{"title":"New Cassette Pre-Orders","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eExplore the most recently announced cassette pre-orders!\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e☞ \u003c\/span\u003e\u003ca href=\"https:\/\/parkavecds.shop\/collections\/new-cassettes\" title=\"New Cassettes\"\u003eCheck out all new cassette releases here\u003c\/a\u003e\u003c\/p\u003e","products":[{"product_id":"pre-order-citizen-halcyon-blues-cassette","title":"Pre-Order: Citizen - Halcyon Blues [Cassette]","description":"\u003cp\u003eCitizen’s persistent sonic evolution and refusal to make the same record twice has earned them a reputation as one of the most consistently captivating bands in modern rock music. It’s precisely this commitment to their craft that has led to their new album, Halcyon Blues. It’s a dynamic and confident culmination of all that’s come before, making it crystal clear that for all their sonic restlessness, Citizen have always known exactly who they are.\u003c\/p\u003e\n\u003cp\u003eFrom the start, the band–vocalist Mat Kerekes, guitarist Nick Hamm, bassist Eric Hamm, along with newer members guitarist Mason Mercer and drummer Ben Russin–were steadfastly determined to follow their creativity wherever it led. Over the years they deftly moved through raw emo, menacing post-hardcore, anthemic alternative, garage-y indie pop, and so much more. Now Halcyon Blues brings elements from throughout their entire catalog together into a singular and instantly satisfying record that just sounds like Citizen.\u003c\/p\u003e\n\u003cp\u003eWhere past Citizen albums have felt like direct responses to the preceding release, Halcyon Blues sounds like the group wrapping their arms around their entire catalog and carrying it forward. 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These are huge rock songs with fittingly huge emotions, but the youthful frustration of Citizen’s early work has grown up too, replaced by a more nuanced, though no less cutting, adult perspective.\u003c\/p\u003e\n\u003cdiv data-bt-autogen=\"\"\u003e\n\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 199438003155\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Run For Cover Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 8.7.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Cassette\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SECRETLY DISTRIBUTION-BWSCD","offers":[{"title":"Default Title","offer_id":52028861350190,"sku":"N199438003162","price":13.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0803\/7856\/0814\/files\/cover_art_unavailable_MISC_USE.jpg?v=1770141824"},{"product_id":"pre-order-the-mountain-goats-days-cass","title":"Pre-Order: The Mountain Goats - Days [Cassette]","description":"\u003cp\u003eThese songs are loosely about the 70s, 80s, and 90s, which is to say they’re about the accumulation of days, each one a little further back than the next, sometimes miraculously seeming clearer as they recede and sometimes blurring into unrecognizable shapes which are sometimes pleasant and sometimes troubling.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"track\"\u003e1. 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Marco Benevento has always moved like someone who understands the studio as it's own instrument, not just a room where the toys are. Long before he began appearing on stages with Freddie Gibbs and Madlib, and in the liner notes of albums by Clairo and Leon Bridges, Benevento was already thinking like a producer - listening for texture, tension, and negative space, and for the strange emotional alchemy that occurs when groove and curiosity collide. His new album Glera sharpens that instinct into focus, presenting Benevento not only as a virtuosic keyboardist and bandleader, but as a composer building worlds from rhythm, tone, and feeling.Glera is a genre-bending jazz record that folds in soul and reggae's elastic low end with an open-door sense of possibility. The project began three years ago as a kind of private exercise, with Benevento writing intuitively, inspired by Italian film scores and melody. Over time, those sketches evolved into something broader and more muscular, culminating in the grand majesty heard here. What emerges is music that moves cinematically without becoming precious. Tracks can feel like chase scenes or slow dissolves, sometimes within the same song, with jazz improvisation sharing space alongside reggae pocket, orchestral elements, and psych-pop atmosphere. It's exploratory but grounded, complex yet unmistakably groove-forward.Album opener \"Frizzante\" is pure musical celebration captured on tape - a high-energy, feel-good banger that finds Marco trading melodies with himself over a relentless groove. On \"Turandot,\" Benevento is joined by Italy's own Marianne Mirage on vocals; the haunting, cinematic track sits comfortably between the worlds of Portishead and Serge Gainsbourg. Then comes \"Big Top,\" stretching the album's palette even further; equipped with voice memos and peacock calls, it's most aptly summed up as \"circus funk.\" Blow the whistle and the game begins with the jazz-fusion-esque dancefloor filler \"Houdini,\" a kick-in-the-door burner from the very first drumbeat. Blending dream pop into the mix on \"I Can't Control This Bliss,\" Marco invites Dream Crease to the microphone for a dose of lo-fi gorgeousness. Elizabeth Steiner brings her storied harp work to \"Miss Neptune\" over a deeply vibey, reggae-influenced backing track. Putting the pedal to the metal, \"Sprezzatura\" plays like a high-speed pursuit through narrow streets, while \"Quattro Passi\" brings the pace down to a saunter, featuring jazz vocalist Chiara Civello.Marco Benevento is operating at the highest level, shaping sound with purpose and curiosity. This album announces itself loudly-both outward-facing and deeply intimate. 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In 2006 the four-piece began writing their first songs in Norwich, UK, releasing \"Whiskey Tango Foxtrot...\" and \"Open Closed Open\" in 2008 on the retroactively titled First CD (aka demo or free cd), the original physical copies of which were homespun and given away gratis at shows. Coming up in the UK mid-late 2000s indie music scene, pennines were lucky enough to share the stage with contemporaries such as Stapleton, Hot Club de Paris, Colour, Dartz!, TTNG and other like minded musical friends. Popularized by genre forebears toe and American Football, pennines favoured arpeggiated guitar, syncopation, staccato call-and-response harmonies, and unexpected rhythm decisions. \"One of the things I loved about pennines was the absolute lack of bullshit,\" recalls singer\/guitarist Henry Tremain, referencing the band's straightforward approach to their sound. 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Whilst every effort has been made to record the subject in as great a degree of isolation as possible, the sound recordings you will hear on this record were made in a real working hospital and not under controlled conditions. 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This meant applying explorative potentials of electronic textures to the elemental qualities of rock i.e. more vocal loops, sampling, more crazy rhythms, and playful synths - but make those samples of Trainor's guitar, let Maatman sing bolder, experiment with using cold mechanical elements in warm and sparkly ways, and lean harder into traditional-yet-still-awesome forms of rock guitar experimentation like feedback. 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In the whirlwind first few years of the band, there had been breakups, new love affairs, and yearning all while Wishy stormed the indie scene as an instantly beloved new act. That revelation by way of pep-talk arrives in the chorus of \"Sensational.\" Originating through Krauter's experimentation with drum loops, the song is what should be an unholy fusion of sugary grunge and dream-pop. Yet Wishy's latest jubilant remix of the past bears all their trademarks: zany lyrics transfiguring melancholia into freedom, an instant classic chorus that already feels like an old friend. It's all quintessentially Wishy, and yet unlike any Wishy song you've yet heard-which made it the perfect song to give their vibrant sophomore album 'Nature's Pill' it's name. Wishy's origins go way back, to when Krauter and Pitchkites met in high school in Indianapolis. Some years and a few projects later, they joined forces to form Wishy, rounding out the lineup with guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host. The group's musical synergy was intense from the jump and the beginning of their career has been a prolific burst: the 'Mana' and 'Paradise' EPs in 2023, debut LP 'Triple Seven' in 2024, and a follow-up EP 'Planet Popstar' in 2025. After those releases met acclaim and the band's stature rose, the conception of 'Nature's Pill' was fundamentally different. The entire project was a more collaborative effort. After writing separately for all of their debut, Krauter and Pitchkites sat down to write together as much as solo; Morris and Collins contributed to the writing process. The group reconvened with 'Triple Seven' co-producer Ben Lumsdaine in Los Angeles, where the quintet packed into a tiny studio and tracked half the songs live in the room, imbuing the album with the immediate energy of a band in sync after heavy touring. It gave them the ability to synthesize an even greater array of touchstones this time around, with the '90s dream-pop and alt-rock of 'Triple Seven' fusing with '80s college rock and '00s indie. \"We were getting a bit more twee with it, embracing the young hipster headspace we had in high school,\" Krauter says. Just as their sound is often a swirl of various alternative and indie traditions, Wishy's new songs collide the highs, pitfalls, and banal detritus of human experience alike. 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They have been friends-and occasional collaborators-for almost twenty years. Despite that, \u003cem\u003eDOOMED!\u003c\/em\u003e Is the first time the two have put together a full body of work. But everything happens in it's time, and fate worked to bring them together at the exact moment that would allow the duo to create something extraordinary. Mike, fresh off a string of multi-producer records and processing the end of a tumultuous relationship, was in need of creative catharsis. 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