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180 Gram Vinyl`Christmas With Ol' Blue Eyes' is an extension of Sinatra's most beloved holiday album `A Jolly Christmas from Frank Sinatra'. It includes the bonus tracks `Christmas Dreaming', `Let It Snow, Let It Snow, Let It Snow' and `Santa Claus Is Coming To Town'. His deep blue eyes earned him the popular nickname "Ol' Blue Eyes" which gave the record its title. Sinatra is regarded as one of the most popular entertainers of the mid-20th century. He is among the world's best-selling music artists, with an estimated 150 million record sales globally. Over the course of his career Sinatra received eleven Grammy Awards, including the Grammy Trustees Award, Grammy Legend Award, and the Grammy Lifetime Achievement Award. He was included in Time magazine's compilation of the 20th century's 100 most influential people. American music critic Robert Christgau called him "the greatest singer of the 20th century" and he continues to be regarded as an iconic figure.

The Oh Hellos' Family Christmas Album: Volume Il came to exist in what has now become the typical writing and recording process for the Heath siblings: an interesting but straightforward initial idea that rapidly spins out of control.Not content with only releasing a single to commemorate the ten year anniversary of their first holiday EP, The Oh Hellos pulled inspiration from song arrangements performed on previous tours, medieval motets, moody yuletide carols predating the comfortable glow of mid-20th century nostalgia, and family-holiday-gathering traditions we love to pretend to hate. Now available on limited edition, 10" Vinyl, presented in bespoke parcel packaging.

180 Gram VinylGet ready to spin some holiday magic with the Christmas Hits record! This festive collection is packed with timeless music from legendary artists like Brenda Lee, Connie Francis, Elvis Presley, The Beverly Sisters, and many more. Perfect for setting the holiday mood, this LP will keep every Christmas lover's spirits bright. Whether you're trimming the tree or sipping cocoa by the fire, let these iconic voices bring the joy of the season to your home.

180 Gram VinylMake the holiday season unforgettable with All Time Christmas Favourites! This festive collection is the perfect soundtrack, featuring the beloved voices of Johnny Cash, Paul Anka, Bobby Darin, Harry Belafonte, and many more. Whether for hosting a holiday gathering or enjoying a quiet evening by the fire, these timeless classics will fill your home with warmth and joy.

180 Gram, Gold VinylGet ready to spin some holiday magic with the Christmas Hits record! This festive collection is packed with timeless music from legendary artists like Brenda Lee, Connie Francis, Elvis Presley, The Beverly Sisters, and many more. Perfect for setting the holiday mood, this LP will keep every Christmas lover's spirits bright. Whether you're trimming the tree or sipping cocoa by the fire, let these iconic voices bring the joy of the season to your home.

180 Gram, Red VinylMake the holiday season unforgettable with All Time Christmas Favourites! This festive collection is the perfect soundtrack, featuring the beloved voices of Johnny Cash, Paul Anka, Bobby Darin, Harry Belafonte, and many more. Whether for hosting a holiday gathering or enjoying a quiet evening by the fire, these timeless classics will fill your home with warmth and joy.

In a season where we all seek comfort, tradition, and a return to a home of sorts, a trio composed of indie music"s foundational members have gifted us A Peace of Us-an album of diverse holiday tunes filtered through their musical imaginations. Dean & Britta, well-known from their work defining a genre with Galaxie 500 and Luna, join Spacemen 3"s Sonic Boom, another bastion of indie"s collective adolescence, to bring to life a collection that draws from early "60s pop, garage, country, James Bond soundtracks, Christmas carols, and electronica. Dean Wareham recalls a sentiment from his DJ friend Chris: "You can experience all the emotions of Christmas through music: love and hate, joy and heartache, nostalgia, regret, anticipation, and frustration."

Mysterious, multifaceted collective i Häxa have unveiled their epic self-titled, full length debut; a ground-breaking conceptual double album shaped by a collision of ancient gods and bleeding-edge technology_Released as four distinct Parts over the course of the year, `i Häxa' now comes together as a singular vision that weaves together genre-defiant soundscapes, abstract cinema and ancient meteorological mythologies from singer-songwriter and visual artist Rebecca Need-Menear (also of electronic alt-rock duo Anavae) and forward-thinking producer Peter Miles (Architects, Dodie, Fizz). i Häxa is a ritualistic dissection of the world as we know it, a forceful separation of the monotony of modernity from the rites and rituals that for centuries formed the foundations for who we are, how we came to be and where we claim to belong. Disjointed fragments of time collide. Two sides, one of logic and one of chaos, seeking unity and balance through an expression of freedom. This is i Häxa. Whilst the album is composed of four distinct movements, each consisting of four distinct tracks themselves; pulling them apart into easily digestible, standalone singles isn't an easy feat and, as is now clear from the project's sprawling cyclic nature, was never the intention. In an age of fast fun and instant gratification, the ties that bind these works together are intended to transcend tracklisting. With aural, visual and lyrical themes freely intertwining, i Häxa is something to be consumed whole; just as it will, in time, consume you. Charting an existential journey to the very depths of what makes us who we are, with every dark corner illuminated in glitched out, discordant glory; i Häxa is a project years in the making that draws simultaneously from rituals for old gods and the modern day deification of data. i Häxa is both heartwarming and horrifying; i Häxa is ancient history and hyper-real; i Häxa is everybody and no one at all.Check out if you like Radiohead, Julie Christmas, Agnes Obel, Bjork,...

RSD First, Limitation: 1110

Originally released in 2008, this is the first vinyl release for this Christmas album and includes two bonus tracks.

The 15th anniversary edition of Train's multi-platinum selling record, Save Me, San Francisco has been pressed as a deluxe 2LP, featuring tracks and mixes never before on vinyl. Save Me, San Francisco is the band's 5th studio album and has the smash hits, 'Hey, Soul Sister,' 'Marry Me,' and 'If It's Love.' The deluxe edition includes fan favorites, 'Ordinary,' 'The Finish Line' and the contemporary holiday classic, 'Shake Up Christmas.' The new 2LP also features the 'Hey, Soul Sister' country mix, the alternate version of 'Parachute' and more.

Random coloured re-vinyl. Limited to 300 copies.Everything was better in the old the days. Everything but CHRISTMAS, whom became more unstoppable from year to year. While other bands pop up and quickly burn again, CHRISTMAS have decided to simply survive all assholes.The band has not let up over the last 14 year with other 20 releases, 550 gigs across 18 countries and 21 worn-out former band members. The hardcore train rolls, armored with tons of bottle caps, powered by all-burning insane idealism (with emphasis on insane). Always demonically grinning in the face of the seemingly dead spirit of Rock-n-Roll, just on the abyss of post-punk history and CHRISTMAS looks still damn good!

Upchuck are experiencing a moment. The Atlanta punk collective just came off multiple tour runs with their good friend Faye Webster. Their Ty Segall-produced second album Bite The Hand That Feeds, with all its buzzsaw guitars and high-speed rippers and headbanging sludge, arrived in October. Later this year, they’ll make appearances at multiple festivals including Coachella. In the midst of relentlessly barreling ahead, the band and their label Famous Class are taking a beat to revisit how they got here. After working with Segall on Bite the Hand That Feeds, the band floated the notion that they wished they could hear what their collaborator could do with the songs on their 2022 debut album Sense Yourself. Holed up in his studio over Christmas with Covid and nothing else to do, Ty Segall began toying with Sense Yourself, sifting through folders of unlabeled stems to find the best guitar parts, emboldening the drum sound, and bringing greater clarity to KT’s vocals, all while bolstering the urgency of the band’s overall attack. With Segall’s new mix, Upchuck’s intense and righteous debut now impossibly overflows with even more fuzz and fury. In Segall, they found a kindred spirit whose studio approach made sense for just how hard they wanted this music to hit. “When we first went to record with Ty for Bite the Hand That Feeds, Mikey and I walked into the guitar room and Ty said, ‘Don’t touch the EQs.’ We looked at the amp and everything was on 10 except the master volume,” Hoff said. Previously, the band had been encouraged to capture the unvarnished sound of the studio. They’d toured with Segall’s band Fuzz, so everybody had the same goal while recording together: Capture the electricity of their intense live set.

LAKE's 2009 album Let's Build A Roof [KLP213], produced by Northwest legend Karl Blau, is sweet, funky and nostalgic - a paragon of psychedelic pop. Originally, this landmark album had overlooked sonic anomalies now corrected by REMASTERING. Five bonus songs have been added to the DIGITAL ALBUM, creating a whole new Let's Build a Roof.Let's Build A Roof is LAKE's most popular album with many fan favorites, though every track is unique. After extensive touring in 2009, LAKE entered Dub Narcotic Studio (Olympia, Wash.) to record fresh with their live energy. In the studio they were able to fill out their jingly pop aesthetic, enhanced with the vintage sounds of instruments available at Dub Narcotic and the local community. Blazing synth solos, timpani, flutes, saxophones, cello, and marimba, are just some of the featured sounds on Let's Build a Roof.Some of the album's most requested songs: "Madagascar," a dubby, slow-groove track; "Christmas Island" a surfy Phil Spector-sounding song used as theme music for the television in show Adventure Time; and "Don't Give Up", an upbeat motivating dance song with Blau performing the hook on harmonized saxophones; "Gravel" is the first single and has that a driving intensity that we can all deeply relate to - trying to keep up.

Power-pop punks the Boys signed to Nems in 1976, which led to a following in Europe, but disagreements with Nems spawned alter-ego the Yobs, who specialised in tasteless adaptations. The 1980 release The Yobs Christmas Album finds the Yobs at their most puerile and profane, a collection of deliciously vile Xmas-themed singalongs, offering rude alternate renditions of holiday favourites such as ‘Twelve Days Of Christmas’ and a druggy take of ‘Auld Lang Syne,’ alongside equally shocking originals such as ‘Ballad Of The Warrington.’ Make sure the kids & granny are out of earshot – this is the Yobs at their sickest!

JD McPherson presents A Christmas Album, Socks. Featuring 11 original tracks written by JD McPherson and his friends. Socks is an album of Holidays songs sure to be standards while you are decorating the tree. Come get warm by the fire with songs such as , "All The Gifts I Need" and "Every Single Christmas." Or, burn the cookies to "Socks" and "Ugly Christmas Sweater." There is something for everyone on this record to enjoy whether you are in the Christmas spirit or if you just wanna say, "Bah Humbug".

Recorded in 2022 for the BBC Gideon Coe show whom put The Delines previous album The Sea Drift as his best album of 2022. This is the band"s first Christmas track, and a classic Willy Vlautin one it is too, released just in time to battle it out for a Christmas Number 1. The single features two other exclusive tracks that will also not feature on the next album.

Culled from half a decade of homefour-tracking, Remote Echoes is a hissy,crumbly, and ungrounded expressionof Clay Parton and Canaan Amber'songoing Duster project. A mix of cassetteonly demos released under the bannersChristmas Dust and On The Dodge, this14 track album also includes a bevy ofpreviously unissued stragglers. Duster'sunique blend of fuzzy guitars, bargainsynths, muffled percussion, and hushedvocals anticipated chillwave, mumblecore,and corecore, elegantly illustrating theholy trinity of slacker vices: cigarettes,coffee, and the weed supr eme.

Culled from half a decade of homefour-tracking, Remote Echoes is a hissy,crumbly, and ungrounded expressionof Clay Parton and Canaan Amber'songoing Duster project. A mix of cassetteonly demos released under the bannersChristmas Dust and On The Dodge, this14 track album also includes a bevy ofpreviously unissued stragglers. Duster'sunique blend of fuzzy guitars, bargainsynths, muffled percussion, and hushedvocals anticipated chillwave, mumblecore,and corecore, elegantly illustrating theholy trinity of slacker vices: cigarettes,coffee, and the weed supr eme.

Culled from half a decade of homefour-tracking, Remote Echoes is a hissy,crumbly, and ungrounded expressionof Clay Parton and Canaan Amber'songoing Duster project. A mix of cassetteonly demos released under the bannersChristmas Dust and On The Dodge, this14 track album also includes a bevy ofpreviously unissued stragglers. Duster'sunique blend of fuzzy guitars, bargainsynths, muffled percussion, and hushedvocals anticipated chillwave, mumblecore,and corecore, elegantly illustrating theholy trinity of slacker vices: cigarettes,coffee, and the weed supr eme.

Bright Eyes' Christmas Album begins with a piano, flute, ambientnoise, and musical saw-driven version of "Away in a Manger,"helping weed out casual Christmas music enjoyers, but all tootempting for the most devout of Conor Oberst's disciples,who originally learned that the warmth of the holiday season istrumped only by its potential for melancholy back in 2002 withthe original Saddle Creek release. Oberst and a small army offriends at his house proceed to jamboree through Christmasclassics like "Have Yourself a Merry Little Christmas," "GodRest Ye Merry Gentlemen," and "Oh Little Town of Bethlehem,"Clear Red Vinyl.Holiday cheer, when delivered with Oberst's trademark tremble,sounds more like a lament than it does hymns of ecclesiasticaljoy. But the spirited listener will find that the fragile, homespun,and somewhat blinkered vibe that permeates the album setsitself apart from the bog-standard, less sonically humbleofferings...

Available FOR THE First Time ON Vinyl!

25-plus years and thousands of fan requests later, Over the Rhine’s Christmas classic, The Darkest Night of the Year, finally gets the vinyl treatment it has long deserved.

The Darkest Night of the Year is Over the Rhine’s first holiday release and quietly helped re-define the genre for many listeners. It should be filed squarely in the “Now-for-something-a-little-different” file. It includes dark ambient arrangements of classic carols as well as strange and wonderful originals.

We are told that in-store holiday airplay always generates keen interest for this after-midnight, deeply-layered record.

The very first national review the album received contained the opening salvo: Take a deep breath. Relax. Over the Rhine’s The Darkest Night of the Year is the Christmas disc of the year and destined to become a classic. Curl up with someone you love, or enjoy some quiet time alone, The Darkest Night of the Year is the perfect soundtrack…”

Reviews for Over the Rhine’s visionary Christmas Music have continued to pour in over the years with coverage in the New York Times, NPR’s Morning Edition, USA Today, Paste, No Depression and many others.

Touring: Over the Rhine will be supporting the vinyl release of The Darkest Night of the Year with 2023 Christmas concerts currently booked in Chicago, Boston, DC, Philadelphia, Cincinnati (three shows), Ann Arbor, Pittsburgh, Grand Rapids and Kent, Ohio.

Destination Christmas by Fred Schneider & THE Superions is the perfect holiday party dance album every household needs. If the voice sounds familiar, yes it is that same Fred Schneider of the B-52s. Destination Christmas is equal parts disco bangers, sensual French pop, comedic holiday numbers, suggestive lyrics, and never a dull moment. An album that keeps the Xmas party going through new years. Hit the dance floor with disco party holiday anthems "Santa's Disco", 'Fruitcake", and "Teddy and Betty Yeti", laugh out loud to some of Fred's funniest Christmas tracks "Christmas Tears", "Laughter at Christmas", "Crummy Christmas Tree", don't forget the sensual French pop numbers "Santa Je T'aime", and "Under the Tree", then the more suggestive "Chillin' At Christmas", and "Jingle Those Bells", and don't forget the hi-nrg "Christmas Conga (Jungle Bells)" that answers the question what if Divine wrote a Christmas song. If your party is a bore and the guests are falling asleep or leaving early, just put on Destination Christmas and pull out the rum soaked Fruitcake and get the party in full swing. All the songs on Destination Christmas are all originals, so get ready for all new Christmas holidays classics.

Catatonic Suns is Patrick Shields (guitar, vocals) , Jakob Christman (bass) and Caleb Strobl (drums) Catatonic Suns new album sees them blend the underground psychedelia of the late 80s / early 90s Pacific Northwest with the shimmering shoegazery of Britain from the same time. Heavy and soft guitars, songs that soar, these new recordings verge on the epic. For fans of The Verve (early), Screaming Trees, Truly, Ride, Slowdive, Alice In Chains. Pennsylvanian threepiece Catatonic Suns release their brand new album via Agitated records this autumn (Fall if you reside in the US), Patrick and Jake have known each other since birth, obsessing on punk rock, but the band actually formed in 2019. Vocalist / guitarist Patrick and fellow guitarist Llambro Llaguri began creating homemade psychedelic psychedelic 4 track cassette demos during the Winter of 2015, taking heavy inspiration from an eclectic mix of acts ranging from Ween to R.E.M. As these early songs were created, the duo sought other like minded individuals in their hometown of Allentown, PA to take these primitive demos to the next level. It was then that Patrick recruited another childhood friend, Jakob Christman, to fill the role of bass along with another mutual friend Caleb Strobl completing the rhythm section of Catatonic Suns. In 2019, the group put out their first release, the Catatonic Suns demo, a collection of lo-fi recordings made by Patrick over the years. During this period, the band began to make a name for itself by playing shows across eastern Pennsylvania including the Lehigh Valley where local garage rock heroes Original Sins hailed from. During the months of August and September of the same year, Catatonic Sun's reputation for wall of sound psych-grunge was really brought to life when the group teamed up with local record producer guru Matt Molchany of Shards Recording Studio to track their debut studio venture “Aphelion” (more an extended EP). Self -Released in the December, the album found an audience beyond the local music circuit of Pennsylvania, even reaching countries such as the U.K.,Germany and Japan. The band continued to play shows growing their fanbase and honing their skills as a cohesive unit resulting in radio airplay across the country and a feature on the compilation “Pedal Worship” by Bummer Recordings. During this same period, Matt Molchany once again helped the band carve their next album (a full length) “Saudade” along with mastering engineer Matt Poirier (War On Drugs), which was also self released, in February 2022. They played plenty more gigs, and ventured to the west coast for some shows in LA with local friends Laurel Canyon, one especially wild night was with both bands supporting Strawberry Alarm Clock at the Whiskey A Go Go. Now a three piece and into 2023 the band record the 7 original songs and one Original Sins cover for this new release.. Recorded early 2023 at Shards Recording Studio, Bethelem, PA with tracking and mixing once again by Matt Molchany. Mastered by Mikey Young. Agitated/ Catatonic Suns intend to remaster/ reissue Saudade on LP / CD formats in 2024, to coincide with debut UK shows.

First time vinyl release for this classic LOW holiday recording. We would suggest that few bands from an ostensibly "indie rock" background should release Christmas music, if not out of respect for the holiday or material then at least out of a sense of self-esteem. Low, however, were made for this. Their attention to musical detail combined with the heavenly vocal harmonies of Alan Sparhawk and Mimi Parker are perfectly attuned to both traditional carols like “Silent Night” and more contemporary tunes such as “Blue Christmas.” Christmas contains a selection of seasonal songs, including four originals by the band, mostly recorded at Lowʼs 20º Below studio in Duluth, MN. “If You Were Born Today” and “Blue Christmas” were released as a 7-inch single in 1997 on the English Wurlitzer Jukebox label, while “Taking Down The Tree” is taken from a 1998 compilation of live recordings issue by the Dutch Vpro radio station.

Clear Vinyl.They 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. Wood 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. Tim 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.

We are very happy to announce the release of "I'Melting" the debut album from Crystal Glass Hailing from Essen in West Germany, Crystal Glass is the moniker of Marvin Andrä. Marvin was first introduced at the young age of 4 to making music when his father bought him a drumkit for christmas, growing up at school Marvin played in various music projects but in 2021 in his early 20s Marvin began Crystal Glass as his project for his own songs he had been writing. After self releasing a few singles Crystal Glass came to the attention of Duchess Box Records, who had only released Berlin based acts before this including the likes of Gurr, Sofia Portanet, Thala, Shybits etc. Influenced by song writers such as Damon Albarn, Keven Parker and Louis Cole, Crystal Glass have developed a dreamy psychedelic indie sound that also can also at time make you wanna tap your feet and shake your hips. Marvin wrote and recorded the entire album in his bedroom studio and at their rehearsal room in Essen. "Every single song deals with a different phase in my life from the past years. I didn't have a concept when I started, it just came over me when problems or strong feelings popped up. The album is my therapy to deal with these things." Marvin

Spice World are a 4-piece band formed on Whadjuk Noongar Boodja (Fremantle, WA) for a one-night-only performance in early 2021 before their drummer Julia had to rush back to Melbourne a few days later. This performance was surprisingly well-received and so Spice World continued with occasional shows, sometimes in a more soft-edged trio format. When Julia returned to Perth for a Christmas visit in 2021 they decided to capture the sound of the band in full. But time was running out before Julia had to leave again—so, they set up for a day of recording in their living room. With little knowledge of recording a band, this ten-track album was recorded all completely live in just 5 hours. Endearingly scrappy, Spice World perform DIY, ad-hoc pop music that is sometimes sad and sometimes silly, but always offered in earnest. They bring a punk mindset and laissez faire approach to sun-drenched kitchen table music. Join in whenever you want!.

MONO have long drawn equal inspiration from the light and dark of life, spawning more than two decades of musical turbulence and melodic transcendence. Heaven Vol. 1 marks the beginning of a new annual tradition from MONO: A new EP released on Christmas Day each year, leaning into the light at precisely the time when we need it the most - surrounded by loved ones and hopeful for what the turn of the calendar may bring us.Recorded by Takaakira `Taka' Goto at his home studio in Japan (with drums recorded by Amak Golden at Golden Hive Studio in Prague) - and mixed by Rafael Anton Irisarri and Jeremy deVine at Black Knoll Studio in New York - Heaven Vol. 1 finds MONO at their most hopeful and cinematic. Of each of Heaven Vol. 1's three tracks, MONO offers these words:Lucia:"This song was written when our beloved longtime partner Jeremy (the owner of our American label Temporary Residence Ltd.) welcomed his second child. The song is constructed with two parts; the first part celebrates the birth of a new life and the second part heads towards dreams and hope. We wrote this song with the feeling of Santa Claus riding a sleigh through the snowstorm, smiling, jumping into the swirl of pure white light and carrying many dreams."Smile:"We drew upon the snowy scenery of Christmas that we experienced when we were young. Your exhaled breath is white. Your heart is dancing in the endless silvery white world, and when you are about to grab the snow with your hands and turn around, your parents look back at you with a smile. We wrote this song whilst remembering moments like this."Silent Embrace:"Time passed and we became adults. Life is like climbing and descending many steep mountains, but the reason we're still able to continue walking is because of our loved ones, colleagues, friends and family who quietly stand by us and giving us courage and strength. We wanted to express our gratitude with this song."

Mono have long drawn equal inspiration from the light and dark of life, spawning more than two decades of musical turbulence and melodic transcendence. Heaven Vol. 1 marks the beginning of a new annual tradition from Mono: A new EP released on Christmas Day each year, leaning into the light at precisely the time when we need it the most - surrounded by loved ones and hopeful for what the turn of the calendar may bring us. Recorded by Takaakira `Taka' Goto at his home studio in Japan (with drums recorded by Amak Golden at Golden Hive Studio in Prague) - and mixed by Rafael Anton Irisarri and Jeremy deVine at Black Knoll Studio in New York - Heaven Vol. 1 finds Mono at their most hopeful and cinematic. Of each of Heaven Vol. 1's three tracks, Mono offers these words: Lucia: "This song was written when our beloved longtime partner Jeremy (the owner of our American label Temporary Residence Ltd.) welcomed his second child. The song is constructed with two parts; the first part celebrates the birth of a new life and the second part heads towards dreams and hope. We wrote this song with the feeling of Santa Claus riding a sleigh through the snowstorm, smiling, jumping into the swirl of pure white light and carrying many dreams." Smile: "We drew upon the snowy scenery of Christmas that we experienced when we were young. Your exhaled breath is white. Your heart is dancing in the endless silvery white world, and when you are about to grab the snow with your hands and turn around, your parents look back at you with a smile. We wrote this song whilst remembering moments like this." Silent Embrace: "Time passed and we became adults. Life is like climbing and descending many steep mountains, but the reason we're still able to continue walking is because of our loved ones, colleagues, friends and family who quietly stand by us and giving us courage and strength. We wanted to express our gratitude with this song."

Between the ages of 2 and 18, Cora Gilroy-Ware lived in a haunted place. On the outside, this small edge of Connecticut coastline was a quintessential New England town. Yet beneath its quaint surface was a netherworld that got steadily darker over the course of those sixteen years. From a serious drug problem to environmental pollution leading to deadly illnesses, frequent suicides and an above average number of fatal accidents, something about this place was cursed. Amid this world Cora was an outsider, someone who preferred pop and RnB to the music of her peers, who mostly subscribed to the dregs of a Deadhead culture that was more nihilistic than utopian. Still, she found herself on weekends drinking in the woods with the rest of them, playing along until it was time to leave. Christmas breaks and summer months were spent across the Atlantic in a completely antithetical environment. In London, the city of her birth, Cora spent her teen years taking the bus home at dawn after raves under the railroad arches, or riding the tube to her cousin's house in Camden. For a long time, Cora's life was composed of these two strands_ghostly East Coast suburbia and inner-city London_which she was forced to fold in and out of one another like a two-strand French braid. She quickly learned to adapt and be whoever the particular moment demanded. Her outsider status was intensified by the fact that, being of mixed Afro-Caribbean and European descent, her family didn't look like the others in Connecticut. In the 2000s, this meant Cora had to contend with a deeply ingrained kind of folk-racism, both conscious and unconsciously expressed. Nobody talked about these things back then, and she internalized a lot of shame. The ability to shape-shift became integral to Cora's artistic practice. Her survival mechanism at school was to carve out her own worlds through visual art and dance. Music was less of a creative outlet than a way of life, something like a form of religion for her family, who all played instruments and sa...

At last! The Wedding Present single series comes to an end. Sad for fans of the Weddoes but a good day for those of us who have to find all these damn things in the stock room. They round the year off with 'The Loneliest Time Of The Year' which might be a cover of the Mabel Christmas tune or just another song about the time Dave Gedge's girlfriend left him. The release of this monthly series, in 2022 The Wedding Present is releasing a new 7" single every month, the final this year's Christmas available for indie record stores only in December. This fascinating project - which goes under the name of 24 Songs - comes thirty years after the band's similar Hit Parade series of 7"s in 1992 and features two brandnew recordings of the current WP incarnation. Each of the records comes in a beautifully designed sleeve featuring brutalist photography by Jessica McMillan. Each single will be limited to 2,400 copies ww.

HIGHLIGHTS:Los York's became the epitome of Peruvian garage sound and the kings of the multi-group concerts which teenagers flocked to on Saturday and Sunday mornings in Lima's main movie theaters. It took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967.It features a beat-influenced go-go twang guitar garage psych tone throughout, including a bunch of covers like Alan y sus Bates' 'Pronto Un Doctor' or The Box Tops' 'The Letter', and amazing originals like 'No Puedo Amar' with an intense garage beat.First time official reissue. -DESCRIPTION:The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers and, of course, Los York's took over. Their supportive fans would follow them to every gig.After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The band was backed by Melcohita on vibraphone and Mario Allison on percussion.

Almost an anti-Christmas song, the Soul Duo's "Just A Sad Xmas" doesn't exactly evoke the festive spirit of the season. Comprised of Tidewater's queen of soul Ida Sands and former Anglos tenor Joe Webster, the duo issues just two singles on Noah Bigg's Shiptown label. Just in time for the holidays, Numero has repressed this maudlin yuletide burner and packaged the red, white, and green splattered 45s in a rigid cardboard sleeve for easy wrapping.

Folk Implosion's fan favorite album is available on cassette for the first time!They 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. Wood 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. Tim 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.

Solo bedroom-pop project of Michael Ramos (Flowertown, April Magazine, Hectorine). Mostly recorded between last Christmas and New Year's during a window of isolation at home, Hey There Flower preserves Tony Jay’s prowess at making beautifully eerie lo-fi pop; like a hazy memory where your favorite Sixties girl-group melody is perpetually slowed down. Without a band to practice with, Tony Jay recorded the music alone, but recruited a slew of friends to remotely record backing vocals: Karina Gill (Cindy), Griffin Jones (Galore), Kati Mashikian (Mister Baby), Alexis Harper (Al Harper), & Hannah Lew (Cold Beat).

Hot off the metaphorical heels of our rousing Spirit Phone success, Needlejuice is delighted to bring you another Lemon Demon release. This time around we’re offering Neil’s 2012 Christmas EP I Am Become Christmas. Lightheartedly exploring such dark topics as a government-funded Santa Claus and seasonal affective disorder, this set of 5 spooky holiday songs hinted at the direction Neil was headed toward on Spirit Phone.

Hot off the metaphorical heels of our rousing Spirit Phone success, Needlejuice is delighted to bring you another Lemon Demon release. This time around we’re offering Neil’s 2012 Christmas EP I Am Become Christmas. Lightheartedly exploring such dark topics as a government-funded Santa Claus and seasonal affective disorder, this set of 5 spooky holiday songs hinted at the direction Neil was headed toward on Spirit Phone.

Special 3-song EP from Mono on stunning limited-edition 10” vinyl! After Covid-19 first swept the world in 2020, Mono felt compelled to make a special little gift for the Christmas holiday. The accompanying message was simple: “Wishing everyone good health, happiness, and good cheer in the new year.” Originally made at home in isolation, this digital-only release consisted of two new Mono songs: “Scarlet Holliday” and “First Winter.” Now, to commemorate the 2021 holiday season, Mono has reworked and expanded Scarlet Holliday into a very special 3-song EP (now including the brand new song, “Epilogue”). Recorded at home and at Electrical Audio by longtime collaborator, Steve Albini, newly mixed by John McEntire and mastered by Bob Weston, Scarlet Holliday is finally being released into the world on limited-edition 10” vinyl! In their unflappable determination to shine light into the darkness, Mono explains: “These songs were written with the idea of new hope for the new year since this time has become unforeseeably dark for many in the world."

Polytechnic Youth’s enforced, quickfire pre-Christmas release schedule continues apace here with the wonderful debut full length from Lone Bison. As many small labels are discovering just now, one of the only viable alternatives to the current nightmarish world of vinyl pressing, is wandering back into yesteryear and -armed with a call from the PY devotees to ‘just keep getting the music out’- turning to the previously scorned upon compact disc. With ticks alongside the ‘cramming more music onto it’, having it look cool and charging £9.99 tops, we present this fabulous first Lone Bison full length. An incredible 13 track, electronic project for Ramsgate UK based Nick Bonell. Inspired by a love for ‘70s German electronic music and the current golden age of synthesizer based film soundtracks, it’s key theme as Nick says is “Repetition. I just like to lose myself in interlocking arpeggios which transport me away from the stresses of the day job. The tunes came out of me moving increasingly away from guitar and towards using hardware synths like the Korg Ms20, and, having made music as part of a band or a duo- I fancied something solo this time. The album was recreated very quickly, often with single takes and carefully choosing times when the family and neighbours were out!” Hugely recommended to fans of Tangerine Dream / Klaus Schulze or Edgar Froeses’ solo work as well as Cluster and lots on (label favourite) Sky records’ output. Musically, the album is wonderful but the sleeve is pretty neat too; Nick adds “I will be forever grateful for the amazing linocut cover art by Ieuan Edwards aka The Black Gold Press. I originally asked if I could use an existing print, but he insisted on a bespoke piece and chiselled lino all night to turn around the print in 24 hours. Then Jules Bigg (one of the original team behind the launch of Ramsgate Music Hall) did the photography and graphic design, the man is a wizard. I am truly lucky to live in an area where, if you chuck a rock in the air, it will land on an artist or musician. I had pretty much given up on making original music, after the untimely death of my songwriting partner some years ago. However, living in an area where new venues have mushroomed and great gigs are so plentiful, has inspired me to dig out the synths and fx pedals again”. Released in a one time pressing only of 500 with insert cards carrying more of Ieuan and Jules’ work, the album is released by Polytechnic Youth in December.

Acclaimed singer-songwriter and multi-instrumentalist Grant-Lee Phillips has unwrapped a new gift for the Christmas season: an EP of Americana-crooning holiday tunes, titled Yuletide. The EP showcases Phillips' original "Winterglow" (popularized by his Town Troubadour character on Gilmore Girls) and some covers that Grant breathes new life into, such as Nat King Cole's "Take Me Back to Toyland" and Frank Sinatra's "An Old-Fashioned Christmas." The holiday doesn't end at Christmas, however, as Grant puts a spin on the New Year's staple "Auld Lang Syne," adding a topical new verse to inspire hope towards days of peace. This is the first time any of these songs have been available on vinyl. Pressed on green vinyl.

Clear Blue Vinyl! Van Etten originally recorded "Silent Night" in 2018 for Eric Paschal Johnson 's short film The Letter. Her version of "Blue Christmas" appeared in 2009 on a benefit album titled Do You EAR what I Ear. "The holidays are just around the corner, and since I'm always late to the party, I thought I'd share two holiday songs I recorded. Nothing really beats the Bob Dylan Christmas record for me _ but I hope they bring you joy." - Sharon Van Etten

180 Gsm Vinyl Gatefold Sleeve With Great Period Photos. Limited Edition Of Only 670 Pressed. The Classic Second Line Up Of The Fall, Classic Material Too. Mark E. Smith (Vocals), Martin Bramah (Guitar), Tony Friel (Bass), Una Baines (Keyboards), Karl Burns (Drums). Tony Friel' S Last Gig Before He Went Off To Join Dick Witts In The Passage. The Fall Set Was Recorded On Cassette By Chris Hewitt , A Copy Was Given To Bernie Wilcox Rar Gig Organiser Who Passed It On To Mark. Mark Thought It Was Such An Important Gig Recording Despite Not Being Brilliant Quality That He Asked Chis Could The Fall Release It - So It First Appeared On Cd In 1999. In 2013 Mark E Smith Told Chris Hewitt It Was Now Due A Release On Vinyl And Would He Sort It Out On Ozit. It Has Taken A Bit Of Time Since Mark's Suggestion But Here It Is.

Repress of A Very She & Him Christmas, the wonderful collection of tunes from two of music's most beloved artists _ Zooey Deschanel (She) & M. Ward (Him)! Recorded and originally released in 2011, Deschanel and Ward let the songs speak for themselves, oftentimes recording them with only acoustic guitar and vocals. The result is an intimate holiday recording that deserves a place in your collection next to seminal Christmas albums by the likes of The Carpenters, Vince Guaraldi, The Beach Boys, and Elvis Presley. A portion of all proceeds from A Very She & Him Christmas are donated to 826 National, a non-profit for young people to ignite and channel their creativity, explore identity, advocate for themselves and their community, and achieve academic and professional success.

After Years Of Negotiations Finally The Release Of The Hawks Album Featuring The Combined Talents Of Paul Adams, Simon Colley, Dave Twist, Dave Kusworth, Stephen Duffy. History Tells Us That Every Once In A While, A Group Of People Can Come Together With One Dream And Do Beautiful Things With It, Burning Brightly But Too Briefly Before Sputtering Out. But Just Because History Throws Up A Cloud Of White Noise, That Dream Doesn't Necessarily Have To Die.We Know That Stephen Duffy Had Been A Founder Of Duran Duran, One Of A Number Of Bands To Emerge On Birmingham's Fertile, Exciting And Often Confusing Post-Punk Scene. When Tv Eye, The Second City's Stooges-Inspired Garage Punk Band Split, Daves Twist (Drums) And Kusworth (Guitar) And Paul Adams (Guitar) Approached Duffy (Vocals) And Simon Colley (Bass) From That First Duran Line-Up To Join Their New Project. So Began Obviously Five Believers, Who In Turn Became The Subterranean Hawks, Before Settling On The Hawks. Adored By Most Who Saw Them, They Recorded Constantly, Spawning One Highly Collectable Single, 'Words Of Hope'. They Lasted From '79 Until Christmas '81 "Falling Apart In A Myriad Of Acrimony," As Duffy Wrote In 1984. "Success Makes The Best Excuses And The Subterranean Hawks Had None... They Proved That It Was Impossible And Implausible To Be A Rock'n'roll Band In The Eighties." Impossible, Perhaps, In A City That Never Developed The Support Networks, The Label Entrepreneurs, Of A Manchester, Liverpool Or Sheffield - But The Hawks Undoubtably Had Most Of The Signifiers Already In Place For The 'Scene In Between' That Would Emerge Later That Decade.Years Passed With The Various Members Each Finding Degrees Of Success: Duffy Solo, And With The Lilac Time; Kusworth With Nikki Sudden And Numerous Other Bands, Often Alongside Current Black Bomber Twist. In 2019, When Duffy And Kusworth Last Met, Duffy, As Custodian Of The Hawks' 'Tape Archive', Promised That The Recordings Would One Day Be Released. Sadly This Was Not Soon Enough For Kusworth Who...

Time Will Fuse Its Worth is Kylesa's third full-length album, released in 2006. “The riffs are thick, dirty, and pulverizing, topped by vaguely melodic yelled vocals of both genders. Imagine Fugazi brawling with The Melvins and Eyehategod, with Remission-era Mastodon throwing in some kicks for good measure. This is sludgy stuff, but the riffs are catchy and direct. Previous album To Walk a Middle Course was a harrowing psychological ride, but Time Will Fuse Its Worth is more about the rock. If this album were a drink, it would be a Christmas ale with surprisingly high alcohol content that hits you fast between the eyes.” - Metal Injection

"Goodmorning. I wish you, a merry merry christmas. As you sit by the fire. I see your sadness on your face. You hear the funny bells inside your head. And I do look into your pretty eyes. So gray. The Funny Bells. You are my friend. Today." au

Calexico’s ’Seasonal Shift’ is less of a Christmas album and more of a cross cultural seasonal celebration. The themes are based around that familiar end of year feeling, of reflection, of ceremony and of recognition of the year gone by and changes it brought for better and for worse. It contains a few cover songs including classics by John Lennon & Yoko Ono and Tom Petty, a few more special guests and a whole load of good will. It’s heartfelt but fun, and earnest but celebratory. It features Calexico in an assortment of guises, referencing Portuguese Fado and Old Mexican Folk Songs, from the stripped back 2 man skeleton to the full party of international collaborators including artists like Bombino, Gaby Moreno, Gisela João, Nick Urata (DeVotchKa) and Camilo Lara.

Calexico’s ’Seasonal Shift’ is less of a Christmas album and more of a cross cultural seasonal celebration. The themes are based around that familiar end of year feeling, of reflection, of ceremony and of recognition of the year gone by and changes it brought for better and for worse. It contains a few cover songs including classics by John Lennon & Yoko Ono and Tom Petty, a few more special guests and a whole load of good will. It’s heartfelt but fun, and earnest but celebratory. It features Calexico in an assortment of guises, referencing Portuguese Fado and Old Mexican Folk Songs, from the stripped back 2 man skeleton to the full party of international collaborators including artists like Bombino, Gaby Moreno, Gisela João, Nick Urata (DeVotchKa) and Camilo Lara.

Black Friday Record Store Day 2020 Release. RSD Exclusive. Limitation: 1500 copies.

A lone pair of footsteps meanders down a street in Omaha, into the neighborhood bar and then into a near-imperceptible tangle of conversations - about wars, sleepless nights - a surrealist din pushing against the sound of ragtime. Then, as the background quiets, a line rings out clearly: "I think about how much people need - what they need right now is to feel like there's something to look forward to. We have to hold on. We have to hold on." Thus we enter the fitting, cacophonic introduction to Bright Eyes' tenth studio album and first release since 2011. Down in the Weeds, Where the World Once Was is an enormous record caught in the profound in-between of grief and clarity - one arm wrestling its demons, the other gripping the hand of love, in spite of it. The end of Bright Eyes' unofficial hiatus came naturally. Conor Oberst pitched the idea of getting the band back together during a 2017 Christmas party at Bright Eyes bandmate Nathaniel Walcott's Los Angeles home. The two huddled in the bathroom and called Mike Mogis, who was Christmas shopping at an Omaha mall. Mogis immediately said yes. There was no specific catalyst for the trio, aside from finding comfort amidst a decade of brutal change. Sure, Why now? is the question, but for a project whose friendship is at the core, it was simply Why not? The resulting Bright Eyes album came together unlike any other of its predecessors. Down in the Weeds is Bright Eyes' most collaborative, stemming from only one demo and written in stints in Omaha and in bits and pieces in Walcott's Los Angeles home. Radically altering a writing process 25 years into a project seems daunting, but Oberst said there was no trepidation: "Our history and our friendship, and my trust level with them, is so complete and deep. And I wanted it to feel as much like a three-headed monster as possible." As a title, as a thesis, Down in the Weeds, Where the World Once Was functions on a global, apocalyptic level of anxiety that looms throughout the record. But on a personal level, it speaks to rooting around in the dirt of one's memories, trying to find the preciousness that's overgrown and unrecognizable. For Oberst, coming back to Bright Eyes was a bit of that. A symbol of simpler times, vaguely nostalgic. And even though it wasn't actually possible to go back to the way things were, even though there wasn't an easy happy ending, there was a new reality left to work with. And here, there is a bleary-eyed hopefulness - earnest, emotive recommitments to love appear on "Dance and Sing" and "Just Once in the World." And throughout, Down in the Weeds features snippets of Oberst's loved ones speaking, in late-night conversations. The fleeting loveliness of intimate moments punctuates the bleakness of the record's existential crisis, crackling like lightning bugs illuminating the long night. Down in the Weeds is a distillation of a prolific, enduring canon. It's immediate and urgent, the product of its creators' growth across a decade apart, as well as the need to make a record together to find solace from loss. Through deliberate, fearless experimentation in process, the trio made the truest Bright Eyes sound: the sound of a deep bond, of a band coming home, but also a seamless continuation, like Bright Eyes never went away. It's the impossible, sprawling mess of human experience that Bright Eyes has always sought to put to tape, since the beginning - the sound of holding on. Why now? Why not?

First pressing on limited edition Transparent Red + Transparent Orange vinyl - 2xLP packaging features die-cut jacket and Side 4 phenakistoscope etching!

A lone pair of footsteps meanders down a street in Omaha, into the neighborhood bar and then into a near-imperceptible tangle of conversations - about wars, sleepless nights - a surrealist din pushing against the sound of ragtime. Then, as the background quiets, a line rings out clearly: "I think about how much people need - what they need right now is to feel like there's something to look forward to. We have to hold on. We have to hold on." Thus we enter the fitting, cacophonic introduction to Bright Eyes' tenth studio album and first release since 2011. Down in the Weeds, Where the World Once Was is an enormous record caught in the profound in-between of grief and clarity - one arm wrestling its demons, the other gripping the hand of love, in spite of it. The end of Bright Eyes' unofficial hiatus came naturally. Conor Oberst pitched the idea of getting the band back together during a 2017 Christmas party at Bright Eyes bandmate Nathaniel Walcott's Los Angeles home. The two huddled in the bathroom and called Mike Mogis, who was Christmas shopping at an Omaha mall. Mogis immediately said yes. There was no specific catalyst for the trio, aside from finding comfort amidst a decade of brutal change. Sure, Why now? is the question, but for a project whose friendship is at the core, it was simply Why not? The resulting Bright Eyes album came together unlike any other of its predecessors. Down in the Weeds is Bright Eyes' most collaborative, stemming from only one demo and written in stints in Omaha and in bits and pieces in Walcott's Los Angeles home. Radically altering a writing process 25 years into a project seems daunting, but Oberst said there was no trepidation: "Our history and our friendship, and my trust level with them, is so complete and deep. And I wanted it to feel as much like a three-headed monster as possible." As a title, as a thesis, Down in the Weeds, Where the World Once Was functions on a global, apocalyptic level of anxiety that looms throughout the record. But on a personal level, it speaks to rooting around in the dirt of one's memories, trying to find the preciousness that's overgrown and unrecognizable. For Oberst, coming back to Bright Eyes was a bit of that. A symbol of simpler times, vaguely nostalgic. And even though it wasn't actually possible to go back to the way things were, even though there wasn't an easy happy ending, there was a new reality left to work with. And here, there is a bleary-eyed hopefulness - earnest, emotive recommitments to love appear on "Dance and Sing" and "Just Once in the World." And throughout, Down in the Weeds features snippets of Oberst's loved ones speaking, in late-night conversations. The fleeting loveliness of intimate moments punctuates the bleakness of the record's existential crisis, crackling like lightning bugs illuminating the long night. Down in the Weeds is a distillation of a prolific, enduring canon. It's immediate and urgent, the product of its creators' growth across a decade apart, as well as the need to make a record together to find solace from loss. Through deliberate, fearless experimentation in process, the trio made the truest Bright Eyes sound: the sound of a deep bond, of a band coming home, but also a seamless continuation, like Bright Eyes never went away. It's the impossible, sprawling mess of human experience that Bright Eyes has always sought to put to tape, since the beginning - the sound of holding on. Why now? Why not?

2xLP packaging features die-cut jacket and Side 4 phenakistoscope etching!

A lone pair of footsteps meanders down a street in Omaha, into the neighborhood bar and then into a near-imperceptible tangle of conversations - about wars, sleepless nights - a surrealist din pushing against the sound of ragtime. Then, as the background quiets, a line rings out clearly: "I think about how much people need - what they need right now is to feel like there's something to look forward to. We have to hold on. We have to hold on." Thus we enter the fitting, cacophonic introduction to Bright Eyes' tenth studio album and first release since 2011. Down in the Weeds, Where the World Once Was is an enormous record caught in the profound in-between of grief and clarity - one arm wrestling its demons, the other gripping the hand of love, in spite of it. The end of Bright Eyes' unofficial hiatus came naturally. Conor Oberst pitched the idea of getting the band back together during a 2017 Christmas party at Bright Eyes bandmate Nathaniel Walcott's Los Angeles home. The two huddled in the bathroom and called Mike Mogis, who was Christmas shopping at an Omaha mall. Mogis immediately said yes. There was no specific catalyst for the trio, aside from finding comfort amidst a decade of brutal change. Sure, Why now? is the question, but for a project whose friendship is at the core, it was simply Why not? The resulting Bright Eyes album came together unlike any other of its predecessors. Down in the Weeds is Bright Eyes' most collaborative, stemming from only one demo and written in stints in Omaha and in bits and pieces in Walcott's Los Angeles home. Radically altering a writing process 25 years into a project seems daunting, but Oberst said there was no trepidation: "Our history and our friendship, and my trust level with them, is so complete and deep. And I wanted it to feel as much like a three-headed monster as possible." As a title, as a thesis, Down in the Weeds, Where the World Once Was functions on a global, apocalyptic level of anxiety that looms throughout the record. But on a personal level, it speaks to rooting around in the dirt of one's memories, trying to find the preciousness that's overgrown and unrecognizable. For Oberst, coming back to Bright Eyes was a bit of that. A symbol of simpler times, vaguely nostalgic. And even though it wasn't actually possible to go back to the way things were, even though there wasn't an easy happy ending, there was a new reality left to work with. And here, there is a bleary-eyed hopefulness - earnest, emotive recommitments to love appear on "Dance and Sing" and "Just Once in the World." And throughout, Down in the Weeds features snippets of Oberst's loved ones speaking, in late-night conversations. The fleeting loveliness of intimate moments punctuates the bleakness of the record's existential crisis, crackling like lightning bugs illuminating the long night. Down in the Weeds is a distillation of a prolific, enduring canon. It's immediate and urgent, the product of its creators' growth across a decade apart, as well as the need to make a record together to find solace from loss. Through deliberate, fearless experimentation in process, the trio made the truest Bright Eyes sound: the sound of a deep bond, of a band coming home, but also a seamless continuation, like Bright Eyes never went away. It's the impossible, sprawling mess of human experience that Bright Eyes has always sought to put to tape, since the beginning - the sound of holding on. Why now? Why not?

4-panel digipak. Remastered by Kramer. Enhanced CD with access to stems. From the Spirit Phones of fall to the I Am Become Christmases of winter, the seasons change as ever and bring a new Lemon Demon release from Needlejuice Records.

The summer affords us all the opportunity to frolic in the splendor of nature. The beautiful sun, the chirping birds, and Neil Cicierega’s 2014 EP Nature Tapes. Containing such classics as Brodyquest, Two Trucks, Jaws, and Goosebumps*, this set of 8 catchy electro-pop songs showcases Neil’s signature blend of deft humor set to a memorable melody.

*Goosebumps is being retroactively added to the official track listing because Neil forgot about it in 2014.

On this collection of holiday songs, Austin chanteuse Molly Burch does Christmas with a twist. Quite an omnibus, the album features classics like "I'll Be Home for Christmas" and "Auld Lang Syne" alongside heartland hits like "Hard Candy Christmas" and "Snowqueen of Texas". "This is the most fun I've had making a record yet," Burch says. And you can hear that joy on tracks like ABBA's "Happy New Year" as well as a playful cover of Wham's "Last Christmas" with two special guests: actor / comedians John Early (Search Party, Wet Hot American Summer) and Kate Berlant (Sorry to Bother You) add a blithe intro and backing vocals throughout. Recorded by Will Paterson (RF Shannon, Jesse Woods) and Jarvis Taveniere (Woods, Martin Courtney, Purple Mountains), the album also features two beautiful originals penned by Burch to add to your holiday canon. "I hope it's a Christmas album for people who love Christmas music and people who don't love Christmas music. May these songs welcome in a fresh new year and many warm, happy nights."

In 2018, Low will turn twenty-five. Since 1993, Alan Sparhawk and Mimi Parker_the married couple whose heaven-and-earth harmonies have always held the band's center_have pioneered a subgenre, shrugged off its strictures, recorded a Christmas classic, become a magnetic onstage force, and emerged as one of music's most steadfast and vital vehicles for pulling light from our darkest emotional recesses. But Low will not commemorate its first quarter-century with mawkish nostalgia or safe runs through songbook favorites. Instead, in faithfully defiant fashion, Low will release its most brazen, abrasive (and, paradoxically, most empowering) album ever: Double Negative, an unflinching eleven-song quest through snarling static and shattering beats that somehow culminates in the brightest pop song of Low's career. To make Double Negative, Low reenlisted B.J. Burton, the quietly energetic and adventurous producer who has made records with James Blake, Sylvan Esso, and The Tallest Man on Earth in recent years while working as one of the go-to figures at Bon Iver's home studio, April Base. Burton recorded Low's last album, 2015's Ones and Sixes, at April Base, adding might to many of its beats and squelch and frisson beneath many of its melodies. This time, though, Sparhawk, Parker, and bassist Steve Garrington knew they wanted to go further with Burton and his palette of sounds, to see what someone who is, as Sparhawk puts it, "a hip-hop guy" could truly do to their music. Rather than obsessively write and rehearse at home in Duluth, Minnesota, they would often head southeast to Eau Claire, Wisconsin, arriving with sketches and ideas that they would work on for days with Burton. Band and producer became collaborative cowriters, building the pieces up and breaking them down and building them again until their purpose and force felt clear. As the world outside seemed to slide deeper into instability, Low repeated this process for the better part of two years, pondering the results during tours and breaks at home. They considered not only how the fragments fit together but also how, in the United States of 2018, they functioned as statements and salves. Double Negative is, indeed, a record perfectly and painfully suited for our time. Loud and contentious and commanding, Low fights for the world by fighting against it. It begins in pure bedlam, with a beat built from a loop of ruptured noise waging war against the paired voices of Sparhawk and Parker the moment they begin to sing during the massive "Quorum." For forty minutes, they indulge the battle, trying to be heard amid the noisy grain, sometimes winning and sometimes being tossed toward oblivion. In spite of the mounting noise, Sparhawk and Parker still sing. Or maybe they sing because of the noise. For Low, has there ever really been a difference?

Available again. The A-side was originally recorded in 1998 and it's title has been appropriated by Stripes fans as a term to describe themselves as a group. The b-side features Meg singing an a cappella version of ''Silent Night'' coupled with Jack reading the Story of the Magi from the Bible. The whole thing is a warming, heartfelt pile of Christmas goodness...dig in!

Their fifth album is a little bit silly, a little bit serious. It's a record that's irreverant yet somber, full of humor and full of pathos, its twelve songs combinging the two to creat a record that truly cuts right to the bone of the human condition.