Name: Let Me Go,Let Me Go
Brand: Jason Molina

Tax rate EU

Default:19

Supplier EU

375 Media

Total Cap

Format detail

Colour details

Discogs ID

Limited edition

Colour

Format Music EU

Extended format

Extended format: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Signed copies

Signed copies: No

Download code

Download code: Yes

Bonus disc

Bonus disc: No

Release date

2006-08-25

Format multiplier

Catalogue number

28367

UPC / Barcode

656605014913

Artist

Jason Molina

Label EU

Secretly Canadian

Genre EU

Indie Pop / Shoegaze

Secretly Canadian is a US label based in Bloomington, Indiana. It was founded in 1996 by four individuals who are passionate about music. Originally known as Secretly Canadian Records, the label has established itself as a prominent player in the industry. In 2007, Secretly Canadian collaborated with another label to form a new entity called Jagjaguwar.

The label's first address was located at 1703 N. Maple St., Bloomington, until sometime in late 2000 or 2001. They then moved to their second address at 1021 S. Walnut St., Bloomington, which served as their headquarters until around 2004. Currently, Secretly Canadian can be found at their third and current address at 1499 W. 2nd St.

With a rich history and an impressive roster of artists, Secretly Canadian continues to make waves in the music industry. Their commitment to quality and passion for supporting talented musicians sets them apart from other labels.

Jason Molina (born December 30, 1973, Lorain, Ohio, USA – died March 16, 2013, Indianapolis, Indiana, USA) was an American musician and singer-songwriter. He gained recognition for his work as a solo artist and with various musicians. From 2003 onwards, he released music under his own name or with a consistent lineup of band members as the Magnolia Electric Co.
Molina's music showcased his talent for storytelling through heartfelt lyrics and haunting melodies. His unique blend of folk and indie rock captivated audiences worldwide. With a prolific career spanning over two decades, he left behind a rich musical legacy that continues to inspire artists today.
Despite battling personal demons throughout his life, Molina's dedication to his craft never wavered. His raw vulnerability resonated with listeners who connected deeply with the emotions conveyed in his songs. Whether performing intimate acoustic ballads or leading a full band arrangement, Molina's performances were always captivating and emotionally charged.

Newest Listed Items

Sometime in 2006 or 2007, Jason Molina moved from the midwest to London. Separated from his bandmates and friends and never one for idleness, Molina explored his new home with fervor. Sometimes he’d head out on foot, often with no destination in mind. Other times, he’d pick a random tube stop and find his way back home. He’d pick up on arcane trivia about London’s rich history, and if the historical factoids weren’t available — or weren’t quite to his liking — Molina was quite comfortable conjuring his own history. His adoration of The Great American Tall Tales like John Henry and Paul Bunyan’s blue ox Babe stretched across the Atlantic, where he created his own personal Tall Tales. And when he learned of the London Wall’s seven gates (itself a misconception), Molina went ahead and called it eight, carving out a gate just for himself. The eighth gate was Molina’s way into London, a gate only passable in the mind.Eight Gates is the last collection of solo studio recordings Molina made before he passed from complications related to alcoholism in 2013. Recorded in London around the time of the supposed spider bite and Jimi’s supposed parakeets, some of the songs (Whispered Away, Thistle Blue) are fully-realized — dark, moody textures that call to mind his earlier work on The Lioness. Knowing what we know about those parakeets and their peppered presence on the recordings, one can’t help but think of that colorful tree of birds on Talk Talk’s classic Laughing Stock, certainly a spiritual guide for much of the set. Other songs (She Says, The Crossroads and The Emptiness) lay in a more unfinished states, acoustic takes that call to mind Molina’s Let Me Go Let Me Go Let Me Go, and still tethered to Molina’s humorous studio banter. You remember how young Molina was, and how weighty this art was for such a young man. On the closer, The Crossroads and The Emptiness, Molina snaps at the engineer before tearing into a song in which he sings of his birthday (December 30), a palm reading and the great emptiness with which he always wrestled. It is a perfect closer and, in many ways, the eighth gate incarnate: mythical, passable only in the mind, built for himself and partway imaginary but shared, thankfully, with us.

Let Me Go,Let Me Go

Music EU