{"title":"Saddle Creek","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eSaddle Creek is an indie rock style label based in Omaha, Nebraska. Established in 1993 by Mike Mogis and Justin Oberst, the label was originally called Lumberjack Records. However, Mogis soon passed on his role to Conor Oberst, who took over as the head of the company. With a focus on independent music and a passion for supporting emerging artists, Saddle Creek has become a prominent name in the music industry.\u003c\/p\u003e\n\u003cp\u003eOver the years, Saddle Creek has been home to various talented musicians and bands, including Bright Eyes, Cursive, and The Faint. Known for their unique sound and authentic approach to music-making, these artists have helped shape the label's identity.\u003c\/p\u003e\n\u003cp\u003eWith its headquarters in Omaha, Saddle Creek continues to be at the forefront of indie rock music. Their dedication to fostering creativity and providing a platform for up-and-coming talent makes them a respected authority in the industry.\u003c\/p\u003e","products":[{"product_id":"a-sides-and-b-sides","title":"A Sides and B Sides","description":"\u003cp\u003eThe summer after graduating from Berklee College of Music, Adrianne Lenker moved to New York City. She met Buck Meek the day she moved there, at a corner market called Mr. Kiwi (although, technically they had already played a show together in Boston, so they recognized each other but weren’t sure from where). The two explored the city by bicycle and eventually began to play songs together. \"It was one of those friendships that developed extremely fast where suddenly you're each other's best friend,\" Lenker says. \"We hung out every day from the moment we met.” \u003c\/p\u003e\u003cp\u003eMeek’s off-kilter, piercing guitar licks and solos are the perfect juxtaposition to bring Lenker’s melodic and stirring vocals and lyrics to fruition. \"I guess what struck me as a songwriter then was that her songs all seemed to be really human, and really emotional, and really honest — vulnerable — but at the same time they all somehow had this ineffable quality,\" Meek says. \"Like, all of that human content was serving as a medium for something beyond.” Soon they picked up a white conversion van, named her Bonnie, and made touring their whole lives. In 2014, songs crafted on the road were captured on two EPs released under the Buck and Anne moniker: one called a-sides and one called b-sides. Both warm, acoustic affairs. In the ensuing years, Adrianne and Buck joined with Max Oleartchik and James Krivchenia to form Big Thief, one of the most beloved bands in music today. \u003ci\u003eA-Sides and B-Sides\u003c\/i\u003e provide an early glimpse at what was soon to come, while standing on their own as documents of a deeply meaningful time in the creative lives of Lenker and Meek.\u003c\/p\u003e","brand":"Saddle Creek","offers":[{"title":"Maroon LP","offer_id":50382129824075,"sku":"2049124","price":27.99,"currency_code":"GBP","in_stock":false},{"title":"LP","offer_id":50382129529163,"sku":"1047651","price":14.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50382129693003,"sku":"1047652","price":8.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ca589d1a-c894-48e2-9266-61888e7997d0_thumbnail_4096.jpg?v=1726242763"},{"product_id":"what-we-say-in-private","title":"What We Say In Private","description":"\u003cp\u003eMontreal, Quebec-based musician Ada Lea is also a painter and visual artist, and traces of her many creative abilities run throughout her debut album what we say in private, a beautifully colourful collection of profound pop songs released via Saddle Creek. \u003c\/p\u003e\u003cp\u003eTo her, music and visual art are different vessels for communicating similar ideas. Ada Lea’s appreciation of female artists - including the writer Sylvia Plath, visual artists Frida Kahlo and Eva Hesse, and musicians Karen Dalton and Nina Simone - provides inspiration and guidance, informing her use of multiple artforms as tools for self-expression. With the brightness of love, strength, and hope contrasted with the darkness of loss, suffering, isolation, and abandonment, \u003ci\u003eWhat We Say in Private\u003c\/i\u003e is a varied and vivid record that constantly seems to shift in the light, bringing together all the intricate influences she’s collected over the years.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eWhat We Say in Private\u003c\/i\u003e began with a need to document the ending of an important romantic relationship. Following a tormented period of staying up all night (sometimes days at a time), frantically painting or writing songs as a means of coping, she journalled for 180 days in the hope of finding herself again. She conducted this period of analysis and introspection in private, like most of her creative pursuits, and the process eventually resulted in a rebirth: a rediscovery of self and a new sense of freedom and self-acceptance. \u003c\/p\u003e\u003cp\u003eThese chaotic feelings and the resulting catharsis are deeply felt in the final recording of what we say in private. Ada Lea wanted the album to feel like a journal entry from those 180 days as she cycled through emotions. Throughout, she expresses feelings and thoughts that all humans experience behind closed doors and alone, but are conditioned to keep to themselves. This is reflected in the lyrics, the artwork, and the songs - together forming a public exhibition of deeply private matter. The album is a collection of raw, confessional, and at times messy emotions, presented to a society that can fear such realness, often favoring the uncomplicated, curated, and manicured.\u003c\/p\u003e\u003cp\u003eAda Lea delivers something very special on \u003ci\u003eWhat We Say in Private\u003c\/i\u003e. Bold and daring, but also gentle and vulnerable, the album finds new ways of presenting its vision from one inspired idea to the next, a big leap into the wider world with passion and exuberance.\u003c\/p\u003e","brand":"Saddle Creek","offers":[{"title":"LP","offer_id":50384058319179,"sku":"1064330","price":11.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50384058483019,"sku":"1064329","price":8.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/08f9e5ab-5750-4088-8100-fa609e1b0e2c_thumbnail_4096.jpg?v=1726284979"},{"product_id":"performances","title":"Performances","description":"\u003cp\u003eLizzie Powell has always been a risk-taker. As the creative force behind the influential Canadian outfit Land of Talk, the Montreal-based songwriter has over the past 15 years amassed a catalog of four unimpeachable albums that stretch the boundaries of indie rock. But \u003ci\u003ePerformances\u003c\/i\u003e, their fifth LP, feels like a total reinvention: an unflinching statement from an artist who’s not afraid to say how they feel. Though it trades muscular guitar rock for understated piano, it’s still the most urgent, cathartic, and personal release of Powell’s career so far. “It's the weirdest, mightiest little record I've made since I used to write music on my four-track when I was 14,” says Powell. “I needed to make a love letter to my teenage self by being more vulnerable and doing all the production myself.” Here, they doggedly value their own intuition over anything else to make their most rewarding album yet. \u003c\/p\u003e\u003cp\u003e\u003ci\u003ePerformances\u003c\/i\u003e is a defiant and resonant blow against expectations and outside pressure. It’s an LP showcasing an artist without constraints and allowing themself to be radically honest. “The album title is very literal,” says Powell. “I'm performing what's in my brain but I'm tired of performing femininity for the music industry, femininity in my life, respectability, and vulnerability. I'm trying to grow out of these and break out of these roles in my life.” Powell’s fearlessness as a songwriter has already led to Land of Talk boasting an unmistakably essential discography but with this album, they find the perfect opportunity to give themself the grace to truly double down on their own vital sensibilities. They usher the songs every step of the way from demoing to producing, imbuing each track with immense care and unfiltered feeling. \u003c\/p\u003e\u003cp\u003e“This is me reclaiming Land of Talk as it always has been,” says Powell. “Every record we've made has just been one step closer to me figuring out how I want to make a record myself. 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These songs camefrom a turbulent time when I was coming to self-love through many existential crises and shifts in perspective.”\u003c\/p\u003e\u003cp\u003eFaithful to its name, \u003ci\u003eAny Shape You Take\u003c\/i\u003e changes form to match the tenor of each story it tells. “The album titleis a nod to the many shapes I take musically. I don’t feel that I fully embody any particular genre—all of themusic just comes from the universe that is my ever-shifting brain\/heart\/world,” says Indigo. This sonic range isunified by Indigo’s strikingly confessional and effortless approach to songwriting, a signature first introduced inher debut, self-released LP, \u003ci\u003eI Love My Mom\u003c\/i\u003e. Written in quick succession, Indigo sees these two records ascompanion pieces, both distinct but in communion with each other: “Many of the songs on these two recordscame from the same season in my life and a certain version of myself which I feel much further from now.”\u003c\/p\u003e\u003cp\u003eThroughout \u003ci\u003eAny Shape You Take\u003c\/i\u003e, Indigo reflects on her relationships as she reckons with a deeper need toredefine how to fully inhabit spaces of love and connection.“It feels so important for me to see people throughchange. To accept people for the many shapes they take, whether those shapes fit into your life or not. Thisalbum is a reflection of that. I have undergone so much change in my life and I am so deeply grateful to thepeople who have seen me through it without judgment and without attachment to skins I’m shifting out of.”\u003c\/p\u003e\u003cp\u003eGrowing up in a conservative small town in the mountains of North Carolina, Indigo started playing guitarwhen she was nine years old. “Music was a natural occurrence in my life. My dad is a bossa nova guitarist andsinger from Brazil and so I think I just had it in my blood from birth.” It wasn’t until moving to Asheville, NC thatIndigo began to move into her current sound, developing a writing practice that feeds from the currents thatsurround her: “Sometimes it feels like I am soaking up the energies of people around me and making art from aspace that is more a collective body than just my own.”\u003c\/p\u003e\u003cp\u003eAt the forefront of all De Souza’s projects is her magnetism—her unique quality of spirit that is both buoyantand wise. While her backing band has undergone shifts between releases, her sound has stayed tethered to hervision. \u003ci\u003eAny Shape You Take \u003c\/i\u003eis the first full-length album that Indigo produced herself. Teaming up with executive producer Brad Cook (Bon Iver, Waxahatchee, The War on Drugs) and engineers\/producers Alex Farrar and AdamMcDaniel, Indigo recorded the album at Betty’s, Sylvan Esso’s studio in Chapel Hill, NC and finished it withadditional production and mixing at Drop of Sun Studios in Asheville. Moving past the limitations of a homestudio, Indigo could finally embody the full reach of her sound: “It felt really exciting to lean into my poptendencies more than I have in the past and to trust my intuition to take the songs where I felt they should go.I had the tools to do it and collaborators who were willing to go there with me.”\u003c\/p\u003e\u003cp\u003e“I feel very much like a shape-shifter with my music, I’m always trying to embody a balance between theexistential weight and the overflowing sense of love I feel in the world.” It is exactly this balance that Indigostrikes in her Saddle Creek debut, \u003ci\u003eAny Shape You Take\u003c\/i\u003e. 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Buffeted by strings, synths, and a gently-shook tambourine, the aptly-titled track, “The Answer,” highlights the emotional engine at the heart of the record. “I know the answer, “Duffy sings, “Here’s what I hope to find - it’s always mine.”\u003c\/p\u003e","brand":"Saddle Creek","offers":[{"title":"Blue | LP","offer_id":50411350851915,"sku":"1129004","price":14.99,"currency_code":"GBP","in_stock":false},{"title":"Red LP","offer_id":50411350425931,"sku":"1129003","price":22.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50411349868875,"sku":"1128999","price":7.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/e81b20b5-bbcd-4d7f-b888-5232ba079631_thumbnail_4096.jpg?v=1726656709"},{"product_id":"abysskiss","title":"Abysskiss","description":"\u003cp\u003e\u003cstrong\u003eAdrianne Lenker\u003c\/strong\u003e's new album is culled from songs written in snatched moments on the relentless Big Thief tour schedule. Recorded in a studio with Luke Temple of Here We Go Magic, it’s 10 songs of dreamy wonder. Plucked, caressed, and stroked silvery guitar strings flutter and quiver under flurrying fingers.\u003c\/p\u003e\n\n\u003cp\u003eReflective, crooning vocals fall like a lullaby from a gentle folky lilting swaying singer. Simple and unadorned cascading arpeggios of sweet guitar notes and rippling piano. The occasional bluesy flutters and murmuring melodies support a wistful fragility.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eAdrianne Lenker\u003c\/strong\u003e has been writing songs since she was 10 years old. Her \"back story\" has been well documented in various interviews and profiles for Big Thief over the last 3 years. Despite, or more likely because of the constant touring and studio work, the last few years have been some of the most prolific for Lenker as a writer.\u003c\/p\u003e\n\n\u003cp\u003eSongs pop out at soundcheck. They pop out on late-night drives between cities. 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That the record quickly took on a life of its own, deeply resonating with those who heard it, is a testament to Indigo’s songwriting which took inspiration from the unique worlds created by Arthur Russel, Sparklehorse, The Microphones, as well as contemporaries such as LVL UP and Happyness. \u003c\/p\u003e\u003cp\u003eTwo of the songs have racked up more than a million streams each on Spotify: “Take O Ur Pants” and “How I Get Myself Killed.” The former balances an often breezy lead vocal with gnarly undercurrents of guitar before the whole thing lets rip in its punchy chorus, while the latter, the album’s opening track, finds a different mood entirely, a slacker rock gem that repeats its chorus as a chest-beating mantra. 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On one hand, it’s a collection of walking-paced, cathartic pop\/folk songs, on the other it’s a book of heart-twisting, rear-view stories of city life. Ada Lea has followed up the creative, indie-rock songcraft of her debut \u003ci\u003ewhat we say in private\u003c\/i\u003e with surprising arrangements and new perspectives. The album is set in Montreal and each song exists as a dot on a personal history map of the city where Levy grew up. The physical record is released alongside a map of song locations and a songbook with chords and lyrics, inspired by Levy’s love of real book standards.\u003c\/p\u003e\u003cp\u003eLevy penned and demoed this batch of songs in an artist residency in Banff, Alberta. After sorting and editing she made her way to Los Angeles to record with producer \/ engineer Marshall Vore (Phoebe Bridgers) who had previously worked on 2020’s woman, here E.P. After a long walk to the studio each morning, Levy spent her session days diving into the arrangements, playfully letting everything fall in place with complete trust for her collaborators. She notes “Marshall’s expertise and experience with drumming and songwriting was the perfect blend for what the songs needed. He was able to support me in a harmonic, lyrical, and rhythmic sense.” Other contributors that left a notable fingerprint on the soundscape include drummer Tasy Hudson, guitarist Harrison Whitford (of Phoebe Bridgers band), and mixing engineer Burke Reid (Courtney Barnett). Many songs came together with a blend of studio tracks and elements from the pre-recorded demos.\u003c\/p\u003e\u003cp\u003eThe resulting sounds range from classic, soft-rock beauty to intimate finger-picked folk passages and night-drive art-pop. And the textures are frequently surprising due to the collage of lo-fi and hi-fi sounds that tastefully decorate the album without ever clouding the heart-center of the song. Tracks like “damn” and “oranges” feel timeless with their AM gold groove and 70’s studio sheen, while songs like “my love 4 u is real '', “salt spring” and “can’t stop me from dying” sound completely modern in their use of electronics, sound effects, and pitched vocals. In their subtle, sonic variety, all of the album’s songs flow together with ease into one big, romantic dream for Levy’s silken vocals to float above.\u003c\/p\u003e\u003cp\u003eInspired by personal experience, daydreams, and Elena Ferrante’s Neapolitan novels, the lyrics of one hand... center storytelling on a bigger scale. The experience and emotions of a year are communicated through Levy’s vignettes of city life. Her prose is centered in its setting of the St Denis area of Montreal as it draws up memories from local haunts like Fameux, La Rockette, and Quai des Brumes in rearview reverie. Levy creates a balance through the album’s year by splitting her songs evenly into four seasons. Opening track “damn”, as a song of winter, kicks off the narrative with the events of a cursed New Year’s Eve party. Immediately this timeline becomes jumbled into a Proustian haziness. The listener is then led through the heat-stricken, brain fog of Summer song, “can’t stop me from dying” and then into the autumnal romanticism of “oranges” before returning back to New Year’s on “partner,” which Levy describes as “a woozy late-night taxi blues reflection on moments when timing can be so right, yet so wrong…”. These collected stories as a whole chart the unavoidable growth that comes with experience. “All is forgiven in time. All is forgotten in time. And when the music stopped, I heard an answer” (from “my love 4 u is real”).\u003c\/p\u003e\u003cp\u003eWhether to consider these songs fiction or memoir remains unknown. On one hand, Levy says “Why would I try to write a story that’s not my own? What good would that do?” but on the other hand, she is quick to note the ways that language fails to describe reality, and how difficult this makes it to tell an actually true story. The poetic misuse of the word “sewing” in the album’s title serves as a nod to the limitations words provide. What does it mean to sew the garden? 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The resulting songs showcase this creatively collaborative environment, with Ashworh co-producing the lead single and Thomas co-producing “i believe in you.” Such is the strength of this relationship, in fact, that this new single just may serve as a bridge toward a greater body of work the three will ultimately create together. \u003cbr\u003e\u003cbr\u003eThe resulting EP illuminates the songwriter’s attempts to evolve beyond the confines of their past. As they put it, “‘4th of july’ feels like trying again, rolling around in the wreckage of the past and finding new ways out of the maze of memory.” The sonic texture of the song complements this lyrical journey, with a simple and sparse introduction marked by a slow burn crescendo hinting at the rupture to come, followed by an ecstatic wail of transcendent emotion. 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These tracks - written during the same sessions as and originally intended for The Ugly Organ - were previously found across the band's 8 Teeth To Eat You split with Eastern Youth, their 'Art Is Hard' and 'The Recluse' singles, and the Saddle Creek 50 compilation.  The packaging for both The Ugly Organ (Deluxe Edition) [Remastered] 2xCD and 2xLP includes a booklet with extensive liner notes comprised of rare photos, original artwork drafts, handwritten lyrics, a list of all tour dates from the era, and an introduction written by Kyle Ryan of The AV Club.\u003c\/p\u003e","brand":"Saddle Creek","offers":[{"title":"CD | x2","offer_id":50452554154315,"sku":"382850","price":13.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/3a7e2a5f-dceb-45f8-bb9d-80d1c5a2e789_thumbnail_4096.jpg?v=1727155854"},{"product_id":"desperately-imagining-someplace-quiet","title":"Desperately Imagining Someplace Quiet","description":"\u003cp\u003eThough initially formed as an extension of the lifelong friendship between guitarist Isaac DeBroux-Slone and bassist Raina Bock, Disq has evolved into a far more egalitarian organization, as Desperately Imagining Someplace Quiet nds guitarists Logan Severson and Shannon Conor splitting singing and songwriting duties with Debroux-Slone and Bock. 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This album is as tender and immediate as anything Meg’s ever written, but it’s also intensely focused and refined, the work of a meticulous musician ready to share their singular vision with the world. \u003c\/p\u003e\u003cp\u003eThe name \u003ci\u003eplaceholder\u003c\/i\u003e stems from Meg’s fascination with the undefinable. Their songs serve as openings - carved-out spaces waiting to be endowed with meaning. As a lyricist, Meg is drawn to the in-between, and the songs on this new album primarily confront the ways in which certain experiences can serve as a stepping stone on the road to self-discovery. “A big aspect of my songwriting and the way I move through the world depends on my relationships with people. The songs on placeholder are about accountability and forgiveness,” Meg says. “These are all real stories. 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