{"title":"Indie and Rock","description":"","products":[{"product_id":"alcest-kodama","title":"Alcest - Kodama","description":"\u003cp\u003e\u003cspan\u003e\"Kodama\" the fifth album from Blackgaze pioneers, Alcest, marks the French duo's ferocious return to the stylistic maximalism of its early albums while continuing the band's relentless pursuit for new sounds and fresh ideas.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\"Kodama\" is the Japanese word for 'tree spirit' and 'echo' and from the album's structure and dynamics to its cinematic sound, \"Kodama\" indeed 'echoes' Alcest's 2010 classic, \"Écailles De Lune\". But this is no simple back-to-the-roots album: the band has more punch, rhythm and organic feel than ever before. While clearly influenced by bands like The Smashing Pumpkins, Tool, Dinosaur Jr, Grimes and The Cure, \"Kodama\" ultimately reveals itself as Alcest's 'Japanese album', drawing substantial inspiration from Japanese art and culture.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOriginally triggered by Hayao Miyazaki's anime film \"Princess Mononoke\", \"Kodama\" picks up on the fate of its protagonist and, at its core, deals with the sensation of not belonging; of living in between worlds, be it city and nature or the physical and spiritual one. Duality is also crucial for the visual approach of the album, realized by French graphic designer duo Førtifem. Paying tribute to Japanese illustrators like Takato Yamamoto, the visuals portray contrasting elements like nature\/urbanity, youth\/death, femininity\/animality and\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ecombine poetic elements with darker ones that were not present in Alcest's earlier works.\u003cbr\u003e\u003cbr\u003eBy giving the album a cultural, stylistic and compositional narrative, Neige and Winterhalter keep \"Kodama\" from just being the latest improvement on the Alcest sound and instead make the album a most rare and exciting thing: a vital, relevant record from a pioneer that not only upholds the band's trailblazing legacy but actually makes you want to see where they go next.\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227839377474,"sku":"","price":28.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/0020783327_10.jpg?v=1611779917"},{"product_id":"angry-angles-st","title":"Angry Angles - s\/t","description":"\u003cp\u003e\u003cspan\u003eThis 17-song collection comprises the complete studio recordings (including five unreleased tracks) of Angry Angles, the Jay “Reatard” Lindsey and Alix Brown project that came together shortly after the mid-2005 demise of the former’s long-running primary endeavor, The Lost Sounds. The sheer immensity of Lindsey’s musical discography relative to the artist’s demise in January of 2010 at the age of 29 is an undeniably impressive attribute of his legacy. But unlike other artists with massively prolific output, Lindsey’s militantly self-imposed standard of quality control assured this project was not simply a prolonged demo or practice session for what came next—his landmark solo debut Blood Visions.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSure, extraneous live documents reveal a handful of set items that turned up on that album, and there’s more than a passing riff among the songs collected here that did the same. Ms. Brown herself even appeared on that album’s “I See You Standing There” and “We Who Wait.” But Blood Visions didn’t really “come next” at all. Angry Angles’ musical demise, at some point during the latter half of 2006, was a direct result of Brown and Lindsey’s demise romantically. In fact, the release of Blood Visions in October of 2006 was to be followed closely by a proper studio full-length by Angry Angles, with the\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003elatter receiving heavier promotion.\u003cbr\u003e\u003cbr\u003eAnd unlike much of the man’s discography, this was not “The Jay Show” all the way. Brown wrote three of these tracks: the amazing “Apparent – Transparent” as well as no-slouches “In My Room” and “You Call It Love,” the latter of which originally closed out the Angles’ debut 7-inch EP. The band’s songs are guitar-based noise-pop \/ punk (not “pop punk”) certainly informed by the garage-rock \/ punk landscape that Lindsey was constantly and effortlessly schooling. 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This 12” combines the band’s 7” and 10” singles as well as two extra demo tracks. The music has been remastered from the original tapes by TJ Lipple and cut for vinyl by Bob Weston at CMS.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eChristina Billotte and Melissa Berkoff initially began playing together in a Washington, D.C. band called Hazmat in 1989, but then joined up with Nikki Chapman and Mary Timony to form Autoclave. The group lasted for one year and played only a handful of shows.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn 1991, the quartet released a three-song 7\" on the \"DisKord\" label -- a joint effort between Dischord and Olympia, Washington's K Records. The band's second release was a posthumous 10\" that came out via Billotte's label, Mira Records.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFollowing Autoclave’s dissolution, Billotte would go on to perform in Slant 6, Quix-o-tic, and The Casual Dots. 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Formed in 2017, awakebutstillinbed emerge from this environment screaming out for connection and meaning, their music “a vivid rendering of a life spent standing on a precipice” (Pitchfork).\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAbsib’s debut What People Call Low Self-Esteem Is Just Seeing Yourself The Way Others See You is an album about being crushed by expectations, and loaded with other people’s desires. It is untamable, and undeniable. What began as the solo project of singer\/guitarist Shannon Taylor, absib are now a powerful group, part At the Drive-In, part Kim Shattuck, and (at times) part pre-Good News Modest Mouse. Explosive and honest, Taylor’s lyrics painfully, purposefully tear out the false seams and sutures that shape us in the eyes of others, revealing underneath the beautiful, beating heart of whatever it is we call the self. On paper, it might sound like familiar territory for emo, but don’t be fooled: absib map out whole areas of the soul previously pushed to the shadows. Plus, they fucking rock. (bio by Mike Huguenor)\u003c\/span\u003e.\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227842752578,"sku":"","price":23.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a3618287007_16.jpg?v=1596494123"},{"product_id":"beach-fossils-beach-fossils-clear-green-vinyl","title":"Beach Fossils - Beach Fossils (10th Anniv Bundle)(Seafoam Swirl + Cherry Red Vinyl + 7\"))","description":"\u003cp\u003e\u003cspan\u003eCelebrate ten years of Beach Fossils's seminal release. A self-titled, self-recorded album that cemented their place in our indie hearts. This 10th anniversary edition includes seafoam swirl vinyl and a letter from Dustin, looking back over the last ten years of touring and music-making. 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At its release, we will have been a band for over 13 years. We have now written and released a total of 77 songs together.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLast year, we released an album of b-sides and rarities. It felt like a good step for us. It helped us clean the creative closet, put the past to bed, and start anew.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThroughout the process of recording 7, our goal was rebirth and rejuvenation. We wanted to rethink old methods and shed some self-imposed limitations. In the past, we often limited our writing to parts that we could perform live. On 7, we decided to follow whatever came naturally. As a result, there are some songs with no guitar, and some without keyboard. There are songs with layers and production that we could never recreate live, and that is exciting to us. Basically, we let our creative moods, instead of instrumentation, dictate the album’s feel.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn the past, the economics of recording have dictated that we write for a year, go to the studio, and record the entire record as quickly as possible. We have always hated this because by the time the recording happens, a certain excitement about older songs has often been lost. This time, we built a \"home\" studio, and\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ebegan all of the songs there. Whenever we had a group of 3-4 songs that we were excited about, we would go to a “proper” recording studio and finish recording them there. This way, the amount of time between the original idea and the finished song was pretty short (of the album’s 11 songs, 8 were finished at Carriage House in Stamford, CT and 2 at Palmetto Studio in Los Angeles).\u003cbr\u003e\u003cbr\u003e7 didn’t have a producer in the traditional sense. We much preferred this, as it felt like the ideas drove the creativity, not any one person’s process. James Barone, who became our live drummer in 2016, played on the entire record. His tastes and the trust we have in him really helped us keep rhythm at the center of a lot of these songs. We also worked with Sonic Boom (Peter Kember). Peter became a great force on this record, in the shedding of conventions and in helping to keep the songs alive, fresh and protected from the destructive forces of recording studio over-production\/over-perfection.\u003cbr\u003e\u003cbr\u003eThe societal insanity of 2016-17 was also deeply influential, as it must be for most artists these days. Looking back, there is quite a bit of chaos happening in these songs, and a pervasive dark field that we had little control over. The discussions surrounding women’s issues were a constant source of inspiration and questioning. The energy, lyrics and moods of much of this record grew from ruminations on the roles, pressures and conditions that our society places on women, past and present. The twisted double edge of glamour, with its perils and perfect moments, was an endless source (see “L’Inconnue,” “Drunk in LA,” “Woo,” “Girl Of The Year,” “Last Ride”).\u003cbr\u003e\u003cbr\u003eIn a more general sense, we are interested by the human mind's (and nature’s) tendency to create forces equal and opposite to those present. Thematically, this record often deals with the beauty that arises in dealing with darkness; the empathy and love that grows from collective trauma; the place one reaches when they accept rather than deny (see “Dark Spring,” “Pay No Mind,” “Lemon Glow,” “Dive,” “Black Car,” “Lose Your Smile”).\u003cbr\u003e\u003cbr\u003eThe title, 7, itself is simply a number that represents our seventh record. We hoped its simplicity would encourage people to look inside. 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Rest assured, it’s still the same band cranking out tempered, grungy tunes, but if you’re looking for an experience as monstrous or as searing as their debut, something will undeniably feel missing from this record. Half of it comes down to production changes: where\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBig Bite\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eblazed with enough treble to slay an elephant,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTrinity\u003c\/em\u003e’s landscapes (courtesy of Jack Shirley) are comparatively warmer and softer. The buzzsaw guitars of Matt Berry and Graham Baker have been dulled down to accommodate that warmth, and Allen Trainer’s drums – specifically the snare – pack less of a punch. On top of this, the energy levels have dipped dramatically: the band appears locked in mid-tempo throughout (save for a lively breakdown that breaks up “Monte”), and no track here is as energetically forthright as “Pure of Heart” or “Relentless Healing.” Artists are, of course, free to pursue whatever they feel warrants recording, but for a certified kind of punk audience it’ll be hard not to miss the ingredients that made\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBig Bite\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003esuch an explosive triumph.\u003c\/p\u003e\n\u003cp\u003eThat being said, there’s a lot here to appreciate if you align yourself to this new dinosaur-rock wavelength. 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And while everyone’s playing slower on the whole, tight playing still abounds, from the great break toward the end of “Still Haunts Me” to the syncopation on “\u003cstrong\u003eThe Altar\u003c\/strong\u003e.”\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTrinity\u003c\/em\u003e’s got heaviness to spare, and so even if that heaviness makes it less exciting on first listen, it’s still a worthy addition to Big Bite’s nascent discography.\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227845832770,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a4249511329_16.jpg?v=1594752066"},{"product_id":"big-brave-a-gaze-among-them","title":"BIG|BRAVE - A Gaze Among Them","description":"\u003cp\u003e\u003cspan\u003eSince their inception in 2012, BIG|BRAVE have explored terrains of experimental rock with a clear focus on the key principles; space, volume, and raw emotion. The same principles are the starting point for the new album and in the process of revisiting their early intentions, BIG | BRAVE have boldly evolved, emerging with a thrilling new body of work that is all at once refreshingly new, explosively heavy, dynamically loud, beautifully minimal, carefully repetitive, and totally and utterly cathartic.  \u003c\/span\u003e\u003c\/p\u003e","brand":"Southern Lord Records","offers":[{"title":"Default Title","offer_id":32227845898306,"sku":"","price":15.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a0693568513_16.jpg?v=1593376481"},{"product_id":"big-brave-au-de-la-grey","title":"Big Brave - Au De La","description":"\u003cp\u003eMontreal, Quebec, Canada, three-piece BIG|BRAVE plays sincere, long-form out-rock that ventures in to different directions — at times mournful and unsettling — their music plays out in to moon-bleached grunge where serene vocals crumble over scraping guitars bled of melody. Sometimes it’s the sound you don’t make. Big|Brave chooses their silences carefully, oscillating between sparse, gentle arrangements and deep swells of noise. They are patient, their crescendos tidal and graceful. Heavy drums come up against haunting vocal melodies. Moody guitar tones swirl. Slowly they recede into something more atmospheric, a quiet that hangs thick like smoke. Something important is offered in the spaces between sounds. Listen for it, feel. It waits.\u003c\/p\u003e\n\u003cp\u003eAu De La was recorded with Efrim Menuck (Godspeed You! Black Emperor, Thee Silver Mt Zion Memorial Orchestra) at Hotel2Tango. This will add to a growing discography comprising their debut EP An Understanding Between People (2013) and the debut LP Feral Verdure, which they recorded at Paradise Studios with Jon Boles, and self-released in September 2014. 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In sharp contrast to the wet environment of the U.F.O.F. session, Two Hands had to be completely different— an album about the earth and the bones beneath it. The songs were recorded live with almost no overdubs. All but two songs feature entirely live vocal takes, leaving Adrianne’s voice suspended above the mix in dry air, raw and vulnerable as ever. Where U.F.O.F. layered mysterious sounds and effects for levitation, Two Hands grounds itself on dried-out, cracked desert dirt. Anybody who has borne witness to Big Thief in the wild will find songs they recognize here. Much of the album’s tracks (“The Toy”, “Those Girls”, “Shoulders”, “Not”, “Cut My Hair”) have been live staples for years. Two Hands has the songs that I’m the most proud of; I can imagine myself singing them when I’m old,” says singer\/songwriter Adrianne Lenker. With raw power, intimacy, and honor, Two Hands folds itself gracefully into Big Thief’s impressive discography. 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Their songs represent an emotional bravery and realness that weaves intimate relationships with the listener, a phenomenon that has made them one of the most widely-respected bands of the current era. Their first two back-to-back releases, Masterpiece (2016) and Capacity (2017), have been analysed, wept to, danced to, critically applauded, imitated, hummed idly, and shouted out loud. They have soundtracked crowded restaurants, difficult conversations, cowboy bars, yoga classes, night drives, and lonely bedrooms. U.F.O.F. was recorded in rural western Washington at Bear Creek Studios. In a large cabin-like room, the band set up their gear to track live with engineer Dom Monks and producer Andrew Sarlo, who was also behind their previous albums. Having already lived these songs on tour, they were relaxed and ready to experiment. The raw material came quickly. Some songs were written only hours before recording and stretched out instantly, first take, vocals and all. Others were explored in search of perfected moments of dynamic feedback and spiritual, rhythmic togetherness. A careful New Age sprinkle of mystical textures and stabs was added and kept in the mix only when all agreed that each element had become absolutely crucial to the tune. The completed palette feels classic, upfront and honest, with an occasional, welcome glimpse into the magic box.\u003c\/span\u003e\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227846291522,"sku":"LP-4AD-0129","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/BigThief_UFOF.jpg?v=1624906521"},{"product_id":"bikini-kill-singles","title":"Bikini Kill - The Singles","description":"\u003cp\u003e\u003cspan\u003eReceived a perfect 10 Best New Reissue rating from Pitchfork. Bikini Kill Records is excited to reissue of The Singles, on both vinyl and compact disc. 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Bowie had wanted to make a theatrical production of Orwell's book and began writing material after completing sessions for his 1973 album Pin Ups, but the author's estate denied the rights. The songs wound up on the second half of Diamond Dogs instead where, as the titles indicated, the Nineteen Eighty-Four theme was prominent.\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227854549058,"sku":"","price":27.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/71AslAVm1rL._SL1000.jpg?v=1606850671"},{"product_id":"bowie-david-hunky-dory","title":"David Bowie - Hunky Dory (180 gram)","description":"\u003cp\u003e\u003cspan\u003eHunky Dory is the fourth album by David Bowie, recorded in mid-1971 and released by RCA Records that December. It was his first release through RCA, which would be his label for the next decade. 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Reissue of the soundtrack to the Jim Henson film featuring David Bowie, returning to vinyl for the first time since its original 1986 release.\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227854614594,"sku":"","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/81eKdV0L3PL._SX425.jpg?v=1605640571"},{"product_id":"bowie-david-rise-and-fall-of-ziggy-stardust","title":"David Bowie - Rise and Fall of Ziggy Stardust and the Spiders From Mars","description":"\u003cp\u003e\u003cspan\u003eOriginally released through RCA Victor on 6th june 1972, 'Ziggy Stardust' was David Bowie's fifth album, co-produced by Bowie and Ken Scott. Incredibly, the album was written whilst Bowie was recording 1971's 'Hunky Dory' album, with recording beginning a couple of months before that album's release. It was recorded at Trident studios, London between 8th november 1971 and 4th February 1972, with the line up: Mick Ronson (guitar, piano, backing vocals, string arrangements), Trevor Bolder (bass), Mick Woodmansey (drums), Rick Wakeman (keyboards) and backing vocals on 'It Ain't Easy' by Dana Gillespie. as well as performing vocals, Bowie also played acoustic guitar, saxophone and harpsichord on the album and was involved in the arrangements too. The album eventually peaked at number 5 on the uk album chart on 22nd july having entered the chart at number 15 on 1st July. Key to the album's rise in the uk were the two tv performances of 'Starman' on granada tv's lift off with ayshea and nationally on the bbc's Top of the Pops. the album's influence is immeasurable - it converted legions of fans, becoming the zeitgeist and a major influence on the next generation, particular those who were involved in the punk movement - musicians, artists, designers - and the subsequent re-birth of rock and pop. Famously Bowie killed Ziggy at his peak at London's Hammersmith Odeon, on July 3rd, 1973, though Ziggy Stardust's influence was to redefine popular culture forever: pop music was never the same again.\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227854811202,"sku":"","price":34.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/download_74.jpg?v=1605645061"},{"product_id":"bowie-david-young-americans","title":"David Bowie - Young Americans","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eDavid Bowie had dropped hints during the \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eDiamond Dogs\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e tour that he was moving toward R\u0026amp;B, but the full-blown blue-eyed soul of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eYoung Americans\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e came as a shock. Surrounding himself with first-rate sessionmen, Bowie comes up with a set of songs that approximate the sound of Philly soul and disco, yet remain detached from their inspirations; even at his most passionate, Bowie sounds like a commentator, as if the entire album was a genre exercise. Nevertheless, the distance doesn't hurt the album - it gives the record its own distinctive flavour, and its plastic, robotic soul helped inform generations of synthetic British soul. 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For this album, Marshall moved the recording sessions for the album to Australia, and switched her rhythm section to the Dirty Three's Mick Turner and Jim White; the lineup changes add new depth and light to her compelling, intricate guitar work and gently insistent vocals. From the backwards drum loop on \"American Flag\" (borrowed from the Beastie Boys' \"Paul Revere\") to the fluttering, smoky flutes on \"He Turns Down\" to the double-tracked vocals and crashing thunderstorms of \"Say,\" Moon Pix's expressive arrangements mirror the songs' fine emotional shadings. Marshall is sunny on the quietly hopeful \"You May Know Him,\" hypnotic and seductive on \"Cross Bones Style,\" and poignant on \"Colors \u0026amp; the Kids,\" where she sings, \"It's so hard to go into the city\/Because you want to say hi, hello, I love you to everybody.\" As natural and refined as a pearl, Moon Pix is a collection of fragile yet strong songs that reveal Marshall's unique, personal songwriting talents in their full glory. -All Music Guide\u003cbr\u003e\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227858088002,"sku":"LP-OLE-286","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/OLE-286-0.01.jpg?v=1617643193"},{"product_id":"cat-power-wanderer","title":"Cat Power - Wanderer","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eProduced in its entirety by Chan Marshall herself, Wanderer represents a remarkable return from an iconic American voice. 24” x 24” poster foldout with embossed outer sleeve\u003c\/span\u003e\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227858120770,"sku":"LP-WIG-435","price":23.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/887828043514_1.jpg?v=1600195308"},{"product_id":"cave-in-final-transmission","title":"Cave In - Final Transmission","description":"\u003cp\u003e\u003cspan\u003eIn February of 2018, the members of Cave In gathered at their rehearsal space in Boston to work on material for their next record. It had been nearly seven years since their previous album, White Silence, had been released. But they’d been writing and rehearsing methodically, off and on, to craft a worthy follow-up. In that time, guitarist\/vocalist Steve Brodsky had started prog-metal power trio Mutoid Man, drummer J.R. Conners and guitarist Adam McGrath started psych-punk outfit Nomad Stones, and bassist Caleb Scofield was busy with simian rock supergroup Old Man Gloom and his own band, Zozobra. After jamming all weekend with Cave In, Caleb got in his truck and drove home to New Hampshire. It was the last time his bandmates would ever see him.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOn March 28th, 2018, Caleb was killed in an auto accident. There are no words to describe what a devastating blow this was to his wife and children, his friends, family and bandmates—not to mention his countless fans around the world. A light had gone out—a light with a monstrous bass tone and a feral roar. An occasionally stubborn light with a million-dollar smile who loved his family and music above all else. To describe his death as a tragedy would be a colossal understatement. Caleb didn’t live to\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003esee 40.\u003cbr\u003e\u003cbr\u003eOriginally intended as demos, Final Transmission marks the first Cave In album in eight years and the band’s last with Caleb, who performs on all of the songs. Caleb’s voice—musical and physical—are everywhere on Final Transmission. The opening title track is a voice memo of a song idea he sent to his bandmates the last time they saw each other. “Hearing his voice fucks you up a little bit,” Adam says today. “We were surprised to get it from him, actually, but we thought it was great. And that was it. In a weird way, it’s the end of the story as far as our relationship together.”\u003cbr\u003e\u003cbr\u003eCaleb plays bass on six of the album’s remaining eight songs, and guitar on the other two. Even a cursory listen of Final Transmission will offer glimpses of past Cave In eras, from the scintillating space rock of their 2000 breakthrough opus Jupiter to the ripping metal melodies of White Silence. All told, it’s a direction that was largely spearheaded by Caleb. “When I look back at our email correspondence about the demos, Caleb had a really crystallized view of how to navigate the whole thing,” Steve reveals. “He was really digging the stuff that was spacey, heavy, a little bit weird, but with very pretty melodies and hooks. 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Retaining elements of Klopp’s original demos, Passive With Desire was recorded with a full band and polished with trumpet, strings, as well as archival samples calling back to Klopp’s hazy youth.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEngineered by Klopp, Bret Meisenbach, and Stephen Cope, Passive With Desire is the entry point to Choir Boy’s world of emotive wit, novella kissed lyricism, and bouncy, synth-forward takes on traditional song writing bound by the universal themes of loss, desire, evolution, and exploration.\u003c\/span\u003e\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227859464258,"sku":"DAIS117lp-C6","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a2422708424_16.jpg?v=1617121183"},{"product_id":"coffee-diane-internet-arms","title":"Diane Coffee - Internet Arms","description":"\u003cp\u003e\u003cspan\u003eThe ever-evolving spectacle that is Diane Coffee -- the gender and genre-bending alter ego of Shaun Fleming -- returns with Internet Arms, a swan dive into a lush, digital glam wonderland.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFleming’s path to stardom can be traced all the way back to his childhood days as a Disney voice actor, but for the past six years he’s explored the depths of his identity and channeled it outward in the form of the enigmatic and exuberant Diane Coffee.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn 2018, after performing as King Herod in the Lyric Opera’s critically-acclaimed run of Jesus Christ Superstar, Fleming emerged from the recording studio with Internet Arms. Born from the fear and uncertainty of a future in which humankind is both dependent on and poisoned by technology, the album finds Diane Coffee trapped in a digital world, enslaved by AI.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Did you know the technology exists to take a photo of anyone you know and use it to create… well, let’s call it, ‘adult entertainment’?” Fleming asks. “And did you know that an estimated 70% of all online activity isn’t human? Where does that leave us? We don’t interact with each other anymore because we’re always online. Not to mention we can manifest any version of ourselves at the push of a button when we’re logged in, so when we encounter humans they’re not\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eeven real.”\u003cbr\u003e\u003cbr\u003eFacing this existential crisis, Fleming’s anxieties became his muse as his writing explored the scenarios of this dystopian future: “It’s a personal study on how I feel about living with constant blurred lines of the self and the projected self.” This notion shaped the sound of Internet Arms as well, compelling Fleming to gravitate toward synths, electronic drums, and other futuristic sounds from the past and present to create his version of a digital landscape, as well as a digital version of himself.\u003cbr\u003e\u003cbr\u003e“The songs are what have always dictated the sound. Working in the realm of clean, modern pop production has been an exhilarating change of pace. Diane Coffee now sounds like a digitization of its former self because I also feel trapped in this digital world,” Fleming explains.\u003cbr\u003e\u003cbr\u003eThis newly cybernated Diane Coffee is masterfully unveiled on album standouts “Not Ready to Go” and “Like a Child Does,” with both songs serving as vulnerable reflections on power and abuse. But whereas the former positions its chorus to soar high above a cityscape constructed of conduits and transistors, the driving pulse of the latter propels forward like a high-speed race through the surface streets of said city. Elsewhere, Diane Coffee’s sonic boundaries are pushed the furthest on “Lights Off,” a massive contemporary pop song that impressively showcases Fleming’s extraordinary vocal range.\u003cbr\u003e\u003cbr\u003eAs a whole, Internet Arms marks a significant new phase for Fleming, a testimony to the idea that Diane Coffee will endure as a fluid form of expression that continues to defy expectations of sound and genre.\u003c\/span\u003e\u003c\/p\u003e","brand":"warner ada","offers":[{"title":"Default Title","offer_id":32227860840514,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a3614340314_16.jpg?v=1596052063"}],"url":"https:\/\/vinylfantasybk.com\/collections\/indie-and-rock.oembed?page=52","provider":"Vinyl Fantasy BK","version":"1.0","type":"link"}