{"title":"VINYL","description":"","products":[{"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. 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","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46088992031029,"sku":"PSY031-DLX-LP","price":51.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_SamGendelMarcellaCytrynowicz_Audiobook20_Square.jpg?v=1746022926"},{"product_id":"sam-gendel-marcella-cytrynowicz-audiobook-vinyl-black-vinyl","title":"Sam Gendel \u0026 Marcella Cytrynowicz - AUDIOBOOK (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. 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","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46088996553013,"sku":"PSY031-LP","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_SamGendelMarcellaCytrynowicz_Audiobook11_Square.jpg?v=1697115501"},{"product_id":"sylvan-esso-sylvan-esso-black-lp","title":"Sylvan Esso - Sylvan Esso (LP)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eRecorded in a little bedroom studio out in Durham, North Carolina, Amelia Meath and Nick Sanborn’s debut LP as Sylvan Esso arrived in 2014 at the juncture of pop and experimental. 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":"Sylvan Esso","offers":[{"title":"Default Title","offer_id":46089019949365,"sku":"PSY012-LP","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/Sylvan-Esso_Web_SE_LP.png?v=1691680643"},{"product_id":"no-rules-sandy-deluxe-lp","title":"Sylvan Esso - No Rules Sandy (Deluxe 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":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":"phil-cook-people-are-my-drug-lp","title":"Phil Cook - People Are My Drug (LP)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eTransforming pain and injustice into love and compassion is a rendering that has been universal to poets and prophets for centuries. In present times, choosing to amplify community and positivity through art can seem like a radical act. 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. Side A alone, culminating with the shiver-inducing “Another Mother’s Son,” has the capacity to light a fire in even the coldest of hearts.\u003c\/span\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089027092789,"sku":"PSY002-LP","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/IMG_1065.jpg?v=1691680655"},{"product_id":"asm-fantasy-boyfriend","title":"A.S.M. - Fantasy Boyfriend (7\")","description":"\u003cp\u003e\u003cspan\u003eThe first solo release from Alexandra Sauser-Monnig of Mountain Man.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThere’s a patience in the little things. The arc of sticky summers brimming and eventually cooling, grasses overgrowing before being cut to stubs, creeks rushing to an eventual trickle, night skies growing darker before dawn breaks. In stillness and in presence, we can allow these archetypes to pervade our experience and teach us lessons as old as time and reflexive in every organism’s makeup.\u003c\/p\u003e\n\u003cp\u003eThis clarity is present in every note of “Gem” and “Grasses,” the two songs that comprise Fantasy Boyfriend, the debut release from Daughter of Swords – Alexandra Sauser-Monnig of Mountain Man. Starting small on a creaky old guitar, a single voice in the air, these meditations were brought to life over the winter in a tiny house at the center of a creative commune. It’s a compass set, an intention stated, a window flung open to let the summer air in; buoyant, resilient, golden.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDigital download included with album.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cstrong\u003eRelease Date\u003c\/strong\u003e: July 24th, 2018. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089036005685,"sku":"PSY003-7","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/ASM_FantasyBoyfriend_LP_Front.png?v=1691680672"},{"product_id":"southland-mission-lp","title":"Phil Cook - Southland Mission (LP)","description":"\u003cbr\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089047900469,"sku":"PC-SM-L","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/PhilCook_SouthlandMission_LP_Front.png?v=1691680692"},{"product_id":"tuskha-lp","title":"Tuskha - Tuskha (LP)","description":"\u003cbr\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089054322997,"sku":"PSY902-LP","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/Tushka_LP_Front.png?v=1691680713"},{"product_id":"dante-high-lp","title":"Dante High - Dante High (LP)","description":"\u003cbr\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089057730869,"sku":"PSY004-LP","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/Dante_LP_Front.png?v=1691680724"},{"product_id":"rosenau-sanborn-lp","title":"Rosenau \u0026 Sanborn - Bluebird (LP)","description":"\u003cp\u003eThe seeds for Bluebird were sown starting in 2015 when Nick Sanborn and I were both performing at the inaugural Eaux Claires festival. We were performing in different projects, but, encouraged by the promoters and in the collaborative spirit of the festival, we decided to try an improv duo set together. We had been friends and collaborators for years, but had never done anything like that together before. We were booked for Friday July 17th, 2015, talked once over the phone about our general approach to the performance, and met at the stage that afternoon. The day was beautiful; very warm. The stage we were playing, The Channel, was literally a geodesic dome at the top of a hill, and the heat that had been building up all day had nowhere to go. It must have been 100F in that dome that afternoon. Nick and I figured we’d play around a 20 -30 minute set, but, with years of friendship and music behind us, no plan whatsoever regarding what we’d play, the amazing crowd and the hallucinatory heat, when we finally looked up at each other and smiled after the final note ended ~ 50 minutes later, we knew we were onto something.We continued to collaborate annually at each subsequent Eaux Claires festival, and always talked about getting together and documenting this collaboration. It finally came together in October 2017. Nick and Amelia Meath had just set up a small house\/studio in the woods of North Carolina between Chapel Hill and Durham, and Nick wanted to kick the tires of the new studio. This seemed like the perfect opportunity. The plan was to seclude ourselves at their new place, hang out, have some fun, and capture some of those ideas we had developed over the years, as well as some new improvisations. From there we’d work back into them with other instrumentation, and see if we could get a finished record together.The reality was that the weather in North Carolina that weekend was beautiful and warm, and we ended up doing some test recordings before we even shut the doors or windows on the small studio\/house. As we listened back before officially pressing “record,” we realized that recording with everything completely open to the outside world so strongly evoked the sonics and feeling in the main living room recording space, that we decided to embrace it. We added more room mics, played\/improvised\/wrote all day for 2 days straight, and documented it all. It rained, birds chirped, dogs barked, we joked around and had the fun we had been talking about for years. And it was all captured as we experienced it.As we were packing up that Sunday morning I was flying back to Milwaukee, we did some rough mixes of the session to ensure we’d have something to listen and react to over the next months. We listened to those mixes over the next months as we delved into other projects, talking, barking, chirping, and all. When we talked again, Nick had an idea: Keep it. Keep all of it. No working back in, no editing of us goofing around, no mixing out the dogs and the rain. Keep everything that we heard and experienced that weekend and present that as the project. I agreed 100%. So, here’s Bluebird. The titles are the working titles we used that weekend, the mixes are the mixes we made as we were packing up that weekend, the pictures are the pictures we took that weekend. Our hope is for all of these things come together for you, the listener, as they did for us; to relay what we saw, what we heard, and how we felt that weekend.It’s definitely not a traditional way to present a record, but it’s definitely the way we’d like to present this record.\u003c\/p\u003e\n\u003cp\u003e-Chris Rosenau.\u003c\/p\u003e\n\u003cp\u003e27th February, 2019\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089067692341,"sku":"PSY007-LP","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/Bluebird_1.jpg?v=1771429307"},{"product_id":"reveries-in-the-rift-lp","title":"Joe Westerlund - Reveries in the Rift (LP)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eJoe Westerlund is a drummer familiar from many possible contexts. 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. Recorded with a small cast of collaborators (including Mountain Goats multi-instrumentalist Matt Douglas, acclaimed improviser Jennifer Curtis, and trombonist Evan Ringel), these eight tracks recast his wealth of experiences into a series of splendid instrumental fantasies and scene-setting vignettes without ever forsaking a sense of song. Opener “Ituri Air” feels like floating inside some colorful cloud, ribboned electronics and intertwined strings and winds passing by like vaporous waves. “Marijuaguancó”suggests dual prisms of dub and grime, while “Emergent Marbled Weaver” conjures an image of Westerlund, studying his kit for every smallest sound, bowing cymbals and tapping bells. Still, a rootedness remains, Westerlund never letting the listener drift too far from the center he has established. All the percolating rhythms of “Pattern Return,”for instance, eventually culminate into something that approaches a march. And before Westerlund begins to decorate and then dislodge the meter of the closing triumph, “Two Symbols\/One,” he first pulls us into its hypnotic repetition, as if building trust before guiding us into the unknown. Westerlund, after all, has now spent three decades gleaning lessons from folk musicians and avant-garde icons, from close friends and challenging strangers. Out of that magpie past, Reveries in the Rift is the home Westerlund welcomes us into, as personal and warm as it is idiosyncratic and enthralling.\u003c\/span\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089074147637,"sku":"PSY008-LP","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/Reveries_1.jpg?v=1691680758"},{"product_id":"bowerbirds-becalmyounglovers-lp-teal","title":"Bowerbirds - becalmyounglovers (Teal LP)","description":"\u003cp\u003ebecalmyounglovers is as much a return as it is a farewell. Phil Moore’s first Bowerbirds album since 2012 is an artifact of transition, a domino effect of doors closing and Moore stumbling headfirst into the uncertainty of what comes after a life fundamentally changes. 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. These songs don’t trudge through upheaval — instead, they float, still sanguine and light in the face of plans gone awry.\u003c\/p\u003e\n\u003cp\u003eBut, true to Moore’s songwriting, the heaviness of the subject matter still glimmers with an innate hopefulness. becalmyounglovers is like wading deep into the psyche of a potential identity crisis, but there’s no darkness here – instead, Bowerbirds plumbs the depths with the windows open, a breeze flowing in, a smattering of sunlight across the floor and the sounds of outside filtering in, the promise of a new morning right around the corner.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089076638005,"sku":"PSY010-LP-TEAL","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/BEcalm_1.jpg?v=1691680762"},{"product_id":"amelia-meath-blake-mills-sam-gendel-neon-blue","title":"Amelia Meath \u0026 Blake Mills \/ Sam Gendel - Neon Blue (7\")","description":"\u003cp\u003e“Neon Blue” is a nighttime song. 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. The ebb-and-flow of is instrumental version warps the existing melody, making it a companion piece that could as easily live fully on its own, but still makes sense in conversation with side A. In either interpretation, “Neon Blue” looms alien and otherworldly, conjuring an enveloping luminescence through sound alone.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089084371253,"sku":"PSY013-7","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/APD_PsychicHotline_NeonBlue01_1.jpg?v=1691680777"},{"product_id":"made-the-harbor-standard-edition-lp","title":"Mountain Man - Made The Harbor (Standard Edition) (LP)","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. A Mountain Man song exists in a strange and wild and naturalistic world, populated with thick summer air and bright moons and chickadees, unfurling like a long night spent sitting on the back porch steps with your closest friends.\u003c\/p\u003e\n\u003cp\u003eReleased in the muggy summer of 2010, Mountain Man’s debut full-length Made the Harbor catapulted the project into the spotlight on indie music blogs across the Internet, and then on to much bigger stages offline, too. From a MySpace buzz band to touring as back-up singers for Feist across the world, Mountain Man’s Made the Harbor and the sound of their three voices tangling together had a certain magic that resonated so easily.\u003c\/p\u003e\n\u003cp\u003eNow, a decade past its release, Made the Harbor celebrates its tenth anniversary with an additional disc’s worth of bonus material. The second LP here features unreleased songs, live sessions recorded at Bennington College’s Greenwall Auditorium at the inception of the project, along with covers of the Mills Brothers, Arthur Russell, and then-Vermont contemporary toothache, and more. 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":46089127002421,"sku":"PSY011-LP","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/made_the_harbor_944a23c7-c3bf-43b1-b826-3e8f04384219.jpg?v=1691680865"},{"product_id":"bartees-strange-ohmme-eric-slick-anjimile-province-ever-new-vinyl","title":"Bartees Strange, Finom \u0026 Eric Slick \/ Anjimile - Province \/ Ever New Vinyl (7”)","description":"\u003cp\u003eTV on the Radio’s “Province” and Beverly Glenn-Copeland’s “Ever New” were released more than 20 years apart, with little in common sonically, but here, they’re intrinsically linked as studies in formative musical heroes for artists with dazzling voices. 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. A prolific songwriter, multi-instrumentalist, solo artist, and in-demand musician whose collaborations have run the gamut of genre — as a founding member of beloved band Megafaun to work with The Blind Boys of Alabama, Bon Iver, Kanye West, and Hiss Golden Messenger, to name a few — Cook has always been a musician’s musician. A sweet and affable presence whose musical dexterity elevates every project he touches, Cook’s musical output and true sound has been hard to pin down. But even across all the work he’s done in his decades as a musician, he’s yet to release a proper piano album. 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. All These Years feels like starting over, or like a return, trimming everything back to its original starting place.\u003c\/p\u003e\n\u003cp\u003eThe church’s cavernous space has long been integral to Cook’s day-to-day life as an artist — a venue that suggests music as a higher power, and art-making as a form of worship — a place that elevates the act of writing a song to something beyond sacred. It’s also where Cook’s wife, Heather, worked for years; for his family, it’s like a second home.\u003c\/p\u003e\n\u003cp\u003eThe resulting All These Years record is near hymn-like, a collection of prayers or meditations, improvisations threaded together by feeling, by the things that matter most. When Cook began these songs, he was in the headspace of meditating on the people in his support network, and those closest to him. Through composing the music, he began to reflect on specific and important presences in his life, and ends up capturing their essence via keys here. 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":"sylvan-esso-lp","title":"Sylvan Esso - Sylvan Esso (Clear LP)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eRecorded in a little bedroom studio out in Durham, North Carolina, Amelia Meath and Nick Sanborn’s debut LP as Sylvan Esso arrived in 2014 at the juncture of pop and experimental. 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":"sam-gendel-and-antonia-cytrynowicz-live-a-little-lp","title":"Sam Gendel and Antonia Cytrynowicz - Live a Little (LP)","description":"\u003cp\u003eSam Gendel and Antonia Cytrynowicz didn’t set out to make a record – it just happened. LIVE A LITTLE, a collection of songs resulting from one late summer afternoon in Gendel’s Los Angeles home, is less an album and more a moment. The ten tracks here were recorded mostly in one sitting, fully improvised, in the order in which they appear. 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. The moment is the thing, and LIVE A LITTLE just happens to capture it.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089154396469,"sku":"PSY021-LP","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/APD_PsychicHotline_LiveALittle01_websizecopy.jpg?v=1691680926"},{"product_id":"transmigration-blues-lp","title":"The Dead Tongues - Transmigration Blues (LP)","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. 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":"tim-bernardes-mil-coisas-invisiveis-double-lp","title":"Tim Bernardes - Mil Coisas Invisíveis (Clear 2LP)","description":"\u003cp\u003eSongs of love, of sofrência, and change from one of the shining hearts of São Paulo: Tim Bernardes.\u003c\/p\u003e\n\u003cp\u003eA Latin Grammy nominated singer, songwriter, musician, composer, and producer, Bernardes has also collaborated with Fleet Foxes, Tom Zé, David Byrne, Gal Costa, Devendra Banhart, Shintaro Sakamoto, and more. 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. In that way, he paid proper tribute to his own musical idols: “Brazilian music in the 70s had this quality, writing directly about feelings, love, reflections, beauty, music in a personal\/ relatable way, anything that would be truly moving me at the time.”\u003c\/p\u003e\n\u003cp\u003eFavoring simplicity and emotional directness, Bernardes found inspiration everywhere: in the collected letters of John Lennon, MPB in the 1970s, the simple act of looking at the phases of the moon from his backyard. Throughout the album, Bernardes strikes a balance between simple and direct verses and the longer, unmetered lines, pointing to the freeform, slowly unfurling wonder of “Ultima Vez” The sweet and direct “BB (Garupa de Moto Amarela)” originated as a Christmas gift to his girlfriend, before Bernardes realized that he was also fond of this “simple and sincere love song.”\u003c\/p\u003e\n\u003cp\u003eAnd then there’s the gorgeous arrangements Bernardes himself charted to accentuate his lovely song “Mistificar.” Drawn to both lo-fi intimacy and the opulent arrangements of classic Brazilian albums of the late ‘60s and early ‘70s, “Misitficar” embodies the themes of the album and the newfound balance that Bernardes found in his own life, somewhere between the overly rational and the mystical. It’s a love song perched between romanticism and skepticism. The title of Mil Coisas Invisíveis amplifies this idea of all the unseen forces that make our reality what it is, with Bernardes realizing that “illusion and fantasy and magic are ingredients for life.”\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089174253877,"sku":"PSY023-LP-CLEAR","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/APD_PsychicHotline_TimBernardes01_Square.jpg?v=1745957463"},{"product_id":"the-as-fruit-lp","title":"The A's - Fruit (LP)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDays before beginning their first-ever tour as The A’s, Sylvan Esso’s Amelia Meath and Daughter of Swords’ Alexandra Sauser-Monnig have released a serene and ruminative rendition of the stoner country classic, “Lonesome L.A. Cowboy.” The single arrives on the heels of the duo’s debut album Fruit, which saw the two longtime friends and Mountain Man bandmates strike “a perfect balance between inquisitive and comforting” (NPR Music). Similar to their take on “Lonesome L.A. Cowboy,” or their fantastical reimagining of Harry Nilsson and Shelley Duvall’s “He Needs Me,” Fruit featured new interpretations of traditional folk music, lullabies, cosmic cowboy songs and multiple standards about ponies, each song uniquely filled with arrangements of high lonesome harmonies, stunt yodeling and a ghost orchestra of hair, nylon shorts, shoes, ice chunk, gravel, frog samples and other makeshift instruments.\u003c\/span\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089182216501,"sku":"PSY018-LP","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/APD_PsychicHotline_TheA_s_Fruit_04_Square_1983f98d-e70c-437b-969e-9f8244dafffe.jpg?v=1691680980"},{"product_id":"peach-fuzz-can-mary-dood-the-moon","title":"Peach Fuzz - Can Mary Dood the Moon? (12\")","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe down on the chin of an adolescent boy whose beard has not yet developed. Raffaella, Samia, Sara L’Abriola (Hank), and Victoria Zaro (Ryann), the Four Fuzzes, folk with their debut EP “Can Mary Dood the Moon?”\u003c\/span\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089198108981,"sku":"PSY028-LP-PEACH","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/APD_PeachFuzz_CanMaryDoodTheMoon01_Square.jpg?v=1691681014"},{"product_id":"grrl-x-made-of-oak-inertia-vinyl-ep","title":"GRRL x Made Of Oak - Inertia (12\")","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eJames Mapley-Brittle (\u003c\/span\u003e\u003ca href=\"https:\/\/psychic-hotline.net\/artists\/grrl\/\"\u003eGRRL\u003c\/a\u003e\u003cspan\u003e) and Nick Sanborn (\u003c\/span\u003e\u003ca href=\"https:\/\/psychic-hotline.net\/artists\/made-of-oak\/\"\u003eMade of Oak\u003c\/a\u003e\u003cspan\u003e) make and spin very different music but often end up playing the same parties, thanks to the eclecticism of the North Carolina dance scene. After a conversation they had one day surrounding a shared obsession with peak-hour club music, Sanborn wondered about a collaboration, about a sound that made sense for each of them to play at their respective sets. It could be massive. But what would it sound like? The answer is \u003c\/span\u003e\u003ci\u003eInertia\u003c\/i\u003e\u003cspan\u003e, the duo’s collaborative EP. The two got together every now and again to jam and find a creative chemistry; it didn’t take long for the shared language to emerge, and they recorded the subsequent jolt of energy out at Betty’s studio in Chapel Hill. For both Made of Oak and GRRL, \u003c\/span\u003e\u003ci\u003eInertia\u003c\/i\u003e\u003cspan\u003e feels like the beginning of something entirely new.\u003c\/span\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089208725813,"sku":"PSY024-LP","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/APD_GRRLxMadeOfOak_Inertia01_Square.jpg?v=1691681031"},{"product_id":"the-dead-tongues-dust-lp","title":"The Dead Tongues - Dust (LP)","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. 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. Everything is connected.”\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089215312181,"sku":"PSY015-LP","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/APD_PsychicHotline_TheDeadTongues03copy_6b5d5df8-5208-4dd6-a05a-4025728d4a4b.jpg?v=1691681042"},{"product_id":"the-dead-tongues-unsung-passage-lp","title":"The Dead Tongues - Unsung Passage (LP)","description":"\u003cp\u003eThe ten remarkable songs of Unsung Passage are long-distance distillations of experiences, of events lived and places seen and pondered and ultimately poured into reflective anthems for our harried times. Gustafson recorded these songs much as they were written-during short summer sojourns away from the road, when he and a quartet of friends could gather in the Chapel Hill studio The Rubber Room for two-day sessions. Longtime North Carolina confidants and collaborators James Wallace, Jeff Crawford, and Casey Toll form the rhythm section, while Mountain Man’s Molly Sarlé harmonizes softly and adds a filigree of unexpected flute. Other friends offer fiddle and percussion, cello and extra guitar, softly padding songs that stand as statements unto themselves.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089239396661,"sku":"PSY001-LP","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/APD_TheDeadTongues_UnsungPassage11_Square.jpg?v=1691681094"},{"product_id":"the-dead-tongues-unsung-passage-lp-clear-vinyl","title":"The Dead Tongues - Unsung Passage LP (Clear LP)","description":"\u003cp\u003eThe ten remarkable songs of Unsung Passage are long-distance distillations of experiences, of events lived and places seen and pondered and ultimately poured into reflective anthems for our harried times. Gustafson recorded these songs much as they were written-during short summer sojourns away from the road, when he and a quartet of friends could gather in the Chapel Hill studio The Rubber Room for two-day sessions. Longtime North Carolina confidants and collaborators James Wallace, Jeff Crawford, and Casey Toll form the rhythm section, while Mountain Man’s Molly Sarlé harmonizes softly and adds a filigree of unexpected flute. Other friends offer fiddle and percussion, cello and extra guitar, softly padding songs that stand as statements unto themselves.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089245229365,"sku":"PSY001-LP-CLEAR","price":23.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/APD_TheDeadTongues_UnsungPassage08_Squarecopy.jpg?v=1691681103"},{"product_id":"sam-gendel-and-antonia-cytrynowicz-live-a-little-sky-blue-lp","title":"Sam Gendel and Antonia Cytrynowicz - LIVE A LITTLE (Sky Blue LP)","description":"\u003cp\u003eSam Gendel and Antonia Cytrynowicz didn’t set out to make a record – it just happened. LIVE A LITTLE, a collection of songs resulting from one late summer afternoon in Gendel’s Los Angeles home, is less an album and more a moment. The ten tracks here were recorded mostly in one sitting, fully improvised, in the order in which they appear. 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. The moment is the thing, and LIVE A LITTLE just happens to capture it.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089254764853,"sku":"PSY021-LP-SKY","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/APD_SamGendelAntoniaCytrynowicz_LiveALittle01_Square.jpg?v=1691681121"},{"product_id":"kieran-hebden-william-tyler-darkness-darkness-no-services","title":"Kieran Hebden \u0026 William Tyler - Darkness, Darkness \/ No Services (12\")","description":"\u003cp\u003e“Darkness, Darkness” and “No Services” are two songs performed by Kieran Hebden and William Tyler. This is the first collaboration between Hebden, the producer and electronic musician also known as Four Tet, and Tyler, the Nashville-based guitarist and composer.\u003c\/p\u003e\n\u003cp\u003eWilliam Tyler’s guitar parts for “Darkness, Darkness” were recorded by Jake Davis at Huge Planet in Nashville; his performance for “No Services” was recorded at The Tank in Rangely, CO.\u003c\/p\u003e\n\u003cp\u003eThe lacquer for this release was cut by acclaimed mastering engineer Kevin Gray and pressed by Citizen Vinyl in Asheville, NC. The physical release of these two songs will be released on 12” vinyl by Psychic Hotline on June 30, 2023 and is available to order now.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":46089265381685,"sku":"PSY027-LP","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/APD_PsychicHotline_KieranHebdenWilliamTyler01_Square.jpg?v=1691681140"},{"product_id":"made-the-harbor-10-year-anniversary-edition-double-lp","title":"Mountain Man - Made the Harbor (10 Year Anniversary Edition) (Maroon 2LP)","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. A Mountain Man song exists in a strange and wild and naturalistic world, populated with thick summer air and bright moons and chickadees, unfurling like a long night spent sitting on the back porch steps with your closest friends.\u003c\/p\u003e\n\u003cp\u003eReleased in the muggy summer of 2010, Mountain Man’s debut full-length Made the Harbor catapulted the project into the spotlight on indie music blogs across the Internet, and then on to much bigger stages offline, too. From a MySpace buzz band to touring as back-up singers for Feist across the world, Mountain Man’s Made the Harbor and the sound of their three voices tangling together had a certain magic that resonated so easily.\u003c\/p\u003e\n\u003cp\u003eNow, a decade past its release, Made the Harbor celebrates its tenth anniversary with an additional disc’s worth of bonus material. The second LP here features unreleased songs, live sessions recorded at Bennington College’s Greenwall Auditorium at the inception of the project, along with covers of the Mills Brothers, Arthur Russell, and then-Vermont contemporary toothache, and more. 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":50885201789237,"sku":"PSY011-DLX-MAR-1","price":31.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/APD_PsychicHotline_MountainMan17_0c09cd45-6cf0-4d13-b1f5-97bc0c271e7e.jpg?v=1745936573"},{"product_id":"amaro-freitas-yy-lp","title":"Amaro Freitas - Y'Y (LP)","description":"\u003cp\u003e\u003cstrong\u003eStandard black vinyl edition, with Stoughton Gatefold Tip-on Jacket.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhat drives Amaro Freitas in life is experience. In 2020 the pianist, who hails from the Northeastern Brazilian coastal city of Recife, was drawn to Manaus, located in the Amazon basin, some 4600 kilometers to the west. His experience in that lush wilderness led him into a new realm of musical creation, one rooted in magic and possibility and tempered by a sense of stewardship for the earth’s bounties and a connection to the Sateré Mawé indigenous community. Crucial to the experience for Freitas was the maintenance of a true exchange of knowledge. According to Freitas, in the resulting album, Y’Y (pronounced: eey-eh, eey-eh), he pays “homage to the forest, especially the Amazon Forest, and the rivers of Northern Brazil: a call to live, feel, respect, and care for nature, recognizing it as our ancestor.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHe continues, “It is also a warning about the need to be aware of the impact we cause, based on the concepts of civilization and modernity that keep us away from this connection, and its importance for the balance of life on the planet.” In addition to serving as a call to nature, Y’Y expresses lessons Freitas learned in the Amazon about the incandescent power of enchanted spirits who intervene on behalf of the community in times of struggle.\u003c\/p\u003e\n\u003cp\u003eTracks such as “Mapinguari (Encantado da Mata),” and “Uiara (Encantada da Agua) – Life and Cure” recount the legends of powerful spirits, including the tale of the Mapinguari, “a hungry, hairy giant with one eye and a huge mouth at his navel, [that] wanders through the forest in search of food” according to Freitas. The song incorporates the rumbling, ominous sound of the thunder drum. Meanwhile “Uiara” is described by Freitas as another name for the pink river dolphin. The word itself means “the lady of the waters” or “water mother” in Tupi-Guarani.\u003c\/p\u003e\n\u003cp\u003eAlthough building an album around an experience so far from his Recife home may seem out of character, in fact the work is fundamentally connected to his previous discography. “Trying to rescue things that came before coloniality”, he notes, is a theme that has been woven into Freitas’s work for years. By simply looking at the titles of his last three projects: Rasif (a colloquial spelling of Freitas’s hometown), Sankofa (a Ghanaian term which roughly translates to “using lessons from the past while moving forward”), and now Y’Y (a word from the Sateré Mawé dialect, an ancestral indigenous code that means water or river), you can see themes that are not spoken in Portuguese or English, but which are part of the construction of a much more connected social concept. It’s no wonder he chose to intwine ancestral knowledge into this project in such a meaningful way.\u003c\/p\u003e\n\u003cp\u003eOn the title track, “Y’Y”, which features Shabaka Hutchings on flute in a duo, they try to “translate the ancestral strength of the meeting of these waters into two opposing movements”, he notes, and in each, echo-laden vocalizations ring out like ancient chants.\u003c\/p\u003e\n\u003cp\u003eMeanwhile, “Mar de Cirandeiras” is a tribute to the cirandeiras, “a living cultural heritage of his home state of Pernambuco”. The ciranda is a traditional dance featuring people who clasp hands and move in a circle. He calls the song an “impression of experiencing a ciranda on the beach, in Tamaracá, in Recife Antigo, but not necessarily playing the ciranda rhythm. And it pays homage to the sea and, in a way, brings a connection where everyone is equal in that ciranda. I also think that the harmony [bears] a connection with John Coltrane’s music,” while centering an unconventional harmonic structure. On this soulful track, joined by guitarist Jeff Parker, Freitas sings and plays a warm-toned Fender Rhodes piano, as well as an acoustic piano. The song simply glows like the sun on the sea.\u003c\/p\u003e\n\u003cp\u003eParker noted that he first heard Freitas “in Ireland at the Cork Jazz Festival in October of 2021, where we were both performing. He was playing with his trio and I was struck by the complex rhythms and harmonies that he was playing. He was playing in two different meters, a different one in each hand.” He went on to say, “I was flattered to be asked to record a track on his album. The melody for ‘Mar de Cirandeiras’ is so beautiful to play and it was easy to find a nice blend with his piano sounds. I really love the ethereal middle section with the major 7th chords moving in major thirds.”\u003c\/p\u003e\n\u003cp\u003eFor “Gloriosa” Freitas is joined by harpist Brandee Younger, and yet another enchantment is mined. On this recording, Freitas honors his mother, Rosilda, who has inspired him musically since childhood. “‘Encantados’ celebrates the African diaspora and reinforces how traditions are part of our DNA, whether in the way we play and connect with our roots, or how we understand sound as a powerful ancestor,” says the artist of the album’s final song. The track features the iconic drummer Hamid Drake, Hutchings on flute, and Aniel Someillan on acoustic bass. Referencing the idea of enchantment while invoking enchanted beings “was something very important in this process,” and rather than attaching any one specific meaning to the work as a whole, Freitas ultimately wants listeners “to feel touched by the spirits, the enchanted spirits of the forest.”\u003c\/p\u003e\n\u003cp\u003eWhile Side A of Y’Y serves as an expression of connection to the earth and to the ancestors, Side B serves as proof of connections between the global Black avant-jazz community. Shabaka Hutchings hails from the rich scene in London, harpist Brandee Younger comes from the legendary New York City jazz scene, bassist Aniel Someillan is of Cuban descent, while guitarist Jeff Parker and drummer Hamid Drake come from the deep well of avant garde jazz in Chicago. This album is an artful conversation between those traditions, rooted in the unique sounds and rituals found in Afro-Brazilian and Indigenous cultures. With Y’Y, Freitas further codifies his fresh, “decolonized” interpretation of Brazilian jazz, one that may well shatter preconceived notions of what jazz can be.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":47321753157941,"sku":"PSY037-LP","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_AmaroFreitasY_Y17_Square.jpg?v=1745953992"},{"product_id":"reyna-tropical-malegria-lp","title":"Reyna Tropical - Malegría (LP)","description":"\u003cp\u003e\u003cstrong\u003eStandard black vinyl edition, with poster.\u003c\/strong\u003e\u003cbr\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMalegría\u003c\/em\u003e, Reyna Tropical’s long-anticipated debut full-length album, is at once a vibrant arrival and an electrifying bridge. The portmanteau, born from a 1998 Manu Chao song by the same name, is akin to bittersweet and blends the Spanish “mal” which means “bad” and “alegría” which means “happiness.” It marks Reyna Tropical’s movement from a duo to a solo project. The album is a contemporary celebration and continuation of wide-reaching cultural traditions—from Congolese, Peruvian, and Colombian rhythms to revolutionary artists like lesbian guitarist-singer Chavela Vargas—these influences meld and are remixed through the distinctive lens of trailblazing guitarist and songwriter Fabi Reyna. Traversing themes including queer love, feminine sensuality, and the transformative power of intentional relations to the earth,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMalegría\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003espotlights narratives often pushed to the margins and offers them a sonic homeland.\u003c\/p\u003e\n\u003cp\u003eFormed in 2016, Reyna Tropical began as an organic, unhurried exchange between Fabi Reyna and Nectali “Sumohair” Diaz who met during a workshop series for emerging musicians. “Our first EP was so spur of the moment,” Reyna recalled. “What we needed was to document, to just do something for our hearts. Not for money, not for our livelihood. Just for us.” The band formed when Reyna had been immersed in full-time work founding and building She Shreds, the world’s first magazine dedicated to women and nonbinary guitarists, and was itching for a creative release and return to her musical roots. By January 2018, the band’s self-titled EP,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eReyna Tropical\u003c\/em\u003e, dropped and the foundations of the band’s spellbinding and distinctive sound were documented and formed. Best known for their rhythmic, hip-swaying tropical feel, the first Reyna Tropical tracks featured Ableton-made beats produced by Diaz—featuring Afro Indigenous drum patterns and environmental samples—expertly mixed with dreamy guitar riffs and soft vocals by Reyna.\u003c\/p\u003e\n\u003cp\u003eAfter the EP’s release, and the debut single, “Niña,” was featured on NPR Alt.Latino’s “Songs We Love” series, newfound fans and opportunities alike flocked. By year’s end the band was regularly selling out shows, joined as support on Bomba Estéreo’s US tour, and began booking gigs for major festivals and shows including SXSW, Cumbiatón, and Colombia’s Baile Sagrado. The band released another celebrated EP,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSol y Lluvia\u003c\/em\u003e, in 2019, created and recorded during creatively enriching extended stay in Colombia.\u003c\/p\u003e\n\u003cp\u003e“Things kept coming—studio tours, gigs, and different opportunities,” Reyna said while reflecting on the changes the band went through during the transition. “We were like, ‘Whoa, this is so weird! It’s working,’ but we didn’t even know what it was working for.” In 2020, after eight non-stop years building a business without time off, Reyna withdrew to nature for a community retreat. It was during this moment of stillness that the purpose of her life’s work, beyond running She Shreds Magazine, crystallized. For the next two years, Diaz and Reyna immersed themselves in a tropical journey guided by the music—from Cartagena, Colombia to Fajardo, Puerto Rico and Cuaji (la costa chica de Guerrero)—along the way, invited into a harmonious relationship with local land, culture, and music wisdom keepers.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMalegría\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis the culmination of self exploration fortified through an attunement to land—alongside Diaz and through his passing. From the interludes to the found sounds,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMalegría\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eoffers a home to diasporic beings de aquí y de allá, diasporic beings who are in the process of searching for and returning to ancestral roots.\u003c\/p\u003e\n\u003cp\u003eOn “Cartagena,” the bright, multi-layered rhythms and vocals sing of feeling caressed and energized by the elements, and, at the core, there is the sense of a mutual exchange of trust and care between her and the land. By contrast, “La Mamá,” which opens in a seemingly-serene rainforest, builds into a\u003cbr\u003edrumline-backed battle cry denouncing the commercialization of healing and the spiritual tourists who seek only to extract from the environment—medicinal, or otherwise.\u003c\/p\u003e\n\u003cp\u003eThe interludes, which weave between each musical track, unfold a narrative all their own. “Goosebumps” and the subsequent “Singing” each offer peeks into the beautiful, unexpected push-and-pull that can transpire amid symbiotic collaboration. We, as listeners, are invited into the creative exchange between Diaz and Reyna, and the growing sense of power Reyna has found and is now sharing with others through her music. Meanwhile “Mestizaje” and “Queer Love and Afro Mexico” work together to chronicle the unlearning of erasure under a flattened definition of unity and, instead, uplift the importance of naming and celebrating distinct multifaceted identities and histories.\u003c\/p\u003e\n\u003cp\u003eThese sounds seamlessly blend into the final track, “Huitzilïn,” a tranquil, grounding ballad in which Reyna announces finally feeling her body, her spirit, her soul, and listening to all that surrounds her. “Huitzilïn,” the Nahuatl word for “hummingbird,” is a symbol of Indigenous strength in Mexico thought to guide those who are struggling to find their way home.\u003c\/p\u003e\n\u003cp\u003e“I’ve always wanted to have a home—a place or a sound or a person to go to—because I think our people, who are severed from our lands and our histories and our stories and our communities, have for generations not really known where to go,” Reyna said. “There are times on stage where I can feel that my movement isn’t my movement. I can feel that I’m being moved by and I’m speaking for other people. I know in my body when my ancestors are there, when a decision is us.”\u003c\/p\u003e\n\u003cp\u003eWhether enjoyed during listening parties or infectious live sets, the music will move listeners and irresistibly command a jump—into action in protection of the land, into the arms of a crush, into your own power and fearlessness, into steady body rolls along to the beat.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMalegría\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eoffers us all a chance to witness history in the making.\u003cbr\u003e—Emilly Prado\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":47843113599285,"sku":"PSY040-LP","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_ReynaTropical_Madegria03_Square.jpg?v=1705088927"},{"product_id":"bruno-berle-no-reino-dos-afetos-2-white-lp","title":"Bruno Berle - No Reino Dos Afetos 2 (White LP)","description":"\u003cp\u003e\u003cstrong\u003eLimited edition white vinyl. Limited to 600 copies worldwide.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBruno Berle, the young songwriter and poet originally hailing from Maceió, the capital of Brazil’s Alagoas state, crafts songs that are simple, direct, and full of tender nuance. With his first album\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eNo Reino Dos Afetos\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(which translates to “In the Realm of Affections” and was released in 2022), Berle firmly established himself as a unique and important voice in the burgeoning scene of new Brazilian artists making a global impact, including peers like Ana Frango Elétrico, Tim Bernardes, Bala Desejo, Sessa and more. Now back with his second album,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eNo Reino Dos Afetos 2,\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003ehe stretches that further.\u003c\/p\u003e\n\u003cp\u003eBruno Berle’s music lives between two worlds – a traditional Brazilian folk talent steeped in history, and a contemporary, dreamy electronic pop; the result is songwriting that’s genre-bending, intentional, iconoclastic and consuming, spacious and sinewy and singular, a striking reflection of its composer while leaving space for the listener to settle in. The album follows Bruno’s relocation to São Paulo, and the songs are a reflection of his past and present. A rebuke of former categorizations of his work in Brazilian music scenes, and an idea of where his music can move, unfettered.\u003c\/p\u003e\n\u003cp\u003eBerle’s music is purposeful in being a true portrait of himself, and a reflection of the music, art, and fashion scenes he personally moves through. Berle aims to provide an entrypoint for Black queer joy in his music, in his storytelling, in his presence and vision as a creative. For him, it feels subversive to be playing MPB laced with dubstep and lo-fi, a sort of intentional sacrilege, capturing a dialogue of modernity in traditional music.\u003c\/p\u003e\n\u003cp\u003eBerle wrote most of the arrangements and co-produced his new album,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eReino Dos Afetos 2\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003ewith longtime friend and musical partner Batata Boy, who is also from Maceió; the album was recorded in Rio de Janeiro, Maceió, and São Paulo, his new home, and picks up the conversation begun in 2022 on Berle’s debut album\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eNo Reino dos Afetos\u003c\/i\u003e. Both records are the result of a nonlinear but coherent seven-year music creation process culminating in these albums, holding hands across space and time.\u003c\/p\u003e\n\u003cp\u003e“Tirolirole,” the first single from the record, was released at the end of 2023; sun-soaked rhythms and soft voice coat the song, the lilting refrain of “Tirolirole” throughout – hushed, gentle, but somehow almost tactile, a golden-hour moment unlocked in the mind. “Tirolirole” is a triumphant future classic about the temporality of a blossoming love, with Bruno’s stunning vocal soaring over melodies which ebb and flow like the waters on the Atlantic shore. Of the track, Berle explains: “Despite ‘Tirolirole’ being an expression that evokes my childhood, just like the light words about nature, the harmony, and the poetry are epic, carrying a great hope for love.”\u003c\/p\u003e\n\u003cp\u003eIn fact, the guiding theme of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eNo Reino dos Afetos 2\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eis a relationship, unfolding in the arc of a weekend. It traverses the innocence of an early young love, how that can be formative, can stretch on to take new shapes, or shape you. The album happens at the genesis of meeting someone and falling for them, before the relationship is thrown into overdrive – set in a big city, against a backdrop of major life changes, rising energy, the sound of São Paulo.\u003c\/p\u003e\n\u003cp\u003eSomething transcendental emerges in “Dizer Adeus,” with an arrangement that echoes a gospel atmosphere (evangelical and Catholic environments were pivotal to Berle’s upbringing). On “É Só Você Chegar,” piano and flute gracefully intertwine, a dance, while “Quando Penso” skews sparser, the voice-and-guitar minimalism somehow cultivating an entirely different shape – somehow both cozy and melancholy, with the background sound of a rainy day.  Coupled with the lo-fi aspects that shape much of the album’s personality in the vocals and the production,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eNo Reino Dos Afetos 2\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis meticulously elaborated by Berle’s sonic alchemy, like on the mid-album instrumental “Sonho,” which feels like floating. “It’s the apex. It’s when lovers are sleeping together,” Berle explains of the feeling he wanted to encapsulate in the song.\u003c\/p\u003e\n\u003cp\u003eOn “Love Comes Back” Berle interprets Arthur Russell, the late Iowa musician who only reached greater visibility after he died in 1992. “His way of making music is similar to mine,” Berle explains. “He sings in a more fragile way, has more of an experimental way of recording, letting ‘chance’ appear in the final work.”\u003c\/p\u003e\n\u003cp\u003eEven so, Berle doesn’t want his music to be buried in sentimentality – and the purposefulness of his craft serves as a sort of north star. The production, the arrangements, his restraint and intentionality in crafting his songs feel just as vital as their emotional cores. His songwriting is amorphous, fluid, an encompassing genre-bending movement in-and-of-itself, quietly daring. The songs are often in conversation with other works – drinking in fountains as diverse as the filmmaking of Ingmar Bergman, the poetry of Walt Whitman, the rhythm of Djavan, and the painting of Maxwell Alexandre. Musically he weaves together a rich tapestry of Brazilian folk, UK 2-step garage\/dub, trip hop and sun soaked west coast songwriters; something akin to the worlds of Milton Nascimento, Arthur Russell, James Blake, Feist, and Sade colliding into one. But even then\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eNo Reino Dos Afetos 2\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003efloats separately, a romanticism driven by a simplicity and intimacy, an open-ended possibility, Berle’s singularity as an artist at the helm of the ship.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":48227109699893,"sku":"PSY039-LP-WHITE","price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_BrunoBerle_NoRenoDosAfetos2_03_Square_241c083b-5ad4-4fce-aea0-1664c2514ea4.jpg?v=1714748513"},{"product_id":"nathaniel-russell-songs-of-olive-green-lp","title":"Nathaniel Russell - Songs Of (Olive Green LP)","description":"\u003cp\u003eLimited edition olive green vinyl. Hand-numbered and stamped edition of 300. Includes 12-page art and lyric booklet and 2-sided fold-out poster.\u003cbr\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":48294266110261,"sku":"PSY041-LP-GREEN","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_NathanielRussell_SongsOf18_Square.jpg?v=1715269122"},{"product_id":"nathaniel-russell-songs-of-lp","title":"Nathaniel Russell - Songs Of (LP)","description":"\u003cp\u003eLimited edition black vinyl. Hand-numbered and stamped edition of 450. Includes 12-page art and lyric booklet and 2-sided fold-out poster.\u003cbr\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":48294272926005,"sku":"PSY041-LP","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_NathanielRussell_SongsOf19_Square.jpg?v=1715269188"},{"product_id":"sylvan-esso-sylvan-esso-10-year-anniversary-edition-black-white-split-2lp","title":"Sylvan Esso - Sylvan Esso (10 Year Anniversary Edition) (Black \u0026 White Split 2LP)","description":"\u003cp\u003eThe 10 Year Anniversary Edition of Sylvan Esso’s self-titled album will be released as a double LP on black \u0026amp; white split vinyl in all-over gold gatefold packaging. The package includes the original album plus new remixes by Rick Wade, Dntel, Helado Negro, Charles Spearin, Hercules And Love Affair, and J Rocc.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAll items in your cart will ship on or around May 17, 2024. This date is subject to change due to reasons beyond our control, and you may receive this product after its official release date. If you would like to receive other items sooner, please place two separate orders.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eSylvan Esso’s self-titled debut album introduced Amelia Meath and Nick Sanborn as one of this century’s most cosmically-bound and unexpected duos, setting them on a path that now encompasses so much more than just their two minds and the endless amount of music they can make together. Out May 17th on their own Psychic Hotline, exactly one decade and five days since Sylvan Esso’s original release, Sylvan Esso (10 Year Anniversary Edition) continues the creative conversation that Meath and Sanborn first captured while recording these songs in a small bedroom studio in Durham, NC.\u003c\/p\u003e\n\u003cp\u003eDuring the ten years that have passed, Sylvan Esso earned multiple GRAMMY nominations, sold out legendary venues and will soon play Madison Square Garden, launched an independent record label and cultivated a vast, ever-growing community of collaborators, all while forming their “own niche of electro-pop,” says The New York Times. “Transparent yet intricate, airy but serious, fond of pop structures yet eager to bend them.” Sylvan Esso’s immediate streak of irrepressible and instantly recognizable hits – “Coffee,” “Hey Mami,” “Play It Right,” “H.S.K.T.” – represents the thesis of contradictions that continues to guide Meath and Sanborn through the present day: a thoughtful headiness that also pushes one to the dance floor, reflecting on vivid addictions of suffering and love, darkness and deliverance. Sylvan Esso arrived at the juncture of pop and experimental music, and the 10 Year Anniversary Edition illustrates the group’s evolution, impact and range of influences, featuring eight additional tracks of previously unreleased material, remixes by J Rocc, Rick Wade, Helado Negro, Dntel, Hercules and Love Affair and Charles Spearin, and a cover of Porches’ “Cosmos,” all available on DSPs, LP and CD for the first time.\u003c\/p\u003e\n\u003cp\u003eFrom their respective pasts in bands like Mountain Man and Megafaun, to the serendipitous formation of Sylvan Esso, Amelia Meath and Nick Sanborn are two puzzle pieces that fit together with indescribable ease. A shot-in-the-dark of musical chemistry gone right, their self-titled debut delivered “countless different ways of grabbing and inviting attention,” as NPR Music said upon its release. “Sylvan Esso utterly reinvents the already-promising careers at its core. Together, Meath and Sanborn make pop music with real potential to endure: Equally bright and dark, smart and seductive.”\u003c\/p\u003e\n\u003cp\u003eIn honor of the record’s ten year anniversary, North Carolina-based indie label Psychic Hotline will release a deluxe reissue, complete with previously unreleased material. The 10 Year Anniversary Edition will be released as a double LP on black \u0026amp; white split vinyl in all-over gold gatefold packaging. The package includes the original album plus new remixes by Rick Wade, Dntel, Helado Negro, Charles Spearin, Hercules And Love Affair, and J Rocc. The olive green online exclusive edition includes a bonus 7″ with fan-favorites “Jaime’s Song” and “The Cosmos” which are available as a physical release for the first time. This bundle is limited to 1000 copies. The 10 Year Anniversary Edition will also be available as a double CD and as a North Carolina Indie Exclusive 2LP that will be limited to 150 copies and only available in North Carolina record stores.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":48471126835509,"sku":"PSY012-DLX-LP-SPLIT","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_PsychicHotline_SylvanEsso10Year_13_Square.jpg?v=1745952817"},{"product_id":"o-terno-atras-alem-amber-2lp","title":"O Terno - \u003catrás\/além\u003e (Amber 2LP)","description":"\u003cp\u003e\u003cstrong\u003eGatefold 2LP, limited to 500 copies worldwide on Amber vinyl.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePsychic Hotline is making O Terno’s 2019 DIY masterpiece of modern Brazilian pop,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003e\u0026lt;atrás\/além\u0026gt;\u003c\/i\u003e, widely available on vinyl for the first time. A limited domestic vinyl pressing evaporated instantly, necessitating this essential Psychic Hotline pressing and an opportunity to introduce O Terno (“The Suit” – they both have three pieces, get it?) to a wider audience with their fourth and finest album yet . . .\u003cspan\u003e \u003c\/span\u003e\u003ci\u003e\u0026lt;atrás\/além\u0026gt;\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u0026lt;atrás\/além\u0026gt;\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eis the sound of three friends bursting with creativity, tempered with a decade of experience and maturation. “We were in a moment where we thought, we don’t have to be a rock band, or an indie band, or a Brazilian band,” Tim Bernardes explains. “We can just be three producers that have these songs and we want to give the songs our own personalities in an album that talks a lot about ourselves.”\u003c\/p\u003e\n\u003cp\u003eAt its core the band is made up of Tim Bernardes (lead singer, songwriter, guitarist and piano player), Guilherme “Peixe” D’Almeida (bass) and Gabriel “Biel” Basile (drums), with Bernardes stepping forward to mix this record as well as composing and arranging\u003cspan\u003e \u003c\/span\u003e\u003ci\u003e\u0026lt;atrás\/além\u0026gt;\u003c\/i\u003e’s orchestral elements. Bernardes’ arrangements are far from ornamentation; as if anticipating a glorious sunrise, “Tudo Que Eu Não Fiz” introduces the album floating on a growing swell of trumpets and violins before adding bursts of energy during the song’s ecstatic emotional transitions. These musical supporting actors combined with Bernardes’ superb songwriting evokes a timeless quality shared with the best pop songs.\u003c\/p\u003e\n\u003cp\u003eWhile there are as many differences as there are similarities, comparisons to\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eTropicália\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003edarlings Os Mutantes are familiar, which is understandable seeing as teenagers they grew up playing Os Mutantes covers alongside tunes by The Beatles and The Kinks. Beyond the stylistic similarities, the most important touchstone is O Terno’s commitment to\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eanthropofagia,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ereferring to the cultural manifesto central to the late sixties\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eTropicália\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003emovement\u003ci\u003e,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewhich celebrates ‘cultural cannibalism,’ or borrowing from diverse sources: regional, international, popular and esoteric, etc.\u003c\/p\u003e\n\u003cp\u003e“I would describe my musical philosophy as temporal\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eanthropofagia\u003c\/i\u003e,” Bernardes clarifies, meaning his cannibalism is more about stealing from different eras than cultural styles, though he does that too! “Even though I was born now, I can do this drum sound from the sixties with a synthesizer from today and a bass that reminds me of something from the eighties?” he marvels. “We want to make new music with instruments and techniques that we wish hadn’t been abandoned and can still make beautiful sounds.” Bernardes explains that he’s from “a generation, like Sessa, that was very connected as teenagers to the music of the sixties and seventies from Brazil and outside Brazil,” and both musicians started their professional careers reverently recreating those sounds before asking themselves the question, “what is our time, our decade? How do we create a dialogue between Brazilian music from the sixties and seventies with indie music worldwide today?”\u003c\/p\u003e\n\u003cp\u003eO Terno blend musical styles fluently, like on “Bielzinho \/ Bielzinho” which pairs a straight-ahead samba with fuzz guitars from the sixties and aughts-era sing-alongs and handclaps, while “Tudo Que Eu Não Fiz” is reminiscent of Milton Nascimento’s adventurous early seventies songs that mixed pop, rock and folk styles effortlessly, but here the band adds a post-nineties indie pop sensibility and effervescence. For “Volta E Meia,” the band took their musical-mixing mission literally when they invited two new like-minded international friends they met at the festival they were all playing at in Berlin (the Los Angeles-based freak-folk father figure Devendra Banhart and Tokyo’s prince of eccentric, melodic pop Shintaro Sakamoto) to contribute vocals in Spanish and spoken words in Japanese, respectively. “To put Devendra and Shintaro in the song is us trying to show what’s going on in the indie scene to Brazilians who only listen to Brazilian music and vice versa.”\u003c\/p\u003e\n\u003cp\u003eA distinct departure from their previous albums – more sixties pop and less indie and psych rock –\u003cspan\u003e \u003c\/span\u003e\u003ci\u003e\u0026lt;atrás\/além\u0026gt;\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eis the product of the band working in a familiar studio (RISCO) surrounded by a creative community. Biel took over as drummer in March of 2015 and was now fully integrated into the trio. In the studio, they followed the open-source formula mapped out by The Beatles, The Kinks, Os Mutantes, Harry Nilson and others: write a good song (the hardest part), create a simple, yet elegant arrangement for bass, drums and guitar\/piano, adorn the song with complementary instruments and melodies, and record it well, employing studio wizardry selectively and intentionally. As a result, the album sounds both retro in its analog texture and minimalist production, but contemporary in Bernardes’ songwriting and vocal style, which owes as much to Robin Pecknold (Fleet Foxes) and Grizzly Bear as to Milton Nascimento, Caetano Veloso or John Lennon.\u003c\/p\u003e\n\u003cp\u003eAt the time of its original release in 2019, the band occupied a revered position revolving around a loose collective of musicians (including Ana Frango Elétrico \u0026amp; Sessa) recording at the independent recording studio RISCO in Brazil’s largest city, São Paulo. Their previous album, 2016’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMelhor Do Que Parece\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eset a new bar for indie rock critically, in terms of popularity as well as production quality. Informally crowned the leaders of Brazil’s “alternative rock” scene, they made TV appearances and accepted invitations to perform and record with musical heroes (Tom Zé, Gal Costa, Arnaldo Antunes \u0026amp; Nando Reis). And then in 2017, Tim Bernardes released his first solo album, 2017’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eRecomeçar\u003c\/i\u003e, a lush and melancholic sonic departure towards orchestral folk that introduced some dramatic tension for feverish fan debates about the band’s long term viability. In fact, many of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003e\u0026lt;atrás\/além\u0026gt; and Recomeçar\u003c\/i\u003e’s songs were written at the same time and landed on their respective albums according to Bernardes’ creative countenance at the time.\u003c\/p\u003e\n\u003cp\u003eWith concerts already sold out for São Paulo and Rio de Janeiro and additional dates scheduled in 2024 for Brazil and Los Angeles, it’s a rare opportunity to see the group perform this modern classic live.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e– Allen Thayer\u003c\/em\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":48645561745717,"sku":"PSY047-LP-AMBER","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_OTerno__atras-alem_09_Square.jpg?v=1745952125"},{"product_id":"reyna-tropical-malegria-naranja-lp","title":"Reyna Tropical - Malegría (Naranja LP)","description":"\u003cp\u003e\u003cstrong\u003eNaranja vinyl edition, with poster. Only available online and limited to 500 copies. This variant will not be re-pressed.\u003c\/strong\u003e\u003cbr\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMalegría\u003c\/em\u003e, Reyna Tropical’s long-anticipated debut full-length album, is at once a vibrant arrival and an electrifying bridge. The portmanteau, born from a 1998 Manu Chao song by the same name, is akin to bittersweet and blends the Spanish “mal” which means “bad” and “alegría” which means “happiness.” It marks Reyna Tropical’s movement from a duo to a solo project. The album is a contemporary celebration and continuation of wide-reaching cultural traditions—from Congolese, Peruvian, and Colombian rhythms to revolutionary artists like lesbian guitarist-singer Chavela Vargas—these influences meld and are remixed through the distinctive lens of trailblazing guitarist and songwriter Fabi Reyna. Traversing themes including queer love, feminine sensuality, and the transformative power of intentional relations to the earth,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMalegría\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003espotlights narratives often pushed to the margins and offers them a sonic homeland.\u003c\/p\u003e\n\u003cp\u003eFormed in 2016, Reyna Tropical began as an organic, unhurried exchange between Fabi Reyna and Nectali “Sumohair” Diaz who met during a workshop series for emerging musicians. “Our first EP was so spur of the moment,” Reyna recalled. “What we needed was to document, to just do something for our hearts. Not for money, not for our livelihood. Just for us.” The band formed when Reyna had been immersed in full-time work founding and building She Shreds, the world’s first magazine dedicated to women and nonbinary guitarists, and was itching for a creative release and return to her musical roots. By January 2018, the band’s self-titled EP,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eReyna Tropical\u003c\/em\u003e, dropped and the foundations of the band’s spellbinding and distinctive sound were documented and formed. Best known for their rhythmic, hip-swaying tropical feel, the first Reyna Tropical tracks featured Ableton-made beats produced by Diaz—featuring Afro Indigenous drum patterns and environmental samples—expertly mixed with dreamy guitar riffs and soft vocals by Reyna.\u003c\/p\u003e\n\u003cp\u003eAfter the EP’s release, and the debut single, “Niña,” was featured on NPR Alt.Latino’s “Songs We Love” series, newfound fans and opportunities alike flocked. By year’s end the band was regularly selling out shows, joined as support on Bomba Estéreo’s US tour, and began booking gigs for major festivals and shows including SXSW, Cumbiatón, and Colombia’s Baile Sagrado. The band released another celebrated EP,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSol y Lluvia\u003c\/em\u003e, in 2019, created and recorded during creatively enriching extended stay in Colombia.\u003c\/p\u003e\n\u003cp\u003e“Things kept coming—studio tours, gigs, and different opportunities,” Reyna said while reflecting on the changes the band went through during the transition. “We were like, ‘Whoa, this is so weird! It’s working,’ but we didn’t even know what it was working for.” In 2020, after eight non-stop years building a business without time off, Reyna withdrew to nature for a community retreat. It was during this moment of stillness that the purpose of her life’s work, beyond running She Shreds Magazine, crystallized. For the next two years, Diaz and Reyna immersed themselves in a tropical journey guided by the music—from Cartagena, Colombia to Fajardo, Puerto Rico and Cuaji (la costa chica de Guerrero)—along the way, invited into a harmonious relationship with local land, culture, and music wisdom keepers.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMalegría\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis the culmination of self exploration fortified through an attunement to land—alongside Diaz and through his passing. From the interludes to the found sounds,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMalegría\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eoffers a home to diasporic beings de aquí y de allá, diasporic beings who are in the process of searching for and returning to ancestral roots.\u003c\/p\u003e\n\u003cp\u003eOn “Cartagena,” the bright, multi-layered rhythms and vocals sing of feeling caressed and energized by the elements, and, at the core, there is the sense of a mutual exchange of trust and care between her and the land. By contrast, “La Mamá,” which opens in a seemingly-serene rainforest, builds into a\u003cbr\u003edrumline-backed battle cry denouncing the commercialization of healing and the spiritual tourists who seek only to extract from the environment—medicinal, or otherwise.\u003c\/p\u003e\n\u003cp\u003eThe interludes, which weave between each musical track, unfold a narrative all their own. “Goosebumps” and the subsequent “Singing” each offer peeks into the beautiful, unexpected push-and-pull that can transpire amid symbiotic collaboration. We, as listeners, are invited into the creative exchange between Diaz and Reyna, and the growing sense of power Reyna has found and is now sharing with others through her music. Meanwhile “Mestizaje” and “Queer Love and Afro Mexico” work together to chronicle the unlearning of erasure under a flattened definition of unity and, instead, uplift the importance of naming and celebrating distinct multifaceted identities and histories.\u003c\/p\u003e\n\u003cp\u003eThese sounds seamlessly blend into the final track, “Huitzilïn,” a tranquil, grounding ballad in which Reyna announces finally feeling her body, her spirit, her soul, and listening to all that surrounds her. “Huitzilïn,” the Nahuatl word for “hummingbird,” is a symbol of Indigenous strength in Mexico thought to guide those who are struggling to find their way home.\u003c\/p\u003e\n\u003cp\u003e“I’ve always wanted to have a home—a place or a sound or a person to go to—because I think our people, who are severed from our lands and our histories and our stories and our communities, have for generations not really known where to go,” Reyna said. “There are times on stage where I can feel that my movement isn’t my movement. I can feel that I’m being moved by and I’m speaking for other people. I know in my body when my ancestors are there, when a decision is us.”\u003c\/p\u003e\n\u003cp\u003eWhether enjoyed during listening parties or infectious live sets, the music will move listeners and irresistibly command a jump—into action in protection of the land, into the arms of a crush, into your own power and fearlessness, into steady body rolls along to the beat.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMalegría\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eoffers us all a chance to witness history in the making.\u003cbr\u003e—Emilly Prado\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":48814501855541,"sku":"PSY040-LP-ORANGE","price":28.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/OrangeVinylMockSquare.jpg?v=1712932786"},{"product_id":"the-dead-tongues-body-of-light-i-am-a-cloud-daylily-2lp","title":"The Dead Tongues - Body of Light \/ I Am A Cloud (Daylily 2LP)","description":"\u003cp\u003eDaylily vinyl edition, with both albums housed in a single wide-spine jacket, and embossed flower cover. Only available online and limited to 500 copies. This variant will not be re-pressed.\u003cbr\u003e\u003cbr\u003eAll items in your cart will ship on or around August 9, 2024. This date is subject to change due to reasons beyond our control, and you may receive this product after its official release date. If you would like to receive other items sooner, please place two separate orders.\u003c\/p\u003e\n\u003cp\u003eAcross the last 15 years, Ryan Gustafson of The Dead Tongues has emerged as one of modern folk’s most distinct voices. As idiosyncratic and spectral as the songs have sometimes been, Gustafson has always tied his visions and verses to the kinds of hooks you tuck away like talismans, pulled out in case of emergency. Dust, Unsung Passage, Desert: The Dead Tongues’ albums remain some of the more compelling and curious works in their field on this side of a century. The latest edition to The Dead Tongues’ catalog, the song-centric and magnetic Body of Light and the discursive and wonderfully elliptical I Am a Cloud, is 16 complete tunes split across interweaving and disparate albums.\u003c\/p\u003e\n\u003cp\u003eBefore heading to Betty’s, Gustafson spent a month at “the Shack,” a primitive and private structure in rural western North Carolina, working on new material and sorting through piles of poems, sticky notes scattered across the windows, and stacks of free writing streams of thought. Most of the songs were written during this time – the exquisite “Daylily,” a warm little gift for his partner, or “I’m a Cloud Now,” a fever dream of song and spoken-word about the toggle between identity and ephemerality.\u003c\/p\u003e\n\u003cp\u003eThe creative energy was free flowing, deep and explorative, songs somehow coming together in a manner both freakishly fast and patient. In this energy and specific space the groundwork for the album was rooted, springing forth from the thick of the elemental and natural beauty these songs reference. The daylily on the cover of the album was picked from the land the shack is built upon – there’s a connection between the physical natural setting and the creative work itself, intertwined and natural bloom.\u003c\/p\u003e\n\u003cp\u003eGustafson wanted to continue with that explorative energy once he got into the formal studio, allowing it to lead the group of players assembled – the albums feature performances by Jenn Wasner (Wye Oak, Bon Iver), Mat Davidson (Twain), Matt Douglas (The Mountain Goats), Joe Westerlund (Califone, Megafaun), Jeff Ratner (Bing and Ruth), and more. Gustafson wanted to dedicate the studio time to not just recording songs but also making something new, with new improvisations.\u003c\/p\u003e\n\u003cp\u003eThe results feel at once casual and tremendous, the camaraderie and conversation between the players resulting in pieces that are lived-in but new. “Baby there ain’t no rules here\/We can just slide,” Gustafson sings at the start of Body of Light’s opening title track, establishing a collective credo inside this gorgeous anthem about finding sanctuary with someone else. Notice how it seems to nod to flamenco before lifting into electronic abstraction, or how Wasner’s harmonies summon the deepest Southern soul over electric phosphorescence.\u003c\/p\u003e\n\u003cp\u003eAnd then there’s “Dirt for a Dying Sun,” where freight-train harmonica and spectral guitar frame a romantic dust-to-dust realism, where the best we can do is live wildly before we die. The characters on Body of Light are restless, damaged, and beautiful, whether clinging to an underground amid gentrification’s high rises during “Wolves” or holding on to the most intoxicating wisps of love during “Moon Shadow.” The band plays as if they’re just meeting these people for the first time, responding with an admixture of recognition and astonishment.\u003c\/p\u003e\n\u003cp\u003eThe collected crew takes that approach to the next plane on I Am a Cloud, an intersection of Gustafson’s tone poems and top-tier improvisation. “Formations” is an exquisite instrumental, a soul-jazz dream of horns and bells, bejeweled drones and broken rhythms. Remembering the birthday night he spent alone on an Irish cliff as the Summer solstice neared several years ago, Gustafson narrates “A Bridge” as if he’s peering into his own mind with wonder and surprise. The finale, “Even Here, Even Now,” is a spiral galaxy, with the songs of crickets, the hums of a Shruti box, and the touch of percussion lifting Gustafson’s mantric statement of purpose—to keep moving, to keep singing, no matter what may come. It is a wondrous piece of devotional music that seems to praise sound itself—the gift that can open us up, when we’re no longer sure that can even happen anymore.\u003c\/p\u003e\n\u003cp\u003e“Sometimes it’s hard to be anyone anywhere it seems,” Gustafson, his voice as understanding as empathy, sings to start the second verse of “Hard Times, Sore Eyes,” the farewell for Body of Light. That may read like a bummer, a concise and crippling encapsulation of our struggles to make meaning that’s as right as rain. But, really, it’s a permission slip to elide expectation, to try something different. Maybe in the past, Gustafson was seen as the singer-songwriter in a folk-rock band called The Dead Tongues. But when he started to let that go, he found something fascinating, new, and absorbing. Body of Light and I Am A Cloud are brilliant chapters written after Gustafson wondered if he’d closed the book, and they are, in turn, hard to put down.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":48996563484981,"sku":"PSY044-LP-DAYLILY","price":37.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/TheDeadTongues_BodyofLight_IAmACloud_APD_TheDeadTongues_BOLIAAC06_Square.jpg?v=1723130256"},{"product_id":"the-dead-tongues-body-of-light-i-am-a-cloud-2lp","title":"The Dead Tongues - Body of Light \/ I Am A Cloud (2LP)","description":"\u003cp\u003eStandard black vinyl edition, with both albums housed in a single wide-spine jacket, and embossed flower cover.\u003cbr\u003e\u003cbr\u003eAll items in your cart will ship on or around August 9, 2024. This date is subject to change due to reasons beyond our control, and you may receive this product after its official release date. If you would like to receive other items sooner, please place two separate orders.\u003c\/p\u003e\n\u003cp\u003eAcross the last 15 years, Ryan Gustafson of The Dead Tongues has emerged as one of modern folk’s most distinct voices. As idiosyncratic and spectral as the songs have sometimes been, Gustafson has always tied his visions and verses to the kinds of hooks you tuck away like talismans, pulled out in case of emergency. Dust, Unsung Passage, Desert: The Dead Tongues’ albums remain some of the more compelling and curious works in their field on this side of a century. The latest edition to The Dead Tongues’ catalog, the song-centric and magnetic Body of Light and the discursive and wonderfully elliptical I Am a Cloud, is 16 complete tunes split across interweaving and disparate albums.\u003c\/p\u003e\n\u003cp\u003eBefore heading to Betty’s, Gustafson spent a month at “the Shack,” a primitive and private structure in rural western North Carolina, working on new material and sorting through piles of poems, sticky notes scattered across the windows, and stacks of free writing streams of thought. Most of the songs were written during this time – the exquisite “Daylily,” a warm little gift for his partner, or “I’m a Cloud Now,” a fever dream of song and spoken-word about the toggle between identity and ephemerality.\u003c\/p\u003e\n\u003cp\u003eThe creative energy was free flowing, deep and explorative, songs somehow coming together in a manner both freakishly fast and patient. In this energy and specific space the groundwork for the album was rooted, springing forth from the thick of the elemental and natural beauty these songs reference. The daylily on the cover of the album was picked from the land the shack is built upon – there’s a connection between the physical natural setting and the creative work itself, intertwined and natural bloom.\u003c\/p\u003e\n\u003cp\u003eGustafson wanted to continue with that explorative energy once he got into the formal studio, allowing it to lead the group of players assembled – the albums feature performances by Jenn Wasner (Wye Oak, Bon Iver), Mat Davidson (Twain), Matt Douglas (The Mountain Goats), Joe Westerlund (Califone, Megafaun), Jeff Ratner (Bing and Ruth), and more. Gustafson wanted to dedicate the studio time to not just recording songs but also making something new, with new improvisations.\u003c\/p\u003e\n\u003cp\u003eThe results feel at once casual and tremendous, the camaraderie and conversation between the players resulting in pieces that are lived-in but new. “Baby there ain’t no rules here\/We can just slide,” Gustafson sings at the start of Body of Light’s opening title track, establishing a collective credo inside this gorgeous anthem about finding sanctuary with someone else. Notice how it seems to nod to flamenco before lifting into electronic abstraction, or how Wasner’s harmonies summon the deepest Southern soul over electric phosphorescence.\u003c\/p\u003e\n\u003cp\u003eAnd then there’s “Dirt for a Dying Sun,” where freight-train harmonica and spectral guitar frame a romantic dust-to-dust realism, where the best we can do is live wildly before we die. The characters on Body of Light are restless, damaged, and beautiful, whether clinging to an underground amid gentrification’s high rises during “Wolves” or holding on to the most intoxicating wisps of love during “Moon Shadow.” The band plays as if they’re just meeting these people for the first time, responding with an admixture of recognition and astonishment.\u003c\/p\u003e\n\u003cp\u003eThe collected crew takes that approach to the next plane on I Am a Cloud, an intersection of Gustafson’s tone poems and top-tier improvisation. “Formations” is an exquisite instrumental, a soul-jazz dream of horns and bells, bejeweled drones and broken rhythms. Remembering the birthday night he spent alone on an Irish cliff as the Summer solstice neared several years ago, Gustafson narrates “A Bridge” as if he’s peering into his own mind with wonder and surprise. The finale, “Even Here, Even Now,” is a spiral galaxy, with the songs of crickets, the hums of a Shruti box, and the touch of percussion lifting Gustafson’s mantric statement of purpose—to keep moving, to keep singing, no matter what may come. It is a wondrous piece of devotional music that seems to praise sound itself—the gift that can open us up, when we’re no longer sure that can even happen anymore.\u003c\/p\u003e\n\u003cp\u003e“Sometimes it’s hard to be anyone anywhere it seems,” Gustafson, his voice as understanding as empathy, sings to start the second verse of “Hard Times, Sore Eyes,” the farewell for Body of Light. That may read like a bummer, a concise and crippling encapsulation of our struggles to make meaning that’s as right as rain. But, really, it’s a permission slip to elide expectation, to try something different. Maybe in the past, Gustafson was seen as the singer-songwriter in a folk-rock band called The Dead Tongues. But when he started to let that go, he found something fascinating, new, and absorbing. Body of Light and I Am A Cloud are brilliant chapters written after Gustafson wondered if he’d closed the book, and they are, in turn, hard to put down.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":48996575838517,"sku":"PSY044-LP","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/TheDeadTongues_BodyofLight_IAmACloud_APD_TheDeadTongues_BOLIAAC08_Square.jpg?v=1723130092"},{"product_id":"hippo-campus-flood-spotify-fans-first-2lp","title":"Hippo Campus - Flood (Spotify Fans First 2LP)","description":"\u003cp\u003e\u003cstrong\u003eLimited to 1000 copies on Spraypaint Yellow 2LP.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHippo Campus were sitting in the green room of a sold-out amphitheater show at the start of the Summer of 2023 when they realized they had a major problem. Their fourth LP simply wasn’t good enough. Singer Jake Luppen had been listening to the band’s work as they rolled around the country, trying to tease out how much work remained. All of it, he soon decided. The soul wasn’t there, obfuscated by the need to sound sophisticated and the overwhelming ambition to make the best Hippo Campus LP ever, a deeper and more profound record that reflected how their lives were changing.\u003c\/p\u003e\n\u003cp\u003eThey’d committed to that vow with longtime producer and collaborator Caleb Wright a little more than a year earlier, soon after a party where they celebrated the release of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLP3\u003c\/i\u003e. That very night, the call came that a longtime friend had unexpectedly died. They started this band as kids and enjoyed quick momentum, their thrill-a-minute live shows and charismatically experimental pop albums creating almost-instant, avid attention. But this was Hippo Campus’ first close brush with death; as adulthood encroached, the actual call of mortality reminded them of the stakes of art, friendship, and life.\u003c\/p\u003e\n\u003cp\u003eSo they committed to doing something major, even if it meant taking five years to do it. They took the task seriously, too: getting sober for an entirely improvisational session at North Carolina’s Drop of Sun months later, regularly attending therapy as a full band, writing more than 100 songs in only a year. That was all well and good, until Luppen and, really, all of Hippo Campus decided they didn’t actually\u003cspan\u003e \u003c\/span\u003e\u003ci\u003elike\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewhat they were making. Life and work had been dark in their orbit for a second—death and dejection, addiction and anxiety. This uneasy epiphany wasn’t helping.\u003c\/p\u003e\n\u003cp\u003eSo that night, in the dressing room, they called an audible. They were going to start over. Three months later, the four-member core of Hippo Campus rendezvoused with Wright and producer Brad Cook at Sonic Ranch, a playground-like studio complex on the Texas border. They gave themselves 10 days to cut the tracks they liked best, to make something to which they could commit at last. And Cook, in turn, gave them an edict of no second guessing or listening back, only forward momentum. Less than two weeks later, they emerged with what they’d given themselves half a decade to make—\u003ci\u003eFlood\u003c\/i\u003e, or the best album Hippo Campus has ever made.\u003c\/p\u003e\n\u003cp\u003eYou can immediately hear as much in a pair of wondrous songs toward the end, when the love-lost-and-found sing-along “Forget It” fades into the bittersweet and beautiful ache of “Closer,” a gem about trying and maybe failing to surrender your trust to someone else. This is a band that has learned to grow up by learning to let go. When Hippo Campus finally stopped trying to force the issue of making a masterpiece, they tapped intersecting veins of vulnerability and urgency, walking away with 13 tracks that reckon with their uncanny lives through at least that many totally absorbing hooks.\u003c\/p\u003e\n\u003cp\u003eDuring the last several years, Hippo Campus has had to navigate the tougher wages of success. They are, of course, grateful that a pop band they named on the lark of some psychology lesson blew up, but it certainly eliminated the segue from adolescence to adulthood that most of us enjoy in relative privacy. How could they survive inside and alongside this thing they had created and had outgrown them? And what’s more, how could they endure the vagaries of the music industry, so that they didn’t let a disappointing tour or disspiriting release demoralize them? Or, to ask the cumulative question, how do four people connected so intimately for so long grow as individuals while preserving the bond that makes what they do so special? Or is that actually too much to ask?\u003c\/p\u003e\n\u003cp\u003eFor a minute there, the answer seemed possibly like yes. But soon after that improvisational session, the band returned to its own Minneapolis studio and dug in. They stumbled upon “Everything at Once,” with Nathan Stocker’s tricky little guitar lope becoming the basis for the slowly rising rhythm of drummer Whistler Allen and bassist Zach Sutton. Stepping outside for some space, Luppen quickly penned a thesis of self-criticism and self-forgiveness. Being less than the expectations of an industry, a family, or a faith are totally normal, he suggests in an anthem of empowerment that is almost casual. He gives himself the grace of being human: “You gotta lay down sometimes, be patient sometimes,” Luppen sings, layers of lean vocals crisscrossing one another like light beams. “And feel everything at once.”\u003c\/p\u003e\n\u003cp\u003eThat is precisely what Hippo Campus do best on\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eFlood\u003c\/i\u003e—feel everything and transmute it all into songs that are inescapable. Take “Brand New,” three minutes of brilliantly coiled pop, its spring-loaded rhythm lifting a guitar line built from pin pricks skyward. It’s about being ruined by the letdown of a failed relationship and then finding a way forward, toward something so good you haven’t even imagined it yet. It sounds that way, too. There’s the completely compulsive “Tooth Fairy,” a quick-moving meditation on the confusion of interpersonal dynamics. Hippo Campus smear bits of gentle psychedelia around a rhythm, riff, and hook that have the sleek lines of a sports car; the result is a dynamic wonder, a song that feels emphatic at the start but reaches full triumph by the end. Inspired by staring down cycles of addiction too long without taking steps to break them, “Corduroy” finds the space between a bummer country blues and a sweetly devotional waltz. Its vows of love, trust, and doubt are buoyed and also undercut by its slow rises and falls, a musical portrait of trying to take that difficult next step.\u003c\/p\u003e\n\u003cp\u003eThe sentiments on\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eFlood\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eare raw, real, and unguarded, a testament to Hippo Campus dropping preconceptions of how they\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ehad\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eto sound after so many failed attempts to re-record these songs. They wiped the slate clean, starting over without beliefs about what Hippo Campus or this record needed to be. Still, sophistication lurks in subtle key and tempo changes, in the almost innate shifts that a band of longtime best friends can tap after so much time spent helping to shape one another’s musical language.\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eFlood\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003edoesn’t need to tell you it’s important or interesting; it simply is, just by virtue of how it’s written, built, and rendered, a map of what it’s like to feel everything at once. This rebirth is accompanied by a crucial career shift for Hippo Campus, too, as they exit the traditional label system to issue\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLP4\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003evia Psychic Hotline, a truly independent imprint run by peers and pals. If you’re working to let go of expectations, why not jettison them all? There’s a bravery to that, and you can hear its revivifying spirit in every second of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLP4\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eEarly into the endlessly propulsive “Paranoid,” where stunted acoustic strums undergird an inescapable jangle, Luppen asks an existential question: “Is there something waiting out there for us at the finish line?” For the next three minutes, the band cycles with him through his woes, from the title’s overwhelming worry to notions of dislocation and loneliness. (Also, is there any other refrain ever that manages to make the phrase “so god-damned fucking” sound so catchy and natural?) But in the final verse, with his voice breaking through a scrim of distortion, he stumbles upon a new credo: “Wait, I wanna give this life all that I have in me.” That is precisely what Hippo Campus have done with\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eFlood\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eafter realizing it doesn’t take a lifetime—or, well, five years—to do just that.\u003c\/p\u003e\n\u003c!----\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":49635100262709,"sku":"PSY051-LP-SPOTIFY","price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_HippoCampus_Flood17_Square.jpg?v=1722023532"},{"product_id":"hippo-campus-flood-2lp","title":"Hippo Campus - Flood (2LP)","description":"\u003cp\u003e\u003cstrong\u003eStandard edition double-LP.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHippo Campus were sitting in the green room of a sold-out amphitheater show at the start of the Summer of 2023 when they realized they had a major problem. Their fourth LP simply wasn’t good enough. Singer Jake Luppen had been listening to the band’s work as they rolled around the country, trying to tease out how much work remained. All of it, he soon decided. The soul wasn’t there, obfuscated by the need to sound sophisticated and the overwhelming ambition to make the best Hippo Campus LP ever, a deeper and more profound record that reflected how their lives were changing.\u003c\/p\u003e\n\u003cp\u003eThey’d committed to that vow with longtime producer and collaborator Caleb Wright a little more than a year earlier, soon after a party where they celebrated the release of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLP3\u003c\/i\u003e. That very night, the call came that a longtime friend had unexpectedly died. They started this band as kids and enjoyed quick momentum, their thrill-a-minute live shows and charismatically experimental pop albums creating almost-instant, avid attention. But this was Hippo Campus’ first close brush with death; as adulthood encroached, the actual call of mortality reminded them of the stakes of art, friendship, and life.\u003c\/p\u003e\n\u003cp\u003eSo they committed to doing something major, even if it meant taking five years to do it. They took the task seriously, too: getting sober for an entirely improvisational session at North Carolina’s Drop of Sun months later, regularly attending therapy as a full band, writing more than 100 songs in only a year. That was all well and good, until Luppen and, really, all of Hippo Campus decided they didn’t actually\u003cspan\u003e \u003c\/span\u003e\u003ci\u003elike\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewhat they were making. Life and work had been dark in their orbit for a second—death and dejection, addiction and anxiety. This uneasy epiphany wasn’t helping.\u003c\/p\u003e\n\u003cp\u003eSo that night, in the dressing room, they called an audible. They were going to start over. Three months later, the four-member core of Hippo Campus rendezvoused with Wright and producer Brad Cook at Sonic Ranch, a playground-like studio complex on the Texas border. They gave themselves 10 days to cut the tracks they liked best, to make something to which they could commit at last. And Cook, in turn, gave them an edict of no second guessing or listening back, only forward momentum. Less than two weeks later, they emerged with what they’d given themselves half a decade to make—\u003ci\u003eFlood\u003c\/i\u003e, or the best album Hippo Campus has ever made.\u003c\/p\u003e\n\u003cp\u003eYou can immediately hear as much in a pair of wondrous songs toward the end, when the love-lost-and-found sing-along “Forget It” fades into the bittersweet and beautiful ache of “Closer,” a gem about trying and maybe failing to surrender your trust to someone else. This is a band that has learned to grow up by learning to let go. When Hippo Campus finally stopped trying to force the issue of making a masterpiece, they tapped intersecting veins of vulnerability and urgency, walking away with 13 tracks that reckon with their uncanny lives through at least that many totally absorbing hooks.\u003c\/p\u003e\n\u003cp\u003eDuring the last several years, Hippo Campus has had to navigate the tougher wages of success. They are, of course, grateful that a pop band they named on the lark of some psychology lesson blew up, but it certainly eliminated the segue from adolescence to adulthood that most of us enjoy in relative privacy. How could they survive inside and alongside this thing they had created and had outgrown them? And what’s more, how could they endure the vagaries of the music industry, so that they didn’t let a disappointing tour or disspiriting release demoralize them? Or, to ask the cumulative question, how do four people connected so intimately for so long grow as individuals while preserving the bond that makes what they do so special? Or is that actually too much to ask?\u003c\/p\u003e\n\u003cp\u003eFor a minute there, the answer seemed possibly like yes. But soon after that improvisational session, the band returned to its own Minneapolis studio and dug in. They stumbled upon “Everything at Once,” with Nathan Stocker’s tricky little guitar lope becoming the basis for the slowly rising rhythm of drummer Whistler Allen and bassist Zach Sutton. Stepping outside for some space, Luppen quickly penned a thesis of self-criticism and self-forgiveness. Being less than the expectations of an industry, a family, or a faith are totally normal, he suggests in an anthem of empowerment that is almost casual. He gives himself the grace of being human: “You gotta lay down sometimes, be patient sometimes,” Luppen sings, layers of lean vocals crisscrossing one another like light beams. “And feel everything at once.”\u003c\/p\u003e\n\u003cp\u003eThat is precisely what Hippo Campus do best on\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eFlood\u003c\/i\u003e—feel everything and transmute it all into songs that are inescapable. Take “Brand New,” three minutes of brilliantly coiled pop, its spring-loaded rhythm lifting a guitar line built from pin pricks skyward. It’s about being ruined by the letdown of a failed relationship and then finding a way forward, toward something so good you haven’t even imagined it yet. It sounds that way, too. There’s the completely compulsive “Tooth Fairy,” a quick-moving meditation on the confusion of interpersonal dynamics. Hippo Campus smear bits of gentle psychedelia around a rhythm, riff, and hook that have the sleek lines of a sports car; the result is a dynamic wonder, a song that feels emphatic at the start but reaches full triumph by the end. Inspired by staring down cycles of addiction too long without taking steps to break them, “Corduroy” finds the space between a bummer country blues and a sweetly devotional waltz. Its vows of love, trust, and doubt are buoyed and also undercut by its slow rises and falls, a musical portrait of trying to take that difficult next step.\u003c\/p\u003e\n\u003cp\u003eThe sentiments on\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eFlood\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eare raw, real, and unguarded, a testament to Hippo Campus dropping preconceptions of how they\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ehad\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eto sound after so many failed attempts to re-record these songs. They wiped the slate clean, starting over without beliefs about what Hippo Campus or this record needed to be. Still, sophistication lurks in subtle key and tempo changes, in the almost innate shifts that a band of longtime best friends can tap after so much time spent helping to shape one another’s musical language.\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eFlood\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003edoesn’t need to tell you it’s important or interesting; it simply is, just by virtue of how it’s written, built, and rendered, a map of what it’s like to feel everything at once. This rebirth is accompanied by a crucial career shift for Hippo Campus, too, as they exit the traditional label system to issue\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLP4\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003evia Psychic Hotline, a truly independent imprint run by peers and pals. If you’re working to let go of expectations, why not jettison them all? There’s a bravery to that, and you can hear its revivifying spirit in every second of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLP4\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eEarly into the endlessly propulsive “Paranoid,” where stunted acoustic strums undergird an inescapable jangle, Luppen asks an existential question: “Is there something waiting out there for us at the finish line?” For the next three minutes, the band cycles with him through his woes, from the title’s overwhelming worry to notions of dislocation and loneliness. (Also, is there any other refrain ever that manages to make the phrase “so god-damned fucking” sound so catchy and natural?) But in the final verse, with his voice breaking through a scrim of distortion, he stumbles upon a new credo: “Wait, I wanna give this life all that I have in me.” That is precisely what Hippo Campus have done with\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eFlood\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eafter realizing it doesn’t take a lifetime—or, well, five years—to do just that.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":49736785232181,"sku":"PSY051-LP","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_HippoCampus_Flood21_Square.jpg?v=1745957205"},{"product_id":"tim-bernardes-recomecar-lp","title":"Tim Bernardes - Recomeçar (LP)","description":"\u003cp\u003e\u003cstrong\u003eStandard black vinyl edition, with gatefold jacket.\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTim Bernardes is a two-time Latin Grammy nominated singer, songwriter, musician, composer, and producer, who emerged as one of Brazil’s most profound musical talents of his generation as well as a global phenomenon. A contemporary artist with deep roots in Brazil’s verdant musical heritage, Bernardes has collaborated with the likes of Caetano Veloso, Maria Bethânia and the late great Gal Costa, as he blazes the trail for the new Brazilian scene, capturing the hearts of a worldwide audience.\u003c\/p\u003e\n\u003cp\u003eMany discovered Tim Bernardes’s show-stopping voice and metaphysical lyrics through his breakout 2022 album,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMil Coisas Invisíveis\u003c\/i\u003e, but it was on his standout debut,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eRecomeçar\u003c\/i\u003e, that Bernardes welcomed listeners to his singular world of sound: warm, intimate, emotionally resonant, healing. The album was primarily written while touring with his acclaimed tropicalia-tinged indie rock group, O Terno and released in 2017. Now widely available for the first time,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eRecomeçar\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis a collection of intimate reflections on the nature of heartbreak and loss.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":49959573979445,"sku":"PSY053-LP","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_TimBernardes_Recomecar07_Square.jpg?v=1745953604"},{"product_id":"tim-bernardes-catalog","title":"Tim Bernardes Catalog (LP)","description":"\u003cp\u003eIncludes \u003cem\u003eMil Coisas Invisíveis\u003c\/em\u003e \"Invisible\" Clear 2LP, \u003cem\u003eRecomeçar\u003c\/em\u003e black gatefold LP, and O Terno's \u003cem\u003e\u0026lt;atrás\/além\u0026gt;\u003c\/em\u003e Amber 2LP.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":49959894909237,"sku":"PSY053-LP-BUNDLE","price":85.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_TimBernardes_Recomecar15_Square.jpg?v=1730487819"},{"product_id":"grrl-x-made-of-oak-hardcore-12","title":"GRRL x Made Of Oak - Hardcore (12\")","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eOn \u003c\/span\u003e\u003ci\u003eHardcore,\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003eJames Mapley-Brittle (GRRL) and Nick Sanborn (Made of Oak), meld their love of late-night club music to make mind-bending high-energy dance music. GRRL is one of the brightest emerging stars in the underground arts space and a regular collaborator with PC Music, NTS, and more; Sanborn is better known as one half of the Grammy-nominated electronic pop duo Sylvan Esso.\u003c\/span\u003e\u003cbr\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003cspan\u003eFirst sparked during DJ sets in North Carolina basements, the duo’s unique creative chemistry has grown exponentially since the 2022 release of their debut EP, \u003c\/span\u003e\u003ci\u003eInertia\u003c\/i\u003e\u003cspan\u003e. GRRL x Made of Oak’s glitched-out sounds have been featured on Adult Swim, Fortnite, and with their own sample pack on Splice. Finding new fans in the likes of Björk, Arca, AG Cook, Porter Robinson, Barker and DJs across the world, GRRL x Made of Oak is an exhilarating experience that will shake the speakers and get any after-hours dance floor moving.\u003c\/span\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":50076981657909,"sku":"PSY056-LP","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_GRRLxMadeOfOak_Hardcore05_Square.jpg?v=1736181230"},{"product_id":"ichiko-aoba-luminescent-creatures-lp","title":"Ichiko Aoba - Luminescent Creatures (LP)","description":"\u003cp\u003e\u003cstrong\u003eRecycled black vinyl. Glossy jacket. Foldout poster included.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIchiko Aoba has the power to bend space around her, pulling listeners from reality and surrounding them in the comforting fabric of her imagination. She’s been casting these spells since her debut at 19 years old, making picturesque dioramas with only her voice and guitar. But in recent years, she’s turned a corner and let a new process take hold. The Japanese singer, songwriter, composer, and multi-instrumentalist tapped into the full breadth of her ability, marrying the classical guitar of her earlier work with lofty orchestral sweeps. She went big with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWindswept Adan (2020)\u003c\/em\u003e, crafting a story about her deepening bond with nature. Collaborating closely with arranger Taro Umebayashi and creative director Kodai Kobayashi, the three of them freely shared ideas—both aural and visual—crystallizing a collective vision. The universe of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWindswept Adan\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas so vast that it also included the script for an imaginary movie, drawings by Ichiko, and stunning photos by Kobayashi. For her new album,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLuminescent Creatures\u003c\/em\u003e, she opens an even wider portal into her mind.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"p-pdf_iframe__page\" aria-label=\"Page 1\" data-page-number=\"1\"\u003e\n\u003cp\u003eIchiko’s ambitions kept growing, and the world took notice. She was well known in Japan—collaborating with artists like Haruomi Hosono, Cornelius, and the late Ryuichi Sakamoto—but\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWindswept Adan\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003econnected her with an international audience. She earned the adoration of fellow musicians abroad, collaborating with and playing alongside artists like Japanese Breakfast, Mac DeMarco, Owen Pallett, Pomme, Weyes Blood, and Black Country New Road as her profile continued to grow. Western publications like\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePitchfork\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Needle Drop\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003estarted paying attention, though the real driving force behind her ascent is her naturally captivating presence.\u003c\/p\u003e\n\u003cp\u003eHer Instagram reels, sometimes snippets from shows and sometimes private concerts from her home, attract hundreds of thousands of viewers. Fans create TikToks using her songs as the backdrop to scenes from their lives, letting her music be their soundtrack in the moments they choose to be vulnerable. And no matter where she performs—whether it’s an intimate venue, a huge festival like Big Ears, or Walt Disney Concert Hall—the entire room looks on in stunned silence, hanging on every breath. She sings in Japanese, but her delicate voice operates on an emotional frequency that pierces through language barriers and cultural divides.\u003c\/p\u003e\n\u003cp\u003eAs Ichiko’s star continues to rise, she’s committed to being her truest self. Along with her creative partners Umebayashi and Kobayashi, she’s returned to the recesses of her reverie for her latest project. Her compositions have become more grand, her songwriting more refined, and she’s preparing for her largest world tour to date—yet her ability to make listeners feel like they’re inside in a private cosmos alongside her remains as strong as ever.\u003c\/p\u003e\n\u003cp\u003e“This album,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLuminescent Creatures\u003c\/em\u003e, was born from\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWindswept Adan\u003c\/em\u003e,” Ichiko says. “It began when I started wondering what happened after the protagonist of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWindswept Adan\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003edisappeared along with the music of the island’s inhabitants. What would be left?” The album’s title makes the link clear, bearing the name of the closing track from her previous record. She pushes the envelope further, exploring themes of connection through musings about the origin of life with dreamy musical vistas.\u003c\/p\u003e\n\u003cp\u003eWhile visiting Japan’s Ryukyu Archipelago and conducting field research, she was enamored by the boundless beauty—and occasional terror—of the ocean. She’d go diving with only the breath in her lungs, submitting herself to the whims of the tides. “I feel unable to resist the pull of the ocean,” Ichiko says, “and know how easy it would be for my small body to be swallowed by the sea.” That contradiction, gentleness and power, instilled a sense of awe that is expressed in the soundscapes of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLuminescent Creatures\u003c\/em\u003e. The flurry of strings on “COLORATURA” bring to mind choppy waters, whereas the warbling electronics of “pirsomnia” paint a moment of calm. “When I’m surrounded by the timbre of the ocean, I feel like I’ve come home”\u003c\/p\u003e\n\u003cp\u003eAs she kept visiting the islands over months and years, it became something like an environmental survey. She started to notice the shape of coral reefs shifting over time, how they can be affected by the weather, and the way even remote locations can be battered by climate change. She attuned to her natural surroundings, letting her fantasies guide her as she pondered the transformations of eons past. When did life begin? How did it look before humans existed? How might these primordial creatures have learned to communicate in the brutal environment of the deep blue? Those daydreams transformed into music.\u003c\/p\u003e\n\u003cp\u003eWith “Luciférine,” Ichiko introduces her central theory: bioluminescence. Lush strings and twinkling piano ripple like sunbeams on lapping waves, cutting through the dark expanse of the briny deep. “Inside each of us,” she sings, “there is a place for our stars to sleep.” It conjures an image of creatures pouring off light like celestial bodies, lighting a path to close the distance between galaxies. On “SONAR,” she ruminates on other ways to bridge the divide. “Beyond the darkness,” she calls out, “a glimmer of somebody’s voyce”—her own voice low in the mix as if suppressed by insurmountable depths. An echo of her voice creeps in, reverberating like the graceful song of a marine mammal trying to find its friends. Even with the most rudimentary senses, we find ways to one another.\u003c\/p\u003e\n\u003cp\u003eIchiko also ruminates on explicitly human connection. She sings a folk tune from Japan’s southernmost Hateruma island on “24° 03′ 27.0″ N, 123° 47′ 7.5″ E,” which she learned by communion with the local community, participating in their traditional ceremonies. “Feeling a song that has been sung for centuries flow through me truly fills me with happiness,” she says. “It’s like people who have long since gone are flowing through my body on the wave of this music.” The title comes from the coordinates of the island’s lighthouse, a reminder that even people send out photons to make contact when we’re adrift.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLuminescent Creatures\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis about making meaningful connections against impossible odds. The sea is immense and ancient, mirroring the harsh conditions that life sprang forth from—but it is also reminiscent, housing a deep record of fossils that once swam through its waters and recollections of how we’ve treated our planet. “When I stare into the seemingly bottomless black depths of a trench,” Ichiko reflects. “I occasionally see the blinking light of some rainbow-colored lifeform.” That organism may not speak any language known to man, but in that moment it managed to communicate in a universal way. “My beloved Luminescent Creatures.”\u003c\/p\u003e\n\u003cp\u003eBio by Shy Thompson\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":50238327259445,"sku":"PSY050-LP","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_IchikoAoba_LuminescentCreatures09_Square.jpg?v=1739294623"},{"product_id":"ichiko-aoba-luminescent-creatures-deluxe-ocean-lp","title":"Ichiko Aoba - Luminescent Creatures (Deluxe Ocean LP)","description":"\u003cp\u003e\u003cstrong\u003eRainbow foiled deluxe gatefold LP on recycled Ocean colored vinyl. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ePLEASE NOTE: \u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003eDue to the nature of the eco-mix vinyl, records may vary in appearance from the mockup provided. Records are also housed in a recycled polybag sleeve and are not sealed in shrinkwrap.\u003c\/em\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"p-pdf_iframe__page\" aria-label=\"Page 1\" data-page-number=\"1\"\u003e\n\u003cp\u003eIchiko Aoba has the power to bend space around her, pulling listeners from reality and surrounding them in the comforting fabric of her imagination. She’s been casting these spells since her debut at 19 years old, making picturesque dioramas with only her voice and guitar. But in recent years, she’s turned a corner and let a new process take hold. The Japanese singer, songwriter, composer, and multi-instrumentalist tapped into the full breadth of her ability, marrying the classical guitar of her earlier work with lofty orchestral sweeps. She went big with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWindswept Adan (2020)\u003c\/em\u003e, crafting a story about her deepening bond with nature. Collaborating closely with arranger Taro Umebayashi and creative director Kodai Kobayashi, the three of them freely shared ideas—both aural and visual—crystallizing a collective vision. The universe of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWindswept Adan\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas so vast that it also included the script for an imaginary movie, drawings by Ichiko, and stunning photos by Kobayashi. For her new album,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLuminescent Creatures\u003c\/em\u003e, she opens an even wider portal into her mind.\u003c\/p\u003e\n\u003cp\u003eIchiko’s ambitions kept growing, and the world took notice. She was well known in Japan—collaborating with artists like Haruomi Hosono, Cornelius, and the late Ryuichi Sakamoto—but\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWindswept Adan\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003econnected her with an international audience. She earned the adoration of fellow musicians abroad, collaborating with and playing alongside artists like Japanese Breakfast, Mac DeMarco, Owen Pallett, Pomme, Weyes Blood, and Black Country New Road as her profile continued to grow. Western publications like\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePitchfork\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Needle Drop\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003estarted paying attention, though the real driving force behind her ascent is her naturally captivating presence.\u003c\/p\u003e\n\u003cp\u003eHer Instagram reels, sometimes snippets from shows and sometimes private concerts from her home, attract hundreds of thousands of viewers. Fans create TikToks using her songs as the backdrop to scenes from their lives, letting her music be their soundtrack in the moments they choose to be vulnerable. And no matter where she performs—whether it’s an intimate venue, a huge festival like Big Ears, or Walt Disney Concert Hall—the entire room looks on in stunned silence, hanging on every breath. She sings in Japanese, but her delicate voice operates on an emotional frequency that pierces through language barriers and cultural divides.\u003c\/p\u003e\n\u003cp\u003eAs Ichiko’s star continues to rise, she’s committed to being her truest self. Along with her creative partners Umebayashi and Kobayashi, she’s returned to the recesses of her reverie for her latest project. Her compositions have become more grand, her songwriting more refined, and she’s preparing for her largest world tour to date—yet her ability to make listeners feel like they’re inside in a private cosmos alongside her remains as strong as ever.\u003c\/p\u003e\n\u003cp\u003e“This album,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLuminescent Creatures\u003c\/em\u003e, was born from\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWindswept Adan\u003c\/em\u003e,” Ichiko says. “It began when I started wondering what happened after the protagonist of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWindswept Adan\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003edisappeared along with the music of the island’s inhabitants. What would be left?” The album’s title makes the link clear, bearing the name of the closing track from her previous record. She pushes the envelope further, exploring themes of connection through musings about the origin of life with dreamy musical vistas.\u003c\/p\u003e\n\u003cp\u003eWhile visiting Japan’s Ryukyu Archipelago and conducting field research, she was enamored by the boundless beauty—and occasional terror—of the ocean. She’d go diving with only the breath in her lungs, submitting herself to the whims of the tides. “I feel unable to resist the pull of the ocean,” Ichiko says, “and know how easy it would be for my small body to be swallowed by the sea.” That contradiction, gentleness and power, instilled a sense of awe that is expressed in the soundscapes of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLuminescent Creatures\u003c\/em\u003e. The flurry of strings on “COLORATURA” bring to mind choppy waters, whereas the warbling electronics of “pirsomnia” paint a moment of calm. “When I’m surrounded by the timbre of the ocean, I feel like I’ve come home”\u003c\/p\u003e\n\u003cp\u003eAs she kept visiting the islands over months and years, it became something like an environmental survey. She started to notice the shape of coral reefs shifting over time, how they can be affected by the weather, and the way even remote locations can be battered by climate change. She attuned to her natural surroundings, letting her fantasies guide her as she pondered the transformations of eons past. When did life begin? How did it look before humans existed? How might these primordial creatures have learned to communicate in the brutal environment of the deep blue? Those daydreams transformed into music.\u003c\/p\u003e\n\u003cp\u003eWith “Luciférine,” Ichiko introduces her central theory: bioluminescence. Lush strings and twinkling piano ripple like sunbeams on lapping waves, cutting through the dark expanse of the briny deep. “Inside each of us,” she sings, “there is a place for our stars to sleep.” It conjures an image of creatures pouring off light like celestial bodies, lighting a path to close the distance between galaxies. On “SONAR,” she ruminates on other ways to bridge the divide. “Beyond the darkness,” she calls out, “a glimmer of somebody’s voyce”—her own voice low in the mix as if suppressed by insurmountable depths. An echo of her voice creeps in, reverberating like the graceful song of a marine mammal trying to find its friends. Even with the most rudimentary senses, we find ways to one another.\u003c\/p\u003e\n\u003cp\u003eIchiko also ruminates on explicitly human connection. She sings a folk tune from Japan’s southernmost Hateruma island on “24° 03′ 27.0″ N, 123° 47′ 7.5″ E,” which she learned by communion with the local community, participating in their traditional ceremonies. “Feeling a song that has been sung for centuries flow through me truly fills me with happiness,” she says. “It’s like people who have long since gone are flowing through my body on the wave of this music.” The title comes from the coordinates of the island’s lighthouse, a reminder that even people send out photons to make contact when we’re adrift.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLuminescent Creatures\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis about making meaningful connections against impossible odds. The sea is immense and ancient, mirroring the harsh conditions that life sprang forth from—but it is also reminiscent, housing a deep record of fossils that once swam through its waters and recollections of how we’ve treated our planet. “When I stare into the seemingly bottomless black depths of a trench,” Ichiko reflects. “I occasionally see the blinking light of some rainbow-colored lifeform.” That organism may not speak any language known to man, but in that moment it managed to communicate in a universal way. “My beloved Luminescent Creatures.”\u003c\/p\u003e\n\u003cp\u003eBio by Shy Thompson\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":50238330831157,"sku":"PSY050-LP-OCEAN","price":33.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_IchikoAoba_LuminescentCreatures11_Square.jpg?v=1739294436"},{"product_id":"grrl-x-made-of-oak-inertia-x-hardcore-bundle","title":"GRRL x Made Of Oak - Inertia x Hardcore Bundle (LP)","description":"\u003cp\u003eIncludes 2025 Hardcore EP on black vinyl, and 2022 Inertia EP on black vinyl.\u003cbr\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":50508227707189,"sku":"GXM-BUNDLE","price":38.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_GRRLxMadeOfOak_Hardcore14_Square.jpg?v=1737582476"},{"product_id":"phil-cook-appalachia-borealis-borealis-lp","title":"Phil Cook - Appalachia Borealis (Borealis LP)","description":"\u003cp\u003e\u003cem\u003eLimited to 500 copies worldwide. \"Borealis\" 140g color vinyl. Includes sheet music of \"Appalachia Borealis\".\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eIn the Fall of 2022, Phil Cook suddenly found himself living alone in a small home at the edge of field and forest in North Carolina’s Piedmont. For most of Cook’s four decades, he had resided near the hearts of the midsized Southern cities and Wisconsin towns he had called home, near the groan of traffic and hubbub of coffee shops. Such close quarters helped make the gregarious Cook a prolific collaborator, from cofounding his own Megafaun to working with The Blind Boys of Alabama, Bon Iver, Hiss Golden Messenger, and endless others. \u003c\/p\u003e\n\u003cp\u003eBut Cook’s closest neighbor now was a trailhead, his own alleyway into the woods of Orange County. So he went and listened, enraptured first by the stillness and then by the manifold birds. He began leaving his windowsill slightly cracked each night, so that the dawn chorus greeted him each morning. A zealous collector of voice memos, Cook began recording these tangled bird songs. He slowly joined them. With the sun finally high, Cook would listen to the day’s recordings and improvise in real time on the instrument that remains the first and most steadfast love of his musical life, the piano. \u003c\/p\u003e\n\u003cp\u003eAppalachia Borealis—a deeply poignant and personal set of 11 piano meditations, built with the emotional range of a full and open existence—is, at least so far, the culmination of Cook’s career and life. Inspired by those windowsill improvisations, these compositions reflect not only the turmoil and sadness of a fraught time for Cook but also the hope, light, and joy of looking for the other side. You can sometimes still hear the birds whose tune and time helped to inspire so many of these songs; they seem to call out playfully during “Thrush Song” and extend their reciprocal greeting during (but what else?) “Dawn Birds.” Even when they’re not within earshot, their essence remains: that is, to rise and meet the day best you can, no matter how uncertain and strange the moment may seem.\u003c\/p\u003e\n\u003cp\u003eWhen Cook left that cabin after a year, he moved into a home of his own in Durham, with plenty of space for his two boys to play and for something he’d never actually owned—a proper piano. Over the next several months, Cook spent untold hours with his Yamaha U3, drilling down on these pieces. During lessons with the Southern gospel great Chuckey Robinson, the pianist had challenged Cook to sustain fewer notes, to stop clouding and crowding his melodies by using the instrument’s pedals as crutches. His music suddenly had more clarity, with the sounds and the feelings they ferried given more room to function. This idea drifted into his burgeoning interpretation of “I Made a Lover’s Prayer,” a tangle of blessed unease from Gillian Welch’s 2003 album, Soul Journey. Cook dug into the danger and delight written into the words and the melody, into the idea that we twist our bodies into knots trying to understand what is best for our hearts.\u003c\/p\u003e\n\u003cp\u003eAt last, in April 2024, Cook returned to Wisconsin’s Chippewa Valley, where he was raised and first fell under the piano’s spell. His lifelong friend and bandmate, Justin Vernon, had just finished an overhaul of April Base, the studio compound where Cook has worked on more than a dozen records during the last 15 years. Cook asked Vernon to produce Appalachia Borealis as simply as possible—merely to listen and offer feedback in two extended afternoon sessions, to talk about the right takes and make sure that they’d captured the heart of pieces that seemed to carry so much of Cook’s soul. \u003c\/p\u003e\n\u003cp\u003eIt, of course, got slightly more complicated, as the pair of pals experimented with the process. Vernon would add or subtract the bird songs to Cook’s headphones, seeing how they impacted his playing. Or they would route his notes through a massive new reverb chamber, Cook responding in gossamer improvisations. \u003c\/p\u003e\n\u003cp\u003eBut Appalachia Borealis collects their pellucid and intentionally plain realizations of those songs Cook wrote back at home, when he was defining anew what that word and idea meant to him. These pieces are sometimes so tender they are almost already broken, sometimes so resilient and spirited they suggest their own strange dance. “Reliever” is a hangdog hymn, the blues draped around a little theme that feels like the long sigh of old friends, unburdening themselves around a campfire. Where “Rise,” the opener, indeed embraces the uncertainty of a new day, the closing title track suggests acceptance at the end of one, of being OK with whatever it is that has passed. (Listen, by the way, for the long songs of loons in the distance, as if singing Cook to sleep.) \u003c\/p\u003e\n\u003cp\u003eLikewise, where “Two Hands in My Pocket” is a galloping wonder of bright-eyed enthusiasm, “Thrush Song” is a muted contemplation at the intersection of past and present. All these feelings commingle during “Buffalo.” Cook pounds out pulses with his left hand and cataracts of notes with his right; a melody steadily emerges through the tumult as though a hatchling from an egg, a new life seeing the possibility of the world for the very first time. \u003c\/p\u003e\n\u003cp\u003eSoon after the sessions at April Base were done, Cook took the files a few miles up the Chippewa Valley, to the home studio of his first cousin, the producer Brian Joseph. While Joseph mixed the record, Cook would occasionally step outside and notice the ways the birds sang there, too, how they seemed to greet every new exit. He recorded them and added them to “Ambassador Cathedral,” a pensive tune that feels like a cold walk through a stand of old-growth trees just as the sun reshapes the horizon. The birds and Cook’s piano seem to share the same very human interest: a curiosity about what will come soon enough, a willingness to navigate it.\u003c\/p\u003e\n\u003cp\u003eCook spent so much of his 20s and 30s on the road, whether touring in bands of his own or serving as a sideman. But for the last five years, he’s largely been off the road, working through intense changes in his personal life while trying to figure out what music mattered most to him. He’s done records of soulful rock, acoustic beauty, and piano contemplation. All of it funnels into Appalachia Borealis—mirth, smiles, tears, worry. These 31 minutes flow like a graceful chronicle of endurance. Cook will return to the road for Appalachia Borealis, opening these songs that started on a windowsill to a still-wider world and opening up about the woe and wonder that inspired them. These are songs of becoming, then, about gathering up everything that’s already happened and moving toward whatever else you might still be. On Appalachia Borealis, Cook peers into the dark, sees a way forward, and sets it all to exquisite sound.\u003cbr\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":50516301644085,"sku":"PSY052-LP-BORE","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_PhilCook_AppalachiaBorealis13_Square.jpg?v=1739892712"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/collections\/TheDeadTongues_BodyofLight_IAmACloud_APD_TheDeadTongues_BOLIAAC06_Square.jpg?v=1732139952","url":"https:\/\/psychic-hotline.myshopify.com\/collections\/lp.oembed?page=3","provider":"Psychic Hotline","version":"1.0","type":"link"}