Saddle Creek US Vinyl & CDs

Review: Most bands dream of going to LA and making it in big, but for Rilo Kiley, who are from Los Angeles, they struck gold by turning the attention away from the major metropolis and gazing onto a small, influential scene in Nebraska that centers around Saddle Creek Records. As one of few non-Omaha, Nebraska-based artists to get on the label, they were signed against the odds really. But the pairing couldn't have been better. For the Jenny Lewis-fronted group to have the genius Mike Mogis (who is the record labels go-to producer and a full time member of Bright Eyes) produce this second album of theirs was a stroke of genius. Originally released in 2002, it's now getting a reissue that's limited to only 3000 copies. Given how strong their fanbase is, chances are these won't be standing around for very long and it's a beautiful celebration of one of the hallmarks of indie rock.

Review: For over a decade, Spirit of the Beehive has honed a unique aesthetic. Across four albums and various EPs, Zack Schwartz, Corey Wichlin, and Rivka Ravede have become rock's weirdest deconstructionists. Their breakthrough came with 2018's Hypnic Jerks, a study in noise punk sample frenzy which caught Frank Ocean's attention, aming many others. 2021's Entertainment Death delved into nasty dream pop with K-Mart realism. Their latest, You'll Have to Lose Something, is a meticulous, heartbreaking meditation on relationship ends and ensuing unsteadiness. The album softens some edges, aiming for fewer drastic changes and a more stripped-down sound. 'I've Been Evil' exemplifies this with its consistent tempo and bleary-eyed guitars. The song is weary and whisper-like, with the phrase "I've been evil" delivered almost nonchalantly. Conversely, 'Let the Virgin Drive' is a frightening pop track with Japanese City pop samples and a demented news clip. It explores unrequited love and imagined scenarios. The song hiccups and warbles, with tape hiss and instability. You'll Have to Lose Something disguises complex provocations beneath a seemingly straightforward rock facade. 'Found A Body' features downtempo synths and Ravede's haunting vocals, while 'Sun Swept the Evening Red' transitions from chipper to an assault of guitars and auto-tuned vocals. Written independently and assembled together, the album is a carefully organized chaos reflecting the brutality of reality and the illusion of chill.