Merge US Vinyl & CDs

Review: The Clean are one of the most important indie bands to ever come out of New Zealand. Their EP 'Boodle Boodle Boodle' (1981), recorded on a four-track, had an instant lo-fi appeal and became the Flying Nun label's first major success. They were shaped by the likes of Syd Barrett, Velvet Underground and The Stooges and have gone on to influence the likes of Pavement and Yo La Tengo. The band were on hiatus for the majority of the 80s, but came back to release three albums in the 90s and two in the 00s. This is their second album and the first time this title has been in print on vinyl since its initial release. With more budget to record than when they were cutting their teeth in the early 80s, it's a higher fi record and of their post-reunion releases, this is the closest in feel to their early material. 'Linger Longer' is a haunting piano-led cut full of poignance and psychedelic feel. 'Secret Place' shines a spotlight on The Clean's iconic stripped back drum style and 'Something I Need' has a Lou Reed and Mick Jagger feel to the vocals as folk-y acoustic instrumentation prevails beautifully underneath. A staggering band.

Review: Vancouver band Destroyer's latest isn't just a "boogie" in the common senseiit's a slippery, shape-shifting act of survival, deception and late-night epiphanies. Dan Bejar calls it "a hustle, a scam that doesn't quite work," and that tension runs through every note. 'Bologna' casts Bejar as a supporting player, with Simone Schmidt's piercing vocal turning the track into a noirish fever dream. 'Hydroplaning Off the Edge of the World' swings between peppy charm and spiraling dread, while 'Cataract Time' stretches into an eight-minute epic, its melancholic weight somehow tasting like hope. Where past Destroyer albums battled the world, this one dances with itishifty, urgent, and impossible to pin down.

Review: Pan-African supergroup Ibibio Sound Machine return with Pull The Rope, a tonal shift compared to their earlier full-lengths like Electricity; this one veers more on the side of acid house, highlife and disco, compared to the more histrionic electronics of the eponymous sound machine of that album, as well as Uyai and Doko Mien, heard thus far. As heard on the lead single 'Got To Be Who U Are', we are importuned with the command to be ourselves, as everybody else is already taken; such an injunction is met with a driving, time-of-your-life, weighty acid house production, which comes to neat effect when paired with Eno Williams' passionate soul vocals.

Review: David Kilgour's A Feather in the Engine, his fourth solo album, blends smartly crafted psychedelic pop with stunning, off-the-cuff guitar instrumentals. The album opens with 'Sept. '98,' a meditative piece featuring shimmering guitar lines and subtle organ phrases, setting a tranquil tone. Tracks like 'Slippery Slide' and 'All the Rest' showcase Kilgour's knack for quirky, pastoral psych-pop, though his subdued tenor fits perfectly with this relaxed style. Highlights include the upbeat 'Today Is Gonna Be Mine' and the drone-infused 'I Caught You,' which features a captivating bass groove. 'Instra 2 Reprise' stands out with its masterfully arranged string quartet by Graeme Downes, complementing Kilgour's vocals and guitar work. The album closes with 'Backwards Forwards,' a textured, reverb-laden exploration centered around a few central chords. At 38 minutes, A Feather in the Engine may feel brief, but its beauty and charm make it a perfect choice for unwinding after a long day. Kilgour's ability to create a serene, engaging atmosphere is undeniable, making this album a welcome addition to any collection.

Review: 69 Love Songs by The Magnetic Fields is an audacious feat that toes the line between brilliance and sheer audacity. Clocking in at three hours, this magnum opus is a sprawling exploration of love in all its forms. Stephin Merritt and his collaborators craft a diverse sonic landscape, ranging from giddy lust to resignation and despair, and from genre exercises to archetypal Magnetic Fields songs. The album's sheer scale may initially seem daunting, but Merritt's exceptional songwriting and the band's eclectic instrumentation ensure that each track holds its own. The individual songs offermany moments of small epiphanies and emotional resonance. 25 years since it was first released, 69 Love Songs continues to gain new fans and make original ones keep coming back.

Review: Dawn Richard and Spencer Zahn reunite for new album Quiet in a World Full of Noise, which is driven by their shared curiosity and desire to defy genre conventions. Following their 2022 collaboration Pigments, this new work together blends atmospheric, orchestral soundscapes with soulful jazz and intimate, confessional vocals and the result is a raw and exposed performance from Richard who delivers stark lyricism that feels both personal and profound. The album redefines the worlds of progressive, avant-garde r&b and jazz with an ethereal yet grounded approach, heavenly melodies and plenty of wide open space in which to luxuriate. By merging the familiar with the unexpected, this fine pair create a sound that makes a lasting impression.