{"title":"Joyful Noise Records \/l\/","description":null,"products":[{"product_id":"breaks-red-colored-vinyl-clear-vinyl-red","title":"Breaks - Red [Colored Vinyl] [Clear Vinyl] (Red)","description":"\u003cp\u003eOn their sixth long player The Breaks - their second for Joyful Noise Records - SUUNS find themselves lost in limbo. The trio of Ben Shemie, Joseph Yarmush and Liam O' Neill leans more zealously than ever into their pop instincts. Yet remarkably enough, with that same dauntless abandon, SUUNS have mined a more extreme sonic palette this time around, one that stretches far beyond their core fundamentals as a band The Breaks finds Shemie, O'Neill and Yarmush gleefully experimenting with loops, synths, samples and MIDI instruments like a post-millennial Tangerine Dream messing with downtempo triphop beats.  Forged between countless plane rides, road trips, van tours and text threads, The Breaks became a product of endurance and a lot of trial-and-error. It's a record composed in tight fissions of freedom, where spells of whispered intimacy - like on the stunning ballad \"Doreen\" - are allowed to branch out into the vast glacial dreamscapes of the album's majestic title track. It captures SUUNS at their most panoramic, curious and exuberant: a constant relay of being adrift and enlightened anew, geared up to eleven. And guess what: the wheels keep on spinning.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVanishing Point\u003c\/li\u003e\n\u003cli\u003eFish on a String\u003c\/li\u003e\n\u003cli\u003eRage\u003c\/li\u003e\n\u003cli\u003eRoad Signs and Meanings\u003c\/li\u003e\n\u003cli\u003eOverture\u003c\/li\u003e\n\u003cli\u003eWave\u003c\/li\u003e\n\u003cli\u003eDoreen\u003c\/li\u003e\n\u003cli\u003eThe Breaks\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 602309899035\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Joyful Noise Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 9.6.24\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Suuns","offers":[{"title":"Default Title","offer_id":45455675719878,"sku":"28004","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4358530-3204324.jpg?v=1768499230"},{"product_id":"necronomidonkeykongimicon-cd","title":"Necronomidonkeykongimicon [CD]","description":"\u003cp\u003eGoblin Cock is a band from beyond time, beyond space, beyond your naive concept of dimension in METAL. Since before your pathetic \"god\" had supposedly \"created\" you and your kind, Lord Phallus was hunkered in a cybertimeship\/fun dungeon skating the layers of what was considered \"true metal\" in all societies and in all generations. Eventually His Majesty realized that he really didnt care and launched a full-scale war against bland metal with and emphasis on ACTUALLY HAVING A GOOD TIME! \"Bagged and Boarded\" was the first assualt on your laughable 5 senses (Lord Phallus and his kind have 32), followed by the sonically intense \"Come With Me if You Want to Live\". Expect an unprecedented double whammy in the form of their upcoming LP, the protest album \"Necronomidonkeykongimicon\", and the future historic masterwork \"Lord Phallus and His Goblin Cock Present: Dragonfucker - A Cock Opera (Original Cast Recording)\", both available soon from Joyful Noise Recordings.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSomething Haunted\u003c\/li\u003e\n\u003cli\u003eMontrossor\u003c\/li\u003e\n\u003cli\u003eStewpot's Package\u003c\/li\u003e\n\u003cli\u003eYouth Pastoral\u003c\/li\u003e\n\u003cli\u003eFlumed\u003c\/li\u003e\n\u003cli\u003eBothered\u003c\/li\u003e\n\u003cli\u003eYour Watch\u003c\/li\u003e\n\u003cli\u003eThe Undeer\u003c\/li\u003e\n\u003cli\u003eStruth 1\u003c\/li\u003e\n\u003cli\u003eThe Dorse 1\u003c\/li\u003e\n\u003cli\u003eWorld Is Moving 1\u003c\/li\u003e\n\u003cli\u003eIsland, Island 1\u003c\/li\u003e\n\u003cli\u003eBuck\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 714270690310\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Joyful Noise Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 9.2.16\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Goblin Cock","offers":[{"title":"Default Title","offer_id":45455705899206,"sku":"46738","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3424009.jpg?v=1768499526"},{"product_id":"secret-lp","title":"Secret [LP]","description":"\u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eKeep the Boy Alive\u003c\/li\u003e\n\u003cli\u003eMy Drugs\u003c\/li\u003e\n\u003cli\u003eArbitrary High\u003c\/li\u003e\n\u003cli\u003eI Don't Mind\u003c\/li\u003e\n\u003cli\u003eAll Kinds\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 656605482613\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Joyful Noise Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.25.13\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Sebadoh","offers":[{"title":"Default Title","offer_id":45455750791366,"sku":"65499","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/2257996.jpg?v=1768500266"},{"product_id":"love-loss-and-auto-tune-lp","title":"Love, Loss, and Auto-Tune [LP]","description":"\u003cp\u003e\u003cspan\u003eIn 1970 the Southern soul music maverick Jerry Williams, Jr. made the most radical move of his career. Frustrated with music business politics Williams reinvented himself as Swamp Dogg, an irreverent anti-hero smashing the conventions of commercial R\u0026amp;B music. Swamp Dogg’s debut release Total Destruction to Your Mind featured a post-apocalyptic take on the Muscle Shoals’ sound, with lyrics inspired by the revolutionary politics and psychedelic drugs of the late ‘60s. The music on Total Destruction to Your Mind stood worlds apart from the formulaic pop tunes Williams started cutting in 1954 under the name Little Jerry, and Swamp Dogg hasn’t looked back since. Now, nearly fifty years after his debut release, Swamp Dogg stands on the precipice of another radical reinvention. His latest creation is titled Love, Loss, and Auto-Tune a nine song collection featuring production by Poliça’s Ryan Olson. Love, Loss, and Auto-Tune finds Swamp Dogg’s bluesy southern soul colliding head-on with 21st Century electronic music production techniques. The reference to Auto-Tune in the title is not incidental, the album’s sound is built around Swamp Dogg’s experimentation with the ubiquitous vocal processor. While Auto-Tune has become a fixture of the modern pop music landscape, this is Swamp Dogg’s first major exploration of the device. “Every time I listen to some new music that everybody thinks is the greatest thing since hot biscuits, it's full of Auto-Tune,” Swamp Dogg says. His use of Auto-Tune technology is not gratuitous. Like Kanye West on 808s \u0026amp; Heartbreak, Swamp Dogg utilizes the cold digital tone of Auto-Tune to convey a sense of emotional detachment during the album’s most anguished moments. \"The songs are about being lonely,” Swamp Dogg says of Love, Loss, and Auto-Tune. The feeling of loneliness is particularly palpable on the hauntingly beautiful “I’ll Pretend,” which features vocals from Justin Vernon. Swamp Dogg describes the song as a character study about “a guy sitting in a restaurant by himself losing his fucking mind because he’s hoping his woman is gonna walk by, but she's at a Ramada Inn somewhere fucking somebody else to death.\" Despite the record’s overriding theme of loss, Swamp Dogg’s warped sense of humor is still intact. Let’s remember that we’re talking about an artist who released a “greatest hits” album in 1976 filled entirely with new songs! Swamp’s comic side is evident on “$$$ Hunting,” which rolls out with a funky Zapp-like bounce. There’s also “Sex With Your Ex,” where Swamp Dogg extols the benefits of the song’s title theme over random bursts of feedback and noise. Love, Loss, and Auto-Tune is a gem, a unique and unpredictable moment in the life of a unique and unpredictable artist that some consider a national treasure. “I might be the only one,” Swamp Dogg says. “But I think Swamp Dogg is a national treasure.”\u003c\/span\u003e\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 714270692314\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Joyful Noise Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 9.7.18\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\u003c\/div\u003e","brand":"Swamp Dogg","offers":[{"title":"Default Title","offer_id":45455808659654,"sku":"97229","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3812446.jpg?v=1768501099"},{"product_id":"sonderlust-cd","title":"Sonderlust [CD]","description":"\u003cp\u003eSonderlust is an album forged through heartbreak. After his two previous studio albums and his String Quartet Live! release, Kishi Bashi was at a musical impasse. \"As I sat down to write songs last summer, I went to all my usual conduits of creation: violin loops, guitar, piano, and I came up with the musical equivalent of fumes\", says K Ishibashi. \"I tried to create orchestral pop recordings that I assumed were my forte, and in turn I found myself standing in front of a creative wall of frightening heights.\" At this very same moment of musical uncertainty, K's personal life was falling apart... He and his wife of 13 years had briefly separated and were struggling to keep their marriage together. In his own words, \"Touring and its accompanying lifestyle took a heavy toll on my soul and my family.\" As an outlet, K submerged himself in a new musical direction. Sonderlust emerged as a direct result of this personal struggle taking place at an artistic crossroads. With the help of producer Chris Taylor (Grizzly Bear), engineer Pat Dillet (Angelique Kidjo, David Byrne), and drummer Matt Chamberlain (Morrissey, Fiona Apple, of Montreal), Kishi Bashi has created his most personal and artistically adventurous work to date. \"This album is straight from my soul. I questioned everything about what it means to love and desire. 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In a sonic departure from the symphonic folk of his critically lauded 2019 LP Omoiyari-a career-defining body of work born from his intensive meditation on the mass incarceration of Japanese-Americans during World War II-the Seattle-born singer\/songwriter\/producer's fifth studio album encompasses everything from Brazilian jazz and '70s funk to orchestral rock and city pop (a Japanese genre that peaked in the mid-'80s). Informed by an equally kaleidoscopic mix of inspirations-the cult-classic sci-fi novel series Hyperion Cantos, the writings of 18th century enlightenment philosopher Immanuel Kant, a revelatory trip to ancient ruins on the island of Crete-Kantos ultimately serves as an unbridled exaltation of the human spirit and all it's wild complexities. During the earliest stages of creating songs for the album, Ishibashi's main intent was to return to his highly eclectic musical roots, in part by tapping into his jazz background and by delving into the dance-rock-leaning sensibilities he previously embraced as co-founder of Brooklyn-bred indie band Jupiter One. But not too long into the songwriting process, he stumbled upon an AI-equipped website capable of composing catchy song hooks based on a prompt-a turn of events that quickly catalyzed the existential inquiry at the heart of Kantos.Although his ruminations on AI, transhumanism, and humanity's troubled fate indelibly guided the making of Kantos, Ishibashi nonetheless views the album as \"less of a warning about this kind of hubris but more a celebration of the very characteristics that make us human: desire, passion, empathy, and love.\" \"If there's anything I want people to come away with when they hear this record, it's a feeling of excitement about the possibilities of human-created art,\" he says. \"Even as we're learning more about all the amazing things AI can do, I think humans will always be one step ahead in terms of our creativity and innovation. 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Channeling the hard-learned lessons of history, Omoiyari reflects the turbulent socio-political atmosphere of present day America. \"I was shocked when I saw white supremacy really starting to show it's teeth again in America,\" Kishi Bashi says. \"My parents are immigrants, they came to the United States from Japan post-World War II. As a minority I felt very insecure for the first time in my adult life in this country. I think that was the real trigger for this project.\" Kishi Bashi recognized parallels between the current U.S. adminis- tration's constant talk of walls and bans, and the xenophobic anxieties that led to the forced internment of Japanese-Americans in the months following the attack on Pearl Harbor. So he immersed himself in that period, visiting former prison sites and listening to the stories of survivors, while developing musical concepts along the way. The unique creative process behind Omoiyari has been documented in a film scheduled for release in early 2020. \"I didn't want this project to be about history, but rather the importance of history, and the lessons we can learn,\" Kishi Bashi reflects. \"I gravitated toward themes of empathy, compassion, and understanding as a way to overcome fear and intolerance. But I had trouble finding an English title for the piece. Omoiyari is a Japanese word. It doesn't necessarily translate as empathy, but it refers to the idea of creating compassion towards other people by thinking about them. I think the idea of omoiyari is the single biggest thing that can help us overcome aggression and conflict.\" The strong conceptual elements of Omoiyari are driven by Kishi Bashi's captivating musical score. Stepping away from his past loop-based production model, he embraced a more collaborative approach when recording, and for the first time included contributions from other musicians, such as Mike Savino (aka Tall Tall Trees) on banjo and bass, and Nick Ogawa (aka Takenobu) on cello. Kishi Bashi's spectacular trademark violin soundscapes are still an essential component of his sound, but the focus of Omoiyari is centered squarely on it's songs. While the theme of Omoiyari is rooted in 1940s America, the album's message is timeless. 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Pumped full of booze and adrenaline, our heroes offer up 20-minutes of sax skronks, brick-heavy distortion, and punchy riffs. It’s a packed party full of four guitars, three drummers, two synths, bass, harmonica, electronic sax and loads of singers and silliness. 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CocoRosie has been a project consistently at the musical vanguard, influencing countless musicians while inspiring and creating refuge for the \"criminal queers\" of the world. Above all, CocoRosie has been a conduit for irrepressible artistic self realization. 'Little Death Wishes' is as open and tenderhearted as anything they've ever created. The songs tell a kaleidoscopic story of the generational hardship of women and the shattered realities of their lives, the precarious and precious nature of being human, of being done wrong by love, and a final wish to be unbroken. It boils everything CocoRosie down to it's most brutal essence: turning pain into knowledge, sisterhood into polemic, trash into treasure, and recalcifying kitsch and cliché into fresh truths. The duo's 8th long player exists in it's own musical lexicon. It is both primordial and tawdry, a rich bricolage of dusted-over pop culture signifiers that the sisters contort into their own sense of temporality. Contributing to the avant garde, yet unbeholden to contemporary trends, CocoRosie collects musical detritus from other times, which they fashion into their own baroque, theatricalized creations. With the sisters' hands deep in every layer of their music, each song on 'Little Death Wishes' feels transportative and transformative. \"CocoRosie has been the center of our lives for such a long time now,\" says Bianca. In those years, the sisters have been infantilized and revered, fetishized and mirrored, misogynized and adored; at times willfully misunderstood by the press-which has failed to reduce the group into mere perverse whimsy. 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The self-released LP received only modest attention initially, but the project would go on to defy all expectations, gradually attracting a significant cult audience of loyal fans. But defying expectations is standard operating procedure for El Ten Eleven. Seriously, who would expect two instrumentalists to create such a large and complex sound? Thanks to inventive arrangements and a masterful use of looping, Dunn (bass\/guitar) and Fogarty (drums) developed a pulsating sound full of atmospheric intensity. They've also crafted an incredibly durable career, and the duo credit the ongoing interest in their debut album as the foundation for that success. The music of El Ten Eleven has been embraced by fans of many genres - from math rock, to jazz, to lo-fi hip-hop. The duo's sound is sharply evocative in mood and feeling, yet simultaneously abstract and meditative. The combination of these qualities has stimulated the imagination of the group's fans, and gives space for listeners to assign their own value and meaning to the sounds. \"I'm aiming for emotional impact when I come up with songs,\" Dunn explained. \"Sometimes it's technically interesting but it doesn't make me feel anything. But I don't want music that's interesting. 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After his two previous studio albums and his String Quartet Live! release, Kishi Bashi was at a musical impasse. \"As I sat down to write songs last summer, I went to all my usual conduits of creation: violin loops, guitar, piano, and I came up with the musical equivalent of fumes\", says K Ishibashi. \"I tried to create orchestral pop recordings that I assumed were my forte, and in turn I found myself standing in front of a creative wall of frightening heights.\" At this very same moment of musical uncertainty, K's personal life was falling apart... He and his wife of 13 years had briefly separated and were struggling to keep their marriage together. In his own words, \"Touring and its accompanying lifestyle took a heavy toll on my soul and my family.\" As an outlet, K submerged himself in a new musical direction. Sonderlust emerged as a direct result of this personal struggle taking place at an artistic crossroads. With the help of producer Chris Taylor (Grizzly Bear), engineer Pat Dillet (Angelique Kidjo, David Byrne), and drummer Matt Chamberlain (Morrissey, Fiona Apple, of Montreal), Kishi Bashi has created his most personal and artistically adventurous work to date. \"This album is straight from my soul. I questioned everything about what it means to love and desire. 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When it dropped in 2008, Alopecia not only marked WHY?'s evolution from a sonically collaged mostly solo project to a live-recorded powerhouse band of badass multi-instrumentalists. It also minted a genre of one: wryly written, poignantly posed, simultaneously swaggering and heart-rending song-rap that jangles like folk, bursts like psych-rock, and sways like chamber pop. To this day, there is no other group in the known universe that sounds or feels like WHY? does on Alopecia. 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On a global scale, you had the collapse of the Soviet Union and it's Warsaw Pact satellites (Sputnik's Down!). Hundreds of millions of people were thrown to the wolves of economic chaos and misery, and the Cold War that had provided the defining framework for understanding the world over the previous half century suddenly evaporated. Hapless theorists were left to speculate about \"the end of history,\" even. Confusing! At the local level it was a time when one could sit down with one's father as he watched NASCAR on TV and hear \"Natural One\" by my underground music friends the Folk Implosion - their song inescapably employed as bumper music before the next commercial break. Also confusing!One gets the sense it was a little confusing for The Folk Implosion's John Davis and Lou Barlow, too. They were in the middle of recording Dare to Be Surprised, the follow-up to their 1994 debut album, Take A Look Inside, when it happened. The KIDS stuff - the handful of songs and instrumental tracks they'd contributed to the soundtrack of the now infamous Harmony Korine\/Larry Clark film - had been something of a lark, but it was while recording it at Boston's venerable Fort Apache that they met Wally Gagel. A happy accident: Gagel happened to be the house engineer on duty the day they showed up, but they found in him someone whose general sensibilities, and, critically, enthusiasm for new wave, matched their own.The results marked a shift from earlier Folk Implosion efforts. The partnership between Lou Barlow, already an indie-rock veteran with two of the era's most influential bands in Dinosaur Jr. And Sebadoh amongst his credits, and John Davis, the erstwhile librarian whose skeletal solo work paired elliptical guitar figures with lyrics that evoked the language poets, seemed at first like an opportunity to get silly with it in ways that wouldn't have sat quite right with their other projects.What came out of Fort Apache was different: mannered, moody, dubby even (they sampled Erik Satie, for crying out loud!). Lacking the budget to go back to the proper studio that the KIDS gig had afforded them, the Folk Implosion settled instead on Gagel's small recording space in Boston's South End. There were rules, rules born from frank conversations. No chords. No strumming. No indie rock! They whiled away afternoons in the park writing lyrics, trading lines. And over a year of episodic sessions, a weekend here, a few days there, an album came together. When \"Natural One\" blew up it could've changed the calculus - the opportunity was there to scrap what they'd been working on and start over with major-label money - but they elected instead to stay the course, confident in the process.It seems a bit of a shame from this remove that Dare to Be Surprised was destined to live in the shadow of the KIDS soundtrack's success, but the '90s were a weird time, and it was sometimes hard to recognize things for what they were. 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He's talking about \"Maria 63\", the closing track on Tropical Fuck Storm's sophomore LP Braindrops. The song takes aim at the once-marginalized alt-right conspiracy theories that now seem to be a driving force behind the rise of fascism in global politics. \"It may be the most stupid song ever written,\" Liddiard jokes. He's wrong, \"Maria 63\" is emblematic of Tropical Fuck Storm's keen ability to mine the extreme edge of pop culture's periphery for potent musical and conceptual spice. Tropical Fuck Storm were formed around 2017 in the city of Melbourne, Victoria along Australia's south-eastern coast. The band released their debut long-player A Laughing Death in Meatspace on Joyful Noise Recordings in 2018. Each of the band's four members bring considerable experience to the group. Liddiard and Fiona Kitschin were part of the long-running and critically-acclaimed act The Drones, while Erica Dunn and Lauren Hammel have performed in a variety of well-received projects. Perhaps it's that wealth of rock and roll experience that allows Tropical Fuck Storm to so expertly deconstruct and distort the genre's norms. \"Everything we do, we try to do it in a weird way. The whole album is full of weird beats, and just weird shit everywhere,\" Liddiard explains. He cites Doc at the Radar Station-era Captain Beefheart as a key sonic touchstone, and Braindrops certainly shares the Captain's penchant for pounding abstract grooves. Tropical Fuck Storm have achieved a uniquely off-kilter sound on Braindrops. Liddiard partly credits this to the group's use of unconventional equipment, \"We use lots of techno gear to make rock and roll because rock and roll gear is boring, and all sounds like Led Zeppelin.\" Liddiard's own description of Tropical Fuck Storm's sound is nearly as interesting and evocative as the music itself. He describes the LP's title track as \"Fela Kuti in a car crash,\" and talks of creating a sonic atmosphere that \"sounds like chloroform smells\" for \"Maria 62\". A recurring theme on Braindrops concerns the various ways the human brain can be manipulated and controlled for exploitative gain. The bracing \"The Planet of Straw Men\" is a study of human behavior inside the social media comments section, a place where otherwise reasonable people are seen gleefully engaging in psychotic chest-thumping rhetoric. Listening to Braindrops is a jarring and exhilarating experience, full of pulsating grooves, dissonant experimentation, and unsettling dystopian plot-lines. 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Contributing to the avant garde, yet unbeholden to contemporary trends, CocoRosie collects musical detritus from other times, which they fashion into their own baroque, theatricalized creations. With the sisters' hands deep in every layer of their music, each song on 'Little Death Wishes' feels transportative and transformative. \"CocoRosie has been the center of our lives for such a long time now,\" says Bianca. In those years, the sisters have been infantilized and revered, fetishized and mirrored, misogynized and adored; at times willfully misunderstood by the press-which has failed to reduce the group into mere perverse whimsy. 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It's a good list, sure, but what's most remarkable about it is that, in the course of a dozen years or so, Fair made music with all of them in one form or another. Jad Fair has been prolific for half a century now, long before the Internet could create a simultaneous and seemingly eternal archive of everything someone with his predilections made. He's been involved in several hundred titles, at least, many of them out-of-print on tiny labels that do not exist anymore. In fact, one of those collaborations that Fair made in the '90s-Strange But True, with Yo La Tengo-has been hard to find, despite it's stateside release on October 20th 1998, by Matador Records. For the first time, the album is being reissued on vinyl by Joyful Noise and Bar\/None.By the time Fair played a party with Yo La Tengo in the mid-'90s, they were all friends, fans, and collaborators, having worked on or released records together. When Fair suggested they all head into the studio, the trio bit. The result, Strange But True, is as wonderful, varied, and wild as some enormous lawn of native grasses. 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The result, Strange But True, is as wonderful, varied, and wild as some enormous lawn of native grasses. 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The orchestral exuberance that once defined his sound had begun to fade, leading him to question his artistic purpose. Out of that exhaustion came Sonderlust(2016), a deeply personal reinvention marked by vulnerability, analog warmth, and spiritual honesty. Stepping away from ornate violin loops, Ishibashi embraced vintage synths and stripped-down textures, creating a record that shimmered with soulful, human energy. Songs like \"Say Yeah,\" \"Honeybody,\" and \"Ode to My Next Life\" captured both the ache and joy of self-discovery, grounding his lush imagination in lived experience.Now, with it's 10th anniversary reissue, Sonderlust stands as a pivotal work-where Kishi Bashi's dazzling playfulness gave way to introspection and connection. The new edition features refreshed artwork by original cover artist Ssin Kim, symbolizing growth and renewed perspective. \"When you're younger, the world can feel overwhelming,\" Ishibashi reflects. \"As you age, you start to see your place in it.\" What began as an album of heartbreak has become a timeless meditation on empathy, creativity, and the enduring beauty of being human.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRunning\u003c\/li\u003e\n\u003cli\u003eSoul Woman\u003c\/li\u003e\n\u003cli\u003eGolden Sun\u003c\/li\u003e\n\u003cli\u003eYou'll Never Know\u003c\/li\u003e\n\u003cli\u003eFlow\u003c\/li\u003e\n\u003cli\u003eSpeak to Me\u003c\/li\u003e\n\u003cli\u003ePick Up the Pieces\u003c\/li\u003e\n\u003cli\u003eWhen All Is Said and Done\u003c\/li\u003e\n\u003cli\u003eSeasons\u003c\/li\u003e\n\u003cli\u003eI Thank You\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 602309900595\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Joyful Noise Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 2.27.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Kishi Bashi","offers":[{"title":"Default Title","offer_id":45459642187974,"sku":"85440797","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4484909-3506321.jpg?v=1768588688"},{"product_id":"pre-order-wendy-eisenberg-cd","title":"Wendy Eisenberg [CD]","description":"\u003cp\u003eWendy Eisenberg has spent the past decade as a fixture of independent music and anartist of inspired multiplicity. As a singer-songwriter, improviser, and virtuoso guitarist, the coordinates of their artistry are ever-shifting, from art-rock to jazz to blisteringfree improv and eloquent folk. On catalog highlights including 2020's Auto and the2024 free-jazz sprawler Viewfinder, they've made a signature of ambition. Afterspending the past five years experimenting in different bands, genres, and creativechallenges, and following a period of self-confrontation that they liken to a personalexorcism, Eisenberg has arrived at a milestone. The poetic and formally daring folksongs of Wendy Eisenberg comprise their most certain vision yet. The songs began to take root in 2020 when Eisenberg moved from WesternMassachusetts-where they'd lived for a few years after attending Boston's NewEngland Conservatory-and relocated to Brooklyn. Longing for the pastoral feel oftheir former home, Eisenberg gravitated towards the warm sounds of country and folk.\"The songs are genuinely folk songs, \" Eisenberg says of their record. \"The productionis less about seeing what the guitar might be capable of and more accepting theinherent strangeness of the languages it has spoken for the last century and a half.\" On Wendy Eisenberg, the artist creates their own paradigm with a tight-knit circle oflongtime friends and collaborators-including bassist Trevor Dunn, drummer RyanSawyer, and co-producer Mari Rubio (more eaze), who handled pedal steel, synth, andstring arrangements-recording often at Eisenberg's home and bringing a gorgeousensemble texture to each note. \"I was finally around people who accepted me, \"Eisenberg says. \"Many of the songs on this record were written in that new feeling. Iwanted it to be incredibly comforting as it describes some massive changes inself-understanding and self-regard. It's about relief.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTake a Number\u003c\/li\u003e\n\u003cli\u003eMeaning Business\u003c\/li\u003e\n\u003cli\u003eOld Myth Dying\u003c\/li\u003e\n\u003cli\u003eAnother Lifetime Floats Away\u003c\/li\u003e\n\u003cli\u003eIt's Here\u003c\/li\u003e\n\u003cli\u003eVanity Paradox\u003c\/li\u003e\n\u003cli\u003eCurious Bird\u003c\/li\u003e\n\u003cli\u003eThe Ultraworld\u003c\/li\u003e\n\u003cli\u003eWill You Dare\u003c\/li\u003e\n\u003cli\u003eThe Walls\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 602309900786\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Joyful Noise Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.10.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Wendy Eisenberg","offers":[{"title":"Default Title","offer_id":45494271803590,"sku":"106042370","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4490827-3521984.jpg?v=1769802657"},{"product_id":"pre-order-wendy-eisenberg-red-colored-vinyl-red","title":"Wendy Eisenberg [Red]","description":"\u003cp\u003eWendy Eisenberg has spent the past decade as a fixture of independent music and anartist of inspired multiplicity. As a singer-songwriter, improviser, and virtuoso guitarist, the coordinates of their artistry are ever-shifting, from art-rock to jazz to blisteringfree improv and eloquent folk. On catalog highlights including 2020's Auto and the2024 free-jazz sprawler Viewfinder, they've made a signature of ambition. Afterspending the past five years experimenting in different bands, genres, and creativechallenges, and following a period of self-confrontation that they liken to a personalexorcism, Eisenberg has arrived at a milestone. The poetic and formally daring folksongs of Wendy Eisenberg comprise their most certain vision yet. The songs began to take root in 2020 when Eisenberg moved from WesternMassachusetts-where they'd lived for a few years after attending Boston's NewEngland Conservatory-and relocated to Brooklyn. Longing for the pastoral feel oftheir former home, Eisenberg gravitated towards the warm sounds of country and folk.\"The songs are genuinely folk songs, \" Eisenberg says of their record. \"The productionis less about seeing what the guitar might be capable of and more accepting theinherent strangeness of the languages it has spoken for the last century and a half.\" On Wendy Eisenberg, the artist creates their own paradigm with a tight-knit circle oflongtime friends and collaborators-including bassist Trevor Dunn, drummer RyanSawyer, and co-producer Mari Rubio (more eaze), who handled pedal steel, synth, andstring arrangements-recording often at Eisenberg's home and bringing a gorgeousensemble texture to each note. \"I was finally around people who accepted me, \"Eisenberg says. \"Many of the songs on this record were written in that new feeling. Iwanted it to be incredibly comforting as it describes some massive changes inself-understanding and self-regard. It's about relief.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTake a Number\u003c\/li\u003e\n\u003cli\u003eMeaning Business\u003c\/li\u003e\n\u003cli\u003eOld Myth Dying\u003c\/li\u003e\n\u003cli\u003eAnother Lifetime Floats Away\u003c\/li\u003e\n\u003cli\u003eIt's Here\u003c\/li\u003e\n\u003cli\u003eVanity Paradox\u003c\/li\u003e\n\u003cli\u003eCurious Bird\u003c\/li\u003e\n\u003cli\u003eThe Ultraworld\u003c\/li\u003e\n\u003cli\u003eWill You Dare\u003c\/li\u003e\n\u003cli\u003eThe Walls\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 602309900663\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Joyful Noise Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.10.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Wendy Eisenberg","offers":[{"title":"Default Title","offer_id":45494272131270,"sku":"106122061","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4490828-3521983.jpg?v=1769802662"},{"product_id":"pre-order-nowhere-faster-yellow-lp","title":"Nowhere Faster [Yellow]","description":"\u003cp\u003eWe like to believe our lives can be shaped into stories-clean arcs, legible meaning-but life refuses the outline. Instead, it moves bluntly and without apology, indifferent to our sense of order. El Ten Eleven's Nowhere Faster, the duo's 16th release, was forged within that unease. Across eight tracks, it considers not just nothingness but velocity-the strange urgency that propels us forward even when the destination remains unclear. The 33-minute album slows just long enough to pose the harder questions: what are we running from, and what do we think we can outrun?Nowhere Faster emerged from Kristian Dunn and Tim Fogarty's longest break from touring and recording in their 23 years together, though \"break\" is something of a misnomer. Dunn's famously restless creative pace never slowed. Instead, he began writing for not one but two drummers, handing Fogarty one of the most demanding challenges of his career. The record also marks a first for the band, weaving real strings and piano throughout, deepening the palette of what is already one of their most layered works.Nowhere Faster is not a retreat into nostalgia. El Ten Eleven remains invested in risk and reinvention. The record continues to center Fogarty's propulsive drumming and Dunn's bass-driven experimentation: the first four tracks (\"side A\") feature electric bass, while the latter half (\"side B\") shifts to acoustic bass processed through pedals, subtly altering the album's emotional weight.Ultimately, Nowhere Faster is an album about reckoning-about time, endurance, and the uncertainty of how long a band, or a life, can last. We are all fumbling toward finitude. The question is not whether we'll arrive, but what we want to hear on the way there. What will we dance to as the ground begins to shift beneath us? If nothing else, it may sound something like Nowhere Faster.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eUncanny Valley Girl\u003c\/li\u003e\n\u003cli\u003eBJÖRK's Alarm Clock\u003c\/li\u003e\n\u003cli\u003eAwhile Ago, Alone\u003c\/li\u003e\n\u003cli\u003eLast Night in the Kitchen\u003c\/li\u003e\n\u003cli\u003eNowhere Faster\u003c\/li\u003e\n\u003cli\u003eYou Against You\u003c\/li\u003e\n\u003cli\u003eFormerly Fresh\u003c\/li\u003e\n\u003cli\u003eSo It Goes\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 602309900748\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Joyful Noise Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.10.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"El Ten Eleven","offers":[{"title":"Default Title","offer_id":45499533656262,"sku":"108160519","price":27.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4492319-3523574.jpg?v=1770051583"},{"product_id":"guess-for-thrills-lp","title":"Guess For Thrills [LP]","description":"\u003cp\u003eA \"pop savant of the first order\" (AllMusic) who \"projects an outsize persona from the stage\" (Pitchfork), Mike Adams has created a singular homespun entertainment universe since 2011's Oscillate Wisely. He's an appealingly confident showman on his cable access-style variety show (The Mike Adams Show), and an affably humble Hoosier touring musician on his podcast (Tan Van Tour Talk). As Mike Adams at His Honest Weight, he's a hooky songwriter and multi-instrumentalist with a knack for embodying contradictions. The latest in a prolific stream of recordings, Guess for Thrills gets deep, blending 70's-inspired pop songs with synthesizer-driven atmospherics and emerging with a wild and searching album that treats ambiguity as a place of discovery.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSTS\u003c\/li\u003e\n\u003cli\u003eBasement Spacemen\u003c\/li\u003e\n\u003cli\u003eCrystal Crumb\u003c\/li\u003e\n\u003cli\u003eEvery Choice the Highest Mountain\u003c\/li\u003e\n\u003cli\u003ePyramid Schemes\u003c\/li\u003e\n\u003cli\u003eMLM\u003c\/li\u003e\n\u003cli\u003eGolden Rule Breakdown\u003c\/li\u003e\n\u003cli\u003eStung Tongue\u003c\/li\u003e\n\u003cli\u003eHalf Fool\u003c\/li\u003e\n\u003cli\u003eEverything Nonstop\u003c\/li\u003e\n\u003cli\u003eTrigger Trap\u003c\/li\u003e\n\u003cli\u003eGrass-Green Weeds\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 602309897550\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Joyful Noise Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.20.23\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Mike Adams \u0026 His Honest Weight","offers":[{"title":"Default Title","offer_id":45560751718598,"sku":"1204","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4242266-3035240.jpg?v=1771961537"},{"product_id":"future-teenage-cave-artists-color-vinyl-lp","title":"Future Teenage Cave Artists (Color Vinyl) [LP]","description":"\u003cp\u003eOver the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival-these hopeful heroes are Deerhoof's inspiration. These are the Future Teenage Cave Artists. Faithful listeners will recognize a certain alienated but transformational figure who shows up in Deerhoof songs going back to their earliest days. Take the narrator of \"The Perfect Me\" from 2007's Friend Opportunity: an orphaned but eager soul attempting to entice other wounded wanderers who might lack a home, a clan, a family, a history. But on Future Teenage Cave Artists our protagonist is threatened by terror lurking around every corner. Add to that the fact that our 'cast-off queen,' our 'maniac,' our 'terrible daughter' is watching themselves get orphaned in real time, by an older generation in power that would seemingly rather see life on Earth destroyed than let go of archaic systems of capital. Like a lot of the music they have released over the last quarter-century, the Deerhoof of Future Teenage Cave Artists (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of 'r\u0026amp;b' and 'classic rock' and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is it's intimacy-the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies.In this sense, FTCA inverts the formula of Deerhoof's last album, Mountain Moves, which invited a wide community of collaborators to band together in an open celebration of solidarity. The new one, on the other hand, is borne of self-isolation and deprivation. It's the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside it's own cocoon, attempting metamorphosis.At times FTCA indeed sounds as if the band had in fact retreated to the caves, recording with unreliable electricity and insecure food supplies. Guitar pedals malfunction mid-take, reverbs chop off mid-tail, drum fills get abandoned mid-phrase. Some musical moments, as gorgeous and touching as anything Deerhoof has ever written, stop short for no apparent reason, giving way to queasy smudges of sound. Many of the instruments and voices were recorded with nothing more than the built-in mic of a laptop. Harsh splices make no effort to hide the seams. Hard panning leaves many of these imperfections weirdly naked in the mix. In this way FTCA joins a long and storied lineage of pop records that expose the insular and reclusive nature of the recording process itself. Like Let It Be, There's a Riot Goin' On, or Sister Lovers, this record is it's own \"making-of.\" Absence is a central character in the drama. For every heartwarming melody or pile-up of parade drums or shard of loopy guitar noise, there is musical acknowledgement of the toll that constant threat of cataclysm takes on mental health. These are sonic and lyric funerals for a way of life that is never coming back. There are raucous toasts to the departed in high style, as sassy and spasmodic as anything they've done-see Side A; there are moments of profound sadness, maximally small, descending into madness, shrieking with loss-see Side B. All funerals remind us that life goes on, somehow. In that time after the end times, it's not only the food systems, energy systems, and political systems that will have to be rebuilt. Myths, stories, and rituals we use to make sense of the world are up for revision, too. The music of Future Teenage Cave Artists asks: How does one adapt-mentally, emotionally, physically, spiritually-to an increasingly threat-filled and rapidly shifting world? Might our networks of mutual aid be our best example of civilization? Our DIY basement shows the real high art?One answer might be found in the two-and-a-half decades that this improbable combination of personalities and backgrounds we call Deerhoof has spent on stage, cultivating agility, quick-wittedness, and a loose approach to improvisation. This is a record about resilience and the persistence of hope in a future beyond any reasonable justification for it. 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That was true for El Ten Eleven's Kristian Dunn. When a beloved family member passed, Dunn found his own reflections on life emerging in the music he composed. Those expressions led to the creation of Tautology - a sonic meditation on the arc of human life, composed in three parts. Over the course of three discs, Tautology is, in Dunn's words, \"a representation of life from the teenage years, through middle-age, until the end of life.\" The sounds on the album echo Dunn's own experiences, veering from aggressive metallic riffs to blissful ambient soundscapes. And while there are shared melodies and harmonies through all three records, each one has it's own distinct qualities: Tautology I, which represents adolescence, is angsty, aggressive and occasionally depressive; Tautology II is head-noddy and mid-tempo, and represents middle age; while Tautology III, quiet and ambient, represents one's golden years. The music on the first disc, Tautology I, has a heavier sound that might surprise longtime El Ten Eleven fans. \"I wanted to represent what my teenage years were like, when I was full of testosterone and depression, \" says Dunn. \"When you're a teenager everything feels so grandiose and dramatic.\" The album's second movement, Tautology II, reflects Dunn's current state. \"I'm middle-aged now, and this is the happiest I've ever been. I think that comes across in the music. This record is the one that sounds the most like the El Ten Eleven people are used to.\" For the final chapter, Tautology III, Dunn composed a transcendent set of ethereal music inspired partly by the loss of a dear family member. \"I don't know what it's like to be elderly. But my grandmother-in-law Frances McMaster was a very inspiring person. She died recently, and I was thinking about her a lot. She was really smart. She lived into her early nineties and she wrote her fourth book when she was eighty-eight. I'd like to be like her if I make it to that age.\"Tautology is not a typical rock album, and El Ten Eleven are not a typical rock band. For seventeen years the instrumental duo of Dunn (bass\/guitar) and Tim Fogarty (drums) have flourished outside the accepted norms of rock orthodoxy, releasing eight full length albums and four EPs, and performing over 750 live shows. Utilizing inventive arrangements and a masterful use of looping, El Ten Eleven create a sound much bigger than the sum of it's parts. Most first-timers to an El Ten Eleven show are stunned that the band is a duo. It's a refreshing sight and a palette whose boundaries the band have explored for unexpected additions to their sound. Tautology finds Dunn and Fogarty pushing this sound into new territory, experimenting with a range of textures not heard on previous El Ten Eleven releases. Joyful Noise Recordings will digitally release each of Tautology's three discs, individually and in sequential order, beginning May 1st, with a physical 3xLP release on September 18, 2020. Dunn explains there's no right or wrong way to listen to Tautology, suggesting that a deep dive into the full project will yield rewards. \"I think someone could listen to any one of the discs by themselves and have a really great experience-even if they didn't know about the others. But if they do want to go deeper, I think there will be a lot of interesting stuff to discover. It works symbolically and it all connects. 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