Categories :

Albums

HI-RES$14.99
CD$9.99

Alternative & Indie - To be released May 15, 2020 | Jagjaguwar

Hi-Res
HI-RES$14.99
CD$9.99

Alternative & Indie - To be released January 24, 2020 | Jagjaguwar

Hi-Res
HI-RES$1.95
CD$1.29

Alternative & Indie - Released December 10, 2019 | Jagjaguwar

Hi-Res
HI-RES$1.95
CD$1.29

Alternative & Indie - Released November 14, 2019 | Jagjaguwar

Hi-Res
HI-RES$1.95
CD$1.29

Alternative & Indie - Released November 12, 2019 | Jagjaguwar

Hi-Res
HI-RES$14.99
CD$9.99

Alternative & Indie - Released October 4, 2019 | Jagjaguwar

Hi-Res Booklet Distinctions Pitchfork: Best New Music
Three years after My Woman, an album which saw her move even further away from her main influences (Cat Power, Hope Sandoval from Mazzy Star, Kate Bush, PJ Harvey) as she pursued her grungy indie folk (which incorporated Americana and vintage sounds) Angel Olsen has signed a more silky, shimmering and even luxurious production here. There are no commercial compromises in All Mirrors, just a clear desire to soak her music in less troubled waters… The sound is bigger, the arrangements more elaborate and the instrumentation even includes strings, again impeccably measured. Much like Annie Clark a.k.a. St Vincent, Olsen blends a powerful explosion of fury and strong self-acceptance, boosted by impressive melodies. The American is also at ease in moving from dark atmospheres to almost playful sequences. A stylistic richness that becomes even greater each time you listen to it. © Marc Zisman/Qobuz
HI-RES$1.95
CD$1.29

Alternative & Indie - Released September 19, 2019 | Jagjaguwar

Hi-Res
HI-RES$7.23
CD$7.23

Alternative & Indie - Released September 13, 2019 | Jagjaguwar

Hi-Res
HI-RES$14.99
CD$9.99
i,i

Alternative & Indie - Released August 9, 2019 | Jagjaguwar

Hi-Res Distinctions Pitchfork: Best New Music
“There’s similarities and tributaries through all the Bon Iver records leading to this one and that still flow through this one. It’s an expansive sound”. This is how Justin Vernon, the driving force behind Bon Iver, defines his fourth studio album. 12 years of his life have passed, during which his project went from the wintry solitude of For Emma, Forever Ago, to the chamber-pop spring of its eponymous record, to the feverish summer glitch storm of 22, A Million. This fourth season didn’t come easy, either. The promotional tour for the aforementioned third album ended abruptly, due to Vernon’s struggle with anxiety and depression. i,i was created in that aftermath, as a synthesis of his career – a multi-layered autumn where sonic landscapes flow one into the other, and impressionistic instrumentals, glitchy samples and vocal harmonies pile on top of each other seamlessly, before being torn away to reveal the bare bones canvas lying beneath. This retrospective approach to his music is interlaced with cryptic lyrics that seem to ponder Vernon’s misanthropic tendencies: “I should've known / That I shouldn't hide/ To compromise and to covet/ All what’s inside “ he mourns on the electro-folk crescendo of Faith, undercut by growling bass and haunting background vocals. On the album closer RABi, which is a play on the words “I could rob, bye bye”, Bon Iver seems to find peace at last, in a side nod to listeners: “Sun light feels good now, don't it? And I don't have a leaving plan/ But something's gotta ease your mind/ But it's all fine, or it's all crime anyway “. It’s a cathartic finish, for a troubled artist who seems to have temporarily fought off his demons, as well as the audience – we who’ve followed him and applauded him since the beginning. © Alexis Renaudat/Qobuz
HI-RES$1.95
CD$1.29

Alternative & Indie - Released July 31, 2019 | Jagjaguwar

Hi-Res
When Angel Olsen first emerged as a solo artist in the early 2010s, it was with a spare, haunting acoustic lo-fi that put all focus on her vulnerable, idiosyncratic vocal delivery. As she shifted from country-inflected indie folk to a brooding, more volatile garage-rock blend over the course of her next couple albums, even adding synths to the mix on 2017's My Woman, she managed to keep her tormented songs distinctly intimate. She does it again on All Mirrors, even when lavish arrangements and sometimes seismic production make full use of a 14-piece orchestra alongside guitars, synths, and a thundering low end. All Mirrors was co-produced by Olsen and Burn Your Fire for No Witness' John Congleton, who also mixed it, and features string arrangements by Jherek Bischoff and Ben Babbitt. Babbitt also co-wrote some of the music with Olsen. (The lyrics are all Olsen.) Opening track "Lark" sets the stage, developing from a reticent mumble over distant-sounding strings to a yelping, echoing symphonic pop and back again. "Echoing" may be understating it; the song and much of the studio-made album sound like they were recorded in a cathedral, with instruments simmering at a distance before closing in on the singer at opportune moments. Meanwhile, she fills the reverberating expanses with pleas, frustrations, and sad epiphanies on a set of songs concerned with deciding to walk away from toxic relationships, as the track list guides listeners through "Spring," "Summer," and "Endgame." Amid more theatrical entries, "Too Easy" takes on a dreamy, synth-heavy semi-disco ("Any way you want to, honey/Take me, show me how you want me"). Elsewhere, the devastating "Tonight" sounds as if delivered through tears, combining half-exhaled vocals with the elegant Romanticism of its orchestra accompaniment. The album closes on "Chance," a dramatic, cabaret-style offering that executes the lyrics "It's hard to say forever love/Forever is just so far" with a confident if quivering lilt. All Mirrors was originally conceived as a double album with solo renditions of the same songs, but as the fully realized tracks took shape, Olsen committed to a definitive version. Though she may have initially built her reputation on stark and brittle atmospheres, it turns out that her trademark vulnerability is only elevated by these stirring, highly stylized interpretations, making it a risk that pays off in spades. ~ Marcy Donelson
HI-RES$1.95
CD$1.29

Alternative & Indie - Released July 12, 2019 | Jagjaguwar

Hi-Res
HI-RES$1.95
CD$1.29

Alternative & Indie - Released July 12, 2019 | Jagjaguwar

Hi-Res
HI-RES$13.49
CD$8.99

Pop - Released June 7, 2019 | Jagjaguwar

Hi-Res
It's hard to say where this falls on the "If you can't beat 'em, join 'em" spectrum, but comic, actor, and musician Tim Heidecker's 2019 album What the Brokenhearted Do may be the most inspired example to date of how to respond to Internet trolling. Heidecker makes no secret of his leftist politics in his social media posts or on his albums Too Dumb for Suicide: Tim Heidecker's Trump Songs and Cainthology: Songs in the Key of Cain. For reasons best known to themselves, some folks who didn't care for Heidecker's dislike of Donald Trump began spreading a rumor that Heidecker's wife had gotten so sick of his leftist ways that she left him, with someone going so far as to fake divorce papers and post them online. Heidecker's response was curious but inspired: he wrote an album of breakup songs about a man struggling with divorce, even though Heidecker was and remains happily married. What the Brokenhearted Do may have started as some sort of joke (no great surprise coming from the co-creator of Awesome Show, Great Job!), but by the time he finished, Heidecker had created a superb homage to the downbeat side of '70s soft rock. Jonathan Rado of Foxygen helped Heidecker record What the Brokenhearted Do, and while the two have incorporated some subtle elements of parody in these songs (the Neil Young guitars in "Finally Getting Over" and the mention of "this place that Billy Joel sang about" in "Funeral Shoes"), in both melody and lyrics most of this music sounds sweetly bummed out enough that it could easily pass as the real thing, especially the masterful "I Don't Think About You Much Anymore." Heidecker's voice is good, not great, but his phrasing and sense of drama is superb, and his delivery points to the likes of Harry Nilsson, Steely Dan, Jackson Browne, and James Taylor as he struggles with the anger, frustration, and depression of a man suddenly alone. "When I Get Up" sounds jaunty on the surface, but it's a knowing study of the nature of depression when you take a second look. And the production and arrangements approximate the sounds of the era with a knowing skill and affection. Heidecker has walked a similar musical path on 2016's In Glendale and in his recordings with Davin Wood, but What the Brokenhearted Do is his finest album to date, moving past parody or homage into a place that comes within throwing distance of the masters of this particular sound. Heidecker's spouse may have to leave him for real if he's ever going to top this. ~ Mark Deming
HI-RES$1.95
CD$1.29

Alternative & Indie - Released June 4, 2019 | Jagjaguwar

Hi-Res
HI-RES$1.95
CD$1.29

Alternative & Indie - Released June 3, 2019 | Jagjaguwar

Hi-Res
HI-RES$1.95
CD$1.29

Alternative & Indie - Released May 9, 2019 | Jagjaguwar

Hi-Res
HI-RES$13.49
CD$8.99

Alternative & Indie - Released April 26, 2019 | Jagjaguwar

Hi-Res
You’d expect nothing less from these two. Sam France and Jonathan Rado, the wacky duo who have come to embody the psychedelic rock scene of the late 2010s with their verbose creativity, have released their fifth record. But is it their best? It certainly is in terms of maturity. The lack-luster …And Star Power (2014) left much to be desired due to its trippy and hallucinogenic sound that appeared to rip off Todd Rundgen. The following album Hang (2017) was a vast improvement and not far off the classic We are the 21st Century Ambassadors of Peace and Magic (2013). Sam and Jonathan will soon be entering their thirties; their faces have matured along with their rock’n’roll sound. “How does it feel to be livin’ a lie” sings Sam on Livin’ a lie before he concludes “We should just be friends” on The Conclusion. The duo has aged, mixed things up, and above all, wizened.Rado has practically become an invaluable and omnipresent member of the world of indie rock: he has worked as a producer for the Lemon Twigs and has been called in for assistance by artists such as Alex Cameron and Father John Misty. He is also responsible for the production of Weyes Blood’s impressive Titanic Rising. With such a résumé Rado is, indeed, indispensable. With Seeing Other People, the duo displays an eighties rock-funk sound, like MGMT had done with Little Dark Age; an arsenal of synths (Face the Facts), a new voice (that of a weathered seducer on Mona) and their own new sense of orchestration (Livin’ a lie). The melodies, while less forceful, are more complex and richer. One wonders what they will achieve in their forties. © Charlotte Saintoin/Qobuz
HI-RES$1.95
CD$1.29

Pop - Released April 24, 2019 | Jagjaguwar

Hi-Res
HI-RES$20.24
CD$13.49

Alternative & Indie - Released April 17, 2019 | Jagjaguwar

Hi-Res
HI-RES$1.95
CD$1.29

Alternative & Indie - Released April 12, 2019 | Jagjaguwar

Hi-Res