Everything, the debut album from Chicago quartet Bnny, may as well be a field recording taken from the lone country of grief. Written in sessions that span several years by singer Jess Viscius as she processed the death of her partner, the album is a chronicle of love at its most complex and loss at its most persistent. In the same vein as Sky Blue Sky-era Wilco or the harrowing vulnerability of Tomberlin or Helena Deland, Viscius’ songwriting is evocative and intentional. A longstanding member of the Windy City music scene, the album was produced by Dehd’s Jason Balla, and the sparse arrangements pick apart complicated truths while feeling both timeless and transcendent. Everything is out on Fire Talk (Dehd, Deeper, Pure X, Mamalarky).

Everything, the debut album from Chicago quartet Bnny, may as well be a field recording taken from the lone country of grief. Written in sessions that span several years by singer Jess Viscius as she processed the death of her partner, the album is a chronicle of love at its most complex and loss at its most persistent.

• 100% ring-spun cotton
• Fabric weight: 6.1 oz/yd² (206.8 g/m²)
• Garment-dyed
• Relaxed fit
• 7/8″ double-needle topstitched collar
• Twill-taped neck and shoulders for extra durability
• Double-needle armhole, sleeve, and bottom hems

This product is made especially for you as soon as you place an order, which is why it takes us a bit longer to deliver it to you. Making products on demand instead of in bulk helps reduce overproduction, so thank you for making thoughtful purchasing decisions!

There are one million ways to approach love, one million ways to experience love, one million ways in which love shapes both the course of our lives and how we choose to navigate that course.

• 100% cotton
• Fabric weight: 5.0–5.3 oz/yd² (170-180 g/m²)
• Open-end yarn
• Tubular fabric
• Taped neck and shoulders
• Double seam at sleeves and bottom hem

This product is made especially for you as soon as you place an order, which is why it takes us a bit longer to deliver it to you. Making products on demand instead of in bulk helps reduce overproduction, so thank you for making thoughtful purchasing decisions!

For PACKS, making a record isn’t a means to an end; the making of the record is a communal experience, bottled up for the public to hear. On third album Melt the Honey PACKS explores a state of contentment, even bliss, long elided. The self-produced record honors the unpretentious disaffection of the grunge movement and the inventive arrangements of Guided By Voices, whose prolific output has inspired PACKS since their inception. To make Melt the Honey, PACKS traveled to Mexico City, where Madeline Link had spent significant time as an artist-in-residence at Casa Lü. Over the course of 11 days, PACKS practiced new songs in a rented studio space. From there, they took a bus to Xalapa where they worked as artists-in-residence at a house known as Casa pulpo, an architectural feat removed from the bustle of city life. “The house has no straight lines, it puts you in a creative mindset,” Link says. Melt the Honey, is an outward-facing testament to the wonderfully strange details of daily life, vividly rendered by a songwriter who knows they’re worthy of reverence. Out January 19th on Fire Talk. 

*This is a pre order and will ship on or before the January 19th release date.

“Leaving,’ the sophomore album from Fran, finds the band at a crossroads of loss and possibility, forged through Maria Jacobson’s preoccupation with the climate crisis as well as newfound contemplation of the intertwined nature of theology and religion. There’s an overarching spirit of home that overlays these heavy themes, however, and both gently intentional and evocative, her deliberate musings convey a type of music that feels tactile to the touch. On “Leaving” Jacobson’s sharply wry anecdotes feel astutely impactful, with effortless melodic guitar and string arrangements creating a heartrending backdrop that showcases Fran as another force to watch in the constantly evolving Chicago music scene. Angular, precise and filled with melodic entanglement, this spirited culmination of modern indie folk songwriting, strings and electric guitars highlight the potential release and joy of Jacobsen’s apt storytelling.

Pocket Fantasy, the sophomore album from Mamalarky is an instant-classic sunny-day record, imaginative and introspective, an enveloping listen of skyhigh hooks and keyboards that soar with joyful abandon. Its twelve kaleidoscopic tracks shapeshift aesthetically and thematically, through ideas about death and impermanence; love and gratitude; nature and technology; humor and hope. Heralded by Billboard, Nylon, The Fader and more, the new album expands on the unique sound of their self-titled debut which Pitchfork called “tenderly tangled indie rock”. On Pocket Fantasy some of the band’s purest pop tendencies collide with more warped and weird strains of quirky psych. It’s a treasure trove of playful grooves and zigzag riffs, a phenomenal album from a young group poised to carve their own place in the bins of your favorite record store.

‘Crispy Crunchy Nothing’ puts to rest any notion Madeline Link had about finding the end. Burnout, dead-end jobs, bike theft, stress dreams, heartbreak — PACKS move forward through them all one line, one lick, one beat at a time, equal parts Alex G’s whimsy and Helvetia’s thunderous dynamics. Sticking together songs written in Toronto, Ottawa and Mexico City (while Madeline completed a papier-mâché residency), Crispy Crunchy Nothing revisits the fuzzy alt-rock of 2021 debut Take the Cake and adds some folksy twang to the mix for an album that explores the tension between independence and isolation, between living life to the fullest and feeling like you’re wasting your time. Influenced by country-tinged contemporaries like Renee Reed and Angel Olsen and Madeline’s lockdown-era listening sessions with her dad, of albums by Hank Locklin and Hank Williams. Crispy Crunchy Nothing is heavy, and Madeline makes little effort to hide the depths of her feelings. But after the rain, flowers peek up from the soil. “Laughing Till I Cry,” a reject from a commercial,  recalls fond memories of spending time with her sister: “Sometimes, I feel like life is on my side.” And “Always Be a Kid,” jangling and swaying with the Nashville guitar in the foreground, keeps her chasing those smaller Matryoshka dolls, looking for companionship but settling for herself in the meantime. “So now, I feel alive,” she repeats, over and over again. And by the end, it sounds like she’s starting to believe it. 

Pleasure is the debut album from Austin underground luminaries Pure X, re-issued on 180 gram vinyl by Fire Talk. Building from promising 7” releases, ‘Pleasure’ continues the band’s affinity for burnt out soundscapes and intricate, understated guitar work that together weaves a moody tapestry of everlasting sunset.  Spotlighted by major press, Pitchfork in particular commended the album as a “terrific-sounding record, built for headphones and high volume.” A revelatory introduction to the band, ‘Pleasure’ pinpoints a signature sound that Pure X would continue to hone over the course of a longstanding career - a pristinely devastating soundtrack that feels pertinent to the end times of the current state of the world. 

Pressed on 180 Gram Black Vinyl.

On Pure Music, Strange Ranger’s new album out on Fire Talk, the band indulges an obsession with Loveless, but they infiltrate any comparison to shoegaze with overtures to disco, house, and experimental pop. The Talk Talk inspired pean to isolation “Way Out” features a moody saxophone, while “She’s On Fire” is only a rock song until just after the midway point, when the drums throb, the snare skitters then snaps, and suddenly, you’re in a sweaty pit of swaying bodies dancing as dual vocals harmonize, “I would have thought the rhythm of the club might lead me somewhere. Pure Music embodies that manic state through interstitial interludes laced with YouTube samples that connect each track to the next so as to submerge the listener in its world, one that rewards catharsis. The alienated might gaze through panes of glass eternally, without breaching the gap between the self and the destabilizing chaos of the world beyond. Riding the train across the East River in the early morning, one witnesses thousands of individual stories, each contained within a glowing square of light, and it's a comfort to know that soon, those strangers will emerge from their solitude to rejoin the city. “Music makes us transcend the feeling of being alienated from or trapped by the world,” the band says. “I want the experience of listening to Pure Music to be euphoric.” Recorded by the band, mixed by Al Carlson and mastered by Joe LaPorta.

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