Foxygen "Seeing Other People"

Seeing Other People is curiously positioned as Foxygen's most recent last-ever album. With every album the band dies; with every album the band is reborn. But unlike the last-ever Foxygen albums before it, this one seems to have a self-effacing bittersweetness to it that signifies some sort of passing; some sort of white flag. But it SOUNDS in no way like a band giving up. It has experiments in tone and genre the likes of which we've not heard on a Foxygen record since….Starpower?; since 21st Century?; since Take the Kids??? You don't need our hot take on this thing.

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Foxygen "Seeing Other People"

Seeing Other People limited deluxe 2xLP on pink vinyl. It includes the full album and demos LPs in a gatefold jacket with alternate artwork.

Seeing Other People is curiously positioned as Foxygen's most recent last-ever album. With every album the band dies; with every album the band is reborn. But unlike the last-ever Foxygen albums before it, this one seems to have a self-effacing bittersweetness to it that signifies some sort of passing; some sort of white flag. But it SOUNDS in no way like a band giving up. It has experiments in tone and genre the likes of which we've not heard on a Foxygen record since….Starpower?; since 21st Century?; since Take the Kids??? You don't need our hot take on this thing.

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Foxygen "Hang"

Foxygen is the Big Bang of two combusting minds. It's the splayed Galaxy of polar geniuses Sam France and Jonathan Rado. It's a handshake with a knife behind your back. A sleepless night in a five star hotel.

You listen to Hang properly. You take in each moment. Each new melody that threads forward from the fingertips of one of this generation's finest piano men in Jonathan Rado. And you fall in line behind Sam France's sprawling and reckless lyric. Witness his mastery. Feel them struggle against the walls of their own creations. Follow them there. To the perimeter. To the exit sign.

Notice that the two young guys aren't there anymore. They're outside looking for another joint to haunt. They're already out of sight.

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Foxygen "...And Star Power Jewel Case Version"

Foxygen have joined Star Power.It is a punk band, and you can be in it, too.Star Power is the radio station that you can hear only if you believe.We're all stars of the scene.

FOXYGEN... AND STAR POWER is the new DOUBLE ALBUM from Foxygen, a CINEMATIC AUDITORY ADVENTURE for the speedy freaks, skull krunchers, abductees, and misfits... Made by Foxygen at Dream Star Studios in their Secret Haunted House with the UFOs flying around in the sky.

A gaggle of guest stars. Roman-numeraled musical suites. Vocals recorded on a shoddy tape machine at The Beverly Hills Hotel and Chateau Marmont. A svelte 82-minute run time of psych-ward folk, cartoon fantasia, songs that morph into each other, weaving in and out of the head like UFO radio transmission skullkrush music. ADHD star power underground revolution. Soft-rock indulgences, D&D doomrock and paranoid bathroom rompers. Process is the point. A kaleidoscoping view. Blasphemy even the gods smile one. Rock and roll for the skull...*

*From Patty Smith's 1973 CREEM review of Todd Rundgren's A Wizard, A True Star. The section concludes "Todd Rundgren is preparing us for a generation of frenzied children who will dream in animation."

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Foxygen "...And Star Power"

Foxygen have joined Star Power.It is a punk band, and you can be in it, too.Star Power is the radio station that you can hear only if you believe.We're all stars of the scene.

FOXYGEN... AND STAR POWER is the new DOUBLE ALBUM from Foxygen, a CINEMATIC AUDITORY ADVENTURE for the speedy freaks, skull krunchers, abductees, and misfits... Made by Foxygen at Dream Star Studios in their Secret Haunted House with the UFOs flying around in the sky.

A gaggle of guest stars. Roman-numeraled musical suites. Vocals recorded on a shoddy tape machine at The Beverly Hills Hotel and Chateau Marmont. A svelte 82-minute run time of psych-ward folk, cartoon fantasia, songs that morph into each other, weaving in and out of the head like UFO radio transmission skullkrush music. ADHD star power underground revolution. Soft-rock indulgences, D&D doomrock and paranoid bathroom rompers. Process is the point. A kaleidoscoping view. Blasphemy even the gods smile one. Rock and roll for the skull...*

*From Patty Smith's 1973 CREEM review of Todd Rundgren's A Wizard, A True Star. The section concludes "Todd Rundgren is preparing us for a generation of frenzied children who will dream in animation."

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Foxygen "'No Destruction' b/w 'Where's The Money?'"

Featuring "No Destruction", a hot slice off the "We Are the 21st Century Ambassadors of Peace & Magic" pie, and the ostensibly quizzical b-side, "Where's The Money?"

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Foxygen "We Are the 21st Century Ambassadors of Peace & Magic"

We Are the 21st Century Ambassadors of Peace & Magic is a precocious and cocksure joyride across California psychedelia with a burning, bursting punk rock engine. In the same year as Scott McKenzie the singer of "San Francisco (Be Sure To Wear Flowers In Your Hair)" leaves this mortal coil, Foxygen delivers unto us the dandy Glockenspiel-packing "San Francisco," which both circumvents and dissects McKenzie's tune and its many cousins of the era. "I left my love in San Francisco/(That's okay, I was bored anyway)/I left my love in a field/(That's okay, I was born in LA)" goes the lovely call-and-response chorus, slamming together the archetypal flower children of the 60s and the archetypal ADHD vapidity of our recent generations. Another highlight, "Shuggie," manages to fit all the light bounce of the song's namesake and the climbing choruses of ELO into it's 3 minutes while still filling the tune with imagery of "rhinoceros-shaped earrings" and haunted parlors. Every nook and cranny of the record is loaded with their unflappable, brazen personalities. Foxygen takes "swagger," that as-of-late misused adjective, back once and for all. It's flipping pyramids old and new upside down — from the miracle demo hand-off to their Richard Pryor-as-Jagger live shows to their singular idiosynchratic vision of rock n' roll.

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Foxygen "Take The Kids Off Broadway"

Foxygen is the bi-coastal songwriting duo of Sam France (vocals, Olympia, Wash., 22 years old) and Jonathan Rado (guitar/keyboards, NYC, 22). They are the raw, de-Wes Andersonization of The Rolling Stones, Kinks, Velvets, Bowie, etc. that a whole mess of young people desperately need. At the same time, they pull a very Anderson-type move wherein they paint an impressionistic and hyper-real (and instantly recognizable) portrait of specific places and times — and blurring the lines between time and place. Yet, it never comes across as anything but absolutely modern music. They bring the freewheeling qualities of someone like Ariel Pink to those aforementioned influences to make for one of the most refreshing listens of the year. They are the real deal and total savants. Jagjaguwar is proud to introduce you to Foxygen and their bedroom masterpiece Take the Kids Off Broadway.

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Gayngs "Relayted"

When Ryan Olson decided to make a record with Solid Gold members Zack Coulter and Adam Hurlburt, it was clear to them what the result would be: a collection of drugged-up keyboards and slick bedroom production almost exclusively inspired by 10cc’s “I’m Not In Love.” What they didn't know was that it would spiral into a project of epic proportions, enlisting the talents of over 25 musicians from various scenes around the country, relocating the base of operations from Olson's Minneapolis bedroom/studio to the Wisconsin-based studio April Base, and the genesis of a musical super-family, Gayngs.

Olson began calling upon an eclectic cast of contributors whom he thought would share his vision, and relish in the idea of exploring uncharted musical territory within them. The first people to join the cause were Megafaun and Ivan Howard of the Rosebuds. Bon Iver’s Justin Vernon and Mike Noyce were soon to follow. By mid-2009 the studio sessions were becoming more and more frequent, bouncing back and forth between April Base and Olson's bedroom. In Minneapolis, Olson brought in Rhymesayers rapper P.O.S and his fellow Doomtree artist Dessa, psych-rockers Jake Luck and Nick Ryan (Leisure Birds), song-birds Channy Moon-Casselle and Katy Morley, jazz-saxophonist Michael Lewis (Happy Apple, Andrew Bird), retro-pop duo Maggie Morrison and Grant Cutler (Lookbook), and slide-guitarist Shön Troth (Solid Gold).

Vocally, Gayngs is a triumph. Zack Coulter (Solid Gold) shines from the jump, floating over the record with his airy, haunting melodies. Fans of Bon Iver will recognize Vernon's familiar falsetto, but will flip when they hear his Bone Thug's-style R&B, while P.O.S. abandons his genre entirely for a soul inspired tenor. With over a dozen people contributing vocals, its incredible how cohesive the album sounds.

After a year of tracking and mixing, Gayngs is officially ready to release the album, entitled "Relayted". With each song written at 69 BPM's, and tripped-out transitions from song to song, it is truly an audio experience from start to finish.

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Gordi "Our Two Skins"

Losing someone close to you creates an almost phantom limb-like effect. Often, it feels like they're a phone call away. But that instant between when you reach for the phone and when your brain delivers the new reality to you is a strange, momentary eternity. It’s both an uncompromising void and maybe as close as you’ll ever come to communing with that loved one again. On her new song “Sandwiches,” Gordi harnesses all the sadness and glory of this feeling into a soaring, post-new wave anthem. One of the first true Gordi “guitar songs,” it shimmers with the lush-yet-fragile momentum of The Cranberries’ classic “Dreams.”

Gordi wrote “Sandwiches” as a tribute to the matriarch of her family. Her late grandmother was, in Gordi’s words, “a great feeder of people.” So when she fell ill, Gordi and her mother took it upon themselves to nourish the visitors gathered around her hospital bed. As they passed around sandwiches, “someone called out that she was gone.” The gravity of the moment was poignant for its softness and mundanity. Gordi approaches the totality of a loved one’s life as measured in the small memories that stay with us. She sings, "When I think of you a movie-reel of moments plays / We’ll be in the car or after mass on Saturdays / You’ll be walking down the driveway, you’ll be in your chair / You’ll say 'See you round' or 'Say your “Three”' / And now you’re everywhere.” Gordi called on long-time collaborators and Bon Iver production duo Chris Messina and Zach Hanson to make “Sandwiches” at her family home in Canowindra, Australia — an old cottage littered with some of Sophie’s favorite pieces of musical arsenal combined with some flown in from Eau Claire, Wisconsin. The tiny farm town where her family has lived for over a century, Canowindra, and the heart of the matriarch, is embedded in this song. “Her whole life was in Canowindra…we made it in a house that’s a hundred meters from her house.”

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Gordi "Reservoir"

On the farm in rural Australia where 24-year-old Sophie Payten - AKA Gordi - grew up, there's a paddock that leads down to a river. A few hundred meters away sits another house, which belongs to her 93-year-old grandmother. The rest, she says, "is just beautiful space. And what else would you fill it with if not music?"

And so she did, first tinkling away on an out-of-tune piano, and then on the acoustic guitar she got for her 12th birthday. Gordi's first foray into songwriting came in the form of performances at her school’s weekly chapel. There the chrysalis of the music she's making now — a brooding, multi-layered blend of electronica and folk, with lyrics that tend to avoid well-trodden paths -- began to form. "I often find that writing about platonic relationships," she says, "can be a great deal more powerful than writing about romantic ones." "Heaven I Know," the first single from Gordi's debut album Reservoir, is an example of just that. With the breathy chant of "123" chugging along beneath the song's sparse melody and melancholic piano chords, "Heaven I Know" gazes at the embers of a fading friendship. The ramifications of loss ripple throughout Reservoir, which she wrote and recorded in Wisconsin, Reykjavik, Los Angeles, and Sydney. Gordi produced two of the tracks herself ("Heaven I Know" and "I'm Done"), and co-produced the rest.

When it comes down to it, the running thread of the album is its lyrics. "Music is kind of what encases this story that you're trying to tell," says Gordi. Her stories are stark, honest, and soul-searching. Like "the trifecta" of Billy Joel, Carole King and James Taylor that sound-tracked her upbringing, she's unafraid to sit in contemplative melancholy — a place she calls, fittingly, "the reservoir."

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Gordi "Clever Disguise EP"

There are few young songwriters the caliber of Sophie Payten. At 22 years of age, Gordi distills a broad spectrum of emotional experience into captivating, spine-tingling musical gems – a worldly vocal punctuated by wonderful arrangements. Gordi’s musical instincts began on the piano at an early age by virtue of her music teacher mother. Like so many of her musical heroes, she was later drawn to the earthiness of the steel string – a useful piece of armory to have growing up on a farming property in Canowindra in rural New South Wales, Australia. But the craft in her songwriting is found partly in the emotional spectrum that her tracks span – from wistful aching to spirited celebration, her lyrical journeys take us places in our memories and imaginations that belie her 22 years. The candor in Gordi’s songs is matched by a vocal tone that is at once fractured and brimming with richness. Combining vintage vocal layering and earthy guitar textures with delicate modern electronic production, Gordi’s sonic palette is one she can call her own.

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Jad Fair & Daniel Johnston "It’s Spooky"

First released in 1989 on Jad's own 50 Skidillion Watts Records, Jad Fair & Daniel Johnston's IT'S SPOOKY (as it was called for the European pressing; the American version carried the title Daniel Johnston & Jad Fair) seemed like the perfect pairing of two of the most unique and idiosyncratic songwriters to emerge from the post-punk rubble of the late-'70s. Jad and his brother David Fair self-released their seminal first album as Half Japanese in 1977, citing punk forefathers (and fellow Michiganders) MC5 and the Stooges as critical influences. They followed that with over a dozen full-length albums and countless singles, not to mention Jad's collaborations with Yo La Tengo, the Pastels and Teenage Fanclub.Meanwhile, Daniel Johnston had self-recorded his first songs on the family piano with a boombox between 1980-82. These songs would eventually make up the earliest of the twelve cassette releases which he hawked on Austin, Texas, street corners, a few of which were re-released by Homestead Records, and were subsequently followed in the early '90s by his two stunning studio classics for Shimmy-Disc (1990 and ARTISTIC VICE), and his one and only record for Atlantic Records (1994's FUN). A Beatles fanatic at heart, "a healthy number of discerning musicians and critics have hailed Daniel Johnston as an American original in the style of bluesman Robert Johnson and country legend Hank Williams." On this new expanded reissue -- which contains 6 bonus tracks not on the original version -- IT'S SPOOKY stands up as a true masterpiece, sadly overlooked in its day. A magical trip through the child-like universe of two kids at heart, it is even more impressive now with twelve years of perspective just how uninhibited Jad & Daniel are as they walk you through their best fantasies and worst dreams on IT'S SPOOKY's 25 originals and 6 covers (by the likes of Burt Bacharach, the Beatles, Phil Ochs, and Austin friends and co-conspirators the Butthole Surfers and Glass Eye).Also, as a special added bonus, this reissue is an enhanced cd and features a very moving live video performance of Daniel on organ playing his "Don't Play Cards With Satan". This never-before-seen archival footage was shot by David Fair during the original IT'S SPOOKY recording session.

Reissued on June 18, 2001.

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Jad Fair & Daniel Johnston "Lucky Sperms: Somewhat Humorous"

The Lucky Sperms: Somewhat Humorous by Jad Fair and Daniel Johnston is being released hot on the heels of the Jagjaguwar reissue of Jad and Daniel's once-sadly-overlooked opus It's Spooky (originally released in 1989.) It is a timely reunion of two of the most compelling and idiosyncratic songwriters to emerge from the post-punk rubble of the late-'70s. Their initial collaboration on It's Spooky seemed too good to be true. This time they have entered into the proverbial bat-cave with co-conspirator Chris Bultman and have created a piece of heaven on earth.

Recorded and produced by Jad Fair, The Lucky Sperms: Somewhat Humorous is made up mostly of songs composed skeletally and separately by Bultman, Fair and Johnston. With Bultman being the x-factor notwithstanding, what makes all of Jad and Daniel's shared works so special is the natural chemistry between them that is so readily apparent upon first listen of the record. There is an unrefined playfulness in their work, a playfulness not much unlike what was present on Bob Dylan and The Band's Basement Tapes.

Both Fair and Johnston have enjoyed long careers making music in their own unique way. They have forged their own paths and created their own mythologies, borrowing little from anybody else. Since 1977, Fair has--with his iconoclastic band Half Japanese, as a solo artist, or with collaborators Yo La Tengo, the Pastels or Teenage Fanclub--defied convention while continually tapping that primal-root-without-inhibition that most every artist strives for. Johnston, likewise, has unflinchingly plowed forth for the past twenty years with his own artistic vision. Since the early days of hawking his boombox-recorded cassettes on Austin, Texas, street corners, through his classic mid-period Shimmy-Disc albums, through the major label fiasco and to now, as he is at long last re-emerging as a public artist, Johnston has been making a clear case for his being one of this past quarter century's most important songwriters. He is nothing less than a visionary. It is no surprise, then, that each of Jad and Daniel's trademark personalities are in full-regalia on this new record. (How could such large personalities be anything but?) It blissfully follows--true to the form of all of their past works--that The Lucky Sperms: Somewhat Humorous is another chapter in a magical trip through the child-like universe of two kids at heart. On it, both of them uninhibitedly walk you through their best fantasies and worst dreams.

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Jagjaguwar "Jagjaguwar Logo Shirt Black"

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Jagjaguwar Logo printed on American Apparel 100% cotton T-shirts.

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Jagjaguwar "Jagjaguwar Logo Zip Hoodie Black"

New Jagjaguwar Circle Logo printed on American Apparel Flex Fleece (50% Polyester / 50% Cotton Fleece) zip-up hoodie.

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Jagjaguwar "Jagjaguwar Logo Shirt Indigo"

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Jagjaguwar logo printed on American Apparel Tri-Blend (50% Polyester / 25% Ring-Spun Cotton / 25% Rayon) T-shirts.

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Jagjaguwar "Jagjaguwar Logo Shirt Green"

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Jagjaguwar Logo printed on army green American Apparel 100% cotton T-shirts. Models wearing unisex size medium and women's size medium.

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Jagjaguwar "Jagjaguwar Tote Black with White Logo"

Printed on 12" x 12" lightweight canvas.

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Jagjaguwar "Jagjaguwar Logo Shirt Black, XXL"

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Jamila Woods "LEGACY! LEGACY!"

Jamila Woods has a voice and lyrical sensibility that transcends generations, and so it makes sense to have this lush and layered album that bounces seamlessly from one sonic aesthetic to another. This was the case on 2016's HEAVN, which found Woods hopeful and exploratory, looking along the edges resilience and exhaustion for some measures of joy. Her new album, Legacy! Legacy! is the logical conclusion to that looking. From the airy boom-bap of "Giovanni" to the psychedelic flourishes of "Sonia," the instrument which ties the musical threads together is the ability of Woods to find her pockets in the waves of instrumentation, stretching syllables and vowels over the harmony of noise until each puzzle piece has a home. The whimsical and malleable nature of sonic delights also grants a path for collaborators to flourish: the sparkling flows of Nitty Scott on "Sonia" and Saba on "Basquiat," or the bloom of Nico Segal's horns on "Baldwin." More than just giving the song titles the names of historical black and brown icons of literature, art, and music, Jamila Woods builds a sonic and lyrical monument to the various modes of how these icons tried to push beyond the margins a country had assigned to them. On "Sun Ra," Woods sings "I just gotta get away from this earth, man / this marble was doomed from the start" and that type of dreaming and vision honors not only the legacy of Sun Ra, but the idea that there is a better future, and in it, there will still be black people.  Soul music did not just appear in America, and soul does not just mean music. Rather, soul is what gold can be dug from the depths of ruin, and refashioned by those who have true vision. True soul lives in the pages of a worn novel that no one talks about anymore, or a painting that sits in a gallery for a while but then in an attic forever. Soul is all the things a country tries to force itself into forgetting. Soul is all of those things come back to claim what is theirs. Jamila Woods is a singular soul singer who, in voice, holds the rhetorical demand. The knowing that there is no compromise for someone with vision this endless. That the revolution must take many forms, and it sometimes starts with songs like these. Songs that feel like the sun on your face and the wind pushing flowers against your back while you kick your head to the heavens and laugh at how foolish the world seems.

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Jamila Woods "HEAVN Secretly Society Exclusive"

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Julie Doiron "Desormais / Heart and Crime Reissue"

Julie Doiron's stunning album Désormais, originally released via Jagjaguwar in 2001, marked a departure from the Canadian artist's grunge pop releases in the 1990s. Like its title might suggest, the intimate record is sung almost entirely in French. Across Désormais' ten tracks, Doiron builds a disarming and warm atmosphere - through minimally-composed fingerpicking, Doiron's soft voice steers a wounded sound. Even for the English-speaking listener, the cohesion of the LP's subdued, immersive atmosphere looms. Désormais clearly communicates a close, unflinching look at self-doubt submerged in melancholy.

Heart and Crime, released less than a year later in 2002, traverses much of the same territory. Written within the same time as Désormais, Heart and Crime is a companion to its predecessor, similarly vulnerable and scarce compositionally, save for flickers of brass or a piano line flitting in or out. Again, its weight comes from its somber simplicity, in Doiron's wistful voice and lyricism.

Désormais and Heart and Crime serve as visceral time capsules for Doiron's own personal history. It’s fitting, then that the records are also distinct placeholders within the Jagjaguwar canon. Désormais and Heart and Crime came at a time just as the label began to widen its scope. Doiron's work was amongst the first in a new era of Jagjaguwar artists that expanded the label’s roster and aesthetic, ushering in new and diverse definitions of Jagjaguwar's early dedication to emotional dissonance.

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Julie Doiron "I Can Wonder What You Did With Your Day"

Everything is coming together in Julie Doiron's world, from embracing her electric past, to embarking on a new and energetic phase of her solo career with some of the most upbeat and inspiring songs of her recording career. I Can Wonder What You Did With Your Day — which arrives on the heels of the album Lost Wisdom, Doiron and her bandmate Fred Squire’s recent critically-acclaimed collaboration with Mt. Eerie — presents listeners with an album that reflects both her continued growth as an artist and a renewed optimism as a songwriter as well. As has often been the case, Doiron’s songwriting is rooted in what’s happening around her.

More than any other songwriter, you can tell exactly what's going on in her life. Direct and painfully honest, she lays it all out in her lyrics. "I just sing about what's happening," she admits, resigned to her style. "I don't know how to do anything else. I don't know how to write any other way. I've wanted to... I've tried! Because sometimes I feel like maybe I shouldn't be so direct, but I don't know how."

In addition to this new perspective, Doiron has made an album which showcases a thick distortion and melodic pop not heard since her days with indie heroes Eric's Trip in the '90s. It's part of a desire to get back to her electric days with that band. The past couple of years have seen Eric's Trip regroup for triumphant reunion tours, and a rekindling of her work with Trip mainstay Rick White (who produced her 2007 Polaris Prize-nominated album Woke Myself Up, and returned for this album). I Can Wonder was recorded at White's isolated home studio, just northwest of Toronto. Doiron handled the electric and acoustic guitar parts, Rick played all the bass and keyboards, and Fred Squire performed all the drums and some lead guitar. Squire, who comes from Sackville, New Brunswick, is Julie's bandmate in another of her projects, Calm Down It's Monday.

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Julie Doiron "Loneliest In The Morning"

Originally released in 1997 by Sub Pop, Loneliest In The Morning was Doiron’s second solo release and her first release as Julie Doiron (having dropped the moniker Broken Girl). This re-issue comes complete with three bonus tracks: “Second Time” from split 7” with Snailhouse and the tracks “Who Will Be The One” and “Too Much” from the 7” release Doiron recorded with the Wooden Stars. Loneliest In The Morning — an album Pitchfork described as “catchy enough to knock Liz Phair upside the head” — is a critical piece to the Doiron catalog and given the wonderful relationship Doiron and Jagjaguwar have forged over the last decade, this re-issue is particularly significant.

Julie Doiron began her career in music in 1990 at the age of 18 in Moncton, New Brunswick, Canada playing bass in Eric's Trip, a folky yet psychedelic band that were to become the undisputed underground darlings of Canadian music. Eric's Trip were the first of many maritime Canadians signed to Sub Pop and found international recognition, releasing several albums and touring widely. Following 1996's Purple Blue, Eric's Trip announced their breakup and Julie Doiron embarked on her solo career, first releasing songs as Broken Girl and soon under her own name starting with Loneliest In The Morning, which was recorded in Memphis, TN with producer Dave Shouse of the Grifters. She has released seven full-lengths and three EPs, including the Juno Award-winning Julie Doiron & the Wooden Stars album.

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