With Compliments is a series of limited edition 7" pressings we created especially for YOU!
These records are never for sale. Instead, we send them out into the world as a small token of our immense gratitude.

Grapetooth "Trouble" (from "Grapetooth")

Chicago duo Grapetooth is made up of Clay Frankel (Twin Peaks) & producer Chris Bailoni (Home-Sick).

Born out of a mutual love for ‘80s Japanese new wave, the weirdo sentimental pop of Arthur Russell, and a good bottle of cheap wine, the band’s ‘dance til you drop’ performances around Chicago are the stuff of legend, leaving venues with wine-stained floors and/or holes in the ceiling.

"If your music taste never left the ‘70s and ‘80s, or was transported back to those years, the sound Grapetooth have been channeling will be a welcome guiding pull into the present. Somewhere in the realm of The Cure, Psychedelic Furs and The Clash, Grapetooth stomp in." - Paste

Shy Boys "Evil Sin " (from "Bell House")

Shy Boys are the heartland’s answer to The Beach Boys had Alex Chilton been on guitar.

There is an old term that's kicked around in country music called a "blood harmony" - in which two people in the same blood line, usually siblings, harmonize with one another in real time.

Perhaps that is Shy Boys’ magic touch, putting them just a notch above all the other angels out there in the indie rock choir, and it makes sense, though no longer practicing evangelicals, Collin and Kyle grew up singing beside their parents in their church choir, so their keen sense of harmony is nothing new to them, but instead a life practice devoted to the voice as an instrument.

The result is Bell House, and the result is beautiful.

-Kevin Morby

"Preaching sounds of joy, Shy Boys have a unique, harmonious charm on their second album, Bell House. They aren't afraid to belt out a hard-hitting verse, giving us tender, heartfelt anthems." - Exclaim!

Post Animal "Ralphie" (from "When I Think Of You In A Castle")

Chicago-based Post Animal are a band of brothers. Though they formed in 2014 and just began touring in 2017, their affinity for slick riffs, pop hooks, and psychedelic tendencies join them in a bond much tighter than their years suggest.

First single “Ralphie,” which finds Joe Keery and Dalton Allison gleefully trading lead vocals while sounding like what would happen if Jeff Lynne fronted Thin Lizzy. Though Post Animal’s live shows have long proven that swirling riffs are the band’s bread-and-butter, it’s earworms like “Ralphie” that show how easily they can churn out an infectious pop melody.

"Think if Tame Impala listened to a lot of Black Sabbath and were signed to Elephant 6." - Chicago Tribune

"Mountain-scaling arpeggios and showy chord progressions are practically in the band’s DNA..." -Pitchfork

Anna Burch "2 Cool 2 Care" (from "Quit The Curse")

Though the deceptively complex pop of "Quit the Curse" marks the debut of Anna Burch, it’s anything but the green first steps of a fledgling new artist.

The nine songs that comprise "Quit the Curse" come on sugary and upbeat, but their darker lyrical themes and serpentine song structures are tucked neatly into what seem at first just like uncommonly catchy tunes. Burch’s crystal clear vocal harmonies and gracefully crafted songs feel so warm and friendly that it’s easy to miss the lyrics about destructive relationships, daddy issues and substance abuse that cling like spiderwebs to the hooky melodies.

"[Burch's] songs have some of the lo-fi finish and scrappy energy of 1990s indie-pop...but with a sharper edge. Frank and gratifying all the same, Burch’s tightly structured pop is an invigorating take on an evergreen sound." - Pitchfork

Rainer Maria "Lower Worlds" (from "S/T")

Over the course of several full-length albums and EPs, paired with an ambitious amount of time spent in DIY spaces, basement shows, and rock clubs throughout the US, Rainer Maria cemented themselves as an early cornerstone for Polyvinyl, and as ambassadors of the Midwest indie rock scene now so revered by later day musicians and fans.

Guided by their shared history as songwriters, and buoyed by their recent adventures and explorations in music and life as individuals, Rainer Maria’s S/T fits like well-worn boots with the spring of new soles.

""[Lower Worlds] is a new look for the band; it’s got all of the strength of their old music but little of the vulnerability. [S/T] is an absolute monster, an album that bursts with strength and conviction and enormous melodies." -- Stereogum

Palehound "Flowing Over" (from "A Place I'll Always Go")

"A Place I'll Always Go" builds on the promise of Palehound's critically acclaimed 2015 album "Dry Food" with songs that are slightly more reserved, but no less powerful -- a frank look at love and loss, cushioned by indelible hooks and gently propulsive, fuzzed-out rock.

"Flowing Over" rides a sweetly hooky guitar line, with Kempner using the fuzzed-out upper register of her voice as a sort of anxious counterpoint to the riff's infectious melody.

"Palehound have always sounded like variations on classic indie rock, arranged around Kempner’s unique whisper of a voice and way of seeing the world that draws out the moodiness. This undercurrent distinguishes the project, and makes Kempner worth following." -- Pitchfork

Jay Som "The Bus Song" (from "Everybody Works")

On her first proper album as Jay Som, Melina Duterte, 22, solidifies her rep as a self-made force of sonic splendor and emotional might.

If last year's aptly named "Turn Into" compilation showcased a fuzz-loving artist in flux—chronicling her mission to master bedroom recording—then the rising Oakland star's latest, "Everybody Works", is the LP equivalent of mission accomplished.

" "The Bus Song" is confident and compelling without surrendering any of the atmospheric ambiguity of "Turn Into." " -- Pitchfork

Julia Jacklin "Pool Party" (from "Don't Let The Kids Win")

"Don’t Let The Kids Win" courses with the aching current of alt-country and indie-folk, augmented by Jacklin’s undeniable calling cards: her rich, distinctive voice, and her playful, observational wit.

"Makes me think of Angel Olsen meeting Fleetwood Mac on a dusty highway somewhere serene." -- NPR

"Every now and then you hear a new voice and little else seems to matter. Julia Jacklin’s is one such voice." -- The Guardian

Ladyhawke "A Love Song" (from "Wild Things")

"["A Love Song"] is a technicolour love letter to bands like CHVRCHES and Purity Ring who’ve filled in the hazy synthpop gap in [Ladyhawke's] absence. It’s also a certifiable banger." -- DIY

New Zealand’s Ladyhawke, AKA Pip Brown, has been releasing electrifying pop music since her self-titled debut in 2008.

With Wild Things, Brown’s 3rd full-length and Polyvinyl debut, she’s channeling what’s to come rather than past demons.
"I think I went even more synthy and poppy this time around," Brown says of the buoyant "Wild Things". "I feel good for the first time in 10 years."

Psychic Twin "Lose Myself" (from "Strange Diary")

Psychic Twin makes pop music that is romantic and mysterious.

Two and a half years ago, Erin Fein began to pen a series of songs that would become the music of Psychic Twin. These songs emerged as intensely personal, nervously rhythmic, and indebted to the ‘80s new-wave of her youth.

Fein’s new material joins propulsive electronica and shimmering synth-rock atmosphere. Lush synthesizer washes and incisive keyboard lines fade in and out over subtly persistent beats that begin simply, but reveal their complexity as songs take shape. The music is anchored by the bright melodicism inherent in Fein’s songwriting, as verses and choruses shift and expand over the course of a song.

Radiation City "Juicy" (from "Synesthetica")

Recorded by John Vanderslice at Tiny Telephone Studios and featuring drumming by Unknown Mortal Orchestra's Riley Geare, "Synesthetica" is sensual and synthetic in equal turns. The making of this new album almost killed this band, but instead, it serves as the opening salvo of a monumental second act.

""Synesthetica" is a fresh take on their lush lovestruck (and lovelorn) sound, filtering their signature dreamy '60s tinged lounge pop through more synths than ever before." -- KEXP

"The shiny-happy '60s dream-pop has been augmented by riffier synths and a reverb-ed out pulse that scratches at the surface of the '80s with the entire package boasting stunning vocal performances by all involved." -- Magnet

La Sera "High Notes" (from "Music For Listening To Music To")

La Sera is a duo now, with guitarist/co-writer/new husband(!) Todd Wisenbaker joining Katy Goodman (Vivian Girls).

On new full-length "Music For Listening To Music To," Ryan Adams joins to produce the fruit of their union, La Sera's first live-recorded analog album, featuring 10 tunes about good love, bad love, dead men, and confused kids.

"This album is a stone cold classic buzzy pop love neu romantic soundscape of just classic tunes and shiniest guitars since Louder Than Bombs. This is music that’s good for you. This is sonic orange juice. I love them." -- Ryan Adams

The feelings of youth and vulnerability lie at the core of Beach Slang's music, which is part punk, part pop and all catharsis. It references the ghosts of theReplacements but keeps one foot firmly rooted in the present. It's fun and it's serious. It's sad but it isn't. It's Beach Slang.

“It’s the most passionate batch of love songs you’re liable to hear in 2015..." - Pitchfork

"The Things We Do is a record for anyone who’s ever felt, even for a moment, that music is what matters the most. For any hard-luck kid or nowhere bum who needs it, that escape is heaven.” - Paste [Top 50 Albums of 2015]

"[Beach Slang's] debut full-length...not only channels the gleeful abandon that made the ’90s pop-punk underground so vital, it stirs in an intoxicating dose of gruff, Replacements-esque songcraft. Weathered and wistful, The Things We Do is an open letter to youth, heartbreak, and the clutter of memory that makes us who we are." - AV Club [Top 15 Albums of 2015]

White Reaper "Make Me Wanna Die" (from "White Reaper Does It Again")

"White Reaper Does It Again" is a raucous debut full-length from a bunch of barely 20-somethings who have more fun on a Tuesday night than you do on a Saturday.

Recorded in White Reaper’s hometown of Louisville, KY, with engineer Kevin Ratterman (Young Widows, Coliseum), WRDIA is a pure rock ’n’ roll adrenaline shot: vicious guitar scratches, elastic bass, sugary keyboard leads, and thudding drums that will inevitably give your heartbeat a new rhythm.

Opening track/lead single “Make Me Wanna Die” counts off to detonation before quickly ensnaring the listener in a melodic force field of fuzz and distortion, highlighted by Hater's bright keyboard tones sending out signal flares through the haze.

Someone Still Loves You Boris Yeltsin "Step Brother City" (from "The High Country")

In many ways, "The High Country" is the record Someone Still Loves You Boris Yeltsin has been building up to its entire career.

A raw pop record infused with undeniable hooks, distortion pedals, passion, grit, and maybe a little insanity, The High Country is the first SSLYBY album to truly capture the power and energy the group exudes when performing live.

“We’ve always cranked our amps up in practice and at shows, but we always kept it off our records,” says guitarist/vocalist Phil Dickey. “This time we wanted to go beyond our mid-tempo tendencies and make something really satisfying.”

“Step Brother City” follows this directive, its pedal-to-the-floor drum beat perfectly mirroring the lyrical narrative of a relationship come and gone too quickly. Between contagious “oo-oo-ooh” refrains, Dickey croons the album’s most brilliantly incisive couplet: “All the good songs and poems are all about you / And all the bad ones, too.”

Fred Thomas "Cops Don't Care Pt. II" (from "All Are Saved")

"All Are Saved" -- the Polyvinyl debut from Fred Thomas (Saturday Looks Good To Me, Mighty Clouds, Lovesick) -- features heavy, poetic lyrics that are more spoken than sung, recalling the urgency and straightforwardness of cult bands like The Van Pelt or Life Without Buildings.

Each song builds on a patchwork of grainy samples, dreamlike guitar figures and deftly produced clashes of organic instrumentation and vintage synth textures.

"Cops Don't Care Pt. II" uses a cheerfully strummed acoustic guitar as a backdrop for politically charged lyrics about social injustices. Features backing vocals by Radiator Hospital's Sam Cook-Parrott.

"All Are Saved" also includes guest spots from friends in bands like People Get Ready, Radiator Hospital, Known Moons + a backing vocal cameo from Andrew W.K.

Jacco Gardner "Find Yourself" (from "Hypnophobia")

On Jacco Gardner's Polyvinyl debut full-length, "Hypnophobia", the "baroque pop" prince and Dutch producer/multi-instrumentalist casts a majestic and vibrant psychedelic spell that will hypnotize listeners at the point dreams and reality meet.

A stunning exhibit of lush instrumental tracks as well as songs that boast lyrics worthy of any great pop number, the record features a Wurlitzer electric piano that was purchased on tour, waltzing alongside mellotrons, harpsichords, an Optigan, and an antique Steinway upright piano sold to Gardner by a local church.

It's hard to hear Jacco Gardner and not think of the crossroads of rock and psychedelia, when the Beatles got a little more trippy, Syd was still with Pink Floyd, and pop nuggets were still the focus... -- Noisey

Deerhoof "Exit Only" (from "La Isla Bonita")

Blame it on the Ramones. After Deerhoof finished recording demos for La Isla Bonita this past February, they began rehearsing for an upcoming tour. Halfway through a run-through of a long-time Deerhoof live favorite, their cover of the Ramones classic "Pinhead," someone offhandedly asked, "Why don't we ever write a song like this?" So Greg quickly dashed off a song on a scrap of paper, showed it to the band, and they recorded the breakneck stomper "Exit Only" in one take.

Recorded live, DIY style in guitarist Ed Rodriguez's basement, you'll hear Deerhoof pay musical tributes to their improbable list of heroes-turned-fans: David Bowie, Ric Ocasek, The Roots, Lou Reed, David Byrne,Sonic Youth, The Flaming Lips, Radiohead, Beck.

La Isla Bonita is the glorious sound of four musicians owning their own hard-won and richly deserved legacy.

Wampire "The Amazing Heart Attack" (from "Bazaar")

Like the tantalizing blend of exotic treasures and captivating sensations its namesake suggests, Bazaar continually offers listeners a variety of unexpected and alluring sonic flavors over the course of its nine tracks -- ranging from raucous riffs ("Bad Attitude") to seductive sax ("Wizard Staff") to charmingly catchy choruses ("The Amazing Heart Attack").

As with their previous full-length "Curiosity", Wampire recorded "Bazaar" with trusted producer Jacob Portrait (of Unknown Mortal Orchestra).

Alvvays are two women, three men, a crate of C-86 tapes and a love of jingle-jangle.

With needlepoint melody and verse, on their debut self-titled full-length Alvvays channel the influence of Teenage Fanclub and Belle & Sebastian into nine songs that conceal drunkenness, defeat and death in tungsten-tinted pop that glitters like sea glass.

Reverb-drenched and bittersweet, Alvvays is loud and clear and sure. Flood your ears.

1. Intro [Live at the Blind Pig, Champaign, IL, 1997]

2. Five Silent Miles [Live at the Blind Pig, Champaign, IL, 1997]

This was among the first songs we ever wrote as a band and one of the few in standard tuning. Mike came up with the main riff that the song is based around, and we take turns with the "rhythm" and "lead" riffs. I take the lead in the beginning of the song and Mike takes the lead at the end.

This song offered a dose of Steve Reich-inspired minimalism done with guitars and drums. The title was a play on the time signature (5/4) and the fact that the hi-hat riff references "Shhh/Peaceful" off Miles Davis’s In A Silent Way album.

This speedy version was a live sound-check take recorded from the board at the Blind Pig in Champaign, IL, at what was our second show ever.

3. Untitled #1 (The One with the Trumpet) [Boombox Practice Session, 1998]

This unfinished song was a pleasant surprise when we unearthed these boom box recordings from practice sessions. Mike is playing bass, with me on guitar, and Steve L. on drums and trumpet.

The first half may have been written around Mike’s bass line and the ending based on my guitar part. I especially like Steve L.’s trumpet part in the last half of the song. (Also note the drums all dropping out except for the hi-hat as he switches over to the horn).

This was the only attempt ever made at recording this song and I don’t think it ever made it into our live set. In fact, we’d all forgotten about it entirely until we heard the tape. For whatever reason, we abandoned it, but my guess is that we may have written it toward the end of the school year and forgotten it. (Or, maybe, we had new songs we were more excited about by the time school started up the following fall.)

- Steve Holmes

Painted Palms is a collaboration between two cousins who grew up together in Louisiana, but started making music over the Internet when one moved to San Francisco. Soon after, of Montreal's Kevin Barnes discovered the band and took them on tour. Although both cousins now live in San Francisco, they continue to write in isolation and trade song ideas via e-mail. For their debut full-length "Forever," the duo pairs classic pop structures with modern electronic production to create instantly memorable melodies that show no sign of their virtual patchwork beginnings.

According to the The Line of Best Fit, Pillar Point "…splices M83 and Washed Out with glorious results." Wrapped in vintage synthesizers, drum kits and dark slinking bass lines, Pillar Point pulses with an organic heartbeat beneath a warm, analog fabric. When the vocals appear like an unhinged Ray Davies urging you to come dance, it's an invitation you can't refuse.