Engineered by Randall Dunn at Aleph Studio. Art work by Alison Scarpulla, Aaron Turner, and Faith Coloccia.
Guest vocals by Jessika Kenney, Aaron Turner (ex-Isis), and Faith Coloccia (Mammifer)

Mega Bog is the fluid musical moniker of songwriter Erin Elizabeth Birgy, who has spent the last ten years channeling, capturing, and releasing her unique bouquet of fragrant, sci-fi pop experiments with a handful of bicoastal collaborators. She is joined on her fifth and finest album (and first for Paradise of Bachelors) by members of Big Thief, Hand Habits, and iji, who help her spin a manic web of emotions into beautiful, abstract future poems and thrilling genre perversions.
Mega Bog has visited a significant portion of the Western world, frequently looping the USA and Europe to sing in tiny art spaces and haunted historical theatres alike. The live concerts are known for their emotional unpredictability. The title of Mega Bog’s newest album Dolphine is inspired by a myth that suggests that, as humankind evolved from sea creatures, some individuals chose not to leave the water and walk the earth, but rather to stay in the ocean and explore the darkness as dolphins. (The extra “e”

Brad Mehldau's Finding Gabriel will be released on Nonesuch Records on May 17, 2019. The album comprises nine thematically related songs by Mehldau and features performances by him on piano, synthesizers, percussion, and Fender Rhodes, as well as vocals. Guest musicians include Ambrose Akinmusire, Sara Caswell, Kurt Elling, Joel Frahm, Mark Guiliana, Gabriel Kahane, and Becca Stevens, among others. Full track listing and credits are below.
Mehldau explains, "Finding Gabriel came after reading the Bible closely for the last several years. The prophetic writing of Daniel and Hosea resonated in particular, as well as the wisdom literature of Job and Ecclesiastes, and the devotional words of Psalms. The Bible felt like a corollary and perhaps a guide to the present day—one long nightmare or a signpost leading to potential gnosis, depending on how you read it. The archangel Gabriel appeared to Daniel, telling him, 'At the beginning of your pleas for mercy a word went out, and I have come to tell you, for you are greatly loved. Therefore consider the word and understand the vision.' It seemed that the trick was to listen to Gabriel's words through all the noise and find a way to explain the bedlam, not only to oneself, but to a young person with less of a reference as to what is right-side up—perhaps one's own children.
"In this upside down state of affairs, the prophet is a fool: 'The man of the spirit is mad, because of your great iniquity and great hatred,' Hosea says. He meant that the prophet indeed speaks the truth, but no one believes it anymore—it's all fake news, no matter on which side of the fence you are standing. There is a temptation to make it all go away and escape into even more distraction, but this is only temporary refuge and leads one further into a matrix of falsehood. Eventually one comes up for air with more confusion and maybe even despair. With all the supposed connectivity, it seems that we are more separated from each other than ever, submerged in the deep water of unhappy solitude. Where to turn for the truth? Ask, with a humble heart, listen deeply, and the answers will come.
"The music initially sprang out of a new synth I was discovering—the Dave Smith/Tom Oberheim OB-6 featured on several tracks," Mehldau continues. "I built up many of the tracks beginning with synths and Mark Guiliana on drums, in a process similar to our previous collaboration, Taming the Dragon. Layers were added, and the human voice became an important element—not with text, but as a pure expression of harmony and emotion. I worked with singers I've admired and been close to over the past several years—Becca Stevens, Kurt Elling, and Gabriel Kahane—and sang myself as well. Strings and winds were added and the project became more orchestral, with features from stellar musicians: trumpet player Ambrose Akinmusire, tenor saxophonist Joel Frahm, and violinist Sara Caswell.
"A new experience for me on three of the tracks was to go the opposite as well—doing everything as a one-man band. Both the collaborations and solo flights were a learning experience and full of discovery. John Davis, who engineered and mixed the record, was an integral player from beginning to end at Bunker Studios in Brooklyn, creatively contributing to the sonic landscape and finally putting all the pieces together."

Transparent Vinyl Limited Edition.
Barcode (Scanned): 4050538469653

Lovesick by Tennis System, releases 06 September 2019
1. Shelf Life
2. Cut
3. Alone
4. Esoteric
5. Deserve
6. Fall
7. Third Time
8. Rotting Out
9. Turn
10. Cologne
11. Come Undone
12. Lovesick
Lovesick finds Tennis System channeling years of determination, frustration, and musical and personal growth into a collection of songs that achieve the band's full potential and chart new sonic
territory. Made up of Matty Taylor (guitar/vocals), Sam Glassberg (bass), and Garren Orr (drums) Tennis System are a power trio with an emphasis on power, capable of conjuring a storm of noise and melody that would make Kevin Shields proud. While uncertainty and self-doubt are common
lyrical themes on Lovesick, there's also conviction--the desire to make the most of the time we have and follow the most fulfilling path, even if it's an unconventional one.

Chelsea Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that somber beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key components. As a result, her solemn majesty and ominous elegance are more potent than ever on new album Birth of Violence.
There is a core element to Chelsea Wolfe’s music—a kind of urgent spin on America’s desolation blues—that has been present throughout her career. “I’ve been in a state of constant motion for the past eight years or so; touring, moving, playing new stages, exploring new places and meeting new people—an incredible time of learning and growing as a musician and performer,” Wolfe says of the era leading up to Birth of Violence. “But after a while, I was beginning to lose a part of myself. I needed to take some time away from the road to get my head straight, to learn to take better care of myself, and to write and record as much as I can while I have ‘Mercury in my hands,’ as a wise friend put it.“
Birth of Violence is the result of this step out of the limelight. The songs stem from humble beginnings—little more than Wolfe’s voice and her Taylor acoustic guitar. Her longtime musical collaborator Ben Chisholm recorded the songs on a makeshift studio and helped fill them out with his modern production treatments and the occasional auxiliary flourish from ongoing contributors Jess Gowrie (drums) and Ezra Buchla (viola).
“These songs came to me in a whirlwind and I knew I needed to record them soon, and also really needed a break from the road,” Wolfe says. “I’ve spent the past few years looking for the feeling of home; looking for places that felt like home. The result of that humble approach yields Wolfe’s most devastating work to date.

Norman Fucking Rockwell is the sixth studio album and fifth major-label record by American singer Lana Del Rey, set to be released in early 2019.[1][2] The lead single, titled "Mariners Apartment Complex", was released worldwide on September 12, 2018, and the album title was announced on September 18, 2018.

Hotel Neon is a trio from Philadelphia, which has appeared on these pages [and hopefully on your rotations] ever since their self-released and self-titled Hotel Neon debut in 2013. The album has been subsequently picked up by Home Normal, with the band’s followups, Remnants (2016) and Context (2017) appearing on Fluid Audio, and migration with Means of Knowing (2018) to Agustín Mena’s (aka Warmth) Archives imprint. For their latest release, titled Vanishing Forms, the trio returns to Archives, with eight ambient atmospheres that blanket a spinning mind. The vastly spanning and highly textured pieces drown all anguish and polish the sharp edges of that troublesome thought. Listening to this music is like opening your eyes on the beach facing a boundless ocean, with an intense realization that at this moment all is real and everything else is just product of a projected and forever fueled in worry ego. This is how things truly are… And if you don’t have the luxury of an ocean near your dwelling, at least you can reflect on the presence in your headphones, with Hotel Neon spraying all the vapours of their waves.

While a reunion record titled Memory may conjure images of a band waxing nostalgic about the halcyon days of yore, Vivian Girls’ newest record is anything but a pleasant reminiscence. The latent darkness that always haunted their records is on full display upon their return. Vivian Girls are back and they haven’t forgotten what they went through.
During their initial run as a band, Vivian Girls were a band of outsiders for outsiders. They existed in warehouses and house parties. The DIY spots, the small clubs. They were a band for the freaks, the malcontents. The ones who loved The Wipers as much as Burt Bacharach as much as The Shangri-Las. The ones who talked about astrology and politics and romance with equal passion. They were the band that made the punks feel like they could sing harmonies and pop fans could get in touch with their anger. Cassie Ramone’s lyrics alternated between love, loss and rage. They were heart-on-their-sleeves romantics in one breath and a spiraling explosion of feedback in the next. They were a band that we needed. No one wrote about all the bands that started in their wake in 2009. But let us remember: Vivian Girls not only gave us their songs; they gave us a chance to believe in ourselves.
And they were a band that made the indie gatekeepers uncomfortable. And so they were ones that paid for what made them special. Since their time as a band, the comment threads that demeaned and threatened them with violence have since been deemed irresponsible and removed. Websites dedicated to their bodies under the cheap veil of irony have been shuttered. One would hope that today, major music publications would no doubt reconsider having a male reviewer question their “place in indie rock.”
After their third album -- 2011’s Share the Joy -- the members of Vivian Girls parted ways and the band who had known each other since they were teenagers, went about the business of living. Katy Goodman and Ali Koehler both moved to Los Angeles, continued making music (La Sera for Goodman, Best Coast and Upset for Koehler) and started families. Ramone continued to make art in Brooklyn, released two solo records and two full-lengths with Kevin Morby as The Babies, and moved to Los Angeles in 2018 after a phone call with Goodman spurred the idea of playing music together again.
With Ramone and Goodman on board, Koehler (the drummer for Vivian Girls’ second full-length Everything Goes Wrong) re-joined the band and the trio began playing together again during the spring of 2018, keeping the practices a secret and enjoying the simple communion of playing together. By fall, the members of Vivian Girls were ready to enter the studio and over the course of two sessions in mid-September and Halloween week, Memory was recorded with producer Rob Barbato (Kevin Morby, The Fall). (Please note that during the September session, there was a waxing moon in Scorpio/Sagittarius, sun in Virgo, while during the October session, there was a full moon in Taurus, sun in Scorpio.)
Memory is an album filled with personal reflections on toxic relationships, the false promise of new love, mental health struggles, and finding ways to accept oneself amidst it all. And of course, there is the trademark mystery that set the band apart during its first incarnation. Even when we don’t know what exactly a Vivian Girls song is about, we know it is true.
Fittingly, the sonic textures of the album match this sense of desperation and longing. It’s a loud, snarling journey and there’s a sense of streamlined direction and intensity to the performances: it sounds like a band returning to a core idea of itself.
In the end, Vivian Girls have returned to making music together, looking to the future while bringing their past along with them, boldly and without apologies. And so let us listen and remember: we can still believe in ourselves.

The Peyote Dance, by Soundwalk Collective with Patti Smith, is the first in a triptych of albums, collectively titled The Perfect Vision, to be released over the next year. Each take their inspiration from the writings of three emblematic French poets: Antonin Artaud, Arthur Rimbaud and René Daumal, and their necessity to travel to different lands to acquire a new vision and perspective on themselves and their artwork. Recorded in the Sierra Tarahumara of Mexico, The Peyote Dance, retraces Artaud's footsteps. The album's opening, recited by Gael Garcia Bernal, evokes the summer he traveled by train towards the Chihuahua region, and by horse to the Tarahumara mountains with the help of a mestizo guide. One of Artaud's goal was to find a peyote shaman who could help him recover from an opioid addiction. During his stay he encountered the Rarámuri Indians and peyote shamans of Tarahumara. His transcendental experience resulted in the book The Peyote Dance. Back in New York, Patti Smith channeled Artaud's spirit by listening, reading and improvising to the music.The penultimate track on the album is a poem she wrote in homage to Artaud's last hours in a mental asylum in France.

Chromatics is an American electronic music band from Portland, Oregon, formed in 2001. The band consists of Ruth Radelet, Adam Miller, Nat Walker, and Johnny Jewel. The band originally featured a trademark sound indebted to punk and lo-fi that was described as "noisy" and "chaotic".

Avalon Emerson returns to Whities with this 2 track 12” that features the arpeggiated euphoria of 'One More Fluorescent Rush', and the swampy, ethereal 'Finally Some Common Ground'.
The artwork was designed by Alex McCullough and contains QR codes as part of the cover that facilitate a digital engagement with the physical release.
The video for 'One More Fluorescent Rush' was directed by Hayden Martin。
The release was mastered by Matt Colton at Alchemy Mastering.
Thanks to Avalon, Alex, Hayden, Matt, Joshua, Felix & Joe for all their help in making this happen.

“How does brokenness walk? Or move through the world?” says guitarist/vocalist Carrie Brownstein about The Center Won’t Hold, Sleater-Kinney’s tenth studio album. “We’re always mixing the personal and the political but on this record, despite obviously thinking so much about politics, we were really thinking about the person – ourselves or versions of ourselves or iterations of depression or loneliness – in the middle of the chaos.” The Center Won’t Hold is Sleater-Kinney’s midnight record on the doomsday clock. After twenty-five years of legendary collaboration, rock’n’roll giants Brownstein, Corin Tucker, and Janet Weiss rise to meet the moment by digging deeper and sounding bigger than we’ve heard them yet. Here are intimate battle cries. Here are shattered songs for the shattered survivors. The Center Won’t Hold drops you into the world of catastrophe that touches on the election,” says guitarist/vocalist Tucker of the title track. “We’re not taking it easy on the audience. That song is meant to be really heavy and dark. And almost like a mission statement, at the end of that song, it’s like we’re finding our way out of that space by becoming a rock band.