{"title":"$30 to $40","description":null,"products":[{"product_id":"the-afghan-whigs_congregation","title":"Congregation","description":"\u003cp\u003e1992’s \u003ci\u003eCongregation\u003c\/i\u003e, The Afghan Whigs’ third album, finds the Whigs’ soul and psychedelic influences shining through, and helped define the band’s sound for years to come. Until now, \u003ci\u003eCongregation\u003c\/i\u003e was out of print on vinyl since its original pressing sold out many years ago.\u003cbr\u003e\u003c\/p\u003e","brand":"The Afghan Whigs","offers":[{"title":"LP","offer_id":31826134466656,"sku":"701301","price":30.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826134368352,"sku":"701302","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Cassette","offer_id":31826134433888,"sku":"701304","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556518768736,"sku":"701306","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/11350.jpg?v=1581642623"},{"product_id":"chad-vangaalen_soft-airplane-lp","title":"Soft Airplane LP","description":"\u003cp\u003eChad VanGaalen’s \u003ccite\u003eSoft Airplane\u003c\/cite\u003e LP on Flemish Eye Records.  This is a double-LP.\u003c\/p\u003e","brand":"Chad VanGaalen","offers":[{"title":"LP","offer_id":31826223857760,"sku":"40680981","price":31.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/4692.jpg?v=1581644410"},{"product_id":"bruce-pavitt_sub-pop-usa-the-subterranean-pop-music-anthology-1980-1988","title":"Sub Pop USA: The Subterranean Pop Music Anthology, 1980-1988","description":"\u003cp\u003e“For over thirty years, Bruce Pavitt has been at the vanguard of popular culture, artistic trends, and ideas within the communities of the innovative alternative. The insight into this period of rock history could only have been delivered by Bruce, given the unique nature of his experience, vision, and voice.”—Kim Thayil, Soundgarden\u003c\/p\u003e\u003cp\u003e“Sub Pop is the best index there is of American local independent scenes…imaginative and the writing is snappy and descriptive”—\u003cem\u003eNew Musical Express (NME)\u003c\/em\u003e, 1981\u003c\/p\u003e\u003cp\u003e“We need diverse, regionalized, localized approaches to all forms of art, music, and politics…the most intense music, the most original ideas are coming out of scenes you don’t even know exist. Tomorrow’s pop is being realized today on small decentralized record labels that are interested in taking risks, not making money.”—\u003cem\u003eSub Pop\u003c\/em\u003e #1, 1980\u003c\/p\u003e\u003cp\u003e“For over thirty years, Bruce Pavitt has been at the vanguard of popular culture, artistic trends, and ideas within the communities of the innovative alternative. The insight into this period of rock history could only have been delivered by Bruce, given the unique nature of his experience, vision, and voice.”—Kim Thayil, Soundgarden\u003c\/p\u003e\u003cp\u003e“Sub Pop is the best index there is of American local independent scenes…imaginative and the writing is snappy and descriptive”—\u003cem\u003eNew Musical Express (NME)\u003c\/em\u003e, 1981\u003c\/p\u003e\u003cp\u003e“We need diverse, regionalized, localized approaches to all forms of art, music, and politics…the most intense music, the most original ideas are coming out of scenes you don’t even know exist. Tomorrow’s pop is being realized today on small decentralized record labels that are interested in taking risks, not making money.”—\u003cem\u003eSub Pop\u003c\/em\u003e #1, 1980\u003c\/p\u003e\u003cp\u003eOver 1,000 recording artists hunted down and hyped in their original indie habitats, including Black Flag, Sonic Youth, Hüsker Dü, the Wipers, Dinosaur Jr., Run-D.M.C., Slayer, Beastie Boys, Mudhoney…plus an entire nation of inspired amateurs.\u003c\/p\u003e\u003cp\u003eIn 1979, Bruce Pavitt moved from Chicago to Olympia, Washington, and began programming a show called Subterranean Pop on local community radio station KAOS-FM. In 1980, he launched\u003cem\u003eSubterranean Pop\u003c\/em\u003e magazine, dedicated to the unsung punk, new wave, and experimental regional bands of the Pacific Northwest and Midwest. Calvin Johnson of K Records joined the zine’s staff later that year, beginning with the second issue.\u003c\/p\u003e\u003cp\u003eThe \u003cem\u003eSub Pop\u003c\/em\u003e zine puzzled punk and new wave fans from major cities; readers were surprised that there were enough bands in the forgotten cities and states to devote a column, let alone an entire fanzine. Even more puzzling was the exclusion of artists like the Clash, Gang of Four, Blondie, or PIL, solely because of their major label associations. Driven by the power of independent thinking, early issues featured impassioned rallying cries for local action that make more sense than ever today, alongside early published artwork by Linda Barry, Charles Burns, and Jad Fair.\u003c\/p\u003e\u003cp\u003eIn 1983, Pavitt moved to Seattle and commenced his widely-read Sub Pop USA column in the Rocket newspaper, each month exposing new underground and independent artists. From Beat Happening and Pell Mell to early records by the Beastie Boys, Metallica, and Run-D.M.C., \u003cem\u003eSub Pop\u003c\/em\u003e was a 1980s independent music bible, written with a diverse appreciation for happening scenes across the USA. In 1986, Pavitt put his ideas into practice, launching Sub Pop Records with the historic \u003cem\u003eSub Pop 100\u003c\/em\u003ecompilation and Soundgarden’s first release, \u003cem\u003eScreaming Life\u003c\/em\u003e. While the Sub Pop Records legacy is today legendary, the groundwork and creative wellspring that put Seattle on the musical map is assembled here for the first time.\u003c\/p\u003e","brand":"Bruce Pavitt","offers":[{"title":"Default Title","offer_id":31826234474592,"sku":"50099500","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/sp-usa.jpg?v=1581644535"},{"product_id":"father-john-misty_pure-comedy","title":"Pure Comedy","description":"\u003cp\u003e\u003ci\u003ePure Comedy\u003c\/i\u003e, \u003ca href=\"http:\/\/www.subpop.com\/artists\/father_john_misty\"\u003eFather John Misty\u003c\/a\u003e’s third album, is a complex, often-sardonic, and, equally often, touching meditation on the confounding folly of modern humanity. Father John Misty is the brainchild of singer-songwriter Josh Tillman. Tillman has released two widely acclaimed albums – \u003ci\u003e\u003ca href=\"https:\/\/megamart.subpop.com\/releases\/father_john_misty\/fear_fun\"\u003eFear Fun\u003c\/a\u003e\u003c\/i\u003e (2012) and \u003ci\u003e\u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/father_john_misty\/i_love_you_honeybear\" href=\"https:\/\/megamart.subpop.com\/releases\/father_john_misty\/i_love_you_honeybear\"\u003eI Love You, Honeybear\u003c\/a\u003e\u003c\/i\u003e\u003ca href=\"https:\/\/megamart.subpop.com\/releases\/father_john_misty\/i_love_you_honeybear\"\u003e \u003c\/a\u003e(2015) – and the recent “\u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/father_john_misty\/real_love_baby\" href=\"https:\/\/megamart.subpop.com\/releases\/father_john_misty\/real_love_baby\"\u003eReal Love Baby\u003c\/a\u003e” single as Father John Misty, and recently contributed to songs by Beyoncé, Lady Gaga, and Kid Cudi. \u003c\/p\u003e\u003cp\u003eWhile we could say a lot about \u003ci\u003ePure Comedy\u003c\/i\u003e – including that it is a bold, important album in the tradition of American songwriting greats like Harry Nilsson, Randy Newman, and Leonard Cohen – we think it’s best to let its creator describe it himself. Take it away, Mr. Tillman:\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003ePure Comedy\u003c\/i\u003e is the story of a species born with a half-formed brain. The species’ only hope for survival, finding itself on a cruel, unpredictable rock surrounded by other species who seem far more adept at this whole thing (and to whom they are delicious), is the reliance on other, slightly older, half-formed brains. This reliance takes on a few different names as their story unfolds, like “love,” “culture,” “family,” etc. Over time, and as their brains prove to be remarkably good at inventing meaning where there is none, the species becomes the purveyor of increasingly bizarre and sophisticated ironies. These ironies are designed to help cope with the species’ loathsome vulnerability and to try and reconcile how disproportionate their imagination is to the monotony of their existence.\u003c\/p\u003e\u003cp\u003eSomething like that.\u003c\/p\u003e\u003cp\u003e\u003ci\u003ePure Comedy\u003c\/i\u003e was recorded in 2016 at the legendary United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, CA. It was produced by Father John Misty and Jonathan Wilson, with engineering by Misty’s longtime sound-person Trevor Spencer and orchestral arrangements by renowned composer\/double-bassist Gavin Bryars (known for extensive solo work, and work with Brian Eno, Tom Waits, Derek Bailey).\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Father John Misty","offers":[{"title":"Deluxe","offer_id":32746442784864,"sku":"712003","price":38.0,"currency_code":"USD","in_stock":false},{"title":"2xLP","offer_id":31826235162720,"sku":"712001","price":28.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":32611785998432,"sku":"712002","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826235228256,"sku":"712004","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556509134944,"sku":"712006","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/fjm-purecomedy-3600x3600-300.jpg?v=1581644564"},{"product_id":"nevermind","title":"Nevermind","description":"\u003cp\u003e2013 remastered LP on 180 gram vinyl. \u003c\/p\u003e\u003cp\u003eWe don't really need to tell you anything else about this record, right? \u003c\/p\u003e","brand":"Nirvana","offers":[{"title":"CD","offer_id":31826266259552,"sku":"40034992","price":26.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":31826266292320,"sku":"40034991","price":34.0,"currency_code":"USD","in_stock":false},{"title":"30th Anniversary 2xCD","offer_id":39401313796192,"sku":"602438625314","price":26.0,"currency_code":"USD","in_stock":false},{"title":"30th Anniversary CD Box Set","offer_id":39401313828960,"sku":"602438461882","price":150.0,"currency_code":"USD","in_stock":false},{"title":"30th Anniversary LP","offer_id":39401313861728,"sku":"602438461233","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/nevermind.jpg?v=1581644974"},{"product_id":"flight-of-the-conchords_live-in-london","title":"Live in London","description":"\u003cp\u003eFlight of the Conchords will release Live in London on 2xCD\/3xLP\/DL\/CS worldwide via Sub Pop on March 8th, 2019. This past October and ten years after the launch of their hit HBO series, musical comedians Bret McKenzie and Jemaine Clement returned to the network for an all-new comedy special. Live in London was taped before a live audience at the Eventim Apollo and features the Conchords performing new songs from the sold-out UK and Ireland edition of “Flight of the Conchords Sing Flight of the Conchords Tour.”\u003c\/p\u003e\u003cp\u003eThe Live in London album features 7 new songs including \u003ca title=\"Link: https:\/\/youtu.be\/NzP7y7bqB8c\" href=\"https:\/\/youtu.be\/NzP7y7bqB8c\"\u003e“Iain and Deanna,”\u003c\/a\u003e \u003ca title=\"Link: https:\/\/youtu.be\/4cZAr_WaLcw\" href=\"https:\/\/youtu.be\/4cZAr_WaLcw\"\u003e“Father and Son,”\u003c\/a\u003e “Summer of 1353,” “Stana,” “Seagull,” “Back on the Road,” and “Bus Driver.” The album also features performances of fan favorites “Inner City Pressure,” “Bowie,” “Foux du Fafa,” “Mutha'uckas - Hurt Feelings,” “Robots,” “Carol Brown” and “The Most Beautiful Girl (In The Room)’ (the latter two bonus tracks edited out of the broadcast due to time constraints).\u003c\/p\u003e\u003cp\u003eNew Zealanders McKenzie and Clement debuted on HBO in 2005 in an edition of the comedy series “One-Night Stand,” returning to the network in 2007 for the debut season of their acclaimed, Emmy-nominated series “Flight of the Conchords,” which followed fictionalized versions of their lives in New York City. The duo also signed a worldwide deal with Sub Pop Records for their recorded music, going on to release the Grammy-winning EP, \u003ca href=\"https:\/\/megamart.subpop.com\/releases\/flight_of_the_conchords\/the_distant_future\"\u003eThe Distant Future\u003c\/a\u003e in 2007, followed by two full-length albums - their \u003ca href=\"https:\/\/megamart.subpop.com\/releases\/flight_of_the_conchords\/flight_of_the_conchords\"\u003eself-titled debut\u003c\/a\u003e in 2008, and \u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/flight_of_the_conchords\/i_told_you_i_was_freaky\" href=\"https:\/\/megamart.subpop.com\/releases\/flight_of_the_conchords\/i_told_you_i_was_freaky\"\u003eI Told You I Was Freaky\u003c\/a\u003e in 2009. \u003cbr\u003e\u003cbr\u003eThe Conchords have also enjoyed individual success. Clement’s film credits include the “Rio” movies, “Men in Black 3,” “What We Do in the Shadows” and “The BFG,” and he's also been seen in his role in FX’s “Legion.” McKenzie was the music supervisor for “The Muppets,” which won him an Academy Award® for Best Original Song for “Man or Muppet,” and “Muppets Most Wanted.”\u003cbr\u003e\u003c\/p\u003e","brand":"Flight of the Conchords","offers":[{"title":"2xCD","offer_id":31826288410720,"sku":"712752","price":8.4,"currency_code":"USD","in_stock":true},{"title":"Loser (color) 3xLP","offer_id":32668243263584,"sku":"712750","price":27.0,"currency_code":"USD","in_stock":false},{"title":"3xLP","offer_id":32611786358880,"sku":"712751","price":33.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826288443488,"sku":"712754","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":31826288476256,"sku":"712756","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/FlightOfTheConchords_LiveInLondon_2xLP_MockUp.jpg?v=1741201587"},{"product_id":"red-red-meat_theres-a-star-above-the-manger-tonight-2014-reissue","title":"There's a Star Above the Manger Tonight (2014 Reissue)","description":"\u003cp\u003eWords from the band on their upcoming reissues:\u003c\/p\u003e\u003cp\u003e\"When we started this archival reissue series project it was simple: reissue our three original SubPop LPs, through our friends at Jealous Butcher, with a little digital bonus material. However, when we started to dig into “There’s a Star Above the Manger Tonight,” we realized it was too long to fit on a single LP, so we decided to recut it as a double LP. Still pretty simple, right? Except when we looked at the other 2 LPs, they were also too long to fit on single LPs. On top of that, our first record, “Red Red Meat”, had never been released on vinyl!\u003c\/p\u003e\u003cp\u003eSo we started brainstorming and talking with folks about it. “Hey, [John Herndon] made some cool paintings, let’s get [Steve Walters] to make some posters”, and “maybe there’s some live material in the storage space,” and “what about making a book of all the records?!?!” And well, things got more exciting and less simple really quickly.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis is why we’ve teamed up with PledgeMusic for the reissue series, starting with “There’s a Star Above the Manger Tonight” in November 2014 and ending with “Red Red Meat” in October of 2015. Our campaign has three goals — 100%, 200%, 300% — as we reach each goal we can begin working on each album and then send them out to you as they’re completed. Finally, when we make it to the end of the campaign, we’ll be collecting all of the albums in a limited edition 8 LP hand-bound book.\u003c\/p\u003e\u003cp\u003eAlong the way, we’ll be sending you updates, photos, snippets of songs, videos and more as we scour the archives looking for extra things to include on each album. You can even own some of these bits of ephemera — posters, original artwork, test pressings, hand written lyric sheets, acetates, signed photos — and we’ll release more items as we come across them.\u003c\/p\u003e\u003cp\u003ePutting together this collection of reissues is going to be an awesome journey and we’re looking forward to sharing the nuts and bolts of it all with you as we sort through the storage space, dig through our closets and wonder where the hell we set that thing 20 years ago looking for something new to bring into the light of day.\u003c\/p\u003e","brand":"Red Red Meat","offers":[{"title":"2xLP","offer_id":31826291818592,"sku":"40243991","price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/rrmreissue.jpg?v=1581645436"},{"product_id":"fleet-foxes_first-collection-2006-2009","title":"First Collection 2006-2009","description":"\u003cp\u003e\u003ca href=\"http:\/\/megamart.subpop.com\/artists\/fleet_foxes\"\u003eFleet Foxes\u003c\/a\u003e and Sub Pop present a limited-edition collection in honor of the 10th anniversary of Fleet Foxes’ \u003ca href=\"https:\/\/megamart.subpop.com\/releases\/fleet_foxes\/fleet_foxes\" title=\"Link: https:\/\/megamart.subpop.com\/releases\/fleet_foxes\/fleet_foxes\"\u003edebut LP.\u003c\/a\u003e \u003ci\u003eFirst Collection 2006–2009\u003c\/i\u003e spans the early days of Fleet Foxes’ career, including the self-titled debut album, plus the \u003ci\u003e\u003ca href=\"https:\/\/megamart.subpop.com\/releases\/fleet_foxes\/sun_giant\" title=\"Link: https:\/\/megamart.subpop.com\/releases\/fleet_foxes\/sun_giant\"\u003eSun Giant\u003c\/a\u003e \u003c\/i\u003eEP, \u003ci\u003eThe Fleet Foxes \u003c\/i\u003eEP (formerly a very limited-edition, self-released EP), and \u003ci\u003eB-sides \u0026amp; Rarities\u003c\/i\u003e. The vinyl version is packaged in a lavish box, with a 12” LP of the debut album and separate 10” records for each of the added titles; the CD version has a separate CD for each title. In addition to its musical offerings, the collection features a booklet including show flyers, lyrics and artwork from the band’s early history.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFleet Foxes’ debut album made a tremendous impact on the international musical scene, topping numerous “best of” lists, including Rolling Stone’s 100 Best Albums of the 2000’s and Pitchfork’s 50 Best Albums of 2008, and earned the band Uncut’s inaugural Music Award Prize. \u003ci\u003eFleet Foxes\u003c\/i\u003e is certified Gold in North America and Platinum in both the UK and Australia.\u003c\/p\u003e\n\u003cp\u003eFleet Foxes’ most recent release was the critically acclaimed full-length, \u003ci\u003e\u003ca href=\"https:\/\/megamart.subpop.com\/releases\/fleet_foxes\/crack_up\" title=\"Link: https:\/\/megamart.subpop.com\/releases\/fleet_foxes\/crack_up\"\u003eCrack-Up\u003c\/a\u003e\u003c\/i\u003e, released June 2017 on Nonesuch. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Fleet Foxes","offers":[{"title":"LP","offer_id":31826323210336,"sku":"712601","price":65.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826323243104,"sku":"712602","price":23.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556512346208,"sku":"712606","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/fleetfoxes-firstcollection-boxcover-3000.jpg?v=1581645949"},{"product_id":"red-red-meat_bunny-gets-paid-2015-reissue","title":"Bunny Gets Paid (2015 Reissue)","description":"\u003cp\u003eFrom Jealous Butcher:\u003c\/p\u003e\u003cp\u003eChicago rock ensemble \u003ca title=\"Link: http:\/\/subpop.com\/artists\/red_red_meat\" href=\"http:\/\/subpop.com\/artists\/red_red_meat\"\u003eRed Red Meat\u003c\/a\u003e hit hard with 1995’s Bunny Gets Paid. Arguably the band’s most complete album, the record pairs Stones-indebted blues-rock roots with beautiful songs, sounding miles removed from the era’s grunge and radio-friendly alternative rock tropes.\u003c\/p\u003e\u003cp\u003eRecorded at Idful Studios in Chicago’s Wicker Park by producer Brad Wood (Smashing Pumpkins, Liz Phair, Tortoise), Bunny Gets Paid finds Red Red Meat’s core members, Tim Rutilli, Brian Deck, Ben Massarella, and Tim Hurley, straddling the line between their most accessible set of songs and a desire to explore a kind of “alternate fidelity,” employing layers of distortion, natural reverb, and room ambience.\u003c\/p\u003e\u003cp\u003e“At the time, I felt like we’d made a classic rock record,” Rutilli says. “I was like, ‘This is our Astral Weeks.’” But listening back 20 years later, Rutilli recognizes the band’s ambition, a desire to break songs down to their barest, most primitive elements to “see what survives.”\u003c\/p\u003e\u003cp\u003e“I think it was about testing the melody, how strong a melody was,” Rutilli says. “It was loving pop music and classic rock songs, but also loving noise…the slow burn of actual sound.”\u003c\/p\u003e\u003cp\u003eDrummer Brian Deck, who’d go on to work on records by Modest Mouse, The Fruit Bats, Iron and Wine, and others, recalls the band’s 1995 Sub Pop debut, Jimmywine Majestic, making “this promise of a rock revivalist band.” With Bunny Gets Paid, the band “went in a different direction from that.”\u003c\/p\u003e\u003cp\u003e“To a certain extent we were just punk asses,” Deck says. “We wanted to do what wasn’t expected of us. We wanted to do something new.”\u003c\/p\u003e\u003cp\u003eThe record features some of Red Red Meat’s best-loved songs. Opener “Carpet of Horses” pulses with restrained energy under a pastoral shuffle, while “Chain Chain Chain” imagines RRM as a pop act, with crashing drum fills and a surging chorus. “Gauze” sits in the middle of the record, a gorgeous droning ballad with languid guitars that give way to the band’s most anthemic chorus. The record closes with a reading of “There’s Always Tomorrow,” as featured in the Rankin\/Bass Christmas special Rudolph the Red-Nosed Reindeer, and the song fits magically and without irony, a downcast but hopeful sentiment. \u003c\/p\u003e\u003cp\u003e“They were ahead of the time,” producer Brad Wood says. “People say that about bands all the time, but it certainly felt that way to me with this particular band.”\u003c\/p\u003e\u003cp\u003e“As Red Red Meat progressed you see them abandoning traditional song forms, experimenting with the sounds of things -- basing songs on sounds and grooves,” Wood says. “More than just about any band I ever worked with, Red Red Meat digested their influences.” On Bunny Gets Paid, blues and classic rock and roll sounds are transmuted; the record is the sound Red Red Meat finding unique creative footing.\u003c\/p\u003e","brand":"Red Red Meat","offers":[{"title":"2xLP","offer_id":31826369445984,"sku":"40243971","price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/jb117-cover-full.jpg?v=1581647032"},{"product_id":"goat_live-ballroom-ritual","title":"Live Ballroom Ritual","description":"\u003cp\u003eOn July 27th 2013, the eve of their now legendary Glastonbury performances, Goat took the stage at Camden’s Electric Ballroom in London to celebrate the recent launch of their single ‘Stonegoat’. The show was incendiary; the 1,100+ crowd either danced furiously to the band’s psyched grooves or stood there, mouths open and gazed in awe at the spectacle they couldn’t believe they were witnessing. It truly was a band on top of their game, which this LP called \u003ccite\u003eLive Ballroom Ritual\u003c\/cite\u003e will forever prove.\u003c\/p\u003e","brand":"Goat","offers":[{"title":"2xLP","offer_id":31826375475296,"sku":"41056961","price":32.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826375508064,"sku":"41056962","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/14047.jpg?v=1581647216"},{"product_id":"the-head-and-the-heart_lets-be-still","title":"Let's Be Still","description":"\u003cp\u003eIn 2010, Virginia native Jonathan Russell and California transplant Josiah Johnson formed the core songwriting partnership of The Head and The Heart in their new hometown of Seattle. The band was quickly rounded out with the addition of drummer Tyler Williams, keyboardist Kenny Hensley, vocalist\/violinist Charity Rose Thielen and bassist Chris Zasche. Their \u003ca href=\"http:\/\/www.subpop.com\/releases\/the_head_and_the_heart\/full_lengths\/the_head_and_the_heart\"\u003e2011 debut album\u003c\/a\u003e on Sub Pop became one of the label’s best-selling debut releases to date. In a few short months The Head and The Heart went from playing open mic nights to selling out San Francisco’s Fillmore, Seattle’s Paramount Theatre, New York’s Terminal 5 and more, building a loyal fanbase across the country.\u003c\/p\u003e\n\u003cp\u003eThe new album, \u003ccite\u003eLet’s Be Still\u003c\/cite\u003e, is a snapshot of a band that didn’t exist just four short years ago. The album was recorded at Seattle’s Studio Litho with assistance from prior production collaborator Shawn Simmons. Later, the band traversed the country to mix the album in Bridgeport, CT, with Peter Katis, revered for his work with bands such as the National, Interpol, and the Swell Season.\u003c\/p\u003e","brand":"The Head and the Heart","offers":[{"title":"Gold Vinyl 2xLP","offer_id":42431782387808,"sku":"710605","price":28.0,"currency_code":"USD","in_stock":true},{"title":"Color LP","offer_id":39783585316960,"sku":"710603","price":36.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":31826385207392,"sku":"710601","price":36.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826385240160,"sku":"710602","price":13.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":39497747988576,"sku":"710604","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556510019680,"sku":"710606","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/098787106053.jpg?v=1765394240"},{"product_id":"sleater-kinney_no-cities-to-love","title":"No Cities to Love","description":"\u003cp\u003e\"We sound possessed on these songs,\" says guitarist\/vocalist\rCarrie Brownstein about Sleater-Kinney's eighth studio album, \u003ci\u003eNo Cities to Love\u003c\/i\u003e. \"Willing it\rall--the entire weight of the band and what it means to us--back into\rexistence.\"\u003c\/p\u003e\u003cp\u003eThe new record is the first in 10 years from the acclaimed trio--Brownstein,\rvocalist\/guitarist Corin Tucker, and drummer Janet Weiss--who came crashing out\rof the '90s Pacific Northwest riot grrrl scene, setting a new bar for punk's\rpolitical insight and emotional impact. Formed in Olympia, WA in 1994,\rSleater-Kinney were hailed as \"America's best rock band\" by Greil\rMarcus in \u003ci\u003eTime Magazine\u003c\/i\u003e, and put out\rseven searing albums in 10 years before going on indefinite hiatus in 2006. \u003c\/p\u003e\u003cp\u003eBut the new album isn't about reminiscing, it's about\rreinvention--the ignition of an unparalleled chemistry to create new sounds and\rtell new stories. \"I always considered Corin and Carrie to be musical\rsoulmates in the tradition of the greats,\" says Weiss, whose drums fuel\rthe fire of Tucker and Brownstein's vocal and guitar interplay. \"Something\rabout taking a break brought them closer, desperate to reach together again for\rtheir true expression.\" The result is a record that grapples with love,\rpower and redemption without restraint. \"The three of us want the same\rthing,\" says Weiss. \"We want the songs to be daunting.\"\u003c\/p\u003e\u003cp\u003eProduced by long-time Sleater-Kinney collaborator John\rGoodmanson, who helmed many of the band's earlier albums including 1997\rbreakout set \u003ci\u003eDig Me Out\u003c\/i\u003e,\u003ci\u003e No Cities to Love \u003c\/i\u003eis indeed formidable\rfrom the first beat. Lead track \"Price Tag\" is a pounding anthem\rabout greed and the human cost of capitalism, establishing both the album's melodic\rdrive and its themes of power and powerlessness--giving voice, as Tucker says,\rto those who \"struggle to be heard against the dominant culture or status\rquo.\"\u003c\/p\u003e\u003cp\u003e\"Bury Our Friends\" has Tucker and Brownstein\rjoining vocal forces, locking arms to defeat a pressing fear of insignificance.\rIt's also emblematic of the band's give and take, and commitment to working and\rreworking each song until it's as strong as it can be. \"'Bury Our Friends'\rwas written in the 11th hour,\" says Tucker. \"Carrie had her great\rchime-y guitar riff, but we had gone around in circles with how to make that\rpart into a cohesive song. I think Carrie finally cracked the chorus idea and\ryelled, 'Sing with me!'\" \"A New Wave\" similarly went through\rmany iterations during the writing process, with five or six potential\rchoruses, before crystallizing. It enters with an insistent guitar riff, and a\rbattle between acceptance and defiance--\"Every day I throw a little\rparty,\" howls Brownstein, \"but a fit would be more fitting.\"\u003c\/p\u003e\u003cp\u003eThe album's meditative title track was inspired by the trend\rof atomic tourism and its function as a metaphor for someone enthralled and\rimpressed by power. \"That form of power, that presence, is not only\rdestructive it's also hollowed-out, past its prime,\" says Brownstein. \"The\rcharacter in that song has made a ritual out of seeking structures and people\rin which to find strength, yet they keep coming up empty.\"\u003c\/p\u003e\u003cp\u003eSleater-Kinney's decade apart made\rroom for family and other fruitful collaborations, as well as an understanding\rof what the band's singular chemistry demands. \"Creativity is about where\ryou want your blood to flow, because in order to do something meaningful and\rpowerful there has to be life inside of it,\" says Brownstein. \"Sleater-Kinney\risn't something you can do half-assed or half-heartedly. We have to really want\rit. This band requires a certain desperation, a direness. We have to be willing\rto push because the entity that is this band will push right back.\"\u003c\/p\u003e\u003cp\u003e\"The core of this record is\rour relationship to each other, to the music, and how all of us still felt\rstrongly enough about those to sweat it out in the basement and to try and\rreinvent our band,\" adds Tucker. With \u003ci\u003eNo\rCities to Love\u003c\/i\u003e, \"we went for the jugular.\"\u003c\/p\u003e\u003cp\u003e\u003ci\u003e--Evie Nagy\u003c\/i\u003e\u003c\/p\u003e","brand":"Sleater-Kinney","offers":[{"title":"Deluxe","offer_id":31826394972256,"sku":"711003","price":33.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":31826395005024,"sku":"711001","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826395037792,"sku":"711002","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826395070560,"sku":"711004","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556519686240,"sku":"711006","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/s-k-nctl-blackvinyl.jpg?v=1741202335"},{"product_id":"iron-and-wine_around-the-well","title":"Around the Well","description":"\u003cp\u003eCollecting songs ranging from out-of-print to never-before-released, \u003ccite\u003e\u003ci\u003eAround the Well\u003c\/i\u003e\u003c\/cite\u003e spans Iron \u0026amp; Wine’s earliest sessions which yielded the band’s debut (2002’s \u003ca href=\"http:\/\/www.subpop.com\/catalog\/artists\/iron_and_wine\/full_lengths\/the_creek_drank_the_cradle\/\"\u003e\u003ccite\u003eThe Creek Drank the Cradle\u003c\/cite\u003e\u003c\/a\u003e) through material recorded for 2007’s \u003ca href=\"http:\/\/www.subpop.com\/catalog\/artists\/iron_and_wine\/full_lengths\/the_shepherds_dog\/\"\u003e\u003ccite\u003eThe Shepherd’s Dog\u003c\/cite\u003e\u003c\/a\u003e. The double-disc \u003ccite\u003e\u003ci\u003eAround the Well\u003c\/i\u003e\u003c\/cite\u003e collection is broken up into two sections. The first half is an assortment of hushed home recordings, unedited and raw, and the second highlights moments captured in the confines of proper studios with the help of other musicians, friends and engineers. The album’s title comes from a line in the song “The Trapeze Swinger,” a fan favorite which was written for and included in the movie \u003ccite\u003e\u003ci\u003eIn Good Company\u003c\/i\u003e\u003c\/cite\u003e. Three more songs written and recorded for the film finally make their appearance here as well: “Belated Promise Ring,” “God Made the Automobile” and “Homeward, These Shoes.” \u003ccite\u003e\u003ci\u003eAround the Well\u003c\/i\u003e\u003c\/cite\u003e also brings together hard-to-find covers such as The Flaming Lips’ “Waitin’ for a Superman” and New Order’s “Love Vigilantes,” along with one of Iron and Wine’s earliest originals, “Sacred Vision.”\u003c\/p\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"3xLP","offer_id":31826438946912,"sku":"708081","price":33.0,"currency_code":"USD","in_stock":true},{"title":"2xCD","offer_id":31826438979680,"sku":"708082","price":13.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556520210528,"sku":"708086","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/5344.jpg?v=1581648623"},{"product_id":"the-postal-service_give-up-deluxe-edition","title":"Give Up (Deluxe Edition)","description":"\u003cp\u003eYou can spend all the time and money in the world trying to craft the perfect pop-music scenario, but sometimes the stars have to align all by themselves. Even though early on the members of The Postal Service jokingly referred to \u003ca href=\"http:\/\/youtu.be\/0wrsZog8qXg\"\u003eSuch Great Heights\u003c\/a\u003e as “the hit” on their debut album, \u003ccite\u003eGive Up\u003c\/cite\u003e, there’s no way anyone could have predicted the eventual impact made by a mail-order album designed in a pair of West Coast bedrooms.\u003c\/p\u003e\r\u003cp\u003eIt’s been 10 years since the little project that could from Seattelite Ben Gibbard (aka Death Cab For Cutie’s frontman) and Angeleno Jimmy Tamborello (\u003ca href=\"http:\/\/www.subpop.com\/artists\/dntel\/\"\u003eDntel\u003c\/a\u003e, Figurine) emerged from seemingly nowhere and began to burrow into the ears of anyone who came into contact with the band’s infectious electro-pop. To celebrate, Sub Pop is reissuing The Postal Service’s sole album, and including in the multi-disc set 15 bonus tracks, including two brand new songs, “A Tattered Line of String” and “Turn Around.” On top of that, the band is back together: \u003ca href=\"http:\/\/www.subpop.com\/tours\/the_postal_service\"\u003eThe Postal Service will hit the road\u003c\/a\u003e for a long-overdue victory lap, giving most fans their first (and last—seriously, don’t ask) chance to see the group in person.\u003c\/p\u003e\r\u003cp\u003eOf course, the band’s music was more than just electro-pop, and the force with which Jimmy and Ben captured the indie-rock zeitgeist of the early aughts made them more of a phenomenon than just a regular old band. That such artists as Ben Folds, Amanda Palmer, Streetlight Manifesto, and Confide have covered “Such Great Heights” is a testament to both the song’s magical spark and its melodic inclusivity. The band’s sound is such a touchstone that “Postal Service-esque” has become a generally accepted musical adjective. And it goes way beyond Owl City.\u003c\/p\u003e\r\u003cp\u003eWhile it was impossible to anticipate how massive \u003ccite\u003eGive Up\u003c\/cite\u003e would become, it was obvious in 2003 that these guys had made something special. Ten years on it’s amazing to know that so many people have come to agree.\u003c\/p\u003e","brand":"The Postal Service","offers":[{"title":"3xLP","offer_id":31826484625504,"sku":"710451","price":40.0,"currency_code":"USD","in_stock":false},{"title":"2xCD","offer_id":31826484658272,"sku":"710452","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556522766432,"sku":"710456","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/PostalService_GiveUpDeluxe_Mockup_US_LP_2000x1417_b86b88df-d30b-45ba-b384-7fd1ac32bf45.jpg?v=1755539000"},{"product_id":"low_things-we-lost-in-the-fire","title":"Things We Lost In the Fire","description":"\u003cp\u003eThere's a fuzzy feeling on some songs with a touch of distorted guitar, and the quality songwriting and singing we've all come to expect. Low can work at the most basic levels of voice, drum and guitar or with more orchestrated arrangements while constantly keeping the directness and strength of each song foremost.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded by Steve Albini at Electrical Audio, Chicago, IL. Additional recording by Tom Herbers at Third Ear, Minneapolis, MN. Mixed by Steve Albini and Low. Mastered by John Golden. Written and performed by Low, with Marc De Gli Antoni (piano, keyboards, sampler), Daniel Huffman (guitar, loops, noises), Tresa Ellickson (viola), Jaron Childs (cello), Bob Weston (trumpet), Ida Pearle (violin), Zach Wallace (double bass), Dusty Sayre (backing vocals), and Hollis Mae (squeaks, yells).\u003cbr\u003e\u003c\/p\u003e","brand":"Low","offers":[{"title":"2xLP","offer_id":31826491244640,"sku":"796441804610","price":35.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826491277408,"sku":"40643862","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/1507.gif?v=1581650163"},{"product_id":"sunny-day-real-estate_diary-remastered-and-expanded-edition","title":"Diary (Remastered and Expanded Edition)","description":"This is the remastered and expanded edition of Sunny Day Real Estate’s 1994 debut album Diary. This edition has been re-mastered and includes the bonus tracks “8” and “9,” as well as newly written liner notes.","brand":"Sunny Day Real Estate","offers":[{"title":"Color 2xLP","offer_id":40348166750304,"sku":"708463","price":31.0,"currency_code":"USD","in_stock":false},{"title":"2xLP","offer_id":31826491441248,"sku":"708461","price":28.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826491474016,"sku":"708462","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556514213984,"sku":"708466","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/SDRE_Diary_MockUP_LPRepress_2000x1417_2b3cbf57-3991-459e-82d1-a01c57aef1b7.jpg?v=1712253716"},{"product_id":"wolf-parade_apologies-to-the-queen-mary-deluxe-edition","title":"Apologies to the Queen Mary (Deluxe Edition)","description":"\u003cp\u003e\u003cb\u003e*Loser edition colored vinyl is SOLD OUT (5\/23 12:37 pm PST). Black vinyl now shipping on all orders!\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eSub Pop will release Wolf Parade’s\u003ci\u003e Apologies to the Queen Mary: Deluxe Edition\u003c\/i\u003e, a reissue of the group’s acclaimed first album, worldwide on 3xLP\/DL May 13th. The reissue features the original album, now on 2xLP for improved sound, along with the band’s pre-Sub Pop, self-titled EPs (released in 2003 and 2004), both of which are making their vinyl debut. The package also includes the previously unreleased track “Snakes on the Ladder” from the Apologies sessions. The album was remastered by Harris Newman at Grey Market Mastering. Wolf Parade recently reunited, and are doing a summer tour.\u003cbr\u003e\u003c\/p\u003e","brand":"Wolf Parade","offers":[{"title":"3xLP","offer_id":31826495471712,"sku":"711551","price":33.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556519260256,"sku":"711556","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/wolfparade-apologiesreissue-900.jpg?v=1581650248"},{"product_id":"earth_earth-2","title":"Earth 2","description":"\u003cp\u003eReleased 1\/93.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e2023:\u003c\/p\u003e\n\u003cp\u003eDid you know there are horses on the cover of Earth 2: Special Low Frequency Version? There are at least three in the right hand corner, gathered inexplicably near a white canvas tent, a human possibly perched among its folds. As widescreen and vast as the cover may seem, those little details—the horses, the possible human, the faint wisp of white clouds—give it depth and wonder, something to which the imagination can return.\u003c\/p\u003e\n\u003cp\u003eDid you know that the music on Earth 2—repressed now for its 30th anniversary, back in its original artwork, and accompanied by a riveting set of remixes that demonstrate the reach of what Dylan Carlson long ago called “ambient metal”—works much the same way? The surface is massive and obvious, the meat-paw riffs of Carlson and bassist Dave Harwell pounding and swiping and pawing at the speakers, a true bludgeon in three-dimensional sound. Listen, though, for the details in the corners, for the finesse beneath the force, and Earth 2 reveals new levels of depth and wonder.\u003c\/p\u003e\n\u003cp\u003eThe widespread impact of Earth 2 suggests that others have indeed been leaning in, listening to these minutiae and making something new of them. A masterpiece without many genre precedents, Earth 2 surely helped send doom metal down its more modern drone, ambient, and avant-garde avenues. Those descendants are obvious. Perhaps more surprising and gratifying are the ways it has influenced electronic music, modern composition, and even hip-hop by realigning our senses of tempo, time, and texture. See the 2023 digital\/ltd. LP companion piece, Earth 2.23: Special Lower Frequency Mix, for evidence from The Bug, Flowdan, Justin K. Broadrick of Godflesh\/Jesu, Robert Hampson of Loop, and Brett Netson of Built to Spill\/Earth. Earth 2 engendered a rearrangement of expectations, regardless of preferred form.\u003c\/p\u003e\n\u003cp\u003eThese are not obvious directions for Earth’s impact. Again, Earth 2 was never an obvious record. 30 years on, have we yet to grasp the enormity of Earth 2, an album that has continued its slow cycle of influence, uninterrupted? Probably not. Hell, most of us don’t even know there are horses on the cover.\u003c\/p\u003e","brand":"Earth","offers":[{"title":"Loser (color) 2xLP","offer_id":39769939935328,"sku":"701850","price":31.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":31826503008352,"sku":"701851","price":28.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826503041120,"sku":"701852","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556523356256,"sku":"701856","price":3.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/earth-earth2-1500.jpg?v=1581650355"},{"product_id":"feedtime_the-aberrant-years","title":"the Aberrant years","description":"\u003cp\u003eWith \u003ccite\u003ethe Aberrant years\u003c\/cite\u003e, Sub Pop finally realizes our goal of releasing feedtime, a longtime staff favorite and a huge influence on the label’s early artistes. From 1978 or 1979 (dates are hazy) until the breakup of their classic lineup in 1989, Sydney, Australia’s feedtime—no, that’s not a typo, the ‘f’ is lowercase—shoved their mutant fusion of early American blues, stripped-down hard rock and minimalist punk on an often-hostile music scene. Their raw vision of rock music and disdain for trendy music-biz maneuvering earned them little in the way of mainstream success, but it did get them a rabid underground following (notably Sub Pop’s very own \u003ca href=\"http:\/\/www.subpop.com\/artists\/mudhoney\/\"\u003eMudhoney\u003c\/a\u003e) and the support of seminal Aussie indie label Aberrant Records, Amphetamine Reptile Records and Rough Trade US.\u003c\/p\u003e\r\u003cp\u003eThe sound of feedtime was like nothing else in Australia: a vintage blues swagger via roots rock and the late ‘70s that didn’t come from an established clique, a pure strain of rock and roll with a relentless mechanical propulsion. It was the perfect symbiosis of syncopation, minimalist rock that carried a thunderous atmosphere of reckless intoxication and intense personal pain but with a self-assured “ease” amongst the chaos. The sound was both Zen-like transcendence and a form of self-defense from psychic scum. Impenetrable, yet welcoming. Guitar noise you could dance to with lyrics cut straight from experience, tradition and dead crazy urban confusion.\u003c\/p\u003e\r\u003cp\u003e\u003ccite\u003ethe Aberrant years\u003c\/cite\u003e collects the entire output of feedtime’s 1978-1989 lineup, including their self-titled debut, \u003ccite\u003eshovel\u003c\/cite\u003e, \u003ccite\u003eCooper S\u003c\/cite\u003e and \u003ccite\u003esuction\u003c\/cite\u003e, plus gobs of rare bonus tracks and a full-color booklet with extensive liner notes by band biographer Leon O’Regan.\u003c\/p\u003e\r\u003cp\u003eThis is perfect sound and pure art. Avant-garde pub-rock. All hail the concrete urban blues.\u003c\/p\u003e\r\u003cp\u003eAvailable as a 4 LP or 4 CD box set. The vinyl version includes a download of all the rare single and compilation tracks that are included on the CD version as well.\u003c\/p\u003e","brand":"feedtime","offers":[{"title":"Vinyl Box Set","offer_id":31826506612832,"sku":"709801","price":38.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556524634208,"sku":"709806","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD Box Set","offer_id":39763845972064,"sku":"709802","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/11010.jpg?v=1581650442"},{"product_id":"bruce-pavitt_experiencing-nirvana-grunge-in-europe-1989","title":"Experiencing Nirvana: Grunge In Europe, 1989","description":"\u003cp\u003e\u003cstrong\u003e\u003ccite\u003eExperiencing Nirvana: Grunge in Europe, 1989\u003c\/cite\u003e\u003c\/strong\u003e is \u003ca href=\"http:\/\/www.brucepavitt.com\/Home_Page.html\"\u003eBruce Pavitt’s\u003c\/a\u003e account of this pivotal period of contemporary culture.  As the visionary founder of \u003ca href=\"http:\/\/www.subpop.com\/artists\/sub_pop\"\u003eSub Pop\u003c\/a\u003e – first as a hand crafted zine, then a series of cassettes, music columns, and radio broadcasts – Pavitt was in a peculiar position to chronicle the tour that cemented grunge as the soundtrack of a generation.  Through journal entries and candid photographs, Pavitt follows \u003ca href=\"http:\/\/www.subpop.com\/artists\/nirvana\"\u003eNirvana\u003c\/a\u003e, \u003ca href=\"http:\/\/www.subpop.com\/artists\/tad\"\u003e\u003cspan class=\"caps\"\u003eTAD\u003c\/span\u003e\u003c\/a\u003e, and \u003ca href=\"http:\/\/www.subpop.com\/artists\/mudhoney\"\u003eMudhoney\u003c\/a\u003e at a momentous stage of a movement that almost didn’t happen.\u003c\/p\u003e\r\u003cp\u003eThe dramatic eight days covered in this book, from November 27 through December 4, 1989, represent a turning point for Nirvana. In this brief period, the young band goes from breaking up in Rome to winning over the influential music press in London at Sub Pop’s LameFest UK showcase, setting the stage for their imminent popularity.\u003c\/p\u003e\r\u003cp\u003eOn November 27, 1989, when Pavitt and business partner Jon Poneman arrived to meet the band in Rome, they were almost finished with a grueling six week tour of Europe. Although determined to promote their grungy, riff-heavy debut album, \u003ca href=\"http:\/\/www.subpop.com\/releases\/nirvana\/full_lengths\/bleach_deluxe_edition\"\u003eBleach\u003c\/a\u003e, their travels with fellow Sub Pop act Tad had left them exhausted. Providing label support, Pavitt and Ponemon did their best to revive the spirits of a frustrated and downcast Kurt Cobain, who then managed to continue to London where Nirvana played the biggest and most important show of their career to date.\u003c\/p\u003e\r\u003cp\u003eLameFest UK, held at the 2,000-capacity Astoria Theatre, featured three Seattle Sub Pop acts: Nirvana, Tad and popular headliners Mudhoney. Although Nirvana opened the show, their heart-pounding performance won over the crowd as well as the powerful British press, who went on to proclaim that Nirvana was, “Sub Pop’s answer to The Beatles.” It was then that the world’s attention began to focus on the band that would become the biggest rock act of their generation.\u003c\/p\u003e","brand":"Bruce Pavitt","offers":[{"title":"Default Title","offer_id":31826526699616,"sku":"50099950","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/experiencingnirvana.jpg?v=1581650977"},{"product_id":"the-vaselines_enter-the-vaselines","title":"Enter The Vaselines","description":"\u003cp\u003eThe Vaselines have long been celebrated by musicians and music enthusiasts across genres and across the globe, including super-fan Kurt Cobain. Sub Pop’s May 5 release of \u003ccite\u003eEnter The Vaselines\u003c\/cite\u003e is an opportunity for those already familiar with the Scottish band’s brief career to delve deeper into their body of work, while those new to their music can experience firsthand why so many hold them in such high regard. This new collection is effectively a deluxe-edition reissue of the 1992 Sub Pop release \u003ca href=\"http:\/\/www.subpop.com\/releases\/the_vaselines\/full_lengths\/the_way_of_the_vaselines\/\"\u003e\u003ccite\u003eThe Way of The Vaselines\u003c\/cite\u003e\u003c\/a\u003e with a new title and new cover art from the band, and a whole lot of new material (the entirety of the 17-song second CD\/third LP has been added). Originally mastered from a cassette tape, \u003ccite\u003eThe Way of The Vaselines\u003c\/cite\u003e compiled the band’s two EPs (\u003ccite\u003eSon of a Gun\u003c\/cite\u003e and \u003ccite\u003eDying for It\u003c\/cite\u003e) and their sole LP release (\u003ccite\u003eDum-Dum\u003c\/cite\u003e). \u003ccite\u003eEnter The Vaselines\u003c\/cite\u003e is the definitive triple LP\/double CD Vaselines collection. It includes new mixes and re-mastered versions of everything by The Vaselines, plus never-before-heard demos, and live recordings from 1986 in Bristol and 1988 in London.\u003c\/p\u003e","brand":"The Vaselines","offers":[{"title":"3xLP","offer_id":31826534727776,"sku":"708101","price":33.0,"currency_code":"USD","in_stock":false},{"title":"2xCD","offer_id":31826534760544,"sku":"708102","price":15.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556525617248,"sku":"708106","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/5363.jpg?v=1581651179"},{"product_id":"clipping_there-existed-an-addiction-to-blood","title":"There Existed an Addiction to Blood","description":"\u003cp\u003eThe science-fiction visionary Octavia Butler once declared that “there is nothing new under the sun, but there are new suns.” The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter \u003ca href=\"https:\/\/megamart.subpop.com\/artists\/clipping\"\u003eClipping\u003c\/a\u003e, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past. \u003c\/p\u003e\u003cp\u003eTheir third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is clipping’s transmutation of horrorcore, a purposefully absurdist and creatively significant sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap. \u003c\/p\u003e\u003cp\u003eThe most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. If traditional horrorcore was akin to Blacula, the hugely popular blaxploitation flick from the early 70s, Clipping’s latest is analogous to Ganja \u0026amp; Hess, the blood-sipping 1973 cult classic regarded as an unsung landmark of black independent cinema, whose score the band samples on “Blood of the Fang.”\u003c\/p\u003e\u003cp\u003eFrom the opening “Intro,” Clipping summon an unsettling eeriness. Diggs sounds like he’s rapping through a drive-thru speaker about the bottom falling out, bodies hitting the floor, and recurrent ghosts. You hear ambient noises, footsteps and shovels. The hairs on your arms stick up like bayonets. You can practically see the knife’s edge, sharp and luminous.\u003c\/p\u003e\u003cp\u003eEach song contains its own premise and conceptual bent. There is “Nothing is Safe,” a reversal of Assault on Precinct 13, where the band create their own version of a John Carpenter-inspired rap beat and the cops are the ones raiding a trap house. Diggs sketches the narrative from the perspective of the victims, full of lurid and visceral details and intricate wordplay. The windows are boarded and sealed, the product simmers on the stove, the bodies sleep fitfully in shifts. Then law enforcement arrives and the bullets start to fly. \u003c\/p\u003e\u003cp\u003e“He Dead” turns police officers into werewolves while Diggs flips Kendrick Lamar’s “Riggamortis” into something gravely literal.“All In Your Head” finds Clipping re-contextualizing the pimp talk of Suga Free and Too $hort into a metaphor for an Exorcist-style possession. The album contains interludes featuring hissing recordings of demonic invasions and guest appearances from Griselda Gang’s Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with “Piano Burning,” a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning.  \u003c\/p\u003e\u003cp\u003eIn the hands of the less imaginative or less virtuosic, it could come off as overwrought or pretentious. Instead, Clipping annex new terrain for a sub-genre often left for dead. In its own way, one could compare what they’ve accomplished to Tarantino’s post-modern reworkings of critically overlooked but creatively fertile blaxploitation, horror and spaghetti western cinema. \u003c\/p\u003e\u003cp\u003eEverything fits neatly into the broader scope of the band’s career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy, as well as co-written and starred in 2018’s critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows.\u003c\/p\u003e\u003cp\u003eClipping’s last album, the 2016 afro-futurist dystopian space opus \u003ca href=\"https:\/\/megamart.subpop.com\/releases\/clipping\/splendor_and_misery\"\u003eSplendor \u0026amp; Misery\u003c\/a\u003e was recently named one of Pitchfork’s Best Industrial Albums of All-Time. Commissioned for an episode of “This American Life,” their 2017 single “The Deep” became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But it’s their latest masterwork that embodies what the band had been building towards — a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It’s horror-core that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.\u003cbr\u003e\u003c\/p\u003e","brand":"clipping.","offers":[{"title":"Deluxe","offer_id":31826578440288,"sku":"713303","price":34.0,"currency_code":"USD","in_stock":false},{"title":"2xLP","offer_id":31826578473056,"sku":"713301","price":28.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826578505824,"sku":"713302","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":32611737239648,"sku":"713304","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556523847776,"sku":"713306","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/clipping-teaatb-3600px.jpg?v=1581652058"},{"product_id":"bobs-burgers_the-bobs-burgers-music-album","title":"The Bob's Burgers Music Album","description":"\u003cp\u003e\u003ci\u003eBob’s Burgers\u003c\/i\u003e premiered on the Fox network January 2011, and quickly became one of the most watched series on television. After enjoying the highest-rated new season premiere of the 2010-11 season, \u003ci\u003eBob’s Burgers\u003c\/i\u003e quickly settled into an average viewership of over 4 million per episode. The show has won an Emmy award and been nominated five times, including a current nomination for Outstanding Animated Program. It has inspired many popular spinoff items, including a recent, best-selling cookbook.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eNow comes \u003ci\u003eThe Bob’s Burgers Music Album\u003c\/i\u003e, featuring 107 songs from the first 107 episodes (all six existing seasons), plus five special cover versions of songs from the show. Originally broadcast within the episodes – and often in abbreviated form – these songs appear here in their freestanding glory for the first time. \u003ci\u003eThe Bob’s Burgers Music Album\u003c\/i\u003e – in both its affordable standard editions and its impressive deluxe edition – is sure to be a must-have for any fan of the show (and, really, any sentient life-form).\u003c\/p\u003e\u003cp\u003e• The album features the main cast members – Bob (Jon Benjamin) and Linda (John Roberts) and their children Tina (Dan Mintz), Gene (Eugene Mirman) and Louise (Kristen Schaal) – singing original songs that build on the show’s unique sense of humor.\u003c\/p\u003e\u003cp\u003e• Also featured are many of the show’s recurring and special guests, from comedians like Aziz Ansari, Sarah Silverman, Kevin Kline, Bill Hader, Zack Galifianakis, and Fred Armisen, to musical guests Cyndi Lauper and Carly Simon.\u003c\/p\u003e\u003cp\u003e• Includes five never-aired “Bob’s Buskers” cover versions of songs from the show performed by St. Vincent, The National, Lapsley, and Stephin Merritt of Magnetic Fields.\u003c\/p\u003e\u003cp\u003eThere are multiple options available for this album:\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eThree 'standard' versions: a 2xCD set, a 3xLP+7”, and a digital album. \u003c\/li\u003e\n\u003cli\u003eA deluxe limited-edition 3xLP +7” \u003cb\u003ebox set\u003c\/b\u003e version which includes “condiment-colored” vinyl (ketchup red, mustard yellow \u0026amp; relish green), plus a hardbound lyrics book with exclusive Bob’s Burgers artwork, a soft cover sheet-music songbook, three original posters, a six-piece sticker pack, and a patch. \u003cb\u003eBoth the standard and deluxe LP editions include the five “Bob's Buskers” tracks on a white vinyl 7” single.\u003c\/b\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Bob's Burgers","offers":[{"title":"Deluxe Box Set","offer_id":31826619859040,"sku":"711803","price":69.0,"currency_code":"USD","in_stock":false},{"title":"3xLP","offer_id":31826619891808,"sku":"711801","price":33.0,"currency_code":"USD","in_stock":true},{"title":"2xCD","offer_id":31826619924576,"sku":"711802","price":16.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":32668247261280,"sku":"711804","price":16.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556525518944,"sku":"711806","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/bobsburgers-blacklp.jpg?v=1581652453"},{"product_id":"father-john-misty_i-love-you-honeybear","title":"I Love You, Honeybear","description":"\u003cp\u003e“\u003cem\u003e\u003cstrong\u003eI Love You, Honeybear\u003c\/strong\u003e\u003c\/em\u003e is a concept album about a guy named \u003cem\u003e\u003cstrong\u003eJosh Tillman\u003c\/strong\u003e\u003c\/em\u003e who spends quite a bit of time banging his head against walls, cultivating weak ties with strangers and generally avoiding intimacy at all costs. This all serves to fuel a version of himself that his \u003cstrong\u003eself-loathing narcissism\u003c\/strong\u003e can deal with. We see him engaging in all manner of \u003cstrong\u003eregrettable behavior\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e“In a parking lot somewhere he meets \u003cstrong\u003eEmma\u003c\/strong\u003e, who inspires in him a vision of a life wherein being truly seen is not synonymous with shame, but possibly \u003cstrong\u003etrue liberation\u003c\/strong\u003e and \u003cstrong\u003esublime\u003c\/strong\u003e, \u003cstrong\u003eunfettered creativity\u003c\/strong\u003e. These ambitions are initially thwarted as \u003cstrong\u003ejealousy, self-destruction and other charming human character traits\u003c\/strong\u003e emerge.  Josh Tillman confesses as much all throughout.\u003c\/p\u003e\n\u003cp\u003e“The album progresses, sometimes chronologically, sometimes not, between two polarities: the first of which is the belief that \u003cstrong\u003ethe best love can be is finding someone who is miserable in the same way you are \u003c\/strong\u003eand the end point being that \u003cstrong\u003elove isn't for anyone who isn't interested in finding a companion to undertake total transformation with\u003c\/strong\u003e. I won't give away the ending, but \u003cstrong\u003esex, violence, profanity and excavations of the male psyche\u003c\/strong\u003e abound.  \u003c\/p\u003e\n\u003cp\u003e“My ambition, aside from making an indulgent, soulful, and epic sound worthy of the subject matter, was to address the sensuality of fear, the terrifying force of love, the unutterable pleasures of true intimacy, and the destruction of emotional and intellectual prisons in my own voice.  \u003cstrong\u003eBlammo\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e“This material demanded a new way of being made, and it took a lot of time before the process revealed itself.  The massive, deranged shmaltz I heard in my head, and knew had to be the sound of this record, originated a few years ago while Emma and I were hallucinating in Joshua Tree; the same week I wrote the title track.  I chased that sound for the entire year and half we were recording.  The means by which it was achieved bore a striking resemblance to the travails, abandon and transformation of learning how to love and be loved; see and be seen.  There: I said it.  \u003cstrong\u003eBlammo\u003c\/strong\u003e.” -Josh Tillman (A.K.A. Father John Misty)\u003c\/p\u003e","brand":"Father John Misty","offers":[{"title":"Color LP","offer_id":41494339387488,"sku":"716300","price":23.0,"currency_code":"USD","in_stock":true},{"title":"Deluxe","offer_id":31826625888352,"sku":"711153","price":41.0,"currency_code":"USD","in_stock":false},{"title":"2xLP","offer_id":31826625921120,"sku":"711151","price":28.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826625953888,"sku":"711152","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826625986656,"sku":"711154","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556520505440,"sku":"711156","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/FJM_ILHB_MockUp_LP_US_2000x1417_b625a1c0-b59c-445f-bed2-d4d7069d5c68.jpg?v=1734533837"},{"product_id":"low_trust","title":"Trust","description":"\u003cp\u003eLow recorded their sixth studio album in the spring of 2002. \u003ci\u003eTrust\u003c\/i\u003e features cameo appearances by Gerry Beckley from soft-rock giants America and was mixed by Tschad Blake (Latin Playboys, Lisa Germano, Pearl Jam, etc.).\u003c\/p\u003e\u003cp\u003eThe new album features a number of recent live favorites like \"In the Drugs,\" \"John Prine,\" \"A Little Argument with Myself,\" and \"Canada.\" Tschad Blake's presence is immediately apparent with the bells, whistling and echoing drums on \"(That's How You Sing) Amazing Grace,\" and those extra touches continue across the album. \u003ci\u003eTrust\u003c\/i\u003e is the most assertive and expansive Low album yet and matches big sounds with meaningful sonic details. This record grazes you with a brick then knocks you over with a feather.\u003c\/p\u003e","brand":"Low","offers":[{"title":"2xLP","offer_id":31826647842912,"sku":"796441805211","price":35.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826647875680,"sku":"40643962","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/1508.gif?v=1581652824"},{"product_id":"marika-hackman_covers","title":"Covers","description":"\u003cp\u003eDuring the extended stay-at-home order of the last few months, Marika felt that creating a covers record was a way of exploring new sound ideas and expressing herself without having the pressure of the blank page. She recorded and produced \u003cem\u003eCovers\u003c\/em\u003e between home and her parents’ house, then got the legendary David Wrench (Frank Ocean, The xx, Let’s Eat Grandma) to mix it. David also co-produced her excellent 2019 record \u003cem\u003e\u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/marika_hackman\/any_human_friend\" href=\"https:\/\/megamart.subpop.com\/releases\/marika_hackman\/any_human_friend\"\u003eAny Human Friend\u003c\/a\u003e\u003c\/em\u003e. In contrast to her last two albums (including 2017’s \u003cem\u003e\u003ca href=\"https:\/\/megamart.subpop.com\/releases\/marika_hackman\/im_not_your_man\"\u003eI’m Not Your Man\u003c\/a\u003e\u003c\/em\u003e), this collection of songs is more akin in tone and feel to her debut \u003cem\u003eWe Slept At Last\u003c\/em\u003e, with a darker and more introspective sound. On \u003cem\u003eCovers\u003c\/em\u003e, we hear Marika’s emotive voice set against sparse arrangements of guitars and strings with the occasional synth or scattered drum groove.\u003cbr\u003e \u003cbr\u003eBreathing new life into the songs she’s chosen, Marika reimagines work by some of the world's most beloved artists such as Radiohead, Grimes and Elliott Smith. It’s a suitably varied collection, but Marika’s intimate delivery and soft, nuanced and atmospheric touch to production, thread them all together effortlessly.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eMarika explains how she came to choose the material: “When it comes to covers, I like to pick songs which I have been listening to obsessively for a while. It gives me a natural understanding of the music, and lets me be more innovative with how I transform it.”\u003cbr\u003e \u003cbr\u003eFirst single “Realiti” is a stripped back piano and guitar based version of the Grimes classic from her most celebrated album \u003cem\u003eArt Angels\u003c\/em\u003e. Marika’s take is a total reinvention and yet it feels wholly her own. Muna’s “Pink Light” from their 2019 record \u003cem\u003eSaves The World\u003c\/em\u003e is a slice of dark pop, reminiscent of The Cure. In Marika’s hands, it’s a remarkably seamless switch-up to convert these into slower, brooding soft jams.\u003cbr\u003e \u003cbr\u003eMarika’s version of Air’s “Playground Love” is one of the highlights, taken from the soundtrack the group composed for Sofia Coppola’s coming of age \u003cem\u003eThe\u003c\/em\u003e \u003cem\u003eVirgin Suicides\u003c\/em\u003e, the result being a moodier, disorientating reworking of a classic modern moment.\u003cbr\u003e \u003cbr\u003eFinal track “All Night” sees Marika tackling one of the standouts from Beyonce’s Grammy-nominated \u003cem\u003eLemonade\u003c\/em\u003e. Again, Marika flips the song on its head. Joined by a choir of stacked vocal harmonies, Marika’s voice transcends to conjure a deep emotional resonance.\u003cbr\u003e \u003cbr\u003eAdventurous and versatile, \u003cem\u003eCovers\u003c\/em\u003e continues Marika’s lineage in turning each body of work into a new take and perspective on her creative vision. She twists and turns, always surprises, and is never afraid to wear her heart on her sleeve. 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It was a creative period for Beam that rendered two albums\u003cbr\u003e(Beast Epic and Weed Garden) and garnered four Grammy nominations.\u003cbr\u003e\u003cbr\u003eWhile having performed many shows solo acoustic and known mostly as a\u003cbr\u003esinger-songwriter to those in the know, Beam has over the years\u003cbr\u003eassembled some of the most adventurous musicians when putting together\u003cbr\u003ehis touring bands. From members of Antibalas to Califone, Chicago\u003cbr\u003eUnderground Duo to Tin Hat Trio, Isotope 217 to Calexico, Beam has rarely\u003cbr\u003esought the comfort of straight interpretation. 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From there, things only got weirder: The trio experimented with faster tempos and bongos(!) on the following year’s full-length La Planeté Inexploreé, and in 2019, their KEXP session recorded at the Trans Musicales festival in Rennes became a viral sensation, racking up more than 1.4 million YouTube views.\u003c\/p\u003e\n\u003cp\u003eUMMON from 2020 represented SLIFT’s pivot towards the celestially crushing confines of psych-metal, marked by Remí’s rolling basslines and Flores’s relentless skin-pounding. But nothing in their already-estimable catalog could prepare you for ILION, a huge-sounding and melodically dense record that at once recalls Godspeed! 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Over eight tracks and 75+ minutes, SLIFT unleash the fury with walls of guitar and multi-part song structures that make you feel as if you’re being taken on a true journey—from the pure oblivion of ILION’s title track and the stretched-out abandon of centerpiece “Weavers’ Weft” to the intense climax of the 12-and-a-half-minute epic “The Story That Has Never Been Told.”\u003c\/p\u003e\n\u003cp\u003eBut what is this journey? To hear SLIFT tell it, Joseph Campbell would be proud of the thematic path laid out before the listeners on ILION, which is named after the Ancient Greek word for the city of Troy and, conceptually speaking, picks up where UMMON left off: “This is an album constructed in the manner of a Homeric story,” the band explains. “Where the two records differ is that ILION is about human emotions and feelings, whereas UMMON was telling an epic story with a distant view. 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Few Amen Dunes fans might have perceived the lasting effect such music had on his work, but with Death Jokes, these influences would become clear. This album also marks a change in thematic focus; through samples and lyrics, Damon is much more directly critiquing the way American culture exalts violence, coercion, and groupthink as societal inevitabilities.\u003c\/p\u003e\n\u003cp\u003eTo learn the piano, Damon hired the first teacher his local shop recommended, a psychic medium named Jonichi who had studied with Nadia Boulanger, a preeminent French conductor and music teacher who left lasting influences on everyone from Igor Stravinsky to Quincy Jones. Parallel to those tradition-focused lessons, Damon was teaching himself how to use Ableton and program drum machines, a departure for a musician who had long avoided working with “any technology more complex than a screwdriver,” but a homecoming for the kid who’d grown up to a soundtrack of techno and rap music.\u003c\/p\u003e\n\u003cp\u003eOne day that winter Damon felt a song coming on and recorded a voice memo as he sang along with the piano. The resulting demo eventually became “Round the World,” the nine minute penultimate track on Death Jokes which soon seemed prophetic. What first sounds like a heartbreak ballad— Made up my mind\/ I give up on you— later warps into a ghostly dirge—This world’s on fire\/ Nothing seems true. The haunted refrains of round the world, round the world and let it rattle, let it rattle, sounded quite different a few months later, when the pandemic took over around the world.\u003c\/p\u003e\n\u003cp\u003e“A lot of my songs come to me in full,” he says, but this one felt more like a channeling, like speaking to ghosts before they were ghosts. To write “Round the World,” a three-year process in total, Damon listened to the original voice memo and “took dictation, word for word, of exactly what the singer had sung.” Many of the tracks on Death Jokes had similar beginnings, a process he recalls with a raw disbelief. These songs almost seem to foresee the pandemic, but they’re more about the lingering effects those years have had on all of us, spiritually and emotionally. Their meaning morphed as the pandemic went on: at first they were reflections on our attachment to form, and to ourselves, and then they shifted into solemn indictments of our culture’s blind spots as we misjudge and attack, our veiled self-centeredness and self-importance masquerading as morality. \u003c\/p\u003e\n\u003cp\u003eThe plague’s coming, he sings on “I Don’t Mind,” another song written before covid took over the states. If they take me first, I’ll come back for you. This song “blossomed madly, starting with just the little harpsichords,” before including “drum loops from my R100,” and “wonderfully fucked” midi guitars, “wild double vocals, bass tracks from Sam Wilkes, digital chorus singers, an alarm clock, and a sarangi player coming in and out of the whole thing.” The song sounds like “the world’s on fire” because it was and still is. As he worked, Damon fought intense illness for most of 2020, first with Covid, then with lingering respiratory issues, and thirty lost pounds. \u003c\/p\u003e\n\u003cp\u003eThroughout this depleted state, two years and twenty-one failed collaborations passed. He was unable to find those who understood his unorthodox methods, this “loose, wild, self-propelled approach” that signaled a new direction for Amen Dunes. As he kept working, Damon saw the birth of his first child, moved cross country to Woodstock, NY, and dove repeatedly into the uncertain states of learning and losing. He knew he had to go it mostly alone this time, but not everything from that year was a wash; the collaborations that worked, however small, proved to be profound. The jazz bassist Sam Wilkes appears on a trio of songs, and Christoffer Berg (Fever Ray) and Kwake Bass (Tirzah \u0026amp; Dean Blunt) provided tracks on several others; sessions with Panoram and Money Mark also ended up in the final version of Death Jokes.\u003c\/p\u003e\n\u003cp\u003eThough the eerie, modern blend of folk and blues that Amen Dunes is best known for is very much present here, Death Jokes is a major departure, an ambitious electronic album that reveals new artistic abilities and concerns. On most songs Damon incorporated sounds, talking, and music pilfered from Youtube, and the vast collage of samples include Nadia Boulanger giving advice in French, an ancient music scholar’s lyre performance of the oldest written song in human history, protest chants, a grunting powerlifter, and bits of stand-up from Lenny Bruce, and others, included as “thought provocation and irritant.”\u003c\/p\u003e\n\u003cp\u003eThese fourteen songs function as an essay on the way America’s culture of violence, dominance, and destructive individualism has crescendoed and imploded in recent years. On “Exodus, Damon seems to sing in tongues: You say life is hard \/ Well at least you think it is\/ But it’s a joke\/ Some day we lose it. The imperative that follows— so use it — is garbled and chopped, as if the only way to deliver sincerity into our spiritual malaise is to smuggle it.\u003c\/p\u003e\n\u003cp\u003eOn “Mary Anne,” a ballad about the ways we fail and harm each other and an ode to the innocence that persists, you can still get the feeling that all our human mess is worth it: In purgatory we both got lost\/ When we meet again we will catch up, love. 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The band combined English-inspired noisy shoegaze fuzz with scrappy US indie rock and classic ‘60s-style pop songwriting. A killer single on Slumberland and non-stop touring grabbed the attention of the indie-rock cognoscenti of the day, and, following a heated courtship involving both dinner AND dessert, Velocity Girl signed a contract on a car hood in Hoboken, New Jersey, making Sub Pop their home. \u003c\/p\u003e\u003cp\u003eIn 1992 the band began work on their debut album, Copacetic, at Easley Studios - once home base to the Bar-Kays and other classic soul bands - in Memphis with Bob Weston (Volcano Suns, Shellac) at the helm, and then mixed the album with Weston in Chicago. While the album had strong songs - pop tunes like “Audrey’s Eyes,” “Pop Loser,” and “Living Well” alongside ambitious explorations like “Pretty Sister” and “Here Comes” - the band had little experience with production and lacked the skills to “drive the boat” in the studio. As a result, the album turned out to be a rather stripped-down affair, lacking the lushness of their prior recordings. To the band’s ear it was jarring, and they soon realized this wasn’t the record they hoped to make. Bob Weston had done exactly what was asked of him and captured the sounds, but the band didn’t do its part to articulate a clear vision. But the band’s slot in the studio was over, and Polvo had just showed up to work on their album, so off Velocity Girl went to shoot the video for “Audrey’s Eyes.” Copacetic came out in 1993 and people seemed to like it just fine, but within the band there was a sense of disappointment to the point where most members couldn’t stand to hear the record.\u003c\/p\u003e\u003cp\u003eBetween then and now, the band learned a lot about recording, and Archie Moore developed a career in audio work, and the band finally decided to revisit Copacetic. After extensive digging, the 2” tape reels appeared in Jim’s ex-wife’s mother’s house, and in the spring of 2023 Archie began working on a remix.\u003c\/p\u003e\u003cp\u003eSong by song the new mixes emerged just as the band envisioned them. Soaring vocals from Sarah (who studied opera in college), chiming lead guitar, juicy fuzzed out rhythm guitars and clear pounding drums. The pop songs are much poppier. The sonic blasts are more powerful, and the record hangs together as a cohesive document that flows from song to song. The approach was not to make a 2024 sounding record but rather to go back to the 1992 mindset and create the record the band should have made then. 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She leans on an ever-evolving sonic palette to convey what she’s feeling—whether it be folky Americana, nineties alternative, turn-of-the-century indie, or handcrafted otherworldly pop. You’ll hear Suki’s longing in a swooning chorus, fearlessness in a crunchy chord, elation in a danceable waltz, and wonder in a soft coo befitting of a lullaby. Now, the platinum-certified songstress asserts herself as a versatile, vibrant, and vital presence on her 2024 double-LP, Memoir of a Sparklemuffin [Sub Pop]. \u003c\/p\u003e\u003cp\u003eShe faithfully followed a lifelong passion for music to her 2022 full-length debut, I Can’t Let Go. Adorned by “Moves” and “Melrose Meltdown,” it incited widespread critical applause from Variety, Nylon, NME, The Line of Best Fit, and more. Between headlining shows and touring with Father John Misty, “Good Looking” surged online, generating nearly a billion streams, going RIAA platinum, and paving the way for the Milk Teeth EP and her sold-out, headlining Coolest Place in the World Tour. Simultaneously, Suki’s life moved at lightspeed. She absorbed inspiration from a season of change earmarked by unforgettable moments a la gracing the stage of Lollapalooza 2023, performing on multiple continents, becoming a mom, and closing out the Gobi Tent at Coachella in 2024. \u003c\/p\u003e\u003cp\u003eAlong the way, she carefully assembled Memoir of a Sparklemuffin. Beyond listening to everyone from Camera Obscura to The Raveonettes, Bloc Party, and The Teenagers, she took advantage of her proximity to various collaborators.\u003c\/p\u003e\u003cp\u003e“I finished the record in the last few months of my pregnancy and turned my living room into a home studio,” she recalls. “I stopped going to big studios and enclosed myself at home for the last two months of being pregnant, and the best thing about LA is you can call up the most incredible musicians in the world and have them in your front room in 15 minutes!”\u003c\/p\u003e\u003cp\u003eShe brought this body of work to life with Executive Producer Eli Hirsch (courtship.) as well as Jonathan Rado (Weyes Blood, Father John Misty, Beyonce), Brad Cook (Bon Iver, War on Drugs, Snail Mail), Greg Gonzalez (Cigarettes After Sex), Rick Nowels (James Blake, Lana del Rey), and Natalie Findlay and Jules Apollinaire of the band Ttrruuces (with whom she co-wrote “Good Looking” and “OMG”). \u003c\/p\u003e\u003cp\u003eShe loosely tethered these 18 tracks to a transformative central concept represented by the Sparklemuffin spider….\u003c\/p\u003e\u003cp\u003e“I always put the past into what I make because I feel like you need to keep exposing darkness to sunlight. When it’s exposed, it heals. I wanted a totem of metamorphosis, but I didn’t feel like a butterfly. I felt more like a scrappy spider,” she laughs. “I came across the Sparklemuffin—which is wildly colored, does this razzle-dazzle dance, and its mate will cannibalize it if she doesn’t approve of the dance. It’s a metaphor for the dance of life we’re all in. The title felt hilarious, ridiculous, and wonderful to me. \u003c\/p\u003e\u003cp\u003eShe initially teased the record with “OMG,” “Faded,” and “My Fun,” drawing listeners into Sparklemuffin’s sticky stylistic web. The propulsive gallop of the single “Supersad” bursts out of the gate, kickstarted by fast-paced drum fills and garage-y guitars. On the hook, she reminds, “There’s no point in being supersad.” “I tried to write a nineties song you could hear playing at the mall in Clueless or as an opening track for Legally Blonde,” she smiles. \u003c\/p\u003e\u003cp\u003eThen, there’s “To Get You.” Recorded to tape and co-written with Greg of Cigarettes After Sex with production by Foxygen’s Jonathan Rado, her vocals glide over softly strummed acoustic guitar, a delicate bassline, and a distant backbeat. She exhales, “Honey, you’ll never know, what I did…to get you.”\u003c\/p\u003e\u003cp\u003e“I know I've experienced sadistic and fetishized love, and this song was about everything I had to go through in order to find love in a pure form,” she notes. “It’s a difficult journey to discover peace within yourself and share your heart with another person. I didn’t always imagine it for myself. You can picture a girl scouring the streets for ‘the one’.” \u003c\/p\u003e\u003cp\u003e“Blackout Drunk” intoxicates with its swinging handclap-laden bounce, woozy riffing, doo-wop harmonies, and chantable chorus. She sets the scene, “There’s always the guy who can’t keep his shit together on a night out. It just doesn’t need to happen! She’s furious and falling asleep next to him, but she can’t wait to wake him up and tell him all the shitty, embarrassing things that he did last night.”\u003c\/p\u003e\u003cp\u003e“Gateway Drug” illuminates the dynamics of the record. Drums lumber beneath her ethereal intonation as guitars rev up in a rush of distortion. “There’s a massive crash, and it’s a huge release of energy,” she smiles. \u003c\/p\u003e\u003cp\u003eAmong other standouts, “Model, Actress, Whatever” instantly transfixes, threading a lilting acoustic guitar melody through hazy verses. Emotion overflows on the swooning hook, “All of my dreams came true, the bigger the ocean, the deeper the blue, call me a model, actress, whatever.”\u003c\/p\u003e\u003cp\u003eUltimately, Suki’s unapologetically being herself on the album, and it’s wonderful to hear, see, and feel.\u003c\/p\u003e\u003cp\u003e“I just hope this can be the soundtrack to somebody’s life,” she says. “Whenever I'm making music, I always try to remember why I started writing in the first place and continue to do so. 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Code\u003c\/b\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMiiR sets aside 3% of their annual top-line revenue to support clean water, a healthy environment, and strong communities. \u003c\/li\u003e\n\u003cli\u003eFlip your MiiR product over to find the Give Code™, register it on MiiR.com\/give, and follow to experience the story behind your purchase.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":41215668584544,"sku":"300150030","price":39.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/SubPop_Miir_TumblerWithStraw_Records_White_03_1.jpg?v=1736965901"},{"product_id":"father-john-misty_mahashmashana","title":"Mahashmashana","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAfter a decade being born, Josh Tillman is finally busy dying.\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMahashmashana is the sixth album by Father John Misty.\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt was produced by Josh Tillman and Drew Erickson.\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt was engineered and additionally produced by Michael Harris.\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt was arranged by Drew Erickson.\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt was performed by Josh Tillman, Drew Erickson, Jonathan Wilson, Dan Bailey, Eli Thomson, David Vandervelde, Chris Dixie Darley, Jon Titterington, and Kyle Flynn.\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt was executive produced by Jonathan Wilson.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e It was recorded and mixed at Five Star and East\/West, United Studios, and Drew’s House. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMahāśmaśāna (\u003c\/span\u003e\u003cspan\u003eमहामशान\u003c\/span\u003e\u003cspan\u003e)— great cremation ground, all \u003c\/span\u003e\u003cspan\u003ethings going thither\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMMXXIV Sub Pop Records \u003c\/span\u003e\u003c\/p\u003e","brand":"Father John Misty","offers":[{"title":"Loser (color) 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While their last few projects have been record-long concepts like the classic prog rock of old, Dead Channel Sky is mix tape-like, a carefully curated collection of songs in which every track is a love letter to a possible present. Like a mashup of distinct elements, the overall concept is there, but the result is brief glimpses into a world rather than an overview of it. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it’s a reminder of how slipshod our present moment truly is.\u003c\/p\u003e\n\u003cp\u003eIn my book Dead Precedents: How Hip-Hop Defines the Future, I draw what Walter Benjamin would call correspondences between early hip-hop culture and cyberpunk literature, the binary stars of the solar system at the end of the millennium. I exploit their similarities to illustrate how the cultural practices of hip-hop have informed the cultural practices of the now. Hip-hop was borne of the post-apocalyptic scene in the South Bronx in the early 1970s. Its repurposing of outmoded technology, the hand-styled hieroglyphic screen names on every colorfast surface, and the gyrating dance moves—an entire culture forged from the freshest of what was available at hand—mirrors the post-apocalyptic techno-scrounge of William Gibson’s Neuromancer, Rudy Rucker’s Software, and other early works by the contributors to Bruce Sterling’s Mirrorshades anthology (Pat Cadigan, John Shirley, Lewis Shiner, and Sterling himself, among others). Add the leather-clad mohawks of Afrika Bambaataa and the Soulsonic Force or Rammellzee’s B-boy battle armor and a blend of the two comes further into focus.\u003c\/p\u003e\n\u003cp\u003eJuxtaposing high-tech, corporate command-and-control systems (the “cyber”) with the lo-fi, D.I.Y. underground (the “punk”), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. There are works before and works since that embody the visions and values of cyberpunk, but these dates act as rough parameters for their assimilation into the larger social sphere, for the time it took cyberpunk to become cyber-culture. In the meantime, hip-hop matured, went through its Golden Era, then melted into further forms. Over the same decades, it went from “Planet Rock” to “Bring da Ruckus” to “Hard Knock Life,” from Fab 5 Freddy to Public Enemy to Missy Elliott, from Run-DMC to N.W.A. to Notorious B.I.G. While other genres flirted with it, hip-hop was fickle and fey. Any tryst with the odd bedfellow was a one-night stand at best. Rap and rock birthed mutant offspring maligned by most, and hip-hop’s relations with electronica rarely fared any better.\u003c\/p\u003e\n\u003cp\u003eThose twin suns—hip-hop and cyberpunk—both rose in the 1970s and warmed the wider world during the 1980s and 1990s. What if someone explicitly merged them into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that’s long since moved on.\u003c\/p\u003e\n\u003cp\u003eOn Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle, are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum \u0026amp; bass, big beat—the detritus of a different timeline, the survivors of armed audio warfare. That war at thirty-three and a third, its atrocities imprinted upon yet another generation, what someone once called, “the presence of the significance of things” without a hint of ambiguity.\u003c\/p\u003e\n\u003cp\u003eClipping are very story oriented. They deal in ontology and narrative as much as beats and rhymes. They’ve been approaching making music like writing science fiction since the band’s conception. Two of their records have been nominated for Hugo Awards (one of science fiction’s top literary prizes), and a novella spun-off from their music was nominated for a third. As Clipping, they’ve collaborated with as many of their fellow experimental noise artists as they have fellow rappers. Here those co-conspirators include everyone from the guitarist Nels Cline on the outro to “Dodger” (titled “Malleus”) to their label-mates Cartel Madras on “Mirrorshades, pt. 2,” rapper\/actor Tia Nomore on “Scams,”as well the wordy wordsmith Aesop Rock on “Welcome Home Warrior.” Diggs is known for intricate lyrics and rapid-fire rapping, and the tracks that Snipes and Hutson build in the background are no less complex. On “Code,” they sample narrated memories from the Afrofuturist documentary The Last Angel of History; and on “Dominator,” they repurpose a line from the classic Dutch hardcore track “Dominator” by Human Resource. All of the above serves to give us a glimpse of an adjacent possible present, where hip-hop and cyberpunk are one culture.\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"docs-internal-guid-8dfb840a-7fff-3fb0-c40a-56ced277fa52\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBinary stars are often perceived as one object when viewed with the naked eye. Like those twin sun systems, it’ll take some special equipment and some discerning attention to pull the stars apart on this record. As Diggs barks on the fire-starting “Change the Channel”: Everything is very important!\u003c\/p\u003e","brand":"clipping.","offers":[{"title":"Loser (color) 2xLP","offer_id":41521913495648,"sku":"715750","price":30.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":41521913528416,"sku":"715752","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":41521913561184,"sku":"715756","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/Clipping_DeadChannelSky_MockUp_LP_US_2000x1417_4ea74849-12ea-46ed-8e59-d66ef89b9066.jpg?v=1736299091"},{"product_id":"sub-pop_aberdeen-flannel","title":"Aberdeen Flannel","description":"\u003cp\u003eYou know the drill, we're back with a brand new color way! The Aberdeen Flannel is a light weight, yarn dyed flannel with a curved bottom. Tailored fit with two chest pockets.\u003c\/p\u003e\n\u003cdiv\u003eFabric: 100% Cotton\u003c\/div\u003e\n\u003cdiv\u003eCare: Wash Cold, Tumble Dry Low\u003c\/div\u003e\n\u003cdiv\u003eOrigin: Imported\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cimg height=\"129\" width=\"774\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/ScreenShot2022-11-08at2.42.52PM_480x480.png?v=1667947506\"\u003e\n\u003c\/div\u003e","brand":"Sub Pop","offers":[{"title":"XS","offer_id":41658718519392,"sku":"151140091","price":35.0,"currency_code":"USD","in_stock":false},{"title":"S","offer_id":41658718552160,"sku":"151140092","price":35.0,"currency_code":"USD","in_stock":false},{"title":"M","offer_id":41658718584928,"sku":"151140093","price":35.0,"currency_code":"USD","in_stock":false},{"title":"L","offer_id":41658718617696,"sku":"151140094","price":35.0,"currency_code":"USD","in_stock":false},{"title":"XL","offer_id":41658718650464,"sku":"151140095","price":35.0,"currency_code":"USD","in_stock":false},{"title":"2XL","offer_id":41658718683232,"sku":"151140096","price":35.0,"currency_code":"USD","in_stock":true},{"title":"3XL","offer_id":41658718716000,"sku":"151140097","price":35.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/SubPop_Flannel_BlueAndGreen_01_copy2.jpg?v=1751402460"},{"product_id":"sub-pop_sub-fuzz-sweatshirt-black-w-white","title":"Sub Fuzz Sweatshirt Charcoal Grey w\/White","description":"\u003cp\u003eWe're back with another ultra-cozy and stylish Sub Fuzz. As always with \"The Fuzz,\" we've chenille embroidered our classic logo onto the crewneck sweater. \u003c\/p\u003e\n\u003cp\u003e60% cotton, 40% polyester.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ca href=\"https:\/\/subpop-wysiwyg.s3.amazonaws.com\/uploads%2F1559849520633-Screen+Shot+2019-06-06+at+12.31.37+PM.png\"\u003e\u003cimg src=\"https:\/\/subpop-wysiwyg.s3.amazonaws.com\/uploads%2F1559849520633-Screen+Shot+2019-06-06+at+12.31.37+PM.png\" alt=\"\"\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"XS","offer_id":41770614980704,"sku":"151000351","price":35.0,"currency_code":"USD","in_stock":false},{"title":"S","offer_id":41770615013472,"sku":"151000352","price":35.0,"currency_code":"USD","in_stock":false},{"title":"M","offer_id":41770615046240,"sku":"151000353","price":35.0,"currency_code":"USD","in_stock":false},{"title":"L","offer_id":41770615079008,"sku":"151000354","price":35.0,"currency_code":"USD","in_stock":false},{"title":"XL","offer_id":41770615111776,"sku":"151000355","price":35.0,"currency_code":"USD","in_stock":true},{"title":"2XL","offer_id":41770615144544,"sku":"151000356","price":35.0,"currency_code":"USD","in_stock":true},{"title":"3XL","offer_id":41770615177312,"sku":"151000357","price":35.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/SubPop_Sweatshirt_SubFuzz_GrayAndWhite_01_copy.jpg?v=1751401914"},{"product_id":"six-finger-satellite_severe-exposure-deluxe-edition","title":"Severe Exposure: Deluxe Edition","description":"\u003cp\u003eSub Pop marks the 30th anniversary of Six Finger Satellite’s sophomore album, Severe Exposure, with an expanded double-LP edition of the album. In addition to the original album, Severe Exposure: Deluxe Edition includes a bonus 12” of the 1994 Machine Cuisine EP, and a download of 17 additional songs, including rare singles, compilation tracks, and unreleased material. All the material has been freshly mastered by JJ Golden, and the vinyl is packaged in a lovely slipcase with individual jackets for each LP. \u003c\/p\u003e\n\u003cp\u003eFormed in 1990 in Providence, Rhode Island by J. Ryan (singer\/keyboards), John MacLean (guitar), Peter Phillips (guitar), Chris Dixon (bass), and Rick Pelletier (drums), Six Finger Satellite quickly signed to Sub Pop for the Weapon EP. Shortly thereafter, they released their landmark 1993 debut, The Pigeon Is the Most Popular Bird, and then, in 1995, Severe Exposure. \u003c\/p\u003e\u003cp\u003eSevere Exposure foreshadowed the early ‘00s revival of post-punk and synth-oriented rock by adding synths to the band’s caustic, tense post-punk sound. At the time Trouser Press wrote that \"'Rabies (Baby’s Got The)' and 'Simian Fever' are animal aggressive and messy, while sharing the synthetic digitone lusts of new wave.\" And the SF Weekly praised it as “a party record, the kind you slip on at that inevitable point when you want 'certain people' to head home.\" And it is Seth Jabour of Les Savy Fav’s favorite Six Finger Satellite album! In his words: “I’m always surprised at how much I love it and how important it was to us throughout our development as a band.” Severe Exposure is the band’s best selling album, and it was recorded by the band at their own studio, The Parlour, in Providence, RI. \u003c\/p\u003e","brand":"Six Finger Satellite","offers":[{"title":"Loser (color) 2xLP","offer_id":42118020268128,"sku":"716760","price":46.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":42124650610784,"sku":"716766","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/SixFingerSatellite_SevereExposure_Deluxe_Mockup_LP_US_2000x1417_d434f797-3f39-4e2b-bf7d-829c11ea7168.jpg?v=1752175941"},{"product_id":"smokey-brights_dashboard-heat","title":"Dashboard Heat","description":"\u003cp\u003eThe first composite solid rocket fuel that eventually launched spaceships was made with asphalt, effectively paving the way to the moon. Dashboard Heat, the newest record by Seattle stalwarts Smokey Brights, embodies this funny little fact, using tough truths to slip the surly bonds of earth and, through hardship, touch the stars. Members Kim West (vocals\/keys), Ryan Devlin (vocals\/guitars), Luke Ragnar (bass\/ vocals), and Nick Krivchenia (drums) have crafted a ramshackle rocket of a record that touches upon cars, celestial forces, childhood homes, light and hope, darkness and grief. Produced by Andy D. Park in exchange for Ryan painting his recording studio, the album sees the band sonically shooting for the solar system while staying true to their grounded take on songcraft that has made them a mainstay of the Northwest music scene.\u003c\/p\u003e\u003cp\u003eSmokey Brights have no intention of slowing down for Dashboard Heat. Even the physical record is ambitious, stretching the terrene boundaries of vinyl into the celestial. 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(Remastered and Expanded)\u003c\/i\u003e gives Velocity Girl’s long out-of-print 1994 sophomore album, \u003ci\u003e¡Simpatico!\u003c\/i\u003e, an overdue refresh with a sparkling-fresh mastering job and a treasure trove of bonus tracks from the \u003ci\u003e¡Simpatico!\u003c\/i\u003e era. The original album sounds better than ever, and it’s complemented by a full album of B-sides and rarities.\u003c\/p\u003e\n\u003cp\u003eVelocity\n Girl formed in 1989 or so at the University of Maryland outside \nWashington, DC with guitarist Archie Moore (Black Tambourine), guitarist \nBrian Nelson (Black Tambourine), drummer Jim Spellman (Starry Eyes, \nFoxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), bassist \nKelly Riles (Starry Eyes), and singer Sarah Shannon (Starry Eyes, The \nNot Its). The band combined English-inspired noisy shoegaze fuzz with \nscrappy US indie rock and classic ‘60s-style pop songwriting. A killer \nsingle on Slumberland and non-stop touring grabbed the attention of the \nindie-rock cognoscenti, and soon after Velocity Girl signed a contract \nwith Sub Pop on a car hood in Hoboken, New Jersey. \u003c\/p\u003e\n\u003cp\u003eAfter touring in support of their debut, \u003ci\u003eCopacetic\u003c\/i\u003e,\n the band spent the better part of a year coming up with a batch of \nsongs for a second album. They had never worked that way before – having\n focused time, and a budget (from a label!), to make an album that \nwasn’t a self-produced, punk-rock studio thing was a fresh experience. \nHaving played their new material for months in the noisy style of \u003ci\u003eCopacetic\u003c\/i\u003e,\n the band found themselves excited about the tunes, but trying to move \naway from the scrappy, amateur vibe of their previous records. And their\n influences were a bit different this time around: less My Bloody \nValentine and Wedding Present, more New Order. \u003c\/p\u003e\u003cbr\u003e\u003cp\u003eSomebody\n at Sub Pop connected the band with John Porter, the one-time Roxy Music\n member who had produced The Smiths, Billy Bragg, The Alarm, and a bunch\n of other 80’s stuff. They met up on a tour stop in Los Angeles, at a \nHamburger Hamlet. He agreed to produce the album, in a three-week \nsession at Cue Studios in Falls Church, VA. He was exactly what the band\n needed: an editor, arranger, and taskmaster. As he mercilessly excised \nevery unnecessarily repeated bar, the band realized they’d gravitated to\n a sound with cleaner lines, and almost entirely ditched the noisy \nguitar, no doubt influenced by Porter’s presence. Velocity Girl was \nextremely happy with the results, and \u003ci\u003e¡Simpatico!\u003c\/i\u003e came out in June of 1994.\u003c\/p\u003e\n\u003cp\u003eThis\n expanded reissue adds eight songs recorded at Inner Ear Studios in \nArlington, VA, a few months after the album sessions. These sessions \nprovided playfully experimental B sides to the album’s singles, two \ncover songs (the New Order cover “Your Silent Face,” and a Beach Boys \ncover) for a single on Merge Records, and a compilation track. \u003c\/p\u003e","brand":"Velocity Girl","offers":[{"title":"Loser (color) 2xLP","offer_id":42405558583392,"sku":"717030","price":30.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":42405558616160,"sku":"717032","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":42405558648928,"sku":"717036","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/VelocityGirl_Simpatico_Mockup_LP_US_2000x1417_8bafbd7d-6160-4d6c-a64c-27f4a57ff67c.jpg?v=1764096839"},{"product_id":"band-of-horses_everything-all-the-time-20th-anniversary-edition","title":"Everything All The Time (20th Anniversary Edition)","description":"\u003cp\u003eAchieving musical transcendence is a tricky feat. If it happens - a big if - it does so naturally, and perhaps nobody knows that better than Band of Horses, whose landmark debut Everything All The Time still, after twenty years, feels as vital and, dare we say, transcendent as when it came out in 2006.\u003c\/p\u003e\n\u003cp\u003eGuitarist\/vocalist Ben Bridwell formed Band of Horses in Seattle in 2004, after the end of his nearly ten-year run in northwest melancholic darlings Carissa’s Wierd. Carissa’s Wierd trafficked in beautiful orchestral pop, whose songs told unflinching stories of heartbreak and loss, leavened with defeatist humor. Band of Horses rose from the ashes of that well-loved band, buoyed by Bridwell’s warm, reverb-heavy vocals, and woodsy, dreamy songs oozing with tension, longing and hope. Armed with a fresh Sub Pop deal and a smashing batch of songs, the band recorded their debut full-length, Everything All the Time, with producer Phil Ek at Seattle’s Avast studios.\u003c\/p\u003e\n\u003cp\u003eAt times raggedly epic (“The Great Salt Lake”) and delicately pensive (“St. Augustine,” “Monsters”), Everything All The Time is an album painted gorgeously in fragile highs and lows. That’s part of the genius in Band of Horses: they craft intelligent, classic movements within their songs, perfectly balancing desperation and hope, calmness and mania, love and fear. And of course there’s the massive single, “The Funeral,” which became a defining song of the era, and continues to inspire new generations of fans and artists alike. On top of tons of film and TV placements, the song was sampled by Kid Cudi, and transformed into a 2025 dance edit by acclaimed producer\/multi-instrumentalist Gryffin. \u003c\/p\u003e\n\u003cp\u003eNow, on the occasion of the 20th birthday of the album, Sub Pop and Band of Horses present the definitive snapshot of the band circa Everything All The Time. For this anniversary release, the album has been fully remastered, with the artwork refreshed and expanded into a gatefold jacket with liner notes by Phil Ek. And the album is accompanied by an additional LP of bonus tracks, including the 2005 tour EP, a trove of previously unreleased studio and live tracks, and rarities like “The End’s Not Near” (as featured on The O.C.) and a demo version of “The Funeral.” \u003cbr\u003e\u003c\/p\u003e","brand":"Band of Horses","offers":[{"title":"Loser (color) 2xLP","offer_id":42466638299232,"sku":"717300","price":33.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":42466638266464,"sku":"717306","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/BandOfHorses_EverythingAllTheTime_20th_Mockup_LP_US_2000x1417_28a2c15a-71c8-4d05-b9fa-bfd6527fc48c.jpg?v=1768004683"}],"url":"https:\/\/megamart.subpop.com\/collections\/30-40\/music.oembed?page=2","provider":"Sub Pop Mega Mart","version":"1.0","type":"link"}