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Alternative & Indie - To be released October 28, 2020 | Polyvinyl Records

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Alternative & Indie - Released September 23, 2020 | Polyvinyl Records

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Alternative & Indie - Released September 16, 2020 | Polyvinyl Records

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Alternative & Indie - Released September 9, 2020 | Polyvinyl Records

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Alternative & Indie - Released September 4, 2020 | Polyvinyl Records

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Dance - Released September 4, 2020 | Polyvinyl Records

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Alternative & Indie - Released September 2, 2020 | Polyvinyl Records

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Alternative & Indie - Released August 26, 2020 | Polyvinyl Records

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Alternative & Indie - Released July 1, 2020 | Polyvinyl Records

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Alternative & Indie - Released May 5, 2020 | Polyvinyl Records

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Alternative & Indie - Released April 10, 2020 | Polyvinyl Records

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Alternative & Indie - Released March 13, 2020 | Polyvinyl Records

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The third album from New Zealand's chill-pop outfit Yumi Zouma tenderly pokes at the bruises inflicted by 2020's unsettled times. Singer Christie Simpson —blessed with a down comforter of a voice— has said of the inspiration for single "Right Track/Wrong Man": "I've found myself... unable to work out what makes me happier, left feeling a little lost." This is low-sweat dance floor stuff, with familiar sonic touchstones. "Mirror to the Fire" comes on like Chvrches, while "Magazine Bay" borrows the yacht rock confidence of Tame Impala. Shimmering with assertive '80s-style synth and crisp percussion, the music is inevitably breezy, uplifting, optimistic; the lyrics tend to be indecisive ("Please don't leave me here or let me go," Simpson sings on "Southwark") and self-critical ("I was embarrassed when I knew who I was, so wild and zealous and overly down for the cause," she coos on "Lonely After"). The truth may be fuzzy and unknown, but the consequences remain existentially high. © Shelly Ridenour/Qobuz
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Alternative & Indie - Released February 14, 2020 | Polyvinyl Records

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When Chicago's Post Animal made their full-length debut in 2018, it was with an eclectic set of hard-rockin' riffs, tight prog-inspired runs, wistful indie pop refrains, and a warm, affectionate tone that made them lovable through moments of dramatic, "Bohemian Rhapsody"-like bombast. That debut, When I Think of You in a Castle, was produced by the band, and they keep things in-house for the follow-up, Forward Motion Godyssey. It was produced by bassist and founding member Dalton Allison with help from Castle co-mixer Adam Thein. (Fans may want to note that guitarist/singer Joe Keery left the band following the debut to pursue acting opportunities stemming from his role on Netflix's Stranger Things.) If there's anything surprising about the remaining five-piece's second outing, it's that instead of homing in on a sound, they return with more of their oddball, freewheeling mix of styles ranging from classic metal, prog, and psych-rock to a seemingly contrarian indie soft rock. Examples of the latter can be heard on the mid-tempo "Schedule" and, to a lesser degree, "Safe or Not," two synth-aided tunes with a focus on treble clef. But first, they establish their metal chops on the imposing "Post Animal" and launch the record with the trippy, meandering "Your Life Away" ("Don't give your whole life away"). It languidly ponders: "Life's a lot of sleeping, though/I'll get some problems resolved in my dreams." The album on the whole is more contemplative, even on dirtier tracks like "In a Paradise," which philosophizes "We are all just waiting in a line/Forming thoughts we think would never occur to them" alongside low, churning guitars, cowbell-type cymbal pings, and engine-dwelling effects. All told, Forward Motion Godyssey isn't quite as much fun as Post Animal's debut, but they still deliver that characteristic warmth as well as uncommonly sharp hooks, fills, and theatrics of a nature that should delight air guitarists and drummers everywhere. © Marcy Donelson /TiVo
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Alternative & Indie - Released February 6, 2020 | Polyvinyl Records

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Alternative & Indie - Released January 17, 2020 | Polyvinyl Records

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The album cover, which doesn’t resemble any previous covers from the group, is a nod to an obsession of different eras, from the 50s to the 80s. This band from Athens, Georgia progresses further in its artistic line (with ten albums to their name since 1997), by mixing different genres and eras together while moving a step away from the kaleidoscopic psychedelics of their previous work. The album cover perfectly reflects the aesthetic of the music, within which you can recognise the creative extravagance which is inherent to the band’s leader Kevin Barnes (particularly on wacky tracks like Peace To All Freaks and Gypsy That Remains), but also a certain level of serenity, sometimes crossed with saccharine tones and melodies (You’ve Had Me Everywhere and the catchy chorus of Polyaneurysm). On the whole, Of Montreal’s album is a sunny extravaganza of synthetic pop, with occasional rock and psych tendencies (Don’t Let Me Die In America, 20th Century Schizofriendic Revenge-man). If you observe this project superficially, you could easily say that UR FUN does its name justice. But it is worth remembering that this fun sometimes masks certain melancholic and tortured echos, like the song St. Sebastian: here, the use of the minor key beneath the bouncing rhythm is heartbreaking. © Nicolas Magenham/Qobuz
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Alternative & Indie - Released January 9, 2020 | Polyvinyl Records

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Alternative & Indie - Released January 7, 2020 | Polyvinyl Records

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Alternative & Indie - Released December 6, 2019 | Polyvinyl Records

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Alternative & Indie - Released December 5, 2019 | Polyvinyl Records

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Alternative & Indie - Released November 20, 2019 | Polyvinyl Records

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