Tangerine Reef is a full-length audiovisual album by Animal Collective (Avey Tare, Deakin and Geologist), in collaboration with Coral Morphologic, to commemorate the 2018 International Year of the Reef. Tangerine Reef is a visual tone poem consisting of time-lapse and slow pans across surreal aquascapes of naturally fluorescent coral and cameos by alien-like reef creatures (note: no CGI or artificial enhancement was used in this film). Tangerine Reef is the sight and sound of a literal underwater collective of animals.

LIMITED DELUXE LP HOUSED IN A WIDESPINE JACKET ON HEAVYWEIGHT 180 GRAM VINYL AND TWO PRINTED INNER SLEEVES FEATURING FILM STILLS.

Out 17 AUG 2018...

Richard D. James returns after 2016's 'Cheetah' EP, with the Collapse EP.

what more needs to be said?

INDIE EXCLUSIVE 12 IN PAPER INNER IN PROCEDE HELIOPHORE SILVER FOIL SLEEVE!

out 14 SEPT 2018...

It was on September 23, 2008 that Blitzen Trapper, after putting out three albums on its own label, released its fourth full-length album, Furr, via Sub Pop. At that time, it was a record that captured exactly where the band’s frontman, Eric Earley, found himself, both literally and metaphorically, geographically and existentially. Not that the Portland-based musician actually remembers much about the creation of the record’s 13 intriguing, spellbinding songs. Or, more specifically, what its songs actually mean, either now or then. Instead, Furr, stands as a kind of tribute and elegy to the city that inspired it, but that, a decade later, no longer exists.
A decade on from the release of Furr, has released five more critically acclaimed and achingly beautiful records. The band hasn’t loosened its ambitions, either. In 2017, the band put together Wild And Reckless a full-production theater event that ran for a month at Portland’s Center Stage theater and which also spawned last year’s full-length of the same name. There are plenty of plans for the future in the works, too. But for now, just for a little while, it’s time to revel in the joy and sorrow of a time and place that no longer exists—except of course, in a few hearts and minds, and in these wonderfully wistful songs.

pressed on limited clear and gold "loser" edition vinyl!

out 14 SEPT 2018...

“My newest album is an exploration into my own and many types of black depression, an honest look at the corners of black existence, and the ongoing anxieties of queer/people of color. A reach back into childhood and modern traumas, and the things we do to get through it all. The underlying thread through each piece on the album is the idea of hope, and the lights we can try to turn on within ourselves with a hopefully positive outcome of helping others out of their darkness.”

Deluxe double LP is pressed on limited edition gold vinyl with a double sided 24x36 poster. Widespine LP jacket with two printed inner sleeves

out 05 OCT 2018...

Wanderer marks a pivotal moment in both Chan Marshall’s life and her career. The album is in many ways, a quintessential Cat Power record, with Marshall’s clarion voice front and center in a set of songs that remarkably stark and straightforward.
Wanderer is, at its heart, a testament to the transformative nature of songs, an album-length imagining of alternate paths, redemptions, connections, and open-ended possibility.
Produced by Marshall and mixed by Rob Schnapf (Elliott Smith, Beck), the album includes appearances by longtime friends and compatriots, as well as guest vocals courtesy of friend and recent tourmate Lana Del Rey.

Deluxe edition vinyl pressed on clear vinyl!

out 05 OCT 2018...

"PLAY" is a two part mini-documentary, directed by Grohl with help from his Sound City/Sonic Highways collaborator Mark Monroe, celebrating the rewards and challenges of dedicating ones life to playing and mastering a musical instrument. Part one opens with narrated behind the scenes footage featuring discussion of the love of playing music and the lifelong relationship with an instrument, and detailing the process and challenges of recording and filming this unique performance.
“PLAY" film then segues to the titular 23-minute, one-man-band instrumental recording on which Grohl plays all seven instruments on the track, all live. The entire song was played by Grohl, each time on a different instrument, live for 23 minutes. Beginning with the recording of the entire drum track purely from memory, with no sheet music or guide tracks, followed by guitar, then bass, then keyboards, and so on… Grohl tasked himself with a one-man-band recording session that was forced to start from the very beginning of the 23-minute song any time the slightest mistake was made or if Grohl felt he could do a better take. Concrete and Gold engineer Darrell Thorp was on hand to capture the sounds.
Limited edition vinyl release featuring a 23 minute original song on one side (all instruments played by Dave) and an etching on the other, all in a special die-cut vinyl jacket.

out 28 SEPT 2018...

“Thank You for Today” was produced and mixed by Rich Costey (Fiona Apple, Franz Ferdinand, Muse), who also produced the band’s last album, the GRAMMY® nominated “KINTSUGI.” “Thank You for Today” marks the first Death Cab for Cutie release to see long time bandmates Gibbard, Nick Harmer, and Jason McGerr joined in the studio by new members Dave Depper (Menomena, Fruit Bats, Corin Tucker, Ray Lamontagne) and Zac Rae (My Brightest Diamond, Fiona Apple, Lana Del Rey, Gnarls Barkley). Depper and Rae have both been part of Death Cab’s touring band since 2015.

pressed on indie exclusive clear vinyl!

out 17 AUG 2018...

Death Grips coming at you with another onslaught for your ears...

pressed on indie exclusive clear vinyl!

out 07 SEPT 2018...

Look Now marks Costello’s first new project with the Imposters since 2008’s Momofuku...


Indie exclusive edition pressed on red vinyl!

out 12 OCT 2018...

There was something sinister about Crooked Fingers, both the name of the project and the music that Eric Bachmann wrote at the helm of its ever-shifting lineups over 15 years. He retired the moniker a couple of years ago, but with his third album under his own name, the transformation feels gorgeous and final and irreversible: No Recover.
The drunken louts and red devil dawns are a thing of the past now, monuments to a different time. Bachmann, husband and recent father, has some new lenses through which to view the world. But while No Recover is decidedly mellow and reflective, do not mistake it for the work of a relaxed, satisfied songwriter, sitting on some Georgia porch with a stalk of wheat between his lips, gently rocking a cradle with his foot and whistling an old tune.
No, the Eric Bachmann of 2018 seems to view life with a sort of disgruntled maturity and righteous resignation. No Recover is both harrowing and beautiful, and its mellowness can be deceiving. The album is mostly just him, a classical guitar, some treated rhythm tracks, and otherworldly drop-ins from singer Avery Leigh Draut and guitarist Eric Johnson, Bachmann’s old pal from their Archers of Loaf days. He’s got a lot on his mind, only some of it pretty.
The sunset on the album’s cover might be the end of a cruel world for the duo in “Jaded Lover, Shady Drifter,” who introduce No Recover; they feel like flip-side lovers, both sonically and lyrically, of the couple at the center of Bring On the Snakes’ “The Rotting Strip.” But that dark sentiment is quickly reversed with “Daylight,” one of Bachmann’s most stunning vocal performances ever: For a guy who earned his stripes by shredding his vocal cords in the ’90s, he sure can croon. And though the words cast some shadows—“fight for your life,” he implores—ultimately there is hope. “If you try, you can be loved.”
Same goes, to a less direct degree, for “Waylaid,” the record’s jauntiest song, and a meditation on failure and love that leaves room for Johnson’s bright-but-mournful electric guitar to take center stage. But leave it to Bachmann to save the best for last: No Recover ends with one song for his wife and another for his son. “Wild Azalea,” for Liz Durrett—who also makes a brief appearance earlier in the album—is pure ’70s AM gold, including the tinge of sadness that the best of that era embraced. And “Dead and Gone” offers wistful, Bachmann-style comfort to a child. It’s vulnerable and giving, a lifetime promise that somehow intertwines regret and hopefulness.
In that way, it perfectly encapsulates No Recover—and Bachmann himself—circa 2018. He’s got a lifetime of experience behind him, and a catalog that runs the gamut from fiery to scary to simply beautiful, sometimes all at once. But it also feels like a new beginning. Here’s to another 25 (or more!) years of watching him grow.

the "peak" vinyl edition is pressed on blue and black swirl vinyl!

out 07 SEPT 2018...

Iron & Wine are following up their 2018 Grammy-nominated full-length Beast Epic with the aptly titled EP, Weed Garden. Having went over three years between releases prior to Beast Epic, Weed Garden arrives in short order, but right on time for Iron & Wine fans.
The six-song EP features material that was part of the writing phase for Beast Epic, but for various reasons went unfinished. The term “weed garden” could easily imply that which doesn’t belong, for principal songwriter Sam Beam, it was more about getting more “into the weeds” on a creative process to finish the material. Weed Garden serves as the perfect companion piece to last years full length.
While on tour last fall, the final pieces fell into place and a sense of urgency prevailed in bringing these songs to fruition. Space was created at the top of the year to return to The Loft recording studio in Chicago with the band behind Beast Epic - Joe Adamik, Jim Becker,

pressed on limited "loser" edition amber vinyl!

out 31 AUG 2018...

The 13-track live album features performances of tracks from 2017's The Nashville Sound, 2015's Something More Than Free, and 2013's Southeastern, the majority of which were recorded during his 2017 string of Ryman shows. Among the tracks are the Grammy-winning "If We Were Vampires" and fan favorite "Cover Me Up."

1. "Hope the High Road"
2. "24 Frames"
3. "White Man's World"
4. "Flagship"
5. "Cumberland Gap"
6. "Something More Than Free"
7. "The Life You Chose"
8. "Elephant"
9. "Flying Over Water"
10. "Last of My Kind"
11. "Cover Me Up"
12. "Super 8"
13. "If We Were Vampires"

out 19 OCT 2018...

In 2018, Low will turn twenty-five. Since 1993, Alan Sparhawk and Mimi Parker—the married couple whose heaven-and-earth harmonies have always held the band’s center—have pioneered a subgenre, shrugged off its strictures, recorded a Christmas classic, become a magnetic onstage force, and emerged as one of music’s most steadfast and vital vehicles for pulling light from our darkest emotional recesses. But Low will not commemorate its first quarter-century with mawkish nostalgia or safe runs through songbook favorites. Instead, in faithfully defiant fashion, Low will release its most brazen, abrasive (and, paradoxically, most empowering) album ever: 'Double Negative,' an unflinching eleven-song quest through snarling static and shattering beats that somehow culminates in the brightest pop song of Low’s career.

'Double Negative' is, indeed, a record perfectly and painfully suited for our time. Loud and contentious and commanding, Low fights for the world by fighting against it. It begins in pure bedlam, with a beat built from a loop of ruptured noise waging war against the paired voices of Sparhawk and Parker the moment they begin to sing during the massive "Quorum" (lunation note: i've had "Quorum" in my ears for a few months—it will knock you out…). For forty minutes, they indulge the battle, trying to be heard amid the noisy grain, sometimes winning and sometimes being tossed toward oblivion. In spite of the mounting noise, Sparhawk and Parker still sing. Or maybe they sing because of the noise.
For Low, has there ever really been a difference?

Out 14 SEPTEMBER 2018.

I've Tortured You Long Enough is the tongue-in-cheek title of Mass Gothic's second album. Husband/wife duo Noel Heroux and Jessica Zambri have always dipped in and out of each other's creative spaces, advising on their respective outputs and supporting one another. But, until this record, they had never completely committed to doing an entire album as a duo, sharing
an equal load. The result is a record packed with the tension, chaos and beauty of a fluid and cathartic two-way conversation. In a universe that increasingly threatens our abilities to communicate and coexist, their creative union isn't just inspired but important.
When Heroux put out Mass Gothic’s 2016 debut, following the end of his prior band, Hooray for Earth, he did so as a solo entity. Plagued by insecurities and anxieties, Heroux wasn't ready to deal with putting his trust and confidence into another shared project. So what changed? He can't exactly pinpoint when the phrase “I've tortured you long enough” came to him, but it
became a mantra, almost a premonition. He had tortured his own psyche long enough, and was particularly in need of forcing himself out of his comfort zone and letting go of that prior stubbornness. And the phrase has a broader application, too. “It covers so many bases but it's taken on extra meaning in the past couple of years when everybody is at each other's throats,
frustrated and confused all the time,”
Heroux explains.Heroux and Zambri wrote I’ve Tortured You Long Enough while bouncing around the country without a place to call home. From working in a rented cabin in upstate New York, to living out of a car with a duffel bag of clothes, to crashing with their co-producer Josh Ascalon in LA, to ditching a mixed version of the album and rerecording the whole thing, the band worked tirelessly while their lives were totally in flux. “Maybe we wouldn't have been able to do it if we were anchored at home. We were forced into it. Jess was trying to open me up and if we could have just sat on a couch and thrown on the TV it probably wouldn't have worked.” The album was ultimately recorded in Brooklyn with Rick Kwan, and Chris Coady mixed the record and Heba Kadry mastered it. The final product recalls the frantic energy of Animal Collective and the celestial torch-bearing of Bat for Lashes, and reveals a remarkable arc. It begins from a place of uncertainty, disquiet, and self-doubt, and concludes with the comfort in knowing that you can be both independent and successful in a relationship.


pressed on limited black and white marble loser edition vinyl!

out 31 AUG 2018...

The breakout success of 2016’s Puberty 2 saw Mitski hailed as the new vanguard of indie rock, the one to save the genre from the white dudes who’ve historically dominated it. But the often overlooked aspect of being a rising star is the sheer amount of work that goes into it. “I had been on the road for a long time, which is so isolating, and had to run my own business at the same time,” Mitski explains, “a lot of this record was me not having any feelings, being completely spent, but then trying to rally myself and wake up and get back to Mitski. I was feeling really nihilistic and trying to make pop songs.”

We want our artists to be strong but we also expect them to be vulnerable. Rather than avoiding this dilemma, she addresses directly the power that comes from appearing impenetrable and loneliness that follows. “With a lot of the romantic infatuations I’ve had,” she says, “when I look back, I wonder, Did I want them or did I want to be them? Did I love them or did I want to absorb whatever power they had? I decided I could just be my own cowboy gure that I so desire.” In Be The Cowboy, Mitski delves into the loneliness of being a symbol and the loneliness of being someone, and how it can feel so much like being no one.

pressed on coke bottle clear vinyl!

out 17 AUGUST 2018...

Since the late ’80s, Mudhoney – the Seattle-based foursome whose muck-crusted version of rock, shot through with caustic wit and battened down by a ferocious low end – has been a high-pH tonic against the ludicrous and the insipid.
Thirty years later, the world is experiencing a particularly high-water moment for both those ideals. But just in time, vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters are back with Digital Garbage, a barbed-wire-trimmed collection of sonic brickbats. Arm’s raw yawp and his bandmates’ long-honed chemistry make Digital Garbage an ideal release valve for the 2018 pressure cooker, its insistent rhythms forcing movement and Arm’s sardonic lyrics offering a funhouse-mirror companion to the ever-more-ridiculous news cycle. “My sense of humor is dark, and these are dark times,” says Arm. “I suppose it’s only getting darker.”

"Loser" edition vinyl pressed on sea-foam green vinyl!

out 28 SEPT 2018...

Sub Pop and Adult Swim are releasing a 24-track soundtrack from the critically-acclaimed series Rick and Morty featuring music from the show’s composer Ryan Elder, and songs from Chaos Chaos, Blonde Redhead, Mazzy Star, and Belly, plus two brand new tunes from Chad VanGaalen and Clipping inspired by the show.
Rick and Morty follows a sociopathic genius scientist who drags his inherently timid grandson on insanely dangerous adventures across the universe. Rick Sanchez is living with his daughter Beth’s family and constantly bringing her, his son-in-law Jerry, granddaughter Summer, and grandson Morty into intergalactic escapades. Can the family survive Rick’s insanity and all the chaos the universe throws at them?
Rick and Morty stars Justin Roiland, Sarah Chalke, Chris Parnell and Spencer Grammer. The series is created by Dan Harmon and Roiland who also serve as executive producers.

pressed on limited green + blue "loser" edition vinyl!

out 28 SEPT 2018...

(Minneapolis, MN - June 7, 2018) Today the Prince Estate, in partnership with Warner Bros. Records, announced the release of the Piano & A Microphone 1983 album on what would have been Prince's 60th birthday. The nine track, 35-minute album features a previously unreleased home studio cassette recording of Prince at his piano captured in 1983.

"This raw, intimate recording, which took place at the start of Prince's career right before he achieved international stardom, is similar in format to the Piano & A Microphone Tour that he ended his career with in 2016," said Prince Estate entertainment adviser Troy Carter. "The Estate is excited to be able to give fans a glimpse of his evolution and show how his career ultimately came full circle with just him and his piano."

The private rehearsal provides a rare, intimate glimpse into Prince's creative process as he worked through songs which include "17 Days" and "Purple Rain" (neither of which would be released until 1984), a cover of Joni Mitchell's "A Case Of You", "Strange Relationship" (not released until 1987 on his critically acclaimed Sign O' The Times album), and "International Lover". The album also includes a rare recording of the 19th Century spiritual "Mary Don't You Weep" which will be featured during the end credits of Spike Lee's BlacKkKlansman in theaters August 2018. For fans of Prince's spontaneous live medleys, tracks 1-7 of the album are presented in that same format as they were originally recorded.

The Deluxe CD+LP format will include a 12" booklet featuring brand new liner notes written by Prince's then engineer Don Batts, as well as candid shots of Prince including never before seen images.

out 21 SEPT 2018...

Spiritualized's first album in six year since 2012's "Sweet Heart Sweet Light!"
In a press statement, Spiritualized’s Jason Pierce elaborates on his comments about this being the band’s final album: “I was quite sincere about that and I still feel like it might be the case. It was such hard work. I found myself going crazy for so long. It’s not like there’s no coming back, I’m fine now… it’s just such a hard thing to do, to make a record like this on your own.”

01 A Perfect Miracle
02 I'm Your Man
03 Here It Comes (The Road) Let's Go
04 Let’s Dance
05 On the Sunshine
06 Damaged
07 The Morning After
08 The Prize
09 Sail on Through

pressed on indie exclusive white vinyl!

out 07 SEPT 2018...

Duophonic UHF Disks presents remasters of Stereolab's 'Switched On' series. Pressed on clear vinyl!

out 28 SEPT 2018...

Duophonic UHF Disks presents remasters of Stereolab's 'Switched On' series. Pressed on clear vinyl!

out 28 SEPT 2018...

Duophonic UHF Disks presents remasters of Stereolab's 'Switched On' series. Pressed on clear vinyl!

out 28 SEPT 2018...

Swearin’ is the kind of band that comes around, at best, once a decade. Thankfully for us, they’ve come around twice.
After releasing two beloved full-lengths, 2012’s Swearin’ and 2013’s Surfing Strange, the Philadelphia band quietly put things on hold. It was due, at least in part, to the band’s main songwriters, Allison Crutchfield and Kyle Gilbride, ending their romantic relationship. And though Swearin’ tried to soldier on, it became far too stressful to keep going. But after a few years apart, those bad feelings disappeared. And when the band’s three members—Crutchfield, Gilbride, and drummer Jeff Bolt—found themselves in a room again, the conversation inevitably turned back to Swearin’.
“Drunkenly, without any hesitation or inhibitions,” said Crutchfield, “we asked, ‘What would it take from each of us? What would we need to do this again? What would we want to accomplish if we decided to be a band again?’” They realized that what they all wanted was to not just play shows, but to make a new record. Before the band initially split, they’d already started writing for what would have been their third album, but instead of going back to that old material, they wanted to do something that reflected the people they’d become during those intervening years. “When a band re-forms and makes a new record that is trying to sound like the heyday of their band, it doesn’t sound genuine,” said Bolt. Before long, Crutchfield and Gilbride had a new batch of Swearin’ songs, ones that meshed with the sound they’d originally developed together but boldly pushed things forward.
The result is Fall into the Sun, a Swearin’ record that doesn’t try to obscure the passage of time but instead embraces it. “Getting older, your tastes change, and what you want to do changes,” said Bolt. Those changes, though subtle, are impactful, making Fall into the Sun what Crutchfield calls “the adult Swearin’ album.” It can be seen in songs like “Big Change,” where she says goodbye to Philly and the scene that she came up in, or in “Dogpile,” where Gilbride offers the line any aging punk can relate to: “By pure dumb luck I’ve gotten where I’m going.” Where Swearin’ used to pummel through their songs, on Fall into the Sun, they bask in what this newfound openness offers. It’s most notable on the ambling “Stabilize,” which sees the band throw their weight around in the song’s back half, offering up what’s easily the heaviest riff in the band’s catalog.

the "peak" vinyl edition is pressed on coke bottle clear vinyl!

out 05 OCT 2018...

On 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.


the "peak" vinyl edition is pressed on opaque yellow vinyl!

out 07 SEPT 2018...

Although civilization's transition into a cyborg world seems inevitable, there are still those who recognize the beauty and power of a human touch to complement the circumvention. Jack Tatum understands this balance, and through a decade making music as Wild Nothing he has learned to embrace both sides of that dynamic - but perhaps never as distinctly as on Indigo, the fourth Wild Nothing album. On one hand, it is a return to the fresh, transcendent sweep of his debut, 2010's Gemini, and on the other, a culmination of heights reached, paths traveled, and lessons learned while creating the follow-ups, Nocturne and Life of Pause. Indigo finds Tatum at his most efficient, calculated, and confident - resulting in an artful blend of hi-fi humanity and technology that fires on all circuits and synapses.

Pressed on opaque blue vinyl!

out 31 AUGUST 2018...