{"title":"Alternative Rock","description":"\u003cp\u003eAlternative rock spanning grunge, new wave and post-punk, from genre-defining classics to modern alternative releases.\u003c\/p\u003e\u003cp\u003eShop Alternative Rock on vinyl, CD and cassette at Paladin Vinyl, including new releases, reissues and catalog favorites.\u003c\/p\u003e","products":[{"product_id":"dry-cleaning-stumpwork-white-booklet-vinyl","title":"Stumpwork (White, Booklet) [Vinyl]","description":"\u003cp\u003e\u003cstrong\u003eLP White Vinyl \/ Gatefold Jacket \/ Printed Innersleeve \/ 16 Page Booklet\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003eLess than eighteen months after the release of their debut album New Long Leg, Dry Cleaning return with their sophomore album entitled Stumpwork. 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Since 2000, when Linkin Park debuted on the Billboard 200 with HYBRID THEORY, no other artist has had more top 10 singles on the Alternative chart and, with the release of their latest album, LIVING THINGS, which reached #1 in over 20 countries, no other band has achieved more #1 albums this century.\u003c\/p\u003e\r\n\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003e\n\u003cspan class=\"aec-tracknum\"\u003e1\u003c\/span\u003e Keys to the Kingdom\u003c\/li\u003e\r\n\t\u003cli\u003e\n\u003cspan class=\"aec-tracknum\"\u003e2\u003c\/span\u003e All for Nothing (Feat. 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Bass phenom Les Claypool and his cohorts have previously Frizzle Fried, Sucked, and Sailed The Seas Of Cheese. Now, it seems, they have been to the Punchbowl, and have lived to tell its Tales. If you could take an element of Doctor Seuss, add some Fishbone and a bit of Tom Waits, you'd probably get something very strange, totally unlike Primus--but probably the nearest thing possible. They have harnessed the all-mighty powers of weirdness, and have made them their own: \"It's alright,\" they say, \"don't fear the worm.\"\u003cbr\u003ePrimus' strength lies in their ability to mix and mask the frivolousness that comes from their peculiarity with seriously dangerous music. This is loud funk, heavy funk, driving, grooving, smelly funk. Your body will move, your brain will smile. The threesome can sound like a singular voice or a multitude of synchronous twists. Each member is a stunning instrumentalist. 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The songs were recorded live with almost no overdubs. All but two songs feature entirely live vocal takes, leaving Adrianne‚Äôs voice suspended above the mix in dry air, raw and vulnerable as ever. Where U.F.O.F. layered mysterious sounds and effects for levitation, Two Hands grounds itself on dried-out, cracked desert dirt. Anybody who has borne witness to Big Thief in the wild will find songs they recognize here. Much of the album‚Äôs tracks (‚ÄúThe Toy‚Äù, ‚ÄúThose Girls‚Äù, ‚ÄúShoulders‚Äù, ‚ÄúNot‚Äù, ‚ÄúCut My Hair‚Äù) have been live staples for years. Two Hands has the songs that I‚Äôm the most proud of; I can imagine myself singing them when I‚Äôm old,‚Äù says singer\/songwriter Adrianne Lenker. With raw power, intimacy, and honor, Two Hands folds itself gracefully into Big Thief‚Äôs impressive discography. 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In 2017, Costello staged a concert tour in which he re-imagined the songs from that LP, and while that may or may not have put those tunes and their style back into his mind, 2018's Look Now certainly is an extension of the mature and literate pop songwriting that he first fully embraced in that material. Look Now often feels like a cross between Imperial Bedroom and Painted from Memory, Costello's 1998 collaboration with Burt Bacharach, and not just because Bacharach co-wrote three tracks with Costello. (Another pop tunesmith in the classic tradition, Carole King, also helped compose one of the tunes, \"Burnt Sugar Is So Bitter.\") Look Now isn't rock \u0026amp; roll so much as it's pop that blends the craft of classic Brill Building tunes of the '60s with the narrative maturity of classic Broadway musicals and the sort of ballads that were once the purview of classic jazz vocalists. If you're the sort of Costello fan who lives in hope that he's going to make another This Year's Model or Blood \u0026amp; Chocolate someday, Look Now will not be your cup of tea. But if you're in the mood for a set of world-class songs dealing with grown-up themes and performed with nuance and a master's touch, you could hardly do better. As a vocalist, Costello's phrasing and ability to inhabit a character has rarely been more assured, so much so that he sings a few songs from the point of view of a female protagonist and makes them work (including \"He's Given Me Things\" and \"Unwanted Number,\" the latter written for the film Grace of My Heart). The arrangements are artful and evocative, with subtle applications of strings and backing vocalists and pianist Steve Nieve once again reminding us why he's been one of Costello's most valued musical partners since the late '70s. 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They may have gained some pop smarts, but a casual listen to the dissonant guitar solo of \"Cut Your Hair\" proves that the seeds planted with 1989's first SLAY TRACKS EP have come to their logical fruition. Stephen Malkmus and co. created an album that neither short-changed their status as prominent indie noise-makers, nor stunted their growth as a musical ensemble. Thus, though the inspired eccentricity is toned down--an instrumental tribute to fellow Stockton-ite Dave Brubeck being the closest thing to their early quirkiness--this is the most consistent set of stubbornly catchy songs ever. From the odd tunings and drunken AC\/DC riffing of \"Silence Kit\"--with its somber lyric of leaving the urban life behind--to the epic closing of \"Fillmore Jive\"--which begs us to say \"good night to the rock \u0026amp; roll era\"--CROOKED RAIN is an album of short stories, full of irony, wit, and hooks.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFormat Detail: LP standard Jacket\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Rock\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Pavement","offers":[{"title":"Default Title","offer_id":42461571842246,"sku":"01BAR6-CRCV-00","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/products\/Pavement-CROOKED-RAIN-CROOKED-RAIN_Y0b7j.jpg?v=1779550323"},{"product_id":"collective-soul-collective-soul-hints-allegations-and-things-left-unsaid-vinyl","title":"Collective Soul - Hints Allegations And Things Left Unsaid [Vinyl]","description":"Collective Soul - Collective Soul - Hints Allegations And Things Left Unsaid [Vinyl] \u003cbr\u003eBarcode: 888072168398 \u003cbr\u003e\u003cbr\u003e\u003cp\u003eDESCRIPTION\u003cbr\u003eVinyl LP pressing. Formed in Georgia in the early '90s with principal songwriter\/lead vocalist Ed Roland at the helm, Collective Soul delivered some of the best melodic modern rock hits of the '90s. Their '94 debut album Hints, Allegations And Things Left Unsaid, includes the breakthrough #11 Billboard hit \"Shine,\" \"Breathe\" and \"Wasting Time\" and more.\u003c\/p\u003e\u003cp\u003e \u003cbr\u003eTracksCredits\u003cbr\u003e1 Shine\u003cbr\u003e2 Goodnight, Good Guy\u003cbr\u003e3 Wasting Time\u003cbr\u003e4 Sister Don't Cry\u003cbr\u003e5 Love Lifted Me\u003cbr\u003e6 In a Moment\u003cbr\u003e7 Heaven's Already Here\u003cbr\u003e8 Pretty Donna\u003cbr\u003e9 Reach\u003cbr\u003e10 Breathe\u003cbr\u003e11 Scream\u003cbr\u003e12 Burning Bridges\u003cbr\u003e13 All\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Rock\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Collective Soul","offers":[{"title":"Default Title","offer_id":42461579411654,"sku":"O2O640-AHOX-00","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/products\/Collective-Soul-Hints-Allegations-And-Things-Left-Unsaid_gsmLs.jpg?v=1779550359"},{"product_id":"cat-power-wanderer-vinyl","title":"Wanderer [Vinyl]","description":"\u003cp\u003eCat Power's Chan Marshall releases albums so infrequently that when they arrive, they're an event -- and the six years between Sun and Wanderer were certainly eventful for her. The day Sun was released, Marshall nearly died; eventually, she was diagnosed with an immune disorder that hindered her ability to tour in support of the album. She then discovered she was pregnant with the son she gave birth to in 2015, and creative differences with her longtime label Matador led her to release Wanderer on Domino Records. These are the kind of life-changing events that, with any luck, make a person stronger. If Wanderer is anything to go by, Marshall must be unstoppable. She packs the enormity of her experiences into songs that are fearless in their starkness, and a far cry from Sun's sleek electro-rock. This time, Marshall focuses her production and arrangements on her voice, which has become the instrument her songs have always needed. A little raspier than before and as remarkably emotive as always, it's so full of living that no flashy accompaniment is needed on songs such as the title track. One of the album's briefest and most beautiful moments, \"Wanderer's\" heart-melting harmonies grace a song that could be an eternal lament handed down for generations. Throughout the album, Marshall feels completely in command of the folk, blues, and soul that have lurked around the margins of her music since the beginning and made up the heart of The Greatest. Even as she says goodbye on almost every track, from \"Me Voy\"'s sultry regret to the serenely devastating \"Horizon,\" Wanderer returns to sounds that are in her blood. She subtly modernizes these traditions while tapping into their timeless power: \"Black\" is another in her series of songs about friends who have died, and the way Marshall contrasts folk- and blues-based mythologizing with a very modern streak of survivor's guilt makes it one of her most spellbinding. \"Robbin Hood,\" with its vicious cycle of literal and spiritual theft, could have been written in the shadow of the Great Depression or the Great Recession. Conversely, Marshall also incorporates 2010s touches in ways that sound classic and, above all, genuine. On \"Woman,\" she and Lana Del Rey bid a liberating goodbye to others' expectations, their voices combining in an evocation of the spirit of womanhood (although Marshall's confession \"The doctor said I was not my past\/He said I was finally free\" is utterly, poignantly personal). Similarly, she hones Rihanna's \"Stay\" -- already an unusually naked and free-flowing pop ballad -- to its most soul-baring parts, and its spine-tingling beauty is another testament to the strength it takes to be so vulnerable. As tender as it is uncompromising, Wanderer is exactly the album Marshall needed to make at this point in her career and life. 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Frequently, these are the achievements of an act ready to rest on its laurels, but instead of viewing this point in their career as a plateau, Interpol use it as a springboard to push harder, and rock louder, than they have in some time. To that end, they worked with an outside producer for the first time since 2007's Our Love to Admire, enlisting Dave Fridmann to shape the album's sound. Considering his ornate work with Mercury Rev and the Flaming Lips, he may seem like an odd choice, but he helps Interpol shed some unnecessary musical baggage on Marauder. Instead of allowing the infinite takes and undos that digital recording provides, Fridmann had the band track the album directly to tape. It was an inspired choice: Marauder's live energy and slight imperfections are invigoratingly human (the album's anti-technology stance even extends to \"Party's Over,\" which touches on social media's destructive loop of exhibitionism and voyeurism). Interpol attack these songs with an aggression that matches their early days, and the hallmarks of their music -- Daniel Kessler's alternately chiming and prickly guitars, Sam Fogarino's pounding rhythms, and Paul Banks' equally cryptic and emotive words and vocals -- feel reinvigorated, particularly on quintessentially Interpol moments such as \"Number 10,\" \"NYSMAW,\" and \"Complications,\" a spiky, loping rocker that sounds exactly like its refrain of \"sidling up the street.\"\u003cbr\u003eIn its words as well as its music, Marauder finds the band embracing its flaws. For the first time, Banks' lyrics reflect his own life as he personifies the destructive tendencies of his younger years as Marauder's titular, shape-shifting character. On the swaggering single \"The Rover,\" he's a charismatic doomsday cult leader; on \"Stay in Touch,\" he's a heartbroken lover who must face up to his mistakes and losses (\"Marauder breaks bonds\/Marauder stays long\"). Combined with the album's raw sound, this willingness to reveal allows Interpol to be cathartic and poignant in ways they might not have pulled off when they were younger. There's a sense of consequences running through Marauder that gives more impact to their dour stylishness, whether on \"If You Really Love Nothing,\" a rejection of nihilism set to Fogarino's loping, R\u0026amp;B-inspired rhythms, or on \"It Probably Matters,\" which crystallizes the feeling of realizing what's been lost just a moment too late. On every song, it sounds like there's more at stake for the band than there has been in many years. For Interpol, embracing their veteran status doesn't mean a slide into complacency; if anything, it's the opposite. Marauder doesn't need to be qualified in terms of the band's former successes -- on its own terms, it's one of the richest albums of Interpol's career. ~ Heather Phares\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat Detail: LP standard Jacket\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Rock\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Interpol","offers":[{"title":"Default Title","offer_id":42461591634118,"sku":"IS06CU-YSCM-00","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/products\/Interpol-Marauder_nqcFf.jpg?v=1779550431"},{"product_id":"courtney-barnett-double-ep-a-sea-of-split-peas-vinyl","title":"DOUBLE EP: A SEA OF SPLIT PEAS [Vinyl]","description":"\u003cp\u003eThe first album from Australian singer\/songwriter Courtney Barnett isn't a traditional full-length. Sea of Split Peas is in fact two EPs tied together to create a full body of work, and it's a testament to her talented songwriting that the track list flows almost seamlessly from her breakthrough 2013 EP How to Carve a Carrot Into a Rose into her 2012 release, I've Got a Friend Called Emily Ferris. Barnett's greatest asset is her down-to-earth lyrical simplicity, which transforms what would otherwise be a mundane day or story into a tale of intrigue and significance. Obvious standout track \"Avant Gardener\" is typical of Barnett's dry wit as she explains her unsuccessful attempt at gardening, which results in a panic attack and the realization that she struggles with some of life's simplest tasks as she muses, \"I'm not that good at breathing in.\" Her poetic words are set to a soundtrack of psychedelic-leaning guitar wails and chugging slacker-rock chords, which provide a freewheeling accompaniment to her narration. There is of course more to Barnett than her storytelling, and the churning melodies of \"History Eraser\" and the excitable \"David\" both indulge in a few organ blasts, piano twinkles, and rambling riffs that flare into the odd guitar solo. The difference between the two EPs is slightly obvious when the studio polish of 2013's Carve a Carrot Into a Rose -- which makes up the first half of the album -- breaks into the lo-fi sounding I've Got a Friend Called Emily Ferris. The slight change of pace is heard in the unfurling tracks \"Are You Looking After Yourself\" and \"Porcelain,\" which revel in their simplicity, and Barnett herself admits that this release was never intended to be noted as a full-length album, and was simply an exercise in collecting her work onto one disc. 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Either way, it resulted in a 20-song blue-eyed soul tour de force, where Costello doesn't just want to prove his love, he wants to prove his knowledge. So, he tries everything, starting with Motown and Northern soul, then touching on smooth uptown ballads and gritty Southern soul, even finding common ground between the two by recasting Sam \u0026amp; Dave's \"I Can't Stand Up (For Falling Down)\" as a careening stomper. What's remarkable is that this approach dovetails with the pop carnival essayed by Armed Forces, standing as a full-fledged Costello record instead of a genre exercise. As it furiously flits through 20 songs, Costello's cynicisms, rage, humor, and misanthropic sensibility gel remarkably well. Some songs may not quite hit their targets, but that's part of the album's charm -- it moves so fast that its lesser songs rush by on the way to such full-fledged masterpieces as \"New Amsterdam,\" \"High Fidelity,\" and \"Riot Act.\" Get Happy!! bursts with energy and invention, standing as a testament to how Costello, the pop encyclopedia, can reinvent the past in his own image. 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