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Led by singer and guitarist Sam Quartin, drummer Macky Bowman, and bassist Kendall Wind, The Bobby Lees bring wildness and danger back into punk rock. \u003c\/span\u003e\u003cspan\u003eYou can hear the band easing into a new confidence - one that's both looser and more towering - all throughout New Self, from the seething, fiery \"Napoleon\" to the rambunctious, offbeat take on PJ Harvey's \"50ft Queenie.\" This is the sound of a band who's scrambled over shaky ground only to come back stronger than ever: more confident, more connected, louder and fiercer and secure in their own skin.\u003c\/span\u003e\u003c\/p\u003e","brand":"The Bobby Lees","offers":[{"title":"Default Title","offer_id":51441604165848,"sku":"45778815715","price":23.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0628\/6550\/6520\/files\/4497284-3538628.jpg?v=1772637899"},{"product_id":"big-brave-in-grief-or-in-hope","title":"BIG|BRAVE \"in grief or in hope\"","description":"\u003cp\u003eThe work of BIG BRAVE is ever-expanding. The trio's singular masterful sculpting of sonics into songcraft tucks layers of vulnerability into frenetic storms. In grief or in hope is an innovative vision of electro-acoustic sound and emotive storytelling, an endless bounty of overwhelming distortions and devastating beauty. In grief or in hope marks a shift for BIG BRAVE towards denser guitar-oriented compositions. With longtime touring bassist Liam Andrews (MY DISCO, Aicher) joining guitarist\/vocalist Robin Wattie and guitarist Mathieu Ball in the studio for the first time, the pieces are keenly layered with a rich tapestry of harmonics and tonal intricacies. The trio's instinctual progressions made more vivid through live recording, harnessing the gargantuan and storied sound of their performances. Wattie writes: \" All that I could reflect on was grief and hope; death and life; cause and effect; shared experiences of being a human person.\"\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe tenth album for the ensemble, in grief or in hope pays homage to their past while looking into their future. Standout \"the ineptitude for mutual discernment\" expands on lyrical themes first explored on 2015's Au de la where \"verdure\" echoes melodies from the title track of 2014's Feral Verdure. These references to their past serve as potent reflections on BIG BRAVE's evolution as artists. A sonic whirlpool of string instruments surround Wattie's commanding vocals as she shifts from spectral undulations on pieces like \"what may be the kindest way to leave\" to the direct, spare declarations of the title track. The ambiguity of mountainous chords on \"an uttering of antipathy\" are coupled with autotuned phrases emphasizing the protagonists' isolation inside the fray. Together the trio shift deliver emotional momentum that vividly describes the complex and deep feelings of struggle, pain, and transcendence. In grief or in hope transmits that sense of humanity with every gesture.\u003c\/span\u003e\u003c\/p\u003e","brand":"BIG|BRAVE","offers":[{"title":"PINK","offer_id":51453826498776,"sku":"790377653113","price":32.98,"currency_code":"USD","in_stock":true},{"title":"STANDARD","offer_id":51453826695384,"sku":"790377065312","price":30.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0628\/6550\/6520\/files\/201375109400.jpg?v=1773155024"},{"product_id":"dirty-heads-7-seas","title":"Dirty Heads \"7 Seas\"","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDirty Heads have built a career out of soundtracking the best moments of people's lives, and with 7 Seas, they're not slowing down. The RIAA Platinum Certified Southern California outfit returns with their much-anticipated ninth full-length album, building on their signature balance of carefree energy and reflective songwriting while inviting fans into their next chapter of freedom, positivity, and forward motion. From sun-soaked, laid-back anthems made for a day at the beach to hard-hitting late-night bangers, the album moves fluidly across moods without ever losing the infectious Dirty Heads energy fans have come to love. 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Baby Man changed that — he disallowed himself from referring to material he’d been working on before laying the album down, utilizing the morning pages technique of stream-of-consciousness, observational songwriting which flowed directly into his afternoon recording sessions. It was both a breathtaking document of Johnson’s skill as a singer-songwriter and an unvarnished account of the two weeks in which he recorded the album.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eBaby Man’s closeness to Johnson’s heart and the close attention to his voice and instrument its minimalist-maximalist ethos required uncorked something in him as he wrote towards a new full band effort. “That session was over,” he explains, “but there was way more to explore. I liked the immediacy of it, and I wanted to see how that would translate into a full-band Fruit Bats record.” Within weeks, he was back in a studio, this time with his band — David Dawda (bass), Josh Mease (guitars, synth), Frank LoCrasto (piano, synth), and Kosta Galanopoulos (drums) — with whom Johnson has spent over a decade building Fruit Bats into one of the most in-demand live acts in indie rock. Listening to The Landfill, it’s not hard to understand why: simply put, this band smokes.\u003c\/p\u003e\n\u003cp\u003eProducing the initial recording sessions in Washington’s Bear Creek Studios, Johnson set out to capture “the sound of this band I constantly marvel at, the feeling of being in a room with musicians you love and trust enough to let them cook.” They laid most of it down on the floor — no click tracks, no comped vocals, and minimal overdubs, with frequent collaborator Thom Monahan returning to provide additional production and The Landfill’s final mix. “It’s how we do things with my other band, Bonny Light Horseman, and I was curious to see how it would work with Fruit Bats,” Johnson notes. “It’s both a very personal record, and my most collaborative to date.”\u003c\/p\u003e\n\u003cp\u003eIt’s also the most live a Fruit Bats record has been since 2009’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Ruminant Band,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand in paring back the number of tracks that typically layer a full-band song, the psychedelic, technicolor dreaminess of their sound is more vivid than ever. Time and space melt into the sublime as the band gels around Johnson’s hazy croon on “That Goddamn Sun,” stretching out to accommodate him as he trips from California to North Carolina. In striking a balance between ecstatic romance and melancholia, “Think Aboutcha” occupies the blissful-but-doomed intersection of the E Street Band and Paul McCartney, playful but playing for stakes that are larger than life, while “Perhaps We’re a Storm” charges headlong into the unknown.\u003c\/p\u003e\n\u003cp\u003eAll of these songs — most of the songs on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Landfill\u003c\/em\u003e, in fact — mark themselves immediately as some of the best in Eric D. Johnson’s ever-expanding songbook, seekers and anthems alike. 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