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The label provides artists with the resources and support they need to thrive creatively and reach their full potential. Whether you're an avid collector or simply looking for fresh sounds, explore *Captured Tracks' discography* and discover some of today's most exciting musical voices.\u003c\/p\u003e","products":[{"product_id":"salad-days-10th-anniversary-edition","title":"Salad Days (10th Anniversary Edition)","description":"\u003cp\u003e\u003ci\u003eSalad Days\u003c\/i\u003e is the follow-up to Mac DeMarco’s lauded 2012 album \u003ci\u003e2\u003c\/i\u003e, which saw the Edmonton local propelled into the limelight. 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The release of these two essential albums seeks to further illuminate this connection, welcoming a new generation of listeners to the work of this trailblazing artist.\u003c\/p\u003e","brand":"Captured Tracks","offers":[{"title":"Green LP","offer_id":50384055402827,"sku":"2173971","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/default_2e858e1c_thumbnail_4096.jpg?v=1726284831"},{"product_id":"indigo-3","title":"Indigo","description":"\u003cp\u003eFirst few copies of any format comes with Instrumental Bonus CD. \u003c\/p\u003e\u003cp\u003eWHO\u003c\/p\u003e\u003cp\u003eThis is the fourth album from Virginian Jack Tatum. Songs were written on guitar, keyboard and anything to hand. They were recorded at Sunset Sound’s Studio with the help of drummer Cam Allen, guitarist Benji Lysaght and producer Jorge Elbrecht (Ariel Pink, Gang Gang Dance). 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Burch has recently relocated to her hometown of Los Angeles, but while she was still residing in Austin, she visited home and did that thing our parents love to have us do: rummage through old boxes to see what shit we can throw away. Upon finding her old diaries from age 13 and younger, Burch was brought to tears. Realizing how cruel she was to herself then, and how she still harbors many of those same self-critiques. 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The result is music that feels stirring and sweeping, pulling in sounds and influences of the past, while also propelling Burch into a further development of herself as an artist. \u003c\/p\u003e\u003cp\u003eOn the surface, lead single \"Physical\" is a dark and sultry '80s mid-tempo jam with an intro that could very well be on the soundtrack to a John Carpenter horror film. It's also about Burch's public struggles with PMS. The album also returns to themes that have become somewhat of a signature for Burch, such as unrequited love on \"Unconditional.\" And then there's \"Tattoo,\" one of the more emotional songs on the album, where Burch writes an ode to her best friend in high school who took her own life in 2009. 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His previous two albums — 2012’s \u003ci\u003eOvergrown Path\u003c\/i\u003e, and 2016’s \u003ci\u003eAs If Apart\u003c\/i\u003e — were built from lush, blurry tracks that embedded themselves in your subconscious, like they’d always been there. Chris Cohen, his third solo album, was written and recorded in his Lincoln Heights studio and at Tropico Beauties in Glendale, California over the course of the last two years. With the help of Katy Davidson (Dear Nora), Luke Csehak (Happy Jawbone Family Band), Zach Phillips, and saxophonist Kasey Knudsen, among others, it is his most straightforward album yet, but it is also the conclusion of an unofficial cycle that began with \u003ci\u003eOvergrown Path\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003e“My parents got divorced while I was making this record,” he says. “They were married for 53 years and my father spent most of his life in the closet, hiding both his sexual identity and various drug addictions. 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Pushing the idiosyncrasies of Cohen's melodic and rhythmic approach into even more fractured, shifting spaces, 'As if Apart' unsettles lazy pop conventions, upending jaded heads and hearts with an expansive, moody psychedelia. Where 'Overgrown Path' plunged within, 'As if Apart' voyages out. And up. Sometimes as a leader, sometimes as a sideman and collaborator; sometimes as an invisible musician but you've heard him: the chest-high bass drum thump, the tightly paired flight of guitars in odd harmony, the disorienting shift in time and texture that resolves itself into song. Chris Cohen has plied the inside and outside folds of pop musical possibility since at least 1978, when he first set infant drumstick to skin at the tender age of three, initiating decades of sonic experimentation across multiple bands and nearly a dozen recordings. Cohen's songwriting isn't so much disjunctive as subjunctive, asking \"what if,\" playing against the expected and building suspense, breaking like waves or the patterns at the edges of things. Chris makes music with the patience of a gardener: he went out and collected a backyard's worth of thorny succulents, took them home and cultivated them like so. They are modular plants - cut one little piece, stick it in the ground, give it time. Come back and find it branching, breaking and replanting itself into tangle and form. You notice yourself changed too. To say that this is how pop music should have turned out would be nostalgic - a misapprehension of time, pop, history and our place within those structures - what we could say is that this is how pop music has turned out alongside itself - how it has become beside itself - as if apart.LP - With Download.\u003c\/p\u003e","brand":"Captured Tracks","offers":[{"title":"CD","offer_id":50412248858955,"sku":"399509","price":7.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":50412249973067,"sku":"399510","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/4bc2c137-841b-4194-ae21-2e336b01cc12_thumbnail_4096.jpg?v=1726666293"},{"product_id":"a-dream-is-all-we-know","title":"A Dream Is All We Know","description":"\u003cp\u003eAlbums of the Year 2024 - Number 39\u003c\/p\u003e\n\n\u003cp\u003eHow do you follow up a perfectly weaved together pop album like \u003cem\u003eEverything Harmony\u003c\/em\u003e? Well let me introduce \u003cem\u003eA Dream Is All We Know\u003c\/em\u003e. An album sculpted under the warming haze of 60’s pop nostalgia. Lush harmonies and infectious melodies set the landscape for a sun-laden slice of serenity. The D’Addario brothers have built the album under the influence of \u003cstrong\u003eThe Beach Boys\u003c\/strong\u003e, a nod to sunnier days; the ones we’ve had and the ones yet to come. Stand out tracks for me are \"\u003cem\u003eThe Golden Years\u003c\/em\u003e\" and \"\u003cem\u003eThey Don’t Know How to Fall In To Place\u003c\/em\u003e\". The familiarity of the album is its true charm, an oldest but newest friend. - Bruce, Rough Trade East | Albums of the Year So Far 2024\u003c\/p\u003e\n\n\u003cp\u003eFollowing the release of \u003cem\u003eEverything Harmony\u003c\/em\u003e, which garnered acclaim from Questlove, Iggy Pop, Anthony Fantano, The Guardian, and countless others, \u003cstrong\u003eThe Lemon Twigs\u003c\/strong\u003e—the New York City rock band fronted by brothers Brian and Michael D’Addario—have once again captured the attention of the music listening public. Set for release less than a year after their last album, \u003cem\u003eA Dream Is All We Know\u003c\/em\u003e is a joyous affair. As the title suggests, it’s less of a sober look at the darker side of life, and more a hopeful sojourn into the realm of dreams. Michael’s line in lead single and album opener “\u003cem\u003eMy Golden Years\u003c\/em\u003e” – “In time I hope that I can show all the world the love in my mind” – serves as a statement of intent for the whole collection of songs, as the brothers race against time to create as much quality pop material as possible.\u003c\/p\u003e\n\n\u003cp\u003eOn track two, The Lemon Twigs invite listeners into a bubblegum paradise with euphoric harmonies and biting clavinet (“\u003cem\u003eThey Don’t Know How To Fall In Place\u003c\/em\u003e”), followed by an existential space age epic (“\u003cem\u003eA Dream Is All I Know\u003c\/em\u003e”), and, elsewhere on the album, a baroque pocket-prog tune (“\u003cem\u003eSweet Vibration\u003c\/em\u003e”), a two-part nightmare-comedy that doesn’t let up (“\u003cem\u003ePeppermint Roses\u003c\/em\u003e”), and more. Equipped with the songwriting chops of a lost era (somewhere between The Brill Building and 10452 Bellagio Road) the new record was carefully arranged and produced entirely analog in the brothers’ Brooklyn recording studio. Most of the tracks were constructed with the two brothers swapping instruments and layering all the parts themselves, but one exception to that rule was “\u003cem\u003eIn The Eyes Of The Girl\u003c\/em\u003e,” which was co-produced by Sean Ono Lennon in his upstate New York studio.\u003c\/p\u003e\n\n\u003cp\u003eWhile the album is chock full of progressive pop ideas, it closes appropriately with an ode to early rock and roll on “\u003cem\u003eRock On (Over and Over)\u003c\/em\u003e,” contextualizing the band as part of a lineage of rock and roll that’s never really stopped. For \u003cstrong\u003eThe Lemon Twigs\u003c\/strong\u003e, it took almost a decade for critics and audiences alike to present them with the major accolades they’ve earned this past year. While their initial records were appreciated for the musical proficiency they displayed, the brothers’ past few records have communicated their ideas with more clarity and emotional resonance. 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It’s an emotional and political concept album from the perspective of a young man who’s spent too much time alone, inside, isolated from the world. It’s about fear, and radicalization; an intense meditation on youth and extremism in an increasingly irrational and violent Western World. \u003c\/p\u003e\u003cp\u003eWilliams, who produces all his own music, set out to create something with a strong cinematic nature. The new songs are gothier and poppier than ever, recalling ‘80s staples like The Cure and Siouxsie and the Banshees. \u003ci\u003eHome Made Satan’s\u003c\/i\u003e got “a bit more eyeshadow” than 2018’s genre-bending shoegaze-meets-post-hardcore \u003ci\u003eDeath Lust\u003c\/i\u003e, and it’s got pop-punk hooks for days. \u003ci\u003eHome Made Satan\u003c\/i\u003e, with its lines about commies and American masochism and the Christian right, is meant to sing along to.\u003c\/p\u003e\u003cp\u003eAnd when you do, you’ll mostly be singing about America. 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When she set out on her own, Mancari followed the wind from Appalachia to Arizona, from south Florida to India, drifting in search of purpose and community. She eventually found both in East Nashville, where she garnered widespread acclaim for her strikingly honest songwriting and moving performances. Her debut \u003ci\u003eGood Woman\u003c\/i\u003e was a critical smash, praised by NPR and hailed as one of 2017’s best by Rolling Stone. Her songs racked up millions of streams, which helped land Mancari dates with the likes of Margo Price, Natalie Prass, and Julien Baker, among others. On top of her solo work, Mancari also teamed up with Alabama Shakes frontwoman Brittany Howard and songwriter Jesse Lafser to form Bermuda Triangle, which earned similarly glowing reviews as they performed sold-out headline shows across the country. \u003c\/p\u003e\u003cp\u003eDespite all her success, the relentless pace of life on the road left Mancari little time to grapple with the trauma of her past, nor absorb any new challenges arising in her present. So, in 2019, Mancari decamped to friend and producer Zac Farro’s home studio to set about constructing her sophomore album, a record that would balance unflinching self-examination with intoxicating grooves and infectious instrumental hooks. The two worked to capture the vast majority of the album themselves in Nashville before relocating to Los Angeles for finishing touches with Grammy winning engineer \/ producer \/ mixer Carlos de la Garza (Paramore, Tegan and Sara). \u003c\/p\u003e\u003cp\u003eThe result is \u003ci\u003eThe Greatest Part\u003c\/i\u003e. Propelled by an airtight drum groove and lacerating guitar line, hypnotic opener \u003ci\u003eHunter\u003c\/i\u003e finds Mancari singing to a ghost from her past, promising, “You’re never gonna track me down \/ You’re never gonna find me out,” her crystalline voice floating effortlessly above the distorted maelstrom brewing below it. Like much of the album, it’s a song of defiance and self-assurance that’s streaked with loneliness and regret. To that end, earworm \u003ci\u003eLonely Boy\u003c\/i\u003e reflects on the ways that fear can hold us back from human connection, while the bittersweet \u003ci\u003eFirst Time\u003c\/i\u003e reaches out to a younger self, asking “Hey, did you find your way out?”\u003c\/p\u003e\u003cp\u003eYet, as much as The Greatest Part is a vehicle for examining Mancari’s past, it’s also a lens through which she makes sense of her future. Perhaps it’s bare-bones album closer \u003ci\u003eForgiveness\u003c\/i\u003e that best ties together all of the record’s loose threads. 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Opening the album with the unassuming acoustic folk of plaintive “When Winter Comes Around,” which echoes the sophisticated grandeur of classic Simon and Garfunkel recordings, they immediately switch things up to the sunny classic pop motif of “In My Head.” “Corner of My Eye” channels an Art Garfunkel-like vocal melody over a moody, vibraphone-tinged backing track suggesting the chamber pop of Brian Wilson.\u003c\/p\u003e\u003cp\u003eWhile they had no grand concept for\u003ci\u003e Everything Harmony\u003c\/i\u003e, both the D’Addarios felt a “palpable mood of defeat” prevailed while writing and recording it. “New To Me” was inspired by their shared experience with loved ones suffering from Alzheimer’s, “What You Were Doing” is dressed in the tortured jangle of vintage Big Star, while “Born To Be Lonely,” written after watching John Cassavetes’ Opening Night, deals with what Brian calls “the fragility that often comes with age.”\u003c\/p\u003e\u003cp\u003eEverything Harmony is a unified song cycle born of shared blood and common purpose. 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All of these elements are underpinned by Scout’s signature soaring, velvet vocals and openhearted lyricism. She arrives at her thesis on the haunting six-minute centerpiece “hush, stay quiet”: “you can only save yourself,” she muses over a resolute guitar. We can’t always know what to expect, even in a place we’ve been before. With a little trust, though, we can find a safe place within. 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But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie’s Harriette Pilbeam, first single “Headlights On” features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters.\u003c\/p\u003e\u003cp\u003eTatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, \u003ci\u003eHold\u003c\/i\u003e also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum’s vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before.\u003c\/p\u003e\u003cp\u003eTatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment—and the occasional regret it inspired—proved to be great artistic fodder. It’s the para- dox of modern America—the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. 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In the end, the 4 track outlasted the Woods, but Smith had already started toying around with her own songs. The new hobby followed her from New York back to her native Baltimore, and over the next decade she'd release several albums worth of delicate, bewitching solo music on cassette. \u003ci\u003eTill Another Time: 1988-1996\u003c\/i\u003e is the first retrospective collection of Smith's charmingly lo-fi music, situating her as a pioneer of the home recording boom that persists today.\u003cbr\u003e\u003cbr\u003eSparse and gentle, Linda's music is tinged with lovelorn melancholy despite the sweetness of her voice. Over '60s pop-indebted melodies on tracks like \"A Crumb Of Your Affection\", she delivers observations like \"I'd been so hungry for so long, I'd forgotten how to eat\" with an earnest softness. 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While the change between songs like these and Diiv's previously released pop confections like \"Human\" and \"How Long Have You Known?\" is somewhat jarring at first, it gives the band more options, which they put to good use on \"Oshin (Subsumed)\"'s dark surf balladry and \"Doused\"'s angular attack, which helps give Diiv's sound some urgency without losing their dreamy undercurrents.\u003ci\u003e Oshin's\u003c\/i\u003e more experimental tracks feel especially necessary considering that many of the jangly pop songs that weren't released as singles don't have as much impact as proven material like \"Sometime\"; while tracks such as \"Wait\" and \"Earthboy\" are never less than breezily pretty, they tend to wash over listeners' ears all too easily. 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When you find out the band consisted of a future Supreme Court Justice for Arizona, a Professor of Slavic Studies, a Musician \/ Documentarian whose family built the Brooklyn Bridge, and an A-list world-famous actor the story goes from being about another rare, privately pressed recording that’s been re-discovered, into something that’s pretty incredible. \u003cb\u003e\u003c\/b\u003eCaptured Tracks is thrilled to announce the reissue of Capital Punishment’s 1982 sole LP \u003ci\u003eRoadkill\u003c\/i\u003e. For a band of high school weirdos who actually got their shit together enough to make a completely uncommercial album with no means to sell it shows a lot of determination, persistence and perhaps insanity. 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Focusing at first on creating music and art on a purely personal level, the project soon took off when the duo brought on Julian Kowalski (guitar) and Tyler Verigin (drums) to form a live band. The four piece swiftly delved into songwriting inspired by sci-fi art and literature, cult mentalities, and deep connections. The result is the band’s self-defined genre of “dreamwave,” which connected musical influences ranging from Gary Wilson-inspired jazzy lounge music, the warmth of Broadcast’s recording production, to Todd Rundgren’s outer space synth sounds.\u003c\/p\u003e\u003cp\u003eAfter touring throughout most of 2017 and 2018 with STRFKR, Cults, and Of Montreal, the band returned home and went straight into renowned Portland studio Jackpot to record their sophomore LP, \u003ci\u003eValis.\u003c\/i\u003e Titled after the 1981 Philip K. 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After the loss of his mother in 2019, and a global standstill with multiple social crises throughout 2020, Haywood-Smith yearned for some forward momentum. “The idea of looking back to go forward became a really big thing for me—hence the title, Slingshot.”\u003c\/p\u003e\u003cp\u003eFeeling disconnected from his past and ancestry after the death of a parent, Haywood-Smith made a conscious effort to better understand his identity and unique Black experience living in the predominantly white province of Manitoba. 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