{"title":"CDs","description":"","products":[{"product_id":"cowboys-the-the-bottom-of-a-rotten-flower-cd","title":"The Cowboys - The Bottom of a Rotten Flower CD","description":"\u003cp\u003e\"The fourth album by the Cowboys (from Bloomington, Indiana) is kinda like a modern Midwestern version of THE WHO SELL-OUT or SOMETHING ELSE BY THE KINKS--a basic R\u0026amp;R band stretching its wings to embrace more varied musical elements and dig into deeper subject matter. The Cowboys grow up! And they grow in number too, with Chris Kramer (Nobunny\/Slushy) joining the brilliant Mark McWhirter for a killer guitar team. Vocalist\/songwriter Keith Harman alters his whooping nasal-punk a bit, with a more naturalistic approach when it fits the mood. His songwriting skills are mighty. Zackery Worcel (bass) and Jordan Tarantino (drums) provide a solid, relentless groove. There are 16 hooky gems in this new LP. To compare the Cowboys’ songs to Pete Townshend and Ray Davies was no casual thing up front. Check “Doghouse Rag” for primo late-60s Kink-kwality pop. Then there’s the insanely hooky “Some Things Never Change,” with its nod to early 70s Sparks. This song should be a smash hit RIGHT NOW! And dig “Bodie, Don’t Jump” in all its bubblegum glory! The deceptively short “Deuce” with its 70s-style pop exploding into VU-like noise, etc. It’s very cool to see a modern R\u0026amp;R band progress in the true sense of the word--to mature and seek new horizons. I’ve personally seen them when\u003cspan class=\"bcTruncateMore\"\u003e they opened the very first show by the reunited Gizmos in 2014, and then when they played with us again in Chicago 2017, to this new album. It’s an impressive climb. For anybody into garage-rock or power-pop, this has gotta be an instant CLASSIC! But I’m just gonna call it rock’n’roll.\" \u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e--Eddie Flowers, Vulcher Magazine\/The Gizmos\u003c\/span\u003e\u003cspan\u003e. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCD edition packaged in a four panel Digipak with full color disc imprint.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2361413132\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless=\"\"\u003e\u0026amp;lt;a href=\"http:\/\/feelitrecords.bandcamp.com\/album\/the-bottom-of-a-rotten-flower\"\u0026gt;The Bottom of a Rotten Flower by The Cowboys\u0026amp;lt;\/a\u0026gt;\u003c\/iframe\u003e","brand":"Feel It","offers":[{"title":"Default Title","offer_id":32205834813575,"sku":"13618138","price":3.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0312\/7630\/2471\/products\/a4106990023_16_0f1bd1e0-73b9-4232-8763-1d0696fb0b20.jpg?v=1579909089"},{"product_id":"v-a-days-of-a-quiet-sun-cd","title":"V\/A \"Days of a Quiet Sun\" CD","description":"\u003cp\u003e\u003cstrong\u003ePro-duplicated CD edition of 100. Contains five bonus tracks. Packaged in a 6-panel Digipack with liner notes. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMid-1960's Richmond, Virginia had little to offer aspiring local artists. Enter Martin Gary, a local kid who grew up working at Gary's, the primary record shop in town that his father opened in 1939. Starting in junior high, Martin Gary became interested in producing local bands, however Richmond lacked any real recording studios. Gary first linked up with The Barracudas, a teen group from nearby Sandston, traveling up to Washington, DC's Edgewood Recording in June 1966. The resulting session produced a 45 on the Cuda imprint, establishing NewBag Music for publishing, and using Gary's Records (which would grow into an 8-store chain) as distribution.\u003cbr\u003eMore 45's soon followed in '67 and '68, with Gary creating the Groove label that would release The Hazards \"Hey Joe\" (one of the best versions from the late 60's garage explosion), King Edward \u0026amp; His B.D.'s \"Beg Me\" (a snappy garage\/soul hybrid with horn section), and the monster soul cut \"Gotta Be a Reason\" from Bernard Smith \u0026amp; Jokers Wild. Trips to Virginia Beach resulted in a 45 on the appropriately-dubbed Beech label for Group Nine, early adopters of a psychedelic rock sound reminiscent of Jefferson Airplane. Summer 1968 found Gary and The Barracudas reuniting and moving studios to Recordings, Inc. near Baltimore, with now legendary\u003cspan class=\"bcTruncateMore\"\u003e engineer George Massenburg. This session produced \"Days of a Quiet Sun\", The Barracudas' heavily psyched-up take on a Group Nine original with Massenburg on Moog synthesizer (one of the first units on the East Coast!). \"Days\" was backed with \"Apple Pie\" on 45 and released in late '68 on Satori, the last of Gary's short-lived labels. Following \"Days\", Gary produced a demo session for Richmond's Bosom Blues Band - an amazing bluesy hard rock group that nearly signed a major deal with Capitol Records.\u003cbr\u003e\u003cbr\u003e\"Days of a Quiet Sun\" collects the best of Martin Gary Productions, including several unreleased (like a '73 outtake from notable fingerpicking guitarist Duck Baker) and alternate takes, all professionally transferred and remastered from the original sources. \"Days of a Quiet Sun\" shines a light on the raw energy and musical colors that swept through Virginia in the late 60's, most of which hasn't been available in over 50 years. Packaging includes liner notes from Martin Gary, a detailed rundown of each track, and five bonus tracks with download code or CD.\u003c\/span\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=964207745\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/feelitrecords.bandcamp.com\/album\/days-of-a-quiet-sun\"\u003eDays of a Quiet Sun by Various Artists\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Feel It","offers":[{"title":"Default Title","offer_id":34156339757191,"sku":"16224600","price":5.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0312\/7630\/2471\/products\/DaysofAQuietSunfrontcoverweb.jpg?v=1601915003"},{"product_id":"sweeping-promises-hunger-for-a-way-out-cd","title":"Sweeping Promises - Hunger for a Way Out CD","description":"\u003cp\u003e\u003cstrong\u003eShrinkwrapped in a 6-Panel Digipak which includes lyrics.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eStraight from the depths of an unused Boston-area concrete laboratory comes the debut of Sweeping Promises. Written and recorded with a patented \"single mic technique\" just before quarantine, \"Hunger for a Way Out\", is a post-punk leaning gem of unpolished DIY sound. The title track kicks things off in absolutely classic fashion, full of spirited hooks that echo the early Rough Trade sound. Angular guitars and sharp synth notes float atop a raw rhythm section, while Lira Mondal's effervescent vocals truly define Sweeping Promises' sound. There's something simple yet otherworldly about these tracks - you have the DIY prowess of Kleenex\/LiLiPUT and Girls at Our Best!, a brooding new wave-y minimal synth sound woven in, and an undeniable pop-leaning appeal captured in vibrant monaural glory. It's hard to mistake these ten tracks of naturally urgent and driving post-punk for anything other than sheer brilliance. Sweeping Promises deliver in spades on \"Hunger for a Way Out\".\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Feel It","offers":[{"title":"Default Title","offer_id":40832822706375,"sku":"20328583","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0312\/7630\/2471\/products\/IMG-1427.jpg?v=1630633275"},{"product_id":"sweeping-promises-glicfy-cd-preorder","title":"Sweeping Promises - GLICFY CD","description":"\u003cp\u003e\u003cstrong\u003eAll customers outside of North America, please order from \u003ca href=\"https:\/\/megamart.subpop.com\/\" target=\"_blank\"\u003eSub Pop\u003c\/a\u003e.\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2169765334\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/sweepingpromises.bandcamp.com\/album\/good-living-is-coming-for-you-2\"\u003eGood Living Is Coming For You by Sweeping Promises\u003c\/a\u003e\u003c\/iframe\u003e\u003c\/strong\u003e\u003cbr\u003eFirst CD edition of 500 copies shrinkwrapped in a 6 panel Digipak.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"For more than a half century, underground music revolutionaries have taken a whack at the mundane mainstream like a piñata. England punks spat \"NO FUTURE'' at germ-free adolescents. Ohio new wavers devolutionized mankind with whips. Athens art school students chomped at hero worship. MetroCard-carrying riot grrrls rebirthed the bomp with a gasoline gut. In 2020, Sweeping Promises read our pandemic minds with Hunger for a Way Out. In 2023, they return with a new message: Good Living Is Coming For You. At first glance, this nouveau wave slogan offers hope wrapped around relief. At first listen, we realize this may actually be a warning. Darker still, a threat.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eA band famous for their unfussy, monolithic anthems, Sweeping Promises elegantly ravage us again with another future classic. They return as a fist of velvet rose petals roaring inside a compact wrecking ball. Gone is the Boston brutalist ambience of their subterranean concrete laboratory and the revelatory single mic recording technique. In its place, a retired and resplendent nude painting studio in Lawrence, Kansas, bathed in light with high ceilings and hardwood floors. Guided once again by their surrounding architecture, a reverb-rich space remains the defining element at the heart of their highly stylized sound. A watery ghost from the golden age of art-punk now wields\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003esharper knives and more microphones.\u003cbr\u003e\u003cbr\u003eIf the mood of HFAWO was hungry, GLICFY is RAVENOUS. In 2023, appetite is addressed in new ways: Power struggles are aired in “Eraser,” restraints are broken in “You Shatter,” anguished exclamations sting in “Good Living Is Coming for You.” The taboo subject of aging is (s)heroically dragged out into the open. Every line is delivered with such joyous, soaring layers that each punch lands like a chef’s kiss.\u003cbr\u003e\u003cbr\u003eSweeping Promises are Lira Mondal and Caufield Schnug. A chance meeting in Arkansas led to a decade of playing in an eclectic assortment of projects together. Their relentless practice made perfect. Bass playing Lira is an emotive bolt of thunderous energy with the iconic blast of a girl group rolled into one robust throat. Caufield is an intentional guitar player and drummer. No note or hit is extraneous. Together they are meticulous sound engineers, using space as a key ingredient to their distinct sound. Controlling every aspect of their craft, from the first note they write together, all the way through to the final mastering process, each record is an unspoiled fingerprint unique to their dynamic chemistry.\u003cbr\u003e\u003cbr\u003eWritten before the pandemic, Hunger for a Way Out was released on Feel It Records in the summer of 2020. These songs drip with the anxious urgency of a commanding live performance yet their gauzy production transports us like the fading memory of a favorite song. This distorted sense of time resonated with thousands of quarantined listeners who turned the album into a life-saving floatation device and most beloved album of the year. This is when Feel It Records (North America) and Sub Pop (everywhere else) joined forces to divide\/unite and conquer; beginning with the 2021 single “Pain Without a Touch” and now carrying through to Good Living Is Coming For You.\u003cbr\u003e\u003cbr\u003eThe pandemic went on to trigger an absurd chain of events for Sweeping Promises. Under financial strain, Mondal and Schnug uprooted their lives. They surrendered their studio in Cambridge to take refuge with family in Texas. They completed over 50 demos between their Austin bathroom and a Marfa abode, but feeling unsatisfied, they sought another fresh start. When a disused church in Ohio proved too difficult to rehab, they ultimately found lasting inspiration in Kansas. With their home and studio all under one roof, life is music and music is life.\u003cbr\u003e\u003cbr\u003eGood Living Is Coming For You ultimately reflects being thrust into a severely unpredictable world. A capsized boat isn’t entirely bad. In fact, it can be the necessary push toward finding solid ground.\"\u003cbr\u003e-Tracy Wilson (Courtesy Desk)\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Feel It","offers":[{"title":"Default Title","offer_id":44111659663583,"sku":"27468015","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0312\/7630\/2471\/products\/SP-GLICFY_Digipack_Mockup1.jpg?v=1682343700"},{"product_id":"advertisement-escorts-cd-preorder","title":"Advertisement - Escorts CD","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003ePro-duplicated CD edition of 150 in a Digipak.\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSo long as there has been madness, there has been art that tries to arrest its shape, art that tries to capture its lack of coherency and fashion something beautiful out of the stupidity. Caught in a world that feels as if it were careening off the edge of a Niagara Falls-sized torrent of self-surveillance, inflated drug \u0026amp; sex scandals, chemical-depleted romance, and noir-like petty hustles every day anew, it is often the delirium of playing the fool that makes us feel closest to God. On \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEscorts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (Feel It Records), Advertisement leans into the romance of such foolish, magical thinking. The LP—their second, following 2020’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmerican Advertisement\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e—is an impressionistic ode to the tragic comedy of contemporary living. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEscorts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a nighttime record. It burns with the neon-seared complexion of a drunken city wanderer, always moving with a funny sense that there is an unnamable fear lurking just off the horizon. City nights are fleeting, endlessly tumbling towards the disappointment of dawn. Advertisement metabolizes the sounds of good nights gone awry with startling clarity, shifting effortlessly from glossy, leather-doused glam rock to glitching, Kraut-inspired spirals, Scott Walker-tinged empty pub revelries to industrialized club loops. Undergirding the entire record is a singular devotion to pop worship: amidst its suffocating whirl of jagged sonic palettes, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEscorts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e displays an unwavering loyalty to the ideal of simple, engaging songwriting. At heart, Advertisement makes no attempt to overwhelm the listener with indulgent references or feigned cerebralism. Rather, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEscorts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e follows in the tradition of all the mad art which came before it, turning the delirium of living into something dumbed down and delightfully visceral. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEscorts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Advertisement stakes a bold stylistic departure from previous work. Their debut LP, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmerican Advertisement\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, was self-released to unexpected critical acclaim, garnering glowing, Rolling Stones-esque comparisons from such publications as Pitchfork, who praised the band’s “knack for surrealist vignettes that distort and pervert American fantasies,” Consequence, and NME, who listed the record as one of their favorite debuts of 2020. Running off the back of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmerican Advertisement\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e’s success, as well as a string of standalone singles with Hardly Art Records and Fire Talk Records, Advertisement devoted the bulk of the next two years to touring alongside the likes of The War on Drugs, Surfbort, Sheer Mag, Spiritual Cramp, and Narrow Head. These intervening years found the band becoming increasingly disaffected with the stylistic limitations of the live band oriented, English-invasion-meets-Americana rock ethos that defined their first LP. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn search of something more formally exciting, Advertisement scattered across the country, landing in between Seattle, Los Angeles, and New York City. They proceeded to compose  the tracks for \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEscorts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e in a piecemeal fashion, passing a slurry of Frankensteined home-demos back and forth over email in what became a slow, methodical exchange of ideas. Advertisement reconvened in Los Angeles during the summer of 2022 to record \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEscorts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, enlisting the help of engineer Mike Kriebel (Osees, Ty Segall, Mild High Club), who tracked and mixed the record in between Ty Segall’s Topanga Canyon home studio and his own private studio in Glassell Park. The end result bears an increasing energetic resemblance to the chameleon-like, attitude-over-genre sensibility of both early forebears like Roxy Music and Amon D\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eüü\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003el as well as more recent contemporaries like Total Control, The Men, and Milk Music. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn the words of guitarist Ryan Mangione, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e“We have a shared sort of dilettantish interest in all of these loose threads that exceed rock, from Vivienne Westwood and warehouse clubbing to like, Oscar Wilde and the way a glass of Guinness looks on a wooden bar top—we wanted to make something that honors the curiosity and confusion and impulsiveness of those shared desires. We wrote this record for each other, because every time we’ve tried to make something with a broader reaching or more universal appeal we’ve failed miserably.”\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThematically, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEscorts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e dabbles in a type of lighthearted black comedy. Vignettes of different city-life scenes roll forward in cinematic fashion, ruminating on bizarrely fumbled pseudo-romances and the helpless repetition of beating one’s psyche against the world again and again. Guitarist\/primary-singer Charlie Hoffman tells,\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e “I’m always drawn to the subtle, nihilistic humor of movie references like commedia all’italiana—Dino Risi’s Il Sorpasso is big in particular—and John Cassavetes. I draw a lot upon these little slice of life stories, tales of petty criminals and fools and losers that feel fun and light, but then end in these sudden and totally unnecessary tragedies.”\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOpening track “Victory” observes the frenetic pulsations of a disintegrating, androgynous love-or-friend affair from the stuffy vantage point of an apartment room, following a rosy-tinted narrator as they fling vaguely religious objects against the walls and make conspiratorial bets with a silent god. This theme of domestic psycho-enlightenment and crumbling relationships is expanded upon on “Nobody’s Cop”—albeit with a slightly darker tinge, as images of “good Germans” and policemen locked in fiery kisses invade an apartment that has become littered with cascading dishes and melancholic dreariness. Importantly, “Nobody’s Cop” refuses to offer any moral judgements, its repeated cascade of double and triple negatives [“I’m no fool\/and I ain’t never gonna be nobody’s cop”] creating a confusing scene which is as self-implicating as it is critical—if there is a mortal affliction at play here, it is the hopelessness of love itself, not any particular player involved. “Where is My Baby?” launches the listener out of the apartment and into the midnight streets, following a foolishly optimistic character as he stumbles after an elusive love interest with a “smile like lemonade,” only for him to tumble to an untimely end in the shallows of the Hudson River. Elsewhere, naïve adolescents conjure portals into Hell (“Stupid Boys”) and bleary-eyed party-casualties rock themselves into the comfort of sleep before the comedown has a chance to kick in (“Eyes of the Night”). Lest the city become overbearing, the penultimate track “Point Reyes” offers a sliver of relief, waxing upon images of nostalgic car rides along the coast, conjuring the childlike smell of leather as if it were a type of vaguely perverted Proustian madeleine. The relief is fleeting though, and always in the rear-view mirror—at heart, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEscorts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e entertains no hope of a lasting escape from the overwhelming flow of day-to-day life.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSonically, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEscorts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e finds Advertisement breaking significant new ground. Heavy dance rhythms dominate: “Dancing Scrooge” lays out a collage of stadium-sized harmonies and “Miss You”-era Stones saxophone wails over a house-inspired four-to-the-floor beat, while “Where is My Baby?” cleverly juxtaposes shrill funk guitars and naïve recorder melodies against throbbing, Suicide-adjacent hardware electronics. The band’s emotional landscape has darkened considerably, erecting walls of charmingly melancholic fog. “Eat Your Heart Out” peddles a Suede-esque vampiric drawl over contorted goth progressions, while “Point Reyes” evokes the feeling of a cherry-red Mustang driving off a sea-side cliff in slow motion, playing considered and sparse acoustic guitar lines against washed-out synths. “Eyes of the Night” carries this overriding sense of minimal, chemical-sapped bleakness to its logical conclusion, accelerating beautifully simple piano and saxophone lines towards an almost comically cathartic, bull-in-a-china-shop “Champagne Supernova” style ending. Advertisement smartly avoids drifting into melodrama, however. If “Eyes of the Night” brings \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEscorts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e’ A-side to an overtly severe coda, B-side opener “Only the Prophets” releases the tension, falling back into streamlined, Hollywood-brut riffs and phaser-kissed sneers with a sign of relief. The band’s wry sense of humor saves \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEscorts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e from fully committing to its darkest promises, constantly undercutting any sense of overt emotional sincerity with subtle, fourth-wall-breaking winks to the listener. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWith \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEscorts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Advertisement provides a convincing argument for guitar-driven rock’s continued ability to reflect the maddening incoherency of the world around us. Moving with a cadence which is at once both tragic and lighthearted, melancholic and laughable, Advertisement confront the delirium of modern life and twist it into something subtly charming. At heart, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEscorts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a reminder that the most beautiful aspects of life are also the most disappointing, the most sensible course of action often the most stupid. In Advertisement’s world, only the fool makes the rules—to that end, the only recourse is to lean in.\u003c\/span\u003e\u003c\/p\u003e","brand":"Feel It","offers":[{"title":"Default Title","offer_id":44266187194591,"sku":"A-E-C-1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0312\/7630\/2471\/files\/Advertisement_bandcamp_CD_templatecopy.jpg?v=1689685074"},{"product_id":"crime-of-passing-s-t-cd","title":"Crime of Passing - S\/T CD","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCD edition of 150 copies shrinkwrapped in a Digipak.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eA stunning combination of style, vision, and execution. Crime of Passing, alongside related projects like The Serfs and The Drin, are at the helm of Cincinnati, Ohio's vibrant post-punk underground. Led by Andie Luman's fervent vocals, Crime of Passing's self-titled debut album is a wondrously textured web of sound. Shades of early 80's post-punk, synth-driven electro pop, and heavier Industrial\/Krautrock tones combine across an album both instantly memorable and futuristic. Nine cold tracks for a new dark age.\u003cbr\u003e\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3561326973\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/crimeofpassing.bandcamp.com\/album\/crime-of-passing\"\u003eCrime of Passing by Crime of Passing\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Feel It","offers":[{"title":"Default Title","offer_id":44295047643359,"sku":"COP-COP-C","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0312\/7630\/2471\/files\/CoP_bandcamp_CD_templatecopy.jpg?v=1690894080"},{"product_id":"optic-sink-glass-blocks-cd","title":"Optic Sink - Glass Blocks CD","description":"\u003cp\u003eCD edition of 100 copies shrinkwrapped in a four panel Digipak.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExpanding on the magnetic, minimalist post-punk frontier first chartered on their 2020 Goner debut, Optic Sink return with their second album, 'Glass Blocks'. Hot on the heels of their recent EP on Spacecase Records, the Memphis trio of Natalie Hoffmann, Ben Bauermeister, and Keith Cooper ventured out to Lawrence, Kansas to record at the home studio of Caufield Schnug (Sweeping Promises).\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe resulting seven originals and a rendition of LiLiPUT's \"A Silver Key Can Open An Iron Lock, Somewhere\" define Optic Sink and their remarkable style with a clarity and power seldom realized in a studio setting. Hoffmann and Bauermeister command the high end of the mix with a gamut of perfectly dialed synth and percussive tones while Cooper's bass serves as rhythmic anchor. There's far more to dive into, whether it's the cold, driving beat of \"Modelesque\" or the minimal, percussive brilliance heard on \"Glass Blocks\". Perhaps the best part of the formula is the sheer amount of natural energy that gleams through the mix. Like a warm refraction of musical chemistry and originality, Optic Sink have struck gold with 'Glass Blocks'.\u003c\/span\u003e\u003c\/p\u003e","brand":"Feel It","offers":[{"title":"Default Title","offer_id":44312661262559,"sku":"28274554","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0312\/7630\/2471\/files\/OpticSink_bandcamp_CD_template.jpg?v=1692072508"},{"product_id":"vacation-rare-earth-cd","title":"Vacation - Rare Earth CD","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdition of 150 shrinkwrapped in a 6 panel digipak.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Vacation’s new album Rare Earth comes at a time when the powder keg of civilization as we know it is particularly vulnerable to the spark that swallows our very existence. Rare Earth is an album that exists on account of this fact; lyrically and sonically in meditation of it. It’s an album that evokes at once the ominous churning of the Bizarros, the drone \u0026amp; dirge of Screaming Urge, and the melodic cushion of the Replacements’ tender years. Nine albums into their discography, Vacation remain true to shrill atmospheric ambience in tribute to Pere Ubu while retaining the hard-edged accessibility that was signed, sealed, and delivered to sensitive degenerates by the likes of the Ramones and Guided By Voices. Rare Earth delivers all of this in a uniquely sparkling package; almost tactile in relation to their live experience. It’s this Cincinnati power-quartet’s most explosive album yet, out Spring 2024 on Feel It Records.\" -Amos Pitsch (Dusk, Tenement)\u003c\/span\u003e\u003c\/p\u003e","brand":"Feel It","offers":[{"title":"Default Title","offer_id":44995290562783,"sku":"V-RE-DC","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0312\/7630\/2471\/files\/vacation_bandcamp_CD_templatecopy.jpg?v=1709226858"},{"product_id":"the-ar-kaics-see-the-world-on-fire-cd","title":"The Ar-Kaics - See the World on Fire CD","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eEdition of 500 shrinkwrapped in a 6 panel Digipak.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" class=\"lightweightBreak\"\u003e\u003c\/span\u003e\u003cbr\u003eThe Ar-Kaics are back with See the World on Fire, their first new album in six years. It’s also the first release from this newly-minted partnership between Feel It Records and the bands’ own imprint, Dig! Records; with Bachelor Records delivering a European edition. Expect eight new tunes of dark, moody, rollicking garage psych not altogether dissimilar from their previous output (across two LPs and a mess of singles). What you get here is the next chapter. All written and recorded in singer-guitarist Johnny’s bedroom \/ garage (pictured on the album cover), it’s a concept album based on the concept of making an album—on their own, from the brink. \u003cbr\u003eBut don’t just take our word for it…\u003cbr\u003e\u003cbr\u003e“The Ar-Kaics out of Virginia are pretty groovy. They got THAT sound, man.”\u003cbr\u003e- Marc Maron \u003cbr\u003e\u003cbr\u003e“What could possibly have possessed these seasoned vets peppered throughout the Commonwealth (a region philosophically averse to light pollution) to paint it all even blacker? Where have all the good times gone, and how? When that '60s clang-n-fuzz gets too much humidity on it, that swamp-heavy \"let's go get stoned\" midnight choir to the black vacuum of electric hum at the hour only the birds and paw-paws are listening and the true believers among us can unbottle some secrets to the stars above... you get this album. So many third-wave garage juggernauts always kept the shtick secured in their pocket protectors. Even Sam the Sham \u0026amp; the Pharaohs’ emotional investment translated directly to their market parameters. No risks, no rewards, no 4th walls and no 5th columns. Great shit, but who's feeling? This album calls the bluff on the whole genre—a Hail Mary by dudes who've used and been used by the entanglement. There was always a suspension of disbelief to the cathartic hokiness, and this is the ultimate trump card. They still believe in music, and you can too. In the intersections of love and trust and money and hope, we're all crosstown traffic, and if there aren't marks on your back, pat it. You'll hear echoes of Lou and Neil and Keith, but there's no indication what part of the woods they're coming from. It's music from where they went on occasion, mapless. Music from the other side. A land free of time.”\u003cbr\u003e- Brandon Gaffney \u003cbr\u003e\u003cbr\u003e“Love over gold.”\u003cbr\u003e- Don Van Vliet\u003c\/p\u003e","brand":"Feel It","offers":[{"title":"Default Title","offer_id":45002406953183,"sku":"30484943","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0312\/7630\/2471\/files\/Ar-Kaics_bandcamp_CD_template.jpg?v=1709319474"},{"product_id":"townes-van-zandt-in-the-beginning-1","title":"Townes Van Zandt - In the Beginning CD","description":"\u003cspan\u003eNot surprisingly, when one listens to these early recordings of Townes Van Zandt, it's obvious from the start that he was someone and something that arrived fully formed. Even if the songs themselves weren‰۪t quite as refined as they would become, virtually all of the elements are in place: the poetry, the stark melodies, the restless wanderlust, the inherent melancholy and impenetrable darkness; all of which this would inhabit his lyrics and delivery for the rest of his too-short life. The songs on In the Beginning were recorded in his first Nashville recording sessions in 1966, pre-dating the release of For the Sake of the Song by two years. Eight of these ten songs was recorded with Van Zandt playing solo on his guitar. All of them are quite revealing, not just for the obvious lyric and melody reasons, but for his guitar playing abilities; he was a considerable flatpicking talent and picked up his idol's, fellow Houstonian Lightin‰۪ Hopkins', trademark stutter shuffle as well. The blues are as present Van Zandt's tunes as folk and country were. Check the set‰۪s opening track ‰ÛÏBlack Widow‰۪s Blues,‰۝ one of two songs recorded with a full backing band; the other is the stellar ‰ÛÏHunger Child Blues.‰۝ He‰۪s got the blues moan, the chilling lyrics (best not revealed here so as not to spoil the listener's surprise), and a dynamic delivery that was a trademark then and there. Some songs here hint at others to come later. ‰ÛÏGypsy Friday‰۝ is one of the most pure and gentle of Van Zandt's folk songs, and recalls his traveling tunes. One can hear the gigantic influence of Hank Williams on the beautiful love song ‰ÛÏWaitin‰۪ for the Day.‰۝ The album‰۪s final two tracks -- \"Big Country Blues‰۝ and ‰ÛÏBlack Crow Blues‰۝ -- feature shapes and hints of ‰ÛÏWaitin‰۪ Round to Die‰۝ and ‰ÛÏMarie.‰۝ - \u003c\/span\u003e\u003cem\u003eAllMusic\u003c\/em\u003e","brand":"Fat Possum","offers":[{"title":"Default Title","offer_id":45026853748959,"sku":"6591607","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0312\/7630\/2471\/files\/original_grande_f314e42a-0e4a-476a-8c2f-b55fb69c900f.webp?v=1709669660"},{"product_id":"various-4-way-freakout-vol-6-cd","title":"Various – 4-Way Freakout! 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Where Motown aimed for polish and crossover appeal, Funkadelic dove headfirst into distortion, improvisation, and spiritual ambiguity, offering a sound as gritty and unpredictable as the era itself.Backed by a ferocious young band — including Eddie Hazel, Billy Bass Nelson, Tawl Ross, Tiki Fulwood, and Mickey Atkins — the album rejected convention in favor of raw groove and existential noise. Tracks like “I Got a Thing…” and “What Is Soul” pulse with menace and joy, bookended by surreal monologues that echo both street philosophy and space-age gospel.As part of Org Music’s Westbound Records reissue series, this edition restores the album’s full impact across multiple formats. The deluxe double LP, mastered at 45RPM directly from tape by Dave Gardner at DSG Mastering, offers the highest fidelity to date. 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