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Also includes Greeting Card and full album download. A Very She \u0026amp; Him Christmas is a wonderful collection of holiday tunes from two of music's most beloved artists: Zooey Deschanel (She) \u0026amp; M. Ward (Him). Inspired by seminal holiday albums by the likes of The Carpenters, Vince Guaraldi, The Beach Boys, Elvis Presley and more, She \u0026amp; Him have created an intimate holiday recording of Christmas classics that helps bring new emotions out of old songs. Deschanel and Ward let the songs speak for themselves, oftentimes recording them with only acoustic guitar and vocals. Consistent in everything are the elements that have made She \u0026amp; Him one of the most loved bands of the last few years-Deschanel's soulful vocal delivery and Ward's impressive guitar work, both sounding as timeless as ever.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Christmas Waltz\u003c\/li\u003e\n\u003cli\u003eChristmas Day\u003c\/li\u003e\n\u003cli\u003eHave Yourself a Merry Little Christmas\u003c\/li\u003e\n\u003cli\u003eI'll Be Home for Christmas\u003c\/li\u003e\n\u003cli\u003eChristmas Wish\u003c\/li\u003e\n\u003cli\u003eSleigh Ride\u003c\/li\u003e\n\u003cli\u003eRockin' Around the Christmas Tree\u003c\/li\u003e\n\u003cli\u003eSilver Bells\u003c\/li\u003e\n\u003cli\u003eBaby, It's Cold Outside 1\u003c\/li\u003e\n\u003cli\u003eBlue Christmas 1\u003c\/li\u003e\n\u003cli\u003eLittle Saint Nick 1\u003c\/li\u003e\n\u003cli\u003eThe Christmas Song\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 673855042442\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Merge Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 11.4.22\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"She \u0026 Him","offers":[{"title":"Default Title","offer_id":45455623061702,"sku":"5177","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4119579-3204227.jpg?v=1768498507"},{"product_id":"our-love-cd","title":"Our Love [CD]","description":"\u003cp\u003eYou reach a point in life where the question of how to stay at the top of your game looms; the only real solution being, you change the game. Our Love, the new album from Caribou, is the sound of Dan Snaith doing just that.Our Love is formed around a mixture of digital pop production, hip hop-inspired beats, muted house basslines, and a love of shuffling garage that can be traced all the way back to the time of Start Breaking My Heart all of which are, of course, filtered through Dan s own unique perspective.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCan't Do Without You\u003c\/li\u003e\n\u003cli\u003eSilver\u003c\/li\u003e\n\u003cli\u003eAll I Ever Need\u003c\/li\u003e\n\u003cli\u003eOur Love\u003c\/li\u003e\n\u003cli\u003eDive\u003c\/li\u003e\n\u003cli\u003eSecond Chance\u003c\/li\u003e\n\u003cli\u003eJulia Brightly\u003c\/li\u003e\n\u003cli\u003eMars\u003c\/li\u003e\n\u003cli\u003eBack Home\u003c\/li\u003e\n\u003cli\u003eYour Love Will Set You Free\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 673855048826\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Merge Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.7.14\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Caribou","offers":[{"title":"Default Title","offer_id":45455626109126,"sku":"3422","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/2753617.jpg?v=1768498552"},{"product_id":"great-thunder-cd","title":"Great Thunder [CD]","description":"\u003cp\u003e\u003cspan\u003eOn September 7, Katie Crutchfield’s ever-shifting musical project Waxahatchee returns with the Great Thunder EP. Featuring a collection of songs written with now-dormant experimental recording group Great Thunder while Crutchfield was also writing the Waxahatchee albums Cerulean Salt and Ivy Tripp, the original recordings have mostly faded into obscurity. Unearthing and reimagining them with producer Brad Cook at Justin Vernon’s April Base studio in Wisconsin was a cathartic experience, she says. On the heels of last year’s critically acclaimed Out in the Storm, Crutchfield found herself looking to take a sharp turn away from the more rock-oriented influences of her recent records towards her more folk and country roots. “I would say that it is a complete 180 from the last record: super stripped-down, quiet, and with me performing solo, it’s a throwback to how I started,” writes Crutchfield. “Overall, the EP is a warm, kind of vibey recording.” Some of the songs on Great Thunder, like “Chapel of Pines” and “Singer’s No Star,” stayed the same and will be recognizable to those intensely familiar with Crutchfield’s catalog to date, while closer “Takes So Much” was built back up on piano from the bones of the original version, surprising even the songwriter: “Until then, I didn’t realize how beautiful this song was.” As Crutchfield entered April Base to record, she became ill but opted to forge on, beautifully stretching her voice to its emotional limits.\u003c\/span\u003e\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSinger’s No Star\u003c\/li\u003e\n\u003cli\u003eYou’re Welcome\u003c\/li\u003e\n\u003cli\u003eChapel of Pines\u003c\/li\u003e\n\u003cli\u003eYou Left Me with an Ocean\u003c\/li\u003e\n\u003cli\u003eSlow You Down\u003c\/li\u003e\n\u003cli\u003eTakes So Much\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 673855065120\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Merge Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 9.7.18\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Waxahatchee","offers":[{"title":"Default Title","offer_id":45455635185862,"sku":"9500","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3812482.jpg?v=1768498718"},{"product_id":"dans-boogie-iex-black-swirl-coke-bottle-clear-lp","title":"Dan's Boogie (IEX) Black Swirl\/Coke Bottle Clear [LP]","description":"\u003cp\u003eDan's Boogie is a breakthrough album for Destroyer, both in the sense that it makes moves that no Destroyer album to this point has made, and in the sense that, to record it, Bejar had to burst through a series of intentional and unintentional barriers to write the songs. Initially challenging himself to not write songs so the ideas would well up inside of him until they breached containment, the months following the completion of LABYRINTHITIS turned into one year then two, at which point Bejar gave himself a New Year's resolution to play the piano every day for an hour. That lasted about four days, but the songs Bejar credits as coming from that resolution-\"Cataract Time,\" \"Hydroplaning Off the Edge of the World,\" \"Bologna,\" and \"Dan's Boogie\" among them-are all-timer Destroyer songs across the vast spectrum Bejar and his collaborators have established for themselves: spectacle-laden pop epics, personal piano ballads, and smouldering works of mood that blur the lines between song and novel and cinema, each brimming with the urgency of a state secret in the mind of a tortured spy. Lead single \"Bologna\" is the most radical frame for this energy, as it's the first time Bejar wrote a song where he imagined himself as a supporting character. Taking lead is Fiver's Simone Schmidt, whose voice-tough and expressive, piercing through the murk of the scene-is a siren's call that haunts the album. The gravity of their voice pulls Dan's Boogie into order around a sense of impending doom, the way a fatale's promise of the unusual and the ecstatic dooms the principal character of an erotic thriller. \"Hydroplaning Off the Edge of the World\" is a delicious bit of contradiction, a peppy song that came out of the havoc Bejar was intentionally wreaking on himself-it's holiday cheeriness making the angst of it's lyrics go down smoothly until the song veers off the road. \"We are now entering a new phase,\" Bejar intones, introducing layers of guitar and synthesizer that considerably darken the palette as he alternates between singing and speaking. The lyrics and vocals are improvised, invented as Bejar recorded the demo in his garage-a manic stream-of-consciousness and simultaneously exquisite display of his songwriting mastery.Contradiction informs much of Dan's Boogie, the fog swirling around Bejar illuminated by the friction between competing truths and tastes, as when his interest in jazzy ballads runs aground on producer and bassist John Collins' interest in bands like Led Zeppelin and Scritti Politti. When Bejar told Collins that he was thinking of Sammy Davis Jr., the title track bloomed into being, Bejar adopting a Rat Pack swagger with almost delusional glee against a dreamy soundscape of soaring guitars, lush horns, jazz drumming, spaced-out synths, and, perhaps truest to how Bejar sees himself, plinking lounge piano. In terms of shaping sound, the centerpiece of Dan's Boogie may be \"Cataract Time,\" an eight-minute epic that ranks as some of the heaviest lyrics Bejar has ever written, and one of Destroyer's most musically intricate compositions. Borne aloft on an easygoing groove, Bejar's lyrics-\"a reckoning, a dressing down\" as he describes them-are transfigured, their melancholy tasting almost counterintuitively like hope. It's an intimate song that puts away Destroyer's usual urban fable milieu in exchange for bracing interiority, but it's lilting groove can see a future, one that Bejar and his band are eager to meet.It is, to use Bejar's phrase, the kind of song you make when you're up against it, when it seems as if the world is crashing down upon you. And therein lies the album's most radical shift: Where previous Destroyer albums were locked in combat with the world, Dan's Boogie dances with it, it's nine reveries coalescing into one long hustle. 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Okay in elevators, not great for dinner. On Caveman Wakes Up, Friendship's new album and second for Merge Records, the band's historically capacious definition of country music grows wider still. Shambolic guitars are offset by flute pads, bleary poetry is set against a Motown rhythm section, a song about Jerry Garcia and First Lady Betty Ford fades out with a drum solo, like if Talk Talk came from a dingy Philadelphia basement and was fronted by James Tate. Songwriter Dan Wriggins' ragged baritone cuts through eleven murky, swirling country-rock songs with profound lyrical substance and sincerity. Like an alarm clock incorporated into the edge of a dream, Caveman Wakes Up belongs equally to the conscious and subconscious mind, fraught with background, steeped in reference and experimentation, delivered casually and as a dire warning, dedicated, above all, to music's creative soul.Over the years, dedication has paid off. Friendship has become a kind of reverse supergroup, wherein the band itself and each individual member are located centrally in an increasingly prominent scene of young folk and country musicians and songwriters. Drummer Michael Cormier O'Leary leads the instrumental collective Hour and, along with bassist Jon Samuels, runs Dear Life Records, home to friends and peers who count Friendship as a major influence including MJ Lenderman, Florry, and Fust. (Samuels also plays lead guitar in MJ Lenderman and the Wind). Guitarist Peter Gill's band 2nd Grade records prolifically. Wriggins began writing the songs of Caveman Wakes Up on a downtuned classical guitar of Lenderman's and finished on a barely tuned piano in an apartment he shared with Sadurn's G DeGroot. In the summer of 2023, Wriggins had just left the Iowa Writers' Workshop, where his love for poetry and mistrust for the academic poetry world grew in tandem. A relationship fell apart, and Wriggins crashed for several weeks at Lenderman and Wednesday's Karly Hartzman's home in North Carolina, where he recorded the first demos of \"Resident Evil,\" \"All Over the World,\" and \"Love Vape.\" Wriggins returned to Philadelphia, and the band got to work on new ideas, finally tracking the album in five days with engineer Jeff Ziegler (Mary Lattimore, War on Drugs). Wriggins recorded vocals with Love the Stranger engineer Bradford Kreiger, and organ, violin (Jason Calhoun), and flute (Adelyn Strei) were recorded by Lucas Knapp in a West Philadelphia church.Caveman Wakes Up showcases Friendship's particular genius for visionary arrangement, indebted equally across generations to the folk-rock canon of Neil Young, Joni Mitchell, and Emmylou Harris, to indie stalwarts like Yo La Tengo and Merge labelmates Lambchop, to contemporaries like Lomelda and ML Buch. Several of the songs employ fade-outs, jokingly referred to in the lyrics of \"Love Vape,\" and there are other elements lifted from Motown and '70s ballads: locked-in drum patterns, bass intervals, sentimental string arrangements. Each reference is pushed past genre, swirling and repeating, into something new and squarely belonging to the Friendship sound. On \"Free Association,\" \"Artex,\" and \"Wildwood in January,\" the groove is established so that other sounds can come and go seamlessly; Mellotron patches, piano flurries and stabs, and clean guitar melodies, teeming textures disguised in unity. As a work of music production, Caveman Wakes Up is Friendship's most advanced yet, another testament to the band's devotion and care.Caveman Wakes Up is dreamy, luscious new growth for a band that has become an increasingly verdant oasis in the crescent of indie country civilization. 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The band-Spencer Tweedy (drums), Max Subar (guitar, pedal steel), Jason Ashworth (bass), Scott Daniel (fiddle), and Nolan Chin (piano, organ)-gelling around Casey Gomez Walker's voice and guitar. Last Missouri Exit is a collection of sharply drawn character studies, Gomez Walker's background in creative writing expressing itself in wry observation and a disarmingly easy sense of the lyric, the profound and profane tumbling out of songs like \"Bitter Root Lake\" with the weight of a confessional poem and the ease of a conversation between friends.The throughline from Case Oats' first show to their debut album is trust, in the songs and in their players. Resonating from the messiest chambers of the heart, Last Missouri Exit is a bruised affair, the band swelling around Gomez Walker as she describes coming of age in terms of being loyal to desperately flawed people and eventually, with some distance from home, being true to herself. The songs found their shape live, and initial recordings took place, as Gomez Walker recalls, \"Big Pink-style,\" in the basement of a house shared by Ashworth, Subar, and touring member Chet Zenor. \"We tracked these songs over three hot August days with our friends, just trying to capture the energy that existed between us.\" \"It was intentionally bare-bones,\" says Tweedy, who engineered the session with Ashworth and Subar and produced the album. \"We brought just enough stuff to the basement to be able to record. We were lucky to have played a lot of shows in the months leading up to the session, so we just played like we had been playing, no preciousness.\"That initial basement session is the home in which Last Missouri Exit grew up, serving both as place of origin and destination as Gomez Walker and Tweedy recorded the vocals in separate sessions at home. 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In a world that's arguably darker than the one that greeted Wild Loneliness in 2022 or What a Time to Be Alive in 2018, are any of us okay? \"It's always been the case that everyone is going through something that you may not be aware of,\" notes Mac McCaughan. \"This is currently more true than ever-but also the case that we are all going through some things together. In the face of that, what good is art and where is happiness found? (Spoiler alert: I don't know.)\" In seeking an answer, Songs in the Key of Yikes unleashes a sound that is triumphant and bright in the darkness, Majesty Shredding in overdrive. Lead single \"Is It Making You Feel Something\" sets the tone early with the band-McCaughan, Laura Ballance, Jim Wilbur, and Laura King-building an anthem out of the potential for joy, diving into slop-polluted waters (\"now fakes are faking everything \/ that once made your poor heart sing\") and emerging with a pearl. \"No Hope\" is similarly resilient, McCaughan's lyrics painting a crushing scene before entering it's titular refrain. He repeats the phrase nine times, pauses a beat, and transforms it's sentiment entirely, breaking the chant with the line \"and here we are singing.\" The lyric is sharp, at once a simple observation and a profound statement of being, the song's crushing nights and endless days no less so on it's account, but McCaughan's voice finds a certain sweetness in having endured, and continuing to do so. Paradoxically, the energy of Songs in the Key of Yikes borders on and sometimes spills into euphoria, as in \"Stuck in a Dream\" which emerges like a mirage-born oasis between \"Everybody Dies\" and \"Train on Fire,\" a full-sprint crowd pleaser suitable for pogoing in the pit. \"Care Less\" is a dark, comic mirror to that energy, a garage-y jam in which an acid-tongued McCaughan seeks refuge from the storm by pretending it's not raging right outside his door. This strategy doesn't work. Of course it doesn't. It's a song on a Superchunk album, and Superchunk albums are arguments against insularity, parties large enough to host everyone. This one, in addition to welcoming Laura King into the fold after two years as their touring drummer, features contributions from Rosali Middleman (\"Bruised Lung\" and \"Everybody Dies\"), Bella Quinlan and Holly Thomas of Quivers (\"Cue\"), and touring bassist Betsy Wright (\"Care Less\"). The album was engineered by Paul Voran (The Menzingers, Hurray for the Riff Raff) and Eli Webb, and mixed by Mike Montgomery (The Breeders, Protomartyr). Together, they reach no conclusions on what good art is in the face of crisis. They also make great art. 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Hotter than anything printed by a Hearst daily, the 12-song Versión Especial of Redd Kross’ Teen Babes from Monsanto—all art, no filler, direct from the source, pure from the tap—will be reissued by Merge Records on December 7. Available on CD or engraved on your choice of virgin black vinyl or limited-edition translucent pink Peak Vinyl, the album features specially designed packaging that allows you to choose between two different front covers with just a flip of the wrist! 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From the first note of it's propulsive opening track to the distorted cries of it's last, Something Soft feels antagonistic to the very concept of softness, sonically and thematically, taking an unapologetic approach to intersectional feminism, animal welfare, consumerism, and the struggle to find a place in a world lacking in empathy. What M(h)aol offers is catharsis, in two forms: the kind you get from being open with others, and the kind you get from righteously smashing some shit up.Effectively channeling rage and empathy is an act of resilience, and to make Something Soft, M(h)aol had to become especially resilient. Following their acclaimed debut Attachment Styles, M(h)aol's line-up changed, settling on the core trio of Constance Keane (drums\/vocals, she\/her), Jamie Hyland (bass\/vocals, she\/her), and Sean Nolan (guitar, he\/him). That process changed the band's approach to songwriting and performing, resulting in an unexpected breakthrough where many groups have folded. Something Soft features a more urgent sound wound tightly around Hyland and Keane's rhythm. On songs like \"Pursuit\" and \"Snare,\" Keane's vocals lock in on her drums, as if her words were stirred to life by her playing, issued directly from her body. Set against those respectively anxious and swaggering tracks, her voice occupies the space of an inner monologue narrating a tense walk home, and green room misogyny from a place of droll observance, a universal experience rendered in specific detail. Like it's predecessors Attachment Styles and the Gender Studies EP, Something Soft was recorded by Jamie Hyland. It is the most technically nimble of M(h)aol's recordings to date, with the band-joined by Pixie Cut Rhythm Orchestra's Sarah Deegan on bass-decamping to Dublin's Ailfionn Studio where they took advantage of the space and studio equipment to bring more nuance to their sound. The additional sessions and prowess behind the boards were a boon, but for a band used to operating under extreme time constraints, this presented an unexpected challenge: Could M(h)aol keep the sense of immediacy that had marked their music up to that point? Songs like \"DM: AM\" quickly dispelled that worry, blooming into life in 20 minutes from a drone Nolan was playing while Hyland set up her recording equipment, racing to capture the song once Keane and Deegan joined in. One of Something Soft's ghosting anthems, \"1800-Call-Me-Back,\" began as a joke that the band should write a football chant, but it became far more complex-the delicious balance of chaos and clarity they struck would have been impossible without time. \"I Miss My Dog\" is less off-the-cuff, but it's meditation on grief builds up at a breakneck pace, from feedback to Keane's drumming and singing to a spectacular conclusion that smothers that grief in bass and guitar, one of M(h)aol's greatest technical achievements to date. The Polish serves to highlight M(h)aol's roguish charms, making the intimate feel anthemic, using personal experience to detail the broader systems we live under. For those who've come to recognize themselves in M(h)aol's songs, listening to Something Soft is like jumping into a long-running chat thread, full of fury and humor. 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