{"title":"New Vinyl","description":"","products":[{"product_id":"poppy-jean-crawford-the-takeover-ep-black-vinyl","title":"Poppy Jean Crawford 'The Takeover' EP | 180g Black Vinyl 12\"","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDeluxe 12\" EP on 180 gram black vinyl with etching on B side\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eHaving previously leaned more toward the noisy, guitar-driven side of indie rock, Crawford dazzles here with moody, layered pop songs influenced by everything from the late ‘90s U.K. trip-hop of Portishead and Sneaker Pimps to the driving, confident sounds of Blondie, Garbage, and M.I.A.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe Takeover is an EP about love, power dynamics, and the chance for Poppy to finally release a body of work she truly stands behind.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eReleased on July 14 2023 via The Anniversary Group\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe width=\"420\" height=\"239\" src=\"https:\/\/www.youtube.com\/embed\/yFhUjmbg8gw?si=vlhY70wtHLk3kxWJ\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe width=\"420\" height=\"239\" src=\"https:\/\/www.youtube.com\/embed\/At9hD_VdLJ0?si=X2W3ydE3qLv5YCYF\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Ice Cream","offers":[{"title":"Default Title","offer_id":50703848046880,"sku":null,"price":24.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/poppyjeancrawford_thetakeover.jpg?v=1757949803"},{"product_id":"bikini-kill-self-titled-12-black-vinyl-lp","title":"Bikini Kill • Self-Titled | 12\" Black Vinyl LP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eReceived a Best New Reissue 8.7 rating from Pitchfork.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eThis is the 20th anniversary reissue of BIKINI KILL’s debut 12\" EP. Originally released in the fall of 1992, Bikini Kill comprises four songs recorded by IAN MACKAYE at Inner Ear Studios; one song from the band's 1991 demo cassette, recorded by PAT MALEY (Yo-Yo Studios); and one song recorded during Bikini Kill's live performance April 4th, 1992, at Washington, D.C.'s Sanctuary Theater. The vinyl reissue includes a new fanzine in the form of a 34\"x21\" poster featuring interviews with Ian MacKaye and MOLLY NEUMAN (BRATMOBILE), liner notes by LAYLA GIBBON (Skinned Teen, MRR), excerpts from the band’s zines (Bikini Kill #1 and #2, Jigsaw #4), and photos from the band members' personal archives.  \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eBikini Kill was a feminist punk band that was based in Olympia, WA and Washington, DC, forming in 1990 and breaking up in 1997. KATHLEEN HANNA sang, TOBI VAIL played drums, BILLY KARREN (aka BILLY BOREDOM) played guitar and KATHI WILCOX played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early ’90s via their political lyrics, zines, and confrontational live performances. \u003c\/span\u003e\u003c\/p\u003e","brand":"Ice Cream","offers":[{"title":"Default Title","offer_id":50714765426976,"sku":null,"price":21.49,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/8516470042920_main.jpg?v=1758231116"},{"product_id":"off-free-lsd-electric-blue-vinyl-12-lp","title":"OFF! • Free LSD | Electric Blue Vinyl 12\" LP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe long-awaited 4th album from hardcore supergroup OFF! \"A heavy punk industrial free jazz soundtrack recording.\" \u003cstrong\u003eDeluxe glow-in-the-dark gatefold edition with blotter paper lyric sheet and translucent electric blue vinyl\u003c\/strong\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Ice Cream","offers":[{"title":"Default Title","offer_id":50714772111648,"sku":null,"price":37.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/144875_main.jpg?v=1758231527"},{"product_id":"die-spitz-something-to-consume-12-black-vinyl-lp","title":"Die Spitz • Something To Consume | 12' Black Vinyl LP","description":"\u003cp\u003eWhen the Venn diagram of passion, friendship, identity, and artistry collide, it can feel as if fighting words are spitting from your veins. And as postmodern society crumbles, Die Spitz giddily bounce between a dozen different ways to push back. If the world of rock music were an ice cream shop, the Austin quartet have sampled each flavor, flipped the freezer over, and started dancing with the employees they helped unionize.\u003c\/p\u003e\n\u003cp\u003eOn their debut album, Something to Consume, Ava Schrobilgen, Chloe De St. Aubin, Ellie Livingston, and Kate Halter fight against the inescapable consumption that surrounds life. “There’s a political side to it, but addiction and love can also be all-consuming,” Livingston says. And as the foursome trade off instruments, swapping songwriting and vocal duties, and generating powerful songwriting in concussive bursts, Die Spitz have created their own little pocket of the world where we can all stand on the edge together.\u003c\/p\u003e","brand":"Ice Cream","offers":[{"title":"Default Title","offer_id":50714774995232,"sku":null,"price":34.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/148918_main.jpg?v=1758231722"},{"product_id":"hotline-tnt-raspberry-moon-black-vinyl-12-lp","title":"Hotline TNT • Raspberry Moon | Black Vinyl 12\" LP","description":"\u003cp\u003eFollowing the release of their triumphant breakthrough album Cartwheel, which gained widespread critical acclaim from the likes of Pitchfork (8.4\/10 Best New Music) and Stereogum (Top 10 Albums of 2023 - “riveting, restless shoegaze packed with massive hooks”), NYC’s Hotline TNT are back with their best album yet, Raspberry Moon. The record marks what many are calling 'The Next Phase in New American Shoegaze'.\u003c\/p\u003e\n\u003cp\u003eHotline TNT have toured relentlessly, including US-wide tours with Wednesday and Snail Mail, enduring seemingly endless lineup shifts to become a linchpin of several interconnecting DIY scenes. Whilst Cartwheel was largely conceived by frontman Will Anderson (previously of cult indie group Weed), Raspberry Moon is very much a full-band effort, which is evident in the album’s all-consuming, rip-roaring sound. For fans of Teenage Fanclub, Dinosaur Jr. and My Bloody Valentine.\u003c\/p\u003e","brand":"Ice Cream","offers":[{"title":"Default Title","offer_id":50714792591648,"sku":null,"price":32.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/148553_main.jpg?v=1758232104"},{"product_id":"the-cramps-stay-sick-blue-vinyl-12-lp","title":"The Cramps • Stay Sick! | Blue Vinyl 12\" LP","description":"\u003cp\u003e\u003cstrong\u003eLimited pressing on blue vinyl!\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSex-classic Stay Sick! was originally released in 1990 and features more of the dark side of rockabilly in a jugular vein. The opener, a hopped-up cover of obscure Sun Records tune “Bop Pills,” proves that rumors of amphetamine usage by the original Memphis rockabilly cats was not exaggerated, and sets the pace for the rest of the album.\u003c\/p\u003e\n\u003cp\u003eHog-wild covers of “Shortninʼ Bread” and “Muleskinner Blues” probably have the original writers dancing on their graves, and The Cramps’ version of the perverse rarity “Her Love Rubbed Off” shines a lurid spotlight on the only song that Carl Perkins was admittedly ashamed of writing. Plus, Stay Sick! delivers loads of action-packed originals celebrating kamikaze thrill-seeking and scary sexy she-creatures. This is pure jungle music—one half hillbilly and one half punk. If you canʼt dig this then you must have “Daisys Up Your Butterfly”! Still a favorite among rock ʼnʼ roll sickos worldwide.\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Ice Cream","offers":[{"title":"Default Title","offer_id":50714803011872,"sku":null,"price":26.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/6550351672200_main.jpg?v=1758232418"},{"product_id":"upchuck-sense-yourself-blood-splatter-vinyl-12-lp","title":"Upchuck • Sense Yourself | Blood Splatter Vinyl 12\" LP","description":"\u003cp\u003eUpchuck are experiencing a moment. The Atlanta punk collective just came off multiple tour runs with their good friend Faye Webster. Their Ty Segall-produced second album Bite The Hand That Feeds, with all its buzzsaw guitars and high-speed rippers and headbanging sludge, arrived in October. Later this year, they’ll make appearances at multiple festivals including Coachella. In the midst of relentlessly barreling ahead, the band and their label Famous Class are taking a beat to revisit how they got here.\u003c\/p\u003e\n\u003cp\u003eAfter working with Segall on Bite the Hand That Feeds, the band floated the notion that they wished they could hear what their collaborator could do with the songs on their 2022 debut album Sense Yourself. Holed up in his studio over Christmas with COVID and nothing else to do, Ty Segall began toying with Sense Yourself, sifting through folders of unlabeled stems to find the best guitar parts, emboldening the drum sound, and bringing greater clarity to KT’s vocals, all while bolstering the urgency of the band’s overall attack. With Segall’s new mix, Upchuck’s intense and righteous debut now impossibly overflows with even more fuzz and fury.\u003c\/p\u003e\n\u003cp\u003eDespite all their recent success, Upchuck would like to disavow you of the notion that they’ve reached a new echelon. “I’m still poor every day of my life,” says frontperson KT. “I'm still working at a club and barely making it—like not eating out, barely being able to support myself financially, but I’m also having people come up to me at work being like ‘You're playing Coachella, right?’” They’re still grinding every day while their friends’ houses get raided by cops. The brick on the exterior of their mold-riddled practice space was painted white; they’re still in disbelief that such a nasty house sold for a mint. Some songs from Sense Yourself have been part of their live shows for six years now, and even as the band have gained more visibility and a larger audience, they don’t see these songs as coming from a different era of their lives. This shit is still happening right now.\u003c\/p\u003e\n\u003cp\u003eKT shouts “see my kind\/we’re not safe” while detailing a depressing daily cycle of unchecked violence on “Upchuck,” a scuzzy dirge that picks up speed and aggression as they cement how there are no consequences for literally murdering marginalized people. The five members of this band wield their collective power, an appropriately tumultuous setting for KT’s screams about not being able to make a living wage, living under the thumb of yuppie fucks, and the horror of unexpected loss. This is a band that lost friends and family, have lived through so much fucked up stuff, and are currently seeing their friends get raided and labeled extremists while living in the Cop City era of Atlanta. “Even in high school, like Trayvon, it's still the same shit—shit’s not switching up,” KT says. Their collective power at shows is riveting for audiences, but for Upchuck, it’s a space to circle up with this community they’ve created.\u003c\/p\u003e\n\u003cp\u003eIn Segall, they found a kindred spirit whose studio approach made sense for just how hard they wanted this music to hit. “When we first went to record with Ty for Bite the Hand That Feeds, Mikey and I walked into the guitar room and Ty said, ‘Don’t touch the EQs.’ We looked at the amp and everything was on 10 except the master volume,” Hoff said. Previously, the band had been encouraged to capture the unvarnished sound of the studio. They’d toured with Segall’s band Fuzz, so everybody had the same goal while recording together: Capture the electricity of their intense live set.\u003c\/p\u003e\n\u003cp\u003e(STREET DATE - 5\/31\/2024)\u003c\/p\u003e\n\u003cp\u003eThe band’s shows have a reputation for coming unglued, and there’s no greater document of that than Sense Yourself’s iconic album artwork. With no text, it’s a candid photo of a moment from a show shot on film without editing: blood streaked across KT’s face as they shout into the mic. In the middle of their EP release show, KT was in the pit as a fan started crowd surfing inside a shopping cart. A loose piece of metal near a wheel caught the singer right near the eyebrow and blood was everywhere, an instant piece of iconography snapped by probably every camera phone in the room.\u003c\/p\u003e\n\u003cp\u003eIt’s not the gnarliest photo in existence of KT’s condition at the show. The singer didn’t realize how bad it looked when they got back onstage and kept performing as their bandmates and friends checked in. “Our fans are just built different, like no way you’re carrying a shopping cart with this skater who’s like six feet tall, built as hell, and they’re passing him around? That don’t make sense,” KT recalls. “But they did it somehow, and then they beat the fuck out of the shopping cart!”\u003c\/p\u003e\n\u003cp\u003eWhen Hoff revisits the message of this first album and Upchuck’s first songs, he thinks back to the year before the band even started when he and KT were hanging out. “We were sitting around talking for eight hours like ‘fuck, that's fucked up, that's fucked up.’” Upchuck became a vehicle for these five people to process how fucked up everything it is—to digest these formative hours-long conversations and put them to bludgeoning, intense rock music. The music is also fun as hell, and that’s part of the point. “There's a lot we need to do as people and a lot of things we need to fix in society but also like come on man like have your fun, wild out, have your drink,” KT says. “But be on your shit at the same time. Check your folk.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eNewly remixed by Ty Segall\u003c\/p\u003e\n\u003cp\u003ePressed on blood splatter vinyl.\u003c\/p\u003e\n\u003cp\u003ePackaged with an Obi Strip.\u003c\/p\u003e","brand":"Ice Cream","offers":[{"title":"Default Title","offer_id":50714830405920,"sku":null,"price":27.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/147421_main.jpg?v=1758232625"},{"product_id":"backordered-wednesday-bleeds-12-black-vinyl-lp","title":"Wednesday • BLEEDS | 12\" Eco Mix Vinyl LP","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003ePLEASE NOTE\u003c\/em\u003e - This item is on backorder, and will ship as soon as we receive more copies.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCan a self-portrait be a collage? Can empathy be autobiographical? 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Karly Hartzman—founder, frontwoman, and primary lyricist—credits Wednesday’s tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that’s been both rewarding and relentless. “Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential ‘Wednesday Creek Rock’ album,” Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they’ve refined the formula that makes them one of the most interesting rock bands of their generation. “This is what Wednesday songs are supposed to sound like,” she said. “We’ve devoted a lot of our lives to figuring this out—and I feel like we did.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eJust like Rat Saw God, one of the defining rock \u0026amp; roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who’s been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates—Xandy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake “M.J.” Lenderman (guitar)—worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism—not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman’s masterfully subjective approach to detail selection.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEvery image or scene is filtered through Hartzman’s agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman’s specific obsessions and vulnerabilities, about the fragmented way she processes the world. 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A TRUE \"PUNK ROCK\" PARTNERSHIP WITH THIRD MAN AND THE BAND. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e1985: As the last detached murmurs of post-punk slowly crest into the earliest whispers of shoegaze, standing there in a world all their own, cutting a profile both unique and incomparable is the Jesus and Mary Chain. With equal influence gleaned from The Stooges and The Shangri-Las, The Velvet Underground and The Beach Boys, the band releases the unassailable godhead album, Psychocandy. In celebration of 40 years of one of the most important and watershed albums of all time, Third Man Records is humbled to announce our partnership with The Jesus and Mary Chain and the re-release of Psychocandy pressed on glorious black vinyl with a limited run pressed on hot honey vinyl. Packaged in a single pocket sleeve using the original artwork including the printed inner sleeve.Cut by Warren Defever at Third Man Mastering using super high definition 192khz transfers of the original 1985 mix and featuring the classic JAMC line-up of Jim Reid, William Reid, Douglas Hart and Bobby Gillespie.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"section\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eSide A \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJust Like Honey\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eThe Living End\u003cbr\u003eTaste The Floor\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eThe Hardest Walk\u003cbr\u003eCut Dead \u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eIn A Hole\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eTaste Of Cindy \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eSide B \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNever Understand\u003cbr\u003eInside Me\u003cbr\u003eSowing Seeds\u003cbr\u003eMy Little Underground\u003cbr\u003eYou Trip Me Up\u003cbr\u003eSomething's Wrong\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eIt's So Hard \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Third Man Records","offers":[{"title":"Hot Honey","offer_id":50806941581600,"sku":null,"price":24.95,"currency_code":"USD","in_stock":true},{"title":"Black","offer_id":50806941614368,"sku":null,"price":23.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/TMR1132-68d1a05186c34.jpg?v=1760629835"},{"product_id":"unknown-mortal-orchestra-curse-12-vinyl-ep","title":"Unknown Mortal Orchestra • Curse | Black Vinyl 12\" EP","description":"\u003cp\u003e\u003cstrong\u003eSHIPS ON OR BEFORE 10\/31\/2025.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eUMO’s 'CURSE' EP reflects these cursed times we find ourselves in. Taking inspiration from Italian horror films of the 1970s and 1980s, the six songs on the release are as cathartic a listen as the band has ever recorded. Featuring both abrasive, Black Sabbath inspired riffs on “BOYS WITH THE CHARACTERISTICS OF WOLVES” as well as the laid back, intricate guitar playing UMO is maybe most famous for on “DEATH COMES FROM THE SKY”, the CURSE EP is the perfect soundtrack to your next confrontation with the void.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTracklist:\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv class=\"metafield-rich_text_field\"\u003e\n\u003cp\u003e01) AURA\u003cbr\u003e02) BOYS WITH THE CHARACTERISTICS OF WOLVES\u003cbr\u003e03) DEATH COMES FROM THE SKY\u003cbr\u003e04) ONE HUNDRED BATS\u003cbr\u003e05) SORCERERS OF SILENCE\u003cbr\u003e06) CURSE\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/k9ua2O0h-Ew?si=tO8GRhPizdBdStKN\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Jagjaguwar","offers":[{"title":"Default Title","offer_id":50807167779104,"sku":null,"price":21.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/JAG483.jpg?v=1760630696"},{"product_id":"drab-majesty-an-object-in-motion-black-and-red-vinyl-12-ep","title":"Drab Majesty • An Object In Motion | Black and Red Vinyl 12\" EP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe latest EP from Drab Majesty marks the start of a stirring new chapter in the band's majestic legacy. Written during a 2021 retreat to the remote coastal Oregon town of Yachats, Deb Demure leaned into the neo-psychedelic resonance of a uniquely bowl-shaped 12-string Ovation acoustic\/electric guitar. After early morning hikes in the rain, Deb would record ambient guitar experiments the rest of the day, tapping into \"flow states,\" letting the sound lead the way. These sessions were then refined or recreated, and later elevated further with key collaborations by Rachel Goswell (Slowdive), Justin Meldal-Johnson (Beck, M83, Air), and Ben Greenberg (Uniform, Circular Ruin Studio). An Object In Motion is true to its title, capturing the chrysalis moment of an artist evolving, reborn and untethered, silhouetted against an open horizon.\"Cape Perpetua\" kicks off the collection's divergent palette: sparkling acoustic finger-picking refracted through delay, equal parts raga and reverie. Melodies and moods congeal and dissipate, at the threshold of rustic American primitivism, brooding neo-folk, and pastoral melancholia. \"The Skin And The Glove\" deploys jangle to different effect – baggy, soaring, grey-skied kaleidoscopic pop in the spirit of Stone Roses, Primal Scream, and The Glove. Rachel Goswell lends her iconic freefall voice to The Cure-esque ballad, \"Vanity,\" infusing poetic gravity to the doomed refrain: \"If the valve breaks \/ then the earth quakes \/ and history finds a way \/ to put you in your place.\"\"Yield To Force\", the closing track of the EP, may be the most anomalous offering of the set. A 15-minute instrumental odyssey of cyclical strings, ominous slide guitar, and simmering synthesizer, the piece sways and spirals like a long zoom into distant storm clouds. Demure finesses the guitar with a restless but regal grandeur, unfolding a panorama of peaks, shadows, and plateaus. It’s music both intuitive and prophetic, tracing the slow swing of pendulums across an endless plain. Taken as a whole, An Object In Motion presents a showcase of potential futures from Drab’s evolving domain, their sound poised to bloom at the precipice of transformation.\u003c\/span\u003e\u003c\/p\u003e","brand":"DAIS Records","offers":[{"title":"Default Title","offer_id":50807450894624,"sku":"683950558489","price":20.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/DAIS205.jpg?v=1760633780"},{"product_id":"unknown-mortal-orchestra-ii-10-year-anniversary-reissue-black-vinyl-12-lp","title":"Unknown Mortal Orchestra • II 10 Year Anniversary Reissue | Black Vinyl 12\" LP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eUnknown Mortal Orchestra came to life in basements and bedrooms, the musical vision of Portlander-via-New Zealand Ruban Nielson that fused guitar-god riffs, choppy percussion, soul and funk. II, the sophomore album from UMO, emerged in an era rampant hedonism and isolationism and became the blueprint for everything Nielson has become renowned for. It was, and is, the solidification of Unknown Mortal Orchestra as an endlessly intriguing, brave and addictive band. Ten years on, it's back with an expanded edition.Written during a punishing, debauched touring schedule during which Nielson feared for both his sanity and health, II illustrates the emotional turmoil of life on the road, painting surrealist, cartoonish portraits of loneliness, love and despair. These conflicting themes are evident immediately; on the album's sleeve is an unnerving image of Janet Farrar, the famous British witch, Wiccan, author and teacher of witchcraft. The chilling refrain of opener \"Into The Sun\" sees Nielson deliver the line \"Isolation can put a gun in your hand,\" softly, his words starkly intelligible above a warm, slow-burning melody that quickly brands itself onto your brain. His playful imagery (\"I'm so lonely I've gotta eat my popcorn all alone\") mirrors the melody, before a solo that borders on psychotropic ends II's introduction. UMO is unafraid to dig deeper than the rest, their intoxicating, opiate groove bringing rock'n'roll's exaggerated myths to life. And as it unfolds, II does find Nielson reenergized. \"One At A Time\" and \"Faded In The Morning\" boast dizzying choruses and instrumentals; these crusty hunks could have been excavated from a lost 1960s treasure trove. \"Monki\" unravels over seven minutes like the yarn from a stoner's cardigan with an eye-frying pattern. \"Dawn\" is a minute of disconcerting noise that stands out between the nooks and crannies of the choruses, guitar solos, groove-heavy bass and drums that were recorded live by newly-recruited drummer Greg Rogove and Kody Nielson in a move away from the electronic percussion employed on album one. II closes with \"Secret Xtrians,\" a tender observational puzzle that fizzes to a satisfied end.In celebration of the album's 10th anniversary Nielson's complete collection from the II era is finally available in one compilation, and features the five acoustic tracks from the Blue EP as well as two additional B-sides. Unknown Mortal Orchestra was once Nielson's closeted concern. With an album that uses his singular musical imagination and extraordinary talent to parade his emotions with unyielding honesty, it is now a fully realized band operating at the peak of its powers ten years on.\u003c\/span\u003e\u003c\/p\u003e","brand":"Jagjaguwar","offers":[{"title":"Default Title","offer_id":50807464755488,"sku":null,"price":23.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/JAG232.jpg?v=1760634042"},{"product_id":"descendents-milo-goes-to-college-black-vinyl-12-lp","title":"Descendents • Milo Goes To College | Grey Matter Vinyl 12\" LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eOne of the seminal works from the genre to become known as pop punk, the Descendents’ \u003c\/span\u003e\u003cem\u003eMilo Goes to College\u003c\/em\u003e\u003cspan\u003e arrived in the year 1982 as most of the members of the band were just finishing high school. They began by writing catchy, hummable melodies about girls, parents, and food, among other things. Despite their unabashedly juvenile lyrical approach, they played with a blistering intensity rivaling any of the bands in the burgeoning hardcore crowd that they fell in with. This winning formula has carried the group for decades, as their influence has inspired countless followers (some becoming far more famous) in their wake. Now, 43 years later, Descendents are reclaiming and reissuing the album that started it all.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eVinyl includes 8.5x11\" lyric insert (in standard packaging only, not included in Punk Note editions). \u003c\/span\u003e\u003c\/p\u003e","brand":"Org Music","offers":[{"title":"Default Title","offer_id":50807466066208,"sku":null,"price":32.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/ORGM2330.jpg?v=1760634301"},{"product_id":"wednesday-twin-plagues-black-vinyl-12-lp","title":"Wednesday • Twin Plagues | Black Vinyl 12\" LP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIn a long and emotionally exhausting year of being inside (alone, in my case,) I have found myself thinking about mirrors. How to avoid spending too much time in them, most days. Taking inventory of the real, physical self is difficult work, work that I'm not entirely opposed to but work that became immediately more treacherous for me when I had to witness the very real toll that time, modern anxieties, isolation, and boredom were taking on me. It was easier, it seemed, to spiral into a not-so-distant glorious past, to use memory as a tool of both excitement and healing. But, speaking of excitement, I like to stumble towards a band with no agenda, no purpose, uncovering sound almost on accident. This is how I first heard Wednesday. The band came to me and I don't remember how, or why. They simply arrived, as if we'd been traveling toward each other our whole lives. I Was Trying To Describe You To Someone soaked into my summer of 2020, and in sound, in spirit, in central concerns and the execution of them, it took me back to an era before the current era, which I'd needed at the time. The past can feel less hellish than the present if we are, sometimes, not fully honest with ourselves.There is the trick of nostalgia that I spend a lot of time playing with in my own writing, and somewhat tormented by in my own living. The very real idea that nostalgia is both a useful tool and also a weapon if it isn't paired with something that approaches a type of rigorous honesty.But if I may go back to all of these ideas of nostalgia and our old, tricky, past selves that are, indeed, a part of the house of bricks that make up our present self, what I also hope you, listener, might adore about this album is the exact moment at the start of \"The Burned Down Dairy Queen\" when Karly sings I was hiding in a room in my mind \/ and I made me take a look at myself. Because if you, like me, have been avoiding mirrors – both metaphorical and real – this is where the album becomes a lighthouse, echoing bright across the darkness of my otherwise dark and empty chambers. So much of these songs meditate on the past in far less romantic ways than I have found myself meditating on the past, and I was desperate for the recalibration that this album provided.So, yes, the songs are good. You will maybe roll down your windows on a comfortable day on the right stretch of road in a warm season and turn the volume up when \"Birthday Song\" gets good and loud and sing-along-able. You might sit atop a rooftop at night, closer to the moon than you were on the ground, and let \"Ghost Of A Dog\" churn and rattle you to some nighttime realization that you couldn't have had in silence.But, even on top of all of this, on top of all the pleasures and the mercies that the sounds on this album might afford. I hope and think, too, that it will remind anyone who listens that we are a collection of many reflections. All of them deserving patience.\u003c\/span\u003e\u003c\/p\u003e","brand":"Dead Oceans","offers":[{"title":"Default Title","offer_id":50807503913248,"sku":null,"price":24.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/DOC327.jpg?v=1760634404"},{"product_id":"wednesday-rat-saw-god-purple-vinyl-12-lp","title":"Wednesday • Rat Saw God | Purple Vinyl 12\" LP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter\/vocalist\/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap\/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din.Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void – somehow – you see everything.The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange – which is in-line with Hartzman's own ethos: \"Everyone’s story is worthy,\" she says, plainly. \"Literally every life story is worth writing down, because people are so fascinating.\"But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details – how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen – but it's mostly the way those tiny moments add up into a song or album or a person.\u003c\/span\u003e\u003c\/p\u003e","brand":"Dead Oceans","offers":[{"title":"Default Title","offer_id":50807553622304,"sku":null,"price":24.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/DOC328.jpg?v=1760634569"},{"product_id":"scowl-are-we-all-angels-black-vinyl-12-lp","title":"Scowl • Are We All Angels | Black Vinyl 12\" LP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eScowl is a band that sounds exactly like their name implies. Venomous, fierce, antagonistic. A sneer not to be crossed. Over the last five years, the Santa Cruz, California, band has firmly planted their flag in the hardcore scene with their vicious sound and ripping live show, sharing stages around the world with Circle Jerks, Touché Amoré, and Limp Bizkit, and filling slots at prominent festivals like Coachella, Sick New World, and Reading and Leeds. But with their new album, Are We All Angels (Dead Oceans), Scowl is aiming to funnel all that aggression through a more expansive version of themselves.Much of Are We All Angels grapples with Scowl’s newfound place in the hardcore scene, a community which has both embraced the band and made them something of a lightning rod over the past few years. Standout single “Not Hell, Not Heaven” outright rejects the narratives cast onto them by outsiders. “It’s about feeling victimized and being a victim, but not wanting to identify with being a victim,” explains vocalist Kat Moss. “It’s trying to find grace in the fact that I have my power. I live in my reality. You have to deal with whatever you're dealing with, and it ain’t working for me.” The band breaks from a sense of disassociation to seek deeper connections on “Fantasy.” “It’s incredibly challenging to try to balance my love for the scene while also feeling, in some spaces, extremely alienated and hated,” Moss says. “‘Fantasy’ is about feeling like I don't know how to connect with these people anymore, because I have shelled myself away so hard.” The album ends in a philosophical place on the closing, titular track, “Are We All Angels,” asking questions like, “Is this all there is?” and ultimately putting it on the listener to decide. “It’s about the personal struggle between good and evil. It doesn’t matter how ‘good’ or ‘bad’ you are, there are systems that will try to rewrite your narrative no matter what you actually do,” explains Moss, noting that punctuation on “Are We All Angels” has been deliberately omitted in an attempt to leave the statement open-ended. Are We All Angels is the highly anticipated follow-up to Scowl’s debut, 2021’s How Flowers Grow, a 16-minute primal scream over punishing riffs. But amidst the pounding chaos, it was the record’s sonic outlier, a cleaner interlude called “Seeds to Sow,” that, true to its name, planted the seed for what was to come for the band. “It kind of laid out this destiny for us, and I feel like now we’re fulfilling that,” says drummer Cole Gilbert. The band continued to expand their sound on 2023’s widely acclaimed Psychic Dance Routine EP, incorporating more pop hooks and favoring gentler singing over heavy screaming, paving the way for what would come next.Scowl’s growth got a huge boost from producer Will Yip (Turnstile, Title Fight, Code Orange, Balance and Composure), who broadened the band’s scope. “Will would say, ‘Everything you have here is correct, but it’s in the wrong place,’” says Gilbert. Moss adds: “Will really helped restructure a lot of the material. Some songs he tore apart to make more space for the really good hooks and choruses.” But even through this more eclectic approach, Scowl loses none of their edge, and still manages to convey the anger and frustration that lies underneath. They are deeply committed to carrying the ethos of punk and its sense of community. “Hardcore and punk have sculpted how we operate, what we want to do as a band, and how we participate,” says guitarist Malachi Greene. “At our core, we are a punk and a hardcore band, regardless of how the song shifts and changes.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Dead Oceans","offers":[{"title":"Default Title","offer_id":50808060576032,"sku":null,"price":23.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/DOC358.jpg?v=1760638392"},{"product_id":"cold-gawd-ill-drown-on-this-earth-black-vinyl-12-lp","title":"Cold Gawd • I'll Drown On This Earth | Black Vinyl 12\" LP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSouthern California shoegaze squad Cold Gawd return to Dais for their second and most supreme suite yet of crushing downer bliss: 'I’ll Drown On This Earth'. From the defiant scream that kicks off opening cut “Gorgeous,” the album rips in what singer and principal songwriter Matthew Wainwright describes as “go for it” mode: holding back nothing, wasting no time. Although the bulk of the songs were written in 2022, recording sessions weren’t booked until March of 2024, which allowed ample time to refine and distill the music’s hooks, heaviness, and haze. The result is a perfect storm of distortion and dream pop, cracked love songs cloaked in swooning walls of noise.Recorded at Paradise Recorders in Anaheim, California with Colin Knight (of post-punk unit Object of Affection), Wainwright tracked the strings while Cameron Fonacier handled drums. The process was efficient and effective, sharpened by years of performance. Anthemic headbangers like “Portland,” “All My Life, My Heart Has Yearned For A Thing I Cannot Name,” and “Malibu Beach House” sound as dynamic as they do dialed-in, soaked into the bones of the players. The lyrics came last, written by Wainwright a week before recording. Moods of surreality (“I can hear the blood in my fingers \/ nothing tunes out \/ the world’s too loud”), infatuation (“I will follow \/ everywhere you go \/ any way to feel \/ how you glow”), and melancholy (“God kept me around \/ for no good reason”) flicker and fade within a fog of memory and reverb.As on 2022’s 'God Get Me The Fuck Out Of Here', Cold Gawd's contemporary vision of shoegaze manifests intriguingly in outlier moments, like the hushed, whirlpool reverie of “Tappan,” or the vaporous, slow-grind downtempo of ““Nudism”” (complete with regal piano outro). Theirs is a muse as vivid as it is varied, from Loveless, to Drake, post-hardcore and Beach House. Drown evocatively captures the expanding canon of Cold Gawd, dense with riffs and raptures, escape and revelation, channeled from stacked amps and hidden powers: “Give praise \/ to whatever \/ I got time for \/ hallelujah.”\u003c\/span\u003e\u003c\/p\u003e","brand":"DAIS Records","offers":[{"title":"Default Title","offer_id":50808062673184,"sku":null,"price":22.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/DAIS230.jpg?v=1760638658"},{"product_id":"snooper-worldwide-indie-exclusive-translucent-pink-vinyl-12-lp","title":"Snooper • Worldwide (Indie Exclusive) | Translucent Pink Vinyl 12\" LP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e“Push pull\/ Side to side\/ This way\/ That way\/ Can’t decide\/ Pressure! Pushing in\/ Flattened me out from end to end,” Blair Tramel sings on “Worldwide,” the title track from Snooper’s new album. The song captures the dizzying headspace of the band’s rapid ascent from the Nashville DIY circuit to global touring and notoriety in far-flung corners of the world’s underground music scene. But though the band was feeling the pressure — the song is partially inspired by hydraulic press YouTube videos — all the challenges presented opportunity for transformation.“Worldwide” is a mission statement for the record not just thematically, but also aesthetically, showcasing Snooper’s stylistic exploration. 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Touring with genre-divergent artists has honed the band’s comfortably multifarious sound; No Joy picked up post-hardcore fans on the road with Quicksand, and ambient techno fans on gigs with Baths. “As long as people are open minded about music, they can hear different things,” explains White-Gluz, “Maybe because there are a lot of layers.”“A lot of layers” may be an understatement. Lead single “Birthmark” combines the ‘90s dance rock of Republica with phasing fuzz à la Deftones’ brand of loud-quiet-loud. “Dream Rats” (featuring White-Gluz’s sister, Alissa, of deathcore supergroup Arch Enemy) manages to cram synth choir, blast beats, cowboy leads, and signal-jammed shredding into a radio-friendly three and a half minutes. “Nothing Will Hurt” melds detuned arpeggios, Berlin school synths, slapped bass, and seemingly infinite vocal facets. Throughout are loving nostalgic nods to the records White-Gluz adored on their release twenty years ago--Massive Attack, Sneaker Pimps, No Doubt. Collaborative, exploratory fun hallmarks No Joy’s discography, and Motherhood is no exception. Bandmember Jorge Elbrecht (Ariel Pink, Sky Ferreira, Japanese Breakfast) returns in his role as co-producer and multi-instrumentalist. The band’s touring sound engineer Madeleine Campbell, who authors the Women In Sound zine, came on as engineer alongside Chris Walla (Death Cab for Cutie). Drummer Jamie Thompson (Islands, Esmerine) translated rhythmic ideas into hard-hitting performance, and brought in drum machines of his own. Frenetic shredder Tara McLeod (Kittie) makes her No Joy recorded debut, contributing not only guitars but banjos. Somehow plastic clarinet, scrap metal, skits, bongos and an EMS Putney made the mix. Songs went from laptop demos to labyrinthine recordings, tracked primarily at fellow Montrealers Braids’ Studio Toute Garnie. White-Gluz laid down the vocals at home, which allowed for experimentation with ethereal harmonies and shrouded ad libs. White-Gluz hadn’t read Sheila Heti’s Motherhood when she wrote and titled this record, but when she did, the narrative parallels between the two projects were “like looking into a mirror.” “Will I regret not opening my insides out?” she sings on “Primal Curse,” during which she reads an optimistic letter her mom wrote as a teenager to her future kids. “Time is critical, and you have to make decisions that are extremely time sensitive and your body doesn’t care,” she explains. “It’s a lot of seeing myself through my mother’s experiences, and the physicalness of a body getting older.” The album also investigates the implications of her parents’ aging on her role as their child, as on the DJ-scratching wah groover “Four.”Heti’s book’s central conceit is an open-ended pondering of whether dedication to writing is more significant than the desire to have children. No Joy doesn’t definitively answer this existential quagmire, either--how could anyone? 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Captured during a spontaneous backyard photo shoot using a dinky digital camera, the image encapsulates a record that is rough around the edges and joyfully undone with themes of longing, lust, and regret.Pilbeam began writing Liquorice in earnest while living in Brisbane over 2022-2023, and later at a home shared with Agius in Melbourne, ultimately completing the demos in mid-2024. As a musician who has previously worn her influences on her sleeve, Pilbeam strove to write from scratch without any specific musical influences in mind; allowing songs to breathe for weeks, rather than rushing ideas. She found herself drawn to the melodic simplicity of her early songs and embraced her musical insecurities: “I wanted to see my limitations as strengths that inform my style.” After working with producers Jorge Elbrecht (Caroline Polachek, Japanese Breakfast, Sky Ferreira) and Dan Nigro (Olivia Rodrigo, Chappell Roan) on Giving the World Away, Pilbeam wanted to complete Liquorice with a single collaborator, ideally a non-male producer who also fronts their own musical project. In September 2024, Pilbeam and Agius returned to Los Angeles to work with Melina Duterte, who records indie rock under the name Jay Som and has production credits on an assortment of projects including the GRAMMY-winning boygenius album the record.“My last album ended up being really dark and introspective and that is one part of me, but there was this whole other side that I felt like I wasn't expressing,” Pilbeam says. “I’m a hopeless romantic and a very silly person, sometimes to a fault.” Now 32 and married, Pilbeam found that “eternal feelings” of yearning and heartache quickly rushed back as she reflected on her experiences as a younger woman. At the same time, she channeled her fondness for tragic romance movies where the characters do not necessarily find a happy ending together.Liquorice is preoccupied with the finite forever. 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