Categories :

Albums

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$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$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$20.24
CD$13.49

Alternative & Indie - Released April 17, 2019 | Jagjaguwar

Hi-Res
HI-RES$1.95
CD$1.29

Alternative & Indie - Released March 28, 2019 | Jagjaguwar

Hi-Res
HI-RES$1.95
CD$1.29

Alternative & Indie - Released February 7, 2019 | Jagjaguwar

Hi-Res
HI-RES$14.99
CD$9.99

Alternative & Indie - Released January 18, 2019 | Jagjaguwar

Hi-Res Booklet Distinctions Pitchfork: Best New Music
Sharon Van Etten waited five years before releasing a follow up to Are We There, her 2014 album on which she brilliantly juggled between the legacies of Cat Power, Nick Cave, John Cale, Joan As Police Woman, St Vincent, Feist and Fiona Apple. It’s a record on which she was, above all, herself. She confirms this with Remind Me Tomorrow which was conceived when her schedule was overflowing between a role in the series The OA, the writing of the soundtrack for Katherine Dieckmann’s film Strange Weather, the music for comedian Tig Notaro’s show, preparing for a psychology degree, an appearance in the series Twin Peaks and the birth of her first child!Energy is at the heart of this 2019 vintage record on which John Congleton handled the the arrangements. The producer is without a doubt at the forefront of the more rhythmic sequences rather than the more accustomed ones, such as the single Comeback Kid. With less minimalist reflections and more assertive affirmations, Sharon Van Etten hasn’t lost her uniqueness along the way. And what she has added here doesn’t alter the original taste too much. Congleton knew how to find the perfect sound texture to make the singer’s gothic folk universe all the more powerful and charming. With this album one of the most talented artists of her generation continues to grow. © Marc Zisman/Qobuz
HI-RES$1.95
CD$1.29

Alternative & Indie - Released November 27, 2018 | Jagjaguwar

Hi-Res
HI-RES$20.24
CD$13.49

Alternative & Indie - Released November 2, 2018 | Jagjaguwar

Hi-Res
Spencer Krug, the leader of Wolf Parade and Sunset Rubdown, has been releasing solo material under the handle Moonface since 2011. In advance of the release of Moonface's 2018 album This One's for the Dancer & This One's for the Dancer's Bouquet, Krug announced that it would be his last Moonface project, and that any future solo work would be issued under his own name. It's tempting to view This One's for the Dancer & This One's for the Dancer's Bouquet as a summing up for the Moonface era, or possibly as a way to clear out the project's odds and ends. In the press materials for This One's for the Dancer, Krug revealed that the album was compiled from material originally recorded for two different albums, using different collaborators and recorded at different times and places. While the material coheres well enough, the songs reflect two points of view -- some of the songs are written from the perspective of Spencer Krug himself, while the others reflect the thoughts of a Minotaur trapped in a maze who wants to forgive the fellow mythological figures responsible for its plight. In both sets of songs, repetitive keyboard patterns create a steady pulse and melodic anchor. In Krug's numbers, the singing is bold in its Bowie-esque delivery and booms out over the accompaniment, which includes periodic interjections from a sax player. Elsewhere, the voice of the Minotaur is distorted and low in the mix, while the keyboards square off against energetic percussion that includes steel drums and marimba along with trap drums. While it's not too hard to sort out the shifting perspectives of the tunes, it's often quite difficult to figure out what the Minotaur is supposed to be saying, which makes for a sometimes uncomfortable contrast to the soul-bearing theatricalism of Krug's tunes. Either way, This One's for the Dancer & This One's for the Dancer's Bouquet is an album that is sometimes compelling in its hypnotic, minimalist sonic constructs but repeats itself too often to be as effective as it could have been. And some judicious editing would have served this music well; this simply didn't need to be a double album. (And it's possible that the material would have been better served in its original form as two separate albums rather than grafted together as it was here.) There's much to admire in This One's for the Dancer & This One's for the Dancer's Bouquet, but the good ideas don't always sustain themselves in the execution, and perhaps the coming Spencer Krug projects will reflect a concision and clarity of focus that is not always apparent here. ~ Mark Deming