Ships - 7/25/25 - Brooding and atmospheric, with a plaintive lead vocal from Virgil Johnson, “You Can't Blame Me” was a hit throughout the Midwest and much of the East Coast.
After three albums of reverberated guitar wandering he takes a turn towards the kosmiche. Two side-long synth explorations transport the listener to the avocado hues of 1974, expanding consciousness one oscillation at a time
You know Dolly, Loretta, Tammy, and Bobbie-but what about Joyce, Mona, Cathy or Judy? Barnyard Beehive lassos 16 Opry hopefuls from across the Numeroverse, corralling the timeless tropes of eartbreak, trouble, and the bottle into one 12" pen.
The final recordings by Annapolis early emo pioneers The Hated, Flux compiles their 1989 acoustic and electric sessions, home demos, and live shards from their extensive archive.
The ethereal third album from Texas's slowcore first wavers. A lethargic, sparse, and autumnal album, The Golden Band is where The American Analog Set developed the courage to drive 40 KPH on the autobahn.
The cutest comp ever comprised of perfect pop tunes sung by no-name teenage girls. This record has become a staple in my collection for it's cleverness, tenderness and occasional oddness.
Rounding out emo's second wave Indian Summer out of the Bay Area only lasted for 12 months and only wrote 10 songs but left a lasting pissed off legacy
This previously unissued soundtrack contains a backpack’s worth of grieving guitars, somber surf, and haunting hiss, zipped tight with the teeth of abandonment, dashed dreams, moral ambiguity, fate, tearful goodbyes, and lukewarm diner coffee.
Just as Duster’s landmark debut album Stratosphere was making its first orbit, Clay Parton, Dove Amber, and Jason Albertini tracked a largely improvised companion capsule, an ode to ’70s Kosmische - a skeletal space nap for the prozac generation
15 Funky Honeys straight from the cone. A crate staple for any lover of feminine funk, Beehive Breaks gathers 15 sultry singles from across the Numero-verse.
Queen of the Norfolk Sound, Barbara Stant was a teenager when she auditioned for Shiptown impresario Noah Biggs in 1970. By 1978 disco was in overdrive, Noah Biggs was in the ground, and Stant's career on hold. My Mind Holds Onto Yesterday is what remains
London's V4 Visions imprint documented the confluence of street soul, deep house, swingbeat, and jungle sounds emanating from the clubs and pirate radio signals. This 18-track double LP is the first critical overview of the label.
Daddies don’t always come home for Christmas. From the snow-covered plains of Wisconsin’s Driftless region to the palm-lined avenues of Los Angeles, the loneliness of the holidays is a universal theme, best expressed by tear-in-the-beer country music hope
