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In between that album and 2006's Dreamt for Light Years in the Belly of a Mountain (which featured contributions from Tom Waits and Danger Mouse), Linkous contributed songs to the soundtrack of the film Laurel Canyon and produced Daniel Johnston's 2003 album, Fear Yourself. \r\nThe next Sparklehorse project was truly an ambitious one: a multimedia sound and art gallery done in conjunction with Danger Mouse and filmmaker David Lynch called Dark Night of the Soul. The project featured several singers, including James Mercer, Gruff Rhys, Jason Lytle, Julian Casablancas, Frank Black, Iggy Pop, Nina Persson, Suzanne Vega, Vic Chesnutt, Scott Spillane, and David Lynch, whose photographs made up the 100-page accompanying book. 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Such stylistic freedom may have felt new for the singer, who has spent the past two decades fronting the New York rock trio the Yeah Yeah Yeahs. But after concluding her label contract and, in 2015, giving birth to her first child, she suddenly faced a blank canvas—a fresh start that pushed her in a new direction: “Brian and I realized that we had a similar love for '90s R&B dance music.”
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The title takes on a greater and darker meaning, not that this was ever an easy collection. Film director David Lynch contributed two vocal tracks and the rest of the cast is an elite line-up of musical personalities who bring much of themselves to the tracks. Danger Mouse (Brian Burton) and Linkous constructed haunted houses for their guests to explore. The Flaming Lips’ Wayne Coyne turns in his spacey vocal take for “Revenge.” Grandaddy’s Jason Lytle offers his weightless meditation on “Everytime I’m With You.” Iggy Pop turns up the punk bravado for “Pain.” Linkous and the Cardigans’ Nina Persson bring forth a joyous pop atmosphere for “Daddy’s Gone” that gently hides the real terror. 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Originally issued on indie label Will Records, 1997's acclaimed full-length Under the Western Freeway proved to be Grandaddy's creative breakthrough, and the following year the album was reissued on major-label V2, with \"Summer Here Kids\" earning Single of the Week honors in the pages of the NME. \r\nThe Broken Down Comforter Collection, a compilation of singles tracks, preceded the 1999 Signal to Snow Ratio EP, which heralded a movement toward the vintage electronic textures further in evidence on 2000's superb Sophtware Slump. In 2002, the group released another odds-n-sods collection, Concrete Dunes, which paved the way for a busy 2003. That spring, Grandaddy released the Floating Debris EP as well as their fourth full-length, Sumday, and spent the rest of the year touring, making appearances at festivals such as Glastonbury. In 2005, they resurfaced with the Excerpts from the Diary of Todd Zilla EP, and a full-length album (Just Like the Fambly Cat) followed in 2006. The latter release was essentially a solo project for frontman Jason Lytle, however, as the group disbanded during the recording process. \r\nLytle subsequently relocated from California to Montana. He reemerged in 2009 with his first proper solo release, Yours Truly, the Commuter, on Anti-. After releasing an album of improvised piano pieces titled Merry X-Mas 2009 at the end of the year, Lytle's next move was to form Admiral Radley with former Grandaddy bandmate Burtch, plus Aaron Espinoza and Ariana Murray of Earlimart. Their first album, I Heart California, was released on Espinoza's the Ship label in July of 2010. Lytle next returned to his own songs and began recording his second album. Meanwhile, he was recruited by Fairchild to put Grandaddy back together for some 2012 festival appearances. The group played the U.K.'s End of the Road Festival, San Francisco's Outside Lands, and Paris' Rock en Seine Festival, as well as some warmup dates. 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The album featured artists such as Madonna, Hootie & the Blowfish, Smashing Pumpkins, and R.E.M. covering the songs of Chesnutt, a paraplegic who was injured in a car accident when he was 18. The singer/songwriter began playing contemporary acoustic folk around Athens, GA, soon after his injury. A show at the 40 Watt Club brought him to the attention of Stipe, who helped with production on 1990's Little and 1991's West of Rome, both on Texas Hotel Records. A documentary video of Chesnutt's life called Speed Racer was produced and directed by Peter Sillen in 1991, and has aired on PBS. Chesnutt's third album, Drunk, followed in late 1993, but the release of his fourth album was delayed by Chesnutt's membership in Brute, a project with members of Widespread Panic including David A. Schools, Michael Houser, Todd Nance, John Hermann, Johnny Hickman, David Lowery, and John Keane. \r\nAfter Sweet Relief Two was released in July 1996, Capitol signed Chesnutt and released About to Choke, his major-label debut, in the fall of that year. The Salesman and Bernadette followed in 1998 on Capricorn and featured Lambchop as his backing band. The record's poor sales led him to be dropped by that label, but Chesnutt continued to record, cutting an album with Kelly and Nikki Keneipp called Merriment, which was issued in 2000. That same year, he teamed up with longtime friend and admirer Kristin Hersh for a series of U.S. tour dates. The following year, Chesnutt issued Left to His Own Devices, a collection of rarities, outtakes, and demos. In 2003, Chesnutt struck a deal with the roots rock-oriented New West label, which released his album Silver Lake in 2003. Ghetto Bells, which features contributions from jazz guitarist Bill Frisell and multi-instrumentalist Van Dyke Parks, followed in 2005. The following year, Chesnutt recorded North Star Deserter in Montreal. It was released on Constellation Records in 2007. Dark Developments, a collaboration with fellow Athens hometowners Elf Power, arrived in 2008, followed by At the Cut in 2009. 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Zion and Godspeed You! Black Emperor and Fugazi’s Guy Picciotto for a celebrated sound that can blast through the speakers with heavy metal doom (“Coward,” “Philip Guston”) or more likely lull you with subtle touches (“Concord Country Jubilee”). Chesnutt doesn’t need much to control the energy in a room. In fact, many of his finest recordings have featured compact arrangements. Here, he does it all with just a few spare acoustic guitar notes and his limited but incredibly appealing and empathetic voice in “When the Bottom Fell Out.” His dance with death in “Flirted with You All My Life” supports its overwhelming sorrow with ghostly keyboards floating just behind his anguished voice. He’s more at humor with himself for “It Is What It Is,” where he manages to work in the word “doofus” without a blink. He ends on a sweet, sentimental note with “Granny,” where he continues to see a life rich with family and sweet, quirky moments that stay with you a lifetime."},"isCompilation":false}},{"id":"1436924006","type":"albums","href":"/v1/catalog/us/albums/1436924006?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music118/v4/37/fc/17/37fc170b-6058-0d90-1ef4-50f3f30c34bf/0607396605439.png/{w}x{h}bb.jpeg","bgColor":"fffbcc","textColor1":"200028","textColor2":"2c1230","textColor3":"4c3249","textColor4":"56404f"},"artistName":"Vic Chesnutt","isSingle":false,"url":"https://music.apple.com/us/album/west-of-rome/1436924006","isComplete":true,"genreNames":["Rock","Music","Adult Alternative","Singer/Songwriter"],"trackCount":22,"isMasteredForItunes":false,"releaseDate":"1990-06-19","name":"West of Rome","recordLabel":"New West Records","editorialArtwork":{},"copyright":"℗ 1990 New West Records","playParams":{"id":"1436924006","kind":"album"},"isCompilation":false}},{"id":"1436927817","type":"albums","href":"/v1/catalog/us/albums/1436927817?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music118/v4/17/f7/f6/17f7f649-251b-9509-08ec-50722f06a090/0607396605637.png/{w}x{h}bb.jpeg","bgColor":"366551","textColor1":"fcce9e","textColor2":"fcca88","textColor3":"d4b98e","textColor4":"d4b57d"},"artistName":"Vic Chesnutt","isSingle":false,"url":"https://music.apple.com/us/album/is-the-actor-happy/1436927817","isComplete":true,"genreNames":["Rock","Music","Singer/Songwriter","Adult Alternative"],"trackCount":19,"isMasteredForItunes":false,"releaseDate":"1995-05-23","name":"Is the Actor Happy?","recordLabel":"New West Records","editorialArtwork":{},"copyright":"℗ 2004 New West Records","playParams":{"id":"1436927817","kind":"album"},"isCompilation":false}},{"id":"481499588","type":"albums","href":"/v1/catalog/us/albums/481499588?l=en-US","attributes":{"artwork":{"width":1500,"height":1500,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music/bb/e2/6e/mzi.zwajmfej.jpg/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"9ce8e6","textColor2":"84d2d3","textColor3":"7db9b8","textColor4":"69a8a9"},"artistName":"Vic Chesnutt","isSingle":false,"url":"https://music.apple.com/us/album/north-star-deserter/481499588","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative","Singer/Songwriter","Singer/Songwriter"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"2007-08-27","name":"North Star Deserter","recordLabel":"Constellation","editorialArtwork":{},"copyright":"℗ 2007 Constellation","playParams":{"id":"481499588","kind":"album"},"editorialNotes":{"standard":"Put in a Montreal recording studio with Thee Silver Mt. Zion Memorial Orchestra, Fugazi's Guy Picciotto, Bruce Cawdron of Godspeed! You Black Emperor, and others, Vic Chesnutt devises some of his career’s most inspired music. Not since his earliest days has he sounded so perfectly engaged. \"Warm\" starts as a gentle acoustic prelude for the modest-yet-grand power of \"Glossolalia,\" which climaxes with a wordless wail. The musicians backing Chesnutt are flexible and ego-free, giving his lyrics appropriate settings without insisting on gratuitous solo spots and often leaving the music spare. \"Everything I Say\" builds into a vortex of distortion. With black humor, \"You Are Never Alone\" insists that all means of coping are valid, whether it be abortion, the Bible, or prescription drugs. Chesnutt's exquisite ability to tease a lyric’s meaning with a twist of a syllable turns songs such as \"Wallace Stevens,\" \"Rustic City Fathers,” and \"Marathon\" into music that belongs to no simple genre, except transcendence. 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Lambchop still demands that Chesnutt keep his tempo up for the sly and fun \"P***k.\" But the festivities wear Chesnutt out, and he's back to his quiet self for the darkness of the final tunes, including the sparse and ghostly \"Woodrow Wilson,\" the softly countrified \"Parade,\" and the beautifully muted \"Old Hotel,\" where the band sounds like it's playing and partying in another room."},"isCompilation":false}},{"id":"279772132","type":"albums","href":"/v1/catalog/us/albums/279772132?l=en-US","attributes":{"artwork":{"width":750,"height":750,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music/3b/a9/b6/mzi.actgdvya.jpg/{w}x{h}bb.jpeg","bgColor":"191718","textColor1":"f8f9f3","textColor2":"5cb2ef","textColor3":"cbccc7","textColor4":"4e93c4"},"artistName":"Brute","isSingle":false,"url":"https://music.apple.com/us/album/co-balt-feat-widespread-panic-vic-chesnutt/279772132","isComplete":true,"genreNames":["Rock","Music","Singer/Songwriter","Contemporary Singer/Songwriter","Southern Rock","Jam Bands"],"trackCount":11,"isMasteredForItunes":false,"releaseDate":"2002-04-09","name":"Co-Balt (feat. 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Low's songs have been slowly rising to the surface with instrumental and vocal parts more clearly defined, but never quite like this. \"Clarence White\" could be a tribute to the former Byrds member, but the lyrics suggest something less quantifiable. \"So Blue\" actually threatens to cruise before the band falls away to better expose the harmonies. \"Just Make It Stop\" sounds like an AM radio piano-based pop tune. \"Holy Ghost\" mixes gospel and the blues as only Alan Sparhawk and Mimi Parker can design it."},"isCompilation":false}},{"id":"421678860","type":"albums","href":"/v1/catalog/us/albums/421678860?l=en-US","attributes":{"artwork":{"width":900,"height":900,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music/86/b2/16/mzi.xkzccsjn.jpg/{w}x{h}bb.jpeg","bgColor":"1d2025","textColor1":"fbe5bb","textColor2":"e8c298","textColor3":"cebd9d","textColor4":"c0a281"},"artistName":"Low","isSingle":false,"url":"https://music.apple.com/us/album/cmon/421678860","isComplete":true,"genreNames":["Alternative","Music","Rock","Indie Rock","Adult Alternative"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2011-04-12","name":"C'mon","recordLabel":"Sub Pop Records","editorialArtwork":{},"copyright":"℗ 2011 Sub Pop Records","playParams":{"id":"421678860","kind":"album"},"editorialNotes":{"standard":"Minnesota’s Low are one of the finest groups to navigate their way into the 21st century. Their slo-core roots, where every note took a lifetime to resolve into the next, have been spiked and expanded to allow for additional colors and approaches. Their ninth album, C’mon, was co-produced and mixed by Matt Beckley, whose name has appeared on recordings by Avril Lavigne and Katy Perry. Beckley brings brightness and dares Alan Sparhawk to bring his vocals to the front of the mix. “Witches” is phenomenal. The bass guitar is deep and sturdy. The guitars are shiny and metallic as they jangle into space. And Sparhawk sings with a newfound conviction. Additional musicians, including Wilco’s Nels Cline and violinist Caitlin Moe, create a plusher sound for tracks such as “Done” and the sweetly harmonic “Try to Sleep.” The naked ache of “Nothing But Heart” is reminiscent of the Byrds’ Gene Clark’s solo work. “Something’s Turning Over” throws over slo-core for a Mamas and Papas-type pop vocal ensemble piece. The album is a new career highpoint."},"isCompilation":false}},{"id":"714574422","type":"albums","href":"/v1/catalog/us/albums/714574422?l=en-US","attributes":{"artwork":{"width":1500,"height":1500,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music6/v4/ab/b8/2b/abb82b4c-fc1e-f36c-a918-5f37841896c3/00094637442852.jpg/{w}x{h}bb.jpeg","bgColor":"bac5e3","textColor1":"010000","textColor2":"1b191f","textColor3":"26272d","textColor4":"3b3b46"},"artistName":"Low","isSingle":false,"url":"https://music.apple.com/us/album/long-division/714574422","isComplete":true,"genreNames":["Rock","Music","Adult Alternative","Alternative","Pop","Indie Rock"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"1995","name":"Long Division","recordLabel":"Astralwerks","editorialArtwork":{},"copyright":"℗ 1995 Vernon Yard Recordings, a division of Virgin Records, Inc.","playParams":{"id":"714574422","kind":"album"},"isCompilation":false}},{"id":"218344896","type":"albums","href":"/v1/catalog/us/albums/218344896?l=en-US","attributes":{"artwork":{"width":1425,"height":1425,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music/16/f6/14/mzi.pkvumurk.jpg/{w}x{h}bb.jpeg","bgColor":"f6f3ee","textColor1":"0c0c0b","textColor2":"181817","textColor3":"3b3a39","textColor4":"444442"},"artistName":"Low","isSingle":false,"url":"https://music.apple.com/us/album/drums-and-guns-bonus-track-version/218344896","isComplete":true,"genreNames":["Electronic","Music","Ambient","Alternative","Indie Rock","Electronica","Rock"],"trackCount":15,"isMasteredForItunes":false,"releaseDate":"2007-03-20","name":"Drums and Guns (Bonus Track Version)","recordLabel":"Sub Pop Records","editorialArtwork":{},"copyright":"℗ 2007 Sub Pop Records","playParams":{"id":"218344896","kind":"album"},"editorialNotes":{"standard":"Nothing in this Duluth, Minnesota trio’s past prepares you for the sinister noir of their eighth full-length album. Teaming up with Flaming Lips producer Dave Fridmann, who oddly toughened up their sound with greater convention on 2005’s The Great Destroyer, the group head into an instrumental netherworld where time ticks by in slow, erratic degrees and a disturbing sense of unease permeates the feedback-drenched guitars and loitering keyboards. The minimalist instrumental backing serves as an austere backdrop for the rare vocals that emit from a faraway campsite where a human sacrifice wouldn’t be out of question. These are songs about death and murder where the blood still smells fresh. A hint of Tom Waits’ mechanical rhythm structures lingers in the disruptive, slow churning rhythms. An Arabian exoticism informs “Sandinista.” A deliberately unfunky groove works over “Always Fade.” Séance chants spike the foreboding gloom of “Dust On the Window.” Low have made the soundtrack to a film that may never exist. But it should conjure up some pretty grisly visuals in your imagination should you attempt to meditate to these tunes that redefine the “murder ballad” genre."},"isCompilation":false}},{"id":"40885450","type":"albums","href":"/v1/catalog/us/albums/40885450?l=en-US","attributes":{"artwork":{"width":600,"height":600,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features/a3/82/68/dj.thaocqpi.jpg/{w}x{h}bb.jpeg","bgColor":"c9cee1","textColor1":"06050a","textColor2":"431420","textColor3":"2d2d35","textColor4":"5d3946"},"artistName":"Low","isSingle":false,"url":"https://music.apple.com/us/album/secret-name/40885450","isComplete":true,"genreNames":["Alternative","Music","Rock","Indie Rock","Adult Alternative"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"1999-01-01","name":"Secret Name","recordLabel":"Kranky","editorialArtwork":{},"copyright":"℗ 1999 kranky","playParams":{"id":"40885450","kind":"album"},"isCompilation":false}},{"id":"200815340","type":"albums","href":"/v1/catalog/us/albums/200815340?l=en-US","attributes":{"artwork":{"width":600,"height":600,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features/88/1f/69/dj.zevirnmn.jpg/{w}x{h}bb.jpeg","bgColor":"0f0f0f","textColor1":"eddd8f","textColor2":"f38857","textColor3":"c0b475","textColor4":"c57049"},"artistName":"Low","isSingle":false,"url":"https://music.apple.com/us/album/trust/200815340","isComplete":true,"genreNames":["Alternative","Music","Indie Rock","Rock"],"trackCount":13,"isMasteredForItunes":false,"releaseDate":"2002-09-23","name":"Trust","recordLabel":"Kranky","editorialArtwork":{},"copyright":"℗ 2002 kranky","playParams":{"id":"200815340","kind":"album"},"isCompilation":false}},{"id":"1143210299","type":"albums","href":"/v1/catalog/us/albums/1143210299?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music62/v4/46/d9/02/46d90269-bc87-6c7f-6c13-a6ecb75871b7/656605327662.jpg/{w}x{h}bb.jpeg","bgColor":"4a2a2b","textColor1":"f07a72","textColor2":"f07a72","textColor3":"cf6a64","textColor4":"cf6a64"},"artistName":"Low","isSingle":false,"url":"https://music.apple.com/us/album/the-exit-papers-ep/1143210299","isComplete":true,"genreNames":["Indie Rock","Music","Alternative","Rock"],"trackCount":6,"isMasteredForItunes":false,"releaseDate":"2000-08-16","name":"The Exit Papers - 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So frequently compared to the Velvet Underground that they even portrayed the legendary group in the 1996 film I Shot Andy Warhol, the Hoboken, New Jersey-based Yo La Tengo have explored the extremes of feedback-driven noise rock and sweetly melodic pop, shading their work with equal parts scholarly composure and fannish enthusiasm. Prolific and mercurial, they have ultimately transcended their myriad influences to ensconce themselves as a beloved institution of the indie community.\r\nThe core of Yo La Tengo (Spanish for the outfielder's cry of \"I've got it!\") is comprised of singer/guitarist Kaplan and his wife, drummer/vocalist Georgia Hubley. After forming the band in 1984, they placed an advertisement seeking other musicians to round out the lineup, requesting applicants who shared their fondness for the Soft Boys, Mission of Burma, and Arthur Lee's Love. A number of bassists and lead guitarists passed through the band's roster during its formative years, but after bowing in late 1985 with the single \"The River of Water,\" backed by a cover of Love's \"A House Is Not a Motel,\" Yo La Tengo's membership appeared to stabilize with the additions of guitarist Dave Schramm and bassist Mike Lewis prior to the sessions for 1986's full-length roots pop debut, Ride the Tiger, produced by former Mission of Burma bassist Clint Conley.\r\nHowever, both Schramm and Lewis exited in the wake of the record's release, leaving Kaplan to assume lead guitar duties. Bassist Stephan Wichnewski signed on for 1987's New Wave Hot Dogs, a more assured outing that brought the group's Velvet Underground obsession to the fore via a cover of the early VU composition \"It's Alright (The Way That You Live).\" Not only did Kaplan's introverted, half-spoken vocals and buzzing guitar work closely recall Lou Reed, but Hubley's rock-steady drumming and breathy backing turns simultaneously conjured memories of vintage Maureen Tucker. Even better was 1989's President Yo La Tengo, recorded with producer and guest bassist Gene Holder; opening with the droning squalls of the stunning \"Barnaby, Hardly Working,\" the record spotlighted the group's sonic schizophrenia by including two Jekyll-and-Hyde versions of the track \"The Evil That Men Do\" -- one a gorgeous instrumental, the other a blistering feedback freakout.\r\nSchramm returned to the fold for 1990's Fakebook, a remarkable acoustic folk-pop journey through Kaplan's record collection and a virtual family tree of Yo La Tengo reference points. A wonderfully low-key collection of covers ranging from forgotten nuggets (the Kinks' \"Oklahoma U.S.A.,\" the Flamin' Groovies' \"You Tore Me Down,\" Gene Clark's \"Tried So Hard\") to absolute obscurities (Rex Garvin & the Mighty Cravers' \"Emulsified,\" the Escorts' \"The One to Cry,\" the Scene Is Now's \"Yellow Sarong\"), Fakebook also included a handful of outstanding new originals as well as luminous retakes of the previous record's \"Barnaby, Hardly Working\" and New Wave Hot Dogs' \"Did I Tell You?\" The superb That Is Yo La Tengo EP previewed 1992's May I Sing with Me, the first effort to feature permanent bassist James McNew (formerly of Christmas). A return to noise typified by the hot-wired nine-minute feedback saga \"Mushroom Cloud of Hiss,\" the record balanced out its extremist tendencies with the occasional sidestep into melodic beauty (\"Detouring America with Horns\") and infectious indie pop (\"Upside-Down\").\r\nA move to the Matador label predated the release of 1993's Painful, another winner informed by the atmospherics of shoegazer drones and dream pop. Bookended by radically opposed renditions of the track \"Big Day Coming\" -- the first an organ-driven mood piece, the other an edgy guitar outing -- the record pushed Yo La Tengo in a multitude of new directions, significantly expanding the trio's palette of sounds and textures. Released in 1995, Electr-O-Pura continued the progression, zigzagging from dead-on British Invasion re-creations (the sparkling \"Tom Courtenay\") to shimmering folk (the Hubley-sung \"Pablo and Andrea\") to bracing sonic experimentation (\"Decora\"). After 1996's Genius + Love Equals Yo La Tengo, a two-disc compendium of B-sides, compilation tracks, rare singles, and unreleased material, the trio resurfaced in the spring of 1997 with I Can Hear the Heart Beating as One; And Then Nothing Turned Itself Inside Out followed in early 2000. \r\nThe group also performed a three-night stint as the backing band for Ray Davies on his 2000 U.S. tour, and in 2002 released The Sounds of the Sounds of Science, a soundtrack to the undersea documentaries of French filmmaker Jean Painlevé. That fall, they released the Nuclear War single, which featured several versions of Sun Ra's epic, and that winter performed their second annual Hanukkahpalooza, an eight-night musical festival at Hoboken, New Jersey's Maxwell's, which also led to a special limited-edition EP of Christmas songs. Yo La Tengo released Summer Sun in spring 2003, and that year Georgia Hubley performed in Mirror Man, an avant-garde rock opera by Pere Ubu's David Thomas. \r\nIn 2005, Matador Records paid homage to Yo La Tengo's 20th year as recording artists with the career-spanning compilations Prisoners of Love: A Smattering of Scintillating Senescent Songs: 1985-2003 and A Smattering of Outtakes and Rarities 1986-2002. The band returned the following year with the strong all-new album I Am Not Afraid of You and I Will Beat Your Ass. Fuckbook, a covers album that the band released under the alias Condo Fucks, arrived in 2009, followed several months later by the full-length Popular Songs. The following year, the Here to Fall EP, which featured remixes by De La Soul, Rjd2, and Pete Rock, arrived. The group's 13th album, Fade, was released in 2013. This album marked a departure for the band, as it was the first record since their 1993 breakthrough, Painful, not recorded with producer Roger Moutenot, but instead tracked with Chicago scene veteran and Tortoise member John McEntire. \r\nIn 2014, the band looked to its past with an \"Extra Painful\" special-edition reissue of Painful, which included a wealth of live tracks, outtakes, and demo recordings. Yo La Tengo pointed to their history in a different way with 2015's Stuff Like That There, a semi-acoustic set in the style of Fakebook that found them playing covers and reinterpreting material from their back catalog, as well as delivering a few new tunes. Yo La Tengo took a new approach in the making of their 2018 album There's a Riot Going On; the bandmembers produced and engineered the project themselves, working in their rehearsal space, with John McEntire mixing the material for release. ~ Jason Ankeny","editorialArtwork":{},"bornOrFormed":"1984","url":"https://music.apple.com/us/artist/yo-la-tengo/2959228","name":"Yo La Tengo","genreNames":["Alternative"]},"relationships":{"station":{"href":"/v1/catalog/us/artists/2959228/station?l=en-US","data":[{"id":"ra.2959228","type":"stations","href":"/v1/catalog/us/stations/ra.2959228?l=en-US","attributes":{"playParams":{"id":"ra.2959228","kind":"radioStation","format":"tracks","stationHash":"CggIARoE_M60ARAB"},"isLive":false,"requiresSubscription":true,"url":"https://music.apple.com/us/station/yo-la-tengo/ra.2959228","name":"Yo La Tengo","mediaKind":"audio","artwork":{"width":2400,"height":2400,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features128/v4/f2/cb/42/f2cb4238-1164-ceac-75e2-d7f305ed492e/mzl.ydnfudfl.jpg/{w}x{h}rc.jpeg","bgColor":"050505","textColor1":"dddddd","textColor2":"c8c8c8","textColor3":"b2b2b2","textColor4":"a1a1a1"}}}]},"albums":{"href":"/v1/catalog/us/artists/2959228/albums?l=en-US","next":"/v1/catalog/us/artists/2959228/albums?l=en-US&offset=25","data":[{"id":"1023393307","type":"albums","href":"/v1/catalog/us/albums/1023393307?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music1/v4/7d/f3/c6/7df3c612-f42f-a4d6-ce69-5fc05b91d174/cover.jpg/{w}x{h}bb.jpeg","bgColor":"d2990e","textColor1":"060503","textColor2":"060602","textColor3":"2e2205","textColor4":"2f2404"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/i-can-hear-the-heart-beating-as-one/1023393307","isComplete":true,"genreNames":["Alternative","Music","Indie Rock","Rock","Adult Alternative"],"trackCount":16,"isMasteredForItunes":false,"releaseDate":"1997-04-22","name":"I Can Hear the Heart Beating As One","recordLabel":"Matador","editorialArtwork":{},"copyright":"℗ 1997 Matador","playParams":{"id":"1023393307","kind":"album"},"isCompilation":false}},{"id":"1023399300","type":"albums","href":"/v1/catalog/us/albums/1023399300?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music60/v4/b3/42/a5/b342a585-aaf8-9122-6243-c6eadfb8b097/mzm.dwowntlj.jpg/{w}x{h}bb.jpeg","bgColor":"100f15","textColor1":"dab785","textColor2":"abb2cd","textColor3":"b2956e","textColor4":"8c91a8"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/and-then-nothing-turned-itself-inside-out/1023399300","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative","Indie Rock"],"trackCount":13,"isMasteredForItunes":false,"releaseDate":"2000-02-22","name":"And Then Nothing Turned Itself Inside-Out","recordLabel":"Matador","editorialArtwork":{},"copyright":"℗ 2000 Matador","playParams":{"id":"1023399300","kind":"album"},"isCompilation":false}},{"id":"1331904175","type":"albums","href":"/v1/catalog/us/albums/1331904175?l=en-US","attributes":{"artwork":{"width":4000,"height":4000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music118/v4/4c/88/01/4c880110-b9a4-9cbf-acd3-f668eb0923e4/dj.qmjnljmk.jpg/{w}x{h}bb.jpeg","bgColor":"f6eedd","textColor1":"100f0f","textColor2":"1b1b1c","textColor3":"3e3b38","textColor4":"474543"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/theres-a-riot-going-on/1331904175","isComplete":true,"genreNames":["Alternative","Music","Indie Rock","Rock","Adult Alternative"],"trackCount":15,"isMasteredForItunes":true,"releaseDate":"2018-03-16","name":"There's a Riot Going On","recordLabel":"Matador","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features128/v4/d0/5b/22/d05b2216-7f43-ab31-3d69-eb02d4ec5158/source/{w}x{h}bb.jpeg","bgColor":"efddd1","textColor1":"140705","textColor2":"161616","textColor3":"40322e","textColor4":"423e3c"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features118/v4/92/0a/e8/920ae837-c887-56f9-38c0-a070e20f6e27/source/{w}x{h}bb.jpeg","bgColor":"0a0a0a","textColor1":"fcfcfc","textColor2":"c9c9c9","textColor3":"cbcbcb","textColor4":"a2a2a2"}},"copyright":"℗ 2018 Matador","playParams":{"id":"1331904175","kind":"album"},"editorialNotes":{"standard":"Few bands exist for 30 years, let alone maintain the quiet—and quietly remarkable—consistency of Yo La Tengo. Their 15th album finds them exploring similar material to 2013’s Fade and 2003’s Summer Sun: cozy, carefully constructed indie rock with hints of psychedelia (“She May, She Might,” “Here You Are”), jazz (“Ashes,” “Above the Sound”), and ambient (“Shortwave,” “Dream Dream Away”), a sound by turns comforting and mysterious, buoyed by Ira Kaplan's and Georgia Hubley's whisper-in-your-ear vocals.","short":"The legends’ 15th LP is pure, blissed-out indie rock perfection."},"isCompilation":false}},{"id":"1023384425","type":"albums","href":"/v1/catalog/us/albums/1023384425?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music1/v4/33/9b/0f/339b0ff3-a29b-2a1b-e2c6-b482b7e48087/cover.jpg/{w}x{h}bb.jpeg","bgColor":"1b1b21","textColor1":"fdfffa","textColor2":"f7798d","textColor3":"cfd1ce","textColor4":"cb6677"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/painful/1023384425","isComplete":true,"genreNames":["Alternative","Music","Indie Rock","Rock","Adult Alternative"],"trackCount":11,"isMasteredForItunes":false,"releaseDate":"1993-10-05","name":"Painful","recordLabel":"Matador","editorialArtwork":{},"copyright":"℗ 1993 Matador","playParams":{"id":"1023384425","kind":"album"},"isCompilation":false}},{"id":"997053839","type":"albums","href":"/v1/catalog/us/albums/997053839?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music7/v4/e7/20/6d/e7206d0e-43e3-1bf7-a585-69fe8f315862/cover.jpg/{w}x{h}bb.jpeg","bgColor":"e2dedb","textColor1":"020202","textColor2":"272528","textColor3":"2f2e2d","textColor4":"4c4a4b"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/stuff-like-that-there/997053839","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative","Indie Rock"],"trackCount":14,"isMasteredForItunes":true,"releaseDate":"2015-08-28","name":"Stuff Like That There","recordLabel":"Matador","editorialArtwork":{"originalFlowcaseBrick":{"width":3200,"height":600,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features4/v4/53/ad/c5/53adc558-75fe-8850-360e-09c0d6623f42/source/{w}x{h}bb.jpeg","bgColor":"333128","textColor1":"ffffff","textColor2":"d4d0b7","textColor3":"d6d5d3","textColor4":"b4b09a"},"storeFlowcase":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features18/v4/b1/89/44/b189446f-25b8-097f-3267-d0660834d92b/source/{w}x{h}bb.jpeg","bgColor":"3d3a30","textColor1":"e3e0c7","textColor2":"dad6bd","textColor3":"c2bfa9","textColor4":"bab7a0"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features18/v4/06/64/54/0664544d-b728-7865-7cc8-99e9b922dbd4/source/{w}x{h}bb.jpeg","bgColor":"3d3a30","textColor1":"e3e0c7","textColor2":"dad6bd","textColor3":"c2bfa9","textColor4":"bab7a0"},"bannerUber":{"width":4320,"height":1080,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features20/v4/7c/be/71/7cbe7199-126a-d22a-1eb9-5b21913b7f39/source/{w}x{h}bb.jpeg","bgColor":"3d3a30","textColor1":"e3e0c7","textColor2":"dad6bd","textColor3":"c2bfa9","textColor4":"bab7a0"}},"copyright":"℗ 2015 Matador","playParams":{"id":"997053839","kind":"album"},"editorialNotes":{"standard":"Yo La Tengo singers Ira Kaplan and Georgia Hubley sound more intimately enamored with their material than ever on their second album of cover versions (with two new originals). Gentle guitars, brushed drums, and whispery vocals sketch the democratically diverse contours of tunes by Hank Williams (\"I'm So Lonesome I Could Cry\"), The Parliaments (\"I Can Feel the Ice Melting\"), and The Cure (\"Friday I'm in Love\"). The band even covers itself, downshifting the formerly raging \"Deeper Into Movies\" into a dreamy lullaby.","short":"The indie icons cover their favorite songs, including their own."},"isCompilation":false}},{"id":"181411762","type":"albums","href":"/v1/catalog/us/albums/181411762?l=en-US","attributes":{"artwork":{"width":600,"height":600,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features/23/d6/2b/dj.ntjiordt.jpg/{w}x{h}bb.jpeg","bgColor":"a42833","textColor1":"e0eae5","textColor2":"e1caec","textColor3":"d4c3c1","textColor4":"d5a9c7"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/i-am-not-afraid-of-you-and-i-will-beat-your-ass/181411762","isComplete":true,"genreNames":["Alternative","Music","Indie Rock","Rock","Adult Alternative"],"trackCount":16,"isMasteredForItunes":false,"releaseDate":"2006-09-11","name":"I Am Not Afraid of You and I Will Beat Your Ass","recordLabel":"Matador","editorialArtwork":{},"copyright":"℗ 2006 Matador","playParams":{"id":"181411762","kind":"album"},"editorialNotes":{"standard":"Yo La Tengo have learned quite a bit over their three decade-spanning career, exploring every crevice of alternative rock and making it over in their own image. I Am Not Afraid of You was three years in the making and its 15 tracks feature all the intensity and variety that longtime fans have come to count on. The album is bookended by two feedback fueled jams that remain melodic and focused, rooted in the mechanical beats of the Velvet Underground and stretching out from there. “Beanbag Chair” provides their take on ephemeral French pop. “I Feel Like Going Home” is a morning-sun-breaking-over-the-horizon piano ballad. The piano, in fact, has become their unlikely weapon of choice, after years of guitar-centric jangle and twist. “Mr. Tough, “ “Black Flowers,” “The Weakest Part” and “Song for Mahila” all center on piano figures that give the album an unusual sitting-room luxury. After years of belting it out in cramped rock clubs, Yo La Tengo have found their way to the parlor for a little R&R, be it rock n’ roll or rest n’ relaxation."},"isCompilation":false}},{"id":"579062959","type":"albums","href":"/v1/catalog/us/albums/579062959?l=en-US","attributes":{"artwork":{"width":2400,"height":2400,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music/v4/92/27/32/92273280-8b3b-1018-979e-e27fa75356b2/OLE-994_Yo_La_Tengo_Fade.jpg/{w}x{h}bb.jpeg","bgColor":"091a2e","textColor1":"f3f8fe","textColor2":"fbeee6","textColor3":"c4cbd4","textColor4":"cbc4c1"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/fade/579062959","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative","Indie Rock"],"trackCount":10,"isMasteredForItunes":true,"releaseDate":"2013-01-15","name":"Fade","recordLabel":"Matador","editorialArtwork":{},"copyright":"℗ 2013 Matador","playParams":{"id":"579062959","kind":"album"},"isCompilation":false}},{"id":"281155882","type":"albums","href":"/v1/catalog/us/albums/281155882?l=en-US","attributes":{"artwork":{"width":1425,"height":1425,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music/bc/26/84/mzi.qhqqpgmi.jpg/{w}x{h}bb.jpeg","bgColor":"1f0b13","textColor1":"f6aad4","textColor2":"e79ac6","textColor3":"ca8aae","textColor4":"bf7da2"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/fakebook/281155882","isComplete":true,"genreNames":["Rock","Music","Pop","Pop/Rock","Adult Alternative","Alternative","Indie Rock"],"trackCount":16,"isMasteredForItunes":false,"releaseDate":"1990-01-01","name":"Fakebook","recordLabel":"Bar/None Records","editorialArtwork":{},"copyright":"℗ 1990 Bar/None Records","playParams":{"id":"281155882","kind":"album"},"editorialNotes":{"standard":"Yo La Tengo is a rock band populated by rock geeks; most notably, singer/guitarist Ira Kaplan wrote about rock before he made his name playing it. Maybe that's why the trio's 1990 album—featuring mostly cover versions—works so well; it's like a fantastic mixtape made by a friend with a deep and eclectic record collection. The material jumps between decades and genres, drawing from Yo La Tengo forebears that seem by turns obvious (The Kinks, John Cale, The Flying Burrito Brothers), unexpected (Cat Stevens, The Holy Modal Rounders), and truly obscure (Rex Garvin & The Mighty Cravers, The Escorts). Two more contemporary acts get the cover treatment, too: Daniel Johnston (a singer/songwriter/eccentric who was pretty much unknown upon this release but in following years attracted a sizable cult) and The Scene Is Now (a quirky pop band that remains pretty much unknown even today). Little of the hard-rocking, noise-happy Yo La Tengo is evident here. Most of the covers are tender, chiming takes that hew more or less faithfully to their sources, while the five original songs find the band in the dream-pop mode it's always done well."},"isCompilation":false}},{"id":"1023383644","type":"albums","href":"/v1/catalog/us/albums/1023383644?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music20/v4/12/b2/c2/12b2c281-600e-0b45-35b7-c38204406447/mzm.qifhvnun.jpg/{w}x{h}bb.jpeg","bgColor":"142014","textColor1":"f8eee4","textColor2":"eceae6","textColor3":"cac5ba","textColor4":"c0c2bc"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/summer-sun/1023383644","isComplete":true,"genreNames":["Alternative","Music","Indie Rock","Rock","Prog-Rock/Art Rock"],"trackCount":13,"isMasteredForItunes":false,"releaseDate":"2003-04-08","name":"Summer Sun","recordLabel":"Matador","editorialArtwork":{},"copyright":"℗ 2003 Matador","playParams":{"id":"1023383644","kind":"album"},"isCompilation":false}},{"id":"301178440","type":"albums","href":"/v1/catalog/us/albums/301178440?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music3/v4/3b/04/f2/3b04f228-e5d0-f365-cc4e-aefa62f5c6ad/dj.voiqhlga.jpg/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"e1e1e3","textColor2":"ccccce","textColor3":"b4b4b6","textColor4":"a3a3a5"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/electr-o-pura/301178440","isComplete":true,"genreNames":["Alternative","Music","Indie Rock","Rock","Adult Alternative"],"trackCount":14,"isMasteredForItunes":false,"releaseDate":"1995-05-02","name":"Electr-O-Pura","recordLabel":"Matador","editorialArtwork":{},"copyright":"℗ 1995 Matador","playParams":{"id":"301178440","kind":"album"},"editorialNotes":{"standard":"Yo La Tengo's previous album, Painful, had seen the band pull together its sound with far more confidence than on any previous release. All of YLT's disparate influences coalesced into a flood of sound that was its alone. The shimmering layers of guitar that inform the extended workout \"Flying Lesson (Hot Chicken #1)\" move far beyond Yo La Tengo's Velvet Underground inclinations (and nowhere near The Flying Burrito Brothers, which the title invokes). \"Tom Courtenay\" couldn't be more beautifully manicured if it tried, even coming in at three and a half minutes. (\"False Ending\" fades in as if it's the \"Helter Skelter\" part of \"Tom Courtenay.\") Despite Yo La Tengo's skill with feedback and abrasion in general (\"False Alarm,\" \"My Heart's Reflection\"), the band does some of its best work when it turns reflective, as \"Pablo and Andrea\" captures the wistful vibe of The Rolling Stones' \"Wild Horses\" but with a sound light-years removed. The acoustic \"The Hour Grows Late\" does similar mournful damage."},"isCompilation":false}},{"id":"1023400950","type":"albums","href":"/v1/catalog/us/albums/1023400950?l=en-US","attributes":{"artwork":{"width":1409,"height":1400,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music6/v4/3f/aa/35/3faa35ac-3045-6ac7-c6a4-4fbf237882fa/cover.jpg/{w}x{h}bb.jpeg","bgColor":"ffffff","textColor1":"0d0d0d","textColor2":"402824","textColor3":"3e3e3e","textColor4":"66534f"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/prisoners-love-smattering-scintillating-senescent-songs/1023400950","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative","Indie Rock"],"trackCount":42,"isMasteredForItunes":false,"releaseDate":"2005-03-21","name":"Prisoners of Love - A Smattering of Scintillating Senescent Songs 1985-2003","recordLabel":"Matador","editorialArtwork":{},"copyright":"℗ 2005 Matador","playParams":{"id":"1023400950","kind":"album"},"isCompilation":false}},{"id":"326864337","type":"albums","href":"/v1/catalog/us/albums/326864337?l=en-US","attributes":{"artwork":{"width":600,"height":600,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music/79/8d/94/mzi.npayhauj.jpg/{w}x{h}bb.jpeg","bgColor":"30676c","textColor1":"f6f7f9","textColor2":"ead6c6","textColor3":"cedadd","textColor4":"c5c0b4"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/popular-songs-bonus-track-version/326864337","isComplete":true,"genreNames":["Alternative","Music","Indie Rock"],"trackCount":13,"isMasteredForItunes":false,"releaseDate":"2009-09-08","name":"Popular Songs (Bonus Track Version)","recordLabel":"Matador","editorialArtwork":{},"copyright":"℗ 2009 Matador","playParams":{"id":"326864337","kind":"album"},"editorialNotes":{"standard":"More than two decades spent exploring the influences and textures of indie-rock have given Yo La Tengo an authoritative grasp on everything from Velvet Underground feedback drones to metronomic Krautrock grooving to light and free Parisian pop. 2009’s Popular Songs maintains the trio’s free-form pursuit. “Here to Fall” skims several different genres as its guitars crash, burn and shimmer in allegiance to an elusive stylistic genre they practically invented. Georgia Hubley takes the mic for the ‘60s pop flow of “Avalon or Someone Very Similar.” Later on, the band switches gears with the space exploration of “By Two’s.” “Nothing to Hide” returns the band to earth for an earnest guitar number laced with feedback. “If It’s True” shuffles with amiable early-‘60s pop. “I’m On My Way” leisurely paces itself with organ and subdued electric guitars. “The Fireside” closed the album with more than 11 minutes of slow, ambient tone poem, preceded by the 16-minute feedback-charged blow-out (“And the Glitter Is Gone”)."},"isCompilation":false}},{"id":"938869287","type":"albums","href":"/v1/catalog/us/albums/938869287?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music3/v4/52/1f/9a/521f9af7-4871-dfba-a9eb-562603825f3f/cover.jpg/{w}x{h}bb.jpeg","bgColor":"be050d","textColor1":"f8e6e6","textColor2":"feac93","textColor3":"ecb9bb","textColor4":"f18b78"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/extra-painful/938869287","isComplete":true,"genreNames":["Alternative","Music","Indie Rock","Rock","Adult Alternative"],"trackCount":23,"isMasteredForItunes":false,"releaseDate":"1993-10-05","name":"Extra Painful","recordLabel":"Matador","editorialArtwork":{},"copyright":"℗ 2014 Matador","playParams":{"id":"938869287","kind":"album"},"editorialNotes":{"standard":"Yo La Tengo first performed in 1984 and issued their first few records to a slowly growing cult audience. However, it was 1993’s Painful that officially made the band a full-time adventure and one worthy to handle the next two decades of creative growth. 2014’s Extra Painful includes that classic album plus 12 bonus tracks that range from the seven-minute meditational workout “Nowhere Near” and live acoustic takes on “From a Motel 6” and “Big Day Coming” to the abrasive ends of The Velvet Underground heard on “Tunnel Vision” and the seven-minute corrosive jam “Sudden Organ.” "},"isCompilation":false}},{"id":"5253915","type":"albums","href":"/v1/catalog/us/albums/5253915?l=en-US","attributes":{"artwork":{"width":600,"height":600,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features/c6/d6/79/dj.fombysgi.jpg/{w}x{h}bb.jpeg","bgColor":"1c1c1e","textColor1":"d9dbcb","textColor2":"dfd8da","textColor3":"b3b5a8","textColor4":"b8b2b4"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/president-yo-la-tengo-new-wave-hot-dogs/5253915","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative","Indie Rock"],"trackCount":20,"isMasteredForItunes":false,"releaseDate":"1996-06-18","name":"President Yo La Tengo / New Wave Hot Dogs","recordLabel":"Matador","editorialArtwork":{},"copyright":"℗ 1996 Matador","playParams":{"id":"5253915","kind":"album"},"editorialNotes":{"standard":"Combining the band’s second album and third EP in one noisy, feedback-laden, sweetly melodic package, this two-set reissue is unmistakably early Yo La Tengo, with all the nervy brilliance and exasperating rock-geek fiddlery that implies. New Wave Hot Dogs finds the band at their most neo-Velvet, with Ira Kaplan’s cool, abstracted voice a dead ringer for Lou Reed’s on a cover of the then-unreleased Velvet Underground track “It’s Alright (The Way That You Live).” “Lewis” amusingly quotes song titles from the soft-rock band America, “Clunk” is hard-driving and tuneful in the best 80s college-rock manner, and “Did I Tell You” is that endangered beast, a straight-faced love song. On President Yo La Tengo the band anticipates the leap forward they would take with albums like 1992’s Painful. Squalling guitar like a city siren announces “Barnaby, Hardly Working,” an innovatively structured piece of experimental drone that is (like the rest of President) anchored by a solid melody and Georgia Hubley’s ever-crisp, ever-intelligent drumming."},"isCompilation":false}},{"id":"734082364","type":"albums","href":"/v1/catalog/us/albums/734082364?l=en-US","attributes":{"artwork":{"width":2400,"height":2400,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music/v4/d6/74/aa/d674aa6e-140f-39d2-6899-19a732e93b9b/744861099475.jpg/{w}x{h}bb.jpeg","bgColor":"d4eaf8","textColor1":"000413","textColor2":"051c25","textColor3":"2a3241","textColor4":"2e454f"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/fade-deluxe-edition/734082364","isComplete":true,"genreNames":["Alternative","Music","Indie Rock","Rock"],"trackCount":24,"isMasteredForItunes":false,"releaseDate":"2013-01-15","name":"Fade (Deluxe Edition)","recordLabel":"Matador 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Corp.","playParams":{"id":"213184494","kind":"album"},"isCompilation":false}},{"id":"438287513","type":"albums","href":"/v1/catalog/us/albums/438287513?l=en-US","attributes":{"artwork":{"width":620,"height":620,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music/de/02/2c/mzi.agjtyaen.jpg/{w}x{h}bb.jpeg","bgColor":"00001b","textColor1":"deffc8","textColor2":"a6e0a8","textColor3":"b1cba5","textColor4":"84b38c"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/the-sounds-of-the-sounds-of-science/438287513","isComplete":true,"genreNames":["Alternative","Music","Soundtrack","Jazz","Big Band"],"trackCount":8,"isMasteredForItunes":false,"releaseDate":"2002","name":"The Sounds of the Sounds of Science","recordLabel":"Egon Records","editorialArtwork":{},"copyright":"℗ 2011 Egon 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Matador","playParams":{"id":"5254639","kind":"album"},"isCompilation":false}},{"id":"480492080","type":"albums","href":"/v1/catalog/us/albums/480492080?l=en-US","attributes":{"artwork":{"width":620,"height":620,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music/e3/35/e2/mzi.lpkhgvyb.jpg/{w}x{h}bb.jpeg","bgColor":"f3efd2","textColor1":"070801","textColor2":"402f1e","textColor3":"36362b","textColor4":"645542"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/yo-la-tengo-is-murdering-the-classics/480492080","isComplete":true,"genreNames":["Alternative","Music","Indie Rock","Rock","Adult Alternative"],"trackCount":30,"isMasteredForItunes":false,"releaseDate":"2006","name":"Yo La Tengo is Murdering the Classics","recordLabel":"Egon Records","editorialArtwork":{},"copyright":"℗ 2006 Yo La Tengo","playParams":{"id":"480492080","kind":"album"},"editorialNotes":{"standard":"With a title inspired by an old Spike Jones LP, Yo La Tengo Is Murdering the Classics delivers exactly what its title claims. As the \"house band\" for the New Jersey listener-supported freeform radio station WFMU, Yo La Tengo has raised money annually by agreeing to perform listener requests in exchange for pledges. These recordings are taken from these off-the-cuff performances made live on the air between 1996 and 2003. Unlike Yo La Tengo's official album of (mostly) covers—the well-rehearsed and thought-out Fakebook—Murdering suggests that the band sometimes barely knows the song in question. Yet Yo La Tengo's enthusiasm gets it through everything from The Replacements' \"Favorite Thing\" to The Eurythmics' \"Sweet Dreams (Are Made of This).\" Whether the band is playing for its local crowd with the baseball cheer \"Meet the Mets\" or nodding to avant-garde listeners with Yoko Ono's \"Don't Worry, Kyoko (Mummy's Only Looking for Her Hand in the Snow),\" the results are endearing, hilarious, and often amateurish. The local bar bands have nothing to worry about; Yo La Tengo won't be stealing their Saturday-night gigs anytime soon."},"isCompilation":false}},{"id":"5253843","type":"albums","href":"/v1/catalog/us/albums/5253843?l=en-US","attributes":{"artwork":{"width":600,"height":580,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features/4f/c6/da/dj.smcqqlgp.jpg/{w}x{h}bb.jpeg","bgColor":"dad9d7","textColor1":"020303","textColor2":"2d2f3d","textColor3":"2d2e2d","textColor4":"4f515b"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/genius-love-yo-la-tengo/5253843","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative","Indie Rock"],"trackCount":30,"isMasteredForItunes":false,"releaseDate":"1996-09-10","name":"Genius + Love = Yo La Tengo","recordLabel":"Matador","editorialArtwork":{},"copyright":"℗ 1996 Matador","playParams":{"id":"5253843","kind":"album"},"isCompilation":false}},{"id":"374519854","type":"albums","href":"/v1/catalog/us/albums/374519854?l=en-US","attributes":{"artwork":{"width":600,"height":600,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features/4a/e8/c1/dj.wjvkbvjr.jpg/{w}x{h}bb.jpeg","bgColor":"272727","textColor1":"fefcfd","textColor2":"e1e1e1","textColor3":"d3d1d2","textColor4":"bcbcbc"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/here-to-fall-remixes-ep/374519854","isComplete":true,"genreNames":["Alternative","Music","Hip-Hop/Rap","Rap","Underground Rap","Indie Rock","Rock","Adult Alternative"],"trackCount":4,"isMasteredForItunes":false,"releaseDate":"2010-06-07","name":"Here to Fall (Remixes) - EP","recordLabel":"Matador","editorialArtwork":{},"copyright":"℗ 2010 Matador","playParams":{"id":"374519854","kind":"album"},"isCompilation":false}},{"id":"1454090547","type":"albums","href":"/v1/catalog/us/albums/1454090547?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music114/v4/68/c7/31/68c73185-3cf1-6d5d-2617-c79bd9c7024e/cover.jpg/{w}x{h}bb.jpeg","bgColor":"d4dcdf","textColor1":"0e1216","textColor2":"111816","textColor3":"353b3e","textColor4":"383f3e"},"artistName":"Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/from-a-motel-6-ep/1454090547","isComplete":true,"genreNames":["Alternative","Music"],"trackCount":4,"isMasteredForItunes":false,"releaseDate":"1994","name":"From a Motel 6 - EP","recordLabel":"Matador","editorialArtwork":{},"copyright":"℗ 1996 Matador","playParams":{"id":"1454090547","kind":"album"},"isCompilation":false}},{"id":"1136986620","type":"albums","href":"/v1/catalog/us/albums/1136986620?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music20/v4/fb/c7/8f/fbc78f7f-60a5-5e1c-b98c-fe9d3264be57/889845607366.jpg/{w}x{h}bb.jpeg","bgColor":"e99861","textColor1":"2c0700","textColor2":"340406","textColor3":"522413","textColor4":"582218"},"artistName":"Bardo Pond & Yo La Tengo","isSingle":false,"url":"https://music.apple.com/us/album/parallelogram/1136986620","isComplete":true,"genreNames":["Rock","Music","Psychedelic"],"trackCount":2,"isMasteredForItunes":false,"releaseDate":"2015-12-11","name":"Parallelogram","recordLabel":"Three Lobed Recordings","editorialArtwork":{},"copyright":"℗ 2015 Three Lobed Recordings","playParams":{"id":"1136986620","kind":"album"},"isCompilation":false}}]}}},{"id":"210056561","type":"artists","href":"/v1/catalog/us/artists/210056561?l=en-US","attributes":{"origin":"Atlanta, GA","artwork":{"width":2400,"height":2400,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features118/v4/16/ba/63/16ba63f0-0523-b31d-0983-29be7a8f1174/mzl.wpseuyqq.jpg/{w}x{h}bb.jpeg","bgColor":"dbe2e8","textColor1":"020100","textColor2":"181613","textColor3":"2d2e2e","textColor4":"3f3f3d"},"artistBio":"Led by charismatic frontman Bradford Cox, Deerhunter emerged in the mid-2000s as a band uniquely capable of experimental forays and chiming, wistful pop. By turns confrontational and delicate -- and sometimes both at once -- the band's early output ranged from 2004's densely layered self-titled album to the heady excursions of 2007's Cryptograms. Deerhunter's breakthrough came with the following year's Microcastle, an album of lush, transporting guitar pop that earned them critical acclaim as well as their debut on the charts. Despite this success, the band continued to challenge themselves and their audience with albums including 2013's raw Monomania and 2019's fragile yet incisive Why Hasn't Everything Already Disappeared? \r\nCox and drummer/keyboardist Moses Archuleta formed Deerhunter in Atlanta, Georgia in 2001, with bassist Justin Bosworth and Colin Mee joining the group soon after. The band's early work included a 2004 split single with Alphabets that was released by the local Die Slaughterhaus label. Not long after recording the single, Bosworth died from head injuries he sustained in a skateboarding accident; Josh Fauver, a member of the punk band Electrosleep, became Deerhunter's next bassist. For their abrasive 2004 self-titled debut album -- also known as Turn It Up Faggot -- the band teamed with another local label, Stickfigure Records. Soon after the album's release, Deerhunter added guitarist Lockett Pundt (a longtime friend of Cox's) to the line-up. Pundt's reverb-heavy guitar style, along with bells, keyboards, and tape loops, dominated the band's atmospheric second album Cryptograms. Recorded in two days in November 2005, it was released by Kranky in January 2007. The Fluorescent Grey EP, which added more structured songwriting to the Cryptograms sound, followed that May. During this time, Cox began his solo project Atlas Sound.\r\nEarly in 2008, Deerhunter appeared on Living Bridge, a compilation of songs by bands who recorded at Brooklyn's Rare Book Room studio. That April, they returned to the studio to cover the Jay Reatard song \"Oh, It's Such a Shame\" for a split single with him (in turn, Reatard covered the title track of Fluorescent Grey). Deerhunter also chose Rare Book Room to record Microcastle, an album of crisper, more concise songs. Because the album leaked online months before its scheduled street date, the band recorded another album, Weird Era, to be included with Microcastle's official release. Though Weird Era also leaked ahead of schedule, Microcastle debuted at number 123 on the Billboard 200 Albums Chart when it arrived in October 2008. Though Mee left the band after the album's release, Deerhunter's prolific year continued with On Platts Eyott, a live session recorded during the Microcastle tour and released as a limited edition of 200 cassettes. More Microcastle-related music surfaced the following year in the form of the Rainwater Cassette Exchange EP, which featured songs written during the album's sessions, and Vox Celeste 5, which was part of the third edition of Sub Pop's Singles Club. \r\nAfter touring in support of Microcastle ended, Deerhunter took a break. During the band's time off, Archuleta attended culinary school and Fauver concentrated on running his label Army of Bad Luck. The band's other two members turned their attention to their other musical projects: Pundt made his debut as Lotus Plaza in March 2009 with the album Floodlight Collective, while Cox's Atlas Sound released its second album, Logos, that October. The band reconvened in 2010 to record Halcyon Digest with producer Ben Allen. Released that September, the album featured some of the band's most impressionistic music in some time and reached number 37 on the Billboard 200 Albums chart. In 2012, Fauver left Deerhunter shortly before they prepared to make their fifth album. With Josh McKay stepping in on bass and guitarist Frankie Broyles joining the fold, the band returned to Rare Book Room to record 2013's raw, confrontational Monomania with producer Nicolas Vernhes. Following its release that May, the album peaked at number 41 on the Billboard 200. \r\nIn December 2014, Cox was hit by a car and hospitalized for his injuries; once he recovered, Deerhunter continued work on their next album. Fading Frontier, which featured collaborations with Stereolab's Tim Gane and Broadcast's James Cargill, as well as a duet between Cox and Pundt, arrived in October 2015 and hit number 72 on the Billboard 200 Albums Chart that November. After the band toured in support of the album, Deerhunter didn't resurface until 2018, when they played a string of dates in New York and Europe. Double Dream of Spring, a cassette of experimental tracks limited to 300 copies, sold out on the opening date of the tour. In November 2018, it was announced that former bassist Josh Fauver had died at age 39. In January 2019, Deerhunter released their eighth album, Why Hasn't Everything Already Disappeared? The band's first official album to feature keyboardist/saxophonist Javier Morales, it featured collaborations with Cate LeBon and Halcyon Digest producer Ben Allen. ~ Heather Phares","editorialArtwork":{},"bornOrFormed":"2001","url":"https://music.apple.com/us/artist/deerhunter/210056561","name":"Deerhunter","genreNames":["Alternative"]},"relationships":{"station":{"href":"/v1/catalog/us/artists/210056561/station?l=en-US","data":[{"id":"ra.210056561","type":"stations","href":"/v1/catalog/us/stations/ra.210056561?l=en-US","attributes":{"playParams":{"id":"ra.210056561","kind":"radioStation","format":"tracks","stationHash":"CggIARoE8eqUZBAB"},"isLive":false,"requiresSubscription":true,"url":"https://music.apple.com/us/station/deerhunter/ra.210056561","name":"Deerhunter","mediaKind":"audio","artwork":{"width":2400,"height":2400,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features118/v4/16/ba/63/16ba63f0-0523-b31d-0983-29be7a8f1174/mzl.wpseuyqq.jpg/{w}x{h}rc.jpeg","bgColor":"dbe2e8","textColor1":"020100","textColor2":"181613","textColor3":"2d2e2e","textColor4":"3f3f3d"}}}]},"albums":{"href":"/v1/catalog/us/artists/210056561/albums?l=en-US","data":[{"id":"387922299","type":"albums","href":"/v1/catalog/us/albums/387922299?l=en-US","attributes":{"artwork":{"width":1350,"height":1227,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features/0c/46/99/dj.babururp.jpg/{w}x{h}bb.jpeg","bgColor":"131313","textColor1":"eaeaea","textColor2":"cbcbcb","textColor3":"bfbfbf","textColor4":"a6a6a6"},"artistName":"Deerhunter","isSingle":false,"url":"https://music.apple.com/us/album/halcyon-digest/387922299","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative","Prog-Rock/Art Rock","Indie Rock"],"trackCount":11,"isMasteredForItunes":false,"releaseDate":"2010-09-28","name":"Halcyon Digest","recordLabel":"4AD","editorialArtwork":{},"copyright":"℗ 2010 4AD Ltd","playParams":{"id":"387922299","kind":"album"},"editorialNotes":{"standard":"Deerhunter’s dark, dreamy indie rock reached its crest on their fifth album, Halcyon Digest. Marrying punk grit with the romantic lilt of doo-wop ballads and early '60s pop, the band created a kind of modern noir—seductive and mysterious but alluringly rough around the edges. Songs like “Revival” and “Memory Boy” ring out like a basement-dwelling version of The Byrds; “Basement Scene” is their “La Bamba”—a fascinating take on the past by one of the present’s most unusual indie rock bands. ","short":"Luminous garage rock from experts of modern noir. "},"isCompilation":false}},{"id":"1027498475","type":"albums","href":"/v1/catalog/us/albums/1027498475?l=en-US","attributes":{"artwork":{"width":4000,"height":4000,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music18/v4/85/98/18/85981897-b39f-466d-1c26-67c2f5d11d80/mzm.pygbvlrl.jpg/{w}x{h}bb.jpeg","bgColor":"1c1f16","textColor1":"bdd5f8","textColor2":"a4d2f4","textColor3":"9db1cb","textColor4":"89aec7"},"artistName":"Deerhunter","isSingle":false,"url":"https://music.apple.com/us/album/fading-frontier/1027498475","isComplete":true,"genreNames":["Alternative","Music","Rock","Prog-Rock/Art Rock","Indie Rock","Adult Alternative"],"trackCount":9,"isMasteredForItunes":true,"releaseDate":"2015-10-16","name":"Fading Frontier","recordLabel":"4AD","editorialArtwork":{"originalFlowcaseBrick":{"width":3200,"height":600,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features69/v4/e4/c5/fd/e4c5fda1-81e9-8aad-6512-3deab9d2dfe7/source/{w}x{h}bb.jpeg","bgColor":"030803","textColor1":"ffffff","textColor2":"67a7ea","textColor3":"cccdcc","textColor4":"5387bc"},"storeFlowcase":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features69/v4/6a/51/df/6a51dfef-537d-0fbd-3105-4e6c7117d5a0/source/{w}x{h}bb.jpeg","bgColor":"070604","textColor1":"8dbbec","textColor2":"64a8f3","textColor3":"7297bd","textColor4":"5188c3"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features6/v4/62/4f/94/624f9463-7633-1f87-dafd-b48b0d3705f0/source/{w}x{h}bb.jpeg","bgColor":"363c3e","textColor1":"ffffde","textColor2":"f5d546","textColor3":"d6d8bd","textColor4":"cfb644"}},"copyright":"℗ 2015 4AD Ltd","playParams":{"id":"1027498475","kind":"album"},"editorialNotes":{"standard":"Retreating from the garage snarl of 2013’s Monomania to the gauzy, melodic textures of 2010’s Halcyon Digest, Deerhunter have made their warmest record yet. The psychedelic swoops of “Breaker”, synth pulse of “Ad Astra” and lysergic funk of “Snakeskin” all expertly find the biting point between invention and accessibility. The gorgeous sonics are regularly just a salve for caustic lyrics though, and Bradford Cox’s outsider spirit rages with paranoia and self-laceration throughout.","short":"Bradford Cox and company’s woozy psych-pop masterpiece."},"isCompilation":false}},{"id":"285630526","type":"albums","href":"/v1/catalog/us/albums/285630526?l=en-US","attributes":{"artwork":{"width":600,"height":600,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features/8b/f8/64/dj.kdtacxwe.jpg/{w}x{h}bb.jpeg","bgColor":"241f23","textColor1":"fbfaf8","textColor2":"ebe4d3","textColor3":"d0cece","textColor4":"c3bdaf"},"artistName":"Deerhunter","isSingle":false,"url":"https://music.apple.com/us/album/microcastle/285630526","isComplete":true,"genreNames":["Alternative","Music","Indie Rock","Rock","Prog-Rock/Art Rock"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"2008-08-01","name":"Microcastle","recordLabel":"kranky","editorialArtwork":{},"copyright":"℗ 2008 kranky","playParams":{"id":"285630526","kind":"album"},"editorialNotes":{"standard":"Deerhunter’s Bradford Cox has established himself as a critical part of the indie-rock scene. His music is unpredictable and sometimes challenging, but even in his most experimental moments there is a vulnerable human-ness that makes it accessible. Microcastle puts Cox and his band firmly on the path to producing cohesive songs with beginnings, middles and ends, and they’re not just songs with all the right parts; they’re astoundingly accessible and memorable to boot. Guitarist Lockett Pundt’s contributions — on vocals as well — are a real plus, and from the lulling “Agoraphobia” to the ‘60s pop charm of “Little Kids” and “Saved by Old Times,” Microcastle offers plenty of well above-average indie pop. Cotton-candy shoegazer “Never Stops” has a sad, lyrical feel, and “Calvary Scars” and “Activa” are wrapped in the ambient twinkle of Cox’s solo work as Atlas Sound. The gloriously dreamy “Neither of Us, Uncertainly,” and the Yo La Tengo-ish “Nothing Ever Happened” are strong contenders for Best of Show, but we give the award to the purely Deerhunter “Microcastle” which fools us all for the first two minutes with its airy, twee weightlessness before morphing into a sonic tsunami.","short":"A monumental indie-rock opus as dreamy as it is succinct."},"isCompilation":false}},{"id":"1439388933","type":"albums","href":"/v1/catalog/us/albums/1439388933?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music118/v4/c6/20/67/c62067e6-70eb-01bc-649a-99e89f607e07/cover.jpg/{w}x{h}bb.jpeg","bgColor":"4b3538","textColor1":"e2e3e2","textColor2":"f3b99d","textColor3":"c4c0c0","textColor4":"d19f88"},"artistName":"Deerhunter","isSingle":false,"url":"https://music.apple.com/us/album/why-hasnt-everything-already-disappeared/1439388933","isComplete":true,"genreNames":["Indie Rock","Music","Alternative","Rock","Psychedelic","Prog-Rock/Art Rock"],"trackCount":10,"isMasteredForItunes":true,"releaseDate":"2019-01-18","name":"Why Hasn't Everything Already Disappeared?","recordLabel":"4AD","editorialArtwork":{"storeFlowcase":{"width":4320,"height":1080,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features118/v4/a5/96/1a/a5961a8c-a830-e9d1-42ed-df3b5e318a05/source/{w}x{h}bb.jpeg","bgColor":"4b3538","textColor1":"d8d9de","textColor2":"f2b69a","textColor3":"bcb8bd","textColor4":"d09c87"},"subscriptionHero":{"width":4320,"height":1080,"url":"https://is5-ssl.mzstatic.com/image/thumb/Features124/v4/b0/44/be/b044be1b-8ebf-a9ef-af27-5ba8cc9a420e/source/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"d6dae2","textColor2":"c3c6cb","textColor3":"abaeb5","textColor4":"9c9fa2"}},"copyright":"℗ 2018 4AD Ltd","playParams":{"id":"1439388933","kind":"album"},"editorialNotes":{"standard":"The Atlanta band’s eighth full-length finds iconoclastic frontman Bradford Cox and co. shrinking their typically ambient-focused sound, with relatively compact guitar-pop gems alongside haunting, weightless-sounding instrumentals. Featuring contributions from Welsh singer-songwriter Cate Le Bon and Tim Presley of garage-popsters White Fence, Why Hasn’t Everything Already Disappeared? diverges from the deeply personal themes of previous Deerhunter albums, zeroing in on topics ranging from James Dean (“Plains”) to the tragic murder of British politician Jo Cox (“No One’s Sleeping”)—but the spectral vocals and penchant for left-field sounds are well accounted for, as the album represents the latest strange chapter in one of modern indie rock’s most consistently surprising acts.","short":"The Atlanta band’s eighth album gets compact, looks outward."},"isCompilation":false}},{"id":"627524917","type":"albums","href":"/v1/catalog/us/albums/627524917?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music2/v4/31/c6/ff/31c6ff0e-0ede-853d-51b0-309ae7c98b0a/cover.jpg/{w}x{h}bb.jpeg","bgColor":"000000","textColor1":"f65622","textColor2":"eb562d","textColor3":"c5451b","textColor4":"bc4524"},"artistName":"Deerhunter","isSingle":false,"url":"https://music.apple.com/us/album/monomania/627524917","isComplete":true,"genreNames":["Alternative","Music","Rock","Prog-Rock/Art Rock","Indie Rock"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"2013-05-06","name":"Monomania","recordLabel":"4AD","editorialArtwork":{"originalFlowcaseBrick":{"width":1778,"height":600,"url":"https://is3-ssl.mzstatic.com/image/thumb/Features/v4/b7/a8/b3/b7a8b3fd-daf2-77d8-eb71-cd1be36e57ad/source/{w}x{h}bb.jpeg","bgColor":"010101","textColor1":"ed5d30","textColor2":"f74828","textColor3":"bd4b27","textColor4":"c63a20"}},"copyright":"℗ 2013 4AD Ltd","playParams":{"id":"627524917","kind":"album"},"editorialNotes":{"standard":"Deerhunter’s 2010 opus Halcyon Digest captures the dream-pop savants at their most elegant and fragile, but on their follow-up album, Monomania, Bradford Cox and company rediscover their scuzzy punk roots. “Neon Junkyard” rattles out of its cage with inhuman vocal contortions while “Pensacola” straddles over a hooky cowpunk guitar riff. The noisy title track cranks up the volume further and further, drowning out Cox’s screeching vocals with a torrential downpour of twisted feedback.","short":"The indie rock savants get in touch with their art-punk roots."},"isCompilation":false}},{"id":"210056557","type":"albums","href":"/v1/catalog/us/albums/210056557?l=en-US","attributes":{"artwork":{"width":600,"height":600,"url":"https://is1-ssl.mzstatic.com/image/thumb/Features/59/e9/0d/dj.cjwyzhqd.jpg/{w}x{h}bb.jpeg","bgColor":"af0055","textColor1":"fbf2f6","textColor2":"c2edf4","textColor3":"ebc1d6","textColor4":"bebed4"},"artistName":"Deerhunter","isSingle":false,"url":"https://music.apple.com/us/album/cryptograms/210056557","isComplete":true,"genreNames":["Psychedelic","Music","Rock","Prog-Rock/Art Rock","Electronic","Ambient","Alternative","Indie Rock"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"2007-01-29","name":"Cryptograms","recordLabel":"kranky","editorialArtwork":{},"copyright":"℗ 2007 kranky","playParams":{"id":"210056557","kind":"album"},"isCompilation":false}},{"id":"294838738","type":"albums","href":"/v1/catalog/us/albums/294838738?l=en-US","attributes":{"artwork":{"width":600,"height":600,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music/86/36/c3/mzi.wqxoqruf.jpg/{w}x{h}bb.jpeg","bgColor":"f67f61","textColor1":"161615","textColor2":"161616","textColor3":"432b24","textColor4":"432b25"},"artistName":"Deerhunter","isSingle":false,"url":"https://music.apple.com/us/album/weird-era-cont/294838738","isComplete":true,"genreNames":["Ambient","Music","Electronic","Alternative","Rock","Prog-Rock/Art Rock","Indie Rock","Dance","Garage"],"trackCount":13,"isMasteredForItunes":false,"releaseDate":"2008-10-27","name":"Weird Era Cont.","recordLabel":"kranky","editorialArtwork":{},"copyright":"℗ 2008 kranky","playParams":{"id":"294838738","kind":"album"},"editorialNotes":{"standard":"A simultaneous release alongside Deerhunter’s brilliant Microcastle, Weird Era Cont., like its partner disc, offers more moments of pop brilliance than artful meandering. Far from being an afterthought collection of outtakes, the songs here continue pushing into pop territory while retaining the Bradford Cox/Atlas Sound affection for ambient textures and atmospherics. Weird Era reminds us that all is not rainbows and unicorns in the land of Deerhunter, even when they frolic in ‘60s pop sunshine. Sure, “Vox Humana” is what the Shangri-Las might sound like produced by Cox in the new millennium, and “Backspace Century” and “VHS Dream” offer crystalline guitars that glisten through the fog; but the spastic, dance-punk guitar strumming of “Operation” gives way to gloomy keys and lyrics (“I hate you, I hate you, I hate you”) and the resolutely beautiful “Dot Gain” and brash My Bloody Valentine paean “Vox Celeste” are just too narcoticized to feel good in a healthy way. On the brighter side “Focus Group” is bewitching in its comparable nakedness, “Moon With Cartridge” is mostly light-hearted, hand-clapping fun, and the epic version of “Calvary Scars II / Aux. Out” (a version of “Calvary Scars” is on Microcastle) is massively, thunderously satisfying.","short":"A warped, haunting bonus album that stands on its own two feet."},"isCompilation":false}},{"id":"314281144","type":"albums","href":"/v1/catalog/us/albums/314281144?l=en-US","attributes":{"artwork":{"width":600,"height":600,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music/91/4d/5d/mzi.bvonachr.jpg/{w}x{h}bb.jpeg","bgColor":"b43d1b","textColor1":"ecffff","textColor2":"cde1f1","textColor3":"e0d8d1","textColor4":"c8c0c6"},"artistName":"Deerhunter","isSingle":false,"url":"https://music.apple.com/us/album/rainwater-cassette-exchange-ep/314281144","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative","Indie Rock"],"trackCount":5,"isMasteredForItunes":false,"releaseDate":"2009-05-18","name":"Rainwater Cassette Exchange - EP","recordLabel":"kranky","editorialArtwork":{},"copyright":"℗ 2009 kranky","playParams":{"id":"314281144","kind":"album"},"editorialNotes":{"standard":"It's hard to believe given his towering stature in the indie rock scene these days — both literally and figuratively — but Bradford Cox was a blip on everyone's radar up until a few years ago, when Deerhunter delivered their breakthrough disc, Cryptograms. Now that he's seemingly everywhere, from blabbing on blogs to carving out a side career with Atlas Sound, it's easy to write Rainwater Cassette Exchange off as Cox's spring cleaning collection. After all, it tears through five new tracks in 15 minutes, leaving lots of blustery garage pop in its wake. There's a lightheaded ballad that breaks out the bongos (\"Game of Diamonds\"), traces of extraterrestrial theremin lines (\"Famous Last Words\"), and a curtain-closer that starts off as a catchy indie rock tune and ends in a series of splintered samples and scrambled frequencies. Wait, what were we saying about this being a bunch of leftovers again? 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Its instrumentation is perfunctorily strummy and unadorned; Berman’s vocals are a function of his storytelling and forego any pretense about the singer’s role in rock music. His wry delivery is the setup for a series of bittersweet punchlines—emphasis on “punch”—that extend the length of The Natural Bridge; this is the rare pop album that relies almost entirely on its words. The album is a loose description of a sour American road trip. Berman is attracted to bars and motels and abandoned towns, and he gravitates to unlikely locales: Cleveland, Dallas, Tchula. His protagonist is a perennial figure in the arts (the hopeless man with an undying heart), but even as The Natural Bridge crosses bleak chasms, Berman can't resist the pull of romance. In its final seconds, the album turns to the redemptive power of female companionship."},"isCompilation":false}},{"id":"57998623","type":"albums","href":"/v1/catalog/us/albums/57998623?l=en-US","attributes":{"artwork":{"width":2400,"height":2400,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music113/v4/7a/6f/f4/7a6ff4d5-ac39-b466-1ae9-f35e776ec770/036172921522.png/{w}x{h}bb.jpeg","bgColor":"0d0006","textColor1":"f2eeed","textColor2":"d8d2e9","textColor3":"c4bebf","textColor4":"afa8bc"},"artistName":"Silver Jews","isSingle":false,"url":"https://music.apple.com/us/album/bright-flight/57998623","isComplete":true,"genreNames":["Alternative","Music","Rock","Singer/Songwriter","Indie Rock","Country","Alternative Country","Adult Alternative"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2001-11-20","name":"Bright Flight","recordLabel":"Drag City Records","editorialArtwork":{},"copyright":"℗ 2001 Drag City Records","playParams":{"id":"57998623","kind":"album"},"editorialNotes":{"standard":"While Stephen Malkmus’ groovy guitar leads had assumed a starring role on American Water, this album returns the focus to Berman’s lyrics, which renew the craftsmanship of The Natural Bridge, his apex as a writer. Berman has said that Bright Flight was written at a time when his personal affairs were at a nadir, and his companions were “crooks and prostitutes.” The narrators of these songs are often preoccupied with doom, and the album's first half presents visions of imminent self-destruction. The opening of “Horseleg Swastikas” summarizes Berman’s state of being: “I'm drunk on a couch in Nashville / In a duplex near the reservoir / And every single thought feels like a punch in the face / I’m like a rabbit freezing on a star.” However, Berman also believes in the dual nature of life, and within its despondence Bright Flight records the glimmer of new love. Berman had recently met Cassie Marrett, who appears on the album and would soon become his wife and muse. Even as Berman looks downward, he can’t disguise his heart’s excitement on “I Remember Me,” “Tennessee,” and “Room Games and Diamond Rains.”","short":"Wryly written, country-stained indie majesty."},"isCompilation":false}},{"id":"57936526","type":"albums","href":"/v1/catalog/us/albums/57936526?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music113/v4/0c/f8/3f/0cf83f7a-90ae-bed4-637c-d0b5aa446db3/036172905522.png/{w}x{h}bb.jpeg","bgColor":"2e1b14","textColor1":"f9dec2","textColor2":"fad6af","textColor3":"d0b79f","textColor4":"d1b090"},"artistName":"Silver Jews","isSingle":false,"url":"https://music.apple.com/us/album/starlite-walker/57936526","isComplete":true,"genreNames":["Alternative","Music","Rock","Singer/Songwriter","Indie Rock","Adult Alternative","Country","Alternative Country"],"trackCount":11,"isMasteredForItunes":false,"releaseDate":"1994-10-24","name":"Starlite Walker","recordLabel":"Drag City Records","editorialArtwork":{},"copyright":"℗ 1994 Drag City Records","playParams":{"id":"57936526","kind":"album"},"isCompilation":false}},{"id":"78723835","type":"albums","href":"/v1/catalog/us/albums/78723835?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is3-ssl.mzstatic.com/image/thumb/Music123/v4/48/e7/38/48e73864-71a4-875a-8e25-48f4ca0686ab/781484029724.png/{w}x{h}bb.jpeg","bgColor":"221f18","textColor1":"aad7d2","textColor2":"d1bdae","textColor3":"8fb2ac","textColor4":"ae9e90"},"artistName":"Silver Jews","isSingle":false,"url":"https://music.apple.com/us/album/tanglewood-numbers/78723835","isComplete":true,"genreNames":["Alternative","Music","Rock","Singer/Songwriter","Indie Rock","Adult Alternative"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2005-10-18","name":"Tanglewood Numbers","recordLabel":"Drag City Records","editorialArtwork":{},"copyright":"℗ 2005 Drag City Records","playParams":{"id":"78723835","kind":"album"},"editorialNotes":{"standard":"A lot has changed in David Berman's life since his initial success with Silver Jews. He married his true love, Cassie Marrett, then descended into an addiction to crack cocaine that led to a suicide attempt in 2003. Following that, he became sober and reinvested himself in the Jewish faith. Tanglewood Numbers is the outcome of those experiences. It's impossible to not read the album’s upbeat energy as a reflection of Berman’s new lease on life. The songs are fun and familial in a manner that Silver Jews albums have rarely been before. On hand are many of Berman’s friends, including Pavement's Stephen Malkmus and Bob Nastanovich, as well as a host of esteemed musicians from Chicago and Nashville. Producer Mark Nevers helps bring an orchestral air to “Sometimes a Pony Gets Depressed,” which bursts with Berman’s simultaneous enthusiasm for both Bob Wills and Dinosaur Jr. Gone is the finely embroidered moroseness that elevated The Natural Bridge, but it's replaced by a hard-won conviction in love and persistence, carried to the listener in the form of wry folk yarns and truck-stop koans."},"isCompilation":false}},{"id":"282264713","type":"albums","href":"/v1/catalog/us/albums/282264713?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music123/v4/bd/78/64/bd78643a-f7be-1409-16c9-8713b45ddfa2/781484035824.png/{w}x{h}bb.jpeg","bgColor":"aeadab","textColor1":"141210","textColor2":"1d1b18","textColor3":"33312f","textColor4":"3a3836"},"artistName":"Silver Jews","isSingle":false,"url":"https://music.apple.com/us/album/lookout-mountain-lookout-sea/282264713","isComplete":true,"genreNames":["Alternative","Music","College Rock","Rock","Adult Alternative","Indie Rock","Country","Alternative Country"],"trackCount":10,"isMasteredForItunes":false,"releaseDate":"2008-06-17","name":"Lookout Mountain, Lookout Sea","recordLabel":"Drag City Records","editorialArtwork":{},"copyright":"℗ 2008 Drag City Records","playParams":{"id":"282264713","kind":"album"},"editorialNotes":{"standard":"The Silver Jews’ David Berman is not for everyone; his deadpan delivery makes Leonard Cohen sound like an accomplished singer. In the past, Berman’s backing band has often sounded as if they were recorded in the supply room closet of a local office building, and the modest country-rock has shuffled like one of its legs is asleep. For Lookout Mountain, Lookout Sea, Berman and Co. have brightened the sound (“My Pillow is the Threshold”) and even show levels of rhythmic complexity and instrumental dexterity (“San Francisco, B.C.”). There’s still a shambling quality to their attack and Berman’s quirky charm remains in his odd, literate observations that come spurting forth at unexpected moments. “She was a no wave singer for a country act,” he offers in the unusually festive sounding “Aloysius, Bluegrass Drummer.” “What’s with all the handsome grandsons in these rockband magazines and what have they done with the fat ones, the bald, and the goateed?” he asks flatly during “Strange Victory, Strange Defeat.” Lots of weird moments to indulge in."},"isCompilation":false}},{"id":"57999304","type":"albums","href":"/v1/catalog/us/albums/57999304?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music123/v4/07/c0/69/07c06961-3071-db76-af0b-2f3869b8f8e8/781484021629.png/{w}x{h}bb.jpeg","bgColor":"ecba49","textColor1":"121116","textColor2":"161417","textColor3":"3d3320","textColor4":"413521"},"artistName":"Silver Jews","isSingle":false,"url":"https://music.apple.com/us/album/tennessee-ep/57999304","isComplete":true,"genreNames":["Alternative","Music","Rock","Adult Alternative","Indie Rock","Singer/Songwriter","Country","Alternative Country"],"trackCount":4,"isMasteredForItunes":false,"releaseDate":"2001-11-05","name":"Tennessee - EP","recordLabel":"Drag City Records","editorialArtwork":{},"copyright":"℗ 2001 Drag City Records","playParams":{"id":"57999304","kind":"album"},"editorialNotes":{"standard":"Tennessee is a complement to 2001’s Bright Flight, where this EP’s title track originated. It’s the song most emblematic of David Berman’s life changes at the time, with a drawling delivery and saloon-door sway indicative of the indie-rock bard’s relocation to Nashville; not only do the lyrics reference getting married, but he gets his wife, Cassie, to sing some of them. And while “Long Long Gone” may reinforce the Silver Jews’ formative Pavement connections, the brassy gospel chorus is pure Southern comfort.","short":"An indie-rock bard sends a postcard from his new Nashville home."},"isCompilation":false}},{"id":"535258740","type":"albums","href":"/v1/catalog/us/albums/535258740?l=en-US","attributes":{"artwork":{"width":1400,"height":1400,"url":"https://is4-ssl.mzstatic.com/image/thumb/Music113/v4/fa/6d/17/fa6d171e-d36e-40f2-7369-7a19a12eedd3/781484025320.png/{w}x{h}bb.jpeg","bgColor":"16171c","textColor1":"fdefec","textColor2":"db9344","textColor3":"cfc4c2","textColor4":"b37a3c"},"artistName":"Silver Jews","isSingle":false,"url":"https://music.apple.com/us/album/early-times/535258740","isComplete":true,"genreNames":["Alternative","Music","Indie Rock","Country","Alternative Country","Rock","Adult Alternative"],"trackCount":14,"isMasteredForItunes":false,"releaseDate":"2012-06-19","name":"Early Times","recordLabel":"Drag City Records","editorialArtwork":{},"copyright":"℗ 2012 Drag City Records","playParams":{"id":"535258740","kind":"album"},"editorialNotes":{"standard":"Those seeking the roots of Pavement will find these very early recordings of David Berman with Pavement's Stephen Malkmus absolutely fascinating. Who is influencing who here is hard to discern, but the friends clearly enjoyed goofing around with a boombox with songs that captured the wry sense of humor that would dominate Pavement's output. \"Canada\" and \"September 1999\" revel in sing-along magic, while \"SVM F.T. Troops\" sounds like The Rolling Stones pushed through the ramshackle Pavement aesthetic. The drumming is atrocious, and these recordings likely won't win over many novice fans. They're raw not only in fidelity but in performance. Still, there's an odd charm to these tunes, especially if one can figure out the words. \"Secret Knowledge of Back Roads\" centers on a muddy acoustic guitar. \"Welcome to the House of the Bats\" hides a great pop song. Only \"Bar Scene from Star Wars,\" recorded to four-track, features sound clean enough to suggest what would come next. Early Times collects Silver Jews' first two EPs, Dime Map of the Reef and The Arizona Record. "},"isCompilation":false}}]}}},{"id":"156604","type":"artists","href":"/v1/catalog/us/artists/156604?l=en-US","attributes":{"origin":"Oklahoma City, OK","artwork":{"width":3840,"height":3840,"url":"https://is2-ssl.mzstatic.com/image/thumb/Features118/v4/e6/a0/ae/e6a0ae69-ed5d-0217-99af-7e823ffd1f67/mza_1975584050924094148.png/{w}x{h}bb.jpeg","bgColor":"271208","textColor1":"f2b5a7","textColor2":"e8a395","textColor3":"c99487","textColor4":"c28679"},"artistBio":"Even within the eclectic world of alternative rock, few bands were so brave, so frequently brilliant, and so deliciously weird as the Flaming Lips. From their beginnings as Oklahoma outsiders to their mid-'90s pop-culture breakthrough to their status as one of the most respected groups of the 21st century, the Lips rode one of the more surreal and haphazard career trajectories in pop music. After years in the underground, a major-label deal scored during the early-'90s alt-rock craze gave them a bigger platform for their mix of psych, noise-rock, and bubblegum melodies, and their 1993 album Transmissions from the Satellite Heart spawned the unlikely Top 40 hit \"She Don't Use Jelly.\" At the turn of the century, they delivered a pair of lush and heartfelt masterpieces with 1999's The Soft Bulletin and 2003's Grammy-winning Yoshimi Battles the Pink Robots. Later, they took their experimental and pop impulses in wildly different directions, collaborating with Miley Cyrus and Kesha and issuing an expression of existential dread with 2013's The Terror. Throughout it all, their off-kilter sound, uncommon emotional depth, and bizarre history firmly established them as true originals.\r\nThe Flaming Lips formed in Oklahoma City in 1983, when founder and guitarist Wayne Coyne enlisted his vocalist brother Mark and bassist Michael Ivins to start a band. Giving themselves the nonsensical name the Flaming Lips (its origin variously attributed to a porn film, an obscure drug reference, or a dream in which a fiery Virgin Mary plants a kiss on Wayne in the back seat of his car), the band made their live debut at a local transvestite club. After progressing through an endless string of drummers, they recruited percussionist Richard English and recorded their self-titled debut, issued on green vinyl on their own Lovely Sorts of Death label in 1985.\r\nWhen Mark Coyne departed to get married, Wayne assumed full control of the group, becoming the primary singer and songwriter as well as lead guitarist. Continuing as a trio, the Lips released 1986's Hear It Is, followed a year later by Oh My Gawd!!!...The Flaming Lips. While touring in support of the Butthole Surfers, they played Buffalo, New York, where they were befriended by concert promoter Jonathan Donahue; after a jam session with Donahue's nascent band Mercury Rev, he and Coyne became close friends, and Donahue eventually signed on as the group's sound technician.\r\nAfter recording 1988's difficult Telepathic Surgery, English exited, reducing the Lips to the core duo of Coyne and Ivins; after adding drummer Nathan Roberts, Donahue adopted the name Dingus and became a full-time member in time to cut 1990's stellar In a Priest Driven Ambulance while simultaneously recording the brilliant Mercury Rev debut Yerself Is Steam. In a Priest Driven Ambulance also marked the first time the band worked with longtime producer Dave Fridmann, and highlighted the more experimental, expansive side of the Lips' music. Warner Bros. signed the Lips in 1991, and their major-label debut, Hit to Death in the Future Head, arrived in 1992 after clearing a sample from Michael Kamen's score to Brazil for use in the song \"You Have to Be Joking (Autopsy of the Devil's Brain)\" delayed its release. Donahue soon left to focus his full energies on Mercury Rev, followed by the departure of Roberts.\r\nWith new guitarist Ronald Jones and drummer Steven Drozd, the Flaming Lips cut 1993's sublime Transmissions from the Satellite Heart, which they supported by playing the second stage at Lollapalooza and touring the nation in a Ryder truck. Initially, the album stiffed; however, nearly a year after its initial release, the single \"She Don't Use Jelly\" became a grassroots hit, and against all odds, the Flaming Lips found themselves on the Top 40 charts. They took full advantage of their 15 minutes of fame, appearing everywhere from MTV's annual Spring Break broadcast to an arena tour in support of Candlebox to a memorable, surreal, lip-synced performance on the teen soap opera Beverly Hills 90210, where supporting character Steve Sanders (portrayed by actor Ian Ziering) uttered the immortal words, \"You know, I've never been a big fan of alternative music, but these guys rocked the house!\" After the 1994 release of a limited-edition sampler of odds and ends titled Providing Needles for Your Balloons, the Lips returned in 1995 with Clouds Taste Metallic, a diverse collection highlighted by the singles \"Bad Days\" (also heard in the film Batman Forever), \"This Here Giraffe,\" and \"Brainville.\" \r\nIn 1996, the Lips' world went haywire. Jones left the band; Ivins was the victim of a bizarre hit-and-run accident after a wheel came off of another vehicle and slammed into his car, trapping him inside; Coyne's father died, and Drozd's hand was almost needlessly amputated due to an abscess. But by the following year, the band was back in the studio as a trio, recording 1997's Zaireeka, a wildly experimental set of four discs designed to be played simultaneously. A previously unreleased track, \"Hot Day,\" also appeared earlier that year on the soundtrack to Richard Linklater's film SubUrbia. A Collection of Songs Representing an Enthusiasm for Recording...By Amateurs, a retrospective of their Restless label material, followed in 1998. \r\nIn 1999, the Flaming Lips returned with The Soft Bulletin. Featuring co-production by Fridmann, its lush arrangements and heartfelt songs made it a breakthrough for the band. After a three-year absence from the shelves, 2002 brought several new releases, including a two-volume retrospective of the Restless years and the group's tenth album, Yoshimi Battles the Pink Robots. Named after and featuring Boredoms' Yoshimi P-We, the album won the group even more popular and critical acclaim than The Soft Bulletin. The band won a 2003 Grammy Award for Best Rock Instrumental Performance for the album's final track \"Approaching Pavonis Mons by Balloon (Utopia Planitia).\" The release was certified gold in the U.S. in 2006, and later spawned a Broadway musical. The Lips kept busy over the next two years by touring and working on their movie Christmas on Mars.\r\nThey returned to the studio in 2004 and spent much of 2005 recording; that year, the Flaming Lips documentary The Fearless Freaks and their VOID video collection arrived, whetting fans' appetites for the band's 2006 album, At War with the Mystics, which boasted a more guitar-oriented sound and more political lyrics than the Lips' previous albums. Once again, the band won the Grammy Award for Best Rock Instrumental Performance as well as a Grammy for Best Engineered Album, and were nominated for a Grammy for Best Alternative Album. One year later, the band's seven-years-in-the-making film Christmas on Mars made its debut at the Sasquatch Festival in George, Washington; late that year, the movie and its soundtrack were released as a CD/DVD set. During 2007 and 2008, the Lips began working on the follow-up to At War with the Mystics, taking a looser, rawer approach than they had in years. The results were released as Embryonic in October 2009, which became the band's first album to debut in the Top 10 of the Billboard Albums chart. That December, the band released their remake of the Pink Floyd classic Dark Side of the Moon. The Flaming Lips worked with several different artists on the latter album, which was billed as The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches Doing the Dark Side of the Moon. That year, Oklahoma made the band's hit \"Do You Realize??\" the state's official rock song. \r\nThe band continued to shy away from full-length releases for the next couple years, opting instead to work with a number of collaborators on various limited-edition EPs. Working with artists like Neon Indian, Prefuse 73, and Lightning Bolt, the Lips released tracks over the next couple of years in various nontraditional formats including USB keys embedded in gummy skulls, limited-edition vinyl, and candy fetuses. In 2012, the band collected songs from their previous collaborations as well as new material recorded with Kesha, Bon Iver, and Erykah Badu on The Flaming Lips and Heady Fwends. The Lips' releases that year also included their version of King Crimson's In the Court of the Crimson King. \r\nFor 2013's bleak The Terror, the Lips re-teamed with Fridmann, recording in a matter of days and using their collection of vintage synths as the album's musical focus. They worked with artists including Poliça, Foxygen, and Stardeath and White Dwarfs on their reworking of the Stone Roses' debut album, which arrived that November. The following year, the band issued a 45-minute edit of their 24-hour song \"7 Skies H3\" as a Record Store Day release, as well as With a Little Help from My Fwends, an album that found the band teaming up with collaborators like Miley Cyrus and Maynard James Keenan to re-create the Beatles' iconic eighth album, Sgt. Pepper's Lonely Hearts Club Band. \r\nThe Lips collaborated with Cyrus on a full-length album, Miley Cyrus & Her Dead Petz, which was released for free online in August 2015. Following the album's digital release, the artists toured together, and a limited vinyl pressing of the album was sold exclusively on the tour dates. In November of that year, the Lips released Heady Nuggs 20 Years After Clouds Taste Metallic: 1994-1997, a three-CD/five-LP compilation including the Clouds Taste Metallic album, the 1994 odds-and-ends EP Providing Needles for Your Balloons, a further rarities collection titled The King Bug Laughs, and a previously unreleased concert recorded in Seattle in 1996. For 2017's Oczy Mlody (which means \"eyes of the young\" in Polish), the Flaming Lips reunited with Fridmann on a more melodic set of songs that included a cameo from Cyrus. That year, they also issued Onboard the International Space Station Concert for Peace, an EP that reimagined several Oczy tracks as performed at an imaginary Flaming Lips show. In 2018, the band issued a pair of archival releases. Scratching the Door: The First Recordings of the Flaming Lips, a collection of their earliest material remastered by Fridmann, appeared that April. The six-disc box set Seeing the Unseeable: The Complete Studio Recordings of the Flaming Lips 1986-1990, which included demos and rarities along with the band's first four albums, followed that May. \r\nThe band returned in 2019 with King's Mouth, an album of songs featuring narration by the Clash's Mick Jones. The album was related to an art installation created by Coyne as well as a book, King's Mouth: Immerse Heap Trip Fantasy Experience, that the band's frontman wrote and illustrated. King's Mouth first appeared as a limited run of 4,000 albums pressed on gold vinyl for that April's Record Store Day, then received a wider release that July. ~ Jason 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The volatility of the group's early days likely added an extra spark to the one-of-a-kind mix of shoegaze, noise pop, psychedelic, and experimental music on 1991's Yerself Is Steam and 1993's Boces, which offered the first hint of just how ambitious their music became later in the decade. As their lineup changed, their musical horizons expanded; on 1995's See You on the Other Side, they added adventurous free jazz excursions and lullaby-like melodies with striking results. Though Mercury Rev won critical acclaim from the beginning, they didn't achieve commercial success until their 1998 breakthrough album, Deserter's Songs, which combined intimate songwriting with a fresh take on Americana. As they continued to evolve with 2008's electronic Snowflake Midnight and paid homage to one of the great underappreciated albums with 2019's Bobbie Gentry's The Delta Sweete Revisited, heartfelt emotion and experimentation remained equally vital to Mercury Rev's music.\r\nFormed out of the experimental art and music scene at the State University of New York at Buffalo in the late '80s, Mercury Rev originally featured vocalist David Baker, vocalist/guitarist Jonathan Donahue, guitarist/clarinetist Grasshopper (born Sean Mackowiak), flutist Suzanne Thorpe, bassist Dave Fridmann, and drummer Jimy Chambers. As a child, Grasshopper studied clarinet and loved jazz artists like John Coltrane, Ornette Coleman, and Miles Davis; later, when he began playing guitar, he drew from classic rockers such as Neil Young and the Allman Brothers as well as the Velvet Underground's Sterling Morrison and Television's Tom Verlaine and Richard Lloyd. After playing with the local Buffalo groups the People's Front and Sunny in Chernobyl in the early '80s, Grasshopper began playing bass with Shady Crady, an avant-garde band who also included Donahue among their members, while pursuing a BA in the State University of New York at Buffalo's Media Studies program. \r\nBy 1989, Shady Crady had evolved into Mercury Rev (a name whose inspiration was variously attributed to an imaginary Russian ballet dancer, a sharp rise in temperature, or a revved-up auto), with Grasshopper switching to guitar. The band's earliest recordings were improvised soundtracks to TV nature documentaries and student films. Encouraged to further their music by Grasshopper's academic mentor, minimalist composer and multimedia artist Tony Conrad, the group recorded a demo onto a reel of 35mm magnetic film. During this time, Donahue worked as a concert promoter and scheduled a Butthole Surfers gig. After the show, he befriended the support act, Oklahoma's like-minded Flaming Lips, and soon joined the tour as a guitar technician. Donahue -- under the alias \"Dingus\" -- became the Lips' lead guitarist, playing on 1990's In a Priest Driven Ambulance, which Fridmann co-produced. \r\nThough Mercury Rev effectively were in limbo with members scattered across the country, the band's demo tape made its way to the British offices of Rough Trade Records, which contacted Baker about signing the group. Soon, the band convened to record their debut, Yerself Is Steam, which they recorded at the same time Donahue and Fridmann were also working on the Flaming Lips' major-label debut, Hit to Death in the Future Head. After the album was complete, Donahue left the Flaming Lips to concentrate on Mercury Rev. In May 1991, Yerself Is Steam was issued to widespread acclaim for its melodic yet free-form art pop epics. However, within weeks of the LP's release, Rough Trade's American branch declared bankruptcy, aborting any hopes of proper distribution or promotion. Nevertheless, the group toured the U.K., something they were unaccustomed to -- their London show was their second performance ever -- and their volatile gigs highlighted the tensions between Baker and the rest of the group. \r\nFollowing the tour, the members of Mercury Rev again went their separate ways, but Sony signed the group and reissued Yerself Is Steam along with an extra track, the sublime single \"Car Wash Hair\" (recorded with the aid of Luna's Dean Wareham). In 1992, Mint Films and Jungle Records reissued Yerself Is Steam with the bonus disc Lego My Ego, a set featuring live performances as well as a cover of Sly & the Family Stone's \"If You Want Me to Stay.\" \r\nTo craft their second album, Mercury Rev set up studio space in a barn and collected samples from sites as far-ranging as Times Square and NASA's Cape Canaveral to flesh out the music's dense, prismatic sound. However, tensions within the band continued; several pop songs Donahue had written were scrapped in favor of songs that were a better fit for Baker. Named after a New York special education program, Boces arrived in June 1993 and was even more freewheeling than its predecessor. The album reached number 43 on the U.K. Album chart, but it wasn't as successful in the States. Mercury Rev played Lollapalooza's second stage but were kicked off the bill during the festival's Denver stop due to excessive noise. Additionally, a video for the single \"Something for Joey\" was shot with porn star Ron Jeremy, but the clip's suggestive space-age sexcapades and visual double entendres made mainstream airplay a moot point. That year, Fridmann stopped touring with the band, and following a fractious U.K. tour supporting Spiritualized, Baker was dismissed from Mercury Rev's ranks. Under the name Shady, Baker issued 1994's World, which he recorded with luminaries from the Boo Radleys, Rollerskate Skinny, and St. Johnny. \r\nMinus their former lead singer, Mercury Rev continued to evolve. In 1994, Grasshopper developed the Tettix Wave Accumulator, a homemade tone generator made of oscillators, filters, and wave shape manipulators that the band used on that year's Everlasting Arm single and their third album. Released in September 1995, See You on the Other Side incorporated influences from jazz and show tunes as well as psych-rock on songs that boasted more melody and newfound emotional depth. That October, the group also issued Paralyzed Mind of the Archangel Void, a largely improvised 40-minute set, as Harmony Rockets. However, the lack of label support for See You on the Other Side, financial and substance abuse issues, and personal losses took a toll on Mercury Rev. Chambers departed the band, who asked to be dropped from Sony. Grasshopper spent six months in a Jesuit monastery in Spain, then recorded the solo album Orbit of Eternal Grace, which arrived on Beggars Banquet in 1998. He reconnected with Donahue, who had suffered a nervous breakdown, and the pair released a cover of the Willy Wonka & the Chocolate Factory song \"I've Got a Golden Ticket\" as Harmony Rockets in 1997. \r\nMercury Rev also resurfaced in 1997, first appearing on the Chemical Brothers' Dig Your Own Hole, then starting work on their fourth album. To focus on their music, Donahue and Grasshopper relocated to the Catskills, where they wrote songs inspired by their new home base and their favorite children's music, and returned to songs written during the band's infancy. Working at Tarbox Road studio with Fridmann -- who was also recording the Flaming Lips' The Soft Bulletin at the time -- Mercury Rev were joined by the Band's Levon Helm and Garth Hudson as they replaced the feedback and distortion of their previous music with strings, horns, and woodwinds. While they were recording, Mercury Rev signed to V2 Records, who released Deserter's Songs in September 1998. For the first time, the group matched their sizeable critical acclaim with commercial success: The album was a hit in Europe and the U.K., where it was certified gold. \r\nFor their next album, Mercury Rev were slated to work with Jack Nitzsche -- famous for his arrangements on many classics of the Phil Spector canon -- until Nitzsche passed away a week before recording began. Expanding on the dramatic blueprint of Deserter's Songs and featuring string arrangements by Tony Visconti, All Is Dream appeared in September 2001. Like its predecessor, it was certified gold in the U.K., and the single \"The Dark Is Rising\" hit number 16 on the U.K. Singles Chart. The band continued to follow their bliss as the 2000s unfolded. The Secret Migration, a collection of sentimental love songs, reached number 16 on the U.K. Albums Chart when it was released in January 2005. Late 2006/early 2007 was a busy time for the group, with the arrival of the best-of Essential Mercury Rev: Stillness Breathes 1991-2006, the soundtrack Hello Blackbird, and the mix album Back to Mine all arriving at that time. \r\nMercury Rev moved to Yep Roc for 2008's delicate, largely electronic Snowflake Midnight, which reached number 52 on the U.K. Albums Chart when it arrived that September. The band also released a companion album, Strange Attractor, as a free online download. The following year, Mercury Rev contributed a cover of Miracle Legion's \"Sailors and Animals\" to Ciao My Shining Star: The Songs of Mark Mulcahy, a benefit album to help Mulcahy continue to make music and raise his family after the sudden death of his wife Melissa in 2008. \r\nMercury Rev spent the 2010s celebrating their past successes and moving forward. In 2011, a deluxe edition of Deserter's Songs that included rare demos and remixes arrived. The following year, Grasshopper and Donahue resurrected Harmony Rockets for tours of Europe and the United States that resulted in a pair of digital albums, The Crawling Journey of the Serpents Starry Night and Angels Are Spirits, Flames of Fire. Mercury Rev's projects were just as experimental and included performances of Mercury Rev's Cinematic Sound Tettix BrainWave Concerto Experiment at John Zorn's New York City venue The Stone. \r\nThe band returned with new music in the form of their October 2015 Bella Union debut, The Light in You, a collection of songs Donahue and Grasshopper largely recorded at their Catskills home base with bassist Anthony Molina and engineer Scott Petito. That year, the group also began their next project, a track-by-track re-creation of Bobbie Gentry's 1968 cult classic album The Delta Sweete. Featuring a roster of female singers that included Lucinda Williams, Norah Jones, Phoebe Bridgers, and Vashti Bunyan, Bobbie Gentry's The Delta Sweete Revisited arrived in February 2019. That November, the band released a deluxe version of All Is Dream that included B-sides, live performances and other rarities. ~ Heather Phares & Jason Ankeny","editorialArtwork":{},"url":"https://music.apple.com/us/artist/mercury-rev/3240538","name":"Mercury Rev","genreNames":["Alternative"]},"relationships":{"station":{"href":"/v1/catalog/us/artists/3240538/station?l=en-US","data":[{"id":"ra.3240538","type":"stations","href":"/v1/catalog/us/stations/ra.3240538?l=en-US","attributes":{"playParams":{"id":"ra.3240538","kind":"radioStation","format":"tracks","stationHash":"CggIARoE2uTFARAB"},"isLive":false,"requiresSubscription":true,"url":"https://music.apple.com/us/station/mercury-rev/ra.3240538","name":"Mercury Rev","mediaKind":"audio","artwork":{"width":2448,"height":2448,"url":"https://is4-ssl.mzstatic.com/image/thumb/Features124/v4/56/c9/f7/56c9f74c-b2dd-4a31-2a97-d057f1c08eff/mzl.lypjqicm.jpg/{w}x{h}rc.jpeg","bgColor":"3d3d3d","textColor1":"ffffff","textColor2":"f6f6f6","textColor3":"d8d8d8","textColor4":"d1d1d1"}}}]},"albums":{"href":"/v1/catalog/us/artists/3240538/albums?l=en-US","next":"/v1/catalog/us/artists/3240538/albums?l=en-US&offset=25","data":[{"id":"736276919","type":"albums","href":"/v1/catalog/us/albums/736276919?l=en-US","attributes":{"artwork":{"width":1500,"height":1500,"url":"https://is5-ssl.mzstatic.com/image/thumb/Music6/v4/21/58/3d/21583da4-9b6b-abb5-fc84-90139fe3ebc0/843798003309.jpg/{w}x{h}bb.jpeg","bgColor":"0f1b43","textColor1":"e6d3b0","textColor2":"ebc575","textColor3":"bbae9a","textColor4":"bfa36b"},"artistName":"Mercury Rev","isSingle":false,"url":"https://music.apple.com/us/album/deserters-songs/736276919","isComplete":true,"genreNames":["Adult Alternative","Music","Rock","Psychedelic","Alternative","Indie Rock"],"trackCount":11,"isMasteredForItunes":false,"releaseDate":"1998","name":"Deserter's Songs","recordLabel":"PIAS America","editorialArtwork":{},"copyright":"℗ 2011 [PIAS] Cooperative","playParams":{"id":"736276919","kind":"album"},"isCompilation":false}},{"id":"1441434870","type":"albums","href":"/v1/catalog/us/albums/1441434870?l=en-US","attributes":{"artwork":{"width":3600,"height":3600,"url":"https://is2-ssl.mzstatic.com/image/thumb/Music118/v4/fb/97/13/fb9713f1-4e59-883b-0c63-eddad2869454/720841216209.jpg/{w}x{h}bb.jpeg","bgColor":"020100","textColor1":"d3daaf","textColor2":"c1cdaa","textColor3":"a9af8c","textColor4":"9ba488"},"artistName":"Mercury Rev","isSingle":false,"url":"https://music.apple.com/us/album/bobbie-gentrys-the-delta-sweete-revisited/1441434870","isComplete":true,"genreNames":["Alternative","Music","Rock","Psychedelic","Country","Honky Tonk","Indie Rock"],"trackCount":12,"isMasteredForItunes":false,"releaseDate":"2019-02-08","name":"Bobbie Gentry's the Delta Sweete Revisited","recordLabel":"PTKF","editorialArtwork":{},"copyright":"℗ 2019 Partisan Records / Mercury Rev","playParams":{"id":"1441434870","kind":"album"},"editorialNotes":{"standard":"Ever since 1998’s career-turning Deserter’s Songs, Mercury Rev have regularly applied their cosmic tendencies and broad imaginations to recasting Americana. Here, they focus on a lost gem of country-rock: The 1968 follow-up to her chart-topping US debut, Ode to Billie Joe, Bobbie Gentry’s The Delta Sweete was a relative misfire in commercial terms. Thirteen years and a handful of albums later, the singer-songwriter vanished into a reclusive existence, adding new mystique to the music she left behind.
\nThose who’ve subsequently sought out The Delta Sweete have discovered original songs and covers about Mississippi life that reupholster country with Baroque flourishes and twists of soul and blues. Longtime fans Mercury Rev stay true to that experimentation, recruiting a cast of guest vocalists including Lucinda Williams, Hope Sandoval, and Phoebe Bridgers to help bring new ideas and atmospheres to the songs. Opener “Okolona River Bottom Band” sets the tone, transformed from swamp-side R&B into orchestral pop simmering with strings, tension, and Norah Jones’ yearning voice. “Reunion” undergoes the most radical reboot, a scratchy and antsy portrait of family life reshaped into grand space-rock hooked round the original’s slither of tragedy (“I heard this morning they drug the Tallahatchie/And found poor Billie gone”). It exemplifies a tribute that cherishes the invention and storytelling of Gentry’s songs but never insults her pioneering spirit with simple retreads.","short":"The New Yorkers reboot a lost gem with imagination and star guests."},"isCompilation":false}},{"id":"155700083","type":"albums","href":"/v1/catalog/us/albums/155700083?l=en-US","attributes":{"artwork":{"width":600,"height":600,"url":"https://is1-ssl.mzstatic.com/image/thumb/Music/58/22/c0/mzi.hasvxcld.jpg/{w}x{h}bb.jpeg","bgColor":"dc7b36","textColor1":"170e13","textColor2":"161011","textColor3":"3f241a","textColor4":"3d2518"},"artistName":"Mercury Rev","isSingle":false,"url":"https://music.apple.com/us/album/yerself-is-steam/155700083","isComplete":true,"genreNames":["Alternative","Music","Indie Rock","Rock","Adult Alternative","Pop","Psychedelic"],"trackCount":8,"isMasteredForItunes":false,"releaseDate":"1991-01-01","name":"Yerself Is Steam","recordLabel":"Columbia/Legacy","editorialArtwork":{},"copyright":"℗ 1992 SONY BMG 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