The Bangles remain one of the greatest all-girl bands in rock history, renowned for their songwriting, harmonies, and chops...yet Doll Revolution, one of their best records which was home to the fan favorite "Ride the Ride," has never seen a widespread vinyl release to general music retail. That's because it fell into that late '90s/early 2000s gap when vinyl was considered dead (ha)! Now, with full support of the band, Real Gone Music brings Doll Revolution to its rightful format with acolored 2LPpressing housed in gatefold packaging with an accompanying insert.
Double red, purple, and blue colored vinyl LP pressing. Includes poster. After a meteoric rise over the past decade, acclaimed Australian rapper Iggy Azalea drops the third and (possibly) final album, The End of an Era. Signifying a time to potentially take a step back from music, Iggy surely doesn't go out without a bang. With standout hits such as "Brazil," "Iam The Stripclub," & "Sex on the Beach (feat. Sophia Scott)," the 14 track album is filled with bangers returning to the sound of her mixtape roots. Features include BIA, Sophia Scott & Ellise. The Deluxe album features 3 bonus tracks, "N.Y.E. (feat. Alice Chater)," "Sip It (feat. Tyga)," & "Posh Spice."
Limited red, blue, and purple colored vinyl LP pressing. After a meteoric rise over the past decade, acclaimed Australian rapper Iggy Azalea drops the third and (possibly) final album, The End of an Era. Signifying a time to potentially take a step back from music, Iggy surely doesn't go out without a bang. With standout hits such as "Brazil," "Iam The Stripclub," & "Sex on the Beach (feat. Sophia Scott)," the 14 track album is filled with bangers returning to the sound of her mixtape roots. Features include BIA, Sophia Scott & Ellise.
Like only the most gifted storytellers, Matisyahu spins the rare kind of stories that simultaneously enlighten and enthrall and expand the audience's sense of possibility. On his eponymous new album, the Grammy Award-nominated singer/songwriter/rapper shares his most autobiographical work to date, merging that personal revelation with a shapeshifting collision of reggae and hip-hop and boldly inventive pop. Produced by Salt Cathedral (a Brooklyn-based duo comprised of Colombian musicians Juliana Ronderos and Nicolas Losada), the result is an undeniably transformative album, one that invites both intense introspection and unbridled celebration. On the album's dancehall-infused lead single "Chameleon," Matisyahu presents a potent piece of self-reflection spiked with equal parts idiosyncratic wordplay and warmly expressed wisdom.
Poet, artist and Daughters vocalist Alexis Marshall delivers his solo debut album House Of Lull . House Of When via Sargent House. Produced by Seth Manchester the album is crafted around moments of spontaneity and sonic detritus. For it Marshall brought together an impressive group of collaborators to execute his vision, a vision that for the first time was under his full creative direction. Jon Syverson (Daughters) and Evan Patterson (Jaye Jayle, Young Widows) joined Marshall in Pawtucket, Rhode Island at Machines with Magnets studio with no material. The strategy was to embrace new sounds, employ the element of chance, and capture the creative process in a song format. The genesis of a song could be anything – a fragmented piano line, a drum pattern – but the impetus was often a non-musical sound. Marshall sourced a lot of his textural contributions from a hardware store all contributing to a proto-industrial rattle-and-rumble reminiscent of early Einstürzende Neubauten. The resulting material stands to be the boldest and exciting work of his career.
Limited teal colored vinyl LP pressing. The last (2011) record released by The Bangles' - now a trio of Susanna Hoffs and Debbi & Vicki Peterson - is one of their best, a loving paean to '60s pop inspired in part by Sheila Weller's book Girls Like Us, which intertwines the stories of Laurel Canyon singer-songwriters Joni Mitchell, Carole King, and Carly Simon. You'll hear plenty of that Laurel Canyon vibe on this record from these three songwriters, as well as some nods to The Bangles' power pop past, all blessed with the vocal harmony arrangements that the group's fans treasure. Produced by Matthew Sweet, Sweetheart of the Sun was out on vinyl for a heartbeat, with original copies costing a fortune; our Real Gone reissue - released with the full cooperation of the band - features the original album art complete with inner sleeve.
Midway through his long, earnest and often very, very funny essay on the role playing game Dungeons & Dragons in the September 2006 issue of The Believer, writer Paul La Farge proposes that Dungeons & Dragons is not a game at all but rather a ritual. La Farge notes the marked difference between game and ritual. Whereas a game seeks to demonstrate how unequal or distinct players/ teams are from one another, rituals seek to do the very opposite. "Ritual, on the other hand, is the exact inverse, for it brings about a union," La Farge writes, himself paraphrasing anthropologist Claude Levi-Strauss. "Or in any case an organic relation between the initially separate groups." And so, across the 25-year history of Jagjaguwar, an independent record label curiously named using a Dungeons & Dragons name generator, we find this idea of ritual as a conjoining practice. We see it early on when Jagjaguwar joins forces with a midwestern label called Secretly Canadian for a powerful fusion. We see it in familial relationships and collaboration among Jagjaguwar artists, and the ways those artists' most treasured collaborators make their ways to the Jagjaguwar game board. Join The Ritual, the third piece of Jagjaguwar's 25th Anniversary celebration, looks to pay homage to the labels and artists that, whether they know it or not, invited Jagjaguwar to the table, to this wild, dark magic ritual of music. We're talking about independent titans like Drag City, Too Pure, K Records and Touch & Go. We're talking about heroes like R.E.M., Slint, Stereolab and Tracy Chapman. These songs captured the imaginations of our founders Darius Van Arman and Chris Swanson - and ultimately, opened up worlds to them.
For nearly a decade now, Noah Kardos-Fein has been making post-industrial / neo-no wave music under the nameYvette, building a distinct and arresting repertoire along the way. In 2016, Yvette began work on what would become their highly anticipated sophomore album How The Garden Grows. It took three years of stops and starts – multiple studios and different producers and engineers – to write and record. The album, now seeing the light of day in 2021, is the culmination of years of hard work, and countless obstacles. It marks a period of significant growth and change: not just within the band, but also in the musicians' personal lives, the world of New York experimental/DIY music, national politics, and an increasingly globalized world. And it reveals a band carving paths into a new realm of experimentation, in terms of both songwriting and technical approach.
How The Garden Growsis an intense, kinetic space where animosity is soothed by moments of beauty, and beauty is sharpened into a metallic spearpoint by animosity. "B61" opens the album with two minutes of spacious clattering atop a nauseous hum, the harmony of which becomes clear when Kardos-Fein's voice bubbles to the surface. His delivery starts out glassy and melodic only to boil over into a scream midway through the track, creating one of the most aggressive moments on an already aggressive offering. By the song's end, the mood is complete panic, with Kardos-Fein's guitar-controlled synthesizer evoking distorted alarms, as if to emphasize the apocalyptic imagery of his lyrics. Songs like "Besides" and "For A Moment" march with a similarly anxious momentum of double-timed rhythms and overdriven textures, but here they serve a more discernible pop framework, highlightingYvette'sacute sense of songcraft.
For all of its energy, the album concludes with eight minutes of beat-less atmosphere in the form of "Intermission," a reflective piece of inertia that serves to contrast the utter dismay that precedes it. It's the only track that Kardos-Fein performed by himself, a droning, improvisational piece he recorded when everyone else had left the room. One of the last things you hear, accidentally picked up by the mic as the instrumental drifts into oblivion, is the sound of his bandmate opening and closing the studio door, leaving Kardos-Fein to carry on asYvettealone. It's a surprisingly prescient sonic farewell for an intensely unconventional album. The droning fades, and the listener is left feeling slightly uneasy, wondering what comes next.
Transcontinental, experimental duoSmoke Bellowhave been at it since 2012, relocating from Australia to Baltimore, MD and back again and then back again (now firmly settled in Baltimore). The duo released theBlooming/MiddlingLP in 2014, followed byIsolation 3000in 2018 (both on Baltimore label Ehse Records) After a line-up shuffle, they eventually recruited one of their favorite drummers and dear friend, Emmanuel Nicolaidis (Thank You, Oh Hang) which found the duo refining their sound into a dizzyingly attractive mixture of kosmiche serenity, minimalist composition, test-card psychedelia, and highlife guitar.
WithOpen for Businessthe three members set out to create a set of songs more immediate and bare than previous outings. The album title itself is a cheeky reference to Maryland governor Larry Hogan's less than inspired motto "we're open for business". Half of the songs were written in a room together and the second half via email (for obvious reasons). At the time they were listening to a lot of post punk and were struck with the partnership of drums and bass as propulsive instruments. The trio started writing songs around that idea - with the rhythm as a brace to hang their decorations.
Sonically,Smoke Belloware inspired by disparate sources. The heyday of Compass Point studios' famed rhythm section of Sly and Robbie sustained them for months. Others included good old VU, ESG, guitar hero Zani Diabate, The Raincoats (especially their under-appreciated second album,Odyshape), the frenetic sound collisions of the Flying Lizards, the ever warm blanket of Yo La Tengo, the evolving repetition of Stereolab, the understated genius of Asa Osborne, as well as Philip Glass and Steve Reich. The David Byrne/Robert Wilson "Knee plays" reminded them of the joy of the spoken word set to music.
Lyrically, Best and McHugh drew from life in Baltimore, from isolation (again), memories of life in Melbourne, their friends and each other. "We wanted to talk about resilience and resistance," says Best. Recording and mixing took place between a remote cabin in the Smoky Mountains and Tempo House in Baltimore withJared Paolini. "Maybe Something" includes cello from Owen Gardner (Horse Lords). Words on "Night Light" by Daniel Stephensen.
Mesmeric and kaleidoscopic, shimmering with electrified unease, Show Me How You Disappearis both an exercise in self-forgiveness and an eventual understanding of unresolved trauma. Jilian Medford's third record as Ian Sweet unfolds at an acute juncture in her life, charting from a mental health crisis to an intensive healing process and what comes after. How do you control the thoughts that control you? What does it mean to get better? What does it mean to have a relationship with yourself?
Recorded with Andrew Sarlo (Big Thief, Empress Of) and Andy Seltzer (Maggie Rogers), among others, Medford approached this album as a curator. She handpicked the producers that fit each song, which explains the range and experimentation showcased. Medford then recruitedChris Coady to mix and tie everything together into one cohesive piece. Dizzying and enthralling, Show Me How You Disappear is the sound of someone coming apart and putting themselves back together – the moment an old mantra, repeated into the mirror time and time again, finally clicks. To look at your reflection, and finally feel seen.