Alternative

Limited double 180gm vinyl LP pressing. Sawdust is a compilation album by alt-rock band The Killers, released on November 9, 2007 by Island Records. The album consists of singles, B-sides, rarities, covers, and remixes recorded between 2002 and 2007. Sawdust was inspired by b-sides collections such as Oasis' The Masterplan, Smashing Pumpkins' Pisces Iscariot and Nirvana's Incesticide. Sawdust debuted at #12 on the US Billboard 200, selling 82, 000 copies in it's first week. The album was certified platinum by the British Phonographic Industry (BPI) on April 4, 2008, and had sold 459, 500 copies in the United Kingdom by September 2012. It was also certified platinum by the Irish Recorded Music Association (IRMA) for sales of 15, 000 copies.

Tracks

• - Disc 1 -
• 1 Tranquilize
• 2 Shadowplay
• 3 All the Pretty Faces
• 4 Leave the Bourbon on the Shelf
• 5 Sweet Talk
• - Disc 2 -
• 1 Under the Gun
• 2 Where the White Boys Dance
• 3 Show You How
• 4 Move Away
• - Disc 3 -
• 1 Glamorous Indie Rock and Roll
• 2 Who Let You Go?
• 3 The Ballad of Michael Valentine
• 4 Ruby, Don't Take Your Love to Town
• - Disc 4 -
• 1 Daddy's Eyes
• 2 Sam's Town
• 3 Romeo and Juliet
• 4 Mr. Brightside / Questions with the Captain

Indie Exclusive Yellow Vinyl. All Day Gentle Hold ! is the fifth album from Aaron Maine and a celebratory collection of songs. Harder, faster, shorter and louder than any other Porches record, it’s direct and pointed, charged up and chaotic, described by Maine as “the most energetic, off-the-cuff moments, collaged together into the most captivating songs [he] could make.”

Tracks

1. Lately
2. I Miss That
3. Okay
4. Swimming Big
5. Back3School
6. Swarovski
7. Watergetsinside
8. In A Fashion
9. Inasint
10. Grab The Phone
11. Comedown Song (Gunk)

In 2020 Brooklyn's Holy Hive introduced us all to something we didn't know we needed. Homer Steinweiss' thickly pocketed drumming paired with Paul Spring's floaty falsetto vocal produces a sound that's like a salve. It's been dubbed Folk Soul and Holy Hive not only expertly overlay the more apparent musical aspects of folk and soul-but they also draw from the more profound: being able to pull traditions from the past and make them their own. When Homer wasn't playing drums for Lady Gaga or Adele or Bruno Mars, he'd produce Paul's solo folk records. Along with original bassist and frequent collaborator Joe Harrison, these sessions proved to be Holy Hive's foundation. And their first record, Float Back to You, expertly combined what each musician does best: Paul's heady, reflective approach to folk with Homer's universal classic soul sound.

With their new record released on Big Crown, Holy Hive's beautifully simple-and-sparse Folk Soul sound is back-but updated. With new influences and the challenge of creating and capturing music during a global pandemic, this new self-titled album, is more personal, more reflective. The first single off of Holy Hive, "I Don't Envy Yesterdays," picks up right where Homer and Paul left off. The song weighs the question of time and the human condition-a deeply thoughtful and typically tricky subject-but in a light, almost easy-breezy way. Homer's drumming provides the song a space, a kind of breathing room. Written in the Yucca Valley desert before the world broke in 2020, it's no wonder Paul's voice drifts and darts on top of it all like a heat shimmer. They describe three distinct phases when piecing together Holy Hive: this first stage was pre-pandemic in California while traveling as a group, then-like the rest of us-they were separated, creating together but apart, and lastly an explosion of output once they reunited in New York. There is a natural but subtle evolution for Holy Hive on this record. Homer and Paul drew from new and maybe more obscure-yet-honest influences. It's still very much Folk Soul-how could it not be. But, like all artists, they've taken in what they've made and how they've made it, only to push it into new places. We know of Holy Hive's ability to lyrically convey the abstract and complex in poetic and palatable ways. But where the first record was soulfully silver-tongued with chill songs about love and affection, Holy Hive widens the lens with these novel influences, reflecting the points both Homer and Paul are in their own lives. "We put the utmost importance on having lyrics that mean something to us," Homer explains. "A lot of the songs on the first record were fun, but could be kind of surface. On this record, we wanted to be more personal-we wanted to write more about life."

Tracks

• 1 Color It Easy
• 2 Story of My Life
• 3 Golden Crown
• 4 Ain't That the Way
• 5 Runaways
• 6 Deadly Valentine
• 7 I Don't Envy Yesterdays
• 8 A Wind Rose
• 9 All I'd Be Is Where You Are
• 10 Great Chains
• 11 Cynthia's Meditation
• 12 Brooklyn Ferry
• 13 Circling the Surface
• 14 Starless
• 15 Star Crossed

Interpol follows-up 2014's El Pintor with their sixth studio album, Marauder. For the first time since 2007's Our Love to Admire, the band has opened themselves up to the input of a producer. For two-week spells between December of 2017 to April of 2018, they traveled to upstate New York to work with Dave Fridmann – famed for recording with Mercury Rev, Flaming Lips, MGMT, Spoon, Mogwai, and countless more.

In the run up to writing and recording, Sam Fogarino found himself immersed in soul drummers such as Al Jackson Jr (Otis Redding's drummer) and 80's funk producers Jimmy Jam and Terry Lewis. "How can I make shit swing?" was the question Sam repeatedly asked himself, and the answer is in the striding gallop of opener "If You Really Love Nothing," the embellished skip ‘n' bounce of "Stay in Touch" and the R&B swagger of closer "It Probably Matters." Interpol have always been world-beaters at creating a feeling, but Marauder is where the feel is just as crucial.

Paul Banks may have stepped out of the shadows as a bassist, but he steps into an even brighter light as a songwriter here. During Interpol's previous albums, the singer largely kept himself out of his own work, preferring to fill his lyrics with detached thoughts, characters, and observations, often phrased in abstract. But more than 20 years on since forming at NYU, the frontman is finally allowing himself to play a role in his own stories. 

"Marauder is a facet of myself," he explains. "That's the guy that fucks up friendships and does crazy shit. He taught me a lot, but it's representative of a persona that's best left in song. In a way, this album is like giving him a name and putting him to bed."

1. If You Really Love Nothing
2. The Rover
3. Complications
4. Flight of Fancy
5. Stay In Touch
6. Interlude 1
7. Mountain Child
8. NYSMAW
9. Surveillance
10. Number 10
11. Party's Over
12. Interlude 2
13. It Probably Matters

Radiohead figurehead Thom Yorke follows up his 2014 album Tomorrow's Modern Boxes and 2018 score to Suspiria with his third full-length solo effort Anima. Produced by longtime collaborator Nigel Godrich, several of the album's songs were debuted live during Yorke, Godrich and Tarik Barri's Tomorrow's Modern Boxes performances.

This standard black double vinyl LP edition is housed in a wide-spine single sleeve and includes the exclusive bonus track, "(Ladies & Gentlemen, Thank You For Coming)." A download card for the original nine-track album is also included in the sleeve.

Tracks

1. Traffic
2. Last I heard (...He Was Circling the Drain)
3. Twist
4. Dawn Chorus
5. I Am a Very Rude Person
6. Not the News
7. The Axe
8. Impossible Knots
9. Runwayaway
10. (Ladies & Gentlemen, Thank You For Coming)

The Replacements Sorry Ma, Forgot To Take Out The Trash on LP 

Twin/Tone Era LPs Are Available Again After Being Out of Print for Over 20 Years! 

Along with Prince and Hüsker Dü, The Replacements put Minneapolis on the rock map in the 1980s. Among America's greatest alternative acts of all-time, the 'Mats rose from chaotic noise-makers to polished craftsmen, leaving at least three unqualified masterpieces in their wake. In a perfect world, Let It Be, Tim, and Pleased To Meet Me would have all gone platinum - but then again, endearing imperfection was always a hallmark of this band's music.

The 'Mats formed in the wake of the punk explosion of the late 1970s. Their anarchic stage shows had earned them considerable notoriety in local clubs. Indie label Twin/Tone took note and signed the quartet, and their raucous first album, Sorry Ma, Forgot To Take Out The Trash was issued in 1981. That record and the Stink EP that followed the next year were both pretty much standard-issue hardcore thrash. These early efforts careen wildly between competing tendencies toward indelible genius and drunken abandon, yet are essential just the same!

1. Takin A Ride
2. Careless
3. Customer
4. Hangin Downtown
5. Kick Your Door Down
6. Otto
7. I Bought A Headache
8. Rattlesnake
9. I Hate Music
10. Johnny's Gonna Die
11. Shiftless When Idle
12. More Cigarettes
13. Don't Ask Why
14. Somethin To Du
15. I'm In Trouble
16. Love You Till Friday
17. Shutup
18. Raised In The City

Limited translucent purple vinyl LP pressing. 2020 EP containing four stripped-back classic Bayside songs, as well as one brand new track, "Light Me Up." Acoustic Volume 3 serves as a follow up - and a stark juxtaposition - to 2019's Interrobang, the band's heaviest record to date.

Tracks

• 1 Light Me Up
• 2 The New Flesh
• 3 Not Fair
• 4 Poison in My Veins
• 5 Prayers

Double vinyl LP pressing in gatefold jacket. Includes poster. Digitally remastered and expanded edition. By going back to basics with Every Good Boy Deserves Fudge, Mudhoney flipped conventional wisdom. Not for the first time - or the last - they would be vindicated. A month after release in July 1991, the album entered the UK album chart at Number 34 (five weeks later, Nirvana's Nevermind entered at 36) and went on to sell 75,000 copies worldwide. A more meaningful measure of success, however, lay in it's revitalization of the band, casting a touchstone for the future. The record is a major chapter in Mudhoney's ongoing story, the moral of which has to be: when in doubt, fudge it. This 30th anniversary edition, remastered by Bob Weston at Chicago Mastering Service, stands as testimony to the creative surge that drove them in this period. The album sessions yielded a clutch of material that would subsequently appear on B-sides, compilations, and split-singles. This edition includes all those tracks, and a slew of previously unreleased songs, including the entire five-track Music Source session.

• - Disc 1 -
• 1 Generation Genocide
• 2 Let It Slide
• 3 Good Enough
• 4 Something So Clear
• 5 Thorn
• 6 Into the Drink
• 7 Broken Hands
• 8 Who You Drivin' Now?
• 9 Move Out
• 10 Shoot the Moon
• 11 Fuzzgun '91
• 12 Pokin' Around
• 13 Don't Fade IV
• 14 Check-Out Time
• - Disc 2 -
• 1 March to Fuzz
• 2 Ounce of Deception
• 3 Paperback Life (Alternate Version)
• 4 Fuzzbuster
• 5 Bushpusher Man
• 6 Flowers for Industry
• 7 Thorn (1st Attempt)
• 8 Overblown
• 9 March from Fuzz
• 10 You're Gone
• 11 Something So Clear (24-Track Demo)
• 12 Bushpusher Man (24-Track Demo)
• 13 Pokin' Around (24-Track Demo)
• 14 Check-Out Time (24-Track Demo)
• 15 Generation Genocide (24-Track Demo)

2021 Vinyl LP Reissue Newly Remastered at Abbey Road Studios!

Twenty years on from the release of their 2001 self-titled debut album, The National are reissuing it along with 2003's follow-up Sad Songs For Dirty Lovers and 2004's Cherry Tree EP. With all three records having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasizing the early signs of the sound that would go on to make them one of the finest and most beloved alternative bands of their generation.

Released a year before The National broke through with their third album Alligator, the Cherry Tree EP is a thrilling record which - thanks to its collection of delicate ballads and anthemic crowd-pleasers - sums up what they do best in under 30 minutes. Now a firm fan-favorite, among Cherry Tree's seven tracks are now National classics "About Today" and "All The Wine," plus a thrilling live version of "Murder Me Rachael" that reminds of the band's fearsome early live performances.

Cherry Tree can be seen as the record that marks the moment when The National had truly found themselves, a bridge from what went before to a band ready to conquer the world. And with this new master, it's never sounded better!

1. Wasp Nest
2. All The Wine
3. All Dolled-Up In Straps
4. Cherry Tree
5. About Today
6. Murder Me Rachael (Live)
7. Reasonable Man (I Don't Mind)

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.

"My sense of humor is dark, and these are dark times," says Arm. "I suppose it's only getting darker." Digital Garbage opens with the swaggering "Nerve Attack," which can be heard as a nod both to modern-life anxiety and the ever-increasing threat of warfare. The album's title comes from the outro of "Kill Yourself Live," which segues from a revved-up Arm organ solo into a bleak look at the way notoriety goes viral. Appropriately enough, bits of recent news events float through the record: "Please Mr. Gunman," on which Arm bellows "We'd rather die in church!" over his bandmates' careening charge, was inspired by a TV-news bubblehead's response to a 2017 church shooting, while the ominous refrain that opens the submerged-blues of "Next Mass Extinction" calls back to the clashes in Charlottesville.

Mudhoney's core sound – steadily pounding drums, swamp-thing bass, squalling guitar wobble, Arm's hazardous-chemical voice – remains on Digital Garbage, which the band recorded with longtime collaborator (and contributing pianist) Johnny Sangster at the Seattle studio Litho. The anti-religiosity shimmy "21st Century Pharisees" builds its case with Maddison's woozy synths, which Arm says "add a really nice touch to the proceedings." Digital Garbage closes with "Oh Yeah," a brief celebration of skateboarding, surfing, biking, and the joy provided by these escape valves. In the end, the riffs and fury of Digital Garbage will stand the test of time, even if some of the particulars [hopefully] fade away. 

Die-cut gatefold jacket with custom dust sleeve and accompanying download coupon.

1. Nerve Attack
2. Paranoid Core
3. Please Mr. Gunman
4. Kill Yourself Live
5. Night and Fog
6. 21st Century Pharisees
7. Hey Neanderfuck
8. Prosperity Gospel
9. Messiah's Lament
10. Next Mass Extinction
11. Oh Yeah

Vinyl LP pressing. 2013 album from the Seattle/Grunge legends. 25 years in, Vanishing Point affirms that, even in an age where only the newest of the new can survive, Mudhoney still have plenty to say and more to offer. These are songs written from the rare vantage point of a band who went through the rock n' roll meat-grinder and not only lived to tell such a tale, they came out full of the wisdom and dark humor such a journey provides. Vanishing Point is filled with dread, psychoanalysis and Nuggets-on-fire riffs; the sort of uninhibited rock music that is harder and harder to locate these days. With Vanishing Point, Mudhoney makes it easy.

• 1 Slipping Away
• 2 I Like It Small
• 3 What to Do with the Neutral
• 4 Chardonnay
• 5 The Final Course
• 6 In This Rubber Tomb
• 7 I Don't Remember You
• 8 The Only Son of the Widow from Nain
• 9 Sing This Song of Joy
• 10 Douchebags on Parade