Sub Pop HHV Records 284 Items

This LP finally brings a Clipping fan-favorite, 2016’s Wriggle, onto vinyl in an improved, expanded version that features new art, previously unreleased remixes, and a track that’s exclusive to the vinyl format. The original, digital-only Wriggle EP was six tracks that weren’t finished in time to make it onto the group’s 2014 Sub Pop debut, Clppng. For “Shooter,” Clipping recorded themselves firing fifteen different guns, the sounds of which exclusively constituted the beat’s drums, augmented only by a synthesized tone-row. The verses referenced the well-worn technique of “hashtag rap,” but instead of using it to boast about the rapper’s personal wealth and masculine prowess, Clipping put forth imagistic narratives of three violent encounters. True to much of the group’s music, “Shooter” was an attempt to reframe a familiar style and test the limits of its formal capabilities. “Hot Fuck No Love” contains what might be the most explicit verse to date from Clipping’s favorite New Jersey rapper Cakes Da Killa. The EP’s title track, “Wriggle,” was built around a sample of the influential power-electronics song “Wriggle Like a Fucking Eel” by Whitehouse, transforming William Bennett’s torturous imperative into a instructional dance-floor banger. “Wriggle” and “Shooter” have become classic Clipping tracks and staples of their live show.

Initial vinyl pressing on Blue Curacao Transparent Vinyl! As you can probably glean from the title, Bret McKenzie-whom you know from such modern musical treasures as comedy duo Flight of the Conchords, the Muppets movie reboots and other ace kid-film soundtracks, Lord of the Rings fan blogs, guest songs for The Simpsons, cycling around the streets in his native New Zealand, and more- has a new solo record coming out filled with songs that ARE NOT Comedy Songs! There. Doesn't that feel better? Sometimes it helps just to get it out in the open. So, yeah, Bret's a ridiculously funny dude, and you might even call him one of the best comedy songwriters in the biz. (In Bret's own words, there are fewer than a dozen people in the world writing comedy songs today, but who's counting?) He's had smash hits, he's won major awards, he's the better-dressed part of his duo...he's got a good thing going! So, what gives with this whole "songs without jokes" solo stuff, man? The Conchords landed McKenzie and Jemaine Clement a hit HBO TV show, a BBC Radio series, chart-topping records, world tours, a Best Comedy Album Grammy, and a 2018 "reunion" special. McKenzie transitioned to Hollywood, writing songs for 2011's The Muppets (winning a Best Original Song Oscar for "Man or Muppet"), 2014's Muppets Most Wanted, and films in the Pirates! and Dora canons. While he enjoyed and excelled at the work, he wondered where his songs might go if set free of all that plot-bound specificity. And so, while in Los Angeles a few years back, recording movie music with a crack assemblage of legendary session musicians, McKenzie started playing around with a tune or two he had written simply as songs-songs without any external direction, songs without plot-pushing concerns, songs without jokes. The results reveal McKenzie's talents on multiple instruments (he's a veteran of several non-comedy bands in New Zealand back in the day, most notably the reggae-based fusion group The Black Seeds), and his affinity for wry, literate artists like Harry Nilsson, Steely Dan, Randy Newman and Dire Straits. Written mostly during the quieter moments of 2019, with his life split between work in Los Angeles and his family in Wellington, the songs of Songs focus on themes of escape, the perpetual search for peace, and navigating a life being pulled in multiple directions at once. There are also simple meditations on driving through a city, and the weather. McKenzie was inspired by the path icons like Newman and Nilsson had paved, where a silly or playful number could be sandwiched directly between a song about heartbreak or an earnest redemption and a scathing satire or character commentary. He threw a bit of everything into the mix, recording ideas on his phone at home in New Zealand after the kids had gone to sleep. Back in LA, he fine-tuned the songs with his longtime producer and collaborator, Mickey Petralia, and longtime film collaborator Chris Caswell created charts for that same ensemble of session players with whom they'd recorded so many pieces for film. The majority of songs were then recorded at United Studio in Los Angeles in just a few takes. While the album may be free of traditional punch lines, it doesn't lack a sense of humor. It showcases a new stage of McKenzie's career, to be sure, but one that isn't so far removed from his past work and true artistic self. Like Jim Henson before him, who made a career of blending the silly with the sincere and the playful with the profound, McKenzie also aims to connect rainbows to the ridiculous.

The roots of Naima Bock's music are far reaching. Born in Glastonbury to a Brazilian father and a Greek mother, Naima spent her early childhood in Brazil before eventually returning to England and various homes in South-East London. This heritage combines with more recent pursuits in Naima's music. From the Brazilian standards that the family listened to while driving to the beach, to the European folk traditions she tapped into on her own, and the pursuits that interest her today - studies in archaeology, work as a gardener, and walking the world's great trails - Naima's music draws from family, the earth and music handed down through generations. Naima's debut album Giant Palm is undoubtedly infused with the Brazilian music of her youth and regular family visits. She found inspiration in "the percussion, the melodies, chords - and particularly the poetic juxtaposition of tragedy and beauty held within the lyrics." By the age of 15 Naima was embedded in the music scene of South-East London, eventually forming Goat Girl with school friends and touring the world. After six years playing bass in Goat Girl, Naima left the band to try something new. She set up a gardening company and started a degree at University College London in archeology because, as she jokes, "I liked being near the ground." During this time she wrote music, played guitar, learned violin, worked with ever-shifting South-London collective Broadside Hacks, and met producer and arranger Joel Burton through Memorials of Distinction label head Josh Cohen. Joel's burgeoning interest in Western classical music, global folk music, experience in large scale arrangement and orchestration informed the collaborative process that eventually culminated in Giant Palm. Recorded with the help of over 30 musicians (including Josh Cohen on synth/electronics) by Dan Carey of Speedy Wunderground at his studio space in Streatham, South-East London, and engineered by Syd Kemp, the songs on Giant Palm represent a snapshot of a specific feeling, of brief moments in Naima's life that make up a larger whole. The expansive yet delicate arrangements highlight Naima's love for the collectivist values of traditional folk music, in which songs belong to everyone, and singing can take on countless forms without the need to exactly replicate something. "All the other representations that I'd had of singing felt so unattainable" she recalls. Giant Palm finds Naima bucking these expectations to let her unique voice and sense of communal creativity flourish.

Since the band's inception in 1992, Built to Spill founder Doug Martsch intended his beloved band to be a collaborative project, an ever-evolving group of musicians making music and playing live together. "I wanted to switch the lineup for many reasons. Each time we finish a record I want the next one to sound totally different. It's fun to play with people who bring in new styles and ideas," says Martsch. "And it's nice to be in a band with people who aren't sick of me yet." Following several albums and EPs on Pacific Northwest independent labels, including the indie-rock classic, There's Nothing Wrong With Love, released on Sub Pop offshoot Up Records in 1994, Martsch signed with Warner Brothers from 1995 to 2016. He and his rotating cast of cohorts recorded six more great albums during that time - Perfect From Now On, Keep It Like a Secret, Ancient Melodies of the Future, You In Reverse, Untethered Moon, There Is No Enemy. There was also a live album, and a solo record, Now You Know. While the band's impeccable recorded catalog is the entry point, Built to Spill live is an essential force of its own: heavy, psychedelic, melodic, and visceral tunes blaring from amps that sound as if they're powered by Mack trucks. Now in 2022, Built to Spill returns with When the Wind Forgets Your Name, Martsch's unbelievably great new album (and his eighth full-length)... with a fresh new label. "I'm psyched: I've wanted to be on Sub Pop since I was a teenager. And I think I'm the first fifty year-old they've ever signed." (The rumors are true, we love quinquagenarians_) When the Wind Forgets Your Name continues expanding the Built to Spill universe in new and exciting ways. In 2018 Martsch's good fortune and keen intuition brought him together with Brazilian lo-fi punk artist and producer Le Almeida, and his long-time collaborator, Joao Casaes, both of the psychedelic jazz rock band, Orua. Martsch fell in love with their music the moment he heard it. So when he needed a new band for shows in Brazil, he asked them, and the partnership went so well Martsch, Almeida, and Casaes continued playing together throughout 2019, touring the US and Europe and ultimately recording the bass and drum tracks for When the Wind Forgets Your Name at Doug's rehearsal space in Boise. After Martsch tracked guitars and vocals, they group collaborated from afar to mix the album. What emerged is When the Wind Forgets Your Name, a complex and cohesive blend of the artists' distinct musical ideas. Alongside Built to Spill's poetic lyrics and themes, the experimentation and attention to detail produces an album full of unique, vivid, and timeless sounds, from guitar-driven rock odes to REM and Dinosaur Jr to bluesy '60s-style anthems to dub-reggae-inspired instrumentation. It may have taken us 30 years of obvious fandom and courtship, but on September 9, 2022, Sub Pop Records is unabashedly proud to finally release an excellent new album from Built to Spill: When the Wind Forgets Your Name. Sometimes persistence pays off.

Since the band's inception in 1992, Built to Spill founder Doug Martsch intended his beloved band to be a collaborative project, an ever-evolving group of musicians making music and playing live together. "I wanted to switch the lineup for many reasons. Each time we finish a record I want the next one to sound totally different. It's fun to play with people who bring in new styles and ideas," says Martsch. "And it's nice to be in a band with people who aren't sick of me yet." Following several albums and EPs on Pacific Northwest independent labels, including the indie-rock classic, There's Nothing Wrong With Love, released on Sub Pop offshoot Up Records in 1994, Martsch signed with Warner Brothers from 1995 to 2016. He and his rotating cast of cohorts recorded six more great albums during that time - Perfect From Now On, Keep It Like a Secret, Ancient Melodies of the Future, You In Reverse, Untethered Moon, There Is No Enemy. There was also a live album, and a solo record, Now You Know. While the band's impeccable recorded catalog is the entry point, Built to Spill live is an essential force of its own: heavy, psychedelic, melodic, and visceral tunes blaring from amps that sound as if they're powered by Mack trucks. Now in 2022, Built to Spill returns with When the Wind Forgets Your Name, Martsch's unbelievably great new album (and his eighth full-length)... with a fresh new label. "I'm psyched: I've wanted to be on Sub Pop since I was a teenager. And I think I'm the first fifty year-old they've ever signed." (The rumors are true, we love quinquagenarians_) When the Wind Forgets Your Name continues expanding the Built to Spill universe in new and exciting ways. In 2018 Martsch's good fortune and keen intuition brought him together with Brazilian lo-fi punk artist and producer Le Almeida, and his long-time collaborator, Joao Casaes, both of the psychedelic jazz rock band, Orua. Martsch fell in love with their music the moment he heard it. So when he needed a new band for shows in Brazil, he asked them, and the partnership went so well Martsch, Almeida, and Casaes continued playing together throughout 2019, touring the US and Europe and ultimately recording the bass and drum tracks for When the Wind Forgets Your Name at Doug's rehearsal space in Boise. After Martsch tracked guitars and vocals, they group collaborated from afar to mix the album. What emerged is When the Wind Forgets Your Name, a complex and cohesive blend of the artists' distinct musical ideas. Alongside Built to Spill's poetic lyrics and themes, the experimentation and attention to detail produces an album full of unique, vivid, and timeless sounds, from guitar-driven rock odes to REM and Dinosaur Jr to bluesy '60s-style anthems to dub-reggae-inspired instrumentation. It may have taken us 30 years of obvious fandom and courtship, but on September 9, 2022, Sub Pop Records is unabashedly proud to finally release an excellent new album from Built to Spill: When the Wind Forgets Your Name. Sometimes persistence pays off.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

If you're looking for a raw, sugary blast of distorted pop, look no further than Weird Nightmare. The debut album from Metz guitarist and vocalist Alex Edkins contains all of his main band's bite with an unexpected, yet totally satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously hissy miniature epics of classic-era Guided by Voices combined with the bombast of Copper Blue- era Sugar-just tons of red-line distortion cut with the type of tunecraft that thrills the moment it hits your ears. These ten songs showcase a new side of Edkins' already-established songwriting, but even though the bulk of Weird Nightmare was recorded during the Covid-19 pandemic some of its tunes date back to 2013 in demo form. "Hooks and melody have always been a big part of my writing, but they really became the main focus this time" he explains. "It was about doing what felt natural." To be clear: Weird Nightmare is not a "pandemic album," but an album-some of which had been gestating for quite a while-that just so happened to be recorded during the pandemic. "I had always planned on finishing these songs, but being unable to tour with Metz, and forced to lock down, really gave me a push." After days spent homeschooling his son, Edkins would drive to the Metz rehearsal room and tinker deep into the night on these songs' deceptively simple structures and rich, static-laden textures. "It was a godsend for me," he states about the creative process. "The hours would disappear and I would get lost in the music and record. It was a beautiful escape." Weird Nightmare is, in its own way, a study in extremes: Edkins' melodic instincts and penchant for dissonance are both turned up to the max throughout, the latter reflecting not only the barn-burning tendencies of Metz, but Alex's own sonic predilections. "It doesn't sound right to my ears until it's pushed over the edge." He also cites other artists who are masterful at mixing the sublime and the punishing-Kim Deal and Scout Niblett among them-as influences on his own songwriting. "My favorite songs are the simple ones," he explains. "I've never been attracted to virtuosity or technicality. Certain songs have the power to lift your spirits like nothing else can. I wanted to create that type of song." A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad VanGaalen adds his unmistakable touch to the ever-escalating "Oh No," while Alicia Bognanno of Bully lends her distinctive pipes to the thrashing "Wrecked," a collaboration that effectively saved the song. "I almost didn't put it on the album because I thought it was missing something," Edkins explains. "I sent it to Alicia and she lifted it way up." And taking risks and reaching out of Edkins' comfort zone was the name of the game when it came to making Weird Nightmare. "I found myself doing new things I didn't have the guts to do before, recording everything by myself and trusting all of my musical instincts," he states. "I think when music manifests quickly, a certain amount of honesty automatically comes along with it. When it is a purely instinctual creation, there is no opportunity to obscure the truth."

Rolling Blackouts Coastal Fever return in 2022 with Endless Rooms, the Melbourne quintet's third album proper. Described by the band - comprised of Fran Keaney, Joe White, Marcel Tussie and brothers Tom Russo and Joe Russo - as them "Doing what we do best: chasing down songs in a room together", Endless Rooms stands as a testament to the collaborative spirit and live power of Rbcf. While initial ideas were traded online during long spells spent separated by lockdowns, the album was truly born during small windows of freedom in which the band would decamp to a mud-brick house in the bush around 2hrs north of Melbourne built by the extended Russo family in the 1970s. There, its 12 tracks took shape, informed to such an extent by the acoustics and ambience of the rambling lakeside house that they decided to record the album there. The house also features on the album cover. For the first time, the band self-produced the record (alongside engineer, collaborator and old friend, Matt Duffy), creating their most naturalistic and expansive document yet. The result is a collection of songs permeated by the spirit of the place; punctuated by field recordings of rain, fire, birds, and wind. "It's almost an anti-concept album," say the band. "The 'endless rooms' of the title reflects our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities."

Rolling Blackouts Coastal Fever return in 2022 with Endless Rooms, the Melbourne quintet's third album proper. Described by the band - comprised of Fran Keaney, Joe White, Marcel Tussie and brothers Tom Russo and Joe Russo - as them "Doing what we do best: chasing down songs in a room together", Endless Rooms stands as a testament to the collaborative spirit and live power of Rbcf. While initial ideas were traded online during long spells spent separated by lockdowns, the album was truly born during small windows of freedom in which the band would decamp to a mud-brick house in the bush around 2hrs north of Melbourne built by the extended Russo family in the 1970s. There, its 12 tracks took shape, informed to such an extent by the acoustics and ambience of the rambling lakeside house that they decided to record the album there. The house also features on the album cover. For the first time, the band self-produced the record (alongside engineer, collaborator and old friend, Matt Duffy), creating their most naturalistic and expansive document yet. The result is a collection of songs permeated by the spirit of the place; punctuated by field recordings of rain, fire, birds, and wind. "It's almost an anti-concept album," say the band. "The 'endless rooms' of the title reflects our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities."

Nowadays, voice memos, videos, and pictures chronicle our lives in real-time. We trace where we've been and reveal where we're going. However, Suki Waterhouse catalogs the most intimate, formative, and significant moments of her life through songs. You might recognize her name or her work as singer, songwriter, actress but you'll really get to know the multi-faceted artist through her music. Memories of unrequited love, fits of longing, instances of anxiety, and unfiltered snapshots interlock like puzzle pieces into a mosaic of well-worn country, '90s-style alternative, and unassuming pop. She writes the kind of tunes meant to be grafted onto dusty old vinyl from your favorite vintage record store, yet perfect for a sun-soaked festival stage. Her first album for Sub Pop, I Can't Let Go, is a testament to her powers as a singer and songwriter. In Suki's words: "The album is called I Can't Let Go because for years it felt like I was wearing heavy moments on my sleeve and it just didn't make sense to do so anymore. There's so much that I've never spoken about. Writing music has always been where it felt safe to do so. Every song for the record was a necessity. In many ways, I've been observing my life as an outsider, even when I've been on the inside. It's like I was a visitor watching things happen." Growing up in London, Suki gravitated towards music's magnetic pull. She listened to the likes of Alanis Morissette and Fiona Apple, and Oasis held a special place in her heart. She initially teased out this facet of her creativity with a series of singles, generating nearly 20 million total streams independently. Nylon hailed her debut track, "Brutally," as "what a Lana Del Rey deep cut mixed with Joni Mitchell's 'Both Sides, Now' would sound like." In addition to raves from Garage, Vice and Lemonade Magazine, Dujor put it best: "Suki Waterhouse's music has swagger." Suki is constantly consuming artists of all stripes, and, in the lead-up to making I Can't Let Go, she was particularly drawn to the work of Sharon Van Etten, Valerie June, Garbage, Frazey Ford, Lou Doillon, and Lucinda Williams. After falling in love with Hiss Golden Messenger's Terms of Surrender, she reached out to its producer Brad Cook (Bon Iver, War On Drugs, Snail Mail, Waxahatchee) to help define the sound of I Can't Let Go. On I Can't Let Go, Suki not only catalogs her life up to this point, but she also fulfills a lifelong ambition. "When I've been stuck or feel out of touch with a sense of inner meaning and outer purpose, I've found both through searching my memories and finding those events buried in the shadowy areas of the psyche where they were ignored," she says. "So many times of change in my life have required return visits-especially at the transitions through to the next stages. The album is an exploration of those moments when there is nothing left to lose. What is left and can't be thrown away is the self."

Limited-edition first pressing on translucent gold vinyl. Sub Pop debut by Preservation Hall Jazz Band member and 89-year-old clarinet and saxophone legend Charlie Gabriel from New Orleans, Louisiana. This is Charlie's first album as a bandleader. He has played with Lionel Hampton, Charles Mingus, Cab Calloway drummer J.C. Heard, Ella Fitzgerald, Tony Bennet, Aretha Franklin and many more. "I've been playing since I was 11 years old," says Charlie Gabriel, the most senior member of the legendary Preservation Hall Band, "I never did anything in my life but play music. I've been blessed with that gift that God gave me, and I've tried to nurse it the best way I knew how." While he's faced plenty of challenges nursing that gift for more than 78 years, none likely rank with last winter's passing of his brother and last living sibling, Leonard, lost to Covid-19. For the first time ever, Gabriel put down his horn, filling his days and weeks instead with dark reflection, a stubborn despondency broken now and then by regular chess matches in the studio kitchen of Hall leader Ben Jaffe, working overtime to bring his friend some light. One such afternoon also included Joshua Starkman, sitting off in a corner playing his guitar and half-watching the chess from a distance. When Charlie returned the next day, he brought his saxophone. "I was just inspired to try it, to play again. It had been a long time, and a guitar makes me feel free. I do love the sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in." That day was to be the first session for 89, almost entirely the work of Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt Aguiluz. Charlie Gabriel's first professional gig dates to 1943, sitting in for his father in New Orleans' Eureka Brass Band. As a teenager living in Detroit, Charlie played with Lionel Hampton, whose band then included a young Charles Mingus, later spending nine years with a group led by Cab Calloway drummer J.C. Heard. While he's also fronted a bebop quintet, played and/or toured with Ella Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his name appears on the front of a record, as a bandleader. Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band, featuring prominently on That's It, So It Is, and Tuba to Cuba. 89 was different, and not simply due to a smaller ensemble. "We had no particular plan, or any particular insight on what we were gonna do. But we were enjoying what we were doing, jamming, having a musical conversation," Charlie says, further musing, "Musical conversations cancel out complications." 89 includes six standards and three newer pieces on which Gabriel is a writer: "Yellow Moon," "The Darker It Gets" and "I Get Jealous." The record also marks Charlie's return to his first instrument, clarinet, on many of the tracks. "The clarinet is the mother of the saxophone," he says. "I started playing clarinet early in life, and this [taught me] the saxophone." Finally, 89 includes three tracks of Charlie singing. "I always sung, but it wasn't my forte to become a singer," he says. "The truth is, people often develop a real relationship with a song once they hear the words. Sometimes I enjoy singing them."

Dig deep enough inside yourself -- start treating your body as your sanctuary rather than your enemy -- and eventually you'll find yourself blooming right back out into the sun. That's the transformation Guerilla Toss trace on their newest album Famously Alive, their effervescent Sub Pop debut. After a decade sprinkling glitter into grit, building a reputation as one of the most ferociously creative art-rock groups working, the upstate New York band have eased fully into their light. This is Guerilla Toss at their most luminescent -- awake, alive, and extending an open invitation to anyone who wants to soak it all up beside them. Singer and lyricist Kassie Carlson, multi-instrumentalist Peter Negroponte and guitarist Arian Shafiee wrote Famously Alive at home in the Catskills during the pervading quiet of the pandemic year. The uncertainty of Covid-19 lockdowns and the total disruption of routine forced Carlson to negotiate with herself in new and challenging ways. "You have to be with yourself all the time during the pandemic," she says. "I had to figure out a way to manage my anxiety. The pandemic was hard, but it helped me get comfortable inside my own body. My peace of mind came out of being thrust into the deepest shit. This album is all about being happy, being alive, and strength. It's meant to inspire people." Famously Alive finds Guerilla Toss coming into the fullness of their power, celebrating their prismatic idiosyncrasies from a place of optimism and abundance. It is a joyous album, equal parts bizarre, accessible, and fun.

- Classic 1991 Album Remastered And Expanded With Rare And Previously Unreleased Tracks.- Extensive Liner Notes By Band Biographer Keith Cameron.- Album Is Considered A Landmark Of The Grunge Era.- Gatefold Jacket With Custom Dust Sleeves And Poster- Black Vinyl Pressing //By Going Back To Basics With Every Good Boy Deserves Fudge, Mudhoney Flipped Conventional Wisdom. Not For The First Time - Or The Last - They Would Be Vindicated. A Month After Release In July 1991, The Album Entered The Uk Album Chart At Number 34 (Five Weeks Later, Nirvana's Nevermind Entered At 36) And Went On To Sell 75,000 Copies Worldwide. A More Meaningful Measure Of Success, However, Lay In Its Revitalisation Of The Band, Casting A Touchstone For The Future. The Record Is A Major Chapter In Mudhoney's Ongoing Story, The Moral Of Which Has To Be: When In Doubt, Fudge It. The Album Began At Music Source Studio, A Large Space Equipped With A 24-Track Mixing Board - Downright Futuristic, Compared To The 8-Track Setup That Birthed The Band's Catalytic 1988 Debut, "Touch Me I'm Sick." The Music Source Session Quickly Turned Into A False Start When The Results, In Guitarist Steve Turner's Words, "Sounded A Little Too Fancy, Too Clean." Lesson Learned, The Band Went Primitive And Got To Work At Conrad Uno's 8-Track Setup At Egg Studio. Named After The Cartons Pasted On The Walls In An Optimistic Attempt At Sound-Proofing, Egg Boasted A '60s Vintage 8-Track Spectra Sonics Recording Console, Originally Built For Stax In Memphis. So It Was That, In The Spring Of 1991, Mudhoney Made Every Good Boy Deserves Fudge. The Resulting Album Is A Whirlwind Of The Band's Influences At The Time: The Fierce '60s Garage Rock Of Their Pacific Northwest Predecessors The Sonics And The Lollipop Shoppe, The Gnashing Post-Hardcore Of Drunks With Guns, The Heavy Guitar Moods Of Neil Young, The Lysergic Workouts Of Spacemen 3 And Hawkwind, The Gloomy Existentialism Of Zounds, And The Satirical Ferocity Of '80s Hardcore Punk. The Quartet's Special Alc...

Band leader Kevin Whelan co-founded and was a key songwriter for New Jersey indie-rock legends The Wrens. The Wrens' landmark 2003 album The Meadowlands received a 9.5 Pitchfork review and made Pitchfork's Albums of the Year list. Since that album, fans and press have been eagerly awaiting new material from The Wrens members. The Wrens have 20k monthly listeners and 16k followers on Spotify. Aeon Station's Observatory is an epic statement more than a decade in the making, with miles of timeless melodies and the kind of overpowering songwriting that will reaffirm your belief in life itself. Whelan's scope of musical vision on Observatory is wide open and free with possibilities-at once recalling the reflective wisdom of Bruce Springsteen, Broken Social Scene's huge anthemic burn, and the Wrens' own pulsing-with-life take on rock music. Above all, this is music not only for dreamers but for those who realize and appreciate the enormity of every moment. "It's about never letting go about those dreams and your passion," he states. "The album starts from a place of realizing that everything is temporary, what we love eventually changes or leaves us, and regardless we continue to search and find our way back home." If you've ever caught air in your lungs or felt your heart beating in your chest, there's no doubt that you'll find some level of connection with Observatory's open-hearted, instantly classic-sounding rock.

Gatefold cover has tiny wear. With booklet. Red translucent vinyl seems unplayed. Us reissue from 2009. Limited edition.

Focusing on their craft, staying out of the fray, and holding fast their faith to find new ways to express the discord and delight of being alive, to turn the duality of existence into hymns we can share, Low present HEY What. These ten pieces-each built around their own instantaneous, undeniable hook-are turbocharged by the vivid textures that surround them. The ineffable, familiar harmonies of Alan Sparhawk and Mimi Parker break through the chaos like a life raft. Layers of distorted sound accrete with each new verse - building, breaking, colossal then restrained, a solemn vow only whispered. There will be time to unravel and attribute meaning to the music and art of these times, but the creative moment looks Forward, with teeth. HEY What is Low's thirteenth full-length release in twenty-seven years, and their third with producer BJ Burton.

Second volume of music from the hit Fox TV show. The Emmy-winning, top-rated show was named one of the 60 Greatest TV Cartoons of All Time by TV Guide. In addition to the show's cast, the album features high-profile guests, including Adam Driver, Tiffany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall, Aparna Nancherla, and Matt Berninger (of the National). Bob's Burgers audience is wide-ranging: strong performance with 15-25 year olds, median viewing age of 37, 35 share among males 35-54 and a 16 share of females in the same group. Campaign will include promotion from the cast and show production team. Past seasons are in heavy syndication and available on major streaming platforms. The Bob's Burgers Music Album Vol. 2 includes nearly every single musical morsel from seasons 7 through 9. This 90-song smorgasbord will feature the Belcher family - Bob (H. Jon Benjamin), Linda (John Roberts), Tina (Dan Mintz), Gene (Eugene Mirman) and Louise (Kristen Schaal) - as well as the show's numerous recurring and special guests. This includes actors, comedians, and musicians Adam Driver, Tiffany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall, Aparna Nancherla, and Matt Berninger (of the National). For fans of the show, enjoying the music of Bob's Burgers on its own is both an irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely epic disco celebration "Hot Pants Rain Dance", sing along with the musical theater gem, "The Wedding Is My Warzone," or do whatever you're gonna do to "Sexy Little Tiger" but don't miss the Bob's Burgers Music Album Vol. 2. Fans, your order is up.

Second volume of music from the hit Fox TV show. The Emmy-winning, top-rated show was named one of the 60 Greatest TV Cartoons of All Time by TV Guide. In addition to the show's cast, the album features high-profile guests, including Adam Driver, Tiffany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall, Aparna Nancherla, and Matt Berninger (of the National). Bob's Burgers audience is wide-ranging: strong performance with 15-25 year olds, median viewing age of 37, 35 share among males 35-54 and a 16 share of females in the same group. Campaign will include promotion from the cast and show production team. Past seasons are in heavy syndication and available on major streaming platforms. The Bob's Burgers Music Album Vol. 2 includes nearly every single musical morsel from seasons 7 through 9. This 90-song smorgasbord will feature the Belcher family - Bob (H. Jon Benjamin), Linda (John Roberts), Tina (Dan Mintz), Gene (Eugene Mirman) and Louise (Kristen Schaal) - as well as the show's numerous recurring and special guests. This includes actors, comedians, and musicians Adam Driver, Tiffany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall, Aparna Nancherla, and Matt Berninger (of the National). For fans of the show, enjoying the music of Bob's Burgers on its own is both an irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely epic disco celebration "Hot Pants Rain Dance", sing along with the musical theater gem, "The Wedding Is My Warzone," or do whatever you're gonna do to "Sexy Little Tiger" but don't miss the Bob's Burgers Music Album Vol. 2. Fans, your order is up.

This LP finally brings a Clipping fan-favorite, 2016's Wriggle, onto vinyl in an improved, expanded version that features new art, previously unreleased remixes, and a track that's exclusive to the vinyl format. The original, digital-only Wriggle EP was six tracks that weren't finished in time to make it onto the group's 2014 Sub Pop debut, Clppng. For "Shooter," Clipping recorded themselves firing fifteen different guns, the sounds of which exclusively constituted the beat's drums, augmented only by a synthesized tone-row. The verses referenced the well-worn technique of "hashtag rap," but instead of using it to boast about the rapper's personal wealth and masculine prowess, Clipping put forth imagistic narratives of three violent encounters. True to much of the group's music, "Shooter" was an attempt to reframe a familiar style and test the limits of its formal capabilities. "Hot Fuck No Love" contains what might be the most explicit verse to date from Clipping's favorite New Jersey rapper Cakes Da Killa. The EP's title track, "Wriggle," was built around a sample of the influential power-electronics song "Wriggle Like a Fucking Eel" by Whitehouse, transforming William Bennett's torturous imperative into a instructional dance-floor banger. "Wriggle" and "Shooter" have become classic Clipping tracks and staples of their live show. With this vinyl edition, Clipping fans old and new - and there are many new fans thanks to their breakout 2020 album, Visions of Bodies Being Burned, and Daveed Diggs' thriving acting career - get the vinyl version of Wriggle they've been clamouring for.

This LP finally brings a Clipping fan-favorite, 2016's Wriggle, onto vinyl in an improved, expanded version that features new art, previously unreleased remixes, and a track that's exclusive to the vinyl format. The original, digital-only Wriggle EP was six tracks that weren't finished in time to make it onto the group's 2014 Sub Pop debut, Clppng. For "Shooter," Clipping recorded themselves firing fifteen different guns, the sounds of which exclusively constituted the beat's drums, augmented only by a synthesized tone-row. The verses referenced the well-worn technique of "hashtag rap," but instead of using it to boast about the rapper's personal wealth and masculine prowess, Clipping put forth imagistic narratives of three violent encounters. True to much of the group's music, "Shooter" was an attempt to reframe a familiar style and test the limits of its formal capabilities. "Hot Fuck No Love" contains what might be the most explicit verse to date from Clipping's favorite New Jersey rapper Cakes Da Killa. The EP's title track, "Wriggle," was built around a sample of the influential power-electronics song "Wriggle Like a Fucking Eel" by Whitehouse, transforming William Bennett's torturous imperative into a instructional dance-floor banger. "Wriggle" and "Shooter" have become classic Clipping tracks and staples of their live show. With this vinyl edition, Clipping fans old and new - and there are many new fans thanks to their breakout 2020 album, Visions of Bodies Being Burned, and Daveed Diggs' thriving acting career - get the vinyl version of Wriggle they've been clamouring for.

Oh, Inverted World, the earth-shattering, indie-rock-redefining 2001 debut album by The Shins, is presented here in its finest form, dressed up all nice for its 20th birthday. The classic tunes get new life by way of a full remastering job under band leader James Mercer's watchful eye, the art is given a little extra zest via a die-cut jacket and a classy inner sleeve, and the package is rounded off with a big ol' booklet with vintage photos, handwritten lyrics, and more. The music, of course, is obviously essential. Aside from a friendly reminder that this is the album with the smash hit "New Slang," as heard in the hit movie Garden State, we just need to note that the remastering job truly makes this the album James Mercer always wanted it to be. Never quite satisfied with the sonics of the original, Mercer took the 20th anniversary of the album as his opportunity to finally set the (literal!) record straight. And the results sound stellar: great for new fans, and well worth the attention of those already on board! For old times' sake, here's what we had to say about this record back when it came out: Hailing from Albuquerque, NM, The Shins sprung from the ashes of Flake/Flake Music in 1997 (though those previous incarnations date back nearly a decade) - same members, different instruments, different approach. Counterpoint guitars have given way to a single guitar pitted against calculated keyboard passages; swarming indie rock machinations led to pop-based melodic endeavors (who knew?).

Oh, Inverted World, the earth-shattering, indie-rock-redefining 2001 debut album by The Shins, is presented here in its finest form, dressed up all nice for its 20th birthday. The classic tunes get new life by way of a full remastering job under band leader James Mercer's watchful eye, the art is given a little extra zest via a die-cut jacket and a classy inner sleeve, and the package is rounded off with a big ol' booklet with vintage photos, handwritten lyrics, and more. The music, of course, is obviously essential. Aside from a friendly reminder that this is the album with the smash hit "New Slang," as heard in the hit movie Garden State, we just need to note that the remastering job truly makes this the album James Mercer always wanted it to be. Never quite satisfied with the sonics of the original, Mercer took the 20th anniversary of the album as his opportunity to finally set the (literal!) record straight. And the results sound stellar: great for new fans, and well worth the attention of those already on board! For old times' sake, here's what we had to say about this record back when it came out: Hailing from Albuquerque, NM, The Shins sprung from the ashes of Flake/Flake Music in 1997 (though those previous incarnations date back nearly a decade) - same members, different instruments, different approach. Counterpoint guitars have given way to a single guitar pitted against calculated keyboard passages; swarming indie rock machinations led to pop-based melodic endeavors (who knew?).

Archive Series Volume No. 5: Tallahassee is the lost-in-time debut album from Iron & Wine. A collection of songs recorded three years prior to his official Sub Pop debut, The Creek Drank the Cradle (2002). A period before the concept of Iron & Wine existed and principal songwriter Sam Beam was studying at Florida State University with the intent of pursuing a career in film. Tallahassee documents the very first steps on a journey that would lead to a career as one of America's most original and distinctive singer-songwriters. Creek arrived like a thief in the night with its lo-fi, hushed vocals and intimate nature, while almost inversely Tallahassee comes with a strange sense of confidence. Perhaps an almost youthful discretion that likely comes from being too young to know better and too naïve to give a shit. The recordings themselves are more polished than Creek and give a peak into what a studio version of that record might have offered up. Tallahassee was recorded over the course of 1998-1999 when Beam and future bandmate EJ Holowicki moved into a house together. Beam had not been performing publicly, however he was known for playing an original song or two in the early morning glow of a long night. Holowicki also in the film program and who would go onto a career as a sound designer at Skywalker Sound, had a mobile recording device and after some prodding convinced his friend to record these late-night meditations. Together they would record close to twenty-four songs, ideas and sketches, with EJ on bass and Sam on vocals, guitar, harmonica and drums. The recordings - all captured in the house where they lived - have a "live in the room" feel akin to say Neil Young's Harvest or Nick Drake's Five Leaves Left, rather than the homespun lo-fi 4-track home recording experiment taking place at the time. These recordings, minus one track, have never been made available and were instead left preserved on a hard drive for the last twenty years. The one track that floated out there, called "In Your Own Time" was shared without a title to childhood friend Ben Bridwell (Band of Horses) at some point. The song became known as the "Fuck Like A Dog" song and Ben shared it with more than a few folks during the golden era of mix cd's. Two of those folks were Jonathan Poneman from Sub Pop and journalist Mike McGonigal, who included it on his best songs of 2001 mix cd, passed out to friends and acquaintances. And for many that is where the Iron & Wine story begins, until now_ Tallahassee is the foreword to your favorite book that you've somehow skipped over time and time again. It's an alternative history mixed with some revisionist history told over the course of eleven songs. It's also the debut record by Iron & Wine some twenty years after the fact.

Archive Series Volume No. 5: Tallahassee is the lost-in-time debut album from Iron & Wine. A collection of songs recorded three years prior to his official Sub Pop debut, The Creek Drank the Cradle (2002). A period before the concept of Iron & Wine existed and principal songwriter Sam Beam was studying at Florida State University with the intent of pursuing a career in film. Tallahassee documents the very first steps on a journey that would lead to a career as one of America's most original and distinctive singer-songwriters. Creek arrived like a thief in the night with its lo-fi, hushed vocals and intimate nature, while almost inversely Tallahassee comes with a strange sense of confidence. Perhaps an almost youthful discretion that likely comes from being too young to know better and too naïve to give a shit. The recordings themselves are more polished than Creek and give a peak into what a studio version of that record might have offered up. Tallahassee was recorded over the course of 1998-1999 when Beam and future bandmate EJ Holowicki moved into a house together. Beam had not been performing publicly, however he was known for playing an original song or two in the early morning glow of a long night. Holowicki also in the film program and who would go onto a career as a sound designer at Skywalker Sound, had a mobile recording device and after some prodding convinced his friend to record these late-night meditations. Together they would record close to twenty-four songs, ideas and sketches, with EJ on bass and Sam on vocals, guitar, harmonica and drums. The recordings - all captured in the house where they lived - have a "live in the room" feel akin to say Neil Young's Harvest or Nick Drake's Five Leaves Left, rather than the homespun lo-fi 4-track home recording experiment taking place at the time. These recordings, minus one track, have never been made available and were instead left preserved on a hard drive for the last twenty years. The one track that floated out there, called "In Your Own Time" was shared without a title to childhood friend Ben Bridwell (Band of Horses) at some point. The song became known as the "Fuck Like A Dog" song and Ben shared it with more than a few folks during the golden era of mix cd's. Two of those folks were Jonathan Poneman from Sub Pop and journalist Mike McGonigal, who included it on his best songs of 2001 mix cd, passed out to friends and acquaintances. And for many that is where the Iron & Wine story begins, until now_ Tallahassee is the foreword to your favorite book that you've somehow skipped over time and time again. It's an alternative history mixed with some revisionist history told over the course of eleven songs. It's also the debut record by Iron & Wine some twenty years after the fact.

Archive Series Volume No. 5: Tallahassee is the lost-in-time debut album from Iron & Wine. A collection of songs recorded three years prior to his official Sub Pop debut, The Creek Drank the Cradle (2002). A period before the concept of Iron & Wine existed and principal songwriter Sam Beam was studying at Florida State University with the intent of pursuing a career in film. Tallahassee documents the very first steps on a journey that would lead to a career as one of America's most original and distinctive singer-songwriters. Creek arrived like a thief in the night with its lo-fi, hushed vocals and intimate nature, while almost inversely Tallahassee comes with a strange sense of confidence. Perhaps an almost youthful discretion that likely comes from being too young to know better and too naïve to give a shit. The recordings themselves are more polished than Creek and give a peak into what a studio version of that record might have offered up. Tallahassee was recorded over the course of 1998-1999 when Beam and future bandmate EJ Holowicki moved into a house together. Beam had not been performing publicly, however he was known for playing an original song or two in the early morning glow of a long night. Holowicki also in the film program and who would go onto a career as a sound designer at Skywalker Sound, had a mobile recording device and after some prodding convinced his friend to record these late-night meditations. Together they would record close to twenty-four songs, ideas and sketches, with EJ on bass and Sam on vocals, guitar, harmonica and drums. The recordings - all captured in the house where they lived - have a "live in the room" feel akin to say Neil Young's Harvest or Nick Drake's Five Leaves Left, rather than the homespun lo-fi 4-track home recording experiment taking place at the time. These recordings, minus one track, have never been made available and were instead left preserved on a hard drive for the last twenty years. The one track that floated out there, called "In Your Own Time" was shared without a title to childhood friend Ben Bridwell (Band of Horses) at some point. The song became known as the "Fuck Like A Dog" song and Ben shared it with more than a few folks during the golden era of mix cd's. Two of those folks were Jonathan Poneman from Sub Pop and journalist Mike McGonigal, who included it on his best songs of 2001 mix cd, passed out to friends and acquaintances. And for many that is where the Iron & Wine story begins, until now_ Tallahassee is the foreword to your favorite book that you've somehow skipped over time and time again. It's an alternative history mixed with some revisionist history told over the course of eleven songs. It's also the debut record by Iron & Wine some twenty years after the fact.

Reissued - Father John Misty's First From 2012! Father John Misty Is The Nom-De-Plume Of Josh Tillman, Who Has Been Recording And Releasing Solo Albums Under His Own Name Since 2003, And Who Left Seattle's Fleet Foxes After Playing Drums With Them From 2008-2011. When Discussing Father John Misty, Tillman Paraphrases Philip Roth: "'It's All Of Me And None Of Me, If You Can't See That, You Won't Get It.'" Fear Fun, Father John Misty's Debut Album, Began Gestating During What Tillman Describe...

Reissued - Father John Misty's First From 2012! Father John Misty Is The Nom-De-Plume Of Josh Tillman, Who Has Been Recording And Releasing Solo Albums Under His Own Name Since 2003, And Who Left Seattle's Fleet Foxes After Playing Drums With Them From 2008-2011. When Discussing Father John Misty, Tillman Paraphrases Philip Roth: "'It's All Of Me And None Of Me, If You Can't See That, You Won't Get It.'" Fear Fun, Father John Misty's Debut Album, Began Gestating During What Tillman Describe...

On her second full-length record, Head of Roses, Jenn Wasner follows a winding thread of intuition into the unknown and into healing, led by gut feelings and the near-spiritual experience of visceral songwriting. The result is a combination of Wasner's ability to embrace new levels of vulnerability, honesty and openness, with the self-assuredness that comes with a decade-plus career as a songwriter, producer, multi-instrumentalist and prolific collaborator. Simply put, Head of Roses is a record about heartbreak, but from a dualistic perspective. It's about the experience of having one's heart broken and breaking someone else's heart at the same time. But beyond that, it's about having to reconcile the experience of one's own pain with the understanding that it's impossible to go through life without being the source of great pain for someone else. "Part of the journey for me has been learning to take responsibility for the parts of things that are mine, even when I'm in a lot of pain through some behavior or action of someone else. If I'm expecting to be forgiven for the things I've done and the choices I've made and the mistakes that I've made, it would be incredibly cowardly and hypocritical to not also do the work that's required to forgive others the pain they caused me." Showcasing the depth of Wasner's songwriting capabilities and the complexity of her vision, Head of Roses calls upon her singular ability to create a fully-formed sonic universe via genre-bending amalgamation of songs and her poetic and gut punch lyrics. It's the soundtrack of Wasner letting go - of control, of heartbreak, and of hiding who she is: "I think I've finally reached a point in my career where I feel comfortable enough with myself and what I do, that I'm able to relax into a certain simplicity or straight forwardness that I wasn't comfortable with before." Head of Roses puts Wasner's seismically powerful voice front and center. Those vocals help thread it all together -- it's a textured musicality, quilted together by intentionality and intuition. Wasner and producer Nick Sanborn (Sylvan Esso, Made of Oak) assembled Head of Roses in the same way you'd put together a mixtape, painstakingly and carefully melding disparate parts into a whole, transcending genre to weave a story of heartache and healing together. And in the same way a homemade, painstakingly-crafted mixtape plays out, with the maker's fingerprints left all over its songs - so goes Head of Roses. Carefully curated and culled from the depths of Wasner's heartbreak and healing, it's deeply, intensely personal. But just as we change ourselves by embracing the pain of loss and uncertainty, so too are the purpose of these songs changed through the act of creating them. Having succeeded in healing the person who made them, they now exist for those who find them in their own moments of need. Always in motion, the original spirit of creation has already flown from this place-but it's left behind a blueprint, a tool for you, to lean on, too.

It Is The Simple Thing That Is So Hard To Do. This Is The Paradox That Musician Lael Neale Has Lived Within Throughout Her Development As An Artist. It Is The Reason She Became Enthralled With Poetry. Poems Are A Distillation. Lael Says, "This Challenge To Winnow Away What Is Unessential Is The Most Maddening And, Ultimately, Rewarding Part Of Writing A Song."Lael's New Album Acquainted With Night Is A Testament To This Poetic Devotion. Stripped Of Any Extraneous Word Or Sound, The Songs Are Lit By Lael's Crystalline Voice Which Lays On A Lush Bed Of Omnichord. The Collection Touches On Themes That Have Been Thread Into Her Work For Years: Isolation, Mortalit...