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Cloud Nothings - The Black Hole Understands
Cloud Nothings
The Black Hole Understands
LP | 2020 | US | Original (Carpark)
20,99 €*
Release:2020 / US – Original
Genre:Rock / Indie
Preorder available from 11.12.2020
Prolific Cleveland indie rock outfit Cloud Nothings return with new album, The Black Hole Understands, the latest in their extensive and celebrated discography. Written and recorded during the first months of the Covid-19 pandemic, The Black Hole Understands is “a record born of this early quarantine anxiety and confusion,” according to vocalist/guitarist Dylan Baldi.

About a month into quarantine, Baldi and drummer Jayson Gerycz started sending files back and forth, with guitars, bass and vocals tracked in Philadelphia and drums and mixing undertaken in Cleveland. This remote recording process presented a new set of restrictions for Cloud Nothings, completely removing the element of interactive jamming and tightening the production around a set of streamlined summer pop songs.

Every Cloud Nothings record, from their 2010 debut Turning On through to 2014’s Attack On Memory and 2018’s Last Building Burning, has had its own distinct feel. But The Black Hole Understands eschews the noisy thrash and improv tendencies that emerged on later albums, in favor of dreamy, poppy vocals that float over fast, jangly songs. With clean hooks and uncluttered arrangements (a synth overdub from Bee Mask's Chris Madak is the album's only guest feature), the songs on The Black Hole Understands are the kind of concise, hook-heavy blasts the band was churning out in their earliest days, albeit a little more distant and weary.

Hyper-melodic and high-energy, The Black Hole Understands also shows a restraint that fits with the strange times that it was born of, carrying a sense of melancholy and cautious optimism that mirrors the restless dread of life on lockdown.

“Despite being recorded in an era of unthinkable instability, it is the most assuredly melodic Cloud Nothings has sounded in years.” - Pitchfork, 7.5/10

“Though much of lockdown has felt like the walls are closing in, the joyous ‘The Black Hole Understands’ sees Cloud Nothings help us feel like we can bust right through them into a brighter future.” - NME
Toro Y Moi - Outer Peace Black Vinyl Edition
Toro Y Moi
Outer Peace Black Vinyl Edition
LP | 2019 | US | Original (Carpark)
18,99 €*
Release:2019 / US – Original
Genre:Pop
“This record is a response to how disposable culture has become and how it affects creativity,” Bear said in a press release. “While listening, you might pay attention or ignore—either way that's ok, this is music for a creative mind.”

Features include Abra, Wet. and Instupendo.
Toro Y Moi - Boo Boo
Toro Y Moi
Boo Boo
2LP | 2017 | US | Original (Carpark)
21,99 €*
Release:2017 / US – Original
Genre:Pop
“After 7 years of touring & recording, I found myself becoming self conscious about my position in life as a “famous” person, or at least my version of whatever that is. My dreams had become my reality, yet I was somehow unable to accept this new environment. I couldn’t help but fall into what might be described as an identity crisis. During this time of personal turmoil, I turned to music as a form of therapy. I’d listen to the same ambient song over & over again, trying to insulate myself from reality. I fell in love with space again."
Toro Y Moi - Live From Trona
Toro Y Moi
Live From Trona
2LP | 2016 | US | Original (Carpark)
26,99 €*
Release:2016 / US – Original
Genre:Rock / Indie
Following extensive touring behind What For?, his fourth studio album as Toro Y Moi, acclaimed musician Chaz Bundick brought the band to the middle of the Mojave Desert in April 2016 to play a special concert. Live from Trona documents this experience, recorded live beneath the geological wonders known as the Trona Pinnacles, which formed thousands of years ago in what used to be a prehistoric lake.
Beths, The - Jump Rope Gazers
Beths, The
Jump Rope Gazers
LP | 2020 | US | Original (Carpark)
20,99 €*
Release:2020 / US – Original
Genre:Rock / Indie
Everything changed for The Beths when they released their debut album, Future Me Hates Me, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their home town, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.

Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, Jump Rope Gazers, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.

"If you're at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you're home, you miss everybody, and when you're away, you miss everybody. We were just missing people all the time.”

With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.

“It was a rough year in general, and I found myself saying the words, 'wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it -- a sentiment we need now more than ever.
Sonic Boom - All Things Being Equal Black Vinyl Edition
Sonic Boom
All Things Being Equal Black Vinyl Edition
LP | 2020 | US | Original (Carpark)
18,99 €*
Release:2020 / US – Original
Genre:Rock / Indie
It’s auspicious that Sonic Boom—the solo project and nom-de-producer of Peter Kember (Spectrum, Spacemen 3)—returns in 2020 with its first new LP in three decades. Kember’s drawn to the year’s numerological potency, and this intentionality shines into every corner of All Things Being Equal. It’s a meditative, mathematical record concerned with the interconnectedness of memory, space, consumerism, consciousness—everything. Through regenerative stories told backwards and forwards, Kember explores dichotomies zen and fearsome, reverential of his analog toolkit and protective of the plants and trees that support our lives.

Sonic Boom’s second album and first for Carpark began in 2015 as electronic jams. The original sketches of electronic patterns, sequenced out of modular synths, were so appealing that Stereolab’s Tim Gane encouraged Kember to release them instrumentally. “I nearly did,” confesses Kember, “but the vibe in them was so strong that I couldn't resist trying to ice the cake.” Three years later, a move to Portugal saw him dusting off the backing tracks, adding vocals inspired by Sam Cooke, The Sandpipers, and the Everly Brothers (which he admits “don’t go far from the turntable pile”), as well as speculative, ominous spoken word segments. His new home Sintra’s parks and gardens provided a different visual context for Kember’s thoughtful observations, and he thematically incorporated sunshine and nature as well as global protests into the ten resulting tracks. “Music made in sterility sounds sterile,” he says, “And that is my idea of hell.”

Over the vivid, calculating arps of opener “Just Imagine,” Kember nudges listeners to do as the title suggests. It’s based on a story he read about a boy who healed his cancer by picturing himself as a storm cloud, raining out his illness. “The Way That You Live,” a rollicking drone powered by drum machine rattles and bright chord beds, morphs political distrust into a revolutionary mantra about ethical living. “I try and live my life by voting every day with what I do and how I do it, who I do it with and the love that I can give them along the way,” offers Kember.

An unusually curated gear list accompanies each song, unexpected layers reinforcing the monophonic skeletons. Mystery soundscapes and grinding sweeps were teased from EMS synths, synonymous with and evocative of ‘60s BBC scoring and ‘70s Eno. Pacing basslines oscillating into warbling heartbeats came from a cheap ‘80s Yamaha. A modern OP-1 generated subtle kicks and eerie theremins, while his toy Music Modem—an unused holdover from sessions Kember produced for Beach House and MGMT—finally found its recorded home.

It’s rare to see liner notes where synthesizers rather than humans are credited (other than guest vocal stints from “co-conspirators” Panda Bear and Britta Phillips), but Kember is masterful at finding the unique personality in his machines. “I tried to find the deepest essence of the instruments & let them play,” he offers. What emerges from these considerations on technology and humanity is a honed collection both philosophical and grooving, spacious even as it fills to its brim. It’s distinctly Kember—more than that, it’s distinctly Sonic Boom.
Toro Y Moi - Anything In Return
Toro Y Moi
Anything In Return
2LP | 2013 | US | Original (Carpark)
18,99 €*
Release:2013 / US – Original
Genre:Pop
New popular underground music by the main man Chaz Bundwick!
Cloud Nothings - The Shadow I Remember
Cloud Nothings
The Shadow I Remember
LP | 2021 | US | Original (Carpark)
20,99 €*
Release:2021 / US – Original
Genre:Rock / Indie
Preorder available from 26.02.2021
For a band that resists repeating itself, picking up lessons from a decade prior is the strange route Cloud Nothings took to create their most fully-realized album. Their new record, The Shadow I Remember, marks eleven years of touring, a return to early songwriting practices, and revisiting the studio where they first recorded together. In a way not previously captured, this album expertly combines the group’s pummeling, aggressive approach with singer-songwriter Dylan Baldi’s extraordinary talent for perfect pop. To document this newly realized maturity, the group returned to producer Steve Albini and his Electrical Audio studios in Chicago, where the band famously destroyed its initial reputation as a bedroom solo project with the release of 2012 album Attack on Memory. Another throwback was Baldi’s return to constant songwriting à la the early solo days, which led to the nearly 30 demos that became the 11 songs on The Shadow I Remember. Instead of sticking to a tried-but-true formula, his songwriting stretched out while digging deeper into his melodic talents. “I felt like I was locked in a character,” Baldi says of becoming a reliable supplier of heavy, hook-filled rock songs. “I felt like I was playing a role and not myself. I really didn’t like that role.” More frequent writing led to the freedom in form heard on The Shadow I Remember. What he can’t do alone is get loud and play noisily, which is exactly what happened when the entire band — bassist TJ Duke, guitarist Chris Brown, and drummer Jayson Gerycz — convened. The band had more fun in the studio than they’ve had in years, playing in their signature, pulverizing way, while also trying new things. The absurdly catchy “Nothing Without You” includes a first for the band: Macie Stewart of Ohmme contributes guest vocals. Elsewhere, celebrated electronic composer Brett Naucke adds subtle synthesizer parts. The songs are kept trim, mostly around the three-minute mark, while being gleefully overstuffed. Almost every musical part turns into at least two parts, with guitar and drums opening up and the bass switching gears. “That’s the goal — I want the three-minute song to be an epic,” Baldi says. “That’s the short version of the long-ass jam.” Lyrically, Baldi delivers an aching exploration of tortured existence, punishing self-doubt, and the familiar pangs of oppressive mystery. “Am I something?” Baldi screams on the song of the same name. “Does anybody living out there really need me?” It’s a heartbreaking admission of existential confusion, delivered hoarsely, with an instantly relatable melody. “Is this the end/ of the life I've known?” he asks on lead single and album opener “Oslo.” “Am I older now/ or am I just another age?” Despite the questioning lyrics, the band plays with more assurance and joy than ever before. The Shadow I Remember announces Cloud Nothings’ second decade and it sounds like a new beginning.
Beths, The - Future Hates Me Cloudy Blue Vinyl Edition
Madeline Kenney - Sucker's Lunch
Madeline Kenney
Sucker's Lunch
LP | 2020 | US | Original (Carpark)
18,99 €*
Release:2020 / US – Original
Genre:Rock / Indie
Oakland artist Madeline Kenney bounds toward the unknown on her third album, Sucker’s Lunch, expanding on the idea of what a love song could be – a little more cautious than exuberant, more nuanced than blazing devotion. Sonically, the album expands upon Kenney’s earlier, guitar-driven sound – a definitive step forward from an artist adept at communicating universal sentiments in a voice unmistakably her own.

To help realize her vision, Kenney once again enlisted Wye Oak’s Jenn Wasner and Andy Stack, previous collaborators and friends. Together, the trio carefully constructed the songs in a few compact sessions in Oakland, San Francisco, and Durham. Stack and Wasner’s rhythm section trace circles around Kenney’s off-kilter guitar, with verdant curls of synths, saxophone, and complex harmonies. Lambchop’s Kurt Wagner lends his distinctive tenor to lead single “Sucker.” The resulting songs are immediate and deeply moving, somehow feeling familiar while they defy expectations at every turn.

“I’m not interested in something easy or immediately apparent,” Kenney says. “My experience writing these songs wasn’t easy, it was painful and difficult. I was terrified of falling in love, and as much as I’d like to write a sticky sweet song for someone, it doesn’t come naturally to me. Instead I wanted to explore the tiny moments; sitting alone in my room guessing what the other person was thinking, spiraling into a maze of logical reasons to bail and finding my way out again. When I spoke with friends about the theme of the ‘idiot’, it became apparent that everyone understood that feeling and was relieved to hear it echoed in someone else.”

Thematically, Sucker’s Lunch sees Kenney soberly contrasting the risks and rewards of falling in love, eventually deciding to dive headfirst into her own foolishness and relish in the unknowing. The tracks explore new love from every angle – “Picture of You” is a soundtrack- worthy lamentation of never truly knowing what someone has been through (“growing up is so hard, I don’t know why”) while tender vulnerability shines on “Tell You Everything” (“When your eyes say ‘we’ve had a day, love’, I get to fall in”). Kenney audibly loses her mind on “Double Hearted,” where the playful arrangement and lyrics spark a firestorm of heartache and wild abandon. “Cut The Real” pairs synth drones with syncopated lyrics to work through a depressive mind state, and the near-devotional “White Window Light” accepts uncertainty as a beautiful gift.

“There’s so much love in it,” Wasner says of Sucker’s Lunch. “It’s the story of someone figuring out how to be a person in the world, and how to be with another person without losing oneself.” Sucker’s Lunch shines in its ability to speak the strange, ambiguous, impossible truth – nothing less than a balanced meal for the wise fool in us all.
Beths, The - Future Me Hates Me Magenta Vinyl Edition
Toro Y Moi - Freaking Out
Toro Y Moi
Freaking Out
LP | 2011 | US | Original (Carpark)
14,99 €*
Release:2011 / US – Original
Genre:Rock / Indie, Electronic / Dance, Pop
Brand new 5 track EP by Chazwick Bundick!
Toro Y Moi - Underneath The Pine
Toro Y Moi
Underneath The Pine
LP | 2011 | US | Original (Carpark)
19,99 €*
Release:2011 / US – Original
Genre:Rock / Indie, Electronic / Dance, Pop
Underneath The Pine is an album evocative of R.Stevie Moore's homespun ruminations, David Axelrod'ssonic scope, Steve Reich-ian piano phrasing, and thepervasive funk of Toro Y Moi's first record.
Cloud Nothings - Shadow I Remember
Cloud Nothings - Turning On
Cloud Nothings
Turning On
LP | 2010 | US | Reissue (Carpark)
20,99 €*
Release:2010 / US – Reissue
Genre:Rock / Indie
Preorder available from 29.01.2021
It’s been 10 years since the release of Turning On, Cloud Nothings’ debut album. Singer-songwriter Dylan Baldi was just 18 years old when he began recording the album, creating each track in his parents’ basement in Cleveland, Ohio. Over one winter, Baldi produced an album of taut, lo-fi guitar-pop songs, playing each instrument himself. His music gained traction in the increasingly popular music blog circuit, allowing Baldi to book his first shows in new places, like New York City. He gathered a band together to play live, and Cloud Nothings were on their way. The band has accomplished a great deal since Turning On, signing to Carpark Records, releasing seven albums, and headlining numerous international tours. Yet, their debut isn’t dusted over in the band’s history. Turning On still remains the stripped-back core of Cloud Nothings style: raw and grungy, filled with catchy earworms that are surprisingly pop. The album carries all the stored potential of someone ready to venture off into the world, a feeling that bursts with energy even 10 years later. All the tracks on Turning On are eruptive and restless, its lo-fi quality embodying the desperate need to record an idea by any means necessary. Songs like “Hey Cool Kid” encapsulate Baldi’s talent for churning, hook-filled guitar. The vocals on songs like “Can’t Stay Awake” are distorted, with scattered lyrics that echo the angst of a teenage diary. As a whole, the album delivers dissonance and edge, without sacrificing the authentic romanticism of someone who is on the verge of something big and doesn’t know it yet. A necessary album to fully understand the world of Cloud Nothings, Turning On is a welcome return to the band’s origins before the release of their eighth album, The Shadow I Remember, on February 26. To celebrate its 10th anniversary, Turning On is being reissued on vinyl by Carpark Records, with the album’s original track listing.
Fat Tony - Exotica
Fat Tony
Exotica
CD | 2020 | US | Original (Carpark)
14,99 €*
Release:2020 / US – Original
Genre:Hip Hop
Preorder available from 08.01.2021
Storytelling isn’t merely a vehicle for self-expression, it’s a mode of transportation. A two-way mirror in which we process gilded dreams and grotesque nightmares, the transgression of cultural taboos and the upholding of ancient tradition. It’s also the animating idea behind much of the greatest popular music ever made. Consider Exotica, the new album from Houston iconoclast, Fat Tony, the latest brilliant entry in that fabled tradition, what Outkast once described as “shooting game in the form of story rapping.”

While hip-hop supplies the foundation of the Third Ward native’s assault on genre, his futuristic soundclash encompasses seductive velour soul, lecherous French chansons, fluorescent new wave, and even splashes of African pop and reggae; the latter two being the residual effect of Tony’s Nigerian heritage and a sojourn to Jamaica to record the Carpark Records-released album with engineer, Abijah Livingston, son of Bunny Wailer.

“This album is an ode to the art of storytelling through music,” the polymath born Anthony Lawson Jude Ifeanyichukwu Obiawunaotu says, distilling Exotica’s essence. “Picture records like The Great Adventures of Slick Rick. Artists like Neil Young, Bob Dylan, or Bob Marley. Every lyric was carefully considered to make sure we properly conveyed each character’s narrative and motivations. I wanted to create a world of unique stories with room for each to be interpreted in distinct ways.”

Assembling a Manhattan Project-style team of experts, the atom-splitting production came via Tony and his longtime collaborator, Gldneye (aka Tom Cruz), and engineering via Livingston and Brooklyn’s Steel Tipped Dove. To make the Third Coast cypher complete, Bun B pops up on “What Wake You Up,” courtesy of a cross-island dash where Tony paid visit to the legendary underground king, then vacationing in Montego Bay.

Each song is a rich and compact iteration of rap short fiction: Biggie’s “I Got a Story to Tell” channeled through John Cheever. Take lead single “Feeling Groovy,” a frantic meditation on lust, desire, and the notion of throwing it all away while puffing on a Black & Mild. Picture something like if Fat Pat fronted Scritti Politti. Or “Gambling Man,” where Tony one-ups the late great Kenny Rogers to tell the story of a ne’er-do-well schemer named Johnny, obsessed with the thrill of the roller coaster emotions before he discovers whether he’ll win or lose. If the Tom Tom Club knew every word to DJ Screw’s Wineberry Over Gold, it would probably sound like this.

Bob Dylan once famously said that an artist should “always be in the state of becoming.” And in the case of Fat Tony, Exotica is the latest stage in an evolution that has included everything from a bravura turn on the first A$ap Rocky mixtape to co-hosting a TV show on Viceland, founding a DIY Houston culture magazine to subversively expanding the parameters of experimentally-minded rap. Here is Exotica, nine new stories, more untrodden ground on the left hand path, a novel strain ready to be unpacked.
Fat Tony - Exotica
Fat Tony
Exotica
LP | 2020 | US | Original (Carpark)
18,99 €*
Release:2020 / US – Original
Genre:Hip Hop
Storytelling isn’t merely a vehicle for self-expression, it’s a mode of transportation. A two-way mirror in which we process gilded dreams and grotesque nightmares, the transgression of cultural taboos and the upholding of ancient tradition. It’s also the animating idea behind much of the greatest popular music ever made. Consider Exotica, the new album from Houston iconoclast, Fat Tony, the latest brilliant entry in that fabled tradition, what Outkast once described as “shooting game in the form of story rapping.” While hip-hop supplies the foundation of the Third Ward native’s assault on genre, his futuristic soundclash encompasses seductive velour soul, lecherous French chansons, fluorescent new wave, and even splashes of African pop and reggae; the latter two being the residual effect of Tony’s Nigerian heritage and a sojourn to Jamaica to record the Carpark Records-released album with engineer, Abijah Livingston, son of Bunny Wailer. “This album is an ode to the art of storytelling through music,” the polymath born Anthony Lawson Jude Ifeanyichukwu Obiawunaotu says, distilling Exotica’s essence. “Picture records like The Great Adventures of Slick Rick. Artists like Neil Young, Bob Dylan, or Bob Marley. Every lyric was carefully considered to make sure we properly conveyed each character’s narrative and motivations. I wanted to create a world of unique stories with room for each to be interpreted in distinct ways.” Assembling a Manhattan Project-style team of experts, the atom-splitting production came via Tony and his longtime collaborator, Gldneye (aka Tom Cruz), and engineering via Livingston and Brooklyn’s Steel Tipped Dove. To make the Third Coast cypher complete, Bun B pops up on “What Wake You Up,” courtesy of a cross-island dash where Tony paid visit to the legendary underground king, then vacationing in Montego Bay. Each song is a rich and compact iteration of rap short fiction: Biggie’s “I Got a Story to Tell” channeled through John Cheever. Take lead single “Feeling Groovy,” a frantic meditation on lust, desire, and the notion of throwing it all away while puffing on a Black & Mild. Picture something like if Fat Pat fronted Scritti Politti. Or “Gambling Man,” where Tony one-ups the late great Kenny Rogers to tell the story of a ne’er-do-well schemer named Johnny, obsessed with the thrill of the roller coaster emotions before he discovers whether he’ll win or lose. If the Tom Tom Club knew every word to DJ Screw’s Wineberry Over Gold, it would probably sound like this. Bob Dylan once famously said that an artist should “always be in the state of becoming.” And in the case of Fat Tony, Exotica is the latest stage in an evolution that has included everything from a bravura turn on the first A$ap Rocky mixtape to co-hosting a TV show on Viceland, founding a DIY Houston culture magazine to subversively expanding the parameters of experimentally-minded rap. Here is Exotica, nine new stories, more untrodden ground on the left hand path, a novel strain ready to be unpacked.
Rituals Of Mine - Hype Nostalgia
Rituals Of Mine
Hype Nostalgia
LP | 2020 | US | Original (Carpark)
18,99 €*
Release:2020 / US – Original
Genre:Rock / Indie
If you could recreate a time before you experienced the most extreme grief of your life, would you do it? For Rituals of Mine’s Terra Lopez, she did just that. With her latest album Hype Nostalgia – her first as a solo artist – Lopez wanted to create a soundscape from a pre-loss perspective, revealing how the darkness she experienced was just microcosms of her being. Hype Nostalgia reckons with the emotional rollercoaster Lopez has been riding the past few years, and reimagines it. In 2015, Lopez lost her father to suicide and six months later her best friend passed away in a water accident. “Those two events within that six month-period, forever changed me, and I'm only now starting to feel like I've processed it after all these years,” Lopez says. The same week her father died, she went on tour, and the same week that her friend died, Lopez signed to a major label, immediately working on new music. She never slowed down and neither did her emotions. Lopez went from being a high-functioning depressed person to encountering the most crippling mental health experience of her life. Art had always been her outlet, but it was no longer a coping mechanism that worked. Trauma had taken away her voice, leaving Lopez unable to sing for a year. It wasn’t until 2018 when she decided to go to therapy and began taking medication for the first time that she could process the trauma she had experienced, not only in the recent years, but intergenerational trauma she discovered in eye movement desensitization and reprocessing (emdr). Sure, there are heavy elements to the record: dark synths, future R&B undertones, propulsive bass and moody lyrics, but the softness of Lopez’s vocals elicits a quiet confidence. On the self-assured lead single “Come Around Me,” the most straightforward song Lopez has ever written, she confronts being taken advantage of as a gay woman of color in the music industry. “None of this fake shit when you come around me,” she sings breathlessly. Lopez enlists musician Kristina Esfandiari (King Woman, Nghtcrwlr), to tackle the same subject on the anthemic “Free Throw,” meditating on the fake support that comes from their male counterparts in the music industry.
Fat Tony & Taydex - Wake Up
Fat Tony & Taydex
Wake Up
LP | 2020 | US | Original (Carpark)
14,99 €* 19,99 € -25%
Release:2020 / US – Original
Genre:Hip Hop
Nigerian-American rapper and entertainer Fat Tony’s fifth studio album, Wake Up–a collaboration with producer Taydex–is saturated in the candid confidence that has carried him through his tenure in underground Hip Hop. Wake Up is an anthemic return to form after 2018’s 10,000 Hours. Inspired by quietly groundbreaking rap records like De La Soul’s Buhloone Mindstate and Ghostface Killah’s Supreme Clientele, Wake Up shows Fat Tony widening the scope of his storytelling while maintaining his light-hearted and self-reflective demeanor. Taydex’s instrumentals provide a colorful and turbulent backdrop to Fat Tony’s anecdotal and satirical verses. The record is his first with Carpark Records, building on the momentum Fat Tony has made in the few years since moving away from his hometown of Houston, TX.

Fat Tony (born Anthony Lawson Jude Ifeanyichukwu Obiawunaotu) initially collaborated with experimental producer taydex on the tracks “Swervin” and “Ride Home” from his sound-expanding LP MacGregor Park. “I had such a good time working with him that I decided to invite him to co-produce a song called ‘Poet’ from my last album.” Fat Tony explains. “After that, I just decided, let’s make an EP together.” The pair began recording a five-track EP in December 2018 at Taydex’s studio, which would lay the groundwork for Wake Up. Fat Tony and Taydex put the project on pause for about three months while Fat Tony was living in New York and co-hosting Viceland’s late-night variety show VICE LIVE. After the show ended in April 2019 Fat Tony flew back to LA and spent a month and a half with Taydex recording new tracks and elaborating on what they had already started. “I thought it would be more interesting to make it an album than an EP, and that the time we spent apart before making the second batch of songs would make it a more interesting and diverse body of work.” By the end of the second session, Fat Tony and Taydex had created a complex collage of sounds, stories, and references that flexes the MC’s growth as a writer the producer’s masterful assembly.

For Wake Up, Fat Tony invited a cast of talented peers, including Sophia Pfister, Negashi Armada, Dai Burger, Clarence James, and Revenge Wife, to spit verses on the album. The record’s lead singles “Godly” and “Get Out My Way” show the musical and conceptual range the album has to offer. Fat Tony hopes that the creative risks taken on the album gesture a leap forward in his discography while retaining the charisma and sincerity his fans know him for.
Laume - Waterbirth
Rituals Of Mine - Sleeper Hold
Greys - Age Hasn't Spoiled You
Greys
Age Hasn't Spoiled You
LP | 2019 | EU | Original (Carpark)
18,99 €*
Release:2019 / EU – Original
Genre:Rock / Indie
A band’s third album usually tells you whether they’re in it for the long haul or a flash in the pan. On Age Hasn’t Spoiled You, Greys prove that they are undoubtedly the former. The Toronto post-punks eschew their trademark frenzy for a more cerebral and cinematic affair. This widescreen approach loses none of the impact of their early material, instead employing space and dynamics to propel the listener toward even greater payoffs when they decide to switch back into high gear.

When we last left them, days before the 2016 US election, Greys had just finished a year of touring with the likes of Bully, White Lung, Japandroids, Preoccupations and more after releasing their sophomore record, Outer Heaven, and its companion piece, Warm Shadow. The following year saw the quartet taking some much needed downtime with members pursuing solo projects and moonlighting in other bands. As their city surrendered to gentrification and the world abroad descended further into chaos, the four men spent most of 2018 in the studio channeling these feelings of displacement and alienation into songs that reflect the state of panic and confusion prevalent in our news feeds. “We wanted to push as far away from what our perception of a ‘rock band’ could be while still retaining certain characteristics that sound like Greys,” says frontman Shehzaad Jiwani.

What results is a richly textured experience that draws influence from krautrock, industrial, hip hop, dub, jazz, ambient, drone and more, sometimes within the same song. That their blend of disparate sounds never obscures the album’s sharp focus is a testament to the group’s mastery of both songwriting and production. This is evident on lead single "These Things Happen," which jumps from big beat psychedelia to CSNY harmonies and back again while Jiwani considers privilege, apathy, drug use, and content fatigue in one verse. Elsewhere, on “Kill Appeal,” electronic drums pound and pummel before caving into a free jazz freakout, only to return for the song’s climax with a lyrical allusion to the writings of James Baldwin. The stylistic sprawl recalls classic third albums like Check Your Head, To Bring You My Love or Fear Of Music - records where artists reinvented themselves as something far beyond what was previously thought possible for them. With Age Hasn’t Spoiled You, Greys strive to exist in a similar echelon of bands that seek to shatter the boundaries that contain them.
Beths, The - Warm Blood
Emily Reo - Only You Can See It
Emily Reo
Only You Can See It
LP | 2019 | US | Original (Carpark)
18,99 €*
Release:2019 / US – Original
Genre:Rock / Indie
Only You Can See It is a devastatingly beautiful collection of prismatic pop songs reckoning with the complexity of self-possession. Following the release of her acclaimed 2013 full-length Olive Juice, Reo spent five years writing, recording, arranging, producing and mixing these ten songs—at her apartment in Brooklyn, and at various studios and friends’ homes around New York.It’s her most intricate web of poetry yet, with prismacolor melodies winding through a vast pop vision. Reo employs her classical vocal training more than ever, her sweeping falsetto delivering doubletime verses brimming in metaphor and mesmerizing layered soundscapes alike.
Teen - Good Fruit
Palm - Rock Island Light Blue Vinyl Edition
Palm
Rock Island Light Blue Vinyl Edition
LP | 2018 | US | Original (Carpark)
21,99 €*
Release:2018 / US – Original
Genre:Rock / Indie
On Rock Island, their second LP, Palm produces evidence of a distinct musical language, developed over time, in isolation, and out of necessity. On the island, melodies are struck on what might be shells or spines. Rhythms are scratched out, swept over, scratched again. Individual instruments, and sometimes entire sections, skip and stutter. Despite appearing behind the instruments typical of rock music, Palm trades in sounds of their own making. On these songs, one of the guitars and the drum kit are used as MIDI triggers, producing an index that can be combed through later and replaced with new information. The percussion is sometimes augmented so as to suggest a multiplication of limbs. The strings are manipulated to choke, crack, and hum like other instruments, or other bodies, might.
Palm - Rock Island Black Vinyl Edition
Palm
Rock Island Black Vinyl Edition
LP | 2018 | US | Original (Carpark)
18,99 €*
Release:2018 / US – Original
Genre:Rock / Indie
On Rock Island, their second LP, Palm produces evidence of a distinct musical language, developed over time, in isolation, and out of necessity. On the island, melodies are struck on what might be shells or spines. Rhythms are scratched out, swept over, scratched again. Individual instruments, and sometimes entire sections, skip and stutter. There is the sense of a music box with wonky tension or a warped transmission in which all the noise is taken for signal.
Palm - Shadow Expert
Palm
Shadow Expert
LP | 2017 | US | Original (Carpark)
11,99 €*
Release:2017 / US – Original
Genre:Rock / Indie
In describing Palm to the uninitiated, it’s sometimes necessary to clarify the meaning of the group’s name by raising one’s hand in the universal symbol of greeting and goodwill. The act of corroborating the aural with the gestural occurs everywhere in their work. On their latest EP, Shadow Expert, the syntax of popular music is regarded suspiciously and often subjected to revisions or reversals. Without formal training in their instruments, the players are left to determine their own musical language. Eve Alpert and Kasra Kurt’s guitars occupy themselves most often with the pace-keeping work typical of a rhythm section. Meanwhile, Gerasimos Livitsanos’ bass and Hugo Stanley’s drums seem to perform commentary and reportage from deeply embedded positions at the front. Their contributions remain necessary to the composition, generating the kind of friction that other motion can be charted against: the grinding of teeth, the turning of an engine. The record begins with the skittering appeals of one guitar to another, hard-panned left and right. They produce a groove, stop on a dime, and begin a series of nimble paces that might suggest the artful recovery from a skipped step. Here and elsewhere, the guitars confer and conspire with each other, finishing phrases and figuring it out. There is a faint delay to be heard in their communication, perhaps equivalent to that which exists between an object and its shadow, broken across several surfaces. On the vocal track, Alpert and Kurt trade the barbs and bristles of a familiar argument and share the blissful cries of discovery. The “How could I forgive that? / How could I forget that?” refrain of “Two Toes” recalls the capricious turns of the gut in moments of grievance and doubt. These sonic and thematic dissonances are sustained, rather than resolved. This music draws the thought as it bounces around the head, draws the conversation as it circulates the room. Its most important questions are never answered but always rephrased. On 2015’s Trading Basics, Palm’s experiments were more alchemical, more preoccupied with the impossible. Much of that music was submerged in some viscous and delicious substance, which often seemed to burn and bubble over. Two years and several tours of the United States later, the group sounds more limber, more acclimated to the press of events. At seventeen minutes in duration, these six songs are efficiencies of form, cutting quickly and decisively among scenes of bodies, systems, and intrigue.
Toro Y Moi - What For? Black Vinyl Edition
Toro Y Moi
What For? Black Vinyl Edition
LP | 2015 | US | Original (Carpark)
15,99 €*
Release:2015 / US – Original
Genre:Rock / Indie
Never one to stand still and fresh from a scheduled intermission whilst working on a dance record as Les Sins, loaning his vocals to Chromeo and starting his own record label, producer, songwriter, singer and melodic mastermind Chaz Bundick is all set to resume his Toro Y Moi guise with brand new album What For?.
Cloud Nothings - Here & Nowhere Else
Cloud Nothings
Here & Nowhere Else
LP | 2014 | US | Original (Carpark)
22,99 €*
Release:2014 / US – Original
Genre:Rock / Indie
On their third full-length, Cleveland-bred outfit Cloud Nothings give joy a hard, sharp edge. "I was feeling pretty good about everything so I just made stuff that made me happy," says founding member and mild-mannered chief songwriter Dylan Baldi of Here and Nowhere Else. "I had nothing to be angry about really so the approach was more positive and less 'fuck everything.' I just sat down and played until I found something that I like, because I was finally in a position to do that."

Utilizing every possible opportunity to write while on the road for 18 consecutive months following the release of 2012's Attack on Memory, Baldi presented an album's worth of new material to his bandmates with just days before they'd enter the studio with esteemed producer John Congleton. "I'm pretty sure every song was written in a different country," he says. "It's the product of only having a couple of minutes here and there." But Cloud Nothings would enjoy a full week with Congleton at Water Music in Hoboken, New Jersey, followed by three days of mixing at his own studio in Dallas shortly thereafter. The result is Cloud Nothings, refined: impossibly melodic, white-knuckle noise-rock that shimmers with sumptuous detail, from Baldi's lone, corkscrewing guitar to his dramatically improved singing to bassist TJ Duke's piledriving bass lines and drummer Jayson Gerycz's volcanic fills.
Toro Y Moi - Causers Of This
Toro Y Moi
Causers Of This
LP | 2010 | US | Original (Carpark)
22,99 €*
Release:2010 / US – Original
Genre:Rock / Indie, Electronic / Dance
Incredibly versatile debut album from the one and only Toro Y Moi. Think of Madlib and Thomas Bangalter producing the next Panda Bear album and you’re halfway there.
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