Indie / Alternative

22 stands for Justin Vernon. The number’s recurrence in his life has become a meaningful pattern through encounter and recognition. A mile marker, a jersey number, a bill total. The reflection of '2' is his identity bound up in duality: the relationship he has with himself and the relationship he has with the rest of the world. A Million is the rest of that world: the millions of people who we will never know, the infinite and the endless, everything outside one’s self that makes you who you are. The other side of Justin’s duality is the thing that completes him and what he searches for. 22, A Million is thus part love letter, part final resting place of two decades of searching for self-understanding like a religion. And the inner-resolution of maybe never finding that understanding. When Justin sings, “I’m still standing in the need of prayer” he begs the question of what’s worth worshipping, or rather, what is possible to worship. If music is a sacred form of discovering, knowing and being, then Bon Iver’s albums are totems to that faith. The poly-fi record formed at the congruence of a bold yet delicate sonic palette. These sounds were the way out from the suffocating enclosure and captivity of anxiety. The ten songs of 22, A Million are a collection of sacred moments, love’s torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard coincidence. If 2011’s Bon Iver, Bon Iver built a habitat rooted in physical spaces, then 22, A Million is the letting go of that attachment to a place.

i,i is Bon Iver's most expansive, joyful and generous album to date. If 'For Emma, Forever Ago was the crisp, heart-strung isolation of a northern Winter; Bon Iver the rise and whirr of burgeoning Spring; and '22, A Million', a blistering, crazy energy Summer record, i,i completes the cycle: a fall record; Autumn-colored, ruminative, steeped. The autumn of Bon Iver is a celebration of self acceptance and gratitude, bolstered by community and delivering the bounty of an infinite American music. The sales and accolades are well-known multiple Gold albums, multiple Grammys, chart-topping collaborations and festival headlines. But even more significantly, with each release Bon Iver quietly shifts the state of modern music. From the boundaries of folk, to the rules of autotune, to production work for others, Bon Iver s fingerprint finds its way across the mainstream every time. Vernon has always been a master collaborator, and on i,i that desire becomes maximal, with guests ranging from Moses Sumney and Bruce Hornsby to Wye Oak's Jenn Wasner and the Brooklyn Youth Chorus. Here, the music and band, and themes, and creative space are bigger than ever.

The first-ever official anthology of recordings from the iconic rock duo, Jack and Meg White, is an essential career-spanning collection highlighting 26 previously released songs. From late Nineties flashes of brilliance through early 2000s underground anthems, masterful MTV Moon Man moments, Grammy-grabbing greatness, and worldwide stadium chants, the songs here are as wide-ranging as you can imagine. In an era of streaming where the idea of a “Greatest Hits” album may seem irrelevant – that an act’s most streamed songs are considered their de facto “hits” – we wholeheartedly believe that great bands deserve “Greatest Hits” and that a large part of Third Man Records’ and The White Stripes’ successes have been built on zigging when the rest of the music business is zagging. Thus, for a great band with great fans, a greatest hits compilation for The White Stripes is not only appropriate, but absolutely necessary.

The band's commercial break through, this 2001 album went gold, spinning off the Top 20 Modern Rock hits 'Fell In Love With A Girl' and 'Dead Leaves And The Dirty Ground.'

'Jack White Acoustic Recordings 1998-2016' is the definitive Jack White songwriting collection, spanning his 20+ year career. It includes White's acoustic-based recordings with the White Stripes, the Raconteurs, and his acclaimed solo projects. The music included here is all-encompassing, highlighting White's versatility, and the songs are presented with unique character in chronological order. As noted American author and music journalist, Greil Marcus, conveys in the albums liner notes: "The lack of electric guitar opens songs up to their own contrivance, and cuts out pretentions of seriousness and grandiosity in favor of the quiet, the ridiculous, the sly." The completely remastered collection includes album tracks, B-Sides, remixes, alternate versions, and previously unreleased studio recordings and is a must for any fan of the genius that is Jack White.

Produced by Jack White and recorded at his own Third Man Studio in Nashville, Blunderbuss has been described by White as "an album I couldn't have released until now. I've put off making records under my own name for a long time but these songs feel like they could only be presented under my name. These songs were written from scratch, had nothing to do with anyone or anything else but my own expression, my own colors on my own canvas." This album is pressed on 180 gram vinyl and includes a download code.

The Raconteurs – Jack White, Brendan Benson, Jack Lawrence, and Patrick Keeler – have announced the release of their long-awaited new album, HELP US STRANGER, which is the GRAMMY® Award-winning rock band’s third studio LP and first new album in more than a decade. Out on Friday, June 21, HELP US STRANGER sees the mighty combo reassembled, stronger and perhaps even more vital than ever before as they continue to push rock 'n' roll forward into its future, bonding prodigious riffs, blues power, sinewy psychedelia, Detroit funk, and Nashville soul via Benson and White’s uncompromising songcraft and the band’s steadfast musical muscle. With HELP US STRANGER, The Raconteurs have returned right when they are needed most, unified and invigorated with boundless ambition, infinite energy and a collectivist spirit operating at the peak of its considerable powers, once again creating a sound and fury only possible when all four of its members come together.

Arctic Monkeys and War Child UK are proud to announce the release of Arctic Monkeys - Live At The Royal Albert Hall. All proceeds from the album will go to War Child UK to help fill what could be up to a £2 million deficit they are facing in 2021 caused by the devastating impact of Covid-19 on their fundraising. These funds are urgently needed to support those who are worst hit by the virus. 

Recorded at the start of the band’s Tranquility Base Hotel + Casino tour, Arctic Monkeys - Live At The Royal Albert Hall, features 20 of the band’s finest moments to date.

“On June 7, 2018 we played a very special show at London’s Royal Albert Hall. All the proceeds from that memorable night were donated to War Child UK in support of the vital work they do protecting, educating and rehabilitating children who have experienced the trauma of conflict and the horror of war. The situation that was bad in 2018 is now desperate and those children and their families need our help more than ever. To enable War Child UK to reduce their funding deficit and continue their valuable work, we are happy to be able to release a live album, recorded that evening at The Royal Albert Hall. All proceeds will go direct to the charity. We thank all our fans in advance for their support of this release and in turn for their support of War Child UK” - Arctic Monkeys.

Arctic Monkeys release their fifth album, entitled AM. AM was produced by James Ford and co-produced by Ross Orton at Sage & Sound Recording, LA and Rancho De La Luna, Joshua Tree. The album was engineered by Ian Shea and mixed by Tchad Blake. Josh Homme, Pete Thomas and Bill Ryder-Jones all make guest appearances on AM as do the words of John Cooper Clarke, on the track "I Wanna Be Yours."

The Arctic Monkeys surely showed potential on their debut Whatever People Say I Am, but their youthful vigor often camouflaged their debt to other bands. Here on their sophomore album Favourite Worst Nightmare, they're absorbing their influences, turning their liberal borrowings from the Libertines, the Strokes, and the Jam into something that's their own distinct identity. Unlike any of those three bands, however, the Arctic Monkeys haven't stumbled on their second album; they haven't choked on hubris, they haven't overthought their sophomore salvo, nor have they cranked it out too quickly. That constant year of work resulted in startling growth as the band is testing the limits of what they can do and where they can go. The remarkable thing about the Arctic Monkeys -- which Favourite Worst Nightmare brings into sharp relief -- is their genuine guilelessness, how they restructure classic rock clichés in a way that pays little mind to how things were done in the past, and that all goes back to their youth.

Three Imaginary Boys is the debut studio album by English rock band the Cure, originally released on May 8, 1979. It was later released in the United States and Australia with a different song tracklist as Boys Don't Cry. This record will be released on 180 gram vinyl.

Double vinyl LP pressing including download insert. 2009 collection from Dave Grohl and the Foos including two brand new tracks, 'Wheels' and 'Word Forward', both recorded with producer Butch Vig (who also produced Grohl's former band, Nirvana!). This excellent collection features some of the finest melodic Rock released in the last 15 years including 'The Pretender', 'All My Life', 'Learn To Fly', 'Best of You', 'Times Like These', 'My Hero', 'Everlong', and many more.

The album that became Foo Fighters was originally just a bunch of songs that Dave Grohl had stored up over the years and finally recorded on his own. Dave had already lived the rock star life, and his only goal with the new tunes was to amuse himself and his friends. But as the tape changed hands and was copied over and over again, it quickly became clear that people were connecting to the music and that this was a project worth pursuing.

Drab Majesty's third album, Modern Mirror, is a journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems - a seemingly classic tale delivered unblinkingly through the frame of the modern world. Elements of classic tragedy weigh heavily in the reflection of Modern Mirror in songs like "The Other Side", possessing a fundamental sound that is energetic, luminous and hopeful. Fusing the sonic aesthetics of predecessors like New Order and The Cure within the cautious instruction of Greek mythology and modern science fiction, Drab Majesty has birthed a hybrid of dreamy malaise, captured for a future moment.  The first single, "Ellipsis", romantically plays up the distorted concept of courting through modern technology in a world that has yet to adapt, while on "Long Division", Deb's resounding guitar cascades around the chorus shared with No Joy frontwoman Jasamine White-Gluz, wistfully warning us against our vanity and self-obsession. Even when hope for everlasting love peeks through in "Oxytocin", a sparkling and stoic track sung by Mona D., we are firmly reminded our fleeting existence.  Produced by Josh Eustis (Telefon Tel Aviv) with appearances by Jasamine White-Gluz (No Joy) and Justin Meldal-Johnson (NIN, Beck, M83, Air).

Exploring the bins of discarded vinyl in his neighborhood thrift stores, Drab Majesty's toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt's Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry's Chris Reed as well as Steve Severin from Siouxsie and The Banshees. Studying the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS, Drab Majesty's persona and posture revolve around the ethereal. Following the release of his debut cassette EP, "UNARIAN DANCES", he also shared a split 12" with synth pop forefathers, Eleven Pond. During the Spring of 2015, Drab Majesty signed with Dais Records and released his first single, Unknown to the I, as a introduction for his first initial foray into the album format, romantically titled "Careless". Written over the course of 2 years, "Careless" is a compendium of songs that have outlasted a malicious burglary of his studio, his struggles with substance addiction, and most recently, the death of his beloved grandmother.

Vinyl LP pressing. Digitally remastered edition of this 1985 album from the legendary British quartet. With their second proper album Meat Is Murder, The Smiths began to branch out and diversify, while refining the jangling guitar pop of their debut. "The Headmaster Ritual" and "I Want the One I Can't Have" are fine elaborations of the formula they laid out on the debut, while "Rusholme Ruffians" is an infectious stab at Rockabilly. Such was their creative thrust at this point; they were seen as the most important British band since Joy Division. Above all though, there was no other British group making music quite like this in 1985.

Vinyl LP pressing. Digitally remastered edition of this 1986 album from the legendary British quartet. The Queen Is Dead is The Smiths' great leap forward, taking the band to new musical and lyrical heights. Opening with the storming track, the album is harder rocking record than anything the band had attempted before. Johnny Marr has created here a wide range of guitar styles that provide a musical bed for Morrissey's best set of lyrics. From which is crafted some of their finest, most affective songs, particularly "The Boy with the Thorn in His Side" and the epic "There Is a Light That Never Goes Out," two masterpieces that provide the foundation for a remarkable album.

Digitally remastered 180 gram vinyl edition of the classic 1987 collection from the legendary quartet. Compiling singles, B-sides, album tracks, and BBC sessions, LOUDER THAN BOMBS boasts a wealth of brilliant material including "Ask," "You Just Haven't Earned It Yet, Baby" and "Unlovable." LOUDER THAN BOMBS is a necessary purchase for any Smiths fan.

Carrie & Lowell sounds like memory: it spans decades yet does not trade on pastiche or nostalgia. Stevens s gauzy double-tracked vocals wash across the dashboard of long-finned, drop-top Americana, yet as we race towards the coast we are reminded that sunshine leads to shadow, for this is a landscape of terminal roads, unsteady bridges, traumatic video stores, and unhappy beds that provide the scenery for tales of jackknifed cars, funerals, and forgiveness for the dead. Each track in this collection of eleven songs begins with a fragile melody that gathers steam until it becomes nothing less than a modern hymn. Sufjan recounts the indignities of our world, of technological distraction and sad sex, of an age without neither myths nor miracle and this time around, his voice carries the burden of wisdom. Carrie & Lowell accomplishes the rare thing that any art should achieve, particularly in these noisy and fragmented days: By seeking to understand, Sufjan makes us feel less alone.

The Ascension is the eighth studio album from singer, songwriter and composer Sufjan Stevens and is the long awaited follow-up to Stevens’ Carrie & Lowell. One of the most acclaimed albums of 2015, The New York Times praised Carrie & Lowell as “restrained and meticulous” while Pitchfork declared it “a masterpiece.”

In the time between Carrie & Lowell and the forthcoming The Ascension, Stevens also released Oscar-nominated music for the Luca Guadagnino film Call Me By Your Name; a collaborative album entitled Planetarium with Nico Muhly, Bryce Dessner (The National) and James Mcalister; The Decalogue, a solo piano work performed by Timo Andres; and scored several works for ballet: Reflections (Houston Ballet) and Principia (NYCB).

The Ascension is musically expansive and sweeping in thematic scope.

Devo’s 1980 album, which contains the new wave classic “Whip It”. Presented on 1LP, 140g white vinyl.

The Moon & Antarctica is the third full-length album by American rock band Modest Mouse, first released by Epic Records on June 13, 2000. The album was the band's first release on a major label and was released on both compact disc and vinyl LP. It has since been reissued twice on CD and once on vinyl. The album peaked at number 120 on the U.S. Billboard 200 albums chart. The album was praised by critics and fans alike for it's in-depth discussion of dense subject matter, as well as front man Isaac Brock's clever and introspective lyrics. The album was also hailed for being an expansion of the band's unique sound. This was due both to the band's new major label tools as well as the production of Brian Deck. The title of the album is taken from the opening scene of Blade Runner, where the main character is reading a newspaper, headlined: "Farming the Oceans, the Moon and Antarctica."

Their new album GOOD NEWS FOR PEOPLE WHO LOVE BAD NEWS, was produced by Dennis Herring and features a host of special guests such as: The Dirty Dozen Brass Band on "This Devil's Workday"; Tom Peloso playing upright bass and fiddle; and the Flaming Lips/Dave Fridmann, who remixed the track "The Good Times are Killing Me." Other tracks are "Float on," "The World at Large," "One chance," and many more....

Double vinyl 180 gram
WE WERE DEAD BEFORE THE SHIP EVEN SANK is MODEST MOUSE's first studio album since 2004's Good News for People Who Love Bad News, and it is also the first album with former The Smiths guitarist Johnny Marr. According to Pitchfork, James Mercer of The Shins sings backup vocals on the tracks "We've Got Everything", "Missed The Boat", and "Florida".

This album is the second consecutive Modest Mouse album recorded at Sweet Tea Studio in Oxford, Mississippi with producer Dennis Herring. According to lead singer Isaac Brock, Marr was involved in songwriting on the album, and will even tour with the band in support of it. In the interview, Brock described We Were Dead as a "nautical balalaika carnival romp."

Goo is a portrait of Sonic Youth at their most self-indulgently noisy and contentious, covering topics ranging from Karen Carpenter ('Tunic') to UFOs ('Disappearer') to dating Jesus' mom ('Mary-Christ'). Even Public Enemy's Chuck D joins the fracas on the single 'Kool Thing'.

180-gram vinyl LP pressing of the the British band's critically acclaimed 2000 debut album produced by Ken Nelson (Badly Drawn Boy, Gomez, Kings of Convenience) with the band. It yielded four singles "Shiver", "Trouble", "Don't Panic" & their breakthrough smash hit "Yellow" which remains one of the group's most popular songs.

180-gram pressing. The band's 1997 includes the hit singles, Barrel of a Gun, Home, It's No Good and more. Sony. 2017.

Vinyl LP repressing of this 1992 album, released to coincide with the album's 20th Anniversary. Pi*ed off and angry is the best way to describe Rage Against the Machine's first album. A fierce mix of hip-hop, punk & heavy rock exploded all over the music scene in 1992. At first sight an unlikely band; Tom Morello, a nerdy guitar hero who played his guitar like a DJ, political activist Zack de la Rocha who spitted out his lyrics with a vengeance. Together with Brad Wilk on drums and Tim C. on bass they produced one of the most angry records of 90's. The album even contained, dare we say it, hit singles like 'Killing in the name of' and 'Bullet in the head'. Put the needle on the record and get blown away (again)!