Indie Exclusive Releases

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Insane Clown Posse
Celebrating the release of Insane Clown Posse's 15th studio album 'Fearless Fred Fury,' the band unleashes a blind box of 3" singles featuring the songs "Red Fred," "Low," "West Vernor Ave," along with the previously unreleased song "Revenge." Each record has its own individual color and every blind box comes with a collector's Insane Clown Posse poster. 
The four available editions are: 
- Low (Green Record)
- Red Fred (Red Record)
- Revenge (unreleased) (Blue Record)
- West Vernor Ave (Yellow Record)
Order 4 Insane Clown Posse 3” records and guarantee yourself all of them while supplies last!
Plays on the RSD3 mini turntable, available for sale in-store!
Insane Clown Posse
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All Time Low

Commemorating the label’s 25th anniversary, this Hopeless Records blind-box pack is a tiny sampling of their eclectic catalog and a celebration of their history. Featuring pop-punk and alt rock hits from All Time Low, Neck Deep, The Wonder Years, and Stand Atlantic, this marks the first time these songs are available on 3" vinyl. Each release includes a fold-out poster and is limited to 1,000 copies.

Here's what's available in a blind box:

- All Time Low: So Wrong It's Right
- Neck Deep: Can't Kick Up the Roots
- Stand Atlantic: Skinny Dipping
- The Wonder Years: Sister Cities

Order 4 Hopeless Records 3” blind boxes and guarantee yourself all of them! While supplies last. 

Plays on the RSD3 mini turntable, available for sale in-store!

All Time Low
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Johnny Cash

In 1952, Sam Phillips founded the legendary Sun Record Company and throughout the '50s changed the course of music with artists like Johnny Cash, Jerry Lee Lewis and Elvis Presley. In 1969, Shelby Singleton, a music executive who ran, with his brother John, a stable of labels in Nashville, took ownership of Sun and the Singleton family continues to guide the legacy of Sun Record Company to this day. To mark the golden anniversary of Sun Record Company's move to Nashville with the Singletons, we're happy to present this RSD3 special collection of iconic tracks from the Sun vault, sized just right for a hit of rock 'n' roll!

Johnny Cash, born J. R. Cash, (February 26, 1932 – September 12, 2003) was a Grammy Award-winning American country singer-songwriter. Cash is widely considered to be one of the most influential American musicians of the 20th century. "Cry! Cry! Cry!" was originally released in 1955 as the b-side to "Hey, Porter."

Plays on the RSD3 mini turntable, available for sale in-store!

Johnny Cash
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Roy Orbison

Roy Orbison

Devil Doll (3 inch)

New 3" Vinyl: $9.99 Buy

In 1952, Sam Phillips founded the legendary Sun Record Company and throughout the '50s changed the course of music with artists like Johnny Cash, Jerry Lee Lewis and Elvis Presley. In 1969, Shelby Singleton, a music executive who ran, with his brother John, a stable of labels in Nashville, took ownership of Sun and the Singleton family continues to guide the legacy of Sun Record Company to this day. To mark the golden anniversary of Sun Record Company's move to Nashville with the Singletons, we're happy to present this RSD3 special collection of iconic tracks from the Sun vault, sized just right for a hit of rock 'n' roll!

Roy Kelton Orbison (April 23, 1936 – December 6, 1988) was an American singer, songwriter, and musician, known for his emotive singing style, earning him nicknames like "the Caruso of Rock" and "the Big O". Orbison was signed to Sun Record Company in 1956 by Sam Phillips. "Devil Doll" was originally released in 1957 as the b-side to "Sweet And Easy To Love."

For use on the RSD3 mini turntable, available for sale in-store!

Roy Orbison
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Jerry Lee Lewis

In 1952, Sam Phillips founded the legendary Sun Record Company and throughout the '50s changed the course of music with artists like Johnny Cash, Jerry Lee Lewis and Elvis Presley. In 1969, Shelby Singleton, a music executive who ran, with his brother John, a stable of labels in Nashville, took ownership of Sun and the Singleton family continues to guide the legacy of Sun Record Company to this day. To mark the golden anniversary of Sun Record Company's move to Nashville with the Singletons, we're happy to present this RSD3 special collection of iconic tracks from the Sun vault, sized just right for a hit of rock 'n' roll!

Jerry Lee Lewis (born September 29, 1935), also known by the nickname The Killer, is an American singer, songwriter, and pianist. An early pioneer of rock and roll music, Lewis was inducted into the Rock and Roll Hall of Fame in 1986. "Great Balls of Fire" was originally released in 1957.

To be played on the RSD3 mini turntable, available for sale in-store!

Jerry Lee Lewis
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Carl Perkins

Carl Perkins

Honey Don't! (3 inch)

New 3" Vinyl: $9.99 Buy

In 1952, Sam Phillips founded the legendary Sun Record Company and throughout the '50s changed the course of music with artists like Johnny Cash, Jerry Lee Lewis and Elvis Presley. In 1969, Shelby Singleton, a music executive who ran, with his brother John, a stable of labels in Nashville, took ownership of Sun and the Singleton family continues to guide the legacy of Sun Record Company to this day. To mark the golden anniversary of Sun Record Company's move to Nashville with the Singletons, we're happy to present this RSD3 special collection of iconic tracks from the Sun vault, sized just right for a hit of rock 'n' roll!

Carl Perkins (April 9, 1932 – January 19, 1998) is best known as the writer and original singer of rockabilly anthem "Blue Suede Shoes". Perkins was one of the seminal rockabilly artists on Sun Record Company, creating a body of work that has been both critically acclaimed and extremely influential. "Honey, Don’t!" was originally released in 1956 as the b-side to Blue Suede Shoes.

To be played on the RSD3 mini turntable, available for sale in-store!

Carl Perkins
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Baroness
Grammy-nominated exploratory rock band Baroness return with their most ambitious work to date, fifth album Gold & Grey. Set for release on the band's own Abraxan Hymns, Gold & Grey spills triumphantly past genre barriers, their anthemic alt-metal hooks ricocheting between the circuitous twists of prog and jazz, the moody swirls of space-rock and noise, and the hypnotic pulses of trip-hop and 20th Century minimalism.
 
"This is the most clear representation of the artistic vision I have for the band that we've ever done," says Baroness vocalist, guitarist and founder John Dyer Baizley. "I'm surprised that we got as far with it as we did."
 
Baizley sees the diverse, adventurous album as a "lateral step" from the streamlined, immediate guitar-rock of the band's last release, Purple, championed by Rolling Stone, Pitchfork and L.A. Weekly as one of the best metal albums of 2015. Gold & Grey works like a melodic puzzle, melodies and harmonic ideas borrowed, repurposed and reinterpreted across three sides of vinyl. Lyrics are full of sonic Easter eggs; unorthodox prog is hidden inside the most accessible songs; tunes emerge from swirling chaos and dense layers of sound. The album is given color by strings, glockenspiel, tubular bells, piano, synthesizers and even field recordings of the chaos after a transformer blew up outside of the recording studio.
 
"The term I kept using was that I wanted to create something that was more kaleidoscopic than our former records," says Baizley, who embraced the wide lens and limitless journeying of artists like Pink Floyd, Neurosis, Massive Attack and Scott Walker. "We were trying to say something new with our instruments, with our sound intact, with the spirit of the band intact, but not applying the typical conventions when possible."
 
For the first time ever, there's a spotlight on Baroness' powerhouse rhythm section – driving-and-spilling drummer Sebastian Thomson (Trans Am, Publicist) and jazz-honed bassist Nick Jost. Bustling with rhythmic complexity, the band occasionally swerves into highways of math rock, post-rock, krautrock and various strains of electronic music. In addition, the band has absorbed Gina Gleason, a gifted guitarist whose résumé includes playing with Cirque du Soleil in Las Vegas and jamming with both Smashing Pumpkins and Carlos Santana. Gleason's voice harmonizes with Baizley and Jost, bringing new tone to the band.
"It's great for me to have such a full-bodied trust in the other musicians in the band because they play at such a high level," says Baizley. "I never, ever in a million years thought I'd play with musicians of that caliber and now I'm surrounded by them."
 
Like Purple, the band recorded with prismatic, Grammy-winning producer Dave Fridmann (Flaming Lips, MGMT, Mercury Rev) at his Tarbox Studios. "There were so many split second decisions and just weird ideas that got used," says Baizley. "I credit Dave for a lot of this because he was never one to say 'No, that's insane.' It was like almost the more out there the idea, the more likely he was to encourage it to be developed and grown.”
 
"We went outside, in front of Dave's studio, on one of his off days, we miked up a wooden post and hammered a nail into it," says Baizley. "There's so much hidden in there. There's also some audio samples of some of my friends. I literally did the Pink Floyd thing. I set up a little booth in my basement. I said, go down there, you got five minutes, tell me the toughest thing you want to tell me. And boy, it was tough to listen to. I pulled those quotes, effected them and they popped into one of the tracks."
 
Lyrically, Gold & Grey plumbs similar depths of emotion. On previous albums, Baizley has sung boldly and openly about his mental health and the recovery process from the traumatic bus accident the band and their crew suffered in 2012.
 
"Where Purple was me lyrically trying to work out how to adjust to a new normal, I think Gold & Grey is a more grown-up and more subtle collection of words that reflect how I am trying to deal with the longer term effects of having experienced so many terrible things," says Baizley. "There's a mental component. There's a physical component. I choose to use the band as a place where I can take all of this stress, pain, anxiety, all these realities, and make them something good."
 
Nearly 15 years since releasing their first EP, Baroness are finding a way forward by reveling in chaos.
 
"We'd listen to playback and there was a general sense of confusion," says Baizley of the Gold & Grey sessions. I couldn't figure out how Gina was making that sound. I didn't understand how the rhythm that Nick and Sebastian were playing worked with what I was doing – but it did. It was a really exciting to feel like we were maybe on the edge of just falling apart. We didn't want to know what was going on. We wanted to be always a little bit surprised by ourselves."
Baroness
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Pokey Lafarge

'The man singing these songs isn't exactly the same man who wrote them,' says Pokey LaFarge of Rock Bottom Rhapsody, his eighth and latest studio release. 'This album is about the story of who I used to be.' In early 2018, LaFarge ' searching for the sort of artistic freedom and inspiration he wasn't finding in the Midwest ' relocated from his longtime home base of St. Louis, Missouri, to Los Angeles, California. New songs came quickly to LaFarge in his new environment, but new temptations soon found him, as well. Though he declines to get into specifics, LaFarge admits that he experienced a significant 'fall from grace' during the last months of 2018. 'Things sort of started to unravel in my mind,' Shortly before the recording of Rock Bottom Rhapsody began, LaFarge experienced a spiritual awakening ' and the faith he re-embraced in his hour of darkness helped to buoy him through the making of the album. Though he was struggling for spiritual equilibrium at the time, LaFarge at least had some rock-solid musical support to lean on. Recorded primarily at Reliable Recorders on Chicago's Northwest side, Rock Bottom Rhapsody was produced by LaFarge's friend and collaborator Chris Seefried (who also co-wrote several of the album's tracks), and features the considerable talents of guitarist Joel Paterson, keyboardist Scott Ligon, upright/electric bassist Jimmy Sutton, and drummer Alex Hall. Musically, LaFarge continues to mix and match a wide variety of styles and traditions, while never losing track of his own vision This record is kind of like Roy Orbison and Bob Dylan hanging out with chanson singers and French jazz bands in like the forties, but I was never trying to make it sound like a particular person. Despite the trying period that preceded its recording, Rock Bottom Rhapsody is ultimately far more uplifting and life-affirming than its title would suggest. 'That desperation, that struggle,' LaFarge ponders, 'Did it add something to the record? It certainly did. I mean, I don't know if it made it better; it just is what it is. It's not up to me to decide if people are going to feel that'

Pokey Lafarge
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Thundercat

Thundercat is set to release his new album It Is What It Is on Brainfeeder Records on April 3, 2020, and shares the first music; 'Black Qualls (featuring Steve Lacy and Steve Arrington). The album, produced by Flying Lotus and Thundercat, features musical contributions from Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, Steve Lacy, Steve Arrington, BADBADNOTGOOD, Louis Cole and Zack Fox. It Is What It Is follows his game-changing third album Drunk (2017). That record completed his transition from virtuoso bassist to bonafide star and cemented his reputation as a unique voice that transcends genre. 'This album is about love, loss, life and the ups and downs that come with that,' Bruner says. 'It's a bit tongue-in-cheek, but at different points in life you come across places that you don't necessarily understand' some things just aren't meant to be understood.'

Thundercat
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M. Ward

Indie retail exclusive colored vinyl - OPAQUE WHITE. "It was in winter 18/19 - I flew to Montreal to meet with Tim Kingsbury, Richard Reed Parry, Craig Silvey and Teddy Impakt at Le Studio Du Arcade Fire. It was a fine time with a dream team in a city I love. Winter in beautiful Quebec. Les semaines les plus froides de ma vie.

I had a bunch of demos that were inspired by migration stories I had heard from friends or read in newspapers while on tour in Europe and North America. I remember being struck by the similarities of the stories I heard from both continents and how really only the names of the powerful and the powerless had changed - thinking, "Is this the future? Is this our future?" Some time went by, the stories wove together and I remember them now closer to characters in a dream of how people could treat each other than any kind of front-page news realism. I think music subconsciously - whether writing or listening - is a filter for me - helping to process all the bad news into something new to build from - some records to me are like self-fulfilling prophecies - visualizing change to wish something into being - those records inspired this one." - M. Ward

M. Ward
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