mesi

After listening to the single I was tempted to go buy back for a bundle with the splatter n hoody and offer you my stand alone splatter but alas its gone off the page entirely.

use NOV2018 for 15% off, minimum of $75 though. Valid until 11/30
 
DEC2018 is buy 4 items, get the 5th free. Starts 12/1 and ends 12/31

Which is exactly what it costs them, unfortunately. Your point? 
They have a UK store though, maybe ask them if they will get some copies?
 
https://elsewhere.community/collections/6131-records-official-uk-store
 

Big Scary Monsters will do the UK/EU version for this.

Got a reply today, apparently there was a delay in receiving the stock, so all remaining orders should go out this week.
 
Edit: And got a shipping notification just a couple of hours later.

TONY20 gives you 20% off on orders $50+. No idea about expiry.

Yup, same here. Haven’t been able to find it anywhere over here neither. I’ll let you know once I do.

Looks like Polyvinyl will be repressing all their albums soon.
 

Records are not in hand yet, they said « very soon » last Friday.

Done

I'd go with:
 
Dear Nora - Skulls Example
Haley Heynderickx - I Need To Start A Garden
Hop Along - Bark Your Head Off, Dog
Hovvdy - Cranberry
Loma - Loma
Many Rooms - There Is A Presence Here
Mount Eerie - Now Only
Snail Mail - Lush

I have one of those!
 

I AINT DEAD YET SON
 
Welcome to the Marantz/Clearaudio club.

Got a new (used) turntable today.
 
Clearaudio Emotion SE
 

 
Also, I miss Allen, Slinch, ajxd and the rest of the gang.
 

Up on the EU/UK store for £60 plus shipping. Only the white. Comes out to £87 for me, so not sure if I’ll do it.
 
http://mewithoutyou.awesomedistro.com/products/625887-untitled-ep-album-collectors-edition

Up on the EU/UK store for £60 plus shipping. Only the white. Comes out to £87 for me, so not sure if I’ll do it.
 
http://mewithoutyou.awesomedistro.com/products/625887-untitled-ep-album-collectors-edition

Phil's thoughts:
 
While making the songs that would be released as "A Crow Looked At Me", I wasn't thinking at all about sharing them with other people, family or strangers. Nobody. I was only thinking of squeezing the constant flow of words that was crashing around in my head into a familiar form, a song, since that was my habitual method of processing that had accidentally developed since adolescence. I made my inner monologue into songs for no other reason than to release it from my skull. At some point during the writing I recognized a feeling in the vicinity of "pride" about the work. It was a strange realization. These songs, and my the facts of my life that the songs were made from, seemed like nothing to be proud of. They seemed like something purely brutal and new and apart from my usual conception of creative work, and the notion of having excitement stemming from these new songs was accompanied by so many apprehensions and uncertainties. What does it mean to write things like this down? What would it mean to record it? What would it mean to share it with strangers? Where is the line of propriety? What is anyone supposed to do?

At every step I was uncertain if it was OK to be doing what I was doing. My hunch was almost always that it was wrong. Don't write it, don't record it, don't sing it in front of people, don't repeat it. But also I was surprised to discover that my internal response to this hesitation was almost always to double down and go deeper in; to write more nakedly, to go on another tour, etc. In the year that came after releasing "A Crow Looked At Me" I toured a lot. The United States, Canada, Europe, Australia, New Zealand, Japan. It wasn't easy. The shows were emotionally difficult and the atmosphere was so delicate and strange, like reenacting a violent act on stage in front of a paying audience every night. On top of that, I had to tour with my daughter (and a nanny) so my mind was stretched between 2 big difficulties. But fortunately, with the help of so many understanding and helpful agents, bookers, organizers, I was lucky to get to perform these songs in very well suited and beautiful rooms, nice theaters and churches, to kind and supportive listeners. The concerts ended up being something beyond strange, macabre, gawk-shows. I don't know what they were exactly. Just strangers gathered in beautiful rooms to pay close attention to one person's difficult details, and to open up together, quietly. They have been the most powerful shows of my life, no question.

Even so, every time it was clear that the audiences shared the same apprehensions that I had. After the first song, every time, there was a palpable hanging question in the air: "should we clap?". It's a good question. What is this? Is it entertainment? What is applause for? What kind of ritual is this? Many close friends have still not listened to the records or come to a concert. What, beyond pain, is embodied here? I don't know exactly what my job is, traveling around and delivering these feelings. The concerts in 2017 and 2018 have been unusual, unexplainable, and great.

The best one was at Le Guess Who? festival in Utrecht, Netherlands on November 10th, 2017. Nobody was supposed to be recording these shows but fortunately someone didn't get that message and this beautiful recording of that show has surfaced.

So now I'm plunged back into the apprehensions, now pushed into new territory. What would it mean to release a live album of these songs that maybe shouldn't have been written in the first place, let alone recorded or performed? Is it OK? Does it bring anything new to the songs to hear them in this way? My hope is: yes. You can hear the breath in the room. You can feel the simultaneous intimacy and immensity. Foregrounded by the hyper-bare instrumentation (minimal acoustic guitar), the words burn brighter even than on the albums, more legible. This is a recording of these ultra-intimate songs living in the real world among people, and of peoples' wide eyed accepting silence, and clapping.
 

they are!

YOUNG20 gives you 20% over 50 dollars. (don't know the end date)

For the German grey version? This might be worth a try:
https://www.jpc.de/jpcng/poprock/detail/-/art/nothing-dance-on-the-blacktop/hnum/8623601

I'd go with:
 
Dear Nora - Skulls Example
Haley Heynderickx - I Need To Start A Garden
Hop Along - Bark Your Head Off, Dog
Hovvdy - Cranberry
Loma - Loma
Many Rooms - There Is A Presence Here
Mount Eerie - Now Only
Snail Mail - Lush

From Flenser 



I think I'm going to go for the bone in bone/$17.50 option for $$ sake but I'm stoked. Thom is a great dude, happy to cop whatever he puts out 

Here's mine:
https://www.instagram.com/allthemrecords/

Dead gurus is in the shoegaze/noise realm and is the singer from magic castles. 
 
Rancho relaxo is a cross between jamc and bjm
 
Muertos ep is like a garage version of black angels
 
Junkyard liberty is what a acid infused child of Stevie Nicks and Neil Young would do
 
 

Sadly, I am not familiar with any other artists they have listed. I believe this Split was the label's first release. I hope to have some time to give a listen this weekend.