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The singer, Thom Yorke, wrote abstract lyrics, cutting up phrases and assembling them at random.\u003c\/p\u003e\n\u003cp\u003eIn a departure from industry practice, Radiohead released no singles and conducted few interviews and photoshoots. Instead, they released short animations and became one of the first major acts to use the internet for promotion. Bootlegs of early performances were shared on filesharing services, and Kid A was leaked before release. In 2000, Radiohead toured Europe in a custom-built tent without corporate sponsors.\u003c\/p\u003e\n\u003cp\u003eKid A debuted at number one on the UK Albums Chart and became Radiohead's first number-one album on the US Billboard 200. It was certified platinum in the UK, the US, Australia, Canada, France and Japan. Its new sound divided listeners, and some dismissed it as pretentious, derivative or wilfully obscure. 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Rather, the live effort is among the most emotionally naked spectacles ever released an album so starkly intense and profoundly personal, it's impossible not to get chills down the spine. The set list is as surprising as the stylistic makeover. Save for renditions of 'All Apologies' and 'Come As You Are', the adventurous material includes brooding covers of the Meat Puppets' 'Lake of Fire', 'Plateau', and 'Oh Me' as well as harrowing versions of David Bowie's 'The Man Who Sold the World', and the Vaselines' 'Jesus Don't Want Me for a Sunbeam'.\u003c\/p\u003e","brand":"AMS","offers":[{"title":"Default Title","offer_id":55161788465471,"sku":null,"price":37.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0992\/4739\/1039\/files\/nuiny.jpg?v=1787414521"},{"product_id":"weezer-weezer-blue-album-lp","title":"Weezer - Weezer (Blue Album) LP","description":"\u003cp\u003eWeezer (also known as The Blue Album) is the debut studio album by American rock band Weezer, released on May 10, 1994. The album was produced by Cars frontman Ric Ocasek and recorded in Electric Lady Studios in New York City. 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Because OMG COMPACT DISCS! We stayed very busy circling the globe and kicking out the jams and selling gajillions of these \"CDs.\" Now, 25 years later, it's on vinyl for the very first time!!\u003c\/span\u003e\u003c\/p\u003e","brand":"Alliance - AMI","offers":[{"title":"Neon Yellow","offer_id":55259843232063,"sku":null,"price":30.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0992\/4739\/1039\/files\/pusa.webp?v=1788298612"},{"product_id":"alvvays-alvvays-lp","title":"Alvvays - Alvvays LP","description":"\u003cp\u003e\u003cstrong\u003eAlvvays\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eare two women, three men, a crate of cassettes and a love of jingle-jangle.\u003c\/p\u003e\n\u003cp\u003eMolly Rankin and Kerri MacLellan grew up as next-door neighbours in Cape Breton, lifting fiddles and folk-songs. Heartbreaks of different shades soon entered their lives, as did the music of Teenage Fanclub and Belle \u0026amp; Sebastian. Similar noisy melancholy drifted over to Prince Edward Island, finding Alec O'Hanley, Brian Murphy and Philip MacIsaac.\u003c\/p\u003e\n\u003cp\u003eConvening in Toronto, the group have been making music since dusk or maybe dawn, when stars were appearing or fading off. As a result, their debut self-titled album is both sun-splashed and twilit -- nine songs concealing drunkenness, defeat and death in tungsten-tinted pop that glitters like sea glass.\u003c\/p\u003e\n\u003cp\u003eWith needlepoint melody and verse, Rankin and O'Hanley's songs were recorded at Chad VanGaalen's Yoko Eno studio and mixed by Graham Walsh (Holy Fuck) and John Agnello (Sonic Youth, Dinosaur Jr., Kurt Vile).\u003c\/p\u003e\n\u003cp\u003eThe resultant album is loud and clear and sure. 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In fact, the band began writing and cutting its first bits soon after releasing 2017’s \u003ci\u003eAntisocialites\u003c\/i\u003e, that stunning sophomore record that confirmed the Toronto quintet’s status atop a new generation of winning and whip-smart indie rock.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGlobal lockdowns notwithstanding, circumstances both ordinary and entirely unpredictable stunted those sessions. Alvvays toured more than expected, a surefire interruption for a band that doesn’t write on the road. A watchful thief then broke into singer Molly Rankin’s apartment and swiped a recorder full of demos, one day before a basement flood nearly ruined all the band’s gear. They subsequently lost a rhythm section and, due to border closures, couldn’t rehearse for months with their masterful new one, drummer Sheridan Riley and bassist Abbey Blackwell.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt least the five-year wait was worthwhile: \u003ci\u003eBlue Rev \u003c\/i\u003edoesn’t simply reassert what’s always been great about Alvvays but instead reimagines it. They have, in part and sum, never been better. There are 14 songs on \u003ci\u003eBlue Rev\u003c\/i\u003e, making it not only the longest Alvvays album but also the most harmonically rich and lyrically provocative. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere are newly aggressive moments here—the gleeful and snarling guitar solo at the heart of opener “Pharmacist,” or the explosive cacophony near the middle of “Many Mirrors.” And there are some purely beautiful spans, too—the church- organ fantasia of “Fourth Figure,” or the blue-skies bridge of “Belinda Says.” But the power and magic of \u003ci\u003eBlue Rev\u003c\/i\u003e stems from Alvvays’ ability to bridge ostensible binaries, to fuse elements that seem antithetical in single songs—cynicism and empathy, anger and play, clatter and melody, the soft and the steely. The luminous poser kiss-off of “Velveteen,” the lovelorn confusion of “Tile by Tile,” the panicked but somehow reassuring rush of “After the Earthquake”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe songs of \u003ci\u003eBlue Rev\u003c\/i\u003e thrive on immediacy and intricacy, so good on first listen that the subsequent spins where you hear all the details are an inevitability.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis perfectly dovetailed sound stems from an unorthodox—and, for Alvvays, wholly surprising—recording process, unlike anything they’ve ever done. Alvvays are fans of fastidious demos, making maps of new tunes so complete they might as well have topographical contour lines. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBut in October 2021, when they arrived at a Los Angeles studio with fellow Canadian Shawn Everett, he urged them to forget the careful planning they’d done and just play the stuff, straight to tape. On the second day, they ripped through \u003ci\u003eBlue Rev\u003c\/i\u003e front-to-back twice, pausing only 15 seconds between songs and only 30 minutes between full album takes. And then, as Everett has done on recent albums by The War on Drugs and Kacey Musgraves, he spent an obsessive amount of time alongside Alvvays filling in the cracks, roughing up the surfaces, and mixing the results. This hybridized approach allowed the band to harness each song’s absolute core, then grace it with texture and depth. Notice the way, for instance, that “Tom Verlaine” bursts into a jittery jangle; then marvel at the drums and drum machines ricocheting off one another, the harmonies that crisscross, and the stacks of guitar that rise between riff and hiss, subtle but essential layers that reveal themselves in time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEvery element of Alvvays leveled up in the long interim between albums: Riley is a classic dynamo of a drummer, with the power of a rock deity and the finesse of a jazz pedigree. Their roommate, in-demand bassist Blackwell, finds the center of a song and entrenches it. Keyboardist Kerri MacLellan joined Rankin and guitarist Alec O’Hanley to write more this time, reinforcing the band’s collective quest to break patterns heard on their first two albums. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe results are beyond question: \u003ci\u003eBlue Rev\u003c\/i\u003e has more twists and surprises than Alvvays’ cumulative past, and the band seems to revel in these taken chances. This record is fun and often funny, from the hilarious reply-guy bash of “Very Online Guy” to the parodic grind of “Pomeranian Spinster.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlvvays’ self-titled debut, released when much of the band was still in its early 20s, offered speculation about a distant future—marriage, professionalism, interplanetary citizenship. \u003ci\u003eAntisocialites\u003c\/i\u003e wrestled with the woes of the now, especially the anxieties of inching toward adulthood. Named for the sugary alcoholic beverage Rankin and MacLellan used to drink as teens on rural Cape Breton, \u003ci\u003eBlue Rev\u003c\/i\u003e looks both back at that country past and forward at an uncertain world, reckoning with what we lose whenever we make a choice about what we want to become.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe spinster with her Pomeranians or Belinda with her babies? The kid fleeing Bristol by train or the loyalist stunned to see old friends return? “How do I gauge whether this is stasis or change?” Rankin sings during the first verse of the plangent and infectious “Easy on Your Own?” In that moment, she pulls the ties tight between past, present, and future to ask hard questions about who we’re going to become, and how. 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