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Lost In The Trees

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  • A Church That Fits Our Needs A Church That Fits Our Needs Quick View

    $19.99
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    A Church That Fits Our Needs

    A Church That Fits Our Needs, the second album by North Carolina group Lost In The Trees, is underway, announcing itself as a work of vaulting ambition, a cathedral built on loss and transformation. In the summer of 2009, Ari Picker, writer, composer and architect of the band, lost his mother, an artist in her own right, when she took her own life. Picker was in the midst of releasing his bands debut album, All Alone in an Empty House, a collection of folk-inflected songs that surprised with its orchestral arrangements, to an acclaim usually reserved for seasoned veterans: both heart wrenching and beautiful, said Paste, while the Huffington Post called the album spellbinding in its musical ambition, touching in its intimacy, and often overwhelming in its emotional honesty. Picker took the loss of his mother and set about transforming the events into a tribute, composing, writing lyrics, his mothers picture above his writing desk: the same picture that now graces the albums cover. I wanted to give her a space, in the music, to be, and to become all the things she didnt get a chance to be when she was alive.


    The result is A Church That Fits Our Needs, an album that can stand beside musical journeys like Neil Youngs Tonights the Night and Bon Ivers For Emma, Forever Ago. Pickers astonishing voice, an instrument that veers from Carl Wilsons emotional purity to the otherworldly abstractions of Thom Yorke, opens our window into this intensely emotional music. While this might sound like a somber affair, A Church That Fits Our Needs is anything but. Picker, a classically trained composer, has Shostakovich and Stravinsky at his fingertips, but the music on this album speaks just as much to his love of Phil Spector and old film scores. Above all this is pop music, in the way that A Day In the Life or Radioheads No Surprises are pop music, seeking to present complex ideas to the widest possible audience. This is the album Picker set out to make, a celebration of the woman he calls a warrior, and a testament to the power of music to heal and transcend.

    1. Moment One
    2. Neither Here Nor There
    3. Red
    4. Golden Eyelids
    5. Icy River
    6. Tall Ceilings
    7. Moment Two
    8. This Dead Bird Is Beautiful
    9. Garden
    10. Villain (Ill Stick Around)
    11. An Artists Song
    12. Vines
    Lost In The Trees
    $19.99
    Vinyl LP - Sealed Buy Now
  • All Alone In An Empty House All Alone In An Empty House Quick View

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    All Alone In An Empty House

    On All Alone In An Empty House, Lost In The Trees merges dramatic symphonic elements with the soaring melodies of American folk and modern pop, creating a sound that is simultaneously intimate and sonically ambitious. Working with North Carolina producer Scott Solter (The Mountain Goats, Superchunk, Spoon, St. Vincent), Ari Picker and company have created a maverick collection of beautiful soul baring music.
    1. All Alone in an Empty House
    2. Walk Around the Lake
    3. Mvt. 1 Sketch
    4. Song for the Painter
    5. Fireplace
    6. Love on My Side
    7. Wooden Walls of this Forest Church
    8. A Room Where Your Paintings Hang
    9. We Burn the Leaves
    10. Mvt. 2 Sketch
    11. For Leah and Chloe
    Lost In The Trees
    $19.99
    Vinyl LP - Sealed Buy Now
  • Digging In The Dust: Home Recordings 1976 Digging In The Dust: Home Recordings 1976 Quick View

    $17.99
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    Digging In The Dust: Home Recordings 1976

    Songwriter/guitarist Mark Fosson grew up in Kentucky, where he began writing songs while he was still in his early teens. In the late '70s he sent some song demos to John Fahey's West Coast-based Takoma Records, and Fahey, impressed with what he heard, offered Fosson a recording deal. Fosson lost no time in relocating to Los Angeles and began recording with Fahey, but as bad luck would have it, Takoma was in some difficulty, and the label soon folded. Fahey allowed Fosson to retain the master tapes of the sessions, however.


    Now located on the West Coast, Fosson met fellow songwriter Edward Tree, and the two began working together, eventually forming the Bum Steers, a country-tinged group, in the late '80s. Fosson material appeared on several soundtracks through the 1990s. In 2001 he began collaborating with singer/songwriter Lisa O'Kane, who recorded several of his songs, and Fosson also began recording a solo project, Jesus on a Greyhound, which was eventually released on Big Otis Records. The record drew positive reviews and Fosson was frequently compared to Americana artists like Ramblin' Jack Elliott, Joe Ely, John Prine, and Guy Clark.


    The Fahey material finally saw the light of day as The Lost Takoma Sessions from Drag City Records in 2006. His instrumental piece Another Fine Day is featured on the critically acclaimed Tompkins Square compilation Imaginational Anthem. Now Tompkins Square has put together more hard to come by but welcome material from this gifted artist with the collection Digging In The Dust: Home Recordings 1976, an 11-track set of home recordings Fosson made circa 1976.

    1. Quarter Moon
    2. Arrival of the Grand Picayune
    3. Cosmic Hiccup
    4. Frozen Fingers
    5. Gorilla Mountain
    6. Nancy's Waltz
    7. Sky Piece
    8. Back in the Saddle Again
    9. Chillicothe
    10. Frozen Fingers (alternate take)
    11. Quarter Moon (alternate take)
    Mark Fosson
    $17.99
    Vinyl LP - Sealed Buy Now
  • Past Life Past Life Quick View

    $19.99
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    Past Life


    Includes CD Of Full Album


    When Lost In The Trees set out to record Past Life, their
    third album for ANTI-, they knew they needed a break
    with the past. On their first two releases Picker had used an
    expanded six-member band to render his carefully composed,
    classical-inflected songs. For the new album, the band is pared
    to a lean electronic-rock four-piece; the arrangements are modern,
    spare, minimal, emphasizing groove and rhythm, blending the sonic architecture of 21st century electronic dance music, and the sensual swerve
    of post-Bowie 80s pop.


    The band made their next break with past practice by electing to work with
    an outside producer for the first time. Nicolas Vernhes, whose credits include
    breakthrough albums from Deerhunter, Dirty Projectors and Animal Collective, endorsed the band's new minimal aesthetic, and the
    question in the studio became, "How much can we strip
    away?" But fans that came to the band lured by the lush
    classicism of All Alone In An Empty House and A Church That
    Fits Our Needs (the Wall Street Journal's album of the year in 2012)
    will not be disappointed. The haunting lyricism of Picker's voice and
    melodies has not diminished in the new sparer approach, but instead rises
    to the fore, bringing out that timeless quality of the melodies that is the common
    ground of both folk and pop music. This pop quality, buried but always present
    in previous efforts, shines on Past Life; not pop in any trivial, retro sense, but the
    yearning lilt of Harry Nilsson or Mark Hollis, that floating melodicism that Relix
    found so "achingly beautiful."

    1. Excos
    2. Past Life
    3. Lady In White
    4. Daunting Friend
    5. Rites
    6. Wake
    7. Glass Harp
    8. Sun
    9. Night Walking
    10. Upstairs
    Lost In The Trees
    $19.99
    Vinyl LP + CD - Sealed Buy Now
  • Homey Homey Quick View

    $24.99
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    Homey

    Pressed On Opaque White Colored Vinyl

    Music is art, and CHON demonstrate exactly how colorful their art can be, with their new album "Homey." Some albums have the ability to whisk the listener(s) away to another place, much like a good book, film, or piece of fine art. CHON posses the magical powers to teleport listeners to a sunny beach, on a comfy lounge chair, under the shade of a swaying palm tree. Soak up the rays and get lost in CHON.

    1. Sleepy Tea
    2. Waterslide
    3. Berry Streets
    4. No Signal
    5. Checkpoint
    6. Nayhoo
    7. Here and There
    8. The Space
    9. Feel This Way
    10. Continue?
    11. Glitch
    12. Wave Bounce
    Chon
    $24.99
    Colored Vinyl LP - Sealed Buy Now
  • Parts Of Speech (Awaiting Repress) Parts Of Speech (Awaiting Repress) Quick View

    $17.99
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    Parts Of Speech (Awaiting Repress)

    From its first track, Dessa's new full-length Parts of Speech announces itself as something different. The Doomtree veteran and inveterate wordsmith - having proved her mettle in the fields of creative non-fiction, spoken-word and hip-hop - jettisons all genre expectations on "The Man I Knew" and croons a heartbreaking lament to a disintegrating relationship at an explosively-building clip.


    From this moment on Dessa - oft-described as "Mos Def plus Dorothy Parker" for the wit and flow shown off on previous solo albums A Badly Broken Code and Castor, The Twin - proves she has truly coalesced as an artist, transcending the restrictions of genre to reveal an astonishing multi-platform voice.


    "I wanted to investigate the idea that a cohesive record isn't always made cohesive by having twelve songs that sound the same. I figured when you make a mixtape for a friend, you can get away with a range of genres and a lot of dynamic change. Why can't I approach an album like that? The sequence has to be just right, and we worked hard to nail it, but the thing that holds this record together is the sensibility of the lyrics, rather than a uniform theme."


    Track two kicks off a stunning hat-trick of the record's standout numbers. "Call Off Your Ghost" is an admittedly haunting dirge on the "struggle for grace in the wake of a long relationship." An arena-sized chorus tucked into a melancholy lullaby, "Ghost" has that unique ability to perfectly soundtrack new love or bitter breakup at the same time.


    Dessa then puts her fists up for "Warsaw." The track boasts a beat like Azealia Banks playing Pacman, which provides a background for our emcee's confident, hypnotic flow. Narrative takes a backseat to mood here, as Dessa spits impressionistic one-ups like "I sleep with both eyes open, standing up," daring you to blink first.


    "Skeleton Key" contains Parts of Speech's mission statement: "I haven't met a locked door yet." An ode to female self-reliance that doesn't waste ambiance for message, the track plays like a great, lost M. Night Shyamalan movie, calling forth an era out of time in the story of a woman, a key and a bottomless reserve of courage.


    "This record involves multiple narratives. It explores the same themes of love, loss, connection and communion as a lot of my work, but the angle and lens through which they're explored sets this album apart from my previous ones. The production techniques were new for me too - we spent a lot of time crafting a record that could include live players, Doomtree production, and sometimes a blend of the two."


    While the album is born of Dessa's artistic vision, it benefits from the collaboration of her varied friends. Parts of Speech owes much of its impact to its diverse production. Dessa got her start as a member of Minneapolis hip-hop collective Doomtree - eventually going on to help manage the group's business affairs as they launched their own label - and members Lazerbeak and Paper Tiger lend their production to several tracks.


    The players in Dessa's live ensemble all contributed to the record, as did several top-flight Minneapolis musicians working in rock, folk, and opera. She even enlisted a cellist she found on Pandora to make the gorgeously-layered foundation of penultimate track "It's Only Me."

    1. The Man I Knew
    2. Call Off Your Ghost
    3. Warsaw
    4. Skeleton Key
    5. Dear Marie
    6. I'm Going Down
    7. Fighting Fish
    8. The Lamb
    9. Beekeeper
    10. Annabelle
    11. It's Only Me
    12. Sound the Bells
    Dessa
    $17.99
    Vinyl LP - LP Sealed AWAITING REPRESS Buy Now
  • EarthEE EarthEE Quick View

    $17.99
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    EarthEE

    THEESatisfaction's EarthEE is the follow up to awE naturalE, the alternative
    R&B group's critically acclaimed debut. EarthEE was recorded in Seattle and
    Brooklyn, and features guest appearances from Shabazz Palaces, Meshell
    Ndegeocello, Porter Ray and Taylor Brown. EarthEE was produced by
    THEESatisfaction and Erik Blood at Protect and Exalt Studios: A Black Space and
    mastered by Adam Straney at BreakPoint Mastering in Seattle.


    "Igbo beaded mail, Dinkan Scarification, Ashanti repetitive leaping. It all

    bounces. So too should you

    Neo-Ancient Nubian aphorism.

    Once in Time, in an emerald veld of near solitude, Two met.

    One Cat and One Stas. Born under different signs. Destined to shine under

    the same moons.

    They agreed, upon meeting, that the old force fields rooted in sonics were

    necessary once again.

    They commenced to make.

    It was cold out. They made. It became warmer. They continued. The orb

    shone from above with intensity. They continued to make. The trees shifted

    hues and shed...They made.

    In this din, this mantra of making, they became Sisters of a very specific rite.

    Loyal.

    Ethereal. The foundation of empires lost and regained.

    In this din the force field grew.

    The first time I saw them they glowed. They were palpable amongst the flat.

    Regal in a manner that is now mostly forgotten.

    Yes, Queens.

    Not generic in that description either. Specific.

    As in the Queens of some Where. The Queens of some Thing.

    Sorceress Queens who dealt in aural incantation architecture.

    Possessors of keys to deeper feelings. Unlockers of healing.

    I became a devotee to the sonic altars they had, and continue to construct.

    One Cat. One Stas. Past Lovers. Present Friends. Future Deities.

    THEESatisfaction. Exalted heavenward (outward, spaceward) upon the aurally

    offered

    blood price of heavily scented continuum.

    They made me for you.

    Enjoy,

    EarthEE

    P.S. Change is inevitable and necessary. It is the precursor to transcendence.

    by Maikoiyo Alley-Barnes

    1. Prophetic Perfection
    2. No GMO (feat. Taylor Brown)
    3. Planet for Sale
    4. Blandland (feat. Ishmael Butler)
    5. Fetch/Catch (feat. Taylor Brown)
    6. Nature's Candy
    7. EarthEE (feat. Ishmael Butler, Porter Ray, Erik Blood)
    8. Post Black Anyway
    9. Universal Perspective (feat. Meshell Ndegeocello)
    10. WerQ (feat. Meshell Ndegeocello)
    11. Sir Come Navigate (feat. Tendai Maraire)
    12. Recognition (feat. Shabazz Palaces, Erik Blood)
    13. I Read You (feat. Erik Blood)
    TheeSatisfaction
    $17.99
    Vinyl LP - Sealed Buy Now
  • Luciferian Towers Luciferian Towers Quick View

    $25.99
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    Luciferian Towers

    Pressed On 180-Gram Vinyl


    Housed In A Gatefold Jacket With Printed Inner Sleeve


    Includes 24 x 24 Poster


    this long-playing record, a thing we made in the midst of communal mess, raising dogs and children. eyes up and filled with dreadful joy - we aimed for wrong notes that explode, a quiet muttering amplified heavenward. we recorded it all in a burning motorboat.


    1. UNDOING A LUCIFERIAN TOWERS - look at that fucking skyline! big lazy money writ in dull marble obelisks! imagine all those buildings much later on, hollowed out and stripped bare of wires and glass, listen - the wind is whistling through all 3,000 of its burning window-holes!


    2. BOSSES HANG - labor, alienated from the wealth it creates, so that holy cow, most of us live precariously! kicking at it, but barely hanging on! also - the proud illuminations of our shortened lives! also - more of us than them!


    3. FAM / FAMINE - how they kill us = absentee landlord, burning high-rise. the loud panics of child-policemen and their exploding trigger-hands. neglect, cancer maps, drone strike, famine.


    4. ANTHEM FOR NO STATE - kanada, emptied of its minerals and dirty oil. emptied of its trees and water. a crippled thing, drowning in a puddle, covered in ants. the ocean doesn't give a shit because it knows it's dying too.


    finally and in conclusion;

    the "luciferian towers" L.P. was informed by the following grand demands:

    + an end to foreign invasions

    + an end to borders

    + the total dismantling of the prison-industrial complex

    + healthcare, housing, food and water acknowledged as an inalienable human right

    + the expert fuckers who broke this world never get to speak again


    much love to all the other lost and wondering ones,

    xoxoxox god's pee / montrÉal / 2017

    1. Undoing A Luciferian Towers
    2. Bosses Hang
    3. Fam/Famine
    4. Anthem For No State
    Godspeed You! Black Emperor
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dunes Dunes Quick View

    $17.99
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    Dunes

    Over the past three years,the Santa Barbarian comrades that make up Gardens &Villa -Chris Lynch,Adam
    Rasmussen, Levi Hayden, Shane McKillop, and Dusty Ineman - went from playing local bills to being
    veterans of the road.After releasing their self-titled debut on Secretly Canadian in 2011, they pushed their
    van's odometer into the six-digit range, zigzagging North America and Europe with over 350 shows in just 2
    years. Gardens & Villa emerged a wiser, crystallized version of themselves.


    Those experiences planted the seeds for the band's new batch of cohesive, personal, and beautifully layered
    pop songs - homegrown in the confines of the band's beach side practice space. When it came time to
    record, they searched out acclaimed producer Tim Goldsworthy (Cut Copy, DFA Records, LCD
    Soundsystem, Hercules & Love Affair) and these five surf-town natives found themselves traveling to the
    unlikely locale of Benton Harbor, MI (pop. 10,040) in January. There they landed at the Key Club, located
    deep in the recesses of a converted locksmith's building where they would record what would become their
    second full-length, Dunes.


    Gardens &Villa burrowed into the Key Club's retro-themed studio and living space, only leaving the facility
    five times over the next month. The disconnect between Santa Barbara's familiar sunny beaches and
    Michigan's snow-covered lake shore led to the group's creative unraveling in the studio. The band lost track
    of the hours, days, and weeks as blinking analog machines captured the intense journey. In the process,
    Dunes was poured through Sly Stone's original custom-built Flickinger recording console.


    With just a week left before deadline, Gardens & Villa sought a brief refuge from the studio where their
    progress had stalled. They went on a trip,traversing winding roads past frozen tundra and barren trees and
    into the wilderness of the nearby state park's tall dunes. The group climbed to the top and collapsed into a
    combination of sand and snow.Simultaneously reminded of home as well as their distance from it,their jaws
    dropped as they turned to see Lake Michigan's majestic and surreal expanse stretching toward the horizon.


    Supported by Goldsworthy's guidance, the band went back to the studio and ultimately emerged with a
    record beaming with dystopian energy, subconscious lyrics, and uncompromising sincerity. Lynch has
    seamlessly integrated his bansuri flutes and Rasmussen has fleshed out his looming synths alongside shades
    of '80s cult films soundscapes that lurk just underneath the songs in an unnoticeable-yet-omnipresent
    fashion.Like the awe-inspiring clarity of sitting atop Michigan's dunes,the band's forthcoming record shares
    a clear and evocative vision of where Gardens & Villa's members have traveled, what they've learned, and
    what lies ahead.

    1. Domino
    2. Colony Glen
    3. Bullet Train
    4. Chrysanthemums
    5. Echosassy
    6. Purple Mesas
    7. Avalanche
    8. Minnesota
    9. Thunder Glove
    10. Love Theme
    Gardens & Villa
    $17.99
    Vinyl LP - Sealed Buy Now
  • The Argument The Argument Quick View

    $22.99
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    The Argument

    As founder and half of the songwriting engine that drove the mighty HÜsker DÜ to his maverick solo work (has there ever been a portrait of a breakup as evocative yet anthemic as "2541"?), Grant Hart has cut a singular path across the last three decades of music. It is with great confidence that we say he has made an album to rival his greatest achievements. A double album based on John Milton's epic Paradise Lost, Hart distills its essence into pop and rock concoctions that nimbly flit through the history of 20th century music from Irving Berlin and David Bowie to... HÜsker DÜ, even. Ambition is the topic and Hell is the location for this project that is ambitious as Hell. Does he pull it off? We say yes!


    Although lines from the poem are rarely quoted directly, all of the menace, pain and devotion of Milton's best loved work are here found. But where
    Milton's poem was unadorned by rhyme, The Argument contain many complex couplets, especially the title track, in which not only the ends of lines rhyme, but the word that ends a phrase is the same as the first line of the phrase after it, all while conforming to the original ten syllable structure devised by Milton. Anyone who has ever had a conversation with Grant knows how patiently he chooses the words he uses.


    While visiting James Grauerholz, former friend and secretary for William S. Burroughs, James showed Grant an unpublished manuscript for Lost Paradise,
    William's science fiction story which portrays the fallen angels as men from distant planets and God as none other than fellow Missourian Harry S. Truman.
    James and Grant discussed adding music to William's story much in the same way that Tom Waits and William conspired to turn the German folk tale Die
    Freishutz into The Black Rider as staged by Robert Wilson.


    From that point the seed had been planted, and the seed grew into the most beautiful tree in the garden of Grant's career!


    Domino invite you to taste the fruit of this tree, go ahead, taste it.

    1. Out Of Chaos
    2. Morningstar
    3. Awake, Arise!
    4. If We Have The Will
    5. I Will Never See My Home
    6. I Am Death
    7. Sin
    8. Letting Me Out
    9. Is The Sky The Limit?
    10. Golden Chain
    11. So Far From Heaven
    12. Shine, Shine, Shine
    13. It Isn't Love
    14. War In Heaven
    15. Glorious
    16. (It Was A) Most Disturbing Dream
    17. Underneath The Apple Tree
    18. The Argument
    19. Run For The Wilderness
    20. For Those Too High Aspiring
    Grant Hart
    $22.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Freedom & Surrender Freedom & Surrender Quick View

    $24.99
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    Freedom & Surrender

    Freedom and Surrender

    The circuitous dance between the beginning and the end.


    Something amazing and terrifying happened to me as I entered into my 30s. I realized that I had run far off the course of my scripted plans, my projections for who I'd be, what I'd be doing, and how it would feel at this point. Then, the realization the mapped trail couldn't be recovered. A hound without a hunt, I was captured by unfamiliar woods far from earshot of the original game and players. Untethered by marriage with a scrap pile of maternal designs that never took root, I found myself forced, thank goodness, to let go.


    The pageantry of over-identifying with past experiences and old ideals had ended. In review, I found that life's unfolding had exceeded my most elaborate visions while other hopes had slipped into ruin in the clasp of my determined hands. Meanwhile, a new meekness and curiosity made all of my experiences sacred and overwhelming, something akin to a reverent depression. Desire was quieted in my heart, and I was uneasy in the cool of my newness, wondering what I really wanted to do next.


    When the label suggested that I consider working with Larry Klein, my entire focus shifted with a warm shrug, Why not? He's produced some of my favorite records. Within a few conversations I had found plenty of reasons to trust the voice on the other end of the line. I knew that I was respected for my potential and achievements, and he wasn't new to dealing with strong women. Another shrug, Why not? I had plenty to sing about now, a heart cracked open by disappointment, a will broken by the truth. I was ready for a new project, the kind of baby that I knew how to make.


    It was suggested to me initially that I make a record of covers. It was the very moment my hard head became bent on writing my way out of my valley, no matter how hard or long I'd have to work for it. I'd count my steps and tell stories until I met the ridge line without borrowing anyone else's view. This was not my hour to cover, but to uncover, and hopefully, the reveal would be worth something. I trembled in the wait for my own revelation.


    I scurried around the country (Nashville, New York and LA) to have collaborative conversations with old and new friends. I remembered how to just sit with people and talk, even though I was on a schedule and budget. We all spoke like we were on Grandma's porch, but the work got done. To my delighted surprise, much of this record was written with Larry himself.


    My average day of preproduction with him looked like: A sunrise run and swim at Santa Monica pier, showing up to his studio sandy, salty, and red faced, talking through beautiful rambles with him and David Batteau while high on espresso. Then we'd get snagged by a soulful riff from Larry's acoustic bass guitar as he noodled along (seemingly) aimlessly. Often a story would present a hook and we'd return the next day with responses. This felt like an old and dignified pace of work, but also kind of risky. However, I looked up after a few months of these weeklong neighborly sits and real songs were following us, a train getting longer, each car intact and connected as we rolled on.


    In the evenings I listened to demos of the budding songs on my phone as the sun set over the Pacific. I could see them, unmade movies. The tide of communion would pull back and the shining pieces left could be made into anything. This is when I knew that I had, in these mosaic sessions, stumbled upon a new page of my life.


    I remembered the feeling of being found. One of the most moving songs from it's inception was, Somewhere Down the Mystic. Playing on the simple wonders of my rustic Appalachian life, we imagined a love lost to death and the feeling of it's lasting warmth, a nod to love's reach across life's threshold.


    Months later, on February 20th, I had a near death experience, sliding across 300 yards of ice coated mountain curve. I softened my body and rested my hands in my lap. The heavy car floated silently towards a 75 foot ravine that ended with a wide band of frozen creek. Ok was the only thing I could get out in a sigh. I was stopped by a young bellwood tree that grew out of the bank like a hook. I slowed my breathing and meditated in suspension. About 20 minutes later, a young neighbor pulled the door open, reaching in with a strong arm to guide my climb out. Now when I sing the chorus, I see the gracious hole and the sweet sapling that grows over it. It threw me back, a fish returned to the river with a cut lip.


    The pink bells of the tree can be seen on my homepage, and I want to keep such simple things close from now on. Why not? They were strong enough to save me. In surrender I experience freedom. The gift of an end is a beginning. I greet the sun with the only reason I've ever needed, why not?

    -Lizz Wright

    1. Freedom
    2. The Game
    3. The New Game
    4. Lean In
    5. Right Where You Are
    6. River Man
    7. Somewhere Down The Mystic
    8. Real Life Painting
    9. To Love Somebody
    10. Here And Now
    11. You
    12. Blessed The Brave
    13. Surrender
    Lizz Wright
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Meetle Mice Meetle Mice Quick View

    $16.99
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    Meetle Mice

    The music contained on these albums I wrote while in college (and a few while in high school) when I was just discovering computer music. I wrote them for fun, never planning on doing anything with them at the time or expecting them to be heard outside of my circle of friends. When I was asked to play a show on campus I thought it might be a good idea to burn some CD-Rs and try to sell them at the show.


    Going through my files, I found the pieces that I liked the most, grouped them into two different collections and gave them the most appropriate/absurd titles I could think of. Many of the song titles are absurd or toy with the idea of what is offensive and what is not, many of them created as a commentary on the super politically correct atmosphere that was Purchase College in the early 2000s.


    The organization of the songs was somewhat thought out but mostly chaotic: make sure the granular synth pieces are far from each other; keep the songs with beats spread out; sound collages placed amongst sine wave drone pieces. They were more like compilations of my experiments than albums of compositions.


    I made only 8 CD-R copies of each in photocopied sleeves with contact paper on the discs. I sold all but 1 of each for $7 or two for $10. Explosions were going off in my head, dollar signs appearing in my eyes. Making $70 from selling CD-Rs was blowing my mind. I started selling them at every show, even though the music contained on them didnt represent what I ever performed live, since the music on Meetle Mice and Silly Hat was never meant to be performed live (except for the acoustic ensemble pieces).


    The CD-Rs and artwork are riddled with mistakes. Theres digital clipping on many of the tracks; Silly Hat vs. Egale Hat was meant to be Silly Hat vs. Eagle Hat; copy write should have been copyright, etc., but I thought the typos were funny and kept it with each batch of the CD-Rs. Since I was only selling them on campus or a few shows in NYC it didnt really matter. I hated stuff that took itself too seriously so keeping my spelling mistakes glaring was important to me. And considering the music was made in a vacuum with no intention of it ever seeing the light of day, it made sense to keep all the errors in their original state (true of this reissue as well (the artwork was scanned from the original run of 8)).


    I was a very different musician back then trying to figure out how to interact with sound, what could be done with it, where it could go, learning music software for the first time, and discovering many more genres of experimental music than what I was exposed to in my youth on Long Island. It was an exciting time! Since then my aesthetic has shifted, my absurdist mindset subdued and Ive been exposed to a global audience. At times I feel like these albums are skeletons in my musical closet, knowing how easily parts of them could be taken out of context by a media that loves to take things out of context. But these records were made without knowledge of that media world. Theres an innocent ignorance to them that none of my other records will ever be able to have, an ignorance lost to experience.


    These albums are like seeds. They sound, look and feel very different from the fruit that theyve grown but they are still of the same tree. I hope you enjoy listening to them as much as I enjoyed making them. - Dan Deacon

    1. BJI Aii Hmhp #14
    2. Never Do That (Mars)
    3. Biggle Hat Was Ice Cream Time (Card Shark Nose Nose)
    4. 30 (from 21 through 35)
    5. Electronics With Clarinet and Bari Sax
    6. Song For Dina
    7. My own face is F word
    8. Drinking Out of Cups
    9. sdahgsfdgh3frgha3wffhjdvbjs4uh
    10. The Adventures of Mr Bumbershine
    11. Thats A Nice Shirt (Dad)
    12. Aerosmith Permanent Vacation 24162-2
    13. Plums
    14. Im So Gay with The Boner
    15. Aw Ah Ah Ah (Party Cakes)
    16. My Weasle Is Married Worm Married
    17. I Have AIDS
    18. 005 September 22 BE
    Dan Deacon
    $16.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Silly Hat Vs. Egale Hat Silly Hat Vs. Egale Hat Quick View

    $16.99
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    Silly Hat Vs. Egale Hat

    The music contained on these albums I wrote while in college (and a few while in high school) when I was just discovering computer music. I wrote them for fun, never planning on doing anything with them at the time or expecting them to be heard outside of my circle of friends. When I was asked to play a show on campus I thought it might be a good idea to burn some CD-Rs and try to sell them at the show.


    Going through my files, I found the pieces that I liked the most, grouped them into two different collections and gave them the most appropriate/absurd titles I could think of. Many of the song titles are absurd or toy with the idea of what is offensive and what is not, many of them created as a commentary on the super politically correct atmosphere that was Purchase College in the early 2000s.


    The organization of the songs was somewhat thought out but mostly chaotic: make sure the granular synth pieces are far from each other; keep the songs with beats spread out; sound collages placed amongst sine wave drone pieces. They were more like compilations of my experiments than albums of compositions.


    I made only 8 CD-R copies of each in photocopied sleeves with contact paper on the discs. I sold all but 1 of each for $7 or two for $10. Explosions were going off in my head, dollar signs appearing in my eyes. Making $70 from selling CD-Rs was blowing my mind. I started selling them at every show, even though the music contained on them didnt represent what I ever performed live, since the music on Meetle Mice and Silly Hat was never meant to be performed live (except for the acoustic ensemble pieces).


    The CD-Rs and artwork are riddled with mistakes. Theres digital clipping on many of the tracks; Silly Hat vs. Egale Hat was meant to be Silly Hat vs. Eagle Hat; copy write should have been copyright, etc., but I thought the typos were funny and kept it with each batch of the CD-Rs. Since I was only selling them on campus or a few shows in NYC it didnt really matter. I hated stuff that took itself too seriously so keeping my spelling mistakes glaring was important to me. And considering the music was made in a vacuum with no intention of it ever seeing the light of day, it made sense to keep all the errors in their original state (true of this reissue as well (the artwork was scanned from the original run of 8)).


    I was a very different musician back then trying to figure out how to interact with sound, what could be done with it, where it could go, learning music software for the first time, and discovering many more genres of experimental music than what I was exposed to in my youth on Long Island. It was an exciting time! Since then my aesthetic has shifted, my absurdist mindset subdued and Ive been exposed to a global audience. At times I feel like these albums are skeletons in my musical closet, knowing how easily parts of them could be taken out of context by a media that loves to take things out of context. But these records were made without knowledge of that media world. Theres an innocent ignorance to them that none of my other records will ever be able to have, an ignorance lost to experience.


    These albums are like seeds. They sound, look and feel very different from the fruit that theyve grown but they are still of the same tree. I hope you enjoy listening to them as much as I enjoyed making them. - Dan Deacon

    1. My Name Is Robert
    2. ksjfhgljkhertykjlehgskjhkjvhda
    3. Sound Events (Live)
    4. Shit Slowly Applied On Cock Parts
    5. The House I Was Isn't My Girlfriends Porshe
    6. Missy Modle x 1000
    7. Spring
    8. I Will Always Have Juice Today
    9. Glass and Metal
    10. It's Not As It's Going Downtown
    11. Junior High Band With Trucks and Dogs
    12. 4400440044040 with Dufus and The Beatles
    Dan Deacon
    $16.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Southern Roots Southern Roots Quick View

    $47.99
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    Southern Roots

    Import


    At long last here are the original session tapes that produced Jerry Lee Lewis' 1974 Southern Roots LP. Produced by Huey Meaux, a fellow Louisiana wildman, the final results reveal what happens when two fiery, free-spirited forces lock horns in the studio.
    Meaux had just gotten out of prison and had a reputation you wouldn't want in your family tree. Separately, Meaux and Lewis each spelled trouble in a big way and could be impossible to work with. Together? God knows what would happen. The results could be an utter disaster or a stroke of genius. As Meaux later observed, ''I knew Jerry and I would fight, but in the end we'd come out with the record. We fought, but we delivered.''


    For three days in September, 1973 Jerry Lee Lewis and Huey Meaux went at it, and each other. Listen as Jerry Lee is turned loose in the studio by a producer who didn't try to rein in Jerry's ego. In fact, Meaux did everything he could to feed it. That ego is nowhere more evident than on Jerry's version of the Percy Sledge 1966 hit, When A Man Loves A Woman, which Jerry turns into a sermon on war between the sexes.

    Jerry and Huey cut mostly southern music - soul, country, R&B and a touch of swamp pop. They even included a surprisingly impassioned version of Johnny Ray's 1952 hit record, Cry.

    Little did we know that there was supposed to be a second Southern Roots album. Only ten tracks ever appeared on the LP - a scant 34 minutes of music - but we've got it all here, including the music that was scheduled to appear on the second 'lost album,' all neatly overdubbed and ready for release. We've also got the stuff you were never meant to hear, and there's plenty of it.

    LP 1
    1. Meat Man
    2. When A Man Loves A Woman
    3. Hold On I'm Coming
    4. Just A Little Bit
    5. Born To Be A Loser
    6. Haunted House
    7. Blueberry Hill
    8. The Revolutionary Man
    9. Big Blue Diamonds
    10. That Old Bourbon Street Church


    LP 2
    1. Silver Threads Among The Gold
    2. Hold On I'm Coming (fast version)
    3. Take Your Time
    4. All Over Hell And Half Of Georgia
    5. I Sure Miss Those Good Old Times
    6. Raining In My Heart
    7 Honey Hush
    8. Cry
    9. Margie
    10. Studio Chatter #8 - Polk Salad Annie

    Jerry Lee Lewis
    $47.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Lovers Know Lovers Know Quick View

    $23.99
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    Lovers Know

    After touring the world as a member of the Postal Service in 2013, Laura Burhenn (The Mynabirds) took a year to get lost. She drove across the US twice, toured South Africa solo, made her first appearance in London (also solo), and trekked all over Europe with William Faulkner's words ringing in her ears: "You cannot swim for new horizons until you have courage to lose sight of the shore." Finally she found herself in Los Angeles with a suitcase of songs to fill a whole new album. Lovers Know, The Mynabirds' third full-length release, was produced by Bradley Hanan Carter (Black English) and recorded over a yearlong period in Los Angeles, Joshua Tree, Nashville, and Auckland, New Zealand. It's definitely new territory for Burhenn, forging into 80s, 90s and futuristic soundscapes, recalling Kate Bush, Sinead O'Connor, The Jesus and Mary Chain, My Bloody Valentine and even 90s hip hop and R&B. The album may be loaded with a fresh palette of new sounds (swarms of synths, gauzy electric guitars, and electronic drums), but her brooding, unmistakable voice leads the way. Lyrically this is her most personal and confessional work to date, and also her most accessible. Whereas her last album, GENERALS, watched from a wide angle to understand the world at a distance, Lovers Know pulls in close. "There's something about wandering the world over," Laura says, "that makes you realize how similar we all are - everyone searching for something, so often the same thing: love. It may sound trite, but it's true. Love - or the lack of it - is the thing we all have in common. It can destroy us. It can break us open and let the light in. And it's also the thing that can make us sing." Burhenn has released two previous albums as The Mynabirds on Saddle Creek, What We Lose in the Fire We Gain in the Flood (2010) and GENERALS (2012), both of which were produced by Richard Swift and met by critical acclaim.
    1. All My Heart
    2. Believer
    3. Semantics
    4. Say Something
    5. Orion
    6. Velveteen
    7. Shake Your Head Yes
    8. Wildfire
    9. Omaha
    10. One Foot
    11. Hanged Man
    12. Last Time
    Mynabirds
    $23.99
    Vinyl LP - 2 LPs Sealed Buy Now
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