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Khruangbin
Mordechai
The highly anticipated third album from the excellent psychedelic, funk-blues-surf-dub-rock trio. This time they've got something to say, moving away from the pure instrumental sound of previous albums, with vocals on every track. Beautiful stuff! Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it’s finally speaking out loud. Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It’s a shift that rewards the risk, reorienting Khruangbin’s transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that’s always defined it.
Dead Oceans
CD | LP
Phoebe Bridgers
Punisher
Indies exclusive LP is on 'blue / green / swirl' coloured vinyl.
The hugely anticipated second full length album from Phoebe Bridgers. We were big fans of her 2017 debut full length Stranger In The Alps and it's been excellent to watch her grow and release music through boygenius and Better Oblivion Community Center. For Punisher, she has grasped a formidable crew of guests including Julien Baker, Lucy Dacus, Conor Oberst, Nick Zinner, Jenny Lee Lindberg, Harrison Whitford, Christian Lee Hutson and more.
Phoebe Bridgers doesn’t write love songs as much as songs about the impact love can have on our lives, personalities, and priorities. Punisher, her fourth release and second solo album, is concerned with that subject. To say she writes about heartbreak is to undersell her blue wisdom, to say she writes about pain erases all the strange joy her music emanates. The arrival of Punisher cements Phoebe Bridgers as one of the most clever, tender and prolific songwriters of our era. Bridgers is the rare artist with enough humor to deconstruct her own meteoric rise. Repeatedly praised by publications like The New Yorker, The New York Times, GQ, Pitchfork, The Fader, The Los Angeles Times and countless others, Bridgers herself is more interested in discussing topics on Twitter, deadpanning meditations on the humiliating process of being a person, she presents a sweetly funny flipside to the strikingly sad songs she writes. Fittingly, Punisher is fascinated with, and driven by, that kind of impossible tension. Whether it’s writing tweets or songs, Bridgers’s singular talent lies in bringing fierce curiosity to slimy and painful things, interrogating them until they yield up answers that are beautiful and absurd, or faithfully reporting the reality that, sometimes, they are neither.
On the album’s epic, freewheeling closer, “I Know The End,” Bridgers orchestrates wails and horns, drums and electric guitar into a sumptuous doomsday swirl, culminating in her own final whispered roar. This is Punisher in a nutshell: devastating elegance punctuated by a moment of deeply campy self-awareness.
Dead Oceans
CD | LP
Ryley Walker
The Lilywhitesessions [LRS20]
This is an exclusive and limited 'Love Record Stores 2020' release and will be available to order from Saturday 20th June, strictly one per customer. Love Record Store edition of The Lillywhite Sessions; Ryley Walker and the similarly indebted trio of drummer Ryan Jewell and bassist Andrew Scott Young cover Dave Matthews’ infamously abandoned 2001 art-rock masterpiece of the same name, a record where he and his band indulged a new adult pathos and a budding musical wanderlust. With a delicate rhythmic latticework and vocals that ask you to lean in, Busted Stuff recalls Jim O’ Rourke’s golden Drag City days. Emerging from a wall of distortion, Diggin’ a Ditch becomes a power trio wallop à la Dinosaur Jr, shaking off existential malaise like twenty- something pals writing rock songs in the garage. Walker’s Grace is Gone, the most faithful take here, is a testament to his unflagging love for the music that helped make him a musician. This end-to-end interpretation of youthful fascination is a collective reminder that we are all just kids from somewhere, reckoning with our upbringing the best we can. Walker has stepped through the door long ago opened by the Dave Matthews Band to find a world teeming with musical possibilities. On The Lillywhite Sessions, he has, in turn, created his own.
Dead Oceans
LP
Phosphorescent
Pride [LRS20]
This is an exclusive and limited 'Love Record Stores 2020' release and will be available to order from Saturday 20th June, strictly one per customer.
On his latest album under the Phosphorescent guise, Mathew Houck continues his work with reflective folk music given a somewhat ethereal bent. If not as gone as some of the performers in the field in recent years who seem to balance between stability and the lack thereof, Houck beats the heck out of so many who seem to only want to become the new Dan Fogelberg (sometimes with Tim Weisberg and sometimes without). Pride's eight songs are an almost fully solo effort, aside from some backing harmonies on a couple of tracks; as a one-man band, Houck shows he can re-create the as-if-it-was-a-live-jam feeling well; if by necessity songs like "A Picture of Our Torn Up Praise" can sometimes sound almost too perfect, their edges are sometimes just frayed enough. Tambourines stretch out towards the end of one song, while intercutting wordless harmonies, and soft yelps flesh out the arrangements further (a combination used to excellent effect to close out the title track and album as a whole). His fondness for his own harmony overdubs partially explains why he's received mentions from the Animal Collective fan base in its various incarnations, but Houck has his own spin on a deeper and more reflective approach that sometimes suggests early Spiritualized circa "Feel So Sad." His arrangements at their lushest are beautifully ragged, a mélange of psych/Americana that don't suggest one era or group of performers as much as a careful mishmash of them all, as is readily heard on the downbeat epic of "Wolves," the album's clear standout, and the rich blend of acoustic and electric elements on "My Dove, My Lamb," one of the more interesting uses of Christian imagery in a seemingly non-Christian vein currently out there.
Dead Oceans
LP
Marlon Williams
Make Way For Love
Known for his effortlessly distinctive voice, Make Way For Love marks Marlon's exponential growth as a songwriter. Throughout 11 original songs, he explores new musical terrain and reveals himself in an unprecedented way in the wake of a fractured relationship. While Make Way For Love draws on Marlon's own story, it captures the vagaries of relationships we've all been through: the bliss, ache, uncertainty, and bitterness. Like the best breakup records, Make Way For Love doesn't shy away from heartbreak, but rather stares it in the face, and mines beauty from it. Delicate and bold, tender and searing, it's a mightily personal new step. Make Way For Love was recorded with producer Noah Georgeson and his backing band, The Yarra Benders, in North California's Panoramic Studios after several weeks of pre-production in his native Lyttelton, New Zealand with regular collaborator Ben Edwards. The finished result is an expansive record that moves Marlon several paces from "country" - the genre that's been affixed to him more than any in recent years - with forays into cinematic strings, reverb, rollicking guitar, and at least one quiet piano ballad.
Dead Oceans
CD | LP
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