{"title":"New Releases \u0026 Pre-Orders | Vinyl, CDs \u0026 More","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eThis is where the new stuff lands. Fresh releases, upcoming pre-orders, and limited editions are added as they become available across vinyl, CDs, cassettes, and collector formats. The catalog here is constantly updating, so if you're the kind of person who likes to know what's dropping before it sells out, this is the page to check.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eRelix has been covering this music for fifty years, and the store reflects that. New Grateful Dead archival releases, Billy Strings studio records, Phish box sets, My Morning Jacket reissues, Tedeschi Trucks Band, Goose, and the wider world of jam, Americana, rock, jazz, and folk that the Relix community actually listens to. Pre-orders are fulfilled and shipped on the release date wherever possible, and limited pressings go fast.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eIf something's on your list, the time to grab it is usually now.\u003c\/p\u003e","products":[{"product_id":"rolling-stones-foreign-tongues-black-180g-lp-vinyl","title":"Rolling Stones – Foreign Tongues (180g LP Vinyl)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003eMick Jagger and Keith Richards are now deep into their seventh decade as a songwriting partnership, a run that has outlasted entire genres and generations of imitators. Andrew Watt, who helmed Hackney Diamonds, returns here, continuing a creative alliance that proved the Stones could still write with urgency rather than nostalgia. With Charlie Watts woven into the fabric of these sessions, Foreign Tongues carries the weight of legacy without being burdened by it.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eThis is a pre-order and will ship around July 10, 2026!\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eForeign Tongues, the vibrant 14-track album from the Rolling Stones, arrives less than three years after the Grammy-winning Hackney Diamonds. Led by the infectious single “In The Stars,” it was recorded in under a month at Metropolis Studios with producer Andrew Watt. Blending their signature sound with fresh sonic territory, the album features Charlie Watts on one of his final sessions, plus contributions from Darryl Jones, Steve Jordan, Paul McCartney, Robert Smith and more. The Limited edition Indie Exclusive version includes a gatefold sleeve and heavyweight 180g green vinyl. Standard 2LP version includes a gatefold sleeve and heavyweight 180g black vinyl. Standard digisleeve CD version includes a 16-page lyric booklet.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen=\"\"\u003e\n\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 602488213486\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Capitol\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.10.26\u003cimg\u003e\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e LP Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48545572421787,"sku":"183868521","price":59.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/Rolling-Stones-Foreign-Tongues-180g-LP-Vinyl.jpg?v=1778587281"},{"product_id":"the-rolling-stones-foreign-tongues-cd","title":"Rolling Stones – Foreign Tongues (CD)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003eMick Jagger turns 83 this year, and Keith Richards 82, yet the Stones continue writing and recording original material at a pace that shames bands half their age. Hackney Diamonds proved the reunion with Steve Jordan behind the kit was no nostalgia exercise, and Foreign Tongues pushes further into that momentum, with Andrew Watt returning to the producer's chair after helming some of the most vital rock recordings of the past decade.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eThis is a pre-order and will ship around July 10, 2026!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eForeign Tongues, the vibrant 14-track album from the Rolling Stones, arrives less than three years after the Grammy-winning Hackney Diamonds. Led by the infectious single “In The Stars,” it was recorded in under a month at Metropolis Studios with producer Andrew Watt. Blending their signature sound with fresh sonic territory, the album features Charlie Watts on one of his final sessions, plus contributions from Darryl Jones, Steve Jordan, Paul McCartney, Robert Smith and more. The Limited edition Indie Exclusive version includes a gatefold sleeve and heavyweight 180g green vinyl. Standard 2LP version includes a gatefold sleeve and heavyweight 180g black vinyl. Standard digisleeve CD version includes a 16-page lyric booklet.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen=\"\"\u003e\n\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 602488213288\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Capitol\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.10.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48545572454555,"sku":"182279006","price":24.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/Rolling-Stones-Foreign-Tongues-CD.jpg?v=1778587283"},{"product_id":"maggie-rose-half-moon-digipak-cd","title":"Maggie Rose – Half Moon (CD)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003eI notice the label copy you've provided appears to be for a different artist entirely (JJerome87\/alt-J). I only have the product details for Maggie Rose's *Half Moon*, so I'll write the blurb based on what I know about her.\n\n---\n\nMaggie Rose has spent years quietly becoming one of Nashville's most compelling voices, earning her reputation through relentless touring and a willingness to push country music toward soul, R\u0026amp;B, and rock without ever losing her roots. Half Moon, her 2026 release on One Riot Records, arrives as the follow-up to her acclaimed *Change the Whole Thing* era, when she really hit her stride as both a writer and a bandleader.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eJJerome87 is the solo moniker of British songwriter, musician and frontman of the critically acclaimed Mercury Prize and Ivor Novello-winning band, alt-J. Recorded in LA alongside producer Carlos De La Gaza, a dedicated group of session musicians and a trio of female vocalists, The Canyon is a collection of alt-J (esque) songs with a Californian, Motown, Blues and Gospel energy.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen=\"\"\u003e\n\u003ch3\u003eTracklist\u003c\/h3\u003e\n\n\u003cdiv\u003e1. Used to It\u003c\/div\u003e\n\u003cdiv\u003e2. Red Shoes\u003c\/div\u003e\n\u003cdiv\u003e3. Weekend Lover\u003c\/div\u003e\n\u003cdiv\u003e4. The Mission\u003c\/div\u003e\n\u003cdiv\u003e5. The Other Woman\u003c\/div\u003e\n\u003cdiv\u003e6. Half Moon\u003c\/div\u003e\n\u003cdiv\u003e7. Everything's Changed\u003c\/div\u003e\n\u003cdiv\u003e8. Morning Bells\u003c\/div\u003e\n\u003cdiv\u003e9. Hiding in Plain Sight\u003c\/div\u003e\n\u003cdiv\u003e10. Gentle Man\u003c\/div\u003e\n\u003cdiv\u003e11. This Life\u003c\/div\u003e\n \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 198704976964\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e One Riot Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 8.14.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48600485134491,"sku":"156697455","price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/packshot-maggie-rose-half-moon-digipak-cd-cd-relix.jpg?v=1779321622"},{"product_id":"etta-james-dylan-bob-goodnight-sweetheart-live-1986-cd","title":"Etta James  \u0026 Bob Dylan – Goodnight Sweetheart Live 1986 (CD)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003eProvidence, Rhode Island isn't the first city that comes to mind when you trace the fault lines of American music history, but on July 10, 1986, a hotel lounge there became the site of something genuinely unrepeatable. Dylan was deep into his True Confessions Tour with Tom Petty and the Heartbreakers; Etta James was a living bridge between Chicago blues, soul, and R\u0026amp;B royalty. The two orbits colliding, with Shuggie Otis and Jack McDuff in the room, is the kind of thing that only happens when the night refuses to end.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eOn July 10, 1986, a remarkable musical encounter took place in Providence, Rhode Island, between Bob Dylan and Etta James. Following his official concert with Tom petty at the Providence Civic Center, Dylan visited the club at the local Marriott Hotel where Etta James was performing. What was intended as a private visit turned into an impromptu jam session. Dylan spontaneously joined in on guitar, accompanied by a top-tier band including Shuggie Otis on guitar and Jack McDuff on organ. These recordings were later broadcast by various local radio stations. These tracks are now available on CD.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen\u003e\n\u003ch3\u003eTracklist\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eYou Win Again\u003c\/li\u003e\n\u003cli\u003eI'M a King Bee\u003c\/li\u003e\n\u003cli\u003eI'M a King Bee II\u003c\/li\u003e\n\u003cli\u003eLet the Good Times Roll\u003c\/li\u003e\n\u003cli\u003eEarth Angel\u003c\/li\u003e\n\u003cli\u003eEarth Angel II\u003c\/li\u003e\n\u003cli\u003eGoodnight Sweetheart\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 4262428985161\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Blue-line\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.26.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48600490508443,"sku":"168747399","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/packshot-etta-james-dylan-bob-goodnight-sweetheart-live-1986-cd-relix.jpg?v=1779370285"},{"product_id":"trey-anastasio-live-acoustic-black-3-lp-vinyl","title":"Trey Anastasio – Live \u0026 Acoustic (Black 3-LP Vinyl)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003ch3\u003eReview\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003ePlease Note: this item is a pre-order and is expected to ship around July 10, 2026.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTrey Anastasio Live and Acoustic\u003c\/em\u003e may have only been recorded last year, but it was years in the making. While steadily outputting blue-ribbon tunes for Phish’s catalog (“What’s Going Through Your Mind”) and for his namesake band (“All Pretending”), Anastasio has simultaneously been accumulating a quieter, more song-oriented cache to fortify his episodic acoustic tours with songs that appear calibrated for the format—songs like “Lost in the Pack” and “A Little More Time,” both of which hit in some kind of idealized way here.\u003c\/p\u003e\n\u003cp\u003eIn 1999, when Anastasio began distilling Phish classics for solo acoustic guitar (during the opening sets of his first solo tour), it was a novel way for fans to experience and connect with some of Phish’s most beloved compositions. Anastasio reportedly composed some of these with ornate instrumentation—horn sections, orchestras—in his head before retrofitting them for a rock quartet. Their live acoustic deconstruction felt like a special peek behind the curtain, a glimpse inside the kitchen, a look under the hood.\u003c\/p\u003e\n\u003cp\u003eAnastasio has continued to strip some of Phish’s biggest treasures of all their fancy, effect-laden clothing for intimate nights with just his acoustic guitar. But ever since the lonely trip of pandemic times, he’s also been steadily adding to a solo acoustic catalog with songs that purposefully beg for nothing more. Songs that pass the campfire test.\u003c\/p\u003e\n\u003cdiv class=\"gmail-wp-block-columns gmail-is-layout-flex gmail-wp-container-core-columns-is-layout-1 gmail-wp-block-columns-is-layout-flex\"\u003e\n\u003cdiv class=\"gmail-wp-block-column gmail-is-layout-flow gmail-wp-block-column-is-layout-flow\"\u003e\n\u003cp\u003eEven then, reflective of his explorative nature as an artist, Anastasio’s songwriting approach remains tirelessly dynamic, first exploring the craft with different intentions for different destinations, then taking the outcomes cross-platform with him. “Petrichor,” which appears here as an unexpected album highlight, successfully completes just such a journey, having gone from orchestra to quartet to duo with all its grace intact.\u003c\/p\u003e\n\u003cp\u003eFor that one and others that benefit from an extra pair of hands to hold their delicate folds, Anastasio is accompanied by pianist Jeff Tanski, with whom he began collaborating during the pandemic and later during the eight-series “Beacon Jams” livestreams (fall 2020).\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eTanski tastefully maintains a supportive role, subtly augmenting intricate presentations of songs like “Divided Sky,” “Billy Breathes,” and “Stash,” while other pearls like “Lifeboy,” “Strange Design” and “Brian and Robert” are left to stand on their own bones, offering fans a direct connection to them and, by proxy, to Anastasio himself.\u003c\/p\u003e\n\u003cp\u003ePhish’s dedicated digital streaming platform, LivePhish released all of the source shows for this compilation immediately after their performance, framing this release as an offering for the wider fanbase that doesn’t have the app or that may not be familiar with Anastasio’s solo acoustic sphere. But given the magic touch of post-production, these curated cuts have never sounded better than they do here. Both sonically and performance-wise,\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"Asgive ng\" data-ddnwab-gr=\"OEh_0_0\"\u003eas far as\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003ethe live acoustic\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"Asgive ng\" data-ddnwab-gr=\"OEh_1_0\"\u003estuff goes,\u003c\/span\u003e \u003cem\u003eTrey Anastasio Live and Acoustic\u003c\/em\u003e feels less like an introduction and more like a grand showcase.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(64, 64, 64);\"\u003e\u003cem\u003e- \u003cmeta charset=\"utf-8\"\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(64, 64, 64);\"\u003e\u003cem\u003eBenjy Eisen, \u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003ca rel=\"noopener\" style=\"color: rgb(255, 42, 0);\" href=\"https:\/\/relix.com\/reviews\/detail\/trey-anastasio-trey-anastasio-live-and-acoustic\/\" target=\"_blank\"\u003eRelix\u003c\/a\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cem\u003e\u003cstrong\u003ePlease Note: this item is a pre-order and is expected to ship around July 10, 2026.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCheck out our announcement post on Relix.com \u003ca href=\"https:\/\/relix.com\/news\/detail\/trey-anastasio-announces-new-acoustic-live-album\/\"\u003ehere\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eTrey Anastasio – Live and Acoustic\u003c\/em\u003e\u003cspan\u003e arrives as Anastasio’s first independent live album since 2020’s \u003c\/span\u003e\u003cem\u003eBurn It Down\u003c\/em\u003e\u003cspan\u003e and chronicles the 20-show series from last spring that marked his first proper acoustic tour in six years. The album features 22 tracks culled from the run’s repertoire, including Phish classics like “Stash,” “Billy Breathes,” “Lifeboy” and “Divided Sky,” alongside fan favorite solo originals like “Pebbles and Marbles,” “Mercy,” “Snowflakes in the Sand” and “Lost in the Pack,” all produced by Vance Powell.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLive and Acoustic captures Anastasio in his most intimate and revealing form, drawing from his four-decade career, including such beloved songs as Stash, Waste, Divided Sky, and Pebbles and Marbles. The 22-song 3xLP set was recorded during his 2025 tour and highlights the depth of Anastasio’s songwriting and the emotional core of each composition, with select arrangements enhanced by Jeff Tanski’s piano. Live and Acoustic offers a rare, front-row perspective on Anastasio’s ongoing body of work.\u003c\/p\u003e\n\u003chr\u003e\n\u003cdiv data-bt-autogen=\"\"\u003e\n\u003ch3\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/h3\u003e\n\u003col\u003e\n\u003cli\u003eMore\u003c\/li\u003e\n\u003cli\u003eA Little More Time\u003c\/li\u003e\n\u003cli\u003eEvolve\u003c\/li\u003e\n\u003cli\u003eLost in the Pack\u003c\/li\u003e\n\u003cli\u003eOblivion\u003c\/li\u003e\n\u003cli\u003eStash\u003c\/li\u003e\n\u003cli\u003eBrian and Robert\u003c\/li\u003e\n\u003cli\u003eHey Stranger\u003c\/li\u003e\n\u003cli\u003eWaste\u003c\/li\u003e\n\u003cli\u003eSnowflakes in the Sand\u003c\/li\u003e\n\u003cli\u003eTaste\u003c\/li\u003e\n\u003cli\u003eMiss You\u003c\/li\u003e\n\u003cli\u003eBilly Breathes\u003c\/li\u003e\n\u003cli\u003eShade\u003c\/li\u003e\n\u003cli\u003ePetrichor\u003c\/li\u003e\n\u003cli\u003eDirt\u003c\/li\u003e\n\u003cli\u003eLifeboy\u003c\/li\u003e\n\u003cli\u003eSecret Smile\u003c\/li\u003e\n\u003cli\u003ePebbles and Marbles\u003c\/li\u003e\n\u003cli\u003eStrange Design\u003c\/li\u003e\n\u003cli\u003eDivided Sky\u003c\/li\u003e\n\u003cli\u003eMercy\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 850014859732\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e ATO Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.10.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e LP Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48613304139931,"sku":"201675300","price":59.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/Trey-Anastasio-Live-Acoustic-Black-3-LP-Vinyl.jpg?v=1779365245"},{"product_id":"grateful-dead-fillmore-auditorium-san-francisco-ca-7-3-66-live-cd","title":"Grateful Dead – Fillmore Auditorium, San Francisco, CA, 7\/3\/66 (2-CD)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cem\u003e\u003cstrong\u003ePlease note: This CD is a pre-order and is expected to ship around July 3, 2026, along with any other vinyl or CDs in your order. \u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSix months into their existence as the Grateful Dead, the band that would define San Francisco's psychedelic summer was still a raw, searching thing. This July 1966 recording captures them weeks before the first acid tests gave way to the full Haight-Ashbury explosion, playing a holiday bill with a scrappiness and experimental hunger that the polished studio work of the following year couldn't quite contain.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003chr\u003e\n\u003cp\u003eCheck out our \u003cem\u003eGrateful Dead Preview 60-Year Anniversary Live Collection ‘Fillmore Auditorium, San Francisco, CA (7\/3\/66)’ with “Cold Rain and Snow\"\u003c\/em\u003e feature on relix.com \u003ca href=\"https:\/\/relix.com\/news\/detail\/grateful-dead-preview-60-year-anniversary-live-collection-fillmore-auditorium-san-francisco-ca-7-3-66-with-cold-rain-and-snow\/\"\u003ehere\u003c\/a\u003e. \u003c\/p\u003e\n\u003cp\u003eWhen the Grateful Dead took part in Bill Graham’s Independence Ball at the Fillmore Auditorium in San Francisco on July 3, 1966, they had only recently adopted their new band name after dropping the Warlocks. Unassigned to a label and discovering their footing, the group offered some of their earliest renditions of rare originals, “Tastebud,” “You Don’t Have To Ask,” and “Cardboard Cowboy,” among others that would be regarded as standards, “\u003ca href=\"https:\/\/gd.lnk.to\/CRAS7366\"\u003eCold Rain and Snow\u003c\/a\u003e,” “Viola Lee Blues,” et al. Now, 60 years after the show date, it will be released by Rhino. \u003c\/p\u003e\n\u003cp\u003eOfficially titled\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFillmore Auditorium, San Francisco, CA (7\/3\/66)\u003c\/em\u003e, the forthcoming live offering will be available for purchase in various formats, including 2CDs and a 3LP set – limited to 6,600 copies and featuring a custom etching on the final side. Initially recorded by Owsley “Bear” Stanley and produced by Grateful Dead Legacy Manager and Archivist Dave Lemieux, it was mastered by Jeffrey Norman, with speed correction and tape restoration by Plangent Processes.\u003c\/p\u003e\n\u003cp\u003eThe rare and early capture of the Grateful Dead’s mid-1960s sound, the July 3 recording was initially debuted in 2015 as a part of the 50th-anniversary boxed set,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e30 Trips Around the Sun\u003c\/em\u003e. The collection of live material is represented by the joint appeal of Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan, and Bob Weir as a collective focus of musical might. In addition to the aforementioned rarities that would eventually drop from their setlist, the group also delivers a rendition of “Cold, Rain and Snow,” the collection’s lead single, out today. \u003c\/p\u003e\n\u003cdiv id=\"om-xtq41o8bymqeqekfggpq-holder\"\u003e\u003c\/div\u003e\n\u003cp\u003eRegarding today’s release, Lemieux says, “One of the Grateful Dead’s longest-tenured songs in their repertoire, Cold Rain \u0026amp; Snow was around from 1965 to 1995, played every year of the Dead’s performing career aside from 1968 and 1975. This was played when it was still in its peppier arrangement.”\u003c\/p\u003e\n\u003cp\u003e“The Grateful Dead are a profoundly young band on the recording of the Independence Ball,” writes Jesse Jarnow in the album’s liner notes. “There’s a round of applause after every song, but rarely cheers. It’s only been 14 months since the Warlocks made their live debut, and they sound it—sometimes raw, but always thrilling. 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This negotiation with an ever-developing hybrid reality is expertly exemplified in the album?s production ? the buoyancy of Kinsler?s arrangements provide a perfectly balanced surface tension for the weight of Slocum?s meandering introspection as they playfully harmonize against saccharine hooks, walls of noise, a supercharged car battery?s worth of synths and samples dropped in the ocean of their guitar-driven songwriting framework, and some of Kelley?s most laser-focused drums to date to create a sonic chimera that is as likely to be found nascently developing in the early aughts as some unknown, chromatic future.\u003c\/p\u003e\u003cp\u003eRhymes written with sidewalk chalk that refuse to be erased in the Anthropocene?s acid rain of destructive relationships, Herbert Marcuse?s One-Dimensional Man manifest through the spirit of a young woman born in the shadow of the Steel City?s industrial ghosts, a study of the clumsy alchemy of IRL and WWW ? it is within these rhizomatic contradictions that bitknot proliferates.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDoorway\u003c\/li\u003e\n\u003cli\u003ePoison\u003c\/li\u003e\n\u003cli\u003eRewind\u003c\/li\u003e\n\u003cli\u003eShady\u003c\/li\u003e\n\u003cli\u003eDior\u003c\/li\u003e\n\u003cli\u003eParis\u003c\/li\u003e\n\u003cli\u003eCradle\u003c\/li\u003e\n\u003cli\u003eUpside Down\u003c\/li\u003e\n\u003cli\u003eGuts\u003c\/li\u003e\n\u003cli\u003eShopping\u003c\/li\u003e\n\u003cli\u003eDMT\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 648401040807\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Saddle Creek\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.26.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e LP Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48745080979611,"sku":"169923905","price":34.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/packshot-feeble-little-horse-bitknot-white-lp-vinyl-vinyl-lp-relix.jpg?v=1781815083"},{"product_id":"bill-evans-trio-at-shellys-manne-hole-180-gram-lp-vinyl","title":"Bill Evans Trio – At Shelly's Manne-Hole (LP Vinyl)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003eRecorded live at the legendary Hollywood club in 1963, this date captured Evans, Chuck Israels, and Larry Bunker at a moment when the trio was finding its footing after the loss of Scott LaFaro, proving the pianist's conversational approach to group interplay could endure and evolve. Shelly's Manne-Hole was a room that drew serious listeners, and Evans met that room with the kind of concentrated intimacy his best live performances always demanded.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eBill Evans' recordings almost always received good to excellent sound, and the Analogue Productions reissues are no exception.... The 45 rpm reissues are more musical and transparent; instruments have greater three-dimensionality and frequency extremes, especially lower octaves, exhibit greater resolution and impact. Get them before they're sold out!' Myles Astor, Positive-Feedback Online, Issue 34Of everything Analogue Productions has reissued, few titles have sparked the accolades accorded our 45 RPM versions of Bill Evans titles from his Riverside catalog. Now, we're breaking the titles out from that terrific set for individual sale. These are the audiophile jazz fan's definitive releases for your collection! For jazz collectors, At Shelly's Manne-Hole isn't just another Bill Evans record - it's a landmark. This was Evans' final album for Riverside, the label that first brought his genius to light, and his last chapter in one of the most creative partnerships in modern jazz recording.Captured live at drummer Shelly Manne's famous Hollywood club in 1963, the album finds Evans in rare form - intimate, reflective, yet full of quiet fire. It's only the second time Riverside ever caught him in a live setting (the first being the legendary Village Vanguard sessions), and it documents a fleeting but brilliant trio: Evans with bassist Chuck Israels and drummer Larry Bunker.The sound is wonderfully alive - you can feel the room, the energy, the warmth of an audience hanging on every note. 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Now those seekers have reason to rejoice: Time Bomb High School is returning to vinyl; remastered and featuring new cover art by Greg Cartwright.Hailed as \"a truly unimpeachable rock'n'roll-soul classic\" by The Guardian, Time Bomb High School was a breakthrough for the Memphis-based quartet of Cartwright (vocals, guitar), Jeremy Scott (bass, backing vocals), Greg Roberson (drums), and Alex Greene (organ, guitar, backing vocals). The songs - Cartwright's originals and covers like \"Stormy Weather\" and \"I'd Much Rather Be With the Boys\" alike - are as alive as ever, but the heart of this edition of Time Bomb High School lies in it's sequencing, which was kept true to the 2002 first pressing. The Side 1 features mid-tempo ballads, and love songs. Side 2 is all rockers.The album opens with four of Reigning Sound's most vulnerable yearners before breaking out into a rendition of Memphis hometown heroes The Guilloteens \"I Don't Believe.\" From this, an almost entirely new album emerges. The band's swagger and bravado remains intact, but the album feels more earnest and open-hearted, like they've put down their guard to really let the listener in, it's ravers feeling like shelter from the storm. There's no wrong way to listen to Time Bomb High School, but this is it's definitive form: a classic that's ready for rediscovery, as vital to the rock canon as the dusty 45s that inspired Reigning Sound.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen\u003e\n\u003c!-- TRACKLIST_START --\u003e\n\u003ch3\u003eTracklist\u003c\/h3\u003e\n\u003cdiv\u003e1. Stormy Weather (2:12)\u003c\/div\u003e\n\u003cdiv\u003e2. Straight Shooter (1:34)\u003c\/div\u003e\n\u003cdiv\u003e3. You're Not As Pretty (2:56)\u003c\/div\u003e\n\u003cdiv\u003e4. Brown Paper Sack (2:14)\u003c\/div\u003e\n\u003cdiv\u003e5. Wait And See (2:33)\u003c\/div\u003e\n\u003cdiv\u003e6. I Walk By Your House (2:50)\u003c\/div\u003e\n\u003cdiv\u003e7. Time Bomb High School (1:36)\u003c\/div\u003e\n\u003cdiv\u003e8. I Don't Believe (2:44)\u003c\/div\u003e\n\u003cdiv\u003e9. She's Bored With You (2:11)\u003c\/div\u003e\n\u003cdiv\u003e10. Reptile Style (3:22)\u003c\/div\u003e\n\u003cdiv\u003e11. I'm Holding Out (2:43)\u003c\/div\u003e\n\u003cdiv\u003e12. I Don't Know How To Tell You (2:30)\u003c\/div\u003e\n\u003cdiv\u003e13. Dressy (2:54)\u003c\/div\u003e\n\u003cdiv\u003e14. I'd Much Rather Be With The Boys (2:18)\u003c\/div\u003e\n\u003cdiv\u003e15. You're So Strange (3:12)\u003c\/div\u003e\n\u003c!-- TRACKLIST_END --\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 673855069616\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Merge Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.17.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e LP Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48745122594971,"sku":"191926549","price":26.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/packshot-reigning-sound-time-bomb-high-school-vinyl-lp-relix.jpg?v=1781655964"},{"product_id":"feeble-little-horse-bitknot-cd","title":"feeble little horse – Bitknot (CD)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003ePittsburgh's feeble little horse built their following through the kind of word-of-mouth devotion usually reserved for cult live acts, their shoegaze-adjacent noise pop landing somewhere between bedroom intimacy and blown-out catharsis. Bitknot finds the trio pushing further into the tension they've always thrived on, the organic and the processed pulling against each other across every track.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003efeeble little horse is naturally delighted to present their third full-length LP, bitknot. The album was written, arranged, produced, and recorded by Sebastian Kinsler, Lydia Slocum, and Jake Kelley across their respective homes in Pittsburgh, Pennsylvania.\u003c\/p\u003e\u003cp\u003eA spirited investigation into the unnatural space created between human nature and a culture of convenience, a synthesis of dirt and digital, bitknot by feeble little horse creates a language wherein one can re-imbue a sanctity of interdependence away from consumptive ?self-sufficiency? and materialism. ?The album art is based on the coincidental core memory matrix, which was used in old computers to store memory \/ access information using 0s and 1s. Each core, or ?bit,? is accessed through the grid of wires, like a knot that stores secret details and memories.? bitknot asks that we find new modes of being through this grid, entrusting one another with the collaborative construction of these knots. This negotiation with an ever-developing hybrid reality is expertly exemplified in the album?s production ? the buoyancy of Kinsler?s arrangements provide a perfectly balanced surface tension for the weight of Slocum?s meandering introspection as they playfully harmonize against saccharine hooks, walls of noise, a supercharged car battery?s worth of synths and samples dropped in the ocean of their guitar-driven songwriting framework, and some of Kelley?s most laser-focused drums to date to create a sonic chimera that is as likely to be found nascently developing in the early aughts as some unknown, chromatic future.\u003c\/p\u003e\u003cp\u003eRhymes written with sidewalk chalk that refuse to be erased in the Anthropocene?s acid rain of destructive relationships, Herbert Marcuse?s One-Dimensional Man manifest through the spirit of a young woman born in the shadow of the Steel City?s industrial ghosts, a study of the clumsy alchemy of IRL and WWW ? it is within these rhizomatic contradictions that bitknot proliferates.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen\u003e\n\u003c!-- TRACKLIST_START --\u003e\n\u003ch3\u003eTracklist\u003c\/h3\u003e\n\u003cdiv\u003e1. Doorway (2:54)\u003c\/div\u003e\n\u003cdiv\u003e2. Poison (1:40)\u003c\/div\u003e\n\u003cdiv\u003e3. Rewind (2:17)\u003c\/div\u003e\n\u003cdiv\u003e4. Shady (1:47)\u003c\/div\u003e\n\u003cdiv\u003e5. Dior (3:32)\u003c\/div\u003e\n\u003cdiv\u003e6. Paris (1:02)\u003c\/div\u003e\n\u003cdiv\u003e7. Cradle (2:24)\u003c\/div\u003e\n\u003cdiv\u003e8. Upside Down (1:43)\u003c\/div\u003e\n\u003cdiv\u003e9. Guts (3:05)\u003c\/div\u003e\n\u003cdiv\u003e10. Shopping (2:40)\u003c\/div\u003e\n\u003cdiv\u003e11. DMT (2:20)\u003c\/div\u003e\n\u003c!-- TRACKLIST_END --\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 648401040821\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Saddle Creek\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.26.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48745130393755,"sku":"169881993","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/packshot-feeble-little-horse-bitknot-cd-relix.jpg?v=1781829497"},{"product_id":"ebbb-shallow-hits-translucent-turquoise-colored-trq-lp-vinyl","title":"Ebbb – Shallow Hits  (LP Translucent Turquoise Vinyl)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003eEbbb formed in Bristol, a city with a long history of nurturing left-field sounds from trip-hop to post-punk, and that restless experimental spirit runs through everything they do. The translucent turquoise pressing makes a fitting physical home for music this texturally rich, designed to be heard on wax where every layer has room to breathe.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eThe scope, variety and ambition of Ebbb's debut album \"Shallow Hits\" is clear from the off. 'Come Alive' whirs to life quietly then morphs into a sun-kissed radiant piece of calypso-esque electronic pop. It is an album bursting with ideas, textures, rhythms, detail and emotion. A bold and singular debut record from a group who truly do not sound like anyone else right now.The Latin-flavoured 'Now You Know' feels destined to soundtrack sun-drenched festivals this summer; 'Shallow Hits' is as deft and detailed as it is big, bold and euphoric; while the wonky yet propulsive charge of 'Side On' sounds like a drum 'n' bass club and church choir combined.The band have already caught the ears of Thom Yorke \/ The Smile (who invited them to play a support slot). Recent live highlights have included sold out headlines at London institutions The Moth Club and The Windmill; a massive 18-date European tour with Shame and UK dates with FCUKERS, Mary In The Junkyard, The Voidz and Porridge Radio. EU festival highlights include Pitchfork Festival, Mutations, Reeperbahn, Truck, End of The Road, Latitude, Left of The Dial and more.\"A truly thrilling, game-changing force in UK indie\" - NME\"Ebbb seamlessly mix seemingly opposing styles into something that flows without friction\" - Rolling Stone\"Combining choral and orchestral roots with a love of grindcore, new wave, dream pop and techno\" - The Quietus\"Beautiful, boundary-less and bohemian\" Wonderland\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen=\"\"\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cdiv\u003e1. Come Alive\u003c\/div\u003e\n\u003cdiv\u003e2. Home Ground\u003c\/div\u003e\n\u003cdiv\u003e3. Now You Know\u003c\/div\u003e\n\u003cdiv\u003e4. Pander\u003c\/div\u003e\n\u003cdiv\u003e5. Side On\u003c\/div\u003e\n\u003cdiv\u003e6. Shallow Hits\u003c\/div\u003e\n\u003cdiv\u003e7. Remedy\u003c\/div\u003e\n\u003cdiv\u003e8. You've Got Me Where You Want Me\u003c\/div\u003e\n\u003cdiv\u003e9. Moving On\u003c\/div\u003e\n\u003cdiv\u003e10. Youth\u003c\/div\u003e\n\u003cdiv\u003e11. I'm Not Enough\u003c\/div\u003e\n \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5054429210859\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Ninja Tune\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.10.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e LP Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48745133047963,"sku":"176631041","price":34.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/packshot-ebbb-shallow-hits-translucent-turquoise-colored-trq-lp-vinyl-vinyl-lp-relix.jpg?v=1782242342"},{"product_id":"ebbb-shallow-hits-cd","title":"Ebbb – Shallow Hits (CD)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003eEbbb formed in Bristol, a city that has long fed the kind of restless sonic curiosity heard throughout this debut, from the post-punk underground to the trip-hop era that put the city on the global map. Landing on Ninja Tune, a label with a long history of championing artists who refuse easy categorization, feels exactly right for a band drawing on such a wide net of influences without belonging squarely to any of them.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eThe scope, variety and ambition of Ebbb's debut album \"Shallow Hits\" is clear from the off. 'Come Alive' whirs to life quietly then morphs into a sun-kissed radiant piece of calypso-esque electronic pop. It is an album bursting with ideas, textures, rhythms, detail and emotion. A bold and singular debut record from a group who truly do not sound like anyone else right now.The Latin-flavoured 'Now You Know' feels destined to soundtrack sun-drenched festivals this summer; 'Shallow Hits' is as deft and detailed as it is big, bold and euphoric; while the wonky yet propulsive charge of 'Side On' sounds like a drum 'n' bass club and church choir combined.The band have already caught the ears of Thom Yorke \/ The Smile (who invited them to play a support slot). Recent live highlights have included sold out headlines at London institutions The Moth Club and The Windmill; a massive 18-date European tour with Shame and UK dates with FCUKERS, Mary In The Junkyard, The Voidz and Porridge Radio. EU festival highlights include Pitchfork Festival, Mutations, Reeperbahn, Truck, End of The Road, Latitude, Left of The Dial and more.\"A truly thrilling, game-changing force in UK indie\" - NME\"Ebbb seamlessly mix seemingly opposing styles into something that flows without friction\" - Rolling Stone\"Combining choral and orchestral roots with a love of grindcore, new wave, dream pop and techno\" - The Quietus\"Beautiful, boundary-less and bohemian\" Wonderland\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen=\"\"\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cdiv\u003e1. Come Alive\u003c\/div\u003e\n\u003cdiv\u003e2. Home Ground\u003c\/div\u003e\n\u003cdiv\u003e3. Now You Know\u003c\/div\u003e\n\u003cdiv\u003e4. Pander\u003c\/div\u003e\n\u003cdiv\u003e5. Side On\u003c\/div\u003e\n\u003cdiv\u003e6. Shallow Hits\u003c\/div\u003e\n\u003cdiv\u003e7. Remedy\u003c\/div\u003e\n\u003cdiv\u003e8. You've Got Me Where You Want Me\u003c\/div\u003e\n\u003cdiv\u003e9. Moving On\u003c\/div\u003e\n\u003cdiv\u003e10. Youth\u003c\/div\u003e\n\u003cdiv\u003e11. I'm Not Enough\u003c\/div\u003e\n \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 5054429210910\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Ninja Tune\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.10.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48745133375643,"sku":"176667281","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/packshot-ebbb-shallow-hits-cd-relix.jpg?v=1782242386"},{"product_id":"lambchop-punching-the-clown-lp-vinyl","title":"Lambchop – Punching the Clown (LP Vinyl)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003eKurt Wagner has spent three decades quietly confounding expectations, guiding Lambchop through country, soul, orchestral pop, and electronic abstraction while never losing the thread back to Nashville's margins. That restless curiosity lands here on genuinely ancient ground: lined-out hymn singing, the haunted call-and-response tradition that traveled from Scottish kirks to Appalachian hollows and became a buried root of American music, finally unearthed by a late-night radio signal Wagner couldn't shake.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eTo hear Kurt Wagner tell it, Punching the Clown - the seventeenth album by beloved shapeshifting Nashville institution Lambchop, out August 21, 2026 on Merge Records and City Slang - began as a ghost hunt. After hearing a song on the radio while driving one night - \"a minimal single chord strummed banjo and a small group of voices\" - he went looking for it and failed. In his pursuit, he discovered \"lined-out singing, \" a form of acapella call-and-response gospel singing that began in Scotland in the 1800s and became a root of American gospel and country music when Scottish immigrants settled in Appalachia. The song, typically a hymn, is led by a clerk, who begins the verse alone before a choir swells up to accompany them on the rest of the line. Lined-out singing was born out of necessity - not every member of a given congregation could read, so the clerk's voice spurred the choir's memory of what came next in the hymn - but it's effect is profound: a haunting, elegiac means of interpretation in which you can hear not only the words and what they mean, but what those words meant to each person singing them. a spontaneous call and response type of acapella singing led by a clerk with a chorus of singers revealing the raw beauty and power of the human voice with it's unique varieties it's unadorned simplicity gave weight to the words as they were sung. i wanted to make a record that emulated this kind of music.Wagner says that doing so required him to become a better songwriter. The process was a crucible. Working again with guitarist Andrew Broder, Wagner went back to writing songs the way he did when he started out, with guitar and voice, studying songs and songwriters, \"allowing their madness, pain, and truth to become mine.\" Of the dozens of songs Wagner and Broder wrote, 30 were considered, and 12 became Punching the Clown. The voice lining out those songs, unmistakably, is Wagner's. Responding to his call: Broder (guitar), Justin Vernon (banjo), an Eau Claire-based choir put together by Blake Morgan, The Bible producer Ryan Olson (Poliça, Gayngs), and engineer Mark Nevers (Silver Jews, Bill Callahan, Bonnie \"Prince\" Billy), recording and mixing his first Lambchop album since 2012's Mr. M. However the notion of Wagner needing to become a \"better\" songwriter strikes longtime Lambchop fans, his striving has yielded an album of disarming humanity. It's graceful, generous, sometimes wry and sometimes heartbreaking, unblinkingly idiosyncratic yet precise as cut glass. How else can one describe Punching the Clown, beyond Wagner's own exegesis? It's the darndest thing.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen=\"\"\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cdiv\u003e1. Just West of Nicollet\u003c\/div\u003e\n\u003cdiv\u003e2. A Doctor in the House\u003c\/div\u003e\n\u003cdiv\u003e3. Weakened\u003c\/div\u003e\n\u003cdiv\u003e4. Stella\u003c\/div\u003e\n\u003cdiv\u003e5. Punching the Clown\u003c\/div\u003e\n\u003cdiv\u003e6. White People\u003c\/div\u003e\n\u003cdiv\u003e7. The New World Wave\u003c\/div\u003e\n\u003cdiv\u003e8. Andrew Jackson Asshat\u003c\/div\u003e\n\u003cdiv\u003e9. Afterburner\u003c\/div\u003e\n\u003cdiv\u003e10. Cigar\u003c\/div\u003e\n\u003cdiv\u003e11. To Do\u003c\/div\u003e\n\u003cdiv\u003e12. No Chicago\u003c\/div\u003e\n \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 673855089713\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Merge Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 8.21.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e LP Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48745157230747,"sku":"193225720","price":24.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/packshot-lambchop-punching-the-clown-vinyl-lp-relix.jpg?v=1781656191"},{"product_id":"lambchop-punching-the-clown-frosted-clear-i-lp-vinyl","title":"Lambchop – Punching the Clown (Frosted Clear LP Vinyl)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003eKurt Wagner has spent three decades quietly dismantling and reassembling what a Nashville band can sound like, from lush orchestral country-soul to Auto-Tuned late-night reveries. That restless curiosity now leads him somewhere even deeper in the American grain, tracing lined-out singing back through Appalachian hollers to its Scottish Presbyterian roots, a thread that connects sacred community singing to the very bedrock of country and gospel music.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eTo hear Kurt Wagner tell it, Punching the Clown - the seventeenth album by beloved shapeshifting Nashville institution Lambchop, out August 21, 2026 on Merge Records and City Slang - began as a ghost hunt. After hearing a song on the radio while driving one night - \"a minimal single chord strummed banjo and a small group of voices\" - he went looking for it and failed. In his pursuit, he discovered \"lined-out singing, \" a form of acapella call-and-response gospel singing that began in Scotland in the 1800s and became a root of American gospel and country music when Scottish immigrants settled in Appalachia. The song, typically a hymn, is led by a clerk, who begins the verse alone before a choir swells up to accompany them on the rest of the line. Lined-out singing was born out of necessity - not every member of a given congregation could read, so the clerk's voice spurred the choir's memory of what came next in the hymn - but it's effect is profound: a haunting, elegiac means of interpretation in which you can hear not only the words and what they mean, but what those words meant to each person singing them. a spontaneous call and response type of acapella singing led by a clerk with a chorus of singers revealing the raw beauty and power of the human voice with it's unique varieties it's unadorned simplicity gave weight to the words as they were sung. i wanted to make a record that emulated this kind of music.Wagner says that doing so required him to become a better songwriter. The process was a crucible. Working again with guitarist Andrew Broder, Wagner went back to writing songs the way he did when he started out, with guitar and voice, studying songs and songwriters, \"allowing their madness, pain, and truth to become mine.\" Of the dozens of songs Wagner and Broder wrote, 30 were considered, and 12 became Punching the Clown. The voice lining out those songs, unmistakably, is Wagner's. Responding to his call: Broder (guitar), Justin Vernon (banjo), an Eau Claire-based choir put together by Blake Morgan, The Bible producer Ryan Olson (Poliça, Gayngs), and engineer Mark Nevers (Silver Jews, Bill Callahan, Bonnie \"Prince\" Billy), recording and mixing his first Lambchop album since 2012's Mr. M. However the notion of Wagner needing to become a \"better\" songwriter strikes longtime Lambchop fans, his striving has yielded an album of disarming humanity. It's graceful, generous, sometimes wry and sometimes heartbreaking, unblinkingly idiosyncratic yet precise as cut glass. How else can one describe Punching the Clown, beyond Wagner's own exegesis? 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Vance Powell's production resume runs deep through the Americana world, and his ear for live-room energy makes him a natural fit for a band whose real power has always been in the room. Pressed on 180-gram vinyl, *Appalachian Smoke* rewards the format's warmth.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003chr\u003e\n\u003cp\u003eMountain Grass Unit stand at the intersection of bluegrass music's past and future. They're leaders of a new generation of songwriters who honor the genre's history while pushing it's boundaries, too - musicians who treat bluegrass not as a tradition, but as a living, breathing language. That language evolves and expands with 'Appalachian Smoke', an album that combines the live-wire energy of the band's concerts with the bold, wide-open exploration of the recording studio.Produced by six-time Grammy winner Vance Powell, 'Appalachian Smoke' came together during a whirlwind era that found Mountain Grass Unit hitting the highway, transforming their grassroots audience into a national following. For years, they'd squeeze their concerts into the narrow margins of long weekends and summertime breaks. When college graduation spilled the musicians out into the real world in 2025, Mountain Grass Unit committed fully to the road, selling out more than 30 shows that year and winning the International Bluegrass Music Association's Momentum Artist of the Year award. Even so, nothing could have prepared the guys for 'Appalachian Smoke.' If releases like 'Runnin' From Trouble' and 'Places I've Been' introduced the band's stacked vocal harmonies, expert flat-picking, and curated songwriting - hallmarks of the bluegrass music they'd grown up playing, along with Grateful Dead cuts and rock \u0026amp; roll classics - then 'Appalachian Smoke' proves they're every bit as interested in reinvention as preservation. 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Spencer Tweedy's presence in the room connects this record to a deep vein of that tradition, and the band's shared history with Case Oats gives Anything Could Be a lived-in ensemble warmth that most solo debuts spend careers chasing.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eChicago singer-songwriter Max Subar laid down the bones of Anything Could Be, his debut album, in a house on the shore of a frozen lake in Wisconsin. Subar returnedto the sonic and spiritual landscape he'd cultivated during the initial ten day session, remaining present in that moment by working when he could truly occupyit's heart. Most of the additional sessions that add texture and color to the album were recorded in Subar's home studio, in the same house where Case Oats, the CaseyGomez-Walker-led outfit in which Subar plays guitar, recorded their 2025 debut Last Missouri Exit. His brother, Sam Subar, played drums. Further instrumentation was provided by Case Oats bandmates Spencer Tweedy (drums on \"I Never\" and \"Way Up\"), Jason Ashworth (upright bass), and Scott Daniel (violin), as well as frequent collaborators Chet Zenor (electric guitar), Kelly Hannemann (piano), and Sarah Weddle (vibraphone, organ, and electric piano).The arrangements that took shape are generous and illuminative, giving flesh to the bones of Anything Could Be's live guitar and vocal takes without sacrificing theirspontaneity. \"Performing no more than a few takes of these parts was crucial to keep the songs from ever feeling laborious, tired, or overworked,\" says Subar. \"If Icouldn't get it in about three takes, something wasn't right. Maybe the part was too busy. Maybe it was my approach. Whatever it meant, I took it as a sign to move on.The result of this process is a mesmerizing, open-hearted debut that grows with the listener, rewarding time and close attention. Title track and lead single \"Anything Could Be\" is an invitation to meet Subar on this wavelength, his voice invoking the memory of a dream while his guitar gently pulls him through it's logic, arriving at the desire for freedom, openness, and growth that animates the record. On \"Like You've Known It,\" the arrangement recedes into the sound of windchimes and waves breaking on the shore, an organic pulse that bears the song out into the water. His use of pedal steel on songs like \"See Saw\" allows him to stretch time, following it'sundulation to a stunning moment of witness where what's stirred to life is nothing less than a once-stagnant spirit, a long-simmering breakthrough that comes tofruition, at last, on \"As The Weather,\" where his voice rises to meet that breakthrough with grace and gratitude for what he has weathered.Anything Could Be offers the listener both the transformative space in which the album was shaped, and a portrait of the artist, and person that artist became in making it. It's 11 songs are imbued with what the poet Adrienne Rich called \"a wild patience,\" aradical stillness that is, itself, a journey towards consciousness, peace, andself-awareness. It makes no promises about what's next. Just the same, it leaves you in breathless anticipation for what that may be, so long as it stirs Subar to pick up his guitar and play through it as he did this chapter of his life.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAnything Could Be\u003c\/li\u003e\n\u003cli\u003eSee Saw\u003c\/li\u003e\n\u003cli\u003eCat at My Door\u003c\/li\u003e\n\u003cli\u003eI Never\u003c\/li\u003e\n\u003cli\u003eLike You've Known It\u003c\/li\u003e\n\u003cli\u003eHistory\u003c\/li\u003e\n\u003cli\u003eAs the Weather\u003c\/li\u003e\n\u003cli\u003eWay Up\u003c\/li\u003e\n\u003cli\u003eEverything Is\u003c\/li\u003e\n\u003cli\u003eWords Unkept\u003c\/li\u003e\n\u003cli\u003eThe Day Will Be New\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 673855088815\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Merge Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.17.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e LP Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48745162768539,"sku":"191213678","price":24.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/packshot-max-subar-anything-could-be-vinyl-lp-relix.jpg?v=1781656118"},{"product_id":"lambchop-punching-the-clown-cd","title":"Lambchop – Punching the Clown (CD)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003eKurt Wagner has spent thirty-plus years quietly confounding expectations, building Lambchop into one of American music's most genuinely unpredictable ongoing projects. That he'd chase a half-remembered radio ghost into the deep roots of Appalachian sacred music feels entirely in character, connecting Nashville's present tense to the Scottish immigrants who helped shape what country and gospel music even are.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eTo hear Kurt Wagner tell it, Punching the Clown - the seventeenth album by beloved shapeshifting Nashville institution Lambchop, out August 21, 2026 on Merge Records and City Slang - began as a ghost hunt. After hearing a song on the radio while driving one night - \"a minimal single chord strummed banjo and a small group of voices\" - he went looking for it and failed. In his pursuit, he discovered \"lined-out singing, \" a form of acapella call-and-response gospel singing that began in Scotland in the 1800s and became a root of American gospel and country music when Scottish immigrants settled in Appalachia. The song, typically a hymn, is led by a clerk, who begins the verse alone before a choir swells up to accompany them on the rest of the line. Lined-out singing was born out of necessity - not every member of a given congregation could read, so the clerk's voice spurred the choir's memory of what came next in the hymn - but it's effect is profound: a haunting, elegiac means of interpretation in which you can hear not only the words and what they mean, but what those words meant to each person singing them. a spontaneous call and response type of acapella singing led by a clerk with a chorus of singers revealing the raw beauty and power of the human voice with it's unique varieties it's unadorned simplicity gave weight to the words as they were sung. i wanted to make a record that emulated this kind of music.Wagner says that doing so required him to become a better songwriter. The process was a crucible. Working again with guitarist Andrew Broder, Wagner went back to writing songs the way he did when he started out, with guitar and voice, studying songs and songwriters, \"allowing their madness, pain, and truth to become mine.\" Of the dozens of songs Wagner and Broder wrote, 30 were considered, and 12 became Punching the Clown. The voice lining out those songs, unmistakably, is Wagner's. Responding to his call: Broder (guitar), Justin Vernon (banjo), an Eau Claire-based choir put together by Blake Morgan, The Bible producer Ryan Olson (Poliça, Gayngs), and engineer Mark Nevers (Silver Jews, Bill Callahan, Bonnie \"Prince\" Billy), recording and mixing his first Lambchop album since 2012's Mr. M. However the notion of Wagner needing to become a \"better\" songwriter strikes longtime Lambchop fans, his striving has yielded an album of disarming humanity. It's graceful, generous, sometimes wry and sometimes heartbreaking, unblinkingly idiosyncratic yet precise as cut glass. 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Spencer Tweedy's presence in the band signals the generational creative network surrounding this music, connecting it to a longer tradition of Midwestern artists who find something essential in stillness and open space.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eChicago singer-songwriter Max Subar laid down the bones of Anything Could Be, his debut album, in a house on the shore of a frozen lake in Wisconsin. Subar returnedto the sonic and spiritual landscape he'd cultivated during the initial ten day session, remaining present in that moment by working when he could truly occupyit's heart. Most of the additional sessions that add texture and color to the album were recorded in Subar's home studio, in the same house where Case Oats, the CaseyGomez-Walker-led outfit in which Subar plays guitar, recorded their 2025 debut Last Missouri Exit. His brother, Sam Subar, played drums. Further instrumentation was provided by Case Oats bandmates Spencer Tweedy (drums on \"I Never\" and \"Way Up\"), Jason Ashworth (upright bass), and Scott Daniel (violin), as well as frequent collaborators Chet Zenor (electric guitar), Kelly Hannemann (piano), and Sarah Weddle (vibraphone, organ, and electric piano).The arrangements that took shape are generous and illuminative, giving flesh to the bones of Anything Could Be's live guitar and vocal takes without sacrificing theirspontaneity. \"Performing no more than a few takes of these parts was crucial to keep the songs from ever feeling laborious, tired, or overworked,\" says Subar. \"If Icouldn't get it in about three takes, something wasn't right. Maybe the part was too busy. Maybe it was my approach. Whatever it meant, I took it as a sign to move on.The result of this process is a mesmerizing, open-hearted debut that grows with the listener, rewarding time and close attention. Title track and lead single \"Anything Could Be\" is an invitation to meet Subar on this wavelength, his voice invoking the memory of a dream while his guitar gently pulls him through it's logic, arriving at the desire for freedom, openness, and growth that animates the record. On \"Like You've Known It,\" the arrangement recedes into the sound of windchimes and waves breaking on the shore, an organic pulse that bears the song out into the water. His use of pedal steel on songs like \"See Saw\" allows him to stretch time, following it'sundulation to a stunning moment of witness where what's stirred to life is nothing less than a once-stagnant spirit, a long-simmering breakthrough that comes tofruition, at last, on \"As The Weather,\" where his voice rises to meet that breakthrough with grace and gratitude for what he has weathered.Anything Could Be offers the listener both the transformative space in which the album was shaped, and a portrait of the artist, and person that artist became in making it. It's 11 songs are imbued with what the poet Adrienne Rich called \"a wild patience,\" aradical stillness that is, itself, a journey towards consciousness, peace, andself-awareness. It makes no promises about what's next. 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Frozen Charlotte arrives as White continues to treat Third Man not just as a label or a studio, but as a genuine creative engine, the kind of place where records get made fast and loud because that's the only honest way to make them.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003chr\u003e\n\u003cp\u003eFrozen Charlotte - the 7th studio album from Jack White shows the Rock and Roll Hall of Famer at his best; backed by an incredible band (Patrick Keeler on drums, Dominic Davis on bass, Bobby Emmett on keys) whose collective hand is scorching hot after coming off a tour of universally-acclaimed performances. 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And The Broken Ribs\u003c\/li\u003e\n\u003cli\u003eDerecho Demonico\u003c\/li\u003e\n\u003cli\u003eThere's Nobody There\u003c\/li\u003e\n\u003cli\u003eRaising The Grain\u003c\/li\u003e\n\u003cli\u003eYou’ll Never Fix Me\u003c\/li\u003e\n\u003cli\u003eNobody Knows\u0026amp;#8194;\u0026amp;#8194;\u0026amp;#8194;\u003c\/li\u003e\n\u003cli\u003eDollar Bill\u003c\/li\u003e\n\u003cli\u003eI Can’t Believe What I’m Hearing\u003c\/li\u003e\n\u003cli\u003eThick As Thieves\u003c\/li\u003e\n\u003cli\u003eAll Alone Again\u003c\/li\u003e\n\u003cli\u003eShe's In A Frenzy\u003c\/li\u003e\n\u003cli\u003eMaking Contact\u003c\/li\u003e\n\u003cli\u003eNeighbors Blues\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 810074425605\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Third Man Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.10.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Cassette\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48745217949851,"sku":"215488349","price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/Jack-White-Frozen-Charlotte-Cassette_1.jpg?v=1781280907"},{"product_id":"jack-white-frozen-charlotte-cd","title":"Jack White – Frozen Charlotte (CD)","description":"\u003cp\u003eFrozen Charlotte - the 7th studio album from Jack White shows the Rock and Roll Hall of Famer at his best; backed by an incredible band (Patrick Keeler on drums, Dominic Davis on bass, Bobby Emmett on keys) whose collective hand is scorching hot after coming off a tour of universally acclaimed performances. Instead of resting on a “job well done”, they went straight to work in the studio and laid down what became Frozen Charlotte.\u003c\/p\u003e\n\u003cp\u003eRecorded in White's Third Man Studio in Nashville, this album shows Jack carrying on the same raucous, raw, and frenetic energy from his lauded 2024 album, No Name. 13 tracks of distinct feel and tone, Frozen Charlotte is an intense rock and roll punch with never far behind blues underpinnings… all of which fits right at home with long time fans while leaving an inviting open door to\u003cbr\u003enewcomers alike. \u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; font-weight: bold; background-color: rgb(0, 0, 0);\"\u003eTracklist:\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e1. G.O.D. And The Broken Ribs \u003c\/span\u003e\u003cbr style=\"border: 0px solid; --tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-ring-offset-width: 0; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246\/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e2. Derecho Demonico\u003c\/span\u003e\u003cbr style=\"border: 0px solid; --tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-ring-offset-width: 0; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246\/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e3. There’s Nobody There\u003c\/span\u003e\u003cbr style=\"border: 0px solid; --tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-ring-offset-width: 0; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246\/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e4. Raising The Grain  \u003c\/span\u003e\u003cbr style=\"border: 0px solid; --tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-ring-offset-width: 0; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246\/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e5. You’ll Never Fix Me\u003c\/span\u003e\u003cbr style=\"border: 0px solid; --tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-ring-offset-width: 0; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246\/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e6. Nobody Knows  \u003c\/span\u003e\u003cbr style=\"border: 0px solid; --tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-ring-offset-width: 0; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246\/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e7. Dollar Bill \u003c\/span\u003e\u003cbr style=\"border: 0px solid; --tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-ring-offset-width: 0; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246\/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e8. I Can’t Believe What I’m Hearing\u003c\/span\u003e\u003cbr style=\"border: 0px solid; --tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-ring-offset-width: 0; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246\/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e9. Thick As Thieves  \u003c\/span\u003e\u003cbr style=\"border: 0px solid; --tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-ring-offset-width: 0; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246\/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e10. All Alone Again    \u003c\/span\u003e\u003cbr style=\"border: 0px solid; --tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-ring-offset-width: 0; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246\/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e11. She’s In A Frenzy\u003c\/span\u003e\u003cbr style=\"border: 0px solid; --tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-ring-offset-width: 0; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246\/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e12. Making Contact\u003c\/span\u003e\u003cbr style=\"border: 0px solid; --tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-ring-offset-width: 0; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246\/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255); font-family: Arial, sans-serif; font-size: 14px; background-color: rgb(0, 0, 0);\"\u003e13. Neighbors Blues\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv data-bt-autogen=\"\"\u003e\n\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 810074425599\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Third Man Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.10.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48745223094427,"sku":"215478715","price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/Jack-White-Frozen-Charlotte-CD_1.jpg?v=1781281200"},{"product_id":"moss-elanor-knife-the-needle-clear-purple-clear-purp-lp-vinyl","title":"Elanor Moss – Knife The Needle (Clear Purple LP Vinyl)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003eMoss.Elanor is the project of Elanor Moss, a songwriter whose fingerpicked guitar and intimate lyricism place her in a lineage of careful, literary folk artists. Knife The Needle, her debut full-length on Merge Records, arrives on limited clear purple vinyl, making it a worthy object for collectors who believe the format should match the intention behind the music.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eOh and the way that it feelsTo know youOh and the way it revealsI don't know youSo begins \"The Way That It Feels, \" the concluding track of Elanor Moss' debut full-length album The Knife, The Needle, out August 21, 2026 on Merge Records. In two couplets, sung over birdsong and Moss' classical guitar, she manages to capture an entire universe created in the bond between two people. The couplets mirror each other and hang, like a veil, over the rest of the song. Regardless of time, intimacy, love, tenderness, and the way those things can change a person and a relationship, there is, she asserts, an immutable fact to these things: that whatever she learns from them, there will always be something unknowable just beyond.It's a gorgeous song, but this sentiment - that what Moss knows about a lover also reveals what she doesn't know - is, for lack of a better term, a knife, burrowed in the back of beauty, an ache which, for lack of a cure, must be accepted, understood, and lived with. Across the nine songs that make up The Knife, The Needle, this is what Elanor Moss does, rendering joy and pain in exquisite peals of psych-folk, it's darkly-dreamed vignettes offering, if not catharsis, an understanding of the complexity of the journey towards it - healing as a process, rather than an object one obtains.Arriving at The Knife, The Needle was itself a complex journey. Moss found herself adrift from her music, pursuing a sound as opposed to occupying the space she had already cultivated for herself. \"Nothing felt right, \" she recalls, \"so I took the pressure off myself and tried to calibrate my relationship with songwriting and music.\" The three years she spent writing the songs that make up The Knife, The Needle ultimately found her returning to her roots in and love for, as she puts it, \"the music that made me really feel something; the music I wanted to be writing.\"The Knife, The Needle concerns itself with the way relationships between people are transformed, complicated, and troubled by love. In \"Sarah Waiting in the Car\" that turn is abuse. In \"Fixer\" which lends the album it's title, Moss grapples with the fact that love is as capable of harming someone as it is healing them. It's chorus, \"Somewhere, deep down \/ I'm afraid that if you show me the knife \/ I might use it on you babe\" shifts, first to the thought that the \"you\" Moss addresses the song to may use it on her, then, stunningly, to the knife could be something else entirely: \"Maybe what we thought of as a knife \/ Is just a needle we could use \/ To stitch the wound?\" she asks, offering at last to reveal where she hurts so long as her partner does the same.It's devastating work, a feat of tight lyrical construction that is at once patient and vulnerable, opulently rendered and keenly felt. Remarkably, it and the rest of The Knife, The Needle emerged from a place of restraint, with Moss - staying in a cabin near her parent's house in the Scottish highlands after initially recording an entirely different version of the album in New York City (\"a bit rollocking, \" she notes) - feeling the pangs of the album she hadn't recorded - \"quieter, weirder, more English.\" Rerecording with a new ensemble and producer\/engineer Pete Miles was a risk, but setting aside an already completed project was worth it. In the quieter, weirder, more English sound manifested here, Moss captures something fleeting, ephemeral, and honest about the moments in which love, for good or ill, irrevocably changes someone. Both the knife and the needle named in the album's title are capable of drawing blood, but illuminated by her voice and guitar, what bleeds out from these songs is nothing short of poetry.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen=\"\"\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFixer\u003c\/li\u003e\n\u003cli\u003eAgain, My Love\u003c\/li\u003e\n\u003cli\u003eSarah Waiting in the Car\u003c\/li\u003e\n\u003cli\u003eImprovisation\u003c\/li\u003e\n\u003cli\u003eYou Are Coming Home Tonight\u003c\/li\u003e\n\u003cli\u003eSecrets of the Universe\u003c\/li\u003e\n\u003cli\u003eClothes in a Hotel Sink\u003c\/li\u003e\n\u003cli\u003eLouisethe Way That It Feels\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 673855088303\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Merge Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 8.21.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e LP Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48745230762139,"sku":"230700973","price":24.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/packshot-moss-elanor-knife-the-needle-clear-purple-clear-purp-lp-vinyl-vinyl-lp-relix.jpg?v=1781656089"},{"product_id":"elanor-moss-knife-the-needle-cd","title":"Elanor Moss – Knife The Needle (CD)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003eElanor Moss comes to her debut full-length through Merge Records, a label with a long track record of nurturing artists who resist easy categorization. Her classical guitar foundation and lyrical intimacy place her in a lineage of singer-songwriters who treat the small, specific details of human connection as worthy of serious musical attention.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eOh and the way that it feelsTo know youOh and the way it revealsI don't know youSo begins \"The Way That It Feels, \" the concluding track of Elanor Moss' debut full-length album The Knife, The Needle, out August 21, 2026 on Merge Records. In two couplets, sung over birdsong and Moss' classical guitar, she manages to capture an entire universe created in the bond between two people. The couplets mirror each other and hang, like a veil, over the rest of the song. Regardless of time, intimacy, love, tenderness, and the way those things can change a person and a relationship, there is, she asserts, an immutable fact to these things: that whatever she learns from them, there will always be something unknowable just beyond.It's a gorgeous song, but this sentiment - that what Moss knows about a lover also reveals what she doesn't know - is, for lack of a better term, a knife, burrowed in the back of beauty, an ache which, for lack of a cure, must be accepted, understood, and lived with. Across the nine songs that make up The Knife, The Needle, this is what Elanor Moss does, rendering joy and pain in exquisite peals of psych-folk, it's darkly-dreamed vignettes offering, if not catharsis, an understanding of the complexity of the journey towards it - healing as a process, rather than an object one obtains.Arriving at The Knife, The Needle was itself a complex journey. Moss found herself adrift from her music, pursuing a sound as opposed to occupying the space she had already cultivated for herself. \"Nothing felt right, \" she recalls, \"so I took the pressure off myself and tried to calibrate my relationship with songwriting and music.\" The three years she spent writing the songs that make up The Knife, The Needle ultimately found her returning to her roots in and love for, as she puts it, \"the music that made me really feel something; the music I wanted to be writing.\"The Knife, The Needle concerns itself with the way relationships between people are transformed, complicated, and troubled by love. In \"Sarah Waiting in the Car\" that turn is abuse. In \"Fixer\" which lends the album it's title, Moss grapples with the fact that love is as capable of harming someone as it is healing them. It's chorus, \"Somewhere, deep down \/ I'm afraid that if you show me the knife \/ I might use it on you babe\" shifts, first to the thought that the \"you\" Moss addresses the song to may use it on her, then, stunningly, to the knife could be something else entirely: \"Maybe what we thought of as a knife \/ Is just a needle we could use \/ To stitch the wound?\" she asks, offering at last to reveal where she hurts so long as her partner does the same.It's devastating work, a feat of tight lyrical construction that is at once patient and vulnerable, opulently rendered and keenly felt. Remarkably, it and the rest of The Knife, The Needle emerged from a place of restraint, with Moss - staying in a cabin near her parent's house in the Scottish highlands after initially recording an entirely different version of the album in New York City (\"a bit rollocking, \" she notes) - feeling the pangs of the album she hadn't recorded - \"quieter, weirder, more English.\" Rerecording with a new ensemble and producer\/engineer Pete Miles was a risk, but setting aside an already completed project was worth it. In the quieter, weirder, more English sound manifested here, Moss captures something fleeting, ephemeral, and honest about the moments in which love, for good or ill, irrevocably changes someone. 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