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Too Much Joy'
Includes Extensive New Liner Notes From Singer Tim Quirk
Pressed On Colored Vinyl
Available For The First Time On Vinyl In The US
Its been nearly 25 years since Too Much Joy released their
critically acclaimed 1991 LP, Cereal Killers. The album helped
the band stand out amidst a sea of quirky college rock bands
that exploded in the late 1980s. Loaded with noisy power-pop
masterpieces and a wise-crack commentary on life, Cereal
Killers has been called the bands best album by critics and
fans alike.1. Susquehanna Hat Company
2. Good Kill
3. William Holden Caulfield
4. Crush Story
6. King Of Beers
7. Nothing On My Mind
8. Pride Of Frankenstein
11. Thanksgiving In Reno
12. Long Haired Guys From England
13. Goodbye Ohio
14. Theme Song$18.99Colored Vinyl LP - Sealed Buy Now
Apocalypse FetishPressed On Clear Vinyl
Apocalypse Fetish is a 5 song extended play release from me, Lou Barlow. The cover features a newborn child peering warily over the edge of her mother's sling into 2016, the year that conspiracy theorists became experts and anger went (even more) mainstream. The song Apocalypse Fetish proposes that, perhaps, many of us have been disappointed that the end of the world has taken too long to come after we've spent most of our lives predicting it. And, perhaps, we've decided to take matters in our own hands and bring it on because, if it doesn't come soon, then didn't we all seem foolish talking about it all. the. time.
There are 4 other songs on the EP, none of which are political in nature but are similarly fired up. The melodic inspirations for the record came from my day in the back stairways and basement of the enormous Eagles Ballroom in Milwaukee, Wisconsin (Dinosaur Jr. were there opening for Primus in August 2015). I was alone and playing my ukulele in the cavernous spaces and tiled showers there. The unique reverberations brought the beginnings of these songs. The hall is reputed to be haunted and I'm not so sure it isn't.
I wasn't able to fully draw the songs out until I recorded, once again, with Justin Pizzoferrato at Sonelab in Easthampton Massachusetts (May 2016). I recorded my last full-length record (Brace the Wave) there in 2015. I'm happy to consider this EP a follow-up to that album, though, this time, every song is played on ukulele (strung with heavy strings and tuned much lower than a standard uke). Actually, it sounds nothing like a ukulele. For all intents and purposes, it is a 4-string acoustic guitar utilizing the strumming styles and lower toned soundscapes I've been pursuing since my first released ukulele recording: Poledo (on Dinosaur Jr.'s 2nd LP You're Living All Over Me). Yes, I've been doing this for a long time. I'd be proud to have Apocalypse Fetish be my final record. Check it out.1. The Breeze
2. Apocalypse Fetish
3. Anniversary Song
4. Pour Reward
5. Try 2 B$16.99Colored 10 Vinyl EP - Sealed Buy Now
New Age Music Is HereMysteries is just as it implies. A few months ago the Felte label
received an anonymous demo accompanied by a photo of 3
figures, faces covered like some sort of futuristic druids. To this
day the label still doesn't know the group's origin, but the joy of
discovering this music unimpeded renders this fact almost
There's a sense that the band would prefer to keep your focus on
the music and not who they are, where they come from or what
you might perceive them to be before hearing a single note. If you
need glorious mug shots and preamble to capture your intrigue,
then this is not for you. The album's title, New Age Music is Here,
could even be interpreted as a sarcastic shot at the new listening
habits dictated by the constant noise all around us, but is more
likely a simple invitation to engage with the music on its own
terms, in its own universe.
One thing is certain. New Age Music Is Here glows with exotic,
crunchy, muscular, expressive pop music built around vocals and
drums, rather than the big synth or guitar riffs prevalent today.
Almost like a psych-rock, cyborg, 50's doo-wop Alice Coltrane if
you will. Is it truly new age? We definitely haven't heard much like
Listen with an open mind and heart and you too might believe in
music once again strictly for music's sake. Let's get to it then,
shall we?1. Introduction (New Age Music Is Here)
2. Knight Takes Rook
3. Newly Thrown
4. Stateless Wonder
5. Authenticity Machine
8. I Wanna
9. Call and Respsone, With Morals
10. In The Dark
12. Trust$19.99Vinyl LP - Sealed Buy Now
Luciferian TowersPressed On 180-Gram Vinyl
Housed In A Gatefold Jacket With Printed Inner Sleeve
Includes 24 x 24 Poster
this long-playing record, a thing we made in the midst of communal mess, raising dogs and children. eyes up and filled with dreadful joy - we aimed for wrong notes that explode, a quiet muttering amplified heavenward. we recorded it all in a burning motorboat.
1. UNDOING A LUCIFERIAN TOWERS - look at that fucking skyline! big lazy money writ in dull marble obelisks! imagine all those buildings much later on, hollowed out and stripped bare of wires and glass, listen - the wind is whistling through all 3,000 of its burning window-holes!
2. BOSSES HANG - labor, alienated from the wealth it creates, so that holy cow, most of us live precariously! kicking at it, but barely hanging on! also - the proud illuminations of our shortened lives! also - more of us than them!
3. FAM / FAMINE - how they kill us = absentee landlord, burning high-rise. the loud panics of child-policemen and their exploding trigger-hands. neglect, cancer maps, drone strike, famine.
4. ANTHEM FOR NO STATE - kanada, emptied of its minerals and dirty oil. emptied of its trees and water. a crippled thing, drowning in a puddle, covered in ants. the ocean doesn't give a shit because it knows it's dying too.
finally and in conclusion;
the "luciferian towers" L.P. was informed by the following grand demands:
+ an end to foreign invasions
+ an end to borders
+ the total dismantling of the prison-industrial complex
+ healthcare, housing, food and water acknowledged as an inalienable human right
+ the expert fuckers who broke this world never get to speak again
much love to all the other lost and wondering ones,
xoxoxox god's pee / montrÉal / 20171. Undoing A Luciferian Towers
2. Bosses Hang
4. Anthem For No State$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
A Hairshirt Of PurposePile have never released the same album twice, since the project's 2007 beginnings the Boston quartet have been continuously evolving, pushing expectations, and obliterating good sensibility. A Hairshirt of Purpose, the band's fifth album continues that tradition in a different light. Following the raw intensity and unpredictability of You're Better Than This, the band settled down to create an album about "the joys of solitude" and "the inescapable selfishness of every action," exploring the limits of the studio in the process. If their last album was a challenge to their audience, A Hairshirt of Purpose is a challenge to the band itself.
Recorded at home in Boston at The Record Co. the studio's big windows and close proximity marked a change from the band's previous recordings. Pile vocalist/guitarist Rick Maguire shared, "we were at home and we could see the sun, and I think both of those things lent themselves to a more focused and deliberate record." There's a warmth and radiant accessibility to be found throughout the album as the band experimented with different instruments (violin, viola, piano, organs, synths, banjo, etc) and a resounding push toward clarity. Pile balance their ferocious tendencies with moments of beauty, building tension with release never too far behind. Well known as "your favorite band's favorite band" and for a tireless work ethic, Pile have earned their following from years of DIY touring and a humble approach to uncompromising performances. Never afraid to switch styles, Pile's music has morphed over the years, embracing both the ferocious and gentle sides of punk, indie, folk, and noise rock, delivering their own brand of gnarled intensity. Since coming together as a full band in 2009, Pile have toured as much as their lives collectively allow, playing over 600 shows spread out over the US, Canada, UK and Europe.1. Worms
2. Hissing For Peace
3. Rope's Length
4. No Bone
6. Leaning On A Wheel
9. I Don't Want To Do This Anymore
11. Making Eyes
13. Fingers$17.99Vinyl LP - Sealed Buy Now
Grime 2.0Not "nu grime", "post-grime", "grimestep", "funky grime" or "retro grime." Just grime. Somehow, where other sounds died or dissolved, this grassroots electronic music movement has grown organically for over ten years now. In an era when information acceleration was supposed to grind any new idea up in the hype machine before it had time to find its feet, grime resisted all appropriation, retaining the qualities that made it exciting, fresh and subversive in the first place.
It wasn't easy by any means, and it's survived a lot in that time. It has seen its own MCs become superstars, frequently eclipsing the genre that raised them, then watched as its suburban first cousin dubstep snuck out from the shadows to world domination. It's been through beefs, bans and brawls; been held back by internal and external politics; struggled for recognition while flimsier, flightier sounds have been hyped to oblivion.
Through all that, though, throbbed the warped beats, hollow-sounding bass and preset synth sounds of the scene's uniquely inventive producers, in many ways the keepers of the true flame, while its vocalists searched for as many ways to sell out as they could find. Sometimes as sparse, freaky and out-there as anything else in the electronic continuum, sometimes so far up in your face that you feel like you're going to be spitting teeth. Sucking up influences from garage, techno, jungle, dirty south hip hop, funky house, trance, and anything else that stumbles into its path, but bending it all into its own contorted shapes, grime production remains a brilliantly uncompromising and bloody-minded strand in British underground music - and further abroad too. Journalist and talent scout Joe Muggs, who compiled the CD with Big Dada's Will Ashon, has been working with a number of grime producers on their own digital labels, and began to realize there was a vast untapped reservoir of talent.
So here we are with grime still alive and very much kicking. And here is the most comprehensive survey of grime production the scene has ever had - thirty five exclusive tracks from across the world and across the spectrum of grime, demonstrating it to be some of the most powerful and brilliant electronic music in the world today. We've got new tracks from the originators (the godfather Wiley, Manchester's dubstep/grime originator MRK1, the elusive Youngstar whose 'Pulse X' was the first ever released grime record). We've got the new stars of the scene (Royal T, Preditah, Faze Miyake), and the up-and-comers snapping at their heels (Midlanders Swifta Beater and TC4, Brighton's Moony, Southeast Londoner Mr. Mitch). We've got tracks from Japan (Prettybwoy), Australia (Juzlo), the Netherlands (Gumnaam), Ireland (Major Grave), the US (Starkey and Matt Shadetek) and Canada (Tre Mission). We've got bangers and bubblers, haunting melodies and psychotic grooves, dead-eyed threat and cantankerous joy - and all the way through we've got evidence that this is a scene whose creativity can't be held back and shows no signs of stopping.1. Oh My Gosh - Footsie
2. Dollar Bill - Tre Mission
3. Rum and Coke - Teeza
4. Dem Times - Visionist
5. 5000 - Faze Miyake
6. Cartwheel - TRC
7. Logan's Mind - Chaos & Order
8. Vinyls VIP - Preditah
9. Loop 29 - Youngstar
10. Codeine and Dragon Stout - Chimpo
11. Bend - DECiBEL
12. 927 - Shy One
13. L-O-K - Inkke
14. Shotta Krew - J Beatz
15. Battery Charge - Matt Shadetek
16. Nail Thrower - Juzlo
17. Like A G - Major Grave
18. Trojan - Darq E Freaker
19. Winner - Moony
20. Frosty Lake - Mr SnoWman
21. Viking - Mr Mitch
22. Logic Pro - Wiley
23. Smash It Up Hard - MRK1
24. Kissin U - Prettybwoy
25. Numb VIP - Swifta Beater
26. Mongrel - SNK
27. Space Cowboy VIP - Royal-T
28. Machine Molester - Stenchman
29. Arcane - Sinden
30. Spray - Slackk
31. Moonlight - Spooky
32. Tunnel - Starkey
33. Lazer Riddem - TC4
34. Desi Bullet - Gumnaam
35. Emergency - Threnody$28.99Vinyl LP - 4 LPs Sealed Buy Now
White Colored Vinyl
Intoxicating and memorably tuneful - Pitchfork
Gorgeously Weary - The Guardian
An idiosyncratic, deeply individual voice - Clash Magazine
The new album from Tropics, aka 27 year old Chris Ward, looks
outwards, armed with a newfound confidence that foregrounds his
vocal performance and songwriting.
It's a musical progression that mirrors a personal one: the early Tropics
output was all made in the idyllic, if isolated setting of Ward's
grandmother's empty house in the seaside town of Southsea, which
he moved into after graduating from university to focus on writing
and recording. He was alone there - "like, really alone. For days, I had
literally no distractions." Having moved to London in 2013, Ward now
splits his time between the city and the road, having played in
America, Mexico and across Europe throughout the past year with his
live band Keith Vaz and Morgan Hislop.
Tropics' new full-length Rapture is the culmination of this journey. A multi-instrumentalist
from an early age, Ward has always drawn on his musical upbringing
when composing, but this time around he's pushed himself to develop
a fuller sound than ever with the help of Vaz, Hislop and specialist jazz
drummer Gillan McLaughlin. Taking influence from Beach Boys, Max
Roach and Arthur Russell, Ward has crafted an album that fuses his
love of avant-garde percussion, 70s and 80s singer-songwriters such
as Peter Gabriel known for pop-leaning hooks, and deep production
that takes cues from ambient music.
The very first iterance of the record is the crystal clear vocal that kicks
off 'Blame'. Ward explains that performing live so much caused him to
step outside of his comfort zone: "I used to be a bit dubious about
using my vocal too much, and felt like my strength was in sampling
and playing keys. It's kind of switched now in that I feel a lot more
comfortable just holding a microphone and losing myself." Inspired by
the vocal performances of the likes of Little Dragon and Innovative
Leisure labelmates Rhye, Ward also found a new lease of life in
experimenting with more androgynous vocals.
But even as his sound has greater scope than ever before, Rapture is
still a deeply personal endeavour. The majority of the songs started
life in Ward's home, in front of a piano, before being built on in the
studio. The first half of the record is a chronicle of a whirlwind
relationship: the piano-led title track "Rapture" addresses this theme,
striving for the throes of ecstatic happiness but never quite making it
there. "It's got this feeling of hope and joy, even though it is coming
from a sad place," says Ward. "It's about the struggles in your life to
get to where you want to be." Elsewhere, lyrics such as, "You ran away
just like my luck did" hint at Ward's love for literature and his poetic
touch, something he further explores on the album's second side.
Later, the album grows more ambient and the literary references more
apparent. "Gloria" takes its name from the character of a frustrated
wife in F. Scott Fitzgerald's The Beautiful and Damned. Likewise,
"Torrents of Spring" - also named for a work of 20th century American
fiction - builds to a sax-led climax over two painstaking minutes, and
the penultimate "House of Leaves" is "a really slow-burning ambient
instrumental; it's kind of a nod to the first stuff I made".
Whether filling dance floors or simply filling up your headspace,
Rapture is an intricate and intimate record that presents the many
faces of Tropics in a more revealing light than ever before.1. Blame
6. Perfume Kinship
7. Torrents of Spring
8. Home & Consonance
10. House of Leaves
11. Not Enough$18.99Colored Vinyl LP - Sealed Buy Now
Beyond The BloodhoundsAdia Victoria spent the last few years writing, recording, touring and performing, while entrenched in the infamous artist R&R world - restaurants and retail work. Day jobs at a laundry list of Nashville it and not so it spots gave the musician lots of people watching time as well as the mental and emotional space to marinate in her art.
Adia blows the social hush-hush lid off the mental and emotional state of a young black woman growing up under the poverty line in the Deep South and all the implications of such. No pretense. No jive. But also, like the writing of Eudora Welty and Tennessee Williams, there is plenty of Southern Gothic styled, marrow deep joy.
In a recent feature story, Fader encouraged us to, Meet Adia Victoria, A Poet Making Country Music a Little Creepier. She is found in album cuts like Sea of Sand and Stuck in the South, revealing some of her place-based aha moments. In the latter, she notes, I don't know nothin' about Southern belles/ But I can tell you something about Southern hell. As songs like Head Rot, and first single Dead Eyes show us, Adia says, it's an album of falling in love, dealing with loss, confusion, anger, love, and loving myself.
Produced by Roger Moutenot (Yo La Tengo, Sleater Kinney) and the artist herself, recorded at Nashville, Tennessee's Haptown Studios, Beyond the Bloodhounds features the indelible lyrics, voice, and guitar solos of Adia Victoria along with a band of talented musicians including Tiffany Minton (Drums), Alex Caress (keys), Mason Hickman (guitar), and Jason Harris (bass). She recalls, the studio is a Music City treasure. It used to be a car repair shop. You walk in and there are no windows. It's dark and moody. It feels like walking into the mind.
The result of a lifetime of introspection and a younger self marked by silent observation, Adia Victoria's Beyond the Bloodhounds was three active, recording years in the making. The title pays homage to a line in Harriet Jacobs' Narrative in the Life of a Slave Girl.
Ultimately, Victoria's debut album is more both/and, than either/or. The complexity of her Southern, barrel-aged roots and world traveling, bookworm woman ways will lure you out of the status quo.
Publications like American Songwriter, Rookie, and NPR are taking notice.
Now on the brink of her 30s, fluent in the language of her own self, Adia Victoria stands poised to take her place in a line of true artists. Her mother warned that she feels too much and would be torn up by the world. Adia will tell you that proved to be true. I've felt shredded, but I'm now blessed to embrace the intense feelings as part of my job. That's what I do. It's my bread and butter. My art depends on me feeling and experiencing. I show up, live, and come back and say, oooooh Honey, it was like this...1. I'm With You
2. Borderlines And Aliens
4. Ways To Go
5. Shark Attack
6. Sit Still
7. Hippy Hill
8. What I Know
9. Didn't Have To Go
10. Bitin' The Bullet
11. News To Me
13. Save The Party For Me$19.99Vinyl LP - Sealed Buy Now
Kids In LoveLove is all you need. It's been said many times and many ways of course, but it's truer now than ever.
When The Mowgli's first landed on the scene, their message of positivity and love resonated with audiences everywhere. The group's 2013 major label debut, Waiting for the Dawn [Photo Finish], debuted at #4 on the Billboard Heatseekers Chart and yielded the hit "San Francisco". Following its release, the seven-piece-Colin Louis Dieden [vocals, guitar], Katie Jayne Earl [vocals, percussion], Dave Appelbaum [keyboards], Josh Hogan [guitar, vocals], Matthew Di Panni [bass], Spencer Trent [guitar, vocals], and Andy Warren [drums]-performed on Jimmy Kimmel LIVE!, The Tonight Show with Jay Leno, CONAN, Watch What Happens Live, and more. Between headline tours and runs supporting everybody from Walk The Moon to Manchester Orchestra, they even cut a song for the Relativity Media hit film Earth To Echo. Along the way, their interpretation of love became even clearer, and it defines their sophomore outing, Kids In Love.
"Our first album essentially said, 'What's up everyone? We're The Mowgli's, and we believe love can change the world," explains Katie. "Over the past couple of years, we really came to terms with who we are as a band. With Kids In Love we're exploring the intricacies of love. It's such a broad concept. This time around, we get into intimate love, personal love, as well as universal love. We've found art is the best vehicle to ponder what this really means."
"Before, the concept was painted in very broad strokes," Colin goes on. "Our intention was to start a movement and a culture around what we do. We put all of that under a microscope on this album and talked about personal experiences and stories, the lack of love, and finding it again."
"We've learned so much about the business, ourselves, and this message," adds Josh. "We've become more direct. It's a little wiser."
In order to properly convey that sentiment, the group teamed up with producer Tony Hoffer [The Kooks, Silversun Pickups, Fitz & The Tantrums] in his Los Angeles studio during the summer of 2014. With Hoffer at the helm, they fine-tuned their sound into an elegant amalgam of influences. Additionally, they recorded with prior collaborators Captain Cuts [Smallpools, Tove Lo] - a production team that includes Ryan Rabin of Grouplove, and worked with Matt Radosevich [Walk The Moon, One Direction] on two additional tracks. "We wanted to create songs that we knew we would enjoy playing live, songs we hoped that speak to people's personal experiences with love and life and loss and everything that comes with being a kid - or really anyone - in love," Katie explains.
"We've been on tour incessantly, and this album was really written all over the country," Colin recalls. "It was composed in green rooms, hotels, parking lots, and everywhere in between. I went to Nashville for a week on a whim and tried to learn how to write country music. I was so lucky to work with some of the best in the business. I wanted to bring some of those storytelling elements into the music too. We really grew up, and the songs reflect that journey."
The first released track "Through The Dark" builds from a shimmering acoustic guitar into an unshakable harmony between Josh and Colin. It shines its own kind of musical light.
"Everybody goes through dark times," Josh asserts. "We're trying to put a positive spin on that though, and show you can get through that darkness no matter what."
Colin continues, "In a weird way, it feels like the answer to Waiting for the Dawn. It's a hopeful and encouraging song."
Then, there's the first single "I'm Good." It begins with a sun-soaked clean guitar and resounding percussion before snapping into a delightful refrain that's undeniably unforgettable. You'll feel good after one listen
Elsewhere on the album, "Whatever Forever" is augmented by driving handclaps and a group chorus that proves infectious. Lyrically, it stemmed from some shared ink within the band. "Colin and I both got a tattoo of that phrase a few years ago in a hotel bar during Hurricane Sandy," smiles Josh. "We'd seen it on the wall of a bar, and it felt like the perfect new life motto. We're not worried about anything; we're just going for it."
"That's a personal favorite," concurs Colin. "After one show, I had a girl walk up to me and say, 'I've been dealing with so much and hurting so badly. I adopted 'Whatever Forever' as my mantra. I needed that.' Sometimes, you need to distance yourself from what hurts."
Ultimately, The Mowgli's open up their hearts once more, and the results are nothing short of inspiring. "We just want people to feel good," Katie concludes. "It's a domino effect. If someone leaves a show feeling great, maybe they pay it forward. If we can contribute a little bit of joy, companionship, and happiness, we're doing our part to make the world a little brighter."
"I want them to feel inspired to do something positive," Josh agrees. "It's all about sharing that." Colin leaves off, "I want this to be a positive transformative experience. It's almost like falling in love. When you're in a good mood, you tend to react positively. I hope it adds more positivity and love to the world."1. You're Not Alone
2. I'm Good
3. Bad Dream
4. What's Going On
5. Through the Dark
6. Whatever Forever
7. Make It Right
8. Love Me Anyway
9. Shake Me Up
10. Home To You
11. Kids In Love
12. Sunlight$19.99Vinyl LP - Sealed Buy Now