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At points melodic and cartoonish and at others glitching and somewhat unnerving, it’s a visual work and instrumental album rooted in a strange in-between, in a shadowy and vivid chasm between terrestrial and otherworldly. A puzzle that doesn’t ask to be completed, but invites you to play.\u003c\/p\u003e\n\u003cp\u003eCytrynowicz and Gendel have been consistent collaborators since 2020, with Cytrynowicz providing photography as well as music videos and visuals, including for Gendel’s DRM and their AE-30 documentary, and with Gendel contributing snippet scores to to her own short-form video work.\u003c\/p\u003e\n\u003cp\u003e“What had happened a couple of times before we made this project is I would sometimes make a visual thing and ask Sam if he could just make a 30 or 45 second or one minute track, and I wouldn’t even show him the piece. And it weirdly always happened that whatever Sam came up with was just so on point,” Cytrynowicz says. “It would always just accompany the visual in this amazing way. It’s really shown that you don’t need to be fully aware of each other as you’re making – you just need to have the freedom to fully get into whatever you’re feeling at that moment. And it will link up.”\u003c\/p\u003e\n\u003cp\u003e“We like the way things come together. There are some people who want to be so meticulous and have control over every element of something and that’s cool too, I think there’s room for all of it, but – this just happens to be. I guess it’s just how we naturally meet up in that realm.”\u003c\/p\u003e\n\u003cp\u003eAt the time of its accidental inception, Cytrynowicz was engrossed in drawing, in static visual illustrations, for hours and hours at a time while she listened to audiobooks and let her intuition guide her with lines across paper, vivid colors. She had initially worked in the music video world following her graduation from college, before becoming disillusioned with big budgets and the way the form took attention away from the actual music. The final track, “YZ,” was actually the catalyst for the entire project; Gendel was working on his own saxophone piece and then found himself engrossed in Cytrynowicz’s drawings – having visions of an ancient dance party, a swampy soiree, wanting to capture the feeling of the lines snaking across the page. The project crystallized once they started working next to one another, wordlessly building the AUDIOBOOK world.\u003c\/p\u003e\n\u003cp\u003eHe began playing along as her pen moved across the page, and felt the soundtrack simply worked. “I thought, what she’s doing on the page and the sound that’s happening in the background are really gelling. Let’s follow that idea.”\u003c\/p\u003e\n\u003cp\u003eIn viewing Cytrynowicz’s illustrations, it feels like the originals must have been done on a larger scale – a wall, a room, an entire town, an unknown expanse of land. Is it a map or a language? But the illustrations are on 8.5×11 pieces of paper, each drawn in stretches of 6-8 hours across 3-4 days, on a drawing pad of thick paper favored by manga artists, completely freehand and guided by intuition. She prefers to achieve the sort of smooth perfection look that AI might create, with nothing out of place – even if the place of subject feels unknowable. Gendel composed all of the music in real time next to her, improvising, with the bulk of the sonics coming from a Suzuki Waraku III. It’s an instrument he chose for no real reason other than finding it enjoyable to improvise on.\u003c\/p\u003e\n\u003cp\u003e“It makes it easy to explore,” Gendel says. “In the same way Marcella describes how she draws, I sort of unlock these weird puzzles in my own mind, and sometimes just having one interface to deal with takes that mental pressure off. It has a strange quality sonically, too… I just gravitate toward that.”\u003c\/p\u003e\n\u003cp\u003e“CD” in particular has a loping, shoulder-shrugging groove, expansive and hypnotic, but also a prickly and somehow sinister undulation. It’s disparate and acidic, glitching like static wavelengths across a tv. “MN” feels alien and anxious, while “QR,” which traverses three distinct phases, was the most conscious Gendel felt while composing for the project, actively taking Cytrynowicz’s approach to paper and trying actively to build a song the same way, “IJ,” which includes a cover of Wayne Shorter’s “Deluge,” a longtime inspiration for Gendel as someone who’s been able to effortlessly build multiple personalities in his jazz music. The interpolation came to him naturally, a song that simply loaded into his head at the moment, and feels at home with the jagged edges of Cytrynowicz’s illustration.\u003c\/p\u003e\n\u003cp\u003eAUDIOBOOK is the meeting of something distinctly analog weaving into a soundscape that could be at home in a 90s sci-fi soundtrack, the parallel play of a visual artist and prolific musician, abstract art and sound reaching out to touch. “It’s the sound of us just individually trusting ourselves, and then aligning the two together and letting them meet, and also trusting in that,” Gendel says. “I don’t think about it that directly, though – this isn’t art inspired by art. I would say this is just a piece showing two people trusting in their subconscious and then trusting in that meeting point, wherever that is. And shepherding it along.”\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46088990654773,"sku":"PSY031-CS","price":14.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_SamGendelMarcellaCytrynowicz_Audiobook15_Square.jpg?v=1697115245"},{"product_id":"sam-gendel-marcella-cytrynowicz-audiobook-deluxe-box-with-black-vinyl","title":"Sam Gendel \u0026 Marcella Cytrynowicz - AUDIOBOOK (Deluxe Edition LP)","description":"\u003cp\u003eAUDIOBOOK, the new project from prolific multi-instrumentalist Sam Gendel and visual artist\/filmmaker Marcella Cytrynowicz, is comprised of 13 alphabetically-named tracks and corresponding illustrations that feel like dispatches from outer space, or unearthed ancient runes. 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And it weirdly always happened that whatever Sam came up with was just so on point,” Cytrynowicz says. “It would always just accompany the visual in this amazing way. It’s really shown that you don’t need to be fully aware of each other as you’re making – you just need to have the freedom to fully get into whatever you’re feeling at that moment. And it will link up.”\u003c\/p\u003e\n\u003cp\u003e“We like the way things come together. There are some people who want to be so meticulous and have control over every element of something and that’s cool too, I think there’s room for all of it, but – this just happens to be. I guess it’s just how we naturally meet up in that realm.”\u003c\/p\u003e\n\u003cp\u003eAt the time of its accidental inception, Cytrynowicz was engrossed in drawing, in static visual illustrations, for hours and hours at a time while she listened to audiobooks and let her intuition guide her with lines across paper, vivid colors. 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It’s disparate and acidic, glitching like static wavelengths across a tv. “MN” feels alien and anxious, while “QR,” which traverses three distinct phases, was the most conscious Gendel felt while composing for the project, actively taking Cytrynowicz’s approach to paper and trying actively to build a song the same way, “IJ,” which includes a cover of Wayne Shorter’s “Deluge,” a longtime inspiration for Gendel as someone who’s been able to effortlessly build multiple personalities in his jazz music. 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And it weirdly always happened that whatever Sam came up with was just so on point,” Cytrynowicz says. “It would always just accompany the visual in this amazing way. It’s really shown that you don’t need to be fully aware of each other as you’re making – you just need to have the freedom to fully get into whatever you’re feeling at that moment. And it will link up.”\u003c\/p\u003e\n\u003cp\u003e“We like the way things come together. There are some people who want to be so meticulous and have control over every element of something and that’s cool too, I think there’s room for all of it, but – this just happens to be. I guess it’s just how we naturally meet up in that realm.”\u003c\/p\u003e\n\u003cp\u003eAt the time of its accidental inception, Cytrynowicz was engrossed in drawing, in static visual illustrations, for hours and hours at a time while she listened to audiobooks and let her intuition guide her with lines across paper, vivid colors. She had initially worked in the music video world following her graduation from college, before becoming disillusioned with big budgets and the way the form took attention away from the actual music. The final track, “YZ,” was actually the catalyst for the entire project; Gendel was working on his own saxophone piece and then found himself engrossed in Cytrynowicz’s drawings – having visions of an ancient dance party, a swampy soiree, wanting to capture the feeling of the lines snaking across the page. The project crystallized once they started working next to one another, wordlessly building the AUDIOBOOK world.\u003c\/p\u003e\n\u003cp\u003eHe began playing along as her pen moved across the page, and felt the soundtrack simply worked. “I thought, what she’s doing on the page and the sound that’s happening in the background are really gelling. 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It’s disparate and acidic, glitching like static wavelengths across a tv. “MN” feels alien and anxious, while “QR,” which traverses three distinct phases, was the most conscious Gendel felt while composing for the project, actively taking Cytrynowicz’s approach to paper and trying actively to build a song the same way, “IJ,” which includes a cover of Wayne Shorter’s “Deluge,” a longtime inspiration for Gendel as someone who’s been able to effortlessly build multiple personalities in his jazz music. 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A blend of analog and digital, Meath and Sanborn were two unexpected puzzle pieces fitting together with singular ease, producing a ten-track LP that was both minimalist and shimmering, with dark undulations rippling beneath the synthy-surface and crystalline quality of Meath’s voice. Before all of the international touring and festival headlining and critical acclaim, Sylvan Esso was just a shot-in-the dark of musical chemistry gone right. The original album bio for the self-titled presciently sets the stage for the thesis that has gone on to guide Meath and Sanborn’s writing since then: “a collection of vivid addictions concerning suffering and love, darkness and deliverance” arriving as “a necessary pop balm, an album stuffed with songs that don’t suffer the longstanding complications of that term.” And so, even as the band continues to evolve and becomes amorphous, there’s still that argument about what pop can be at its core. 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And then another. “Even if we weren’t feeling good, we would just sit down and try to make something,” Meath says. “Pretty much every day that we did that, we got a song that we liked.”\u003c\/p\u003e\n\u003cp data-block-key=\"eqhej\"\u003eSome bands can create entire albums on short-term writing jags, but until now, Meath says, Sylvan Esso was not one of them. But that speed— and the resulting looseness and live-wire energy in their songs— is one of many things that feels like brand-new territory in \u003ci\u003eNo Rules Sandy\u003c\/i\u003e, their fourth studio album, out August 12, 2022. Describing their first three albums as a trilogy that is now complete, Meath and Sanborn see \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as the beginning of a new period, with songs that are “wilder and stranger and more cathartic than the band used to be,” as Sanborn puts it. “It feels like who we actually are,” Meath adds. “It just feels like us. We’re not trying to fit into the mold, just happily being our freak selves.”\u003c\/p\u003e\n\u003cp data-block-key=\"dc454\"\u003eThe album’s title is taken from a snippet of background vocal in “Your Reality,” a slippery, complexly layered track in which Meath sings what feels like a preoccupying question of the post-pandemic world: “Let me remember how to live my life\/were there rules originally\/or are we learning how to be?” As in so many previous Sylvan Esso songs Meath’s voice is direct and dominant, but the “no rules Sandy” background vocal is different— echoing and hypnotic, swooping underneath Sanborn’s percussive synth as well as a string arrangement from Gabriel Kahane. Sanborn says that vocal, and the song itself, became a reference point for the album, “for how weird we could take it— how bare and strange something could be.”\u003c\/p\u003e\n\u003cp data-block-key=\"e6pks\"\u003e“Sunburn,” the album’s debut single, and “Didn’t Care” also work as bridge songs, leaping from a pop music framework into the wilder unknown. With the crank of a bicycle bell popping in over the thumping bass track, “Sunburn” conjures a summer night’s dance party even as Meath’s locked-down vocal (“My favorite way to ruin me”) suggests nothing is as carefree as it seems. And while “Didn’t Care” exists fully as a poppy love song— the hand claps and talk of “shivers”— it’s also a song about somebody \u003ci\u003enot caring\u003c\/i\u003e when they meet their love; the frizzled keyboard chords and insistent background vocals promise there’s no simple ending for this story, either.\u003c\/p\u003e\n\u003cp data-block-key=\"8emdp\"\u003eMeath and Sanborn have described the dynamic of Sylvan Esso as an argument between them, her irresistible hooks pushing and pulling against his adventurous, sometimes unsettling synths. \u003ci\u003eNo Rules Sandy\u003c\/i\u003e is a complete merge— pop and electronic music fusing into something new that constantly builds on itself. With this album, Meath says, “we went back to the classic formula, which is us trying to impress the other one.” Take “Echo Party,” which opens with electronic warble around Meath’s voice as a simple beat behind her eventually yields to a deep synth wobble. There’s lightness and darkness tugging at each other, the ecstatic promise of a party (“there’s a lot of people dancing downtown”) that you might not ever be able to leave (“yeah we all fall down\/but some stay where they got dropped.”) Sanborn’s synths nod to 90s electronic music throughout, but as with the full album, he says, “I want everything to feel like something you’ve heard before, but presented in a way you’ve never heard.”\u003c\/p\u003e\n\u003cp data-block-key=\"5d59l\"\u003eBoth describe \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as their most personal project— right in the title, after all, is Sanborn’s own nickname. The most intimate—but still enigmatic— details arrive in interstitial moments between tracks, featuring voicemails from loved ones, birdsong from outside their studio, Betty’s, the voices of children, and other life detritus transformed into eternal art. “It feels like this diary entry from this very specific time,” Sanborn says of the interstitials, which fill the gaps between songs and make \u003ci\u003eNo Rules Sandy\u003c\/i\u003e an unbroken ribbon of sound, a source of wildness and energy that continues from the album’s first moment to the last.\u003c\/p\u003e\n\u003cp data-block-key=\"c6hdr\"\u003eThough Sylvan Esso very much remains a duo, the scope of their work has continued to expand since their landmark WITH concert— with a live band of ten— in 2019. 2021 marked the launch of their music label, Psychic Hotline, and in 2022 both Meath and Sanborn will launch projects with other collaborators. Meath’s The A’s, a new band with her Mountain Main partner \u003ci\u003eAlexandra Sauser-Monnig,\u003c\/i\u003e will release an album on July 15, while Sanborn’s Made of Oak project will release an EP collaboration with GRRL on September 2. The collaborations carry through to \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as well; TJ Maiani contributes his persistent drums to “Your Reality” and “Alarm,” while Sam Gendel’s saxophone lends a mysterious, unworldly quality to “How Did You Know” and album closer “Coming Back to You,” a stripped down and haunting track that’s unlike any Sylvan Esso song that has come before it.\u003c\/p\u003e\n\u003cp data-block-key=\"fn4jb\"\u003eAs all these new chapters unfold and the Sylvan Esso umbrella expands, Sanborn and Meath continue to run their recording studio Betty’s in the woods outside Durham and think constantly about what’s next— without overthinking it too much.\u003c\/p\u003e\n\u003cp data-block-key=\"9u4t7\"\u003e“Our whole career up until now, I feel like everything’s been really considered, and we’ve maybe overthought a lot of the music,” Sanborn says. “I think that might be the ultimate effect of like the last record and the pandemic— feeling like, fuck that, I know what I want. And it’s now, or never. So let’s get out there and do it.”\u003c\/p\u003e\n\u003cp data-block-key=\"7k4cp\"\u003e\u003ci\u003eBy Katey Rich, Awards and Audio Editor at Vanity Fair\u003c\/i\u003e\u003c\/p\u003e","brand":"Sylvan Esso","offers":[{"title":"Default Title","offer_id":46089021161781,"sku":"PSY025-LP-GREEN","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/SE_Web_No-Rules-Sandy_LP.jpg?v=1691680645"},{"product_id":"no-rules-sandy-standard-lp","title":"Sylvan Esso - No Rules Sandy (LP)","description":"\u003cp data-block-key=\"e74zj\"\u003eAt the beginning of 2022, Sylvan Esso packed up and headed west. Cramming the contents of a recording studio into their Prius, Nick Sanborn and Amelia Meath drove from their home in Durham, North Carolina to Los Angeles, where they set up a makeshift studio in a small rental house on the east side and did something that surprised them: they wrote a song. And then another. “Even if we weren’t feeling good, we would just sit down and try to make something,” Meath says. “Pretty much every day that we did that, we got a song that we liked.”\u003c\/p\u003e\n\u003cp data-block-key=\"eqhej\"\u003eSome bands can create entire albums on short-term writing jags, but until now, Meath says, Sylvan Esso was not one of them. But that speed— and the resulting looseness and live-wire energy in their songs— is one of many things that feels like brand-new territory in \u003ci\u003eNo Rules Sandy\u003c\/i\u003e, their fourth studio album, out August 12, 2022. Describing their first three albums as a trilogy that is now complete, Meath and Sanborn see \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as the beginning of a new period, with songs that are “wilder and stranger and more cathartic than the band used to be,” as Sanborn puts it. “It feels like who we actually are,” Meath adds. “It just feels like us. We’re not trying to fit into the mold, just happily being our freak selves.”\u003c\/p\u003e\n\u003cp data-block-key=\"dc454\"\u003eThe album’s title is taken from a snippet of background vocal in “Your Reality,” a slippery, complexly layered track in which Meath sings what feels like a preoccupying question of the post-pandemic world: “Let me remember how to live my life\/were there rules originally\/or are we learning how to be?” As in so many previous Sylvan Esso songs Meath’s voice is direct and dominant, but the “no rules Sandy” background vocal is different— echoing and hypnotic, swooping underneath Sanborn’s percussive synth as well as a string arrangement from Gabriel Kahane. Sanborn says that vocal, and the song itself, became a reference point for the album, “for how weird we could take it— how bare and strange something could be.”\u003c\/p\u003e\n\u003cp data-block-key=\"e6pks\"\u003e“Sunburn,” the album’s debut single, and “Didn’t Care” also work as bridge songs, leaping from a pop music framework into the wilder unknown. With the crank of a bicycle bell popping in over the thumping bass track, “Sunburn” conjures a summer night’s dance party even as Meath’s locked-down vocal (“My favorite way to ruin me”) suggests nothing is as carefree as it seems. And while “Didn’t Care” exists fully as a poppy love song— the hand claps and talk of “shivers”— it’s also a song about somebody \u003ci\u003enot caring\u003c\/i\u003e when they meet their love; the frizzled keyboard chords and insistent background vocals promise there’s no simple ending for this story, either.\u003c\/p\u003e\n\u003cp data-block-key=\"8emdp\"\u003eMeath and Sanborn have described the dynamic of Sylvan Esso as an argument between them, her irresistible hooks pushing and pulling against his adventurous, sometimes unsettling synths. \u003ci\u003eNo Rules Sandy\u003c\/i\u003e is a complete merge— pop and electronic music fusing into something new that constantly builds on itself. With this album, Meath says, “we went back to the classic formula, which is us trying to impress the other one.” Take “Echo Party,” which opens with electronic warble around Meath’s voice as a simple beat behind her eventually yields to a deep synth wobble. There’s lightness and darkness tugging at each other, the ecstatic promise of a party (“there’s a lot of people dancing downtown”) that you might not ever be able to leave (“yeah we all fall down\/but some stay where they got dropped.”) Sanborn’s synths nod to 90s electronic music throughout, but as with the full album, he says, “I want everything to feel like something you’ve heard before, but presented in a way you’ve never heard.”\u003c\/p\u003e\n\u003cp data-block-key=\"5d59l\"\u003eBoth describe \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as their most personal project— right in the title, after all, is Sanborn’s own nickname. The most intimate—but still enigmatic— details arrive in interstitial moments between tracks, featuring voicemails from loved ones, birdsong from outside their studio, Betty’s, the voices of children, and other life detritus transformed into eternal art. “It feels like this diary entry from this very specific time,” Sanborn says of the interstitials, which fill the gaps between songs and make \u003ci\u003eNo Rules Sandy\u003c\/i\u003e an unbroken ribbon of sound, a source of wildness and energy that continues from the album’s first moment to the last.\u003c\/p\u003e\n\u003cp data-block-key=\"c6hdr\"\u003eThough Sylvan Esso very much remains a duo, the scope of their work has continued to expand since their landmark WITH concert— with a live band of ten— in 2019. 2021 marked the launch of their music label, Psychic Hotline, and in 2022 both Meath and Sanborn will launch projects with other collaborators. Meath’s The A’s, a new band with her Mountain Main partner \u003ci\u003eAlexandra Sauser-Monnig,\u003c\/i\u003e will release an album on July 15, while Sanborn’s Made of Oak project will release an EP collaboration with GRRL on September 2. The collaborations carry through to \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as well; TJ Maiani contributes his persistent drums to “Your Reality” and “Alarm,” while Sam Gendel’s saxophone lends a mysterious, unworldly quality to “How Did You Know” and album closer “Coming Back to You,” a stripped down and haunting track that’s unlike any Sylvan Esso song that has come before it.\u003c\/p\u003e\n\u003cp data-block-key=\"fn4jb\"\u003eAs all these new chapters unfold and the Sylvan Esso umbrella expands, Sanborn and Meath continue to run their recording studio Betty’s in the woods outside Durham and think constantly about what’s next— without overthinking it too much.\u003c\/p\u003e\n\u003cp data-block-key=\"9u4t7\"\u003e“Our whole career up until now, I feel like everything’s been really considered, and we’ve maybe overthought a lot of the music,” Sanborn says. “I think that might be the ultimate effect of like the last record and the pandemic— feeling like, fuck that, I know what I want. And it’s now, or never. So let’s get out there and do it.”\u003c\/p\u003e\n\u003cp data-block-key=\"7k4cp\"\u003e\u003ci\u003eBy Katey Rich, Awards and Audio Editor at Vanity Fair\u003c\/i\u003e\u003c\/p\u003e","brand":"Sylvan Esso","offers":[{"title":"Default Title","offer_id":46089022538037,"sku":"PSY025-LP","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/SE_Web_No-Rules-Sandy_LP_Standard.jpg?v=1757002540"},{"product_id":"no-rules-sandy-cd","title":"Sylvan Esso - No Rules Sandy (CD)","description":"\u003cp data-block-key=\"e74zj\"\u003eAt the beginning of 2022, Sylvan Esso packed up and headed west. Cramming the contents of a recording studio into their Prius, Nick Sanborn and Amelia Meath drove from their home in Durham, North Carolina to Los Angeles, where they set up a makeshift studio in a small rental house on the east side and did something that surprised them: they wrote a song. And then another. “Even if we weren’t feeling good, we would just sit down and try to make something,” Meath says. “Pretty much every day that we did that, we got a song that we liked.”\u003c\/p\u003e\n\u003cp data-block-key=\"eqhej\"\u003eSome bands can create entire albums on short-term writing jags, but until now, Meath says, Sylvan Esso was not one of them. But that speed— and the resulting looseness and live-wire energy in their songs— is one of many things that feels like brand-new territory in \u003ci\u003eNo Rules Sandy\u003c\/i\u003e, their fourth studio album, out August 12, 2022. Describing their first three albums as a trilogy that is now complete, Meath and Sanborn see \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as the beginning of a new period, with songs that are “wilder and stranger and more cathartic than the band used to be,” as Sanborn puts it. “It feels like who we actually are,” Meath adds. “It just feels like us. We’re not trying to fit into the mold, just happily being our freak selves.”\u003c\/p\u003e\n\u003cp data-block-key=\"dc454\"\u003eThe album’s title is taken from a snippet of background vocal in “Your Reality,” a slippery, complexly layered track in which Meath sings what feels like a preoccupying question of the post-pandemic world: “Let me remember how to live my life\/were there rules originally\/or are we learning how to be?” As in so many previous Sylvan Esso songs Meath’s voice is direct and dominant, but the “no rules Sandy” background vocal is different— echoing and hypnotic, swooping underneath Sanborn’s percussive synth as well as a string arrangement from Gabriel Kahane. Sanborn says that vocal, and the song itself, became a reference point for the album, “for how weird we could take it— how bare and strange something could be.”\u003c\/p\u003e\n\u003cp data-block-key=\"e6pks\"\u003e“Sunburn,” the album’s debut single, and “Didn’t Care” also work as bridge songs, leaping from a pop music framework into the wilder unknown. With the crank of a bicycle bell popping in over the thumping bass track, “Sunburn” conjures a summer night’s dance party even as Meath’s locked-down vocal (“My favorite way to ruin me”) suggests nothing is as carefree as it seems. And while “Didn’t Care” exists fully as a poppy love song— the hand claps and talk of “shivers”— it’s also a song about somebody \u003ci\u003enot caring\u003c\/i\u003e when they meet their love; the frizzled keyboard chords and insistent background vocals promise there’s no simple ending for this story, either.\u003c\/p\u003e\n\u003cp data-block-key=\"8emdp\"\u003eMeath and Sanborn have described the dynamic of Sylvan Esso as an argument between them, her irresistible hooks pushing and pulling against his adventurous, sometimes unsettling synths. \u003ci\u003eNo Rules Sandy\u003c\/i\u003e is a complete merge— pop and electronic music fusing into something new that constantly builds on itself. With this album, Meath says, “we went back to the classic formula, which is us trying to impress the other one.” Take “Echo Party,” which opens with electronic warble around Meath’s voice as a simple beat behind her eventually yields to a deep synth wobble. There’s lightness and darkness tugging at each other, the ecstatic promise of a party (“there’s a lot of people dancing downtown”) that you might not ever be able to leave (“yeah we all fall down\/but some stay where they got dropped.”) Sanborn’s synths nod to 90s electronic music throughout, but as with the full album, he says, “I want everything to feel like something you’ve heard before, but presented in a way you’ve never heard.”\u003c\/p\u003e\n\u003cp data-block-key=\"5d59l\"\u003eBoth describe \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as their most personal project— right in the title, after all, is Sanborn’s own nickname. The most intimate—but still enigmatic— details arrive in interstitial moments between tracks, featuring voicemails from loved ones, birdsong from outside their studio, Betty’s, the voices of children, and other life detritus transformed into eternal art. “It feels like this diary entry from this very specific time,” Sanborn says of the interstitials, which fill the gaps between songs and make \u003ci\u003eNo Rules Sandy\u003c\/i\u003e an unbroken ribbon of sound, a source of wildness and energy that continues from the album’s first moment to the last.\u003c\/p\u003e\n\u003cp data-block-key=\"c6hdr\"\u003eThough Sylvan Esso very much remains a duo, the scope of their work has continued to expand since their landmark WITH concert— with a live band of ten— in 2019. 2021 marked the launch of their music label, Psychic Hotline, and in 2022 both Meath and Sanborn will launch projects with other collaborators. Meath’s The A’s, a new band with her Mountain Main partner \u003ci\u003eAlexandra Sauser-Monnig,\u003c\/i\u003e will release an album on July 15, while Sanborn’s Made of Oak project will release an EP collaboration with GRRL on September 2. The collaborations carry through to \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as well; TJ Maiani contributes his persistent drums to “Your Reality” and “Alarm,” while Sam Gendel’s saxophone lends a mysterious, unworldly quality to “How Did You Know” and album closer “Coming Back to You,” a stripped down and haunting track that’s unlike any Sylvan Esso song that has come before it.\u003c\/p\u003e\n\u003cp data-block-key=\"fn4jb\"\u003eAs all these new chapters unfold and the Sylvan Esso umbrella expands, Sanborn and Meath continue to run their recording studio Betty’s in the woods outside Durham and think constantly about what’s next— without overthinking it too much.\u003c\/p\u003e\n\u003cp data-block-key=\"9u4t7\"\u003e“Our whole career up until now, I feel like everything’s been really considered, and we’ve maybe overthought a lot of the music,” Sanborn says. “I think that might be the ultimate effect of like the last record and the pandemic— feeling like, fuck that, I know what I want. And it’s now, or never. So let’s get out there and do it.”\u003c\/p\u003e\n\u003cp data-block-key=\"7k4cp\"\u003e\u003ci\u003eBy Katey Rich, Awards and Audio Editor at Vanity Fair\u003c\/i\u003e\u003c\/p\u003e","brand":"Sylvan Esso","offers":[{"title":"Default Title","offer_id":46089023226165,"sku":"PSY025-CD","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/SE_Web_No-Rules-Sandy_CD.jpg?v=1691680649"},{"product_id":"no-rules-sandy-cassette","title":"Sylvan Esso - No Rules Sandy (Cassette)","description":"\u003cp data-block-key=\"e74zj\"\u003eAt the beginning of 2022, Sylvan Esso packed up and headed west. Cramming the contents of a recording studio into their Prius, Nick Sanborn and Amelia Meath drove from their home in Durham, North Carolina to Los Angeles, where they set up a makeshift studio in a small rental house on the east side and did something that surprised them: they wrote a song. And then another. “Even if we weren’t feeling good, we would just sit down and try to make something,” Meath says. “Pretty much every day that we did that, we got a song that we liked.”\u003c\/p\u003e\n\u003cp data-block-key=\"eqhej\"\u003eSome bands can create entire albums on short-term writing jags, but until now, Meath says, Sylvan Esso was not one of them. But that speed— and the resulting looseness and live-wire energy in their songs— is one of many things that feels like brand-new territory in \u003ci\u003eNo Rules Sandy\u003c\/i\u003e, their fourth studio album, out August 12, 2022. Describing their first three albums as a trilogy that is now complete, Meath and Sanborn see \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as the beginning of a new period, with songs that are “wilder and stranger and more cathartic than the band used to be,” as Sanborn puts it. “It feels like who we actually are,” Meath adds. “It just feels like us. We’re not trying to fit into the mold, just happily being our freak selves.”\u003c\/p\u003e\n\u003cp data-block-key=\"dc454\"\u003eThe album’s title is taken from a snippet of background vocal in “Your Reality,” a slippery, complexly layered track in which Meath sings what feels like a preoccupying question of the post-pandemic world: “Let me remember how to live my life\/were there rules originally\/or are we learning how to be?” As in so many previous Sylvan Esso songs Meath’s voice is direct and dominant, but the “no rules Sandy” background vocal is different— echoing and hypnotic, swooping underneath Sanborn’s percussive synth as well as a string arrangement from Gabriel Kahane. 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And while “Didn’t Care” exists fully as a poppy love song— the hand claps and talk of “shivers”— it’s also a song about somebody \u003ci\u003enot caring\u003c\/i\u003e when they meet their love; the frizzled keyboard chords and insistent background vocals promise there’s no simple ending for this story, either.\u003c\/p\u003e\n\u003cp data-block-key=\"8emdp\"\u003eMeath and Sanborn have described the dynamic of Sylvan Esso as an argument between them, her irresistible hooks pushing and pulling against his adventurous, sometimes unsettling synths. \u003ci\u003eNo Rules Sandy\u003c\/i\u003e is a complete merge— pop and electronic music fusing into something new that constantly builds on itself. With this album, Meath says, “we went back to the classic formula, which is us trying to impress the other one.” Take “Echo Party,” which opens with electronic warble around Meath’s voice as a simple beat behind her eventually yields to a deep synth wobble. There’s lightness and darkness tugging at each other, the ecstatic promise of a party (“there’s a lot of people dancing downtown”) that you might not ever be able to leave (“yeah we all fall down\/but some stay where they got dropped.”) Sanborn’s synths nod to 90s electronic music throughout, but as with the full album, he says, “I want everything to feel like something you’ve heard before, but presented in a way you’ve never heard.”\u003c\/p\u003e\n\u003cp data-block-key=\"5d59l\"\u003eBoth describe \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as their most personal project— right in the title, after all, is Sanborn’s own nickname. The most intimate—but still enigmatic— details arrive in interstitial moments between tracks, featuring voicemails from loved ones, birdsong from outside their studio, Betty’s, the voices of children, and other life detritus transformed into eternal art. “It feels like this diary entry from this very specific time,” Sanborn says of the interstitials, which fill the gaps between songs and make \u003ci\u003eNo Rules Sandy\u003c\/i\u003e an unbroken ribbon of sound, a source of wildness and energy that continues from the album’s first moment to the last.\u003c\/p\u003e\n\u003cp data-block-key=\"c6hdr\"\u003eThough Sylvan Esso very much remains a duo, the scope of their work has continued to expand since their landmark WITH concert— with a live band of ten— in 2019. 2021 marked the launch of their music label, Psychic Hotline, and in 2022 both Meath and Sanborn will launch projects with other collaborators. Meath’s The A’s, a new band with her Mountain Main partner \u003ci\u003eAlexandra Sauser-Monnig,\u003c\/i\u003e will release an album on July 15, while Sanborn’s Made of Oak project will release an EP collaboration with GRRL on September 2. The collaborations carry through to \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as well; TJ Maiani contributes his persistent drums to “Your Reality” and “Alarm,” while Sam Gendel’s saxophone lends a mysterious, unworldly quality to “How Did You Know” and album closer “Coming Back to You,” a stripped down and haunting track that’s unlike any Sylvan Esso song that has come before it.\u003c\/p\u003e\n\u003cp data-block-key=\"fn4jb\"\u003eAs all these new chapters unfold and the Sylvan Esso umbrella expands, Sanborn and Meath continue to run their recording studio Betty’s in the woods outside Durham and think constantly about what’s next— without overthinking it too much.\u003c\/p\u003e\n\u003cp data-block-key=\"9u4t7\"\u003e“Our whole career up until now, I feel like everything’s been really considered, and we’ve maybe overthought a lot of the music,” Sanborn says. “I think that might be the ultimate effect of like the last record and the pandemic— feeling like, fuck that, I know what I want. 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With the arrival of People Are My Drug, Phil Cook is taking the spark from lights left on by musical heroes and offering a torch for listeners as they navigate their own dark corners. Where 2015’s Southland Mission illuminated for listeners what Phil Cook hears in his head, this latest record lays bare the way that music makes him feel. 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For a decade, he served as the dynamic backbone of Megafaun, the North Carolina trio of sophisticated songwriting and winning charisma that he co-founded. As Grandma Sparrow, Westerlund constructed fantastical song cycles about an imagined town, a place where swooping strings and sudden singalongs told the stories of characters you needed to be real. Under his own name, Westerlund—a longtime student of Milford Graves—has emerged as an intuitive improviser,committed to scoring deep yogic practice. He serves now as the pulse beneath the plaintive Americana of Mandolin Orange and Daughter of Swords and, previously, as the anchor for the folk abstraction of Califone. He added incisive percussion to a big-band version of Sylvan Esso and buoyed the svelte stoner soul of Gayngs, old friends from his Wisconsin childhood. All those threads crisscross and even coil during Reveries in the Rift, Westerlund’s immersive second album under his own name. 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Like a polaroid slowly swimming into focus, becalmyounglovers reconciles the memories of yourself in relation to another person, and then what’s unearthed when you’re left to face your identity alone – and which one of those selves is true?\u003c\/p\u003e\n\u003cp\u003eWritten and recorded mainly in an isolated cabin hand built by Moore and his ex-partner, out in Siler City, North Carolina, becalmyounglovers chronicles a long-term relationship’s death rattle, inevitable breakup, and its immediate aftermath – and Moore’s getting to understand himself better in the process. 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It’s a song you hear when you roll into a small town that just feels depressed –not financially, but in spirit. It’s about that evening moment where the neon signage buzzes on and the strange, effervescent quality that hangs in the air when nighttime comes –and how that energy can just make a place change. It’s “Neon Blue,” as in the bar lights, but also like the light inside of the living room where you watch TV in the dark alone.\u003c\/p\u003e\n\u003cp\u003e“Neon Blue” is the first collaboration between Amelia Meath (Sylvan Esso, Mountain Man) and guitarist\/producer Blake Mills, two longtime mutual admirers. Meath wrote the lyrics and melody for “Neon Blue” in one go, on the plane from Durham to Los Angeles; the pair subsequently recorded in one session at Sound City in LA. Then it bloomed into something more exploratory, with Mills and Meath re-opening the song and prodding at it every few months until they finished it.\u003c\/p\u003e\n\u003cp\u003e“Neon Blue” unfolds quietly and strangely, like the way a certain scent or lighting hitting your face can conjure the outline of a memory that hovers just out of frame. Mills’ signature fretless baritone guitar and a few sparse embellishments build the song’s foundation, a chasm between instrumentation and Meath’s delicate voice. Here, spaciousness acts as an additional instrument. Mills and Meath set out to steer clear of anything terrestrial, even with a song so rooted in place.\u003c\/p\u003e\n\u003cp\u003eOn side B, multi-instrumentalist Sam Gendel also offers his own interpretation of the same song. He was a natural first choice for Mills and Meath to do his own version, given his ability to fluidly reinterpret things. 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Even now, years later, the LP remains an urgent and fitting introduction to a push-and-pull that would go on to inform the duo’s sound – a thoughtful headiness that also wants you to get out on the dance floor. A blend of analog and digital, Meath and Sanborn were two unexpected puzzle pieces fitting together with singular ease, producing a ten-track LP that was both minimalist and shimmering, with dark undulations rippling beneath the synthy-surface and crystalline quality of Meath’s voice. Before all of the international touring and festival headlining and critical acclaim, Sylvan Esso was just a shot-in-the dark of musical chemistry gone right. 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The deluxe packaging includes a collage culled from the band’s personal collection and live photos from that time, as well as a personal essay by Wilco’s Jeff Tweedy.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089122545973,"sku":"PSY011-DLX-CD","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/MTH_cd_df743b37-b6b1-4bd2-9b76-0079014e33db.jpg?v=1691680860"},{"product_id":"made-the-harbor-10-year-anniversary-edition-cassette","title":"Mountain Man - Made the Harbor (10 Year Anniversary Edition) (Cassette)","description":"\u003cp\u003eOn an early draft of folk trio Mountain Man’s Bandcamp page, the project aptly described itself as “a creature growing from the mouths of Molly Erin Sarlé, Alexandra Sasuer-Monnig, and Amelia Randall Meath.” Sparse and homespun, from the onset the voices of Mountain Man crafted an immediate intimacy. 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For Bartees Strange, TV on the Radio is an inspiration for where he could take his own genre-bending brand of guitar-driven rock. For Anjimile Chithambo, Glenn-Copeland is a reflection of themself in every way – a Black trans musician writing profoundly resonant songs focused on identity and rebirth, and the expansiveness you can find within.\u003c\/p\u003e\n\u003cp\u003e“Province” began with Eric Slick, who was the producer behind the track. The multi-instrumentalist, solo musician, and Dr. Dog drummer had been obsessed with Return to Cookie Mountain, TVOTR’s third record, as a kid, and found himself revisiting it again and again. This past year, he made his own rough acoustic cover of “Province,” before deciding to reach out to Bartees Strange and having him contribute vocals. TV on the Radio was pivotal for Bartees — the moment he saw the band perform is seared into his memory. He came across their performance on The Late Show with David Letterman while channel surfing one night when he was a kid, and was immediately enraptured by their performance. He hadn’t known what he wanted to do musically until he saw them perform, and it changed the possibilities of his life. Here, in his interpretation of the song, his voice is cavernous here, fleshed out atop a bed of Mellotron, Moog, and MPC instrumentations from Slick and celestial swells added by Ohmme’s Sima Cunningham and Macie Stewart.\u003c\/p\u003e\n\u003cp\u003eAnjimile’s interpretation of Glenn-Copeland’s “Ever New” came together in a more solitary way, recorded alone in their Boston apartment. In his cover, the original seven-minute new age ballad from Glenn-Copeland’s revolutionary 1986 album Keyboard Fantasies is trimmed down, sonically simplified to its core. Anjimile moves it more into a folk territory, building out the sonic world with the delicate, tender acoustic guitar lines and finger picking that’s been an identifier across their own catalog. It’s a more muted, subtle palette translating Glenn-Copeland’s epic of springtime bloom and rebirth, but emanates that same tenderness. Anjimile’s stunning vocal performance ushering the hymn into new direct clarity.\u003c\/p\u003e\n\u003cp\u003eThis is the second release from Psychic Hotline’s Singles Series.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089133949237,"sku":"PSY016-7","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/APD_PsychicHotline_ProvinceEverNew01copy.jpg?v=1691680875"},{"product_id":"all-these-years-phil-cook","title":"Phil Cook - All These Years (White LP)","description":"\u003cp\u003eFor Phil Cook, it all started with piano. 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In that way, All These Years is sort of the first proper introduction to Cook, to the way he can express himself with the most ease and reveal the deepest compartments of his heart.\u003c\/p\u003e\n\u003cp\u003eAll These Years is Cook’s first solo instrumental album on his primary instrument, recorded at NorthStar Church of the Arts in Durham, NC by his cousin and collaborator Brian Joseph (Bon Iver, Sufjan Stevens, Indigo Girls). Cook and Joseph have been close their entire lives, with Joseph being one of the people who knows the full depth of Cook’s relationship to the instrument. These ten pieces came to life on a long-cared-for and much-loved one-hundred year-old Steinway over a week in the spring of 2021. Piano is where Cook is the most expressive, an easy, free flow of emotional output. 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He distills decades of friendship, brotherhood, family, love, learning, and loss into flickering piano portraits — impressionistic and fluid and reverent. It’s not so much looking backwards as it is just looking around, reflections on all that is human and divine and present, and the roads we’ve taken to get us there.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089137979701,"sku":"PSY014-LP-WHITE","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/LPPhoto1.jpg?v=1691680884"},{"product_id":"phil-cook-all-these-years-cd","title":"Phil Cook - All These Years (CD)","description":"\u003cp\u003eFor Phil Cook, it all started with piano. 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In that way, All These Years is sort of the first proper introduction to Cook, to the way he can express himself with the most ease and reveal the deepest compartments of his heart.\u003c\/p\u003e\n\u003cp\u003eAll These Years is Cook’s first solo instrumental album on his primary instrument, recorded at NorthStar Church of the Arts in Durham, NC by his cousin and collaborator Brian Joseph (Bon Iver, Sufjan Stevens, Indigo Girls). Cook and Joseph have been close their entire lives, with Joseph being one of the people who knows the full depth of Cook’s relationship to the instrument. These ten pieces came to life on a long-cared-for and much-loved one-hundred year-old Steinway over a week in the spring of 2021. Piano is where Cook is the most expressive, an easy, free flow of emotional output. 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Even now, years later, the LP remains an urgent and fitting introduction to a push-and-pull that would go on to inform the duo’s sound – a thoughtful headiness that also wants you to get out on the dance floor. A blend of analog and digital, Meath and Sanborn were two unexpected puzzle pieces fitting together with singular ease, producing a ten-track LP that was both minimalist and shimmering, with dark undulations rippling beneath the synthy-surface and crystalline quality of Meath’s voice. Before all of the international touring and festival headlining and critical acclaim, Sylvan Esso was just a shot-in-the dark of musical chemistry gone right. The original album bio for the self-titled presciently sets the stage for the thesis that has gone on to guide Meath and Sanborn’s writing since then: “a collection of vivid addictions concerning suffering and love, darkness and deliverance” arriving as “a necessary pop balm, an album stuffed with songs that don’t suffer the longstanding complications of that term.” And so, even as the band continues to evolve and becomes amorphous, there’s still that argument about what pop can be at its core. This is just the beginning of that conversation captured on tape.\u003c\/span\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089138667829,"sku":"PSY012-LP-CLEAR","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/SylvanEsso_PsychicHotline_Album_Record_Peek_1_a45c0c21-a2c1-4e4d-932f-a4f349f6bb14.png?v=1691680894"},{"product_id":"flock-of-dimes-pure-love-12-lp","title":"Flock of Dimes - Pure Love \/ Time (12\")","description":"\u003cp\u003eAfter spending so much time over the past two years sitting with my grief—both personally and creatively—I’m thrilled to offer up two songs that center joy, hopefulness, and pleasure.\u003c\/p\u003e\n\u003cp\u003eWhat can I say about Pure Love? It’s a fun pop song about how wanting more is the cause of so much suffering! The first verse is about material greed and overconsumption, a poison that has infected every aspect of our society and continues to push us collectively toward the brink of destruction. The second addresses a more personal manifestation—a constant sense of dissatisfaction with ourselves and others, a longing for a kind of perfection that can never exist. To me, overall, it’s a song about reaching for a more pure way of being–finding a way to accept our humanity and all of its failures and imperfections so that we can be at peace for a little while while we’re alive.\u003c\/p\u003e\n\u003cp\u003eIt is also, hopefully, a lot of fun.\u003c\/p\u003e\n\u003cp\u003eBoth of these songs were produced and engineered by me and my #1 pal and musical hero Nick Sanborn, and mixed by Bella Blasko, with engineering by Alli Rogers. Me + Sandy played all of the instruments with the exception of some truly key contributions by our resident guitar freak Alan Good Parker.\u003c\/p\u003e\n\u003cp\u003eI wrote these songs well over a year ago, and wasn’t quite sure where to place them—but when the fine folks at Psychic Hotline asked me to be a part of their singles series, I knew they had finally found their proper home. Thanks to everyone at PH for providing the perfect context for these two songs to exist within, and for being endlessly encouraging and accepting of my many creative selves. I hope they bring a little lightness to you all.\u003c\/p\u003e\n\u003cp\u003e–Jenn Wasner, 2022\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089145221429,"sku":"PSY022-LP","price":15.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/APD_PsychicHotline_FlockOfDimes_Single01_Square.jpg?v=1691680911"},{"product_id":"the-dead-tongues-dust-cd","title":"The Dead Tongues - Dust (CD)","description":"\u003cp\u003eAfter five months of not picking up an instrument, The Dead Tongues’ Ryan Gustafson wanted to get rid of everything that was tied to his identity as a musician. He even thought about changing his name. He was getting ready to throw out old notebooks packed with years of material but, for some reason, he decided to stop and go through them, just to see if there was anything worth saving. And sure enough, he found some images and lyrics, threads from former selves he didn’t want to lose. Thus was the catalyst for “Dust”, his fifth and best album as The Dead Tongues.\u003c\/p\u003e\n\u003cp\u003eGustafson recorded “Dust” in nine days, the fastest he’d ever recorded anything. It was the fastest he’d ever written anything, too – in the past, writing a song would take months, but this time he somehow felt freer, and wanted to have fun. The record was recorded at Sylvan Esso’s studio, Betty’s, in the woods of Chapel Hill, North Carolina. He built it out with help from a number of his musician friends – Joe Westerlund (Watchhouse, Megafaun, Califone) on drums, Andrew Marlin (Watchhouse) on mandolin, backing vocals from Alexandra Sauser-Monnig and Molly Sarlé of Mountain Man, among others.\u003c\/p\u003e\n\u003cp\u003e“Dust” is meant to be listened to while taking a night drive, farflung and roving and existential. 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He built it out with help from a number of his musician friends – Joe Westerlund (Watchhouse, Megafaun, Califone) on drums, Andrew Marlin (Watchhouse) on mandolin, backing vocals from Alexandra Sauser-Monnig and Molly Sarlé of Mountain Man, among others.\u003c\/p\u003e\n\u003cp\u003e“Dust” is meant to be listened to while taking a night drive, farflung and roving and existential. Somewhere between the expansiveness of American jamband and the banjo-centric folk songwriting of Gustafson’s Appalachia home. Gustafson explains the thematic throughline succinctly: “It’s this idea of uprooting and rebirth and cycles, and the past informing the future, and the future informing the past. There is no single story. 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It was the first and last time the songs have been played – a snapshot of an idea, an artifact of inspiration, at once both a beginning and an end.\u003c\/p\u003e\n\u003cp\u003eAt the time of recording, Cytrynowicz was only eleven years old. The younger sister of Gendel’s significant other and creative partner Marcella, Cytrynowicz is an artist in her own way. She has no formal musical training, but is the product of a creative family and is someone who makes art the way many kids do – in the purest way, simply because they are moved to. On LIVE A LITTLE, she spontaneously crafted all the melodies and lyrics on the spot as Gendel played alongside her. Cytrynowicz’s musicality is sophisticated, strange, and other-worldly, and the resulting record is experimental jazz colliding with some sort of fantasy universe.\u003c\/p\u003e\n\u003cp\u003eBecause of that, LIVE A LITTLE is a stand-out amidst Gendel’s extensive and varied catalog. Over the years, the multi-instrumentalist has been known for his prolific musical output as both a sought-after collaborator and as a solo artist. During 2021 alone he collaborated with Vampire Weekend, Maggie Rogers, Moses Sumney, Laurie Anderson, and Mach Hommy, as well as released Notes With Attachments with Blake Mills \u0026amp; legendary bassist Pino Palladino. In the same year he also released the 52-track Fresh Bread, as well as the follow-up to the acclaimed Music for Saxophone \u0026amp; Bass Guitar with Sam Wilkes. Then Mouthfeel \/ Serene, AE-30, Valley Fever Original Score, and singles “Isfahan” and “Neon Blue.” LIVE A LITTLE, though, exists on its own island. For one, the majority of Gendel’s work under his own name skews instrumental, but here the playfulness of his saxophone and nylon-string guitar work alongside the twinkle of Cytrynowicz’s voice. It’s the sound of unapologetic imagination running amok – and really, more than anything, the sound of having fun.\u003c\/p\u003e\n\u003cp\u003eCytrynowicz is the ideal collaborator for Gendel, who throughout his career has remained largely unconcerned with the pageantry and presentation of the music business, instead focused solely on the music-making itself. Here, he found the purest sort of writing partner – he admires Cytrynowicz’ “supreme openness,” explaining: “Whatever is happening, she’s there with you. We really meet right where we are. She’s all ears, I’m all ears. I don’t even know how to explain what it is. It just works out somehow.”\u003c\/p\u003e\n\u003cp\u003eGendel remembers first being impressed by her musicality one day while they were gathered in the backyard at her family’s home; she improvised a strange and fully-formed little composition. The melody struck Gendel – he pulled out his iPhone and had her sing into it, then later orchestrated an ornate, fully fleshed out world around the voice memo. It came easily and simply. The subsequent LIVE A LITTLE session unfolded naturally, too – no discussion, no plan, no ambition – just “let it rip.” They started when it felt right and ended when it felt finished, once the flow of ideas dissipated. Then they put it away without discussion and moved on to the next activity. For a week afterward, Gendel tinkered with the live recording, adding a part or three on top of the initial session, sculpting it into its final product; a moment of raw creativity condensed into a polished little stone. Then he brought it back to Cytrynowicz, who hadn’t heard it since that summer afternoon, and was floored by hearing what they had created.\u003c\/p\u003e\n\u003cp\u003eLIVE A LITTLE is a series of “what ifs” cascading into one another, off-kilter and experimental, a kaleidoscope of spontaneity and imagination. It’s a sweet distillation of the musical present, of daring to follow through on an impulse – what happens when a project is helmed by someone who doesn’t have time for second thoughts or self-doubt.\u003c\/p\u003e\n\u003cp\u003e“That’s why she and I can make music I think, because I don’t think I ever deviated from that approach – or at least, I hope I didn’t,” Gendel says. “I really think that’s the best way that works for me musically – that ‘no mind’ sort of thing.” And here they both decisively follow that intuition, chronicling the way an idea blossoms and moves through you. 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It was the first and last time the songs have been played – a snapshot of an idea, an artifact of inspiration, at once both a beginning and an end.\u003c\/p\u003e\n\u003cp\u003eAt the time of recording, Cytrynowicz was only eleven years old. The younger sister of Gendel’s significant other and creative partner Marcella, Cytrynowicz is an artist in her own way. She has no formal musical training, but is the product of a creative family and is someone who makes art the way many kids do – in the purest way, simply because they are moved to. On LIVE A LITTLE, she spontaneously crafted all the melodies and lyrics on the spot as Gendel played alongside her. Cytrynowicz’s musicality is sophisticated, strange, and other-worldly, and the resulting record is experimental jazz colliding with some sort of fantasy universe.\u003c\/p\u003e\n\u003cp\u003eBecause of that, LIVE A LITTLE is a stand-out amidst Gendel’s extensive and varied catalog. Over the years, the multi-instrumentalist has been known for his prolific musical output as both a sought-after collaborator and as a solo artist. During 2021 alone he collaborated with Vampire Weekend, Maggie Rogers, Moses Sumney, Laurie Anderson, and Mach Hommy, as well as released Notes With Attachments with Blake Mills \u0026amp; legendary bassist Pino Palladino. In the same year he also released the 52-track Fresh Bread, as well as the follow-up to the acclaimed Music for Saxophone \u0026amp; Bass Guitar with Sam Wilkes. Then Mouthfeel \/ Serene, AE-30, Valley Fever Original Score, and singles “Isfahan” and “Neon Blue.” LIVE A LITTLE, though, exists on its own island. For one, the majority of Gendel’s work under his own name skews instrumental, but here the playfulness of his saxophone and nylon-string guitar work alongside the twinkle of Cytrynowicz’s voice. It’s the sound of unapologetic imagination running amok – and really, more than anything, the sound of having fun.\u003c\/p\u003e\n\u003cp\u003eCytrynowicz is the ideal collaborator for Gendel, who throughout his career has remained largely unconcerned with the pageantry and presentation of the music business, instead focused solely on the music-making itself. Here, he found the purest sort of writing partner – he admires Cytrynowicz’ “supreme openness,” explaining: “Whatever is happening, she’s there with you. We really meet right where we are. She’s all ears, I’m all ears. I don’t even know how to explain what it is. It just works out somehow.”\u003c\/p\u003e\n\u003cp\u003eGendel remembers first being impressed by her musicality one day while they were gathered in the backyard at her family’s home; she improvised a strange and fully-formed little composition. The melody struck Gendel – he pulled out his iPhone and had her sing into it, then later orchestrated an ornate, fully fleshed out world around the voice memo. It came easily and simply. The subsequent LIVE A LITTLE session unfolded naturally, too – no discussion, no plan, no ambition – just “let it rip.” They started when it felt right and ended when it felt finished, once the flow of ideas dissipated. Then they put it away without discussion and moved on to the next activity. For a week afterward, Gendel tinkered with the live recording, adding a part or three on top of the initial session, sculpting it into its final product; a moment of raw creativity condensed into a polished little stone. Then he brought it back to Cytrynowicz, who hadn’t heard it since that summer afternoon, and was floored by hearing what they had created.\u003c\/p\u003e\n\u003cp\u003eLIVE A LITTLE is a series of “what ifs” cascading into one another, off-kilter and experimental, a kaleidoscope of spontaneity and imagination. It’s a sweet distillation of the musical present, of daring to follow through on an impulse – what happens when a project is helmed by someone who doesn’t have time for second thoughts or self-doubt.\u003c\/p\u003e\n\u003cp\u003e“That’s why she and I can make music I think, because I don’t think I ever deviated from that approach – or at least, I hope I didn’t,” Gendel says. “I really think that’s the best way that works for me musically – that ‘no mind’ sort of thing.” And here they both decisively follow that intuition, chronicling the way an idea blossoms and moves through you. 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For two decades, Gustafson—a preternaturally sensitive soul, interested in the mystic but grounded by his love of quiet woods and open deserts—had made many albums under assorted guises. This one however had left him wounded, momentarily empty.\u003c\/p\u003e\n\u003cp\u003eHere, Gustafson built words and songs of intense emotional reckoning. He wrestled with relationships that failed spectacularly. He contemplated growing up in and then apart from a devoted religious household. He surveyed the damage of living hard in his 20s, partying in the back of vans as he prowled the interstates of the United States, reckless and free. Working through this baggage was daunting, Gustafson admits, but he’s better for having sorted through it, having pulled it from his body at last.\u003c\/p\u003e\n\u003cp\u003eTransmigration Blues gets to the idiosyncratic heart and unorthodox past of Gustafson, who lives the contemplative rural life about which many of his peers simply sing. In this stark moment of uncertainty, The Dead Tongues’ hymns to understanding your past and finding renewal in the changing seasons are more vital than Gustafson might have ever imagined. At a time when admitting that most of us are doing the very best we can seems revolutionary, Transmigration Blues is a welcome statement of radical acceptance.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089161507125,"sku":"PSY009-LP","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/Transmigration_1_a370c2c1-3629-4f78-9b3c-6e2d25cb0bb4.jpg?v=1691680941"},{"product_id":"transmigration-blues-cd","title":"The Dead Tongues - Transmigration Blues (CD)","description":"\u003cp\u003eWhen Ryan Gustafson finished recording Transmigration Blues, his fourth and best album under the name The Dead Tongues, in the summer of 2019, he slumped into a month-long haze of depression. 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Bernardes has emerged as one of Brazil’s most profound musical talents of his generation, a contemporary artist with deep roots in Brazil’s verdant musical heritage. And finally, his long-awaited second album, the enveloping and expansive Mil Coisas Invisíveis (A Thousand Invisible Things) will be released this summer.\u003c\/p\u003e\n\u003cp\u003eFour years after his standout 2017 debut, Recomeçar, Mil Coisas Invisíveis invites us back into Bernardes and his singular world of sound: warm, intimate, emotionally resonant, healing. The album was primarily written while touring with his acclaimed tropicalia-indie group, O Terno. At the start of 2020, the new decade brought about a sense of change in Bernardes as he took a step back from touring and band life to focus on these new songs. The resulting work connects the cosmic dots from Tropicalia and samba to contemporary indie and folk; it’s a generous and intimate moment, meditations of metaphysical transformation in the face of grave uncertainty.\u003c\/p\u003e\n\u003cp\u003e“Throughout my life, I have been very practical, very objective, and I had never stopped to think about spirituality really in-depth,” Bernardes says. “But after touring, I was very stressed and I noticed that my rational thinking was saturated. I just felt like: ‘Yes, this is my mind, but I am something behind my mind.’ I had this shock of consciousness that made me look into the meaning of things. My music ended up being some part of my self-development.”\u003c\/p\u003e\n\u003cp\u003eThe result is the fifteen exquisitely-crafted, luminous songs that comprise Mil Coisas Invisíveis. Responsible for composing, playing, producing, directing, mixing, and arranging the album –with Gui Jesus Toledo recording, supervising, and mastering the album– Bernardes dances between the everyday and the miraculous, crafting songs that inspire with their sweetness, directness, and inherent serenity.\u003c\/p\u003e\n\u003cp\u003eFirst single, “Nascer, Viver, Morrer,” sets all of Bernardes’s myriad talents into a jewel-like setting. He traces a journey from birth through life to death, each poetic line detailed yet uncluttered, his honeyed voice reaching stunning new heights, all of it transpiring in under two minutes. “With ‘Nascer, Viver, Morrer,’ written near the end of the album, I understood how the album looked from the outside and understood how it accentuated this conscious shift in me,” he says.\u003c\/p\u003e\n\u003cp\u003eBernardes remained mindful that the music –with its symbolism and multiple layers– transmitted in a way that remained beautiful, intimate, and emotionally evocative for his audience. 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