ANTI 2024 Catalog Sale

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Madi Diaz

History Of A Feeling

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Rage, confusion, despair, self-deception, and introspection—Madi Diaz cycles through the full spectrum of emotions on History Of A Feeling, her debut on ANTI-. It’s an album that undeniably marks Diaz’s status as a first-rate songwriter, a craft she’s spent years refining, and one wherein Diaz establishes herself as an artist capable of distilling profound feelings with ease.

Diaz pulls from a range of folk, country, and pop leanings—she is as much influ- enced by Patty Griffin and Lori McKenna as she is the sonics of PJ Harvey and di- rectness of Kathleen Hanna. On History Of A Feeling, the Nashville based songwriter comes to terms with the dissolution of a meaningful relationship. By the end of it, she wills herself into a self-reflective state where she doesn’t hate herself for being so heartbroken.

The songs on History Of A Feeling, are the most direct and introspective songs Diaz has ever written. In the few times she’s gotten to perform them live in front of an audience, Diaz describes the experience as one where she feels acutely present even though she’s singing about emotions that started to take root years ago. It’s relatable to anyone who has experienced heartbreak and great change in some manner, and this profound sense of intimacy and camaraderie she seamlessly weaves into the songs was important to her. “I wanted it to sound conversational, like I had just walked over to your house and we’re sitting and at the end of your driveway talking—just like we’re hashing it out in the same way that you’d call a best friend at one in the morning because you needed to talk about what just happened.”

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Rage, confusion, despair, self-deception, and introspection—Madi Diaz cycles through the full spectrum of emotions on History Of A Feeling, her debut on ANTI-. It’s an album that undeniably marks Diaz’s status as a first-rate songwriter, a craft she’s spent years refining, and one wherein Diaz establishes herself as an artist capable of distilling profound feelings with ease.

Diaz pulls from a range of folk, country, and pop leanings—she is as much influ- enced by Patty Griffin and Lori McKenna as she is the sonics of PJ Harvey and di- rectness of Kathleen Hanna. On History Of A Feeling, the Nashville based songwriter comes to terms with the dissolution of a meaningful relationship. By the end of it, she wills herself into a self-reflective state where she doesn’t hate herself for being so heartbroken.

The songs on History Of A Feeling, are the most direct and introspective songs Diaz has ever written. In the few times she’s gotten to perform them live in front of an audience, Diaz describes the experience as one where she feels acutely present even though she’s singing about emotions that started to take root years ago. It’s relatable to anyone who has experienced heartbreak and great change in some manner, and this profound sense of intimacy and camaraderie she seamlessly weaves into the songs was important to her. “I wanted it to sound conversational, like I had just walked over to your house and we’re sitting and at the end of your driveway talking—just like we’re hashing it out in the same way that you’d call a best friend at one in the morning because you needed to talk about what just happened.”

Madi Diaz - History Of A Feeling [Indie Exclusive Limited Edition Coke Bottle Clear LP]
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Doe Paoro

Soft Power

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Transforming pain into transcendence is the genius of many pop artists, but Doe Paoro brings an entirely new depth to that process. On her third album Soft Power, the L.A.-based singer/songwriter digs into her own frustration and anguish, and ultimately comes away with a newfound strength that’s profoundly inspiring. Soft Power thus bears a raw vitality that marks a major departure from Doe’s previous album. Naming Carole King among her inspirations, Doe notes that the new record’s more urgent feel comes partly from reconnecting with the instinctive approach of her earliest songwriting. Throughout the album, Doe infuses her songs with a rebellious spirit. A passionately charged track about misogyny, “Guilty” blends cascading guitar lines with sharply cutting lyrics (I know I’m not the first / that you made defend her word). . “Over” brings classic girl-group harmonies and smoldering vocal work to speak to the song’s central question: Now that I’m older / does it get easier / to get over? Several songs also confront the notion of setting boundaries, with “Projector” centering on “the refusal to let someone else superimpose their story onto yours” and “Walk Through the Fire” emerging as a brutal testament to the fact that “self-examination is ultimately a solo job – and there’s no easy way to do it.” The result is an album that’s undeniably potent in its emotional impact. “One thing I’ve continued to find through writing songs is the ability to alchemize painful experiences into something that’s useful and healing,” says Doe. “For me that’s the highest purpose of music—both in terms of what it offers to me and what I wish to offer to others.”

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Doe Paoro

Soft Power [LP]

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Transforming pain into transcendence is the genius of many pop artists, but Doe Paoro brings an entirely new depth to that process. On her third album Soft Power, the L.A.-based singer/songwriter digs into her own frustration and anguish, and ultimately comes away with a newfound strength that’s profoundly inspiring. Soft Power thus bears a raw vitality that marks a major departure from Doe’s previous album. Naming Carole King among her inspirations, Doe notes that the new record’s more urgent feel comes partly from reconnecting with the instinctive approach of her earliest songwriting. Throughout the album, Doe infuses her songs with a rebellious spirit. A passionately charged track about misogyny, “Guilty” blends cascading guitar lines with sharply cutting lyrics (I know I’m not the first / that you made defend her word). “Over” brings classic girl-group harmonies and smoldering vocal work to speak to the song’s central question: Now that I’m older / does it get easier / to get over? Several songs also confront the notion of setting boundaries, with “Projector” centering on “the refusal to let someone else superimpose their story onto yours” and “Walk Through the Fire” emerging as a brutal testament to the fact that “self-examination is ultimately a solo job – and there’s no easy way to do it”. The result is an album that’s undeniably potent in its emotional impact. “One thing I’ve continued to find through writing songs is the ability to alchemize painful experiences into something that’s useful and healing”, says Doe. “For me that’s the highest purpose of music—both in terms of what it offers to me and what I wish to offer to others”. - PRODUCED IN LONDON WITH JIMMY HOGARTH (AMY WINEHOUSE, SIA, CORINNE BAILEY RAE) - SOFT POWER IS THE THIRD ALBUM BY DOE PAORO - FOR FANS OF FLORENCE AND THE MACHINE, ST. VINCENT AND SKY FERREIRA

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Translucent Red Vinyl repress. Dr. Dog having evolved from a band whose primary creative outlet was the album-making process into one that favored the energy of their live performances, they knew they wanted to document the new dynamic they had developed on the road. Producer Rob Schnapf (Beck, Elliott Smith) was brought in to help peel back the intricate arrangements of last album Fate to reveal the raw immediacy of a tight five-man unit honing their craft.
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The Dream Syndicate

These Times

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There are two phases of The Dream Syndicate. There was the band with revolving lineups that existed from 1982 to 1988 and made four albums including The Days of Wine and Roses and have influenced bands and delighted fans in the years since. And then there’s the band that reunited in 2012 and is closing in on its seventh year with nary a lineup change. This 21st Century version of the Dream Syndicate released How Did I Find Myself Here in 2017 to universal acclaim, no small feat for a band reuniting after almost three decades. With that reintroduction and a full year of touring behind them, the Dream Syndicate had the freedom to take it all somewhere new, to dig a little deeper, get outside of themselves a little bit. Their new album ‘These Times’ feels like a late-night radio show that you might have heard as a kid, drifting off into dreams and wondering the next morning if any of it was real. So, what does it sound like? If How Did I Find Myself Here was a 10 pm record, all swagger and cathartic explosion, then These Times is the 2 am sibling, moodier and more mercurial, the band acting as DJs of their own overnight radio station, riffing on an idea of what a Dream Syndicate album could be at this moment in time. It is Radio DS19. So, what’s it all about? Founder and singer/guitarist/songwriter Steve Wynn says, “These Times. That’s it. It’s all we’re talking about, all we’re thinking about. There’s no avoiding the existential panic of a world that’s hurtling somewhere quickly and evolving and shifting course by the hour. It seems like a lie to not address or reflect the things that we can’t stop thinking about—the whole world’s watching indeed.”

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The Drums

Brutalism

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Brutalism is quite possibly the best collection of songs in The Drums’ ten-year career. The album is defined by growth, transformation and questions, but it doesn’t provide all the answers. Brutalism is a form of simplistic architecture defined by blocks of raw concrete. Brutalism is rooted in an emotional rawness but its layers are soft, intricate and warm, full of frivolous and exquisitely crafted pop songs that blast sunlight and high energy in the face of anxiety, solitude and crippling self-doubt. Even the fact that Brutalism sounds intentional, focused and efficient is a symbol of how Pierce’s prioritizing of his own health and wellbeing has bled into how he makes music. For the making of this album, between his lake house in Upstate New York and a studio in Stinson Beach, California, Pierce was more open than ever, keeping his control freakery at bay, working with others to produce and record the album. He brought in Chris Coady (Beach House, Future Islands, Amen Dunes) to mix it. If there was a guitar part he wanted to write but couldn’t play, he brought in a guitarist. It’s also the first Drums record with a live drummer. Delegating freed up Pierce’s time to produce a more specific vision. His intentions were rooted in pop, as they’ve always been. Back in The Drums’ previous iterations, however, the pressure was on Pierce to maintain the innocent and nostalgic sound of this surf-pop indie band and it didn’t allow him to explore sex, drug use, darker emotions or how he felt currently. Abysmal Thoughts was the first occasion he had chance to do that. Lyrically Brutalism is another giant step in that direction. It’s much more cut-throat. “I think there’s a parental advisory sticker on the cover!” laughs Pierce. “I didn’t have the courage to stand up for what I wanted before. I felt I had to keep things whimsical and that’s not who I am. It feels empty.” Sonically he had been devoid of external influences, so afraid of being accused of losing the purism of The Drums’ sound. Now he’s rediscovering music: everything from SOPHIE to 90s band Whale. They inspired the loop-based, breakbeat drums on ‘Kiss It Away’ and ‘Body Chemistry’. “I used to think our songs sounded like they were held together by scotch tape. These are more bulletproof.”

The Drums - Brutalism
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Danny Elfman

Bigger. Messier. [2CD]

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Following his triumphant performances at the 2022 Coachella Music and Arts Festival, Danny Elfman delivers Bigger.Messier., an ambitious double-album collection of remixed and reimagined tracks from his highly acclaimed Big Mess album. This sprawling, 23 track collection (available on 2 LP or 2 CD) features tracks reworked by some of the most groundbreaking and subversive artists around today. Bigger.Messier. views the Grammy and Emmy Award-winning composers songs through the lens of luminaries from diverse sides of the music business, including Trent Reznor, Iggy Pop, Squarepusher, and Ghostemane. Elfman once again has achieved a kind of artistic liberation on the record that had been eluding him for decades, and connecting him to brand new audience. Born and raised in southern California, Elfman began his career as part of a surrealist, avant-garde musical theater troupe known as The Mystic Knights of Oingo Boingo. The group would eventually morph into the critically acclaimed rock band Oingo Boingo, whose high-energy performances and genre-bending sound garnered them a fanatically devoted cult following in the 1980s and ’90s. Among the group’s early fans was fledgling director Tim Burton and Paul Reubens (aka Pee-wee Herman), who enlisted Elfman to score their first feature film, Pee-wee’s Big Adventure. The collaboration would prove to be the start of a long and fruitful partnership for Elfman and Burton, with Elfman going on to score a string of iconic Burton features like Batman, Beetlejuice, Big Fish, Edward Scissorhands, and The Nightmare Before Christmas. To date, Elfman has scored more than 100 films.

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Robin Pecknold brings light to the bleakest of winters with Fleet Foxes' 'A Very Lonely Solstice,' a 13-track career spanning collection recorded in December 2020, at Brooklyn, NY's St. Ann & the Holy Trinity Church. Now being released for the first time on vinyl, CD and digital formats, 'A Very Lonely Solstice' captures a poignant moment in time. The recording was originally broadcasted as a live-stream event on the winter solstice of 2020, just days after New York declared a state of emergency tightening restrictions again in response to increasing COVID-19 cases. Pecknold describes the set as "me by myself on the longest night of the year... honoring the loneliness of 2020 with a nylon string and some songs new and old." Fans worldwide tuned in while quarantined at home, finding solace and a sense of community in a period of extreme isolation. Much of 'A Very Lonely Solstice' showcases a solo focus on Pecknold who offers up acoustic arrangements of fan-favorite songs spanning Fleet Foxes' catalog. Selections cover all four of the band's studio albums, including their 2008 self-titled debut album ("Tiger Mountain Peasant Song") to 2011's Helplessness Blues ("Blue Spotted Tail") and 2017's Crack-Up ("If You Need To, Keep Time On Me"), all the way to their latest release, Shore. Resistance Revival Chorus joins Pecknold on Shore tracks "Wading In Waist-High Water" and "Can I Believe You." Also featured: a cover of Nina Simone's "In The Morning" and a rearrangement of the traditional "Silver Dagger."
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Fleet Foxes

Shore

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2021 release, the fourth album from Fleet Foxes. The band's Robin Pecknold shares, "Shore feels like a relief, like you'd feel when your feet finally hit sand after getting caught in a riptide. It's a celebration of life in the face of death, honoring our lost musical heroes, from David Berman to John Prine to Judee Sill to Bill Withers, embracing the joy and solace they brought to our lives and honoring their memory. Shore is an object levitating between the magnetic fields of the past and the future." The album was recorded in upstate New York at Aaron Dessner's Long Pond Studio, in Paris at Studios St. Germain, in Los Angeles at the legendary Vox, in Long Island City at Diamond Mine, and New York City's Electric Lady.
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Fleet Foxes

SHORE

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Fleet Foxes will release their fourth studio album entitled SHORE, a collection of 15 new songs, on February 5, 2021 on double-gatefold 2LP vinyl and CD.

Fleet Foxes’ Robin Pecknold shares, “SHORE feels like a relief, like you’d feel when your feet finally hit sand after getting caught in a riptide. It’s a celebration of life in the face of death, honoring our lost musical heroes, from David Berman to John Prine to Judee Sill to Bill Withers, embracing the joy and solace they brought to our lives and honoring their memory. SHORE is an object levitating between the magnetic fields of the past and the future.”

SHORE was released digitally in its entirety on the fall equinox (9/22) alongside an album length Super-16mm landscape film captured and edited in Washington State by the filmmaker Kersti Jan Werdal. The album was recorded in upstate New York at Aaron Dessner’s Long Pond Studio, in Paris at Studios St. Germain, in Los Angeles at the legendary Vox, in Long Island City at Diamond Mine, and New York City’s Electric Lady.

Fleet Foxes' self-titled debut made a profound impact on the international musical landscape, earning them Uncut's first ever Music Award Prize and a spot in Rolling Stone's 100 Best Albums of the 2000’s. The follow-up album Helplessness Blues was met with the same critical praise as its predecessor (MOJO ★★★★★, Pitchfork’s Best New Music) and earned them a GRAMMY nomination. Both Fleet Foxes and Helplessness Blues are certified Gold in the US. The band’s third studio album Crack-Up, released in 2017, charted #9 on the Billboard Top 200.

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Ezra Furman

All Us Flames

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As a singer, songwriter, and author whose incendiary music has soundtracked the Netflix show Sex Education, Ezra Furman has for years woven together stories of queer discontent and unlikely, fragile intimacies. She has a knack for zeroing in on the light that sparks when struggling people find each other and ease each other's course. All of Us Flames widens that focus to a communal scope, painting transformative connections among people who unsettle the stories power tells to sustain itself. Produced by John Congleton in L.A., All of Us Flames unleashes Furman's songwriting in an open, vivid sound world whose boldness heightens the music's urgency. The record arrives as the third installment in a trilogy of albums, beginning with 2018's Springsteen-inflected road saga Transangelic Exodus and continuing with the punk rock fury of 2019's Twelve Nudes. "This is a first person plural album," Furman says. "It's a queer album for the stage of life when you start to understand that you are not a lone wolf, but depend on finding your family, your people, how you work as part of a larger whole. I wanted to make songs for use by threatened communities, and particularly the ones I belong to: trans people and Jews."She wrote much of Flames during the early months of the pandemic. "I had no time alone anymore; my house was super crowded," she says. She drove to seek solitude, parked in arbitrary quiet spots around Massachusetts, and began to write. The songs that came flowed toward ideas of communality and networks of care, systems of survival cultivated by necessity among people who have been historically deprived of them
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With their powerful harmonies and imaginative songwriting in full force, Girlpool are making new creative leaps with their new album, What Chaos Is Imaginary. Combining elements of shoegaze, folk, and 80’s postpunk with their own melodic gifts, these two great songwriters come up with a modern classic full of great tunes and sonic surprises. Impressive growth for this already celebrated band.

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Girlpool

Forgiveness

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Forgiveness is the brand new full-length Girlpool album, which finds the duo embracing weirdo-pop decadence without sacrificing the poetic curi- osity that has always made their music so absorbing. Just like they did for What Chaos Is Imaginary, Harmony and Avery each wrote their Forgiveness songs separately, then came together to decide how to present them in a style that felt representative of what excites and inspires them now. This time, the process resulted in their slickest and most ambitious music to date, filled with idiosyncratic and provocative gestures that simultaneously support and complicate the emotionally intricate material. With its unique blend of introspective earworms and surreal party music, Forgiveness reaches beyond the loosely sketched parameters of “indie rock,” challeng- ing any preconceived notions of what a Girlpool album can or should be. “Faultline” the albums first single, is an effective introduction to the world of Forgiveness; the notion of straddling a fault line feels somewhat indicative of Forgiveness on the whole. These songs investigate the always-shifting boundaries between a number of elementally human concepts: pain and pleasure, sex and love, reality and delusion, insecurity and confidence, grief and growth.To support their vision of a sound at the intersection of Holly- wood futurism and post-grunge sincerity, Girlpool enlisted help from pro- ducer Yves Rothman (Yves Tumor, Miya Folick).
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With their powerful harmonies and imaginative songwriting in full force, Girlpool are making new creative leaps with their new album, What Chaos Is Imaginary. Combining elements of shoegaze, folk, and 80’s postpunk with their own melodic gifts, these two great songwriters come up with a modern classic full of great tunes and sonic surprises. Impressive growth for this already celebrated band.

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THE GOOD ONES renown is evidenced by the stellar musicians who collaborated with them on their new album: Wilco’s Nels Cline, TV on the Radio’s Tunde Adebimpe, Sleater-Kinney’s Corin Tucker, My Bloody Valentine’s Kevin Shields, and Fugazi’s Joe Lally. In 2009, Grammy-winning producer Ian Brennan (Tinariwen, Ramblin’ Jack Elliott) traveled to Rwanda in search of local music with his Italian-Rwandan wife, filmmaker and photographer, Marilena Delli. After two weeks of crisscrossing the country and listening to countless artists, they met THE GOOD ONES.

For The THE GOOD ONES’ new album, Rwanda, You Should Be Loved, bandleader Adrien Kazigira composed over forty songs. The recording was done live without overdubs on Adrien’s farm in Rwanda. Since they live without electricity and have had little access to devices to reproduce musical recordings, THE GOOD ONES’ vocalizations are based on the singing traditions and dialect of their local immediate, agricultural district more than by outside and Western influences. Primary songwriter Adrien Kazigira interweaves intricate harmonies with co-singer, Janvier Havugimana, in a style frequently referred to as “worker songs from the streets.” With the musicians rural and remote hilltop origins, the harmonic similarities to American Bluegrass vocals is often eerie. Third member, Javan Mahoro, lends additional background vocals and percussion on select songs. From the moment he laid eyes on them, Brennan said he knew, “What these guys do is precious and rare. Don’t f*** it up!”

THE GOOD ONES formed the band as a healing process after the Rwandan genocide, which marks its 25th anniversary in 2019. The band will be touring in the US for the first time this Fall, playing dates with Glen Hansard in the North West and performing at bookshops nationwide along with producer Ian Brennan, as he travels the US speaking about his latest book “Silenced By Sound.”

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Half Waif

Mythopoetics

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With her musical project Half Waif, Nandi Rose dives deep into the waters of artistic expression by layering evocative vocals and synths to create a powerful form of pop music. On Mythopoetics, Rose ex- plores a full spectrum of sounds that sparkle with memorable hooks, otherworldly production and uplifting grooves. “This is the record I’ve been trying to make for 10 years,” Rose says.

Previous albums The Caretaker (2020) and Lavender (2018) garnered acclaim for their compelling journeys through solitude, desire and the search for independence. Half Waif declares a new chapter on Mytho- poetics, a collection of 12 new songs – mythical stories that transcend time, each sung with a glorious contralto wrapped up in synths and electronic percussion, and her lyrical piano serving as the backbone. It is an essential reminder that we have the power to shape the stories we tell and the myths we make of our lives. This is music that you feel.

Half Waif - Mythopoetics
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Half Waif

The Caretaker

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Half Waif Nandi Rose is on her own again, and three songs into her forthcoming album The Caretaker, the singer, songwriter and producer declares her fearlessness: "Baby don't worry about me, I don't worry about you." Here, on "Ordinary Talk," Rose meditates on the heaviness of ordinary moments, the constellation of tears and chores and self-doubt and small talk that comprise being a person, accompanied by her most cinematic, pulsing arrangements to date. It's an apt introduction to The Caretaker, an ax-lbum that negotiates the space between working alone and with others, between isolation and connection. The result is her boldest work yet. Over the course of eleven songs, Rose creates the lush world of a humid summer night, dreaming of and reaching for a season in which she is her "best self."

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