Inventory Overstock Sale!!!

Limited edition of 1000 individually numbered copies on turquoise coloured 180-gram audiophile vinyl. The 1980 album title Ultra Wave is an homage to the Detroit-based studios where Collins collaborated with core Rubber Band contributors Phelps "Catfish" Collins (guitar), Robert "P-Nut" Johnson (vocals), and the dynamic horns of Fred Wesley (trombone) and Maceo Parker (sax). Ultra Wave was produced by George Clinton, in collaboration with Bootsy himself and includes additional vocals by other P-Funk alumni Jeanette Washington and Debbie Wright amongst others.

• 1 Mug Push
• 2 F - Encounter
• 3 Is That My Song?
• 4 It's a Musical
• 5 Fat Cat
• 6 Sacred Flower
• 7 Sound Crac

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."

• 1 Sirens
• 2 Brazil
• 3 Pillow Fight
• 4 Emo Club Anthem
• 5 Stfu
• 6 Iam the Stripclub
• 7 Nights Like This
• 8 Woke Up (Diamonds)
• 9 Is That Right (Feat. Bia)
• 10 Xxxtra
• 11 Peach Body
• 12 Sex on the Beach (Feat. Sophia Scott)
• 13 Good Times with Bad People
• 14 Day 3 in Miami (End of An Era) (Feat. Ellise)
• 15 N.Y.E. (Feat. Alice Chater)
• 16 Sip It (Feat. Tyga)
• 17 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.

• 1 Sirens
• 2 Brazil
• 3 Pillow Fight
• 4 Emo Club Anthem
• 5 Stfu
• 6 Iam the Stripclub
• 7 Nights Like This
• 8 Woke Up (Diamonds)
• 9 Is That Right (Feat. Bia)
• 10 Xxxtra
• 11 Peach Body
• 12 Sex on the Beach (Feat. Sophia Scott)
• 13 Good Times with Bad People
• 14 Day 3 in Miami (End of An Era) (Feat. Ellise)

Giving the World Away, the sophomore album from Hatchie, is the truest introduction to the songwriter/bassist at the helm of the project, Harriette Pilbeam. Produced by Jorge Elbrecht, Giving the World Away is Hatchie's most thunderous, sprawling work yet. Featuring input from longtime Hatchie collaborator Joe Agius, it takes the celestial, shimmering shoegaze and pop sensibilities of her earlier releases, but with the volume knob cranked up tenfold. Built out with percussion from Beach House drummer James Barone, it's synthed-out, sonic opulence, a more structured and ornate musicality with traces of '90s trip-hop and acid house influences.

Pilbeam initially intended for these songs to go in a higher-energy direction. She had the distinct vision of a Hatchie show turned dance party, inviting more movement and vibrancy into her live shows. But then, between Covid and the lockdowns in Australia, Pilbeam retreated more into herself, and that introspection and self-discovery served as the true inspiration for the record. Again and again across Giving the World Away, she returns to that same theme of dismantling internalized shame and finding gratitude and steadiness, and finally being able to trust herself. Giving the World Away is an album about self-confidence, about the strange time in young adulthood where you begin to finally be able to see yourself clearly. Incisive and probing, Giving the World Away is the clearest look at Pilbeam yet, and a relic of the power and bravery that spring forth from embracing vulnerability and putting your heart on the line.

Tracks

• 1 Lights on
• 2 This Enchanted
• 3 Twin
• 4 Take My Hand
• 5 The Rhythm
• 6 Quicksand
• 7 Thinking of
• 8 Giving the World Away
• 9 The Key
• 10 Don't Leave Me in the Rain
• 11 Sunday Song
• 12 Til We Run Out of Air

Multi-platinum, Grammy Award-winning artist Everlast returns with Whitey Ford's House of Pain, the rapper-singer-songwriter's first full-length studio album of original material in seven years (since 2011's Songs of the Ungrateful Living). The 15-song collection offers an eclectic stylistic sampling from throughout Everlast's nearly-three-decade-long journey.

There's the self-analytical "The Climb," a song which in part references his own defenses as well as his eight-year-old's ongoing battle with cystic fibrosis, one of the chief reasons behind the long gap between records. Watching her suffer fuels his anger and challenging of God's existence in album opener "One of Us," while the dirty delta blues of "Slow Your Roll" suggests a dark glimpse of a world and a growling vocal hook provided by Aloe Blacc, taking us back to Everlast's underground hip-hop roots.

The album's centerpiece, "Summer Rain," is a sprawling, cinematic, Beatles-meets-Tom Waits-meets Neil Young glimpse into the horrors of drug addiction, with "Dream State," co-produced by Alchemist, a sly stab at the back-stabbing treachery and Faustian pacts of the music business. Everlast also offers up a "Jump Around"-style party song in the rousing "Smokin' & Drinkin.'"

"I just used everything in the tool box," Everlast says about Whitey Ford's House of Pain, adding that his family's ordeal managing his daughter's illness has given him "a whole different license to learn how to live."

Tracks

• 1 One of Us
• 2 The Culling
• 3 It Ain't Easy
• 4 The Climb (Interlude)
• 5 The Climb
• 6 Slow Your Roll
• 7 Smokin & Drinkin
• 8 Oooohh (I Don't Need You)
• 9 Summer Rain (Interlude)
• 10 Summer Rain
• 11 Don't Complain
• 12 Break It Down
• 13 Break It Down (Interlude)
• 14 Heartbeat
• 15 Dream State

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.

1. Not Regular
2. Am_rica
3. Chameleon (feat. Salt Cathedral)
4. Keep Coming Back for More (feat. Salt Cathedral)
5. Mama Please Don't Worry
6. In My Mind
7. Music is the Anthem
8. Got to See It All
9. Lonely Day
10. Tugboat
11. Flip It Fantastic
12. When the Smoke Clears
13. Raindance

On Chlorophyll (Olive Green) Vinyl. Over eighteen boundless albums as experimental as they are pop, Deerhoof has continuously quested for radical sounds and daring storytelling. 2020's Future Teenage Cave Artists explored fairytale visions of post-apocalypse, welding intrinsic melodies with absurdist digital recording methods. It's sequel Love-Lore, a live covers medley, channeled futurist mid-century artists-Parliament, Sun Ra and Stockhausen, to name a handful- into a patchwork love letter to the anti-authoritarian expressions that inspire the band. Galvanized by the challenge of unifying many styles of music, Deerhoof landed on their next record's concept: baroque gone DIY. Actually, You Can is a genre-abundant record that uses technicolor vibrancy and arpeggiated muscularity to offer a vital shock from capitalism's purgatorial hold. "In the United States now, to be a moral person means to be a criminal, whether it has to do with a general strike or forming a union or Black Lives Matter protests," clarifies Saunier of the album's countercultural embrace of liberation. "If you follow the rules, you're guilty. That's the spirit we were trying to express: an angelic prison bust, a glamorous prison bust." It's a condemnation of America's mundanity, replacing violence with the heartfelt power of mutualism. With state lines and oceans separating band members, Deerhoof not only reinvented their sonic and thematic credo, but also their recording process. Deerhoof's players are not strangers to home-recording their individual parts, and have long embraced composing via file trading. But 2020's halt to touring kicked off their longest separation from playing together, foregrounding new priorities. As the group's combined demos became increasingly layered, bassist and vocalist Satomi Matsuzaki put her foot down, insisting the new album should replicate concert energy. Visualizing the quartet on huge stages with past tourmates Radiohead and Red Hot Chili Peppers, Saunier fugue-arranged his bandmates' complex demos into songs to make an audience smile and dance. He sought out far-traveling delays, heavy playing, and unique panning to evoke the power of outdoor music. Matsuzaki scrutinized spots that would betray the conceit, eliminating anything that took away from the sound of onstage grandeur. "We spent so much time imagining playing together in the process of recording, it's almost like a false memory of us playing this music together," Saunier marvels. For Deerhoof's members to continually uncover new corners of their own talent requires deep wells of gratitude, not only for each others' creativity but for the freedom their career affords. But by embracing each other's art with curiosity, Deerhoof authors a musical alphabet that continues to astound and inspire, a unique lexicon expanding limitlessly with each album. For new listeners and decades-long devotees, Deerhoof's electrifying, generous approach to collaborative worldbuilding on Actually, You Can is an emboldening call to support our communities with renewed strength, infinite love, and the resilience to keep exploring.

Tracks

• 1 Be Unbarred, O Ye Gates of Hell
• 2 Department of Corrections
• 3 We Grew, and We Are Astonished
• 4 Scarcity Is Manufactured
• 5 Ancient Mysteries, Described
• 6 Plant Thief
• 7 Our Philosophy Is Fiction
• 8 Epic Love Poem
• 9 Divine Comedy

Remastered and pressed onto deluxe 180g Vinyl with a gatefold jacket presentation, Der Kommissar is a compilation album released by After The Fire originally in 1982. The singles featured on this compilation were originally from After the Fire's three studio albums recorded for the CBS label: Laser Love, 80-F, and Batteries Not Included. After the Fire (or ATF) were a British rock band that evolved from playing progressive rock to new wave over their initial ten-year career. Coming originally from a progressive rock background, After The Fire changed it's musical style with the advent of Punk and New Wave and became more of a commercial pop band dominated by the keyboards of founding member, Peter Banks. Coupled with the thoughtful lyrics of vocalist/bassist Andy Piercy the band regularly played London's Marquee Club and headlined at Finsbury Park's Rainbow Theatre. They also toured the club circuits extensively in Europe and the US and opened for the likes of Queen, Electric Light Orchestra and Van Halen on big stadium tours worldwide.

Tracks

• 1 Laser Love
• 2 One Rule for You
• 3 Dancing in the Shadows
• 4 Sometimes
• 5 Sailing Ship
• 6 Carry Me Home
• 7 Frozen Rivers
• 8 Love Will Always Make You Cry
• 9 Starflight
• 10 Der Kommissar
• 11 1980-F

Edward Sharpe and the Magnetic Zeros is a 10-piece musical ensemble founded in 2007 during the yearlong recording of their first album, Up From Below. Disillusionment with his major label experience with Ima Robot drove founding singer-songwriter Alex Ebert to maintain a DIY recording ethos. Considered pioneers of the folk-pop revival, the band's self-produced albums have experienced some popular success.

It is the band's live shows, however, that have seen them celebrated by fans and critics alike. Often likened to "a religious experience," many of their live shows have taken place in unusual venues (cathedrals, circus tents, underground train depots – even off of trains themselves, as seen in their Grammy-winning documentary Big Easy Express). Their shows are performed without set lists and their songs usually undergo spontaneous improvisation, with Ebert spending a portion of the show singing amongst the crowd.

Since its founding, the band has undergone several iterations. Most notably, singer Jade Castrinos left the band in 2014. According to lead singer Ebert, this marked a transformation in the band's music. "We had long been a social experiment first, musicians second. Over time, though, we were emerging, by virtue of hours spent, into a group of musicians who could really play together. When Jade left, that confirmed our new fate – music first."

The shift is tangible in the band's fourth studio album PersonA. Recording the music almost entirely in one room together in New Orleans, their approach was a far cry from their ramshackle, come-one-come-all production audible on recordings of their previous albums. "We seem to be done for now with distractions from the music itself, the bones of it," says Ebert. This album also marks the first time that the band has jointly collaborated on a majority of the songwriting.

The band's members are Mark Noseworthy, Orpheo McCord, Josh Collazo, Christian Letts, Nico Aglietti, Seth Ford-Young, Mitchell Yoshida, Christopher Richard, Stewart Cole, and Alex Ebert. Every one of its members has their own "solo" projects outside of the group. Most recently, Letts and Richard (aka "Crash") released albums and Ebert won a Golden Globe for Best Original Score for All Is Lost.

1. Hot Coals
2. Uncomfortable
3. Somewhere
4. No Love Like Yours
5. Wake Up The Sun
6. Free Stuff
7. Let It Down
8. Perfect Time
9. Lullaby
10. The Ballad Of Yaya

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.

• 1 Red Dress
• 2 Good Morning, Captain
• 3 The Seeming and the Meaning
• 4 Cold Blooded Old Times
• 5 Feel the Pain
• 6 Fast Car
• 7 Car
• 8 Weight of Water
• 9 The Concept
• 10 One for the Catholic Girls
• 11 Nightswimming

“Hidden Driver,” the opening track of LVL UP’s third album and Sub Pop debut Return to Love, never stops moving. What starts with unassuming guitars and vocals adds new lines, depths, and intensity, until its unrestrained, triumphant finish. “God is peeking, softly speaking,” repeats the chorus, working through the relationship between spirituality and creative inspiration, and introducing a band that is always pushing further.

LVL UP -- guitarists Mike Caridi and Dave Benton, bassist Nick Corbo, and drummer Greg Rutkin -- is a true collaboration, a band that takes the stylistically distinct ideas of four members and brings them together into something new. Caridi, Benton, and Corbo write and sing equally, bringing their work to the group to be fully realized, resulting in an album built on different perspectives but a common drive.

“We have very different inspirations across the board,” says Benton, noting his own admiration for the writer and documentarian Astra Taylor, Corbo’s interest in the mystical and the occult, and Caridi’s attention to personal storytelling. The music itself grows from a shared melodic and experimental sensibility, as well as a nod to iconic influences like Neutral Milk Hotel and Mount Eerie.

LVL UP was formed in 2011 at SUNY Purchase as a recording project between Caridi, Benton, and their friend Ben Smith, with the original intention of releasing a split cassette with Corbo’s then-solo material. They instead released that album, Space Brothers, as one band, and Rutkin joined shortly afterwards for the group’s first show. Smith left the band for personal reasons just before the release of second album Hoodwink’d, a joint release on Caridi and Benton’s label Double Double Whammy and Exploding in Sound. DDW also put out records from other artists in the tight-knit community that launched the band.

Also part of that university community was Return to Love’s producer Mike Ditrio, who mixed LVL UP’s previous records and “was basically a fifth member of the band,” says Corbo. “He played a huge role in developing the sound, without butting in too much. He also navigated our personal dynamic really nicely.”

Green vinyl,

Tracks

• 1 Intro
• 2 Death Drop
• 3 House Vs. House
• 4 Hush Money
• 5 Love Is a Parasite
• 6 Creature/West Fuqua
• 7 No Dice
• 8 Wings of Hate

Before The World Was Big is the debut album by Girlpool and follows their critically acclamed self-titled EP, released on Wichita Recordings in 2014. Girlpool will be touring extensively in 2015 including shows at SXSW and a support tour with Waxahatchee. The band were named Musical Artist To Watch in 2015 by New York Times.

Tracks

• - Disc 1 -
• 1 A1 Ideal World
• 2 A2 Dear Nora
• 3 A3 Before the World Was Big
• 4 A4 Chinatown
• 5 A5 Cherry Picking
• - Disc 2 -
• 1 B1 Magnifying Glass
• 2 B2 Crowded Stranger
• 3 B3 Pretty
• 4 B4 Emily
• 5 B5 I Like That You Can See It

Limited colored vinyl LP pressing housed in a gatefold sleeve, includes digital download. Since it's initial, limited release, Elvis Depressedly's Holo Pleasures EP has been a sought after relic for old and new fans alike. Run For Cover will rerelease the EP Holo Pleasures / California Dreamin' on all formats on June Third, love three years since the release of Holo Pleasures. Reissued and expanded, the release's working title was "Holo Pleasures II," but in reality, the California Dreamin' EP works as a companion to Holo Pleasures rather than a sequel. Taken from the same sessions as Holo Pleasures, the formerly unreleased 6 song EP ventures into different territory while maintaining the same dreamlike dizziness and warmth of it's partner EP. Airy synthesizers, distant drums and cooing vocoders provide an intricate and fascinating backbone to the groovy, trance-inducing songs that are seen by the band as a bridge between the fuzzy indie pop of Holo Pleasures and the more laid-back grooves of their 2015 LP, new alhambra. The double EP provides a unique experience to both long-time and first-time listeners of Elvis Depressedly that a standard reissue of older material wouldn't achieve.

• 1 Okay
• 2 Pepsi/Coke Suicide
• 3 Inside You
• 4 Teeth
• 5 Weird Honey
• 6 Thinning Out
• 7 Angel Cum Clean
• 8 Slip
• 9 Cop Poet
• 10 Holo Pleasures (California Dreamin')
• 11 Nakamura
• 12 Up in the Air

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.

• 1 Anna Lee (Sweetheart of the Sun)
• 2 Under a Cloud
• 3 Ball N Chain
• 4 I'll Never Be Through with You
• 5 Mesmerized
• 6 Circles in the Sky
• 7 Sweet and Tender Romance
• 8 Lay Yourself Down
• 9 One of Two
• 10 What a Life
• 11 Through Your Eyes
• 12 Open My Eyes

First Album of New Original Music in Nine Years!

Evanescence returns with their first album of new original music in nine years! Produced by Nick Raskulinecz (Foo Fighters, Rush, Deftones), The Bitter Truth takes its foundation in the epic, signature sound that has earned Evanescence two Grammy awards and more than 23 million album sales worldwide beginning with their landmark debut Fallen, and blends it with the thought-provoking lyrics, musical sophistication, and heavy themes that Amy Lee has become known for. "One thing that has come from this crazy time is it's stripped away the illusion of control - from all of us," explains Lee. "Proof that we really don't have any when it comes down to it. A big new theme in the new music so far is disillusionment. Growing up and realizing life can be so hard, nobody's gonna come rescue you, and fairy tales aren't real- but, standing up and saying I'll take the truth rather than live in denial. Rising up, through the ashes of death and pain and everything just rising up even though it hurts and taking it to move forward. No more lies. The Bitter Truth is all that impossibly hard stuff. And I'm taking it. Choosing to live."

1. Artifact/The Turn
2. Broken Pieces Shine
3. The Game Is Over
4. Yeah Right
5. Feeding The Dark
6. Wasted On You
7. Better Without You
8. Use My Voice
9. Take Cover
10. Far From Heaven
11. Part Of Me
12. Blind Belief

This is Thurston Moore's seventh solo album, and features musicians Deb Googe (My Bloody Valentine) on bass and backing vocals, Jon Leidecker aka "Wobbly" (of Negativland) on electronics, James Sedwards on guitar, and Sonic Youth's Steve Shelley, as well as Jem Doulton, alternating on drums. "Hashish," the first single from the album, is described by Moore as "an ode to the narcotic of love in our shared responsibility to each other during isolation." Prior to isolation during the COVID pandemic, Thurston worked in recording studios in North London until the third week of March 2020 to complete the record.

"'By The Fire' is music in flames," Moore says. 2020 is our time for radical change and collective awareness and Thurston has written nine songs of enlightenment, released to a world on fire. Taking a cue from Albert Ayler's "music is the healing force of the universe," this recording offers songs as flames of rainbow energy, where the power of love becomes our call. These are love songs in a time where creativity is our dignity, our demonstration against the forces of oppression. By The Fire is a gathering, a party of peace - songs in the heat of the moment. 180g vinyl 2LP. 

Tracks

1. Hashish
2. Cantaloupe
3. Breath
4. Siren
5. Calligraphy
6. Locomotives
7. Dreamers Work
8. They Believe In Love (When They Look At You)
9. Venus (Instrumental)

Latest Elvis Costello and Sebastian Krys Production following Collaboration on Elvis Costello and The Imposters' Grammy-Winning Look Now!

Recorded in Helsinki, Paris and New York, Hey Clockface is the latest Elvis Costello and Sebastian Krys production, following their collaboration on Elvis Costello and The Imposters' Grammy-winning album Look Now. Hey Clockface also features contributions from Bill Frisell, Nels Cline and Steve Nieve. "I wanted the record to be vivid, whether the songs demanded playing that was loud and jagged or intimate and beautiful," Costello said of the project's emotional and dynamic range.

Following the solo recording of "No Flag," "Hetty O'Hara Confidential" and "We Are All Cowards Now" at Suomenlinnan Studio, Helsinkiby Eetü Seppälä in February 2020, Costello immediately traveled to Paris for a weekend session at Les Studios Saint Germain. The ensemble, dubbed, "Le Quintette Saint Germain," was recruited for these dates by Nieve (who plays grand piano, upright piano, organ, mellotron & melodica) features Mickaél Gasche on trumpet, flugel horn and serpent, Pierre-François ‘Titi' Dufour on cello and the drums, percussion and high harmonies of Ajuq. Reed player, Renaud-Gabriel Pion brought many tones and colors to the performances, playing, contrabass clarinet, bass clarinet, Bb clarinet, tenor saxophone, bass flute and cor anglais. The Paris sessions were recorded by François Delabrière.

The New York sessions were produced by composer, arranger and trumpet player, Michael Leonhart in collaboration with Frisell and Cline and completed, lyrically and vocally by Costello, "via Electrical Wire." "Michael sent this music to me from New York at the perfect time," Costello adds. "It connected to elements in both of the previous sessions and completed the picture."

1. Revolution #49
2. No Flag
3. They're Not Laughing At Me Now
4. Newspaper Pane
5. I Do (Zula's Song)
6. We Are All Cowards Now
7. Hey Clockface / How Can You Face Me?
8. The Whirlwind
9. Hetty O'Hara Confidential
10. The Last Confession Of Vivian Whip
11. What Is It That I Need That I Don't Already Have?
12. Radio Is Everything
13. I Can't Say Her Name
14. Byline