{"title":"Joyful Noise Recordings","description":"\u003cp\u003eJoyful Noise Recordings is an independent music label based in Indianapolis, Indiana. Since its inception in the early 2000s, the label has been dedicated to releasing innovative and boundary-pushing music across various genres.\u003c\/p\u003e\n\u003cp\u003eWith a roster that includes *Kishi Bashi*, *Sufjan Stevens*, and *Deerhoof*, Joyful Noise Recordings has become known for its commitment to supporting unique and talented artists. The label's diverse catalog spans from indie rock to experimental pop, showcasing a range of artistic voices.\u003c\/p\u003e\n\u003cp\u003eNot only does Joyful Noise Recordings release albums, but they also offer exclusive limited edition vinyl releases through their subscription service called \"The White Label Series.\" This allows fans to discover new music while collecting rare and collectible records.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","products":[{"product_id":"glossolalia","title":"Glossolalia","description":"\u003cp\u003eAs he began plotting his new solo album, Dale Crover world-renowned drummer for the Melvins, Nirvana and Redd Kross, and singer-guitarist for Altamont realized that, unlike with his prior two full-lengths, he was starting from scratch. “I didn’t have any songs,” he says, “so I just went on this writing spree.”\u003c\/p\u003e\u003cp\u003eThe result is \u003ci\u003eGlossolalia\u003c\/i\u003e, Crover’s third LP under his own name and arguably his most focused statement yet as a solo artist: 11 catchy yet eccentric tracks that move from Nuggets-y garage rock to crafty proto-metal riffage and gorgeously hazy psych-pop, touching on everything from a bad teenage trip to the charms of the late, great Jane Birkin, and featuring input by illustrious guests including Ty Segall, Soundgarden’s Kim Thayil and none other than Tom Waits. What stands out across the record is the sturdiness of Crover’s vision. 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The Comeback Kid is a statement of intent. “I can’t keep on moving backwards,” Stern repeats on anthemic opening track “Plain Speak,” her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. Stern continually pushes herself outside of her comfort zone throughout \u003ci\u003eThe Comeback Kid\u003c\/i\u003e, including not leaning on the tapping technique that launched a thousand Eddie Van Halen comparisons. “Til It’s Over” is as straight-ahead an “alternative rock” song as Stern has ever made and there’s a cover of Ennio Morricone’s “Il Girotondo Della Note.”\u003c\/p\u003e\u003cp\u003e“It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I'd remember I'm allowed to do whatever I want! This is mine. It's me,” says Stern of writing songs for \u003ci\u003eThe Comeback Kid\u003c\/i\u003e. “I'm trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. 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Recorded in Nashville, featuring John Prine, Justin Vernon, Jenny Lewis, and others. While the 77 year-old Williams’ most enduring persona is the psychedelic soul superhero Swamp Dogg a musical vigilante upholding truths both personal and political since 1970’s immortal album, \u003ci\u003eTotal Destruction To Your Mind\u003c\/i\u003e he will tell anybody who will listen that he’s considered himself country this entire time. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eSorry You Couldn’t Make It\u003c\/i\u003e allows Swamp to finally dive into the sound he grew up playing. With the support of Pioneer Works Press, they recorded the album at Nashville’s Sound Emporium with Olson as producer once again, and backed by a crack studio band led by Derick Lee, a keyboard virtuoso who worked as the musical director of BET’s Bobby Jones Gospel Show for nearly four decades. Nashville guitar firebrand Jim Oblon combusts his way through lead duties, while frequent collaborator Moogstar and special guests Justin Vernon (Bon Iver), John Prine, Jenny Lewis, Channy Leaneagh and Chris Beirden of Poliça, and Sam Amidon join the action throughout. A band of 14 players, including Vernon, Lee, Beirden, and Moogstar, among others, provides the background for Swamp’s devastating new take on \u003ci\u003eDon’t Take Her (She’s All I Got)\u003c\/i\u003e. Lead single \u003ci\u003eSleeping Without You Is A Dragg\u003c\/i\u003e is one of Swamp’s most heartfelt songs to date and features Vernon on piano as well as backing vocals by Lewis and Leaneagh. He duets with country-folk legend Prine on two songs. 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Though Deerhoof reportedly has to be seen performing live -- when the bandmembers are able to temper and balance the explosive quiet-loud of their tunes -- to be fully appreciated and to get the full effect, this album is as good a place to start your journey as any of the group's recordings.\u003c\/p\u003e","brand":"Joyful Noise Recordings","offers":[{"title":"Orange LP","offer_id":50383938060619,"sku":"346601","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/3cd5ed05-f0da-47e1-a659-380981175b65_thumbnail_4096.jpg?v=1726279470"},{"product_id":"its-still-like-a-secret","title":"It's Still Like a Secret","description":"\u003cp\u003eBrimming with breezy melodies, breakneck percussion and electronic flourishes. \u003c\/p\u003e\u003cp\u003eRecommended If You Like: Do Make Say Think, Explosions in the Sky, Ratatat, The Album Leaf, Mogwai, Positive\/uplifting instrumental loopage ‘n riffage.\u003c\/p\u003e\u003cp\u003e A poetic riff on Built to Spill’s album \u003ci\u003eKeep It Like A Secret\u003c\/i\u003e, and a tongue-in-cheek reference to the band’s “underground” status, instrumental duo El Ten Eleven’s fourth album is a brash and bold 12-track post-rock odyssey. \u003c\/p\u003e","brand":"Joyful Noise Recordings","offers":[{"title":"Clear | LP","offer_id":50384341270859,"sku":"2000232","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Its_Still_Like_a_Secret_5de24bca_thumbnail_4096.jpg?v=1726295809"},{"product_id":"alive-in-new-york-city-3","title":"Alive in New York City","description":"\u003cp\u003eDaniel Johnston’s \u003ci\u003eAlive in New York City\u003c\/i\u003e: A full performance captured before a live audience in New York City, the city of Daniel Johnston’s dreams. 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These little teleplays from Daniel’s pre-”1990” days have never been heard before, so his fans will go wild with joy over this newly discovered and precious cargo from the mind of this one-of-a-kind and irreplaceable Artist.\u003c\/p\u003e","brand":"Joyful Noise","offers":[{"title":"White LP","offer_id":50384720658763,"sku":"2170331","price":29.99,"currency_code":"GBP","in_stock":true},{"title":"Tape","offer_id":50384721838411,"sku":"2170334","price":13.99,"currency_code":"GBP","in_stock":false},{"title":"LP","offer_id":50384721150283,"sku":"2170333","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2f1d7379-52b4-7df9-378e-71a938d2c30a_2284a265_thumbnail_4096.jpg?v=1726302796"},{"product_id":"a-laughing-death-in-meatspace","title":"A Laughing Death in Meatspace","description":"\u003cp\u003eRecommended If You Like The Drones, Nick Cave, Dinosaur Jr., Iceage, Protomartyr. 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Consisting of two LPs \"The Songs\" and \"The Score\" the release showcases what is essentially the soundtrack to Omoiyari, the feature-length motion picture co-directed by Kishi Bashi, aka Kaoru Ishibashi or \"K,\" which is being released via MTV Documentary Films in November. Focusing on K's own six-year journey of discovery surrounding his research of the incarceration of 120,000 Japanese Americans that followed the attack on Pearl Harbor in 1941, the film is part social justice documentary and part song-film experiment. The album includes K's live improvisations, which are featured in the documentary, many recorded on the sites where the concentration camps stood. 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Since the profoundly successful release of '151a' two years ago, Kishi Bashi has toured relentlessly, captivating audiences across the globe with his loop-based live show, and fostering a groundswell of devotees. Though violin remains his primary instrument and songwriting muse, Kishi Bashi has expanded his palette to include more diverse and nuanced instrumentation. 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Add to that the fact that our 'cast-off queen,' our 'maniac,' our 'terrible daughter' is watching themselves get orphaned in real time, by an older generation in power that would seemingly rather see life on Earth destroyed than let go of archaic systems of capital. \u003c\/p\u003e\u003cp\u003eLike a lot of the music they have released over the last quarter-century, the Deerhoof of FTCA (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of 'r\u0026amp;b' and 'classic rock' and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy, the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies. 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Like so many young people today, Deerhoof seems to be already living in that future.\u003c\/p\u003e","brand":"Joyful Noise Recordings","offers":[{"title":"Red | LP","offer_id":50402500772171,"sku":"1092925","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50402501165387,"sku":"1092922","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/adda709f-11d9-49d2-9783-5bf004974b24_thumbnail_4096.jpg?v=1726547600"},{"product_id":"emerald-sea","title":"Emerald Sea","description":"\u003cp\u003e\u003ci\u003eEmerald Sea\u003c\/i\u003e, the third album from New York-based audiovisual project Sound of Ceres, tells the story of how the universe comes to know itself. Rendered in dynamic, ambitious orchestral passages, it forms the basis of future stage performances intended to draw its half-submerged narrative into the visual sphere. In its dreamlike impressions, it could also be the soundtrack to a long-forgotten early musical film - an experience that delighted and transported audiences and then vanished from record, surviving only in the imprint of memory.\u003c\/p\u003e\u003cp\u003eWritten in three acts, \u003ci\u003eEmerald Sea\u003c\/i\u003e follows two deities who trail each other through the furthest reaches of experience. There is the Universe, all that exists, voiced by performance artist Marina Abramovic. And there is Venus, transformer of matter and avatar of love, sung by the group's lead vocalist Karen Hover (who goes by k).\u003c\/p\u003e\u003cp\u003eThrough a dazzling suite of songs inspired by Les Baxter's mid-century exotica, Maurice Ravel's ballet Daphnis et Chloé, and Gustav Holst's The Planets, Emerald Sea studies intimacy on both an interpersonal scale and a cosmological one. Connection and severance, joy and grief, wonder and bewilderment all tumble through its scope. 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Recommended If You Like: The Beths, Soccer Mommy, Palehound, New Pornographers, Melkbelly, Lala Lala, NNAMDÏ, The Breeders, Jeff Tweedy\/Wilco, The Roches.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eNot God\u003c\/i\u003e is the new album from Chicago’s beloved two-headed monster, Finom (fka Ohmme). You can ask them to go into more detail about the boring reasons why they changed their name, but for now, the answer is going to be polite refusal. No.  \u003c\/p\u003e\u003cp\u003eCo-fronted by Sima Cunningham and Macie Stewart, Finom’s influences run vast and varied, and they put a premium on change. Produced by Jeff Tweedy in the Wilco Loft, \u003ci\u003eNot God\u003c\/i\u003e is a marvel of growth, a progression from the roots of this collaborative band whose history can be traced back to its improvised conception. This is owed in no small part to their hometown of Chicago, the life raft to so many persisters in musical adventurosity. That energy combined with Finom's dramatic vocal and musical gifts puts them in the peripheries of the legacies cemented by The Roches, Roxy Music, the B52s, Kate Bush, Cate Le Bon, and Wilco.\u003c\/p\u003e\u003cp\u003eCunningham and Stewart are brilliant harmonizers, but harmony doesn't equate to a utopia. In Finom's maws harmony can also be a fight, holding the line until the volcano erupts. This realistic depiction of a creative relationship jolts throughout the songs of Not God, and brings the whole damn thing to life. Finom are more than one person with more than one dream. But still, they grow together, harnessed by their shared love of pop songwriting, control, chaos, and being generally freaky-deaky. Freaky in that way that is only really fun when you're doing it with a friend. As the globe spins and advancements advance, it can feel essential to return to relationships that make us feel whole, that generate energy of strength and relief. Which puts double the weight on the reality that Sima and Macie continue to pledge allegiance to each other, at the base of the volcano, in the front seat of the car as it pulls off the highway.\u003c\/p\u003e","brand":"Joyful Noise","offers":[{"title":"Red LP","offer_id":50418003083595,"sku":"2194753","price":29.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50418002559307,"sku":"2194752","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Not_God_3018d710_thumbnail_4096.jpg?v=1726738203"},{"product_id":"miracle-level-2","title":"Miracle-Level","description":"\u003cp\u003eDid you know that miracles happen every day? We don’t always see it that way. We look at the state of the world and think, “It’ll be a miracle if we make it out alive.” But miracles are what humans do. We’re Earth’s most inventive and unpredictable species, when we’re allowed to be. Also the most destructive. \u003ci\u003eMiracle-Level\u003c\/i\u003e is Deerhoof’s mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters.\u003c\/p\u003e\u003cp\u003eMusically, \u003ci\u003eMiracle-Level \u003c\/i\u003eis vulnerable, brave, and brimming with spicy surprises. Deerhoof’s 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg, Manitoba. This is also their first album written entirely in Satomi’s native language. 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It's already hard to describe what Deerhoof sounds like. So we'll skip that part and say this sounds a lot like Deerhoof with a different singer. And in keeping with 30-year Hoofian tradition, melodies soar, big hit earwigs abound, harmonies are complex, and keys change frequently and unexpectedly. Arrangements are in a constant state of impatient agitation. Emotions run high but delivery is usually a falsetto deadpan. We Sang, Therefore We Were is grief delivered in code. Greg plays everything save for a few birds who join in singing now and again. He keeps the instrumentarium severely limited, the sound shambling and anti-slick. It turns out Greg is a really good bass player and guitar player, if a bit more rudimentary and slicing compared to his Deerhoof bandmates. He does play more angry guitar solos. But don't expect another Chippendale\/Saunier speed-drum freakout; the songwriting is gorgeous and sophisticated, and drums are almost an afterthought. Here, song is Queen. 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Band is famous for pioneering the “NY\/Brooklyn loft scene” alongside bands like Yeah Yeah Yeahs, Lightning Bolt, Japanther, Black Dice, and many more.\u003c\/p\u003e\u003cp\u003eA song is a song until it isn’t, until it’s pushed to its limits and beyond to become harder, faster and more dissonant. The music on Oneida’s 17th full-length album, \u003ci\u003eExpensive Air\u003c\/i\u003e, all started as tightly structured, melodic rock songs very much in line with the non-stop bangers of \u003ci\u003eSuccess\u003c\/i\u003e from 2022 but along the way, they changed.\u003c\/p\u003e\u003cp\u003eBobby Matador sketched the structures of these songs from his home base in Boston, then sent the demos to Oneida’s New York contingent: Kid Millions, Hanoi Jane, Shahin Motia and Barry London. “We were working out the songs in New York without Bobby. We would start out riding the riffs, and then Shahin and Jane would add wild, out-of-tune licks,” said Kid Millions. “It seemed so perfect.”\u003c\/p\u003e\u003cp\u003eOneida has long straddled gray-area boundaries between the NYC punk\/psych\/rock world and the art \/ experimental world, playing at gritty rock clubs and elevated cultural institutions. Oneida’s previous album, Success, came after a four-year hiatus, unleashing the band’s pent up creative energy in a set of catchy, accessible, nearly poppy songs. Song structure remained important in the run up towards Expensive Air, but so was the instinctual, improvisatory interplay that has always been a part of Oneida’s process. The band had been playing live together for two years, sharpening its attack and pushing its songs to go harder, faster and wilder.\u003c\/p\u003e\u003cp\u003eThe new album expands on what Oneida achieved with \u003ci\u003eSuccess\u003c\/i\u003e, but also pushes past it, laying down irresistible song structures then blowing them to psychedelic bits. “I found myself thinking about this record as a darker, looser, louder, counterpart to Success,” he explains. “Both records charge forward from the jump and mix the elliptical with the blunt, and longing with self-mockery. But Success is like laughing in a car gunning carelessly through an ice storm, and Expensive Air is how you laugh at yourself as the car spins into the ditch, or a tree. 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Tall Tall Trees is the pseudonym of songwriter and multi-instrumentalist Mike Savino. Moving to New York in the early aughts with aspirations of being a bassist in the city's vibrant jazz and experimental music scene, Savino soon switched his focus to banjo and writing songs, resulting in the eponymous 2009 debut, Tall Tall Trees. In the decade since, Savino has toured non-stop, pioneering a world of psychedelic electric banjo music, captivating audiences with his loop-based one man shows, as well as alongside frequent collaborator, Kishi Bashi. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eA Wave of Golden Things\u003c\/i\u003e, his fourth studio album, opens with the distant crow of a rooster and takes off in a dust cloud of swirling banjo, drums and bass. The lead off track, \u003ci\u003eThe Wind, She Whispers\u003c\/i\u003e, quickly evolves from a droning mountain melody into full-blown banjo funk, setting the precedent for an album of unexpected turns. Though the banjo is heavily featured, the influence of Pink Floyd and Cat Stevens can be felt as much as banjo mavericks Earl Scruggs and Bela Fleck. \u003cbr\u003e \u003cbr\u003e Savino, who self-records and produces his music, abandoned the heavily-layered textures of 2017's\u003ci\u003e Freedays\u003c\/i\u003e for a more organic, stripped-down approach, leaving his distinct voice and thoughtful lyrics as the centerpiece. Despite the sparse arrangements, Savino still manages to evoke the sonic imagery and pastoral landscapes that have often been hallmarks of Tall Tall Trees albums. 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Known for dismissing conventional music basics like melody, song structure and chords (and for Jad's famous line \"the only chord I know is the one that connects the guitar to the amp\"), Half Japanese operated under the premise that rock music should be accessible to anyone who wanted to play. Joyful Noise will release Half Japanese's new full-length album, 'Perfect', a collection of songs that feature otherworldly sounds, chaotic rhythms, and weird time signatures, topped off with Jad's brash vocals and oddball lyrics. Its tracks run the gamut from sweet love songs with overtly sincere lyrics to manic, almost abrasive tracks that seem to end before you can fully wrap your head around them. With Perfect, Half Japanese manages to combine elements of every genre imaginable into one strange, unpredictable, and undeniably-catchy package. 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It's significant that this is the first fully home-recorded Why? album since the project's 2003 debut. Made mostly in Wolf's studio and co-produced by his brother Josiah, the result is obsessive, of course, but also intimate, and flush with warmth and looseness. But the biggest transformation is a bit subtler. After years of eying his world, in part, with a cynical squint, Wolf here learns a new mode. While \u003ci\u003eMoh Lhean\u003c\/i\u003e never stoops to outright optimism, it chronicles our hero finding peace in the unknowing, trading the wry smirk for a holy shrug, and looking past corporeal pain for something more cosmic and, rest assured, equally weird. A low tone opens the album on \u003ci\u003eThis Ole King\u003c\/i\u003e as acoustic pluck and upright bass form a Western bedrock beneath Wolf’s fragile voice. 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Following the departure of bassist Kevin Williams and guitarist Thomas Fekete (tragically lost to cancer in May), singer \/ guitarist John Paul Pitts and drummer Tyler Schwarz have rebuilt a talented lineup with guitarist Michael McCleary and bassist Lindsey Mills, all four alumni of the same high school in West Palm Beach, Florida. Pitts wrote specifically with the new band’s talents in mind: “When I was writing I was thinking more about background vocals and harmonies. Lindsey and Michael are great singers, and I really wanted that to show in the songs. There are layers of vocals on almost every track, and the call-and-response parts between Lindsey and I are something totally new.” Along with plenty of Surfer Blood’s signature hooks, the band concocted some epic and more complex songs with enormous attention to sonic detail. Pitts wrote and mixed the album alone, for the first time since their debut \u003ci\u003eAstro Coast\u003c\/i\u003e. 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After watching the Monster Island building that housed the Ocropolis transform into a pile of rubble, the band began an intense period of exploration and discovery, retreating from the studio in favor of the stage, and birthing a panoply of limited, uncompromising releases that documented the band’s continuously unfolding journey. Six years after the release of \u003ci\u003eA List of the Burning Mountains,\u003c\/i\u003e the final emission from the Ocropolis, the band release their newest studio creation \u003ci\u003eRomance\u003c\/i\u003e, their first album for Joyful Noise Recordings and a record marked by wild eclecticism, even for a group known for its shape-shifting nature. Recorded over several years in various locales, the 11 songs on \u003ci\u003eRomance\u003c\/i\u003e are built around deeply developed long-arc rhythm \/ phase concepts, noise, yearning, blind guitar rage, longing, the lurch of dying electronics, and a multi-modal embrace of human fallibility and artifice. 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