Phoebe Bridgers Punisher LP (Vinyl)
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& lt;p & gt; & lt;strong & gt;Second Solo Album On Vinyl LP! & lt;br & gt;
Features Julien Baker, Lucy Dacus, Conor Oberst, Blake Mills, Jim Keltner & amp; More! & lt;/strong & gt; & lt;/p & gt;
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& lt;p & gt; & lt;strong & gt;TAS Rated 4/5 Music, 4/5 Sonics in the October 2020 Issue of The Absolute Sound! & lt;/strong & gt; & lt;/p & gt;
& lt;p & gt; & lt;strong & gt;One Of TAS' Ten Best Rock Albums of 2020! & lt;/strong & gt; & lt;/p & gt;
& lt;p & gt; & lt;strong & gt;Rolling Stone's The 50 Best Albums of 2020 - Rated 10/50! & lt;br & gt;
Consequence of Sound's Top 50 Albums Of 2020 - Rated 3/50! & lt;br & gt;
NPR's The 50 Best Albums Of 2020 - Rated 4/50! & lt;br & gt;
Paste's The 50 Best Albums Of 2020 - Rated 14/50! & lt;/strong & gt; & lt;/p & gt;
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& lt;p & gt; & lt;strong & gt;2021 Grammy Award Nominee: & lt;/strong & gt; & lt;br & gt;
& amp;#8226; Best New Artist: Phoebe Bridgers & lt;br & gt;
& amp;#8226; Best Rock Performance: & quot;Kyoto & quot; & lt;br & gt;
& amp;#8226; Best Rock Song: & quot;Kyoto & quot; & lt;br & gt;
& amp;#8226; Best Alternative Music Album: Punisher & lt;/p & gt;
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& lt;p & gt;Phoebe Bridgers doesn't write love songs as much as songs about the impact love can have on our lives, personalities, and priorities. Punisher, her fourth release and second solo album, is concerned with that subject. To say she writes about heartbreak
is to undersell her blue wisdom, to say she writes about pain erases all the strange joy her music emanates. The arrival of Punisher cements Phoebe Bridgers as one of the most clever, tender and prolific songwriters of our era. Bridgers is the rare
artist with enough humor to deconstruct her own meteoric rise. & lt;/p & gt;
& lt;p & gt;Repeatedly praised by publications like The New Yorker, The New York Times, GQ, Pitchfork, The Fader, The Los Angeles Times and countless others, Bridgers herself is more interested in discussing topics on Twitter, deadpanning meditations on the humiliating
process of being a person, she presents a sweetly funny flipside to the strikingly sad songs she writes. Fittingly, Punisher is fascinated with, and driven by, that kind of impossible tension. Whether it's writing tweets or songs, Bridgers' singular
talent lies in bringing fierce curiosity to slimy and painful things, interrogating them until they yield up answers that are beautiful and absurd, or faithfully reporting the reality that, sometimes, they are neither. & lt;/p & gt;
& lt;p & gt;Bridgers pulls together a formidable crew of guests, including & lt;strong & gt;Julien Baker & lt;/strong & gt;, & lt;strong & gt;Lucy Dacus & lt;/strong & gt;, & lt;strong & gt;Christian Lee Hutson & lt;/strong & gt; and & lt;strong & gt;Conor Oberst & lt;/strong & gt; as well as & lt;strong & gt;Nathaniel Walcott (of Bright Eyes) & lt;/strong & gt;,
& lt;strong & gt;Nick Zinner (of the Yeah Yeah Yeahs) & lt;/strong & gt;, & lt;strong & gt;Jenny Lee Lindberg (of Warpaint) & lt;/strong & gt;, & lt;strong & gt;Blake Mills & lt;/strong & gt; and & lt;strong & gt;Jim Keltner & lt;/strong & gt; as well as her longtime bandmates Marshall Vore (drums), Harrison Whitford (guitar),
Emily Retsas (bass) and Nick White (keys). The album was mixed by Mike Mogis, who also mixed Bridgers' 2017 debut studio album, Stranger In The Alps. & lt;/p & gt;
& lt;p & gt;On the album's epic, freewheeling closer, & quot;I Know The End & quot;, Bridgers orchestrates wails and horns, drums and electric guitar into a sumptuous doomsday swirl, culminating in her own final whispered roar. This is Punisher in a nutshell: devastating elegance
punctuated by a moment of deeply campy self-awareness. & lt;/p & gt;
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Her voice is delicate and vulnerable, casting a spell on top of moody, sparsely arranged, ambient tunes. The title track is a dream-pop gem that recalls growing up in suburban L.A.; it could have been penned by an indie-pop Joan Didion, seeking meaning in the popular culture of a drugstore aisle. The haunting 'Halloween' muses on self-identity. 'Graceland Too' is an Americana-inflected, MDMA-inspired meditation on self-destructive impulses. The explosive psych-tinged closer, 'I Know the End,' considers growing up under the cloud of the apocalypse - the final notes are Bridgers gasping for breath. Life's big issues permeate Punisher, but take solace in being in the company of a fellow traveler.
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-Greg Cahill, The Absolute Sound, October 2020, Music 4/5, Sonics 4/5
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Bridgers is a master of curating her innermost thoughts into clever, and at times devastating, one-liners, and Punisher is full of them. The songs are specific, sometimes incredibly specific (See: 'We fought about John Lennon/ Until I cried/ And then went to bed upset' on 'Moon Song'), and yet every song's meaning stands solid outside of its individual story. Punisher is so many things; it's funny, it's dark, it's dreamy and reflective, and yet remains rooted in Bridgers' experience as someone in her twenties with insight beyond her years. Punisher broke the curse of the sophomore slump and cemented Bridgers' place as the indie-rock poet for twentysomethings who continue to date people they don't actually like.
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-Jennifer Irving, Consequence of Sound Top 50 Albums Of 2020 - Rated 3/50
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Her sophomore album Punisher cements what may be Phoebe Bridgers' most understated gift of all: her seemingly innate ability to capture the mundanity of modern sadness in song. Tucked in among the record's memorable melodies, clever arrangements and impressive guests are a steady stream of details that lend plainspoken perspective to Bridgers' emotional highs and (mostly) lows. These kinds of details ground her work in the same way shading makes a still life painting pop. They make them feel not just sad, but real.
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-Ben Salmon, Paste Magazine The 50 Best Albums Of 2020 - Rated 14/50
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Throughout, Punisher is a rich, roiling stunner.
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-Stephen Thompson, NPR The 50 Best Albums Of 2020 - Rated 4/50
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Every track sparks an emotional charge, as her sharp songwriting spins tales of nautical-themed birthday parties ('Moon Song'), shedding crocodile tears in a car ('Savior Complex'), and feeling, well, nothing ('Chinese Satellite'). Only Bridgers would place a stunning folk song like 'Graceland Too' next to the epic Wizard of Oz tornado that is 'I Know the End,' but that kind of mad genius energy is her hallmark.
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-Rolling Stone, The 50 Best Albums of 2020, Rated 10/50
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& lt;h4 & gt;Side A: & lt;/h4 & gt;
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& lt;li & gt;DVD Menu & lt;/li & gt;
& lt;li & gt;Garden Song & lt;/li & gt;
& lt;li & gt;Kyoto & lt;/li & gt;
& lt;li & gt;Punisher & lt;/li & gt;
& lt;li & gt;Halloween & lt;/li & gt;
& lt;li & gt;Chinese Satellite & lt;/li & gt;
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& lt;h4 & gt;Side B: & lt;/h4 & gt;
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& lt;li & gt;Moon Song & lt;/li & gt;
& lt;li & gt;Savior Complex & lt;/li & gt;
& lt;li & gt;ICU & lt;/li & gt;
& lt;li & gt;Graceland Too & lt;/li & gt;
& lt;li & gt;I Know The End & lt;/li & gt;
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Bright Eyes Down In The Weeds, Where The World Once Was 2LP (Vinyl)
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& lt;p & gt; & lt;strong & gt;Bright Eyes Return With First Album In Over 9 Years On Double LP! & lt;br & gt;
Includes Side 4 Phenakistoscope Etching! & lt;/strong & gt; & lt;/p & gt;
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& lt;p & gt;Sometimes it feels like you hear a Bright Eyes song with your whole body. From Conor Oberst's early recordings in an Omaha basement in 1995 all the way up to 2020, Bright Eyes' music tries to unravel the impossible tangles of dissent: personal and political,
external and internal. It's a study of the beauty in unsteadiness in all its forms - in a voice, beliefs, love, identity, and what fills up the spaces in-between. And in so many ways, it's just about searching for a way through. & lt;/p & gt;
& lt;p & gt;The year 2020 is full of significant anniversaries for Bright Eyes. Fevers And Mirrors was released 20 years ago this May, while Digital Ash In A Digital Urn and I'm Wide Awake It's Morning both turned 15 in January. The latter, a singer-songwriter tour-de-force
released amidst the Bush presidency and Iraq war, wades through incisive anti-war rhetoric and micro, intimate calamities. On the title track and throughout the record, Oberst sings about body counts in the newspaper, televised wars, the bottomless
pit of American greed, struggling to understand the world alongside one's own turmoil. In its own way, I'm Wide Awake It's Morning carved out its place in the canon of great anti-war albums by being both present and prophetic, its urgency enduring 15
years later. & lt;/p & gt;
& lt;p & gt;In 2011 the release of The People's Key, Bright Eyes' ninth and most recent album, ushered in an unofficial hiatus for the beloved project. In the time since, the work of the band's core members - Oberst, multi-instrumentalist Mike Mogis, and multi-instrumentalist
Nathaniel Walcott - has remained omnipresent, through both the members' original work and collaboration. In recent years, Mogis produced records for beloved folk acts First Aid Kit and Joseph, among others, as well as mixed the fine-spun ennui of Phoebe
Bridgers' breakthrough 2017 debut, Stranger in the Alps. Mogis and bandmate Walcott also teamed up to write the original scores for The Fault In Our Stars, Stuck In Love, and Lovely Still, and Walcott worked as a solo composer scoring number of independent
feature-length films. Walcott spent extensive time on collaboration; in addition to his arrangement work for Mavis Staples, First Aid Kit, and M. Ward, he contributed studio work to artists ranging from U2 to jazz guitarist Jeff Parker, and also toured
heavily as a member of the Red Hot Chili Peppers. & lt;/p & gt;
& lt;p & gt;Oberst, who's nearly 30 years into a prolific musical career, spent the last decade in similarly productive fashion. Across three years he released a string of solo albums: Salutations (2017), Ruminations (2016), and Upside Down Mountain (2014), as well
as guested on records by First Aid Kit, Phoebe Bridgers, and Alt-J. His punk band, Desaparecidos, emerged from a 13-year hiatus in 2015 with the thunderous sophomore LP, Payola, a white-knuckled disarray of hollered political fury. And at the top of
2019, Oberst and Bridgers debuted their new band, Better Oblivion Community Center. & lt;/p & gt;
& lt;p & gt;The heart at Bright Eyes' songwriting still looms culturally, in films and TV shows and through re-imaginings by other artists. Mac Miller covered both & quot;Lua & quot; and & quot;First Day Of My Life & quot;; Lorde's version of the penultimate The People's Key track, the funereal-waltz
& quot;Ladder Song & quot;, was a focal point of The Hunger Games' soundtrack; The Killers covered & quot;Four Winds & quot; for their Spaceman EP; and Lil Peep's & quot;Worlds Away & quot; samples & quot;Something Vague & quot; while Young Thug's & quot;Me Or Us & quot; samples & quot;First Day Of My Life. & quot; & lt;/p & gt;
& lt;p & gt;Bright Eyes' expansive catalog has traversed genre, sound, and countless players; unpolished demos or fuzzy folk, electrified rock or country twang. The sharp songwriting and musicianship is all anchored in Bright Eyes' singular ability to flip deep intimacy
into something universal. For so many, for so long, listening to Bright Eyes has been like hearing yourself in someone else's song - a moment of understanding or illumination, knowing you're on the same team looking for a way to move through of all
this shit. & lt;/p & gt;
& lt;p & gt;And while 2020 is a year of milestones for the band, it's also the year Bright Eyes returns, newly signed to indie label Dead Oceans. Amidst the current overwhelming uncertainty and upheaval of global and personal worlds, Oberst, Mogis, and Walcott reunited
under the moniker as both an escape from, and a confrontation of, trying times. Getting the band back together felt right, and necessary, and the friendship at the core of the band has been a longtime pillar of Bright Eyes' output. For Bright Eyes,
this long-awaited re-emergence feels like coming home. & lt;/p & gt;
& lt;p & gt; & lt;strong & gt;Side D contains an animated phenakistoscope etching by Drew Tetz. Viewable from a camera by placing the disc on the turntable under direct light. Viewable to the naked eye through the use of a strobe. & lt;/strong & gt; & lt;/p & gt;
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& lt;li & gt;Double LP & lt;/li & gt;
& lt;li & gt;3 sides of music & lt;/li & gt;
& lt;li & gt;Side D contains an animated phenakistoscope etching & lt;/li & gt;
& lt;li & gt;2-inch die cut hole through the entire package revealing the LPs from both sides & lt;/li & gt;
& lt;li & gt;4-panel lyric booklet & lt;/li & gt;
& lt;li & gt;Limited time download & lt;/li & gt;
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& lt;h4 & gt;Side A: & lt;/h4 & gt;
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& lt;li & gt;Pageturners Rag & lt;/li & gt;
& lt;li & gt;Dance And Sing & lt;/li & gt;
& lt;li & gt;Just Once In The World & lt;/li & gt;
& lt;li & gt;Mariana Trench & lt;/li & gt;
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& lt;h4 & gt;Side B: & lt;/h4 & gt;
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& lt;li & gt;One And Done & lt;/li & gt;
& lt;li & gt;Pan And Broom & lt;/li & gt;
& lt;li & gt;Stairwell Song & lt;/li & gt;
& lt;li & gt;Persona Non Grata & lt;/li & gt;
& lt;li & gt;Tilt-A-Whirl & lt;/li & gt;
& lt;li & gt;Hot Car In The Sun & lt;/li & gt;
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& lt;li & gt;Forced Convalescence & lt;/li & gt;
& lt;li & gt;To Death's Heart (In Three Parts) & lt;/li & gt;
& lt;li & gt;Calais To Dover & lt;/li & gt;
& lt;li & gt;Comet Song & lt;/li & gt;
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& lt;h4 & gt;Side D: & lt;/h4 & gt;
& lt;p & gt;Etching & lt;/p & gt;
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Mitski Laurel Hell LP (Vinyl)
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& lt;p & gt;Coming February 4, 2022 pre-order your copy today! Orders with both pre-order and in stock items will have all in stock items shipped immediately! & lt;/p & gt;
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& lt;p & gt; & lt;strong & gt;Singer/Songwriter's Sixth Album On Vinyl LP! & lt;br & gt;
Featuring & quot;The Only Heartbreaker & quot; Co-Written With Semisonic's Dan Wilson! & lt;/strong & gt; & lt;/p & gt;
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& lt;p & gt;We don't typically look to pop albums to answer our cultural moment, let alone to meet the soul hunger left in the wake of global catastrophe. But occasionally, an artist proves the form more malleable and capacious than we knew. With Laurel Hell, Mitski
cements her reputation as an artist in possession of such power - capable of using her talent to perform the alchemy that turns our most savage and alienated experiences into the very elixir that cures them. & lt;/p & gt;
& lt;p & gt;Mitski's critically beloved last album, Be The Cowboy, built on the breakout acclaim of 2016's Puberty 2 and launched her from cult favorite to indie star. She ascended amid a fever of national division, and the grind of touring and pitfalls of increased
visibility influenced her music as much as her spirit. & lt;/p & gt;
& lt;p & gt;Like the mountain laurels for which this new album is named, public perception, like the intoxicating prism of the internet, can offer an alluring fa & amp;#231;ade that obscures a deadly trap-one that tightens the more you struggle. Exhausted by this warped mirror,
and our addiction to false binaries, she began writing songs that stripped away the masks and revealed the complex and often contradictory realities behind them. She wrote many of these songs during or before 2018, while the album finished mixing in
May 2021. It is the longest span of time Mitski has ever spent on a record, and a process that concluded amid a radically changed world. & lt;/p & gt;
& lt;p & gt;She recorded Laurel Hell with her longtime producer Patrick Hyland throughout the isolation of a global pandemic, during which some of the songs & quot;slowly took on new forms and meanings, like seed to flower. & quot; The album as a whole evolved & quot;to be more uptempo
and dance-y. I needed to create something that was also a pep talk, & quot; Mitski explains. The tension that emerges between her refined but plaintive lyrics and the effervescent 1980s sound is a desperately needed infusion, and the work of a mature artist:
an album that delivers nuanced profundity on a current of contagious dance beats. It is irresistible. & lt;/p & gt;
& lt;p & gt;Sometimes it's hard to see the change when you're the agent of it, but for the lucky rest of us, Mitski has written a soundtrack for transformation, a map to the place where vulnerability and resilience, sorrow and delight, error and transcendence can
all sit within our humanity, can all be seen as worthy of acknowledgment, and ultimately, love. & lt;/p & gt;
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& lt;li & gt;Valentine, Texas & lt;/li & gt;
& lt;li & gt;Working For The Knife & lt;/li & gt;
& lt;li & gt;Stay Soft & lt;/li & gt;
& lt;li & gt;Everyone & lt;/li & gt;
& lt;li & gt;Heat Lightning & lt;/li & gt;
& lt;li & gt;The Only Heartbreaker & lt;/li & gt;
& lt;li & gt;Love Me More & lt;/li & gt;
& lt;li & gt;There's Nothing Left For You & lt;/li & gt;
& lt;li & gt;Should've Been Me & lt;/li & gt;
& lt;li & gt;I Guess & lt;/li & gt;
& lt;li & gt;That's Our Lamp & lt;/li & gt;
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