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'Everything has to be said.' This is the conviction guiding Indigo De Souza's sophomore album, Any Shape You Take. This dynamic record successfully creates a container for the full spectrum'pushing through and against every emotion: 'I wanted this album to give a feeling of shifting with and embracing change. These songs came from a turbulent time when I was coming to self-love through many existential crises and shifts in perspective.'

Faithful to its name, Any Shape You Take changes form to match the tenor of each story it tells. 'The album title is a nod to the many shapes I take musically. I don't feel that I fully embody any particular genre'all of the music just comes from the universe that is my ever-shifting brain/heart/world,' says Indigo. This sonic range is unified by Indigo's strikingly confessional and effortless approach to songwriting, a signature first introduced in her debut, self-released LP, I Love My Mom. Written in quick succession, Indigo sees these two records as companion pieces, both distinct but in communion with each other: 'Many of the songs on these two records came from the same season in my life and a certain version of myself which I feel much further from now.

'I feel very much like a shape-shifter with my music, I'm always trying to embody a balance between the existential weight and the overflowing sense of love I feel in the world.' It is exactly this balance that Indigo strikes in her Saddle Creek debut, Any Shape You Take. A listening experience that gives back, as you shed and shape-shift along with her.

Tracks

1. 17
2. Darker Than Death
3. Die/Cry
4. Pretty Pictures
5. Real Pain
6. Bad Dream
7. Late Night Crawler
8. Hold U
9. Way Out
10. Kill Me

"Everything has to be said." This is the conviction guiding Indigo De Souza's sophomore album, Any Shape You Take. This dynamic record successfully creates a container for the full spectrum – pushing through and against every emotion: "I wanted this album to give a feeling of shifting with and embracing change. These songs came from a turbulent time when I was coming to self-love through many existential crises and shifts in perspective."

Faithful to its name, Any Shape You Take changes form to match the tenor of each story it tells. "The album title is a nod to the many shapes I take musically. I don't feel that I fully embody any particular genre – all of the music just comes from the universe that is my ever-shifting brain/heart/world," says Indigo. This sonic range is unified by Indigo's strikingly confessional and effortless approach to songwriting, a signature first introduced in her debut, self-released LP, I Love My Mom. Written in quick succession, Indigo sees these two records as companion pieces, both distinct but in communion with each other: "Many of the songs on these two records came from the same season in my life and a certain version of myself which I feel much further from now. I feel very much like a shape-shifter with my music, I'm always trying to embody a balance between the existential weight and the overflowing sense of love I feel in the world."

It is exactly this balance that Indigo strikes in her Saddle Creek debut, Any Shape You Take. A listening experience that gives back, as you shed and shape-shift along with her.

Tracks

It was on a mountainside in Cumbria that the first whispers of Cate Le Bon’s fifth studio album poked their buds above the earth. “There’s a strange romanticism to going a little bit crazy and playing the piano to yourself and singing into the night,” she says, recounting the year living solitarily in the Lake District which gave way to Reward. By day, ever the polymath, Le Bon painstakingly learnt to make solid wood tables, stools and chairs from scratch; by night she looked to a second-hand Meers — the first piano she had ever owned — for company, “windows closed to absolutely everyone”, and accidentally poured her heart out. The result is an album every bit as stylistically varied, surrealistically-inclined and tactile as those in the enduring outsider’s back catalogue, but one that is also intensely introspective and profound; her most personal to date. This sense of privacy maintained throughout is helped by the various landscapes within which Reward took shape: Stinson Beach, LA, and Brooklyn via Cardiff and The Lakes. Recording at Panoramic House [Stinson Beach, CA], a residential studio on a mountain overlooking the ocean, afforded Le Bon the ability to preserve the remoteness she had captured during the writing of Reward in Staveley, Lake District. Over this extended period a cast of trusted and loved musicians joined Le Bon, Khouja and fellow co-producer Josiah Steinbrick — Stella Mozgawa (of Warpaint) on drums and percussion; Stephen Black (aka Sweet Baboo) on bass and saxophone and longtime collaborators Huw Evans (aka H.Hawkline) and Josh Klinghoffer on guitars — and were added to the album, “one by one, one on one”. The fact that these collaborators have appeared variously on Le Bon’s previous outputs no doubt goes some way to aid the preservation of a signature sound despite a relatively drastic change in approach. Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum as well

Tracks

1. Miami
2. Daylight Matters
3. Home To You
4. Mother's Mother's Magazines
5. Here It Comes Again
6. Sad Nudes
7. The Light
8. Magnificent Gestures
9. You Don't Love Me
10. Meet The Man

Hayley Williams' gripping second solo album, Flowers for Vases / Descansos was written and performed in its entirety by the Paramore lead singer, a career first for the music industry titan. Recorded at her home in Nashville, the 14-track album spans from stories of love to stories of loss. "This isn't really a follow-up to Petals For Armor. If anything, it's a prequel or some sort of detour between parts one and two of Petals," Williams notes. "In a world that often requires us to ignore our deepest needs, Hayley Williams does not provide a light at the end of the tunnel or a closed door, but a new body, a new tongue, and possibly a new frame of reference to survive and even thrive," writes NPR. Flowers for Vases / Descansos was named one of the best albums of 2021 so far by outlets such as Rolling Stone and SPIN.

1. First Thing To Go
2. My Limb
3. Asystole
4. Trigger
5. Over Those Hills
6. Good Grief
7. Wait On
8. KYRH
9. Inordinary
10. HYD
11. No Use I Just Do
12. Find Me Here
13. Descansos
14. Just A Lover

180gm vinyl LP pressing. The inspiration of Ivo Watts-Russell, This Mortal Coil emerged in the early-80s when the post-punk scene was splintering in exciting new ways and Ivo's then-fledgling record label 4AD was in the thick of it all. This Mortal Coil were not a band per se, never performing live, rather a collaboration of musicians, with both Ivo and co-producer John Fryer the only constants while the cast rotated. Debut album, It'll End In Tears (1984) forged the template for This Mortal Coil, whilst also helping to crystallize 4AD's emerging signature sound and shining a light on some of their stable with Cocteau Twins, Colourbox and Dead Can Dance all involved (the line-up was completed by Howard Devoto of Buzzcocks/Magazine fame and Cindytalk's Gordon Sharp). An important record of it's time, Pitchfork recently named it one of the best dream-pop albums ever, stating that it "catalyzed 4AD's ascendance from the stilted poetics of goth rock to the kings of gauzy transcendence."

• - Disc 1 -
• 1 Kangaroo
• 2 Song to the Siren
• 3 Holocaust
• 4 Fyt
• 5 Fond Affections
• 6 The Last Ray
• - Disc 2 -
• 1 Another Day
• 2 Waves Become Wings
• 3 Barramundi
• 4 Dreams Made Flesh
• 5 Not Me
• 6 A Single Wish

Norwegian artist and writer Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013's Innocence Is Kinky and 2015's Apocalypse, Girl, Hval's debut for Sacred Bones, she has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements which incorporate elements of poetry, prose writing, performance art, and film.

The New York Times defines her writing as "taking a scalpel to the subjects of gender politics and sexuality." Hval has eloquently brought to light issues of both male and female gaze, which for years had been swept under the rug and/or denied all together. Apocalypse, Girl landed on numerous year-end lists with leading compelling writers everywhere to grapple with the age-old, yet previously unspoken, question: What is Soft Dick Rock?

After touring for a year and earning her second Nordic Prize nomination, as any perfectionist would, Hval immediately went back into the studio to continue her work with acumen noise producer Lasse Marhaug, with whom she co-produces here on Blood Bitch. Her new effort is in many respects a complete 180° from her last in subject matter, execution and production. It is her most focused, but the lens is filtered through a gaze which the viewer least expects.

1. Ritual Awakening
2. Female Vampire
3. In the Red
4. Conceptual Romance
5. Untamed Region
6. The Great Undressing
7. Period Piece
8. The Plague
9. Secret Touch
10. Lorna

Loser Edition on clear w/ blue swirl vinyl. Light Verse arrives April 26th, and it's Iron & Wine's seventh full-length overall and fifth for Sub Pop Records. Fashioned as an album that should be taken as a whole, it sounds lovingly handmade and self-assured as a secret handshake. Track by track, it's equal parts elegy, kaleidoscope, truth, and dare. Light Verse was recorded with engineer and mixer Dave Way at his studio Waystation high up in Laurel Canyon (with an additional session at Silent Zoo Studio with a 24-piece orchestra), with a host of talented musicians joining Beam: Tyler Chester, Sebastian Steinberg, David Garza, Griffin Goldsmith, Beth Goodfellow, Kyle Crane, and Paul Cartwright. And, Fiona Apple joined Beam on vocals for the duet "All In Good Time."

• 1 You Never Know
• 2 Anyone's Game
• 3 All in Good Time
• 4 Cutting It Close
• 5 Taken By Surprise
• 6 Yellow Jacket
• 7 Sweet Talk
• 8 Tears That Don't Matter
• 9 Bag of Cats
• 10 Angels Go Home

The Bela Session documents Bauhaus‘ first studio session from January 26, 1979, where the iconic "Bela Lugosi's Dead" was recorded. This is the first and only official reissue of "Bela Lugosi's Dead" on vinyl, and the first time 3 of the 5 tracks have ever been released. This EP was produced directly by the band in advance of their 40th anniversary. "Bela Lugosi's Dead" was originally released by Small Wonder Records, 1979. "Harry" was originally released by Beggars Banquet, 1982. "Some Faces," "Bite My Hip," and "Boys (Original)" are previously unreleased.

Tracks

1. Bela Lugosi's Dead (Official Version)
2. Some Faces
3. Bite My Hip
4. Harry
5. Boys (Original)

Limited blue colored vinyl LP pressing housed in a slipsleeve. 2023 release. Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. She hopes her album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land." This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of it's private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time-traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown-up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place - this earth, this America, this body - takes active work. It might be impossible. The best things are.

• 1 Bug Like An Angel
• 2 Buffalo Replaced
• 3 Heaven
• 4 I Don't Like My Mind
• 5 The Deal
• 6 When Memories Snow
• 7 My Love Mine All Mine
• 8 The Frost
• 9 Star
• 10 I'm Your Man
• 11 I Love Me After You

Pinegrove's Everything So Far is exactly what it's title suggests - an anthology of all of Pinegrove's output up to the point of their breakout Run For Cover Records full-length, Cardinal. The collection encapsulates their debut LP Meridian, a number of EPs and even some singles like the captivating track "Angelina" & Cardinal Favorite "New Friends." Originally available only on cassette with a shorter tracklist.

• - Disc 1 -
• 1 New Friends
• 2 Angelina
• 3 Problems
• 4 Need
• 5 Overthrown
• 6 Size of the Moon
• 7 Need 2
• 8 Namesake
• 9 V
• 10 &
• 11 Unison
• 12 Palisade
• - Disc 2 -
• 1 The Metronome
• 2 Mather Knoll
• 3 Over My Shoulder
• 4 Peeling Off the Bark
• 5 Morningtime
• 6 Recycling
• 7 Sunday
• 8 On Jet Lag
• 9 Days

My favorite moments in the human experience are ones that you don’t even realize have started, but feel so deeply when you realize they’ve ended. I refer to these as ‘Ultrapure’ moments. This album was my humble, unqualified, and earnest as hell attempt at sitting in those feelings until they had no choice but to burst out of my head. These songs are about a type of pain I hate and love, but mostly have a deep appreciation for.

Limited orange and black colored vinyl LP pressing. Winner of the 2004 Mercury Music Prize, Franz Ferdinand's debut album was an instant hit. The Glasgow four-piece channelled throwback art-rock through an early noughties Britpop-revival prism. A must listen.

• - Disc 1 -
• 1 Jacqueline
• 2 Tell Her Tonight
• 3 Take Me Out
• 4 The Dark of the Matinée
• 5 Auf Achse
• - Disc 2 -
• 1 Cheating on You
• 2 This Fire
• 3 Darts of Pleasure
• 4 Michael
• 5 Come on Home
• 6 40'

Car Seat Headrest's Faces From the Masquerade on 2LP. Double LP Compiling Career-Spanning Hits and Rarities Performed Live at Sold Out Shows in Brooklyn, March '22.

"The 2022 “Masquerade” was a crazy tour that ignited with a particular ferocity once we touched ground on the east coast. Our time in New York captures that momentary magic where we’re playing at our peak and the crowd is responding as one giant body." - Will Toledo, Car Seat Headrest

On March 28th-30th 2022, Car Seat Headrest played three consecutive sold out nights at Brooklyn Steel in New York. An air of celebration, community and showmanship was present, made all the more palpable as the shows were far from a certainty - they took place amidst a year which saw the band having to postpone or cancel a large swath of their North American tour dates due to ongoing health issues. The three night residency is captured on Faces From The Masquerade - a double album’s worth of live performances that finds Car Seat Headrest at their most playful, exuberant, and precision honed.

The album title is a nod to the band’s original tour announcement, which kindly asked audiences to mask up (for obvious reasons) and also invited fans to “accoutre yourself in whatever further costumery you please” for an evening of “music, dancing, and identity loss.” It also alludes to the by now familiar custom-made gas mask worn by frontman Will Toledo at shows, complete with an expressive LED display for eyes. In addition to the group’s four core members - Toledo, guitarist/backing vocalist Ethan Ives, bassist Seth Dalby and drummer Andrew Katz - they were joined on the tour by keyboard player Ben Roth.

From the slow burning and atmospheric ‘Crows’ (“It always felt like the right track to start off the Masquerade tour,” Toledo notes in the album liner notes on the 8-minute opener, “it was gloomy, it was dancey, and in ten years we’d never played it live”) to the mosh-pitting and anthemic ‘Fill In The Blanks’ (“We went back to a big, fat rendition similar to the original for this tour, not the funky version we’d been rolling on the Twin Fantasy tour”) to the sprawling and epic ‘Beach Life-In-Death’ ("We re-arranged this one to have a bit more restraint up until the breaking point on “-dooooooggssss?” You wanna keep things dynamic with a 13+ minute song”), to the revisionist ‘Deadlines’ (“After experiencing various mutations throughout the recording process of Making a Door Less Open, this song got ANOTHER revamp for the live show to turn it into the climactic dance monster it always wanted to be”), Faces From The Masquerade is simultaneously a joyride through the greatest hits and a conversation with the devoted and ever-growing following that has formed around the band, their songs and live communions. Elsewhere, Ethan Ives takes the lead on the fevered ‘It’s My Child (I’ll Do What I Like)’, a track originating from his side project Toy Bastard before joining the CSH fold. “As far as simply getting to ball out as a band, ‘It’s My Child’ always felt like the highlight of the whole show to me”, says Toldeo. Twin Fantasy favorite 'Sober To Death' became something of a focal point as well as a mini-TikTok trend throughout the tour, with the song receiving reverential singalongs night after night wherever it was played. “Another track not originally slated to be a part of this tour - it came up often enough in the polls that it soon got locked in. I think this hushed version gave everyone a welcome chance to breathe, especially this night in New York, where people were getting so wild it felt necessary to dial things down for a few minutes.“

1. Crows
2. Weightlifters
3. Fill in the Blank
4. Hymn
5. Hollywood
6. Bodys
7. Something Soon
8. 1937 State Park
9. Sober to Death
10. Drunk Drivers/Killer Whales
11. It's My Child (I'll Do What I Like)
12. Can't Cool Me Down
13. Beach Life-In-Death
14. Deadlines