Captured Tracks HHV Records 68 Items

2nd full-length features the same crisp John Lennon/Phil Spector era homegrown lush production that could have walked out of GeoffEmerick's mixing board in 1972, but with that peculiar Mac touch that's completely of right now.

This is the first official release of the 2015 fan favourite, limited to 5,000 copies worldwide, pressed on canary yellow vinyl.

In the summer of 2015, Mac DeMarco released "Some Other Ones", a collection of original instrumental recordings that DeMarco referred to as his "BBQ soundtrack", as a free digital download exclusively on Bandcamp. It was recorded in just 5 days at his home in Far Rockaway, Queens, about a year after the huge success of his third album "Salad Days" and just weeks before the release of the mini-LP "Another One". Originally released in conjunction with a barbecue DeMarco hosted to promote "Another One" and raise funds, "Some Other Ones" soon gained cult status and is now considered by his fans to be an important contribution to his beloved catalogue. Now, almost 10 years later and following the success of his last instrumental album "Five Easy Hot Dogs", "Some Other Ones" is finally being released as an LP.

10 Year Anniversary restrospective double LP collection including both "2" and "2 Demos" as well as an 8 Page Booklet containing new liner notes written by Mac. Mac DeMarco's debut full length, 2, released in 2012, cleaned up the songwriter's warped take on soft rock and brought it to a broader audience. Given DeMarco's affinity for keeping things lo-fi _ 2 was the first time he'd bothered to record demos _ it's revealing to hear these songs in their most embryonic form. The performances here are a little looser and the sound a little hazier than on the actual LP, lending an atmosphere of dreamy vulnerability, especially to ballads like "Annie" and the Lennon-esque "Sherrill." "It's tough to say which DeMarco is preferable: the swooning clear-eyed baritone of the last two songs or the unsettling deep-voiced emoter of the first eight. Really, I'm a fan of both versions -- the goofy creep and the straightforward crooner." - Pitchfork

Limited edition of 500 copies on clear vinyl.

Until recently, it was thought that we had heard all there was to hear from Saâda Bonaire. The German studio project's 1980s recordings had been compiled on the now cult-classic double LP Saâda Bonaire, released by Captured Tracks in 2013. Though the group had continued working until 1994, founder Ralph "von" Richtoven had firmly stated that all of their post-1986 work was lost. Released now for the first time ever, 1992 compiles the band's long-lost early nineties material. Produced between Bremen and New York City, the 12 songs presented here capture the group's attempts at steering their trademark fusion sound (reggae, afro-funk, Eastern music, and sultry German female vocals) into uncharted nu jazz, trip-hop, and house territories. It's no surprise, given both the time lapse and the fluid nature of the project, that these recordings differ sonically from the 1980s material. 1992 finds Saâda Bonaire folding new influences from the time (house, hip-hop, rap) into their eclectic sonic universe. Vocalist Andrea Ebert's soulful voice -the result of a church choir background and an early love of American soul and jazz music- offset Stephanie Lange's laid-back, more German-sounding vocals. This unique interplay bolstered the band's new direction - evident in their inspired takes on James Brown's "Woman" and Syreeta Wright and Stevie Wonder's "To Know You Is To Love You". The American influence was also made literal via contributions by renowned DJ Matthias Heillbronn and rapper Jimmy Lee Patterson, both of whom lent some stardust to the tracks at François Kevorkian's Axis Studios in NYC. Unfortunately, the demo recordings were considered too bizarre for 1990s record label standards, and as a result were never published. As with all things Saâda Bonaire, the discovery of these discarded recordings feels like a sort of magical impossibility. It's been nearly ten years since the release of the last compilation, and thirty since the recordings were originally captured. That they still manage to sound fresh and avant garde is a testament to Saâda Bonaire's flair for creating pop music for past, present, and future outsiders.

Highly anticipated sophomore LP from this Brooklyn-based band. A 17 song double album statement intended to resonate with its audience much in the same way that Bad Moon Rising or Tago Mago has for frontman Zachary Cole Smith himself.

Occupying the corners between fuzzed-out shoegaze bliss, troubadour poetry, and metallic catharsis, DIIV -- Zachary Cole Smith [lead vocals, guitar], Andrew Bailey [guitar], Colin Caulfield [vocals, bass], and Ben Newman [drums] __ personally inhabit the recesses of their third full-length album, Deceiver. A whirlwind brought DIIV here. On the heels of 2012's Oshin, the group delivered the critical and fan favorite Is the Is Are in 2016. Praise came from The Guardian, Spin, Rolling Stone and more. Pitchfork's audience voted Is the Is Are one of the Top 50 Albums of 2016, as the outlet dubbed it "gorgeous." Simultaneously, frontman Zachary Cole Smith faced down seemingly dormant demons, and the momentum stalled. Two years after embarking on a program of recovery, Smith has emerged with a clear head and renewed focus. For the first time, DIIV lived with songs on the road. During a 2018 tour with Deafheaven, they performed eight new compositions as the bulk of the set. The tunes progressed as the players did. By the time DIIV entered 64 Sound to record with producer Sonny Diperri, the band felt a certain confidence. It's evident on first single "Skin Game," which gallops forth on a clean guitar riff before unfolding into a hypnotic hook offset by an off-kilter rhythm and hummable solo. "Being a recovering addict myself," he says, "there are a lot of questions like, `Who are we? What is this disease?' `Skin Game' looks at where the pain comes from - the personal, physical, emotional, and broader political experiences feeding into the cycle of addiction for millions of us." A trudging groove and wailing guitar punctuate a lulling apology on the magnetically melancholic "Taker." For Smith, it's "about taking responsibility for your lies, their consequences, and the entire experience." Meanwhile, the ominous bass line and crawling beat of "Blankenship" devolve into schizophrenic string bends with the vitriolic lyrics. The seven-minute "Acheron" offers a dynamic denouement, flowing through a hulking beat guided under gusts of lyrical fretwork and a distorted heavy apotheosis. "We're proud of this, because we earned it as a band," Cole says. "I'm really happy and grateful just to do it in the first place. I can see the change. It's not a record full of solutions, but I'm living my life. I've examined the consequences of my lies; I've got something to say now."

Like the days of Steely Dan, Harry Nilsson or Prince releasing a classic every year (or less) comes Mac DeMarco’s Another One, a mini-LP announced almost one year to the date of the meteorically successful Salad Days. Conceived and recorded entirely by himself in a short period between a relentless tour schedule at his new place in Far Rockaway, Queens, Another One is eight, freshly written songs, expanding the arsenal of Mac’s already impressive catalog. There’s a bittersweet, romantic sensibility present. The overall feeling is lost love, or perhaps love never found, yet Mac embraces this without making it an overly somber experience for the listener. It’s at times haunting and warm, and a bit more refined and sophisticated, but still plenty playful, retaining the guts and soul of classic Mac.

A pioneer of the home recording movement, Linda Smith released several collections of delicate, bewitching solo music on cassette in the 1980s and 90s. The 2021 release of Till Another Time: 1988-1996, Captured Tracks' compilation of Smith's work, has helped bestow rightful critical acclaim to the ahead-of-her-time artist. Now, Captured Tracks dives deeper into Smith's catalog with the release of two full-length companion albums, Nothing Else Matters and I So Liked Spring, available for the first time on vinyl & streaming formats.Recorded at Smith's home in Baltimore in 1995, Nothing Else Matters chronicles the tension between the mundanity of daily life and the creative impulse: Traffic noises on the charmingly boisterous "Little To Be Won" showcase this levity, as does the addition of playful hand claps and a laugh track to her striking cover of Young Marble Giants' "Salad Days." I So Liked Spring, recorded the following year, saw Smith experimenting with the unique challenge of putting another artist's words to music. She'd come across a biography of the English poet Charlotte Mew and found her wistful poetry rife for musical interpretation. The songs on I So Liked Spring are delightfully unpredictable, full of upbeat melodies and spellbinding vocal harmonies. This is perhaps best showcased on the title track, one of Smith's most popular songs to date, a lovelorn anthem that recalls the airy melodies of early dream pop.Both of these albums showcase the mesmerizing charm of Smith's songwriting, often compared to the likes of the Velvet Underground and Laurie Anderson. Home recording technology has come a long way since Smith first began recording demos on her tape machine, but her influence reverberates through the work of today's bedroom artists. The release of these two essential albums seeks to further illuminate this connection, welcoming a new generation of listeners to the work of this trailblazing artist.

Nocturne, the critically acclaimed sophomore album by Wild Nothing, is a window into singer/songwriter Jack Tatum's "ideal world" of pop music. Written largely while living in Savannah, GA during 2011, the songs that became Nocturne blur the lines between Tatum's influences and personality. The album features some open references to past music just as his hit debut Gemini did, but it's also an album that feels much less rooted in anything in particular, and marks a distinct evolution in songwriting for Wild Nothing.Gemini was written before there were Wild Nothing fans or even a live band; Nocturne is different. With an unexpected new fan base to turn to, Tatum spent more time perfecting his craft. The obsessiveness of Nocturne is inherent in it's gentle harmonies, orchestrated synths, wandering voice, and songs that speak to his post-Gemini experiences as he explores new paradoxes of pop. And yet, Nocturne isn't obvious, it is a strange and distinctive musical beast, the product of an obsessive pop vision that creates its own reality.Over the past 10 years, Nocturne has distinguished itself as the quintessential Wild Nothing record, and includes catalog highlights "Shadow", "Paradise", and "Only Heather" - all of which have become dependable standouts in Tatum's live performance through the years.This 10th anniversary pressing is limited to 5,000 copies, pressed on blue marble vinyl, and includes brand new marble art inserts, expanded liners written by Tatum, and a 2022 moon chart.

The Brattleboro, Vermont trioThus Lovestand together, a bond ce-mented by their experience as outsiders looking in. For Thus Love,DIY is an ethos that reflects not only their musical vision but their veryexistence as three self-identifying trans artists. From the band's incep-tion,Echo Mars (she/her),Lu Racine (he/him)andNathaniel van Osdol(they/them)have lived together under the same roof, designed andproduced their own merch, and created their own recording studiofrom scratch. "I realize that most artists don't live this way," says Mars."But for us, it was never really a choice. The art we make is so tied towho we are and the community we're a part of, that this is the onlyway we can possibly do it."The band was just starting to regularly headline renowned localvenue The Stone Church when everything came to a screeching halt.Rather than idly wait, the band decided to take their future in theirown hands. Armed with nothing but YouTube videos and her innatecuriosity, Mars constructed a makeshift studio in their apartment, re-cording during odd hours when their next-door neighbors were outand about.Looking back now, Mars is glad the band decided to forge ahead. "Iobviously would never want to go through a pandemic again, but I'mpretty confident in saying that this album would not be coming outin 2022 if we hadn't had the forced downtime." Their resulting debut,Memorial, is a stunningly accomplished album. The hallmarks will beunmistakable to anyone who has ever obsessed over classic LPs fromindie and post-punk's progenitors-everything from the chiming,Marr-esque guitars on opener "Repitioner" to the pugnacious rhyth-mic punch on lead single "In Tandem". But even more impressive andexciting is how Thus Love manage to tap into this celebrated lineageto find their own unique voice and tell their own story.Ultimately, despite the many difficulties and setbacks, the story ofThus Love andMemorialis one of triumph. Of seeking meaning instruggle. Of embracing community and love. Of finding joy in The Brattleboro, Vermont trioThus Lovestand together, a bond ce-mented by their experience as outsiders looking in. For Thus Love,DIY is an ethos that reflects not only their musical vision but their veryexistence as three self-identifying trans artists. From the band's incep-tion,Echo Mars (she/her),Lu Racine (he/him)andNathaniel van Osdol(they/them)have lived together under the same roof, designed andproduced their own merch, and created their own recording studiofrom scratch. "I realize that most artists don't live this way," says Mars."But for us, it was never really a choice. The art we make is so tied towho we are and the community we're a part of, that this is the onlyway we can possibly do it."The band was just starting to regularly headline renowned localvenue The Stone Church when everything came to a screeching halt.Rather than idly wait, the band decided to take their future in theirown hands. Armed with nothing but YouTube videos and her innatecuriosity, Mars constructed a makeshift studio in their apartment, re-cording during odd hours when their next-door neighbors were outand about.Looking back now, Mars is glad the band decided to forge ahead. "Iobviously would never want to go through a pandemic again, but I'mpretty confident in saying that this album would not be coming outin 2022 if we hadn't had the forced downtime." Their resulting debut,Memorial, is a stunningly accomplished album. The hallmarks will beunmistakable to anyone who has ever obsessed over classic LPs fromindie and post-punk's progenitors-everything from the chiming,Marr-esque guitars on opener "Repitioner" to the pugnacious rhyth-mic punch on lead single "In Tandem". But even more impressive andexciting is how Thus Love manage to tap into this celebrated lineageto find their own unique voice and tell their own story.Ultimately, despite the many difficulties and setbacks, the story ofThus Love andMemorialis one of triumph. Of seeking meaning instruggle. Of embracing community and love. Of finding joy in rebirth.rebirth.

Mac DeMarco, formerly Makeout Videotape, is the anti-thesis to your stereotypical singer-songwriter. Disregarding the seriously somber moments, he replaces them with whimsical and youthful spontaneity, whilst retaining the endearing and subtle commentaries that exude his familiarity. Promptly after leaving his Edmonton garage for Vancouver he embarked on a North American tour accompanying fellow Canadians Japandroids on a grand voyage of enlightenment and alcoholic debauchery. DeMarco's a weird cat cultivating an affinity for occult imagery, nudity and social satire. But his most impressive trait is his undeniable and instinctual ability to compose magical pop jangles, of which he'll likely refer to as "jizz jazz". His dusted jams have garnished him accolades that are as ever-increasing as his song writing abilities; his sound rendering comparisons, but in a nomadic fashion alluding no distinct origin. DeMarco's debut solo EP entitled "Rock And Roll Night Club" will ramble into the great unknown guided by Captured Tracks, DeMarco's inner Elvis a tow.

With Plum, the songwriting partnership rooted in the creative rapport between bandleader Molly Hamilton and guitarist Robert Earl Thomas continues to expand on shared visions, delving deeper into what was always there: dusty guitars, ear-worm melodies, warm expansive arrangements. Each entry to their catalog has marked a subtle reimagining of Widowspeak's sound, though perennial points of reference remain the same: 90's dream pop, 60's psych rock, a certain unshakeable Pacific-Northwestness. Speaking to the timeless feeling of each, the albums continue to be discovered well beyond their respective PR cycles, made beloved by new listeners through word of mouth.The band's fifth album feels comfortable and lived-in: humble in structure, heavy on mood. Perhaps that came taking time off from the touring grind, instead working full-time jobs and settling into the rhythm of daily life in a small upstate New York town. Plum was recorded over a handful of weekends last winter by Sam Evian (Cass McCombs, Kazu Makino, Hannah Cohen) at his Flying Cloud studio in the Catskills, and was mixed by Ali Chant (PJ Harvey, Aldous Harding, Perfume Genius). In addition to Hamilton (vocals, guitar) and Thomas (guitars, bass, synth), it features instrumental contributions by Andy Weaver (drums), Michael Hess (piano), and Sam himself (bass, synth). Plum nestles into the band's canon like it was always there, but with new textures coming to the fore, like the polyrhythmic pulse of "Amy" and "The Good Ones", or the watery, Terry Riley-influenced track "Jeanie"Plum navigates the spaces between the lesser emotions of modern life. Hamilton's lyrics speak to the unique turmoil of anyone who creates as their work, who must somehow survive off such "fruits of their labor." Yet, Widowspeak have always made a bitter pill much easier to swallow. The majestic "Breadwinner", the luminous "Even True Love" - these songs here were made to be listened to, enjoyed. "Money" is particularly hypnotic, built around a repeating, cyclical motif that serv...

First Vinyl Reissue Of Martin Newell's Second Solo Album Limited To 1000 Copies On White Vinyl Released In Celebration Of The Upcoming Documentary "The Jangling Man: The Martin Newell Story" //A Cheeky Riff On The Beatles' White Album, Cleaners From Venus Frontman Martin Newell's Second Solo Album From 1995 Is A Sophisticated Follow-Up To The Critically-Acclaimed The Greatest Living Englishman. Produced By Él Records Fixture Louis Philippe And Featuring Xtc's Dave Gregory On Guitar, It's A Vivid Snapshot Of Newell's Life With A French Chanson-Inspired Ease.A Longtime Fan Of French Music, Newell Sought A Gallic Quality On This Record - With The Vocal Riding At The Top Of The Mix, Rather Than Blurred Under Indie Rock Guitars, As Was Common At The Time. Philippe Was Happy To Oblige. The Effect Is A Clarity Of Both Form And Content - On "Arcadian Boys," Newell's Impassioned Voice Careens Over A Heartbreaking String Quartet (Arranged By Philippe Himself) As He Wonders What's Become Of Those "Too Late For The Sun." It's A Much More Emotional Take On The Song Than The Guitar-Laden, Uptempo Version That Appears On The Cleaners From Venus' My Back Wages. But The Off White Album Doesn't Dwell Too Long In Solemnity - It's Still A Martin Newell Record, After All. His Classic Wit Is On Full Display, Whether He's Putting An Irreverent Spin On The Smiths ("Some Girls Are Bigger Than Others") Or Fondly Warning A Neighbor To "Watch Your Chemicals, Girl" ("The Girls In The Flat Upstairs").A Rich Cast Of Characters Make Up The Off White Album, Via Both The Process Of Its Recording And The Subjects Of Its Songs. It's A Record Born On The Road, Inspired By Newell's Experiences Travelling Through Europe And Asia The Year Of Its Inception. Perhaps The Clearest Portrait That Emerges As The Album Draws To A Close, However, Is One Of Newell Himself: As Poet, Coffee Shop Customer, Bandleader, Lover And Neighbor. By His Own Admission, The Off White Album Is "A More Intimate Portrait Of My Life At That Time Than I'd Intend...

Since the release of their debut studio album Do Hollywood (on 4AD) in 2016, The Lemon Twigs_the New York City rock band fronted by brothers Brian (27) and Michael D'Addario (25)_have waved the same revivalist torch as Alex Chilton and his Big Star crew, working to prove that archaic music from the `60s and `70s can still be relevant in digital world. Alongside peers like Foxygen and Drugdealer, The Lemon Twigs have explicitly documented a synchronistic blend of contemporary narrative motifs, old-school recording techniques, and flawless, consistent attitudes collaged from various crucial stages of rock 'n' roll. After a whirlwind 2023, the D'Addarios are continuing the momentum of their own evolving vision and voice, distilling a history lesson of baroque and power pop into A Dream Is All We Know (out May 3 on Captured Tracks).Garnering the top-to-bottom critical acclaim the brothers have long deserved, their 2023 LP Everything Harmony was spearheaded by an impressive string of singles, including "Corner Of My Eye" and "Any Time of Day." It was the kind of record that put all of Brian and Michael's talents on display, be it the former's multi-instrumentalist gifts or the latter's boyish, explosive pop-rock charisma and eye for engineering and vocal layering. But A Dream Is All We Know is not the acoustic, nylon string-based project that Everything Harmony was. Instead, it's a return to the form the Lemon Twigs first introduced on Do Hollywood_an electric guitar-centric, anthemic assemblage of, really, everything the band does great. These two companion records are an immediate example of a band capitalizing on their fire-in-the-belly appetite to make tunes that boast ubiquitous chemistry.A Dream Is All We Know is grandiose yet grounded; meticulous, yet wild and glowing. Made with analog precision, the album was finished in the immediate months after the band completed Everything Harmony during a vibrant, prolific period split between three studios on separate coasts. A Dream Is All We Know is a profoundly...

There's freedom to be found in consistency. Until recently, Juan Wauters may not have agreed with this statement. As a touring musician and multinational citizen, transience had always come naturally to him. Circumstance, however, recently prompted him to reconsider the benefits of staying in one place. His most introspective work to date, Wauters' sixth solo album Wandering Rebel finds the artist taking stock of how he's changed, how the world sees him, and what he wants out of life. Written mostly during an extended break from touring, the songs on Wandering Rebel are candid reflections on subjects like career ("Wandering Rebel"), romantic commitment ("Amor Amor"), mental health ("Nube Negra") and the personal toll of touring ("Let Loose"). On "Modus Operandi," he voices his frustration with New York's fairweather residents, who fled the city at the onset of the Covid-19 lockdown. Vocal contributions from fellow New Yorker Greta Kline (Frankie Cosmos) add to the chorus of playful disapproval. On the singalong-worthy "Millionaire," he turns his eye to the west coast: "It's hard to get around Los Angeles / If you don't have a car / I'm staying in a privileged part of town / It's suspicious for me to be walking." The clarity with which Wauters approaches these subjects lyrically is reflected in the music as well. His trademark eclecticism is still present (fans of Real Life Situations' spirited hip-hop should look to track 6, "Bolero"), but it's more refined this time, anchored in his signature Latin-influenced indie folk. Wandering Rebel is peppered with delicate additions that add depth throughout: rain sounds and hand drums on "Nube Negra," a strings section on "Modus Operandi," a gentle vibraphone on "Amor, Amor." Some of these are classic Wauters touches, but others are owed to outside influences, like production from Brooklyn-based Carlos Hernandez (Ava Luna, Carlos Truly) and Brazilian indie artist Sessa, as well as vocal contributions from Kline, Luz Elena Mendoza (Y La Bamba), Zoe Gotusso, and Super Willy K. Throughout Wandering Rebel, Wauters attempts to reconcile the stability he's come to enjoy with the nomadic restlessness that's characterized his life thus far. In the end, though, it's the interplay of both of these elements that makes the album so strong.

Kate Fagan took the Chicago punk scene by storm in the early 80's with her self-released single "I Don't Wanna Be Too Cool", which became the best-selling single ever by a local artist at the legendary Wax Trax! Records. Today, Captured Tracks is thrilled to present an expanded, re-mastered edition of I Don't Wanna Be Too Cool as a full-length vinyl album. Fagan wrote "I Don't Wanna Be Too Cool" after moving to Chicago from New York in the late 70's. The track is a critique of the emergent "hipster" attitude of the disco crowd and the posturing she was witnessing among her peers in New York. With its surf-inspired drum machine, irresistible melody, and defiant lyrics, "Too Cool" was immediately embraced by club DJs, radio stations, and independent record stores. Its b-side, "Waiting For The Crisis," also gained notice for its raw musical style and politically charged Reagan-era lyrics, which still resonate today. In the years that followed, Fagan continued to break new ground In 1980, she co-founded the enormously popular ska band Heavy Manners (whose dance parties are still legendary), and with them opened shows for The Clash, Grace Jones, Peter Tosh, The English Beat, and many more. The "Too Cool" single became a sought-after rarity among record collectors for decades after its initial release, until Manufactured Recordings gave it a proper reissue in 2016. Captured Tracks' expanded 2023 follow-up features four unreleased songs, which encapsulate the gutsy, new wave energy that pulses through the original single. The final track, the reggae-tinged "Say It", features production from the reggae legend Peter Tosh and Bob Marley's guitarist Donald Kinsey, who flew in from Jamaica to record with Heavy Manners after witnessing their impassioned live show. While the 2016 reissue re-established Fagan's cult-classic status for a new audience, this new expanded release solidifies her place in a tradition of trailblazing, powerhouse frontwomen.

Red vinyl!

"Home" is a tough thing to pinpoint for someone who's constantly in motion. Scout Gillett knows this well, but since relocating from Kansas City in 2017, she's found one in Brooklyn's DIY scene, playing in multiple live bands and even starting her own booking company to organize local shows. Her intrepid nature results from a childhood spent running barefoot through rural Missouri and coming of age in Kansas City's punk scene. Her debut solo album no roof no floor is a bold and spirited yet warm, intimate meditation on trust, surrender, and what makes a home. Following the sudden overdose of a lover in 2018 and the onset of the 2020 quarantine, Scout returned to Missouri in search of reprieve. Instead, she was dismayed to find that her hometown was suffering; friends and family members were caught in the grips of drug and alcohol addiction. Overcome by grief and helplessness, she retreated inward, channeling her fears and frustrations, as she always had, into songwriting. The resulting songs were more vulnerable than any of her prior work, and it was a while before the notion of sharing them even occurred to her. Then Nick Kinsey, the album's producer, called from his recording studio The Chicken Shack in Stanfordville, New York to tell Scout that his friends Ellen Kempner (Palehound) and David Lizmi (MS MR) had relocated upstate, and were interested in working on an album with her. Recorded in a big wooden barn with the doors wide open, there's a sense of spaciousness on no roof no floor befitting its title. On some songs, there are even audible cricket chirps. The arrangements, too_ which feature contributions from Kempner, Lizmi, and Kevin Copeland (The Big Net)_reflect Scout's rural roots and her indie spirit; a fusion of upbeat, guitar-driven melodies and folk/country instrumentation like pedal steel, harmonica, and tenor banjo. All of these elements are underpinned by Scout's signature soaring, velvet vocals and open- hearted lyricism. She arrives at her thesis on the haunting six-minute centerpiece "hush, stay quiet": "you can only save yourself," she muses over a resolute guitar. We can't always know what to expect, even in a place we've been before. With a little trust, though, we can find a safe place within. No roof required.

Clear vinyl, limited to 500 copies.

10th Anniversary deluxe edition · Includes original Oshin demos & previously unreleased live cuts.
Includes reprospective booklet with archival photos, reflections from each bandmember, and new expansive liners by Shaad D'Souza // On June 26 2012, Diiv released their seminal debut record, Oshin. The album received critical acclaim from Pitchfork granting it "Best New Music," NME ranked it in the Top 10 among its "Albums of the Year," and it positioned Diiv as a central influence on the sound and aesthetic of the 2010s Brooklyn indie music scene. Beginning in 2011 as the nom-de-plume of Z. Cole Smith, musical provocateur and frontman of the atmospheric and autumnally-charged four-piece, Diiv created instant vibrations in the blog-world with their impressionistic debut single "Sometime." Diiv craft a sound that is at once familial and frost-bitten. Indebted to classic kraut, dreamy Creation-records psychedelia, and the primitive-crunch of late-80s Seattle, the band walk a divisive yet perfectly fused patch of classic-underground influence on their debut LP. To commemorate the 10th anniversary, this limited edition 2xLP combines the Oshin tracklist with the original Oshin demos recorded by Smith, and two live cuts recorded at storied Brooklyn DIY venue Shea Stadium - including the never before released "Yuk". The expansive packaging includes a craft paper die-cut widespine housed in a clear printed PVC sleeve, vinyl pressed on blue marble (to commemorate the very first limited edition pressing of Oshin on Captured Tracks), a Diiv "Fuck The World" poster, and a retrospective booklet with archival photos, reflections from each bandmember, new writing from the original "Oshin" poet, Madeline Jones, and exanded liners by Shaad D'Souza.

Canadian songwriter and producer Jeremy Haywood-Smith needed an escape from his state of mourning when he began working on Slingshot, his most recent LP as JayWood. After the loss of his mother in 2019, and a global standstill with multiple social crises throughout 2020, Haywood-Smith yearned for some forward momentum. "The idea of looking back to go forward became a really big thing for me _ hence the title, Slingshot." Feeling disconnected from his past and ancestry after the death of a parent, Haywood-Smith made a conscious effort to better understand his identity and unique Black experience living in the predominantly white province of Manitoba. Merging fantasy scenarios, personal anecdotes, and infectious pop and dance instrumentals, Slingshot is a self-portrait of JayWood at his surface and his depths. Musically, Slingshot reaches into sounds and styles Haywood-Smith has continued to explore throughout his catalog. "I think I made a really big deal to not pigeonhole myself," he explains. "Whatever is inspiring me at one point will work it's way into whatever I'm creating." Slingshot is an amalgamation of Haywood-Smith's many musical sensibilities, achieved with help from a crew of talented peers. Haywood-Smith wrote and performed a bulk of the track's instrumentations, but the LP has notable appearances from Canadian contemporaries Ami Cheon (on "Just Sayin") and Mckinley Dixon (on "Shine.") The album's penultimate track, "Thank You," was co-produced with Jacob Portrait of Unknown Mortal Orchestra. The song brings JayWood's sound full circle, offering something reminiscent of Haywood-Smith's earliest recordings, while flaunting that "The best is yet to come."

Until recently, it was thought that we had heard all there was to hear from Saâda Bonaire. The German studio project's 1980s recordings had been compiled on the now cult-classic double LP Saâda Bonaire, released by Captured Tracks in 2013. Though the group had continued working until 1994, founder Ralph "von" Richtoven had firmly stated that all of their post-1986 work was lost. Released now for the first time ever, 1992 compiles the band's long-lost early nineties material. Produced between Bremen and New York City, the 12 songs presented here capture the group's attempts at steering their trademark fusion sound (reggae, afro-funk, Eastern music, and sultry German female vocals) into uncharted nu jazz, trip-hop, and house territories. It's no surprise, given both the time lapse and the fluid nature of the project, that these recordings differ sonically from the 1980s material. 1992 finds Saâda Bonaire folding new influences from the time (house, hip-hop, rap) into their eclectic sonic universe. Vocalist Andrea Ebert's soulful voice -the result of a church choir background and an early love of American soul and jazz music- offset Stephanie Lange's laid-back, more German-sounding vocals. This unique interplay bolstered the band's new direction - evident in their inspired takes on James Brown's "Woman" and Syreeta Wright and Stevie Wonder's "To Know You Is To Love You". The American influence was also made literal via contributions by renowned DJ Matthias Heillbronn and rapper Jimmy Lee Patterson, both of whom lent some stardust to the tracks at François Kevorkian's Axis Studios in NYC. Unfortunately, the demo recordings were considered too bizarre for 1990s record label standards, and as a result were never published. As with all things Saâda Bonaire, the discovery of these discarded recordings feels like a sort of magical impossibility. It's been nearly ten years since the release of the last compilation, and thirty since the recordings were originally captured. That they still manage to sound fresh and avant garde is a testament to Saâda Bonaire's flair for creating pop music for past, present, and future outsiders.

Juan Wauters' fifth solo album, Real Life Situations, is a multifaceted ode to surrendering control and taking life as it comes. References to radio abound on its 21 tracks, and with good reason - the album spans genres, narrators, languages, and perspectives with the ease of spinning a rotary knob. Mining older songs, phone notes, new material, and snippets from TV and YouTube, Wauters has crafted an aural document of the year through his eyes.Despite the circumstances of its creation, Real Life Situations is not a quarantine record. In many ways it's the opposite of one, taking togetherness as both its subject and its primary medium. Pre-lockdown collaborations with Mac DeMarco, Peter Sagar (AKA Homeshake), Nick Hakim, Cola Boyy, El David Aguilar, and more playfully offset Wauters' more pensive solo tracks, and even in its sparest moments the album pulses with life. This is due in part to an impressive array of interludes and samples, most of which are field recordings that Wauters collects on his phone, ranging from the innocuous ("A Peter Pan Donuts Conversation") to the intense ("Crack Dabbling"). Under his care, these small moments become coordinates for the peaks and valleys of human experience, coloring the album with Wauters' unique shade of realism. "Some people think I'm an optimist", he explains, "but I'm not. I'm always seeing all sides of things."Of course, Wauters himself never disappears in the boisterous crowd -...

Reptaliens are ready to be direct. After exploring surreal realms of high-concept synth-pop across two acclaimed albums, the Portland, Oregon, duo gained newfound clarity in a stark, grounded approach. That may seem unexpected for such a colorful act_known for heady lyrics about conspiracy theories and transhumanism_but Cole and Bambi Browning have streamlined to the lean, propulsive essentials on their self-produced new LP, Multiverse.Shelving the dreamy synths altogether and working without their other bandmates due to lockdown, Reptaliens reset, picking up their guitars and emphasizing the catchy attack that's been there all along. Drawing inspiration from the spontaneous energy of the '90s alternative canon, the pair hit a surge in momentum after a casual-turned-revelatory listen to Jane's Addiction's 1990 classic "Been Caught Stealing." Without even aiming to make a Reptaliens song, they wound up penning the set's lead single "Like a Dog," a sun-soaked groove-bomb that's blissfully unencumbered by sonic baggage.Across their first two albums Reptaliens established themselves as dedicated dreamers and deep thinkers, filling their wooly, homespun synth-pop with meditations on outré science fiction and philosophy. By contrast, Multiverse brings those lyrical concerns closer to home while the music takes a jangle-prone timeless form of subtly psychedelic guitar-pop, finding occasional dark cul-de-sacs but ultimately tending toward the light and breeze.With mixing duties divided between Mikaelin "Blue" Bluespruce (Solange, Blood Orange) and Ross Brown from Kansas City bands Shy Boys and Fullbloods, Multiverse is a crisp pop record packed with surprising flourishes, from the crunchy chorus of "I Can't Hide" to the smoky, serpentine guitar solo on "Jump." Striking out into refreshing new directions at every turn, Multiverse indeed feels like a symbolic crossroads. And one that only yields more possibilities with each visit.

Remastered and released for the very first time! Blue & Transparent Tan vinyl - limited to 1000 copies Riyl: Kids In The Hall, Devo, Butthole Surfers, Ween, John Waters, Yoko Ono Mouth Congress - friends Paul Bellini and Scott Thompson of Kids In The Hall fame - wrote and recorded hundreds of songs in the 0s without ever putting out a proper release. Alongside various cohorts and conspirators, the band drew on their experiences as gay men to craft hilariously crude punk songs that run the gamut of strange characters and taboo subject matter. Their rag tag approach to songwriting blended various styles from noisy punk to lo-fi new wave and DIY disco, all with a very gay bent. Without trying, they were surprisingly cutting edge. Mouth Congress did dozens of live shows through the mid-80s that gained a reputation for being theatrical, combining props, sets, multiple costume changes, unusual song choices, guest stars, and Scott's stand-up comedy. In 1988, they recorded a 7-song demo tape. The tracks were recorded quickly, as the Kids in the Hall were about to go to New York City to develop their material. Then, caught up in the excitement of the Kids in the Hall being signed to television, Mouth Congress activities slowed to a crawl. In 2011, Paul dug out an old VHS tape of one of the live shows. The sight of one of the Kids in the Hall covered in sweat, writhing on stage like Iggy Pop, was something he felt comedy fans might enjoy seeing. Naturally, Scott agreed and they uploaded everything - over 600 recordings - onto Bandcamp. One day in 2019, Mike Sniper of Captured Tracks stumbled upon the Bandcamp page, got in touch, and suggested assembling a compilation of the best recordings to be officially released for the very first time. Waiting for Henry is a collection of 29 tracks over 2 LPs with a booklet of interviews and ephemera from one of the 0s last queercore bands.Who is Henry? We don't really know, but we certainly hope he shows up soon.

Molly Burch Was Exposed To The Arts At An Early Age. Growing Up In La With A Writer/Producer Father And A Casting Director Mother, Burch's Childhood Was Filled With Old Hollywood Musicals And The Sounds Of Patsy Cline, Billie Holiday And Nina Simone. After Finding Her Voice In Adolescence, Burch Packed Up For The Unc In Asheville To Study Jazz Vocal Performance. "I Was Always Really Interested In Singing Before Songwriting. I Didn't Always Have The Confidence To Write," Molly Says, "Initially It Was More About Finding The Right Songs To Complement My Voice." And That Voice Is The First Thing You'll Notice On Burch's Debut Album. It's Smoky, With An Incredible Range, Evocative Of Her Influences. Searching For A Bigger Pond, Burch Moved To Austin, Texas. There, She Began To Write Her Own Music In Earnest, With The Lovelorn Everly Brothers And Sam Cooke As Her Guides. Motivated By An Hourly Studio Rate, Burch Recorded All Basic Tracks And Vocals Live In One Ro Om And In One Day, With Minimal Overdubs Happening Later. A Difficult Task For Any Talented Musician, It Becomes More Mind-Blowing When You Hear Her Belt It On Tracks Like "Downhearted" And "I Love You Still."

After a four-year hiatus exploring ambient and meditation music, Danish multi-instrumentalist Anders Rhedin has returned to his indie roots. Dream Work, his third album as Dinner, is a lush collection of synth and guitar-laden indie pop that expertly channels Ryuichi Sakamoto, early British indie, and the sound of water. Like most worthwhile pursuits, the path to Dream Work hasn't been straight. After signing to Captured Tracks in 2014, he released a series of synth-based avant-pop albums and toured the world with the likes of Mac Demarco, Sean Nicholas Savage, Prince Rama, and King Gizzard, all while splitting his time between Berlin, LA and his native Copenhagen. This whirlwind period ended when, following the release of 2017's New Work, Rhedin relocated to Copenhagen and took a step back from the Dinner project in order to explore his long standing personal interest in ambient production and guided meditation. Over the last few years, he's released a series of ambient releases under his own name geared towards meditation, sleep, and relaxation. He's also led live guided sound baths and meditations at art museums, churches, and rooftops all over the world. The time away proved fruitful - returning to the Dinner project with fresh eyes, Rhedin sought not to reproduce his previous style, but rather to integrate these two components of his body of work. As a result, Dream Work sounds at once classic and entirely new; a deft balance of Rhedin's trademark electro-pop with the meditative and organic elements of his ambient work. From the melancholy acoustic guitar and downtempo synth melody of "Spirit Voices" to the ethereal refrain on "Connection", Rhedin washes his pop songwriting in dark, dreamy textures. These textures lend cohesion to the far-reaching collection - Dinner effortlessly floats from Stereolab-like electric guitar ("Anima") to twinkling synth-pop ("Midnight In My Head") to fluid ambient ("Drom") in the span of just 34 minutes. Contributions from labelmates Molly Burch and Charlie Hilton as well as Lina Tullgren, Nicolai Koch help bolster this quality: much like Rhedin himself, Dream Work feels well-traveled even when it's standing in place.

Romantic Images, Molly Burch's third album, marks a distinct evolution for Burch, both emotionally and sonically. Recorded in Denver with Tennis' Alaina Moore and Pat Riley producing, the collection celebrates the timeless delights of a well-crafted pop song, flirting with Blondie, Madonna, and even Mariah Carey as it forges a joyful soundtrack to liberation and self-discovery. Burch deliberately worked with more women collaborators than ever before on the album, and the results are transcendent, reveling in the passion and the power of the divine feminine. The collection prioritizes ecstasy and escape, and Burch's commitment to collective catharsis in her lifted, airy delivery manages to exude both thoughtful introspection and carefree abandon all at once. The shadow still lurks on the album, to be sure, but the light ultimately wins, and the result is an intoxicating collection all about coming into our truest selves. When it came to mixing and mastering the material, Burch put her faith in Gloria Kaba (Lauryn Hill, A Tribe Called Quest), Mikaelin "Blue" Bluespruce (Solange Knowles), and Heba Kadry (Bjork, Beach House) to truly understand where she was coming from with the music. Burch designed the record to mirror the emotional journey that went into creating it, sequencing the music to work its way from jittery indecision to poised certainty over the course of ten mesmerizing tracks. Exhilarating opener "Control" takes a leap of faith as it learns to make peace with letting go, while the infectious "Heart Of Gold" grapples with wanting what you can't have. By the time the silky "New Beginning" rolls around, Burch begins settling into a newfound sureness that dominates the collection's second half, with the addictive "Emotion" (a collaboration between Burch and her Captured Tracks labelmate Wild Nothing) celebrating a spectrum of emotions as fuel for creativity. "I've written quite a bit about anxiety and heartbreak in the past," Burch reflects, "but this record is more inspired by confidence and self-love. This is the most me I've ever sounded on an album."

North America's Answer To The Legendary Uk C86 Compilation Includes An 80+ Page Booklet With A Comprehensive Oral History Of The American Jangle Pop Scene And Tons Of Photos And Ephemera //Strum & Thrum: The American Jangle Underground 1983-1987 Is The First Volume Of Captured Tracks' New Venture Into Compilations - Excavations.Inspired By Pebbles, Killed By Death, Soul Jazz And Numero Group Compilations, Excavations Is A Series Dedicated To Compiling Forgotten Music From The 1970s - 1990s That Has A Connection To Captured Tracks' Sound And Aesthetic. Much Like The Cleaners From Venus, The Wake, And Saäda Bonaire Reissues We've Put Out, Excavations Releases Will Bridge The Past To Our Current Roster And Showcase The Kinds Of Sounds That Inspire Us.It Makes Sense That The First Volume Of Excavations Is Strum & Thrum. As An American Label, We've Often Wondered Why British, Aussie, And Kiwi Indie Rock From The `80s Has Had The Most Influence On Modern Acts And The Collector's Market. Granted, The Music Released On Creation, Sarah, Cherry Red, Postcard, Flying Nun, Et Al. During That Era Was Fantastic, But A Parallel To This Sound Existed In The Us And Canada As Well. Outside Of Bands Like R.E.M., The Rain Parade, The Dream Syndicate, And A Few Others, Most Of These Bands Received Little Attention From National Or International Press Outlets And Markets - Unless They Opted For A "Big `80s" Sound And Signed To A Major. The Acts On This Compilation Are The Antithesis Of That, With A True Diy Spirit That Lead Many Of These Bands To Self-Record And Self-Release Within Tiny Local Scenes In Small Cities And College Towns Across America.Though Hardcore Dominated The American Underground At The Time, The Indie Scene Was No Less Vital And Operated Utilizing Many Of The Distribution Channels Hardcore Set Up. The Two Genres May Have Sounded Nothing Alike, But The Diy Ethos And Dedication To Community Was The Same_ But This Isn't The Story We're Used To Hearing. While Noted Underground Archivist And Com...

Mourn knows quite a bit about setbacks, but a latent belief persists within: the negative will eventually become positive. It's the belief in the wonder of resilience. It's the name they chose for their new album: Self Worth. The band isn't the same as when they formed. The world isn't either. Mourn grew up, and that's evident in the songs that make up Self Worth. Their melodies - energetic and captivating - venture into less level grounds, and their lyrics show a newfound readiness to tackle issues of a different weight and size. "Men" is lyrically patent proof of this growth, and their heightened consciousness as women. A revealing song, necessary and deliberately uncomfortable. A beautiful melody of war against patriarchy; the impulsive rescue of the riot grrrl. Certain needs stand out through the album: leaving behind abusive ties, externalizing the interior noise. "We talked a lot about getting out of toxic situations - not resigning ourselves to that, not enduring that anymore. The songs are like flags to stand up and say: `we are done.'" Just as "Stay There" draws a limit and "Apathy" spits truth in your face, "Call You Back" seems to paint that instance in which love paralyzes, and "I'm In Trouble" turns exasperated voices into machine guns. Punk assault with a clear message: the body speaks when the mind is not well. Mourn is an enclave of post-teens dealing with the dilemmas of adult life. "This album gave us what we needed: self-worth, the desire to go forward, to love ourselves, with everything, with the good and bad. This album empowers us."

On this collection of holiday songs, Austin chanteuse Molly Burch does Christmas with a twist. Quite an omnibus, the album features classics like "I'll Be Home for Christmas" and "Auld Lang Syne" alongside heartland hits like "Hard Candy Christmas" and "Snowqueen of Texas". "This is the most fun I've had making a record yet," Burch says. And you can hear that joy on tracks like ABBA's "Happy New Year" as well as a playful cover of Wham's "Last Christmas" with two special guests: actor / comedians John Early (Search Party, Wet Hot American Summer) and Kate Berlant (Sorry to Bother You) add a blithe intro and backing vocals throughout. Recorded by Will Paterson (RF Shannon, Jesse Woods) and Jarvis Taveniere (Woods, Martin Courtney, Purple Mountains), the album also features two beautiful originals penned by Burch to add to your holiday canon. "I hope it's a Christmas album for people who love Christmas music and people who don't love Christmas music. May these songs welcome in a fresh new year and many warm, happy nights."

Year Of The Witch was born in transit. In the interest of self-sufficiency, HXXS - aka Jeannie Colleene and Gavin Neves - initially recorded their debut album during a six month tour spent living out of their van. When inspiration struck (and it did so often), they'd record in parking lots, hotel rooms, laundromats - anywhere they happened to pull over. What emerged from these pit stops, strangely enough, was an album about moving forward. As with much of the art created in the wake of the 2016 presidential election, Year Of The Witch sizzles with the fresh sting of political anguish. Instead of firing off platitudes about a nation divided, however, Neves and Colleene choose to look inward at how this divide affects familial relationships. On "Hard To Tell," the duo sing, `it runs in the family, and they spread it all over, like forest to fire'. Like the California wildfires that were a fixture of their childhood - Neves is from San Jose and Colleene hails from Bakersfield - beliefs are inherited passively, and have equal capacity for destruction. And while the political climate of the time is a palpable force, the album remains anchored, always, in the personal. "I'm not asking for sympathy," they sing - with the help of TV On The Radio's Kyp Malone - "cut loose these ties." Year Of The Witch finds HXXS rifling through the ashes, working to salvage the roots.The concept of rebirth isn't just a theme on the album, however, it's also part of the process that created it. Back in 2017, after their initial roadside recordings were complete, the hard drive containing them was stolen. HXXS were forced to re-record the entire LP on a time crunch, largely from memory. But necessity bred invention, and this loss created a sense of sonic urgency that only strengthens the tracks. The result is a sonic roadmap to resilience: electronic noise punk for the fake news generation. Built on haunting loops and frantic, insistent vocals, YOTW navigates uneasiness with razor-sharp precision. There is anger, to be sure, bu...

Brandon Williams' second full-length record as Chastity, Home Made Satan, is a new direction for the Whitby, Ontario-native. It's an emotional and political concept album from the perspective of a young man who's spent too much time alone, inside, isolated from the world. It's about fear, and radicalization; an intense meditation on youth and extremism in an increasingly irrational and violent Western World.Williams, who produces all his own music, set out to create something with a strong cinematic nature. "It's so visual to me," he says. "I'm scoring this picture I have, and trying to get it as close to people's ears as it is in my mind."The new songs are gothier and poppier than ever, recalling `80s staples like The Cure and Siouxsie and the Banshees. Home Made Satan's got "a bit more eyeshadow" than 2018's genre-bending shoegaze-meets-post-hardcore Death Lust, and it's got pop-punk hooks for days. Home Made Satan, with its lines about commies and American masochism and the Christian right, is meant to sing along to.And when you do, you'll mostly be singing about America. About hyper alienation and xenophobia, about the people who don't have access to community, how people get stuck in their own worlds and become afraid of what's outside. "It constantly feels like America is falling apart," Williams says, and that affects the whole world.