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This week's new releases include David Bowie, Fever Ray, Digable Planets and King Gizzard.

Pre-order Tom Waits LPs

A 7-album reissue series kicks off with Closing Time (3/9) and Heart of Saturday Night (3/23).

Bowie Vinyl Reissues Out Now

Scary Monsters, Lodger, Stage, Heroes & Low have all been remastered and reissued on vinyl.

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February Events at Amoeba Hollywood

Fun and exciting events this month at Amoeba Hollywood include our annual Fat Tuesday celebration and special Valentines' Day discounts. View

Unique LP Collection at Amoeba San Francisco 2/25

On Sun. 2/25 at 11am, Amoeba SF will unveil a newly acquired LP collection of Euro-prog, Proto-metal, Stoner, Hard Rock, Krautrock and more. View

Amoebapalooza San Francisco February 25

Amoebapalooza SF 2018, featuring talented Amoeba SF employees and friends, will be held at Milk Bar in San Francisco on Sunday, 2/25. View

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Watch Swedish indie pop band Shout Out Louds perform a mini-set of songs from Ease My Mind in the Amoeba Hollywood Green Room.

Upcoming Shows

Superchunk – Mac & Jim Acoustic Set

Today 2pm - San Francisco

Amoebapalooza SF at Milk Bar

Tomorrow 8pm - San Francisco

Lo Moon

February 27th 6pm - Hollywood

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February 28th 5pm - Hollywood

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Music We Like

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Plunge (CD)

Fever Ray

It’s always good to return to Fever Ray’s weird, dark, seductive world. Karin Dreijer teams up once again with producer Peder Mannerfelt to create a frenetic, fascinating sound that takes her work with The Knife and twists it into an even more unconventional sonic shape. Yet this synth-heavy, techno-tinged, in-your-face LP also beats with a throbbing humanity. Plunge is just that — a deep dive into what it means to live and love in violent times.

The OOZ (CD)

King Krule

Written and recorded in the wake of a failed relationship, which itself followed a severe bout of writer’s block, The OOZ is Archie Marshall’s most personal release yet. Thematically, the title finds inspiration from the “earwax and snot and bodily fluids and skin and stuff that just comes out of you on a day to day basis”; a sort of obsessive rumination on subconscious activity that attempts to distract from the painful awareness of loss. Yet, while the subject matter and atmosphere grows increasingly insular, Marshall’s sound pallet is wider than ever; updating his jazz punk update of trip-hop with bossa nova, industrial, and hip-hop textures, all grounded by his signature gravelly croon and nocturnal moodiness. Is it too premature to crown King Krule the English answer to Tom Waits?

Wrong Creatures (CD)

Black Rebel Motorcycle Club

Black Rebel Motorcycle Club might be the most aptly-named group of the past couple decades, since those four words kind of evoke their whole deal. Since their 2001 debut, BRMC’s formula has been largely un-freaked with, and it’s a sturdy, un-freakable one at that. Jesus & Mary Chain noise over a T-Rex stomp, featuring the Velvet Underground’s brittle tenderness in their softer moments and the ‘Stones particularly stoned version of the blues in their boogie. Wrong Creatures , the eighth album by the rock ‘n roll lifers, turns the volume down a bit on a slower, more meditative collection of narcotized ballads. Yet while the result is an album that leans more towards Chris Isaak than J. Spacemen, this remains a BRMC album through and through. So if you’re still wondering what to expect, just reread the band’s name again.

Ghetto: Misfortune's Wealth (LP)

24-Carat Black

History might have completely forgotten a short-lived soul ensemble from Cincinnati called the 24-Carat Black, who released their lone album Ghetto: Misfortune’s Wealth in 1973, if not for this little thing called hip-hop. At some point in the '90s this album turned into breakbeats 101, being sampled by quite literally everyone, most recently and notably by Kendrick Lamar on 2017’s world conquering DAMN . In fact, look at any random list of the top 10 MCs of all time. Assuredly, more than half of them rapped over these grooves at some point (especially if they’re from NY). Not a bad legacy for a band that had a grand total of EIGHT songs in their discography. The music itself is no slouch either, featuring a teenage group of capable funk acolytes called The Ditalians molded into a streetwise, socially conscious collective by a Stax records conductor named Dale Warren. This is early '70s funk of the Sly Stone-vein venturing into prog rock/concept album territory: full of rich orchestration, long elastic grooves, and plenty of jazz poetry-inspired musings on inner city life and the black experience. With the songs averaging seven minutes long and without a single to speak of, it wasn’t the most commercially successful album of its era, to say the least. However, its genius has been preserved by hip-hop culture and Craft Records, who have lovingly reissued Ghetto onto 180-gram vinyl. Now here’s a question: can an album be considered truly “lost” if, without realizing it, most people have already heard it? Consider it merely great, then. It certainly lives up to that definition.

Weather Or Not (CD)


Member of underground hip-hop mainstays Dilated People releases his fifth solo album, Weather Or Not . Featuring a litany of savvy producers, including the Alchemist and Jonwayne, among others, this is an impeccably-made boom bap record for the diehards. There are no frills or pop features to be found; just dirty, old school hip-hop at its best.

I Like Fun (CD)

They Might Be Giants

I Like Fun? After 30-some odd years together, is that the sentiment TMBG’s hyper-literate brain trust has boiled down to? Is it a goof or another children’s album? The two Johns are the consummate professionals - the songwriter’s songwriters, as much mischievous sonic and lyrical tinkerers as they are masters of the craft. It doesn’t take long for those irreverent tendencies to show up, approximately 3 seconds in fact, as John Flansburg compares the loudness of a drum to a big rock that crushes you on opening track “Let’s Get This Over With.” From there we get the daydreaming thoughts of a murdered spouse over tango piano, a power-pop rumination on the indescribable, and a track that postulates a race of lake monsters that come up for air to vote on Election Day. “That’s my fun,” to hear the title track tell it. Agreed.

Legend Of The Seagullmen (CD)

Legend Of The Seagullmen

With riffs this punishing, you can name your band whatever you want. Devised as a soundtrack to a “nautical spaghetti western,” that’s a pretty spot-on description of what Legend of the Seagullmen’s self-titled debut sounds like — albeit one with a bit more potent doom and gloom than your usual Morricone fair. Instead imagine several of the minds behind Tool, Mastodon, and Dethklok joining forces for an unholy romp into mayhem. It’s loud, it’s epic, and it’s really, really good fun.

Chime (CD)


Member of Minneapolis hip-hop collective Doomtree, Dessa has been steadily blazing her own trail since 2005. Chime , her fourth studio LP, features 11 distinctive songs that veer from rap, R&B, and indie pop, often within the same track. Lead single “Good Grief” highlights what works so well in Dessa’s idiosyncratic world, with gospel-tinged backing vocals adorning a catchy melody, bookworm-friendly rap verses, and undeniable pop production sheen. As an original contributor to The Hamilton Mixtape , Dessa’s style of songwriting probably draws the closest parallel to that famed soundtrack: literate, detailed, full of drama, and endlessly repeatable.

Here Come The Runts (CD)


AWOLNATION are back with their unique, ambitious take on heartland rock. Melding bluesy textures with a radio-ready production not unlike contemporaries such as Cage The Elephant, AWOLNATION also utilize fuzzy, heavy guitars that bring to mind Queens Of The Stone Age at their '00s peak. The songs themselves tend to follow the winning pattern of soft hook followed by loud hook and louder hook, riding an ecstatic high of catchiness throughout. It’s not for lack of nuance, rather AWOLNATION aim to make every moment arena sized, turning haikus into high fives. Is it possible for an album to be comprised solely of lighter-in-the-air moments? Here Comes The Runts does a damn good job at finding out.

1992 Deluxe (CD)

Princess Nokia

Princess Nokia’s acclaimed underground debut 1992 Deluxe has been remastered and expanded to reach an even larger audience — which the NYC-based rapper proves she’s definitely worthy of. The beats are hard and hypnotic, Nokia’s flow is smart, sassy, and insightful. She’s tough. She’s street smart. She’s proud of who she is — and she wants you to feel the same way, too. That’s what makes this album so special: lots of bangers, to be sure, but there’s also a lot of heart behind the dance floor fillers. Princess Nokia is one-of-a-kind and our world is better for having her in it.

Phantom Thread [OST] (CD)

Jonny Greenwood

Jonny Greenwood’s evolution from Radiohead guitarist/keyboardist to next generation Hans Zimmer has been fascinating and rewarding. His work for Paul Thomas Anderson’s lovely, disconcerting film Phantom Thread is one of his finest accomplishments. Like the movie, Greenwood’s score operates at a slightly more fevered pitch than everyday life. It’s ravishing and romantic, ruthless and unrelenting. Rarely has a soundtrack been this spot-on, this lovely, and unforgettable.

Culture II (CD)


Blame it on sequels. In every way the bigger, faster, and stronger update over its predecessor, Culture II is nearly double its length, too. With one hour and 45 minutes of music spread over a modest 24 tracks, and featuring a litany of star-studded features, Migos’ newest album is an absolutely massive release in the vein of overstuffed '90s rap blockbusters such as Life After Death or All Eyez On M e. Fortunately, out of any group working in hip-hop today, Migos come well-equipped to handle the spotlight. While initial single “MotorSport” brought promises of a dutiful “Bad and Boujee” imitation, thankfully elsewhere on Culture II the trio are not afraid to let their hair down. “Narcos” melds Latin American-guitar samples to a vicious trap beat and features some absolutely bonkers ad libs alongside a scene stealing Offset verse. “Supastars” is hip-hop gone '70s prog, with spacey synths draped across its thumping 808 bounce. And then there’s “Stir-Fry,” arguably the album’s greatest moment. Over an incredibly dense Pharrell beat, one that somewhat resembles an attempt to combine all his best known productions into a single song, Migos are up to the challenge; somehow fitting tongue twisting verses and effortless hooks into the madness. The result is a breathless, joyous burst of kinetic energy that marks a true evolution for Migos’ sound. “Stir-Fry” is destined to become a dance floor banger for years to come and elevates Culture II to instant classic status, hyperbole be damned.

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