{"title":"Sylvan Esso","description":"","products":[{"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":28.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/SE_Web_No-Rules-Sandy_LP.jpg?v=1691680645"},{"product_id":"no-rules-sandy-standard-lp","title":"Sylvan Esso - No Rules Sandy (LP)","description":"\u003cp data-block-key=\"e74zj\"\u003eAt the beginning of 2022, Sylvan Esso packed up and headed west. Cramming the contents of a recording studio into their Prius, Nick Sanborn and Amelia Meath drove from their home in Durham, North Carolina to Los Angeles, where they set up a makeshift studio in a small rental house on the east side and did something that surprised them: they wrote a song. And then another. “Even if we weren’t feeling good, we would just sit down and try to make something,” Meath says. “Pretty much every day that we did that, we got a song that we liked.”\u003c\/p\u003e\n\u003cp data-block-key=\"eqhej\"\u003eSome bands can create entire albums on short-term writing jags, but until now, Meath says, Sylvan Esso was not one of them. But that speed— and the resulting looseness and live-wire energy in their songs— is one of many things that feels like brand-new territory in \u003ci\u003eNo Rules Sandy\u003c\/i\u003e, their fourth studio album, out August 12, 2022. Describing their first three albums as a trilogy that is now complete, Meath and Sanborn see \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as the beginning of a new period, with songs that are “wilder and stranger and more cathartic than the band used to be,” as Sanborn puts it. “It feels like who we actually are,” Meath adds. “It just feels like us. We’re not trying to fit into the mold, just happily being our freak selves.”\u003c\/p\u003e\n\u003cp data-block-key=\"dc454\"\u003eThe album’s title is taken from a snippet of background vocal in “Your Reality,” a slippery, complexly layered track in which Meath sings what feels like a preoccupying question of the post-pandemic world: “Let me remember how to live my life\/were there rules originally\/or are we learning how to be?” As in so many previous Sylvan Esso songs Meath’s voice is direct and dominant, but the “no rules Sandy” background vocal is different— echoing and hypnotic, swooping underneath Sanborn’s percussive synth as well as a string arrangement from Gabriel Kahane. Sanborn says that vocal, and the song itself, became a reference point for the album, “for how weird we could take it— how bare and strange something could be.”\u003c\/p\u003e\n\u003cp data-block-key=\"e6pks\"\u003e“Sunburn,” the album’s debut single, and “Didn’t Care” also work as bridge songs, leaping from a pop music framework into the wilder unknown. With the crank of a bicycle bell popping in over the thumping bass track, “Sunburn” conjures a summer night’s dance party even as Meath’s locked-down vocal (“My favorite way to ruin me”) suggests nothing is as carefree as it seems. And while “Didn’t Care” exists fully as a poppy love song— the hand claps and talk of “shivers”— it’s also a song about somebody \u003ci\u003enot caring\u003c\/i\u003e when they meet their love; the frizzled keyboard chords and insistent background vocals promise there’s no simple ending for this story, either.\u003c\/p\u003e\n\u003cp data-block-key=\"8emdp\"\u003eMeath and Sanborn have described the dynamic of Sylvan Esso as an argument between them, her irresistible hooks pushing and pulling against his adventurous, sometimes unsettling synths. \u003ci\u003eNo Rules Sandy\u003c\/i\u003e is a complete merge— pop and electronic music fusing into something new that constantly builds on itself. With this album, Meath says, “we went back to the classic formula, which is us trying to impress the other one.” Take “Echo Party,” which opens with electronic warble around Meath’s voice as a simple beat behind her eventually yields to a deep synth wobble. There’s lightness and darkness tugging at each other, the ecstatic promise of a party (“there’s a lot of people dancing downtown”) that you might not ever be able to leave (“yeah we all fall down\/but some stay where they got dropped.”) Sanborn’s synths nod to 90s electronic music throughout, but as with the full album, he says, “I want everything to feel like something you’ve heard before, but presented in a way you’ve never heard.”\u003c\/p\u003e\n\u003cp data-block-key=\"5d59l\"\u003eBoth describe \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as their most personal project— right in the title, after all, is Sanborn’s own nickname. The most intimate—but still enigmatic— details arrive in interstitial moments between tracks, featuring voicemails from loved ones, birdsong from outside their studio, Betty’s, the voices of children, and other life detritus transformed into eternal art. “It feels like this diary entry from this very specific time,” Sanborn says of the interstitials, which fill the gaps between songs and make \u003ci\u003eNo Rules Sandy\u003c\/i\u003e an unbroken ribbon of sound, a source of wildness and energy that continues from the album’s first moment to the last.\u003c\/p\u003e\n\u003cp data-block-key=\"c6hdr\"\u003eThough Sylvan Esso very much remains a duo, the scope of their work has continued to expand since their landmark WITH concert— with a live band of ten— in 2019. 2021 marked the launch of their music label, Psychic Hotline, and in 2022 both Meath and Sanborn will launch projects with other collaborators. Meath’s The A’s, a new band with her Mountain Main partner \u003ci\u003eAlexandra Sauser-Monnig,\u003c\/i\u003e will release an album on July 15, while Sanborn’s Made of Oak project will release an EP collaboration with GRRL on September 2. The collaborations carry through to \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as well; TJ Maiani contributes his persistent drums to “Your Reality” and “Alarm,” while Sam Gendel’s saxophone lends a mysterious, unworldly quality to “How Did You Know” and album closer “Coming Back to You,” a stripped down and haunting track that’s unlike any Sylvan Esso song that has come before it.\u003c\/p\u003e\n\u003cp data-block-key=\"fn4jb\"\u003eAs all these new chapters unfold and the Sylvan Esso umbrella expands, Sanborn and Meath continue to run their recording studio Betty’s in the woods outside Durham and think constantly about what’s next— without overthinking it too much.\u003c\/p\u003e\n\u003cp data-block-key=\"9u4t7\"\u003e“Our whole career up until now, I feel like everything’s been really considered, and we’ve maybe overthought a lot of the music,” Sanborn says. “I think that might be the ultimate effect of like the last record and the pandemic— feeling like, fuck that, I know what I want. And it’s now, or never. So let’s get out there and do it.”\u003c\/p\u003e\n\u003cp data-block-key=\"7k4cp\"\u003e\u003ci\u003eBy Katey Rich, Awards and Audio Editor at Vanity Fair\u003c\/i\u003e\u003c\/p\u003e","brand":"Sylvan Esso","offers":[{"title":"Default Title","offer_id":46089022538037,"sku":"PSY025-LP","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/SE_Web_No-Rules-Sandy_LP_Standard.jpg?v=1757002540"},{"product_id":"no-rules-sandy-cd","title":"Sylvan Esso - No Rules Sandy (CD)","description":"\u003cp data-block-key=\"e74zj\"\u003eAt the beginning of 2022, Sylvan Esso packed up and headed west. Cramming the contents of a recording studio into their Prius, Nick Sanborn and Amelia Meath drove from their home in Durham, North Carolina to Los Angeles, where they set up a makeshift studio in a small rental house on the east side and did something that surprised them: they wrote a song. And then another. “Even if we weren’t feeling good, we would just sit down and try to make something,” Meath says. “Pretty much every day that we did that, we got a song that we liked.”\u003c\/p\u003e\n\u003cp data-block-key=\"eqhej\"\u003eSome bands can create entire albums on short-term writing jags, but until now, Meath says, Sylvan Esso was not one of them. But that speed— and the resulting looseness and live-wire energy in their songs— is one of many things that feels like brand-new territory in \u003ci\u003eNo Rules Sandy\u003c\/i\u003e, their fourth studio album, out August 12, 2022. Describing their first three albums as a trilogy that is now complete, Meath and Sanborn see \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as the beginning of a new period, with songs that are “wilder and stranger and more cathartic than the band used to be,” as Sanborn puts it. “It feels like who we actually are,” Meath adds. “It just feels like us. We’re not trying to fit into the mold, just happily being our freak selves.”\u003c\/p\u003e\n\u003cp data-block-key=\"dc454\"\u003eThe album’s title is taken from a snippet of background vocal in “Your Reality,” a slippery, complexly layered track in which Meath sings what feels like a preoccupying question of the post-pandemic world: “Let me remember how to live my life\/were there rules originally\/or are we learning how to be?” As in so many previous Sylvan Esso songs Meath’s voice is direct and dominant, but the “no rules Sandy” background vocal is different— echoing and hypnotic, swooping underneath Sanborn’s percussive synth as well as a string arrangement from Gabriel Kahane. Sanborn says that vocal, and the song itself, became a reference point for the album, “for how weird we could take it— how bare and strange something could be.”\u003c\/p\u003e\n\u003cp data-block-key=\"e6pks\"\u003e“Sunburn,” the album’s debut single, and “Didn’t Care” also work as bridge songs, leaping from a pop music framework into the wilder unknown. With the crank of a bicycle bell popping in over the thumping bass track, “Sunburn” conjures a summer night’s dance party even as Meath’s locked-down vocal (“My favorite way to ruin me”) suggests nothing is as carefree as it seems. And while “Didn’t Care” exists fully as a poppy love song— the hand claps and talk of “shivers”— it’s also a song about somebody \u003ci\u003enot caring\u003c\/i\u003e when they meet their love; the frizzled keyboard chords and insistent background vocals promise there’s no simple ending for this story, either.\u003c\/p\u003e\n\u003cp data-block-key=\"8emdp\"\u003eMeath and Sanborn have described the dynamic of Sylvan Esso as an argument between them, her irresistible hooks pushing and pulling against his adventurous, sometimes unsettling synths. \u003ci\u003eNo Rules Sandy\u003c\/i\u003e is a complete merge— pop and electronic music fusing into something new that constantly builds on itself. With this album, Meath says, “we went back to the classic formula, which is us trying to impress the other one.” Take “Echo Party,” which opens with electronic warble around Meath’s voice as a simple beat behind her eventually yields to a deep synth wobble. There’s lightness and darkness tugging at each other, the ecstatic promise of a party (“there’s a lot of people dancing downtown”) that you might not ever be able to leave (“yeah we all fall down\/but some stay where they got dropped.”) Sanborn’s synths nod to 90s electronic music throughout, but as with the full album, he says, “I want everything to feel like something you’ve heard before, but presented in a way you’ve never heard.”\u003c\/p\u003e\n\u003cp data-block-key=\"5d59l\"\u003eBoth describe \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as their most personal project— right in the title, after all, is Sanborn’s own nickname. The most intimate—but still enigmatic— details arrive in interstitial moments between tracks, featuring voicemails from loved ones, birdsong from outside their studio, Betty’s, the voices of children, and other life detritus transformed into eternal art. “It feels like this diary entry from this very specific time,” Sanborn says of the interstitials, which fill the gaps between songs and make \u003ci\u003eNo Rules Sandy\u003c\/i\u003e an unbroken ribbon of sound, a source of wildness and energy that continues from the album’s first moment to the last.\u003c\/p\u003e\n\u003cp data-block-key=\"c6hdr\"\u003eThough Sylvan Esso very much remains a duo, the scope of their work has continued to expand since their landmark WITH concert— with a live band of ten— in 2019. 2021 marked the launch of their music label, Psychic Hotline, and in 2022 both Meath and Sanborn will launch projects with other collaborators. Meath’s The A’s, a new band with her Mountain Main partner \u003ci\u003eAlexandra Sauser-Monnig,\u003c\/i\u003e will release an album on July 15, while Sanborn’s Made of Oak project will release an EP collaboration with GRRL on September 2. The collaborations carry through to \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as well; TJ Maiani contributes his persistent drums to “Your Reality” and “Alarm,” while Sam Gendel’s saxophone lends a mysterious, unworldly quality to “How Did You Know” and album closer “Coming Back to You,” a stripped down and haunting track that’s unlike any Sylvan Esso song that has come before it.\u003c\/p\u003e\n\u003cp data-block-key=\"fn4jb\"\u003eAs all these new chapters unfold and the Sylvan Esso umbrella expands, Sanborn and Meath continue to run their recording studio Betty’s in the woods outside Durham and think constantly about what’s next— without overthinking it too much.\u003c\/p\u003e\n\u003cp data-block-key=\"9u4t7\"\u003e“Our whole career up until now, I feel like everything’s been really considered, and we’ve maybe overthought a lot of the music,” Sanborn says. “I think that might be the ultimate effect of like the last record and the pandemic— feeling like, fuck that, I know what I want. And it’s now, or never. So let’s get out there and do it.”\u003c\/p\u003e\n\u003cp data-block-key=\"7k4cp\"\u003e\u003ci\u003eBy Katey Rich, Awards and Audio Editor at Vanity Fair\u003c\/i\u003e\u003c\/p\u003e","brand":"Sylvan Esso","offers":[{"title":"Default Title","offer_id":46089023226165,"sku":"PSY025-CD","price":13.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/SE_Web_No-Rules-Sandy_CD.jpg?v=1691680649"},{"product_id":"no-rules-sandy-cassette","title":"Sylvan Esso - No Rules Sandy (Cassette)","description":"\u003cp data-block-key=\"e74zj\"\u003eAt the beginning of 2022, Sylvan Esso packed up and headed west. Cramming the contents of a recording studio into their Prius, Nick Sanborn and Amelia Meath drove from their home in Durham, North Carolina to Los Angeles, where they set up a makeshift studio in a small rental house on the east side and did something that surprised them: they wrote a song. And then another. “Even if we weren’t feeling good, we would just sit down and try to make something,” Meath says. “Pretty much every day that we did that, we got a song that we liked.”\u003c\/p\u003e\n\u003cp data-block-key=\"eqhej\"\u003eSome bands can create entire albums on short-term writing jags, but until now, Meath says, Sylvan Esso was not one of them. But that speed— and the resulting looseness and live-wire energy in their songs— is one of many things that feels like brand-new territory in \u003ci\u003eNo Rules Sandy\u003c\/i\u003e, their fourth studio album, out August 12, 2022. Describing their first three albums as a trilogy that is now complete, Meath and Sanborn see \u003ci\u003eNo Rules Sandy\u003c\/i\u003e as the beginning of a new period, with songs that are “wilder and stranger and more cathartic than the band used to be,” as Sanborn puts it. “It feels like who we actually are,” Meath adds. “It just feels like us. We’re not trying to fit into the mold, just happily being our freak selves.”\u003c\/p\u003e\n\u003cp data-block-key=\"dc454\"\u003eThe album’s title is taken from a snippet of background vocal in “Your Reality,” a slippery, complexly layered track in which Meath sings what feels like a preoccupying question of the post-pandemic world: “Let me remember how to live my life\/were there rules originally\/or are we learning how to be?” As in so many previous Sylvan Esso songs Meath’s voice is direct and dominant, but the “no rules Sandy” background vocal is different— echoing and hypnotic, swooping underneath Sanborn’s percussive synth as well as a string arrangement from Gabriel Kahane. 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":46089024241973,"sku":"PSY025-CS","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/products\/SE_Web_No-Rules-Sandy_Cassette.jpg?v=1691680650"},{"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":"mountain-man-made-the-harbor-cd","title":"Mountain Man - Made The Harbor (Standard Edition) (CD)","description":"\u003cp\u003eOn an early draft of folk trio Mountain Man’s Bandcamp page, the project aptly described itself as “a creature growing from the mouths of Molly Erin Sarlé, Alexandra Sasuer-Monnig, and Amelia Randall Meath.” Sparse and homespun, from the onset the voices of Mountain Man crafted an immediate intimacy. 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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. 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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. 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The original album bio for the self-titled presciently sets the stage for the thesis that has gone on to guide Meath and Sanborn’s writing since then: “a collection of vivid addictions concerning suffering and love, darkness and deliverance” arriving as “a necessary pop balm, an album stuffed with songs that don’t suffer the longstanding complications of that term.” And so, even as the band continues to evolve and becomes amorphous, there’s still that argument about what pop can be at its core. 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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. 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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. 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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\u003eThe 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. \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. 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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. 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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. 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Limited to 2000 copies. Includes \"Instrumental\" and \"A Cappella\" versions of \"WDID\".\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 11pt; font-family: Arial, sans-serif; color: rgb(0, 0, 0); background-color: transparent; font-weight: 400; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\" id=\"docs-internal-guid-7fadbf0b-7fff-556d-699c-73102ebef506\"\u003eSylvan Esso is a band from Durham, North Carolina. Across their career, Amelia Meath and Nick Sanborn have put out four acclaimed albums, been nominated for two GRAMMYs, and collaborated with a wide-ranging, eclectic community of artists including Arooj Aftab, Maggie Rogers, Tyler Childers, Reyna Tropical, Califone, and many more. “WDID” was recorded at Betty’s, Sylvan Esso’s studio in Chapel Hill, North Carolina, and features additional production from Jake Luppen (Hippo Campus, Samia). “KEEP ON” was built from a week of improvisation with bassist Daniel Aged (Frank Ocean, Dijon) and drummer TJ Maiani (Weyes Blood, Neneh Cherry).\u003c\/span\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":51337841901877,"sku":"PSY066-LP","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_SylvanEsso_WDIDKeepOn05_Square.jpg?v=1762982475"},{"product_id":"rosenau-sanborn-two-lp","title":"Rosenau \u0026 Sanborn - Two (LP)","description":"\u003cp\u003e\u003cem\u003e140g black vinyl.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAfter nearly 20 years of knowing one another, the collaboration between \u003c\/span\u003e\u003cspan\u003eNick Sanborn\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan\u003eChris Rosenau\u003c\/span\u003e\u003cspan\u003e seemed inevitable but ended up accidental, an Eaux Claires music-festival lark that had immediate chemistry. As they were rehearsing, they realized they were already making a record. They kept the working mixes and titles, as well as the bird songs and traffic sounds that drifted into the microphones. The result was 2019’s \u003c\/span\u003e\u003cspan\u003eBluebird\u003c\/span\u003e\u003cspan\u003e, a little five-track wonder that made you feel like you were sitting in the room between them, smiling as they found their wordless rapport. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTwo years later, \u003c\/span\u003e\u003cspan\u003eRosenau (Volcano Choir, Collections of Colonies of Bees)\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan\u003eSanborn (Sylvan Esso, Made of Oak)\u003c\/span\u003e\u003cspan\u003e got together again. They had fun during round two, but the sessions were neither as carefree as that first attempt nor more focused in a way that felt compelling and new. The pair shelved those pieces to try again when the time seemed right. Then there was a pandemic. There were tours. There were other records. There was life at large. By the time Rosenau ventured back to \u003c\/span\u003e\u003cspan\u003eBetty’s\u003c\/span\u003e\u003cspan\u003e (Sylvan Esso’s studio in the North Carolina woods) to try again, four years had flashed past. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor the absorbing follow-up, 2026’s simply titled \u003c\/span\u003e\u003cspan\u003eTwo\u003c\/span\u003e\u003cspan\u003e, they “unprepared,” Rosenau arriving to the sessions with a novel guitar tuning he’d never used and Sanborn with a reconfigured electronics rig that forced him to abandon old patterns. The result feels like sitting alongside two old friends as they surprise one another with unheard stories from their recent pasts and ideas for their futures.\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn their track “Walrus,” Rosenau shares, “Honestly, the approach on this track was ‘Ok!  Saturday night… Let's party!’ It all felt real good.  From there, we got Nick's gear back up from the night before, followed our process, and went for it.  I remember Nick turning into an octopus in front of my eyes as he wrangled both the modular rig he had set up for this one, as well as the insane drum machine situation.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":52212323844405,"sku":"PSY067-LP","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_Rosenau_Sanborn_Two06_Square.jpg?v=1771429307"},{"product_id":"rosenau-sanborn-bundle","title":"Rosenau \u0026 Sanborn Bundle (LP)","description":"\u003cp\u003eThis bundle contains 2019's \u003cem\u003eBluebird \u003c\/em\u003e\u0026amp; 2026's \u003cem\u003eTwo \u003c\/em\u003eby Rosenau \u0026amp; Sanborn on black LP.\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":52294568935733,"sku":null,"price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/LP-BUNDLE-TWO-BLUEBIRD.gif?v=1771429307"},{"product_id":"sylvan-esso-ow-cassette","title":"Sylvan Esso - Ow ∞ (Cassette)","description":"\u003cp\u003e\u003cem\u003eCassette edition. Layout design by Eric Timothy Carlson.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOw ∞\u003c\/span\u003e\u003cspan\u003e is a trust fall. It’s \u003c\/span\u003e\u003cspan\u003eyes, and – \u003c\/span\u003e\u003cspan\u003e. It exists in spite of – it’s messy and hellish and free, a scotch-tape collage of memories, ephemera, Y2K-era burned CDs and backseat makeouts. It’s an invitation to the party, one riddled with ecstatic joy and failures and second \/ third \/ fourth adolescences, cities under water or on fire, our dystopian present and past and future, arms wide open to meet it, to embrace and absorb the Pain, in all its forms, vomited out into something strange and new.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn their new album, Sylvan Esso metabolizes a life of making music with people into making art that you just love, a tactile and enveloping freefall. Across their life as a band Amelia Meath and Nick Sanborn have made songs from a tightrope, a central tension at the core of their songwriting from which everything else spiraled, a push-and-pull of the physical and existential, a dance floor to a dark corner, cerebral and instinctual – and here, finally, unleashed into something that is free. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWritten across four years in the woods in Chapel Hill, the longest the band has ever spent writing a record, \u003c\/span\u003e\u003cspan\u003eOw ∞ \u003c\/span\u003e\u003cspan\u003earrives with an intense immediacy. Most of the tracks here are Meath’s first vocal takes, and the clarity and humanness of her singular voice anchors the album in something real. It was born from a time of experimentation and collaboration, resulting in a sinewy, punchy, explosive work where the songs want to claw their way out. A technicolor totem of personal destruction, the feeling of being pummeled to silly putty and built back into something that feels almost human, almost familiar but freakish and new – a cartoonish, slapstick grin printed across a ruin. \u003c\/span\u003e\u003cspan\u003eOw ∞\u003c\/span\u003e\u003cspan\u003e marks the first time Sylvan Esso has gotten comfortable with the fact that they are doing \u003c\/span\u003e\u003cspan\u003ethis\u003c\/span\u003e\u003cspan\u003e – where they’ve figured out all the avenues in which they can take control, and put things out the way they want to, with the people they choose, in their own studio and through their own label. For an album that wrestles so much with the out-of-control nature of being alive, it meets the duo at a time where, finally, they actually have complete control over what Sylvan Esso can be.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAcross the album is the spirit of chaos – for example, \u003c\/span\u003e\u003cspan\u003eOw ∞ \u003c\/span\u003e\u003cspan\u003efeatures six different drummers in total in TJ Maiani, Joe Westerlund, Glenn Kotche, Jake Luppen, Jenn Wasner, and Sanborn himself, with some tracks featuring several different drum tracks mixed together at once. A large chunk of the record was born from improvisation, hours spent at Betty’s finding grooves with percussionist TJ Maiani, bassist Daniel Aged, and Sanborn on synths, Meath trying out vocals over it. They made 5-10 songs a day, filling a hard drive with ideas – some of it stuck, like the earlier-released standalone single “KEEP ON,” or Ow ∞’s “Right to Left,” but some of it was just a seedling for other songs – like the hypnotic “On and On,” which wrote itself nearly immediately after the band dipped back into the file with trusted collaborators Jenn Wasner and and Jake Luppen. James Mapley-Brittle of GRRL, a prolific producer and musician with whom Sanborn has collaborated over the years, also played a pivotal role in the album, acting as the glue to hold so many disparate ideas together – each day in the studio he discovered something new, blowing up tracks and then abandoning that work, a constant and restless reimagining. There’s remnants of a ghost band across this record – nothing was sacred, which made it more fun. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“One of my favorite ways of producing in general is to come up with an idea and then take out a third of it,” Meath explains. “One, it makes things interesting and exciting, but also it makes your ear ask a question. And it kind of forces the listener to be creative as well. To try to fill that space with something, which I find as a listener to be really exciting and interesting. Particularly with pop music, because it's all about fulfilling a promise. You know this melodic structure, you know, we're going to the four here. Like, \u003c\/span\u003e\u003cspan\u003enot \u003c\/span\u003e\u003cspan\u003edoing it is always the thing that makes people fall in love with a song or a person.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike renting an apartment that’s been rented over and over again for decades, taking a knife and slicing through the Landlord Special to excavate the paint and wallpaper underneath – the key here was choosing how deep to go, what to keep and what to peel away. \u003c\/span\u003e\u003cspan\u003eOw ∞ \u003c\/span\u003e\u003cspan\u003eis covered in something like patina, or jpeg artifacts, tree rings of bands and versions of the songs excavated and built into an ornate uncanny valley architecture. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn album opener, “Entertainment \u0026amp; Coca-Cola” a peculiar anthem and fitting introduction to the new world Sylvan Esso inhabits. Meath’s voice is pitched down, awash in blue and dive bar lights, the violence and commerce of the American dream, buoyed by a chorus of North Carolina crickets captured on an iPhone voice memo when Meath first wrote the song. But we zoom out in other parts – the raucousness of “Sledge,” the meandering ennui of “Flood Season,” the medieval-skewing “Plastic Sword,” we’re faced with the angel of death – a sort of biblical sprawling backdrop of destruction, but they make just as much sense with the songs that feel personal. The punchy, punked up summer anthem of “Hot Slob,” or the Sigur Rós sample on “Concrete Glen,” a band that soundtracked a lot of Meath’s childhood kissing. Or the undulating “Jessica,” which feels akin to being submerged in water, eyes open, blinking through the pain to see what lies beneath. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I guess what I can say is that living hurts forever, and then it stops,” Meath says. “But also it’s a little silly. And that’s how I feel. If you’re going to keep participating in the world, and in your life, you have to commit to being hurt. And if you aren't putting yourself in the way of potential hurt, you miss out on a lot of potential opportunities. So in some ways it’s like a rallying cry, saying ‘I’m gonna get hurt forever, and that’s okay.’”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":53119678906677,"sku":"PSY069cass","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_SylvanEsso_Ow92_Square.jpg?v=1784582052"},{"product_id":"sylvan-esso-ow-lp","title":"Sylvan Esso - Ow ∞ (LP)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan id=\"docs-internal-guid-1f82c1a6-7fff-e228-c348-59a4abeb3c91\" style=\"font-size: 11pt; font-family: Arial,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\"\u003e140g black vinyl. Layout design by Eric Timothy Carlson.\u003c\/span\u003e\u003cspan style=\"font-size: 11pt; font-family: Arial,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOw ∞\u003c\/span\u003e\u003cspan\u003e is a trust fall. It’s \u003c\/span\u003e\u003cspan\u003eyes, and – \u003c\/span\u003e\u003cspan\u003e. It exists in spite of – it’s messy and hellish and free, a scotch-tape collage of memories, ephemera, Y2K-era burned CDs and backseat makeouts. It’s an invitation to the party, one riddled with ecstatic joy and failures and second \/ third \/ fourth adolescences, cities under water or on fire, our dystopian present and past and future, arms wide open to meet it, to embrace and absorb the Pain, in all its forms, vomited out into something strange and new.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn their new album, Sylvan Esso metabolizes a life of making music with people into making art that you just love, a tactile and enveloping freefall. Across their life as a band Amelia Meath and Nick Sanborn have made songs from a tightrope, a central tension at the core of their songwriting from which everything else spiraled, a push-and-pull of the physical and existential, a dance floor to a dark corner, cerebral and instinctual – and here, finally, unleashed into something that is free. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWritten across four years in the woods in Chapel Hill, the longest the band has ever spent writing a record, \u003c\/span\u003e\u003cspan\u003eOw ∞ \u003c\/span\u003e\u003cspan\u003earrives with an intense immediacy. Most of the tracks here are Meath’s first vocal takes, and the clarity and humanness of her singular voice anchors the album in something real. It was born from a time of experimentation and collaboration, resulting in a sinewy, punchy, explosive work where the songs want to claw their way out. A technicolor totem of personal destruction, the feeling of being pummeled to silly putty and built back into something that feels almost human, almost familiar but freakish and new – a cartoonish, slapstick grin printed across a ruin. \u003c\/span\u003e\u003cspan\u003eOw ∞\u003c\/span\u003e\u003cspan\u003e marks the first time Sylvan Esso has gotten comfortable with the fact that they are doing \u003c\/span\u003e\u003cspan\u003ethis\u003c\/span\u003e\u003cspan\u003e – where they’ve figured out all the avenues in which they can take control, and put things out the way they want to, with the people they choose, in their own studio and through their own label. For an album that wrestles so much with the out-of-control nature of being alive, it meets the duo at a time where, finally, they actually have complete control over what Sylvan Esso can be.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAcross the album is the spirit of chaos – for example, \u003c\/span\u003e\u003cspan\u003eOw ∞ \u003c\/span\u003e\u003cspan\u003efeatures six different drummers in total in TJ Maiani, Joe Westerlund, Glenn Kotche, Jake Luppen, Jenn Wasner, and Sanborn himself, with some tracks featuring several different drum tracks mixed together at once. A large chunk of the record was born from improvisation, hours spent at Betty’s finding grooves with percussionist TJ Maiani, bassist Daniel Aged, and Sanborn on synths, Meath trying out vocals over it. They made 5-10 songs a day, filling a hard drive with ideas – some of it stuck, like the earlier-released standalone single “KEEP ON,” or Ow ∞’s “Right to Left,” but some of it was just a seedling for other songs – like the hypnotic “On and On,” which wrote itself nearly immediately after the band dipped back into the file with trusted collaborators Jenn Wasner and and Jake Luppen. James Mapley-Brittle of GRRL, a prolific producer and musician with whom Sanborn has collaborated over the years, also played a pivotal role in the album, acting as the glue to hold so many disparate ideas together – each day in the studio he discovered something new, blowing up tracks and then abandoning that work, a constant and restless reimagining. There’s remnants of a ghost band across this record – nothing was sacred, which made it more fun. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“One of my favorite ways of producing in general is to come up with an idea and then take out a third of it,” Meath explains. “One, it makes things interesting and exciting, but also it makes your ear ask a question. And it kind of forces the listener to be creative as well. To try to fill that space with something, which I find as a listener to be really exciting and interesting. Particularly with pop music, because it's all about fulfilling a promise. You know this melodic structure, you know, we're going to the four here. Like, \u003c\/span\u003e\u003cspan\u003enot \u003c\/span\u003e\u003cspan\u003edoing it is always the thing that makes people fall in love with a song or a person.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike renting an apartment that’s been rented over and over again for decades, taking a knife and slicing through the Landlord Special to excavate the paint and wallpaper underneath – the key here was choosing how deep to go, what to keep and what to peel away. \u003c\/span\u003e\u003cspan\u003eOw ∞ \u003c\/span\u003e\u003cspan\u003eis covered in something like patina, or jpeg artifacts, tree rings of bands and versions of the songs excavated and built into an ornate uncanny valley architecture. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn album opener, “Entertainment \u0026amp; Coca-Cola” a peculiar anthem and fitting introduction to the new world Sylvan Esso inhabits. Meath’s voice is pitched down, awash in blue and dive bar lights, the violence and commerce of the American dream, buoyed by a chorus of North Carolina crickets captured on an iPhone voice memo when Meath first wrote the song. But we zoom out in other parts – the raucousness of “Sledge,” the meandering ennui of “Flood Season,” the medieval-skewing “Plastic Sword,” we’re faced with the angel of death – a sort of biblical sprawling backdrop of destruction, but they make just as much sense with the songs that feel personal. The punchy, punked up summer anthem of “Hot Slob,” or the Sigur Rós sample on “Concrete Glen,” a band that soundtracked a lot of Meath’s childhood kissing. Or the undulating “Jessica,” which feels akin to being submerged in water, eyes open, blinking through the pain to see what lies beneath. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I guess what I can say is that living hurts forever, and then it stops,” Meath says. “But also it’s a little silly. And that’s how I feel. If you’re going to keep participating in the world, and in your life, you have to commit to being hurt. And if you aren't putting yourself in the way of potential hurt, you miss out on a lot of potential opportunities. So in some ways it’s like a rallying cry, saying ‘I’m gonna get hurt forever, and that’s okay.’”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":53119706759477,"sku":"PSY069-LP","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_SylvanEsso_Ow24_Square.jpg?v=1784581941"},{"product_id":"sylvan-esso-ow-lp-online-exclusive-puke-cammo","title":"Sylvan Esso - Ow ∞ (Puke Cammo LP)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e140g Puke Cammo vinyl. Limited to 3000 copies. Layout design by Eric Timothy Carlson.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOw ∞\u003c\/span\u003e\u003cspan\u003e is a trust fall. It’s \u003c\/span\u003e\u003cspan\u003eyes, and – \u003c\/span\u003e\u003cspan\u003e. It exists in spite of – it’s messy and hellish and free, a scotch-tape collage of memories, ephemera, Y2K-era burned CDs and backseat makeouts. It’s an invitation to the party, one riddled with ecstatic joy and failures and second \/ third \/ fourth adolescences, cities under water or on fire, our dystopian present and past and future, arms wide open to meet it, to embrace and absorb the Pain, in all its forms, vomited out into something strange and new.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn their new album, Sylvan Esso metabolizes a life of making music with people into making art that you just love, a tactile and enveloping freefall. Across their life as a band Amelia Meath and Nick Sanborn have made songs from a tightrope, a central tension at the core of their songwriting from which everything else spiraled, a push-and-pull of the physical and existential, a dance floor to a dark corner, cerebral and instinctual – and here, finally, unleashed into something that is free. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWritten across four years in the woods in Chapel Hill, the longest the band has ever spent writing a record, \u003c\/span\u003e\u003cspan\u003eOw ∞ \u003c\/span\u003e\u003cspan\u003earrives with an intense immediacy. Most of the tracks here are Meath’s first vocal takes, and the clarity and humanness of her singular voice anchors the album in something real. It was born from a time of experimentation and collaboration, resulting in a sinewy, punchy, explosive work where the songs want to claw their way out. A technicolor totem of personal destruction, the feeling of being pummeled to silly putty and built back into something that feels almost human, almost familiar but freakish and new – a cartoonish, slapstick grin printed across a ruin. \u003c\/span\u003e\u003cspan\u003eOw ∞\u003c\/span\u003e\u003cspan\u003e marks the first time Sylvan Esso has gotten comfortable with the fact that they are doing \u003c\/span\u003e\u003cspan\u003ethis\u003c\/span\u003e\u003cspan\u003e – where they’ve figured out all the avenues in which they can take control, and put things out the way they want to, with the people they choose, in their own studio and through their own label. For an album that wrestles so much with the out-of-control nature of being alive, it meets the duo at a time where, finally, they actually have complete control over what Sylvan Esso can be.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAcross the album is the spirit of chaos – for example, \u003c\/span\u003e\u003cspan\u003eOw ∞ \u003c\/span\u003e\u003cspan\u003efeatures six different drummers in total in TJ Maiani, Joe Westerlund, Glenn Kotche, Jake Luppen, Jenn Wasner, and Sanborn himself, with some tracks featuring several different drum tracks mixed together at once. A large chunk of the record was born from improvisation, hours spent at Betty’s finding grooves with percussionist TJ Maiani, bassist Daniel Aged, and Sanborn on synths, Meath trying out vocals over it. They made 5-10 songs a day, filling a hard drive with ideas – some of it stuck, like the earlier-released standalone single “KEEP ON,” or Ow ∞’s “Right to Left,” but some of it was just a seedling for other songs – like the hypnotic “On and On,” which wrote itself nearly immediately after the band dipped back into the file with trusted collaborators Jenn Wasner and and Jake Luppen. James Mapley-Brittle of GRRL, a prolific producer and musician with whom Sanborn has collaborated over the years, also played a pivotal role in the album, acting as the glue to hold so many disparate ideas together – each day in the studio he discovered something new, blowing up tracks and then abandoning that work, a constant and restless reimagining. There’s remnants of a ghost band across this record – nothing was sacred, which made it more fun. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“One of my favorite ways of producing in general is to come up with an idea and then take out a third of it,” Meath explains. “One, it makes things interesting and exciting, but also it makes your ear ask a question. And it kind of forces the listener to be creative as well. To try to fill that space with something, which I find as a listener to be really exciting and interesting. Particularly with pop music, because it's all about fulfilling a promise. You know this melodic structure, you know, we're going to the four here. Like, \u003c\/span\u003e\u003cspan\u003enot \u003c\/span\u003e\u003cspan\u003edoing it is always the thing that makes people fall in love with a song or a person.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike renting an apartment that’s been rented over and over again for decades, taking a knife and slicing through the Landlord Special to excavate the paint and wallpaper underneath – the key here was choosing how deep to go, what to keep and what to peel away. \u003c\/span\u003e\u003cspan\u003eOw ∞ \u003c\/span\u003e\u003cspan\u003eis covered in something like patina, or jpeg artifacts, tree rings of bands and versions of the songs excavated and built into an ornate uncanny valley architecture. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn album opener, “Entertainment \u0026amp; Coca-Cola” a peculiar anthem and fitting introduction to the new world Sylvan Esso inhabits. Meath’s voice is pitched down, awash in blue and dive bar lights, the violence and commerce of the American dream, buoyed by a chorus of North Carolina crickets captured on an iPhone voice memo when Meath first wrote the song. But we zoom out in other parts – the raucousness of “Sledge,” the meandering ennui of “Flood Season,” the medieval-skewing “Plastic Sword,” we’re faced with the angel of death – a sort of biblical sprawling backdrop of destruction, but they make just as much sense with the songs that feel personal. The punchy, punked up summer anthem of “Hot Slob,” or the Sigur Rós sample on “Concrete Glen,” a band that soundtracked a lot of Meath’s childhood kissing. Or the undulating “Jessica,” which feels akin to being submerged in water, eyes open, blinking through the pain to see what lies beneath. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I guess what I can say is that living hurts forever, and then it stops,” Meath says. “But also it’s a little silly. And that’s how I feel. If you’re going to keep participating in the world, and in your life, you have to commit to being hurt. And if you aren't putting yourself in the way of potential hurt, you miss out on a lot of potential opportunities. So in some ways it’s like a rallying cry, saying ‘I’m gonna get hurt forever, and that’s okay.’”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":53119695159605,"sku":"PSY069lp-C2","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_SylvanEsso_Ow0105Square.jpg?v=1784607891"},{"product_id":"sylvan-esso-ow-deluxe-edition-lp","title":"Sylvan Esso - Ow ∞ (Deluxe Edition LP)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e180g black vinyl. Gatefold jacket with 16 page photobook. Limited to 1500 copies worldwide. Layout design by Eric Timothy Carlson. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOw ∞\u003c\/span\u003e\u003cspan\u003e is a trust fall. It’s \u003c\/span\u003e\u003cspan\u003eyes, and – \u003c\/span\u003e\u003cspan\u003e. It exists in spite of – it’s messy and hellish and free, a scotch-tape collage of memories, ephemera, Y2K-era burned CDs and backseat makeouts. It’s an invitation to the party, one riddled with ecstatic joy and failures and second \/ third \/ fourth adolescences, cities under water or on fire, our dystopian present and past and future, arms wide open to meet it, to embrace and absorb the Pain, in all its forms, vomited out into something strange and new.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn their new album, Sylvan Esso metabolizes a life of making music with people into making art that you just love, a tactile and enveloping freefall. Across their life as a band Amelia Meath and Nick Sanborn have made songs from a tightrope, a central tension at the core of their songwriting from which everything else spiraled, a push-and-pull of the physical and existential, a dance floor to a dark corner, cerebral and instinctual – and here, finally, unleashed into something that is free. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWritten across four years in the woods in Chapel Hill, the longest the band has ever spent writing a record, \u003c\/span\u003e\u003cspan\u003eOw ∞ \u003c\/span\u003e\u003cspan\u003earrives with an intense immediacy. Most of the tracks here are Meath’s first vocal takes, and the clarity and humanness of her singular voice anchors the album in something real. It was born from a time of experimentation and collaboration, resulting in a sinewy, punchy, explosive work where the songs want to claw their way out. A technicolor totem of personal destruction, the feeling of being pummeled to silly putty and built back into something that feels almost human, almost familiar but freakish and new – a cartoonish, slapstick grin printed across a ruin. \u003c\/span\u003e\u003cspan\u003eOw ∞\u003c\/span\u003e\u003cspan\u003e marks the first time Sylvan Esso has gotten comfortable with the fact that they are doing \u003c\/span\u003e\u003cspan\u003ethis\u003c\/span\u003e\u003cspan\u003e – where they’ve figured out all the avenues in which they can take control, and put things out the way they want to, with the people they choose, in their own studio and through their own label. For an album that wrestles so much with the out-of-control nature of being alive, it meets the duo at a time where, finally, they actually have complete control over what Sylvan Esso can be.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAcross the album is the spirit of chaos – for example, \u003c\/span\u003e\u003cspan\u003eOw ∞ \u003c\/span\u003e\u003cspan\u003efeatures six different drummers in total in TJ Maiani, Joe Westerlund, Glenn Kotche, Jake Luppen, Jenn Wasner, and Sanborn himself, with some tracks featuring several different drum tracks mixed together at once. A large chunk of the record was born from improvisation, hours spent at Betty’s finding grooves with percussionist TJ Maiani, bassist Daniel Aged, and Sanborn on synths, Meath trying out vocals over it. They made 5-10 songs a day, filling a hard drive with ideas – some of it stuck, like the earlier-released standalone single “KEEP ON,” or Ow ∞’s “Right to Left,” but some of it was just a seedling for other songs – like the hypnotic “On and On,” which wrote itself nearly immediately after the band dipped back into the file with trusted collaborators Jenn Wasner and and Jake Luppen. James Mapley-Brittle of GRRL, a prolific producer and musician with whom Sanborn has collaborated over the years, also played a pivotal role in the album, acting as the glue to hold so many disparate ideas together – each day in the studio he discovered something new, blowing up tracks and then abandoning that work, a constant and restless reimagining. There’s remnants of a ghost band across this record – nothing was sacred, which made it more fun. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“One of my favorite ways of producing in general is to come up with an idea and then take out a third of it,” Meath explains. “One, it makes things interesting and exciting, but also it makes your ear ask a question. And it kind of forces the listener to be creative as well. To try to fill that space with something, which I find as a listener to be really exciting and interesting. Particularly with pop music, because it's all about fulfilling a promise. You know this melodic structure, you know, we're going to the four here. Like, \u003c\/span\u003e\u003cspan\u003enot \u003c\/span\u003e\u003cspan\u003edoing it is always the thing that makes people fall in love with a song or a person.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike renting an apartment that’s been rented over and over again for decades, taking a knife and slicing through the Landlord Special to excavate the paint and wallpaper underneath – the key here was choosing how deep to go, what to keep and what to peel away. \u003c\/span\u003e\u003cspan\u003eOw ∞ \u003c\/span\u003e\u003cspan\u003eis covered in something like patina, or jpeg artifacts, tree rings of bands and versions of the songs excavated and built into an ornate uncanny valley architecture. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn album opener, “Entertainment \u0026amp; Coca-Cola” a peculiar anthem and fitting introduction to the new world Sylvan Esso inhabits. Meath’s voice is pitched down, awash in blue and dive bar lights, the violence and commerce of the American dream, buoyed by a chorus of North Carolina crickets captured on an iPhone voice memo when Meath first wrote the song. But we zoom out in other parts – the raucousness of “Sledge,” the meandering ennui of “Flood Season,” the medieval-skewing “Plastic Sword,” we’re faced with the angel of death – a sort of biblical sprawling backdrop of destruction, but they make just as much sense with the songs that feel personal. The punchy, punked up summer anthem of “Hot Slob,” or the Sigur Rós sample on “Concrete Glen,” a band that soundtracked a lot of Meath’s childhood kissing. Or the undulating “Jessica,” which feels akin to being submerged in water, eyes open, blinking through the pain to see what lies beneath. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I guess what I can say is that living hurts forever, and then it stops,” Meath says. “But also it’s a little silly. And that’s how I feel. If you’re going to keep participating in the world, and in your life, you have to commit to being hurt. And if you aren't putting yourself in the way of potential hurt, you miss out on a lot of potential opportunities. So in some ways it’s like a rallying cry, saying ‘I’m gonna get hurt forever, and that’s okay.’”\u003c\/span\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":53119697518901,"sku":"PSY069lp-DLX","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_SylvanEsso_Ow28_Square.jpg?v=1784580011"},{"product_id":"sylvan-esso-ow-cd-super-jewel-case","title":"Sylvan Esso - Ow ∞ (CD)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e1st Pressing Super Jewel Case Edition. Includes 24 page lyric book. Limited to 3500 copies. Layout design by Eric Timothy Carlson. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOw ∞\u003c\/span\u003e\u003cspan\u003e is a trust fall. It’s \u003c\/span\u003e\u003cspan\u003eyes, and – \u003c\/span\u003e\u003cspan\u003e. It exists in spite of – it’s messy and hellish and free, a scotch-tape collage of memories, ephemera, Y2K-era burned CDs and backseat makeouts. It’s an invitation to the party, one riddled with ecstatic joy and failures and second \/ third \/ fourth adolescences, cities under water or on fire, our dystopian present and past and future, arms wide open to meet it, to embrace and absorb the Pain, in all its forms, vomited out into something strange and new.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn their new album, Sylvan Esso metabolizes a life of making music with people into making art that you just love, a tactile and enveloping freefall. Across their life as a band Amelia Meath and Nick Sanborn have made songs from a tightrope, a central tension at the core of their songwriting from which everything else spiraled, a push-and-pull of the physical and existential, a dance floor to a dark corner, cerebral and instinctual – and here, finally, unleashed into something that is free. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWritten across four years in the woods in Chapel Hill, the longest the band has ever spent writing a record, \u003c\/span\u003e\u003cspan\u003eOw ∞ \u003c\/span\u003e\u003cspan\u003earrives with an intense immediacy. Most of the tracks here are Meath’s first vocal takes, and the clarity and humanness of her singular voice anchors the album in something real. It was born from a time of experimentation and collaboration, resulting in a sinewy, punchy, explosive work where the songs want to claw their way out. A technicolor totem of personal destruction, the feeling of being pummeled to silly putty and built back into something that feels almost human, almost familiar but freakish and new – a cartoonish, slapstick grin printed across a ruin. \u003c\/span\u003e\u003cspan\u003eOw ∞\u003c\/span\u003e\u003cspan\u003e marks the first time Sylvan Esso has gotten comfortable with the fact that they are doing \u003c\/span\u003e\u003cspan\u003ethis\u003c\/span\u003e\u003cspan\u003e – where they’ve figured out all the avenues in which they can take control, and put things out the way they want to, with the people they choose, in their own studio and through their own label. For an album that wrestles so much with the out-of-control nature of being alive, it meets the duo at a time where, finally, they actually have complete control over what Sylvan Esso can be.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAcross the album is the spirit of chaos – for example, \u003c\/span\u003e\u003cspan\u003eOw ∞ \u003c\/span\u003e\u003cspan\u003efeatures six different drummers in total in TJ Maiani, Joe Westerlund, Glenn Kotche, Jake Luppen, Jenn Wasner, and Sanborn himself, with some tracks featuring several different drum tracks mixed together at once. A large chunk of the record was born from improvisation, hours spent at Betty’s finding grooves with percussionist TJ Maiani, bassist Daniel Aged, and Sanborn on synths, Meath trying out vocals over it. They made 5-10 songs a day, filling a hard drive with ideas – some of it stuck, like the earlier-released standalone single “KEEP ON,” or Ow ∞’s “Right to Left,” but some of it was just a seedling for other songs – like the hypnotic “On and On,” which wrote itself nearly immediately after the band dipped back into the file with trusted collaborators Jenn Wasner and and Jake Luppen. James Mapley-Brittle of GRRL, a prolific producer and musician with whom Sanborn has collaborated over the years, also played a pivotal role in the album, acting as the glue to hold so many disparate ideas together – each day in the studio he discovered something new, blowing up tracks and then abandoning that work, a constant and restless reimagining. There’s remnants of a ghost band across this record – nothing was sacred, which made it more fun. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“One of my favorite ways of producing in general is to come up with an idea and then take out a third of it,” Meath explains. “One, it makes things interesting and exciting, but also it makes your ear ask a question. And it kind of forces the listener to be creative as well. To try to fill that space with something, which I find as a listener to be really exciting and interesting. Particularly with pop music, because it's all about fulfilling a promise. You know this melodic structure, you know, we're going to the four here. Like, \u003c\/span\u003e\u003cspan\u003enot \u003c\/span\u003e\u003cspan\u003edoing it is always the thing that makes people fall in love with a song or a person.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLike renting an apartment that’s been rented over and over again for decades, taking a knife and slicing through the Landlord Special to excavate the paint and wallpaper underneath – the key here was choosing how deep to go, what to keep and what to peel away. \u003c\/span\u003e\u003cspan\u003eOw ∞ \u003c\/span\u003e\u003cspan\u003eis covered in something like patina, or jpeg artifacts, tree rings of bands and versions of the songs excavated and built into an ornate uncanny valley architecture. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn album opener, “Entertainment \u0026amp; Coca-Cola” a peculiar anthem and fitting introduction to the new world Sylvan Esso inhabits. Meath’s voice is pitched down, awash in blue and dive bar lights, the violence and commerce of the American dream, buoyed by a chorus of North Carolina crickets captured on an iPhone voice memo when Meath first wrote the song. But we zoom out in other parts – the raucousness of “Sledge,” the meandering ennui of “Flood Season,” the medieval-skewing “Plastic Sword,” we’re faced with the angel of death – a sort of biblical sprawling backdrop of destruction, but they make just as much sense with the songs that feel personal. The punchy, punked up summer anthem of “Hot Slob,” or the Sigur Rós sample on “Concrete Glen,” a band that soundtracked a lot of Meath’s childhood kissing. Or the undulating “Jessica,” which feels akin to being submerged in water, eyes open, blinking through the pain to see what lies beneath. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I guess what I can say is that living hurts forever, and then it stops,” Meath says. “But also it’s a little silly. And that’s how I feel. If you’re going to keep participating in the world, and in your life, you have to commit to being hurt. And if you aren't putting yourself in the way of potential hurt, you miss out on a lot of potential opportunities. So in some ways it’s like a rallying cry, saying ‘I’m gonna get hurt forever, and that’s okay.’”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Default Title","offer_id":53119699321141,"sku":"PSY069cd-DLX","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/APD_SylvanEsso_Ow70_Square.jpg?v=1784572361"},{"product_id":"ow","title":"Sylvan Esso - Ow ∞ (Deluxe Digital Download)","description":"\u003cp\u003e\u003cem\u003eStandard digital edition, plus stems, instrumentals, digital lyric booklet, exclusive images, print-out posters, and more.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThis is a digital download, and the ZIP folder of all files will be sent to your email when the album is released on September 11, 2026. Pre-release singles can also be delivered upon request.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eOw ∞ is a trust fall. It’s yes, and – . It exists in spite of – it’s messy and hellish and free, a scotch-tape collage of memories, ephemera, Y2K-era burned CDs and backseat makeouts. It’s an invitation to the party, one riddled with ecstatic joy and failures and second \/ third \/ fourth adolescences, cities under water or on fire, our dystopian present and past and future, arms wide open to meet it, to embrace and absorb the Pain, in all its forms, vomited out into something strange and new.\u003c\/p\u003e\n\u003cp\u003eOn their new album, Sylvan Esso metabolizes a life of making music with people into making art that you just love, a tactile and enveloping freefall. Across their life as a band Amelia Meath and Nick Sanborn have made songs from a tightrope, a central tension at the core of their songwriting from which everything else spiraled, a push-and-pull of the physical and existential, a dance floor to a dark corner, cerebral and instinctual – and here, finally, unleashed into something that is free. \u003c\/p\u003e\n\u003cp\u003eWritten across four years in the woods in Chapel Hill, the longest the band has ever spent writing a record, Ow ∞ arrives with an intense immediacy. Most of the tracks here are Meath’s first vocal takes, and the clarity and humanness of her singular voice anchors the album in something real. It was born from a time of experimentation and collaboration, resulting in a sinewy, punchy, explosive work where the songs want to claw their way out. A technicolor totem of personal destruction, the feeling of being pummeled to silly putty and built back into something that feels almost human, almost familiar but freakish and new – a cartoonish, slapstick grin printed across a ruin. Ow ∞ marks the first time Sylvan Esso has gotten comfortable with the fact that they are doing this – where they’ve figured out all the avenues in which they can take control, and put things out the way they want to, with the people they choose, in their own studio and through their own label. For an album that wrestles so much with the out-of-control nature of being alive, it meets the duo at a time where, finally, they actually have complete control over what Sylvan Esso can be.\u003c\/p\u003e\n\u003cp\u003eAcross the album is the spirit of chaos – for example, Ow ∞ features six different drummers in total in TJ Maiani, Joe Westerlund, Glenn Kotche, Jake Luppen, Jenn Wasner, and Sanborn himself, with some tracks featuring several different drum tracks mixed together at once. A large chunk of the record was born from improvisation, hours spent at Betty’s finding grooves with percussionist TJ Maiani, bassist Daniel Aged, and Sanborn on synths, Meath trying out vocals over it. They made 5-10 songs a day, filling a hard drive with ideas – some of it stuck, like the earlier-released standalone single “KEEP ON,” or Ow ∞’s “Right to Left,” but some of it was just a seedling for other songs – like the hypnotic “On and On,” which wrote itself nearly immediately after the band dipped back into the file with trusted collaborators Jenn Wasner and and Jake Luppen. James Mapley-Brittle of GRRL, a prolific producer and musician with whom Sanborn has collaborated over the years, also played a pivotal role in the album, acting as the glue to hold so many disparate ideas together – each day in the studio he discovered something new, blowing up tracks and then abandoning that work, a constant and restless reimagining. There’s remnants of a ghost band across this record – nothing was sacred, which made it more fun. \u003c\/p\u003e\n\u003cp\u003e“One of my favorite ways of producing in general is to come up with an idea and then take out a third of it,” Meath explains. “One, it makes things interesting and exciting, but also it makes your ear ask a question. And it kind of forces the listener to be creative as well. To try to fill that space with something, which I find as a listener to be really exciting and interesting. Particularly with pop music, because it's all about fulfilling a promise. You know this melodic structure, you know, we're going to the four here. Like, not doing it is always the thing that makes people fall in love with a song or a person.”\u003c\/p\u003e\n\u003cp\u003eLike renting an apartment that’s been rented over and over again for decades, taking a knife and slicing through the Landlord Special to excavate the paint and wallpaper underneath – the key here was choosing how deep to go, what to keep and what to peel away. Ow ∞ is covered in something like patina, or jpeg artifacts, tree rings of bands and versions of the songs excavated and built into an ornate uncanny valley architecture. \u003c\/p\u003e\n\u003cp\u003eOn album opener, “Entertainment \u0026amp; Coca-Cola” a peculiar anthem and fitting introduction to the new world Sylvan Esso inhabits. Meath’s voice is pitched down, awash in blue and dive bar lights, the violence and commerce of the American dream, buoyed by a chorus of North Carolina crickets captured on an iPhone voice memo when Meath first wrote the song. But we zoom out in other parts – the raucousness of “Sledge,” the meandering ennui of “Flood Season,” the medieval-skewing “Plastic Sword,” we’re faced with the angel of death – a sort of biblical sprawling backdrop of destruction, but they make just as much sense with the songs that feel personal. The punchy, punked up summer anthem of “Hot Slob,” or the Sigur Rós sample on “Concrete Glen,” a band that soundtracked a lot of Meath’s childhood kissing. Or the undulating “Jessica,” which feels akin to being submerged in water, eyes open, blinking through the pain to see what lies beneath. \u003c\/p\u003e\n\u003cp\u003e“I guess what I can say is that living hurts forever, and then it stops,” Meath says. “But also it’s a little silly. And that’s how I feel. If you’re going to keep participating in the world, and in your life, you have to commit to being hurt. And if you aren't putting yourself in the way of potential hurt, you miss out on a lot of potential opportunities. So in some ways it’s like a rallying cry, saying ‘I’m gonna get hurt forever, and that’s okay.’”\u003c\/p\u003e","brand":"Single Music","offers":[{"title":"Default Title","offer_id":53157685625141,"sku":"PSY069-DIGITALDLX","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/artwork57b44fb6-88a7-46b1-be3e-1f46fe6dbbb9-LARGE.jpg?v=1784220702"},{"product_id":"sylvan-esso-gherk-shirt","title":"Sylvan Esso - Gherk Shirt","description":"\u003cp\u003e\u003cem\u003eLimited edition Ow ∞ shirt, featuring Gherkin, the dog. Black embroidered thread on white on \u003ca href=\"https:\/\/ascolour.com\/box-tee-5030\/\" rel=\"noopener\" target=\"_blank\"\u003eAS Colour Box\u003c\/a\u003e blanks and only available online. Illustration by Eric Timothy Carlson.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eImages provided are mockups and may differ slightly in color and size compared to the final product.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Psychic Hotline","offers":[{"title":"Small","offer_id":53191163543861,"sku":"GHERK-shirt-S","price":30.0,"currency_code":"USD","in_stock":false},{"title":"Medium","offer_id":53191163576629,"sku":"GHERK-shirt-M","price":30.0,"currency_code":"USD","in_stock":true},{"title":"Large","offer_id":53191163609397,"sku":"GHERK-shirt-L","price":30.0,"currency_code":"USD","in_stock":true},{"title":"X-Large","offer_id":53191163642165,"sku":"GHERK-shirt-XL","price":30.0,"currency_code":"USD","in_stock":false},{"title":"2X-Large","offer_id":53191163674933,"sku":"GHERK-shirt-2X","price":30.0,"currency_code":"USD","in_stock":false},{"title":"3X-Large","offer_id":53191163707701,"sku":"GHERK-shirt-3X","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0811\/2514\/6933\/files\/GherkinShirtSquareWeb_7b4c62a2-a6d5-4bca-b643-0198d63915ab.jpg?v=1784636131"}],"url":"https:\/\/psychic-hotline.myshopify.com\/collections\/sylvan-esso.oembed?page=2","provider":"Psychic Hotline","version":"1.0","type":"link"}