{"title":"Post Present Medium","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003ePost Present Medium (PPM) is a record label that was established in 2001 by [a1086239] and Roy Tatum. With a passion for music, PPM has become an influential force in the industry, known for its diverse roster of talented artists.\u003c\/p\u003e\n\u003cp\u003eAs a label, PPM focuses on releasing cutting-edge music across various genres, including punk, indie rock, and experimental sounds. They have curated an impressive catalog of releases that showcase the creativity and innovation of their artists.\u003c\/p\u003e\n\u003cp\u003eWith over two decades of experience in the music industry, PPM has gained a reputation for their commitment to quality and artistic integrity. Their dedication to supporting emerging talent has led to the discovery of many groundbreaking musicians who have gone on to make significant contributions to the music scene.\u003c\/p\u003e","products":[{"product_id":"beehive-mind","title":"Beehive Mind","description":"\u003cp\u003eTo address the weight of the world without speaking of weariness. To march the song to breathlessness but loosen your grip when the band wanders. To tell all your secrets but shield your loved ones from vulnerability. To dress up in the charm and temptation of the pop song but maintain a core of peculiarity, of a single voice trying to navigate this world. This is the project of the Spatulas. Think of the few songwriters who know they’re the only ones in the world who could write their songs. The ones who sing in the confidence that the song couldn’t exist without them: Peter Jefferies, Jenny Mae, Ron House, Heather Lewis. Jonathan Richman? Put Miranda Soileau-Pratt and the Spatulas on this list. All eleven songs on \u003ci\u003eBeehive Mind\u003c\/i\u003e share a percussive, unshadowed presence, a steady, clear-voiced clop. Every note on the record is a little bit sad on its own but then they're organized in a way that you don't actually notice. Credit this to the band’s skill—Jon Grothman, Lila Jarzombek, Kyle Raquipiso and Miranda Soileau-Pratt all play with no limits and they all play with profound ease. The songs breathe in warmth and patience, they are immediate and sweet. And then they start to meander. The guitar skitters with the deliberate unpredictability of a wild animal. Parts repeat and reset with the obsessiveness of an anxious mind. The lyrics open doors to unexpected scenes of lovers, family, and violence. This is all intentional: “I need to play music and listen to music as a form of therapy,” explains Soileau. This means safety, this means encouragement, this means trauma, this means hard questions. Only a band so comfortable at the margins, only a band so capable, only a band so trusting can achieve all this. Miranda Solileau-Pratt wrote the first Spatulas song in 2020, while living in Oregon. Since that time, the band has released two cassettes and toured the United States. Members of the Spatulas have also played in The Blimp, Honey Bucket, Hot Gum, and Meerkaz. The band has shared stages with Helen, Lavender Flu, Debt Rag, Pink Reason, Blues Ambush, and Kath Bloom. \u003ci\u003eBeehive Mind\u003c\/i\u003e is their debut LP. \u003c\/p\u003e\u003cp\u003eFor fans of Lavender Flu, Sundae Painters, Linda Smith, Cate Lebon, Chronophage.\u003c\/p\u003e","brand":"Post Present Medium","offers":[{"title":"Black LP","offer_id":50422459793739,"sku":"2190762","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/SPATULAS_BEEHIVE-MIND_FRONT_150dd4d6_thumbnail_4096.png?v=1726764289"},{"product_id":"chronicles-best-of-2","title":"Chronicles - Best Of","description":"\u003cp\u003eMika Miko were a band from Los Angeles from 2003-2010 playing a mix of danceable, post punk and late 1970s style power pop and street punk. Formed by sisters Jennifer and Jessie Clavin (who would later form Bleached) with high school friends Michelle Suarez, Jenna Thornhill and drummer Jon Erik Edrosa. \u003c\/p\u003e\u003cp\u003eAfter a 7” EP in 2004 (PPM), they signed to Kill Rock Stars in 2006 with new drummer Kate Hall to release ‘C.Y.S.L.A.B.F.’, which would see them tour throughout the US, Europe and Japan. Returning to PPM in 2007 to release their ‘666’ EP, and their second and final LP (with another new drummer, Seth Densham), ‘We Be XUXA’, in 2009, they disbanded in 2010.\u003c\/p\u003e\u003cp\u003e Mika Miko were highly influential and integral to the LA scene in the early and mid-Aughts surrounding the all ages club The Smell. \u003c\/p\u003e\u003cp\u003eThis LP, available to independent retailers presented in a silk-screened cover with poster, is a ‘Best Of’ compilation of their previous work compiled by the band. \u003c\/p\u003e\u003cp\u003eFor fans of Bleached, Y Pants, Urinals, Delta 5, The Slits, Vivian Girls.\u003c\/p\u003e","brand":"Post Present Medium","offers":[{"title":"Black LP","offer_id":50433245839691,"sku":"2202913","price":23.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a2789625310_16_81004556_thumbnail_4096.jpg?v=1726878154"},{"product_id":"roberts-lafitte-2","title":"Robert's Lafitte","description":"\u003cp\u003eBlue Dolphin was a wild, iridescent punk band from Austin, Texas circa 2016. Over the course of a year, they created a buzzing, liberatory sound, a dark bloodmix of melodic ease and existential gloom. This pairing suggests monuments like ’Peace?’ or ‘Is This Real?’ but Blue Dolphin found this path all on their own, through trust and reliance, that practice space unity that the best bands build simply through the joy of playing with each other. Emboldened by this connection, the band birthed memorably fractured, brisk music full of daring and revelation. At times, the songs barrel along as if the band is struggling to keep their instruments under control, an unrestrainable, breathless frenzy of notes. Other times, they take on a pensive ache, a weighted despair. Every time they form a perfect skeleton for Sarah Sissy’s vocal shove. The songs will squall and sway, reach overload, rattle half to death, and yet the moment Sissy begins singing they snap into a focused beam, a bulldozing, clear-eyed force.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eRobert's Lafitte\u003c\/i\u003e is a rush of darkness, resilience, mystery and bliss, exactly what you’d want from a record named after Texas’s oldest running gay bar, and a band maybe named after the indescribable freedom of ocean life or maybe named after a type of ecstasy. The LP contains the entire recorded output of Blue Dolphin, including all three self-released tapes and four previously unheard songs.\u003ci\u003e Robert’s Lafitte\u003c\/i\u003e is co-released by Post Present Medium and Cleta Patra and is limited to 500 copies. Members of Blue Dolphin have played in other bands like C.C.T.V., Chalk, Mystic Inane, Chronophage and Nosferatu.\u003c\/p\u003e","brand":"Post Present Medium","offers":[{"title":"Black LP","offer_id":50434731802955,"sku":"2053592","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Roberts_Lafitte_2d710b6e_thumbnail_4096.jpg?v=1726894004"},{"product_id":"spirits-and-embellishments","title":"Spirits and Embellishments","description":"\u003cp\u003eBehavior is a band from Los Angeles, comprised since 2012 of Bedros Yeretzian, Evan Burrows, and Justin Tenney. Their collaboration is a shifting ad hoc agreement, organized around a permissive sensibility that is anchored to consistency of image rather than genre myopia. Their music continues to map a line of departure, a stumbling movement in restless hopscotch across a pop music tradition that has tallied an unlivable inheritance of promises.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eSpirits and Embellishments\u003c\/i\u003e is their third LP, and their first with the label Post Present Medium, which is newly revived after a short pause. The record is preceded by last year’s self-released EP \u003ci\u003eShithead Apology\u003c\/i\u003e, and two LPs— \u003ci\u003eBitter Bitter\u003c\/i\u003e (2017) and \u003ci\u003e375 Images of Angels\u003c\/i\u003e (2016), both of which were released on the seminal West Coast punk label Iron Lung Records. Spirits and Embellishments was written in a small, shared practice space in Los Angeles, rented at a cost of $139.34 per month. The lyrics were compiled and composed collaboratively on a shared document hosted on a proprietary cloud— an assembled repository of original and found language, a record of the intellectual and emotional meanderings of three different people over a limited period of time.\u003ci\u003e Spirits and Embellishments\u003c\/i\u003e features guest performances by Evan Backer, Sophie Weil, Nicole Antonia Spagnola and Robert Cody. The album was recorded and mixed over roughly five days by Greg Hartunian, Robert Cody and Behavior at Tropico Beauty in Glendale, CA. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eSpirits and Embellishments\u003c\/i\u003e is a brush fire, hungry for oxygen, choking the dry air with lavender, sage, and melting plastic. The tools are simple, the atmosphere is stark, the space is literal. These are tactile rock n roll songs, shaped at root by the extreme techniques of punk in all its groping permutations. These songs are lengths of multichrome climbing rope coiled like snakes, brought to life by way of melodrama, and contemporary in their free association. They were conceived with irreverence for the distinction between Crass and The Rolling Stones, to leverage the evaporating space of antagonism between first wave post-punk and its commercially unambivalent counterparts. The method was ultimately functional: rounding and smearing over the vacant face of rote angularity, leaning into craft in an attempt to outmode what’s simply been accounted for.\u003c\/p\u003e\u003cp\u003eThere’s a desire for tension, a desire for fraudulent postures, for both intimacy and distance. A tedious attachment to control and good taste. An invitation to derangements. A principled approach that feels honest. 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The project has since developed into a roiling, unmistakable electric folk music— thunderstruck, light-swallowing guitar churning under whispered or howled poetry. \u003ci\u003eFontanelle\u003c\/i\u003e is Syko Friend’s second LP preceded by \u003ci\u003eProblem Child\u003c\/i\u003e (released by Mind Rider in 2014) and myriad self-released EPs and tapes. Over six years of tireless commitment to DIY touring and mutual aid, Weil has become a lynchpin of her music community in Los Angeles, organizing shows and releases for a multivarious and far-reaching cohort of friends under the banner of her Dove Cove Records. She is known for the heaviness of her sensitizing live shows, and has appeared as Syko Friend in underground clubs, community centers, basements, parking lots, forests and farms all over the USA.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eFontanelle\u003c\/i\u003e refers to the soft and undeveloped spot on an infant’s head. This record earns its title, vulnerable and tectonic as that closing gap in the skull. Willing to be cared for, side-eyeing utopia skeptically while partaking in the commune. Longing for love, communication and free food. The album finds Syko Friend irradiated, clarified, surfacing from out of shadow, hungry for fresh air and hell bent to bloom. Her rich and human voice turns patiently in the eye of a storm that rages just out of focus beyond the fragrant, rusted hull of her submarine sanctum. This is conspiratorial music, reminiscent at times of the squall of comrades Body \/ Head, the avant garde approach of Les Rallizes, the lucidity and understated power of Sibylle Baier.\u003cbr\u003e\u003ci\u003eLiberty,\u003c\/i\u003e the first track on \u003ci\u003eFontanelle\u003c\/i\u003e, was fleshed out on a west coast tour a couple autumns ago. It opens with an ill-boding siren of guitar swirl that establishes the space, when Weil’s voice arrives, it muses through NorCal-to-Los Angeles pastoral of weed farms, little towns of small cabins, migrating elk; lush, incredibly green, black sands and rocky edges, sun hazy with smoke from devastating wildfires. “…And I can drink the juice out from your broken glass \/ it’s heavy when the lights get low to recognize \/ and all to see the elk they kneel around me in a circle \/ that’s mother earth she’s standing with her smoking gun.” Here at turns are confession, incantation, direct address, damning accusation as Syko Friend calls forth what’s required.\u003cbr\u003e\u003ci\u003eFontanelle \u003c\/i\u003ewas tenderly recorded and mixed by Robert Cody and Evan Burrows\u003c\/p\u003e","brand":"Post Present Medium","offers":[{"title":"Black | LP","offer_id":50498670723403,"sku":"1085498","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/7085534a-0522-4689-93ee-d96aa1dffb56_thumbnail_4096.jpg?v=1727753008"},{"product_id":"america-4","title":"America","description":"\u003cp\u003eOtis Houston Jr. can frequently be found making art, performance, poetry and social commentary at his long-held spot in New York City at the entrance to the FDR drive at 122 Street. Over the years, he has come to occupy and claim this marginalized stretch of the FDR as gallery, studio, and public forum. Since 1997, following a period of incarceration and his mother’s death, Houston Jr. has set up shop weekly at this self-anointed soapbox under the Triborough Bridge, where he stages impromptu performances and displays an arrangement of signage, drawings, and found-object assemblages that critique racism, poverty and addiction, and also celebrate health, education, happiness, and freedom. As he says, “We not in the same boat, but we all in the water.” The works of Houston Jr., who calls himself “Black Cherokee,” are made primarily with discarded objects that he collects from the street and the dumpster at his job, and creates in his East Harlem apartment of 30 years, or in the basement of the office building where he works in Midtown Manhattan.\u003c\/p\u003e\u003cp\u003eHouston Jr. recorded the songs for \u003ci\u003eAmerica \u003c\/i\u003ein 3 locations around Harlem and the Bronx in 2006, the year the album was originally self-released on CD. Makeshift studios that no longer exist provide a telling context for his autobiographical storytelling. Prerecorded beats made by studio owners were picked based on which suited his cadence laden poetry best and often times on \u003ci\u003eAmerica\u003c\/i\u003e the songs repeat, with different lyrics, transforming themselves. Houston Jr., a raconteur and quick witted wordsmith has so much to say, that when there is a groove, he doesn’t want to let it go, but rather float around and experiment. Influenced by Sam Cooke, Otis Redding, Marvin Gaye and the like, his strong voice and natural ability to use slogans give this album a cunning stance. Juxtaposed by the highly visible time stamp of mid-aughts DIY R\u0026amp;B production \u003ci\u003eAmerica\u003c\/i\u003e sounds sometimes like worlds colliding, smooth improvisations, quick turnarounds and soul bearing truths.\u003c\/p\u003e","brand":"Post Present Medium","offers":[{"title":"Black | LP","offer_id":50498708963659,"sku":"1085497","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/d5df6446-9fc5-493a-b051-5886867ee8cc_thumbnail_4096.jpg?v=1727754749"},{"product_id":"human-snake","title":"Human Snake","description":"\u003cp\u003eP22 is a Los Angeles band formed in 2015 by Sofia Arreguin, Nicole-Antonia Spagnola, Justin Tenney, and Taylor Thompson. P22 borrows their name from the famed Los Angeles mountain lion who crossed both the 405 and 101 freeways to disperse in Griffith Park. Puma concolor number twenty-two. A band is always a utopian proposition. P22 is a prudent exercise in the collective rearing of offbeat protest tunes in punk's tomb. Think the intellect and political prowess of Crass, played by west coast punkers of the early SST variety.\u003cbr\u003e\u003cbr\u003eP22 has released three tapes, two self-released, and one released as part of Mike Kriebel's Beat Sessions. \u003ci\u003eHuman Snake\u003c\/i\u003e, P22's first EP, is a compilation of sanguine materials written between 2017 and 2019. \u003ci\u003eHuman Snake\u003c\/i\u003e was recorded and mastered during the summer of 2019 by Mike Kriebel, after the group's brief hiatus.\u003cbr\u003e\u003c\/p\u003e","brand":"Post Present Medium","offers":[{"title":"Black | 12\"","offer_id":50498800222539,"sku":"1090255","price":19.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/6fee6a01-da0c-4a87-9825-09fa088b0ac8_thumbnail_4096.jpg?v=1727757674"},{"product_id":"free-world","title":"Free World","description":"\u003cp\u003e\u003ci\u003eFree World\u003c\/i\u003e is the first full-length issue from an ongoing collaboration between Behavior (Bedros Yeretzian, Evan Burrows, Justin Tenney, Robbie Cody) and Mayako XO (Sara Gernsbacher). It was tracked between 2019 and 2020 and assembled over the course of the last year in Los Angeles. The album reflects its creation under open-ended yet intent circumstances. What’s recorded is a tangled pas de deux between discredited and demonstrative characters, singing through shifting voices over a living, melancholic music rendered legible by surveillance. For fans of Sonic Youth, Velvet Underground, Dead C, Blonde Redhead. \u003c\/p\u003e","brand":"Post Present Medium","offers":[{"title":"Black | LP","offer_id":50504668938571,"sku":"1144646","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/e2d84a3a-7e0c-4838-b496-43ea3ea87a9d_thumbnail_4096.jpg?v=1727808887"},{"product_id":"baby-laugh-baby-cry","title":"Baby Laugh \/ Baby Cry","description":"\u003cp\u003eBaby? are Erin Allen (Violence Creeps, High Castle) and Max Nordile (Preening, Violence Creeps, Uzi Rash).\u003c\/p\u003e\u003cp\u003eThis collaboration sprang from a singular epic recording session. “Even though we hang 11 times weekly, shouldn’t we remotely pile on overdubs ad infinitum for havoc injection?” Did they really say that? Did they really do all this on purpose? Punked-up no-wave improv skronk to get you going all night.\u003c\/p\u003e\u003cp\u003eFor fans of Wild Man Fischer, Minutemen, Electric Miles, Contortions, The Fugs, Preening.\u003c\/p\u003e","brand":"Post Present Medium","offers":[{"title":"Black | LP","offer_id":50505931981131,"sku":"1157755","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/0d63ca70-2cf9-4015-a0f1-d858457addba_thumbnail_4096.jpg?v=1727817899"},{"product_id":"ppm66","title":"PPM66","description":"\u003cp\u003eGen Pop started in Olympia, Washington in 2016. Four faces in the same mirror all with a different reflection. It’s not high-brow or low-brow but unibrow. Don’t bother making musical comparisons, speak instead in terms of the mood, which, for lack of a better term, may be described as “tense”. We’ve all had the feeling of careening headlong into a wall, eyes wide but seeing nothing, so you’ll know what to expect. \u003c\/p\u003e\u003cp\u003eSometimes the horrible paths we take will lead us to the mundane. It also feels as if we can be led to the same point to an ecstasy of truth and joy. After 2 E.P.’s and a handful of tapes Gen Pop uses all paths to create a unified sound. On \u003ci\u003ePPM66\u003c\/i\u003e their first full length, winding bass lines and vulnerable unaffected leads mark late 70s power pop sensibilities with the purity of enthusiasm that has come to be Gen Pop’s calling card. \u003c\/p\u003e\u003cp\u003e\u003ci\u003ePPM66\u003c\/i\u003e draws from all avenues of sound to create a paced out record that is looking for sonic utopia but sobers into an auditory hallucination. This record focuses on the person. Of course, in the time and space outlined by this recording we find the individual difficult to lock down. Defined by their paranoid tirades and meticulous hygiene, grocery lists and disheveled minds, the characters we meet oscillate between the familiar and the bizarre, often in the span of a single song. With dreamlike insubstantiality, they constantly morph and gyrate, their innumerable facets twinkling in the stark light of the examiner’s scope.\u003c\/p\u003e\u003cp\u003eFor fans of Swell Maps, Buzzcocks, Eddy Current Suppression Ring, Jay Reatard.\u003c\/p\u003e","brand":"Post Present Medium","offers":[{"title":"LP","offer_id":50513239146827,"sku":"1100212","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/e805ffc0-417a-4d77-81b9-c1246f04b947_thumbnail_4096.jpg?v=1727922450"},{"product_id":"think-differently","title":"Think Differently","description":"\u003cp\u003e\u003ci\u003eThink Differently\u003c\/i\u003e is the debut LP by the duo of Callahan and Witscher. Jeff\nWitscher has been one of the most daring voices in underground American\nmusic for two decades, highlighted by releases on Pan and NNA Tapes. Jack\nCallahan’s focused, uncompromising approach to sound caught the attention of\nboth Demdike Stare’s DDS label and Swiss composer Jürg Frey, who took\nCallahan on as his first composition student. Fans of their individual work might\nexpect opacity, disruption, or rhythmic irregularity from their collaboration, but \u003ci\u003eThink Differently\u003c\/i\u003e sounds like a pitbull in a convertible, a sand-kicking beach\nparty, the dopamine hit you get from 311 or Smash Mouth. It’s a punchy,\ncrunchy, highly infectious record. How did Callahan and Witscher cut the path\nfrom the ghostly margins of avant garde musics to the gutters of post-grunge\nAmerican hard rock? In the words of Callahan, “at some point, you start to need\na stronger drug.”\n\u003c\/p\u003e\u003cp\u003eThe most potent characteristic of this stronger drug is the guitar. And not just\nany guitar, but a sassy, contagious, blithe guitar. Its presence is a drastic shift\nfor two guys who’ve combined to make dozens of records over the years, not a\nsingle one of which has a recognizable guitar sound on it. Alongside the cool\nbreezes and hyperactive fretwork of Callahan’s guitar playing, the songs are\nbackboned by strutting, groove-happy vocals: all bark, all bite. Every song is a\ncareful collage, light but dense, ornate with gang choruses, soulful femme\nvocals, autotune and whisper scratches. This accumulation almost manages to\nhide the record’s potent undertow of dread.\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003eThink Differently\u003c\/i\u003e unfolds carefully, a slow-motion demolition that reveals the\nanxiety of second guessing, the exhaustion of tour, creative bankruptcy, willful\nmisunderstanding, the pain of caring. Setting this lyrical cynicism against such\nsonic glee isn’t a spoonful of sugar, it isn’t a bait-and-switch, it isn’t a prank.\nAfter all, the dumb bliss of Sugar Ray’s “Fly” shades a song about Mark\nMcGrath’s mom dying. “All Star” is about climate change. Most Sublime lyrics\nare a bummer. But there’s still room for a raised beer, for a dumb grin. Like\nthese ancestors, Callahan and Witscher aim at maximum uplift, at sounds that\nwarm and dazzle like a sped-up sunrise. In spite of overdraft fees, in spite of\nbad art, in spite of self-doubt.\n\u003c\/p\u003e","brand":"Post Present Medium","offers":[{"title":"Black LP","offer_id":50531581198667,"sku":"2208261","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Think_Differently_c498c6a2_thumbnail_4096.jpg?v=1728110017"},{"product_id":"decide-which-way-the-eyes-are-looking-2","title":"Decide Which Way The Eyes Are Looking","description":"\u003cp\u003eRIYL - The Durutti Column, Linda Perhacs, Penguin Cafe Orchestra, Judee Sill. Hello and welcome to Decide Which Way The Eyes Are Looking, the new record by Lina Tullgren. It is a deeply gorgeous intervention, a carefully ornamented dilemma, the most inviting crisis. Made with a host of Los Angeles musicians, Decide exposes Tullgren's daring and trust. Each song is a ring of curious sound: the skip of harp strings, the flutter of woodwinds, the ratchet of percussion, the euphonium's sigh. And at the center of each wreath, Tullgren sings, finding this space between Judee Sill and Sam Jayne. It's a tone that signals weariness, but a weariness hand-in-hand with tenacity. There's a clarity, a kind of immovability. Lina Tullgren's first record came in 2016, a homemade, under-the-skin set of laments. Subsequent LPs and constant touring cemented Tullgren's reputation as a composer of \"wide-eyed wonder paired with a resonant despair.\" 2019's Free Cell showed Tullgren lingering in the margins of their songs, finding places both aloof and spare. Floodgates opened; Tullgren spent the subsequent years exploring deep listening, improvised music, and extended technique. They developed a patience and faith in cooperation that ranged at the far edge of song. Collaborations with Mayo Thompson and Claire Rousay furthered this development. This was not a break with the past for Tullgren, rather it was an opportunity to see how far a song could go. And from that distance, deep in a landscape of drone and tension, Tullgren returned to the bright vulnerability of a lyric and a hook. Weaving together the affective and the radical, Tullgren took the quiet isolation of a shoreline cabin to write the songs that would become Decide Which Way The Eyes Are Looking. For Tullgren, Decide is a culmination of all the work they've done throughout their life: the melodic, the dense, the confessional, the unknowable. It's also a tribute to collaboration. Describing the sessions as having \"a lot of space and a lot of ease,\"\" Tullgren invited musicians from a vast field of songmaking to play on the recording: Leng Bian, Zach Burba, Luke Csehak, Corey Fogel, Jenny Hirons, Tara Milch, Tim Ramsey, Michael Sachs, Jude Tedaldi, Marta Tiesenga and Ben Varian. Jonny Kosmo's backhouse was offered as a cozy, easygoing space for the players to create their parts together, and the record was completed by Tullgren and Luke Csehak together at their Los Angeles home. In Tullgren's words: \"I feel really strongly that this album is a portrait of the community I found in Los Angeles.\" Decide Which Way The Eyes Are Looking is a quiet masterpiece: a generous, memorable journey. It is the result of five years of labor, the product of abandoning the pop song entirely and starting over. 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Made with a host of Los Angeles musicians, Decide exposes Tullgren’s daring and trust. Each song is a ring of curious sound: the skip of harp strings, the flutter of woodwinds, the ratchet of percussion, the euphonium’s sigh. And at the center of each wreath, Tullgren sings, finding this space between Judee Sill and Sam Jayne. It’s a tone that signals weariness, but a weariness hand-in-hand with tenacity. 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Nothing withers away full speed ahead, here comes Semi Trucks with \u003cem\u003eGeorgia Overdrive.\u003c\/em\u003e Across 10 tracks, Brenden Sepe (guitar and vocals) Finn Beard (guitar and vocals), Bronwyn Bradshaw (bass and vocals) and Ian Collins (drums), craft their pop morale with a crude underpinning. An ever ending daisy chain. Shackled loosely in big blue, in the wide open sun stained streets, in a garage on Lexington, in the small bars where everyone acts like stars. 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Rocking back and forth as they sing barefoot, sprawled out in a grass field clutching a summer hits floppy disc. Moments pass you with an air of Velvets or Sonics to the late 80’s SST rockers Opal, or down the way, sometimes recalling indie expressionists Summer Hits to culminate in a tenderness and noise wrangling that is homegrown in their native city of Los Angeles. This being the first Semi Trucks album with a full band line up (Sepe released \u003cem\u003eVs California\u003c\/em\u003e as a solo bedroom effort in 2021), they went hard and took great care to strike with depth and precision, weaving feedback and sugar-coated hooks. Sepe’s effortless vocal melodies dance with the breathy delivery of Bradshaw’s. The interplay and volleying is effortless as the record unfolds to reveal deeper revelations. A wildfire. Cracked ceramics. Orange and pink flakey chrome in a can. Blissful underpinnings, darker than the night, full speed ahead, nowhere to turn off.\u003c\/span\u003e\u003cbr style=\"caret-color: rgb(96, 96, 96); color: rgb(96, 96, 96); font-family: Helvetica; font-size: 15px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Post Present Medium","offers":[{"title":"LP - Black","offer_id":51333962236235,"sku":"R7221-8463","price":23.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2cf79f4c-2406-763b-6cc3-07ab3cf46256.png?v=1740488566"},{"product_id":"musical-attack-communist-anarchist-friendship","title":"Musical Attack: Communist + Anarchist Friendship","description":"\u003cp\u003eUnderground flower punks deliver to the world an infectious grouping on 7 Inches. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMusical Attack: Anarchist + Communist Friendship\u003c\/em\u003e was recorded by Joe Nelson at D4MT Labs, and has art by DIY maven of the midwest Diyana Shipp, depicting a possible near-future community centre that already exists.\u003cbr\u003e\u003c\/p\u003e","brand":"Post Present Medium","offers":[{"title":"7\" - Black","offer_id":52063572033867,"sku":"R4166-1138","price":11.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a1290188586_10.jpg?v=1749722705"},{"product_id":"dizzy-magic","title":"Dizzy Magic","description":"\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003c\/em\u003e\u003cspan\u003e\u003cem\u003eDizzy Magic \u003c\/em\u003eis Sophie Weil's fourth LP as Syko Friend, the solo guise that's codified her output through a decade-plus of operations in the latter-day USA underground—itself a classification so vague and genre-blurred that it'd be almost meaningless if not for the way Weil's project has done continuous honor to certain clarifying commitments: guitars and amps, feedback and lyrics, free composition and locked-in songcraft. In its twin entanglements with tradition and experimentation, its richly organic sonic palette, and its effortless intimacy, the music of Syko Friend is instantly recognizable. Put one of her records on and you get it.\u003c\/span\u003e\u003c\/p\u003e","brand":"Post Present Medium","offers":[{"title":"LP - Black","offer_id":52915453526347,"sku":"R0890-9711","price":19.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/4441366-3414998.jpg?v=1752636869"},{"product_id":"grave-new-world","title":"Grave New World","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eChris Hontos and Aaron Anderson do business both as Nuke Watch and as their sampled-based cousins, Beat Detectives. The Detectives are what The Beatnuts might make on an experimental dissociative drug protocol, while Nuke Watch is a free improv band that doesn't feel the need to squeak and believes in pleasure. Nuke Watch's new album, \u003cem\u003eGrave New World\u003c\/em\u003e, is their tenth since beginning the project in 2020. This music dips, collides, and spills out of a bag, the sound of an electric world mulching itself. Modular synths spread like cordyceps through rooms full of bass and saxophone and hand drums, leaving behind a new, infested space: glowing, safe, and freaked. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis music was played by instruments, a chunk of it done entirely live. Most tracks are Hontos and Anderson playing with one or two others, meaning most of these are trio recordings. It's tempting to call Grave New World fusion, though that doesn't quite work. Otto Willberg's bass playing is accomplished enough to summon giants like Percy Jones and Jaco, and Leonard King approaches the bass a bit like someone in Fela's Africa 70. The three processed wind instruments—Zack Stafford on processed flute, Christopher Farstad on MIDI wind instrument, and Cole Pulice on processed saxophone—bring the music into adjacency with jazz, though none of the band's music ends up feeling much like jazz. Outtakes from Star Wars foley bank? Touch-sensitive multimedia greenhouse exhibit overtaken by kindergarten class? 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Made from free phone apps, fractured youtube videos, and cracked-screen electronics—the scorched and crumpled sediment of the streaming-industrial complex—Loose Jacks is the wide, hysterical grin of finding treasure in the end days. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFlaccid Mojo’s songs are built for live performance, with a modular arsenal of rhythms, stabs, and payoffs all at the ready. It’s their way of centering the physical; of ensuring the bodily dictates of each song’s composition reassert these commands on everyone in the audience. The satisfaction of a loop that runs until it’s in your blood, the bassline sculpted into a shove, the snare hit as sharp as a stranger’s elbow. You can feel like a ghost passing through some other band’s record, but Loose Jacks is all brick wall, weighted blanket, strong hands launching you atop a pile of bodies. It’s a liberatory, unspiritual experience. A carnal one. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAs with their debut LP, Flaccid Mojo (released 2022 by Castle Face), Loose Jacks was recorded by Chris Coady, whose been at Black Dice shows since the nineties. It’s good to work with people who get it, who aren’t going to argue about key or “the grid. ” Similarly, Loose Jacks was mastered by Sarah Register, whose band Talk Normal shared a wall with the Black Dice practice space. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFor fans of Chrome, Men’s Recovery Project, and the Chemical Brothers.\u003c\/span\u003e\u003c\/p\u003e","brand":"Post Present Medium","offers":[{"title":"LP - Black","offer_id":56109296288075,"sku":"R9297-5085","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/0784300942290_jpg.webp?v=1765641084"},{"product_id":"control-you-are-not-the-center","title":"Control \/ You Are Not The Center","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eAt a recent Dream_Mega performance, Joel Kyack stood alone on stage, directing a lava flow of sound at the audience. Overwhelmed by the haunted-house frequencies, the invasive rhythms, the untethered, untuned vocals, one attendee bent against another to whisper, “I think this guy’s channeling demons.” Whether spoken in terror or esteem, this accusation is useful in the face of Dream_Mega’s second LP, C\u003cem\u003eontrol \/ You Are Not the Center\u003c\/em\u003e. The record is laced with menace. You hear it in the mutant war marches, in the dancehall reflux, in the tolling bass. You hear it in the crystalline melodies and the yearning ascensions. You even hear it in the Guided by Voices cover. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eJoel’s relationship with unsettling sound—demon channeling—is now decades long. His long-standing service in Landed, the band he co-founded in 1997, runs parallel to Joel's contributions to Six Finger Satellite, Men’s Recovery Project, Megafuckers, Dos Mega, and Street Buddy. This relentless dedication points a straight line to the feverish decay of his present day work, but Dream Mega stands distinct. Borne out of Joel’s near-death experience in 2020—a debilitated week spent isolated in Thailand, coughing blood and drenching bedsheets - Dream_Mega  commandeers a unique space at the overlap of confrontation and abandon. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eDrawing on his own experiences at both hardcore shows and at street performances, Joel pushes Dream_Mega into an antipodal state where hyper-awareness and liberatory transcendence coexist. The songs on \u003cem\u003eControl \/ You Are Not the Center \u003c\/em\u003estare unblinking at our dumb, dangerous world the same way a Dropdead song might, but they simultaneously lift the burden of this disaster, pushing toward airy respite. Some of this is Joel’s compositional approach, setting ancient woodwinds against digital synthesizers, crossing unnatural circuitry with human breath. But the heart of it is Joel’s dire, middle-of-the-night need to address his fear and sadness and glimmers of hope and twist it into something that might keep his heart beating, despite. It is an act of clarity and self-preservation so skillfully wrought that every listener is able to feel the demons at work on their own heart.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cem\u003eControl \/ You are Not The Center\u003c\/em\u003e features sonic contributions from Ryan Weinstein (Coffin Prick), Cordey Lopez, and Lisa Anne Auerbach. 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The post-NZ glory pop of Barbara Manning's SF Seals is in here, as is the dense swirl of Rain Parade. Expertly recorded at Suddenly Studio by Emily Robb, mixed by Evan Mersky, and mastered into full cohesion by Sarah Register, the whole thing sounds loud and proud. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSince the completion of this wonderful slab, Miranda and Elijah have moved on to Indiana where a new lineup has fortunately been discovered. But an even happier ending is that this particular crew is not done playing together, and hopefully this miserable world will still exist long enough to witness some east coast tour action in the summer of 2026. 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Listening to this record is like peering through the keyhole into the practice space, encountering a riot of color and experimentation, peppered with peals of laughter.  Debt Rag are laughing — no, not at you, but also not with you. Debt Rag are only concerned with Debt Rag and the joyful noise that comes from making music with your most generative collaborators. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThese songs contain possibility, and not in the abstract. What is the tonal range of a single cymbal? How many different vocalizations can three people make? What is the emotional potential of a trumpet? Debt Rag both asks and answers. Their music is far ranging, totally free, but never self-indulgent. Whether continuing in the trio’s long-standing tradition of anti-society anthems (“Gary’s World,” “Syzygy”) or collaging the detritus of a band practice (“Drumbo 2,” “Smartest Musicians”) these are careful compositions with thrilling logics of their own invention. 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