The second full length LP from the Canadian indie rock band Wolf Parade, an indie rock band from Victoria, British Columbia, Canada, now based in Quebec.
Their mesmeric rock formula with lived-in intuition and collage-like composition, delivering jagged, experimental songs that feel both spontaneous and meticulously perfected.
To celebrate the 10th anniversary of the now legendary album 'Public Strain', Women are releasing a special limited edition clear vinyl pressing of the album and a new five-song collection of material titled 'Rarities 2007-2010.' 2020
The fourth installment of the highly-acclaimed series 'Burst & Decay.' The album features special guest appearances from Knuckle Puck, Sweet Pill, and Origami Angel & Little Kruta String Ensemble and is led by brand new song "Junebug".
The Hum Goes On Forever is one for The Wonder Years' fans, for anyone who listens, anyone who needs it, everyone who's grown up with the band and has sought, and continues to seek, refuge in their songs.
Delivering everything from swing jazz and twee indie pop to pseudo-mariachi and waltz, these sounds and their accompanying bizarre lyrics come together to match the existential title, "Everything is a Lot."
Will Wood and the Tapeworms make Self-ish feel like a carnival ride with the brakes cut. Screams, theremin, kazoo, power tools, and shattered furniture all orbit a strangely precise pop brain.
Will Wood’s In Case I Make It on 2LP, inferno marble blend indie exclusive. A quieter, chamber-pop turn from his catalog, full of theatrical, intimate songs; features the viral cut 'The Main Character'.
Predominantly known as the musical genesis of eventual home 4-track folk pioneer Linda Smith, The Woods' organically experimental blend of folk style and pop sensibilities.
"Mythology" picks up the pieces left shattered by their previous double-album "Chart For The Solution" and reconnects the broken shards together like Kintsugi, the ancient Japanese technique for mending broken ceramics, infusing the breaks with powdered g
The two biggest constants throughout Xiu Xiu's catalog are honesty and evolution. This remains true with Dear God, I Hate Myself as it delivers a look at responsibility, fear, healing, and societal roles wrapped in rich gothic pop music.
The record blends avant-garde noise, lo-fi electronics, post-punk angularity, and fragile folk melodies into an unsettling but deeply personal soundscape
