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Sharon Van Etten - Silent Night / Blue Christmas Clear Blue Vinyl Edition
Sharon Van Etten
Silent Night / Blue Christmas Clear Blue Vinyl Edition
7" | 2021 | US | Original (Jagjaguwar)
9,99 €*
Release:2021 / US – Original
Genre:Rock / Indie
Clear Blue Vinyl! Van Etten originally recorded "Silent Night" in 2018 for Eric Paschal Johnson 's short film The Letter. Her version of "Blue Christmas" appeared in 2009 on a benefit album titled Do You EAR what I Ear. "The holidays are just around the corner, and since I'm always late to the party, I thought I'd share two holiday songs I recorded. Nothing really beats the Bob Dylan Christmas record for me _ but I hope they bring you joy." - Sharon Van Etten
Bon Iver - I,I
Bon Iver - 22, A Million
Bon Iver
22, A Million
LP | 2016 | US | Original (Jagjaguwar)
26,99 €*
Release:2016 / US – Original
Genre:Rock / Indie
“22, A Million is part love letter, part final resting place of two decades of searching for self-understanding like a religion. And the inner-resolution of maybe never finding that understanding. The album’s 10 poly-fi recordings are a collection of sacred moments, love’s torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard as coincidence. If Bon Iver, Bon Iver built a habitat rooted in physical spaces, then 22, A Million is the letting go of that attachment to a place.”

The bulk of the album was recorded and produced at April Base Studios in Fall Creek, Wisconsin with pieces recorded in London, England and just outside Lisbon, Portugal. Collaborators included Colin Stetson, S. Carey, Poliça’s Ryan Olson, and Richard Buckner.
Molly Lewis - The Forgotten Edge Clear Red Vinyl Edition
Molly Lewis
The Forgotten Edge Clear Red Vinyl Edition
LP | 2021 | US | Original (Jagjaguwar)
18,99 €*
Release:2021 / US – Original
Genre:Rock / Indie
In the most literal sense, globally renowned whistler Molly Lewis makes her gorgeous and curious compositions out of thin air. New entrees into the Exotica canon; sprawling, would-be Spaghetti Western scores; and a dash of Old Hollywood glamour _ the whistle-led songs on her debut EP The Forgotten Edge are as complex, delicate and indelible as anything performed with viola or piano. "Whistling is like a human theremin," said Lewis, an Australian native who's spent the last several years in LA, and whose performances there and around the world are changing any preconceived notions of whistling by the room-full. That's not to say Lewis is all serious and snooty about the craft. Quite the contrary. Her sense of humor is witty, self-deprecating and zany. She's as likely to reference the slapstick Leslie Nielsen film series Naked Gun for music video concepts as she is a classic piece of noir cinema. Look no further than the equatorial and breezy opening cut "Oceanic Feeling," a lovely walk across the flotsam-sprinkled sands in the rum-pumping vein of Les Baxter. Meanwhile, the title track _ and really, the entire collection here _ is a loving, and albeit rather haunting, salute to one of Lewis's heroes, the Italian composer and musician Alessandro Alessandro Alessandroni, who's whistle and guitar you hear on the title theme of Ennio Morricone's A Fistful of Dollars. Lewis and her ensemble create classic cinema for your mind. Her own love for the artform began when, around the age of twelve she was given the CD Steve "The Whistler" Herbst Whistles Broadway. Something contained in it clicked. "It wasn't that I was immediately obsessed, but I knew it was something I could do well," Lewis said. The daughter of a musician mother and a documentary filmmaker father who often focused his films on niche communities and topics, Lewis recalls watching a television documentary with her parents about The International Whistlers Convention in Louisburg, North Carolina. "My dad said, `If you ever make it into the competition, I'll take you there'," Lewis said. Turns out, there was no bar to entry, just a small fee. And so several years later, she and her father traveled to the convention. New to the form, Lewis didn't take home one of the bigger prizes, but they were awarded the prize for "Whistler who traveled the greatest distance." "We really just used the trip to drive around the United States," she said. After studying film in Australia, Lewis moved to Los Angeles to be close to the film industry. There, her circle of artist friends grew naturally and with providence _ her unique talent drawing more and more recognition. And over the last few years, Lewis's Café Molly events at LA spots like Zebulon, Non Plus Ultra and The Natural History Museum have become fabled, elegant happenings with appearances from guests like John C. Reilly, Karen O and Mac DeMarco. Recorded with a crack team of friends and musicians during 2020's quarantine, The Forgotten Edge is rife with incredible performances from Thomas Brenneck, Joe Harrison, Eric Hagstrom, Abe Rounds, Wayne Gordon, Gabriel Rowland, Leon Michels, and Dave Guy.
Hypnotic Brass Ensemble - This Is A Mindfulness Drill Opaque Black & White Vinyl Edition
Hypnotic Brass Ensemble
This Is A Mindfulness Drill Opaque Black & White Vinyl Edition
12" | 2021 | US | Original (Jagjaguwar)
22,79 €* 23,99 € -5%
Release:2021 / US – Original
Genre:Organic Grooves
Somewhere along the way, I got the idea that Richard Youngs's `Sapphie' was all about a dead dog. I don't know if someone insinuated this idea in front of me or if I psychologically tethered the title to the tenderly printed dog paw on its cover. Either way, I've gone over a decade thinking this remarkable, windswept album of torch songs was about a dearly departed pet. And yet, as we approached a reissue of this Jagjaguwar classic and a new, reimagined version by artists Hypnotic Brass Ensemble, Moses Sumney, Sharon Van Etten, and Perfume Genius, Richard Youngs was straightforward and unsentimental about its meanings. "The lyrics are not about anything in particular," Youngs wrote. The paw prints on the cover are, in fact, that of a friend's dog ("The first dog I ever loved," Richard said.), but there is no devastating loss at its center. And so, I want to tell Richard how this album has become a centering album for a great many of us, a transcendent and meditative piece of art. "What does `the mindfulness drill' have to do with it?" Richard asks dryly me in a note. It's about being relentlessly present, Richard. It's how when we listen to your album, we feel like a lonely traveler in a foreign country. How everything has a newness to it and there's no one to share it with but the you inside of you. And that fine, fine line is where `Sapphie' lives, Richard. Thank you for this, Richard.
Angel Olsen - Aisles
Big Red Machine - How Long Do You Think It´S Gonna Last? Black Vinyl Edition
Big Red Machine
How Long Do You Think It´S Gonna Last? Black Vinyl Edition
2LP | 2021 | US | Original (Jagjaguwar)
24,99 €*
Release:2021 / US – Original
Genre:Rock / Indie
Ever since childhood, learning to play various instruments in a suburban Cincinnati basement alongside his brother Bryce, Aaron Dessner has consistently sought an emotional outlet and deep human connection through music _ be it as a primary songwriter in The National, a founder and architect of beloved collaboration-driven music festivals, or collaborator on two critically acclaimed and chart-topping Taylor Swift albums recorded in complete pandemic-era isolation at his Long Pond Studio in upstate New York, among many other projects. Through it all, Dessner has brought together an unlikely community of musicians that share his impulse to connect, celebrate and, most of all, process emotion and experience through music. This generous spirit and desire to push music forward has never been more deeply felt than on Big Red Machine's "How Long Do You Think It's Gonna Last?," the second album from Dessner's evermorphing project with Bon Iver's Justin Vernon. In 2008, while assembling material for the charitycompilation "Dark Was the Night," Dessner sent Vernon a song sketch titled "big red machine". Vernon interpreted "big red machine" as a beating heart and finished the song accordingly _ a metaphor Dessner says "still sticks with me today. This project goes to many places and is always on some level about experimentation, but it shines a light on why I make music in the first place, which is an emotional need. It's one of my therapies and one of the ways I interrogate the past." Released in 2018, Big Red Machine's self-titled debut album evolved from improvisation and what Dessner calls "structured experimentalism," with an ear toward building tracks that would work well in a live setting alongside visual elements. When Dessner and Vernon started the Eaux Claires Music Festival in 2015, they staged the original "Big Red Machine" as an improvisation-based performance piece. They later took that show to the People collective's Berlin residency and festival, and to Dessner's Haven Festival in Copenhagen. "Big Red Machine started as this thing we would do for fun, and we fell in love with the feeling of it," says Dessner." Vernon agrees: "I remember it feeling really easy, but we never knew what would happen. It was exciting. As time went on, we just kept doing things together. And our friendship has grown strong, alongside all the collaborative stuff." New Big Red Machine material began taking shape in spring 2019, when Vernon came to visit Dessner at Long Pond. The first week produced songs such as "Reese," "8:22am" and eventual album opener "Latter Days," a haunting number sung by Vernon and Anaïs Mitchell that set the emotional tenor for what was to come. "It was clear to her that the early sketch Justin and I made of Latter Days was about childhood, or loss of innocence and nostalgia for a time before you've grown into adulthood _ before you've hurt people or lost people and made mistakes. Anaïs defined the whole record When she sang that, as these same themes kept appearing again and again," Dessner says. In the ensuing months, Vernon and Dessner would meet up when they could, and in the meantime, Dessner developed the existing material and wrote new instrumental tracks which he sent Vernon, always eager to hear what he would receive back. "Justin is incredibly gifted, but he's also disruptive in the best way," says Dessner, pointing to the first note of the song "Birch" as a prime example. "It's absolutely brilliant, but it was very surprising when I heard it the first time. I can't tell you what that interval is. There are many moments working with him where your head hits the wall in amazement like that." In the early stages of the pandemic, Swift approached Dessner to work with her on what would become the sister albums "folklore" and "evermore." Dessner describes this period as a "creative blur," during which he'd be writing material for Swift and Big Red Machine simultaneously. "I think this was an intense growing period for me, I was learning so much from Taylor and the process. Along the way, I shared all of our unfinished Big Red Machine songs with her and she really found them inspiring and gave me so much positive feedback and encouragement," he says. "I think that helped me realize how connected this Big Red Machine music was to everything else I was doing and that I was always supposed to be chasing these ideas. I was finding new sounds and ways of working through these songs. I just hadn't been able to finish them. So, I did." Beyond Vernon and Swift's encouragement, many of Dessner's previous collaborators and friends show up for him here, continuing the reciprocal exchange of ideas that has come to define his creative community. Songs feature guest vocals and writing contributions from artist friends including Fleet Foxes' Robin Pecknold ("Phoenix"), Ben Howard and This Is The Kit ("June's a River"), Naeem ("Easy to Sabotage'), Sharon Van Etten, Lisa Hannigan and My Brightest Diamond's Shara Nova ("Hutch," a tune inspired by Dessner's late friend, Frightened Rabbit frontman Scott Hutchison) and Swift herself ("Birch" and "Renegade," the latter an instant-classic Taylor earworm summed up by the poignant lyric "Is it insensitive for me to say / get your shit together so I can love you." The song was recorded in Los Angeles at the Kitty Committee studio in March 2021, the same week when Swift and Dessner took home the Grammy for Album of the Year for "folklore.") "This is all music I generated, but it is interesting to hear how different people relate to it, or how different voices collide with it," Dessner says. "That's what makes it special. With everyone that's on this record, there's an openness, a creative generosity and an emotional quality that connects it all together." As he continued writing prolifically on his own, Dessner noticed a theme emerging -- the idea of sitting with the uncomfortability of personal and family darkness from his childhood and reflecting on how emotional issues he dealt with growing up have reverberated through his adult life. It became clear that some of these he'd need to sing himself; songs such as "The Ghost of Cincinnati" and "Magnolia" address the disintegration of marriage and family and mental health, asking pointed questions of himself and those closest to him. "Brycie" is an ode to his aforementioned twin and National bandmate, who picked up on the musical vibes immediately when Dessner played the song for him for the first time backstage at a National show in Washington D.C. "He picked along to it with me and it immediately sounded like Aaron and Bryce playing the guitar in the basement as kids, which was my intent," Dessner remembers. "The words mean a lot to me. It's about my childhood with Bryce, and how I had pretty severe depression in high school. He was the one who kept me going and took care of me until I was back on my feet. I've lost close friends to depression and this song is about how important it was that Bryce was there for me at that time and is still here." In addition to being one of the more lyrically significant tracks on the album, Dessner says singing it himself felt like an important act of self-acceptance. "I always sing under my breath when I write music, but I usually hand it off to [National vocalist] Matt [Berninger] or others" he says. "When you're in a band for so long and somebody else is that person, you come to rely on it and I've always loved Matt's voice and his words. But singing `Brycie' myself helped rewire my brain to realize that maybe Big Red Machine is the project that not only enables me to create songs with other people, but also sometimes finish songs on my own." Recalling sessions at Sonic Ranch in Texas when Dessner recorded his vocal takes, Vernon says, "Aaron showed me `Brycie' a couple years ago now. I was like, this is beautiful, and you should do more singing. Not only would it be good for the future of your songwriting, but your voice sounds really good to me. It was exciting to see him flourish in that way _ to now be a part of that process and realize the hardships in that and also the victories. On this record, he's leading the charge, wholly and completely." Musically, "How Long Do You Think It's Gonna Last?" features what Dessner calls maybe the "clearest distillation" of his varying songwriting and production styles. Songs like "Reese," the Dessner-sung "Magnolia" and the elegiac "Hutch" are built on the kinds of tear-jerking piano melodies millions of fans have come to love from The National, but then move at their own pace toward unusual sonic destinations. "Aaron's greatest gift as a collaborator is his ability to evolve and experiment with the emotional sound that is so natural to him," Vernon says of the material. Elsewhere, the dream-like "Hoping Then" sets layered vocals by Vernon, Dessner and Hannigan ("It's the on the edge of why I can't sleep soundly") atop chopped and phased violin lines, programmed drums and countermelodies played on a rubber bridge guitar. His brother Bryce's orchestration ebbs and flows throughout this song and many others. The main instrumental track of the chugging, groovy "Easy to Sabotage" was stitched together from two different live recordings and later enveloped in warm keyboard textures and the head-nodding vocals of Naeem. "It just feels alive and electric, and it just happened," Dessner says of the song. That sense of shared experience extended to the new album's title, which was coined by Swift after Dessner told her he wasn't sure what to call the new album. Intuitively summing up the themes, she suggested titling it "How Long Do You Think It's Gonna Last?," a question which she pointed out could refer to multiple subjects addressed therein: "childhood, family, marriages, a depression, a losing streak, a winning streak or a creative streak. Taylor saw it all so clearly," Dessner says. "A year ago, we'd never even worked together. It's so cool that this community keeps extending and that everyone who contributed to this album connected so naturally to the emotions at the heart of the music."
Dinosaur Jr. - Sweep It Into Space Black Vinyl Edition
Dinosaur Jr.
Sweep It Into Space Black Vinyl Edition
LP | 2021 | US | Original (Jagjaguwar)
21,99 €*
Release:2021 / US – Original
Genre:Rock / Indie
The 13th studio album from these indie rock legends, coproduced by Kurt Vile! Here is Sweep It Into Space, the fifth new studio album cut by Dinosaur Jr.. during the 13th year of their rebirth. Originally scheduled for issue in mid 2020, this record's temporal trajectory was thwarted by the coming of the Plague. But it would take more than a mere Plague to tamp down the exquisite fury of this trio when they are fully dialed-in. And Sweep It Into Space is a masterpiece of zoned dialing. Recorded, as usual, at Amherst's Biquiteen, the sessions for Sweep It Into Space began in the late Autumn of 2019, following a West Coast/ South East tour. The only extra musician used this time with Kurt Vile. Indeed, Sweep It Into Space is a very cool album. As is typical, Lou Barlow writes and sings two of the album's dozen tunes and Murph's pure-Flinstonian drumming drives the record like a go cart from Hell. Lou's songs here are as elegant as always. But there are very few moments where you wouldn't know you were hearing Dinosaur Jr. in blindfolded needle drop. They have a signature sound as sure as the Stooges or Sonic Youth or Discharge ever did. They continue to expand their personal universe with Sweep It Into Space, without ever losing their central core.
Bon Iver - I, I
Okay Kaya - Watch This Liquid Pour Itself Clear Vinyl Edition
Angel Olsen - All Mirrors Black Vinyl Edition
Angel Olsen
All Mirrors Black Vinyl Edition
LP | 2019 | US | Original (Jagjaguwar)
20,99 €*
Release:2019 / US – Original
Genre:Rock / Indie
The descent into darkness is a trope we find time again across history, literature and film. But there’s also an abyss above. There’s a winding white staircase that goes ever upward into the great unknown — each step, each turn, requiring a greater boldness and confidence than the one before. This is the journey on which we find Angel Olsen.

Olsen's artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, 'All Mirrors,' we can see her taking an introspective deep dive towards internal destinations and revelations. In the process of making this album, she found a new sound and voice, a blast of fury mixed with hard won self-acceptance.
Black Mountain - IV
Black Mountain
IV
2LP | 2016 | US | Original (Jagjaguwar)
23,99 €*
Release:2016 / US – Original
Genre:Rock / Indie
The Rock Canon Has Many Anti-Heroes, Black Mountain Being The Latest. In The Past, Can's Tago Mago Established That The Only Rule In Rock And Roll Is That There Are No Rules. Pink Floyd's Prodigious Output In The 70s Showed Us That Architecture Can Be Cool, While Delinquent Proto-Metallers Black Sabbath Demonstrated That You Can Make A Lot From Not That Much. Now Black Mountain Teach Us That You Don't Have To Be Afraid Of The Past To Move Bravely Into The Future, Defining What It Is To Be A Classic Rock Band In The New Millennium. Iv Is An Unapologetically Ambitious Record Made By A Group Of Musicians Who Are At The Peak Of Their Powers.
Angel Olsen - All Mirrors
Angel Olsen
All Mirrors
Tape | 2019 | US | Original (Jagjaguwar)
9,99 €*
Release:2019 / US – Original
Genre:Rock / Indie
The descent into darkness is a trope we find time again across history, literature and film. But there’s also an abyss above. There’s a winding white staircase that goes ever upward into the great unknown — each step, each turn, requiring a greater boldness and confidence than the one before. This is the journey on which we find Angel Olsen.

Olsen's artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, 'All Mirrors,' we can see her taking an introspective deep dive towards internal destinations and revelations. In the process of making this album, she found a new sound and voice, a blast of fury mixed with hard won self-acceptance.
Jamila Woods - Legacy! Legacy! Black Vinyl Edition
Angel Olsen - Burn Your Fire For No Witness
Angel Olsen
Burn Your Fire For No Witness
LP | 2014 | US | Original (Jagjaguwar)
17,99 €*
Release:2014 / US – Original
Genre:Rock / Indie
Many of the superlatives describing Angel Olsen refer to how seemingly little it takes for her to leave an audience speechless, even spellbound. But Olsen has never been as timid as those descriptors imply, and the noisy, fiery hints in her earlier work find a fuller expression on her newest LP, Burn Your Fire for No Witness. Here, Olsen sings with full-throated exultation, admonition, and bold, expressive melody. Also, with the help of producer John Congleton, her music now crackles with a churning, rumbling low end and a brighter energy.
V.A. - Sentimental Noise Metallic Silver Vinyl Edition
V.A.
Sentimental Noise Metallic Silver Vinyl Edition
2LP | 2021 | US | Original (Jagjaguwar)
29,99 €*
Release:2021 / US – Original
Genre:Rock / Indie
Preorder shipping from 03.12.2021
In most any Dungeons & Dragons adventure worth completing, the hero must come face-to-face with herself in some form _ a cursed, mystical mirror that reveals all that our hero is and is not; a reflection in some Blood River that displays for our hero the monster she has become; a doppelganger that reveals how much our hero has changed since the beginning of the adventure. So, as XagXaguVar, our year-long 25th anniversary campaign enters its final chapter, Jagjaguwar must also confront our former self. We're going all the way back to the basement of the sushi joint in Charlottesville; all the way back to when we were just a haphazardly made zine; all the way back to the original mantra which served at Jagjaguwar's early guiding force. The Sentimental Noise echoing through the caverns of self-discovery is tender and deafening. We've uncovered new and unreleased work from some of Jagjaguwar's earliest friends like Drunk, Manishevitz and Bevel. We've called upon necromancers like Norway's Jenny Hval, Jagjaguwar legends Wilderness and Bloomington post-rock heroes Tammar. Mysterious noise mongers like Canada's Wold and Oslo's Some Nerve have delivered on their promise to absolutely split our skulls open. There are two loving tributes to Patron Saint of Jagjaguwar John Prine. And we've unearthed two songs from Atsushi Miura, who once upon a time allowed our founder Darius Van Arman to book shows in the basement of the sushi restaurant he ran. He dedicates one song to Darius and in the other, humorously lambasts the college town he called home for all those years. Today Jagjaguwar dies; tomorrow Jagjaguwar is reborn.
Junglepussy - JP4
Junglepussy
JP4
LP | 2021 | US | Original (Jagjaguwar)
21,99 €*
Release:2021 / US – Original
Genre:Hip Hop, Rock / Indie
With a name as bold as Junglepussy and an artistry to match, Shayna McHayle is New York's premier rap rule-breaker. Honest, funny, and freaky, her rhymes span from the explicitly audacious to the tenderly relatable. Her unfailingly confident flow accentuates her roots in Brooklyn (her parents are from Trinidad and Jamaica), and her bars land with cool impact. In the universe that is Junglepussy, relationships are complicated, vegetables are magic, and an excellently delivered flex on an ex is one punchline away. Jp4 is Junglepussy's stellar next phase. With contributions from vocalist Ian Isiah, rapper Gangsta Boo, and producers Dave Sitek and Nick Hook, Jp4 is Junglepussy ascended. After almost a decade of experimenting, Junglepussy feels she's finally living up to her name. The numerology of four, in its foundational symbolism, is an apt frame for Jp4. Over an eight year career, Junglepussy's music has led her to lecture at Yale and Columbia, create her own Junglepussy Juice, star in 2018 feature film Support The Girls, and embark on sold-out domestic and international tours. For Junglepussy, Jp4 is a culminating moment_one that holds the essence of closure while hinting at an exciting and expansive future.
Bullion - Heaven Is Over EP Crystal Clear Vinyl Edition
Bullion
Heaven Is Over EP Crystal Clear Vinyl Edition
LP | 2020 | EU | Original (Jagjaguwar)
16,99 €*
Release:2020 / EU – Original
Genre:Rock / Indie
In Early 2018, Nathan Jenkins Returned From The Coast Of Arrábida To His New Home Studio,In A Cottage Tucked Behind The Grand Hotel Setting Of Wim Wenders' Lisbon Story. Breakingfor Lunches Under A Datura Tree In The Garden And A Far Cry From The Finsbury Park Basementflat He Rented The Previous Year, A Set Of Recordings Followed That Galvanised Into An E.P. - Wehad A Good Time. Music Informed By Out-Of-Town Trips In A 1987 Renault 9 Super, Pitchforkattributed `Remarkable Healing Powers' To Lead Song Hula.After Leaving London For A Spell In Portugal, Nathan Lost His Taste For The Night Life And Drewa Line Under A Long-Running Nts Radio Show. Much Of The Time Spent Abroad Was Dedicated Toa Longstanding Collaboration With Westerman, Whose Album They Recorded In A Remote Part Ofthe Algarve Countryside In 2019. Nathan's Own Discography Opened In 2007 With Pet Sounds:In The Key Of Dee, Before Pivoting In A More Electronic Direction Via Get Familiar And Youngheartache. From The Sampledelia Of 2011`S Too Right, The New Wave And Rave Of Say Arr Ee Tothe Robert Wyatt-Influenced Love Me Oh Please Love Me, He's Mapped A Deliberately Peculiarpath. 2015`S Rooster Was Eno & Byrne`S Bush Of Ghosts Given A Shangaan-Electro Lick Andclip. While Nathan's Partnership With Fellow Out-There Pop Auteur, Jesse Hackett, As Blluddrelations, Staggered Like A Half-Cut Prince.Collaged, Rhythmic Alternatives. Syncopated Avant-Garde Sambas. Off-Kilter Sci-Fi Jazz.Think Asha Putli In The Spot At The Star Wars Cantina. Arty, Angular. Rich, But Uncluttered.Frenetic, Electric, Blurring The Boundaries Between What Is Sampled, What Is Played. Nathan'sis A Wilfully Weird Pop, Showcased In 2016 On His Album, Loop The Loop. Wayward, Butwoven With Hooks That Come Out Of Nowhere. Lyrical, Often Beautiful, Solos On Violin, Oboe,And Desiccated Guitars. Songs That Demonstrate A Nose-Thumbing Playfulness, A Refusal To Sitstill. Where There's Always The Urge To Interrupt A Carnival Beat With A Burst Of Galloping...
S. Carey of Bon Iver - All We Grow Ten Year Annivesary Seaglass Wave Vinyl Edition
S. Carey of Bon Iver
All We Grow Ten Year Annivesary Seaglass Wave Vinyl Edition
LP | 2020 | US | Original (Jagjaguwar)
21,99 €*
Release:2020 / US – Original
Genre:Rock / Indie
Features bonus track "Take it With Me". All We Grow was and is a convergence of S. Carey's young lifetime spent immersed in music: his Waltz For Debby-era Bill Evans inflected jazz tendencies; his performance degree in classical percussion from the University of Wisconsin, Eau Claire; his cental role in the galeforce power of the Bon iver live show; his hints of Mark Hollis' Talk Talk. In his downtime on tour with Bon Iver, Sean would spend time pining for his life at home, dreaming and composing in that headspace. All We Grow also retests the waters of modern classical composition, investigating the moodiness generated by percussive repetition in a manner familiar to fans of Steve Reich. For as spacious as they are, Carey's compositions are incredibly dynamic, with moments of bombast held right next to moments of subtle depth and texture. How apropos, then, that this anniversary edition of All We Grow adds a cover of Tom Waits' "Take it With Me", a timeless lullaby from another artist whose voice strikes us in bracing, unexpected ways. Ten years ago, S. Carey and All We Grow crept into our world like a seedling _ delicate and unassuming, but putting down roots that would deepen and grow whether we saw them or not. Ten years later, S. Carey and All We Grow endure as a part of our soil, an earthen, inextricable part of planet Jagjaguwar. At a time when serenity feels particularly scarce, All We Grow stands as a classic album - born without expectation and met with adoration - a cathartic result of Carey's extraordinary and vibrant life experiences that resonates loss, dreams and heart in a manner so instantly relatable, you feel as though you can touch it.
Cut Worms - Nobody Lives Here Anymore Black Vinyl Edition,
Cut Worms
Nobody Lives Here Anymore Black Vinyl Edition,
LP | 2020 | EU | Original (Jagjaguwar)
23,99 €*
Release:2020 / EU – Original
Genre:Rock / Indie
The shopping malls have closed down, the dressing rooms are filled with ghosts, and the carousel is covered in cobwebs. Nobody Lives Here Anymore, the latest and greatest from Max Clarke as Cut Worms, is the haunted reverie of an American landscape in-and-out of Clarke's mind. Recorded between May and November 2019 in Memphis, Tennessee, the album is a snow globe of the mid-twentieth-century's popular music filled with chiming guitars, honkey tonk pianos, and Telstar organs. A constant creator - be it his Cut Worms alter-ego or his day-jobillustration work (designing brand logos and beer labels with madhouse technicolor pictures) - writing and making records has always been Max's driving force. So after an extensive eighteen-months of touring in support of 2017's Alien Sunset and 2018's Hollow Ground, he set about sifting through the fragment pieces and sketches of tunes he'd accumulated, along with a jet-stream of new compositions, mining his life-long devotion to the lost American songbook for inspiration. By thetime he flew to Memphis to work with producer Matt Ross-Spang at Sam Phillips Studio, he'd stockpiled more than thirty new songs. A loss of innocence lingers through this 80-minute opus as Clarke attempts to harbor love and meaning inside a world that sold itself out. He explores the wistfulness of the past in search of answers for tomorrow. And while his grand anthems overflow with timeless pop charm, his ability to dig deeper than lollipops and holding hands sets his work apart from the days of 45s and Top of the Pops.
Angel Olsen - Whole New Mess
Gabriel Garzón-Montano - Agüita Yellow Vinyl Edition
Gabriel Garzón-Montano
Agüita Yellow Vinyl Edition
LP | 2020 | UK | Original (Jagjaguwar)
24,99 €*
Release:2020 / UK – Original
Genre:Electronic / Dance
This will come as no surprise to those who've followed GGM since 2014's Bishouné: Alma Del Huila, the critically-lauded, self-produced EP that put him on the map, and served as sample fodder for a handful of popular music's most iconic artists. His follow-up LP, 2017's Jardin, melded classical and folkloric instruments with rnb, hip-hop, and cumbia, proving once again that Gabriel is totally comfortable making transformative, funky, cathartic records all by himself. Agüita, his first release for Jagjaguwar, is a sequence of impossibly diverse offerings ranging from trap anthems to string-drenched art pop ballads - a prismatic self-portrait, personal and universal all at once. The artist is present, and he is in final form. The magic of Agüita lives in Gabriel's ability to consolidate a range of truths into a focused, crystallized idea. "Bloom," "Blue Dot," and "Fields" compare the growth and loss inherent in human life with the changing of the seasons and the life cycles of the universe; on "Fields," Garzón-Montano evokes the despondent whimper of Thom Yorke. There are mirrors of the same themes in compositions like "With a Smile," "Tombs," "Someone," and "Moonless," a quartet of songs that explore the births and deaths of the relationships we have with the people we love; on "Moonless," Gabriel explores for the first time his struggle with the grief of his mother's passing: "Mama died / and I was moonless in a Stygian tide...trying to hide the ripening tumor / breathing fire, love but a rumour / There's a woman in my sky / 17 when I learned to cry_" It is to his immense credit as a songwriter that we are left with an understanding of the depth of his loss, despite having never experienced it. Equally impactful are the trap and reggaeton cuts - the album's energetic high points. On "Agüita," "Mira My Look," and "Muñeca," GGM delves into club-banger territory, performing in Spanish for the first time on record. Whether you're here for the medium, or for the message, for the man himself, or one of his characters, Agüita stands as the strongest installment thus far in a series of alarmingly sincere, sensationally profound works, from an artist who has sought not only to challenge established preconceptions and categories, but to expose their ultimate unworthiness. From composition to execution, the product distills the essence of Gabriel Garzón-Montano's genius, an uninterrupted creative process rare in this age of fattened album credits.
Sharon Van Etten - Remind Me Tomorrow Black Vinyl Edition
Moses Sumney - Aromanticism
Wolf People - Ruins
Wolf People
Ruins
LP | 2016 | US | Original (Jagjaguwar)
19,99 €*
Release:2016 / US – Original
Genre:Rock / Indie
UK band Wolf People’s full-length Ruins was recorded in Devon, Isle Of Wight and London. Ruins is their most direct and instinctive work yet, simultaneously reaching back into a fecund past to tell us who we are today, while harnessing the power of modern technology and ideas to ponder unknown futures.

Influences upon Ruins come in all shapes, size, contours and hues: the discovery of proto Sabbath/Zeppelin Scottish band Iron Claw, the lesser known landscapes of rural Bedfordshire, backstage Taekwondo stretches, Scandinavian psychedelia, fleeting rural epiphanies, Dungen, Trees, Peter Green’s Fleetwood Mac, a group holiday on a remote Finnish island, and Jagjaguwar flipping out after seeing them play in Bloomington, Indiana and insisting it was time they made their Back In Black…
Angel Olsen - My Woman Black Vinyl Edition
Angel Olsen
My Woman Black Vinyl Edition
LP | 2016 | US | Original (Jagjaguwar)
19,99 €*
Release:2016 / US – Original
Genre:Rock / Indie
An intuitively smart, warmly communicative, & fearlessly generous record.
Dinosaur Jr. - Give A Glimpse Of What Yer Not Black Vinyl Edition
Dinosaur Jr.
Give A Glimpse Of What Yer Not Black Vinyl Edition
LP | 2016 | US | Original (Jagjaguwar)
19,99 €*
Release:2016 / US – Original
Genre:Rock / Indie
Another remarkable new Dinosaur Jr. album from the bands original lineup
Unknown Mortal Orchestra - II
Unknown Mortal Orchestra
II
Tape | 2016 | US | Original (Jagjaguwar)
10,99 €*
Release:2016 / US – Original
Genre:Rock / Indie
Builds on the break-beat, junk-shop charm the multi-instrumentalist & songwriter came to be renowned for following his self-titled 2011 debut, & signals the solidification of their position as an endlessly intriguing, brave psychedelic band. Pulls Pink Floyd, the Family Stone, the Beatles & the Soft Machine through his warped rock'n'roll filter. Available for the first time as a tape!
Viet Cong - Viet Cong Black Vinyl Edition
Viet Cong
Viet Cong Black Vinyl Edition
LP | 2015 | US | Original (Jagjaguwar)
19,99 €*
Release:2015 / US – Original
Genre:Rock / Indie
You can designate records as seasonal, and you can feel Viet Cong's bleakness and declare it wintry. But the only way you get a frost is when there's something warmer to freeze up. So yes, Viet Cong is a winter album, but only until it is a spring record, then a summer scorcher, then an autumn burner, then it ices over again. They build these buildings, and they're built to break.
S. Carey of Bon Iver - All We Grow
Volcano Choir - Unmap
V.A. - Join The Ritual Glowing Orb Vinyl Edition
V.A.
Join The Ritual Glowing Orb Vinyl Edition
LP | 2021 | US | Original (Jagjaguwar)
23,99 €*
Release:2021 / US – Original
Genre:Rock / Indie
Jagjaguwar 25th Anniversary compilation featuring covers of songs originally by Tracy Chapman, Stereolab, Dinosaur Jr., Smog, and more by the likes of Angel Olsen, Bruce Hornsby, Jamila Woods, and other Jagjaguwar artists and friends. Midway through his long, earnest and often very, very funny essay on the role playing game Dungeons & Dragons in the September 2006 issue of The Believer, writer Paul La Farge proposes that Dungeons & Dragons is not a game at all but rather a ritual. La Farge notes the marked difference between game and ritual. Whereas a game seeks to demonstrate how unequal or distinct players/teams are from one another, rituals seek to do the very opposite. "Ritual, on the other hand, is the exact inverse, for it brings about a union," La Farge writes, himself paraphrasing anthropologist Claude Levi-Strauss. "Or in any case an organic relation between the initially separate groups." And so, across the 25-year history of Jagjaguwar, an independent record label curiously named using a Dungeons & Dragons name generator, we find this idea of ritual as a conjoining practice. We see it early on when Jagjaguwar joins forces with a midwestern label called Secretly Canadian for a powerful fusion. We see it in familial relationships and collaboration among Jagjaguwar artists, and the ways those artists' most treasured collaborators make their ways to the Jagjaguwar game board. Join The Ritual, the third piece of Jagjaguwar's 25th Anniversary celebration, looks to pay homage to the labels and artists that, whether they know it or not, invited Jagjaguwar to the table, to this wild, dark magic ritual of music. We're talking about independent titans like Drag City, Too Pure, K Records and Touch & Go. We're talking about heroes like R.E.M., Slint, Stereolab and Tracy Chapman. These songs captured the imaginations of our founders Darius Van Arman and Chris Swanson - and ultimately, opened up worlds to them.
Angel Olsen - Aisles
Big Red Machine - How Long Do You Think It´S Gonna Last?
Big Red Machine
How Long Do You Think It´S Gonna Last?
Tape | 2021 | US | Original (Jagjaguwar)
9,99 €*
Release:2021 / US – Original
Genre:Rock / Indie
Ever since childhood, learning to play various instruments in a suburban Cincinnati basement alongside his brother Bryce, Aaron Dessner has consistently sought an emotional outlet and deep human connection through music _ be it as a primary songwriter in The National, a founder and architect of beloved collaboration-driven music festivals, or collaborator on two critically acclaimed and chart-topping Taylor Swift albums recorded in complete pandemic-era isolation at his Long Pond Studio in upstate New York, among many other projects. Through it all, Dessner has brought together an unlikely community of musicians that share his impulse to connect, celebrate and, most of all, process emotion and experience through music. This generous spirit and desire to push music forward has never been more deeply felt than on Big Red Machine's "How Long Do You Think It's Gonna Last?," the second album from Dessner's evermorphing project with Bon Iver's Justin Vernon. In 2008, while assembling material for the charitycompilation "Dark Was the Night," Dessner sent Vernon a song sketch titled "big red machine". Vernon interpreted "big red machine" as a beating heart and finished the song accordingly _ a metaphor Dessner says "still sticks with me today. This project goes to many places and is always on some level about experimentation, but it shines a light on why I make music in the first place, which is an emotional need. It's one of my therapies and one of the ways I interrogate the past." Released in 2018, Big Red Machine's self-titled debut album evolved from improvisation and what Dessner calls "structured experimentalism," with an ear toward building tracks that would work well in a live setting alongside visual elements. When Dessner and Vernon started the Eaux Claires Music Festival in 2015, they staged the original "Big Red Machine" as an improvisation-based performance piece. They later took that show to the People collective's Berlin residency and festival, and to Dessner's Haven Festival in Copenhagen. "Big Red Machine started as this thing we would do for fun, and we fell in love with the feeling of it," says Dessner." Vernon agrees: "I remember it feeling really easy, but we never knew what would happen. It was exciting. As time went on, we just kept doing things together. And our friendship has grown strong, alongside all the collaborative stuff." New Big Red Machine material began taking shape in spring 2019, when Vernon came to visit Dessner at Long Pond. The first week produced songs such as "Reese," "8:22am" and eventual album opener "Latter Days," a haunting number sung by Vernon and Anaïs Mitchell that set the emotional tenor for what was to come. "It was clear to her that the early sketch Justin and I made of Latter Days was about childhood, or loss of innocence and nostalgia for a time before you've grown into adulthood _ before you've hurt people or lost people and made mistakes. Anaïs defined the whole record When she sang that, as these same themes kept appearing again and again," Dessner says. In the ensuing months, Vernon and Dessner would meet up when they could, and in the meantime, Dessner developed the existing material and wrote new instrumental tracks which he sent Vernon, always eager to hear what he would receive back. "Justin is incredibly gifted, but he's also disruptive in the best way," says Dessner, pointing to the first note of the song "Birch" as a prime example. "It's absolutely brilliant, but it was very surprising when I heard it the first time. I can't tell you what that interval is. There are many moments working with him where your head hits the wall in amazement like that." In the early stages of the pandemic, Swift approached Dessner to work with her on what would become the sister albums "folklore" and "evermore." Dessner describes this period as a "creative blur," during which he'd be writing material for Swift and Big Red Machine simultaneously. "I think this was an intense growing period for me, I was learning so much from Taylor and the process. Along the way, I shared all of our unfinished Big Red Machine songs with her and she really found them inspiring and gave me so much positive feedback and encouragement," he says. "I think that helped me realize how connected this Big Red Machine music was to everything else I was doing and that I was always supposed to be chasing these ideas. I was finding new sounds and ways of working through these songs. I just hadn't been able to finish them. So, I did." Beyond Vernon and Swift's encouragement, many of Dessner's previous collaborators and friends show up for him here, continuing the reciprocal exchange of ideas that has come to define his creative community. Songs feature guest vocals and writing contributions from artist friends including Fleet Foxes' Robin Pecknold ("Phoenix"), Ben Howard and This Is The Kit ("June's a River"), Naeem ("Easy to Sabotage'), Sharon Van Etten, Lisa Hannigan and My Brightest Diamond's Shara Nova ("Hutch," a tune inspired by Dessner's late friend, Frightened Rabbit frontman Scott Hutchison) and Swift herself ("Birch" and "Renegade," the latter an instant-classic Taylor earworm summed up by the poignant lyric "Is it insensitive for me to say / get your shit together so I can love you." The song was recorded in Los Angeles at the Kitty Committee studio in March 2021, the same week when Swift and Dessner took home the Grammy for Album of the Year for "folklore.") "This is all music I generated, but it is interesting to hear how different people relate to it, or how different voices collide with it," Dessner says. "That's what makes it special. With everyone that's on this record, there's an openness, a creative generosity and an emotional quality that connects it all together." As he continued writing prolifically on his own, Dessner noticed a theme emerging -- the idea of sitting with the uncomfortability of personal and family darkness from his childhood and reflecting on how emotional issues he dealt with growing up have reverberated through his adult life. It became clear that some of these he'd need to sing himself; songs such as "The Ghost of Cincinnati" and "Magnolia" address the disintegration of marriage and family and mental health, asking pointed questions of himself and those closest to him. "Brycie" is an ode to his aforementioned twin and National bandmate, who picked up on the musical vibes immediately when Dessner played the song for him for the first time backstage at a National show in Washington D.C. "He picked along to it with me and it immediately sounded like Aaron and Bryce playing the guitar in the basement as kids, which was my intent," Dessner remembers. "The words mean a lot to me. It's about my childhood with Bryce, and how I had pretty severe depression in high school. He was the one who kept me going and took care of me until I was back on my feet. I've lost close friends to depression and this song is about how important it was that Bryce was there for me at that time and is still here." In addition to being one of the more lyrically significant tracks on the album, Dessner says singing it himself felt like an important act of self-acceptance. "I always sing under my breath when I write music, but I usually hand it off to [National vocalist] Matt [Berninger] or others" he says. "When you're in a band for so long and somebody else is that person, you come to rely on it and I've always loved Matt's voice and his words. But singing `Brycie' myself helped rewire my brain to realize that maybe Big Red Machine is the project that not only enables me to create songs with other people, but also sometimes finish songs on my own." Recalling sessions at Sonic Ranch in Texas when Dessner recorded his vocal takes, Vernon says, "Aaron showed me `Brycie' a couple years ago now. I was like, this is beautiful, and you should do more singing. Not only would it be good for the future of your songwriting, but your voice sounds really good to me. It was exciting to see him flourish in that way _ to now be a part of that process and realize the hardships in that and also the victories. On this record, he's leading the charge, wholly and completely." Musically, "How Long Do You Think It's Gonna Last?" features what Dessner calls maybe the "clearest distillation" of his varying songwriting and production styles. Songs like "Reese," the Dessner-sung "Magnolia" and the elegiac "Hutch" are built on the kinds of tear-jerking piano melodies millions of fans have come to love from The National, but then move at their own pace toward unusual sonic destinations. "Aaron's greatest gift as a collaborator is his ability to evolve and experiment with the emotional sound that is so natural to him," Vernon says of the material. Elsewhere, the dream-like "Hoping Then" sets layered vocals by Vernon, Dessner and Hannigan ("It's the on the edge of why I can't sleep soundly") atop chopped and phased violin lines, programmed drums and countermelodies played on a rubber bridge guitar. His brother Bryce's orchestration ebbs and flows throughout this song and many others. The main instrumental track of the chugging, groovy "Easy to Sabotage" was stitched together from two different live recordings and later enveloped in warm keyboard textures and the head-nodding vocals of Naeem. "It just feels alive and electric, and it just happened," Dessner says of the song. That sense of shared experience extended to the new album's title, which was coined by Swift after Dessner told her he wasn't sure what to call the new album. Intuitively summing up the themes, she suggested titling it "How Long Do You Think It's Gonna Last?," a question which she pointed out could refer to multiple subjects addressed therein: "childhood, family, marriages, a depression, a losing streak, a winning streak or a creative streak. Taylor saw it all so clearly," Dessner says. "A year ago, we'd never even worked together. It's so cool that this community keeps extending and that everyone who contributed to this album connected so naturally to the emotions at the heart of the music."
Molly Lewis - The Forgotten Edge Black Vinyl Edition
Molly Lewis
The Forgotten Edge Black Vinyl Edition
LP | 2021 | US | Original (Jagjaguwar)
17,99 €*
Release:2021 / US – Original
Genre:Rock / Indie
In the most literal sense, globally renowned whistler Molly Lewis makes her gorgeous and curious compositions out of thin air. New entrees into the Exotica canon; sprawling, would-be Spaghetti Western scores; and a dash of Old Hollywood glamour _ the whistle-led songs on her debut EP The Forgotten Edge are as complex, delicate and indelible as anything performed with viola or piano. "Whistling is like a human theremin," said Lewis, an Australian native who's spent the last several years in LA, and whose performances there and around the world are changing any preconceived notions of whistling by the room-full. That's not to say Lewis is all serious and snooty about the craft. Quite the contrary. Her sense of humor is witty, self-deprecating and zany. She's as likely to reference the slapstick Leslie Nielsen film series Naked Gun for music video concepts as she is a classic piece of noir cinema. Look no further than the equatorial and breezy opening cut "Oceanic Feeling," a lovely walk across the flotsam-sprinkled sands in the rum-pumping vein of Les Baxter. Meanwhile, the title track _ and really, the entire collection here _ is a loving, and albeit rather haunting, salute to one of Lewis's heroes, the Italian composer and musician Alessandro Alessandro Alessandroni, who's whistle and guitar you hear on the title theme of Ennio Morricone's A Fistful of Dollars. Lewis and her ensemble create classic cinema for your mind. Her own love for the artform began when, around the age of twelve she was given the CD Steve "The Whistler" Herbst Whistles Broadway. Something contained in it clicked. "It wasn't that I was immediately obsessed, but I knew it was something I could do well," Lewis said. The daughter of a musician mother and a documentary filmmaker father who often focused his films on niche communities and topics, Lewis recalls watching a television documentary with her parents about The International Whistlers Convention in Louisburg, North Carolina. "My dad said, `If you ever make it into the competition, I'll take you there'," Lewis said. Turns out, there was no bar to entry, just a small fee. And so several years later, she and her father traveled to the convention. New to the form, Lewis didn't take home one of the bigger prizes, but they were awarded the prize for "Whistler who traveled the greatest distance." "We really just used the trip to drive around the United States," she said. After studying film in Australia, Lewis moved to Los Angeles to be close to the film industry. There, her circle of artist friends grew naturally and with providence _ her unique talent drawing more and more recognition. And over the last few years, Lewis's Café Molly events at LA spots like Zebulon, Non Plus Ultra and The Natural History Museum have become fabled, elegant happenings with appearances from guests like John C. Reilly, Karen O and Mac DeMarco. Recorded with a crack team of friends and musicians during 2020's quarantine, The Forgotten Edge is rife with incredible performances from Thomas Brenneck, Joe Harrison, Eric Hagstrom, Abe Rounds, Wayne Gordon, Gabriel Rowland, Leon Michels, and Dave Guy.
Angel Olsen - Song Of The Lark And Other Far Memories
Angel Olsen
Song Of The Lark And Other Far Memories
4LP | 2021 | US | Original (Jagjaguwar)
66,49 €* 69,99 € -5%
Release:2021 / US – Original
Genre:Rock / Indie
4xLP deluxe box set including Angel Olsen's latest two albums, All Mirrors and Whole New Mess, as well as an LP of bonus audio. Also includes 40 page book including photo shoot outtakes, pictures from the recording of these albums, handwritten lyrics, and items of meaning to Angel. Originally conceived as a double album, All Mirrors and Whole New Mess were distinct parts of a larger whole, twin stars that each expressed something bigger and bolder than Angel Olsen had ever made. Released in 2019, All Mirrors is massive in scope and sound, tracing Olsen's ascent into the unknown, to a place of true selfacceptance, no matter how dark, or difficult, or seemingly lonely. All Mirrors is colossal, moving, dramatic in an Old Hollywood manner. Recorded before All Mirrors but released after, Whole New Mess is the bones and beginnings of the songs that would rewrite Olsen's story. This is Angel Olsen in her classic style: stark solo performances, echoes and open spaces, her voice both whispered and enormous. All Mirrors and Whole New Mess presented the two glorious extremes of an artist who, in these songs, became new by embracing herself entirely. Now, with Songs of the Lark_ And Other Far Memories, these twin stars become a constellation with the full extent of the songs' iterations: all the alternate takes, b-sides, remixes and reimaginings are here, together. Alongside, a 40-page book collection tells a similar story, not just through outtakes and unseen photos but through the smaller, evocative details: handwritten lyrics, a favorite necklace, a beaded chandelier. As if it could be more plainly stated (there's nothing more), Angel adds one cover here: a loving, assertive rendition of Roxy Music's "More Than This." It is a definitive collection, not just of these songs but of their revelations and their writer, from their simplest origins to their mightiest realizations.
Ross Gay - Dilate Your Heart
Ross Gay
Dilate Your Heart
LP | 2021 | US | Original (Jagjaguwar)
19,19 €* 23,99 € -20%
Release:2021 / US – Original
Genre:Electronic / Dance
· First release of the Jagjaguwar 25th anniversary celebration happening in 2021. · Features production and composition accompaniment from Bon Iver, Mary Lattimore, Angel Bat Dawid, Gia Margaret, and Sam Gendel. · Limited edition Opaque Green vinyl. Over the last 12 years, Ross Gay's poems have given us indelible images and phrases of radical empathy and unabated gratitude; about community, collaboration, connectedness and hard work. They have crept into our hearts and made a home of all of us. And so we are launching our 25th Anniversary celebration with `Dilate Your Heart', our first spoken word album since titan Robert Creeley's self-titled release twenty years ago. "Catalog of Unabashed Gratitude" is given a gorgeous, slowly creeping bed of vines by Bon Iver, as Gay's unadorned voices speaks a lifetimes of Thank You's. On "Burial," harpist and composer Mary Lattimore's lunar landscape follows Gay's voice into space, telling of our endless energy exchange with nature. Chicago's Angel Bat Dawid dances with the frenetic, joyous scene Gay leads us through on "To the Fig Tree on 9th and Christian," in which a group of Philadelphia strangers scramble together to harvest the fruit of the titular urban fig tree. Songwriter Gia Margaret provides a mystical, amniotic environment for Gay's "Poem To My Child If Ever You Shall Be," a love letter to an imagined future child, treating Gay's voice like a message in a bottle to a far off idea made only of love and potential. Sam Gendel, a secret weapon collaborator, affects Gay's voice on "Sorrow Is Not My Name" to something glassy and almost singsongy. Throughout, Gay recites his poems with bright aliveness, his voice as warm and easy when he speaks about death as when he speaks about mercy, or love.
Women - Rarities 2007-2010
Women
Rarities 2007-2010
LP | 2021 | EU | Original (Jagjaguwar)
16,99 €*
Release:2021 / EU – Original
Genre:Rock / Indie
To Celebrate The 10th Anniversary Of The Now Legendary Album 'Public Strain', Women Released A Special Limited Vinyl Pressing Of The Album And A New Five-Song Collection Of Material Titled 'Rarities 2007-2010' Featuring Material That Was Either Hard-To-Find Or Never Released, Now Properly Mastered And Available On Vinyl For The First Time.The Product Of An Intense And Difficult Year-Long Recording Process, 'Public Strain' Seems Without Any Clear Sonic Lineage - Equal Parts Velvet Underground, Deerhoof, And Television, But Distinctly Unique And Unprecedented. Just Over A Month After The Album's Release, The Short-Lived Band Was Finished; However, The Reverberations Of 'Public Strain' Were Widespread And It Became Regarded As A Modern-Day Masterpiece, A Vital Document Of An Inimitable Moment In Time, And A Clear Touchstone For Countless Albums Since Its Release.
Ryan Hemsworth - Pout Ep Coke Bottle Clear Vinyl Edition
Ryan Hemsworth
Pout Ep Coke Bottle Clear Vinyl Edition
LP | 2021 | US | Original (Jagjaguwar)
16,99 €*
Release:2021 / US – Original
Genre:Organic Grooves
- Limited Edition First Pressing On Coke Bottle Clear Vinyl.- Features From Ms. John Soda And Badbadnotgood's Lelandwhitty- Part Of Jagjaguwar's Friends Of Serie"For This Ep I Was Trying To Live Less In Nostalgia And Function Less Off Obvious References. I Worked On Pout While Becoming A Dad, Sitting A Lot In My Garden, And Trying To Kill My Ego. Tracks Like 'Mountain Access' Make Me Think About Driving Around Hamilton, Ontario, My Home As Of A Year Ago. I Hope People Can Still Get A Chance To Walk Around With This On Headphones Or Daydream While Listening To This Project." - Ryan Hemsworth
Midnight Sister - Painting The Roses
Midnight Sister
Painting The Roses
LP | 2021 | US | Original (Jagjaguwar)
18,69 €* 21,99 € -15%
Release:2021 / US – Original
Genre:Rock / Indie
As Midnight Sister, multi-disciplinary LA artists Juliana Giraffe and Ari Balouzian make motion pictures. Yes, sometimes with moving images _ but most often only with the music they create together. Balouzian's serpentine, string compositions are movie scenes that allow Giraffe, a brilliant character actor, to cloak herself in a new roles and voices. A bit of Jon Brion's score work; some old Hollywood strings; a solid dose of glam and outsider disco from 70s independent cinema. Any perceived artifice is always matched by an indelible human fingerprint, something perfectly off. Giraffe and Balouzian's respective work in fashion, visual art, video and film scoring _ along with the gang of virtuosos with which they surround themselves _ all wonderfully coalesce as Midnight Sister. And if 2017's `Saturn Over Sunset' was their collection of short films about outcast life in The San Fernando Valley, then their new album `Paining the Roses' is the inventive, meta motion picture that cements them as auteurs. `Painting the Roses' is in many ways a fairy tale -- not so much the sweet-and-happyending kind as something richer, packed with imagination and rooted in the complex human messiness beneath a story's artifice. Frontwoman Giraffe describes it as "this tightrope of being real yet synthetic, organic yet staged, light yet dark, logical yet irrational, beautiful yet dilapidated. Joyful nonsense." Here, disguises like masks and paint are not meant to hide but to liberate, to "set a part of us free", and Midnight Sister often embody this themselves, appearing highly stylized, curious, warm and inviting but a little askew. `Painting the Roses' is a story told through the looking glass, one where we examine ourselves in a funhouse mirror but find clarity in its twists. Giraffe traveled to visit family in Argentina during the making of the album and reconnected greatly with that part of her family history, art and culture. Balouzian created the core album opener "Doctor Says" during a session in the desert outside of LA. The guitar, which reminded Giraffe of South America, has a slow, sweltering surf-tango to it, like Dick Dale doing Carlos Gardel. And even though the song was inspired by Giraffe's reconnection with Argentina, the song is about the fading of some close friendships during the making of the album. "Man, you have changed," Giraffe sings, unclear if tis directed to a friend or to herself. Later on the album, "Wednesday Baby" _ named after Giraffe's rescue dog _ is patient, subtly baroque pop. It follows Giraffe through one of those gloomy days spent in tunnelvision doldrums from which only a sunbathing turtle or your canine companion can pull you out. By the time collaborator Max Whipple's saw comes beaming down from heaven in the song's 3rd part, we're hypnotized by the song's charming ennui. The song lands someplace both familiar and aloof, a little slice of timelessness taken straight from The Cake of Perfect Songcraft.
S. Carey of Bon Iver - All We Grow Ten Year Annivesary Black Vinyl Edition
S. Carey of Bon Iver
All We Grow Ten Year Annivesary Black Vinyl Edition
LP | 2020 | US | Original (Jagjaguwar)
20,99 €*
Release:2020 / US – Original
Genre:Rock / Indie
Features bonus track "Take it With Me". All We Grow was and is a convergence of S. Carey's young lifetime spent immersed in music: his Waltz For Debby-era Bill Evans inflected jazz tendencies; his performance degree in classical percussion from the University of Wisconsin, Eau Claire; his cental role in the galeforce power of the Bon iver live show; his hints of Mark Hollis' Talk Talk. In his downtime on tour with Bon Iver, Sean would spend time pining for his life at home, dreaming and composing in that headspace. All We Grow also retests the waters of modern classical composition, investigating the moodiness generated by percussive repetition in a manner familiar to fans of Steve Reich. For as spacious as they are, Carey's compositions are incredibly dynamic, with moments of bombast held right next to moments of subtle depth and texture. How apropos, then, that this anniversary edition of All We Grow adds a cover of Tom Waits' "Take it With Me", a timeless lullaby from another artist whose voice strikes us in bracing, unexpected ways. Ten years ago, S. Carey and All We Grow crept into our world like a seedling _ delicate and unassuming, but putting down roots that would deepen and grow whether we saw them or not. Ten years later, S. Carey and All We Grow endure as a part of our soil, an earthen, inextricable part of planet Jagjaguwar. At a time when serenity feels particularly scarce, All We Grow stands as a classic album - born without expectation and met with adoration - a cathartic result of Carey's extraordinary and vibrant life experiences that resonates loss, dreams and heart in a manner so instantly relatable, you feel as though you can touch it.
Lonnie Holley - National Freedom
Lonnie Holley
National Freedom
LP | 2020 | US | Original (Jagjaguwar)
20,99 €*
Release:2020 / US – Original
Genre:Rock / Indie
This 5-song collaboration between artist Lonnie Holley and the late visionary producer Richard Swift is a tribute to urgent, raw, American art _ from Howlin' Wolf to Captain Beefheart, from Cecil Taylor to Bo Diddley. The songs pulse with anger, hope, energy and a bit of swagger. You can hear sweat and tears through the speaker. Swift left us two years ago today, but his spirit buzzes through these songs. During a West Coast tour with Deerhunter in late summer 2013, Holley was put in touch with Swift by a friend who suggested using a day off on tour to record at Swift's National Freedom Studio in Cottage Grove, Oregon. Now rather legendary, Swift was in a breakout moment as a producer having recently worked with artists like The Shins, Foxygen and Damien Jurado. Holley's essential debut album, Just Before Music, had come out the year prior. The cosmic connection between Holley and Swift was immediate. They put down five songs in their day together: all conjured in the studio and one-of-a-kind. At the end of that day in 2013, Swift _ always up until the wee hours _ made a late night call to the friend who had set up the session. He was effusive about the experience _ thrilled to have found a kindred spirit in Lonnie Holley and thankful to spend a day crafting unclassifiable, extemporaneous and soulful music.
Angel Olsen - Whole New Mess Clear Smoke Vinyl Edition
Angel Olsen - Whole New Mess Black Vinyl Edition
Nap Eyes - Snapshot Of A Beginner Coke Bottle Clear Vinyl Edition
Okay Kaya - Watch This Liquid Pour Itself Black Vinyl Edition
Black Mountain - Destroyer White Vinyl Edition
Foxygen - Seeing Other People Deluxe Edition
Foxygen - Seeing Other People
Moses Sumney - Black In Deep Red, 2014 Record Store Day 2019 Edition
Moses Sumney
Black In Deep Red, 2014 Record Store Day 2019 Edition
12" | 2019 | US | Original (Jagjaguwar)
22,99 €*
Release:2019 / US – Original
Genre:Rock / Indie
It feels appropriate in our current climate. Words from Moses, "Black in Deep Red, 2014 was ignited by the first and last time I attended a protest.

It was in the fall of 2014, after a grand jury decided not to charge the offending officer in the Mike Brown murder, delivering the verdict just in time for them to get home for Thanksgiving. I felt like a camouflaged outsider at the protest, like an anthropologist performing a study amongst his own kind.

I took to the mountains soon after that and wrote these songs, wondering if power was a transferable device that could change hands through the vocalizing of unrest.
Moonface - This One's For The Dancer & This One's For The Dancer's Bouquet
Lonnie Holley - Mith Colored Vinyl Edition
Lonnie Holley - Mith Black Vinyl Edition
Oneida - Each One Teach One Colored Vinyl Edition
Oneida
Each One Teach One Colored Vinyl Edition
2LP | 2002 | US | Reissue (Jagjaguwar)
23,99 €*
Release:2002 / US – Reissue
Genre:Rock / Indie
First vinyl pressing of Oneida's acclaimed `Each One Teach One' for Jagjaguwar. In
2000-2001, when this album was written, recorded, and conceptualized, Oneida
was a pretty hectic organization, committed to confrontation and tragipsych and
Wu-Tang and electro relentlessness. The record was made by the original quartet
lineup of the band, founded in 1997; and the tour that followed the completion of
the album in late 2001 was the final 35-date hurrah of this lineup. When the record
finally saw the light of day in early 2002, the band hadn't broken up but was in a
process of irrevocable transformation. Oneida began as a project, then became a
gang. Come On Everybody Let's Rock (2000) and Anthem of the Moon (2001)
were absolutely gang work, and Each One Teach One was a logical final blow. We
had been through some intimate dances on the road with the medical and legal
professions by this point, and we'd left some blood in most US states - and not
always on purpose. So in some respects this record is a baring of scars. Our
original label, Turnbuckl e Records, had closed its doors with no warning in 1999,
giving rise to the oldest tune on the album, "No Label"; and both extended pieces
on the record, "Sheets of Easter" and "Antibiotics", conjoin pain and possibility in
some more metaphysical or metaphorical ways that absolutely reflect our
collective state of disorientation at the time. The music on Each One Teach One
was recorded in several different locations, under different circumstances, and
using different compositional techniques. Some of the songs were built piece by
piece through the recording and editing process; some were conceptualized ahead
of time and approached with some science; and some were pure instinct. All four
members of the band worked on composing - like I said, this was a gang doing gang
work - and the final result, this album, is an accurate document of Oneida following
the turn of the century.
Nap Eyes - I'm Bad Now Colored Vinyl Edition
S. Carey of Bon Iver - Hundred Acres Black Vinyl Edition
Angel Olsen - Phases Black Vinyl Edition
Angel Olsen
Phases Black Vinyl Edition
LP | 2017 | US | Original (Jagjaguwar)
18,99 €*
Release:2017 / US – Original
Genre:Rock / Indie
How do you best describe Angel Olsen? From the lo-fi, sparse folk-melancholy of her 2010 EP, Strange Cacti, to the electrified, polished rock ‘n’ roll bursting from 2016’s beloved and acclaimed MY WOMAN, Olsen has refused to succumb to a single genre, expectation, or vision. Impossible to pin down, Olsen navigates the world with her remarkable, symphonic voice and a propensity for narrative, her music growing into whatever shape best fits to tell the story.

Phases is a collection of Olsen’s work culled from the past several years, including a number of never-before-released tracks. “Fly On Your Wall,” previously contributed to the Bandcamp-only, anti-Trump fundraiser Our First 100 Days, opens Phases, before seamlessly slipping into “Special,” a brand new song from the MY WOMAN recording sessions. Both “How Many Disasters” and “Sans” are first-time listens: home-recorded demos that have never been released, leaning heavily on Olsen’s arresting croon and lonesome guitar.

The b-sides compilation is both a testament to Olsen’s enormous musical range and a tidy compilation of tracks that have previously been elusive in one way or another. Balancing tenacity and tenderness, Phases acts as a deep-dive for longtime fans, as well as a fitting introduction to Olsen’s sprawling sonics for the uninitiated.
Midnight Sister - Saturn Over Sunset
Midnight Sister
Saturn Over Sunset
LP | 2017 | US | Original (Jagjaguwar)
19,99 €*
Release:2017 / US – Original
Genre:Rock / Indie
Midnight Sister is brought to you by the isolating landscape of the San Fernando Valley - its colors, diners, lunatics, neon lights. Midnight Sister's Juliana Giraffe and Ari Bazoulian, both lifelong residents of this storied valley, have only become more inspired by the area's mythology over the years: its two-faced magical wonderland and tragic circus. Giraffe, 23, an André 3000 fashion disciple and daughter of an LA disc jockey, was raised almost exclusively on disco and David Bowie. Her lyrics and lyrical melodies were composed gazing out from a tiny retail window on Sunset Boulevard. Her Rear Window-like longing allowed her imagination to run wild and cook up the wild narratives that would fill Balouzian's compositions. Balouzian, 27, classically trained and already a go-to arranger for odd-pop names like Tobias Jesso Jr. and Alex Izenberg, is inspired by the immersive, almost visual language of Stravinsky and Ravel as much as the cinematic jeu d'esprit of Altman's Brewster McCloud and Paul Thomas Anderson's Punch Drunk Love. Saturn Over Sunset, their debut album, is a shared musical vision of Hollywood's oddest corners. It is the baroque, eldritch alley you must pass through to fine the speakeasy night of your life. You’ll come out bleary-eyed and the sunrise will be pouring all pink and orange through the smog and palm trees.
Preoccupations - Preoccupations Black Vinyl Edition
Preoccupations
Preoccupations Black Vinyl Edition
LP | 2016 | US | Original (Jagjaguwar)
19,99 €*
Release:2016 / US – Original
Genre:Rock / Indie
A singular, bracing collection that proves what's punishing can also be soothing, everything can change without disturbing your compass.
Black Mountain - IV Black Vinyl Edition
S. Carey of Bon Iver - Range Of Light
S. Carey of Bon Iver
Range Of Light
LP | 2014 | US | Original (Jagjaguwar)
17,99 €*
Release:2014 / US – Original
Genre:Rock / Indie
S. Carey's chosen musical expression is a hugely beatific, restorative panorama of beauty - perfect given how landscape and the wonder of nature inspire much of Carey's imagery. His new album Range of Light - the follow-up to his 2010 debut All We Grow - takes its title from the name that 19th century naturalist John Muir - Carey's hero - gave to California's Sierra Nevada, and follows suit with a dazzling array of musical light and shade, drawn from Carey's love of jazz, modern classical and Americana. Like a weathered mountain range changing shadow form and color, or the ebb and flow of a river's current, his music is simultaneously restful and rhythmic, complex and simple, and always evolving.

Range of Light incorporates elements of his previous work, but also amplifies Carey's percussive proclivities, and is altogether more developed than its predecessors, with more input on the performance and even composition side from the band of musicians and best friends he assembled originally to bring All We Grow to life in the live setting.
Foxygen - Take The Kids Off Broadway
S. Carey of Bon Iver - Hoyas EP
Wolf People - Steeple
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