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Good News Boppers: NYC, we're heading your way for a good time and a long time. We will be hosting a summer pop up shop in lower Manhattan kicking off Memorial Day Weekend. Just wrapped up location scouting and I think all systems are go. RSVP now for early access to updates, scoops, deals and way more... Can't wait 🗽🗽🗽

Good News Boppers: NYC, we're heading your way for a good time and a long time. We will be hosting a summer pop up shop in lower Manhattan kicking off Memorial Day Weekend. Just wrapped up location scouting and I think all systems are go. RSVP now for early access to updates, scoops, deals and way more... Can't wait 🗽🗽🗽

Good News Boppers: NYC, we're heading your way for a good time and a long time. We will be hosting a summer pop up shop in lower Manhattan kicking off Memorial Day Weekend. Just wrapped up location scouting and I think all systems are go. RSVP now for early access to updates, scoops, deals and way more... Can't wait 🗽🗽🗽

Good News Boppers: NYC, we're heading your way for a good time and a long time. We will be hosting a summer pop up shop in lower Manhattan kicking off Memorial Day Weekend. Just wrapped up location scouting and I think all systems are go. RSVP now for early access to updates, scoops, deals and way more... Can't wait 🗽🗽🗽

Good News Boppers: NYC, we're heading your way for a good time and a long time. We will be hosting a summer pop up shop in lower Manhattan kicking off Memorial Day Weekend. Just wrapped up location scouting and I think all systems are go. RSVP now for early access to updates, scoops, deals and way more... Can't wait 🗽🗽🗽

Good News Boppers: NYC, we're heading your way for a good time and a long time. We will be hosting a summer pop up shop in lower Manhattan kicking off Memorial Day Weekend. Just wrapped up location scouting and I think all systems are go. RSVP now for early access to updates, scoops, deals and way more... Can't wait 🗽🗽🗽

Something to send someone you ♥️

Our final three: Allure, Racecourse, and Circa40. Your Renaissance 2026 is SOLD OUT. Thank you.

How many scrapped Codeine albums are still hiding in this pile?

The last time we dug into the Codeine tape archives we found and restored the original White Birch recordings which became the slowcore masterpiece, Dessau. Should we keep digging in here for some more Codeine gems?

How many scrapped Codeine albums are still hiding in this pile?

The last time we dug into the Codeine tape archives we found and restored the original White Birch recordings which became the slowcore masterpiece, Dessau. Should we keep digging in here for some more Codeine gems?

How many scrapped Codeine albums are still hiding in this pile?

The last time we dug into the Codeine tape archives we found and restored the original White Birch recordings which became the slowcore masterpiece, Dessau. Should we keep digging in here for some more Codeine gems?

How many scrapped Codeine albums are still hiding in this pile?

The last time we dug into the Codeine tape archives we found and restored the original White Birch recordings which became the slowcore masterpiece, Dessau. Should we keep digging in here for some more Codeine gems?

How many scrapped Codeine albums are still hiding in this pile?

The last time we dug into the Codeine tape archives we found and restored the original White Birch recordings which became the slowcore masterpiece, Dessau. Should we keep digging in here for some more Codeine gems?

How many scrapped Codeine albums are still hiding in this pile?

The last time we dug into the Codeine tape archives we found and restored the original White Birch recordings which became the slowcore masterpiece, Dessau. Should we keep digging in here for some more Codeine gems?

Before their sold out show at the empty bottle @carolinetheband stopped at the numero store and picked up a couple of records.

Here are their Numero Necessities (plus some records they talked about but didn’t make it into the video). Which titles do you think they missed?

Casper:
Pastor T.L. Barrett - Like a Ship
Lijadu Sisters - Horizon Unlimited
Tacoma Radar - No One Waved Goodbye
Rupa - Disco Jazz

Ollie:
Otis G. Johnson - Everything - God Is Love ‘78
Unwound - Challenge For a Civilized Society
Charles Brown - I Just Want To Talk To You
Skip Mahoaney & the Casuals - Your Funny Mood

Alex:
Indian Summer - Giving Birth to Thunder
Macha loved Bedhead - Bedhead loved Macha
Valium Aggelein - Black Moon
Switched-On - Eugene

Before “Midwest emo” there was Ethel Meserve, bridging the gap between DC post-hardcore and the tangled melodic sounds coming out of the Midwest. Their Hoover worship filtered through VFW halls, church basements, and college radio stations, in State College, Pennsylvania.

Bonding over bands while driving around to different skate parks, Chris Baronner, Ryan Gerber and their friend Mark ‘Mordil’ Morrison had dreams of starting their own project. Baronner catapulted himself into the state college diy scene while still in high school and was able to created a network of places to play and stay by the time he was in college.

After a few high school bands and early college projects, Baronner and Gerber formed Ethel Meserve with Andrew Simpson and Josh Vargo, Jeff Bundy joining in 1998. At Penn State, Baronner was busy booking every band from The Crownhate Ruin, to Rainer Maria to Franklin in his basement or in town when they came through town, usually playing with Ethel Meserve too.

The band quietly came to an end in 1998, with secret pipe dreams to get back together once their lives had settled down. After a 30 year hiatus the band is back, playing shows around the US this summer with Jejune and First Day Back after their great return this winter in Chicago and Japan.

Read more about the band’s beginnings in their feature on the PennStater

Before “Midwest emo” there was Ethel Meserve, bridging the gap between DC post-hardcore and the tangled melodic sounds coming out of the Midwest. Their Hoover worship filtered through VFW halls, church basements, and college radio stations, in State College, Pennsylvania.

Bonding over bands while driving around to different skate parks, Chris Baronner, Ryan Gerber and their friend Mark ‘Mordil’ Morrison had dreams of starting their own project. Baronner catapulted himself into the state college diy scene while still in high school and was able to created a network of places to play and stay by the time he was in college.

After a few high school bands and early college projects, Baronner and Gerber formed Ethel Meserve with Andrew Simpson and Josh Vargo, Jeff Bundy joining in 1998. At Penn State, Baronner was busy booking every band from The Crownhate Ruin, to Rainer Maria to Franklin in his basement or in town when they came through town, usually playing with Ethel Meserve too.

The band quietly came to an end in 1998, with secret pipe dreams to get back together once their lives had settled down. After a 30 year hiatus the band is back, playing shows around the US this summer with Jejune and First Day Back after their great return this winter in Chicago and Japan.

Read more about the band’s beginnings in their feature on the PennStater

Before “Midwest emo” there was Ethel Meserve, bridging the gap between DC post-hardcore and the tangled melodic sounds coming out of the Midwest. Their Hoover worship filtered through VFW halls, church basements, and college radio stations, in State College, Pennsylvania.

Bonding over bands while driving around to different skate parks, Chris Baronner, Ryan Gerber and their friend Mark ‘Mordil’ Morrison had dreams of starting their own project. Baronner catapulted himself into the state college diy scene while still in high school and was able to created a network of places to play and stay by the time he was in college.

After a few high school bands and early college projects, Baronner and Gerber formed Ethel Meserve with Andrew Simpson and Josh Vargo, Jeff Bundy joining in 1998. At Penn State, Baronner was busy booking every band from The Crownhate Ruin, to Rainer Maria to Franklin in his basement or in town when they came through town, usually playing with Ethel Meserve too.

The band quietly came to an end in 1998, with secret pipe dreams to get back together once their lives had settled down. After a 30 year hiatus the band is back, playing shows around the US this summer with Jejune and First Day Back after their great return this winter in Chicago and Japan.

Read more about the band’s beginnings in their feature on the PennStater

Before “Midwest emo” there was Ethel Meserve, bridging the gap between DC post-hardcore and the tangled melodic sounds coming out of the Midwest. Their Hoover worship filtered through VFW halls, church basements, and college radio stations, in State College, Pennsylvania.

Bonding over bands while driving around to different skate parks, Chris Baronner, Ryan Gerber and their friend Mark ‘Mordil’ Morrison had dreams of starting their own project. Baronner catapulted himself into the state college diy scene while still in high school and was able to created a network of places to play and stay by the time he was in college.

After a few high school bands and early college projects, Baronner and Gerber formed Ethel Meserve with Andrew Simpson and Josh Vargo, Jeff Bundy joining in 1998. At Penn State, Baronner was busy booking every band from The Crownhate Ruin, to Rainer Maria to Franklin in his basement or in town when they came through town, usually playing with Ethel Meserve too.

The band quietly came to an end in 1998, with secret pipe dreams to get back together once their lives had settled down. After a 30 year hiatus the band is back, playing shows around the US this summer with Jejune and First Day Back after their great return this winter in Chicago and Japan.

Read more about the band’s beginnings in their feature on the PennStater

Before “Midwest emo” there was Ethel Meserve, bridging the gap between DC post-hardcore and the tangled melodic sounds coming out of the Midwest. Their Hoover worship filtered through VFW halls, church basements, and college radio stations, in State College, Pennsylvania.

Bonding over bands while driving around to different skate parks, Chris Baronner, Ryan Gerber and their friend Mark ‘Mordil’ Morrison had dreams of starting their own project. Baronner catapulted himself into the state college diy scene while still in high school and was able to created a network of places to play and stay by the time he was in college.

After a few high school bands and early college projects, Baronner and Gerber formed Ethel Meserve with Andrew Simpson and Josh Vargo, Jeff Bundy joining in 1998. At Penn State, Baronner was busy booking every band from The Crownhate Ruin, to Rainer Maria to Franklin in his basement or in town when they came through town, usually playing with Ethel Meserve too.

The band quietly came to an end in 1998, with secret pipe dreams to get back together once their lives had settled down. After a 30 year hiatus the band is back, playing shows around the US this summer with Jejune and First Day Back after their great return this winter in Chicago and Japan.

Read more about the band’s beginnings in their feature on the PennStater

Sample Sunday

We’re back for another Sample Sunday, this time focusing on one track, the Iconic “Nobody Knows” by Pastor T.L. Barrett which has been sampled more times than we can count, and we want to know who you think flipped it best.

Sample Sunday

We’re back for another Sample Sunday, this time focusing on one track, the Iconic “Nobody Knows” by Pastor T.L. Barrett which has been sampled more times than we can count, and we want to know who you think flipped it best.

Sample Sunday

We’re back for another Sample Sunday, this time focusing on one track, the Iconic “Nobody Knows” by Pastor T.L. Barrett which has been sampled more times than we can count, and we want to know who you think flipped it best.

Sample Sunday

We’re back for another Sample Sunday, this time focusing on one track, the Iconic “Nobody Knows” by Pastor T.L. Barrett which has been sampled more times than we can count, and we want to know who you think flipped it best.

Sample Sunday

We’re back for another Sample Sunday, this time focusing on one track, the Iconic “Nobody Knows” by Pastor T.L. Barrett which has been sampled more times than we can count, and we want to know who you think flipped it best.

Sample Sunday

We’re back for another Sample Sunday, this time focusing on one track, the Iconic “Nobody Knows” by Pastor T.L. Barrett which has been sampled more times than we can count, and we want to know who you think flipped it best.

Sample Sunday

We’re back for another Sample Sunday, this time focusing on one track, the Iconic “Nobody Knows” by Pastor T.L. Barrett which has been sampled more times than we can count, and we want to know who you think flipped it best.

The rumors are true. On Wednesday, May 27th at 5pm, Rye Coalition will play their first show in years right out in front of our Lower Manhattan storefront. Philly screamo pioneers Frail will open.If this goes well we’ll try to do more shows this summer. Come by, say hi. Don’t tell the cops.

The rumors are true. On Wednesday, May 27th at 5pm, Rye Coalition will play their first show in years right out in front of our Lower Manhattan storefront. Philly screamo pioneers Frail will open.If this goes well we’ll try to do more shows this summer. Come by, say hi. Don’t tell the cops.

The rumors are true. On Wednesday, May 27th at 5pm, Rye Coalition will play their first show in years right out in front of our Lower Manhattan storefront. Philly screamo pioneers Frail will open.If this goes well we’ll try to do more shows this summer. Come by, say hi. Don’t tell the cops.

The rumors are true. On Wednesday, May 27th at 5pm, Rye Coalition will play their first show in years right out in front of our Lower Manhattan storefront. Philly screamo pioneers Frail will open.If this goes well we’ll try to do more shows this summer. Come by, say hi. Don’t tell the cops.

The rumors are true. On Wednesday, May 27th at 5pm, Rye Coalition will play their first show in years right out in front of our Lower Manhattan storefront. Philly screamo pioneers Frail will open.If this goes well we’ll try to do more shows this summer. Come by, say hi. Don’t tell the cops.

Is this our only artist that could read minds?

“I remember one time I was standing in line and hearing what people were thinking. I could tap into that. It was so mundane, so boring, and really none of my business. And I thought, who am I to intrude on people’s private thoughts? So I started to block things out so I could selectively hear only what I wanted to hear. I was getting into some pretty dangerous territory.”

Joanna Brouk: In Her Own Words

“My father played the guitar and knew every song there was. There was always music around. I always thought I would just be a writer. Music was a gift. And even when people would call and tell me they didn’t like it, I said, ‘I don’t care. I’m just the channel here, it’s just coming through me.’”

Joanna Brouk was a composer who wrote scores with geometric shapes, a poet who became a pioneer of early electronic music. Her body of work exists at the nexus between ambient, new age, drone, and classical minimalism—stark in its simplicity, lush in its expanse. Studying under Robert Ashley and Terry Riley at the fabled Mills College Center for Contemporary Music before graduating into the margins of the ‘70s Bay Area new music scene, Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power.

“With the synthesizer, if you do the same thing with octaves and fifths, and if you do it right and lay it over itself, it will start to do an arpeggio—it will start to wave up. It’s really magical. So I started hearing these rising arpeggios, and that became ‘Maggi’s Flute.’ The space between the notes became just as important as the notes themselves.”

After chasing that intoxicating feeling for years, Brouk started losing her hearing—in the sense that she didn’t want to hear anything but celestial music and stopped hearing it all together upon discovery of Transcendental Meditation. She took a teacher training course, allowing her to hear music again and even began to draw it.

caption continued in comments

Is this our only artist that could read minds?

“I remember one time I was standing in line and hearing what people were thinking. I could tap into that. It was so mundane, so boring, and really none of my business. And I thought, who am I to intrude on people’s private thoughts? So I started to block things out so I could selectively hear only what I wanted to hear. I was getting into some pretty dangerous territory.”

Joanna Brouk: In Her Own Words

“My father played the guitar and knew every song there was. There was always music around. I always thought I would just be a writer. Music was a gift. And even when people would call and tell me they didn’t like it, I said, ‘I don’t care. I’m just the channel here, it’s just coming through me.’”

Joanna Brouk was a composer who wrote scores with geometric shapes, a poet who became a pioneer of early electronic music. Her body of work exists at the nexus between ambient, new age, drone, and classical minimalism—stark in its simplicity, lush in its expanse. Studying under Robert Ashley and Terry Riley at the fabled Mills College Center for Contemporary Music before graduating into the margins of the ‘70s Bay Area new music scene, Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power.

“With the synthesizer, if you do the same thing with octaves and fifths, and if you do it right and lay it over itself, it will start to do an arpeggio—it will start to wave up. It’s really magical. So I started hearing these rising arpeggios, and that became ‘Maggi’s Flute.’ The space between the notes became just as important as the notes themselves.”

After chasing that intoxicating feeling for years, Brouk started losing her hearing—in the sense that she didn’t want to hear anything but celestial music and stopped hearing it all together upon discovery of Transcendental Meditation. She took a teacher training course, allowing her to hear music again and even began to draw it.

caption continued in comments

Is this our only artist that could read minds?

“I remember one time I was standing in line and hearing what people were thinking. I could tap into that. It was so mundane, so boring, and really none of my business. And I thought, who am I to intrude on people’s private thoughts? So I started to block things out so I could selectively hear only what I wanted to hear. I was getting into some pretty dangerous territory.”

Joanna Brouk: In Her Own Words

“My father played the guitar and knew every song there was. There was always music around. I always thought I would just be a writer. Music was a gift. And even when people would call and tell me they didn’t like it, I said, ‘I don’t care. I’m just the channel here, it’s just coming through me.’”

Joanna Brouk was a composer who wrote scores with geometric shapes, a poet who became a pioneer of early electronic music. Her body of work exists at the nexus between ambient, new age, drone, and classical minimalism—stark in its simplicity, lush in its expanse. Studying under Robert Ashley and Terry Riley at the fabled Mills College Center for Contemporary Music before graduating into the margins of the ‘70s Bay Area new music scene, Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power.

“With the synthesizer, if you do the same thing with octaves and fifths, and if you do it right and lay it over itself, it will start to do an arpeggio—it will start to wave up. It’s really magical. So I started hearing these rising arpeggios, and that became ‘Maggi’s Flute.’ The space between the notes became just as important as the notes themselves.”

After chasing that intoxicating feeling for years, Brouk started losing her hearing—in the sense that she didn’t want to hear anything but celestial music and stopped hearing it all together upon discovery of Transcendental Meditation. She took a teacher training course, allowing her to hear music again and even began to draw it.

caption continued in comments

Is this our only artist that could read minds?

“I remember one time I was standing in line and hearing what people were thinking. I could tap into that. It was so mundane, so boring, and really none of my business. And I thought, who am I to intrude on people’s private thoughts? So I started to block things out so I could selectively hear only what I wanted to hear. I was getting into some pretty dangerous territory.”

Joanna Brouk: In Her Own Words

“My father played the guitar and knew every song there was. There was always music around. I always thought I would just be a writer. Music was a gift. And even when people would call and tell me they didn’t like it, I said, ‘I don’t care. I’m just the channel here, it’s just coming through me.’”

Joanna Brouk was a composer who wrote scores with geometric shapes, a poet who became a pioneer of early electronic music. Her body of work exists at the nexus between ambient, new age, drone, and classical minimalism—stark in its simplicity, lush in its expanse. Studying under Robert Ashley and Terry Riley at the fabled Mills College Center for Contemporary Music before graduating into the margins of the ‘70s Bay Area new music scene, Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power.

“With the synthesizer, if you do the same thing with octaves and fifths, and if you do it right and lay it over itself, it will start to do an arpeggio—it will start to wave up. It’s really magical. So I started hearing these rising arpeggios, and that became ‘Maggi’s Flute.’ The space between the notes became just as important as the notes themselves.”

After chasing that intoxicating feeling for years, Brouk started losing her hearing—in the sense that she didn’t want to hear anything but celestial music and stopped hearing it all together upon discovery of Transcendental Meditation. She took a teacher training course, allowing her to hear music again and even began to draw it.

caption continued in comments

Is this our only artist that could read minds?

“I remember one time I was standing in line and hearing what people were thinking. I could tap into that. It was so mundane, so boring, and really none of my business. And I thought, who am I to intrude on people’s private thoughts? So I started to block things out so I could selectively hear only what I wanted to hear. I was getting into some pretty dangerous territory.”

Joanna Brouk: In Her Own Words

“My father played the guitar and knew every song there was. There was always music around. I always thought I would just be a writer. Music was a gift. And even when people would call and tell me they didn’t like it, I said, ‘I don’t care. I’m just the channel here, it’s just coming through me.’”

Joanna Brouk was a composer who wrote scores with geometric shapes, a poet who became a pioneer of early electronic music. Her body of work exists at the nexus between ambient, new age, drone, and classical minimalism—stark in its simplicity, lush in its expanse. Studying under Robert Ashley and Terry Riley at the fabled Mills College Center for Contemporary Music before graduating into the margins of the ‘70s Bay Area new music scene, Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power.

“With the synthesizer, if you do the same thing with octaves and fifths, and if you do it right and lay it over itself, it will start to do an arpeggio—it will start to wave up. It’s really magical. So I started hearing these rising arpeggios, and that became ‘Maggi’s Flute.’ The space between the notes became just as important as the notes themselves.”

After chasing that intoxicating feeling for years, Brouk started losing her hearing—in the sense that she didn’t want to hear anything but celestial music and stopped hearing it all together upon discovery of Transcendental Meditation. She took a teacher training course, allowing her to hear music again and even began to draw it.

caption continued in comments

Don Cornelius who? Imagine “Soul Train” but lower the budget, shoot it in the CopHerBox II nightclub and broadcast it on Public Access TV - give it the Numero treatment decades before we were even an idea. For 23 straight Saturday nights of 1982, “The Chicago Party” dance show aired on Chicagoland UHF airwaves, featuring spandex, fly guys, magicians, contortionists, prismatic video gimmickry, and lip-synched singles by local better-late-than-never disco hopefuls.

We first discovered it while in the living room of Willie Woods for a meeting to chat about an unrelated, unreleased LP he produced. During the archival flossing section of the meet, Willie mentioned having all the U-matic masters to the TV show he’d produced called “The Chicago Party”.... Say more...

What followed was an absolutely incredible treasure trove of Chicago Boogie audio visual grails. Unreleased Donnell Pitman, the discovery of Universal Togetherness Band and the ability to unearth and preserve a stack of other dancefloor heat otherwise unavailable.

We’re revisiting the footage in hopes of manifesting a volume 2 so hopefully sharing some more clips in coming weeks. If this wasn’t enough, you can watch our whole 100 minute DVD cut online featuring some of the most insane moments from the show and killer performances. That’s the Chicago Party but what about the... After Party?

25 years later, we’re finally on time.

One Day I’ll Be On Time, the Tiger Style turned Numero gem from The Album Leaf is back, remastered and reissued exactly 25 years to the day. What began as Jimmy LaValle’s experimental side project during his Swing Kids -> Tristeza years became something no one predicted: a perennial creative force with devotional global fanbase and a lasting impact at the intersection of electronic, indie, ambient, and avant-garde music.

The Album Leaf’s sophomore album weaves delicate guitar and piano, atmospheric synths, eerie field recordings, and hypnotic percussion into a meditation on the passage of time. This 25th anniversary edition replicates the original with fresh liner notes from author and Numero Group favorite Adam Gnade and freshly unearthed photos. Our Deluxe Bundle edition includes the recently discovered addendum live album Last Time Here, capturing LaValle in the moment, just as his sound was coming into focus.

A devastating hour of aural photosynthesis well worth the quarter century delay.

25 years later, we’re finally on time.

One Day I’ll Be On Time, the Tiger Style turned Numero gem from The Album Leaf is back, remastered and reissued exactly 25 years to the day. What began as Jimmy LaValle’s experimental side project during his Swing Kids -> Tristeza years became something no one predicted: a perennial creative force with devotional global fanbase and a lasting impact at the intersection of electronic, indie, ambient, and avant-garde music.

The Album Leaf’s sophomore album weaves delicate guitar and piano, atmospheric synths, eerie field recordings, and hypnotic percussion into a meditation on the passage of time. This 25th anniversary edition replicates the original with fresh liner notes from author and Numero Group favorite Adam Gnade and freshly unearthed photos. Our Deluxe Bundle edition includes the recently discovered addendum live album Last Time Here, capturing LaValle in the moment, just as his sound was coming into focus.

A devastating hour of aural photosynthesis well worth the quarter century delay.

25 years later, we’re finally on time.

One Day I’ll Be On Time, the Tiger Style turned Numero gem from The Album Leaf is back, remastered and reissued exactly 25 years to the day. What began as Jimmy LaValle’s experimental side project during his Swing Kids -> Tristeza years became something no one predicted: a perennial creative force with devotional global fanbase and a lasting impact at the intersection of electronic, indie, ambient, and avant-garde music.

The Album Leaf’s sophomore album weaves delicate guitar and piano, atmospheric synths, eerie field recordings, and hypnotic percussion into a meditation on the passage of time. This 25th anniversary edition replicates the original with fresh liner notes from author and Numero Group favorite Adam Gnade and freshly unearthed photos. Our Deluxe Bundle edition includes the recently discovered addendum live album Last Time Here, capturing LaValle in the moment, just as his sound was coming into focus.

A devastating hour of aural photosynthesis well worth the quarter century delay.

25 years later, we’re finally on time.

One Day I’ll Be On Time, the Tiger Style turned Numero gem from The Album Leaf is back, remastered and reissued exactly 25 years to the day. What began as Jimmy LaValle’s experimental side project during his Swing Kids -> Tristeza years became something no one predicted: a perennial creative force with devotional global fanbase and a lasting impact at the intersection of electronic, indie, ambient, and avant-garde music.

The Album Leaf’s sophomore album weaves delicate guitar and piano, atmospheric synths, eerie field recordings, and hypnotic percussion into a meditation on the passage of time. This 25th anniversary edition replicates the original with fresh liner notes from author and Numero Group favorite Adam Gnade and freshly unearthed photos. Our Deluxe Bundle edition includes the recently discovered addendum live album Last Time Here, capturing LaValle in the moment, just as his sound was coming into focus.

A devastating hour of aural photosynthesis well worth the quarter century delay.

Hello Kitty CD Player Day 83.2: Everyone Asked About You - Me Vs. You

A special Thank You and Shout-out to @thenumerogroup for sending me this CD along with Unwound's repetition ♥️

#hellokitty #hellokittycdplayer #everyoneaskedaboutyou #everyoneaskedaboutyouband #cdplayer