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Engineer Bryce Goggin, who has worked with Malkmus since Crooked Rain, Crooked Rain, and Ben Collette, Phish’s longtime engineer at The Barn, were also part of the crew.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhile the idea of the guy from Phish and the guy from Pavement sitting around with Guerilla Toss, congenially assembling sandwiches from random foodstuffs dug up from the depths of a studio fridge, might seem absurd, it also makes total sense. Because really, if there’s any band that serves as the natural bridge between slacker punks who saw Pavement way before you did, wild\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e-eyed wooks who’ve seen Phish more times than you ever will, and even the eccentrics in ’90s drip following former GT tourmates Primus—it’s Guerilla Toss. A band so imaginative and unapologetically themselves, they’re basically the real-life manifestation of a utopian, post-snob world where all musical ideas are worthy of expression and everyone is welcome.\u003cbr\u003e\u003cbr\u003eYou’re Weird Now powers this message. Guerilla Toss’ fifth album and second for Sub Pop is a hugely creative and joyful statement about the joy of creativity. With You’re Weird Now Guerilla Toss reclaim the word “weird” for everyone brave enough to let their freak flag fly and stay true to their artistic vision no matter what—a way riskier act than it’s ever given credit for, and one that requires a certain amount of serene self-confidence that it takes time and effort to cultivate and sustain.\u003cbr\u003e\u003cbr\u003eSerene self-confidence defines You’re Weird Now. In many ways, it’s Guerilla Toss at their most quintessential. The energy is still high, but there’s a new clarity behind it, with each musical choice crafted for maximum impact. Drummer Peter Negroponte half-jokingly calls the album “Guerilla Toss’s Greatest Hits that didn’t exist until now”, and honestly, it rings true. “As a band, we’re always trying to reinvent ourselves,' he says. “But with this record, instead of asking what we haven’t tried, because we’ve done a lot of crazy stuff, we asked, what have we done that’s the strongest? And how can we build on that? Let’s dig into our own musical history and try to make the best parts even better.”\u003cbr\u003e\u003cbr\u003eThe record opens with 'Krystal Ball,' a charging, feel-good pop anthem featuring an industrial breakdown and a boingy-sproingy hook so catchy, it feels impossible you haven’t already lost your mind to it at some DIY festival, shouting along with Carlson as she declares, 'I’m so sorry! I came to party!' Next comes 'Psychosis Is Just a Number,' a no wave, skronk anthem about staying present in the chaos, giving post-punk Pylon meets The Contortions, and a healthy obsession with the No New York Compilation produced by Brian Eno. A standout moment arrives with 'Red Flag to Angry Bull,' which builds to a campfire sing-along-worthy outro featuring Malkmus and Carlson duetting over a chatty, classically Phish-y (there’s really no better word for it) solo from Anastasio. The band notes that the humble Anastasio was both shocked and honored when asked to contribute, proof that even music legends can feel like outsiders deep into their careers. The resulting cacophony of voices is triumphant and joyful, underscoring music’s power as a mode of expression and connection—communication at its purest and most free-flowing.\u003cbr\u003e\u003cbr\u003eIf it’s trendy now for rock-adjacent bands to add ambient, electronic, bubblegum, jungle, and dance elements into their music, it’s worth remembering that Guerilla Toss has been doing the genreless thing from the start, and they’re still doing it on You’re Weird Now, an impeccably stacked “14-layer cake” of musical ideas, to quote Carlson. Take the ice-cream-for-breakfast sugar rush of “Life’s a Zoo,” a breathless song about overstimulation that itself gleefully overstimulates by cramming a million sonic hairpins into its snappy run-time, everything sewn together with a zippy chiptune hook that’ll pixelate your brain. Negroponte notes that the song has so many disparate influences that Malkmus mentioned the impossibility of pinpointing a single one. “That’s winning,” he says proudly.\u003cbr\u003e\u003cbr\u003eMalkmus’ laid back production style allowed GT the space to trust their own instincts, a lesson that Carlson found very meaningful. “His incredibly relatable down to earth approach to music and trusting yourself as an artist had a massive effect on this album and myself as a musician,” she says. “Working with Malkmus, Bryce Goggin, Trey Anastasio, touring with Primus—all of that made me realize that what I’m doing is not wrong. The work is clear, important, and necessary. It's not always easy or clear in direction or purpose, but creating, making, performing music is vital to my life, and a healthy earth.”\u003cbr\u003e\u003cbr\u003e“These people have been doing this forever, and they've internalized that they are musicians and their artistic choices are right for them and they believe in them,” she continues. “It’s really just realness and being true to yourself—whatever that means for you.”\u003cbr\u003e\u003cbr\u003eThe band hopes the message of You’re Weird Now will resonate not only with music heads but anyone who struggles with feeling weird in a world where it will always be hard to be different. At the end of the day, it’s all about the spirit of punk lunch: there’s room for everyone because music is for everyone. “Everyone loves and appreciates music,” says Carlson. “If you don’t like music, you’re kind of an asshole.” That’s not weird—that’s just true.\u003c\/span\u003e\u003cspan\u003e \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\u003eKrystal Ball 02:46\u003c\/li\u003e\n\u003cli\u003ePsychosis Is Just a Number 03:18\u003c\/li\u003e\n\u003cli\u003eCEO of Personal \u0026amp; Pleasure 03:04\u003c\/li\u003e\n\u003cli\u003eLife’s a Zoo 03:37 video\u003c\/li\u003e\n\u003cli\u003eRed Flag to Angry Bull 04:55 video\u003c\/li\u003e\n\u003cli\u003ePanglossian Mannequin 05:10\u003c\/li\u003e\n\u003cli\u003eDeep Sight 03:37\u003c\/li\u003e\n\u003cli\u003eWhen Dogs Bark 02:46\u003c\/li\u003e\n\u003cli\u003eCrocodile Cloud 02:57\u003c\/li\u003e\n\u003cli\u003eFavorite Sun 05:07\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 098787164527\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Sub Pop\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 9.12.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Guerilla Toss","offers":[{"title":"Default Title","offer_id":45455638659270,"sku":"15682","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/418467303199_1000.png?v=1768498777"},{"product_id":"news-of-the-universe-lp","title":"News Of The Universe [LP]","description":"\u003cp\u003e\"I was in a dream, but now I can see that change is the only law.\"With a credo adapted from science fiction author Octavia E. Butler, an album title from a collection of metaphysical poetry, and an expansion in consciousness brought on by personal crisis, guitarist and songwriter Shana Cleveland learns to embrace a changing world with unconditional love on News of the Universe, the new full-length from California rock band La Luz.News of the Universe is a record born of calamity, a work of dark, beautiful psychedelia reflecting Cleveland's experience of having her world blown apart by a breast cancer diagnosis just two years after the birth of her son. It's also a portrait of a band in flux, marking the first appearance for drummer Audrey Johnson and the final ones from longtime members bassist Lena Simon and keyboardist Alice Sandahl, whose contributions add a bittersweet edge to a record that is both elegy for an old world and cosmic road map to a strange new one.But is there any band in the world more suited to capturing the chaos of change in all it's messy beauty than La Luz? Formed by Cleveland in 2012, La Luz is beloved for their ability to balance bedlam and bliss, each new record another fine-tuning of the band's mix of swaggering riffs with angelic vocals borrowed from doo-wop and folk; a band so reliably great that it makes the huge step forward in confidence and sheer musicality that is News of the Universe all the more formidable. Cleveland, also a writer and painter, has developed into a truly original songwriter with her own canon of haunted psychedelia. Yet if Cleveland has spent years writing songs about ghosts, what lurks in the shadows of News of the Universe is nothing less than death itself. \"There are moments on this album that sound to me like the last frantic confession before an asteroid destroys the earth,\" says Cleveland. The powerful sense of openness that permeates News of the Universe is at least partially due to the fact that it is a record made entirely by women-from the performing, writing, and producing all the way through to the recording, engineering, and mastering. Working with producer Maryam Qudos (Spacemoth), the all-female environment allowed Cleveland to feel safe tapping into difficult places and expressing hard emotions women are socialized to suppress. Unashamedly vulnerable, unabashedly feminine, and undeniably triumphant, News of the Universe is another knockout record from a band so reliably great that it has perhaps led people to overlook how pioneering La Luz really are: women of color in indie music forging their own path by following their own artistic star into galaxies beyond current musical trends, always led by an earnest belief in the cosmic power of love and a great riff. 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You've got to say it with the trademark Welsh lilt and pay due homage to this inimitable band's origins in the renowned hit factory of Caldicot, South Wales. Do that, and you're about right with how to summarize a group who've released ten singles, two albums, two EPs, three things nobody knew how to describe, and an album under a different band's name, all since 2021, and while playing 200+ gigs a year.Initially comprising the songwriting core of Sam Willmett (vocals\/guitar) and Tilly Harris (vocals\/bass) with Dan Matthew (drums), The Bug Club started plying their trade in 2016. They were signed by UK label Bingo Records in Autumn of 2020. BBC 6 Music's Marc Riley was an early champion, hammering the single, booking the band in for a session as soon as it was allowed, and rightfully praising songwriters capable of singing the whole alphabet in a two-minute song and making it work. 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Hot Hot Heat's classic debut album, filled with smart, energetic, dance-punk hits, returns to vinyl with this fully remastered LP edition. Following closely on the heels of their critically acclaimed Knock Knock Knock EP, Make Up the Breakdown is Hot Hot Heat's first full-length, recorded with Jack Endino at Vancouver, BC's Mushroom Studios. Make Up the Breakdown delivered on the promise hinted at on the EP. 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The band combined English-inspired noisy shoegaze fuzz with scrappy US indie rock and classic '60s-style pop songwriting. A killer single on Slumberland and non-stop touring grabbed the attention of the indie-rock cognoscenti of the day, and, following a heated courtship involving both dinner AND dessert, Velocity Girl signed a contract on a car hood in Hoboken, New Jersey, making Sub Pop their home. In 1992 the band began work on their debut album, Copacetic, at Easley Studios - once home base to the Bar-Kays and other classic soul bands - in Memphis with Bob Weston (Volcano Suns, Shellac) at the helm, and then mixed the album with Weston in Chicago. While the album had strong songs - pop tunes like \"Audrey's Eyes,\" \"Pop Loser,\" and \"Living Well\" alongside ambitious explorations like \"Pretty Sister\" and \"Here Comes\" - the band had little experience with production and lacked the skills to \"drive the boat\" in the studio. As a result, the album turned out to be a rather stripped-down affair, lacking the lushness of their prior recordings. To the band's ear it was jarring, and they soon realized this wasn't the record they hoped to make. Bob Weston had done exactly what was asked of him and captured the sounds, but the band didn't do it's part to articulate a clear vision. But the band's slot in the studio was over, and Polvo had just showed up to work on their album, so off Velocity Girl went to shoot the video for \"Audrey's Eyes.\" Copacetic came out in 1993 and people seemed to like it just fine, but within the band there was a sense of disappointment to the point where most members couldn't stand to hear the record.Between then and now, the band learned a lot about recording, and Archie Moore developed a career in audio work, and the band finally decided to revisit Copacetic. After extensive digging, the 2\" tape reels appeared in Jim's ex-wife's mother's house, and in the spring of 2023 Archie began working on a remix.Song by song the new mixes emerged just as the band envisioned them. Soaring vocals from Sarah (who studied opera in college), chiming lead guitar, juicy fuzzed out rhythm guitars and clear pounding drums. The pop songs are much poppier. The sonic blasts are more powerful, and the record hangs together as a cohesive document that flows from song to song. The approach was not to make a 2024 sounding record but rather to go back to the 1992 mindset and create the record the band should have made then. The result, UltraCopacetic (Copacetic Remixed and Expanded), is an exciting alternate history of Copacetic. 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There's one thing Forth Wanderers want to make clear as they prepare to release their third album The Longer This Goes On: \"We're not back,\" guitarist Ben Guterl says emphatically. It's perhaps an unexpected sentiment to pair with the band's first album since they parted ways seven years ago, but the band insists it's an honest answer-they came together to record the ten intricately constructed gems that make up this new record, and they're still figuring out what being in Forth Wanderers means to them. Listening to these songs, each a glittering celebration of vocalist Ava Trilling's urgent and intuitive lyrics and the band's natural musical chemistry, though, it's hard to feel like there's much of anything left unsaid. Filled with spit-shined melodies, chiming vocal harmonies, and slinky, slanted rhythms, the album is more expansive than just a return to form. The band isn't afraid to take the scenic route to a hook, layering instrumental flourishes to fill in the empty spaces, creating room for Trilling's haunting range, or repeating a riff or a lyric until it becomes a Zen koan. On The Longer This Goes On, Forth Wanderers sound more self-aware and self-assured than ever before. Just don't call it a comeback. The road to The Longer This Goes On began in a Brooklyn coffee shop in the summer of 2021. There, Guterl and Trilling met for the first time since Forth Wanderers' dissolution in 2018. The three years they'd been apart had deflated some of the pressures the band felt when they were touring their previous music: \"We all felt free to mess around and have fun,\" Guterl says. Reconnecting with bassist Noah Schifrin, guitarist Duke Greene, and drummer Zach Lorelli made playing feel \"the best it had between us since we had started the band. It felt like we were in high school again.\" The band reimagined the way they were used to working. \"This is the first time where a lot of the music was formed organically,\" Schifrin explained. \"All five of us really contributed to the writing process in ways that we hadn't before in the past,\" Guterl added. The resulting album, produced under the watchful eye of Dan Howard, captures the band at their most present and unburdened, creating their sound in real time for the very first time. The lyrics are packed with confessionals broad enough to make anyone lost in the mess of an uncertain romantic limbo feel understood, yet so precisely written that it must have clearly come from lived experience. This is exactly what made Forth Wanderers both so universally relatable and specifically felt. On The Longer This Goes On, they've deepened that ability to pull at potent threads of romantic ennui with minimalist lyrics and lush instrumentation. Forth Wanderers aren't sure what's next-they're not sure if they'll continue to record new music or if they'll ever perform these songs live. These recordings, then, are ten fleeting yet invaluable impressions of the time spent as a band; rekindling of friendships between high school buddies whose dreams catapulted them into the spotlight before they were old enough to drive; songs that capture the uncertainty of the future as much as their music cements their own self-confidence in the present. 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Their sound is still defined by sparse drums, locked-in bass, blistering guitar, and nonchalant, yet assured vocals, but from the first notes of \"Sincerely Yours\" you'll immediately notice that Networker sounds much cleaner and more \"HI-FI\" than their prior two albums, Deluxe (2016) and Multi-task (2017). The departure in fidelity suits the new record and allows the listener to enjoy the nuances of their meticulous arrangements. Don't worry, the riffs of Gang of Four and Wire are still present, but the production is more lush and the harmony is even more expansive. Despite nods to the sounds of the ’70s and ’80s what comes through is a record fully rooted in the here and now. Thematically, this is apparent on the title track \"Networker\" taking a candid snapshot of the “digital you” aspect of life in the age of the internet. The otherwise fun romp “Skeleton Key” also acknowledges the “direct message and obsessive” side of social media with lines like “if you don't like what you see, the pretty face on the screen, scroll on by...” Networker was written half between tours and half during recording sessions. The band, Philip Frobos on bass\/vocals and Frankie Broyles on guitars\/drums\/keys, returned with longtime collaborator Nathaniel Higgins to the studio in South Georgia where they also recorded Multi-task and most recent single \"Delicacy.\" In this case, the “studio” is a cabin near Vienna, GA (pronounced Vye-anna) that was built by Frankie Broyles’ great-grandparents in the 1940s. The band completed four sessions between November 2018 and April 2019. Omni hit their stride in the cabin with songs such as \"Moat,” which cruises along at a nice mid-tempo clip with sounds that are maybe piano or maybe the “behind the bridge” strings of a Jaguar a la Sonic Youth or This Heat. \"Blunt Force\" provides a nice contrast to some of the more upbeat cuts, getting jazzy with it’s less traditional arrangement and psychedelic outro. Overall, Networker is simultaneously fun, catchy, and contains some truly impressive musicianship. This combo is especially hard to pull off as bands that are great players often don’t have great or memorable songs. Omni and Nathaniel Higgins have done a stellar job of reigning in their diverse influences into a cohesive record by curating their sounds into a tight package that leaves you just on the cusp of understanding where the band is coming from, while still feeling like you’re hearing something totally fresh. While their earlier records had more of a “post-punk” sound, Networker is an amalgamation of the best sounds of the ’70s and ’80s, all arranged with (mostly) guitars, bass, and drums for our contemporary age, and it really works! There are hooks everywhere, vocal and instrumental, that will leave you humming along, even during the first listen. 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The stark and reverberant title track opens the album with “a fighting spirit,” says Hoop, serving as an anthem to push through any obstacle and put forth your very best work. And she has unequivocally done that here, with an album of stunningly original songs--minimalist yet brimming with energy, emerging from a wealth of life experience, great emotional depth, and years of honing the craft of singing. As riveting as it is reflective, the album, produced by Blake Mills (Fiona Apple, Alabama Shakes), is a fresh debut of sorts for Hoop, as the first of her solo records made outside of Tony Berg’s Zeitgeist Studios where she and Mills were mentored. Says Hoop, “Blake is so utterly musical and emotionally intelligent in his expression. I wanted to see what we could do, just he and I out from under Tony’s wing.” Mills pushed her to strip away layers, keeping it as close to the live experience as possible, using whole live takes and working very quickly. “It's still covered in embryonic fluid, for lack of a better way to put it,” says Hoop. However fast the work, Memories Are Now covers a great deal of ground, showcasing every edge and curve of Hoop’s captivating voice, with sounds and themes ranging from the mythic to the deeply intimate. She sings of the religion that weighs heavily on her past and the world, of the imagination of myth, of the cruel nature of life and love. The defiance that permeates Memories Are Now is both a product and necessity of a career that has been independently driven and self-funded from the beginning. “All of my successes have been won on the grassroots level, with handshakes and hugs from great people who believe in me,” says Hoop, more than a decade into her career and with new paths to forge. As she sings in the title track, “I've lived enough life, I've earned my stripes. 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Her songwriting has always found her as a keen-eyed observer, a deeply empathetic and thoughtful storyteller with a skill for probing memory, heartbreak, and unhealed trauma, a shroud of syncopation or off-kilter guitar taking a song somewhere quietly prodigious. Her last solo album, the critically-lauded Head of Roses, took on heartbreak from a dualistic perspective, following a winding thread of intuition into the unknown and into healing. Her new album, The Life You Save, takes that a step further; put simply, it's the most honest, intimate and personally revealing record of Wasner's career. As heart-wrenching as they are hopeful, it's twelve tracks delve the depths of addiction and codependency, inherited and experienced trauma, and the process of finding peace in the face of others' suffering. The Life You Save is resonant, unflinchingly exposed - like a missive from the eye of a storm. 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She has become one of modern Greece's most popular musical exports, with three sophisticated, playful pop albums rendered with international élan. After her Sub Pop debut, Up and Away, in 2022, she catapulted beyond three million monthly Spotify listeners. That success was a blessing, but Stella sometimes found herself pining for the slower pace of her youth. That longing is the thread that loosely binds together her fifth album, the entrancing Adagio. Borrowing it's name from the term for music that's meant to be played slowly, Adagio is a pop record that feels like a very warm blanket, it's nylon-string guitars and featherlight percussion swaddling it's listeners for three minutes at a time. Written and recorded over the span of five years, with a consortium of international collaborators including !!!'s Rafael Cohen and British songwriter Gabriel Stebbing, Adagio is a 27-minute meditation on love and desire, rest and time. 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Made up of Jeff Ament (bass), Mark Arm (guitar\/vocals), Bruce Fairweather (guitar), Stone Gossard (guitar), and Alex Shumway (drums), the quintet put out three 12”s and a 7” single during its brief existence. Green River's influence on Seattle's music scene spread far and wide thanks to the members' dispersion into bands including Pearl Jam, Mudhoney, and Love Battery, as well as the punk-glam-sludge-rock songs they left behind. \"By '83, '84, there was definitely a movement that was happening within hardcore, like Black Flag slowing down for My War,\" says Arm. \"The Replacements and Butthole Surfers were rearing their heads, and they're very different bands, but they're not hardcore—the Replacements are pretty much straight-up rock, and Butthole Surfers were God knows what. Sonic Youth's Bad Moon Rising was around, and a lot of really interesting post-hardcore things were happening.\" Green River, which formed in 1984, was part of that evolution, with a sound that straddled a lot of different genres—blues, punk, bloozy straight-ahead rock. The mini-LP Dry As A Bone, which came out in 1987, and the band's lone full-length Rehab Doll, which came out in 1988, were released as a single CD with a few bonus cuts, including their sneering cover of David Bowie's \"Queen Bitch\" and their marauding version of Dead Boys' \"Ain't Nothin' to Do,\" in 1990—but they've been unavailable on vinyl for years. Now, these slices of Seattle music history are not only back in print, they're accompanied by items from the vaults that had been forgotten about for decades. 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Originally released by us in June of 1989, Bleach was widely recognized as a record music retailers should probably order after that one with the naked baby on the cover did so well in 1991. Now we proudly suggest you order this sturdy single-LP version of Bleach containing the full remastered album as found on the Bleach: Deluxe Edition 2LP, SP834 and a pretty printed inner sleeve. We promise it will sell. 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The songs on Dream Hunting in the Valley of the In-Between, Man Man’s first album in over six years and their Sub Pop debut, are as intimate, soulful, and timeless as they are audaciously inventive and daring, resulting in his best Man Man album to date. The 17-track effort, featuring “Cloud Nein,” “Future Peg,” “On the Mend” “Sheela,” and “Animal Attraction,” was produced by Cyrus Ghahremani, mixed by S. Husky Höskulds (Norah Jones, Tom Waits, Mike Patton, Solomon Burke, Bettye LaVette, Allen Toussaint), and mastered by Dave Cooley (Blood Orange, M83, DIIV, Paramore, Snail Mail, clipping). Dream Hunting...also includes guest vocals from Steady Holiday’s Dre Babinski on “Future Peg” and “If Only,” and Rebecca Black (singer of the viral pop hit, “Friday”) on “On The Mend” and “Lonely Beuys.” The album follows the release of “Beached” and “Witch,“ Man Man’s contributions to Vol. 4 of the Sub Pop Singles Club in 2019. At the end of 2015, Man Man went on an unexpected hiatus, and thus began a period of creative reinvention for Honus Honus. He worked in music supervision and on scores (The Exorcist, Superdeluxe, Do You Want to See a Dead Body?). He acted in the indie film Woe (“I played a park ranger, a nice guy in a sad movie.”), So It Goes, a short musical film with Mary Elizabeth Winstead, and starred in the award-winning tour documentary Use Your Delusion. He also developed an animated series, wrote film scripts, a graphic novel, a neo-noir TV pilot, and briefly penned a music column for The Talkhouse all while continuing to work on new music, such as an unreleased kids’ record, another Mister Heavenly album, a self-released Honus Honus record, and a conceptual art\/noise project Mega Naturals. In the midst of this surreal exile from Man Man, Honus began piecing together what would become Dream Hunting in the Valley of the In-Between. He recruited longtime-collaborator Cyrus Ghahremani to help him produce. Written in a friend’s LA guesthouse that had “an old upright piano, a thrift store lamp, and nothing else,” it was an arduous, three-and-a-half-year process, “I had chord progressions that looked like chicken scratch and lyrics on pieces of paper stuck all over the walls. It looked like I was about to break the big case, catch the killer,” he says, laughing. “There was a lot of self-doubt, fighting the urge to throw in the towel. It wasn’t fun but it definitely forced the best album of my career out of me. Sometimes you just gotta tear it all down to rebuild things the right way. 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John Goodmanson gives the group its cleanest-sounding production to date, which brings out all the new trappings in the ever more sophisticated arrangements. \"Step Aside\" boasts trumpet and sax, \"The Remainder\" a string section, several tracks are colored with delightfully weird vintage synths (the sort favored by Brian Eno or Pere Ubu), and there's even a theremin on \"Funeral Song.\" (Trivia: The playful \"Prisstina\" also features the first male vocals ever on a Sleater-Kinney album, courtesy of Hedwig \u0026amp; the Angry Inch mastermind Stephen Trask.) Lyrically, One Beat is haunted by September 11; \"Faraway\" and the cry of dissent \"Combat Rock\" are some of the strongest statements on the tragedy any artist has yet released, and the backdrop lends a new urgency to Corin Tucker's pleas for a better world for her new son, not to mention the personal catharsis of \"O2.\" All of this makes One Beat a much more effective stab at maturity than the often-difficult The Hot Rock. True, the group does occasionally fall into the angularity that made The Hot Rock their least immediate effort, but One Beat offers more rewards upon repeated plays -- the more challenging tracks eventually do sink in. The album does have its minor drawbacks -- Carrie Brownstein's vocals can be a bit precious at times, and the pointed 9\/11 observations make the occasional feminist sloganeering sound like nothing the group hasn't done better elsewhere. All of which is to say that if you've never understood the cultish adoration surrounding Sleater-Kinney, One Beat isn't likely to change your mind. 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The vocals are front and center, tempos are slower, beats bolder, and there's a more comprehensive depth of dynamics. 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These ten pieces—each built around their own instantaneous, undeniable hook—are turbocharged by the vivid textures that surround them. The ineable, familiar harmonies of Alan Sparhawk and Mimi Parker break through the chaos like a life raft. Layers of distorted sound accrete with each new verse - building, breaking, colossal then restrained, a solemn vow only whispered. There will be time to unravel and attribute meaning to the music and art of these times, but the creative moment looks FORWARD, with teeth. 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It is the simple thing that is so hard to do. This is the paradox that musician Lael Neale has lived within throughout her development as an artist. It is the reason she became enthralled with poetry. Poems are a distillation. Lael says, \"this challenge to winnow away what is unessential is the most maddening and, ultimately, rewarding part of writing a song.\" Lael's new album Acquainted With Night is a testament to this poetic devotion. Stripped of any extraneous word or sound, the songs are lit by Lael's crystalline voice which lays on a lush bed of Omnichord. The collection touches on themes that have been thread into her work for years: isolation, mortality, yearning, and reaching ever toward the transcendent experience. Lael grew up on a farm in rural Virginia, but for nearly 10 years called Los Angeles home. Those years were spent developing her songwriting and performing in venues across the city, but the right way to record the songs proved more elusive. She says, \"Every time I reached the end of recording, I felt the songs had been stripped of their vitality in the process of layering drums, bass, guitar, violin, and organ over them. They felt weighed down.\" In a moment of illumination the solution presented itself: do the simple thing. In early 2019, in the midst of major transition, she acquired a new instrument, the omnichord, and began recording a deluge of songs. Guy Blakeslee, who had been an advocate for years, set up a cassette recorder in her bedroom and provided empathic guidance, subtle yet affecting accompaniment and engineering prowess. Limited to only 4-tracks and first takes, Lael had to surrender some of her perfectionism to deliver the songs in their essence. The first song she recorded was \"For No One For Now,\" which calls to mind the agitated beat of driving fast on the freeway against the backdrop of the San Fernando Valley's bent palms. The song contrasts romantic idealizations with the banality of folding sheets and toasting bread. It highlights her oft-thwarted attempts to enjoy the day to day while her mind wanders off toward the dream, the ideal. While Lael returned to her family farm in April 2020, Los Angeles is a player on this album, and \"Every Star Shivers in the Dark\" is an ode to the sprawling city, the outskirts of Eden. One can envision her walking from Dodgers Stadium to downtown, observing strangers and her own strangeness but determined to find communion with others. \"Blue Vein\" is her personal anthem, a Paul Revere piece that gallops through the town as a strident declamation. It is an amalgam of thoughts, concerns, and lessons as she nearly speaks the words, unmasked by flourishes, ensuring the meaning cuts through. 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