mahal's DNA, right down to the jeepney that literally and figuratively brings the music out into the community. "We know that touring is messed up for now, and large gatherings are a fluke," he explains. "It's about the notion of us going out to the people and bringing the record to them." And with the wide-open atmosphere of Mahal, Toro y Moi stands to connect with more listeners than ever before.

“Last spring, Devendra Banhart and Noah Georgeson started to make a record that was like nothing they had made before _ an ambient album that would be both a haven from a suddenly terrified world and a heartfelt musical dialogue between two artists who have been friends and collaborators for over two decades. Refuge is an album of profound meditative beauty which offers the listener a much-needed sense of peace and renewal. But while it was recorded in 2020 its roots go back much further _ all the way to the start of their friendship and, beyond that, to the shared sounds and ethics of their childhoods. Devendra grew up in Venezuela while Noah, six years older, is a native of Nevada City, California. But as they got to know each other, they realised that they had a similar history in the New Age subculture of the 1980s: a world of meditation, Eastern music, the Bhagavad Gita and The Whole Earth Catalog. Childhood memories were coloured by the aromas of health food stores and the sound of New Age labels like Windham Hill Records. Noah, whose production and mixing credits include Joanna Newsom and the Strokes, came on board as co-producer of Devendra's 2005 album Cripple Crow and they have been working together ever since. It was while making Devendra's 2019 album Ma that the pair finally decided to make their ambient record. Despite complicating logistics, 2020 created an emotional craving for music with this contemplative, therapeutic quality. Inspired by both memories of the past and the needs of the present, Refuge is an act of companionship and generosity which gives the listener room to breathe. "We're hoping to create a sense of comfort and coming back to the moment," Devendra says. "It's really important to have a little bit of space between us and our anxieties and impulses. What you do with that space is up to you." - Dorian Lynskey May 2021

Cassandra Jenkins is quite simply one of the best songwriter-storytellerscurrently making music. Hers is a specific and singular corner of the Great AmericanSongwriters, artists like David Berman, Adrianne Lenker, Jeff Tweedy and Sufjan Stevens.They're artists connected by a sense of immediacy, not just in the writing - which is precise,evocative, brutal at times, pitch-back funny right when you need it - but by their delivery, bythe way they sing with an immersive, total belief that carries you through their songs. Theseare the artists and songs that sneak up and really live with us forever, and on My Light, MyDestroyer, Jenkins joins their ranks.What's most remarkable about My Light, My Destroyer is it captures anartist at an exciting leap in her evolution. So much about the album feels of-a-kind with itspredecessors; field recordings and found sound permeate, narrative songwriting crashesinto heady, swirling compositions. Jenkins sings with what can only be described as a powerwhisper(think Sufjan Stevens, Annie Lennox, Margo Timmins or YHF-era Tweedy), hervocals up close and intimate but subtly confrontational. But it all feels bigger here, morefinely honed, bolder and richer than her previous work and than her peers.Born and raised in New York City, Jenkins has been touring and performingsince she was a child, self-releasing her early recordings before releasing breakthrough AnOverview on Phenomenal Nature in 2021. On My Light, My Destroyer, many of the songs aredevoted to specific feelings, and to really getting inside those feelings as opposed to gettinginside a narrative arc. Lead single "Only one" is one example, as Jenkins's asserts that amoment, or a song, can be wholly myopic; it can embody a singular feeling, and provides noanswers.Songs like Devotion, Delphinium Blue, Clams Casino, Echo, and Only One,speak to the liberating quality of focused observation, even to the point of disillusionment."There's this idea about disillusionment that I've held on...

Hole Erth, Chaz Bear's eighth full-length studio record as Toro y Moi, is the genre shapeshifter's most unexpected and bold move to date, with Bear diving headlong into rap-rock, Soundcloud rap and Y2K emo. The album blitzes anthemic pop-punk next to autotuned, melancholic rap - two genres that inform one another now more than ever before _ and packs in the most features ever on a Toro y Moi album. A sense of nostalgia sneaks its way into almost every Toro y Moi release, but angst is an emotion that Bear has never intentionally explored the way he does here. Tracks like "Tuesday'' channel a specific, yet forever-relatable sense of adolescent unease. A distorted guitar riff leads into a repeating chorus that conjures misunderstood teenagers singing aloud, maybe too loud, while riding bikes through American suburbs. This foreboding can also be heard on "HOV," though not without poking some fun with lines like "Romance is so cold / My advice? To bring a coat." Bear has the energy, but is acutely aware that his energy isn't forever. At a time when the internet is blending multiple genres into one at an increasingly rapid pace, Bear accomplishes the rare feat of keeping up with the contemporary alternative listener. Constantly changing, evolving and experimenting is the heart of Toro y Moi, and on Hole Erth Bear challenges but also reclaims himself, embracing the myriad sounds and eras that formed him, while crashing new worlds together.

Hole Erth, Chaz Bear's eighth full-length studio record as Toro y Moi, is the genre shapeshifter's most unexpected and bold move to date, with Bear diving headlong into rap-rock, Soundcloud rap and Y2K emo. The album blitzes anthemic pop-punk next to autotuned, melancholic rap - two genres that inform one another now more than ever before _ and packs in the most features ever on a Toro y Moi album. A sense of nostalgia sneaks its way into almost every Toro y Moi release, but angst is an emotion that Bear has never intentionally explored the way he does here. Tracks like "Tuesday'' channel a specific, yet forever-relatable sense of adolescent unease. A distorted guitar riff leads into a repeating chorus that conjures misunderstood teenagers singing aloud, maybe too loud, while riding bikes through American suburbs. This foreboding can also be heard on "HOV," though not without poking some fun with lines like "Romance is so cold / My advice? To bring a coat." Bear has the energy, but is acutely aware that his energy isn't forever. At a time when the internet is blending multiple genres into one at an increasingly rapid pace, Bear accomplishes the rare feat of keeping up with the contemporary alternative listener. Constantly changing, evolving and experimenting is the heart of Toro y Moi, and on Hole Erth Bear challenges but also reclaims himself, embracing the myriad sounds and eras that formed him, while crashing new worlds together.

Lifted or The Story Is in the Soil, Keep Your Ear to the Ground Originally released 2002. "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this

Bill Fay has always sung about attempting to understand themost universal questions: those of nature, spirituality, humanity. His songs are "calming hymns for another chaotic time", he says. His influence can be traced through many artist's work, and so it only seemed right to celebrate this with a collection of newer voices interpreting his timeless tracks. Originally released in 2010 by David Tibet (Current 93), Still Some Light was released as a double CD, made up of 70's album demos (Disc One) and 2009 home recordings (Disc Two). This year, for the first time, this collection of recordings will be pressed to vinyl and released digitally, presented alongside contemporary reimaginings of the tracks by Kevin Morby, Steve Gunn, Julia Jacklin and...

Bill Fay has always sung about attempting to understand the most universal questions: those of nature, spirituality, humanity. His songs are "calming hymns for another chaotic time", he says. His influence can be traced through many artist's work, and so it only seemed right to celebrate this with a collection of newer voices interpreting his timeless tracks. Originally released in 2010 by David Tibet (Current 93), Still Some Light was released as a double CD, made up of 70's album demos (Disc One) and 2009 home recordings (Disc Two). This year, for the first time, this collection of recordings will be pressed to vinyl and released digitally, presented alongside contemporary reimaginings of the tracks by Kevin Morby, Steve Gunn, Julia Jacklin and Mary Lattimore. Bill Fay's words and melodies remain unaffected by the passing of time and changing trends; and here alongside the original recordings, these reinvented versions still calmly guide us through another moment of chaos. Bill Fay's Still Some Light was originally released on compact disc as a two CD collection in 2010. Reimagined with new artwork and available for the first time ever on vinyl, Dead Oceans is pleased to present Still Some Light Pt. 1, collecting Fay's archival recordings from 1970 and 1971. Many of the songs are intimate sketches which were eventually re-recorded for Fay's self-titled debut and for his landmark album, Time of the Last Persecution. This double LP set includes heart wrenching versions of some of his timeless works, such as "I Hear You Calling" and "Pictures of Adolf Again", and features equally powerful songs like "Arnold is a Simple Man" and "Love is the Tune," which only appear in this collection.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time-traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown-up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

“Last spring, Devendra Banhart and Noah Georgeson started to make a record that was like nothing they had made before _ an ambient album that would be both a haven from a suddenly terrified world and a heartfelt musical dialogue between two artists who have been friends and collaborators for over two decades. Refuge is an album of profound meditative beauty which offers the listener a much-needed sense of peace and renewal. But while it was recorded in 2020 its roots go back much further _ all the way to the start of their friendship and, beyond that, to the shared sounds and ethics of their childhoods. Devendra grew up in Venezuela while Noah, six years older, is a native of Nevada City, California. But as they got to know each other, they realised that they had a similar history in the New Age subculture of the 1980s: a world of meditation, Eastern music, the Bhagavad Gita and The Whole Earth Catalog. Childhood memories were coloured by the aromas of health food stores and the sound of New Age labels like Windham Hill Records. Noah, whose production and mixing credits include Joanna Newsom and the Strokes, came on board as co-producer of Devendra's 2005 album Cripple Crow and they have been working together ever since. It was while making Devendra's 2019 album Ma that the pair finally decided to make their ambient record. Despite complicating logistics, 2020 created an emotional craving for music with this contemplative, therapeutic quality. Inspired by both memories of the past and the needs of the present, Refuge is an act of companionship and generosity which gives the listener room to breathe. "We're hoping to create a sense of comfort and coming back to the moment," Devendra says. "It's really important to have a little bit of space between us and our anxieties and impulses. What you do with that space is up to you." - Dorian Lynskey May 2021

Deluxe Edition on Red Vinyl. shame's deluxe Drunk Tank Pink pulls back the curtain from the James Ford productions to reveal the entire album in an early demo form. The recordings are taken from the attic of bass player Josh Finerty's childhood home, where the band holed themselves up to commence writing. Paired with the fully formed album, the bonus LP is a fascinating and intimate insight into how the critically acclaimed record came to be.

Deluxe Edition on Crystal Clear Vinyl. shame's deluxe Drunk Tank Pink pulls back the curtain from the James Ford productions to reveal the entire album in an early demo form. The recordings are taken from the attic of bass player Josh Finerty's childhood home, where the band holed themselves up to commence writing. Paired with the fully formed album, the bonus LP is a fascinating and intimate insight into how the critically acclaimed record came to be.

The temptation to mythologize Bill Fay can be overwhelming; Fay was, fordecades, as prolific as he was under-appreciated. Fay's unsung-hero status has changedslowly, steadily, on the order of almost twenty-five years. With each new album comesnew hosannas and evangelizers _ Jeff Tweedy, Kevin...