Sebadoh Harmacy Rare 1996 Original 150 Gram Heavy Premium Vinyl plays NM GTFLD
$
69
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Description
Sebadoh Harmacy
Rare, 1996, Original, 150 Gram, Heavy, Premium Vinyl pressing SUB POP Records - SP 3709
Vinyl plays NM, Two, large and inaudible scuff-marks on side 2 and a handful of other light and very light inaudible marks.
Gatefold Cover is VG++ with small bends on right corners and light 1" crease on back, right center-edge.
Includes custom lyric inner-sleeve, VG++ (with light crease on upper-right) and also includes Sub Pop mail-order form.
Rare, Out of Print Album
"As much a collective of musicians as a band, Sebadoh was the quintessential lo-fi band of the '90s. Formed by singer/songwriter Lou Barlow while he was the bassist for Dinosaur Jr. in the late '80s, Sebadoh's music was a virtual catalog of '80s alternative rock and '90s indie rock, featuring everything from jangle pop to noise rock experimentalism"...
"Part of Sebadoh's charm is that their records are always rather inconsistent, flipping wildly between sonic extremes as well as musical genres. In a sense, Harmacy is no different than its predecessors, but there are some crucial differences that makes it their most accessible effort. Previously, that title was held by 1994's Bakesale, but in between that record and Harmacy, Lou Barlow had a genuine Top 40 hit with the Folk Implosion's "Natural One." Although nothing on Harmacy sounds much like the hip-hop hybrid of "Natural One," its success did have an effect on Barlow, leading him toward more straightforward song structures and cleaner productions -- "Willing to Wait" even features strings. Instead of diluting the impact of Sebadoh's music, the clearer production actually strengthens it. Barlow's sighing melodies and jangling indie rock become more resonant and affecting, and his batch of songs is among his best ever. Jason Loewenstein, Sebadoh's other main songwriter, suffers somewhat at the hands of cleaner production. Loewenstein tends to stick closer to the band's hardcore punk roots than Barlow, so his songs usually could use the extra layer of hiss and murk that cheap productions lend recordings. It also doesn't help that he tends to sink into rather faceless indie noise rock. When Loewenstein takes a stab at pop melodies, such as "Can't Give Up," his songs are memorable"...
-allmusic.com
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