Search "lil+wayne" 3012 Items

Bitter Reflections Clear Vinyl Edition

Release: 2023 / US – Original

Genre: Rock & Indie

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The latest by Arizona desert brotherhood Alex and Andrew Jarson aka Body Of Light further hones their smoldering strain of tempestuous synth-pop into a transformative suite of anthems, reveries, and reckonings: Bitter Reflection. Written in the wake of 2019's neo-EBM classic, Time To Kill, they sifted inspiration from hidden moments within their own arcana - childhood tapes, home movies, abandoned demos - asking themselves the question: "How can we make this grow?" Sampled snippets of voice, noise, synth, and field recordings flicker in the periphery of these 11 tracks, murmuring like nostalgias half-forgotten, or displaced memories. It's music pulled between twin flames of truth and desire, romanticization and reality, catharsis and control, born of a bond sealed by years, dreams, and blood. Working with Telefon Tel Aviv co-founder Josh Eustis in Los Angeles, the brothers incorporated an expanded array of live instrumentation - piano, bass, saxophone, acoustic guitar - in addition to vintage Akai samplers, Moogs, and archaic hardware, giving the album an eclectic, unpredictable palette. Opener "Get It Right" showcases their impressive refinement: sleekly cold drum machinery builds to a swooning chorus of synths and piano, then suddenly slips into a dream sequence bridge of strummed guitar and echo-shrouded vocals, before surging back to the main melody. Throughout, the songs shift gears and moods in evocative ways, as if bending to fleeting thoughts or lengthening shadows. Simmering synth lament "Strike The Match" captures the Jarsons' unique technique of co-crafted lyrics, accruing meaning as the world turns; though written long before, the track ended up being recorded the day Russia invaded Ukraine ("I fall asleep to the candlelight / things will be different but not tonight / it wouldn't be like you to strike the match / over and over, I can't understand"). A trio of intriguing instrumentals deepen the album's scope, echoing the duo's early experimental era as part of the influential Ascetic House collective. "Fortia," "Hyena," and "Deepcolorlights" drift in a prismatic gauze of whispered synths and oblique minutia, in the spirit of Boards of Canada at their most hushed and haunted. Elsewhere the record spins through a gallery of the band's ongoing fascinations: Depeche Modeesque declarations of dread and excess ("This Conversation"), brooding dance floor epiphanies ("Out Of Season"), smooth Thomas Dolby city skyline melancholias ("Never Ever"), lovesick looking glass ballads laced with Art Of Noise orchestral stabs ("On This Day"). A new age demands new waves, and Body Of Light belongs at the forefront of a resurgent generation fusing modern methods with the sounds of futures past. Singer Alex Jarson sees their muse clearly, at the axis of anguished transition, temporal collapse, and, just possibly, the brink of hope: "Time is dysphoric. The dream breaks down. Everyone's beginning to panic, but in the end something will come from it."

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Body Of Light

LP | 2023 | CZ | Original (Dais)

Boeckner! Orange Vinyl Edition

Release: 2023 / CZ – Original

Genre: Rock & Indie

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Boeckner

LP | 2024 | EU | Original (Sub Pop)

Tape | 2023 | EU (Dirt Tapes)

Release: 2024 / EU – Original

Genre: Rock & Indie

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Daniel Boeckner understands the grit and gravel that accumulates in the heart and that it takes an unwavering courage to crack through that clutter and burrow to the other side. And in Boeckner's hands, that quest comes via post-apocalyptic synth and guitar heroism, a rallying cry for those always coming home through the scorched clouds. Throughout his work with Wolf Parade, Handsome Furs, Divine Fits, Operators, Atlas Strategic, and more, the iconic Canadian indie rocker recognizes that few feelings are more gratifying-more memorable, more generative, more abundant-than hope. But it takes getting the hell out of your own way. A culmination of that deep library of musical reference, Boeckner is set to release his first album under his own name: Boeckner! No matter where his genre exploration has taken him, there's something about growing up in punk and DIY spaces that puts collaboration in Boeckner's blood. Composed of a collection of intimately familiar elements, Boeckner! elicits the same thrill of young passion and discovery. It's a jet-powered chase through a tech-noir cityscape-fueled by a dream and that special someone in the passenger seat. That urgency and passion have always been a trademark of Boeckner's, and writing on his own pushes those feelings further into the center of the scope. But while Boeckner may be the clear driving force behind the album, he's not without collaborators for his solo debut. After meeting producer Randall Dunn while contributing to the soundtrack to the Nicolas Cage-starring psychedelic horror film Mandy, Boeckner knew he'd found the perfect counterpart for his solo debut. "I'd been a fan of his forever, especially the Sunn0))) records he produced," Boeckner says. "Working with Randall really unlocked some suppressed musical urges, things that I enjoy in my private life but don't normally weave into what I'm releasing-like occult synth, pseudo-metal, krautrock, and heavy psych influences." That base allows Boeckner to thoughtfully weave between emotional imagism and more grounded storytelling. Throughout the record, his imagery delves into science fiction, but it's charged first and foremost by experience. The trio of Boeckner, Dunn, and drummer Matt Chamberlain (Pearl Jam, David Bowie, Fiona Apple) formed a sort of dark engine for the album, and Chamberlain's ingenious approach of triggering a vintage Arp synthesizer simultaneously with each drum track helped Boeckner shape the record's atmosphere. That tense futurism was influenced by Boeckner's time staying in Dunn's Circular Ruin studio, a dusky, electronic aura burned into every track. By the end of the album, Boeckner! eases from sci-fi epic into something more akin to a torched VHS copy of a John Cassevetes film, the chemtrails and nuclear fallout fading long in the distance. Like all good sci-fi, the emotion and pain hits home for the author and listener alike, and the genre flourishes bolster the human experience. In revealing more than ever before, Boeckner! ratchets up the musical intensity to unforeseen levels and hopes to find some peace at the end of the journey.

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Bologna Violenta

Il Nuovissimo Mondo

12,99 €*

Release: 2023 / EU

Genre: Rock & Indie, Electronic & Dance

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"The New World" is the second album by Bologna Violenta. Released for the first time in 2010 by Bar La Muerte, it is a record that in just over 20 minutes tells in a grotesque way the atrocities of the world in which we live. The extreme sound is underlined by samplings that bring to mind the narratives that accompanied the much reviled world movies of the 60s in which the oddities of the human being followed one another on the screen between the serious and the humorous, between the horror and the eroticism, between news and fiction, seamlessly.

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Weedsconsin Black Deluxe Viny Edition

Release: 2021 / EU – Original

Genre: Rock & Indie

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On the fringe of chaos, in the Year of the Pandemic, the Cannabeast has awoken!! Bongzilla is back with a new full length album, 16 years since their last record. These Pioneers of Weed Metal would like to present “weedsconsin” to the universe. An album written by the three long standing original members of Bongzilla - Muleboy (bass, vocals), Spanky (guitar), and Magma (drums). Recorded and mixed by the late John Hopkins at Future Apple Tree Studios in Rock Island, Illinois in October 2020. The six brand new tracks will blow your mind! In a single instant you are contaminated by the classic Weed-Infected sounds the band is known for, while also finding new elements mixed into the bowl. In the unique piece that is Weedsconsin, Bongzilla delivers heavy doses of Crushing Stoner Doom and Psychedelic Space Rock that sets it apart from earlier material. (That’s why HPS Records is the perfect label to release this stuff). This record travels down a path of heavy riffs, mind-expanding jams, sonic tones, and stomping beats in the band's first release as a thunderous three piece, with Muleboy moving from guitar to bass. Approaching these songs as a three piece has created more space musically and allowed the band to showcase their musicianship in a different way. It results in a sound that is very heavy, along the lines of Gateway tone-wise, but sonically more clear. The album is mastered by Carl Saff at Saff Mastering in Chicago, Illinois, and Eli Quinn (Madison, Wisconsin) is the artist behind the astounding new cover art. Weedsconsin is dedicated to the memory of John Hopkins.

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Weedsconsin Black Vinyl Edition

Release: 2021 / EU – Original

Genre: Rock & Indie

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Weedsconsin Orange / Neon Green Viny Edition

2LP | 2021 | EU | Original (Heavy Psych Sounds)

43,99 €*

Release: 2021 / EU – Original

Genre: Rock & Indie

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Weedsconsin Splattered Vinyl Edition

28,79 €* 31,99 € -10%

Release: 2021 / EU – Original

Genre: Rock & Indie

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Weedsconsin Transparent Neon Yellow And Green Vinyl Edition

39,99 €*

LP | 2018 | US | Original (Woodsist)

Release: 2021 / EU – Original

Genre: Rock & Indie

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Bonny Doon

Longwave

LP | 2017 | US | Original (In The Red)

Release: 2018 / US – Original

Genre: Rock & Indie

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Arriving in the early months of 2017, Bonny Doon’s self-titled debut was a warm introduction to the band for many. Hazy and bright, the album’s woozy melodies and swirling webs of summery guitar textures were easily ingested as low-key slacker pop. But the nonchalant breeziness belied a serious attention to songcraft, and hinted at depths yet unexplored. Lo and behold, before the ink was even dry on the first record, work had already begun on its follow-up Longwave, a conscious about-face from the sonic experimentation of the first album, and a journey inward.

In the spring of 2016 the band decamped to a remote part of Michigan, nesting near the evocatively named Mystic Lake, and spent a week uprooting former approaches and reinventing their sound anew. Moving into more improvisational territory, they wrote quickly and from the hip, using repetitive chord structures to aid in spontaneous generation. Attracted to the session’s spacious arrangements and unaffected sounds, they immediately went into the studio to capture the material. Working for the first time outside of home recording settings with engineer Bill Skibbe and longtime friend and collaborator Shelley Salant, the experience allowed for a focused concentration on bringing the intrinsic spirit of the group to the surface.

Opting for spontaneity and simplicity over the exploration of layers and textures that defined the first record, the band architected an incredibly intimate sound for these new songs. The album was tracked with minimal overdubs or production flourishes, constructing a frame that is spare and understated in the same way as the twilight-tinted third Velvet Underground album or the rusty glow of Bill Fay’s Time Of Last Persecution. These sessions aimed to capture the band at their essence. With the superfluous stripped away, a gentle but steadfast spiritual core is revealed as the backbone of Bonny Doon’s cosmic American music.

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Boss Hog

Brood X

20,99 €*

LP | 2021 | EU | Original (Improved Sequence)

Release: 2017 / US – Original

Genre: Rock & Indie

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Boss Hog returns from the wild with their most subversive record — this is the seductive soundtrack for the second coming of militant rock’n’roll, and the groove has never been stronger.

Brood X — emerging from the dirty streets of New York City after seventeen years of gestation — is a futuristic brew of 21st Century blues, toxic punk rock beat music, and hyper-focused, outer-space psycho assaults. Thermonuclear chanteuse Cristina Martinez blisters the hypocrites, the haters, the heartless, and the clueless hangers-on with a full-tilt microphone attack. A sex-bomb salvo for troubled times, Martinez gives voice to America’s pain while pulling no punches.

This band does not negotiate. This is scorched earth rock’n’roll for the resistance, barbed-wire blues battling for the future of the planet. Recorded and mixed at the fabled Key Club, using Sly Stone’s legendary There’s A Riot Goin’ On console, the album channels the subversive mojo of the underground and brings next-level sonics to save your very soul.

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Botanist

Ecosystem Version B

19,99 €*

When The Going Gets Tough, The Tough Get Going

Release: 2021 / EU – Original

Genre: Rock & Indie

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Originally Released In 2020 On A Limited Run Of Cassettes, Now Reissued On Vinyl For The First Time. Ltd. To 400 Copies, Based On The Simple Parable Of Growth, Prominence, Extinction And Rebirth, "Ecosystem Version B" Begins With The Notion That Modern Man Has Reached A Point In Which They Are No Longer On The Natural Path Of Progression, But Are Seemingly Above It Through Technological Advancement. However, Humankind Has Not Only Achieved This Dominance In The Wrong Ways, But Further, Has Actually Ruined Themselves With The Misuse Of Fossils That Were Created By The Carboniferous Period Of Earth, One Of The Most Glorious Eras For Plant Life And Still Quietly Dictating The Course Of Progression. Although Man Has Now Forced The Hand Of The Extinctive Process, Creating His Own Ultimate Fire Through Climate Disruption, Advanced War, Biochemical Plague And Self Pollution, It Will End In The Same Way: The Earth Seeing A Great Time Of Silence And Cleansing Followed By A Period Of Rebirth. Just As The First Seeds Began To Emerge At The End Of The Devonian Age, A New Elkinsia Is Already Among Us, Waiting To Blossom On The Day Of The Budding Dawn.

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Bow Wow Wow

Release: 2023 / EU – Original

Genre: Rock & Indie

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LP | 2021 | JP | Original (P-Vine)

Boyish

Garden Spider

LP | 2024 | EU | Original (Music On Vinyl)

Release: 2021 / JP – Original

Genre: Rock & Indie

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Formed in 2016 by India Shore and Claire Altendahl, who met at Berklee College of Music, the Brooklyn-based indie rock / dream pop band "Boyish" released their digital album "Garden Spider" in 2020. P-vine will release this album as analog vinyl for the first time in theworld! FFO : Beach House, Daughter etc...

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Boz Scaggs

Middle Man

Release: 2024 / EU – Original

Genre: Rock & Indie

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The Devil And God Are Raging Black Vinyl Edition

Brand New

2LP | 2013 | EU | Original (Music On Vinyl)

35,99 €*

Nothin' But Time Black Vinyl Edition

Release: 2013 / EU – Original

Genre: Rock & Indie

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The Devil and God Are Raging Inside Me is the third studio album by American alternative rock band Brand New, released in 2006. Formed in Long Island in 2000, Brand New gained a large fanbase with a clever blend of Indie Rock & Emo.

The album debuted at number 31 on the Billboard 200, and yielded two singles – "Sowing Season" and "Jesus". The Devil and God Are Raging Inside Me was rated the best album of 2006 by Punknews.org and was placed at number 74 in NME's list of the 100 best albums of the 2000s. This is an excellent record which is in great demand. Don't sleep on this one!

180 gram audiophile vinyl
Printed innersleeves

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Breanna Barbara

LP | 2022 | UK | Original (Fuzz Club)

Nothin' But Time Deluxe Edition

Release: 2022 / UK – Original

Genre: Rock & Indie

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NYC-based artist Breanna Barbara's second album 'Nothin' But Time' is a raw and immersive trip through the sounds of psychedelic rock and blues, anchored by her forceful vocals and unforgettable songwriting. Sporting a sound that feels classic and of-the-moment at the same time, 'Nothin' But Time' sees Barbara plumb new emotional depths as she bursts through every sonic barrier put in her way. Seeking to create mind-expanding music that's also firmly rooted in the real, 'Nothin' But Time' reflects Barbara's headlong journey into the world of psychedelic pop by way of hard-driving blues-rock, warped theramin tones and celestial synths. Out November 11 on Fuzz Club, 'Nothin' But Time' arrives following Breanna's 2016 debut 'Mirage Dreams', a trio of critically acclaimed singles (most recently 'New Moon') and a number of collaborations with legendary trip-hop vanguard Tricky. As well as joining his US touring band as lead female vocalist, Barbara also did an official rework of his 'When We Die' track and featured on the 2021 Lonely Guest album, 'False Idols'. Recorded at Nashville's Bomb Shelter studio with Andrija Tokic (Alabama Shakes, Hurray For The Riff Raff), the album features musical contributions from Jack Lawrence (The Dead Weather), Tall Juan, Derry DeBorja (Jason Isbell), and Champagne Superchillin's Ben Trimble and Charles Garmendia.

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Breanna Barbara

LP | 2022 | UK | Original (Fuzz Club)

LP | 2022 | EU | Original (Schnitzel)

Release: 2022 / UK – Original

Genre: Rock & Indie

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Brendan Benson

Low Key

32,99 €*

Brendan Croker & The 5 O'clock Shadows

Release: 2022 / EU – Original

Genre: Rock & Indie

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Not every two-year period measures out the same, noted Brendan Benson, the 51-year old Grammy-nominated singer-songwriter and co-founder of The Raconteurs. Benson had just finished his well-received seventh album, "Dear Life" in 2019 when his world came to a stop. "I was rehearsing for South-By-Southwest and gearing up for a tour and had a band ready and then, of course, the world shut down," he said in a recent interview. The lockdown then began to reroute lives, societies and ambitions worldwide. "Everything changed," Benson said. "I went to work on some songs so I'd have new material when things opened up." Over months with minimal interactions, those songs coalesced and took on lives of their own, he said. Two years of semi-isolation, of fading relationships, of the natural inward turn that comes with less human contact unexpectedly pushed Benson's song-writing into new places. Instead of being an afterthought, Benson's solitude evolved into, "Low Key" the eighth album by the idiosyncratic songwriter who has enjoyed both world-wide popularity with the Raconteurs and a devoted cult following for his numerous solo projects. Low Key, the Nashville-based artist said, was his chance to explore how lives and relationships changed during the lengthy isolation from the normal interactions of everyday life. Benson might not have written songs such as "People Grow Apart" and "Whole Lotta Nothing" prior to 2019, he said. "The lockdown afforded people the opportunity to cut ties - or maybe it caused people to do that," he said. "Whatever the case may be, a lot of people fell out." "But then relationships ending is one of my favourite topics for song writing," he said with a laugh. This isn't to say that the 8-track effort recorded in Benson's own Readymade Studio in Nashville is a grim look at the state of human condition. Just the opposite. The catchy, upbeat lead track "Ain't No Good," pokes fun at destructive self-absorption while the guitar-heavy "Whatever's On My Mind" skewers Benson's own hyperkinetic, stream-of-consciousness thinking. And then there's the most unlikely track of all: A cover of Gerry Rafferty's smooth 1978 hit, "Right Down the Line." The cover was suggested by a friend. "She's always been saying I should do that song. I don't normally pay attention when people say that stuff. But then I happened to hear it one day and I said, 'Dang. This is good.' " Low Key concludes with "Something A Little Like Home," a song that surprised Benson because it turned to the loneliness of being on the road and what people will do - one-night-stands, bad behaviour -- simply to stave off the solitude of their environment. But that said, Benson added that he is excited to tour again, not just in support of Low Key but Dear Life as well. Low Key, he said, works as a coda for "Dear Life," almost a sequel. And because Dear Life never had its own tour moment in front of a live audience, he'd like to build some shows around supporting both. Or as Greg Calbi, the album's mastering engineer at Sterling Sound put it: "Brendan combines the classic 80's style song-writing in the Squeeze, Crowded House vein with some incredible contemporary sonic magic, the kind of album which entices the listener to get tickets to a live show immediately." The fact is, it's been a long, rough two years for everyone, Benson said. He knows that this wait for normal times, whatever that is, might be a long one. But he's hardly new at this. Benson has been in the industry for decades and has produced his own eight solo records as well as many others. The lockdown that left him mostly with himself, professionally speaking. Confined to his Nashville studio, Benson played every instrument on Low Key and handled all of the initial production. Michael Ilbert then mixed the album at Hansa Mixroom, Berlin, Greg Calbi and Steve Fallone mastered it at New Jersey's Sterling Sound. The end result was exactly what Benson had been searching for - even if he didn't know it at the time. Those years spent honing his craft as a songwriter, producer and touring musician, turned what could have been a liability of isolation into something far deeper, a body of work he described as the best of his career.

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LP | 2024 | EU | Original (Music On Vinyl)

Release: 2024 / EU – Original

Genre: Rock & Indie

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LP | 2023 | US | Original (Sub Pop)

Bria

Cuntry Covers Volume 2

12" | 1986 | EU | Reissue (Thank You)

Release: 2023 / US – Original

Genre: Rock & Indie

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As its name suggested, the intimate and sultry Cuntry Covers Vol. 1 was always going to have a follow-up. Led by the brooding vocals of Bria Salmena, Cuntry Covers Vol. 2 is every bit as potent as its predecessor whose noir-inflected alternative country-rock stood in sharp contrast to the singer's commanding delivery as leader of post-punk revivalists Frigs. Debuting the project in 2021, the languid, reverb-drenched Cuntry Covers Vol. 1 saw her artfully collaborating with multi-instrumentalist Duncan Hay Jennings and reimagining a carefully picked collection of Americana anthems. Vol. 2 pushes the envelope further and harder. Encompassing feverish takes on tracks by Gillian Welch, Paula Cole, Mary Margaret O'Hara, Robert Lester Folsom, Glenn Campbell - by way of Nick Cave - and the late, great Loretta Lynn, Bria's deliciously dark approach shimmers through these six startling songs. Created during a break from Salmena and Jennings' work in Orville Peck's world-conquering backing band, Vol. 2 was recorded directly after Peck's second album and Bria's US tour supporting Wolf Alice. Embracing contrast, the sunny circumstances in which Vol. 1 was made were flipped on their head. Instead of a bucolic barn in the Canadian countryside, they recorded the new tracks in chilly Toronto, huddled together in their tiny makeshift home studio, with Jennings at the controls. They enlisted the help of local Toronto musicians Lucas Savatti (Frigs), Simone Baril (US Girls, The Highest Order, Darlene Shrugg, Partner), Andrew Manktelow, and frequent collaborator Jaime Rae McCuaig. While Vol. 1 was Bria's attempt at subverting country music's conservative roots and primarily white and heterosexual agenda, here the emphasis was on experimentation. While Vol. 2 might be less personal, it's just as idiosyncratic, with half of the reversions staying true to the originals and others taken to a different universe entirely. Building on the tried-and-true/bold-and-new duality of Cuntry Covers' first offering, Vol. 2 delivers a deeper dive into the duo's brilliant alchemy of traditional and contemporary reinterpretations. The added experimental flourishes, from dizzying electronica and pulsing bass to sax-driven soul, take Bria's new EP into previously uncharted territory, signalling a thrilling new step in Bria's adventurous evolution.

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Brian Auger

Night Train To Nowhere

15,99 €*

Release: 1986 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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It's not because one might have worked with people like Jimi Hendrix, John McLaughlin and Rod Stewart throughout their career that Italo-Disco wouldn't get the best of your work. A great example of the Italian phenomenon's infectiously widespread grip is British rock keyboardist Brian Auger's path, when he found himself in a Milanese recording studio during the mid 80's and recorded his last known release in that decade. Powerfully fusing decades of rock and jazz education with the synthetic hysteria of the time (and culture), the result is a classic downtempo number that has found its way into some of our favorite DJ sets for a while now. Vocal and instrumental are featured on the A-side and in addition the B-side offers a new remix where things take somewhat of a catastrophic turn into what sounds like Brian getting on the wrong train to a K-hole, probably not for most dance floors. Meticulously remastered at manmade mastering in Berlin.

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LP | 1975 | EU | Reissue (Virgin)

Another Green World

Release: 1975 / EU – Reissue

Genre: Rock & Indie

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2x12" | 1977 | EU | Reissue (Virgin EMI)

Before And After Science

60,99 €*

Release: 1977 / EU – Reissue

Genre: Rock & Indie, Electronic & Dance

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Used Vinyl

Medium: Sealed, Cover: Sealed

Still sealed. With OBI. Limited edition. 2017 reissue.

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LP | 1977 | EU | Reissue (Virgin)

Before And After Science

Release: 1977 / EU – Reissue

Genre: Rock & Indie

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My Life In The Bush Of Ghosts

Brian Eno & David Byrne

2LP | 1981 | US | Reissue (Nonesuch)

47,99 €*

Brian Eno, Holger Czukay, J. Peter Schwalm

Release: 1981 / US – Reissue

Genre: Rock & Indie, Electronic & Dance

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fully remastered 180 gram vinyl reissue incl. 7 orginally unreleased tracks of this groundbreaking collaboration!

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Sushi. Roti. Reibekuchen

2LP | 2024 | EU | Original (Grönland)

34,99 €*

Release: 2024 / EU – Original

Genre: Rock & Indie, Electronic & Dance

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LP | 2020 | UK | Original (All Saints)

Brian Eno & John Cale

Wrong Way Up

Release: 2020 / UK – Original

Genre: Rock & Indie

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Taking Tiger Mountain (By Strategy)

CD | 2009 | EU | Reissue (Virgin)

11,99 €*

Release: 2009 / EU – Reissue

Genre: Rock & Indie, Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG+

Taking Tiger Mountain (By Strategy) Half-Speed Master Edition

2LP | 2017 | EU | Original (Island)

66,99 €*

Release: 2017 / EU – Original

Genre: Rock & Indie

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Used Vinyl

Medium: Sealed, Cover: Sealed

Sealed copy!

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The Ship Coke Bottle Green Vinyl Edition

LP | 2016 | EU | Reissue (Universal)

Release: 2016 / EU – Reissue

Genre: Rock & Indie

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A Collection Of Songs Written And Recorded 1995-1997: A Companion EP

LP | 2022 | US | Original (Dead Oceans)

Release: 2022 / US – Original

Genre: Rock & Indie

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It's the desire to celebrate their sonic bounty that first got Oberst and the band excited about the idea of comprehensive reissues. But this wouldn't be a Bright Eyes project if a moment devoted to appreciating the past weren't turned into an opportunity to connect with the future. That's where the nine companion EPs come in. Or as Oberst puts it, "the supplemental reading" for the primary reissues: One six-track EP per reissued album, each featuring five reworked songs from that album. "My thing was they had to sound different from the originals, we had to mess with them in a substantial way." Plus one cover that felt "of the era" in which that particular albums was made - a song that meant something to the band at the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends, like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of Waxahatchee.

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Digital Ash In A Digital Urn

LP | 2005 | EU | Reissue (Dead Oceans)

Release: 2005 / EU – Reissue

Genre: Rock & Indie

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"The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God."

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Digital Ash In A Digital Urn: A Companion EP Opaque Gold Vinyl Edition

LP | 2022 | EU | Original (Dead Oceans)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Opaque Gold Vinyl! "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

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Down In The Weeds, Where The World Once Was

Tape | 2020 | US | Original (Dead Oceans)

16,99 €*

Release: 2020 / US – Original

Genre: Rock & Indie

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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?

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Down In The Weeds, Where The World Once Was Black Vinyl Edition

2LP | 2020 | US | Original (Dead Oceans)

Release: 2020 / US – Original

Genre: Rock & Indie

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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?

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Down In The Weeds, Where The World Once Was Red & Transparent Orange Vinyl Edition

2LP | 2020 | US | Original (Dead Oceans)

Release: 2020 / US – Original

Genre: Rock & Indie

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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?

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Fevers And Mirrors: A Companion EP

LP | 2022 | US | Original (Dead Oceans)

Release: 2022 / US – Original

Genre: Rock & Indie

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I'm Wide Awake, It's Morning

LP | 2005 | EU | Reissue (Dead Oceans)

Release: 2005 / EU – Reissue

Genre: Rock & Indie

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I'm Wide Awake, It's Morning: A Companion EP Opaque Gold Vinyl Edition

LP | 2022 | CA | Original (Dead Oceans)

Release: 2022 / CA – Original

Genre: Rock & Indie

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Letting Off The Happiness: A Companion EP

LP | 2022 | US | Original (Dead Oceans)

Release: 2022 / US – Original

Genre: Rock & Indie

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Lifted Or The Story: A Companion EP Opaque Gold Vinyl Edition

LP | 2022 | EU | Original (Dead Oceans)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Lifted Or The Story Is The Soil, Keep Your Ear To The Ground

2LP | 2002 | EU | Reissue (Dead Oceans)

32,99 €*

Brigid Dawson & The Mother's Network

Release: 2002 / EU – Reissue

Genre: Rock & Indie

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Lifted or The Story Is in the Soil, Keep Your Ear to the Ground Originally released 2002. "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraughtand tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God." These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this

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Ballet Of Apes

LP | 2020 | US | Original (Castle Face)

21,99 €*

The Future Is Our Way Out

Release: 2020 / US – Original

Genre: Rock & Indie

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Tip-top of Castle Face’s osmosis list is the first quiver of tunes from Brigid Dawson and her newly minted Mothers Network: wise warnings dyed in dark hues, knotted and hard-won torch songs from the edge of a turbulent sea, bittersweet balladry spun in defense against evils familiar and unknown. Lovely though it may seem from a distance, the striation of loss quicksilvered throughout provides weighty balance to her contralto lilt. Those familiar with her harmonic counterpoint from her time in Thee Oh Sees or in OCS know she can belt as well as lullaby but there’s a fresh and smolderingly heavy swing in her step on display here that Castle Face mightily digs. Ballet Of Apes tapestries together sessions that read like a who’s who from outside the label’s castle walls—in Australia with Mikey Young (Total Control / Eddy Current Suppression Ring), in San Francisco with Mike Donovan (ex-Sic Alps), Shayde Sartin (ex-Fresh & Onlys / lifetime ringer) and Mike Shoun (ex-Oh Sees / Peacers), and in Brooklyn with instrumental heavy-weights Sunwatchers—and the results are spellbinding. At the focal point of this maelstrom, the lady, as if illumed by candlelight, intones, pleads, consoles—white magic perhaps, but it carries with it the anodized tang of blood.

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Brigitte Calls Me Baby

LP | 2024 | UK | Original (ATO)

Release: 2024 / UK – Original

Genre: Rock & Indie

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LP | 2023 | US | Original (Ghostly International)

Brijean

Angelo

LP | 2024 | US | Original (Ghostly International)

Release: 2023 / US – Original

Genre: Rock & Indie

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Angelo is an EP, named after a car, featuring nine songs Brijean have crafted and carried with them through a period of profound change, loss, and relocation. It finds percussionist and singer Brijean Murphy and multi-instrumentalist/producer Doug Stuart processing the impossible the only way they know how: through rhythm and movement. The months surrounding the acclaimed release of Feelings, their full-length Ghostly International debut in 2021 which celebrated tender self-reflection and new possibilities, rang bittersweet with the absence of touring and the sudden passing of Murphy's father and both of Stuart's parents. In a haze of heartache, the duo left the Bay Area to be near family, resetting in four cities in under two years. Their to-go rig became their traveling studio and these tracks, along with Angelo, became their few constants. Whereas Feelings formed over collaborative jams with friends, Angelo's sessions presented Murphy and Stuart a chance to record at their most intimate, "to get us out of our grief and into our bodies," says Murphy. They explored new moods and styles, reaching for effervescent dance tempos and technicolor backdrops, vibrant hues in contrast to their more somber human experiences. Angelo beams with positivity and creative renewal _ a resourceful, collective answer to "what happens now?". Angelo the car is a 1981 Toyota Celica they got off Craigslist during their first stint in Los Angeles, where Murphy and Stuart have since settled. "Such a bro-y, `80s dude car, it's been super fun to drive around in a new town," Murphy says. "He's older than us, he's a classic, he's got a story." It is a spiritual vehicle with a cinematic appeal, first dropping them off in an alleyway for the scene-setting intro, "Which Way To The Club." The question is quickly resolved by "Take A Trip" as a cruising basslinemingles with crowd sounds, hand-claps, cuíca hiccups, whip-cracks, even a horse neigh. Brijean have found some club on this cross-dimensional trip - the kind of imagined space or cham...

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Brijean

Macro

Macro Tangerine Vinyl Edition

Release: 2024 / US – Original

Genre: Rock & Indie

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Since their debut as Brijean, the project ofpercussionist/singer-songwriter Brijean Murphy(the percussive heartbeat for live bands like Mitski,Poolside, and Toro y Moi) andmulti-instrumentalist/producer Doug Stuart hasmoved with ingenuity, fusing psych-popabstraction with dance floor sensibilities. Throughthe body and mind, rhythm and lyricism, theymake sense of the worlds around and within; 2021'sFeelings celebrated self-reflection; 2022's Angeloprocessed loss, coinciding with the duo's firstheadlining tour, which doubled down on thematerial's desire to move. Now, across the playfulexpanse of Macro, arriving in 2024 on GhostlyInternational, Brijean engages different sides ofthemselves, the paradox of being alive. They'veleveled up to meet the complexities and harmoniesof the human experience with their most dynamicsongwriting yet. Colorful, collaborative,sophisticated, and deeply fun, the album animatesa macrocosm with characters, moods, and points ofview rooted in the notion that no feeling is final andthe only way out is through.

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Brijean

LP | 2024 | US | Original (Ghostly International)

Man Of Aran Colored Vinyl Edition

Release: 2024 / US – Original

Genre: Rock & Indie

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British Sea Power

2LP | 2009 | UK | Reissue (Rough Trade)

33,99 €*

Mother Is The Milky Way Remastered Edition

Release: 2009 / UK – Reissue

Genre: Rock & Indie

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Man Of Aran is a British Sea Power soundtrack to proto-documentarian Robert Flaherty"s 1934 film.*Available on Vinyl for the first time, this initial first pressing will be on Yellow and Blue Vinyl.In 2009 the band, then known as British Sea Power, were commissioned by the Edinburgh Film Festival to create their own soundtrack for the 1934 quasi-documentary, which they premiered by playing along live during a screening at the event. A studio version of the album followed in May the same year, while more screening/performances took place at the BFI in London and at cinemas in Brighton and Sheffield, while events were also staged on a series of islands, including Jersey, the Hebrides and a Norwegian islet in the Arctic Circle. Charting the activities of fisherman based on a remote outcrop in mouth of Galway Bay in western Ireland, Man Of Aran captured a disappearing way of life as Aran"s inhabitants battled daily against the elements to survive, something that chimed deeply with Sea Power"s own curiosity for the past and their urgent, environmentally-driven concerns for the future. The film is a powerful and provocative dramatised documentary from the late American filmmaker Robert J Flaherty. The film was both celebrated and controversial on its release. The film was created from half a million feet of film shot by Flaherty while living closely with the islanders. But Man Of Aran isn"t a straightforward documentary. The "family" at the centre of the film weren"t related, rather a group of islanders cast as the family unit by Flaherty. The fishing expedition for basking sharks which forms the film"s dramatic heart was based around methods that hadn"t been employed on the Aran Islands for decades. Blending reality and staged elements, Flaherty arrived at a compelling document that captures the elemental power of the island"s past and present. The film won the Grand Prix at the 1935 Venice Film Festival and the eminent film critic Pauline Kael described it as, "The greatest film tribute to man"s str...

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Broadcast

LP | 2010 | UK | Reissue (Warp)

Release: 2010 / UK – Reissue

Genre: Rock & Indie, Electronic & Dance

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Broken Bells (James Mercer of The Shins & Danger Mouse)

Broken Bells

LP | 2013 | EU | Original (Music On Vinyl)

A Mysterious Land Of Happiness

Release: 2013 / EU – Original

Genre: Rock & Indie

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180g vinyl!

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Broken Waltz

LP | 2021 | EU | Original (Beast)

LP | 2023 | EU | Original (Beast)

Release: 2021 / EU – Original

Genre: Rock & Indie

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Limited Colored Vinyl !Brocken Waltz is Buck. Buck changed its name for Brocken Waltz. Long live Brocken Waltz!Dark and martial, stormy and pagan, the sinister and oppressing Broken Waltz' boogie causes cold fever, cold like the Joy Division remains lost in the bayou or on the Delta shore. The maleficent ride of this voodoo gang takes today the back road surveyed by The Grinderman by Nick Cave, The Tom Waits' junk, the Cramps' rock-a-boogie or the Suicide synth-blues. The duo drum'n bass (Xavier Soulabail / Clément Palant) revels in organs and saxophone, the texts and the tormented voice resonate under a disturbing moonlight. A bewitching Last Night Boogie!

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Broken Waltz

Fables And Bones

Album | 2012 | US | Original (Not On Label (Broken Water Self-released))

Release: 2023 / EU – Original

Genre: Rock & Indie

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Dark ballads, black litanies... Broken Waltz imagines a blues-rock cabaret, with demonic elegance and plunges us into the bayous of Louisiana where voodoo beliefs intermingle the universes of the living and the dead, the real world, and the supernatural world. Broken Waltz is still martial, stormy and pagan, but darker. The trio still rides on the tracks of Nick Cave, Tom Waits and even The Cramps!

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Broken Water

Seaside And Sedmikrásky

10,99 €*

LP | 2024 | EU | Original (Guerssen)

Release: 2012 / US – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG+

close to NM

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Bronco Bullfrog

Oak Apple Day

LP | 2024 | US | Original (Dig!)

Release: 2024 / EU – Original

Genre: Rock & Indie

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First ever vinyl release of the final Bronco Bullfrog album, originally released as a CD only edition in 2004.

Recorded in Spain with Joe Foster (Creation, Rev-Ola Records) as co-producer and with Fausto Martín (of Spanish power-pop band The Winnerys) at the mixing desk (and also on searing 12-string Rickenbacker guitar on a couple of tracks), “Oak Apple Day” saw the band combining their 60s-70s influences in a stellar way, offering a cohesive collection of brilliant pop songs: “Sunday Wheeling”, “I Don’t Need The Sunshine”, “Mock Orange Innocence” and more!

You can expect the usual doses of three-part vocal harmonies, overdriven guitars á la 70s Who, mid-‘60s folk-rock, vintage power-pop, freakbeat, psychedelic-pop…it’s all here!

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Brower

Flour

LP | 2023 | EU | Original (Antinote)

Release: 2024 / US – Original

Genre: Rock & Indie

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Preorder shipping from 2024-11-01

Flour is the long-awaited, much-anticipated, full-course follow-up to Buzzsaws—Brower’s debut album from 2018. Sure, there’s been tasty snacks and treats to sustain folks along the way: several singles worth, and a totally authentic “Live” album. But this is the fresh new long-player platter you’ve hungered for.

Again, recorded entirely by Nat, at home and in the practice space (that is, various different practice spaces, due to unruly landlords) in Brooklyn. The recording project spanned several years due to touring, gigging, and rehearsing with the myriad of bands that form the Brower Cinematic Universe (including the live band, Brower; plus Josephine Network, Nancy, Metalleg, and The Wand-ers), not to mention working the many day-jobs it requires to barley sustain life in NYC.

Flour is benefited by this kind of “slow” practice, where time lends itself to exploration. One gets a sense of Brower’s freedom to stretch out and try new things, new instrumentation, and take a deeper dive into the songwriting always brewing between his ears.

In Brower’s kitchen, his recipe for Flour was created, tasted, tested, reworked, revisited, and rebuilt—from scratch—to the delight of the most choosy of rock ‘n’ roll gourmands and punk rock bon vivants. As they say, good food takes time. Now, once again, Brower is served.

Recommended IF YOU DIG! Lennon, Nilsson, Beach Boys, Sweet, or Elton Motello.

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Bruce Falkian

Bruce Falkian Lp

21,74 €* 28,99 € -25%

Anderson Bruford Wakeman Howe

Release: 2023 / EU – Original

Genre: Rock & Indie

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Bruce Falkian is a world famous contemporary artist who exhibits at the world's most prestigious art galleries and fairs. Bruce Falkian moonlights as an agent of espionage against the Terrorism Industrial Complex. Wait... what?

To understand Bruce Falkian we first must understand the link between image and war. In the late 1800s the precursor to the video camera was invented. It was directly inspired by guns, specifically, Samuel Colt's Revolver. It borrowed not only its barrel mechanics, swapping bullets for exposures, but its terminology too. Load, point, scope, aim, shoot, flash. The camera and the gun, united by cordite, would go on to prove the most efficacious tools in shaping the modern world.

The 20th century was a laboratory when it comes to killing and image making, glorified through Hollywood and the Western genre. Propaganda would prove highly effective in creating and sustaining support for militaries fighting for ideological global control. Devised first in the aptly title 'Propaganda' (1928) by Edward Bernays, a nephew of Sigmund Freud, Advertising and Public Relations became the leading media industries, learning how to control the population through images, usually just to buy random crap they didn't need, but other times to overthrow democratically elected politicians in foreign countries. Eventually Western Liberal Democracy assumed domination, built of course on the enslavement of all peoples and nations who didn't fall in line with its specific ideas of living. The Red Scare inspired countless anti-leftist, anti-communist works of art throughout the Cold War, notably and most bizarre, funding the abstract expressionist movement as a non-ideological alternative to socialist realism art. When the Soviet Union fell, Western Liberal Democracy was able to promulgate its unhindered views around the world through its various media empires and actor states. Is it a coincidence that a third of the almost $85 billion dollar global camera equipment market is represented by the greatest propaganda beast the world has ever seen, the USA?

Guns are dangerous because of the obvious. Images are dangerous because we are bad at perceiving what is real (as any jump scare, deepfake, newsreel will attest to.) Videos aren't technically real, they are only a collection of rapidly changing static images which give the illusion of movement. It's easy for us to collectively decide that a video is real, because that's the way our brains perceive reality. People who lead the world of media understand this, which is how they are able to control us, make us invade foreign countries, vote for specific politicians, feel ugly or fat etc. However, ubiquitous as they are, it seems that the image is in crisis. It seems that we've run out of them. Or perhaps our understanding of an image is changing, with the aid of near instantaneous text-to-image AI technology. So what does this mean for guns? What does this mean for war? How will images be used as an aid to war in the 21st century? It remains to be seen, but Bruce Falkian will be a useful agent.

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Bruford Anderson

Release: 2023 / EU – Original

Genre: Rock & Indie

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Flight Of The Knife Blue Vinyl Edition

Bryan Scary

LP | 2020 | US | Original (Needlejuice)

Flight Of The Knife Green/Yellow Vinyl Edition

Release: 2020 / US – Original

Genre: Rock & Indie

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The recorded debut of Scary's touring band, The Shredding Tears, crafted with producer Brian McTear in Philadelphia. Inspired by Pynchon's "Against the Day," the album tells tall tales of airships and innocence lost, bookended by the legend of Airship Valentine. 'Twas released on Black & Greene Records in 2008. "Find your own way to The Knife."

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Bryan Scary

LP | 2020 | US | Original (Needlejuice)

Bubble Tea And Cigarettes

Release: 2020 / US – Original

Genre: Rock & Indie

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Coming Soon

We Should've Killed Each Other

LP | 2024 | JP | Original (P-Vine)

34,99 €*

LP | 2024 | US | Original (Cherub Dream)

Release: 2024 / JP – Original

Genre: Rock & Indie

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Formed in NYC in 2020 and now based in Seattle, "Bubble Tea and Cigarettes" is a dream pop duo consisting of Andi and Kat. Gaining attention for their successful Asia tour in 2023, this pair has completed their second album, "We Should've Killed Each Other." Their music, reminiscent of Cigarettes After Sex, Beach House, and Mazzy Star, features a beautifully ephemeral mood and reverb that enchants listeners, transporting them to another world.

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Buddy Junior

Rust

Buddy & The Crickets Holly

Release: 2024 / US – Original

Genre: Rock & Indie

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"Buddy Junior’s 'rust' captivates with emotive shoegaze and introspective lyrics, offering a raw, immersive journey from vulnerability to strength. In the shadowed alleys of San Francisco’s vibrant music scene, Buddy Junior emerges with 'RUST,' a track that reverberates with the raw energy of shoegaze and the introspective depth of emo. The song, born from a moment of acute vulnerability and fear, encapsulates the essence of a band unafraid to delve into the darker recesses of human experience. 'rust' unfolds like a confession, with lyrics that paint a vivid picture of anxiety and the struggle for clarity amidst life’s tumultuous moments. The band’s ability to channel the intensity of an emotional ordeal into their music is palpable from the first chord. The track’s sonic landscape is a meticulously crafted chaos, where distorted guitars and relentless percussion create a backdrop for vocals that oscillate between a whisper and a howl, embodying the song’s thematic tension between despair and resilience. Buddy Junior’s approach to songwriting is refreshingly unfiltered, offering a glimpse into personal moments of fragility with a rawness that is both jarring and cathartic. 'rust' doesn’t just aim to narrate an incident; it invites listeners to feel the weight of the metal rod, the sting of tears, and the relief of sight preserved. It’s this immersive storytelling, coupled with the band’s deft blend of genres, that sets 'rust' apart as a standout track. As the song progresses, the initial shock gives way to a reflective resolve, mirrored in the shift from frenetic riffs to a more measured melody. This dynamic progression underscores the band’s adeptness at navigating emotional landscapes through their music, making “rust” not just a song, but a journey from vulnerability to strength, from fear to fortitude. In 'RUST,' Buddy Junior has not only crafted a compelling narrative but also a sonic embodiment of the emo and shoegaze ethos. The track stands as a testament to the band’s ability to transform personal tribulation into a universal anthem of endurance, making it a beacon for anyone who’s ever felt on the brink of losing sight, literally or metaphorically. It’s a raw, unapologetic reminder that sometimes, the most profound revelations emerge from the rust and rubble of our lives."—B-Side Guys

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The Chirping Crickets

LP | 1957 | Reissue (Waxtime In Color)

22,99 €*

Release: 1957 / Reissue

Genre: Rock & Indie

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Birdbrain 30th Anniversary Edition

Buffalo Tom

LP | 2020 | EU | Original (Beggars Banquet)

30,99 €*

Release: 2020 / EU – Original

Genre: Rock & Indie

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LP | 1999 | EU | Reissue (Music On Vinyl)

Keep It Like A Secret

Release: 1999 / EU – Reissue

Genre: Rock & Indie

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Keep It Like A Secret is the fourth full-length album released by Indie Rock band Built To Spill, originally released in 1999. This is Built To Spill's Pop album: every song is direct and clean, without the long, cerebral jamming that characterized their earlier albums. The album spawned two EPs: "Carry The Zero" and "Center Of The Universe".

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When The Wind Forgets Your Name

CD | 2022 | US | Original (Sub Pop)

11,99 €*

Release: 2022 / US – Original

Genre: Rock & Indie

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

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When The Wind Forgets Your Name

Tape | 2022 | US | Original (Sub Pop)

13,99 €*

Release: 2022 / US – Original

Genre: Rock & Indie

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When The Wind Forgets Your Name Black Vinyl Edition

LP | 2022 | US | Original (Sub Pop)

Release: 2022 / US – Original

Genre: Rock & Indie

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When The Wind Forgets Your Name Limited Misty Kiwi Fruit Green Vinyl Edition

LP | 2022 | US | Original (Sub Pop)

You Won't Remember Dying Transparent Red Vinyl Edition

Release: 2022 / US – Original

Genre: Rock & Indie

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Bulbous Creation

LP | 1994 | US | Reissue (Numero Group)

Tape | 2023 | US | Original (Sub Pop)

Release: 1994 / US – Reissue

Genre: Rock & Indie

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In 1971, Bulbous Creation poured what little personal surplus they had into a full day of recording at Cavern Studios, tracking enough material for a full length album. The band wouldn't stay together long enough to save up for a custom pressing on Rock. Singer/guitarist Paul Parkinson was deeply individualistic, and left to perform his songs as he thought they should be, as a solo act. He preferred coffee shops to concert halls, and would stick to his craft another 20 years before hanging it up. Drummer Horstmann followed suit. Jim "Bugs" Wine and guitarist Alan Lewis soldiered on, shortening their name to the more sensible Creation and adding vocalist Wayne Austin, dynamic drummer Tommy Ward, and guitarist Roger Sewell. The Bulbous Creation LP was nearly doomed to oblivion, but for the efforts of Rich Haupt, who issued an unauthorized eight song LP in 1995 on his Rockadelic imprint. Lewis died in 1998 of esophageal cancer. When Paul Parkinson died of leukemia in 2001, a lone copy turned up amongst his possessions, with piece of mind that someone, somewhere, was listening.

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Bully

Lucky For You

13,99 €*

Lucky For You Black Vinyl Edition

Release: 2023 / US – Original

Genre: Rock & Indie

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Lucky For You is Bully's most close-to-the-bone album yet. It's an album that's searing and unmistakably marked by its creator's experiences, while still retaining the massive sound that Alicia Bognanno has become known for over the last decade. Her fourth album draws from personal pain and the universal struggle that is existing, learning, and moving on-and it's all soundtracked by Bognanno's rock-solid melodic sensibilities and a widescreen sound that's impossible to pin down when it comes to the textures explored. These ten songs are simply the most irresistible Bognanno's put to tape yet, making Lucky For You her greatest triumph to date in a career already packed with them. Work on Lucky For You began last year, when Bognanno brought some in-progress demos to producer J.T. Daly in his Nashville studio to see if they could strike creative kismet. "Authenticity is always on my mind, without even knowing it," she explains while discussing their recording process together. "It was great with J.T., because I could tell he was a genuine fan who wanted to emphasize what's actually good about my writing instead of changing it. I could tell how much he cared about the project, and it meant alot to me." The album came together over the course of seven months, the longest gestation process for a Bully record to date, but that time allowed inspiration to emerge in new ways. The result is a kaleidoscopic rock record spanning punk's grit, the crunchy bliss of shoegaze, explosive Britpop, and the type of classic anthems Bully has been known for. Lucky For You's thematic focus zooms in on grief and loss: The record is largely inspired by Bognanno's dog and best friend Mezzi passing away, at a time when her life already felt as if in metamorphosis. The oceanic first single "Days Move Slow" was written shortly after Mezzi's passing, reflecting the persistence of Bognanno's incisive wit in the face of adversity. "There was nothing I could do except sit down and write it, and it felt so good." And then there's the passionate opening track "All I Do," which kicks in the door with huge riffs atop her lyrical reflections on three years of sobriety. "Once I stopped drinking, I felt like I was still haunted by mistakes and things that had happened when I was drinking, and it's still taking me a long time to forget about that while existing in this house. How do I shed the skin from a path I've moved on from?" In that vein, Lucky For You is a document of perseverance in the face of the big and the small stuff. "I'm so overly emotional and sensitive, it's a blessing and a curse" she says with a laugh, but there's no downside to her expressions of vulnerability on this record; it's the latest bit of evidence that nothing can hold Bognanno back.

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Bully

LP | 2023 | US | Original (Sub Pop)

Lucky For You Loser Edition

Release: 2023 / US – Original

Genre: Rock & Indie

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Bully

LP | 2023 | US | Original (Sub Pop)

There Is A Hum / Seven Years

Release: 2023 / US – Original

Genre: Rock & Indie

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Bush Tetras

7" | 2019 | US | Original (Third Man)

10,99 €*

LP | 2020 | US | Original (Birs)

Release: 2019 / US – Original

Genre: Rock & Indie

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BUSH TETRAS formed in 1979 out of NYCs No Wave/Post Punk/Art Funk/Dance Junk scene. The band's debut release TOO MANY CREEPS on the legendary 99 Records is one of that scenes defi ning moments, capturing perfectly the vibe of that very particular moment in NYC. BUSH TETRAS was one of the supporting acts for The Clash's mythical 17-show run at Bond International Casino in the spring of 81. Topper Headon also produced their Rituals EP for Stiff Records. In 1983, the members of BUSH TETRAS went their own ways and the band remained relatively quiet and elusive for the next several decades.

Original members Cynthia Sley, Dee Pop, and Pat Place now joined by Val Opielski taking over bass duties for the late Laura Kennedy. 2018 saw the release of Take The Fall ep on Wharf Cat Records the bands fi rst new music in 10+ years and the welcome return of BUSH TETRAS!!! This winter, we cleared our Cass Corridor showroom fl oor and enlisted the help of Third Man Mastering's Bill Skibbe and Warren Defever to record There is A Hum, Seven Years and Sucker is Born (Bandcamp exclusive).

It was quick and punk and magical.

BUSH TETRAS infl uence can not be overstated.
Enjoy and consider yourself lucky.

TRACK LISTING
1. There Is A Hum
2. Seven Years

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C.M. Talkington

Not Exactly Nashville

12,59 €* 20,99 € -40%

LP | 2017 | EU | Reissue (Music On Vinyl)

Release: 2020 / US – Original

Genre: Rock & Indie

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Writer/Director C.M. Talkington's 2020 debut LP release will be worth the wait for his cult film fanbase and far beyond.

'Not Exactly Nashville' is a rock country album with eight songs delivered from the pulpit of Talkington's wide raspy baritone.

Multi-instrumentalist Cisco Deluna built 'Not Exactly Nashville' with help from Mother Hip's John Hofer and The Imperial Crown's James Carter.

Produced in Los Angeles at 64 Sound, Barn Star Studio, and Bernie Grundman Mastering.

Limited-edition 180g vinyl LP cut at Bernie Grundman, expertly stamped by RTI.
Hi-Res 24-bit digital, mastered by Patricia Sullivan.

'Not Exactly Nashville'
Street date:
Friday 3/13/2020.
Available on LP, CD, and online for the opening of SXSW.

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Cactus

One Way...Or Another

Release: 2017 / EU – Reissue

Genre: Rock & Indie

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Cactus

Restrictions

Release: 2023 / EU – Original

Genre: Rock & Indie

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Warm Evenings, Pale Mornings: Beside You Then

Caleb Dailey

LP | 2022 | EU | Original (Alien Transistor)

Gadzooks Volume 1 Red Vinyl Edition

Release: 2022 / EU – Original

Genre: Rock & Indie

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Growing up in the Californian sprawl and the vast suburbs of Phoenix, Arizona, Caleb Dailey largely dismissed the country and western music that surrounded him. Instead, he was drawn to independent rock, experimental zones, and other genre-defying forms, which led him to create skewed rock music with Bear State and establish the “minimal art label” Moone Records with his brother Micah Dailey in 2013. But in the early half of the 2010s, Dailey began to hear things differently. Drawn into the left-of-center works of artists like Gram Parsons and Blaze Foley, a more idiosyncratic take on country, folk, and roots music began to swirl in his imagination.

Wandering into the form’s cowboy chords and lonesome scenes, Dailey found himself wondering what his own country album might sound like. The result is his debut solo album, a collection of covers called Warm Evenings, Pale Mornings; Beside You Then. Produced by John Dieterich of Deerhoof, Keiko Beers, and Dailey himself, it’s a melancholy charmer, rooted in traditional ideas but free roaming in its scope. Laced with synths, pedal steel, acoustic guitars, and commanded by Dailey’s full and woozy voice, it owes as much to the busted waltzes of Lambchop and the homespun lo-fi folk of Little Wings (whose Kyle Field appears on the album via a spoken intermission) as it does to the songwriters and performers who provide its source material, which include Parsons, Foley, Elvis Presley associate Chips Moman, steel guitarist Buddy Emmons, and others.

“The subversive nature of country music isn’t as much at the surface as some other genres,” Dailey says. “But the deeper down the ‘country hole’ I went, the more I wanted to be part of it. It is truly a strange world.”

The hands of Dailey and his collaborators, which includes a wide roster of DIY experimentalists like James Fella of art punks Soft Shoulder, Jay Hufman (Gene Tripp), Lonna Kelley of Giant Sand, Japanese DIY hero’s Koji Shibuya and Tori Kudo, Nicholas Krgovich, Markus Acher of The Notwist, and more, that strangeness is accentuated. Dailey doesn't aspire to retro Nashville fetishism or sanctioned notions of “realness” so much as a genuine outsider authenticity. Take his version of Gordon Lightfoot’s “If You Could Read My Mind” for example: a highlight of the record, it pairs familiar genre signifiers like pedal steel and guitar strums with warbled synths. Then there’s his read of “Dreaming My Dreams,” originally made famous by Waylon Jennings (who also did time in the Arizona desert), which morphs from a mournful ballad into a wash of far-off sonic noise.

The attention here is on the songcraft itself, with Dailey inhabiting these songs and turning them inside out to reveal unexpected tenderness and playfulness.

Recorded at home with an acoustic guitar and 4-track, Dailey began open correspondences with his collaborators, who fleshed out ideas and added touches, often working with skeletal frames before Dieterich and Dailey shaped it into a cohesive whole. “John is the reason this album exists,” Dailey says. “He sculpted all these parts together in such an otherworldly way. He is truly a magician.” Deeply allergic to insincerity, Dailey avoids any trace of irony. He’s created a cohesive gem out of disparate parts, uniting Americana songcraft with experimental disassemblage. From this bric-à-brac, he’s made something touching and beautifully strange.

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Caleb Landry Jones

LP | 2021 | US | Original (Sacred Bones)

Gadzooks Volume 2 Black Vinyl Edition

Release: 2021 / US – Original

Genre: Rock & Indie

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Caleb Landry Jones is a continual creator. The Texan-born star found fame as an actor - you'll recognise him from key roles in X-Men: First Class, Three Billboards Outside Ebbing, Missouri, amongst others - but music is perhaps his first love, and his source of greatest comfort. A chance encounter with famed auteur Jim Jarmusch brought him into the orbit of Sacred Bones, and the stalwart independent released Caleb's 2020 debut album The Mother Stone. Psychedelic in a defiantly non-retro way, this indulgent, freewheeling trip won critical acclaim, but masked a secret - he'd already finished another album. Filming alongside Tom Hanks in dystopian themed Finch, Caleb found himself writing during those long evenings after the shoot in locations across New Mexico, idling away his hours by focusing on creativity. "I need it," he says, "I've tried working without it. On one acting job, I intentionally didn't bring a guitar to try and do it without music... but that didn't last long. I need to create something - it could be a drawing, it could be a song - because otherwise I feel like I'm wasting time. Which is something I do plenty of on my own!" With his creative faculties burning, Caleb knew he had to get straight back into the studio when filming stopped. Linking with the same cast who formed The Mother Stone, he resumed his partnership with producer Nic Jodoin, based out of the elegant Valentine Recording Studio in Los Angeles. A studio steeped in history - everyone from Bing Crosby to Frank Zappa worked there - he interrupted mixing sessions for his own debut album in order to focus on something different. Gadzooks Vol. 1 is unlike anything you've heard before - comparisons range from Skip Spence's fractured masterpiece Oar through to skewed troubadour Robyn Hitchcock, via John Lennon's black moods on The White Album and Frank Zappa's caustic surrealism. Recording to tape, Caleb would hack away at each take, re-assembling the songs like Escher diagrams. "It's like when you're swimming in the pool," he smiles, "and you're doing a bit of butterfly, and then that gets old after a while. So then you start doing breaststroke, and then that gets old after a while. I think it's just a reaction from the place where we were before." Part of a flood-tide of creativity - as its title suggests, a second half to this album is already on the horizon - Gadzooks Vol. 1 is thrilling, shocking, and wonderfully entertaining. Each song starts and finishes in entirely unique places, often totally divorced from each other. "I'm trying to write something very simple," he says, "And it gets really abstract because I don't know any other way."

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Caleb Landry Jones

LP | 2022 | US | Original (Sacred Bones)

Gadzooks Volume 2 Red Vinyl Edition

Release: 2022 / US – Original

Genre: Rock & Indie

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Don't let the prestigious acting career fool you, Caleb Landry Jones is a bonafide musical maverick. And on his forthcoming release Gadzooks Vol. 2 he places himself in a lineage of outsider artists, many with only a thin thread tethering them to this reality, who are capable of reaching into the cosmic realms of imagination and bringing back a musical masterpiece. And while most artists don't save some of the best music of their career for an album with `Vol. 2' in the title, Jones is an artist for whom chronology is a slippery substance. The album was recorded with Nic Jodoin in the famed Valentine Recording Studios simultaneous with the mixing of his debut album The Mother Stone. The team invited a slew of heavy hitting musicians to the studio to contribute to the magic. The resulting album sounds a bit like pink elephants in cowboy hats making asmr... at least for the first 20 seconds before it seamlessly changes entirely. One of Jones's greatest musical gifts is his ability to cover a vast energetic and sonic landscape, with a wide array of instrumentation and vocal stylings over a wholly unique song structure, in a way that feels cohesive and euphoric. And while all his records have an ecstatic quality Gadzooks Vol 2. is perhaps his most soothing and sublime collection to date. Each song has at least a dozen ear worming hooks, all so satisfying you feel a deep longing as they fade until you realize they are being woven into yet another groove-laden, toe-tapping peak. A continual mic drop on an orgasmic wonder wheel.

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Caleb Landry Jones

LP | 2022 | US | Original (Sacred Bones)

Calexico And Iron And Wine

Release: 2022 / US – Original

Genre: Rock & Indie

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In The Reins

CD | 2006 | Original (Spunk)

4,99 €*

Years To Burn Colored Vinyl Edition

Release: 2006 / Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG+

CD comes in a soft case, instead of the original crystal case. All booklets included.

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Calexico And Iron & Wine

LP | 2019 | EU | Original (City Slang)

19,99 €*

LP | 2019 | EU | Original (City Slang)

Release: 2019 / EU – Original

Genre: Rock & Indie

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Limited 180g turquoise Vinyl, Tip-On Cover and printed Inner Sleeve. The Indie Folk / Americana pioneers Calexico and Iron & Wine are teaming up for the first time in fourteen years for a new album 'Years to Burn'. This pairing is considered a highlight by many fans of both artists and is not to be missed. The consecutive tour in summer and autumn will take both bands all over Europe, performing songs from both albums 'In The Reins' (2005) and 'Years to Burn' (2019).

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Calexico / Iron And Wine

Years To Burn

21,99 €*

Roots & Crowns Black Vinyl Edition

Release: 2019 / EU – Original

Genre: Rock & Indie

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

Blue vinyl.

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Califone

LP | 2006 | US | Reissue (Thrill Jockey)

Release: 2006 / US – Reissue

Genre: Rock & Indie

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Roots & Crowns Ice Age Blue Vinyl Edition

Califone

LP | 2006 | US | Reissue (Thrill Jockey)

34,99 €*

Release: 2006 / US – Reissue

Genre: Rock & Indie

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Available on vinyl for the first time in 10 years, with new cover design by Tim Rutilli, in limited edition ice age blue LP and on black LP, both with download card included Califone's earliest roots lie in the band Red Red Meat, from whence came Califone's founding members Tim Rutili and Ben Massarella and its longtime producer Brian Deck. The band's first release was a self-titled EP on Flydaddy in 1998, followed later by the full-length debut, Roomsound, in 2001 (later reissued on Thrill Jockey) and eventually the band's Thrill Jockey debut, Quicksand/ Cradlesnakes in 2003. After touring for the release of Roomsound, Califone had little time off to take in the impact of the music they were creating. In three years, they recorded four albums (two instrumental, two song-based including Heron King Blues) and toured heavily in between with Wilco, Modest Mouse, The Sea and Cake and others. After the tour for Heron King Blues in 2004, Califone finally took a breath and came back together in late 2005 to begin recordings. They worked on it in chunks at 4Deuces Studio in Chicago with Brian Deck, in Long Beach and Phoenix with Michael Krassner, and at home in Los Angeles and Chicago until May 2006. The time away and each member's individual work naturally brought new elements into the sound of Califone's music. Both Rutili's and Becker's soundtrack work are more atmospheric, however the challenge of enhancing a scene of film without cluttering it or overwhelming it informed their approach to the new recording. Similarly, the burglary of Califone's equipment during the band's last tour (including guitars, banjo, a 1917 violin, bells and more) altered the sound as they had to find new gear on a tight budget. The instruments are new partners, new sounds that forced them to stretch in new directions. Limitations, obstructions and darkness, and the new possibilities they illuminate; roots and crowns. "In that way", says Rutili, "this album is a conscious and resolved thing. It fully realizes ideas we touched on in the past and where we come from as a band, and takes us into our next phase of life."

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Call

Reconciled

Release: 2023 / EU – Original

Genre: Rock & Indie

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Emotional Detox Black Edition

Camera

LP | 2018 | EU | Original (Bureau B)

Running With The Hurricane Neon Violet Vinyl Edition

Release: 2018 / EU – Original

Genre: Rock & Indie, Electronic & Dance

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We also offer the limited yellow colored edition.

Started as the so called “Krautrock Guerrilla” in 2012, six years later the Berlin combo Camera are releasing their fourth full-length album. Customarily associated with the likes of NEU! and La Düsseldorf it is
time to allow Camera to break free of the krautrock tradition and accept that they are very much doing their own thing now. Motto: “It's not repetition, it’s discipline”
For fans of nominative determinism, there can be few more apposite appelations than Michael Drummer. He is the catalyst, the chain mail vapour trail linking everything together as he crosses the soundscape of everything captured on Camera. The band’s moniker Camera, meanwhile, is an altogether more capricious
calling card. Camera obscura. Camera lucida. From daguerrotype to digital, self-induction to selfies. The song title Super 8 offers a potential clue to the
camera in their mind’s eye. When Super 8 was introduced in 1965, it was one of the few film formats to accommodate a sound track, occupying the
space between the edge of the film and the image area. Perhaps this will serve as a nice analogy when pondering where Camera’s music comes
from. Emotional Detox is the fourth full-length album by Camera, now a quintet, following two albums as a trio and one as a duo. The line-up on ED comprises Steffen Kahles, Michael Drummer, Michel Collet, Andreas Miranda and Timm Brockmann, all more or less based in Berlin. Drummer is the only constant through all four phases. Keyboarder Timm
Brockmann, who left the group in 2014, returns to the fold. He and Franz Bargmann, who left Camera the year before him, released a Brockmann //
Bargmann LP entitled Licht on Bureau B in 2017, a celebration of keys, guitars and effects which, at times, emulated the ferocious potential of Camera. By the time Steffen Kahles joined the band, Brockmann had
already departed, so the new ensemble adds another twist in bringing together two keyboard players from different Camera phases for the first time. The Brockmann Drummer reunion, meanwhile, completes a circle tracing back to early Camera experiences shared in 2010/11, playing on the streets of Berlin (literally).
Paradoxically, the new, expanded Camera line-up sharpens the focus of the tracks running through Emotional Detox. With Drummer not so much joining
the dots as hammering them home with a nail gun, the stronger framework allows even greater freedom for the musicians to express and ultimately align their disparate creative interests. Throw a single stone into a pond and concentric circles will ripple outwards into infinity. A swoosh of parallel lines. Boundless symmetry. The soundscape assumes the quality of a cinematic loop, like watching the same film over and over, yet discovering new things each time it plays. As a mythological Mancunian once said before the fall: it’s
not repetition, it’s discipline. Customarily associated with the likes of NEU! and La Düsseldorf perhaps it is time to allow Camera to break free of the krautrock tradition and accept that they are very much doing their own thing now. The “Krautrock Guerrilla” tag was cute and catchy for a while, but the flanged depths of
Himmelhilf sound more Bloody Valentinesque, less like echoes of Cluster or Harmonia. The motorik origins of the band documented on their debut album Radiate! (2012) and the nods to history and William Burroughs on the sophomore Remember I Was Carbon Dioxide (2014) gave way to Commodore 64 playfulness on Phantom of Liberty (2016). A spirit of experimentation still abounds on the new LP, but there’s also evidence that the group have taken a confident step towards something more “pop” – without tearing up the tangled roots beneath the surface of Camera’s studio floor. The reference points are there, but Emotional Detox is not dependent on them. We live in an age when everything happens at the same time – all of your music in one place, instantaneous streams on mobile devices, encyclopaedic references checked in seconds. The
temptation to see connections everywhere can be overwhelming, the speed at which information
travels slows us down. Emotional Detox encourages us to disregard these multiple distractions.
That’s when detoxification kicks in.

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Camp Cope

LP | 2022 | US | Original (Run For Cover)

The Long Way, The Slow Way Doublemint Vinyl Edition

Release: 2022 / US – Original

Genre: Rock & Indie

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Running With The Hurricane finds Camp Cope on the other side of a storm. The third LP from Melbourne trio Georgia Maq, Kelly-Dawn Hellmrich and Sarah Thompson is about what happens after chaos hits; when you've walked through the fire and come out stronger, calmer and happier than ever before. The band's last album, 2018's How To Socialise And Make Friends, put Camp Cope under an intense spotlight. That release allowed the trio to say what they needed to but both professionally and in their personal lives, they're in a very different place this time around. On Running With The Hurricane, Maq (songwriter, vocals, piano, acoustic & electric guitar), Hellmrich (bass guitar) and Thompson (drums) are older, wiser and happier. It's an album that is gentler than what they have done before, more positive and more at peace with the universe. Because as Georgia Maq sings on the album's title track, sometimes "The only way out is up". While the Big Stuff of this album is all about growth, overcoming and pushing through the pain, the little details are still quintessentially Camp Cope. Running With The Hurricane reflects on faltered romances, secret crushes and vibrating with the confidence that makes you feel like you're on fire. It's about taking comfort in knowing who you are, feeling yourself and returning, always, to the city of Melbourne.

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Camp Trash

LP | 2022 | EU | Original (Count Your Lucky Stars)

2LP | 1993 | EU | Reissue (Music On Vinyl)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Camp Trash seemingly burst out of nowhere with their debut EP Downtiming at the beginning of 2021, armed with catchy riffs and infectious vocals that earwormed their way into your head and wouldn't let go. It landed on several prominent playlists from NPR, Stereogum, and the cover/feature track of Spotify's official editorial list, 'Fresh Finds- Rock'.They have only leveled up for their first full length, The Long Way, the Slow Way. Crafting songs that somehow feel original but familiar at the same time, Camp Trash blends 90s alternative rock and 2000s emo with pop-punk sensibilities. This LP is going to be the cornerstone of something great- a hallowed cult classic that catapults them into a much larger national audience.

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Candlebox

33,99 €*

7" | 2021 | JP | Original (P-Vine)

Release: 1993 / EU – Reissue

Genre: Rock & Indie

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Seattle rock band Candlebox found immediate success with the release of their self-titled debut album in July 1993. Certified platinum by the Riaa four times, it sold more than 4 million copies and peaked at No. 7 on Billboard’s album charts. The album features the singles “Change”, “You”, “Far Behind”, and “Cover Me”.

The tremendous radio, concert, and television success gained them a main-stage slot at Woodstock ‘94 and put Candlebox at the forefront of the 90s post-grunge scene.

The vinyl edition of Candlebox includes the 11 original album tracks (incl. “Blossom”) on 2 LP’s.

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Cantaro Ihara

Gypsy / Rhapsody

19,99 €*

Making A Door Less Open Colored Vinyl Edition

Release: 2021 / JP – Original

Genre: Rock & Indie

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Tokyo based multi-instrumentalist / singer "Kantaro Ihara'', his music are mainly based on 70's ~ 80's Soul/pops/aor and there are some reputation that he could be new generations of Tatsuro Yamashita, P-vine is confident it is NOT hype. This 7 inch is cutted from his 1st full length "C" which has been released as a digital track so this is the first physical release from him. For fans of Japanese Pops, city pops, AOR etc...

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Car Seat Headrest

LP | 2020 | EU | Original (Matador)

Release: 2020 / EU – Original

Genre: Rock & Indie

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2LP | 2018 | EU | Original (Matador)

Car Seat Headrest

Twin Fantasy

30,99 €*

LP | 2018 | EU | Original (Stocks In Asia)

Release: 2018 / EU – Original

Genre: Rock & Indie

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Will Toledo always knew he would return to Twin Fantasy. He never did complete the work. Not really. Never could square his grand ambitions against his mechanical limitations. Listen to his first attempt, recorded at nineteen on a cheap laptop, and you’ll hear what Brian Eno fondly calls “the sound of failure” - thrilling, extraordinary, and singularly compelling failure. Will’s first love, rendered in the vivid teenage viscera of stolen gin, bruised shins, and weird sex, was an event too momentous for the medium assigned to record it.

On February 16th, on the heels of the smashing success of Teens of Denial, Car Seat Headrest will release a new version of Twin Fantasy. “It was never a finished work,” Will says, “and it wasn’t until last year that I figured out how to finish it.” He has, now, the benefit of a bigger budget, a full band in fine form, and endless time to tinker. According to him, it took eight months of mixing just to get the drums right. But this is no shallow second take, sanitized in studio and scrubbed of feeling. This is the album he always wanted to make. It sounds the way he always wanted it to sound.

It’s been hard, stepping into the shoes of his teenage self, walking back to painful places. There are lyrics he wouldn’t write again, an especially sad song he regards as an albatross. But even as he carries the weight of that younger, wounded Will, he moves forward. He grows. He revises, gently, the songs we love so much. In the album’s final moments, in those apologies to future me’s and you’s, there is more forgiveness than fury.

This, Will says, is the most vital difference between the old and the new: he no longer sees his own story as a tragedy.

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Carl Broemel

Wished Out

Release: 2018 / EU – Original

Genre: Rock & Indie

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LP | 2022 | UK | Original (Sticky Buttons)

Carlos Fire Aguasvivas

Eclipse Of The City

21,99 €*

Divine Light : Reconstruction & Mix Translation By

Release: 2022 / UK – Original

Genre: Rock & Indie

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First ever repress of the sought after psychedelic tinged funk rock private press album 'Eclipse of the City' from 1980 New York. Originally recorded between 1975 and 1977 in Manhattan's garment district. Eclipse of the City lay dormant on a reel to reel player whilst frontman Carlos Fire Aguasvivas muddled through life working as a data entry clerk away from his fellow band members. It wasn't till he rediscovered the tapes that a sudden life affirming moment drove him to get the music pressed. Putting pen to paper Carlos created the artwork as a homage to his love of comic art and brought the band to life on the reverse with his spindly characters engrossed in the jam. Only 300 copies were pressed at the time leading to eye-watering prices for a copy. with a recent digital re-release from Indian Summer's Anthology Records, Sticky Buttons stepped up to repress the record with a limited run of 500, lovingly manufactured in the UK in all its vinyl glory.

Arriving in the Bronx from the civil unrest of Santo Domingo in the early 60's Aguasvivas was surrounded by the raucous sounds of rock, jazz and prog. Absorbing the humdrum atmosphere of life in New York, Eclipse of the City came from the minds of close friends Carlos Aguasvivas, Steve Garcia and Eddy Garcia. Meeting at Monroe High School the three of them quickly formed a strong bond over their shared interest in music. It wasn't long after that they began rehearsing in a basement under a neighbourhood cleaners and in the attic of Steve and Eddy's family home piecing together their extended sessions of tripped out cinematic psychedelia.

Recording got off to a rocky start as a car accident left the three band members in A&E after taking an early morning cab ride through Manhattan to watch the sunrise on their way into the studio (a theatrical artistic statement of intent conceived by Steve Garcia) - as Eddy mentioned "Eclipse was forged from a lot of pain". Their recording sessions were postponed but a few weeks later they were back and with the added energy of John Ortega on Bass and Vincent Anderson on electric piano and organ - with just a few microphones and a reel to reel recorder, Eclipse of the City was laid down as the stark bold homage to New York's downtown.

Influences ranged from the cinematic behemoth Jaws to the UK prog rock bands of Genesis, Yes and Emerson Lake & Palmer but only could Eclipse of the City take its unique form in the attics and basements of New York with the full band adding their Puerto Rican and Dominican slanted New York energy. Side one includes 3 fully formed tracks breaking out into eerie moments of calm before diving into well timed jolts of reprise as each element weaves over the top of one another whilst side two presents a 30 minute narrative work following the night adventures of a young group of friends exploring the vibrant nightlife of downtown New York. A rumbling half hour of wobbling guitar, tight drumming and synth organ licks jutting out from the glistening lights of the night before the sun rises down Manhattan's East-West axis as the lilt changes and the organ lulls the friends back home. A truly idiosyncratic take on the heady world of New York in the 70's and one that still resonates with our urban landscapes and love for the nights they bring today.

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Carlos Santana

2LP | 2023 | EU | Original (Music On Vinyl)

33,99 €*

Release: 2023 / EU – Original

Genre: Rock & Indie

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LP | 2023 | CA | Original (37d03d)

Carm

Carm II

LP | 2024 | Original (Western Vinyl)

Release: 2023 / CA – Original

Genre: Rock & Indie

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Innovative horn player, producer and songwriter CJ Camerieri returns with his deeply collaborative CARM project. CARM II, the second album due out this fall with 37d03d, was produced in Minneapolis by Ryan Olson and features Edie Brickell, Sid Sriram, Kristian Matsson, Justin Vernon, Gabriella Smith, SeanCarey and others. It is a genre-defying, heartfelt exploration of the possibilities in provocative musicmaking and provides a homespace for a profound variety of voices. Where the first record used horns in place of other instruments, CARM II places them even more prominently in the musical texture. The experience of playing live shaped this approach. "Standing at the front of the stage was a new experience for me and I wanted to create a record of songs that justified my being there." On CARM II, there is no mistaking that the lead "singer" of this band is Camerieri's horn. CJ also wanted to feature bandmateTrever Hagen, who takes on both production and performance roles. The featured artists on CARM II have opinedon their various roles in this project. Brickell contactedCamerieri asking him to participate in her short-formsongwriting project that she introduced on social mediaduring the pandemic. Camerieri and Olson were in themiddle of writing songs for the record, and one stood outas perfect for Brickell's request. Sent as a work-inprogress,she quickly responded, writing the first verseand chorus to what would become "More and More."They knew it needed to be fully realized. Says Brickell,"CJ's trumpet melodies and phrases inspired `More andMore.' I just listened to him and followed his lead, trustedwhat came to mind and sang it. It all flowed from hismusic.""For `I Fall' Ryan and I created the basic track and I reallystruggled to write on it. It wasn't in song form, and Icouldn't find my way into making it a coherent thought."CJ thought of Gabriella Smith, one of the leadingcomposers of our day, and on a whim sent her the track.Smith sent fragments to experiment wi...

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Caroline Says

The Lucky One

Casiotone For The Painfully Alone

Release: 2024 / Original

Genre: Rock & Indie

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Caroline Says' haunting new album, The Lucky One, is a poignant exploration of how the ghostsof past relationships linger, sometimes holding more sway over our hearts and minds than ourcurrent connections. We revisit these ghosts through evocative landscapes of our memories -hometown bars, road trips, and late-night swims. Through a series of fractured and persistentmemories these songs capture the bittersweet realization that the past, though imperfect, cansometimes be a more comforting and meaningful companion than the present.Opening track, "The Lucky One," confronts death's role in shaping our memories head-on, as itponders the way death freezes a person in time, forcing us to confront the complexities of griefand its lasting impact on our relationship with the one we lost. Other tracks delve into thecomplexities of relationships that naturally grow apart as life takes us in different directions. Forexample, "Faded and Golden" reflects on the bittersweet nature of reunions with old friends,where the idealized memories of youth can clash with the realities of the present. Then, "Actors"takes this a step further, acknowledging the influence of perception and desire in friendships,and the idea that in many ways "all friendships are imaginary friendships," as it confronts thedisappointment of inauthentic connections, and the facades we sometimes put on in relationships."Roses" began when Caroline was looking through her grandma's collection of commemorativeKentucky Derby glasses, each one etched with the name of a winner. The song delves into thestory of "Sunday Silence," the horse that won the year Caroline was born. Researching thehorse's journey from near-Triple Crown glory to retirement in Japan sparked a metaphor - apressured being (the horse) desperately trying to please but ultimately disappointing. Theowners eventually selling the horse becomes a relatable symbol of unmet expectations, and thesting of falling short despite our best efforts.Album closer, "Some...

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Etiquette

LP | 2006 | US | Reissue (On)