{"title":"New Vinyl and CDs: Indie","description":"\u003cp\u003eShop indie vinyl records and CDs, including new releases, reissues, limited pressings, LPs, CDs, and underground releases from classic and modern indie artists.\u003c\/p\u003e","products":[{"product_id":"the-cure-pillbox-tales-lp","title":"Cure, The \"Pillbox Tales\" LP","description":"\u003cp\u003e\u003cspan\u003ePurple vinyl!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA collection of early demos from when the band was called Easy Cure. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eOur restock has a different cover. Professionally printed w\/ a sticker for band \/ album name.\u003c\/p\u003e\n\u003ctable class=\"playlist\"\u003e\n\u003ctbody\u003e\n\u003ctr class=\"tracklist_track track\"\u003e\u003c\/tr\u003e\n\u003ctr class=\"first tracklist_track track\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eA1\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title\"\u003e\u003cspan class=\"tracklist_track_title\"\u003eI Want To Be Old\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"tracklist_track track\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eA2\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title\"\u003e\u003cspan class=\"tracklist_track_title\"\u003eListen\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"tracklist_track track\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eA3\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title\"\u003e\u003cspan class=\"tracklist_track_title\"\u003eMeathook\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"tracklist_track track\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eA4\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title\"\u003e\u003cspan class=\"tracklist_track_title\"\u003eI Just Need Myself\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"tracklist_track track\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eA5\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title\"\u003e\u003cspan class=\"tracklist_track_title\"\u003eSee The Children\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"tracklist_track track\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eB1\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title\"\u003e\u003cspan class=\"tracklist_track_title\"\u003eFaded Smiles\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"tracklist_track track\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eB2\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title\"\u003e\u003cspan class=\"tracklist_track_title\"\u003eI'm Cold\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"tracklist_track track\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eB3\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title\"\u003e\u003cspan class=\"tracklist_track_title\"\u003eWinter\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"tracklist_track track\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eB4\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title\"\u003e\u003cspan class=\"tracklist_track_title\"\u003ePlay With Me\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Fan Club","offers":[{"title":"Default Title","offer_id":3232802691,"sku":"sonardrop","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0897\/4838\/products\/cure_original.jpg?v=1571610652"},{"product_id":"fugazi-the-argument-lp","title":"Fugazi \"The Argument\" LP","description":"\u003cp\u003eThe Argument, Fugazi's first proper album since 1998's somewhat disjointed End Hits, is yet another leap forward for a band that has constantly pushed itself in new directions. For one thing, no Fugazi album has ever been this melodic. For the first time ever, you can hum at least part of the melody to every song on the record.\u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":3615757123,"sku":"amsdrop","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0897\/4838\/products\/130-web_original.jpg?v=1571610711"},{"product_id":"pavement-brighten-the-corners-lp","title":"Pavement \"Brighten The Corners\" LP","description":"\u003cp\u003e\u003cspan\u003ePavement has found its place in the pop landscape and has refused to move an inch. It protects its core of mystery, which is also a kind of blazing innocence” - New Yorker\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“A trove of effortless pleasures” - Entertainment Weekly\u003c\/span\u003e\u003c\/p\u003e","brand":"Matador","offers":[{"title":"Default Title","offer_id":6508714691,"sku":"amsdrop","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0897\/4838\/products\/bright.jpg?v=1571611012"},{"product_id":"short-sleeve-unisex-t-shirt-1","title":"Ministry - Shirt","description":"\u003cspan\u003eOG Ministry. 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Never before had a record so emphasized the calming elements of rock music, transforming what at first seems like a collection of bridges into fully realized songs. And one can draw a straight line from here to the many groups they influenced, like Low, Belle \u0026amp; Sebastian, and Bon Iver.\u003c\/span\u003e\u003cspan class=\"break\" data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eToday is full of idiosyncrasies. The trio of Damon Krukowski, Dean Wareham, and Naomi Yang were recent Harvard grads who intuitively eliminated any histrionic tradition to rock songs, leaving core emotion (not for nothing did they include a cover of \"Don't Let Our Youth Go to Waste,\" by the kings of feeling, The Modern Lovers). It was produced by Mark Kramer, who was best known for his work with cataclysmic slop rock pioneers such as Bongwater, Ween, and King Missle. The band's hometown of Boston was just coming out of its love affair with Mission of Burma and pouncing upon the spasmodic electricity of The Pixies. Despite, or perhaps because of, all these elements, Today thrived.\u003c\/span\u003e\u003cspan class=\"break\" data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMore than 20 years after its initial release, its title is still no misnomer. The music, recorded with what many thought at the time was too much reverb, sounds present, alive, and indeed a product of today. Songs like \"Flowers,\" \"Temperature's Rising,\" and of course \"Tugboat\" (the band's debut single) stand the test of time and exist in an eternal now.\u003c\/span\u003e\u003cspan class=\"break\" data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor the first time since its original pressing, Today is available again on vinyl. Cut by vinyl ace Kevin Gray from a remaster by Kramer and Alan Douches, the album sounds more vibrant than ever, and Galaxie 500 exists again as one of the most enrapturing and glorious bands to emerge from the underground in the past 25 years.\u003c\/span\u003e","brand":"20\/20\/20","offers":[{"title":"Default Title","offer_id":32914217467984,"sku":"amsdrop","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0897\/4838\/products\/galaxie.jpg?v=1601914823"},{"product_id":"durand-jones-and-the-indications-self-titled-lp","title":"Durand Jones and The Indications \"S\/T\" LP","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"My grandma always heard me singing at home, and she said, ‘I’m gonna put your ass in the youth choir,’” remembers Durand Jones. “I was reluctant. But one day the organist could hear me in the choir, and said ‘boy I’m gonna give you a song.’ So I sang the song… the whole church just flipped out. People were running and jumping and afterwards they were giving me money and stuff. Man it was really cool. That’s when the realization came that maybe I could make something of this.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn the fall of 2012, Durand Jones left his small-town in Louisiana for the foothills of Indiana. Alto saxophone in tow he enrolled in the Jacobs School of Music at Indiana University. “Being a singer was never part of the plan,” Jones admits. But soon enough he found his way in front of a rowdy rock-n-roll band belting out a rambunctious rendition of “Dock Of The Bay,” to a basement full of drunken undergrads. That rowdy band unfolded into The Indications—comprised of Aaron Frazer (drums), Blake Rhein (guitar), Kyle Houpt (bass) and Justin Hubler (organ). \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eInspired by a handful of dusty and obscure 45s bearing names like The Ethics, Brothers of Soul and The Icemen, The Indications set out to make a record steeped in heavy drums, blown-out vocals\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e, and deep grooves. Gathered around a Tascam 4-track cassette recorder and a case of Miller High-Life, the group spent their Sunday evenings recording into the early hours of the morning. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDurand Jones \u0026amp; The Indications' self-titled debut album was the result. With comparisons from Charles Bradley and Lee Fields to Al Green, the only thing that separates this band from those greats is their youth. Having now taken their raucous live show all across the US, the band have galvanized a following that are ready to take them to the next level.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Dead Oceans","offers":[{"title":"Default Title","offer_id":32986246086736,"sku":"amsdrop","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0897\/4838\/products\/durst.jpg?v=1604331047"},{"product_id":"mourn-self-worth-lp","title":"MOURN \"Self Worth\" LP","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eMOURN knows quite a bit about setbacks, but a latent belief persists within: the negative will eventually become positive. It’s the belief in the wonder of resilience. It’s the name they chose for their new album: Self Worth.\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3393908882\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/mournct.bandcamp.com\/album\/self-worth\"\u003eSelf Worth by MOURN\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe band isn’t the same as when they formed. The world isn’t either. MOURN grew up, and that’s evident in the songs that make up Self Worth. Their melodies – energetic and captivating – venture into less level grounds, and their lyrics show a newfound readiness to tackle issues of a different weight and size.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“Men” is lyrically patent proof of this growth, and their heightened consciousness as women. A revealing song, necessary and deliberately uncomfortable. 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Both of these projects have pushed the conversation around fathering beyond the safe, apolitical focus most books and websites stick to; they have not been complacent but have worked hard to create a diverse, multi-faceted space in which to grapple with the complexity of fathering.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eToday more than ever, fatherhood demands constant improvisation, risk, and struggle. 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New album AAI (Anarchic Artificial Intelligence) takes Toma and Werner’s fascination with technology and undogmatic exploration a quantum leap further. Collaborating with writer and scholar Louis Chude-Sokei, a collective of computer programmers and longtime Mouse On Mars collaborator\/percussionist Dodo NKishi, the duo explores artificial intelligence as both a narrative framework and compositional tool, summoning their most explicitly science-fiction work to date.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAAI compiles some of the most immediate and gripping music in Mouse on Mars’ extensive catalogue. Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative. Working with AI tech collective Birds on Mars and former Soundcloud programmers Rany Keddo and Derek Tingle, the duo collaborated on the creation of bespoke software capable of modelling speech. What appears to be Louis Chude-Sokei narrating through the story is in fact the AI speaking. Text and voice from Chude-Sokei and DJ\/producer and programmer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech instrument they could control and play as they would a synthesizer. The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. Artwork was provided by the inventor of the computer graphics language Processing, Casey Reas, a further exploration of technology’s application in the context of art.","brand":"Thrill Jockey","offers":[{"title":"Default Title","offer_id":39353221873744,"sku":"amsdrop","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0897\/4838\/products\/AAI_MOM_digital.jpg?v=1618447390"},{"product_id":"lana-del-rey-ultraviolence-lp","title":"Lana Del Rey \"Ultraviolence\" LP","description":"'Ultraviolence' is the 2014 critically acclaimed smash hit album from Lana Del Rey. Laden in her trademark husky tones, Ultraviolence features the singles 'West Coast', 'Shades Of Cool', 'Brooklyn Baby' and the title track. 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It was also the group's last independent label-released album before signing to major label Atlantic.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAn odd mixture of brand-new, and considerably older, sounds, 1989s Lick brings together the output of several distinct recording sources: six brand new songs recorded with Minneapolis-based band friend and producer Terry Katzman, and a collection of older, B-side and never-released material originally overseen by producer and engineer Tom Hamilton.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe difficulties of writing and creating a new full-length album every year (Hate Your Friends and Creator were released in 1987 and 1988, respectively) are clearly in evidence on Lick. While the newest material (Mallo Cup, A Circle of One, 7 Powers, Anyway) hints at promising new song writing directions for both Deily and Dando, there's an almost valedictory sense of the past in the inclusion of versions of Glad I Don't Know and I Am a Rabbit (from the bands' first-ever, self-released EP), and the now-classic track 'Ever', a previously-unreleased tune from the original 1986 'Hate Your Friends' sessions. At moments, Lick almost sounds like an elegy for itself or an elegy for a band that has reached the end of the beginning.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAlso audible in the heterogeneous songs are the tensions of line-up changes and inchoate, growing frustrations. 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Goo was recorded over a short period in early 1990 at Sorcerer Sound Recording Studios and Greene St. Recording with Daydream Nation producer Nick Sansano and additional producer Ron Saint Germain. The album's sound diverged considerably from their earlier material and is often considered \"their most accessible album\", with elements of experimental rock, garage punk, alternative rock and hard rock. Lead single \"Kool Thing\" charted in the United States, United Kingdom and Ireland. 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When you hear it, it is like you are being summoned -- not to somewhere new, but to a place that's already wrapped inside you, somewhere previously obscured from conscious experience. This place has been buried because it tends to hold pain, but it's also a gift, because once it's opened, once you're inside of it, it can show you the truth. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eZola Jesus's new album, Arkhon, finds new ways of losing that submerged, stalled pain. Not long after she had started writing the songs that would comprise the record, Danilova found herself stuck in a creative barrens, a spell of writer's block more stifling than any she'd experienced before. \"It got to the point where I couldn't even listen to music. Everything sounded the same,\" she says. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOn previous albums, Danilova had largely played the role of auteur, meticulously crafting every aspect of Zola Jesus's sound and look. This time, she realized that her habitual need for control was sealing her out of her art. When the frustration of being unable to create became intolerable, she took a leap of faith and reached out for help, something she had never done this early in an album’s lifetime. \"At some point, I had to work with other people. I needed new blood. I needed somebody else.\" \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDanilova sent her demos to producer Randall Dunn, known for his work with Sunn O))) and on Jóhann Jóhannsson’s score for the film Mandy. She also began collaborating with drummer and percussionist Matt Chamberlain, whose prior work appears on albums by Fiona Apple, Bob Dylan, and David Bowie. His daring, askance patterning would come to help define the sound of the record. Relinquishing a degree of control over her music and hearing others contribute to it began to thaw the creative block that had kept her from working. \"I felt that I was able to finally hear my music in a context that was broader than what I could do on my own,\" Danilova says. \"I'm letting people interpret my musical ideas and my songs in a way that is supporting everything, but also expanding it into a sound that I never would have been able to think of on my own. That was so rewarding to hear.\" \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDespite the darkness curled inside reality, there is power, too, in surrendering to what can't be pinned down, to the wild unfurling of the world in all its unforeseeable motion. That letting go is the crux of Arkhon, which marks a new way of moving and making for Zola Jesus. \"There is a moment where you stop fighting with yourself. That's when things can really happen,\" Danilova says. \"I was disarmed in a way where I just let the process make the record. I could enjoy being in the moment, putting that into the music and letting it unravel or evolve in its own way. To let it have its own story that I only had a part in telling.\"","brand":"Sacred Bones","offers":[{"title":"Default Title","offer_id":39809290010704,"sku":"","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0897\/4838\/products\/zola.webp?v=1657656391"},{"product_id":"blonde-redhead-melodie-citronique-lp","title":"Blonde Redhead \"Melodie Citronique\" EP 12\"","description":"'Mélodie Citronique'' is an EP by Blonde Redhead. The majority of the album is sung in French and Italian.","brand":"Touch and Go","offers":[{"title":"Default Title","offer_id":39809734967376,"sku":"amsdrop","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0897\/4838\/products\/melody.jpg?v=1657717274"},{"product_id":"national-the-boxer-lp","title":"National, The \"Boxer\" LP","description":"This follow-up to \"Alligator\" is filled with lush arrangements and sees the band incorporating new instrumentation and expanded musical elements such as piano, trumpet, and more prominent background vocals. \"... churning grooves and shambling new wave rips, turning up depressed guitar poetry that's both elegantly wasted and kinda murky\" - Rolling Stone. \"The National traffic in poignant moments of heartbreak and regret, but pain has rarely sounded so beautiful\" - Spin.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e","brand":"Beggars Banquet","offers":[{"title":"Default Title","offer_id":39812107436112,"sku":"amsdrop","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0897\/4838\/products\/nationa.jpg?v=1657910033"},{"product_id":"david-grubbs-and-jan-st-werner-translation-from-unspecified-lp","title":"David Grubbs and Jan St. Werner \"Translation from Unspecified\" LP","description":"\u003cp\u003eAfter years of exchanging ideas, Translation from Unspecified marks David Grubbs and Jan St. Werner's studio debut locking horns as a duo. Evolving from a microscopically disordered set of sounds and words into a reconstituted monolith of sound, it's clear this deck-clearing collaboration was long overdue.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eDavid Grubbs and Jan St. Werner met in the mid-1990s when Grubbs was playing with Gastr del Sol and the Red Krayola and St. Werner in Mouse on Mars and Microstoria. After years of exchanging ideas, Translation from Unspecified marks their first time locking horns as a duo, and it’s clear this deck-clearing collaboration was long overdue. In January 2020 Grubbs arrived at Mouse on Mars’ Berlin studio Paraverse with a guitar and “Translation from Unspecified,” an open-ended, seemingly self-generating poem suggesting AI, one of the themes in St. Werner’s recent work. This became the side-length title track, a winding corridor of electronic fanfares and spontaneous musical miniatures urging Grubbs’s slow and steady recitation to grow wings and graduate into song. Who knows where this idiosyncratic mise-en-scène—day-glo, extrovert electronics and task-oriented human—came from? Reference points, distant ones, might include Robert Ashley and Paul De Marinis’s “In Sara, Mencken, Christ and Beethoven...” and the sound poetry of Anton Bruhin. Flip the record and you have “Soixante Ooze,” a live-in-the-studio duo for guitar and computer more recognizably St. Wernerian and Grubbs-like that reconfigures elements of the title track before finally morphing into needle-pinning monoliths of sound.\u003c\/p\u003e","brand":"Drag City","offers":[{"title":"Default Title","offer_id":39842718515280,"sku":"","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0897\/4838\/products\/dav.jpg?v=1659617393"},{"product_id":"le-almeida-aulas-lp","title":"Le Almeida \"Aulas\" LP","description":"\u003cp\u003eIn the middle of the pandemic I realized a lot of things, the biggest of them was that I had had some kind of great luck lately. 2019 was the first year that I spent almost all of it away from home, in countries that I couldn’t even speak the language, it was an incredible and challenging experience, it was hard to come back the same, even more after being part of a band that I always loved, this is still a dream. On our way home in 2019, Casaes and I had our flight delayed because of a blizzard for another day and we missed Christmas in Brazil. I was chosen as my mother’s secret santa at the backyard Christmas party here at home, I missed it, but Leticia made a video of her giving clues before opening the present while I flew home on Christmas night. I keep the gift with a lot of affection, it’s a picture frame with a picture of us on my birthday in 2019.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1456167202\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/lealmeida.bandcamp.com\/album\/aulas\"\u003eAulas by Lê Almeida\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003eOn March 13, 2020 we reopened Escritório after a renovation, it was a Friday, it had been two years since we had lost my father. It was this weekend that everything closed with the pandemic and I felt what was happening, I stayed home for a long time, my grandmother at that time said that my mother was very calm because I was home. I started to ride my bike every morning around the neighborhood and started to take some analogical pictures of landscapes. In May, exactly on mother’s say, my mother had a fall at home, it was the rupture of an aneurysm, we lost her in a very sad way, me and Leticia went through an immense suffocation with the hospital, with people who did not care that our mother was dying, we did everything. She was my sun, she guided the greatest balance.\u003cbr\u003e\u003cbr\u003eWe always had some big symbologies at home with dates, birthdays. After our parents went through those dates that were theirs and ours I think it became more difficult, even distressing. Between my birthday and my mother’s (jul\/aug) date I started to create some routine of recording, trying to put together a record, find friends at Escritório to record, Bigú was coming back, a lot of things on my mind. I went back to recording at home, in a house that was still new to me and with a window where I can always see the moon, almost framed by the window so well fitted. I took care of the car that was my mother’s, that my father drove. In it I listened to my mixes of what I was recording, I reconnected with the neighborhood, this car always had an incredible vibration, we always appreciated it, my mother paid for it with the convenience store that she had in front of the house where we lived. I always had the best reference of autonomous work inside the house, getting organized. Aulas made me reorganize in a strange moment, during my routine of recordings I resumed some works at home.\u003cbr\u003e\u003cbr\u003eSome tracks were things I had started and dropped, I started from this point and the new things I recorded very fast without thinking so much, in this situation I started to record more carefully on the timbres on what would otherwise just a sketch. This all made me put something out. The goal was to release at Christmas because of our affection, his birthday, without him. I can think of many moments in several tracks that I recorded thinking and feeling a strength of the two, who always supported me a lot in this path so uncertain and crazy. While recording I started to explore two instruments I had bought from a widow in Boise, USA where Casaes and I lived for a month, a metalophone and a theremin. The connection with death in that period made me connect some things, thinking with value that I was using something with affection and care what was of someone who took care for so long would perhaps bring only good energy. I got some very old amps in a pawn shop in the center where the owner of the place had told me that the amps were from a gentleman of some ninety years old and a few years who had died recently. I used one of these amps a lot on the record and during some mixes of inserts and collages I reopened some old boxes of tape that Joãozin and I had found years ago on a sidewalk in the neighborhood of Flamengo, they were tapes about occultism, esotericism, poetry, meditation. All with many notes, there I discovered that these tapes were of a woman, some with her poems, declared by her. I’ve been taking some of these tapes since we found them, but there are so many boxes of tapes that I’ll have to discover and travel little by little.\u003cbr\u003e\u003cbr\u003eAulas is dedicated to my parents Antonio Carlos and Sonia Maria, the first thing I do without them. It is also dedicated to my sister Leticia \u0026lt;3 (who plays the metalophone on the first track!) and my Grandma Lena, who helped me with the cover, the seams and life over the years. I love you\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"IFB Records","offers":[{"title":"Default Title","offer_id":40318624301136,"sku":"ifb","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0897\/4838\/files\/aulas.jpg?v=1696422294"},{"product_id":"orua-ingreme-lp","title":"Orua \"Ingreme\" LP","description":"\u003cp\u003eOruã nasceu no centro do Rio de Janeiro no fim de 2016, virando a esquina do golpe parlamentar que encerrou pra muita gente alguma crença na nossa democracia. Gravações em fitas cassetes velhas feitas na sala apertada do Escritório no meio da cidade renderam dois discos e um EP muito representativos da atmosfera que pairava no final da última década: “Sem Benção \/ Sem Crença” (2017), “Romã” (2019), e o EP “Tudo Posso” (2019) foram todos lançados no Brasil via Transfusão Noise Records e nos EUA via IFB Records.\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=270775869\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/orua.bandcamp.com\/album\/ngreme\"\u003eÍngreme by Oruã\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEm 2018, ano de eleição e da greve dos caminhoneiros, o Oruã cruzou o país e atravessou fronteiras. Através de um número grande de cidades, capitais e do interior, a banda viajou para fora do Rio de Janeiro mais intensamente, para além do habitual eixo Rio-São Paulo. Pegando a BR-101 chegaram à Natal, cortaram a Bahia e depois, desceram, até ao Uruguai percorrendo também o sul do país. Nessa viagem de carro emprestado, “Romã” estava sendo gestado.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eNo ano seguinte, em 2019, Oruã fez a sua a primeira turnê pelos Estados Unidos e pela Europa, abrindo os shows do Built to Spill. Logo em seguida, ao mesmo tempo que Oruã saía do palco, dois terços da banda carioca, Lê Almeida e João Luiz, retornavam ao “stage” para compor a versão brasileira de Built to Spill junto com João Casaes (hoje, em 2021, Casaes integra a composição mais recente do Oruã).\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eNa sequência, em meados de 2019, faltando menos de um ano para o futuro decreto mundial da pandemia, sem nem sonhar com o isolamento social que aconteceria, Oruã entra em sua segunda turnê internacional, a primeira pela Europa, tocando em casas de shows como a O2 Forum, em Londres, e o Rockefeller Music Hall, em Oslo, emendando em seguida com uma segunda tour pelos EUA totalizando em aproximadamente 70 shows feitos até o meio daquele ano. No segundo semestre, Lê, João Luiz e J.C. seguiram o restante da turnê do Built to Spill pelos EUA tocando somente na banda norte-americana até o fim do ano.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eNesse período, o baterista Phill Fernandes deixava o Oruã. Karin Santa Rosa (que já tinha registrado duas grandes tours de carro do Oruã: uma para o Nordeste e outra para o Sul do país) passou a fazer parte da banda enquanto Lê, Casaes e João Luiz ainda estavam na estrada com o Built to Spill. Ela, que ainda não tocava de fato bateria, passou um tempo praticando para compor a versão mais recente do Oruã que contaria com duas baterias, como no início. Depois do fim da tour do BTS, de 2019, João Luiz também deixa o Oruã e volta para o Brasil. Lê e J.C. ficam em Boise (EUA) gravando o novo álbum do Built to Spill e, em paralelo, começam a desenvolver um novo Oruã.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"IFB Records","offers":[{"title":"Default Title","offer_id":40318625382480,"sku":"ifb","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0897\/4838\/files\/orua_d154dc12-f5e2-4cd4-b4af-ba0104b164e3.jpg?v=1696422636"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0897\/4838\/collections\/indie.jpg?v=1748395808","url":"https:\/\/deadtankrecords.com\/collections\/newest-indie-vinyl-records.oembed?page=16","provider":"Dead Tank Records","version":"1.0","type":"link"}