JULY 29, 2016
Bevis Frond – Any Gas Faster
Bevis Frond – London Stone
Bouncing Souls – Simplicity
Sharon Chatom – Fantasy
Alice Cooper – Last Temptation
Death Grips – Bottomless Pit
Descendents – Hypercaffium Spazzinate (Limited edition coloured vinyl)
Derrick Harriott – Rock Steady
Gary Hoey – Dust & Bones
Hole – Live Through This
Lightnin’ Hopkins – Lightnin’s Boogie
Judas Priest – Battle Cry
Modest Mouse – Night On The Sun
My Morning Jacket – Okonokos
Owen – The King of Whys
Pan Sonic – Atomin Paluu
Tom Petty – Greatest Hits
Pylon – Pylon Live
R.E.M. – Dead Letter Office
R.E.M. – Eponymous
R.E.M. – Life’s Rich Pageant
Pete Shelley – Cinema Music & Wallpaper Sounds
Soundtrack – Joe Renzetti, Basket Case 2
Soundtrack – Theodore Shapiro, Wet Hot American Summer
Soundtrack – Mark Strettenfeld, Prometheus
Soundtrack – John Williams – Star Wars III
Spiders From Mars – Spiders From Mars
Tiny Tim – Tiny Tim’s America
Various Artists – Last of the Garage Punk Vol. 7
Various Artists – Last of the Garage Punk Vol. 8
Various Artists – Rough Guide to African Jazz
Various Artists – Rough Guide To Psychedelia
JULY 22, 2016
Joe Bataan – Call My Name
Get Up Kids – Something To Write Home About
Earl Hooker – 2 Bugs & A Roach
The Jaguars – The Way You Look Tonight
Phil Ochs – Live Again!
Pup – The Dream Is Over
Nina Simone – Broadway, Blues, Ballads
Nina Simone – High Priestess of Soul
Nina Simone – I Put A Spell On You
Nina Simone – Let It All Out
Nina Simone – Nina Simone In Concert
Nina Simone – Pastel Blues
Nina Simone – Wild Is The Wind
Tesla – Psychotic Supper (25th anniversary edition)
They Might Be Giants – Why?
XTC – Skylarking (Limited boxed set anniversary edition)
JULY 15, 2016
Ariel Pink – Ku Klux Glam
Bjork – Vulnicura Live
William Burroughs – Let Me Hang You
The Church – Sometime Anywhere
Thee Headcoats – Messerchmidt Pilot’s Severed Head
Hiatus Kaiyote – Calebration
Mance Lipscomb – Texas Sharecropper
Fred McDowell – 2
Soundtrack – Napoleon Dynamite
Alan Vega & Martin Rev – Suicide
JULY 8, 2016
75 Dollar Bill – Wood
Avalanches Wildflower
Badbadnotgood – IV
Beef Jerky – Tragic
Calypso Rose – Far From Home
Car Seat Headrest – Teens of Denial
With Teens of Denial, his first real “studio” album with an actual band, Will Toledo moves from bedroom pop to something approaching classic rock grandeur and huge (if detailed and personal) narrative ambitions, with nods to the Cars, Pavement, Jonathan Richman, Wire, and William Onyeabor. Teens of Denial refracts Toledo’s particular, personal story of one difficult year through cultural touchstones such as the biography of Frank Sinatra, the evolution of the Me Generation as seen in Mad Men and elsewhere, plus elements of eastern and western theology. The whole thing flaunts a kind of conceptual, lyrical, and musical ambition that has been missing from far too much 21st-century music. Horns, keyboards, and elegant instrumental interludes set off art-garage moments; vivid vocal harmonies follow punk frenzy. The selfish captain of the capsized cruise liner in the Mediterranean in 2013 becomes a metaphor for struggles of the individual in society, as experienced by one hungover young man on the verge of adulthood. The album was produced by Steve Fisk (Nirvana, Beat Happening, Soundgarden) at his studio in Seattle, July-September 2015. This is the first full album of new music from Car Seat Headrest released on Matador.
The Cave Singers – Banshee
Chevelle – North Corridor
Cibo Matto – Stereotype A
Miles Davis – Miles Ahead
Dead Can Dance – Dead Can Dance
Dead Can Dance – Into The Labyrinth
Dead Can Dance – Spllen & Ideal
El Michels Affair – Sounding Out In The City
Frameworks – Smother
Gone Is Gone – Gone Is Gone
Gordi – Clever Disguise
Howlin’ Wolf – Howlin’ Wolf
The Julie Ruin – Hit Reset
Kaytranada – 99.9%
Frankie Lee – American Dream
Los Mirlos – Cumbia Amazonica
John Mayall – Live in 1967
Minus The Bear – Interpretaciones Del Oso
Misfits – Friday The 13th
Modest Mouse / 764-Hero – Whenever You See Fit 12″ Recorded Feb.14, 1998 in Washington State
Moon Bros – These Stars
My Dying Bride – Thrash of Naked Limbs
Rogue Wave – Descended Like Vultures
Tanbou Tanjou Lou – Haiti 1960-1981
JULY 1, 2016
Bat For Lashes – The Bride
Blink 182 – California
Blink 182 – Enema of the State
Brian Jonestown Massacre – Bout De Doigts 10″
James Brown – The Amazing James Brown & The Famous Flames
John Carpenter – Halloween/Escape From New York
Nick Cave & The Bad Seeds – Dig!!! Lazarus Dig!!!
Clint Eastwood – Cowboy Favorites
The Fall – Dragnet
Ella Fitzgerald – Ella In Berlin
Bert Jansch – From The Outside
King Gizzard & The Lizzard Wizard – Nonagon Infinity Die-cut picture disc
Bunny Lee & Friends – Tape Rolling!
MC5 – High Time
Melvins – Basses Loaded
Thelonious Monk – In France The Complete Concert
Monkees – Live 1967
The Move – Message From The Country
Oasis – Don’t Believe The Truth
Oasis – Standing on the Shoulder of Giants
Thee Oh Sees – Live In San Francisco
Orb – Birth
Charlie Parker with Miles Davis – the Early Years
The Posies – Solid States
Question Mark& The Mysterians – Action
Raging Fyah – Everlasting
Sonny Rollins – Brass/Trio
Silver Apples – S/T 1968 debut record re-issued on coloured vinyl
Soundtrack – Cliff Martinez – Neon Demon
Submerged vs. Bill Laswell – After Such Knowledge, What Forgiveness
Suicide – Suicide
The Zombies – The Zombies
iconic album, I See A Darkness – Will Oldham aka Bonnie ‘Prince’ Billy retreated to his family’s farmhouse with the majority that I See A Darkness lineup in tow to record a half dozen covers of some of Oldham’s favorite songs. The track listing is, as expected, inspired and eclectic: John Phillips, PJ Harvey, Bill Withers, The Renderers, John Holt, and Tim McGraw. Bonny Billy’s renditions are equally inspired and eclectic, ranging from slow-burning uneasiness to uncharacteristic jubilance. Originally released exclusively on limited edition CD in the pre-MP3 era, More Revery was gone before iTunes existed, and has not been available in any format since. On the occasion of the 20th anniversary of Temporary Residence Ltd., we are honored to reissue this essential piece of the Bonny Billy canon – now expanded to include rare live versions of the entire album!
King Gizzard & The Giant Lizard Wizzard – Nonagon Infinity
songs interpreted simply, recorded live, solo or with a small group of friends celebrates my relationship between music, songs, the written word and legacy. Blues and Ballads celebrates the American oral tradition of blues and folk songs, not only being passed down and evolving but being transcribed (the original recording technique) and entered into the discipline of written sheet music and songbooks. I represent the Memphis underground and the mid-south region’s music. This art is not for the masses. It is meant to wither and fade and then rise from the ashes again and again, evolving and mutating. – Luther Dickinson 2015
stretching from the hard ground to the bright stars. The follow-up to 2012 s critically-acclaimed Dark So Gold, the album’s distinctly Midwestern texture and song sensibility present 10 new originals exhibiting the lyrical richness, sweeping instrumentals, and darkly beautiful collaborations that have won the band fans worldwide. Recorded in Iowa and St. Paul, MN, Above the Prairie explores the space between the vastness of the plains and the interstellar world, exploring the isolated farms and small towns of the prairie and the dignity of those who choose to remain. A highlight is a haunting guest appearance by Native American legend John Trudell. Written and recorded in a matter of weeks, Above the Prairie is a journey from the Aerial Ocean to the hidden places. Where Something Wild Still Grows, from Villisca and Lost Nation all the way to Sleepy Hollow. With a beauty equally ominous and tender, The Pines have provided a sonic backdrop to the thin veil that separates our home on the land and our home in the cosmos.
by Kay Kasparhauser, a ukulele shredder (?!) who writes some of the sharpest lyrics in the indie pop world right now, with Lulu Prat’s bass and vocal harmonies bringing serious rock muscle into the equation. Funs Cool shows that the Prettiots have impressive sonic and thematic range, with songs ranging from sweet to playful to triumphant to dark and near-distrubing: from “Suicide Hotline,” which, according to NPR Music, “like many Prettiots songs, couches stunning barbs of insight between sweet, fun harmonies and playful ukulele strums”; the biting breakup song/urban studies essay “Move To LA”; album opener “18 Wheeler,” a candid post-mortem on a failed relationship; and a cover of the Misfits’ “Skulls,” which turns the heavy classic into a pretty and plangent ballad. Refreshingly unconcerned with gloss and perfection, The Prettiots are about honesty as much as they’re about hooks; unflinching in their willingness to present all colors of the emotional spectrum, they have created, with Funs Cool, a thoughtful, funny, and catchy-as-hell state of the union address from young women watching life unfurl in fits and starts before them, and letting us watch them figure out where they belong within it.
Hughes playing in different keys. Now, for his first record on Merge, Benji Hughes is playing Songs in the Key of Animals. Recorded over two years mostly at Frisbie studios in New York , the album is 41 minutes of pop-music exploration. Hughes was working on three other albums as Songs in the Key of Animals started to take shape. “The songs on this album were being written as they were being recorded—on-the-spot, stream-of-consciousness magic.” The listener can hear that sense of discovery and playfulness all over the record. It gives the album its cohesion even as it bounces from, say, the funky hooks of “Freaky Feedback Blues” to the gauzy and bittersweet “Magic Summertime,” Hughes’ reworking of an Eleni Mandell song. Although Hughes has been described as being meticulous, the spontaneous feel of the record comes out of Hughes’ approach. “You just let the tracks happen to you,” he says. “If you’re in tune with what you’re doing, these things will continue to happen. You’re not overlording magic.” And there is something magical about Songs in the Key of Animals. Hughes played most of the music on it, but the album is still full of collaboration. You can hear the chemistry between Hughes and the female vocalists he sings with on this record. One of those singers happens to be Meshell Ndegeocello (who also plays bass on many of the tracks). If Hughes is our host, there are still plenty of guests invited to the party. “Waiting for the muse is a boring and lonely approach,” says Hughes. “Collaboration is where it’s at!” For a while, Hughes hadn’t planned to bring that party to a label. He was going to continue to make music available as a “renegade maverick” until Merge came calling. “I love Merge,” he says. “Who hasn’t vibed out to some of those records? Also, I happen to do a wicked Stephin Merritt impression, so it’s perfect.” And just like that, through Hughes’ love of records like 69 Love Songs, his new album had a home. Though the record runs well short of its predecessor A Love Extreme’s playing time, the CD version of the album will come on two discs. “It feels like the best way of letting people know how I intended the album to be experienced,” Hughes explains. “Two different vibes, the two discs are meant to represent the two sides of a record that gets flipped. It’s really that simple.” As much as Hughes talks about spontaneity and of the two-experience format being “really that simple,” Songs in the Key of Animals is deceptive in its depth. It’s a double-sided album in so many ways. It’s got a summertime immediacy but an evergreen resonance (see “Longshot”). It’s clever but too deep for punchlines (check the excellent back and forth of “Picnic”). It is sincere (“Girls Love Shoes”) yet heartbreaking (“Song for Nancy”). It’s eccentric but never forced in its strangeness. It’s the kind of record that reminds us music can be fun without being empty. It’s an album full of peacocks and sharks and zebras and tigers, but ultimately, it’s about us. “People are animals,” Hughes says, “even if some people don’t want to admit it.” Songs in the Key of Animals taps into something beyond just intellect or trend or taste. It’s all about the feel, the connection between the player, the music, and the listener.
sweltering and immediate. “We live and die by the take,” says singer-guitarist JD Simo. “We don’t edit, and if there are overdubs, they’re minimal. I want it to be unaffected and pure. For me, the music that always resonates most is when a performance is captured. That’s what I love, and that’s what we go for.” The first album ever recorded at Macon, Ga.’s Big House—the communal home of the Allman Brothers Band during their late ‘60s/early ‘70s heyday—Let Love Show the Way finds SIMO not just reveling in the hallowed space’s unique mojo and history, but taking it to a fresh and inspired place. As a musical unit, Simo, his longtime drummer Adam Abrashoff and bassist Elad Shapiro have an undeniable chemistry, taken to even greater heights with JD playing Duane Allman’s 1957 gold-top Les Paul for every track on the record. This is the same six-string heard on the first two Allman Brothers LPs, the same storied guitar that delivered the unforgettable riff on Derek & the Dominoes’ “Layla.” JD is now part of an elite group of artists—including Derek Trucks, Warren Haynes and Wilco’s Nels Cline—who share the rare honor of having wielded this talismanic instrument.
fully wrap your head around them. With Perfect, Half Japanese manages to combine elements of every genre imaginable into one strange, unpredictable, and undeniably-catchy package.
To Take Out the Trash,” “Stink,” “Hootenanny,” and “Let It Be.”
Sunbather was an unexpected crossover hit, earning the band a 92/100 Metacritic score and ending the year as the best reviewed album of 2013. No one could have anticipated a band that drew from equal parts Weakling and My Bloody Valentine ascending to such heights, and that incomprehensibility added to the band’s singularity and allure. Two years later, founding members George Clarke and Kerry McCoy began working on their ANTI debut, New Bermuda, with a new perspective. Says Clarke: “Sunbather yearned for something better. New Bermuda focuses on the idea of false promise, achieving something and wondering if it’s what you really wanted in the first place.” McCoy shares that sentiment: “Sunbather sounds like people who have nothing but are satisfied with life. There’s an uplifting quality to it. But New Bermuda is a very tense record.” McCoy cites death metal demigods Dissection and Morbid Angel, the blackened death pioneers Behemoth, and Cliff Burton-era Metallica as influences on the new album. As New Bermuda progresses, Deafheaven travels further outside of their comfort zone, feasting on other niches of underground metal and offsetting the blunt force of their feral rage with more complex and nuanced beauty. A sophisticated and subdued pop element kicks off “Baby Blue”, before the band abruptly shifts into an amalgam of NWOBHM’s anthemic urgency and thrash metal’s racing chugs. There’s a brief comedown where the band veers into the musique concrete soundscapes and hushed melodrama of early Godspeed You! Black Emperor before “Come Back” resumes the band’s merciless assault of stampeding drums and vitriolic guitar harmonies, only to shift mid-song into the somber territories of 4AD’s early catalog. Which is not to say that Deafheaven have softened their approach; New Bermuda offers the most punishing music of the band’s career in the wake of their greatest success.
Loebman on guitar, and Stef Roti on drums – a raging trio fueled by Taco Bell, rock & roll myths, and pilfered booze. It doesn’t quite add up how kids this young (Max L. just graduated high school) managed to tap into a vibe this classic. The band’s self-titled full-length debut, out July 31 on Autumn Tone, is crammed with classic rock riffs, swinging beats, and up front, the sassy, done-up style of Max G. emoting loosely and widly like a young David Johansen fronting the New York Dolls, possessing a crooner’s voice and a taste for style. Dolled up in flashy get-ups, Max G.’s voice is a growly, beefy thing, a rangy tenor that belies his taste for soul shouters. The prevailing mood in modern indie garage rock is one of stylistic indifference, but that’s not how Yoko & the Oh No’s come across; these kiddos don’t just care, they care a lot. Listen to the crashing classic rock chorus of “Heart Attack,” the sneering “She Knows It,” and the distorted R&B groove of “Nobody Wants to Know.” “Talking over radio/on the moonlit drive/We listen to VU/Jane says close your eyes.” Yoko & the Oh No’s S/T album is their first for Autumn Tone Records, which has a knack for finding raw young bucks (turn up records by the Orwells, Twin Peaks, and Modern Vices as a testament). Yoko & the Oh No’s are currently on tour with likeminded rock & roll weirdos The Growlers, blowing minds and connecting with crowds across the Midwest. 
Beach Boys – Beach Boys’ Party Uncovered & Unplugged The original album stripped down plus unreleased album sessions
‘Adrenalin Baby’ was recorded primarily at his Brixton Academy and Manchester Apollo shows during Johnny’s ‘Playland’ tour in support of his Top 10 solo albums ‘The Messenger’ and ‘Playland’. In addition to material from his solo albums, ‘Adrenalin Baby’also features takes on The Smiths’ classics ‘The Headmaster Ritual’,‘Bigmouth Strikes Again’, ‘There Is A Light That Never Goes Out’ and ‘How Soon Is Now?’. The collection is completed by Electronic’s ‘Getting Away With It’ and Johnny’s interpretation of ‘I Fought The Law’. “I wanted to capture the atmosphere and feeling of the last couple of tours,” says Johnny. “It’s been a special time and the album is a document for fans who were there, and for people who haven¹t seen me and might want to check out what the shows are about. I like live records when they¹re a good listen, It¹s turned out really well.” Released on digital, LP, limited edition and numbered pink coloured double-vinyl (with a poster)
iconic album, Jagjaguwar is proud to present the Black Sheep Boy 10th Anniversary Edition, a three-LP set combining the classic Black Sheep Boy album and its counterpart the Black Sheep Boy Appendix with an all new unreleased album entitled There Swims a Swan: full-band recordings made six months prior to the release of Black Sheep Boy which illuminate the album’s roots in the traditional American songbook. Featuring beautiful, emotional readings of songs popularized by such artists as Washington Phillips, Lead Belly, the Louvin Brothers, and Roscoe Holcomb, There Swims a Swan takes the listener on a trip through the songs that inspired Sheff while composing Black Sheep Boy and reads like a run-through of that album’s themes. Black Sheep Boy is celebrated for its album artwork as well as its music, and the Anniversary Edition collects that artwork in a meticulously reworked package, combining every previous element of William Schaff’s imagery with a large new piece by Schaff depicting an updated Black Sheep Boy. The release also includes lengthy liner notes by Will Sheff walking the listener through the circumstances surrounding the album. For Okkervil River fans (the most high-profile of whom was recently revealed to be President Barack Obama, who included “Down Down the Deep River” on his 2015 summer playlist), the Anniversary Edition is a loving, comprehensive, richly expanded presentation of a record many consider to be one of the band’s best. For those new to the band, this might be the best place to start, the first step on a long road, the opening to a forest you can get lost in.
be told in a stunning and long overdue vinyl set , entitled the Truckdriver, Gladiator, Mule LP box set. Neko’s entire discography on wax will be available on standard black 180 gram vinyl. The set includes all 8 vinyl remasters (remastered from the original analog tape), plus a limited edition 80-page full color photography book and a vinyl slipmat with illustration, both designed by Neko Case herself. All of this comes in a custom storage box. The titles are beloved by fans and many have been out of print on vinyl for years. Neko will embark on a small tour, with a limited number of special performances, playing songs from throughout her career, and performing as a quartet for the first time in 14 years. – Entire catalog on Vinyl – most have been out of print for years – Includes limited edition 80-page full color pho- tography book – Set includes a vinyl slipmat with illustration by Neko Case – Playing the Mutations Festival in Brighton (UK) on November 28 and headline show at Union Chapel in London (UK) on December 1st.
e as influential in that decade as the Beatles were in the prior one. Their impact extends to classic and alternative rockers alike. Then and now, Led Zeppelin looms larger than life on the rock landscape as a band for the ages with an almost mystical power to evoke primal passions.
Exodus Accept) at his Backstage Recording Studios in rural Derbyshire, Saxon were able to hone in and whittle down any excess, finding the sonic space and balance to let Battering Ram’s riffs and melodies get the necessary space to scream front and center, Sneap bringing a crispness to the sound which evokes memories of the early ‘80s without for one moment sounding dated. “Yes, Andy has been in charge of everything with this album, I keep on overview of it all, but he’s done a great job and we’re both pleased with the results. We have a great partnership.” Lyrically, Battering Ram covers a variety of social situations, from the screaming fans who rage at the gig barriers (“Battering Ram”) to the inequalities of taxation (“Tax ’Till You Drop”), as well as engaging in some good old fashioned myth (“The Devil’s Footprint” – a 200 year old tale of people waking up in winter snowfall to see unexplained hoof prints which they followed, looking for an answer in vain). “When I’m writing lyrics I like to switch back and forth between complex things, reality and rock’n’roll,” says Byford, “I thought the whole folklore behind “The Devil’s Footprint” made it great material for a metal song, being that it’s both historic and mythical. “With “Queen of Hearts” I wanted to write something around Lewis Carroll’s Alice In Wonderland, and it’s about the chess game that happens in the story. I wanted it to have prog-feeling in the way of its ambiance and mood. Then you have songs like “Destroyer” and “Hard and Fast” which are ‘80s inspired songs with that modern slant on it. I’m a big fan of Marvel comics, and I wanted to write a song around the character Destroyer, and with “Hard and Fast” it’s as the title suggests, about driving fast! I do like to tie the lyric into the song, so if it’s going to be a song about driving fast, well, it has to be a fast, hard song!” There is also the album’s closing cut, haunting, gripping, melancholic tale of the First World War, “The Kingdom of The Cross”, where a poem unfurls the feelings and horrors which comprised this most brutal of global conflicts. “This year is the centenary of the end of the First World War. Nigel had a piece of music which he played on a synthesizer for a couple of years that I really liked. We had an actor (and singer), David Bower from the band Hell, read the poem and I sang the choruses. I didn’t want it to be typical Saxon, so it is just keyboards, bass, me and Dave.” Wonderfully uncompromising, with Battering Ram Saxon have once again established their rightly-venerated credentials as Kings and vanguards of heavy metal music.
silent hotels where lonely travelers meet. These are the images and suggested narratives that pervade the spirit of Polish Night Music, the musical collaboration between American filmmaker David Lynch and Polish concert pianist and composer Marek Zebrowski. Zebrowski and Lynch first met during the Camerimage Film Festival in Lodz, Poland and started to work together during the organic evolution of Lynch’s Inland Empire. Originally, Zebrowski served as a translator for the shooting of several Lodz-based Polish scenes in Empire, but upon discovering their shared interest in musical experimentation and improvisation, Lynch invited Zebrowski to his Los Angeles studio to participate in a series of musical experiments. From these initial collaborations, inspired by their unique and distinct connections to Poland, emerged a tangible mood and distinctly modern texture that became Polish Night Music. 
such as ‘Like A Rolling Stone’, ‘Desolation Row’, ‘Visions Of Johanna’ and ‘Highway 61 Revisited’. Between 1965 and 1966 Bob Dylan recorded three albums that many believe changed the course of modern music: Bringing It All back Home, Highway 61 Revisited and Blonde on Blonde. The Cutting Edge 1965-1966: The Bootleg Series Volume 12 takes you inside the studio during the recording of those three albums. With a staggering wealth of unreleased songs, outtakes, rehearsals and alternate versions – The Cutting Edge provides a unique insight into a legendary icon’s creative process. 
Magnetic Fields – 69 Love Songs Vinyl repress of The Magnetic Fields’ classic 1999 3-CD Box set rumination on, of course, love. Funny, smart, dark, memorable, and a lifetime’s worth of listening. Stephin Merritt solidifies his songwriting genius on his “most ambitious and fully realized work.” (AMG) This vinyl reissue is remastered for vinyl & beautifully packaged in a 10” slip case box with three double gatefold sleeves and the original booklet at full size!
Illinois-born, Toronto-based artist Meg Remy, U.S. Girls has evolved in recent years from the coarse 4-track fidelity found on her early recordings to more luscious and unabashed works, packed with fiery pop sensibilities. Half Free is the next step in this impressive progression, an honest and lyrically jarring exploration of emotions, drenched in a bath of raw beats and loops that have become the hallmark of her work with producer and frequent collaborator Onakabazien. Other album guests include Slim Twig (DFA), Ben Cook (Fucked Up, Young Guv), Amanda Crist (Ice Cream) and Tony Price.
2014 release, an outstanding tribute to director/screenwriter Wes Anderson. I SAVED LATIN! Features today’s best artists covering songs that have appeared in his films Bottle Rocket, Rushmore, Royal Tenenbaums, Life Aquatic, Darjeeling Limited, Fantastic Mr. Fox, and more. Includes covers of songs by the Kinks, Rolling Stones, David Bowie, Elliot Smith, Nick Drake, Nico, Cat Stevens, Love, John Lennon, The Zombies, Mark Mothersbaugh, among others. The 6 panel eco-wallet features exclusive Wes Anderson-inspired illustrations by critically acclaimed rock poster designer Lonny Unitus. Includes songs performed by Juliana Hatfield, Kristin Hersh, Margo And The Nuclear So & So’s, Telekinesis, Matt Pond and others.