{"title":"Apocalypse Sale - General Indie","description":"","products":[{"product_id":"151a","title":"151a","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003ciframe width=\"100%\" height=\"400\" src=\"https:\/\/www.youtube.com\/embed\/videoseries?list=PLoB11Z8A5Nz8yvV7y-9NNcFCy7rudjttv\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\n\u003col\u003e\n\u003cli\u003eIntro \/ Pathos, Pathos\u003c\/li\u003e\n\u003cli\u003eManchester\u003c\/li\u003e\n\u003cli\u003eBright Whites\u003c\/li\u003e\n\u003cli\u003eIt All Began With a Burst\u003c\/li\u003e\n\u003cli\u003eWonder Woman, Wonder Me\u003c\/li\u003e\n\u003cli\u003eChester's Burst Over the Hamptons\u003c\/li\u003e\n\u003cli\u003eAtticus, In the Desert\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/lnk.to\/iamtheantichristWE\" target=\"_blank\"\u003eI Am the Antichrist to You\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eBeat the Bright Out of Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"text-align: start;\"\u003e\n\u003ch4 style=\"text-align: center;\" class=\"p1\"\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan class=\"s1\"\u003eIt has been a decade since this album was released into the world! In honor of that milestone, we are reissuing this album in a deluxe double LP...\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/h4\u003e\n\u003cp style=\"text-align: center;\" class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ca href=\"https:\/\/www.joyfulnoiserecordings.com\/products\/151a-10th-anniversary-edition\" target=\"_blank\"\u003e\u003cimg style=\"float: none;\" height=\"240x240\" width=\"240x240\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR392_LTD_LP-mockup_large_15b4b810-c304-4e4b-90f0-1169195d36e7_240x240.jpg?v=1643042498\"\u003e\u003c\/a\u003e \u003ca href=\"https:\/\/www.joyfulnoiserecordings.com\/products\/151a-10th-anniversary-edition\" target=\"_blank\"\u003e\u003cimg data-mce-fragment=\"1\" style=\"float: none;\" height=\"240x240\" width=\"240x240\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR392_LP-C1-mockup_large_7f01eab2-1d57-4af7-86c9-7484b0fe877a_480x480.jpg?v=1643042498\"\u003e\u003c\/a\u003e \u003ca href=\"https:\/\/www.joyfulnoiserecordings.com\/products\/151a-10th-anniversary-edition\" target=\"_blank\"\u003e\u003cimg data-mce-fragment=\"1\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR392cd_picture_160x160.jpg?v=1643042506\" width=\"240x240\" height=\"240x240\" style=\"float: none;\"\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\" class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e---------------------------------------------------------------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThey say that you spend your entire life writing your first album, piecing every formative moment, scribbled turn of phrase, and thematic epiphany into a fantastical collage. Multi-instrumentalist K. Ishibashi (aka Kishi Bashi) disproves that old adage. The title of Kishi Bashi’s 2011 debut album, \u003ci\u003e151a\u003c\/i\u003e, is a riff on the Japanese phrase \u003c\/span\u003e\u003cspan class=\"s2\"\u003e“\u003c\/span\u003e\u003cspan class=\"s1\"\u003eichi-go ichi-e,” roughly translating to “one time, one place.” That\u003c\/span\u003e\u003cspan class=\"s2\"\u003e’\u003c\/span\u003e\u003cspan class=\"s1\"\u003es exactly what this debut is: A singular time, an inimitable place, a launchpad for bigger and better things to come.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\"It's a play on words that translates as a performance aesthetic of having a unique performance in time, with imperfections, and enjoying it while you can,\" Ishibashi \u003ca href=\"https:\/\/www.npr.org\/2012\/06\/09\/154575079\/kishi-bashi-unique-performances-in-time\"\u003e\u003cspan class=\"s4\"\u003etold NPR\u003c\/span\u003e\u003c\/a\u003e at the time of the album’s release. \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\"The saying reminds me to embrace my mistakes and move forward.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eProduced and performed exclusively by Kishi Bashi, \u003ci\u003e151a \u003c\/i\u003eis a showcase of singular talent and ambition— and it didn’t go unnoticed by fans or peers. Along with launching Kishi Bashi’s career as a soloist, this earnest debut made him one of indie music’s most in-demand violinists. He was no longer relegated to side stage as a collaborator of Regina Spektor, Sondre Lerche, of Montreal, and more—the Kishi Bashi name could endure with its own merit. \u003c\/span\u003e\u003cspan class=\"s3\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s3\"\u003eAs deeply personal as \u003ci\u003e151a\u003c\/i\u003e undoubtedly is, the record was animated by a deep and enduring partnership. Following Kishi Bashi’s collaboration \u003c\/span\u003e\u003cspan class=\"s5\"\u003ewith of Montreal’s\u003c\/span\u003e\u003cspan class=\"s3\"\u003e Kevin Barnes for the watershed art-pop album \u003ci\u003eParalytic Stalks\u003c\/i\u003e, his worldview and artistic approach was transformed for the better. Strict habits hung loose, sonic palettes bled and broadened, and a one-man orchestra sprouted from a foundation of string loops. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eFrom the deconstructed Beach Boys-esque doo-wop of “Wonder Woman” to the menacing marriage of Eastern Hues and Western operatics of “Beat the Bright out of Me,” \u003ci\u003e151a \u003c\/i\u003ea mediation between opposing drives, offering possible reconciliation but never promising it. The album’s emotional wellspring, “I Am The Antichrist To You” was reimagined in 2021 when it was featured on the animated sci-fi sitcom \u003ci\u003eRick and Morty\u003c\/i\u003e, introducing Kishi Bashi to a new generation of awestruck fans. \u003cbr\u003e\u003cspan class=\"s3\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eKishi Bashi also uses \u003ci\u003e151a\u003c\/i\u003e as a vehicle to explore his cultural background. Using Japanese refrains as a compositional and textural device (the polyrhythmic grandeur of “Bright Whites”; the gleeful surrealism of “It All Began With a Burst”), Kishi Bashi celebrates his heritage with earnestness. Japanese phrases and couplets are sung as the response to Kishi Bashi’s resplendent calls, offering listeners a conversation that dovetails with the album’s themes of love, sentimentality, and self-discovery.\u003c\/span\u003e\u003cspan class=\"s3\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s3\"\u003eToday, the “one time” and “one place” that \u003ci\u003e151a \u003c\/i\u003einhabited seems further than ever, almost broaching celestial realms of time and space. But, rest assured, with each listen, the world that Kishi Bashi built springs back to life. The world of \u003ci\u003e151a \u003c\/i\u003enever left—it was just waiting to be rediscovered.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Kishi Bashi","offers":[{"title":"White Vinyl + Digital (Includes instant download in high quality MP3, AIFF + WAV.)","offer_id":3315928001,"sku":"JNR092LP-C1_KB-white","price":23.0,"currency_code":"USD","in_stock":true},{"title":"2xCD \"10th Anniversary Edition\"","offer_id":53470251778358,"sku":null,"price":14.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download in high quality MP3, AIFF + WAV.)","offer_id":3548344833,"sku":"JNR092_digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":46492516116,"sku":"JNR092_151a_VIP","price":22.0,"currency_code":"USD","in_stock":false},{"title":"Black Vinyl + Digital (Includes instant download in high quality MP3, AIFF + WAV.)","offer_id":3315927937,"sku":"JNR092LP-black","price":20.0,"currency_code":"USD","in_stock":false},{"title":"CD + Digital (Instant download in high quality MP3, AIFF + WAV.)","offer_id":3315927809,"sku":"JNR092cd","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/albums-151a-1.jpg?v=1530546471"},{"product_id":"golden-tickets","title":"Golden Tickets","description":"\u003cdiv\u003e\"Golden Tickets\" is a collection of personalized \"theme songs\" for and about seven specific WHY? fans. Over the the course of several months, Yoni and Josiah Wolf internet-stalked their fans for the purpose of crafting the homage which would end up on this album. \u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eThe concept, Yoni explains, was that, \"We would write a theme song for one customer who came to the [WHY?] web store and bought something every month.  Like Mighty Mouse.  It would be a song about that person.  We'd read all about them on Facebook and Twitter, and sometimes even go so far as to contact their significant other to ask them questions.  Then I would write the song on piano, and my brother would take the skeleton of lyrics \u0026amp; piano and turn it into a fully realized arrangement.\"\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eThese songs, which the band referred to each as a \"Golden Ticket\", were given away to fans in a variety of ways.  One Golden Ticket was used to to raise money for victims of the Tsunami in Japan.  They sold another Golden Ticket on eBay to benefit victims of Tornado devastation. The band held an iconography contest, and gave a Golden Ticket to the winner.  They also hosted a video contest and awarded a Golden Ticket to a man who didn't attempt anything interesting at all, but merely sent the band footage of himself, shirtless, mouthing a monologue with no sound (the words Yoni imagined this man was speaking became the lyrics for \"Dropjaw\").\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eAll the Golden Ticket songs are collected here.  And as a special surprise, one more literal Golden Ticket will be randomly included with the limited edition gold vinyl.  So that one more person has the chance to receive a final melodious homage.\u003c\/div\u003e","brand":"WHY?","offers":[{"title":"CD + Digital","offer_id":3740493441,"sku":"JNR117cd_WHY","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (320 kbps download)","offer_id":3316530497,"sku":"JNR117_DIGITAL-Why?-GoldenTickets","price":8.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl + Digital (black vinyl)","offer_id":3316530369,"sku":"JNR117LP_why","price":20.0,"currency_code":"USD","in_stock":false},{"title":"Limited Vinyl + Digital (gold vinyl, limited to 700 hand-numbered copies)","offer_id":3316530433,"sku":"JNR117LP_LTD","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/eps-golden-tickets-1.jpeg?v=1478201767"},{"product_id":"lighght","title":"Lighght","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003col\u003e\n\u003cli\u003eDebut - Impromptu (0:47)\u003c\/li\u003e\n\u003cli\u003ePhilosophize In It! Chemicalize With It! (3:20)\u003c\/li\u003e\n\u003cli\u003eThe Ballad of Mr. Steak (3:19)\u003c\/li\u003e\n\u003cli\u003eCarry on Phenomenon (4:03)\u003c\/li\u003e\n\u003cli\u003eBittersweet Genesis for Him AND Her (3:33)\u003c\/li\u003e\n\u003cli\u003eImpromptu no 1 (0:58)\u003c\/li\u003e\n\u003cli\u003eQ\u0026amp;A (3:11)\u003c\/li\u003e\n\u003cli\u003eOnce Upon a Lucid Dream (in Afrikaans) (4:04)\u003c\/li\u003e\n\u003cli\u003eHahaha Pt. 1 (2:41)\u003c\/li\u003e\n\u003cli\u003eHahaha Pt. 2 (4:01)\u003c\/li\u003e\n\u003cli\u003eIn Fantasia (7:09)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp class=\"p1\"\u003eThe album entitled \"Lighght\" (pronounced \"Light\") continues and expands the sound of his critically acclaimed debut, \"151a\" - which earned Kishi Bashi the title of \"Best New Artist\" by NPR. Since the profoundly successful release of \"151a\" two years ago, Kishi Bashi has toured relentlessly, captivating audiences across the globe with his loop-based live show, and fostering a groundswell of devotees. \u003c\/p\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\"151a\" was crafted over a four-year period while Kishi Bashi was touring and recording with Regina Spektor, Sondre Lerche, and of Montreal (where he was a full-time member and co-producer). In late 2012, after the success of \"151a\", Kishi Bashi decided to focus solely on his own music and began composing the new material which has become \"Lighght\".\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\"Lighght\" takes its title from the one-word poem by minimalist poet Aram Saroyan. As Kishi Bashi explains, \"The poem's blatant assault on literary convention and classical form was attractive to me.\" It is apparent that such an approach informed the new album, which has both broadened and redefined his classical foundations. \"Though I have studied classical composition, I prefer to take an unconventional path when it comes to creating and thinking about music,\" says Kishi Bashi. \u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eThough violin remains his primary instrument and songwriting muse, Kishi Bashi has expanded his palette to include more diverse and nuanced instrumentation. Bright and soaring avant-pop songs are prevalent, as are Eastern-tinged arrangements, gentle ballads, Philip Glass inspired improvisations, and more than a few moments that flirt with 70s prog (in the tradition of ELO or Yes). \u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eIf this sounds jarringly kaleidoscopic, that's because it is. But it works. Listen and see.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Kishi Bashi","offers":[{"title":"Yellow Vinyl + Digital (includes instant download in MP3 \u0026 WAV formats)","offer_id":3316731841,"sku":"JNR149LP-C1","price":23.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl + Digital (includes instant download in MP3 \u0026 WAV formats)","offer_id":3316731905,"sku":"JNR149LP-black","price":20.0,"currency_code":"USD","in_stock":false},{"title":"CD + Digital","offer_id":3745160449,"sku":"JNR149cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (instant download in MP3 and WAV)","offer_id":3316731969,"sku":"JNR149_DIGITAL-KishiBashi-Lighght","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Limited Edition Vinyl (limited to 2000 copies on gold splatter vinyl, includes bonus 7\" record)","offer_id":3316731777,"sku":"JNR149_VINYL-KishiBashi-Lighght-SPLATTER","price":22.0,"currency_code":"USD","in_stock":false},{"title":"VIP Edition Vinyl (limited to 500 hand-numbered copies on \"Golden Halo\" vinyl, includes bonus 7\")","offer_id":32526137458759,"sku":"","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/albums-lighght-1.jpeg?v=1531514835"},{"product_id":"sonderlust","title":"Sonderlust","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eListen \/ Tracklist\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cspan style=\"line-height: 1.5;\"\u003e \u003ciframe src=\"https:\/\/open.spotify.com\/embed\/album\/3prBy9ITryUQUYKuUTn4EM\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eInfo\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp class=\"p1\"\u003e\"Sonderlust\" is an album forged through heartbreak. After his two previous studio albums (\"151a\" \u0026amp; \"Lighght\"), Kishi Bashi was at a musical impasse. \"As I sat down to write songs last summer, I went to all my usual conduits of creation: violin loops, guitar, piano, and I came up with the musical equivalent of fumes\", says K Ishibashi. \"I tried to create orchestral pop recordings that I assumed were my forte, and in turn I found myself standing in front of a creative wall of frightening heights.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAt this very same moment of musical uncertainty, K's personal life was falling apart… He and his wife of 13 years had briefly separated and were struggling to keep their marriage together. In his own words, \"Touring and its accompanying lifestyle took a heavy toll on my soul and my family\". As an outlet, K submerged himself in a new musical direction. Sonderlust emerged as a direct result of this personal struggle taking place at an artistic crossroads.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWith the help of producer Chris Taylor (Grizzly Bear), engineer Pat Dillet (Angelique Kidjo, David Byrne) and drummer Matt Chamberlain (Morrissey, Fiona Apple, of Montreal), Kishi Bashi has created his most personal and artistically adventurous work to date. \"This album is straight from my soul. I questioned everything about what it means to love and desire. The difference between loving someone and being in love.\"\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eWatch\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\u003c\/div\u003e\n\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/mEy23clL7xY\" height=\"315\" width=\"100%\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cbr\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/iOB-cSgzWe4\" height=\"315\" width=\"100%\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eFYI...\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eSonder\u003c\/span\u003e\u003cem\u003e n. The realization that each random passerby is living a life as vivid and complex as your own—populated with their own ambitions, friends, routines, worries and inherited craziness—an epic story that continues invisibly around you like an anthill sprawling deep underground, with elaborate passageways to thousands of other lives that you’ll never know existed, in which you might appear only once, as an extra sipping coffee in the background, as a blur of traffic passing on the highway, as a lighted window at dusk. (Source: \u003ca href=\"http:\/\/www.dictionaryofobscuresorrows.com\/post\/23536922667\/sonder\" target=\"_blank\"\u003eDictionary of Obscure Sorrows\u003c\/a\u003e)\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Kishi Bashi","offers":[{"title":"Black Vinyl + Digital","offer_id":23926236231,"sku":"JNR197LP","price":22.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital","offer_id":23926236295,"sku":"JNR197CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (MP3 and WAV instant download)","offer_id":23926236359,"sku":"JNR197-DIGITAL","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP Exclusive Vinyl + 7\" + Digital (Limited to 500 hand-numbered copies on clear vinyl with black, white, gold, and bronze splatter. Each copy is SIGNED by Kishi Bashi, and includes bonus 7\" featuring rare piano recordings. [SOLD OUT])","offer_id":24846397255,"sku":"JNR197vip","price":25.0,"currency_code":"USD","in_stock":false},{"title":"Limited Edition Vinyl + Digital (Gold \u0026 black split-color vinyl.)","offer_id":23926236167,"sku":"JNR197LP-C1","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/albums-sonderlust-1.jpg?v=1478203617"},{"product_id":"moh-lhean","title":"Moh Lhean","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eLISTEN \/ Tracklist\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003ciframe width=\"100%\" height=\"166\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/293192988\u0026amp;color=ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\" scrolling=\"no\" frameborder=\"no\"\u003e\u003c\/iframe\u003e\n\u003col\u003e\n\u003cli\u003eThis Ole King\u003c\/li\u003e\n\u003cli\u003eProactive Evolution\u003c\/li\u003e\n\u003cli\u003eEasy\u003c\/li\u003e\n\u003cli\u003eJanuary February March\u003c\/li\u003e\n\u003cli\u003eOne Mississippi\u003c\/li\u003e\n\u003cli\u003eThe Longing Is All\u003c\/li\u003e\n\u003cli\u003eGeorge Washington\u003c\/li\u003e\n\u003cli\u003eThe Water\u003c\/li\u003e\n\u003cli\u003eConsequence of Nonaction\u003c\/li\u003e\n\u003cli\u003eThe Barely Blur\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eWatch \/ Description\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003ciframe width=\"100%\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/f71SGUXGxaA\" frameborder=\"0\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eThe final words sung on the sixth album by WHY? are an apt place to begin: \"Hold on, what's going on?\" Because while there's much familiar about the oddly named Moh Lhean—mastermind Yoni Wolf's sour-sweet croon, his deadpan poet's drawl and ear for stunningly fluid psych-pop-folk-whatever arrangement—a great deal has changed in the four years that've passed since 2012's Mumps, Etc., an LP that honed the band's orchestral precision and self-deprecating swagger to a fine point. It's significant that this is the first fully home-recorded WHY? album since the project's 2003 debut. Made mostly in Wolf's studio and co-produced by his brother Josiah, the result is obsessive, of course, but also intimate, and flush with warmth and looseness. But the biggest transformation is a bit subtler. After years of eying his world, in part, with a cynical squint, Wolf here learns a new mode. While Moh Lhean never stoops to outright optimism, it chronicles our hero finding peace in the unknowing, trading the wry smirk for a holy shrug, and looking past corporeal pain for something more cosmic and, rest assured, equally weird.\u003c\/p\u003e\n\u003cp\u003eA low tone opens the album on \"This Ole King\" as acoustic pluck and upright bass form a Western bedrock beneath Wolf's fragile voice. But as the song pushes on, the playing gets brighter and the vocal becomes a mantra-like hum inspired by Ali Farka Touré's blues, before rolling into a second part rich with chiming keys and twisting harmony—Brian Wilson's kaleidoscopic vision of pop. If there's new litheness here, it's probably because Wolf spent much of the time between albums collaborating—with ex\/muse Anna Stewart as the fuzz-pop duo Divorcee, and MC Serengeti as the puckishly depressive Yoni \u0026amp; Geti. And if there's a lithe newness, it may be that Wolf excised some nostalgia via his 2014 solo tapes—one re-recording choice raps from his own catalog, and another covering cuts by artists like Bob Dylan and Pavement. It's no wonder, then, that \"The Water\" handily morphs a moody folk tune into some strange new form of full-band dub. Or that \"One Mississippi\" bounces along happily over a flurry of bizarre percussion, whistled melodies, and trippy synthesizer blips. Perhaps most impressive is \"Consequence of Nonaction,\" which vacillates between a quiet meditation for guitar\/voice\/clarinet, and wild, sax-strewn astral art-funk.\u003c\/p\u003e\n\u003cp\u003eMovement is a key theme of Moh Lhean. It's a breakup album without a romantic interest—coded within the lyrics is a tale about fleeing the seductions of a wintry figure for something synonymous with spring. \"Easy\" plays like a ward against the old ghost who haunts \"January February March,\" while \"George Washington\" places our host in a tiny watercraft, \"paddling for land\/hand on heart and heart in hand\" as that faceless malevolent force stays ashore. While writing these songs, Wolf suffered a severe health scare far from home. Rather than drive him to depression, his brush with mortality imparted an incongruous impression of peace and connection to the living. At the end of \"Proactive Evolution,\" wherein WHY? enlists mewithoutYou's Aaron Weiss to celebrate the stubborn persistence of humankind, Wolf samples not only thinkers like Sharon Salzberg and Ram Dass, but his actual doctors—the voices that helped shape his new outlook. Sure, Wolf poses as many questions as ever. Moh Lhean's gorgeously psychedelic closer, \"The Barely Blur\" with Son Lux, puzzles over the nature of existence. But rather than leave us with the macabre chill of death, as many a WHY? LP has, the song dissolves into the infinite—the sound of the Big Bang.\u003c\/p\u003e\n\u003cp\u003eDon't bother asking Wolf what \"Moh Lhean\" means. He won't tell you. It's the name of his home studio, where friends and family—WHY? regulars Josiah, Matt Meldon, Doug McDiarmid, Liz Wolf, and Ben Sloan, plus a handful of Ohioans—gathered to record this (and also at Josiah's studio, dubbed El Armando). And like the titles of Alopecia and Mumps, Etc., it references a concrete thing that Wolf experienced. Most likely it's something to do with letting go, rebirth, coming home to a familiar feeling, or venturing out to discover a new one. Or maybe it's just a yoga pose. But there's something in Moh Lhean, even with all its mysteries and all its differences, that's both ephemeral and distinctive, like something the Wolf Brothers might've heard on a praise album in their father's synagogue as kids, or on some '60s hippie LP they thrifted in their teens, or, perhaps, on the other side of the records they've been making their entire adult lives. Thus, it seems appropriate to conclude with some words sung on the very first song of WHY?'s sixth album, Moh Lhean: \"One thing, there is no other. Only this, there is no other.... Just layers of this one thing.\"\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"WHY?","offers":[{"title":"Black Vinyl + Digital","offer_id":33919243530,"sku":"JNR222-LP_BLACK","price":20.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital","offer_id":33919243722,"sku":"JNR222-CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download in MP3 and WAV.)","offer_id":33919243850,"sku":"JNR222_DIGITAL","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Blue Vinyl + Digital","offer_id":33919243402,"sku":"JNR222-LP_BLUE","price":22.0,"currency_code":"USD","in_stock":false},{"title":"VIP","offer_id":33919243146,"sku":"JNR222_VIP","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/albums-moh-lhean-1.jpg?v=1542220262"},{"product_id":"the-fickle-finger-of-fate","title":"The Fickle Finger Of Fate","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTracklist\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003col\u003e\n\u003cli\u003eChicken Ala King\u003c\/li\u003e\n\u003cli\u003eBad Move\u003c\/li\u003e\n\u003cli\u003eThe Members Bounce\u003c\/li\u003e\n\u003cli\u003eNone, No More\u003c\/li\u003e\n\u003cli\u003eHillbilly Math\u003c\/li\u003e\n\u003cli\u003eString Bean\u003c\/li\u003e\n\u003cli\u003eThe Short Con\u003c\/li\u003e\n\u003cli\u003eLittle Brother (Listen over at \u003ca href=\"http:\/\/www.rollingstone.com\/music\/features\/melvins-drummer-dale-crover-on-his-debut-solo-album-w485159\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eRolling Stone\u003c\/a\u003e)\u003c\/li\u003e\n\u003cli\u003eTiny Sound\u003c\/li\u003e\n\u003cli\u003eSlide On Up\u003c\/li\u003e\n\u003cli\u003eBig Uns\u003c\/li\u003e\n\u003cli\u003ePrismo\u003c\/li\u003e\n\u003cli\u003eGiant Hunka Cake\u003c\/li\u003e\n\u003cli\u003eFickle Finger of Fate\u003c\/li\u003e\n\u003cli\u003eThunder Pinky\u003c\/li\u003e\n\u003cli\u003eHorse Pills\u003c\/li\u003e\n\u003cli\u003eThere Goes The Neighborhood\u003c\/li\u003e\n\u003cli\u003eOur Supreme Leader\u003c\/li\u003e\n\u003cli\u003eI Found The Way Out\u003c\/li\u003e\n\u003cli\u003eVulnavia\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eListen \/ Learn\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003ciframe width=\"100%\" height=\"400\" src=\"https:\/\/www.youtube.com\/embed\/-SmIWLsnyM8\" frameborder=\"0\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003eIntroducing, the debut solo album from the enigmatic legend that is Dale Crover.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmongst his 30+ year career as one half of the essential Melvins roster, Crover has contributed to countless albums ranging from platinum-plated classics (ahem, Nirvana) to seminal cult LPs. However, up until this point Crover's solo efforts have only appeared once in a blood moon, limited to the Melvins 1992 KISS-themed solo EP, and a couple intermittent 7\" releases. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Fickle Finger Of Fate\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e marks Crover's first calculated, full length solo effort.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBut let's be clear: this is not a drum record. The album features a perplexingly diverse batch of songs that recall the best moments of the Melvins catalog. With 90% of all instruments played by Crover, and recorded by longtime engineer Toshi Kasai, the album is sure to tickle the temporal lobes of Melvins devotees.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSonically, the album ranges from slightly microwaved heaviness, to surprisingly chill Pink Floyd-tinged ballads, to Max Roach-meets-Throbbing-Gristle drum experimentations, to good old fashioned Andy Kaufman-style head-fuckery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThough consistently otherworldly, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Fickle Finger Of Fate\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is surprisingly approachable— dare we say, catchy. But even at it's most anthemic, you won't be able to shake the feeling that a sinister ambience is hovering just beneath the surface.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Dale Crover","offers":[{"title":"White Vinyl + Digital (WAV and MP3 instant download.)","offer_id":42015959124,"sku":"JNR235_DaleCrover-WHT","price":22.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl + Digital (WAV and MP3 instant download.)","offer_id":42015959188,"sku":"JNR235_DaleCrover-BLK","price":20.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (WAV and MP3 instant download.)","offer_id":42015959252,"sku":"JNR235_DaleCrover-CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (WAV and MP3 instant download.)","offer_id":42015959316,"sku":"JNR235_DaleCrover-Digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":42015959060,"sku":"JNR235_DaleCrover-VIP","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/albums-the-fickle-finger-of-fate-1.jpg?v=1530546740"},{"product_id":"mountain-moves","title":"Mountain Moves","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003ciframe width=\"100%\" height=\"20\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/329661124%3Fsecret_token%3Ds-rDN61\u0026amp;color=ff5500\u0026amp;inverse=false\u0026amp;auto_play=false\u0026amp;show_user=true\"\u003e\u003c\/iframe\u003e\n\u003col\u003e\n\u003cli\u003eSlow Motion Detonation (ft. Juana Molina)\u003c\/li\u003e\n\u003cli\u003eCon Sordino\u003c\/li\u003e\n\u003cli\u003eI Will Spite Survive (ft. Jenn Wasner)\u003c\/li\u003e\n\u003cli\u003eCome Down Here and Say That (ft. Lætitia Sadier)\u003c\/li\u003e\n\u003cli\u003eGracias a la Vida (Violeta Parra)\u003c\/li\u003e\n\u003cli\u003eBegin Countdown\u003c\/li\u003e\n\u003cli\u003eYour Dystopic Creation Doesn't Fear You (ft. Awkwafina)\u003c\/li\u003e\n\u003cli\u003eAy That's Me\u003c\/li\u003e\n\u003cli\u003ePalace of the Governors\u003c\/li\u003e\n\u003cli\u003eSingalong Junk (ft. Xenia Rubinos)\u003c\/li\u003e\n\u003cli\u003eMountain Moves (ft. Matana Roberts)\u003c\/li\u003e\n\u003cli\u003eFreedom Highway (The Staple Singers)\u003c\/li\u003e\n\u003cli\u003eSea Moves (ft. Chad Popple \u0026amp; Devin Hoff)\u003c\/li\u003e\n\u003cli\u003eKokoye\u003c\/li\u003e\n\u003cli\u003eSmall Axe (Bob Marley)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003e** NOTE \/\/ A LIMITED VERSION OF THIS ALBUM IS INCLUDED IN THE \u003ca href=\"https:\/\/www.joyfulnoiserecordings.com\/collections\/artist-in-residence\/products\/2017-artist-in-residence\" target=\"_blank\" title=\"ARTIST IN RESIDENCE\" rel=\"noopener noreferrer\"\u003eDEERHOOF ARTIST IN RESIDENCE BOXSET\u003c\/a\u003e. **\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003ci\u003eExperiencing one emotion at a time is a luxury of the past. Think back to that moment at the women's march or the pro-science rally, when you spied a small child holding a handmade sign that read \"I love naps but I stay woke\" or \"Boys will be boys good humans\" or \"May the facts be with you.\" How adorable! How upsetting! How the hell are they going to make it to adulthood in this toxic environment? \u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eDeerhoof is right there with you. They recognize that we are simultaneously living in two worlds, one a maniacal, mainstream monoculture hell-bent on driving humankind into extinction, the other a churning underground teeming with ideas and dogged optimism and the will to thrive and survive. \u003cstrong\u003eMountain Moves\u003c\/strong\u003e refutes the former by ecstatically celebrating the latter. \u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eThough Deerhoof have often made albums from start to finish with virtually no input from the outside world, now is not the time for artists to operate in isolation. \u003cstrong\u003eMountain Moves\u003c\/strong\u003e throws the doors wide open. Working quickly, the band invited myriad guests to participate, some of them dear friends, others practically strangers. They are of different ages, different nationalities, different disciplines. The only common thread was that each and every artist on \u003cstrong\u003eMountain Moves\u003c\/strong\u003e doesn't fit into a single, neatly-defined category – and doesn't wish to. \u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eThe results, as expected, were unexpected. Guide vocals and simple melodies were dispatched via email, only to be answered with an outpouring of alternate harmonies, suggestions for arrangements, additional instrumentation. Every file received triggered a new rush of jumbled emotions. Some guests crafted their contributions in the small hours of the dawn, toiling in hotel rooms before driving eight hours to the next tour date; others hopped on the subway and recorded with the band in-person. \u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eCollisions and collusions abound on \u003cstrong\u003eMountain Moves\u003c\/strong\u003e. In addition to its bounty of originals, the program includes three covers that epitomize the album's assemblage of disparate ideas and personalities. Reducing Bob Marley's \"Small Axe\" to a beat-less fragment of hymn-like simplicity magnifies the song's rebellious spirit and undercurrent of violence. Deerhoof vocalist Satomi Matsuzaki, a Japanese immigrant, lifts the Staple Singers' \"Freedom Highway\" out of its original place and time, imbuing it with a new sense of alienation from one's own country. Snippets of the bass recitative \"For behold, darkness shall cover the earth\" from Handel's Messiah provide the foundation for a fresh take on Chilean folk hero Violeta Parra's bittersweet masterpiece \"Gracias a la Vida.\" \u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eAdventures outside the United States also informed the making of \u003cstrong\u003eMountain Moves\u003c\/strong\u003e. During a recent visit to Brazil, the band was astonished to see how enthusiastically audiences at concerts sang, danced, and reveled – a cultural response, they learned, to the scarcity of resources for all but the nation's wealthiest elites. Elsewhere, the experience of confronting unfamiliar audiences of fired-up Red Hot Chili Peppers fans taught them that one of their greatest skills – the ability to recalibrate their sound nightly to suit a particular venue – wasn't limited to basements or small clubs. The broader strokes of \u003cstrong\u003eMountain Moves\u003c\/strong\u003e sprang forth from lessons learned while trying to engage audiences of 20,000+ across the vast distances of Northern European sporting arenas. \u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eIf \u003cstrong\u003eMountain Moves\u003c\/strong\u003e were a movie, it would be a double feature, Journey to the Center of the Deerhoof and Escape from Planet Deerhoof, shown side-by-side simultaneously. The record epitomizes the band at its very best, exploring new realms between the poles of independence and invention. It also serves as a welcoming point of entry for new listeners outside Deerhoof's traditional orbit, an opportunity to bring even more voices into the communal conversation. We're all in this together. \u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eDeerhoof is John Dieterich, Satomi Matsuzaki, Ed Rodriguez and Greg Saunier. The only thing they see eye-to-eye on is the freedom to not see eye-to-eye. Their guests on \u003cstrong\u003eMountain Moves\u003c\/strong\u003e include Awkwafina, Juana Molina, Mantana Roberts, Xenia Rubinos, Lætitia Sadier, and Jenn Wasner. Together, they made this record for you. For all of us. \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eWritten by: Kurt B. Reighley\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Deerhoof","offers":[{"title":"Black Vinyl + Digital (WAV and MP3 instant download.)","offer_id":43871473236,"sku":"JNR233_MountainMoves_BLK","price":22.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (WAV and MP3 instant download.)","offer_id":43871473108,"sku":"JNR233_MountainMoves_CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette + Digital (WAV and MP3 instant download.)","offer_id":45185461588,"sku":"JNR233_MountainMoves_Tape","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital (WAV and MP3 instant download)","offer_id":49972144084,"sku":"JNR233_MountainMoves_Digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Blue Swirl Vinyl + Digital (Limited edition of 3000 copies. Includes 24\"x24\" Poster. WAV and MP3 instant download.)","offer_id":43871473172,"sku":"JNR233_MountainMoves_BLU","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/albums-mountain-moves-1.jpg?v=1530546810"},{"product_id":"moh-lhean-expanded-boxset","title":"Moh Lhean - Expanded","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTRACKLISTING\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding-top: 15px; padding-right: 0px; padding-bottom: 0px;\"\u003e\n\u003cstrong\u003e7\" #1: \u003cbr\u003e\u003c\/strong\u003e- Side A: This Ole King (Original)\u003cbr\u003e- Side B: This Ole King\u003cstrong\u003e (Open Mike Eagle Remix)\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding-top: 15px; padding-right: 0px; padding-bottom: 0px;\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003e7\" #2:\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cspan\u003e- Side A: Proactive Evolution (Original)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan\u003e- Side B: Proactive Evolution\u003cstrong\u003e(\u003cstrong\u003eNick Diamonds Remix)\u003c\/strong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding-top: 15px; padding-right: 0px; padding-bottom: 0px;\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003e7\" #3:\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e- Side A: Easy (Original)\u003cbr\u003e- Side B: Easy\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e(Baths Remix)\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding-top: 15px; padding-right: 0px; padding-bottom: 0px;\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003e7\" #4:\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e- Side A: January February March \/ One Mississippi (Original)\u003cbr\u003e- Side B: January February March \/ One Mississippi \u003cstrong\u003e(Paper Tiger Remix)\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding-top: 15px; padding-right: 0px; padding-bottom: 0px;\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003e7\" #5:\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e- Side A: The Longing Is All \/ George Washington (Original)\u003cbr\u003e- Side B: The Longing Is All \/ George Washington \u003cstrong\u003e(Greg Saunier Remix)\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding-top: 15px; padding-right: 0px; padding-bottom: 0px;\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003e7\" #6:\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e- Side A: The Water (Original)\u003cbr\u003e- Side B: The Water \u003cstrong\u003e(Kishi Bashi Remix)\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding-top: 15px; padding-right: 0px; padding-bottom: 0px;\"\u003e\n\u003cstrong\u003e7\" #7:\u003cbr\u003e\u003c\/strong\u003e- Consequence of Nonaction (Original)\u003cbr\u003e- Consequence of Nonaction\u003cstrong\u003e (Astronautalis Remix)\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding-top: 15px; padding-right: 0px; padding-bottom: 0px;\"\u003e\n\u003cstrong\u003e7\" #8\u003cbr\u003e\u003c\/strong\u003e- The Barely Blur (Original)\u003cbr\u003e- The Barely Blur\u003cstrong\u003e (Ó \u0026amp; Bellows Cover)\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding-top: 15px; padding-right: 0px; padding-bottom: 0px;\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003ch2 style=\"margin: 0px; padding-top: 15px; padding-right: 0px; padding-bottom: 0px;\"\u003e\n\u003cspan style=\"text-decoration: underline;\"\u003e\u003c\/span\u003e\u003cspan style=\"text-decoration: underline;\"\u003eDigital Downloads:\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003c\/div\u003e\n\u003ch5 style=\"margin: 0px; padding-top: 15px; padding-right: 0px; padding-bottom: 0px;\"\u003ePurchase includes high-quality MP3 + WAV download of \u003ca href=\"https:\/\/www.joyfulnoiserecordings.com\/collections\/albums\/products\/moh-lhean\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cem\u003e\u003cstrong\u003eMoh Lhean\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e and complete set of remixed tracks, \u003cem\u003e\u003cstrong\u003eMoh Lhean - Expanded\u003c\/strong\u003e\u003c\/em\u003e instantly\u003cspan\u003e\u003cem\u003e.\u003c\/em\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/span\u003e\n\u003c\/h5\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp class=\"p1\"\u003eLimited to just 350 copies, \u003cem\u003e\u003cstrong\u003eMoh Lhean Expanded\u003c\/strong\u003e\u003c\/em\u003e box set includes eight multi-colored 7\" vinyl singles, each with unique artwork, and is packaged in a printed top-loading box.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSide A of each record includes the original audio from WHY’S 2017 full-length release, \u003cstrong\u003eMoh Lhean\u003c\/strong\u003e, while Side B features the same track reinterpreted by the band’s peers and pals, including Greg Saunier (Deerhoof), Paper Tiger (Doomtree), Kishi Bashi, Baths, Open Mike Eagle, Nick Diamonds (Islands), Ó + Bellows, and Astronautalis.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003chr\u003e\n\u003cbr\u003e QUESTIONS? Email us: \u003ca href=\"mailto:mailorder@joyfulnoiserecordings.com\" target=\"_blank\" rel=\"noopener noreferrer\"\u003emailorder@joyfulnoiserecordings.com\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003eAlso, BY PURCHASING YOU AGREE TO REFRAIN FROM ANY DICKISH BEHAVIOR LIKE RESELLING AT EXORBITANT PRICES. Do not purchase if your intention is to flip these records.","brand":"WHY?","offers":[{"title":"Vinyl Box Set (Eight 7\" records, pressed on multi-colored vinyl, packaged in custom box set, limited to 350 numbered copies. Includes MP3 \u0026 WAV download of original and expanded content.)","offer_id":568008671252,"sku":"JNR247-MohLheanExpanded_BOX","price":75.0,"currency_code":"USD","in_stock":false},{"title":"Digital (Instant download of original and expanded content in WAV and MP3.)","offer_id":1306707886100,"sku":"JNR247-MohLheanExpanded_Digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/box-sets-moh-lhean-expanded-1.jpg?v=1530546931"},{"product_id":"alopecia","title":"Alopecia","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing \u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003col\u003e\n\u003cli\u003eThe Vowels Pt. 2\u003c\/li\u003e\n\u003cli\u003eGood Friday\u003c\/li\u003e\n\u003cli\u003eThese Few Presidents\u003c\/li\u003e\n\u003cli\u003eThe Hollows\u003c\/li\u003e\n\u003cli\u003eSong of the Sad Assassin\u003c\/li\u003e\n\u003cli\u003eGnashville\u003c\/li\u003e\n\u003cli\u003eFatalist Palmistry\u003c\/li\u003e\n\u003cli\u003eThe Fall of Mr. Fifths\u003c\/li\u003e\n\u003cli\u003eBrook \u0026amp; Waxing\u003c\/li\u003e\n\u003cli\u003eA Sky for Shoeing Horses Under\u003c\/li\u003e\n\u003cli\u003eTwenty Eight\u003c\/li\u003e\n\u003cli\u003eSimeon’s Dilemma\u003c\/li\u003e\n\u003cli\u003eBy Torpedo or Crohn’s\u003c\/li\u003e\n\u003cli\u003eExegesis\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eRemix 7\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGood Friday (Boards of Canada Remix)\u003c\/li\u003e\n\u003cli\u003eBy Torpedo Or Crohn's (Dntel Remix)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ciframe width=\"100%\" height=\"400\" src=\"https:\/\/www.youtube.com\/embed\/p_b4CBtRT60\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp\u003e\"I'll go unknown by torpedo or Crohn's \/ Only those evil live to see their own likeness in stone.\" It's the kind of couplet you'd carve into a wall whilst savoring the irony at hand, but when Yoni Wolf spit the line ten years ago he was blissfully, broodily unaware that he and his band WHY? were creating a career-defining album—one so fan-adored that it would go out of print, and so influential that the art-pop heroine Lorde herself would lovingly steal the very lyric quoted above. When it dropped in 2008, Alopecia not only marked WHY?'s evolution from a sonically collaged mostly solo project to a live-recorded powerhouse band of badass multi-instrumentalists. It also minted a genre of one: wryly written, poignantly posed, simultaneously swaggering and heart-rending song-rap that jangles like folk, bursts like psych-rock, and sways like chamber pop. To this day, there is no other group in the known universe that sounds or feels like WHY? does on Alopecia. The album's 2018 reissue cheekily etches that aural likeness into our musical history.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eRevisiting these songs is like catching up with an old, very strange friend—one who obsesses over his mortality, wonders if his ex is some sort of god, identifies as a \"lifelong local foreigner,\" and does his emotional unpacking in public restrooms*. When Yoni sings that he's been \"faking suicide for applause in the food courts of malls\" on album opener \"The Vowels Pt. 2,\" you aren't sure if it's a metaphor about fame or a real thing he did. Our narrator's odd charm is Alopecia's most enduring gift. Inspired by Bob Dylan and Joanna Newsom, Yoni packs confessional candor and vivid detail into honeyed melodies. Energized by Lil Wayne and MF DOOM, he seeds self-effacing boasts and mesmeric wordplay within complex rhyme schemes. The result is a swirl of humor, desperation, and beauty that both pulls us into his world and draws out our own proud, wounded inner weirdo. As Yoni coos on \"The Hollows,\" \"This goes out to dirty-dancing, cursing, backmasking, back-slidden pastors' kids \/ and all us Earth growths; some planted, some pulled.”\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eThat perspective formed in our hero's native Cincinnati—born in the basement of his rabbi dad's synagogue when lil Yoni started making songs on a dusty 4-track, and come of age in a different basement in his college years where, instead of graduating, he teamed with roommate Doseone and pal Odd Nosdam to form the revered avant-rap trio cLOUDDEAD. These family and friends haunt Alopecia—Dose raps on \"The Hollows\"; Nosdam is namechecked on \"A Sky for Shoeing Horses Under\"; Yoni's father and the language of faith appear often—creating layers of narrative for WHY?'s typically deep-diving fans to unpack. By 2008, Yoni was settled in Oakland, adding to the legacy of the Anticon label\/collective he cofounded (most notably with his official 2003 LP debut Oaklandazulasylum). Though his brother Josiah Wolf and fellow Ohioan Doug McDiarmid moved west and joined WHY? before 2005's Elephant Eyelash, they had not yet recorded as a proper unit, or in a proper studio. Hell, Yoni'd never even tried to make his words rhyme before.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eYou already know that they did all of those things and were rewarded with Alopecia, an album as adventurous as it is accessible, and remarkably fluid. To wit, \"These Few Presidents\" slides between modes, from upbeat and forced-smile bubbly to seething and slowly roiling. \"Song of the Sad Assassin\" is a tempo-blind rollercoaster of piano, vibes, vocal percussion, guitar, drum, and bass. And \"Twenty Eight\" spins a feedback-drenched rap beat, something like the Bomb Squad on acid, on a carousel. WHY?'s mind meld is all the more impressive considering they left their jerry-rigged home setup for Minneapolis' Third Ear studio, in the winter, and added Fog members Andrew Broder and Mark Erickson to the lineup. Over 20 days, the thermometer never cracked zero. There were hot toddies aplenty, Miles Davis records on repeat, and cramped quarters. In this heady, unfamiliar space, Yoni worried it was all for naught. But while recording \"Good Friday,\" a brutal breakup song, he caught full-body chills. It wasn't the blizzard outside.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003eThe Alopecia sessions were so successful, in fact, that they spawned two LPs (WHY?'s fourth, Eskimo Snow, arrived 18 months later). This one was finished in Berkeley and when time came to name it, Yoni chose a word that appears nowhere in the lyrics. He'd recently found a hole in his beard which his old art-hop comrade Slug of Atmosphere identified as alopecia. The concept fit: more than on any other WHY? release, Yoni was uncovering his anger, anxiety, and ambition—celebrating his ugly by wearing his lowest of lows like badges of honor, devising characters to exorcise his inner demons, and arriving at begrudging self-affirmation. There's a line on \"Brook \u0026amp; Waxing,\" reprised on \"By Torpedo or Crohn's,\" that's become the loudest shout-along moment at WHY? concerts and the most likely quote to find tattooed in the crowd: \"While I'm alive I'll feel alive \/ And what's next I guess I'll know when I've gotten there.\" Therein lies Alopecia's genius: we'll never get \"there,\" not in 10 years past or 10 years more, but the beauty is in pushing on.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e*really, there are no fewer than six bathroom scenes on Alopecia; can you find them all?\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"WHY?","offers":[{"title":"Black Vinyl + Digital (Includes instant download of full album in MP3 + WAV.)","offer_id":12134730072135,"sku":"JNR270_LP","price":20.0,"currency_code":"USD","in_stock":false},{"title":"CD + Digital (Includes instant download of full album in MP3 + WAV.)","offer_id":12134730104903,"sku":"JNR270_CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download of full album in MP3 and WAV.)","offer_id":12134730137671,"sku":"JNR270_digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cloud Color Vinyl w\/ Bonus 7\" + Digital (Limited 10th anniversary pressing, includes remix 7\" on red vinyl, instant download of full album in MP3 + WAV.)","offer_id":12134730039367,"sku":"JNR270_LP-C1","price":25.0,"currency_code":"USD","in_stock":false},{"title":"Deluxe Limited Edition Vinyl (Limited to 1000 copies on green, purple, \u0026 orange tri-color vinyl. 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Frustrated with music business politics Williams reinvented himself as Swamp Dogg, an irreverent anti-hero smashing the conventions of commercial R\u0026amp;B music. Swamp Dogg’s debut release Total Destruction to Your Mind featured a post-apocalyptic take on the Muscle Shoals’ sound, with lyrics inspired by the revolutionary politics and psychedelic drugs of the late ‘60s. The music on Total Destruction to Your Mind stood worlds apart from the formulaic pop tunes Williams started cutting in 1954 under the name Little Jerry, and Swamp Dogg hasn’t looked back since.\u003c\/p\u003e\n\u003cp\u003eBut the music business wasn’t ready for Swamp Dogg, nor was the rest of America. His bizarre album titles and wild cover art turned the average consumer off, while his subversive lyrics earned him a spot on Richard Nixon’s infamous enemies list. Swamp Dogg was not deterred. He seemed to relish operating from the margins of the music business, consequently becoming one of the quintessential outsider figures in American music.\u003c\/p\u003e\n\u003cp\u003eNow, nearly fifty years after his debut release, Swamp Dogg stands on the precipice of another radical reinvention. His latest creation is titled Love, Loss, and Auto-Tune a nine song collection featuring production by Poliça’s Ryan Olson. Love, Loss, and AutoTune finds Swamp Dogg’s bluesy southern soul colliding head-on with 21st Century electronic music production techniques.\u003c\/p\u003e\n\u003cp\u003eThe reference to Auto-Tune in the title is not incidental, the album’s sound is built around Swamp Dogg’s experimentation with the ubiquitous vocal processor. While Auto-Tune has become a fixture of the modern pop music landscape, this is Swamp Dogg’s first major exploration of the device. “Every time I listen to some new music that everybody thinks is the greatest thing since hot biscuits, it's full of Auto-Tune,” Swamp Dogg says. His use of Auto-Tune technology is not gratuitous. Like Kanye West on 808s \u0026amp; Heartbreak, Swamp Dogg utilizes the cold digital tone of Auto-Tune to convey a sense of emotional detachment during the album’s most anguished moments.\u003c\/p\u003e\n\u003cp\u003eAccording to Ryan Olson, Swamp Dogg’s initial attempts at using Auto-Tune were a bit rough around the edges. So Olson called up Justin Vernon to rework the digital effects on Swamp Dogg’s vocal tracks. That process reflects Olson’s own role as producer on Love, Loss, and Auto-Tune. “I went into the studio and laid down the vocals and the rhythms, then I sent those tracks off to Ryan to let him do whatever he wanted,” Swamp Dogg says of the remote collaboration.\u003c\/p\u003e\n\u003cp\u003eGiving up creative control isn’t the norm for Swamp Dogg. A fiercely independent artist, Swamp Dogg is frequently the producer, writer, arranger, and label owner for most of the projects he touches. But Olson’s approach impressed him. “The first thing I thought was this white boy must be crazier than a motherfucker. But I listened to how deep he'd go experimenting with the music and I liked what he was doing,” Swamp Dogg says. Olson adds a range of inventive synth sounds and drum machines to Swamp Dogg’s sonic palette, as well as an impressively artful approach to arranging Swamp’s compositions. The result is a wildly fresh take on the classic Swamp Dogg sound. Swamp Dogg agrees, “I was knocked out by what I heard. I couldn't believe it was me. It's some of the greatest and outrageous music I've ever heard come out of the Swamp Dogg.”\u003c\/p\u003e\n\u003cp\u003eSwamp Dogg has frequently trafficked in the outrageous to attract audience attention, but it’s the quality of his songwriting that has kept fans returning to his work. Swamp Dogg has a gift for writing about heartache. Many fans consider the 1970 collection of breakup songs he wrote and produced for Doris Duke under the title I’m A Loser one of his finest moments as a writer. The songs on Love, Loss, and Auto-Tune rival the tunes presented on Duke’s classic disc.\u003c\/p\u003e\n\u003cp\u003e\"The songs are about being lonely,” Swamp Dogg says of Love, Loss, and AutoTune. The feeling of loneliness is particularly palpable on the hauntingly beautiful “I’ll Pretend,” which features vocals from Justin Vernon. Swamp Dogg describes the song as a character study about “a guy sitting in a restaurant by himself losing his fucking mind because he’s hoping his woman is gonna walk by, but she's at a Ramada Inn somewhere fucking somebody else to death.\"\u003c\/p\u003e\n\u003cp\u003eDespite the record’s overriding theme of loss, Swamp Dogg’s warped sense of humor is still intact. Let’s remember that we’re talking about an artist who released a “greatest hits” album in 1976 filled entirely with new songs! Swamp’s comic side is evident on “$$$ Hunting,” which rolls out with a funky Zapp-like bounce. There’s also “Sex With Your Ex,” where Swamp Dogg extols the benefits of the song’s title theme over random bursts of feedback and noise.\u003c\/p\u003e\n\u003cp\u003eLove, Loss, and Auto-Tune is a gem, a unique and unpredictable moment in the life of a unique and unpredictable artist that some consider a national treasure. “I might be the only one,” Swamp Dogg says. “But I think Swamp Dogg is a national treasure.”\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Swamp Dogg","offers":[{"title":"Black Vinyl + digital (includes instant download of album in MP3 + WAV)","offer_id":32554673012807,"sku":"JNR269_LLA_Swamp_LP","price":22.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (Includes instant download of full album in MP3 + WAV.)","offer_id":12157319479367,"sku":"JNR269-LLA_Swamp_CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Includes instant download in MP3 + WAV.)","offer_id":12157319544903,"sku":"JNR269_LLA_Swamp-Digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":12157319413831,"sku":"JNR269_LLA_Swamp_VIP","price":25.0,"currency_code":"USD","in_stock":false},{"title":"Gold Vinyl + Digital (Limited indie retail exclusive pressing. 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The debut dive-bombs into the realms of mortality and immortality, moralizing and amorality; the passing of time, and how little we have left. These are lurid songs, urgently told through Gareth Liddiard's barbed and byzantine lyricism, abrasive guitar slashes, drum adrenalin, raunchy bass and electronic undercurrents. They're raging, rapscallion, and funny, lyrically delving into everything from internet shaming to the kuru “laughing death” disease of the PNG highlands to Russian chess great Gary Kasparov’s portentous loss to an IBM computer.\u003cbr\u003e\u003cbr\u003eLive, \u003cstrong\u003eTropical Fuck Storm\u003c\/strong\u003e are a force of nature, conjuring chaos at every blistering performance, with zero shits to give for corporate music hegemony. \"Kneel down by the advertising, don’t you make a single false move\" calls out the female chorus of Fiona Kitschin and Erica Dunn echoing the dismay of our time as we bear witness to the sinister seductions which social media surveillance has entangled us.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eA Laughing Death in Meatspace\u003c\/strong\u003e\u003c\/em\u003e doesn’t show us the way out of this situation, but it howls along with us as we peer into the maelstrom ahead.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Tropical Fuck Storm","offers":[{"title":"Slime Green Vinyl + Digital (Includes instant download of full album in MP3 and WAV.)","offer_id":12358159728711,"sku":"JNR277LP-C1_TFS","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (Includes instant download of full album in MP3 and WAV.)","offer_id":12358159794247,"sku":"JNR277cd_TFS","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette + Digital","offer_id":12358159761479,"sku":"JNR277cass_TFS","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital (Instant download of full album in MP3 and WAV.)","offer_id":12358159827015,"sku":"JNR277_TFS_Digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":12358159695943,"sku":"JNR277_VIP","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR277_Tropical-Fuck-Storm__cover-art.jpg?v=1624363639"},{"product_id":"omoiyari","title":"Omoiyari","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing \/ Listen\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cspan style=\"line-height: 1.5;\"\u003e \u003ciframe src=\"https:\/\/open.spotify.com\/embed\/album\/1oPXOnszADv8Xe3fzykSdC\" width=\"100%\" height=\"380\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ciframe src=\"https:\/\/open.spotify.com\/follow\/1\/?uri=spotify:artist:3LVPGE5jPPwtbGslx07YR0\u0026amp;size=detail\u0026amp;theme=light\u0026amp;show-count=0\" width=\"300\" height=\"56\" style=\"border: none; overflow: hidden;\"\u003e\u003c\/iframe\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp class=\"p1\"\u003eImagine being forced from your home. Imagine being sent to a prison camp with no trial, and no promise of release. Imagine all this happened simply because of the language you speak, the shade of your skin, or the roots of your family tree. For over 120,000 Japanese-Americans this was a reality during World War II. It’s a reality that Kishi Bashi seeks to reckon with on his latest release \u003cem\u003eOmoiyari\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003e\u003cstrong\u003eOmoiyari\u003c\/strong\u003e\u003c\/em\u003e is Kishi Bashi’s fourth album -- following the acclaimed \u003cem\u003e151a\u003c\/em\u003e (2012), \u003cem\u003eLighght\u003c\/em\u003e (2014), and \u003cem\u003eSonderlust\u003c\/em\u003e (2016), which have garnered serious acclaim from outlets including NPR Music, The Wall Street Journal, and The Guardian -- and his most important yet. Many of the songs were initially inspired by history and oppression, and he deftly weaves tales of love, loss, and wanting to connect listeners to the past. Channeling the hard-learned lessons of history, \u003cem\u003eOmoiyari\u003c\/em\u003e is an uncompromising musical statement on the turbulent sociopolitical atmosphere of present-day America.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e“I was shocked when I saw white supremacy really starting to show its teeth again in America,“ Kishi Bashi says. “My parents are immigrants, they came to the United States from Japan post–World War II. As a minority I felt very insecure for the first time in my adult life in this country. I think that was the real trigger for this project.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eKishi Bashi recognized parallels between the current U.S. administration’s constant talk of walls and bans, and the xenophobic anxieties that led to the forced internment of Japanese-Americans in the months following the attack on Pearl Harbor. So he immersed himself in that period, visiting former prison sites and listening to the stories of survivors, while developing musical concepts along the way. The unique creative process behind \u003cem\u003eOmoiyari\u003c\/em\u003e will be documented in a film scheduled for release in early 2020.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e“I didn’t want this project to be about history, but rather the importance of history, and the lessons we can learn,” Kishi Bashi reflects. “I gravitated toward themes of empathy, compassion, and understanding as a way to overcome fear and intolerance. But I had trouble finding an English title for the piece. \u003cstrong\u003eOmoiyari\u003c\/strong\u003e is a Japanese word. It doesn't necessarily translate as empathy, but it refers to the idea of creating compassion towards other people by thinking about them. I think the idea of omoiyari is the single biggest thing that can help us overcome aggression and conflict.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe strong conceptual elements of \u003cem\u003eOmoiyari\u003c\/em\u003e are driven by Kishi Bashi’s captivating musical score. Stepping away from his past loop-based production model, he embraced a more collaborative approach when recording, and for the first time included contributions from other musicians, such as Mike Savino (aka Tall Tall Trees) on banjo and bass, and Nick Ogawa (aka Takenobu) on cello. Kishi Bashi’s spectacular trademark violin soundscapes are still an essential component of his sound, but the focus of \u003cem\u003eOmoiyari\u003c\/em\u003e is centered squarely on its songs. The result is his most potent and poignant collection of music to date.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eOn “Marigolds,” Kishi Bashi contemplates the “differences between generations that are difficult to comprehend sometimes.” “I wish that I had met you when your heart was safe to hold,” he sings over a bed of shimmering violins, conveying a sense of deep melancholy over a soaring melodic line.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e“Summer of ’42” weaves a breathtaking orchestral score over a tale of love and loss in a Japanese incarceration camp. “While times were humiliating and difficult in these camps, they would make time to find love and happiness amongst the adversity,” Kishi Bashi observes.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e“Violin Tsunami” builds a single violin line into a cinematic wall of sound. “A Brazilian Japanese friend of mine is a violin maker, and he presented me with a wonderful violin to play. He had named it Tsunami, and had worked on it while the Fukushima Nuclear disaster was unfolding,” Kishi Bashi explains. “This song is about the chaos that nature can create, and also about the healing and rebuilding that the human spirit is capable of.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe songs on \u003cem\u003eOmoiyari\u003c\/em\u003e overflow with rich sounds and complex emotions, and challenge listeners to confront a difficult chapter in America’s past while acknowledging the injustices of the present. But there’s a yearning for better days threaded through several songs, a perspective that mirrors Kishi Bashi’s own hopes for a better future. “Part of the project is saying that if you're a minority there's potentially still a lot to look forward to in this country. I believe there's a paradigm shift coming, especially for minorities and those who have felt oppression. America is changing.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBut a better future is not guaranteed, and Kishi Bashi wants listeners who hold some economic or social privilege to be aware of their own role in creating change. “If you're privileged you need to understand that this country is for everybody, and we have to make that space for all people.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e“Sometimes when we look at history, it feels far away and removed. But there are fundamental lessons of love, compassion and fear that we can learn from the internment and apply to issues today concerning refugees, immigration, and minorities,” he says. “There are so many tragedies and atrocities that have happened around the world at different times in history, and I think it's really important to have the compassion to understand the suffering that people endured before you, to not repeat the past, and to really be grateful for the life you have.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhile the theme of \u003cem\u003eOmoiyari\u003c\/em\u003e is rooted in 1940s America, the album’s message is timeless. In exploring the emotional lives of the innocent Japanese-Americans who were unjustly incarcerated, Kishi Bashi hopes to nurture a sense of empathy, or omoiyari, in all who hear the album.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eCover photo: carved and painted scrap-wood bird pins by artists Himeo Fukuhara and Kazuko Matsumoto reprinted from \u003c\/em\u003e\u003cem\u003e“The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps 1942-1946,” (2004, Ten Speed Press)\u003c\/em\u003e\u003cbr\u003e\u003cem\u003ewith the permission of author Delphine Hirasuna, designer Kit Hinrichs, and photographer Terry Heffernan.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Kishi Bashi","offers":[{"title":"Black Vinyl + Digital (Packaged in gatefold jacket and obi strip. Includes instant downloads of full album in high quality MP3 + WAV.)","offer_id":16223475335239,"sku":"JNR301_Omoiyari_LP-blk","price":22.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (Includes instant download of full album in high quality MP3 + WAV.)","offer_id":16223475368007,"sku":"JNR301_Omoiyari_CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download of full album in high quality MP3 + WAV.)","offer_id":16223475400775,"sku":"JNR301_Omoiyari-Digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":16223475433543,"sku":"JNR301_Omoiyari_VIP","price":35.0,"currency_code":"USD","in_stock":false},{"title":"White Vinyl + Digital (Packaged in gatefold jacket and obi strip. Includes instant downloads of full album in high quality MP3 + WAV.)","offer_id":16223475302471,"sku":"JNR301_Omoiyari_LPC1","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR301_Kishi-Bashi_Omoiyari.jpg?v=1553790993"},{"product_id":"aokohio","title":"AOKOHIO","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eWatch \/ Track list\u003c\/div\u003e\n\u003cbr\u003e \u003ciframe width=\"100%\" height=\"400\" src=\"https:\/\/www.youtube.com\/embed\/8pLGXbRs5dw\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cbr\u003e\u003ca href=\"https:\/\/lnk.to\/Why-I\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eI. I may come out a broken yolk, I may come out on saddle.\u003c\/a\u003e\u003cbr\u003e1. Apogee\u003cbr\u003e2. The Rash\u003cbr\u003e3. Peel Free\u003cbr\u003e\u003cbr\u003e\u003ca href=\"https:\/\/lnk.to\/why-ii\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eII. I’ve been carving my elbows, I might just take flight.\u003c\/a\u003e\u003cbr\u003e4. Reason\u003cbr\u003e5. Deleterio Motilis\u003cbr\u003e6. Stained Glass Slipper\u003cbr\u003e\u003cbr\u003e\u003ca href=\"https:\/\/lnk.to\/why_III\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eIII. Please take me home, I don’t belong here.\u003c\/a\u003e\u003cbr\u003e7. The Launch\u003cbr\u003e8. High Dive\u003cbr\u003e9. Mr. Fifths’ Plea\u003cbr\u003e10. Good Fire\u003cbr\u003e\u003cbr\u003eIV. The surgeon nervously goes on, he never claimed to be God.\u003cbr\u003e11. Narcissistic Lamentation\u003cbr\u003e12. Krevin’\u003cbr\u003e13. The Crippled Physician\u003cbr\u003e14. Ustekinumab\u003cbr\u003e\u003cbr\u003eV. I want to live with conviction, in silence and diction.\u003cbr\u003e15. My Original\u003cbr\u003e16. Rock Candy\u003cbr\u003e17. Once Shy\u003cbr\u003e\u003cbr\u003eVI. Though I’m tired, I’m still trying.\u003cbr\u003e18. The Shame\u003cbr\u003e19. Bloom Wither Bloom (for Mom)\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cbr\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eYoni Wolf has spent the last two decades traveling the remote sonic terrain where underground hip hop, avant-pop, and psych-rock meet. Some of Yoni’s most compelling and critically-praised musical experiments have been issued under the moniker WHY? and his latest entry is no exception. On \u003ci\u003eAOKOHIO\u003c\/i\u003e Yoni condenses the essential elements of WHY? into a stunningly potent musical vision. \u003c\/span\u003e\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eCo-produced by Yoni and his brother Josiah, \u003ci\u003eAOKOHIO\u003c\/i\u003e presents a rich palette of musical voices that emerge and disappear into a constantly shifting kaleidoscope of sound. “I wanted a wide variety of sounds. I didn't want this album to sit in one sonic zone. I've always felt like too jagged of a person to be smooth in that way,” Yoni says. While the album features many notable guest contributors, from Lala Lala’s Lillie West, to Nick Sanborn and Amelia Meath of Sylvan Esso, the listener’s attention remains squarely directed on Yoni’s voice and vision.\u003c\/span\u003e\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eAOKOHIO\u003c\/i\u003e finds Yoni rethinking fundamental aspects of his approach to creating and delivering his music. The album is presented as six movements comprised of two to four songs each, with some segments appearing as brief fragments that dissolve within seconds.\u003c\/span\u003e\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003e“When I started this project, I decided I needed to try a new approach in creating music and how I work,” Yoni reflects. “I wasn't feeling the idea of going back in and making another ten or twelve song album. It felt arduous. It felt like too much. So I wanted to pare the process down and make it manageable. I thought, 'Why don't I make small five or six minute movements and finish up each movement before I move on to the next.' That's how I started approaching it. The whole process took over five years, I'd start working on something and set it aside for awhile. The earliest songs on this album started in 2013.“\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eAs Yoni reimagined his approach to creating music, he also began thinking of new ways to share the music with his audience. “I initially wanted to release the music as I progressed through the project,” Yoni says. “When I finished a movement I wanted to put it up digitally on Bandcamp or Soundcloud. I just wanted to make little pieces of music and put them out there. But I had a call with my manager and the label and they said, 'We can release stuff through time like that, but we want to do it properly.' So the idea of the project changed after that, but it retained the integrity of working in movements. It's definitely a very different way of working for me. I think it has yielded some interesting results.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eThe concept of sharing \u003ci\u003eAOKOHIO \u003c\/i\u003ein segments over time has been preserved with the release of an accompanying visual album. “I think it's a very artful way of putting the music out there,” Yoni explains. “It's like a television series, it's revealing itself slowly over time. I think it's cool that the audience gets to hear it one piece at a time, and has to wait and digest each piece before they get the next one.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003e“I knew early on that I wanted that visual element for this album,” Yoni recalls. “My brother and I have worked on video stuff our whole lives. Our dad had video equipment since we were little kids, he had an editing suite in our basement. We weren't rich, we were actually fairly poor, but somehow he'd gotten ahold of these video editing decks and cameras. Even though my brother and I had dabbled in video as kids, it's not what we do for a living. So we wanted to find someone, and fucking randomly a guy messaged me on Instagram and was like, 'Hey, I like your music and I'd love to work with you.' I looked at his work and I was like, 'This guy is for real!' “\u003c\/span\u003e\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eThe author of that fateful Instagram message was Sundance award-winning director Miles Joris-Peyrafitte. “Miles directed the first three segments of the visual album and is the mastermind of the overarching video project,” Yoni explains. Joris-Peyrafitte’s visuals cut contemporary footage of Yoni and actress Tatiana Maslany with vintage home videos documenting Yoni’s childhood life in Cincinnati. It’s a fitting juxtaposition, as Yoni’s lyrics on \u003ci\u003eAOKOHIO\u003c\/i\u003e seem to question how memory, history, and place shape our anxieties and sense of self. “I moved back to Cincinnati after living in the Bay Area for over a decade,” Yoni says. “This album is very much me thinking about my mom and dad, and my siblings.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eYoni’s return to his Ohio hometown brought on a period of critical self-reflection. “Is there a word for bad nostalgia?” Yoni asks. “When I think of the word nostalgia, it seems like pleasant feelings and all that, but this is not really like that. It's more about reflecting on the anxieties I've had since I was born. Why are they there? Is this epigenetics? Is that shit just inside of me because of the Holocaust and my relatives back then? What am I really? Why do I operate in these ways?”\u003c\/span\u003e\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eUltimately \u003ci\u003eAOKOHIO \u003c\/i\u003esees Yoni pushing to find meaning and peace of mind in the moment, even if it’s not exactly where he wants to be. “The title is sarcastic I guess,” Yoni offers. “But it's also wishful. A lot of my album titles have been names of maladies, like \u003ci\u003eAlopecia\u003c\/i\u003e and \u003ci\u003eMumps, Etc\u003c\/i\u003e. I don't want to project that into the world. You know, ‘A-OK Ohio, I'm here and it's fine.’ It's like a mantra, ‘A-OK Ohio, I'm here and it's OK.’ Even though in reality, everyday I'm like, 'I've got to get the hell out of Ohio.'“\u003c\/span\u003e \u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eAOKOHIO \u003c\/i\u003efeels like a consequential addition to the WHY? catalog, possibly even an artistic turning point. But its creator remains circumspect when asked to comment on the album’s significance within his discography, instead preferring to characterize the work as the latest iteration of his deep commitment to his artistic practice. “I have no idea if this record is good or not,” Yoni says. “But I never really know. I know that I've never written a song that's indispensable to the American songbook. But in terms of what it is, it's a piece of art. I put blood, sweat, and tears into this album, and struggled through the creative process as I always do. As far as where this sits with the rest of my albums? I can't answer that. I just know that my career is a lifelong career, and I’m working it. Every time it feels right, it makes me feel good.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"WHY?","offers":[{"title":"Yellow Vinyl + Digital (12\" vinyl. Includes instant download in high-quality MP3, AIFF, and WAV.)","offer_id":17184145801287,"sku":"JNR302-AOKOHIO-LP-C1_Yellow","price":22.0,"currency_code":"USD","in_stock":true},{"title":"Crimson Ice Vinyl (Ltd to 1000) + Digital","offer_id":47583891030326,"sku":"JNR302_LP-C2_red","price":22.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl + Digital (12\" vinyl. Includes instant download in high-quality MP3, AIFF, and WAV.)","offer_id":17184145768519,"sku":"JNR302-AOKOHIO-LP_Black","price":20.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (Includes instant download in high-quality MP3, AIFF, and WAV.)","offer_id":17184145834055,"sku":"JNR302-AOKOHIO_CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download in high-quality MP3, AIFF, and WAV.)","offer_id":17184145866823,"sku":"JNR302-AOKOHIO_Digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":17184145899591,"sku":"JNR302-AOKOHIO_VIP","price":42.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR302_WHY_AOKOHIO.jpg?v=1565648401"},{"product_id":"braindrops","title":"Braindrops","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTracklist \/ Listen\u003c\/div\u003e\n\u003ciframe width=\"100%\" height=\"400\" src=\"https:\/\/www.youtube.com\/embed\/88do5cmxHsI\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/lnk.to\/TFS-Paradise\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eParadise\u003c\/a\u003e (\u003ca href=\"https:\/\/lnk.to\/TFS-Paradise\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eSTREAM HERE\u003c\/a\u003e)\u003c\/li\u003e\n\u003cli\u003eThe Planet Of Straw Men\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/lnk.to\/Eugene\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eWho’s My Eugene?\u003c\/a\u003e (\u003ca href=\"https:\/\/lnk.to\/Eugene\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eSTREAM HERE\u003c\/a\u003e)\u003c\/li\u003e\n\u003cli\u003eThe Happiest Guy Around\u003c\/li\u003e\n\u003cli\u003eMaria 62\u003c\/li\u003e\n\u003cli\u003eBraindrops\u003c\/li\u003e\n\u003cli\u003eAspirin\u003c\/li\u003e\n\u003cli\u003eDesert Sands Of Venus\u003c\/li\u003e\n\u003cli\u003eMaria 63\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e“I've invented fake news as a genre of music,” Gareth Liddiard observes with a laugh. He’s talking about “Maria 63”, the closing track on Tropical Fuck Storm’s sophomore LP\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBraindrops\u003c\/i\u003e. The song takes aim at the once-marginalized alt-right conspiracy theories that now seem to be a driving force behind the rise of fascism in global politics. “It’s about a Mossad agent traveling to Buenos Aires to assassinate Maria Orsic, a Nazi witch who telepathically got the blueprints for warp drive engines from aliens,” Liddiard shares.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e“It may be the most stupid song ever written,” Liddiard jokes. He’s wrong, “Maria 63” is emblematic of Tropical Fuck Storm’s keen ability to mine the extreme edge of pop culture’s periphery for potent musical and conceptual spice.\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBraindrops\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eoverflows with compelling sounds and visions that reflect the often dark and fractured reality of life on planet Earth as we hurtle toward environmental and social decay at a frighteningly rapid clip.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTropical Fuck Storm were formed around 2017 in the city of Melbourne, Victoria along Australia’s south-eastern coast. The band released their debut long-player\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eA Laughing Death in Meatspace\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eon Joyful Noise Recordings in 2018. Each of the band’s four members bring considerable experience to the group. Liddiard and Fiona Kitschin were part of the long-running and critically-acclaimed act The Drones, while Erica Dunn and Lauren Hammel have performed in a variety of well-received projects. Perhaps it’s that wealth of rock and roll experience that allows Tropical Fuck Storm to so expertly deconstruct and distort the genre’s norms.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e“Everything we do, we try to do it in a weird way. The whole album is full of weird beats, and just weird shit everywhere,” Liddiard explains. He cites\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDoc at the Radar Station-\u003c\/i\u003eera Captain Beefheart as a key sonic touchstone, and\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBraindrops\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003ecertainly shares the Captain’s penchant for pounding abstract grooves. Tropical Fuck Storm have achieved a uniquely off-kilter sound on\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBraindrops\u003c\/i\u003e. Liddiard partly credits this to the group’s use of unconventional equipment, “\u003cspan class=\"s1\"\u003eWe use lots of techno gear to make rock and roll because rock and roll gear is boring, and all sounds like Led Zeppelin.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLiddiard’s own description of Tropical Fuck Storm’s sound is nearly as interesting and evocative as the music itself. He describes the LP’s title track as “Fela Kuti in a car crash,” and talks of creating a sonic atmosphere that “sounds like chloroform smells” for “Maria 62”. Liddiard can be a bit more taciturn when asked to get specific on the group’s lyrical themes. “It's not always a good idea to be too straightforward.” Instead Liddiard favors a “more nebulous and mysterious” approach.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eA recurring theme on\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBraindrops\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003econcerns the various ways the human brain can be manipulated and controlled for exploitative gain. The bracing “The Planet of Straw Men” is a study of human behavior inside the social media comments section, a place where otherwise reasonable people are seen gleefully engaging in psychotic chest-thumping rhetoric. “It's about everyone having a screaming match,” Liddiard says. “You see two people yelling at each other on Twitter, but they're not really yelling at each other, they're yelling at each other's idea of the other. Meanwhile countries like Russia are taking advantage of this to push their ideologies and get ahead.” Erica Dunn’s “Who’s My Eugene?” contemplates a more personal example of predatory mind control. “It's about Eugene Landy, the doctor that drugged the shit out of Brian Wilson and emptied his bank account,” Liddiard explains.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhile Liddiard is careful not to give away too much about the band’s lyrics, he’s confident that audiences will find their own meaning. “If you show a gorilla\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eHamlet\u003c\/i\u003e, even if he was capable of reading it, he wouldn't be capable of seeing himself in it. But with humans that's kind of what we do. We have our heads up our own asses.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eListening to\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBraindrops\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis a jarring and exhilarating experience, full of pulsating grooves, black humour, dissonant experimentation, and unsettling dystopian plot-lines.\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBraindrops\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis an unrelenting work, from an unrelenting musical ensemble. “Tropical Fuck Storm is a full on thing,” Liddiard offers. “Everything we do, we do it to the death.”\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Tropical Fuck Storm","offers":[{"title":"Highlighter Yellow Vinyl + Digital (Mail-order \/ Merch Table exclusive, edition of 600)","offer_id":53543161954614,"sku":"JNR299_LP-C3_yellow","price":23.0,"currency_code":"USD","in_stock":true},{"title":"Hot Magenta Vinyl + Digital (Includes instant download of MP3, AIFF, and WAV.)","offer_id":17369916473415,"sku":"JNR299_Braindrops_LPC1","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (Includes instant download of full album in high-quality MP3, AIFF, and WAV.)","offer_id":17369916506183,"sku":"JNR299_Braindrops_CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download of full album in high-quality MP3, AIFF, and WAV.)","offer_id":17369916571719,"sku":"JNR299_Braindrops_Digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette + Digital","offer_id":39396935565383,"sku":"JNR299_TFS_cassette","price":12.0,"currency_code":"USD","in_stock":false},{"title":"VIP","offer_id":17369916604487,"sku":"JNR299_Braindrops_VIP","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR299_TFS_Braindrops.jpg?v=1561125007"},{"product_id":"halfbird","title":"Halfbird","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003col\u003e\n\u003cli\u003eHalfrabbit Halfdog\u003c\/li\u003e\n\u003cli\u003eSix Holes on a Stick\u003c\/li\u003e\n\u003cli\u003eRed Dragon\u003c\/li\u003e\n\u003cli\u003eTrickybird\u003c\/li\u003e\n\u003cli\u003eThe Man The King The Girl And The Spider\u003c\/li\u003e\n\u003cli\u003eWitchery Glamour Spell\u003c\/li\u003e\n\u003cli\u003eQueen Orca Wicca Wind\u003c\/li\u003e\n\u003cli\u003eSunnyside\u003c\/li\u003e\n\u003cli\u003eCarriage\u003c\/li\u003e\n\u003cli\u003eLittleness\u003c\/li\u003e\n\u003cli\u003eXmas Tree\u003c\/li\u003e\n\u003cli\u003eRat Attack\u003c\/li\u003e\n\u003cli\u003eThe Forty Fours\u003c\/li\u003e\n\u003cli\u003eHalfmole Halfbird\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003e“If one were to connect a lot of sentimentality to dividing up groups of one-hundred into fours, and to have this kind of romance about arithmetic, then I would say we have reached some kind of milestone.” - Greg Saunier\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe perennially beloved and wonderfully indefinable art-pop explorers Deerhoof are turning 25 this year. To celebrate the occasion, three labels closely associated with Deerhoof’s career (Kill Rock Stars, Polyvinyl, JNR) are each reissuing one of the band’s first three LPs. While today Deerhoof are universally praised for their significant contributions to 21st Century rock and roll, in 1994 they were just beginning to develop the sound that would later inspire Pitchfork to label them ”the best band in the world.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“Like a lot of bands and projects, it's pretty hard to pin down exactly when the anniversary would be,” says Deerhoof drummer and co-founder Greg Saunier. According to Saunier, Deerhoof started as the solo recording project of bassist\/guitarst Rob Fisk. “The first ever Deerhoof thing was a cassette Rob made. He did a run of five copies, and I still have my copy of that original Deerhoof release.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“I’d been playing with Rob since 1992, but in a different band called Nitre Pit,” Saunier continues. “We used to come in an hour early before Nitre Pit practiced. I remember one time at the end of the hour we were just staring at each other stunned. Suddenly freed from the structure of any song, we realized there was so much more rapport when it was just the two of us playing totally freely and as loud as we possibly could.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe addition of Satomi Matsuzaki as vocalist was the next major step in Deerhoof’s evolution. “When we'd play we were just flailing and convulsing around on our instruments,” Saunier shares. “It was impossible to keep our mouths near a microphone, let alone sing into one. We realized that we really needed to get a singer.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMatsuzaki arrived in San Francisco from Japan in 1995 to attend college. She was tipped off by a mutual friend that Deerhoof was in search of a vocalist. Though she had no prior experience working in music, she agreed to meet the band for an audition. “Not only had Satomi not been in a band before, she had no musical experience whatsoever outside of learning the recorder in middle school,” Saunier reflects. “But when she heard how chaotic we were she figured she couldn't make the band any worse than it already sounded. [laughs]”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe stark simplicity of Matsuzaki’s vocal contributions provided a perfect foil to Fisk and Saunier’s over the top style. “Within seconds of hearing Satomi sing I knew instantly it was what had been missing from our band,” Saunier says. “We had a tour booked ten days after Satomi joined the band. Suddenly, the three of us were on tour, we were a band.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMatsuzaki’s lack of experience did not deter her confidence. “It was a noise band, so I figured I could just do whatever I wanted. I moved to San Francisco to go to school, and it sounded like a fun afterschool activity.” But she was a bit taken aback by the duo’s often eccentric D.I.Y. work style. “I thought we'd have a practice space, but we ended up practicing in a kitchen. It was a small kitchen, and there was a big cat, and a big dog who were always looking for food. It was so crowded. Greg was playing drums with chopsticks and Rob was playing bass with a cow hoof.”\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith the addition of Matsuzaki, Deerhoof quickly outgrew their roots in San Francisco’s noise scene. While Deerhoof retained the unrestrained creative freedom of the noise genre, they  embraced the structured songcraft of pop music. “Deerhoof sort-of picked up right when Nirvana ended and we felt like a grunge band or a rock band,” Saunier shares. “We never fit well in the noise scene. We'd come out and have melodies, and it would go to a chorus, and we'd have cute lyrics about animals and flowers and stuff. But the reality is we didn't fit well on any kind of pop bill either, our music was too chaotic.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDeerhoof’s strikingly individual sound may have been an impediment during the group’s early years, but it would soon propel the band to international notoriety.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003e\u003cem\u003eTHE MAN, THE KING, THE GIRL\u003c\/em\u003e - 1997\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough Deerhoof had already released a handful of vinyl and cassette oddities, \u003cem\u003eThe Man, the King, the Girl\u003c\/em\u003e is officially acknowledged as the group’s debut album. The recording features the early Deerhoof core unit of Rob Fisk on bass and guitar, Greg Saunier on drums, and Satomi Matsuzaki on vocals.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe opportunity to record \u003cem\u003eThe Man, the King, the Girl\u003c\/em\u003e came about through the band’s relationship with Kill Rock Stars, Deerhoof had released a single with the label in 1995. “Our seven inch was anything but a smash hit,” Saunier observes. “If that was our trial period with Kill Rock Stars, I can't imagine what about the results of that single convinced them it was time to do a full length CD. But somehow within the logic of their decision making, for which I will forever be in their debt, they decided that Deerhoof should have an album.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“We didn't really know what we were doing,” Saunier continues. “But once we realized we were gonna be making an album we would record all our practices and try to find magical moments. Funny things would happen by accident that would give something special to a particular song. Something that couldn't ever be repeated. We'd get home after recording, and try to find all the most magical moments from the stuff we'd recorded. Making that first album was probably two years of compiling zillions of those tapes.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eThe Man, the King, the Girl\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e saw Deerhoof consciously moving away from their improvisatory noise music roots. “So much of our music was in the moment,” Saunier shares. “But we had songs, and we thought of them as pop songs. We were trying to make things that were really catchy. We weren't trying to make it lo-fi. We were trying to make it hi-fi. We were trying to make it sound powerful. We'd listen through and try to pick the best moments, and what we thought were the catchiest moments, and the most hi-fi moments. That's how we put together the first CD.”\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor Satomi Matsuzaki the album remains a highpoint in the band’s discography. “It's one of my favorite Deerhoof albums. It's chaotic, but it sounds so real, and our characters are so out there.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003e\u003cem\u003eHOLDYPAWS\u003c\/em\u003e - 1999\u003c\/strong\u003e\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDuring the recording of \u003cem\u003eHoldypaws\u003c\/em\u003e, Saunier thought he’d discovered a foolproof formula for high-fidelity pop perfection, but things didn’t turn out as planned.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“Our friend Bob got a computer,” Saunier recalls. “Bob had an early version of Pro Tools. You know, it's very widespread now and everybody has GarageBand, or Ableton, or whatever — but this was an early model. Bob agreed to allow Deerhoof to come to his basement and try to record \u003cem\u003eHoldypaws\u003c\/em\u003e. He made this agreement after seeing us play live and thinking we were very fun loving and spontaneous, and surely we'd come in and blow through an album's worth of songs and be done in an hour. That’s how our shows were, they were so spontaneous and fun.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUnfortunately for Bob, the\u003cem\u003e Holdypaws \u003c\/em\u003esessions were anything but spontaneous as Saunier obsessed over every aspect of the recording process. “In our minds we wanted to record at his place because we thought we'd finally found the magic bullet of high-fidelity sound. So we came in there with the most nit-picky attitude. We'd never done any computer recording before, but we just waltzed in as though we knew everything about how to do it. We took a perfectionist approach and played the songs in the complete opposite of how our live shows were, and completely the opposite of \u003cem\u003eThe Man, the King, the Girl\u003c\/em\u003e. There was no noise on \u003cem\u003eHoldypaws\u003c\/em\u003e, no improvisation, there was no chaos, and there was every intention to be as hi-fi as possible. We wanted to make a clear, perfectly-sounding, and perfectly-performed indie rock pop record.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlong with the new recording techniques Deerhoof completely reinvented their approach to performing on the \u003cem\u003eHoldypaws \u003c\/em\u003esessions. “I didn't even play drums on that album,” Saunier observes. “I sampled one bass drum hit from Ringo Starr's drum solo on \u003cem\u003eAbbey Road\u003c\/em\u003e and loaded it into a keyboard Bob had. Then I took the snare drum hit from what was then the new record from Keith Richards And The X-Pensive Winos. So the drums on \u003cem\u003eHoldypaws\u003c\/em\u003e are just two keys on a keyboard — one was the bass drum, and one was the snare. I was just completely convinced that was the way to create a hi-fi record, because every single drum hit would sound exactly the same on every song, and would be the perfect tones.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eHoldypaws \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003ealso marked Satomi Matsuzaki’s first appearance on bass, and the arrival of Kelly Goode on keys. “We weren't using any kind of traditional music vocabulary,” Saunier remembers. “Although Kelly didn't play the keyboard at all, we felt it would really help our sound if we added her. But the only keyboard we had was a Casio VL-Tone that I had gotten as a Christmas present in the early '80s. It was very small, it only played one note at a time, and it doubled as a calculator. Because it was a calculator, every key had a number. But they weren't really even keys, they were just little black and white buttons that were sort-of arranged to look a little like a piano keyboard. So each key had a number, and the way we would figure out these songs was to give Kelly a sequence of numbers of the buttons to press and then the melody would come out right. At the same time Satomi had decided to teach herself to play bass. She had a collection of animal stickers which she put on the neck of the bass, one for each fret. So when we were figuring out the songs we'd be like, 'You hit bear three times, and then go to lion.' [laughs]”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBut according to Saunier, Bob was growing weary of Deerhoof’s endless experimentation. “As we were mixing it Bob finally got impatient with me. He had kids, and I was coming over to his house and doing all-nighters on his computer too many times. After a week or so, he was like, 'We're finishing this today.' I was like, 'What? I'm nowhere close to getting this thing right!' [laughs] So in the end it was a completely panicked mix. We had to make the final mix so fast, and I didn't feel like we were ready at all.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eHoldypaws\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e remains a fascinating gem in the Deerhoof catalog. “I’ve always felt the charm of the record was in its failed attempt to be a perfectly recorded mainstream rock record” Saunier adds. “I don't know what we thought, maybe that it would sound like Sheryl Crow or something? [laughs] But it so did not turn out like that.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003e\u003cem\u003eHALFBIRD\u003c\/em\u003e - 2001\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“Actually \u003cem\u003eHalfbird\u003c\/em\u003e was going to be our second album,” Saunier says. “The reason \u003cem\u003eHalfbird \u003c\/em\u003ecame out as our third album instead of our second is because it took four years of tinkering on the four-track to get it ready for release.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHalfbird represents the apex of Deerhoof’s struggle to pull hi-fi sound out of lo-fi gear. “Two of the three LPs that are being reissued now were recorded on the same broken Tascam four-track cassette machine,” Saunier shares. “It was so much trouble to even get it to record a sound. It would keep switching off because the power thing was broken and the inputs didn't work.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“When our first album completely bombed, we were determined to do a better job,” Saunier recalls. Though Deerhoof were stuck recording on the aforementioned broken Tascam, Saunier valiantly tried to improve other aspects of the recording process. “We borrowed some better amps and microphones. We tried to do it right. I'd read something in a magazine about how your supposed to mic a bass drum and we’d try it. We recorded all the loud songs in one day with a couple borrowed microphones in a borrowed room. We recorded all the quiet songs in the front of our apartment while our roommate wasn't home. It was all one take per song and that's what we had to work with.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBut \u003cem\u003eHalfbird \u003c\/em\u003ewould spend several years mired in post-production limbo. “We gave up on it so many times, and then came back to it thinking maybe it could work,” Saunier says. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMatsuzaki recalls Saunier’s obsession with salvaging the project. “For months Greg would sit in front of the Tascam four-track all day long just touching all these knobs, Matsuzaki says. “I’m from Japan, and I thought there's so much technology out there, I was like, 'Wow, Greg really believes in this machine.’ It was a mystery to me and I wondered, ‘Why don't we just buy something else?' Greg tried so hard. The machine itself showed wear from how much Greg was working with it.” \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“I’ll never get those years back that I spent on that Tascam,” Saunier laughs. “I was literally starting to experience sanity issues from obsessing over that tape machine.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEventually Deerhoof succeeded in bringing \u003cem\u003eHalfbird\u003c\/em\u003e to life. But by the time the album was issued in 2001, Saunier says that Deerhoof was in a difficult place. “There was an existential crisis every week or so. In the four years it took to complete\u003cem\u003e Halfbird\u003c\/em\u003e Rob and Kelly quit, and it seemed like the band was over. It had become such a pain, and we were so amazingly unsuccessful in everything we attempted. All of our CDs lost money, all of our tours lost money, and this was happening when the first of San Francisco's tech booms was starting and everything was getting really expensive. Rob started thinking, 'What in the world am I doing?' We all had those doubts constantly. It seemed like a silly way to be wasting your life away, huddled over a four-track machine and playing to the same eight people at every show. It felt like it was going nowhere, and meanwhile the cost of living was skyrocketing.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“A new phase of the band was about to start,” Saunier reflects. Deerhoof’s next album\u003cem\u003e Reveille \u003c\/em\u003ewould receive remarkable critical acclaim, being included in 2002-best-of lists published by Pitchfork and the New York Times. Deerhoof were on their way to indie rock glory and fame. “Like anybody's life, so much of Deerhoof’s story has been built around accidents and coincidences,” Saunier shares. “Everything just kept falling into place in a way that allowed us to get things done.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBoth Matsuzaki and Saunier feel Deerhoof’s early work deserves a new listen. “I felt lucky this year to be able to go back to those first three records and hear what they actually sounded like,” Saunier says. “When those records are mentioned they're usually referred to as our lo-fi\/noise albums. So it was really great for me to hear those records again and realize they were every bit as poppy as anything we've done since.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“I think these three albums are Deerhoof's most raw and real albums,” Matsuzaki adds. “These albums are almost like science fiction to me. We had all these fantasies about what we wanted to do musically and we were struggling to meet that reality. But I feel like the labels and people we worked with believed in our weird fantasy. I still believe in that fantasy and after 25 years I still like these albums. I hope people will enjoy too.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Deerhoof","offers":[{"title":"\"Halfbird\" LP + Digital (Pink \u0026 Yellow Split Color vinyl. Comes with instant download of Halfbird in MP3, WAV \u0026 AIFF.)","offer_id":17989447942215,"sku":"JNR319_Halfbird_LP-C1","price":23.0,"currency_code":"USD","in_stock":true},{"title":"3xLP Vinyl Bundle + Digital (25th Year of being Deerhoof 3LP bundle. 'Holdy Paws' [Kill Rock Stars]; 'The Man, the King, the Girl' [Polyvinyl]; \u0026 'Halfbird' [JNR]. Comes with instant download.)","offer_id":17989441650759,"sku":"JNR319_3xLP_bundle","price":54.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR319_-_Halfbird_-_Cover_-_DIGITAL.jpg?v=1571064654"},{"product_id":"sorry-you-couldnt-make-it","title":"Sorry You Couldn't Make It","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eLISTEN \/ Track Listing\u003c\/div\u003e\n\u003ciframe width=\"100%\" height=\"400\" src=\"https:\/\/www.youtube.com\/embed\/xyZzvWyRpSA\"\u003e\u003c\/iframe\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003col\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/lnk.to\/SleepingWithoutYou\" target=\"_blank\"\u003eSleeping Without You Is a Dragg\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/JNR.lnk.to\/GoodBetterBest\" target=\"_blank\"\u003eGood, Better, Best\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eDon't Take Her (She's All I Got)\u003c\/li\u003e\n\u003cli\u003eFamily Pain\u003c\/li\u003e\n\u003cli\u003eI Lay Awake\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/lnk.to\/swampdogg-memories\" target=\"_blank\"\u003eMemories (feat. John Prine)\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eI'd Rather Be Your Used To Be\u003c\/li\u003e\n\u003cli\u003eBilly\u003c\/li\u003e\n\u003cli\u003eA Good Song\u003c\/li\u003e\n\u003cli\u003ePlease Let Me Go Round Again (feat. John Prine)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003eBonus 7\":\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Lay Awake (Demo) 2:46\u003c\/li\u003e\n\u003cli\u003eI'd Rather Be Your Used to Be (Demo) 2:59\u003c\/li\u003e\n\u003cli\u003ePlease Let Me Go Round Again (Demo) 5:36\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp class=\"p1\"\u003e***\u003ca href=\"%20We%20do%20have%20some%20stock%20left,%20but%20would%20you%20consider%20linking%20to%20our%20site%20for%20people%20to%20purchase%20them?%20%20https:\/\/pioneerworks.org\/publishing\/swamp-dogg-sorry-you-couldnt-make-it\/\" target=\"_blank\"\u003eSmall quantity of the ltd. Pioneer Works edition available, linked here\u003c\/a\u003e.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/pioneerworks.org\/publishing\/swamp-dogg-sorry-you-couldnt-make-it\/\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/pioneerworks.org\/publishing\/swamp-dogg-sorry-you-couldnt-make-it\/\u0026amp;source=gmail\u0026amp;ust=1591807078049000\u0026amp;usg=AFQjCNFy1slNjEGYyUNSBxrWsc0L3IrQ_g\" target=\"_blank\"\u003e\u003c\/a\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eJerry Williams’—aka \u003cstrong\u003eSwamp Dogg\u003c\/strong\u003e—first love was country music, listening to it as a Navy family kid growing up in Portsmouth, Virginia. “My granddaddy, he just bought country records out the asshole,” Swamp remembers. “Every Friday when he came home from the Navy yard he’d stop off and get his records, like ‘Mule Train’ by Frankie Laine, or ‘Riders in the Sky’ by Vaughn Monroe.” His first time performing on stage, in fact, was a country song at a talent show when he was six years old: “I did Red Foley’s version of ‘Peace in the Valley.’”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhile the 77 year-old Williams’ most enduring persona is the psychedelic soul superhero Swamp Dogg—a musical vigilante upholding truths both personal and political since 1970’s immortal album, \u003cem\u003eTotal Destruction To Your Mind\u003c\/em\u003e—he will tell anybody who will listen that he’s considered himself country this entire time. “If you notice I use a lot of horns,” Swamp says. “But actually, if you listen to my records before I start stacking shit on it, I’m country. I sound country.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSwamp began his professional singing career as Little Jerry Williams back in the ‘50s before working as an A\u0026amp;R man for Atlantic Records in the late ‘60s. His biggest hit is actually a country song: 1970’s “Don’t Take Her (She’s All I Got).” Written with his best friend Gary U.S. Bonds, the track is country in that woeful, underdog-baring-their-soul sort of way that for some reason only country songs really ever allow themselves to be. Freddie North covered it first and made it a Top 40 pop song, but Johnny Paycheck took it all the way to #2 on the country charts in 1971.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFollowing 2018’s critically acclaimed, Ryan Olson-produced \u003ca href=\"https:\/\/www.joyfulnoiserecordings.com\/products\/love-loss-and-auto-tune\" target=\"_blank\"\u003e\u003cem\u003eLove, Loss, And Auto-Tune\u003c\/em\u003e\u003c\/a\u003e—his first LP to debut on 11 Billboard charts (including at #7 on 'Heatseekers’) and his first chart ink since his 1970 song “Mama's Baby - Daddy's Maybe”—\u003cstrong\u003e\u003cem\u003eSorry You Couldn’t Make It\u003c\/em\u003e \u003c\/strong\u003eallows Swamp to finally dive into the sound he grew up playing. With the support of Pioneer Works Press, they recorded the album at Nashville’s Sound Emporium with Olson as producer once again, and backed by a crack studio band led by Derick Lee, a keyboard virtuoso who worked as the musical director of BET’s Bobby Jones Gospel Show for nearly four decades. Nashville guitar firebrand Jim Oblon combusts his way through lead duties, while frequent collaborator Moogstar and special guests Justin Vernon (Bon Iver), John Prine, Jenny Lewis, Channy Leaneagh and Chris Beirden of Poliça, and Sam Amidon join the action throughout.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA band of 14 players, including Vernon, Lee, Beirden, and Moogstar, among others, provides the background for Swamp’s devastating new take on “Don’t Take Her (She’s All I Got).” Lead single “Sleeping Without You Is A Dragg” is one of Swamp’s most heartfelt songs to date and features Vernon on piano as well as backing vocals by Lewis and Leaneagh. He duets with country-folk legend Prine on two songs (“It’s the first time I seen John since the sixties!” laughs Swamp): the indelible, psychedelic ballad “Memories” and the reflective “Please Let Me Go Round Again.” Originally written and demoed in his forties, “Please Let Me Go Round Again” is a plea for one more chance at life, sung with acute emotional connection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThese are narratives about love, of missing the one you love, of compassion, family and friends, and even the kind of love that transcends death. “I was looking for a new way for Swamp Dogg to go,” he explains. “Apart from me singing and writing most of the songs, I didn’t participate—in other words, I told ‘em, ‘Don’t ask me, I wanna see what happens without my influence.’ It was hard for me to do, ego-wise.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003e\u003cstrong\u003eSorry You Couldn’t Make It\u003c\/strong\u003e\u003c\/em\u003e sees Swamp come full circle, and closes what has felt to him like unfinished business. “They didn’t have any blacks in country until Charlie Pride came along,” he says. “But in time, all things change and that's what has happened to country music.” Surveying today’s Nashville reality, Swamp sees opportunity: artists as divergent as Darius Rucker and Lil Nas X are converging in a genre that he once worried might never give him his shot. “I'm anxious because it's like I've taken all my money and put it on one horse,” he says. “But I believe in this horse.”\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Swamp Dogg","offers":[{"title":"Black Vinyl + Digital (Includes instant download in MP3, AIFF + WAV.)","offer_id":31483635105863,"sku":"JNR327_SYCMI-LP","price":22.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (Includes instant download in MP3, AIFF + WAV.)","offer_id":31483564589127,"sku":"JNR327_SYCMI_CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download in MP3, AIFF + WAV.)","offer_id":31483564621895,"sku":"JNR327_SYCMI-Digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"\"Swamp Green\" Vinyl + Digital (Presented by Pioneer Works. Limited Edition of 1500 w\/ Gatefold jacket \u0026 art booklet. Includes Bonus 7\" with 3 unreleased songs. Includes instant download in MP3, AIFF + WAV.)","offer_id":31507189563463,"sku":"JNR327_SYCMI-LP-C1_pioneerworks","price":25.0,"currency_code":"USD","in_stock":false},{"title":"VIP","offer_id":31483564654663,"sku":"JNR327_SYCMI_VIP","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/SWAMP_DOGG_DANIEL_FINAL.png?v=1576011842"},{"product_id":"future-teenage-cave-artists","title":"Future Teenage Cave Artists","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing \/ WATCH\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003ciframe width=\"100%\" height=\"400\" src=\"https:\/\/www.youtube.com\/embed\/-oCsHmYNrXE\"\u003e\u003c\/iframe\u003e\n\u003col\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/lnk.to\/FTCA_TheLovedOne\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eFuture Teenage Cave Artists\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eSympathy for the Baby Boo\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/lnk.to\/FTCA_TheLovedOne\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eThe Loved One\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eO Ye Saddle Babes\u003c\/li\u003e\n\u003cli\u003eNew Orphan Asylum for Spirited Deerchildren\u003c\/li\u003e\n\u003cli\u003eZazeet\u003c\/li\u003e\n\u003cli\u003eFraction Anthem\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/lnk.to\/FarewellSymphony\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\"Farewell\" Symphony\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eReduced Guilt\u003c\/li\u003e\n\u003cli\u003eDamaged Eyes Squinting into the Beautiful Overhot Sun\u003c\/li\u003e\n\u003cli\u003eI Call on Thee\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp\u003e\"Deerhoof is a weapon loaded with the future.\" - Agustín Fernández Mallo, Spanish physicist and writer\u003c\/p\u003e\n\u003cp\u003eNormal is never coming back. Whether by a collective dismantling or sheer collapse, our old illusions are being hollowed out. Over the past couple of years, Deerhoof has been asking themselves if there was any music they could create that expressed how the rapidly changing future might actually feel. The finished product, \u003cem\u003eFuture Teenage Cave Artists,\u003c\/em\u003e finds Deerhoof in a revolutionary mood, but also haunted by memories of a lost world and every failed attempt to save it. People already cut loose from the system, already surviving with new ways of life—these hopeful heroes are Deerhoof’s inspiration. These are the \u003cem\u003eFuture Teenage Cave Artists\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eFaithful listeners will recognize a certain alienated but transformational figure who shows up in Deerhoof songs going back to their earliest days. Take the narrator of “The Perfect Me” from 2007’s \u003cem\u003eFriend Opportunity\u003c\/em\u003e: an orphaned but eager soul attempting to entice other wounded wanderers who might lack a home, a clan, a family, a history. But on \u003cem\u003eFuture Teenage Cave Artists\u003c\/em\u003e our protagonist is threatened by terror lurking around every corner. Add to that the fact that our “cast-off queen,” our “maniac,” our “terrible daughter” are watching themselves get orphaned in real time by an older generation in power that would rather see life on Earth destroyed than give up archaic systems of capital.\u003c\/p\u003e\n\u003cp\u003eLike a lot of the inimitable music they have released over the last quarter-century, the Deerhoof of \u003cem\u003eFuture Teenage Cave Artists \u003c\/em\u003e(Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of R\u0026amp;B and classic rock and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy—the blues riffs and slide guitars are joined by soft, rickety pianos and whispered three-part harmonies.\u003c\/p\u003e\n\u003cp\u003eIn this sense, \u003cem\u003eFTCA \u003c\/em\u003einverts the formula of Deerhoof’s last album, \u003cem\u003eMountain Moves\u003c\/em\u003e, which invited a wide community of collaborators to band together in an open celebration of solidarity. The new one, on the other hand, is borne of self-isolation and deprivation. It’s the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon: a desperate lunge at metamorphosis.\u003c\/p\u003e\n\u003cp\u003eAt times \u003cem\u003eFTCA\u003c\/em\u003e indeed sounds as if the band has retreated to the caves, recording with unreliable electricity and insecure food supplies. Guitar pedals malfunction mid-take, reverbs chop off mid-tail, drum fills collapse mid-phrase. Some musical moments, as gorgeous and touching as anything Deerhoof has ever written, stop short for no apparent reason, giving way to queasy smudges of sound. Many of the instruments and voices were recorded with nothing more than the built-in mic of a laptop. Harsh splices make no effort to hide the seams. Hard panning leaves many of these imperfections weirdly naked in the mix.\u003c\/p\u003e\n\u003cp\u003eIn this way \u003cem\u003eFTCA\u003c\/em\u003e joins a storied lineage of pop records that expose the insular and reclusive nature of recording itself. Like \u003cem\u003eLet It Be, There's a Riot Goin' On, \u003c\/em\u003eor \u003cem\u003eSister Lovers\u003c\/em\u003e, this record is its own “making-of.” Absence is a central character in the drama. For every heartwarming melody or pile-up of parade drums or shard of loopy guitar noise, there is musical acknowledgement of the toll that a constant threat of cataclysm takes on mental health. This is a sonic and lyric funeral for a way of life that is never coming back—an afterparty, back when the doomsday clock hit midnight. There are raucous toasts to the departed in high style, as sassy and spasmodic as anything they've done—see Side A; there are moments of profound sadness, maximally small, descending into madness, shrieking with loss—see Side B. All funerals remind us that life goes on, somehow.\u003c\/p\u003e\n\u003cp\u003eIn that time after the end times, it’s not only the food systems, energy systems, and political systems that will have to be rebuilt. Myths, stories, and rituals we use to make sense of the world are up for revision, too. Might not agile networks of mutual aid be our best example of civilization, and our makeshift DIY basement shows be the real high art? One answer might be found in the two-and-a-half decades that this improbable combination of personalities and backgrounds we call Deerhoof has spent on stage, cultivating quick-wittedness and improvisation. This is a record about resilience and the persistence of hope in a future beyond any reasonable justification for it. Like so many young people today, Deerhoof seems to be already living in that future.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Deerhoof","offers":[{"title":"Blood Vinyl + Digital (Packaged in Gatefold artwork)","offer_id":31862686613575,"sku":"JNR331_FTCA_LP-C1","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital","offer_id":31862705061959,"sku":"JNR331_FTCA_CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette + Digital (Clear tape shell)","offer_id":31862704701511,"sku":"JNR331_FTCA_Cass","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital (High-quality MP3, AIFF, and WAV download)","offer_id":31862705193031,"sku":"JNR331_FTCA_Digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":31862686580807,"sku":"JNR331_FTCA_VIP","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR331-FTCA-Cover-Art_web.jpg?v=1627393274"},{"product_id":"legal-ghost","title":"Legal Ghost b\/w Heaven [Talking Heads]","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing \/ Listen\u003c\/div\u003e\n\u003ciframe width=\"100%\" height=\"400\" src=\"https:\/\/www.youtube.com\/embed\/ehPuFNucL8c\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e\u003cstrong\u003eSIDE A:\u003c\/strong\u003e \u003ca href=\"https:\/\/JNR.lnk.to\/legal-ghost\" target=\"_blank\"\u003eLegal Ghost\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSIDE B:\u003c\/strong\u003e \u003ca href=\"https:\/\/lnk.to\/LegalGhost-Heaven\" target=\"_blank\"\u003eHeaven [by Talking Heads]\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"text-align: left;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"text-align: left;\" class=\"col span_1_of_2\"\u003e\u003cstrong\u003eTropical Fuck Storm shirt by artist Joe Becker\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"text-align: left;\" class=\"col span_1_of_2\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003ca href=\"https:\/\/www.joyfulnoiserecordings.com\/products\/tropical-fuck-storm-t-shirt-joe-becker\" target=\"_blank\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/files\/TFS_shirt-2020_1024x1024_a3026e48-a8b9-4823-895e-cfe10066d3d8_480x480.jpg?v=1599833356\" width=\"240x240\" height=\"240x240\" style=\"float: none;\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/files\/TFS_shirt-2020_1024x1024_a3026e48-a8b9-4823-895e-cfe10066d3d8_480x480.jpg?v=1599833356\"\u003e\u003c\/a\u003e    \u003ca href=\"https:\/\/www.joyfulnoiserecordings.com\/products\/tropical-fuck-storm-t-shirt-joe-becker\" target=\"_blank\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/files\/TFS_shirt-2020_black_1024x1024_27b571c2-f64c-40cf-bd8f-8a1921bcaf9c_480x480.jpg?v=1599833364\" width=\"240x240\" height=\"240x240\" style=\"float: none;\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/files\/TFS_shirt-2020_black_1024x1024_27b571c2-f64c-40cf-bd8f-8a1921bcaf9c_480x480.jpg?v=1599833364\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAustralia’s \u003cstrong\u003eTropical Fuck Storm\u003c\/strong\u003e announce new 7 inch \u003cstrong\u003e\u003cem data-mce-fragment=\"1\"\u003eLegal Ghost\u003c\/em\u003e\u003c\/strong\u003e. These two new tunes are TFS at their, existential best, and it’s just what the doctor ordered. The songs were recorded at Dodgy Brothers Studio in Central Victoria, right before the world went indoors.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e‘Legal Ghost’ originally appeared on Gareth and original Drones member Rui Pereira’s pre-Drones experimental home four-track recordings LP \u003cem data-mce-fragment=\"1\"\u003eBong Odyssey\u003c\/em\u003e, recorded in the 90’s when Gareth and Rui were pot-smoking teenage morons.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e20 years down the track, TFS have re-recorded the song for old time’s sake. Says Gareth, “This is the first song I ever wrote that I thought was actually a decent song. Everything before it was kinda a big tantrum, but this song had a touch of class. When I was putting together the \u003cem data-mce-fragment=\"1\"\u003eBong Odyssey\u003c\/em\u003e record a few years ago, I heard it again and thought this was something that could work really well with TFS, although the original was really cool, it still sounded more like a sketch of a song, and wasn’t quite fully realised, so I took the song to TFS and we fleshed it out a bit.” \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn keeping with the A-Side’s vibe, the B-side is a version of Talking Heads’ immortal ode to mortality, “Heaven.”  Recorded on the same four-track machine that ‘Legal Ghost’ was originally recorded on over 20 years ago, the song features guest performers Don Don and H’y, on pedal steel and violin, respectively.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Tropical Fuck Storm","offers":[{"title":"Black 7\" Vinyl + Digital (Includes instant download of high quality MP3, AIFF + WAV.)","offer_id":32431714205767,"sku":"JNR345_TFS7-black","price":7.0,"currency_code":"USD","in_stock":false},{"title":"Digital (Instant download in high quality MP3, AIFF + WAV.)","offer_id":32431714238535,"sku":"JNR345_TFS_Digital","price":2.0,"currency_code":"USD","in_stock":true},{"title":"Limited Edition 7\" Vinyl + Digital (Pressed to bottle green vinyl, ltd to 500. Includes download of high quality MP3 + WAV.)","offer_id":32431714271303,"sku":"JNR345_TFS7_bottleGreen","price":9.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR345_TFS_Legal-Ghost.jpg?v=1594143167"},{"product_id":"rat-a-tat-tat","title":"Rat-A-Tat-Tat!","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTracklist \/ Listen\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003ciframe width=\"100%\" height=\"400\" src=\"https:\/\/www.youtube.com\/embed\/AhDyEa7VhNo\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003col\u003e\n\u003cli\u003eMoclips\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eI Can't Help You There\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/lnk.to\/TougherWE\" target=\"_blank\"\u003eTougher\u003c\/a\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eStumbler\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eShark Like Overbite\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eSupine Is How I Found Him\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eI'll Never Say\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eNew Pharaoh\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eUntrue Crime\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eThe Bowie Mix\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003ePiso Mojado\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eKiss Proof World\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cbr\u003e [Bonus Flexi] Swiss Triplets 1:38\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cem\u003e\u003cstrong\u003eRat-A-Tat-Tat!\u003c\/strong\u003e\u003c\/em\u003e Is that the sound of the reaper knocking on your door to collect your soul -- or \u003cstrong\u003eDale Crover\u003c\/strong\u003e hammering out another distinctive drum fill?\u003cbr\u003e\u003cbr\u003eThere are pretty good odds it’s the latter; between 36 years (and about as many full-lengths and EPs) as drummer\/bassist for the Melvins and his contributions to acts as varied as \u003cstrong\u003eAltamont, Peeping Tom, Redd Kross, Shrinebuilder,\u003c\/strong\u003e and a little band called \u003cstrong\u003eNirvana\u003c\/strong\u003e, he’s built quite the body of work. In 2017, he added a proper solo album to his extensive catalog, \u003cem\u003eThe Fickle Finger of Fate\u003c\/em\u003e. Now he’s followed that with \u003cem\u003e\u003cstrong\u003eRat-A-Tat-Tat!\u003c\/strong\u003e \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eCrover takes the solo thing seriously: he wrote the album while on the road and provided vocals, drums, guitars, vibraphone, and miscellaneous percussion. Just like the last album, recording took place over at Toshi Kasai’s Sound of Sirens Studio in beautiful Sun Valley, CA. Kasai recorded and mixed it again, as well as co-producing it with Crover under the sobriquet Deaf Nephews. Celebrated graphic designer (and regular Melvins cover artist) Mackie Osborne created the striking album art, just as she did for \u003cem\u003eThe Fickle Finger of Fate\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003eSo what’s different this time around? Crover assembled an actual band to help him out. Redd Kross bassist Steve McDonald asked Crover to open for Redd Kross, Crover asked McDonald to play bass for him, and the rest is history. It’d be difficult for even the multi-talented Crover to put on a live show by himself without one of those one-man-band contraptions. In addition to McDonald, Kasai (ex-Big Business, Plan D) helps with keyboards, synths, jawharp, and backing vocals. Mindee Jorgensen (Dangerously Sleazy) sits behind the kit live and contributes additional drumming and some sweet saxophone skills here. His former Altamont bandmate Dan Southwick plays bass on “Tougher,” a track Crover cowrote with Kasai.\u003cbr\u003e\u003cbr\u003eSome pieces of the songs may sound familiar to the 127 completists who grabbed the limited-run lathe cut record \u003cem\u003ePiso Mojado\u003c\/em\u003e, a collection of experimental drum weirdness. Although insanity certainly abounds on \u003cem\u003eRat-a-Tat-Tat!\u003c\/em\u003e, there are also some surprisingly poppy moments. Crover claims “Shark Like Overbite” may be the poppiest song he’s ever written. It’s also the puppiest: it was inspired by the three dogs he’s had over the years. A few tunes (“I Can’t Help You There,” “Kiss Proof World”) harken back to his Pacific Northwest lineage. That said, “Tougher,” “Supine is How I Found Him,” and “New Pharaoh” careen right off the dial. It’s an eclectic mix, one that draws on song fragments he’s had for years. It still feels cohesive and uniquely Dale Crover.\u003cbr\u003e\u003cbr\u003e But then, who would expect anything other than the unexpected? The opportunity knocks to hear more Dale Crover jams; be sure to answer.\u003cbr\u003e\u003cbr\u003e -Jeff Treppel\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Dale Crover","offers":[{"title":"Purple Vinyl + Digital (Download includes WAV, AIFF \u0026 MP3 formats.)","offer_id":32490263019591,"sku":"JNR344_DaleCrover-LP-C1","price":22.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl + Digital (Download includes WAV, AIFF \u0026 MP3 formats.)","offer_id":32561898160199,"sku":"JNR344_DaleCrover-LP","price":20.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (Download includes WAV, AIFF \u0026 MP3 formats.)","offer_id":32490263052359,"sku":"JNR344_DaleCrover-CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Download in WAV, AIFF \u0026 MP3)","offer_id":32490263085127,"sku":"JNR344_DaleCrover-Digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":32490262986823,"sku":"JNR344_DaleCrover_VIP","price":35.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR344_DaleCrover_Rat-A-Tat-Tat.jpg?v=1603216261"},{"product_id":"surprise-symphonies","title":"Surprise Symphonies","description":"Digital (High-quality MP3, AIFF, and WAV download)\u003cbr\u003e\u003cbr\u003e\n\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eLISTEN\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3391078430\/size=large\/bgcol=ffffff\/linkcol=0687f5\/artwork=none\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/deerhoof.bandcamp.com\/album\/surprise-symphonies-2\"\u003eSurprise Symphonies by Deerhoof\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp\u003e\u003cspan\u003eCollection of b-sides and rarities from the first 25 years of Deerhoof.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Deerhoof","offers":[{"title":"Digital (High-quality MP3, AIFF, and WAV download)","offer_id":32517626363975,"sku":"JNR320-16-Digital","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/SurpriseSymphoniesCover-Final.jpg?v=1597870110"},{"product_id":"to-be-surrounded-by-beautiful-curious-breathing-laughing-flesh-is-enough","title":"To Be Surrounded By Beautiful, Curious, Breathing, Laughing Flesh Is Enough","description":"Digital \u003cspan\u003e(High-quality MP3, AIFF, and WAV download)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eLISTEN\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2247542060\/size=large\/bgcol=ffffff\/linkcol=0687f5\/artwork=none\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/deerhoof.bandcamp.com\/album\/to-be-surrounded-by-beautiful-curious-breathing-laughing-flesh-is-enough\"\u003eTo Be Surrounded By Beautiful, Curious, Breathing, Laughing Flesh Is Enough by Deerhoof\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp\u003e\u003cspan\u003eSharing its name with a line from Walt Whitman's \"I Sing The Body Electric\" the new live album captures the band of Satomi Matsuzaki, Ed Rodriguez, John Dieterich, and Greg Saunier in peak form, and culminates in a thrilling five-song collaborative set with legendary avant-garde jazz trumpeter\/composer Wadada Leo Smith as part of New York City’s Winter Jazzfest at Le Poisson Rouge.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e100% of album proceeds benefit Black Lives Matter. \u003c\/span\u003e\u003ca href=\"http:\/\/www.blacklivesmatter.com\/\" rel=\"nofollow ugc\"\u003ewww.blacklivesmatter.com\u003c\/a\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWadada Leo Smith says of the organization: \"Black Lives Matter has been doing fantastic work in keeping the rights and the liberty issues up-front in the minds of the Americans and international peoples. I think that BLM organization is an excellent place to give support to and to help bring democratic practices into the American society. Since in today’s world, true democracy is not practiced anywhere on the planet. Human Rights is a colossal type of event for anyone to realize, and it’s hard to do. But it must be done and I believe it can be achieved. What makes it so hard is that true democratic principles demand that all human beings respect the rights of others, and that we develop the capacity to share the wealth, the power and the earth and the sky together, with the condition that we collectively work to build a\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003epeaceful world. For all of us!\"\u003cbr\u003e\u003cbr\u003eSaunier adds: \"Part of what makes touring life so great was how unpredictable it is. All the unexpected encounters, promoters and audiences and performers willing to take a risk. That's what playing together with Wadada was for us. The corporate world seems to want to define 'musician' as 'internet content competitor' but the actual people who make music have to find ways out of that trap. That's why I'm touched that a master improviser like Wadada would bring up true democracy. To me, democracy and improvisation are linked, and they appear spontaneously at times like these, when strangers come\u003cbr\u003etogether to take action, and there is no rulebook.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Deerhoof","offers":[{"title":"Digital (High-quality MP3, AIFF, and WAV download)","offer_id":32517671878727,"sku":"JNR349-Digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/DeerhoofWadadaCoverArtFinal.jpg?v=1597870952"},{"product_id":"love-lore","title":"Love-Lore","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing \/ LISTEN\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cem\u003e\u003cstrong\u003eLove-Lore\u003c\/strong\u003e\u003c\/em\u003e track list by song\/artist:\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003eORNETTE COLEMAN • IN ALL LANGUAGES \u003cbr\u003eJ.D. ROBB • EXCERPT FROM SPATIAL SERENADE \u003cbr\u003eVOIVOD • MACROSOLUTIONS TO MEGAPROBLEMS \u003cbr\u003eEARL KIM • EARTHLIGHT \u003cbr\u003eSTU PHILLIPS • KNIGHT RIDER \u003cbr\u003eRAYMOND SCOTT • OHIO BELL \u003cbr\u003eMAURICIO KAGEL • MUSIC FOR RENAISSANCE INSTRUMENTS \u003cbr\u003eEDDIE GRANT • ELECTRIC AVENUE \u003cbr\u003eGARY NUMAN • CARS \u003cbr\u003eKARLHEINZ STOCKHAUSEN • KONTAKTE \u003cbr\u003eTHE BEACH BOYS • WONDERFUL \u003cbr\u003eGERALD FRIED • STAR TREK: BALANCE OF TERROR \u003cbr\u003ePAULINE OLIVEROS • ALL FOURS \u003cbr\u003ePAUL WILLIAMS • RAINBOW CONNECTION \u003cbr\u003eJAMES TENNEY • FOR ANN (RISING) \u003cbr\u003eSILVER APPLES • OSCILLATIONS \u003cbr\u003eTHE POLICE • DRIVEN TO TEARS \u003cbr\u003eKRAFTWERK • WE ARE THE ROBOTS \u003cbr\u003eJOHN WILLIAMS • CLOSE ENCOUNTERS OF THE THIRD KIND \u003cbr\u003eMORTON FELDMAN • PATTERNS IN A CHROMATIC FIELD \u003cbr\u003eSUN RA • THEY DWELL ON OTHER PLANES \u003cbr\u003ePARLIAMENT • UNFUNKY UFO \u003cbr\u003eASHA PUTHLI • SPACE TALK \u003cbr\u003eENNIO MORRICONE • OTTAVE COMANDAMENTO: CORRI VELOCE \u003cbr\u003eMILTON BABBITT • HOMILY FOR SNARE DRUM \u003cbr\u003eTHE B52S • SONG FOR A FUTURE GENERATION \u003cbr\u003eSOFIA GUBAIDULINA • MECHANICAL ACCORDION \u003cbr\u003eVINICIUS DE MORAES \u0026amp; BADEN POWELL • O ASTRONAUTA \u003cbr\u003eDIONNE WARWICK • DO YOU KNOW THE WAY TO SAN JOSE? \u003cbr\u003eDAVID GRAEBER • OF FLYING CARS AND THE DECLINING RATE OF PROFIT \u003cbr\u003eDEREK BAILEY • IMPROVISATION \u003cbr\u003eWILLIAM HANNA \u0026amp; HOYT CURTIN • THE JETSONS \u003cbr\u003eANTHONY BRAXTON • C-M=B05 \u003cbr\u003eGYORGY KURTAG • SHADOWS FOR CONTRABASS SOLO \u003cbr\u003eERIC SIDAY • THE PERKING COFFEE POT \u003cbr\u003eIGOR STRAVINSKY • VARIATIONS ALDOUS HUXLEY IN MEMORIAM \u003cbr\u003eCAETANO VELOSO • PULSAR \u003cbr\u003eLUIGI NONO • UNO ESPRESSIONE \u003cbr\u003eKRZYSZTOF PENDERECKI • THRENODY FOR THE VICTIMS OF HIROSHIMA \u003cbr\u003eJOHN CAGE • EMPTY WORDS \u003cbr\u003eGEORGE BRECHT • DRIP MUSIC \u003cbr\u003eTHE VELVET UNDERGROUND • ALL TOMORROW'S PARTIES \u003cbr\u003eLAURIE ANDERSON • EXAMPLE #22\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp\u003e---\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eEngineered by Philip Weinrobe at Rivington66\u003c\/span\u003e \u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003eHand-screened, hand-numbered 18\"x24\" poster featuring artwork by Satomi, an essay by Muindi Fanuel Muindi, and the complete tracklist of LOVE-LORE. Limited to 500 copies.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eIncludes free download of LOVE-LORE in high-quality MP3, WAV, and AIFF.\u003c\/b\u003e (Digital files available on release day, Sept. 28, 2020.) \u003cbr\u003e\u003cbr\u003e \u003cb\u003eAbout the album:\u003c\/b\u003e \u003cbr\u003e LOVE-LORE is a 35-minute, 43 song live-in-the-studio medley of covers unlike anything Deerhoof or anyone else has ever put together. Love-Lore forages a wide-ranging selection of music from the 50s through the 80s to reflect upon the overly optimistic promises of progress that humanity was fed across the culture and music of the post-war era. Instead of the projected 21st century in which disease, racism, and inequality are obsolete and everyone has a flying car and robot maid, our current blasted landscape finds the men, women, and children of Earth at the brink of extermination. And at the same time, Deerhoof finds hope in the wisdom of some of that era's anti-establishment voices, particularly the Afro-futurists, whose seeds we now see beginning to grow into trees.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Deerhoof","offers":[{"title":"Limited Edition Poster + Digital (Hand-screened 18\"x24\" poster, limited edition of 500. Includes digital download of 'Love-Lore' album in high-quality MP3, WAV, and AIFF.)","offer_id":32567304093767,"sku":"JNR347-LOVE-LORE-Poster","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital (MP3, WAV, and AIFF)","offer_id":32585417883719,"sku":"LOVE-LORE_Dig","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/Love-LoreCoverArtFINAL_de87d633-365b-476f-824a-58825517b1ff.jpg?v=1602252064"},{"product_id":"sorry-you-couldnt-make-it-demos","title":"Sorry You Couldn't Make It Demos","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTracklist\u003c\/div\u003e\n\u003col\u003e\n\u003cli\u003eBarney's Beanery\u003c\/li\u003e\n\u003cli\u003eI Lay Awake (Demo)\u003c\/li\u003e\n\u003cli\u003eI'd Rather Be Your Used To Be (Demo)\u003c\/li\u003e\n\u003cli\u003eSomething You Didn't Have Time To Do\u003c\/li\u003e\n\u003cli\u003eSleeping Without You Is A Dragg (Demo)\u003c\/li\u003e\n\u003cli\u003ePlease Let Me Go Round Again (Demo)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e'Sorry You Couldn’t Make It Demos'\u003c\/strong\u003e is a raw, original collection of six tracks self-recorded by Swamp Dogg between the early 1970s to the early 1980s. Each of the songs contained here were in consideration for 2020's critically acclaimed album ‘Sorry You Couldn’t Make It’. Four of the songs made it onto the album, and two are being released here for the first time.\u003cspan class=\"c-mrkdwn__br\" data-stringify-type=\"paragraph-break\"\u003e\u003c\/span\u003e“\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eAfter I spent a whole day pulling potential songs from Swamp’s endless folders of lyrics, he mentioned that he may have demo versions of some,” explains Ryan Olson, the producer of 'Sorry You Couldn’t Make It'. “Moogstar digitized the reel to reel tapes, which had been sitting in a closet for decades. The demo for ‘Please Let Me Go Around Again’ [which would become a duet with his friend, the late John Prine] started with a drum machine intro that we used as a placeholder for initial tracking, but as the session continued, we soon realized that was going to be the only drums we needed on the entire album.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan class=\"c-mrkdwn__br\" data-stringify-type=\"paragraph-break\"\u003e\u003c\/span\u003e‘Sorry You Couldn’t Make It Demos’ is a unique time capsule featuring original sketches of what would become classic songs, and showcasing the long-standing brilliance of a constantly evolving, highly-influential artist. The EP is released digitally and on cassette, limited to just 250 copies on red cassettes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eInterested in a \u003ca href=\"https:\/\/www.joyfulnoiserecordings.com\/products\/swamp-dogg-t-shirt\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eT-Shirt\u003c\/a\u003e of this design? Check out those options right this way!\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 data-pf-type=\"Heading\" class=\"sc-oTLFK lcHmGL pf-abee6f6f\"\u003e\u003ca href=\"https:\/\/www.joyfulnoiserecordings.com\/pages\/swamp-dogg-demos-cassette-t-shirt\" target=\"_blank\"\u003e\u003cspan data-pf-type=\"Text\" class=\"sc-ptSuy fnmilh pf-b16d33df\"\u003eBUNDLE \u0026amp; SAVE\u003c\/span\u003e\u003c\/a\u003e\u003c\/h2\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Swamp Dogg","offers":[{"title":"Cassette + Digital (Includes download in high-quality MP3, WAV, and AIFF)","offer_id":32656582508615,"sku":"JNR327-2_Demos_Cassette","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital (MP3, WAV, and AIFF)","offer_id":32656582541383,"sku":"JNR327-2","price":6.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/SYCMICassetteDigitalCoverArtNEW.jpg?v=1612201737"},{"product_id":"emigrant-ep","title":"Emigrant EP","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing \/ Listen\u003c\/div\u003e\n\u003cbr\u003e\u003ciframe width=\"100%\" height=\"400\" src=\"https:\/\/www.youtube.com\/embed\/videoseries?list=PLoB11Z8A5Nz9H-TSBr736FWyRXcl8bkoK\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \u003cbr\u003e\n\u003col\u003e\n\u003cli\u003eCascades (3:56)\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/lnk.to\/WaitforSpringtimeWE\" target=\"_blank\"\u003eWait for Springtime\u003c\/a\u003e (4:00)\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/lnk.to\/LaughingWithWE\" target=\"_blank\"\u003eLaughing With\u003c\/a\u003e (3:55)\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/lnk.to\/EarlyMorningWE\" target=\"_blank\"\u003eEarly Morning Breeze\u003c\/a\u003e (4:17)\u003c\/li\u003e\n\u003cli\u003eThose Days Are Gone (3:49)\u003c\/li\u003e\n\u003cli\u003eTown of Pray (6:17)\u003cbr\u003e[Total Album Length: 26:11]\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eBonus Track: \"\u003cspan data-mce-fragment=\"1\"\u003eLaughing With (Friday Evening Rehearsal with Charlie the 3 Legged Dog)\" (3:59)\u003cbr\u003e\u003cbr\u003e\u003cem\u003e*Bonus track is pressed on square, yellow 7\" flexi-disc, and includes unique artwork by \u003ca href=\"https:\/\/www.instagram.com\/cdaura\/\" target=\"_blank\"\u003eCristina Daura\u003c\/a\u003e. Available only with the VIP Edition Vinyl. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/open.spotify.com\/follow\/1\/?uri=spotify:artist:3LVPGE5jPPwtbGslx07YR0\u0026amp;size=detail\u0026amp;theme=light\u0026amp;show-count=0\" width=\"400\" height=\"100%\" style=\"border: none; overflow: hidden;\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eKishi Bashi’s \u003cem\u003e\u003cstrong\u003eEmigrant EP\u003c\/strong\u003e\u003c\/em\u003e is a lush bluegrass-inspired album referencing the brutal history and harsh climate of the American West. Arranged and recorded over the last year, \u003cem data-mce-fragment=\"1\"\u003eEmigrant\u003c\/em\u003e serves as a time capsule of the 2020 condition as it meditates on the anxieties of the COVID-19 pandemic, the comforts of nature, the pains of resource-fueled conflicts, and the resiliency that emerges from struggle. In grappling with history and stepping into personal identity, Kishi Bashi’s \u003cstrong\u003e\u003cem data-mce-fragment=\"1\"\u003eEmigrant\u003c\/em\u003e\u003c\/strong\u003e is steeped in the past while it looks to the future.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOver several years, the critically-acclaimed composer and adventurous multi-instrumentalist Kaoru Ishibashi, better known as Kishi Bashi, traveled frequently to Montana and Wyoming to work on \u003cem data-mce-fragment=\"1\"\u003eOmoiyari\u003c\/em\u003e, a “song film” about Japanese internment during WWII. Kishi Bashi’s accompanying 2019 album of the same name was a career-defining concept record lauded by NPR for its “profound empathy” and The New York Times for its “hand played yet exquisitely polished” qualities. It was an emotional and creatively potent experience for Kaoru to spend time in the American West, speaking with internment camp incarcerees and descendents. Considering his own bicultural identity as the child of Japanese immigrants came to influence Kishi Bashi’s approach to songwriting.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe songs for \u003cem data-mce-fragment=\"1\"\u003eEmigrant\u003c\/em\u003e emerged out of a socially-distanced 2020 road trip to this now-familiar region. Tours cancelled, Kaoru found himself with an abundance of free time, and mapped out a route for himself and his daughter that would take them from their home in Athens, Georgia, all the way to the west coast. Driving in a camper and posting up at RV parks, they moved through the Ozarks and the Dakotas, re-visited Montana and Wyoming, and finished in Oregon. In Montana, they stayed in a cabin in the EP’s namesake town. In Emigrant, 30 minutes from Yellowstone National Park and close to a historic goldmine, Kaoru was privy to a near perfect summer. But he also considered the long, cold winters that had tested many eras of inhabitants of the region, sensing a deep fragility of human life.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eArmed with a guitar and speaker setup, he began to arrange and record demos of a patchwork of covers and originals. Kaoru wrote “Town of Pray” after reading a biography of Liver-Eating Johnson, a 19th century trapper and murderous hunter of people in the Crow tribe. Closely-hewn to an alt-country ballad, the song weaves a narrative of pain and betrayal that feels as stark as the region’s winters. “Cascades”, written at the conclusion of the trip in Oregon after avoiding a wildfire, features plucked banjo and a soft, plodding drumbeat. Steeped in this Americana instrumentation and with a cinematic fiddled interlude, the song includes Kaoru singing “Nagasareru”, a Japanese term meaning “to be washed away”.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eKaoru’s research for \u003cstrong\u003e\u003cem data-mce-fragment=\"1\"\u003eOmoiyari \u003c\/em\u003e\u003c\/strong\u003eallowed him space to reflect on his own identity as a Japanese-American. This journey of discovery also gave him the freedom to gravitate towards roots music and fiddling, which he had never felt ownership over. “I’m not from Kentucky,” he laughs. “I’m not, like, from Ireland.” While studying at the Berklee College of Music with Matt Glaser, chair of the Americana division and a famed historian of jazz and bluegrass violin, he had learned about the blisteringly skilled Japanese bluegrass scene of the ‘60s and ‘70s. Remembering this history while writing the songs on \u003cem data-mce-fragment=\"1\"\u003eEmigrant\u003c\/em\u003e, Kaoru felt empowered to use his violin in a fiddle style, feeling a part of a hidden tradition that could move forward in his hands.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe wistful “Wait For Springtime” couples with a cover of Dolly Parton’s “Early Morning Breeze”. Centering slide guitar and a chorus of backup vocals singing ecstatically about the “rainbow colored flowers” and “drops of morning dew”, Kaoru plays up the country \u0026amp; western psychedelica of the original 1971 hit. “For there among the flowers, I kneel gently to my knees \/ To have a word with God in the early morning breeze,” he sings. A conversation with God features on \u003cem data-mce-fragment=\"1\"\u003eEmigrant\u003c\/em\u003e’s other cover, Regina Spektor’s haunting “Laughing With”. “No one laughs at God in a hospital” begins the song, a line newly relevant among the medical crises and partisan fervor of 2020. Kaoru played in Spektor’s band as a young musician, and he would watch her intently during shows, learning how to write songs and then perform that connected with people. As a solo artist experimenting with looping and beatboxing, the meticulous classically-trained Kaoru became entranced by the librerating energy that could be stoked in a live performance. Upon returning to Athens, he chose to record \u003cem data-mce-fragment=\"1\"\u003eEmigrant\u003c\/em\u003e live to 2-track tape. He chose to work with two frequent collaborators, banjoist Mike Savino (aka Tall Tall Trees) and cellist Emily Hope Price, also enlisting upright bassist Andrea DeMarcus and guitarist Dave Kirslis of the Athens indie-folk duo Cicada Rhythm. He and his bandmates wore masks between takes as Kaoru switched between guitar and violin, weaving a tight tapestry of sounds.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTraveling the U.S. western states and conceptualizing \u003cem data-mce-fragment=\"1\"\u003eEmigrant\u003c\/em\u003e, Kaoru was awash in the lonely vastness of the landscapes and the histories of colonial oppression and frontier struggle. But he also sensed a hope and potential, even in the midst of a raging pandemic. In looking back to the past, he saw strains of humanity, compassion, and resilience. In \u003cem data-mce-fragment=\"1\"\u003eEmigrant\u003c\/em\u003e, Kishi Bashi celebrates these qualities. “I want to understand the history, but also dive in and really try to humanize it,” he says. “I’m trying to show how we're all the same type of human being. We have the same desires and needs, to protect our loved ones and also to celebrate the everyday.”\u003c\/p\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Kishi Bashi","offers":[{"title":"Mountain Spring Vinyl + Digital (Clear 12\" vinyl. Includes instant download in high quality MP3, AIFF + WAV.)","offer_id":32769354956871,"sku":"JNR365_EmigrantEP_LPC1","price":22.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (Instant download in high quality MP3 \/ AIFF \/ WAV)","offer_id":39563702206535,"sku":"JNR365cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download in high quality MP3, AIFF + WAV.)","offer_id":32769355055175,"sku":"JNR365_EmigrantEP-Digital","price":8.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":32769355087943,"sku":"JNR365_EmigrantEP_VIP","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR365_Kishi-Bashi_Emigrant_EP_web_1800p.jpg?v=1615573889"},{"product_id":"reason-to-live","title":"Reason to Live","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing \/ Listen\u003c\/div\u003e\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Zu6IBEPd9Ws\" height=\"400\" width=\"100%\"\u003e\u003c\/iframe\u003e\n\u003col\u003e\n\u003cli\u003eIn My Arms\u003c\/li\u003e\n\u003cli\u003eReason To Live\u003c\/li\u003e\n\u003cli\u003eWhy Can’t It Wait\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/lnk.to\/LoveIntervene\" target=\"_blank\"\u003eLove Intervene\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003ePrivatize\u003c\/li\u003e\n\u003cli\u003eI Don’t Like Changes\u003c\/li\u003e\n\u003cli\u003eClouded Age\u003c\/li\u003e\n\u003cli\u003eOver You\u003c\/li\u003e\n\u003cli\u003eHow Do I Know\u003c\/li\u003e\n\u003cli\u003eCold One\u003c\/li\u003e\n\u003cli\u003eThirsty\u003c\/li\u003e\n\u003cli\u003eMaumee\u003c\/li\u003e\n\u003cli\u003eLows and Highs\u003c\/li\u003e\n\u003cli\u003ePaws\u003c\/li\u003e\n\u003cli\u003eTempted\u003c\/li\u003e\n\u003cli\u003eAll You People Suck\u003c\/li\u003e\n\u003cli\u003eAct of Faith\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp\u003e\u003cspan\u003eAfter decades on the road and the never-ending hustle of life as an artist, \u003cstrong\u003eLou Barlow\u003c\/strong\u003e has tapped into a new confidence in the chaos. In 2021, the concept of balance feels particularly intimidating. Now more than ever, it’s clear life isn’t just leveling out a pair of responsibilities. Instead, we’re chasing after a flock of different ideals with a butterfly net. On Barlow’s new solo album, \u003cstrong\u003e\u003cem\u003eReason to Live\u003c\/em\u003e\u003c\/strong\u003e, he has come to an understanding of that swirl rather than trying to contain it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs a long-time indie legend, Barlow has found a life akin to a middle-class musician. In recent years, he’s moved from Los Angeles back to Massachusetts, where he lives with his wife and three kids. And yet rather than settle into a comfortable malaise or yearn for the open road, Barlow’s strengthened urgency finds a way to merge the two instincts. \u003cstrong\u003e\u003cem\u003eReason to Live \u003c\/em\u003e\u003c\/strong\u003eis shambolic and grand yet intimate and doting, warmly acoustic and crackling with grit. “I had been struggling for a way to connect both my home life and my recorded life, but this record is the first time I've integrated that,” Barlow says. By folding the many facets of his life into one package, \u003cstrong\u003e\u003cem\u003eReason to Live \u003c\/em\u003e\u003c\/strong\u003eradiates with a renewed balance and calm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThat comfort in complexity shines through even in the recording process, with select songs having origins in decades past and others written in the early stages of 2020. Barlow wrote lead single “Love Intervene” in 2018, and set out to recreate the layered acoustics while adapting the lyrics to his new present. The resulting propulsive track rides on interlocking strumming patterns, Barlow’s voice as crisp as a New England breeze. “Tide after tide, change is the meaning of life\/ It turns any wall into sand,” he exhales, before yet again calling for love to lead the way through.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlbum opener “In My Arms” quite literally pulls from Barlow’s teen years, utilizing a sample of a recording he made in 1982. The track feels stuffed with burnished layers, Barlow’s dueling guitar solos and unique strumming patterns threading through the verses. “Lyrically, the song is about rediscovering the initial spark to make music,” he says. “I feel like I was finally able to re-embrace my fundamental inspirations to make music.” There are echoes of the four-track wizardry of \u003cem\u003eSebadoh III \u003c\/em\u003eand the Sentridoh years, but lyrically Barlow cracks those layers apart to reflect on his newly layered life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEven the gruffer themes on the album come delivered in a bronzy sheen. The chorus to “All You People Suck” burns with sincerity and certainty rather than biting venom, his river of acoustic chords makes the conclusion inevitable. Barlow recorded the track in a hotel bathroom while on tour, and the exhausted frustration breathes easily. “All you people lost\/ And the light that draws you in\/ Be it torch or burning cross\/ Your beginning and your end,” he arcs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIn addition to his trademark acoustic chording, \u003cstrong\u003e\u003cem\u003eReason to Live \u003c\/em\u003e\u003c\/strong\u003eutilizes the wide variety of sonic touchstones in Barlow’s kit. His rise in the indie rock scene may most obviously be tied to his personal experience in hardcore and punk music, but soft rock and disco were swirled into the mix as well. As such, the nostalgic “Maumee” (about the river that runs through Ohio, near where Barlow was raised) thumps along on a soft folksy wave, while “Thirsty” could comfortably be amped into a bloodthirsty metal cut. “I wanted to make personal soft rock songs in a way that makes people feel extremely uncomfortable,” Barlow laughs. “I always wanted to bring the raw, personal sensibility of a hardcore song into an acoustic mode.”\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe multitude of whirring messages of \u003cstrong\u003e\u003cem\u003eReason to Live \u003c\/em\u003e\u003c\/strong\u003eare united by Barlow’s roiling multilayered arrangements and the understanding that change is inevitable--and that it can bring you a new reason to live in the darkest times. “This album is me really opening up, and the album follows that through its many different themes,” he says. “Some of my other work could be almost claustrophobic in its insistence on being all tied together but there’s space for people to live inside these songs.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAfter albums with Sebadoh, Dinosaur Jr., Folk Implosion, and under his own name, listeners may have felt they knew the construction of a Barlow song, even that they knew Barlow himself. “People have this vision of me as this heartbroken, depressed guy, but this record feels so true to who I am, to this rich life I now have full of people I love,” he says. “The songs culminated over the last five years to show that music has returned to its central comforting role in my life. Now I’m home.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Lou Barlow","offers":[{"title":"Light Blue Vinyl + Digital (Includes instant download in high quality MP3, AIFF + WAV.)","offer_id":39274269245511,"sku":"JNR367_lou-RTL_LP-C1","price":22.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (Includes instant download in high quality MP3, AIFF + WAV.)","offer_id":39274291167303,"sku":"JNR367_lou-RTL_CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download in high quality MP3, AIFF + WAV.)","offer_id":39274269278279,"sku":"JNR367_lou-RTL_Digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Pink Cassette + Digital (Includes instant download in high quality MP3, AIFF + WAV.)","offer_id":39274273603655,"sku":"JNR367_lou-RTL_Cass","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Artist Enabler Version (**Artist Enabler Club only** Limited to 402 pressed to Cyan Blue w\/ Silver Splatter vinyl. Packaged with Lou Barlow custom made jackets.)","offer_id":39274269311047,"sku":"JNR367_lou-RTL_VIP","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR367-Reason-to-Live-Cover-Art-FINAL.jpg?v=1628523129"},{"product_id":"deep-states","title":"Deep States","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTracklist \/ Listen\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/rrmY5heE5Go\" height=\"400\" width=\"100%\"\u003e\u003c\/iframe\u003e\n\u003col\u003e\n\u003cli\u003eThe Greatest Story Ever Told\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/lnk.to\/GAFFEM\" target=\"_blank\"\u003eG.A.F.F.\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eBlue Beam Baby\u003c\/li\u003e\n\u003cli\u003eSuburbiopia\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/lnk.to\/BummaSangerWE\" target=\"_blank\"\u003eBumma Sanger\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eThe Donkey\u003c\/li\u003e\n\u003cli\u003eReporting Of A Failed Campaign\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/lnk.to\/NewRomeoAgentWE\" target=\"_blank\"\u003eNew Romeo Agent\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eLegal Ghost\u003c\/li\u003e\n\u003cli\u003eThe Confinement Of The Quarks\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp\u003eIt was the silence as much as the disease that proved so unsettling. The world had gone inside, underground, taking with it some of its more destructive aspects. The clean and clear air in major cities was a jarring reminder of the airborne rot we had grown used to. Stuck indoors, we went stir crazy, imagined new worlds, dystopian worlds, apocalypses of the small and large variety. There were viral social media stories, most of them fake, about animals reoccupying cities, dolphins taking back the canals of Venice, elephants getting drunk in abandoned Chinese corn wine distilleries and passing out in tea gardens. In those first fearful days of the pandemic, we wrote ourselves out of existence and imagined what the world would be like without us. We missed the noise; we carried it inside us. We tried to find melody in the madness.\u003c\/p\u003e\n\u003cp\u003eMost of us have lived some inner Tropical Fuck Storm over a year and a half of isolation.  Gareth Liddiard, frontman for the Aussie band with a name perfectly suited to the times, was like the rest of us in feeling the malaise. On not writing any new songs for the first six months of the global shutdown, he says, “Why would I? Everything seemed pointless.” Even for a band that’s made a career out of crafting songs attuned to political and social crisis, there was a new bleak in the air, what the band calls “give-a-fuck fatigue.” \u003cem\u003eA Laughing Death in Meatspace\u003c\/em\u003e and \u003cem\u003eBraindrops\u003c\/em\u003e, Tropical Fuck Storm’s 2018 and 2019 records, probed the destructive force of consumerist culture, the imperialistic reaches of the United States, the threat posed by a warming planet. The band wedded a brave new worldview to an ever lively acid punk sound. Which made you sometimes despair. While still wanting to dance.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDeep States\u003c\/em\u003e mines familiar ground as well as new cultural terrains, while digging deeper into the subjective state of contemporary panic. Over the last five years, you didn’t have to be conspiratorial to see the conspiracies everywhere you turned; and Liddiard, Fiona Kitschin, Erica Dunn, and Lauren Hammel, the Tropical Fuck Storm collective, know how to make friends with the strange. They invite our paranoia and fatigue. “It’s a permanent state,” Liddiard sings, “war made the State, the State made war, what’s the point of worrying ’bout it anymore?” The band chronicles weird adventures in statecraft and surveillance, ponders the global infatuation with resurgent fascisms. Tropical Fuck Storm shines an incandescent light on a world in which corporate media, bad-faith leaders, and charismatics of all stripes lose the ability to recognize their own deceptiveness.\u003c\/p\u003e\n\u003cp\u003eAt times we’re tempted to call \u003cem\u003eDeep States\u003c\/em\u003e a protest album, though it’s not, quite. The band is far too wary of the self-importance attached to songs in the didactic mode. “We make pop records,” Liddiard says, “that don’t deny we’re all in a bit of trouble here.” But Tropical Fuck Storm does their preaching on the sly, always cognizant of the fact they are making pop music, after all, no matter how avant-garde or “out there” it gets. \u003cem\u003eDeep States\u003c\/em\u003e comes complete with Q drops, nods to the January 6\u003csup\u003eth\u003c\/sup\u003e Capitol Riot, a riff on pizzagate, MAGAs squaring off with Antifas, waterboarded Martians, dangerous cults from Heaven’s Gate to The Shining Path and, not to be outdone, Romeo agents who bed us at night only to betray us by morning. We live in a world in which the bizarre has become the normative, and Tropical Fuck Storm plumbs that paradox.\u003c\/p\u003e\n\u003cp\u003eOn “The Greatest Story Ever Told,” Jesus comes back from the grave to warn humankind off our collective bloodlust and fondness for the “end of days.” \u003cem\u003eDeep States\u003c\/em\u003e is rife with characters in a God-awful hurry to court catastrophe and global conflict. In that same vein, “Blue Beam Baby” offers a pining homage to Ashli Babbitt, the woman shot as she tried to breach the U.S. Capitol, her MAGA heart warped by that Blue Beam conspiracy theory involving NASA, Antichrists, and technology, presumably as updated by Q. And yet Tropical Fuck Storm, ever connoisseurs of the weird, makes us shed a tear for her. If a fanatic never broke your heart, just wait until you hear Liddiard playing the part of a MAGA martyr’s lover, crooning in Shane MacGowan-esque throaty blues while Kitschin and Dunn whisper eerie-sweet harmonies, like sympathetic brainwashing angels, beckoning us to follow into the blue light.\u003c\/p\u003e\n\u003cp\u003eWhat makes Tropical Fuck Storm so great is the intersection between their dark but satiric storytelling and musical arrangements intent on perverting received canons and wisdoms. Entering into a Tropical Fuck Storm song is like arriving late to a live show where everybody’s grooving and too far gone to notice you. Even though the track has already been cut, you feel as though the band’s still improvising, making it all up as you listen. These are songs as experiment, advancing and retreating at their own idiosyncratic, deeply unsettling pace. They hang on the slant beat and slide into jazzy, distortion-packed jams so tumultuous they’d make Charlie Mingus proud. Musically, \u003cem\u003eDeep States\u003c\/em\u003e goes wherever it wants, riffing on pop, R\u0026amp;B, Talking Heads-style new wave, Delta blues, Tom Waits, and some of the band’s hip-hop favorites such as Wu-Tang Clan and Missy Elliot. Barriers aren’t just broken, they seem to have completely fallen away.\u003c\/p\u003e\n\u003cp\u003eIn a world where everything is digitized there is no musical past. The record store bin has gone virtual, as vast as eternity. It’s all right here, right now, timeless in the most literal sense possible. Which is all the more reason why a song such as “New Romeo Agent,” with its glorious mash-up of contemporary and historical influences, ought to be topping the charts. At once spooky, sweetly sad, and off kilter — Erica Dunn doing a world-weary Debbie Harry — the song is a reminder of the melody within even the most feedback-heavy of the band’s arrangements.\u003c\/p\u003e\n\u003cp\u003eAs we write this, parts of the world are opening up, or trying to. But Tropical Fuck Storm is here to remind us that many of our most urgent political and social problems have been around a long time now. Same as it ever was, as another genre bending band once sang. As the signs of latest crisis subside, and the dull ache of awareness with it, \u003cem\u003eDeep States\u003c\/em\u003e will be here to remind us that there is no foreseeable end to human folly, nor, fortunately, to the creativity that resists it. Over the past few years we’ve all heard the noise in our own heads. Tropical Fuck Storm has made music of it.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eTropical Fuck Storm, \u003c\/span\u003e\u003cem\u003eDeep States\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eClifton Spargo \u0026amp; Anne K. Ream\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Tropical Fuck Storm","offers":[{"title":"Orange Vinyl + Digital (Includes instant download in high quality MP3 \/ AIFF \/ WAV.)","offer_id":39343813099591,"sku":"JNR371_LPC1_TFS_orange","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (Includes instant download in high quality MP3 \/ AIFF \/ WAV.)","offer_id":39343813132359,"sku":"JNR371_DeepStates_CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download in high quality MP3 \/ AIFF \/ WAV.)","offer_id":39343813165127,"sku":"JNR371_DeepStates_Digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette + Digital (Green tint cassette. Includes instant download in high quality MP3 \/ AIFF \/ WAV.)","offer_id":39343851634759,"sku":"JNR371_cass_TFS","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Limited Edition Teal Vinyl + Digital (Limited to 2000 copies worldwide pressed to Teal Vinyl. Includes instant download in high quality MP3 \/ AIFF \/ WAV.)","offer_id":39539716423751,"sku":"JNR371_LPC1_TFS_teal","price":22.0,"currency_code":"USD","in_stock":false},{"title":"VIP","offer_id":39343813197895,"sku":"JNR371_DeepStates_VIP","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR371_Tropical-Fuck-Storm_Deep-States.jpg?v=1623094753"},{"product_id":"actually-you-can","title":"Actually, You Can","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing \/ Listen\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/videoseries?list=PLoB11Z8A5Nz8U9f9HVmm2qRO2hDU7Ao4q\" height=\"400\" width=\"100%\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003col\u003e\n\u003cli\u003eBe Unbarred, O Ye Gates of Hell (3:06)\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/lnk.to\/CorrectionsWE\" target=\"_blank\"\u003eDepartment of Corrections\u003c\/a\u003e (3:22)\u003c\/li\u003e\n\u003cli\u003eWe Grew, and We Are Astonished (2:41)\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/lnk.to\/ScarcityIsManufacturedWE\" target=\"_blank\"\u003eScarcity is Manufactured\u003c\/a\u003e (2:53)\u003c\/li\u003e\n\u003cli\u003eAncient Mysteries, Described (3:38)\u003c\/li\u003e\n\u003cli\u003e\n\u003ca href=\"https:\/\/lnk.to\/PlantThiefWE\" target=\"_blank\"\u003ePlant Thief\u003c\/a\u003e (3:13)\u003c\/li\u003e\n\u003cli\u003eOur Philosophy Is Fiction (4:27)\u003c\/li\u003e\n\u003cli\u003eEpic Love Poem (3:39)\u003c\/li\u003e\n\u003cli\u003eDivine Comedy (5:17)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eBonus Flexi-Disc: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eScarcity is Manufactured DEMO (2:56)\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cp\u003e“Think of all the beauty, positivity and love that gets deemed ugly, negative and hateful by the self-proclaimed guardians of 'common sense.' We'd hardly be destroying society by dismantling their colonial economics and prisons and gender roles and aesthetics. We'd be creating it!” - Deerhoof\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOver eighteen boundless albums as experimental as they are pop, Deerhoof has continuously quested for daring storytelling and radical sounds, creating a new shared language of revolution. 2020’s critically acclaimed, overwhelmingly prescient \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFuture Teenage Cave Artists\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e explored fairytale visions of post-apocalypse, welding intrinsic melodies with absurdist digital recording methods. Its immediate sequel \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLove-Lore\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, a live covers medley, channeled futurist mid-century artists—Parliament, Sun Ra and\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eStockhausen, to name a handful— into a patchwork love letter to the anti-authoritarian expressions that inspire the band. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e“We suddenly felt extra free and non-judgmental towards ourselves,” says drummer Greg Saunier of their audience’s enthusiastic reception to these records. Galvanized, they landed on their next record’s concept: This is \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eDeerhoof’s ”baroque gone DIY” LP. “We wanted our own working person’s version of highbrow, with all the operatic flourishes and twinkles and sparkles,” says Saunier. Deerhoof set to scheming, using their agility, wit, and outlandishness to create this exuberant ode to unexpected growth.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eActually, You Can\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a genre-abundant record that uses technicolor vibrancy and arpeggiated muscularity\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eto offer a vital shock from capitalism’s purgatorial hold. Opener “Be Unbarred, O Ye Gates of Hell'' literally\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003estorms the barricades, interpolating a Handel aria, a Maya Angelou essay, and a Catholic homily in which\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eChrist descends into inferno to release its captive souls. “These days, to be a moral person is to be a criminal,” clarifies Saunier of the album’s countercultural embrace of liberation. “That’s the spirit we were trying to express: an angelic, glamorous prison bust.” That glamour comes replete with thrashing twin guitar assaults from Ed Rodriguez and John Dieterich, and Saunier’s tuned-up, hyperpop-via-nu metal snare bombast. “Scarcity is Manufactured,” \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eActually, You Can\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e’s thesis, flips “La Bamba'' into uncharted time signatures; Rodriguez and Dieterich shred in and out of unison at a high speed scrub while Saunier’s heavier-than-ever kit bashes in sync with Satomi Matsuzaki’s fuzzed-out bass. She sings with a candy in her mouth, “I thought it was night, but it’s day! It’s every day at once! Behold my house of light! Bankruptor of the rainbow!” It’s a condemnation of America’s mundanity, replacing the narrative of inevitable violence with the real joy that's not being talked about.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eRodriguez’s solo demos were a stimulating influence on the group’s lean towards rococo garage,\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eespecially the moments that capture the hazy twang of Mexican rock. In 2017, Rodriguez contributed\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eTejano-inspired recordings to a Deerhoof box set and co-wrote with Luz Elena Mendoza of Y La Bamba.\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003e“It felt really rewarding to do that,” Rodriguez remembers, so he further mined childhood memories of his\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003edad playing \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eboleros\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e with family: “It made sense to bring in some of that to Deerhoof.” With Rodriguez’s compositions rooted in community and kin, and massive demonstrations against police brutality happening worldwide, the band felt drawn to an ethos of care. “We talked a lot about the protests and the\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eidea of creating utility music that makes you move and motivates you,” explains Dieterich. For his own\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003edemos, envisioning a possible future of only outdoor gigs, Dieterich consulted mini-cassette field recordings of a harvest festival his wife taped in Japan. “It's really joyous sounding music, even as it's austere and opaque,” he says, and it fits the album’s evocation of a blaring ritual. “I have been collecting plants the last few years and I saw the growth every morning that encouraged me to start a day,” offers Matsuzaki of a non-musical influence that encouraged her recording process and deepened the album’s themes of plenitude. “Plants always lean towards sunlight. Me too,” she clarifies. Lush vegetation became a visual theme extended by artist Paul Wackers, who painted \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eActually, You Can\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e’s cover. Its insert features a greenery-overgrown lowrider, which became a central symbol for the musicians; lowriders redesign those central tokens of mainstream mass-production, in ways that contradict its intended purposes, turning them into painstaking, individualistic works of art, expressing pride, faith and dissent.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eDeerhoof’s players are not strangers to home-recording their individual parts, and have long embraced\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003ecomposing via file trading. But 2020’s halt to touring kicked off their longest separation from playing\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003etogether. As the group’s combined demos became increasingly layered, Matsuzaki put her foot down, insisting the new album should replicate concert energy. “This album needs to be two guitars, bass, drums, period, that’s it. I want to be able to play these songs,” she said. Waking from a vivid dream of the quartet on huge stages with past tourmates Radiohead and Red Hot Chili Peppers, Saunier fugue-arranged his bandmates’ complex demos into songs to make an audience smile and dance. Over several months, each member re-tracked their parts at home, then sent back to Saunier to mix. Matsuzaki scrutinized spots that would betray the conceit, eliminating anything that took away from the sound of onstage grandeur. “We spent so many weeks imagining playing together, it became almost a fake memory,” Saunier marvels.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFor Deerhoof’s members to continually uncover new corners of their own talent requires deep wells of\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003egratitude, not only for each others’ creativity, but for the freedom their career affords. “If we have\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003echemistry, part of it is that we don’t quite understand each other’s music,” jokes Saunier. But by\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eembracing each other’s art with curiosity, Deerhoof authors a musical alphabet that continues to astound\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eand inspire, a unique lexicon expanding limitlessly with each album. Throughout \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eActually, You Can\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, the\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003egroup employed a distinctive effect; it’s a sonic allegory for the idea of sympathetic strings, described in\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003e“Divine Comedy,” an epistolary song written to a friend who works to convert abandoned factories into\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003emigrant housing. Pitching instruments up an octave and sending them through a piano sustain, the band\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003ecreated vibrational overtones, resonating gorgeously above the ordinary. That shimmering\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eotherworldliness could be a metaphor for Deerhoof itself. For new listeners and decades-long devotees,\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eDeerhoof’s electrifying, generous approach to collaborative worldbuilding on \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eActually, You Can\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is an\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eemboldening call to support our communities with renewed strength, infinite love, and the resilience to\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003ekeep exploring.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"p1\"\u003e\u003cspan data-mce-fragment=\"1\" class=\"Apple-converted-space\"\u003e– Sadie Dupuis\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Deerhoof","offers":[{"title":"Chlorophyll Green Vinyl + Digital (Instant download in high quality MP3 \/ AIFF \/ WAV.)","offer_id":39388471656519,"sku":"JNR377_Actually_LP-C1","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (Instant download in high quality MP3 \/ AIFF \/ WAV.)","offer_id":39388471689287,"sku":"JNR377_Actually_CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette + Digital (Green Tint tape shell. Instant download in high quality MP3 \/ AIFF \/ WAV.)","offer_id":39388471722055,"sku":"JNR377_Actually_Cass","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download in high quality MP3 \/ AIFF \/ WAV)","offer_id":39388471754823,"sku":"JNR377_Actually_Digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":39388471787591,"sku":"JNR377_Actually_VIP","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR377CoverArtFinal.jpg?v=1624557911"},{"product_id":"151a-10th-anniversary-edition","title":"151a (10th Anniversary Edition)","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003eDisc 1 (Original Album):\n\u003col\u003e\n\u003cli\u003eIntro \/ Pathos, Pathos\u003c\/li\u003e\n\u003cli\u003eManchester\u003c\/li\u003e\n\u003cli\u003eBright Whites\u003c\/li\u003e\n\u003cli\u003eIt All Began With a Burst\u003c\/li\u003e\n\u003cli\u003eWonder Woman, Wonder Me\u003c\/li\u003e\n\u003cli\u003eChester's Burst Over the Hamptons\u003c\/li\u003e\n\u003cli\u003eAtticus, In the Desert\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/lnk.to\/iamtheantichristWE\" target=\"_blank\"\u003eI Am the Antichrist to You\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eBeat the Bright Out of Me\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eDisc 2 (Demo-arigato Version): \u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIntro \/ Pathos, Pathos\u003c\/li\u003e\n\u003cli\u003eManchester\u003c\/li\u003e\n\u003cli\u003eBright Whites\u003c\/li\u003e\n\u003cli\u003eIt All Began With a Burst\u003c\/li\u003e\n\u003cli\u003eWonder Woman, Wonder Me\u003c\/li\u003e\n\u003cli\u003eUnicorns Die When You Leave *\u003c\/li\u003e\n\u003cli\u003eChester's Burst Over the Hamptons\u003c\/li\u003e\n\u003cli\u003eAtticus, In the Desert\u003c\/li\u003e\n\u003cli\u003eI Am the Antichrist to You\u003c\/li\u003e\n\u003cli\u003eBeat the Bright Out of Me\u003c\/li\u003e\n\u003cli\u003eWinter from Shiki *\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003e\u003cstrong\u003e10th Anniversary Edition 2xLP \u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan class=\"s1\"\u003e\u003cstrong\u003eThe album proper plus demos of each song and era rarities\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePackaged in a gatefold jacket within a (reversible art) slipcase featuring new takes on the cover art by illustrators Hsiao-Ron Cheng and John Lee. \u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eExpanded liner notes by Kishi Bashi\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThey say that you spend your entire life writing your first album, piecing every formative moment, scribbled turn of phrase, and thematic epiphany into a fantastical collage. Multi-instrumentalist K. Ishibashi (aka Kishi Bashi) disproves that old adage. The title of Kishi Bashi’s 2011 debut album, \u003ci\u003e151a\u003c\/i\u003e, is a riff on the Japanese phrase \u003c\/span\u003e\u003cspan class=\"s2\"\u003e“\u003c\/span\u003e\u003cspan class=\"s1\"\u003eichi-go ichi-e,” roughly translating to “one time, one place.” That\u003c\/span\u003e\u003cspan class=\"s2\"\u003e’\u003c\/span\u003e\u003cspan class=\"s1\"\u003es exactly what this debut is: A singular time, an inimitable place, a launchpad for bigger and better things to come.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\"It's a play on words that translates as a performance aesthetic of having a unique performance in time, with imperfections, and enjoying it while you can,\" Ishibashi \u003ca href=\"https:\/\/www.npr.org\/2012\/06\/09\/154575079\/kishi-bashi-unique-performances-in-time\"\u003e\u003cspan class=\"s4\"\u003etold NPR\u003c\/span\u003e\u003c\/a\u003e at the time of the album’s release. \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\"The saying reminds me to embrace my mistakes and move forward.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eProduced and performed exclusively by Kishi Bashi, \u003ci\u003e151a \u003c\/i\u003eis a showcase of singular talent and ambition— and it didn’t go unnoticed by fans or peers. Along with launching Kishi Bashi’s career as a soloist, this earnest debut made him one of indie music’s most in-demand violinists. He was no longer relegated to side stage as a collaborator of Regina Spektor, Sondre Lerche, of Montreal, and more—the Kishi Bashi name could endure with its own merit. \u003c\/span\u003e\u003cspan class=\"s3\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s3\"\u003eAs deeply personal as \u003ci\u003e151a\u003c\/i\u003e undoubtedly is, the record was animated by a deep and enduring partnership. Following Kishi Bashi’s collaboration \u003c\/span\u003e\u003cspan class=\"s5\"\u003ewith of Montreal’s\u003c\/span\u003e\u003cspan class=\"s3\"\u003e Kevin Barnes for the watershed art-pop album \u003ci\u003eParalytic Stalks\u003c\/i\u003e, his worldview and artistic approach was transformed for the better. Strict habits hung loose, sonic palettes bled and broadened, and a one-man orchestra sprouted from a foundation of string loops. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eFrom the deconstructed Beach Boys-esque doo-wop of “Wonder Woman” to the menacing marriage of Eastern Hues and Western operatics of “Beat the Bright out of Me,” \u003ci\u003e151a \u003c\/i\u003ea mediation between opposing drives, offering possible reconciliation but never promising it. The album’s emotional wellspring, “I Am The Antichrist To You” was reimagined in 2021 when it was featured on the animated sci-fi sitcom \u003ci\u003eRick and Morty\u003c\/i\u003e, introducing Kishi Bashi to a new generation of awestruck fans. \u003cbr\u003e\u003cspan class=\"s3\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eKishi Bashi also uses \u003ci\u003e151a\u003c\/i\u003e as a vehicle to explore his cultural background. Using Japanese refrains as a compositional and textural device (the polyrhythmic grandeur of “Bright Whites”; the gleeful surrealism of “It All Began With a Burst”), Kishi Bashi celebrates his heritage with earnestness. Japanese phrases and couplets are sung as the response to Kishi Bashi’s resplendent calls, offering listeners a conversation that dovetails with the album’s themes of love, sentimentality, and self-discovery.\u003c\/span\u003e\u003cspan class=\"s3\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s3\"\u003eToday, the “one time” and “one place” that \u003ci\u003e151a \u003c\/i\u003einhabited seems further than ever, almost broaching celestial realms of time and space. But, rest assured, with each listen, the world that Kishi Bashi built springs back to life. The world of \u003ci\u003e151a \u003c\/i\u003enever left—it was just waiting to be rediscovered.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Kishi Bashi","offers":[{"title":"2xCD + Digital (Includes bonus demos CD and download in high quality MP3","offer_id":39528129298503,"sku":"JNR392_CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Download of original album and bonus demos album in high quality MP3, AIFF + WAV.)","offer_id":39568174940231,"sku":"JNR392-Digital","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Clear Vinyl 2xLP + Digital (Includes bonus demos LP and download in high quality MP3, AIFF + WAV.)","offer_id":39519779946567,"sku":"JNR392LP-C1_KB-clear","price":25.0,"currency_code":"USD","in_stock":false},{"title":"Limited Edition Tangerine Cloud 2xLP + Digital (Limited to 1518 copies. Includes bonus demos LP and download in high quality MP3, AIFF + WAV.)","offer_id":39519779979335,"sku":"JNR392-LTD_LP_orange","price":27.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR392cd_picture.jpg?v=1749672304"},{"product_id":"goody-goody-gumdrops","title":"Goody Goody Gumdrops","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTracklist \/ Listen\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003ciframe width=\"100%\" height=\"400\" src=\"https:\/\/www.youtube.com\/embed\/ak7aIV1z0G8\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \u003ciframe width=\"100%\" height=\"400\" src=\"https:\/\/www.youtube.com\/embed\/drFVBu_Tr6E\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eVinyl Track Listing:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eNew Romeo Agent\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/joyfulnoiserecordings.us4.list-manage.com\/track\/click?u=0ea13401c4c64990bafde608b\u0026amp;id=8d1668d2b3\u0026amp;e=c71554ea12\" target=\"_blank\"\u003eMaria 63\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eBraindrops\u003c\/li\u003e\n\u003cli\u003eThe Greatest Story Ever Told\u003c\/li\u003e\n\u003cli\u003eYou Let My Tyres Down\u003c\/li\u003e\n\u003cli\u003eBumma Sanger\u003c\/li\u003e\n\u003cli\u003eParadise\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"https:\/\/JNR.lnk.to\/tfsgggWE\" target=\"_blank\"\u003eDigital Track Listing\u003c\/a\u003e:\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003col\u003e\n\u003cli\u003eNew Romeo Agent (GGG)\u003c\/li\u003e\n\u003cli\u003eAspirin (GGG)\u003c\/li\u003e\n\u003cli\u003eMaria 63 (GGG)\u003c\/li\u003e\n\u003cli\u003eBraindrops (GGG)\u003c\/li\u003e\n\u003cli\u003eThe Donkey (GGG)\u003c\/li\u003e\n\u003cli\u003eYou Let My Tyres Down (GGG)\u003c\/li\u003e\n\u003cli\u003eBumma Sanger (GGG)\u003c\/li\u003e\n\u003cli\u003eThe Greatest Story Ever Told (GGG)\u003c\/li\u003e\n\u003cli\u003eParadise (GGG)\u003c\/li\u003e\n\u003cli\u003eBazza The Bushwacker (GGG)\u003c\/li\u003e\n\u003cli\u003eGarry O Garry (GGG)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eFilmed across three locations at Gareth Liddiard's and Fiona Kitschin's ranch in the Australian countryside, \u003c\/span\u003e\u003ca href=\"https:\/\/JNR.lnk.to\/tfsgggWE\" target=\"_blank\"\u003e\u003cem data-mce-fragment=\"1\"\u003eGoody Goody Gumdrops\u003c\/em\u003e\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e is part live performance, part documentary, part absurdist comedy, described by Gaz as their version of \"Magical Mystery Tour.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVinyl ships immediately. VHS tapes are expected to ship late August.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Tropical Fuck Storm","offers":[{"title":"VHS + Digital (Limited to as many as we can sell. Includes download of the film and audio album.)","offer_id":45616409575734,"sku":"JNR396_VHSb","price":22.0,"currency_code":"USD","in_stock":false},{"title":"Hot Pink Vinyl + Digital (Limited to 2000 Worldwide. Includes instant download in high quality MP3 \/ AIFF \/ WAV.)","offer_id":39545088802887,"sku":"JNR396_LPC1_TFS_HPink","price":22.0,"currency_code":"USD","in_stock":false},{"title":"Digital (Instant download in high quality MP3 \/ AIFF \/ WAV.)","offer_id":39545088901191,"sku":"JNR396_GGG_Digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Limited Edition VHS + Digital (Limited to 199 copies. Includes download of the film and audio album.)","offer_id":45531881374006,"sku":"JNR396_VHSa","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/GGGCoverArtFinal_web.jpg?v=1638921863"},{"product_id":"devil-kids","title":"Devil Kids","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing \/ Listen\u003c\/div\u003e\n\u003c!-- BANDCAMP EMBED --\u003e\n\u003cdiv style=\"margin-top: 20px; padding: 25px 0px 0px 0px; overflow: hidden; border-top: 1px solid grey; height: 750px;\"\u003e\u003ciframe width=\"100%\" height=\"750\" border=\"0\" style=\"position: relative; top: -75px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2186074101\/size=large\/bgcol=ffffff\/linkcol=ffffff\/artwork=none\/transparent=true\/\" title=\"Bandcamp player\"\u003e\u003c\/iframe\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cp\u003eDue to overwhelming response to Deerhoof's December 2021 live stream, we are now making it available as the album Devil Kids, with video download of the entire show. \u003cbr\u003e\u003cbr\u003ePurchase of the limited-edition 12-song LP (on TV Glow Blue vinyl) or digital version of Devil Kids includes six digital bonus tracks and a video download of the concert, interspersed with behind-the-scenes footage of Satomi, John, Ed and Greg reuniting, relearning their songs, and cooking noodles.\u003cbr\u003e\u003cbr\u003eThis concert itself was recorded with four cameras, the audio mixed by Greg Saunier in stunning high fidelity, in November, after two years of not playing or even seeing each other. The setting was the comically cramped basement of guitarist Ed Rodriguez. The setlist was 18 songs spanning their history, including many songs never before performed, such as those from the recent albums they recorded in isolation from each other. The sheer joy of their reunion is palpable in every note of the music and every giggle between songs.\u003cbr\u003e\u003cbr\u003e\"When my friends asked if playing with band again was like riding a bike, I had to say no. We changed over two years. We played looser and got along nicer,\" says drummer Greg.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Deerhoof","offers":[{"title":"Audio + Video Download (Instant download in high quality MP3 \/ AIFF \/ WAV + BONUS TRACKS + FULL LIVE VIDEO)","offer_id":39553587445831,"sku":"JNR406_Devil_Kids_Digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"TV Glow Blue Vinyl + Digital (Limited Pressing of 1000. Includes instant download in high quality MP3 \/ AIFF \/ WAV + BONUS TRACKS + FULL LIVE VIDEO)","offer_id":39553587347527,"sku":"JNR406_Devil_Kids_LP-C1","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR406DevilKidsCoverFinal.jpg?v=1639787101"},{"product_id":"satanic-slumber-party","title":"Satanic Slumber Party","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTracklist\/Listen\u003c\/div\u003e\n\u003cbr\u003e\u003ciframe width=\"100%\" height=\"400\" src=\"https:\/\/www.youtube.com\/embed\/ZYJJxWvVgUw\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e \u003cbr\u003e\n\u003col\u003e\n\u003cli\u003eSatanic Slumber Party Part 1 (The Chairman's Portrait) (0:54)\u003c\/li\u003e\n\u003cli\u003eSatanic Slumber Party Part 2 (Midnight In Sodom) (5:43)\u003c\/li\u003e\n\u003cli\u003eSatanic Slumber Party Part 3 (Hoof And Horn) (12:14)\u003c\/li\u003e\n\u003c\/ol\u003e\nAlbum Length: 18:50\u003cbr\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cspan style=\"text-decoration: underline;\"\u003e CREDITS:\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWritten By: \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eLiddiard\/Hammel\/Kitschin\/Dunn\/Mackenzie\/Kenny-Smith\/Walker\/Craig\/Cavanagh\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePerformed By:  Gareth Liddiard, Fiona Kitschin, Lauren Hammel, Erica Dunn, Stu Mackenzie, Joe Walker, Ambrose Kenny-Smith, Michael Cavanagh, Eric Moore, Cook Craig\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRecorded By: Gareth Liddiard\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMixed By: Gareth Liddiard and Mike Deslandes \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMastered By: Lachlan Carrick\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCover Art by: Satomi Matsuzaki\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDesign by: Ryan Hover\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eWatch\/Description\u003c\/div\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSomewhere along a frayed thread of time, a \u003c\/span\u003e\u003cb\u003eKing Gizz\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e and a \u003c\/span\u003e\u003cb\u003eTropical Fuck Storm\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e convened under the cloak of night for a slumber party of the satanic persuasion…Pumped full of booze and adrenaline, two of psych-rock’s most powerful joined forces for a 20-minute “Hatjam” chockfull of sax skronks, brick-heavy distortion, and punchy riffs. \u003c\/span\u003e\u003cb\u003e\u003ci\u003eSatanic Slumber Party\u003c\/i\u003e\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e arrives just in time for your possessed pleasure.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv id=\"mc_embed_signup\"\u003e\u003cform action=\"https:\/\/joyfulnoiserecordings.us4.list-manage.com\/subscribe\/post?u=0ea13401c4c64990bafde608b\u0026amp;id=2da6acce5c\" method=\"post\" id=\"mc-embedded-subscribe-form\" name=\"mc-embedded-subscribe-form\" class=\"validate\" novalidate=\"\" target=\"_blank\"\u003e\n\u003cdiv id=\"mc_embed_signup_scroll\"\u003e\n\u003cdiv class=\"mc-field-group\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/form\u003e\u003c\/div\u003e\n\u003cscript type=\"text\/javascript\" src=\"\/\/s3.amazonaws.com\/downloads.mailchimp.com\/js\/mc-validate.js\"\u003e\u003c\/script\u003e\u003cscript type=\"text\/javascript\"\u003e(function($) {window.fnames = new Array(); 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Includes digital download in high quality MP3, AIFF + WAV.)","offer_id":39655908245575,"sku":"JNR412_SSP_LP-C1_pink","price":18.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download of full album in high quality MP3, AIFF + WAV.)","offer_id":39603544096839,"sku":"JNR412_TFSKGLZ_digital","price":5.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":39655903690823,"sku":"JNR412_SSP_VIP22","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/SPPEPCoverArtFinal.jpg?v=1655904804"},{"product_id":"moonburn","title":"Moonburn","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTracklist \/ Listen\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/NavnkiKIl8c\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\u003col\u003e\n\u003cli\u003eMoonburn\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003eAnn\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003eAspirin (Slight Return)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eHeaven\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"p1\"\u003eAustralian art-punk combo \u003cb\u003eTropical Fuck Storm\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e continues its hot streak of brain-bending releases with \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMoonburn\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, a maxi-single cassette on Joyful Noise Recordings. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSide A offers the new song, \"Moonburn,\" a ballad in the classic TFS style written and sung by Gareth Liddiard. Fiona Kitschin steps up to the microphone on \"Ann,\" a cover of The Stooges that swaps Ron Asheton's scorching guitar part for a deranged sound collage of guitar freakouts, siren noises, and electronics.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSide B includes an acoustic take on the fan-favorite song \"Aspirin (Slight Return)\" and a haunting cover of Talking Heads' \"Heaven.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Tropical Fuck Storm","offers":[{"title":"Cassette + Digital (Pink Cassette with Red imprint. 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It’s the band’s 19th album and the first to be produced, recorded and mixed entirely in a recording studio. All of the songs are in Japanese.\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Deerhoof","offers":[{"title":"White Vinyl + Digital","offer_id":39789513801799,"sku":"JNR429_ML_LP-C1","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital","offer_id":39789513834567,"sku":"JNR429_ML_CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette + Digital","offer_id":39789513867335,"sku":"JNR429_ML_CASS","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39789513900103,"sku":"JNR429_ML_DIG","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":39789513932871,"sku":"JNR429_ML_VIP","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR429Miracle-LevelCoverArtFINAL.jpg?v=1670599696"},{"product_id":"take-a-look-inside","title":"Take a Look Inside","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTracklist \/ Listen\u003c\/div\u003e\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Scw2oijGB5Y\" height=\"400\" width=\"100%\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003c!-- BANDCAMP EMBED --\u003e\n\u003cdiv style=\"margin-top: 15px; padding: 25px 0px 0px 0px; overflow: hidden; border-top: 1px solid grey; height: 600px; width: 350px;\"\u003e\u003ciframe title=\"Bandcamp player\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2210717871\/size=large\/bgcol=ffffff\/linkcol=ffffff\/artwork=none\/transparent=true\/\" style=\"position: relative; top: -75px;\" border=\"0\" height=\"600px\" width=\"350px\"\u003e\u003c\/iframe\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\" data-mce-style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\" data-mce-style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp\u003eThey say there's always something special about the first time and this record is that first time for the Folk Implosion. The band left the acoustic guitars and fragmentary sketch modus operandi of their earlier cassette behind to focus on an eccentric version of home studio craft, held together by a few cheap microphones (including a Radio Shack PZM) and a Tascam cassette 4-track recorder sequestered under the eaves of a 3rd floor, Cambridge Massachusetts double-decker house apartment.\u003c\/p\u003e\n\u003cp\u003eWood floors and Christmas lights were as much a part of the vibe as an Ampeg VT 40 guitar amp and a small chord organ. The duo would wait until the downstairs neighbor went to work in the morning and then would play until the tunes snapped like a high-pitched snare drum. The setup would close down just before the neighbor came home from work, keeping the peace long enough to see the project through to completion. Once tracked, the band snuck into Fort Apache studios with Tim O'Heir (producer of Sebadoh's 'Bakesale' LP) early one morning, freeloading off the Sebadoh sessions that were set to get going that afternoon.\u003c\/p\u003e\n\u003cp\u003eTim mixed the songs through a very hi-fi Neve board in a matter of hours with the Tascam sitting right on the giant board like a tugboat keeping time with an oil tanker. The duo hoped that the spirits of ancestors like The Troggs, Devo, Al Green, and The Bee Gees would be pleased with the scent of tribute that arose from the ashes of the pyre. Today, they are pleased to see the Slaps and the Sputniks on view again nearly 30 years later.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"The Folk Implosion","offers":[{"title":"Clear Vinyl + Digital (Includes instant download in MP3, AIFF + WAV.)","offer_id":45495320641846,"sku":"JNR421_TaLI_LPC1_Clear","price":22.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download in MP3, AIFF + WAV.)","offer_id":39885408567367,"sku":"JNR421_digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Limited Edition Cassette + Digital (Limited to 400 copies on silver cassettes. Includes instant download in MP3, AIFF + WAV.)","offer_id":39885408534599,"sku":"JNR421_cass","price":12.0,"currency_code":"USD","in_stock":false},{"title":"VIP","offer_id":45495314645302,"sku":"JNR421_TaLI_VIP","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR421_The-Folk-Implosion_cover.jpg?v=1667236658"},{"product_id":"submersive-behaviour","title":"Submersive Behaviour","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTracklist \/ Listen\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/sixKZP8ed_I\" height=\"400\" width=\"100%\"\u003e\u003c\/iframe\u003e\n\u003col\u003e\n\u003cli\u003e1983 (A Merman I Should Turn To Be) - 17:52\u003c\/li\u003e\n\u003cli\u003eMoonburn - 5:08\u003c\/li\u003e\n\u003cli\u003eThe Golden Ratio - 4:08\u003c\/li\u003e\n\u003cli\u003eAspirin (Slight Return) - 4:56\u003c\/li\u003e\n\u003cli\u003eAnn - 4:05\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cspan style=\"text-decoration: underline;\"\u003eCredits: \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"section group\"\u003eTFS is Gareth Liddiard, Fiona Kitschin, Erica Dunn, and Lauren Hammel\u003c\/div\u003e\n\u003cdiv class=\"section group\"\u003eProduced by Aaron Cupples, Gareth Liddiard \u003c\/div\u003e\n\u003cdiv class=\"section group\"\u003eMixed by Aaron Cupples, Gareth Liddiard\u003c\/div\u003e\n\u003cdiv class=\"section group\"\u003eMastered by Aaron Cupples\u003c\/div\u003e\n\u003cdiv class=\"section group\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"section group\"\u003e“1983 (A Merman I Should Turn To Be)” - Written by Jimi Hendrix\u003c\/div\u003e\n\u003cdiv class=\"section group\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"section group\"\u003e“Ann” - Written by The Stooges \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp\u003eEnter the wonderful world of the amazing \u003cstrong\u003eTROPICAL FUCK STORM\u003c\/strong\u003e!\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eSubmersive Behaviour\u003c\/strong\u003e\u003c\/em\u003e is our favorite Australian art-punk combo’s take on the tried and true “covers record” concept. Over the course of 36 minutes, TFS puts their deranged spin on classics by \u003cstrong\u003eJimi Hendrix, Middle Aged in the Middle East in the Middle Ages, Men Men Menstruation, Compliments to the Chef, and The Stooges\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eGuest starring their old kangaroo mates and collaborators Dan Kelly, the Bard of Beenleigh and Aaron Cupples, the Earl of East Gippsland on octopus like strings-man-ship, falsetto and apocalyptic vibes.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Tropical Fuck Storm","offers":[{"title":"Non-Harmful Algae Bloom Vinyl + Digital (Limited Edition, mail order + band only, ltd to 1000 copies. Comes with digital download.)","offer_id":44013739082038,"sku":"JNR419_LPC1_ltded","price":23.0,"currency_code":"USD","in_stock":true},{"title":"\"2000 Flushes\" Vinyl + Digital (Includes instant digital download.)","offer_id":44013738918198,"sku":"JNR419_LPC2_distro","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Digital (In high quality MP3 \/ AIFF \/ WAV.)","offer_id":44013739016502,"sku":"JNR419_digital","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/JNR419CoverArt_2000.jpg?v=1669063947"},{"product_id":"apple-o","title":"Apple O'","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing \/ Listen\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003col\u003e\n\u003cli\u003eDummy Discards a Heart\u003c\/li\u003e\n\u003cli\u003eMy Diamond Star Car\u003c\/li\u003e\n\u003cli\u003eHeart Failure\u003c\/li\u003e\n\u003cli\u003ePanda Panda Panda\u003c\/li\u003e\n\u003cli\u003eApple Bomb\u003c\/li\u003e\n\u003cli\u003eFlower\u003c\/li\u003e\n\u003cli\u003eSealed with a Kiss\u003c\/li\u003e\n\u003cli\u003eL’Amour Stories\u003c\/li\u003e\n\u003cli\u003eHayley and Homer\u003c\/li\u003e\n\u003cli\u003eDinner for Two\u003c\/li\u003e\n\u003cli\u003eThe Forbidden Fruits\u003c\/li\u003e\n\u003cli\u003eAdam+Eve Connection\u003c\/li\u003e\n\u003cli\u003eBlue Cash\u003cbr\u003e\u003cbr\u003eBONUS 7\"\u003cbr\u003e1. Panda Panda Panda (First live performance 2002)\u003cbr\u003e2. My Diamond Star Car (Live 2002)\u003cbr\u003e3. Dummy Discards a Heart (Live 2003)\u003cbr\u003e4. The Forbidden Fruits (Chris demo)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eDeerhoof's fan-favorite breakthrough album, Apple O', gets a 20th-anniversary edition after years of being out of print in the physical realm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThey say the fruit from the Tree of Knowledge was actually a pomegranate. But \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePomegranate O’\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e did not sound as catchy. Of course, knowledge of what, exactly? Could be the serene and orderly discipline of music. Could be the ability to instantaneously destroy the entire species in an apocalyptic fireball. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis album is a love story. It is about Satomi’s mom being a Japanese girl when Truman got that ecstatic glint in his eye and blew up chunks of her country in a mushroom cloud, and next thing you know Satomi has moved to San Francisco and taken over an American noise-rock band. It is also about a different US president with an ecstatic glint in his eye, selling a criminal invasion with lies about weapons of mass destruction. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Deerhoof","offers":[{"title":"Pink Vinyl + Digital (Includes bonus rarities 7\" on orange vinyl, and instant download in high quality MP3 \/ AIFF \/ WAV.)","offer_id":44016732111158,"sku":"JNR433_LP-C1","price":23.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download in high quality MP3 \/ AIFF \/ WAV)","offer_id":44016732209462,"sku":"JNR433_digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":44016732242230,"sku":"JNR433_VIP","price":28.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/products\/Apple_O_DigitalCover.jpg?v=1669142065"},{"product_id":"the-runners-four","title":"The Runners Four","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing \/ Listen\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-bottom: 30px; padding: 15px 0px 0px 0px;\"\u003e\n\u003c!-- BANDCAMP EMBED --\u003e\n\u003cdiv style=\"margin-top: 15px; padding: 25px 0px 0px 0px; overflow: hidden; border-top: 1px solid grey; height: 600px;\"\u003e\u003ciframe title=\"Bandcamp player\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3304289889\/size=large\/bgcol=ffffff\/linkcol=ffffff\/artwork=none\/transparent=true\/\" style=\"position: relative; top: -75px;\" border=\"0\" height=\"600\" width=\"100%\"\u003e\u003c\/iframe\u003e\u003c\/div\u003e\n\u003c!-- END BANDCAMP EMBED --\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cp\u003e\u003ci\u003eThe Runners Four\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis Deerhoof’s double-LP concept album about friends banding together as honorable outlaws in a corrupt world, deciding what to save in an apocalypse, passing secret messages of warning and hope from a remade future back to a soon-to-be-destroyed present. Abundant with lyrical allusions to the flood, where cargo hold claustrophobia inside meets a watery chaos outside, it was written and self-produced by Satomi Matsuzaki, John Dieterich, Chris Cohen and Greg Saunier while they holed up in a rented Oakland rehearsal room for the winter months 2004-5.\u003cbr\u003e\u003cbr\u003e“a heavy football, a no-half-stepping opus, a defining statement…\u003ci\u003eThe Runners Four\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eshould occasion a moment to notice how a little band has gotten its scale and balance right: producing strong and inexpensive-sounding records in its own studio, making converts through frequent touring, changing its sound every six months or so. It’s not easy, especially without becoming part of any movement…”\u003cbr\u003e - \u003cem\u003eThe New York Times\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“Deerhoof…has succeeded at something that’s very hard to do: It has made records and built a devoted international following on the sheer power of its imagination. And it’s a mad, wild imagination...”\u003cbr\u003e - \u003cem\u003eThe Boston Globe\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“Deerhoof has forged yet another delightfully odd pop gem, multifaceted and sparkling with creativity.”\u003cbr\u003e - \u003cem\u003eRolling Stone\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“Deerhoof…makes the difficult wonderful.”\u003cbr\u003e - \u003cem\u003eThe New Yorker\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“At first,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Runners Four\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis close to incomprehensible. Songs stop as soon as a hook seems to form; rhythms shift and cut like they’re running for their lives…but when the mystery lifts and the melodies finally stick—and they do—the album has the undeniable power of complete originality.”\u003cbr\u003e - \u003cem\u003eTIME\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003ci\u003eThe Runners Four\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewas nominated for New Pantheon Award by Ric Ocasek and John McCrea.\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Deerhoof","offers":[{"title":"Pink and Blue Vinyl + Digital (2xLP, includes instant download in MP3, AIFF, and WAV.)","offer_id":46263653007670,"sku":"JNR436lp-C1","price":33.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download in MP3, AIFF, and WAV.)","offer_id":46263653105974,"sku":"JNR436_digital","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/files\/jnr429LP-C1cover.jpg?v=1692028772"},{"product_id":"reveille","title":"Reveille","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing \/ Listen\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003c!-- BANDCAMP EMBED --\u003e\n\u003cdiv style=\"margin-top: 15px; padding: 25px 0px 0px 0px; overflow: hidden; border-top: 1px solid grey; height: 675px;\"\u003e\u003ciframe title=\"Bandcamp player\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2682772893\/size=large\/bgcol=ffffff\/linkcol=ffffff\/artwork=none\/transparent=true\/\" style=\"position: relative; top: -75px;\" border=\"0\" height=\"675\" width=\"100%\"\u003e\u003c\/iframe\u003e\u003c\/div\u003e\n\u003c!-- END BANDCAMP EMBED --\u003e\n\u003col\u003e\n\u003cli\u003eSound the Alarm\u003c\/li\u003e\n\u003cli\u003eThis Magnificent Bird Will Rise\u003c\/li\u003e\n\u003cli\u003eThe Eyebright Bugler\u003c\/li\u003e\n\u003cli\u003ePunch Buggy Valves\u003c\/li\u003e\n\u003cli\u003eNo One Fed Me So I Stayed\u003c\/li\u003e\n\u003cli\u003eFrenzied Handsome, Hello!\u003c\/li\u003e\n\u003cli\u003eDays \u0026amp; Nights in the Forest\u003c\/li\u003e\n\u003cli\u003eTop Tim Rubies\u003c\/li\u003e\n\u003cli\u003eHark the Umpire\u003c\/li\u003e\n\u003cli\u003eOur Angel's Ululu\u003c\/li\u003e\n\u003cli\u003eThe Last Trumpeter Swan\u003c\/li\u003e\n\u003cli\u003eTuning a Stray\u003c\/li\u003e\n\u003cli\u003eHoly Night Fever\u003c\/li\u003e\n\u003cli\u003eAll Rise\u003c\/li\u003e\n\u003cli\u003eCooper\u003c\/li\u003e\n\u003cli\u003eHallelujah Chorus\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cbr\u003e\u003cbr\u003e BONUS 7\"\u003cbr\u003e 1. Friday Night Fever\u003cbr\u003e 2. Tub Tim McGrob\u003cbr\u003e 3. Uh-Un\u003cbr\u003e 4. Almuatin\u003cbr\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBack in print on vinyl! Deerhoof debuts their new guitarist John Dieterich and achieves widespread critical acclaim for the first time. 2002’s \u003cem\u003eReveille\u003c\/em\u003e is a defiant expression of artistic rebirth, spilling over with madcap exuberance, apocalyptic imagery, newfound technical confidence belying their no-budget DIY recording methods, and jarring stylistic about-faces in which no two songs sound alike. The contrast of Satomi’s ever-catchy, ever-charming melodiousness with John and Greg’s noisy, cinematic bombast still has the power to thrill and tickle and upset, more than 20 years after its initial release.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIncludes reimagined cover art with the faint morning glow the band had always envisioned, pressed on clear sun-colored vinyl. Complete lyrics included for the first time, written by Satomi on the center labels.\u003c\/span\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cem\u003eThis record was our resurrection from oblivion. We didn’t realize it at the time of course. We were only making it for giggles. In 1999 Satomi and I thought we were surely finished as a band. Our founder and guitarist Rob Fisk had quit. I went back to school in defeat. It’s incredible to me that Satomi and I then asked the first guitar player I met at school to join and that man turned out to be John Dieterich. He’d just moved to Oakland and didn’t mind playing for the 20 people we always played to at the Stork Club. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eOver two years we recorded and rejected endless songs, casting around randomly in all different styles that we never played when Rob was in the band. Things started making sense when we hit on Judgement Day as our central image. But instead of a Western god allowing capitalist Christians like George Bush through the gates, a Deergod damned them in favor of populating heaven with animals. It was very Rob Fisk. Deerhoof charged back to life.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAnd \u003c\/em\u003eReveille\u003cem\u003e turned into an actual new dawn for us. It was well received and we started touring more and now we still are doing so and it’s fun.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e---Greg Saunier, 2024\u003c\/span\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDeerhoof has never had a single “breakout” album. For Deerhoof fans, everyone’s favorite album seems to be whichever one they first heard. For me, \u003c\/em\u003eReveille\u003cem\u003e is that album. I remember first hearing it when I was about 19 years old. At first, my brain couldn’t make sense of it… How could music like this be created? What approach to songwriting or playing would possibly produce songs that sounded like this? The fluttering chaotic drums. The time signatures yo-yoing up and down a sliding scale, according to some hidden logic—or perhaps by virtue of a devotion to the void underlying all such logic. Satomi’s vocals, perfectly juxtaposing the crunching feedback-laden guitars and explosively complex percussion. I had never heard anything that sounded so savage and cute at once. So chaotic and yet so precise. Persistently playful…yet *aggressively* playful. A cartoonish but authentic other world seemed to lie just beyond this sonic fringe or hem of the mystery.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIn my mind, both order and accident seemed equally impossible as explanations for the sounds that I was hearing. Could it be that they had no idea what they were doing? But elements of an intelligent design also seemed clearly and unmistakably present. What kind of method or psychic bag-of-tricks during band practice or recording would generate the living, shapeshifting quality of this sound spread out over the length of this album? With absolute bewilderment, I had to come to grips with the fact that I had no idea.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe urban legend that I heard about how the album was crafted evoked an image of the group’s cultic adherence to a stringent DIY extremism as a major element of what sets them apart in their sound. As it was related to me (based on the account of a friend, who’d read about it in Tape Op or somewhere): not only had the album been self-recorded, but the band members had to network three different MacBooks together, each pressing the spacebar simultaneously in order to capture and track each of their instruments onto the free version of ProTools which only allows for two tracks total before the pay gate went back up. There was only one bass note cloned and then pitch-shifted across the whole LP.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eOr, at any rate, these are the details that I recall being included in this friend’s account of the mythical Tape Op article about how \u003c\/em\u003eReveille\u003cem\u003e was created (which, as it turns out, does exist, but refers specifically to the \u003c\/em\u003eMilk Man\u003cem\u003e sessions). As I have been able to confirm in the fullness of time, though this account is not quite accurate in the application of its particulars, all of the particulars it mentions are themselves true—they just happened on other albums, and are more generally descriptive of the period and the ethos of the band itself, rather than of \u003c\/em\u003eReveille\u003cem\u003e. As for \u003c\/em\u003eReveille\u003cem\u003e: its secrets remain obscure both to myself and perhaps to the band themselves as well, even unto this day. And it still sounds that way.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAs such: It is a great honor to reissue \u003c\/em\u003eReveille\u003cem\u003e by Deerhoof. May we never find out how this kind of music is made, on the condition that we get to keep making it in the meantime.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e---Karl Hofstetter, 2024\u003cbr\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Deerhoof","offers":[{"title":"VIP","offer_id":47614692491574,"sku":"JNR432_VIP","price":30.0,"currency_code":"USD","in_stock":true},{"title":"Clear Sun Vinyl + Digital (Includes instant download in high quality MP3 \/ AIFF \/ WAV.)","offer_id":47614692426038,"sku":"JNR432_LP-C1","price":23.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download in high quality MP3 \/ AIFF \/ WAV)","offer_id":47614692458806,"sku":"JNR432_Digital","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/files\/JNR432CoverArtFinal.jpg?v=1702924106"},{"product_id":"walk-thru-me","title":"Walk Thru Me","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack listing \/ Listen\u003c\/div\u003e\n\u003c!-- begin YT embed --\u003e \u003cbr\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/YcniERH5TO4?si=CTvYl3BWlQa1i5Aw\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/LEyYcgAeQAw?si=NrU6AH7McFeMycox\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c!-- end YT embed --\u003e \u003cbr\u003e\u003cbr\u003e\u003c!-- Spotify EMBED --\u003e \u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/79IUTrcQtcEzJSEjZG7r39?utm_source=generator\u0026amp;theme=0\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003c!-- END Spotify EMBED --\u003e \u003cbr\u003e\u003cbr\u003e\n\u003col\u003e\n\u003cli\u003eCrepuscular\u003c\/li\u003e\n\u003cli\u003eThe Day You Died\u003c\/li\u003e\n\u003cli\u003eWalk Thru Me\u003c\/li\u003e\n\u003cli\u003eMy Little Lamb\u003c\/li\u003e\n\u003cli\u003eBobblehead Doll\u003c\/li\u003e\n\u003cli\u003eThe Fable and the Fact\u003c\/li\u003e\n\u003cli\u003eRight Hand Over the Heart\u003c\/li\u003e\n\u003cli\u003eWater Torture\u003c\/li\u003e\n\u003cli\u003eO.K. to Disconnect\u003c\/li\u003e\n\u003cli\u003eMoonlit Kind\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cspan style=\"text-decoration: underline;\"\u003eCredits:\u003c\/span\u003e \u003cbr\u003eThe Folk Implosion is John Davis and Lou Barlow \u003cbr\u003eProduced, recorded, and mixed by Scott Solter \u003cbr\u003eMastered by Stefan Betke\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\" data-mce-style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\" data-mce-style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cp\u003e\u003cspan data-contrast=\"none\"\u003e“How the fuck are we going to turn this into a song?” That’s the question Lou Barlow and John Davis have asked themselves since co-founding the Folk Implosion in the early 1990s. Beginning with improvised jams featuring Barlow on bass and Davis on drums, the duo develop their beat-driven pop collages from the ground up. It’s the process they used on their debut cassette, \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eWalk Through This World with the Folk Implosion\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e, and one they’ve returned to 30 years later on their spellbinding, self-referencing reunion, \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eWalk Thru Me\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e.\u003c\/span\u003e\u003cspan data-ccp-props='{\"134233117\":false,\"134233118\":false,\"201341983\":0,\"335559738\":0,\"335559739\":0,\"335559740\":259}'\u003e \u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559739\":160,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-contrast=\"none\"\u003eSeparated from their homes in Massachusetts and North Carolina, Barlow and Davis collaborated remotely, flashing back to their early friendship as penpals. A sweaty bass and drums session went down in Barlow’s attic, before they booked studio time with producer Scott Solter (St. Vincent, Spoon, The Mountain Goats).\u003c\/span\u003e\u003cspan data-ccp-props='{\"134233117\":false,\"134233118\":false,\"201341983\":0,\"335559738\":0,\"335559739\":0,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-contrast=\"none\"\u003eContrasts and comparisons are the keys to unlocking \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eWalk Thru Me\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e, and the Folk Implosion as a whole. Beyond the audible differences between Barlow’s soft voice and Davis’s urgent, reedy proclamations, their approaches to songwriting are strikingly distinct. While Barlow approached his lyrics from a protective paternal perspective (“My Little Lamb”), Davis paid tribute to his late father, shining a light on their complicated relationship (“The Day You Died”).\u003c\/span\u003e\u003cspan data-ccp-props='{\"134233117\":false,\"134233118\":false,\"201341983\":0,\"335559738\":0,\"335559739\":0,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-contrast=\"none\"\u003eFinally, Davis’s Persian music studies in weekly Zoom lessons inspired him to integrate traditional Middle Eastern instruments such as the setar, oud, saz, and tombak.\u003c\/span\u003e\u003cspan data-ccp-props='{\"134233117\":false,\"134233118\":false,\"201341983\":0,\"335559738\":0,\"335559739\":0,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-contrast=\"none\"\u003e“Because we’re so separate, part of this album is me desperately trying to telepathically communicate to John and Scott, who are 700 miles away from me,” Barlow concludes. “A big part of what I consider to be the Folk Implosion is taking disparate things and turning them into pop.” \u003c\/span\u003e\u003cspan data-ccp-props='{\"134233117\":false,\"134233118\":false,\"201341983\":0,\"335559738\":0,\"335559739\":0,\"335559740\":259}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"The Folk Implosion","offers":[{"title":"White Vinyl + Digital (Includes digital in MP3\/AIFF\/WAV.)","offer_id":48354905915702,"sku":"JNR450_lp-C1","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (Includes digital in MP3\/AIFF\/WAV.)","offer_id":48354921185590,"sku":"JNR450_cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette + Digital (Includes digital in MP3\/AIFF\/WAV.)","offer_id":48354905981238,"sku":"JNR450_cass","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (MP3\/AIFF\/WAV.)","offer_id":48354905948470,"sku":"JNR450_digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":48354906014006,"sku":"JNR450_vip","price":27.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/files\/JNR450CoverArtFinal.jpg?v=1710875239"},{"product_id":"kantos","title":"Kantos","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTrack Listing\/Listen\u003c\/div\u003e\n\u003c!-- begin YT embed --\u003e \u003cbr\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/5Am8m6MU-s0?si=mq0y9rjk6O4WMAB0\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/sAUJex2wVsQ?si=TWtcuVZRQ1WHEmhi\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/7l8aDcG8Bqk?si=aac1N3RCCfpUF1GE\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003c!-- end YT embed --\u003e \u003cbr\u003e\u003cbr\u003e\u003c!-- Spotify EMBED --\u003e \u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/7aLh1vRyyb9ejdERr7LlZL?utm_source=generator\u0026amp;theme=0\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003c!-- END Spotify EMBED --\u003e \u003cbr\u003e\u003cbr\u003e\n\u003col\u003e\n\u003cli\u003eViolin Akai\u003c\/li\u003e\n\u003cli\u003eChiba Funk\u003c\/li\u003e\n\u003cli\u003eLate Night Comic\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/kishibashi.lnk.to\/colorfulstateWE\" rel=\"noopener\" target=\"_blank\"\u003eColorful State\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eEscape from Knossos\u003c\/li\u003e\n\u003cli\u003eIcarus IV\u003c\/li\u003e\n\u003cli\u003eHollywood Intermission\u003c\/li\u003e\n\u003cli\u003eLilliputian Chop (feat. Augie Bello)\u003c\/li\u003e\n\u003cli\u003eAnalógico Brasil\u003c\/li\u003e\n\u003cli\u003eMake Believe (feat. Linqua Franqa)\u003c\/li\u003e\n\u003cli\u003eCall it Off\u003c\/li\u003e\n\u003cli\u003eTokyo Love Story (Love Story Wa Totsuzen Ni)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eCredits\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eKishi Bashi - Vocals, Violin, Guitar, Keyboards, Additional Instruments\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFraser Blanchflower - Electric Guitar, Piano, Background Vocals\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eQuinn Humphreys - Rickenbacker and Fender Bass*, Background Vocals\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJames Clark - Drums, Background Vocals, Commentary on Lilliputian Chop\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEmily Hope Price - Cello on Violin Akai, Icarus IV, and Call It Off\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSola Ishibashi - Vocals on Icarus IV\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eGarbiel Rodriguez - Percussion on Analógico Brasil and Tokyo Love Story\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eGraham Richards - Electric Piano on Analógico Brasil and Tokyo Love Story\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eZorina Andall - Vocals on Lilliputian Chop\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAugie Bello - Alto and Tenor Sax on Lilliputian Chop\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePip The Pansy - Flute and Vocals on Analógico Brasil\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMike Savino - Banjola on Call It Off\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*Kellen Harrison - Bass on Analógico Brasil\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLinqua Franqa - Vocals on Make Believe\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMark B - Hammond Organ on Violin Akai\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eProduced by Kishi Bashi\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMixed by Tucan\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMastered by Greg Calbi \/ Steve Falcone for Sterling Sound\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLive band recorded by Drew Vandenberg at Chase Park Transduction Athens, GA\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eEverything else recorded at Home Studios\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSequenced by Karl Hofstetter\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAll Songs by Kishi Bashi (Kizmoda Music Inc\/ASCAP).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e©\/℗ 2024 Kishi Bashi \u0026amp; Joyful Noise Recordings\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eExcept...\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLiliputian Chop Kishi Bashi (Kizmoda Music Inc\/ASCAP)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eand Augie Bello (ASCAP).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMake Believe by Kishi Bashi (Kizmoda Music Inc\/ASCAP)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eand Mariah Parker (ASCAP).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eTokyo Love Story (Love Story Wa Totsuzen Ni) by Kazumasa Oda.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOrigami and Photography by Kishi Bashi\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e“Icarus” designed by Takashi HOJYO (© 2001)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eDesign and Layout by Jerrod Landon Porter at \u003c\/span\u003e\u003ca rel=\"nofollow ugc\" href=\"http:\/\/iheartjlp.com\/\" referrerpolicy=\"strict-origin-when-cross-origin\"\u003eiheartjlp.com\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan data-contrast=\"none\"\u003eThe latest full-length from Kishi Bashi, \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eKantos\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e is a work of exquisite duality: a party album about the possible end of humanity as we know it, at turns deeply unsettling and sublimely joyful. In a sonic departure from the symphonic folk of his critically lauded 2019 LP \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eOmoiyari\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e—a career-defining body of work born from his intensive meditation on the mass incarceration of Japanese-Americans during World War II—the Seattle-born singer\/songwriter\/producer’s fifth studio album encompasses everything from Brazilian jazz and ’70s funk to orchestral rock and city pop (a Japanese genre that peaked in the mid-’80s). Informed by an equally kaleidoscopic mix of inspirations—the cult-classic sci-fi novel series \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eHyperion Cantos\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e, the writings of 18\u003c\/span\u003e\u003cspan data-contrast=\"none\"\u003eth\u003c\/span\u003e\u003cspan data-contrast=\"none\"\u003e century enlightenment philosopher Immanuel Kant, a revelatory trip to ancient ruins on the island of Crete—\u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eKantos \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003eultimately serves as an unbridled exaltation of the human spirit and all its wild complexities.\u003c\/span\u003e\u003cspan data-ccp-props=\"{}\"\u003e \u003c\/span\u003e\u003cspan data-ccp-props=\"{}\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-contrast=\"none\"\u003e“At a time when so many people had begun to panic about AI and what it might mean for our future, I started working on this record as a way to explore the concept of grounding ourselves in our humanity,” says the Santa Cruz, California-based multi-instrumentalist otherwise known as Kaoru Ishibashi. “The album title is a nod to \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eHyperion Cantos\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e and to Immanuel Kant, but it also refers to ‘canto’ meaning ‘I sing’ in Spanish. The idea is that even with so much technological advancement, songs are still something we very much rely on to connect with other people.”\u003c\/span\u003e\u003cspan data-ccp-props=\"{}\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eKantos\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e, the follow-up to his bluegrass-infused 2021 EP \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eEmigrant\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e, marks Kishi Bashi’s first full-length since \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eOmoiyari\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e—an album accompanied by a feature-length documentary film and praised by such outlets as \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eNPR\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e, who hailed it as “another sure-footed surprise from an artist who never stops seeking new ways to engage, connect and delight.” During the earliest stages of creating songs for the album, Ishibashi’s main intent was to return to his highly eclectic musical roots, in part by tapping into his jazz background and by delving into the dance-rock-leaning sensibilities he previously embraced as co-founder of Brooklyn-bred indie band Jupiter One. But not too long into the songwriting process, he stumbled upon an AI-equipped website capable of composing catchy song hooks based on a prompt—a turn of events that quickly catalyzed the existential inquiry at the heart of \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eKantos.\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e “On the one hand I’m very intrigued by the possibilities of AI: it’s extremely powerful, and has the potential to solve a lot of important problems,” says Ishibashi. “But there’s also a great deal of value in human innovation, and I’m worried about what happens if we lose sight of that. Because if we don’t value our humanity, what are we valuing at all?”\u003c\/span\u003e\u003cspan data-ccp-props=\"{}\"\u003e \u003c\/span\u003e\u003cspan data-ccp-props=\"{}\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-contrast=\"none\"\u003eProduced by Kishi Bashi and mixed by Tucan (Hot Chip, Jungle, Aluna), \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eKantos\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e unfolds with a potent and palpable energy that has much to do with his revisiting of the dance-punk acts who infiltrated the zeitgeist back in his Jupiter One days. “Being immersed in that whole scene in New York in the 2000s was very formative for me, and a lot of this record was heavily influenced by bands like The Rapture and LCD Soundsystem,” notes Ishibashi, whose past experience also includes touring and recording as a violinist for Regina Spektor. The album also partly draws its galvanizing power from his lockdown-era infatuation with electric guitar. “During the pandemic I got a Fender Strat and got really excited about the tone,” he says. “It reminded me of the stuff Nile Rodgers was making with Chic in the ’70s, and I made a conscious decision to build the demos around the guitar and all these cool drums loops I was playing around with.” When it came time to record \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eKantos\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e, Ishibashi headed to Chase Park Transduction (a studio in his former home of Athens, Georgia) and joined forces with engineer Drew Vandenberg (Faye Webster of Montreal, Toro y Moi), his long time collaborator, and a group of British musicians, Sweet Loretta, he’d met on tour in Europe in summer 2023. “The structure of the songs didn’t really change from the demo version, but the feel of everything completely transformed,” he says. “It was definitely an affirmation of how working with live musicians can add a real element of purpose to the track.”\u003c\/span\u003e\u003cspan data-ccp-props='{\"335557856\":16777215}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-contrast=\"none\"\u003eNot only a showcase for the sophisticated musicianship Kishi Bashi has displayed since his acclaimed 2012 debut \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003e151a\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eKantos \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003eendlessly embodies a certain ineffable quality that sets it worlds apart from artificially generated art: an infectious effervescence that echoes the playful sense of discovery that fueled every step of its creation. To that end, side A offers up a series of love songs shaped by a spontaneous shift in his vocal approach, including the euphoric and otherworldly “Chiba Funk” and the dizzyingly epic “Colorful State.” “With ‘Chiba Funk’ I was singing in Japanese and really enjoyed what it brought out of me as a vocalist, which gave me the idea to create English lyrics that I could sing in that same throaty style,” Ishibashi explains. “With a lot of these songs I allowed myself the luxury of experimenting with my vocals, almost as if I were pretending to be some other kind of singer.” Meanwhile, on “Icarus IV,” \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eKantos\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e takes on a stratospheric intensity as Kishi Bashi shares a glittering and groove-driven track sparked from his reading of Madeline Miller’s \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eCirce\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e (a 2018 novel set in the Greek Heroic Age) and by his journey to the site of Icarus and Daedalus’ mythical flight from Crete. “It was incredible to visit a place you’ve only known from a myth,” he points out. “Reading \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eCirce\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e and seeing those myths challenged from a feminist perspective led me to write ‘Icarus IV,’ which is essentially a classic tale of human hubris.”\u003c\/span\u003e\u003cspan data-ccp-props=\"{}\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-contrast=\"none\"\u003eAll throughout side B of \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eKantos\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e, Kishi Bashi pushes further into the album’s genre-bending abandon and untamed imagination, enlisting several guest musicians to add unexpected color and texture to his sonic explorations. “Lilliputian Chop,” featuring the spellbinding vocals of Zorina Andall and frenetic saxophone work of Augie Bello, arrives as an exuberant dance song capturing what Ishibashi sums up as “that breezy feeling of new love.” Pip The Pansy lends her lush flute melodies to “Analógico Brasil,” a gorgeously ethereal piece inspired by George Duke’s 1980 jazz-fusion classic \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eBrazilian Love Affair\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e. (“It’s a song about love and desire, like a lot of the songs on this record, but the word ‘analógico’ refers to how producers tend to romanticize analog gear from the ’60s and ’70s,” Ishibashi reveals.) With its bass-heavy grooves and soulful guitar tones, the R\u0026amp;B-flavored “Make Believe” finds activist\/rapper Linqua Franqa dropping in for a guest verse that immediately magnifies the track’s electrifying impact. And after the melancholy reverie of “Call It Off,” \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eKantos \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003ecloses out with Kishi Bashi’s cover of the titular theme song to the early-’90s Japanese mini-series \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eTokyo Love Story\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e, ending the album on a moment of dreamlike surrender.\u003c\/span\u003e\u003cspan data-ccp-props=\"{}\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-contrast=\"none\"\u003eIn bringing \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eKantos\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e to life, Ishibashi found a wealth of inspiration in his partner Dr. Kimberly Dill, a philosophy professor at Santa Clara University. Dill, who also shares his love of \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eHyperion Cantos\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e (a series set in a future in which humans uneasily coexist with AI civilization in colony worlds throughout the galaxy), introduced Ishibashi to the work of Immanuel Kant (who emphasized “reason above all else”) and illuminated him on the evolution of human thought—including the potentially disastrous consequences of the transhumanist movement espoused by the likes of Elon Musk. “Those who subscribe to transhumanism are looking toward a distant future where humans exist on the mainframe, as if that’s a form of enlightenment,” says Ishibashi. “In many ways that’s fascinating to me, but I think runaway futurism becomes dangerous when we devalue the living. When you put reason above all else, it’s another way of detaching from humanity.” \u003c\/span\u003e\u003cspan data-ccp-props=\"{}\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-contrast=\"none\"\u003eAlthough his ruminations on AI, transhumanism, and humanity’s troubled fate indelibly guided the making of \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eKantos\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e, Ishibashi nonetheless views the album as “less of a warning about this kind of hubris but more a celebration of the very characteristics that make us human: desire, passion, empathy, and love.” “If there’s anything I want people to come away with when they hear this record, it’s a feeling of excitement about the possibilities of human-created art,” he says. “Even as we’re learning more about all the amazing things AI can do, I think humans will always be one step ahead in terms of our creativity and innovation. There’s still no limit to what we have to offer.” \u003c\/span\u003e\u003cspan data-ccp-props=\"{}\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Kishi Bashi","offers":[{"title":"Purple Vinyl + Digital (Includes digital download MP3\/AIFF\/WAV.)","offer_id":48590228029750,"sku":"JNR475_LP-C1","price":24.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (Includes digital download in MP3\/AIFF\/WAV.)","offer_id":48590228062518,"sku":"JNR475_CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (In high quality MP3, AIFF + WAV.)","offer_id":48590228095286,"sku":"JNR475_digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":48590228128054,"sku":"JNR475_VIP","price":27.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/files\/COVER-4000px-300ppi_d10bfc2d-a0da-44eb-aa18-eb10910c1e3a.jpg?v=1713283834"},{"product_id":"the-free-triple-live-album","title":"The Free Triple Live Album","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eWatch \/ Listen\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003c!-- YT embed --\u003e \u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/1iUuFXKIeNQ?si=gu6qarGyy9UKzzKH\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \u003c!-- end YT embed --\u003e \u003c!-- BANDCAMP EMBED --\u003e\n\u003cdiv style=\"margin-top: 15px; padding: 25px 0px 0px 0px; overflow: hidden; border-top: 1px solid grey; height: 825px;\"\u003e\u003ciframe title=\"Bandcamp player\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1117929876\/size=large\/bgcol=ffffff\/linkcol=ffffff\/artwork=none\/transparent=true\/\" style=\"position: relative; top: -75px;\" border=\"0\" height=\"825\" width=\"100%\"\u003e\u003c\/iframe\u003e\u003c\/div\u003e\n\u003c!-- END BANDCAMP EMBED --\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eCredits:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAudio recorded by Tobias Lill\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMixed by Greg Saunier \u003cbr\u003eFilmed by Beat Halberschmidt\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSatomi Matsuzaki - bass, vocals\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJohn Dieterich - guitar\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eEd Rodríguez - guitar\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eGreg Saunier - drums, vocals\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"col span_1_of_2\" style=\"vertical-align: top;\" valign=\"top\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cp\u003eTHE FREE TRIPLE LIVE ALBUM in which Deerhoof plays their songs at legendary Berlin club SO36 to a full house that sings and dances along. It was February 7, 2024 and the opener was none other than Rob Fisk, aka Curse All Kings, aka the very founder of Deerhoof in 1994.\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe accompanying video is an unedited one-shot video of the entire performance, filmed by Beat Halberschmidt: \u003c\/span\u003e\u003ca href=\"https:\/\/youtu.be\/1iUuFXKIeNQ\" rel=\"nofollow ugc\" referrerpolicy=\"strict-origin-when-cross-origin\"\u003eyoutu.be\/1iUuFXKIeNQ\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Deerhoof","offers":[{"title":"Digital - Name Your Price - $0 (High quality download in MP3\/WAV\/AIFF)","offer_id":49101954580790,"sku":"JNR478-dig-0","price":0.0,"currency_code":"USD","in_stock":true},{"title":"Digital - Name Your Price - $5 (High quality download in MP3\/WAV\/AIFF)","offer_id":49101954613558,"sku":"JNR478-dig-5","price":5.0,"currency_code":"USD","in_stock":true},{"title":"Digital - Name Your Price - $10 (High quality download in MP3\/WAV\/AIFF)","offer_id":49101954646326,"sku":"JNR478-dig-10","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital - Name Your Price - $15 (High quality download in MP3\/WAV\/AIFF)","offer_id":49101954679094,"sku":"JNR478-dig-15","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/files\/TFTLACoverArtV2.jpg?v=1717097794"},{"product_id":"dale-crover-glossolalia","title":"Glossolalia","description":"\u003cdiv class=\"section group\"\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\" data-mce-style=\"vertical-align: top;\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\" data-mce-style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eTracklist \/ Listen\u003c\/div\u003e\n\u003c!-- YT --\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\" data-mce-style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Ca8D7ty0oqY?si=40oBOrknLgKV2THS\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/9_cN7KAl17Q?si=cV3DHiMHsjhFzPbl\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c!--end YT --\u003e \u003cbr\u003e\u003cbr\u003e\u003c!-- Spotify EMBED --\u003e \u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/28n8O2hfwtcJRmIdL0UVnt?utm_source=generator\u0026amp;theme=0\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003c!-- END Spotify EMBED --\u003e \u003cbr\u003e\u003cbr\u003e\n\u003col\u003e\n\u003cli\u003eGlossolalia\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eDoug Yuletide\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eI Quit\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eBlow'd Up\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eRings\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eJane\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eI Waited Forever\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eDon't Worry About it\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eSpoiled Daisies\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eKitten Knife\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003ePunchy\u003c\/li\u003e\n\u003c\/ol\u003e\nBonus Flexi: \"Rings\" (Rob Mix)\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\" data-mce-style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003eCredits\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\" data-mce-style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cspan\u003eDale Crover- vocals, guitar, bass, drums, percussion\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDan Southwick- guitar on Doug Yuletide \u0026amp; Punchy\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eToshi Kasai- keyboards, Q-Chord, backing vocals \u0026amp; slide guitar\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMindee Jorgensen- percussion\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\" data-mce-style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cspan aria-label=\"\" class=\"c-mrkdwn__br\" data-stringify-type=\"paragraph-break\"\u003e\u003c\/span\u003eSpecial Guests\u003cbr\u003e\u003cspan\u003eKim Thayil- lead guitar on I Quit \u0026amp; Rings\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eTy Segal- lead guitar on Spoiled Daisies \u0026amp; I Waited Forever\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRob Crow- guitar, vocals on Don’t Worry About It, vocals on Rings \u0026amp; I Waited Forever\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eTom Waits - Glossolalia on Glossolalia\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eProduced by Dale Crover\/ Toshi Kasai\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded at Sound Of Sirens\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eEngineered by Nathan Yaccino at The Ballard Baitshop\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMastered by John Golden Mastering\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePhotography- Harper King\u003cbr\u003eLayout - Ryan Hover\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eAnimal Trainer- Karl Hofstetter\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePublicity- Monica Seide- Evenson\/ Speak Easy PR\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDale uses Tama Drums, Aquarian Drum Heads, Paiste Cymbals \u0026amp; ProMark Drumsticks\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv valign=\"top\" style=\"vertical-align: top;\" class=\"col span_1_of_2\" data-mce-style=\"vertical-align: top;\"\u003e\n\u003cdiv style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\" data-mce-style=\"width: 100%; margin: 0px; padding: 8px 0px 6px 8px; background-color: #a9a9a9; color: #ffffff; font-family: 'Oswald', sans-serif; font-size: 24px; font-weight: 300; line-height: 100%; text-transform: uppercase;\"\u003eDescription\u003c\/div\u003e\n\u003cdiv style=\"margin: 0px; padding: 15px 0px 0px 0px;\" data-mce-style=\"margin: 0px; padding: 15px 0px 0px 0px;\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"OutlineElement Ltr SCXW212240044 BCX0\"\u003e\n\u003cp class=\"Paragraph SCXW212240044 BCX0\" paraeid=\"{731c7bb1-3dd5-43de-8180-a44bf87b2bfb}{75}\" paraid=\"3\"\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eAs he began plotting his new solo album, Dale Crover realized he was starting from scratch. The Melvins, Nirvana and Redd Kross drummer, and Altamont singer-guitarist, was already more than 30 years into a world-renowned musical career when he started work on what became his full-length solo debut — 2017’s \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eThe Fickle Finger of Fate\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e — so he had a backlog of songs and ideas to draw on. Likewise, he incorporated older material into \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eRat-A-Tat-Tat!\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e, which followed in 2021. But this time around it was different: just Crover and a Tascam 8-track gifted to him by Joyful Noise founder Karl Hofstetter. \u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"OutlineElement Ltr SCXW212240044 BCX0\"\u003e\n\u003cp class=\"Paragraph SCXW212240044 BCX0\" paraeid=\"{731c7bb1-3dd5-43de-8180-a44bf87b2bfb}{93}\" paraid=\"5\"\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e“I didn’t have any songs,” Crover says. “So I just went on this writing spree.”\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"OutlineElement Ltr SCXW212240044 BCX0\"\u003e\n\u003cp class=\"Paragraph SCXW212240044 BCX0\" paraeid=\"{731c7bb1-3dd5-43de-8180-a44bf87b2bfb}{103}\" paraid=\"7\"\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eThe result of that creative burst is \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eGlossolalia\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e, Crover’s third LP under his own name and arguably his most focused statement yet as a solo artist: 11 catchy yet eccentric tracks — demoed at home and later re-recorded with longtime Melvins engineer Toshi Kasai — that move from \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eNuggets\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e-y garage rock to crafty proto-metal riffage and gorgeously hazy psych-pop, and feature Crover’s songwriting, vocals and multi-instrumental talents alongside a number of illustrious guests, from past collaborators like Ty Segall to none other than Tom Waits. Crov\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eer’s prior Joyful Noise releases, including a set of lathe-cut singles that doubled as surreal art objects, took a more experimental tack, blending in oddball textural interludes along with more straightforward songs. This time, the sound is streamlined, with a natural flow that carries the listener straight through from the rollicking album-opening title track to eerily evocative closer “Punchy.” “Just having everything kind of fresh,” Crover says of the project as a whole, “I got really inspired.”\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"OutlineElement Ltr SCXW212240044 BCX0\"\u003e\n\u003cp class=\"Paragraph SCXW212240044 BCX0\" paraeid=\"{731c7bb1-3dd5-43de-8180-a44bf87b2bfb}{119}\" paraid=\"8\"\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eCrover found the seeds of these new songs in everything from his teenage memory banks to books and films he recently checked out. The idea for “Glossolalia” itself came from a surreal experience Crover had in high school, when he got roped into playing drums at a church. \u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"OutlineElement Ltr SCXW212240044 BCX0\"\u003e\n\u003cp class=\"Paragraph SCXW212240044 BCX0\" paraeid=\"{731c7bb1-3dd5-43de-8180-a44bf87b2bfb}{133}\" paraid=\"11\"\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e“They’re doing this service and it’s starting to get kind of crazy: ‘Praise the Lord; praise Jesus!’” Crover recalls. Spotting one of his classmates in attendance, he was surprised to find her participating in a particularly intense way. “All of a sudden, she starts freaking out and speaking in tongues,” Crover says. “I was minding my own \/ You came along \/ Spoke with your tongue,” he sings on the track that grew out of the incident, a jangly stop-start rocker on which Crover plays guitar, bass and drums, w\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eith Kasai adding in groovy, surf-rock-style keyboard.\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"OutlineElement Ltr SCXW212240044 BCX0\"\u003e\n\u003cp class=\"Paragraph SCXW212240044 BCX0\" paraeid=\"{731c7bb1-3dd5-43de-8180-a44bf87b2bfb}{145}\" paraid=\"13\"\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eCrover wanted to kick the track off with some actual glossolalia (the dictionary term for speaking in tongues), and at first he or Kasai was going to do the honors. But Kasai’s offhand mention that he might have an in with Tom Waits’ manager got the pair thinking that, as Crover recalls, “It might be weird enough that he would do it.” Word came back that Waits was game, and just before the album was set to be mastered, he sent in two fragments of brilliantly bizarre wordless mouth sounds that Crover and Kas\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eai ended up layering on top of each other, one in each channel. “We were like, ‘Fuck, they’re both really good,’” Crover says with a laugh. “‘We’ve got to use both.’”\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"OutlineElement Ltr SCXW212240044 BCX0\"\u003e\n\u003cp class=\"Paragraph SCXW212240044 BCX0\" paraeid=\"{731c7bb1-3dd5-43de-8180-a44bf87b2bfb}{157}\" paraid=\"15\"\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eTwo other tracks, “Doug Yuletide” and “Punchy,” were collaborations with guitarist Dan Southwick, Crover’s longtime friend and Altamont bandmate. “He’s one of those guys that’s always been really easy to write songs with,” Crover says. “Doug Yuletide” — the title of which mashes up the name of Velvet Underground member Doug Yule with a nod to the holiday season in which it was written — pairs Southwick’s rolling midtempo riffs with a tale that Crover describes, in another Velvets hat-tip, as a “vampire-stor\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003ey ‘Venus in Furs.’” “Punchy,” meanwhile, is a swirling sonic tapestry matched with lyrics inspired by a dream Southwick had and related to Crover (“It seems so strange \/ To be sitting here telling you these things \/ \u003c\/span\u003e\u003cspan class=\"SpellingError SCXW212240044 BCX0\"\u003e‘Cause\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e in my dream \/ You were wearing purple and green”), and a suitably trance-like vocal delivery from Crover.\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"OutlineElement Ltr SCXW212240044 BCX0\"\u003e\n\u003cp class=\"Paragraph SCXW212240044 BCX0\" paraeid=\"{731c7bb1-3dd5-43de-8180-a44bf87b2bfb}{169}\" paraid=\"17\"\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eRob Crow, of indie-rock institution Pinback, perverse \u003c\/span\u003e\u003cspan class=\"SpellingError SCXW212240044 BCX0\"\u003egrindcore\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e act Anal Trump and countless other projects, contributes guitar and backing vocals to another beautifully melancholy selection, “Don’t Worry About It.” The song — for which Crover took musical cues from the Beatles’ “I’m Only Sleeping” — deals with anxiety about the future, and how “things always seem to work out no matter what.” Crow also turns up on “I’ve Waited Forever,” a hooky, moody power-pop-\u003c\/span\u003e\u003cspan class=\"SpellingError SCXW212240044 BCX0\"\u003eesque\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e rocker that touches on control, a theme \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003ethat surfaces throughout the record in various forms, (whether “being in control, out of control, or controlling,” Crover explains). Liquid-toned lead guitar from Ty Segall ups the song’s stakes. “He’s such a good player,” Crover says of Segall, who also graces “Spoiled Daisies,” a crunchy, \u003c\/span\u003e\u003cspan class=\"SpellingError SCXW212240044 BCX0\"\u003eriffy\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e track inspired by a bad teenage mushroom trip. “He came in and just did it in a few hours.”\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"OutlineElement Ltr SCXW212240044 BCX0\"\u003e\n\u003cp class=\"Paragraph SCXW212240044 BCX0\" paraeid=\"{731c7bb1-3dd5-43de-8180-a44bf87b2bfb}{177}\" paraid=\"18\"\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eSoundgarden guitarist Kim Thayil, a die-hard Melvins fan since the band’s earliest days, lets loose on both “I Quit” and “Rings,” adding squealing and soaring psychedelic shred, respectively. Crover channeled Gary Numan when singing the former, another song dealing with the theme of control, while he touched on hardboiled-crime-fiction territory, reminiscent of writer Jim Thompson, for “Rings,” a vaguely sinister character sketch whose armed, jailhouse-tatted, “overserved” protagonist seems out to do harm.\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"OutlineElement Ltr SCXW212240044 BCX0\"\u003e\n\u003cp class=\"Paragraph SCXW212240044 BCX0\" paraeid=\"{731c7bb1-3dd5-43de-8180-a44bf87b2bfb}{191}\" paraid=\"21\"\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e“Jane,” with its shimmy-friendly bounce, shows off Crover’s lighter side. Just before the death of singer-actor Jane Birkin last year, Crover had been immersing in 1960s French culture, including \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"SpellingError SCXW212240044 BCX0\"\u003eyé-yé\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e pop sounds and \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eLa Piscine\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e, a psychological thriller that she co-starred in, so he framed the song as a tribute to her: “All the men try to win her over,” he sings. “But they just get the cold shoulder.” (When Crover played a demo of the track for Buzz Osborne, his Melvins bandmate likened it to the taut pop-rock of the Knack.) \u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"OutlineElement Ltr SCXW212240044 BCX0\"\u003e\n\u003cp class=\"Paragraph SCXW212240044 BCX0\" paraeid=\"{731c7bb1-3dd5-43de-8180-a44bf87b2bfb}{209}\" paraid=\"23\"\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eMeanwhile, “Kitten Knife” — an alternately stomping and subtle track that features Crover’s own righteous guitar leads, a reminder that the six-string was actually his first instrument — stemmed from a recent reading of Robert Louis Stevenson’s classic \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eStrange Case of Dr. Jekyll and Mr. Hyde\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e, and “Blow’d Up,” marked by a mambo-like drum groove and a fist-pumping chorus, grew out of reflections on relationship dynamics.\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"OutlineElement Ltr SCXW212240044 BCX0\"\u003e\n\u003cp class=\"Paragraph SCXW212240044 BCX0\" paraeid=\"{731c7bb1-3dd5-43de-8180-a44bf87b2bfb}{223}\" paraid=\"25\"\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eTaken as a whole, \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003eGlossolalia\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"TextRun SCXW212240044 BCX0\" lang=\"EN\" data-contrast=\"auto\" xml:lang=\"EN\"\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e shows that, just as the Melvins continue to grow and evolve into their fourth decade, Crover is actively taking new steps as a solo artist. Amid the inspired babbling of Waits, the glorious shredding of Segall and Thayil, and more, what stands out across the record is the sturdiness of Crover’s vision. He’s modest about his ambitions — “It’s just kind of like extra credit,” he says, about having a solo outlet apart from his main band — but as this record shows, his overall aesthetic hits just as\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW212240044 BCX0\"\u003e hard as his legendary drum thunder.\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"201341983\":0,\"335559740\":276}' class=\"EOP SCXW212240044 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Dale Crover","offers":[{"title":"Hot Pink Vinyl + Digital (Download includes WAV, AIFF \u0026 MP3 formats.)","offer_id":49145731514678,"sku":"JNR484_Crover_LP-C1_pink","price":24.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (Download includes WAV, AIFF \u0026 MP3 formats.)","offer_id":49145731580214,"sku":"JNR484_CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Download in WAV, AIFF \u0026 MP3)","offer_id":49145731612982,"sku":"JNR484_digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":49145731645750,"sku":"JNR484_Crover_VIP","price":27.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/files\/JNR484CoverArtFinal.jpg?v=1717681892"},{"product_id":"dare-to-be-surprised","title":"Dare to Be Surprised","description":"\u003cdiv class=\"OutlineElement Ltr SCXW106503358 BCX0\"\u003e\n\u003cp data-ccp-padding-between=\"0px\" data-ccp-border-between=\"0px none #000000\" data-ccp-padding-bottom=\"0px\" data-ccp-border-bottom=\"0px none #000000\" class=\"Paragraph SCXW106503358 BCX0\"\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003eIt’s easy to forget just how deeply weird the ’90s were. On a global scale, you had the\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"335572071\":0,\"335572072\":0,\"335572073\":0,\"335572075\":0,\"335572076\":0,\"335572077\":0,\"335572079\":0,\"335572080\":0,\"335572081\":0,\"335572083\":0,\"335572084\":0,\"335572085\":0,\"335572087\":0,\"335572088\":0,\"335572089\":0,\"469777462\":[720,1440,2160,2880,3600,4320,5040,5760,6480,7200,7920,8640,8660,8680,8700,8720,8740,8760,8780,8800,8820,8840,8860,8880,8900,8920,8940,8960,8980,9000,9020,9040,9060,9080,9100,9120,9140,9160,9180,9200,9220,9240,9260,9280,9300,9320,9340],\"469777927\":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],\"469777928\":[1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1],\"469789798\":\"nil\",\"469789802\":\"nil\",\"469789806\":\"nil\",\"469789810\":\"nil\",\"469789814\":\"nil\"}' class=\"EOP SCXW106503358 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003ecollapse of the Soviet Union and its Warsaw Pact satellites (Sputnik’s Down!). Hundreds of millions of people were thrown to the wolves of economic chaos and misery, and the Cold War that had provided the defining framework for understanding the world over the previous half century suddenly evaporated. Hapless theorists were left to speculate about “the end of history,” even. Confusing! At the local level it was a time when one could sit down with one’s father as he watched NASCAR on TV and hear “Natural On\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003ee” by my underground music friends the Folk Implosion — their song inescapably employed as bumper music before the next commercial break. Also confusing!\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"335572071\":0,\"335572072\":0,\"335572073\":0,\"335572075\":0,\"335572076\":0,\"335572077\":0,\"335572079\":0,\"335572080\":0,\"335572081\":0,\"335572083\":0,\"335572084\":0,\"335572085\":0,\"335572087\":0,\"335572088\":0,\"335572089\":0,\"469777462\":[720,1440,2160,2880,3600,4320,5040,5760,6480,7200,7920,8640,8660,8680,8700,8720,8740,8760,8780,8800,8820,8840,8860,8880,8900,8920,8940,8960,8980,9000,9020,9040,9060,9080,9100,9120,9140,9160,9180,9200,9220,9240,9260,9280,9300,9320,9340],\"469777927\":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],\"469777928\":[1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1],\"469789798\":\"nil\",\"469789802\":\"nil\",\"469789806\":\"nil\",\"469789810\":\"nil\",\"469789814\":\"nil\"}' class=\"EOP SCXW106503358 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"OutlineElement Ltr SCXW106503358 BCX0\"\u003e\n\u003cp data-ccp-padding-between=\"0px\" data-ccp-border-between=\"0px none #000000\" data-ccp-padding-bottom=\"0px\" data-ccp-border-bottom=\"0px none #000000\" class=\"Paragraph SCXW106503358 BCX0\"\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003eOne gets the sense it was a little confusing for The Folk Implosion’s John Davis and Lou Barlow, too. They were in the middle of recording \u003cem\u003eDare to Be Surprised\u003c\/em\u003e, the follow-up to their 1994 debut album, \u003cem\u003eTake A Look Inside\u003c\/em\u003e, when it happened. The \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003eKIDS\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003e stuff — the handful of songs and instrumental tracks they’d contributed to the soundtrack of the now infamous Harmony Korine\/Larry Clark film — had been something of a lark, but it was while recording it at Boston’s venerable Fort Apache that they met Wally Gagel. A happy accident: Gagel happened to be the house engineer on duty the day they showed up, but they found in him someone whose general sensibilities, and, critically, enthusiasm for new wave, matched their own.\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"335572071\":0,\"335572072\":0,\"335572073\":0,\"335572075\":0,\"335572076\":0,\"335572077\":0,\"335572079\":0,\"335572080\":0,\"335572081\":0,\"335572083\":0,\"335572084\":0,\"335572085\":0,\"335572087\":0,\"335572088\":0,\"335572089\":0,\"469777462\":[720,1440,2160,2880,3600,4320,5040,5760,6480,7200,7920,8640,8660,8680,8700,8720,8740,8760,8780,8800,8820,8840,8860,8880,8900,8920,8940,8960,8980,9000,9020,9040,9060,9080,9100,9120,9140,9160,9180,9200,9220,9240,9260,9280,9300,9320,9340],\"469777927\":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],\"469777928\":[1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1],\"469789798\":\"nil\",\"469789802\":\"nil\",\"469789806\":\"nil\",\"469789810\":\"nil\",\"469789814\":\"nil\"}' class=\"EOP SCXW106503358 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"OutlineElement Ltr SCXW106503358 BCX0\"\u003e\n\u003cp data-ccp-padding-between=\"0px\" data-ccp-border-between=\"0px none #000000\" data-ccp-padding-bottom=\"0px\" data-ccp-border-bottom=\"0px none #000000\" class=\"Paragraph SCXW106503358 BCX0\"\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003eThe results marked a shift from earlier Folk Implosion efforts. The partnership between\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"335572071\":0,\"335572072\":0,\"335572073\":0,\"335572075\":0,\"335572076\":0,\"335572077\":0,\"335572079\":0,\"335572080\":0,\"335572081\":0,\"335572083\":0,\"335572084\":0,\"335572085\":0,\"335572087\":0,\"335572088\":0,\"335572089\":0,\"469777462\":[720,1440,2160,2880,3600,4320,5040,5760,6480,7200,7920,8640,8660,8680,8700,8720,8740,8760,8780,8800,8820,8840,8860,8880,8900,8920,8940,8960,8980,9000,9020,9040,9060,9080,9100,9120,9140,9160,9180,9200,9220,9240,9260,9280,9300,9320,9340],\"469777927\":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],\"469777928\":[1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1],\"469789798\":\"nil\",\"469789802\":\"nil\",\"469789806\":\"nil\",\"469789810\":\"nil\",\"469789814\":\"nil\"}' class=\"EOP SCXW106503358 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003eLou Barlow, already an indie-rock veteran with two of the era’s most influential bands in Dinosaur Jr and Sebadoh amongst his credits, and John Davis, the erstwhile librarian whose skeletal solo work paired elliptical guitar figures with lyrics that evoked the language poets, seemed at first like an opportunity to get silly with it in ways that \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003ewouldn’t have sat quite right with their other projects.\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"335572071\":0,\"335572072\":0,\"335572073\":0,\"335572075\":0,\"335572076\":0,\"335572077\":0,\"335572079\":0,\"335572080\":0,\"335572081\":0,\"335572083\":0,\"335572084\":0,\"335572085\":0,\"335572087\":0,\"335572088\":0,\"335572089\":0,\"469777462\":[720,1440,2160,2880,3600,4320,5040,5760,6480,7200,7920,8640,8660,8680,8700,8720,8740,8760,8780,8800,8820,8840,8860,8880,8900,8920,8940,8960,8980,9000,9020,9040,9060,9080,9100,9120,9140,9160,9180,9200,9220,9240,9260,9280,9300,9320,9340],\"469777927\":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],\"469777928\":[1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1],\"469789798\":\"nil\",\"469789802\":\"nil\",\"469789806\":\"nil\",\"469789810\":\"nil\",\"469789814\":\"nil\"}' class=\"EOP SCXW106503358 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"auto\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003eWhat came out of Fort Apache was different: mannered, moody, dubby even (they\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"469777462\":[720,1440,2160,2880,3600,4320,5040,5760,6480,7200,7920,8640,8660,8680,8700,8720,8740,8760,8780,8800,8820,8840,8860,8880,8900,8920,8940,8960,8980,9000,9020,9040,9060,9080,9100,9120,9140,9160,9180,9200,9220,9240,9260,9280,9300,9320,9340],\"469777927\":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],\"469777928\":[1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1]}' class=\"EOP SCXW106503358 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"auto\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003esampled Erik Satie, for crying out loud!). Lacking the budget to go back to the proper\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"469777462\":[720,1440,2160,2880,3600,4320,5040,5760,6480,7200,7920,8640,8660,8680,8700,8720,8740,8760,8780,8800,8820,8840,8860,8880,8900,8920,8940,8960,8980,9000,9020,9040,9060,9080,9100,9120,9140,9160,9180,9200,9220,9240,9260,9280,9300,9320,9340],\"469777927\":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],\"469777928\":[1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1]}' class=\"EOP SCXW106503358 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"auto\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003estudio that the \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"auto\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003eKIDS \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"auto\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003egig had afforded them, the Folk Implosion settled instead on Gagel’s small recording space in Boston’s South End. There were rules, rules born from frank conversations. No chords. No strumming. No indie rock! They whiled away\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"469777462\":[720,1440,2160,2880,3600,4320,5040,5760,6480,7200,7920,8640,8660,8680,8700,8720,8740,8760,8780,8800,8820,8840,8860,8880,8900,8920,8940,8960,8980,9000,9020,9040,9060,9080,9100,9120,9140,9160,9180,9200,9220,9240,9260,9280,9300,9320,9340],\"469777927\":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],\"469777928\":[1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1]}' class=\"EOP SCXW106503358 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"auto\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003eafternoons in the park writing lyrics, trading lines. And over a year of episodic sessions, a weekend here, a few days there, an album came together. When “Natural One” blew up it could’ve changed the calculus — the opportunity was there to scrap what they’d been working on and start over with major-label money — but they elected instead to stay the course, confident in the process.\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"469777462\":[720,1440,2160,2880,3600,4320,5040,5760,6480,7200,7920,8640,8660,8680,8700,8720,8740,8760,8780,8800,8820,8840,8860,8880,8900,8920,8940,8960,8980,9000,9020,9040,9060,9080,9100,9120,9140,9160,9180,9200,9220,9240,9260,9280,9300,9320,9340],\"469777927\":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],\"469777928\":[1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1]}' class=\"EOP SCXW106503358 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"OutlineElement Ltr SCXW106503358 BCX0\"\u003e\n\u003cp data-ccp-padding-between=\"0px\" data-ccp-border-between=\"0px none #000000\" data-ccp-padding-bottom=\"0px\" data-ccp-border-bottom=\"0px none #000000\" class=\"Paragraph SCXW106503358 BCX0\"\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003eIt seems a bit of a shame from this remove that\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003e \u003cem\u003eDare to Be Surprised\u003c\/em\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003ewas destined to\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"335572071\":0,\"335572072\":0,\"335572073\":0,\"335572075\":0,\"335572076\":0,\"335572077\":0,\"335572079\":0,\"335572080\":0,\"335572081\":0,\"335572083\":0,\"335572084\":0,\"335572085\":0,\"335572087\":0,\"335572088\":0,\"335572089\":0,\"469777462\":[720,1440,2160,2880,3600,4320,5040,5760,6480,7200,7920,8640,8660,8680,8700,8720,8740,8760,8780,8800,8820,8840,8860,8880,8900,8920,8940,8960,8980,9000,9020,9040,9060,9080,9100,9120,9140,9160,9180,9200,9220,9240,9260,9280,9300,9320,9340],\"469777927\":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],\"469777928\":[1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1],\"469789798\":\"nil\",\"469789802\":\"nil\",\"469789806\":\"nil\",\"469789810\":\"nil\",\"469789814\":\"nil\"}' class=\"EOP SCXW106503358 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003elive in the shadow of the KIDS soundtrack’s success, but the ’90s were a weird time,\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"335572071\":0,\"335572072\":0,\"335572073\":0,\"335572075\":0,\"335572076\":0,\"335572077\":0,\"335572079\":0,\"335572080\":0,\"335572081\":0,\"335572083\":0,\"335572084\":0,\"335572085\":0,\"335572087\":0,\"335572088\":0,\"335572089\":0,\"469777462\":[720,1440,2160,2880,3600,4320,5040,5760,6480,7200,7920,8640,8660,8680,8700,8720,8740,8760,8780,8800,8820,8840,8860,8880,8900,8920,8940,8960,8980,9000,9020,9040,9060,9080,9100,9120,9140,9160,9180,9200,9220,9240,9260,9280,9300,9320,9340],\"469777927\":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],\"469777928\":[1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1],\"469789798\":\"nil\",\"469789802\":\"nil\",\"469789806\":\"nil\",\"469789810\":\"nil\",\"469789814\":\"nil\"}' class=\"EOP SCXW106503358 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003eand it was sometimes hard to recognize things for what they were. What this was, it’s\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"335572071\":0,\"335572072\":0,\"335572073\":0,\"335572075\":0,\"335572076\":0,\"335572077\":0,\"335572079\":0,\"335572080\":0,\"335572081\":0,\"335572083\":0,\"335572084\":0,\"335572085\":0,\"335572087\":0,\"335572088\":0,\"335572089\":0,\"469777462\":[720,1440,2160,2880,3600,4320,5040,5760,6480,7200,7920,8640,8660,8680,8700,8720,8740,8760,8780,8800,8820,8840,8860,8880,8900,8920,8940,8960,8980,9000,9020,9040,9060,9080,9100,9120,9140,9160,9180,9200,9220,9240,9260,9280,9300,9320,9340],\"469777927\":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],\"469777928\":[1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1],\"469789798\":\"nil\",\"469789802\":\"nil\",\"469789806\":\"nil\",\"469789810\":\"nil\",\"469789814\":\"nil\"}' class=\"EOP SCXW106503358 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"TextRun SCXW106503358 BCX0\" lang=\"EN-US\" data-contrast=\"none\"\u003e\u003cspan class=\"NormalTextRun SCXW106503358 BCX0\"\u003eclear now, is the sound of a band truly finding its feet, and forging something genuinely new in the process.\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-ccp-props='{\"335572071\":0,\"335572072\":0,\"335572073\":0,\"335572075\":0,\"335572076\":0,\"335572077\":0,\"335572079\":0,\"335572080\":0,\"335572081\":0,\"335572083\":0,\"335572084\":0,\"335572085\":0,\"335572087\":0,\"335572088\":0,\"335572089\":0,\"469777462\":[720,1440,2160,2880,3600,4320,5040,5760,6480,7200,7920,8640,8660,8680,8700,8720,8740,8760,8780,8800,8820,8840,8860,8880,8900,8920,8940,8960,8980,9000,9020,9040,9060,9080,9100,9120,9140,9160,9180,9200,9220,9240,9260,9280,9300,9320,9340],\"469777927\":[0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0],\"469777928\":[1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1],\"469789798\":\"nil\",\"469789802\":\"nil\",\"469789806\":\"nil\",\"469789810\":\"nil\",\"469789814\":\"nil\"}' class=\"EOP SCXW106503358 BCX0\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"The Folk Implosion","offers":[{"title":"VIP","offer_id":51514186432822,"sku":"JNR425_VIP","price":27.0,"currency_code":"USD","in_stock":true},{"title":"White Vinyl + Digital (Includes instant download in MP3 AIFF + WAV.)","offer_id":51514186334518,"sku":"JNR425_LP-C1","price":24.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download in MP3, AIFF + WAV.)","offer_id":51514186367286,"sku":"JNR425_digital","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/files\/JNR425_The-Folk-Implosion_Dare.jpg?v=1759331161"},{"product_id":"noble-and-godlike-in-ruin","title":"Noble and Godlike in Ruin","description":"\u003cp class=\"p1\"\u003eThough Deerhoof long ago established itself as one of the greatest rock groups ever to stride the earth—and if you think that’s hyperbole, you haven’t spent enough time listening to Deerhoof—the furiously inventive quartet releases new albums on the schedule of a young band still hungry for its first break. Each one presents a challenge to themselves, to discover some previously unknown combination of candy-coated hard-rock riffs and free-jazz percussive freakouts, sideways pop hooks and fearsome dissonance, trenchant social commentary and surrealist humor. And yet somehow, they’re also profoundly \u003ci\u003ereliable\u003c\/i\u003e, a strange but true descriptor for a band so creatively restless. No matter how far they follow their own curiosity and ambition, they never stray from some essential aspect of their identity. You never know what a new Deerhoof album might sound like, except that it will always sound like Deerhoof.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s1\"\u003eThey are defined by such paradoxes, as \u003ci\u003eNoble and Godlike in Ruin \u003c\/i\u003ereaffirms. \u003c\/span\u003eTheir latest album\u003ci\u003e \u003c\/i\u003eis either a portrait of a world descending into monstrous hate, dehumanization, and dollar signs, or a haunting self-portrait of band-as-monster: an intelligent, sensitive, hybrid creature, singing tirelessly of love, but increasingly alienated from that world.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe music is joyful and foreboding, cybernetic and deeply human, all at once. Strings that evoke avant-garde chamber music and classic horror-film soundtracks bounce off guitar and bass lines that chug on impervious to the creeping dread. The drums are sometimes filtered to sound almost electronic, but no computer could come up with rhythms so funky and dynamic, with each minute variation from one snare hit to the next conveying worlds of possibility. Though the subject matter may be bleak—how could it not be?—the songs carry an implicit note of defiant optimism in their refusal to bow to convention or received wisdom. There’s that famous Dylan Thomas line about raging against the dying of the light: \u003ci\u003eNoble and Godlike in Ruin \u003c\/i\u003efeels a little like that. \u003c\/p\u003e\n\u003cp class=\"p3\"\u003eDeerhoof seems to thrive on collapse, whether musical—in the moments on their latest LP when their songs crash and break apart, then reassemble in surprising and delightful new fashion—or, for that matter, societal. The last 31 years have not exactly been kind to the 90s “indie” ideals that nurtured Deerhoof’s early career, whose torch they still carry proudly. But judging from the ferocity and experimentalism of their upcoming LP, they are abandoning any semblance of prevailing music industry wisdom and just going harder.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eFronting it all is Satomi Matsuzaki’s inimitable alto. A voice of solitude, whose plainspoken calm can seem strangely outside of the band’s maelstrom, even as she contributes to it with her jaggedly precise bass parts. As a first-generation immigrant to the US, she’s never tried to disguise her Japanese accent, or her deadpan, \u003ci\u003ekaraoke\u003c\/i\u003e-esque delivery. On \u003ci\u003eNoble and Godlike in Ruin\u003c\/i\u003e, her sense of remove feels alternately like an expression of loneliness and like a cool provocation to systems of oppression and control. “Kindness is all I needed from you,” she sings on the epic album closer “Immigrant Songs.” “But you think we’re in your house.” Not long after, the song detonates, its tightly wound art-pop giving way to several minutes of howling noise. \u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003ci\u003eNoble and Godlike in Ruin\u003c\/i\u003e’s production sheen is cinematic, almost orchestral, and the musicianship gleams as it twists between rock, punk, latin, classical, funk, and no-wave. It’s as if our protagonist keeps shattering the fourth wall that the instruments behind her keep scrambling to rebuild. Matching the whimsical to the revolutionary, the beautiful to the horrific, \u003ci\u003eNoble and Godlike in Ruin\u003c\/i\u003e provides a catharsis which liberates listeners from the inhumane world we’re forced to wrap our bamboozled, grief-stricken heads around.\u003c\/p\u003e\n\u003cp class=\"p6\"\u003eIn other words: Yes, it sounds like Deerhoof. This is simply the latest and fiercest in their long line of mystical, subversive noise-pop operas, riddled with literary references and double meanings. As long as there are structures of greed and domination on Earth, these mischievous beasts will be around to challenge and thumb their noses at them—and, maybe someday, to topple them once and for all. You can count on it.\u003c\/p\u003e","brand":"Deerhoof","offers":[{"title":"Test Tube Green Vinyl + Digital (Download in WAV \/ AIFF \/ MP3)","offer_id":51514324812086,"sku":"JNR496_LP-C1","price":24.0,"currency_code":"USD","in_stock":true},{"title":"CD + Digital (Download in WAV \/ AIFF \/ MP3)","offer_id":51514324844854,"sku":"JNR496_CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette + Digital (Download in WAV \/ AIFF \/ MP3)","offer_id":51514324877622,"sku":"JNR496_cass","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Download available in WAV \/ AIFF \/ MP3)","offer_id":51514324910390,"sku":"JNR496_digital","price":9.0,"currency_code":"USD","in_stock":true},{"title":"VIP","offer_id":51514324943158,"sku":"JNR496_VIP","price":27.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/files\/JNR496-Album-Motion-1x1_WEB.gif?v=1742307769"},{"product_id":"the-well-i-fell-into-demos","title":"The Well I Fell Into - Demos","description":"\u003cdiv class=\"OutlineElement Ltr SCXW238142594 BCX0\"\u003e\n\u003cp class=\"Paragraph SCXW238142594 BCX0\" data-ccp-border-bottom=\"0px none #000000\" data-ccp-padding-bottom=\"0px\" data-ccp-border-between=\"0px none #000000\" data-ccp-padding-between=\"0px\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cem\u003eThe Well I Fell Into - Demos\u003c\/em\u003e LP contains the original tracks from our Artist Enabler Club, remastered in stereo and sequenced to match the “proper” album. This is a beautiful, naked version of \u003cem\u003eThe Well I Fell Into\u003c\/em\u003e, containing the earliest versions of the songs that we were fortunate enough to be able to pry from Yoni’s hands every month. Production is sparse. Here we hear the songs as they were originally imagined. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Paragraph SCXW238142594 BCX0\" data-ccp-border-bottom=\"0px none #000000\" data-ccp-padding-bottom=\"0px\" data-ccp-border-between=\"0px none #000000\" data-ccp-padding-between=\"0px\"\u003e\u003cspan\u003eHand-numbered limited edition of 500.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"WHY?","offers":[{"title":"Limited Edition Digicam Wave Vinyl + Digital (Hand-numbered out of 500. Includes download in MP3 \/ AIFF \/ WAV)","offer_id":51514623000886,"sku":"JNR499_LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Download in MP3 \/ AIFF \/ WAV)","offer_id":51514623066422,"sku":"JNR499_digital","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/files\/JNR499_Cover_Art_Final.jpg?v=1738162890"},{"product_id":"friend-opportunity","title":"Friend Opportunity","description":"\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e\u003cspan lang=\"en-US\"\u003eDeerhoof's landmark 9th album, reissued on a new (much better) vinyl pressing, with gatefold jacket + printed innersleeve featuring David Shrigley's multiple album covers created for the initial CD release.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e\u003cspan lang=\"en-US\"\u003eBy 2007 Deerhoof had firmly established themselves as one of the most forward-thinking, fun-having, and expectations-exploding indie rock bands around. 16 years later, \u003cem\u003eFriend Opportunity\u003c\/em\u003e remains a poignant feat of reinvention. Originally released January 23, 2007 on Kill Rock Stars, \u003cem\u003eFriend Opportunity\u003c\/em\u003e was written by the trio of Satomi Matsuzaki, John Dieterich, and Greg Saunier, following the departure of guitarist Chris Cohen. The instruments were mainly self-recorded in the band members' Bay Area bedrooms, with most of the vocals and some additional instruments recorded at San Francisco’s Tiny Telephone by Jay and Ian Pellicci. The final touch was the addition of organs from Oakland’s New, Improved Recording keyboard collection, recorded by Eli Crews. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e\u003cspan lang=\"en-US\"\u003eMusic historian Michael Azerrad's projections of the album's indelible legacy in his original bio still hold up almost 20 years later:\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e\u003cspan lang=\"en-US\"\u003e'Later on, in the sparkly white jumpsuit days, Elvis would reach a peak moment when the music moved him so deeply, lifted him to such great heights, that there was only one thing to do: the Inverted Claw. When music makes you do that, it's a truly awesome feeling. The Inverted Claw is what Deerhoof is all about. Their exultant music draws you into the moment, and there you rejoice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e\u003cspan lang=\"en-US\"\u003eOn the transcendent \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003ci\u003eFriend Opportunity\u003c\/i\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, the music constantly surprises: songs like the \"Perfect Me\" have three or four sections of heart-stopping epiphanies of the sublime; \"Matchbook Seeks Maniac\" pulls a \"99 Luftballoons\" breakdown move in the middle, rocks a Brahms interval in the pop-narcotic chorus, and the Beach Boys and the Who are all over the mix — it's one of the most glorious things you’ll ever hear.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e\u003cspan lang=\"en-US\"\u003eOn previous albums, one of Deerhoof's main weapons was negative space – the stunning silences between beats and chords hit harder than any clang and clash of guitars and cymbals. Deerhoof were like painters who'd leave bare patches of canvas to highlight their strokes; now they're inclined to fill in every square inch, inviting us to revel in every brilliant corner. And songs like \"Perfect Me,\" \"Believe in E.S.P.\" and \"Choco Fight\" are vastly more groove-oriented — and yeah, sexy — than anything they've ever done. It's all integrated into juxtapositions that ought to be jarring but just come out astonishing. \"Believe E.S.P.\" opens with Deerhoof's take on get-down funky slinkopation but the next passage sounds like something out of Palestrina; like so many of these songs, it's a scenic drive that flows from one astonishing vista to the next, from wide, shimmering deserts to foggy canyons to staggering, snow-peaked mountaintops.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e\u003cspan lang=\"en-US\"\u003eDeerhoof is not one of those quotational, ironic, postmodern bands that pervaded indie rock for so long. Maybe that's because they're so clearly in love with the power of music, and are such incredible musicians and composers. Yeah, I said \"composers\" — there's a symphonic conception at work here, entire worlds within chords, genius hooks that may or may not swing by again, a programmatic, narrative flow that takes us from one place and drops us off in another, like an exhilarating abduction. As Mike Watt once said of his band the Minutemen, Deerhoof doesn't write songs, they write rivers. They're still episodic — but those episodes flow by more fluidly, less concatenations of ideas than inspired blurts that came out fully formed, and strong at broken places. It's got its own logic, as if they dream this stuff and somehow remember what they dreamt and forge it into music before it evaporates from their minds. And the numinous center of it all is \"Whither the Invisible,\" with main singer Satomi Matsuzaki as a child-like voice wandering in an enchanted Miyazaki forest.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e\u003cspan lang=\"en-US\"\u003eWhere on earth does this stuff come from? There's the towering, odd-metered guitar riffarama of Chavez, the heavy metal thunder of Stravinsky, the damaged curlicues of Gastr del Sol, the klang und schtomp of Led Zeppelin, Japan's illustrious line of breathtakingly innovative female-dominated bands like Ex-Girl and Melt Banana. And now there are those man-machine beatbox rhythms, with titanic drummer Greg Saunier outpacing the technology like a John Henry with two wooden dowels in his hands instead of a sledgehammer. Sometimes they recall the Who — like \"Underture\" from \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003ci\u003eTommy\u003c\/i\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e or the magnificent live version of \"A Quick One,\" a rock band doing the work of an orchestra, compelling reveries alternating with powerful rushes of sinuous melody, lyrical power-plays and Inverted Claws that clutch overwhelming joy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e\u003cspan lang=\"en-US\"\u003eBut there's another important source: For at least 20 years, hip-hop has made the most outlandish, experimental music that pop has ever seen. Why can't rock music do the same thing, in its own way? So while \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003ci\u003eFriend Opportunity\u003c\/i\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e does tangentially cite hip-hop (and various eras of rock at its most adventurous), it mostly just applies the same mindset — what if we just let our imagination run free?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in; background: #ffffff;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003ci\u003eFriend Opportunity\u003c\/i\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e is a feat of reinvention that could only come from artists willing to rethink \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003ci\u003eeverything\u003c\/i\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e. \"It's like being a kid again,\" Saunier once told Pitchfork, \"because that's what kids do all the time. Every day they're learning new things that they didn't know that they could do.\" Man, talk about sonic youth — Deerhoof's springs eternal.'\u003c\/span\u003e\u003c\/p\u003e","brand":"Deerhoof","offers":[{"title":"VIP","offer_id":52518310871350,"sku":"JNR437_VIP","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Hot Pink Vinyl + Digital (Includes instant download in high quality MP3 \/ AIFF \/ WAV.)","offer_id":52518310904118,"sku":"JNR437_LP-C1","price":24.0,"currency_code":"USD","in_stock":true},{"title":"Digital (Instant download in high quality MP3 \/ AIFF \/ WAV)","offer_id":52518310936886,"sku":null,"price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/files\/JNR437CoverArtFinal.jpg?v=1754491034"},{"product_id":"noble-and-godlike-in-ruin-vip-private-stash","title":"Noble and Godlike in Ruin (VIP) [Private Stash]","description":"\u003cp class=\"p1\"\u003eThough Deerhoof long ago established itself as one of the greatest rock groups ever to stride the earth—and if you think that’s hyperbole, you haven’t spent enough time listening to Deerhoof—the furiously inventive quartet releases new albums on the schedule of a young band still hungry for its first break. Each one presents a challenge to themselves, to discover some previously unknown combination of candy-coated hard-rock riffs and free-jazz percussive freakouts, sideways pop hooks and fearsome dissonance, trenchant social commentary and surrealist humor. And yet somehow, they’re also profoundly \u003ci\u003ereliable\u003c\/i\u003e, a strange but true descriptor for a band so creatively restless. No matter how far they follow their own curiosity and ambition, they never stray from some essential aspect of their identity. You never know what a new Deerhoof album might sound like, except that it will always sound like Deerhoof.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s1\"\u003eThey are defined by such paradoxes, as \u003ci\u003eNoble and Godlike in Ruin \u003c\/i\u003ereaffirms. \u003c\/span\u003eTheir latest album\u003ci\u003e \u003c\/i\u003eis either a portrait of a world descending into monstrous hate, dehumanization, and dollar signs, or a haunting self-portrait of band-as-monster: an intelligent, sensitive, hybrid creature, singing tirelessly of love, but increasingly alienated from that world.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe music is joyful and foreboding, cybernetic and deeply human, all at once. Strings that evoke avant-garde chamber music and classic horror-film soundtracks bounce off guitar and bass lines that chug on impervious to the creeping dread. The drums are sometimes filtered to sound almost electronic, but no computer could come up with rhythms so funky and dynamic, with each minute variation from one snare hit to the next conveying worlds of possibility. Though the subject matter may be bleak—how could it not be?—the songs carry an implicit note of defiant optimism in their refusal to bow to convention or received wisdom. There’s that famous Dylan Thomas line about raging against the dying of the light: \u003ci\u003eNoble and Godlike in Ruin \u003c\/i\u003efeels a little like that. \u003c\/p\u003e\n\u003cp class=\"p3\"\u003eDeerhoof seems to thrive on collapse, whether musical—in the moments on their latest LP when their songs crash and break apart, then reassemble in surprising and delightful new fashion—or, for that matter, societal. The last 31 years have not exactly been kind to the 90s “indie” ideals that nurtured Deerhoof’s early career, whose torch they still carry proudly. But judging from the ferocity and experimentalism of their upcoming LP, they are abandoning any semblance of prevailing music industry wisdom and just going harder.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eFronting it all is Satomi Matsuzaki’s inimitable alto. A voice of solitude, whose plainspoken calm can seem strangely outside of the band’s maelstrom, even as she contributes to it with her jaggedly precise bass parts. As a first-generation immigrant to the US, she’s never tried to disguise her Japanese accent, or her deadpan, \u003ci\u003ekaraoke\u003c\/i\u003e-esque delivery. On \u003ci\u003eNoble and Godlike in Ruin\u003c\/i\u003e, her sense of remove feels alternately like an expression of loneliness and like a cool provocation to systems of oppression and control. “Kindness is all I needed from you,” she sings on the epic album closer “Immigrant Songs.” “But you think we’re in your house.” Not long after, the song detonates, its tightly wound art-pop giving way to several minutes of howling noise. \u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003ci\u003eNoble and Godlike in Ruin\u003c\/i\u003e’s production sheen is cinematic, almost orchestral, and the musicianship gleams as it twists between rock, punk, latin, classical, funk, and no-wave. It’s as if our protagonist keeps shattering the fourth wall that the instruments behind her keep scrambling to rebuild. Matching the whimsical to the revolutionary, the beautiful to the horrific, \u003ci\u003eNoble and Godlike in Ruin\u003c\/i\u003e provides a catharsis which liberates listeners from the inhumane world we’re forced to wrap our bamboozled, grief-stricken heads around.\u003c\/p\u003e\n\u003cp class=\"p6\"\u003eIn other words: Yes, it sounds like Deerhoof. This is simply the latest and fiercest in their long line of mystical, subversive noise-pop operas, riddled with literary references and double meanings. As long as there are structures of greed and domination on Earth, these mischievous beasts will be around to challenge and thumb their noses at them—and, maybe someday, to topple them once and for all. You can count on it.\u003c\/p\u003e","brand":"Deerhoof","offers":[{"title":"VIP","offer_id":53401774129462,"sku":"JNR496_VIP","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0844\/5451\/files\/JNR496_VIP_Mockup.jpg?v=1742307769"}],"url":"https:\/\/www.joyfulnoiserecordings.com\/collections\/apocalypse-sale-general-indie.oembed?page=2","provider":"Joyful Noise Recordings","version":"1.0","type":"link"}