Polyvinyl Vinyl, CD & Tape 74 Items

On Mike Krol Is Never Dead: The First Two Records, we catch up—with the past, that is. Indeed, Turkey, released in 2015, is Chapter 3 of the Krol saga; here, finally, are its long-lost predecessors. Self-released in 2011, I Hate Jazz was the opening salvo of World War Krol. Only 500 copies were pressed; they were given away to anyone who showed interest (and many who showed none whatsoever). Including Krol classics like “Fifteen Minutes” and “Like a Star,” the record has long been unavailable. Trust Fund followed in 2013; its 500 copies sold out on the ensuing tour, fueling a mini-mania that would elevate it to cult status. This set includes both records on freshly pressed Merge vinyl; an illuminating selection of digital outtakes, demos, and B-sides; and a fold-out poster showcasing a selection of Mike Krol ephemera. Cut at 45 prm and packaged with an oversize full-color poster and download.

Limited edition for Record Store Day 2016! Invited earlier this year to reinterpret Angelo Badalamenti's soundtrack work for the gallery of modern art in Brisbane, Xiu Xiu have finally recorded their interpretation of the Twin Peaks soundtrack.

Two women, three men, a crate of C-86 tapes & a love of jingle-jangle. Both sun-splashed & twilit - nine songs concealing drunkenness,defeat & death in tungsten-tinted pop that glitters like sea glass.

Jay Som represents the musical vision of San Francisco singer, songwriter, and multi-instrumentalist Melina Duterte. Constantly shifting, that vision embraces indie, alternative, pop, and even a little shoegaze assembled by its architect’s hand like an infinite puzzle with no border. This unpredictable sonic sensibility is threaded together by melody but never bound to it. Turn Into offers a snapshot of her musical evolution up to this point. 2016 also saw her release a one-off 7-inch on Fat Possum Records in addition to embarking on her first proper tour with Mitski and Japanese Breakfast.

In 1999 Polyvinyl, then only 3 years old, released an unassuming debut album by a band called American Football. The band played a dozen shows and then parted ways. Then something remarkable happened: for the next 15 years, the album was discovered over and over, going on to sell more than 100,000 copies and becoming one of the most influential indie/emo albums of all-time. In 2014 and 2015 American Football played their first shows in 15 years, selling out venues the world over. Organically, the band started to write new material, and years of ideas gelled into the a picture-perfect second album to be released 17 years after the first.

On his previous albums, Japanese multi-instrumentalist Shugo Tokumaru has brilliantly showcased his ability to push the boundaries of what pop music can be—crafting infinitely rewarding songs built on layers upon layers of sounds produced by instruments both familiar and unique. For Toss, Tokumaru originally intended to take a much more straightforward path, enlisting the help of musicians from around the world to record bits and pieces of music without knowing how they would ultimately be used. This process led to Tokumaru taking fragments others had recorded for him and lining up the short phrases and riffs, repeatedly combining and substituting the arrangements as if he was working on a musical puzzle. Though much more time-consuming than his original vision, the songs on TOSS are all testaments to Tokumaru’s innate understanding of how to craft a piece of music that becomes much greater than the sum of its parts. Pressed on 180-gram clear blue vinyl with download.

On her first proper album as Jay Som, Melina Duterte, 22, solidifies her rep as a self-made force of sonic splendor and emotional might. If last year’s aptly named Turn Into compilation showcased a fuzz-loving artist in flux—chronicling her mission to master bedroom recording—then the rising Oakland star’s latest, Everybody Works, is the LP equivalent of mission accomplished.

On her first proper album as Jay Som, Melina Duterte, 22, solidifies her rep as a self-made force of sonic splendor and emotional might. If last year’s aptly named Turn Into compilation showcased a fuzz-loving artist in flux—chronicling her mission to master bedroom recording—then the rising Oakland star’s latest, Everybody Works, is the LP equivalent of mission accomplished.

Following the release of his critically-lauded 2015 album All Are Saved, songwriter/producer Fred Thomas entered a period of enormous transition. He quit his job, got married and moved to Canada, all between multiple tours that ran the spectrum from sold out opening slots to sleeping in the car after empty gigs. At the end of yet another tour he returned to Athens, Georgia, to again work with producer Drew Vandenberg (Of Montreal, Mothers) on an album aiming to encapsulate the nonstop changes that had sprung out of this phase of his life. Naturally, this record is named Changer.

While writing Forget, Xiu Xiu released the lauded Plays the Music of Twin Peaks, collaborated with Mitski on a song for an upcoming John Cameron Mitchell film, and scored an experimental reworking of the Mozart opera, The Magic Flute.All of this frantic, external activity lead to a softly damaged dreaminess and broadened intent that has not been heard before in other Xiu Xiu works. Standout track, “Wondering” is one of the catchiest boogie pop gems in the Xiu Xiu catalog, but like much of Forget, it still bears an underlying tension that manifests differently in each piece. Forget was produced by John Congleton (Blondie, Sigur Ros), Greg Saunier of Deerhoof and Xiu Xiu’s own Angela Seo.

Debut album from Australia native that courses with aching current of alt-country & indie-folk, augmented with Jacklin's rich, distinctive voice & her playful wit.

After all the accolades from press and peers, what’s a legendary band left to do? Rent out an abandoned office space in the middle of the desert in New Mexico in lieu of a regular recording studio, go in with little or no preconceived notions of what would happen, set up, plug in and get loud! After seven days Deerhoof had found (you guessed it) The Magic, a raw and refreshing wallop of an album about leaving your comfort zone and finding a pineapple.With The Magic, Deerhoof dreamed up an alchemy of ’77 punk, pop, glam, hair metal, doo-wop, hip hop, and R&B, late-night car rides, long days, spandex, shadows, and attitude. Poetry into noise, volume knobs into pleasure, friendship into rock band.

Clear vinyl with download. Features a brand new track from each, in addition to a cover of a favorite song from the other artist's extensive catalog.

Baroque pop prince/ Dutch multi-instrumentalis casts a majestic & vibrant psychedelic spell - akin to the sonic boom of maverick contemporaries John Maus & Tame Impala, his is a sound that holds fast next to fellow paisley performers Syd Barrett & Curt Boettcher, with the airy dynamics of Stereolab or Simon & Garfunkel.

one-sided vinyl!

Including download code.

Alvvays deliver their much-anticipated second full-length album. The ten song album is the follow-up to the Toronto-based group’s debut self-titled record, which was shortlisted for the 2015 Polaris Prize and featured on numerous year-end “Best Of” lists from Pitchfork, NPR, Rolling Stone, NME, and many more. Bolstered by singles such as “Archie, Marry Me,” and an extensive touring schedule that included multiple full U.S. and European runs, along with performances at Coachella, Glastonbury, and Reading/Leeds (plus Lollapalooza to come this August), the record’s word-of-mouth success has translated into Soundscans of over 33K and a combined Spotify play count of more than 33 million streams. Antisocialites is set to carry the band to new heights, with Molly Rankin's distinctive vocals and erudite lyrics taking center stage against a kaleidoscopic backdrop of pop, shoegaze, punk, and some brand new tricks befitting a band that sounds wise beyond its years. LP pressed on 180-gram yellow vinyl. All formats include a download.

To celebrate the 15-Year Anniversary of IDA's classic album Will You Find Me, this gorgeous record is being reissued as a deluxe 2xLP in expanded packaging, including a gatefold jacket, lyric insert and download.

Hazel English is a 25-year-old Oakland-based artist who makes beautifully blurry indie-pop music powered by transcendent melodies and caked in layers of Californian sunshine and redolent reverb. She’s drawn comparisons to everyone from Alvvays and Pains Of Being Pure At Heart to touring partners Ride, while her soaring, hypnotic, vocal arrangements have been likened to everyone from Grimes to DIIV. Her label debut, Just Give In / Never Going Home, collates a brilliant snap-shot of her DIY creations to date. Those that have followed her meteoric ascendance through the hazy blogosphere so far will recognize the title track ‘Never Going Home’ and ‘It’s Not Real,’ both of which were championed by Gorilla Versus Bear, Stereogum, The Line of Best Fit, and more. Double vinyl pressed on 180-gram light blue / light yellow vinyl.

Boasting textured melodies, layered guitars and more seasoned lyrics, The World's Best American Band finds the quartet busting out of the basement sound established on their previous full length (2015's White Reaper Does It Again) and setting their sights on the arena. Armed with a record that celebrates rock in all of its glory, they are poised to satisfy crowds whether they are packed shoulder-to-shoulder in the "standing room only" pit or kicking back in the cheap seats.

Vault Vol. 1 is a collection of rare, previously unreleased songs that up until now have never been heard by anyone except STRFKR. The band only exists today because of these recordings. Some of these songs were written for STRFKR albums, some were written before or in-between, but they all played a role and influenced what was released under that name. Twenty songs in all. Pressed on 180-gram red vinyl with download.

Following the release of his critically-lauded 2015 album All Are Saved, songwriter/producer Fred Thomas entered a period of enormous transition. He quit his job, got married and moved to Canada, all between multiple tours that ran the spectrum from sold out opening slots to sleeping in the car after empty gigs. At the end of yet another tour he returned to Athens, Georgia, to again work with producer Drew Vandenberg (Of Montreal, Mothers) on an album aiming to encapsulate the nonstop changes that had sprung out of this phase of his life. Naturally, this record is named Changer.

Tomorrow is Alright is a vinyl reissue of the debut Sonny & The Sunsets album. Previously out of print, this limited run of 500 copies features Reflex Blue vinyl and a digital download. “The Sunsets, featuring members of Thee Oh Sees, The Fresh & Onlys, and Citay, plus Kelley Stoltz largely stay in the background, providing sparse but carefully considered instrumentation. Citay’s Tahlia Harbour is the lone exception, although even she’s used sparingly; her deadpan counterpoints to Sonny’s stoney spaceman in ‘Planet of Women’ or rationale-spouting youngster in ‘Lovin’ on an Older Gal’ are impeccably timed, a fitting gee-whiz to Sonny’s endless aw-shucks. The production’s crisp and roomy, allowing each word to linger, each note its own space. ‘Tomorrow Is Alright’ feels like the work of a songwriter comfortable with himself and his limitations. So many bands put in a lot of work trying to make themselves sound older than their years; with their quiet confidence and no shortage of killer material, the Sunsets make it seem almost too easy.”—Pitchfork (8.0 review)

Looking back on our 20-year existence, we’re proud to say that Polyvinyl has never been defined by a particular genre.From early records that documented the Midwestern emo of American Football, Braid, and Rainer Maria to of Montreal’s mercurial mining of musical styles, Ida’s intimate harmonies, Joan of Arc’s sonic experimentation, STRFKR’s electro-pop, the raucous rock-and-roll of Japandroids and Beach Slang, etc. etc. there’s no predicting what a new Polyvinyl release will sound like — just that it’s something we love and think you will, too.And so, to celebrate this diverse discography, we asked 20 members of the Polyvinyl family past and present to cover a song by one of their labelmates. Fittingly, this led to a slew of beloved tracks being re-imagined in a variety of new and surprising ways.Owen (Mike Kinsella) lends his acoustic guitar picking to Rainer Maria’s electric siren call “Ears Ring,” Braid puts a math-y spin on the surf-inflected pop of Alvvays’ “Adult Diversion,” and Deerhoof covers Xiu Xiu in the style of White Reaper, because why the hell not?The biggest question, though, was how to name such an eclectic collection of music.

While rooted in avant pop, contemporary production flourishes lend each song the clarity & buoyance of contemporary pop. Balances languid, dark melodies & atmosphere with propulsive rhythms & soaring vocal lines.

From The Replacements to Blondie, The Buzzcocks to Billy Idol, Katy Goodman (La Sera, Vivian Girls) & Greta Morgan (Hush Sound) replace distorted guitars with church organs & vibra phones to transform these classic tracks into dreamy, surreal jams that shine anew.

Less than a year after their debut full-length landed on year-end lists from the likes of AV Club, Paste, SPIN, and Noisey, and earned praise from sources as diverse as Pitchfork to People magazine, Beach Slang return with their sophomore album A Loud Bash of Teenage Feelings. Written and recorded in the midst of a relentless touring schedule that found the band selling out sweat drenched shows across the U.S. and Europe, A Loud Bash is exactly what its title implies—a raucous collection of shout-along punk rock anthems anchored by frontman James Alex's trademark heart-on-sleeve lyricism.

Less than a year after their debut full-length landed on year-end lists from the likes of AV Club, Paste, SPIN, and Noisey, and earned praise from sources as diverse as Pitchfork to People magazine, Beach Slang return with their sophomore album A Loud Bash of Teenage Feelings. Written and recorded in the midst of a relentless touring schedule that found the band selling out sweat drenched shows across the U.S. and Europe, A Loud Bash is exactly what its title implies—a raucous collection of shout-along punk rock anthems anchored by frontman James Alex's trademark heart-on-sleeve lyricism.

Less than a year after their debut full-length landed on year-end lists from the likes of AV Club, Paste, SPIN, and Noisey, and earned praise from sources as diverse as Pitchfork to People magazine, Beach Slang return with their sophomore album A Loud Bash of Teenage Feelings. Written and recorded in the midst of a relentless touring schedule that found the band selling out sweat drenched shows across the U.S. and Europe, A Loud Bash is exactly what its title implies—a raucous collection of shout-along punk rock anthems anchored by frontman James Alex's trademark heart-on-sleeve lyricism.

After all the accolades from press and peers, what’s a legendary band left to do? Rent out an abandoned office space in the middle of the desert in New Mexico in lieu of a regular recording studio, go in with little or no preconceived notions of what would happen, set up, plug in and get loud! After seven days Deerhoof had found (you guessed it) The Magic, a raw and refreshing wallop of an album about leaving your comfort zone and finding a pineapple.With The Magic, Deerhoof dreamed up an alchemy of ’77 punk, pop, glam, hair metal, doo-wop, hip hop, and R&B, late-night car rides, long days, spandex, shadows, and attitude. Poetry into noise, volume knobs into pleasure, friendship into rock band.

Of Montreal is one of the preeminent indie bands of the past 20 years—critical darlings who have received praise from the likes of Rolling Stone, The New York Times, Pitchfork, Village Voice, LA Times, Entertainment Weekly and SPIN. They are known the world over for their over-the-top live show spectacle which has included frontman Kevin Barnes riding a live horse out onto the stage at Roseland Ballroom in New York City, elaborate stage sets, and often features more theatrical performers than musicians. The band has performed at everything from Coachella to Bonnaroo, Lollapalooza to Sasquatch and even Hollywood Bowl opening for Miss Grace Jones. Innocence Reaches is touched by contemporary electronica, indie pop, and EDM. For the first time in his career, Barnes tuned into now.

Of Montreal is one of the preeminent indie bands of the past 20 years—critical darlings who have received praise from the likes of Rolling Stone, The New York Times, Pitchfork, Village Voice, LA Times, Entertainment Weekly and SPIN. They are known the world over for their over-the-top live show spectacle which has included frontman Kevin Barnes riding a live horse out onto the stage at Roseland Ballroom in New York City, elaborate stage sets, and often features more theatrical performers than musicians. The band has performed at everything from Coachella to Bonnaroo, Lollapalooza to Sasquatch and even Hollywood Bowl opening for Miss Grace Jones. Innocence Reaches is touched by contemporary electronica, indie pop, and EDM. For the first time in his career, Barnes tuned into now.

After all the accolades from press and peers, what’s a legendary band left to do? Rent out an abandoned office space in the middle of the desert in New Mexico in lieu of a regular recording studio, go in with little or no preconceived notions of what would happen, set up, plug in and get loud! After seven days Deerhoof had found (you guessed it) The Magic, a raw and refreshing wallop of an album about leaving your comfort zone and finding a pineapple.With The Magic, Deerhoof dreamed up an alchemy of ’77 punk, pop, glam, hair metal, doo-wop, hip hop, and R&B, late-night car rides, long days, spandex, shadows, and attitude. Poetry into noise, volume knobs into pleasure, friendship into rock band.

“People wonder why there’s always a massive gap between my albums,” says Pip Brown, better known as Ladyhawke, the one-woman synth-pop act from New Zealand. The reason is both complicated and easy. The simple explanation: “I’ve never released anything I’m not proud of. That’s important to me.” Those instincts have served Brown well, starting with her self-titled debut in 2008, which peaked at No. 16 on the UK album charts and No. 1 in Australia and New Zealand’s album charts. Ladyhawke’s more aurally angular follow-up, Anxiety, charted in the UK’s Top 40 and in Australia’s and New Zealand’s Top 20, respectively. Brown’s conviction to authenticity led her on a journey starting in 2013. Over three years, she scrapped a full Ladyhawke album (“The material didn’t feel like me. It felt too dark or something”). Once reliant on alcohol to surmount social anxiety (“I’d never done a sober show in my life until last December”), she quit drinking and focused on getting healthy. Then she welcomed that newfound clarity by crafting her latest release, the blissed-out Wild Things.

Limited edition for Record Store Day 2016!

Repurposes 80s funk & new wave with rap beats & collages from both sides of the ocean. Songs that juxtapose the haze of today with a vibrant & colorful explosion of sounds & 180 degree turns. Great!

Limited edition for record Store day 2016! Deluxe 2LP reissue in honor of this classic LP's 15th anniversary.

A sensual, synthetic album, which albost killed this band. Synthesizers comprise a major piece of the band's musical puzzle. This new collection serves as the opening salvo of a monumental second act. Pressed to 180gm clear vinyl.

A set of songs that double down on the power of wry lyrics, glorious guitar, driving back beat, & the occasional pump organ groove. 10 tunes about good love, bad love, dead men & confused kids, produced by Ryan Adams at his Pax-Am Studios. Pressed to 180gm white vinyl.

Limited edition for Black Friday RSD 2015! Recorded live at Fever in Tokyo, Japan. Full of gems from the ridiculously deep back catalog, this 12 song collection is deerhoof at their rawest. Pressed to clear red vinyl.

Features a hybrid approach to the presentation of its heavyweight pop hooks, the album plants one foot firmly in the '80s, w/the other exploring the outer realm of ultramodern electronic music. Recorded at Of Montreal frontman Kevin Barnes' home studio in Athens, GA, alongside guest musicians as drummer Cameron Gardner (Washed Out) & percussionist Philip Mayer (Kishi Bashi).

Over the past two years BEACH SLANG have proved themselves as a band who can write memorable songs, share that energy live and create a community of like-minded fans but they've always been missing one important element: An album. Luckily the band's full-length The Things We Do To Find People Who Feel Like Us is the culmination of their collective career and picks up where their two critically acclaimed 7-inches, 2014's Cheap Thrills On A Dead End Street and Who Would Ever Want Something So Broken? left off. The feelings of youth and vulnerability lie at the core of Beach Slang's music, which is part punk, part pop and all catharsis. It references the ghosts of the Replacements but keeps one foot firmly rooted in the present. It's fun and it's serious. It's sad but it isn't. It's Beach Slang. While The Things We Do To Find People Who Feel Like Us further expands on Beach Slang's unique sound, it also showcases their sonic diversity. From the shoegazing sheen of "Noisy Heaven" to the downbeat dreaminess of "Porno Love" and refracted rage of "Young & Alive," the album is a fuzzed-out masterpiece that takes influence from the past while keeping things moving towards the future.

19 high-quality recordings taken from performances at San Francisco's Great American Music Hall & Portland's Wonder Ballroom. 180gm purple vinyl 2LP with download. Includes large format, full-color booklet with professionally shot tour photos.

8th solo album from Saturday Looks Good To Me/ City Center member. Heavy, poetic lyrics are more spoken than sung, recalling the urgency & straightforwardness of cult bands like The Van Pelt or Life Without Buildings, while each song builds on a patchwork of grainy samples, dreamlike guitar figures & deftly produced clashes of organic instrumentation & vintage synth textures. Guest appearance from Andrew W.K.

Received a 7.0 rating from Pitchfork! Initially envisioned as a film project, each song on Talent Night at the Ashram was originally a short film that, when strung together, formed a feature-length movie. Equal parts Fellini and Os Mutantes, Talent Night at the Ashram is cinematic in its storytelling and kaleidoscopic in its mixing and merging of musical genres. ‘60s folk, electric sitars, flutes, and myriad other sounds help accentuate tales of professional bowlers in desperate need of a strike (“Icelene’s Loss”), a mansion that houses every woman Smith has ever known (“The Secluded Estate”), and Occupy meetings ending in bad love (“Secret Plot to Destroy the Underground”). Recording was a communal effort mostly done at Sonny Smith’s home on this tape machine with musicians such as Shayde Sartin (Fresh & Onlys), Garret Goddard (King Tuff), Kelley Stoltz, Rusty Miller, Ian Mcbrayer, and more. Talent Night at the Ashram finds Smith once again securing his status as one of today’s most arrestingly inventive songwriters. LP includes a download.

Tim Kinsella tackles tracks from Lungfish, Blake Babies, Mojave 3, The Promise Ring, Depeche Mode, All, Against Me!, & The Smoking Popes.180g vinyl.

On their third album, Share the Joy, Brooklyn's Vivian Girls continue to sharpen and refine their transcendent mix of garage thrash, girl-group warmth and infectious pop hooksmanship. The trio's vibrant blend of guitar noise and melodic sweetness has already made the band one of America's most celebrated and influential young bands, and has helped to spark a wave of similiarly-inclined female-fronted acts who've followed in their wake. Dark blue cassette, limited to 200 copies.

From the increasingly fertile DIY scene of Louisville, KY, White Reaper--formed by Tony Esposito (vocals/guitar) and twin brothers Nick (drums) and Sam Wilkerson (bass)--combines sparkling hooks an fluid, fluttering rhythms to create psychedelia-tinged garage punk that make heads bob without sacrificing an ounce of sonic bite. The group is ready to unleash their eponymous debut EP--a six-song blitzkrieg that traces the band's present and future. While dingy and jangly single "Conspirator" scratches the itch left behind by Jay Reatard, infectious stand outs "Cool" and "Funn" will undoubtedly make the ears of the Ty Segall/Oh Sees sect perk up. LP pressed on clear pink vinyl with download.

Long awaited sophomore album from Cap'n Jazz Founders. Though sonically their technique still has the ability to dazzle, age &experience have lent new perspectives to the band's songwriting - making their songs more aggressive & direct, but certainly no less captivating.

Unbearably dark, yet incredibly illuminating, on the John Congleton-produced Angel Guts: Red Classroom Xiu Xiu continues to forge its reputation as avant-garde pioneers. It is the work of a band unraveling to its core and exposing the boldness within.

180g vinyl including download card.

180 gram pink LP in gatefold jacket with download.

Received a 7.7 rating from Pitchfork.