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Honed and primal, chromed and primo. A unique and glorified offering into our ever-uniforming musical soundscape. \u003cem\u003eLese Majesty\u003c\/em\u003e is a beatific war cry, born of a spell, acknowledging that sophistication and the instinctual are not at odds; Indeed an undoing of the lie of their disparate natures.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cem\u003eLese Majesty\u003c\/em\u003e is not a launching pad for the group’s fan base increasing propaganda.  It is a series of astral suites, recorded happenings, shared. A dare to dive deep into Shabazz Palaces sounds, vibrations unfettered. A dope-hex thrown from the compartments that have artificially contained us all and hindered our sublime collusion.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eThese reveries were sent to Palaceer Lazaro and Fly Guy ‘Dai in the year of gun beat battles in excess; In a succession of days, whilst walking in dreams and in varied transcendental states….(every minute of every day is filled with observation and composition. In action). Songs are committed and gathered by robots at Protect and Exalt Labs, a Black Space in Seattle, Washington.\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe visual features of \u003cem\u003eLese Majesty\u003c\/em\u003e are resultant of the gleanings of fellow Constellationaire, Nep Sidhu.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eThe Black Constellation squads up, protects and exalts the messages within, and colludes accordingly. We thank you.\u003c\/p\u003e","brand":"Shabazz Palaces","offers":[{"title":"Color 2xLP","offer_id":31826191941728,"sku":"710443","price":28.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826192007264,"sku":"710442","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826192072800,"sku":"710444","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556508545120,"sku":"710446","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/ShabazzPalaces_LeseMajesty_10thAnniversaryLP_MockUp_b25dd703-eae6-4e3d-a24e-01bfe622f33e.jpg?v=1722270939"},{"product_id":"the-afghan-whigs_do-to-the-beast","title":"Do to the Beast","description":"\u003cp\u003e\u003ci\u003eDo to the Beast\u003c\/i\u003e is the first new album by The Afghan Whigs in over a decade and a half. Founded in Cincinnati, Ohio, in 1988, the band has long stood out from its peers, with their savage, rapturous blend of hard rock, classic soul, and frontman Greg Dulli’s searing obsessions. The new album serves as both a homecoming – it marks their return to Sub Pop, for whom the Whigs were the first signing from outside the label’s Northwest base – and a glimpse into the future of one of the most acclaimed bands of the past thirty years.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eDo to the Beast \u003c\/i\u003eproves an appropriately feral title for one of the most intense, cathartic records of Dulli’s entire career – one that adds fresh twists to The Afghan Whigs canon. On it, one finds the \u003ci\u003efilm noir \u003c\/i\u003estorytelling of \u003ci\u003eBlack Love\u003c\/i\u003e, the exuberance of \u003ci\u003e1965\u003c\/i\u003e, the brutal introspection of \u003ci\u003eGentlemen\u003c\/i\u003e, but rendered with a galvanized musical spirit and rhythmic heft that suggests transcendence and hope amidst the bloodletting. “A lot of records I’ve done stemmed from epochal experiences in my life – and this time I’ve used them all,” Dulli says. “These new songs are very visual to me. They come from the neighborhoods of my mind. It’s like \u003ci\u003eRashomon\u003c\/i\u003e, with the story told from different points of memory.”\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eDo to the Beast \u003c\/i\u003ewas created in L.A., New Orleans, Cincinnati, and Joshua Tree – a virtual map of the band’s past and present homes. “The album was named in Cincinnati, which is especially fitting,” Dulli notes. “I was recording a beatbox track for the song ‘Matamoros,’ and my friend Manuel Agnelli (of Italian rock band Afterhours) was in the control room. After I finished, he said it sounded like I was singing ‘Do to the beast what you do to the bush.’ And I thought, ‘Brother, you just named the record.’”\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eDo to the Beast\u003c\/i\u003e features Dulli and Curley joined by the Whigs’ current core players – guitarists Dave Rosser and Jon Skibic, multi-instrumentalist Rick Nelson, and drummer Cully Symington. While original Whigs guitarist Rick McCollum does not appear on the record, a panoply of notable personages from the group’s past and present make memorable cameos: soul maverick Van Hunt, Mark McGuire (Emeralds), Usher’s musical director Johnny “Natural” Najera, Alain Johannes (Queens of the Stone Age, Arctic Monkeys), Clay Tarver (Bullet LaVolta, Chavez), Dave Catching (QOTSA, Eagles of Death Metal), Patrick Keeler (Raconteurs, Greenhornes), Ben Daughtrey (Squirrel Bait), Joseph Arthur, and a host of others. For Dulli, these outside collaborators add crucial dimension. “Someone like Alain is a great texturalist,” Dulli says. “He and Mark McGuire create these, womblike tapestries and nuances. And Johnny Natural blew our minds when we played with him and Usher at South By Southwest. They were all instructed to play guitar not as guitar, but to create a supernatural sound – and each one of them ran with that.”\u003c\/p\u003e\n\u003cp\u003eLikewise, “It Kills” contrasts its lush Gamble and Huff-style orchestration with Van Hunt unleashing a passionate virtuoso howl – transforming the song in the process. “We’d brought Van Hunt on tour with the Whigs, and began duetting on his song ‘Mean Sleep’ together every night.,” Dulli notes. “He’d do this scream live that he didn't do on the recording; and I thought to myself, ‘Wow, he sounds like Bobby Womack!’ When I wrote ‘It Kills,’ I wanted another voice on it, like a Greek chorus, so I called Van. I said, “Do whatever you like, just try not to use actual words – and if you can do that Bobby Womack thing, do that, too!”\u003c\/p\u003e\n\u003cp\u003eIndeed, \u003ci\u003eDo to the Beast \u003c\/i\u003etakes The Afghan Whigs to previously uncharted zones. That’s clear from the Lennonesque primal screaming announcing album opener “Parked Outside” – one of the hardest-rocking Whigs songs ever, propelled by a pile-driving riff that would make Malcolm Young envious. First single “Algiers,” meanwhile, hotwires a pounding “Be My Baby” drumbeat with spaghetti-western atmospherics.\u003cb\u003e \u003c\/b\u003eElsewhere, “Matamoros” – named after a town in Mexico cursed by a series of Satanic murders – finds Dulli at his most psychosexually sinister: over its relentless, Zeppelin-meets-disco groove, he coolly threatens to expose “every little crime that you hide.”\u003c\/p\u003e\n\u003cp\u003eSuch themes of duality, viscera, and love destroyed echo throughout tracks that dynamically flow in and out of each other – from ambitious revenge fantasy “These Sticks” to album centerpiece “Lost in the Woods.” Here, Dulli imagines himself on his deathbed in an especially haunting lyric, set to a swinging melody evoking Duke Ellington and Cab Calloway. “That song resonates the most with me,” he says. “It reminds me of my childhood; sitting in the back of my parents’ Bonneville hearing ‘You’re My Best Friend’ by Queen on AM radio. I played a distorted Wurlitzer at the end to capture that feeling; I did a lot of little personal homages like that throughout this record.”\u003c\/p\u003e\n\u003cp\u003eThat there’s even a new Afghan Whigs release at all comes as something of a surprise, even to its members. After the band initially split in 2001, Dulli went on to considerable notoriety with his bands The Twilight Singers and The Gutter Twins (the latter an ongoing collaboration with close friend Mark Lanegan). While Whigs songs would pop up occasionally in his sets, Dulli didn’t fully engage that material again until a solo acoustic tour in 2010, which Curley joined for a few dates. The Afghan Whigs subsequently reunited for a successful 2012 tour that found them headlining major festivals like Lollapalooza, curating their own All Tomorrow’s Parties gathering, and selling out prestigious venues throughout the U.S., Europe, and Southern Hemisphere. But once the tour was over, so, apparently, were the Whigs. “We played a final New Year’s Eve show in Cincinnati,” Dulli recalls. “And I assumed we were done. We’d completed the cycle.”\u003c\/p\u003e\n\u003cp\u003eThat wasn’t actually the case, however. The Afghan Whigs were unexpectedly brought back into the ring by \u003ci\u003eThe Fader, \u003c\/i\u003ewhich had arranged for them to play a surprise collaborative set with R\u0026amp;B superstar Usher at 2013’s SXSW conference. “That moment crystallized the possibility that we’d record together again,” Curley says. “Soon after, Greg began compiling the ideas he’d kept in his pocket that he felt were distinctly Whigs songs.”\u003c\/p\u003e\n\u003cp\u003eReunited anew, The Afghan Whigs will tour worldwide in support of \u003ci\u003eDo to the Beast\u003c\/i\u003e – kicking off an extensive jaunt with a performance at Coachella 2014 in April. “It feels like a celebration, and the start of something new,” Curley says. “Something that’s exhilarating and scary at the same time.”\u003c\/p\u003e","brand":"The Afghan Whigs","offers":[{"title":"Color 2xLP","offer_id":43110648184928,"sku":"710613","price":53.0,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":31826193776736,"sku":"710611","price":28.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826193809504,"sku":"710612","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556517687392,"sku":"710616","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/AfghanWhigs_DoToTheBeast_Mockup_2xLP_US_2000x1417_5ad2f7e6-17aa-47ad-98f0-b51450c3c70c.jpg?v=1788155900"},{"product_id":"clipping_clppng","title":"CLPPNG","description":"\u003cp\u003e\u003ci\u003e*\u003c\/i\u003eThe LP and CD versions of this album are slightly different from each other. The LP version does not include the songs \"Intro\" and \"Ends\" found on the CD\/digital version but does include a slightly longer version of the track \"Body and Blood.\" The vinyl version also includes a bonus feature of 100 locked groove audio samples on side 4, which are exclusive to the vinyl version of this release.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e“clipping. makes party music for the club you wish you hadn’t gone to, the car you don’t remember getting in, and the streets you don’t feel safe on; are phantom broadcasts bleeding into Power 106 as you drive out of range; are twenty different rappers looking into one broken mirror, talking to themselves all at once; are classic west coast rap music out of the tradition where sounding different wasn’t cause for fear”\u003c\/i\u003e (Press release for \u003ci\u003eMidcity\u003c\/i\u003e, September 2012).\u003c\/p\u003e\n\u003cp\u003eThings have changed for clipping. In the time since the above was written. The band found that listeners were more ready for them than they’d first imagined. Before 2013’s \u003ci\u003eMidcity\u003c\/i\u003e, the trio of rapper Daveed Diggs and producers Jonathan Snipes and William Hutson did not expect to find an audience for their abrasive brand of rap music. But since the formation of clipping. and the release of their debut album, the field of commercial music enlarged ever so slightly, making room again for noisier, more adventurous elements in electronic production. Examples of this have been incremental, mere baby steps, so far. And despite clipping.’s insistence that they’re really just making rap— not noise-rap, industrial-rap, or any other mashup genre— their music might be more sonically challenging than that of the punkish rap rockers, lo-fi bedroom producers, and street goth hybridists they’ve been lumped with so far.\u003c\/p\u003e\n\u003cp\u003eSure clipping. sound fucked up, but for them, sounding that way isn’t a criticism of anything. It doesn’t mean they hate, or are out to destroy rap that doesn’t sound like theirs. The band makes its music in a genuine attempt to contribute productively to the form, to offer what they can to the genre they love. clipping. see themselves as respectfully following the path first explored by rap’s pioneering sound designers like The Bomb Squad and Dr. Dre— those producers who were inventing a new language as they worked, and especially those who smuggled industrial soundscapes and musique-concrète techniques into mainstream music and popularized a sound that felt as tough as the stories its lyrics told.\u003c\/p\u003e\n\u003cp\u003eIn fact, they don’t see themselves as doing anything too different from the various trajectories of experimentation in recent rap production, and believe the genre is reaching out in many different directions at once. clipping. imagine their work as simply one method among many— no more or less avant-garde than the stark, unrelenting soundscapes coming out of Chicago, the psychedelic blur of contemporary Atlanta rap, the ultra-minimal party clap currently dominating the West Coast, or the off-kilter post-backpack sound of their label mates Shabazz Palaces. Rap music is getting weird again, and clipping. are proud to be around to witness and participate.\u003c\/p\u003e\n\u003cp\u003eLyrically, clipping.’s music attempts to reshuffle and repeat accepted rap scenarios, while eliminating a traditional single-point perspective. Diggs’s writing is heavily citational, like a rough-edged collage, gluing together half-glimpsed images and misremembered references, many of which might feel familiar, and some of which assuredly do not. But even while he consumes and regurgitates established styles, his self-erasure is incomplete; Diggs’s dense, often motormouthed flow remains wholly his own.\u003c\/p\u003e\n\u003cp\u003eThe band formed in 2009. Initially conceived as a remix project, Jonathan Snipes and William Hutson began composing new beats to accompany mainstream and gangster rap acapellas. These early attempts paired noise and power-electronics inspired tracks with existing vocals by commercial rap artists. This was done simply to amuse each other and the duo earned very few fans. clipping. began in earnest in 2010, when rapper Daveed Diggs joined the group. The three members had known each other for many years— Diggs and Hutson since elementary school, and Snipes since college. Despite this, clipping. is their first project as a trio, building on their long relationship and on their shared obsession with rap, and with music’s outer limits.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIndividually, the members are known outside of the group for their extra-curricular artistic projects. Diggs is a stage actor, while Snipes composes music for film, and Hutson is an established noise music artist. Snipes and Hutson have collaborated on many projects, including the score to the documentary \u003ci\u003eRoom 237\u003c\/i\u003e, which was released by IFC in 2013.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn February 2013, clipping. released their debut album, \u003ci\u003eMidcity\u003c\/i\u003e, on their website. The project was created entirely in-house, with the trio writing, producing, engineering, mixing and mastering all of the material themselves. There was no budget, no outside promotion, no hype-machine, no blog or label interest. In fact, clipping. had no expectation that anyone would bother listening to the album, let alone enjoy it. Nevertheless, reactions were largely positive— despite the uncompromising nature of the production, and its obfuscatory lyrical content— and within five month’s of \u003ci\u003eMidcity\u003c\/i\u003e’s release, clipping. signed a deal with Sub Pop Records.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ci\u003eCLPPNG\u003c\/i\u003e, the band’s label debut, was written and recorded between February and October of 2013. Although clipping.’s working methods were pretty much the same as they were for \u003ci\u003eMidcity\u003c\/i\u003e (only passing off the mixing and mastering to outside professionals) \u003ci\u003eCLPPNG\u003c\/i\u003e is a much more ambitious project. The album features guest verses from some of the band’s strongest influences, including Gangsta Boo (formerly of Three 6 Mafia, and currently of Da Mafia 6ix), Guce (longtime Bay Area mainstay, member of Bullys Wit Fullys), King T (all-around West Coast gangster rap legend, founder of the Likwit Crew, and mentor to Xzibit and Tha Alkaholiks). For the first single from the album, “Work Work”,  clipping. joined up with Cocc Pistol Cree, a newcomer from Compton best known for her appearance on DJ Mustard’s mixtape \u003ci\u003eKetchup,\u003c\/i\u003e and her song ‘Lady Killa.’ \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn addition to the featured guests, \u003ci\u003eCLPPNG\u003c\/i\u003e boasts a more varied sonic palette than its predecessor. The new album attempts to stretch the band’s experimental sounds to fit a wider emotional range— \u003ci\u003eMidcity\u003c\/i\u003e had anger and aggression figured out, but how can clipping.’s harsh electronics fit into a club track, or a slow jam, or a song to strip to? Relying heavily on musique-concrète techniques, the trio built many of the tracks out of field recordings and acoustic sounds. The beat for “Tonight (featuring Gangsta Boo)” evokes a nasty, late night encounter with its fleshy slaps and squishy, biological noises, while “Dream” utilizes natural ambiences to create a bleary, hypnagogic mis-en-scène. But the band hasn’t gone soft, not by a long shot. The album’s intro is likely the most uncompromisingly brutal piece of music they’ve yet recorded, and “Or Die (featuring Guce)” is as mean as anything on \u003ci\u003eMidcity\u003c\/i\u003e. \u003ci\u003eCLPPNG\u003c\/i\u003e is an album that demonstrates the variety of sounds available when the ‘rules’ of a genre are willfully questioned.\u003c\/span\u003e\u003c\/p\u003e","brand":"clipping.","offers":[{"title":"Color 2xLP","offer_id":40973857882208,"sku":"710713","price":28.0,"currency_code":"USD","in_stock":false},{"title":"2xLP","offer_id":31826468143200,"sku":"710711","price":28.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826468175968,"sku":"710712","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556517326944,"sku":"710716","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/Clipping_CLPPNG_10thAnniversary_LP_MockUp.jpg?v=1718121613"},{"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. 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