{"title":"All Products","description":"","products":[{"product_id":"lvl_up_space_brothers","title":"LVL UP - Space Brothers (Reissue)","description":"","brand":"Double Double Whammy","offers":[{"title":"Test Pressing","offer_id":50585311871297,"sku":"DDW001LP^TEST","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0939\/6089\/6833\/files\/ab67616d0000b27347c161794716e4b9c6857046.jpg?v=1751506381"},{"product_id":"lvl_up_hoodwinkd","title":"LVL UP - Hoodwink'd","description":"\u003cp\u003e\"Hoodwink'd\" is the sophomore album by LVL UP. 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It is equal parts Chelsea Girl and Apocalypse, girl, while remaining firmly grounded in Betson's own sensibilities and idiosyncrasies as a songwriter.\u003c\/p\u003e\u003cp\u003eProduced by Jonathan LeBlanc in Toronto, ON, Canada and mastered by Timothy Stollenwerk. Pro-dubbed cassette tape with lyric booklet in a clear fold-over poly bag.\u003c\/p\u003e\u003cp\u003e...\u003c\/p\u003e\u003cp\u003e\"Where there is an œuvre, there is no madness.\"\u003c\/p\u003e\u003cp\u003eThe point is to give some order to thoughts. To excavate memory, speech, identity, history. Sometimes approaching things unreasonably, obliquely, or simply against common sense can help. A strange order can help.\u003c\/p\u003e\u003cp\u003eThe point is to keep yourself entertained, and to do so cheaply. Writing poems outside the grocery store, cross-legged on the parquet, playing music with a child's toy, recording the results in an apartment above a Hungarian restaurant. 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Living in more houses than one can count on two hands, and years spent touring the country with her other bands All Dogs and Saintseneca, it is clear that a driving force in Jones’ life has always been change. One constant rooted amongst all of the back and forth has always been some manifestation of a solo project.\u003c\/p\u003e\u003cp\u003eThe range has been diverse; from playing guitar alone next to a tape recorder at the age of 15, to playing songs under her own name sitting on tables in punk houses, to her current state; playing venues and larger stages under the latest form, Yowler. Culled from the spaces where quieter things reside amongst the chaos and constant flux, Yowler has become a home in which Jones’ most intimate thoughts and reflections can live and take shape.\u003c\/p\u003e\u003cp\u003eJones’ first release under the moniker Yowler, a 2015 Double Double Whammy-released cassette The Offer, is a wintery cold reflection on unwanted change, sadness, and the facing down of the realities of loneliness and mental unrest. The songs are somehow quiet even when the instrumentation builds, and clear, even when there is a hazy quality to the recordings. This is likely due to Jones’ voice, which is at once soft and penetrating, warm and distant, and which floats assuredly among the woven arrangement of guitars, synths and harmonies surrounding it.\u003c\/p\u003e\u003cp\u003eSince The Offer’s original release, Jones has made a move from Ohio to Pennsylvania and has continued to tour and travel fairly consistently with all three of her musical projects. Jones is currently living and recording another Yowler album in Philadelphia.\u003c\/p\u003e","brand":"Double Double Whammy","offers":[{"title":"Black Vinyl","offer_id":50585317212481,"sku":"DDW027LP-B","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0939\/6089\/6833\/files\/ab67616d0000b2737786a9380f5c49faa34948ee.jpg?v=1751506540"},{"product_id":"gabbys_world_o_k","title":"Gabby's World - O.K.","description":"\u003cp\u003e\u003cstrong\u003eGabby's World\u003c\/strong\u003e (fka Ó, fka Eskimeaux) is the recording project of songwriter and producer Gabrielle Smith. 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Following his demo tape, It’s All About Me, Fink is his first studio album. Here, Sean Henry’s soft grunge style finds a comfortable resting place between his celebrated home recordings and a more mature sound.\u003c\/p\u003e","brand":"Double Double Whammy","offers":[{"title":"Cassette","offer_id":50585321931073,"sku":"DDW049TAPE","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0939\/6089\/6833\/files\/e1df0dc791cd2bf2a0c12a30893a97d3d39704a9_9b661ffd0b89591bcee66a80d4e4b932135788b8_photo_jpg_b490e76c-4caa-4224-9042-5e970de0b256.jpg?v=1752795107"},{"product_id":"sean_henry_a_jump_from_the_high_dive","title":"Sean Henry - A Jump From The High Dive","description":"\u003cp\u003e\u003cstrong\u003eSean Henry’s\u003c\/strong\u003e second studio album brings new inspiration and pop-focused elements to the front while maintaining the soft grunge style that made him a staple in the New York scene.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA Jump from the High Dive\u003c\/em\u003e was released on November 1, 2019.\u003c\/p\u003e\n\u003cp\u003e– \u003c\/p\u003e\n\u003cp\u003eSean Posila, who records under the moniker Sean Henry, has been writing music since he was a kid. On \u003cem\u003eA Jump from the High Dive\u003c\/em\u003e, his second proper full-length, childhood and adulthood coalesce to display his most confident and animated work to date. \u003c\/p\u003e\n\u003cp\u003eOn lead single “Rain, Rain,” he sings in mantras over repurposed nursery rhyme melodies you feel you have known your whole life, melodies he wrote as a child. “Rain, Rain come to me, come to me today,” Sean would sing to himself at age eight, hopeful for cancellations of his little league baseball games. The track itself feels like swimming, drenched in reverb and tremolo hitting you in waves. “I had been sitting on that melody for half my life,” he reveals. \u003c\/p\u003e\n\u003cp\u003eSean Henry’s new collection is a departure from the more straightforward garage rock found on 2018 release \u003cem\u003eFink\u003c\/em\u003e. But the signature Sean Henry moments are still there -- simultaneously innocent, in-your-face and endearingly strange. A Jump from the High Dive is a bundle of energy through a focused lens, each song reminiscent of the standout track on a gifted mix CD. \u003c\/p\u003e\n\u003cp\u003eAfter Sean returned home to suburban Connecticut in 2019 (“New York had broken up with me”), he adopted a “religious 9 to 5” mentality: working on the record and listening to old hip-hop and ‘90s alternative CDs in his car.\u003c\/p\u003e\n\u003cp\u003e“I was doing a lot of couch surfing, living where I grew up in a Connecticut ghost town and touring around the country. I was all over the place. Amidst trying to sort things out, I wanted to make my version of a pop album.” \u003c\/p\u003e\n\u003cp\u003eAnd he did — album opener “Can U” bursts through with harmonica, claps, shakers, and undeniably fun guitar licks. Elsewhere, A Jump from the High Dive isn’t afraid to let funk-inspired basslines take the lead on occasion, most notably on “Surf Song” a danceable energetic pop-rock tune complete with cowbell. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA Jump from the High Dive\u003c\/em\u003e was co-produced with Brian Antonucci, who Sean anointed his “teenage guru” after meeting in Catholic high school and bonding over a Dead Kennedys’ t-shirt. The two spent countless hours fine tuning the songs in the studio, even sleeping there. Sean recalls tracking most of the songs with a “scrapbooking” approach. “Starting with the drums and bass, we would build a foundation, sometimes making our own instrumental samples specifically for drums, inspired by hip-hop songs. There would be elements from the demos that we couldn’t beat so we would keep the original version instead or sample our favorite elements from it.” Similar to early records from Wilco and Beck, they employed a “spiritual layer” on each song — an ambient and noisy track that adds a layer of support on the song, complemented by polished pop elements. \u003c\/p\u003e\n\u003cp\u003eFrom beginning to end, \u003cem\u003eA Jump from the High Dive\u003c\/em\u003e provides a musical backdrop for the dark and the light, the unrestrained moments of both childhood and adulthood, the frustration of displacement. \u003c\/p\u003e\n\u003cp\u003eWhile finishing up the album and returning to New York City, Sean was staying up all night caring for his cat Ned, whose health was rapidly declining. Unaware of the cat’s death, painter Axiom Le Fou sent over a draft of the album art in the morning, adorned with an orange cat because “they always land on their feet.” \u003c\/p\u003e\n\u003cp\u003eThe imagery was supernatural and appropriate, for Sean Henry, too, always manages to land on his feet.\u003c\/p\u003e","brand":"Double Double Whammy","offers":[{"title":"Aqua Blue Vinyl","offer_id":50585322225985,"sku":"DDW066LP-AB","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0939\/6089\/6833\/files\/6a079fc4c1c8588e43170cac8ef6e6b30cae8c9d_c52c1453dd19b498c633da828511a7aa4810a080_photo_jpg_5dabb31d-13a8-4835-bb0c-2648e794f3a4.jpg?v=1752794974"},{"product_id":"florist_the_birds_outside_sang","title":"Florist - The Birds Outside Sang","description":"\u003cp\u003e\u003cstrong\u003eFlorist\u003c\/strong\u003e began in the Catskill Mountains as the friendship project of Emily Sprague, Rick Spataro, and Jonnie Baker, later joined by Felix Walworth. \u003ca href=\"https:\/\/dbldblwhmmy.com\/products\/florist_holdly\"\u003e\u003cem\u003eHoldly\u003c\/em\u003e\u003c\/a\u003e (2015) and \u003cem\u003eThe Birds Outside Sang\u003c\/em\u003e (2016) captured the earliest moments of that bond; hushed, homespun songs shaped equally by intimacy and resilience. The latter was written in the aftermath of Sprague’s near-fatal bike accident, beginning in solitude and concluding with the band’s return to each other, offering a portrait of healing, community, and the power of sound shared among friends. These recordings became cornerstones of Florist’s world: quiet yet expansive, deeply personal yet instantly connective.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eIn the years since, Florist has carried those themes forward across four more full-lengths. \u003cem\u003e\u003ca href=\"https:\/\/dbldblwhmmy.com\/products\/florist_if_blue_could_be_happiness\"\u003eIf Blue Could Be Happiness\u003c\/a\u003e \u003c\/em\u003e(2017) offered a meditation on grief and memory, while \u003ca href=\"https:\/\/dbldblwhmmy.com\/products\/florist_emily_alone\"\u003e\u003cem\u003eEmily Alone\u003c\/em\u003e\u003c\/a\u003e (2019) distilled Sprague’s voice into stark, solitary reflections before the band reunited for the expansive, self-titled \u003ca href=\"https:\/\/dbldblwhmmy.com\/products\/florist_florist\"\u003e\u003cem\u003eFlorist\u003c\/em\u003e\u003c\/a\u003e (2022), a culmination of their collaborative spirit. Most recently, \u003ca href=\"https:\/\/dbldblwhmmy.com\/products\/florist_jellywish\"\u003e\u003cem\u003eJellywish\u003c\/em\u003e\u003c\/a\u003e (2025) found the quartet embracing surrealism and possibility, holding both the magic and weight of existence at once. A decade on, the reissue of \u003cem\u003eHoldly\u003c\/em\u003e and \u003cem\u003eThe Birds Outside Sang\u003c\/em\u003e highlights the origins of that journey, preserving the tenderness and friendship at Florist’s core while tracing the roots of a band that continues to evolve with wonder and care.\u003c\/p\u003e","brand":"Double Double Whammy","offers":[{"title":"Anniversary Vinyl (“Monet” Marble Vinyl)","offer_id":50981284741441,"sku":"DDW111LP","price":30.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50585322848577,"sku":"DDW033CD","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0939\/6089\/6833\/files\/florist_birds_monet_vinylmock.jpg?v=1762887635"},{"product_id":"florist_if_blue_could_be_happiness","title":"Florist - If Blue Could Be Happiness","description":"","brand":"Double Double Whammy","offers":[{"title":"Black Vinyl","offer_id":50585323143489,"sku":"DDW045LP","price":21.0,"currency_code":"USD","in_stock":false},{"title":"Ultra Clear Vinyl","offer_id":50585323209025,"sku":"DDW045LP-UC","price":21.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50585323307329,"sku":"DDW045CD","price":10.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0939\/6089\/6833\/files\/ab67616d0000b27324bf85b81a29469a406dedb1.jpg?v=1751506700"},{"product_id":"florist_emily_alone","title":"Florist - Emily Alone","description":"\u003cp\u003e\u003cem\u003eEmily Alone\u003c\/em\u003e is a collection of songs made by \u003cstrong\u003eFlorist\u003c\/strong\u003e songwriter Emily Sprague during a time of great stillness and isolation with the self. An attempt to capture the dark spaces between change and acknowledge their beauty. It is a natural, isolated, and momentary tangent away from the otherwise collaborative project that is Florist, while still maintaining the documentary nature of the band that, like all things, is a mutable entity in this universe. These songs, as they exist now, were born partly out of literal distance from her bandmates on the east coast, and partly out of urgency to translate an emotional moment.\u003c\/p\u003e\n\u003cp\u003eEmily wrote and recorded all 12 tracks in her Los Angeles home during the last, rainy months of 2018. After moving to California from New York a year prior, Emily found herself in a transformative time of self exploration and independence after leaving the many lives she knew of as home on the east coast to start on a new journey. Living alone and separate from many of the things she once held most close, a deep dive into the dark void of the mind began.\u003c\/p\u003e\n\u003cp\u003eThere is a metaphysical quality to the songs as they search for meaning in existence, swaying between the mundane and the spiritual. Emily believes deeply in the magic and connectedness of all things. The album \u003cem\u003eEmily Alone\u003c\/em\u003e is the creation of a self reflective lens through which we can view that omnipresence of love and life and the energy of all things around us as well as within us.\u003c\/p\u003e","brand":"Double Double Whammy","offers":[{"title":"White Vinyl","offer_id":50585323929921,"sku":"DDW061LP-W","price":22.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50585324159297,"sku":"DDW061CD","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0939\/6089\/6833\/files\/WhiteLP-1.jpg?v=1757532724"},{"product_id":"florist_holdly","title":"Florist - Holdly (Reissue)","description":"\u003cp\u003e\u003cstrong\u003eFlorist\u003c\/strong\u003e began in the Catskill Mountains as the friendship project of Emily Sprague, Rick Spataro, and Jonnie Baker, later joined by Felix Walworth. \u003cem\u003eHoldly\u003c\/em\u003e (2015) and \u003ca href=\"https:\/\/dbldblwhmmy.com\/products\/florist_the_birds_outside_sang\"\u003e\u003cem\u003eThe Birds Outside Sang\u003c\/em\u003e\u003c\/a\u003e (2016) captured the earliest moments of that bond; hushed, homespun songs shaped equally by intimacy and resilience. 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She'd often wake up in the middle of the night needing to write new songs, improvising while half-asleep at her keyboard. In the years to come, these ideas, feelings, and experiments would lead her to a new sound, to healing, and the most direct music she has ever made - including \"Sleep\", Empty Me's statement of purpose.\u003c\/p\u003e\n\u003cp\u003e\"I was not interested in virtuosity, really. I was drawn to music that had that element of necessity to it. I wanted to find that in myself and strip everything else away.\"\u003c\/p\u003e\n\u003cp\u003eWhen she wasn't applying to the Yale School of Music, where she will be pursuing a Master of Music degree program this fall, writing classical pieces for the Nouveau Classical Project, or working on her newest opera, Ashes, commissioned by Roulette and the Jerome Foundation, she was exploring her new songs in sessions with Dale Eisinger in the spring of 2017, focuses primarily on piano and voice. However, when she began arranging the songs with harpist Marilu Donovan and bass clarinetist Mara Mayer, she made a major breakthrough. \"It was like finding a new sound - and I got really, really into it.\"\u003c\/p\u003e\n\u003cp\u003eHerbst and producer Eric Littmann then worked tirelessly between full-time jobs to bring the songs to life over the next seven months, constantly finding new paths along the way. She describes moments like the choral harmonies on \"Let's Not Exist\" as the result of being on the verge of heatstroke on a deathly hot summer day in Littmann's bedroom studio.\u003c\/p\u003e\n\u003cp\u003eShe details how lead single \"Whole With You\" changed many times before becoming what it is now: \"It has an element of loss to it. A searching for something. It's about coming into yourself and fighting back for yourself. It's come from an intense, personal place, and has been transformed through collaboration. 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What started out in 2013 as a conceptual project where dark thoughts and too-quiet moments could be placed, Yowler has become a main outlet for Jones’ songwriting. After most recently being a part of the loud pop outfit All Dogs as songwriter, and long-time member and multi-instrumentalist in the psych-folk group Saintseneca, Jones has been focusing her musical time and energy on writing for Yowler, and collaborating with Philadelphia-based producer and engineer Kyle Gilbride to create the forthcoming Black Dog in My Path.\u003c\/p\u003e\n\u003cp\u003eBlack Dog in My Path is Yowler’s second album after 2014’s release The Offer, and was recorded in the many months after Jones’ move from Columbus, Ohio to Philadelphia. Created with Gilbride of Swearin’ and Missing Earth, the record is a kind of sonic quilt, pieced together from various musical inspirations and drawn from a period of great personal change. In addition to the signature synth and guitar talents of Gilbride, the textural depth was highlighted by the addition of drums by Jones’ former Saintseneca bandmate Matt O’Conke, bass and clarinet by Catherine Elicson of Empath, and bowed guitar, cello, and vocals by Michael Cantor of the Goodbye Party. The element of collaboration allowed the artists to create a world you can get lost in, but that is not tied to any particular sound.\u003c\/p\u003e\n\u003cp\u003eThe twelve varied songs cover many worlds and states of mind, but their creation was mainly inspired by a period of time in 2016, during which Jones spent a large chunk of her life touring around the country with the different musical projects she was involved in. There was also a move and the painful upheaval and morphing of a few relationships during that time, all of which resulted in an unexpected and un-asked-for period of self-reflection. 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Gundel has a knack for stacking emotions that seem at odds: for channeling feelings of deep introspection and ecstatic joy at the same time, matching a sentiment that often drives Douglass's lyricism. Together, they're masters of upbeat tunes exploding with feelings, a type of healing, happy-sad soul-funk.\u003c\/p\u003e\u003cp\u003eAfter a whirlwind 2018 for Douglass-finishing an album with Ava Luna, joining Dirty Projectors as a touring member, collaborating on new projects-Feeling's Not a Tempo is her most inspired performance yet as a frontperson, as a songwriter, and as a gripping vocalist. Here, she shifts from crushing, stacked falsettos, to intimate spoken-word interludes (odes to \"the 90s R\u0026amp;B embedded in me,\" she says) to bold, full-on belts-\"I kneel down before greats,\" she says. \"Chaka Khan, Earth Wind \u0026amp; Fire, Mary J. 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The album is a hybrid between bedroom and studio recordings, made between Douglass and Gundel's home studios and Gravesend Recordings, and largely mixed by Gundel (who also played guitar, trumpet, keyboards, pedal steel, violin, and some percussion) with assistance from Udbhav Gupta of Mr. Twin Sister, and Julian Fader and Carlos Hernandez (of Ava Luna, Gravesend).\u003c\/p\u003e\u003cp\u003e\"Only One\" is a maximal story song-complete with samples, synthesizers, glockenspiel, guitar solos, violins-of a short-lived rush, full of anticipation, a fizzling relationship that for a moment was full of promise. (\"I get it couldn't go that way \/ but could you imagine?\") \"Miss U\" is a \"euphoric breakdown\" about doing what you need to in order to move on. \"Sometimes when you're trying to get over someone your brain catapults you into a dream state to cope. 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Throughout the record, Leslie explores what constitutes a home—how it extends beyond the physicality of a roof over your head to the comfort of another person. A sense of self, stability or security.\u003c\/p\u003e\n\u003cp\u003eThe last four years between records mark a particularly significant and transitional time for Bear. A career move led her back to her hometown in New Jersey long after her friends and peers moved away, resulting in feelings of stasis and nostalgia that shape the album. Reflections on the past are evident in tracks like album single “Sweetheart”, in which Bear considers a past love, where they are now, and her life in relation to theirs.\u003c\/p\u003e\n\u003cp\u003eBear’s sophomore album shows a growth and maturation in sound from her debut. Co-produced with Craig Hendrix (Japanese Breakfast), the record occupies a dreamlike space that weaves between shoegaze-tinged guitars and upbeat, jangly pop. While still loyal to Leslie’s signature ethereal, melodic guitars and haunting whispered vocal delivery, the fully realized arrangements demonstrate a stunning clarity throughout the album.\u003c\/p\u003e\n\u003cp\u003eThe perfect amalgamation between Bear’s ambient-textured loops met with the pristine production and pop stylings of Hendrix’s playing can be heard in album standout “Snow Globe.” The combined reversal effects, seamless transitions, and heartbeat percussion are the language of Means To Me.\u003c\/p\u003e\n\u003cp\u003eWhat Bear has created with Means To Me is not only a mirror for herself, but also a means for the listener to reflect on what home means to them. 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The titular arrows surround him, sticking straight up from the ground but never making contact; a large butterfly hovers above him. The card symbolizes rest – a call to recharge and recovery. This card revealed itself to Great Grandpa’s Pat Goodwin in a reading and the symbolism aptly embodied where he and his fellow bandmates were in their lives.\u003c\/p\u003e\n\u003cp\u003eFollowing the 2017 release of \u003cem\u003ePlastic Cough\u003c\/em\u003e, the band were a unit, they lived together, worked together, and toured tirelessly across the country. As tours ended and band members relocated across the US, they found themselves suddenly separated and eventually isolated. The time spent apart wasn’t planned, but it proved to be necessary. It was a chance to gain perspective into their lives, relationships, and creative purpose.\u003c\/p\u003e\n\u003cp\u003eThus enters Four of Arrows, a creative turn toward introspection and Great Grandpa’s collective result of rest and solitude. Undoubtedly, the 11 songs comprising Four of Arrows are a departure from the playful nods to pizza and zombies on Plastic Cough. The writing and recording process had evolved — less Seattle garage jams and more vulnerable solo songwriting sessions. Most of the songs on Four of Arrows were written in isolation by Patrick and Carrie Goodwin while traveling and living in the Midwest. Though written separately, the songs came to life when the band reunified and began recording with producer Mike Vernon Davis (Modest Mouse, Portugal. The Man) on New Year’s Day in 2019.\u003c\/p\u003e\n\u003cp\u003eThe band instantly found common threads between their individual contributions, citing mutual love and admiration for vulnerable and emotionally resonate music. Four of Arrows embraces subtlety and pays close attention to the quiet. From the methodical dirge of “Dark Green Water” into the haunting and howling guitar of “Digger” — Great Grandpa try something new by letting the acoustic guitar and piano lay the foundation for many of the album’s tracks.\u003c\/p\u003e\n\u003cp\u003eDespite the quiet, Alex Menne’s charismatic vocals burst triumphantly through on each song. The attention to detail is clear down to each echo and the silky addition of vocoder. Since most members contributed lyrics, Menne is that of an emotive voice for the group — channeling the heart of each song’s message and keeping Great Grandpa’s playful touch alive.\u003c\/p\u003e\n\u003cp\u003eThe songs weave through the pains of familial divisions, partnership, internal and external forgiveness, and the struggles of mental illness. Pat Goodwin describes “Digger” as the emotional pillar of the album. The lyrics allude to the titular tarot cards and set the scene for Four of Arrows — solitude and an exploration of the obsessive, neurotic and even paranoid existential questioning seen in ourselves and the characters in our lives. “Shouldn’t go out in the darkness” repeated over tranquil guitar, serves as the mantra of the song before it erupts into an evocative and tense outro.\u003c\/p\u003e\n\u003cp\u003eThankfully, Great Grandpa go headfirst into the darkness and escape from the other side with their most transparent and accomplished work to date. Though the content remains heavy, the bright poppy arrangements of “Mono No Aware” and “Bloom” serve as an unreliable light amongst the dark. “Mono No Aware” a wistful ode to loss of innocence, impermanence, and more explicitly “the pathos of things” combines starry synths and polished harmonies that when paired feel like floating. “Bloom,” the seemingly most hopeful track on the record, shines with conversational charm and demanding hooks (“When I think about Tom Petty, and how he wrote his best songs when he was 39”), before dramatically shedding the façade to reveal its melancholic heart in a grandiose, Phil Spector-esque outro.\u003c\/p\u003e\n\u003cp\u003eLeaving it to the cards, Great Grandpa used their time off to grow, and their time together to reunify. 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New album Hit To Hit is about wearing your heart on your sleeve but at arm’s length. It’s about being both earnest and ironic. It’s playing with different selves yet managing to coalesce them into one identity; a self-aware and self-reflexive identity that makes the characters concocted by Gill amusing, relatable and insightfully authentic.\u003c\/p\u003e\u003cp\u003eHit To Hit mirrors our multifaceted existence over 24, tiny tracks. Continuing with the fun-size structures of his previous LP, Wish You Were Here Tour (Sleeper Records), the songs act like a collection of short stories. There’s the adolescent, heartbroken tale of “When You Were My Sharona”, the anticipation of making memories on “Summer of Your Dreams”, the first taste of freedom on “My Bike”. While Hit to Hit is absolutely an intricate exploration of the human experience, it’s done – most importantly – with a wink, inviting you in on the joke. “In order to be honest, you almost have to make an effort to be funny at times in art,” Gill says.\u003c\/p\u003e\u003cp\u003eSonically speaking, the songs cover an impressive range of stylistic ground. The sweet, peppy pop-banger “Velodrome” is juxtaposed by the gnarly wailing of “Baby’s First Word” while the sturdy twangs of the Jon-Samuels-sung “100 Hours” bashes against the gentle, ethereally delicate acoustics of “You’re So Cool”. “It almost can't even hold together because it is so at odds with itself but it does in the end. It's one group of musicians presenting all these different ideas and directions of songwriting and miraculously, it holds together.” Gill says.\u003c\/p\u003e\u003cp\u003eAt the core of these narrative pockets is a person figuring out who they are, wrestling with the traditional ideas of masculinity by pushing those toxic, stereotypical traits of what makes a man a man to the point of absurdity. “Some of the songs take that approach of a person who feels like they have to be taking up so much space and adopting this super macho image,” Gill explains. “And then on the other side, some of the other songs present a vulnerability behind that and a lack of self confidence.”\u003c\/p\u003e\u003cp\u003eAmidst the uncertainty, Hit To Hit does offer some answers. In order to determine stability, 2nd Grade turns to the importance of friendship and being good to one another, in a way that is not self-focused. 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He didn’t have a phone, car, or apartment. He had a job renting swan boats on the Delaware River in Philadelphia, where he was the oldest employee by ten years. He had a 3rd Generation iPod Touch, which he used to tell his friends whether he could hang out over Facebook Messenger on public wifi, and to listen to the Beach Boys every single day. And he had a bicycle.\u003c\/p\u003e\n\u003cp\u003eGill wrote over 150 songs that summer. At the time, he toured with Philly bands Friendship and Free Cake for Every Creature. 2nd Grade began as a passion project, inspired by the childlike openness and excitement of early power pop singles. Over two weekends, Gill recorded every instrument of \u003cem\u003eWish You Were Here Tour\u003c\/em\u003e to garageband in a friend’s carpeted bathroom, starting with drums. Philly label Sleeper Records did a short run of tapes; Gill never expected anyone to hear it.\u003c\/p\u003e\n\u003cp\u003eGill isn’t getting sunburned at the Harbor Park anymore. He’s got a band, and he wants everyone to hear it. He still writes songs at a Robert Pollard-pace, but he doesn’t have to play his own drums. In 2020, 2nd Grade released the 24-track LP \u003cem\u003eHit to Hit\u003c\/em\u003e on Double Double Whammy with a band of Philly all-stars including members of Remember Sports, Friendship, and 22 degree halo. Now, the five-piece band has re-recorded eight songs from \u003cem\u003eWish You Were Here Tour\u003c\/em\u003e. Along with remastered versions of the original fourteen and one outtake, they will make up \u003cem\u003eWish You Were Here Tour Revisited\u003c\/em\u003e, a document of the band’s past, present, and future.\u003c\/p\u003e\n\u003cp\u003e2nd Grade’s past is Pete Gill on a friend’s futon, layering guitars with a zoom recorder on his day off. \u003cem\u003eWish You Were Here Tour\u003c\/em\u003e came before the band members, studio, and more serious genre experimentation of \u003cem\u003eHit to Hit\u003c\/em\u003e, and is Gill at his most vulnerable. Lo-fi guitar riffs and snarky jokes are broken up by sincerity and tenderness. 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On one such occasion, she holed up in their garage all night long with her four-track cassette recorder and their broken, out-of-tune piano. “It’s a small town,” she sang, over crackly, creeping keys. “I’ll see you around...I wish you’d move.”\u003c\/p\u003e\n\u003cp\u003eIt’s sweet but sharp, like much of her expansive, decades-long catalog of beaming pop songs. And it’s apt intro to the songs she was writing around that time, all laced with snapshots from small-town Oly: the railroad tracks that run through town, transient friends who’d come and go on tour, the feeling of being a million miles from the city.\u003c\/p\u003e\n\u003cp\u003e“I didn’t know I was making a record,” recalls the singer, songwriter, recording artist and producer, twenty years later, on the brink of the reissue of her now classic debut full-length, \u003cem\u003eYou Think It’s Like This But Really It’s Like This\u003c\/em\u003e, released in 2000 by K Records. It was just that freedom, following her first couple of EPs and tours, that made the record gleam with possibility: the excitement of beginnings, of unfiltered long-distance longings, the miniature everyday epiphanies of becoming yourself.\u003c\/p\u003e\n\u003cp\u003eWhen it was written, Mirah was in her early 20s, immersed in a life of cheap rent, constant art-making, “distracting [herself] with the guitar and microphones” (as she sings on the album) and helping to run DIY cafes like the Secret Cafe at the Track House and the Red Horse Cafe out of her own apartment. Some days, she’d be at home experimenting with four-track home-recording. Other days, she’d be over at Dub Narcotic’s giant warehouse space, in its wide open second floor studio, the Big Room, meeting up with friends like Phil Elverum (who she had collaborated with in The Microphones, and who co-produced the record), Khaela Maricich (of the Blow, who sings on some of the songs), and really, whichever cast of friends were around and wanted to play music.\u003c\/p\u003e\n\u003cp\u003e“Calvin had incredible equipment and was so generous and trusting,” Mirah reflects, mentioning vintage gear like an old Hammond B3 organ with a Leslie speaker used on “Of Pressure”. “He gave us all keys. Sometimes we’d go in there to record and Arrington [de Dionyso] would be asleep on a mattress on the floor because he had been recording all night. We didn’t even have a schedule. We were all involved with each other’s projects. If I needed a choir, we’d just call everybody up and they’d walk over. And a couple minutes later, 10 friends would be there.”\u003c\/p\u003e\n\u003cp\u003eThat’s exactly what happened for “Person Person,” a collective love letter to someone traveling far away, where Mirah sings over a dreamy guitar, before her whole friend group turns up for the perfectly messy chorus. It’s a bit of an ode to chosen family, much like “La Familia,” where interlocking vocal melodies stretch over sparks of subtle guitar noise.\u003c\/p\u003e\n\u003cp\u003eElsewhere, there’s also one of indie pop’s most sweeping and visceral crush songs, “Sweepstakes Prize,” a perfect encapsulation of Mirah and Elverum’s collaborative ability to build sparse minimalism into clattering noise, to make the tension of the lyrics utterly inescapable. For its hooky drumbeats, Elverum set up two kits on opposite ends of the room. “We both played drums at the same time,” Mirah remembers. “And had them mic-ed so that it gave a natural room delay. We just had a lot of fun.” (It was written about the same person as “Small Town,” she recounts, laughing, a testament to the album’s rollercoaster of emotions.)\u003c\/p\u003e\n\u003cp\u003eTwo decades later, \u003cem\u003eYou Think It’s Like This...\u003c\/em\u003e brims with timelessly necessary feelings: of dreaming in the moment, of not having expectations, making art because it’s fun, unsupressable exuberance even when the songs are not joyful. “I just hope people can get there again,” Mirah says. “My biggest hope with making music is that the music I make can do for other people what all the music I’ve listened to in my life has done for me. It helps me be alive. It helps me be a person. It helps me feel things. 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The music of Michael Cantor, the Philadelphia-based musician behind the project, has been a well-kept secret that holds the sacredness of loss close to the heart through classic pop ballads, atmospheric soundscapes, cassette tape noise, swirling guitars, and an affinity for staying present in the dark corners of our minds. On October 9, 2020, the Goodbye Party will release their sophomore album, Beautiful Motors, on Double Double Whammy, with which Cantor is ready to be fully unearthed.\u003c\/p\u003e\u003cp\u003eBeautiful Motors is a culmination of Cantor’s previous releases, showcasing a full bloom of profound and haunted narrative songwriting. He’s always had a knack for vividly portraying the auditory flight of specters and feelings of loss and surrender, except this time he’s leaned into the grief of growing older while also looking back on the rock sounds of his youth. The songs inhabit you as the appearance of a ghost does; they remain long after the encounter, running through your brain like an omnipotent refrain.\u003c\/p\u003e\u003cp\u003eCantor has been releasing music as the Goodbye Party since 2012, the same year his DIY rock outfit, the Ambulars, released their debut album, Dreamers Asleep at the Wheel. When the Ambulars disbanded in 2014, Cantor hurled himself into the Goodbye Party, releasing the EPs Bless All Debris (2012) and Funeral Season (2013), a split EP with Spoonboy (2014), and debut album Silver Blues (Salinas Records, 2014). From there, Cantor took a break from his solo endeavor to form the Afterglows with friend and musician Sam Cook-Parrott (Radiator Hospital). 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The solemnity of each song is carried by Cantor’s exquisite instrumentation, his fluid vocals and detailed lyrics, and a penchant for writing energetic pop hooks that hold up feelings of grief. “That was very intentional,” says Cantor. “I could’ve made a record of long, droning, sad songs, but I challenged myself to keep things more energetic.” This collision of bereavement and sanguine sound is exactly what we all need right now, as we continue to navigate our way through an unprecedented global crisis. “People want to have fun when they see live music, back when there was live music,” says Cantor, adding that he hopes Beautiful Motors offer space for listeners to deal with grief in a way that feels upbeat yet genuine.\u003c\/p\u003e\u003cp\u003eBeautiful Motors remains loyal to the Goodbye Party’s mournful motif, depicting scenes of longing, loss, and reckoning. 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The songs of Silver Blues can be heard as vignettes—fleeting little worlds the listener pops in and out of—while Beautiful Motors has more of a foundation, grounding the listener in Cantor’s world through scene-setting lyrics. “On Silver Blues, everything is really celestial, emotional, and cosmic,” he says. “I wanted to keep those sensibilities, but also put a pin in places to draw listeners into a specific time and place.”\u003c\/p\u003e\u003cp\u003eRecorded in Philadelphia with Kyle Gilbride (Swearin’) at Wherever Audio, Beautiful Motors was engineered between December 2018 and November 2019. The year-long timeline resulted in plenty of opportunities for refining, rewriting and arranging at home and during studio sessions. 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