Фирма Jagjaguwar

"On third album Spills Out, Brooklyn noise-punk mischief-makers Pterodactyl have mutated from their abrasive loft-show roots into a glorious, broken-pop juggernaut. The band's squealing, sweat-soaked art-bustle had rapidly put them alongside contemporarie Style: Independent

Record Label: Jagjaguwar

'Outside Love' is the third album by Pink Mountaintops, AKA Stephen McBean, who has slowly emerged as a distinctive voice and a very special contributor to the North American songbook. A veteran of the Vancouver/Victoria punk rock scene, McBean is best k Style: Independent/Rock

Style: Rock

It is not so much a sound as a spirit. You don't need to name it to know it or to trust it. Peter Wolf Crier's second album Garden of Arms is a document that paints a vivid portrait of all the pain and beauty of growth. Written with the at-home repose dem Style: Independent

Style: Psychedelic Rock

Style: Rock

Mapmaker is the second Jagjaguwar/Brah album from Brooklyn noisepunks Parts & Labor. Expanding on the soaring melodies and cracked electronics of 2006's Stay Afraid, P&L explores a wider array of berserk, malfunctioning instruments and intricate, pummelin Style: Independent

Constant Future is the career-defining statement from Brooklyn-based noise-pop trio Parts & Labor. The album's 12 tracks deliver the bare essentials that made them sui generis totems of modern art-punk: synthesized keyboard riffs distorted into oblivion, Style: Independent

Welcome to Rated O, the triple album and second installment of Oneida’s much-anticipated 'Thank Your Parents' triptych of releases. In August of 2008 Oneida released the first installment, Preteen Weaponry, and now, Rated O, the centerpiece of the 'Thank Style: Independent

Style: Independent

The Stand Ins' was recorded in Austin and produced by longtime collaborator Brian Beattie and Okkervil River. The album features 11 songs and includes the track 'Lost Coastlines,' on which Sheff and recently departed Jonathan Meiburg of Shearwater share a Style: Independent

Okkervil River's Black Sheep Boy was one of the most acclaimed releases of 2005. Kelefa Sanneh wrote in The New York Times that 'Will Sheff, leader of the Austin indie-rock band Okkervil River, writes like a novelist.'With their newest release, The Stage Style: Independent

Style: Independent

Record Label: Jagjaguwar

Record Label: Jagjaguwar

t's been four years since the release of Nagisa Ni Te's previous album 'Dream Sounds', and now - after much work - their seventh album 'Yosuga' has been completed. The Japanese duo of Shinji Shibayama and Masako Takeda deliver an album that consists of bo Style: Independent

Spencer Krug has made another Moonface record, this time with the help of some new friends. The third product of an ongoing series of changing collaborations and approaches to tune-making is called With Siinai: Heartbreaking Bravery. Surprise, a two-part title. Let's bust in to this brothel one door at a time. With Siinai: Siinai is the Finnish band Krug worked with on this album. Krug met Siinai when their former band, Joensu 1685, toured withWolf Parade throughout Europe in 2009. Over the following year, friendships were born, Joensu 1685 broke up, Siinai was formed and Krug unexpectedly received a copy of their first album, Olympic Games. Siinai could safely be described as progressive kraut rock. Their songs are long and heavy, often gorgeous, repetitive, with slow subtle hypnotic changes that bring to mind a single cell splitting into two. Also of key interest to Krug at the time: they had no vocalist. Krug asked if they wanted to make an album together, a collaboration wherein Siinai would perform the meat of the music, andMoonface would take care of the vocals (and ultimately a few licks on the keyboard). Upon agreement from Siinai, Krug arrived in Finland in August of 2011 to begin restructuring demos and write a few tunes from scratch. Big beats boomed. Colours burst. Krug's addiction to melody and pop music met Siinai's love for simplicity and their rare patience for music that slowly evolves, and something somewhere in the middle was created. It was a compromise that everyone enjoyed making. Heartbreaking Bravery: The lyrical theme of this album is heartbreak. According to Krug, it was not planned, but became obvious halfway through the writing process. Some recently battered, still mildly swollen heart snuck its way into the first lyrics written, so he went with it. He wrote songs based on his own experiences with heartache, stories told to him by friends, and drummed up scenarios of ill-fated love that were absolute fiction.Altogether, the inevitability of life's flawed and failed relationships, the shitty feelings we feel as a result, and the people we become (ugly, brave, violent, crawling like babies back toward the womb) while trying to deal with those feelings are the ideas explored in these songs. It is not a particularly original theme, but one Krug felt worth digging into, perhaps deeper than he ever has before. If there is a place that is beautiful only because it's too dark to see whether or not ugliness exists, that's where you'll find these songs and their characters.A place where the cry for unrequited love is rich and silky. Where falling bodies hit the ground in time with the synthesizer's arpeggio, while old men hold out their guitars to disinterested young lovers, so that they might study the dark-red patterns in the grain. A place where Moonface stands on a sidewalk not wanting to go home, not wanting to make his flight, doesn't hail a cab, then picks up his suitcase and walks back into the hotel. Style: Independent

...I'd hoped. Today is my birthday. I am getting up there. Maybe one day I will be full-old, not just half-old like I am now, and tour around as Spencer Krug, playing ancient Wolf Parade and Sunset Rubdown songs on a baby grand. I'll have a tumbler glass Style: Independent

Record Label: Jagjaguwar