{"title":"December 2024 New Releases","description":"","products":[{"product_id":"otis-redding-otis-blue-otis-redding-sings-soul-lp","title":"Otis Redding - Otis Blue \/ Otis Redding Sings Soul LP","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e**New Ltd Audiophile Series In Stock! Cut At 45rpm Over Two 180 Gram LPs. 100% All Analog From Original Master Tape.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eConsidered by many soul connoisseurs to be Otis Redding's finest and most fully realized LP, 1966's Otis Blue delivers a compelling encapsulation of all of the qualities that made Redding the greatest soul performer of his era. In addition to the artist's self-penned classics \"Respect\" and \"I've Been Loving You Too Long,\" Otis Blue spotlights the artist's peerless interpretive skills, as he puts his dynamic stamp upon such iconic tunes as the Rolling Stones' \"(I Can't Get No) Satisfaction,\" The Temptations' \"My Girl,\" B.B. King's \"Rock Me Baby,\" \"You Don't Miss Your Water\" and Solomon Burke's \"Down in the Valley.\" Otis also pays tribute to his idol Sam Cooke, giving his all to a trio of Cooke tunes, \"A Change Is Gonna Come,\" \"Shake\" and \"Wonderful World.\" This exact reproduction of this original Stax label LP is mastered from the original mono tapes and pressed on pristine High-Definition vinyl.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Standard LP","offer_id":50041213616415,"sku":null,"price":25.98,"currency_code":"USD","in_stock":false},{"title":"Ltd Audiophile Series 2LP","offer_id":50041213649183,"sku":null,"price":73.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/products\/2956793.jpg?v=1578676416"},{"product_id":"iron-maiden-killers-lp","title":"Iron Maiden - Killers LP","description":"\u003cp\u003e\u003cspan\u003eIron Maiden -\"Killers\" [180g LP] [2015 Remaster] Iron Maiden's classic second album, KILLERS, was their first to feature guitarist Adrian Smith and the last to feature vocalist Paul Di'Anno. Released in 1981, it was Iron Maiden's first album to chart in the US, hitting #78 and is RIAA-certified GOLD. Includes the classic tracks, \"Wrathchild,\" \"Twilight Zone,\" and \"Purgatory.\" 2015 Remaster, 180g LP.\u003c\/span\u003e\u003c\/p\u003e","brand":"BMG","offers":[{"title":"Default Title","offer_id":31529300066366,"sku":null,"price":27.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/products\/2644061.jpg?v=1579977816"},{"product_id":"run-the-jewels-run-the-jewels-2-2lp","title":"Run the Jewels - Run the Jewels 2 2LP","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e**New 10th Anniversary Edition Available!! Deluxe 180 Gram Edition w\/ Swappable Art!\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eRun the Jewels, the super dynamic duo of EI-P and Killer Mike, two of the most distinctive and celebrated names in rap, are set to release their sophomore album, Run the Jewels 2 on mass Appeal records. 'The immensely anticipated album includes guests ranging from Zack de la Rocha to Travis Barker amongst others, but the duo maintains that the album is first and foremost about the creative partnership between the MC's themselves. '\u003c\/p\u003e","brand":"Mass Appeal","offers":[{"title":"Standard Edition 2LP","offer_id":50012738519327,"sku":null,"price":29.98,"currency_code":"USD","in_stock":false},{"title":"10th Anniversary Deluxe Edition 2LP","offer_id":50012738552095,"sku":null,"price":44.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/products\/run-the-jewels-2-artwork.jpg?v=1581789074"},{"product_id":"girls-father-son-holy-ghost-2lp","title":"Girls - Father, Son, Holy Ghost 2LP","description":"\u003cp\u003eGirls return with their long awaited second full-length. Both more spacious and tuneful than either their self-made debut or their lush EP, FATHER, SON, HOLY GHOST is a gorgeous, ambitious rock album, enlivened by flashes of innocent pop and textured by it's wealth of influences and willingness to face sadness. FATHER, SON, HOLY GHOST is somehow both intimate and expansive. It captures the promise of early recordings and expands to cover new ground while still providing surprises at every turn.\u003c\/p\u003e","brand":"True Panther Sounds","offers":[{"title":"Default Title","offer_id":31840214253630,"sku":null,"price":34.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/products\/GIRLS-575x575.jpg?v=1588739499"},{"product_id":"the-thermals-now-we-can-see-lp","title":"The Thermals - Now We Can See LP","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e**Repressed \/ Remastered By The Band!\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e2009 album from the Indie favorites. Thermal mainstays Hutch Harris and Kathy Foster recorded Now We Can See as a duo, as they did on 2006's the Body, the Blood, the Machine. Foster performed all drums and bass (and sang for the first time on a Thermals record), while Harris sang lead and played guitar. They returned to Oregon City's Supernatural Sound, with John Congleton (Explosions in the Sky, Polyphonic Spree) producing. The result is the widest, loudest piece of Alternative\/Indie\/Punk Rock The Thermals have yet unleashed. Lyrically, The Thermals have managed to move past religion and politics, yet remain joyously obsessed with love and death. Though the subject matter may be dark at times, the lyrics, as well as the melodies, remain as catchy and uplifting as ever.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=798987610\/size=small\/bgcol=ffffff\/linkcol=0687f5\/artwork=none\/track=1349739189\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"The Thermals Records","offers":[{"title":"Default Title","offer_id":32334490107966,"sku":null,"price":24.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/products\/a1289726941_16.jpg?v=1597196919"},{"product_id":"jessica-pratt-here-in-the-pitch-lp","title":"Jessica Pratt - Here in the Pitch LP","description":"\u003cp\u003e\u003cspan\u003eHere In the Pitch, the fourth album from the beloved, beguiling songwriter Jessica Pratt, was written and recorded between her home of Los Angeles and Brooklyn over the course of three years. Pratt enlivens her timeless, placeless folk sensibilities with newfound instrumentation and an expanded ensemble, both under the influence of 60s spectral pop. Whereas Pratt's 2019 record Quiet Signs floated elegantly in the ether, Here In the Pitch is entrenched in more earthen characteristics, as the title suggests, and her craft is emboldened with a newfound gravitas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3043550970\/size=small\/bgcol=ffffff\/linkcol=0687f5\/license_id=3612\/artwork=none\/track=1588175686\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Standard Black Vinyl","offer_id":48473805881631,"sku":null,"price":25.98,"currency_code":"USD","in_stock":false},{"title":"Ltd Panamint Brown Vinyl","offer_id":48473805914399,"sku":null,"price":26.98,"currency_code":"USD","in_stock":false},{"title":"Ltd Fool's Gold Vinyl","offer_id":50007133094175,"sku":null,"price":27.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/a2831993697_16.jpg?v=1714166486"},{"product_id":"nahawa-doumbia-vol-2-lp","title":"Nahawa Doumbia - Vol. 2 LP","description":"\u003cp\u003eAwesome Tapes From Africa the label began over 10 years ago with the reissue of Nahawa Doumbia's Vol. 3. The recording kicked off a successful run of classic and new recordings from artists across Africa, being made available for the first time in the international marketplace. ATFA makes it possible for artists to expand their fanbases and revenues streams with legally licensed recordings and a 50\/50 profit split. For it's 50th release, ATFA presents iconic Malian singer Nahawa Doumbia's beloved Vol. 2.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReleased on LP in 1982 and Unavailable outside Mali until now, Vol. 2 is an intimate yet powerful document of the early efforts of one of Mali's most enduring voices. Four decades of worldwide acclaim later, Doumbia is still touring the world blowing minds with her achingly emphatic singing backed by her partner guitarist N'gou Bagayoko. Vol. 2 is stark in it's instrumentation-simply featuring voice and acoustic guitar-but massive in it's sonic impact. \u003c\/span\u003e\u003cspan\u003ePainstakingly extracted and remastered from LP by longtime ATFA audio engineer collaborator Jessica Thompson, this is the first time this recording has been cleaned-up for wider release. The master recording no longer exists and the original was pressed at relatively inferior quality, heightening the difficulty of presenting Vol. 2 with clarified audio. The historic recording was worth the effort. \u003c\/span\u003e\u003cspan\u003eDoumbia's voice soars above Bagayoko's guitar as she lays out her plaintive approach to expressing relevant topics of the day. The room sound could be considered the third instrument as it's shape and sonic affect is vibrantly apparent throughout. And the simplicity of this recording only enhances the immediacy of these four songs. As a bookend to both Doumbia's long career and ATFA's growing catalog, Vol. 2 is a grand yet unpretentious encapsulation of the energy behind this decade-long collaboration between artist and label.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1115648054\/size=small\/bgcol=ffffff\/linkcol=0687f5\/artwork=none\/track=1996487885\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Awesome Tapes From Africa","offers":[{"title":"Default Title","offer_id":49988110188831,"sku":null,"price":22.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/a2807954953_16.jpg?v=1732658012"},{"product_id":"acid-mothers-temple-the-melting-paraiso-u-f-o-mantra-of-love-lp","title":"Acid Mothers Temple \u0026 The Melting Paraiso U.F.O. - Mantra of Love LP","description":"\u003cp\u003e\u003cspan\u003eLimited edition pressing of 500 copies worldwide. All pressed on cream colored vinyl, housed in a full color sleeve with leather effect laminate, with hype sticker and black polylined inner bag. Continuing Riot Season's quest to get all of the classic early \u003c\/span\u003e\u003cb\u003eAMT\u003c\/b\u003e\u003cspan\u003e albums released on vinyl, the label now turns to 2004's \u003c\/span\u003e\u003ci\u003eMantra Of Love\u003c\/i\u003e\u003cspan\u003e with the help of \u003c\/span\u003e\u003cb\u003eMakoto Kawabata\u003c\/b\u003e\u003cspan\u003e's studio wizardry. This latest instalment in the \u003c\/span\u003e\u003ci\u003eAcid Mothers Temple Vinyl Archives - First Time On Vinyl\u003c\/i\u003e\u003cspan\u003e series has been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by \u003c\/span\u003e\u003cb\u003eJames Plotkin\u003c\/b\u003e\u003cspan\u003e. Here's what \u003c\/span\u003e\u003cb\u003ePitchfork\u003c\/b\u003e\u003cspan\u003e had to say upon its original CD only release back in 2004: \"Acid Mothers are strong folk. You'd think they'd tire quickly, all tucked away on their island, strewn about on tree roots while baking their lungs and throats to a knotty green tinge. But instead of waltzing through life like hippies, they manage to not only tour and put out records every year, but also to fill those albums with 30-minute jams and assorted freakouts. And while evil jam bands would fill that space with guitar work taken from the Classic Rock Manual of Clichés, Makoto Kawabata and company assault listeners with frighteningly dense walls of white noise, psychedelic swirl effects and, yes, even guitar solos -- albeit ones that are more \u003c\/span\u003e\u003cb\u003eMerzbow\u003c\/b\u003e\u003cspan\u003e or \u003c\/span\u003e\u003cb\u003eKeiji Haino\u003c\/b\u003e\u003cspan\u003e than \u003c\/span\u003e\u003cb\u003eGary Rossington\u003c\/b\u003e\u003cspan\u003e. Truly, AMT's endurance and threshold for cosmic lashings are both worthy of admiration.\" Originally released on CD by Alien8 Recordings in 2004.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2008734021\/size=small\/bgcol=ffffff\/linkcol=0687f5\/artwork=none\/track=3469558178\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Riot Season (UK)","offers":[{"title":"Default Title","offer_id":50000976347423,"sku":null,"price":34.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/a0901284611_16.jpg?v=1733160117"},{"product_id":"terry-riley-shri-camel-lp","title":"Terry Riley - Shri Camel LP","description":"\u003cp\u003e\u003cspan\u003eIn C and Rainbow in Curved Air get all the ink (inc?), but its own somewhat subtle way, 1980’s Shri Camel, the last of the three brilliant albums Terry Riley recorded for CBS, is every bit as groundbreaking as its hallowed predecessors. Not content to rest on his laurels as a minimalist master, Riley studied with Hindustani classical singer Pandit Pran Nath during the ‘70s; by blending that Eastern influence with his own experiments in just intonation (where tuning is dictated by equal mathematical intervals rather than the “tempered” tuning familiar to Western music), Riley made an album whose shimmering textures (played through a specially modified Yamaha organ) seem to change with one’s own breath or thought, like the reflection of rippling water on rock. And while Shri Camel is far more demanding and ultimately rewarding than any “New Age” recording, one definitely gets the sense that its ever-evolving, ecstatically hypnotic rhythmic and harmonic patterns are massaging the brain’s neural circuitry, leaving one refreshed, relaxed, and, yes, maybe even a little smarter than before listening. First LP reissue and long overdue!\u003c\/span\u003e\u003c\/p\u003e","brand":"Sony \/ Real Gone Music","offers":[{"title":"Default Title","offer_id":50007192076575,"sku":null,"price":26.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/201374996240.jpg?v=1733343635"},{"product_id":"shower-curtain-words-from-a-wishing-well-lp","title":"shower curtain - words from a wishing well LP","description":"\u003cp\u003e\u003cspan\u003e‘words from a wishing well’ is the debut record from Shower Curtain, the New York quartet fronted by Brazilian-American artist Victoria Winter (vocals\/guitar), alongside Ethan Williams (guitar\/vocals), Sean Terrell (drums), and Cody Hudgins (bass). Self-produced by Winter and Williams, words from a wishing well sketches early adulthood experiences in swirling layers of guitars. Winter wrote its tracks across her first few years of living in New York City, and they exist within a conversation between one’s own intuition and that of the universe. Channeling the sludgy distortion of 90s shoegaze and grunge, words from a wishing well establishes Shower Curtain as a standout in the city’s latest crop of bands.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3713186402\/size=small\/bgcol=ffffff\/linkcol=0687f5\/artwork=none\/track=1374344311\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Firetalk Records","offers":[{"title":"Default Title","offer_id":50007222255903,"sku":null,"price":24.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/a0219677094_16.jpg?v=1733343885"},{"product_id":"campus-christy-campus-christy-lp","title":"Campus Christy - Campus Christy LP","description":"\u003cp\u003e\u003cspan\u003eCampus Christy is a collaboration between Stones Throw Records’ founder Chris Manak aka Peanut Butter Wolf (vocals) and Brian Ellis (instruments).\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eNearly 25 years after his 1999 release of My Vinyl Weighs a Ton, Manak has formed a brand new musical project, reinterpreting lesser-known tracks from the late ‘60s to early ‘80s.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eCampus Christy revives Manak’s high school garage band moniker, a niche ode to the past.\u003c\/span\u003e\u003c\/p\u003e","brand":"Stones Throw","offers":[{"title":"Default Title","offer_id":50007233069343,"sku":null,"price":27.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/a0710336283_16.jpg?v=1733344200"},{"product_id":"hank-mobley-a-slice-of-the-top-blue-note-tone-poet-series-lp","title":"Hank Mobley - A Slice of The Top (Blue Note Tone Poet Series) LP","description":"\u003cp\u003e\u003cspan\u003eHank Mobley -\"A Slice Of The Top (Blue Note Tone Poet Series)\" Hank Mobley was inspired by Birth of the Cool on his 1966 album, A Slice of the Top, featuring Duke Pearson's arrangements for an octet that added euphonium and tuba to a group with James Spaulding (alto sax), Lee Morgan (trumpet), McCoy Tyner (piano), Bob Cranshaw (bass) and Billy Higgins (drums). This Blue Note Tone Poet Series stereo edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.\u003c\/span\u003e\u003c\/p\u003e","brand":"Blue Note Records","offers":[{"title":"Default Title","offer_id":50009657803039,"sku":null,"price":39.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/hankmobleyasliceofthetop.jpg?v=1733420923"},{"product_id":"girls-album-lp","title":"Girls - Album LP","description":"\u003cp\u003e\u003cspan\u003eAlbum is a redemptive song cycle about the various characters and desires that color the band’s life. Self-described as “honest, loose, ethereal, obnoxious, and perfect,” it is a sincere tribute to the majesty of great pop music and the healing power of rock and roll.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=861273074\/size=small\/bgcol=ffffff\/linkcol=0687f5\/artwork=none\/track=1837608176\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"True Panther Sounds","offers":[{"title":"Default Title","offer_id":50009811157279,"sku":null,"price":25.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/a1444207476_16.jpg?v=1733427469"},{"product_id":"christopher-owens-i-wanna-run-barefoot-through-your-hair-lp","title":"Christopher Owens - I Wanna Run Barefoot Through Your Hair LP","description":"\u003cp\u003e\u003cspan\u003eI Wanna Run Barefoot Through Your Hair is the third solo album by Christopher Owens, ex-frontman of seminal indie rock band Girls (Father, Son, Holy Ghost peaked at #37 on Billboard). After losing his bandmate, getting into a motorcycle accident, and bouts of homelessness, he left San Francisco for NYC and returned to Girls' home label True Panther. Inspired by life (and love) to write music again, Owens is finally ready to share IWRBTYH, a record about his journey back to the center of himself. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2101058872\/size=small\/bgcol=ffffff\/linkcol=0687f5\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"True Panther Sounds","offers":[{"title":"Default Title","offer_id":50009833505055,"sku":null,"price":25.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/a1266629557_16.jpg?v=1733427877"},{"product_id":"sonny-rollins-way-out-west-lp","title":"Sonny Rollins - Way Out West LP","description":"\u003cp\u003e\u003cspan\u003eSonny Rollins - \"Way Out West (Contemporary Records Acoustic Sounds Series)\" \/ A classic of the genre, \"Way Out West\" was tenor saxophonist Sonny Rollins' first album for west coast label Contemporary Records when released in 1957. The first album to employ the \"strolling\" technique, Rollins was backed by Ray Brown (bass) and Shelly Manne (drums). This new edition, released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180- gram vinyl at QRP, and presented in a tip-on jacket.\u003c\/span\u003e\u003c\/p\u003e","brand":"Craft Recordings","offers":[{"title":"Default Title","offer_id":50009927024927,"sku":null,"price":29.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/sonnyrollinswayoutwest.jpg?v=1733428677"},{"product_id":"peter-tosh-mystic-man-lp","title":"Peter Tosh - Mystic Man LP","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e**Ltd Recycled Green Vinyl\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMystic Man, released in 1979, Mystic Man is an introspective and spiritually charged album by Peter Tosh. The album reflects his deep Rastafarian beliefs and features a mix of soulful and political tracks. Songs like \"Mystic Man\" and \"Jah Seh No\" highlight Tosh's commitment to his faith and his disdain for societal corruption. The album's production is marked by a refined sound that balances roots reggae with subtle experimentation.\u003c\/span\u003e\u003c\/p\u003e","brand":"Parlophone Records","offers":[{"title":"Default Title","offer_id":50009933349151,"sku":null,"price":25.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/petertoshmysticman.jpg?v=1733428986"},{"product_id":"the-fluid-overflow-lp","title":"The Fluid - Overflow LP","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e**Ltd Loser Edition Orange Vinyl!\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOverflow is packed with killer outtakes and rarities from two late-'80s studio sessions by The Fluid. The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose \"My Dad's a F***in' Alcoholic\" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk\/rock\/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7\" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows... and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like \"Cold Outside\" sit alongside Stooge-oid rhythmic poundings (\"Black Glove\"), bluesy romps (\"Leave It\"), the occasional grungy dirge (\"Wasted Time\"), and raw punk bangers (\"Is It Day I'm Seeing?\" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":50010371719455,"sku":"","price":24.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/thefluidoverflow.webp?v=1733437218"},{"product_id":"the-fluid-glue-12","title":"The Fluid - Glue 12\"","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e**Ltd Loser Edition Silver Vinyl!\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGlue originally came out in 1990, and is now back on vinyl for the first time since then, now with two bonus tracks. The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose \"My Dad's a F***in' Alcoholic\" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk\/rock\/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7\" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows... and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like \"Cold Outside\" sit alongside Stooge-oid rhythmic poundings (\"Black Glove\"), bluesy romps (\"Leave It\"), the occasional grungy dirge (\"Wasted Time\"), and raw punk bangers (\"Is It Day I'm Seeing?\" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":50010372079903,"sku":null,"price":24.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/a1117597366_16.jpg?v=1733437383"},{"product_id":"the-fluid-roadmouth-lp","title":"The Fluid - Roadmouth LP","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e**Ltd Loser Edition Green Vinyl!\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRoadmouth is The Fluid's third album, originally released in 1989 and now back on vinyl. The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose \"My Dad's a F***in' Alcoholic\" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk\/rock\/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7\" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows... and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like \"Cold Outside\" sit alongside Stooge-oid rhythmic poundings (\"Black Glove\"), bluesy romps (\"Leave It\"), the occasional grungy dirge (\"Wasted Time\"), and raw punk bangers (\"Is It Day I'm Seeing?\" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":50010374111519,"sku":null,"price":24.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/a1754829029_16.jpg?v=1733437466"},{"product_id":"the-fluid-clear-black-paper-lp","title":"The Fluid - Clear Black Paper LP","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e**Ltd Loser Edition Yellow Vinyl!\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eClear Black Paper is The Fluid's second album, originally released in 1988, and now back on vinyl! The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose \"My Dad's a F***in' Alcoholic\" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk\/rock\/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7\" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows... and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like \"Cold Outside\" sit alongside Stooge-oid rhythmic poundings (\"Black Glove\"), bluesy romps (\"Leave It\"), the occasional grungy dirge (\"Wasted Time\"), and raw punk bangers (\"Is It Day I'm Seeing?\" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":50010375815455,"sku":null,"price":24.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/a2997284107_16.jpg?v=1733437560"},{"product_id":"the-fluid-punch-n-judy-lp","title":"The Fluid - Punch N Judy LP","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e**Ltd Loser Edition Blue Vinyl!\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePunch N Judy is The Fluid's debut album, originally released in 1986, and now, finally, back in print on vinyl! The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose \"My Dad's a F***in' Alcoholic\" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk\/rock\/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7\" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows... and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like \"Cold Outside\" sit alongside Stooge-oid rhythmic poundings (\"Black Glove\"), bluesy romps (\"Leave It\"), the occasional grungy dirge (\"Wasted Time\"), and raw punk bangers (\"Is It Day I'm Seeing?\" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":50010377584927,"sku":null,"price":24.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/a0311355845_16.jpg?v=1733437640"},{"product_id":"the-national-rome-2lp","title":"The National - Rome 2LP","description":"\u003cp\u003e\u003cspan\u003e\"You have to see them in concert,\" is what fans of The National have been preaching for years. \"The songs transform. It's a whole other level.\" Recorded live (without overdubs) in June 2024 at an architecturally stunning venue named for famed Italian film composer Ennio Morricone, Rome is the definitive live document of The National. The 21-track double album is truly career spanning, and showcases scintillating versions of beloved songs like \"Bloodbuzz Ohio,\" \"Don't Swallow the Cap,\" \"I Need My Girl,\" \"The System Only Dreams in Total Darkness,\" \"England\" and \"Fake Empire\"; plus sharpened readings of recent tracks \"Eucalyptus,\" \"New Order T-Shirt,\" \"Tropic Morning News\" and the boundary-pushing \"Smoke Detector.\" The National's setlist changes significantly show to show, revisiting their 25-year catalog to cast fresh light on hidden gems. For Rome that includes the show opener \"Runaway,\" \"Lemonworld,\" \"The Geese of Beverly Road,\" \"Lit Up\" and a tour de force pairing of \"Humiliation\" from their critically acclaimed album Trouble Will Find Me into Sad Songs For Dirty Lovers' \"Murder Me Rachael.\" The Rome encore features the election anthem \"Mr. November,\" and, from High Violet, \"Terrible Love\" and the show-closing fan singalong, \"Vanderlyle Crybaby Geeks.\" The live album was mixed by the band's longtime collaborator Peter Katis. Reviewing a National performance this summer, NME wrote that \"every song is played like it could be the last.\" Rome captures that playing-for-keeps urgency on record and serves not merely as a concert souvenir but the latest vital addition to the band's peerless catalog.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2099302578\/size=small\/bgcol=ffffff\/linkcol=0687f5\/artwork=none\/track=2816313841\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"4AD Records","offers":[{"title":"Standard Black Vinyl 2LP","offer_id":50010565345567,"sku":null,"price":32.98,"currency_code":"USD","in_stock":false},{"title":"Ltd White Vinyl 2LP","offer_id":50010565378335,"sku":null,"price":32.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/a0962933309_16.jpg?v=1733442288"},{"product_id":"yabby-you-dread-prophecy-crucial-cuts-lp","title":"Yabby You - Dread Prophecy: Crucial Cuts LP","description":"\u003cp\u003e\u003cspan\u003eYabby You a\/k\/a Vivian Jackson, as singer, songwriter, and producer, has created some of the greatest roots reggae recordings of all time, many of which are rare and among the most sought-after records by serious reggae fans. Dread Prophecy Crucial Cuts is a killer collection of 10 magnificent Vivian Jackson productions featuring himself as Yabby You, his Prophets vocal group, and his discovery, Michael Prophet, including some extended mixes and dubs via King Tubby.\u003c\/span\u003e\u003c\/p\u003e","brand":"Shanachie","offers":[{"title":"Default Title","offer_id":50012753428767,"sku":null,"price":27.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/yabbyyoudreadprophecy.jpg?v=1733505287"},{"product_id":"out-of-into-motion-i-lp","title":"Out Of\/Into - Motion I LP","description":"\u003cp\u003e\u003cspan\u003eVinyl LP pressing. Motion I is the debut album from Out Of\/Into, the collective formerly known as The Blue Note Quintet, featuring pianist Gerald Clayton, alto saxophonist Immanuel Wilkins, vibraphonist Joel Ross, drummer Kendrick Scott, and bassist Matt Brewer. The band was formed in celebration of Blue Note Records' 85th Anniversary and embarked on an extensive U.S. tour in 2024 during which they honed a distinctive, progressive sound that is the perfect embodiment of the Blue Note ethos. \"Blue Note has been such a wonderful home for the community, for incredible musicians, for creativity, for all these years,\" says Clayton. \"You can't help but think about all those masters, all those heroes that you've grown up listening to. To get a chance to pay tribute and try to carry some of that essence forward is truly just an honor.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Blue Note Records","offers":[{"title":"Default Title","offer_id":50012806250783,"sku":null,"price":29.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/outofintomotioni.webp?v=1733505926"},{"product_id":"ben-webster-ben-webster-meets-oscar-peterson-acoustic-sounds-series-lp","title":"Ben Webster - Ben Webster Meets Oscar Peterson: Acoustic Sounds Series LP","description":"\u003cp\u003e\u003cspan\u003eLimited 180gm vinyl LP pressing housed in gatefold jacket. Ben Webster was, without a doubt, one of the most important and influential tenor saxophonists in jazz. Ben Webster Meets Oscar Peterson features some of his finest collaborations with Oscar Peterson, who the tenor saxophonist often stated was his favorite accompanist. Verve's Acoustic Sounds Series features transfers from analog tapes and remastered.\u003c\/span\u003e\u003c\/p\u003e","brand":"Verve","offers":[{"title":"Default Title","offer_id":50012837806367,"sku":null,"price":39.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/webstermeetspeterson.jpg?v=1733506536"},{"product_id":"greg-mendez-greg-mendez-lp","title":"Greg Mendez - Greg Mendez LP","description":"\u003cp\u003e\u003cspan\u003eFor Greg Mendez, reflection doesn't mean a static image in a mirror, or even a face he recognizes. It's more a kaleidoscopic mirage, where paths taken shapeshift with the prospect of paths untread, and the subconscious merges with the intentional. On his self-titled new album, the Philadelphia-based songwriter and multi-instrumentalist investigates the shaky camera of memory, striving to carve out a collage that points to a truth. But there isn't a regimented actuality here; instead, Mendez highlights the merit in many truths, and many lives, and how even the hardest truths can still contain some humor. While this is technically Mendez's third full-length album, his back catalog boasts an extensive range of EPs and live recordings. He's a prolific and thoughtful songwriter, understanding the joy in impulse, and shying away from the clinical sheen of overproduction. 2017's \"-\\ _(ツ)_ \/-\" and 2020's Cherry Hell garnered acclaim for their quiet, lo-fi urgency, exploring themes of addiction and heartbreak with an intentional, authentic haze, and it's this approach that has solidified Mendez as a staple in the DIY community for years. Greg Mendez was written in fragments, some stretching across more than a decade, with Mendez reworking old ideas and arrangements, and others blossoming much more recently. The weight of time-and perhaps the anxiety in running out of it-clouds the album, as Mendez prods at some painful experiences from his childhood and early adulthood. The common thread connecting the characters is their evident imperfections, and the various degrees of damage they cause, both knowingly and unknowingly. But where do we draw the line between a good person and a bad person? For Mendez, it's never been that easy. Greg Mendez is an intimate dialogue between the chapters we've experienced, and how they can inform the reality we perceive. It's a reminder that we are constantly shifting, ever-changing selves and that if we ruminate too long, we may find ourselves stuck in the seriousness of it all. 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Side B is a collection of songs from the same artists, but chosen by Olsen and recorded by her. Each, unsurprisingly, illuminates a star in the constellation of talents that make Angel Olsen such a spectacular and enduring artist. Hearing Olsen refract the artists' songs back to them reveals not just the depth of Olsen's imagination, but the multiple masters at work across the collection as well.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"As someone that emerged into the music scene through a small tape label,\" says Olsen, \"I've wanted to continue the spirit of discovery and of my debut release, 'Strange Cacti', while supporting and collaborating with artists and friends whose music I have been moved by. I feel there is something unique and special about covering another artist's song,\" she continues. \"We all make it our own, or we try to, but I personally always learn something new about the process when I'm engaging someone else's words and melodies in such a close way. Time and again I find that putting myself into various different styles of songs can lead to new ways of thinking and creating.\" \u003c\/span\u003e\u003cspan\u003eThe artists on \"Cosmic Waves Volume 1\" draw from a sprawling, myriad sounds, eras and inspirations. Poppy Jean Crawford's magnetic growl and guitar-god heaviness; Coffin Prick's reckless, psychedelic fuzz; Sarah Grace White's hypnotic voice and melody; Maxim Ludwig's expert minimalism; and Camp Saint Helene's beautiful, big sky folk. \"Thank you for listening and supporting this experiment,\" Olsen says. \"If you like what you hear, please support these artists by buying some of their music, merch, a ticket to their show, or telling your friends about them. It goes a long way. 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In these songs-all centered around a fictional town called Richmond and featuring an interlinked cast of characters-you will hear stories of death and disappearance, climactic confrontations and unsolved mysteries. \"Richmond is just this place where all the bad memories live,\" Owen Ashworth explains, and nearly 30 years into his songwriting career, none of his records have packed quite the emotional intensity of this one. And yet something alchemical happens in the telling of these tales. Like a masterful short story collection, Horrible Occurrences is inspiring and alive, idiosyncratic and electric, pulling you closer with each word.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the six years since his last full-length collection of originals, 2018's Animal Companionship, Ashworth gathered ideas from performing live and traveling around the country, returning to cities that he once called home and revisiting old ghosts, memories, and fragments of unfinished ideas. Blending truth and fiction into a dreamlike composite, the songs convey the winding path our memory takes as the years go by, giving voice to a subconscious that is still unpacking old memories for new wisdom. \u003c\/span\u003e\u003cspan\u003eDrawing inspiration from the otherworldly loneliness depicted on '80s masterpieces like Arthur Russell's World of Echo and Bruce Springsteen's Nebraska, the music never crowds Ashworth's detailed storytelling but it also never feels auxiliary. These are beautiful songs, but they stick with you for their ability to strike dissonant, unforgettable emotional chords. It is this pervasive empathy in Ashworth's songwriting-along with his writerly gift for clear settings and complex characters-that has made him a guiding light for so many independent artists. \u003c\/span\u003e\u003cspan\u003eThe things that happen throughout Horrible Occurrences are what we tend to call \"unspeakable\"-events that draw gut-level responses just from acknowledging that they could happen. But part of the triumph of the record is how simply and generously Ashworth finds the language to share them. For the characters in these songs who make it out okay, these are the types of memories they will be tossing and turning their whole lives, waiting for quiet moments to confide them among the people they trust. 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Returning to Triple B Records, the definitive DIY hardcore label of the 2010s and beyond, FLIPPING is a shocking blend of sounds at once old-school and never before heard. An exploration of hedonism and self-destruction, the album's 6 songs are as intoxicating as the unidentifiable cocktail of uppers and psychedelics taken at an after-hours, and as crushing as the cold feelings of self-loathing that come the morning after.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDepicting the long term global effects of America's ritualistic pleasure-seeking habits, Andrew Barnes' art visually represents an album whose mix, courtesy of producer\/engineer Kurt Ballou, is as loud and abrasive as the sound system in a Vegas strip club.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3595180310\/size=small\/bgcol=ffffff\/linkcol=0687f5\/artwork=none\/track=676937205\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Triple B Records","offers":[{"title":"Default Title","offer_id":50025915613471,"sku":null,"price":23.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/a0275661405_16.jpg?v=1733953641"},{"product_id":"electric-wizard-black-magic-rituals-perversions-vol-1-2lp","title":"Electric Wizard - Black Magic Rituals \u0026 Perversions Vol. 1 2LP","description":"\u003cp\u003e\u003cspan\u003eFormed in 1993, Electric Wizard's brand of doom metal incorporates stoner and sludge traits, with lyrics focusing on the occult, witchcraft, H.P. 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Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve's Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. In high-quality gatefold sleeves with tip-on jackets. 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Performance by stevie (lowercase, no last name, she\/her), \u003c\/span\u003e\u003cb\u003ecap\u003c\/b\u003e\u003cspan\u003e (lowercase, no last name, they\/them), \u003c\/span\u003e\u003cb\u003eLee Butterfield\u003c\/b\u003e\u003cspan\u003e (they\/them), \u003c\/span\u003e\u003cb\u003ePenny Olives\u003c\/b\u003e\u003cspan\u003e (she\/her), \u003c\/span\u003e\u003cb\u003eElias Williamson\u003c\/b\u003e\u003cspan\u003e (they\/them), \u003c\/span\u003e\u003cb\u003eIzzy Dupuis\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eAna Díaz Sacco\u003c\/b\u003e\u003cspan\u003e (she\/they), \u003c\/span\u003e\u003cb\u003eClinton O'Brien\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eEvan Mersky\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eAna María Rodríguez\u003c\/b\u003e\u003cspan\u003e (she\/her), \u003c\/span\u003e\u003cb\u003eRay Aggs\u003c\/b\u003e\u003cspan\u003e (they\/them), and \u003c\/span\u003e\u003cb\u003eKyle Raquipiso\u003c\/b\u003e\u003cspan\u003e.\" --Mope Groves\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4184522317\/size=small\/bgcol=ffffff\/linkcol=0687f5\/artwork=none\/track=2565479313\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"12XU Records","offers":[{"title":"Default Title","offer_id":50026034528543,"sku":null,"price":36.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1575\/8523\/files\/12XU157LP_CU.jpg?v=1733956910"},{"product_id":"simon-joyner-coyote-butterfly-lp","title":"Simon Joyner - Coyote Butterfly LP","description":"\u003cp\u003e\u003cspan\u003e\"\u003c\/span\u003e\u003ci\u003eCoyote Butterfly\u003c\/i\u003e\u003cspan\u003e is the first album of new songs in two years from singer-songwriter, \u003c\/span\u003e\u003cb\u003eSimon Joyner\u003c\/b\u003e\u003cspan\u003e, following the overdose death of his son, \u003c\/span\u003e\u003cb\u003eOwen\u003c\/b\u003e\u003cspan\u003e, in August of 2022. Drawing on the kaleidoscopic nature of grief, Joyner explores his loss through a series of imagined dialogues and raw confessions. The album is a tribute to Owen, but what Joyner generously delivers is an intimate glimpse at his attempt to comprehend the incomprehensible. The album is bookended by field recordings overlaid with minimalist guitar laments. The first, a spring thrum of sparrows and red-winged blackbirds, functions as an invitation to the elegies which follow, while the last, the late-August drone of cicadas returns us to a life of sweat on the skin, sirens in the distance, and the things we cannot change but must somehow accept. In between these instrumentals, Joyner grapples with regret and fear, shame and love. From the opening song, 'I'm Taking You With Me' to the gut-wrenching remorse of 'My Lament,' Joyner lays bare the struggles of those left in the wake of personal devastation. On the title track, we hear Joyner perform an elemental incantation, a heartbroken ode infused with forgiveness. The final song of the album, 'There Will be a Time,' is a meditation on a future where such suffering, both personal and universal, might be softened by understanding. The musicians playing alongside Simon on \u003c\/span\u003e\u003ci\u003eCoyote Butterfly\u003c\/i\u003e\u003cspan\u003e are among his closest friends; \u003c\/span\u003e\u003cb\u003eDavid Nance\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJames Schroeder\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eKevin Donahue\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eBen Brodin\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eMichael Krassner\u003c\/b\u003e\u003cspan\u003e. 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To celebrate the 20-year anniversary of our label Jamaican Recordings and to mark the sad one year passing of the musical maestro reggae producer \u003c\/span\u003e\u003cb\u003eBunny \"Striker\" Lee\u003c\/b\u003e\u003cspan\u003e, the label has pulled together a brand new collection of some great Bunny Lee rhythms. The label started way back with initial meetings with Bunny Lee and a promise to keep his music available, out on the streets. He will be sorely missed but will live on through his extraordinary musical legacy and we hope to add to this by including this release to the stable of an unbeatable catalog.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLegendary record producer Bunny \"Striker\" Lee's vast selection of rhythms were ever present at any sound clash or dance worth talking about in the early to mid-1970s. Where the version found on the B-side of a single or special dub cut on acetates, would be played to win over the people and conquer the dance. Bunny Lee was the undisputed rhythm master and on this special release he is also the MC telling the crowd how it is and that any rival sound system should watch out as he has the rhythms that can reign supreme. The band cutting these timeless rhythms was a group of top Jamaican musicians Bunny had put together called \u003c\/span\u003e\u003cb\u003eThe Aggrovators\u003c\/b\u003e\u003cspan\u003e. The Aggrovators were a group of reggae musicians that usually featured \u003c\/span\u003e\u003cb\u003eCarlton \"Santa\" Davis\u003c\/b\u003e\u003cspan\u003e on drums playing alongside \u003c\/span\u003e\u003cb\u003eRobbie Shakespeare\u003c\/b\u003e\u003cspan\u003e on bass, with other musicians added like \u003c\/span\u003e\u003cb\u003eEarl \"Chinna\" Smith\u003c\/b\u003e\u003cspan\u003e on guitar and \u003c\/span\u003e\u003cb\u003eTommy McCook\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eVin Gordon\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eLennox Brown\u003c\/b\u003e\u003cspan\u003e added for horn arrangements. Keyboards and organ duties normally fell to musicians \u003c\/span\u003e\u003cb\u003eAnsel Collins\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eBernard \"Touter\" Harvey\u003c\/b\u003e\u003cspan\u003e. The band was named after singer \u003c\/span\u003e\u003cb\u003eEddie Grant\u003c\/b\u003e\u003cspan\u003e had repeated the phrase to Bunny Lee on one of his many trips to England, that such and such artist was giving him \"Aggro\". This was a term used in England in the 1970s by the Skinhead followers of reggae music. A term shortened from the word \"Aggrovation\", meaning trouble, fighting or making the situation worse. Bunny Lee was so taken with this term that on returning to Jamaica, not only did he name his group of musicians the \"Aggrovators\" but he also named his record shop situated at 101 Orange Street \"Agro Records\". Jamaican Records have compiled some great tracks recorded by this fantastic group of musicians. 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