{"title":"Color LP","description":null,"products":[{"product_id":"sleater-kinney_call-the-doctor","title":"Call The Doctor","description":"\u003cp\u003eSleater-Kinney was an acclaimed, American rock band that formed in Olympia, Washington in 1994. The band's core lineup consisted of Corin Tucker (vocals and guitar), Carrie Brownstein (guitar and vocals), and Janet Weiss (drums). Sleater-Kinney were known for their feminist, left-leaning politics, and were an integral part of the riot grrrl and indie rock scenes in the Pacific Northwest. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eCall the Doctor\u003c\/i\u003e is Sleater-Kinney’s second studio album. It was produced by John Goodmanson and released on March 25, 1996 by Chainsaw Records. The album is often considered to be Sleater-Kinney's first proper album because Tucker and co-vocalist and guitarist Carrie Brownstein left their previous bands, Heavens to Betsy and Excuse 17, at the time of its recording. 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They have succeeded in writing a perfect pop album while maintaining the tension and dramatic joy of their past releases. Sam Coomes (formerly of Heatmiser, Donner Party) and Janet Weiss (also of Sleater-Kinney) are the only two individuals alive who can make it ok to be happy about singing along to the ideas of suicide and lost love. They can do it because you dearly want them to, and because no one else has ever dared to try. These themes have become necessary inclusions for the band, and on Featuring “Birds” they are even accompanied by notions of love renewed. Quasi turns a new leaf?\u003c\/p\u003e\n\u003cp\u003eRecorded at Portland’s Jackpot Studio by Mr. Larry Crane (editor of Tape Op magazine) in November of 1997, Featuring “Birds” is an expansion of Quasi’s technical and musical boundaries. For the first time, they have recorded in a profes- sional studio, and for the first time they have used more than eight tracks (16, this time around). 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The sole guest musician on the album is Charlie Campbell of Pond, who wrote and played guitar on “Tomorrow You’ll Hide.”\u003c\/p\u003e","brand":"Quasi","offers":[{"title":"Color LP","offer_id":40794028146784,"sku":"800543","price":23.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":31826448187488,"sku":"800541","price":23.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826448220256,"sku":"800542","price":11.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":31826448253024,"sku":"800546","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/quasi-featuringbirds-900.jpg?v=1581648961"},{"product_id":"flight-of-the-conchords_i-told-you-i-was-freaky","title":"I Told You I Was Freaky","description":"\u003cp\u003eThere is so much that could be said regarding \u003ca href=\"http:\/\/www.subpop.com\/artists\/flight_of_the_conchords\/\"\u003eFlight of the Conchords\u003c\/a\u003e. How they hail from New Zealand, the island nation with multiple postal services. Or that, after winning a Best Comedy Album Grammy for \u003ca href=\"http:\/\/www.subpop.com\/releases\/flight_of_the_conchords\/eps\/the_distant_future\"\u003e\u003ccite\u003eThe Distant Future\u003c\/cite\u003e\u003c\/a\u003e in 2007, they were nominated for a second Best Comedy Album Grammy in 2008, but were actually relieved not to win again—-because meaningless trophies really do seem important when you only have one, and have to fight over who gets to keep it. And that during the recently-completed second season of their popular \u003cspan class=\"caps\"\u003eHBO\u003c\/span\u003e television series, fans could download new songs immediately after they debuted on-air. Or that this same popular \u003cspan class=\"caps\"\u003eHBO\u003c\/span\u003e television series (conveniently also called Flight of the Conchords) was recently nominated for what-sure-seems-like-a-record-breaking 6 Emmys.\u003c\/p\u003e\n\u003cp\u003eBut all that is mere background, fact-based information that, while, granted, is largely true, impressive, and odd, doesn’t really allow us to serve up the steaming plate of rich, delicious and hopefully irresistibly persuasive description for which we (or our hired writers) are somewhat known in certain circles. And so: While Flight of the Conchords hammered out their reputation from behind the relative safety of acoustic guitars, blithely billed as a “folk comedy” act, nowadays their musical style runs rampant, unchecked. Judging from the range displayed here on \u003ccite\u003eI Told You I Was Freaky\u003c\/cite\u003e, Flight of the Conchords have yet to unearth a genre which can withstand their artistry. Unflinching in their lyrical stance, sophisticated with their arrangements, crafting melodies which always lodge firmly in the frontal lobe: Flight of the Conchords have created 13 best-selling ringtones, humbly masquerading as songs. Their rhymes are fearless, their thesauruses dog-eared. Only cool, confident specimens of manhood such as these could drop three-dollar vocabulary busters like “dungarees” and “pantaloons” while still mesmerizing the ladies with their undulating “Sugalumps.” Vivid imagery? Check: The ardent “Angels” should spur listeners to think twice the next time they consider catching a snowflake on their tongues. Better still, the amorous odyssey of the album’s zenith, “We’re Both in Love with a Sexy Lady,” unfolds before the listener’s very ears in real time; Flight of the Conchords are making history, and You! Are! There!\u003c\/p\u003e\n\u003cp\u003e\u003ccite\u003eI Told You I Was Freaky\u003c\/cite\u003e is, among a great many other things, a genre-tripping tour de force and includes three songs from the second series of the show which are otherwise as yet unreleased (“Rambling Through the Avenues of Time,” “Too Many Dicks (On the Dance Floor)” and “You Don’t Have to Be a Prostitute”).\u003c\/p\u003e","brand":"Flight of the Conchords","offers":[{"title":"Color LP","offer_id":39591800832096,"sku":"708005","price":23.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":31826460508256,"sku":"708001","price":23.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826460541024,"sku":"708002","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826460573792,"sku":"708004","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556521259104,"sku":"708006","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/FOTC_ITYIWF_Mockup_US_LP_2000x1417_7abcda4a-01f4-42b2-85cc-a97fef410ad5.jpg?v=1760390494"},{"product_id":"rogue-wave_descended-like-vultures","title":"Descended Like Vultures","description":"\u003cp\u003eHistorians, rock critics and sports announcers have all spent plenty of time waxing poetic about the sophomore slump, but don’t waste any time pulling out that reference for \u003ci\u003eDescended Like Vultures\u003c\/i\u003e, Rogue Wave’s second album for Sub Pop. While the album defies expectations as much as it defies the odds, singer\/guitarist Zach Rogue knows the score: “That’s the whole thing with the title,” he admits. “It’s like waiting for the other shoe to drop... this perception that everyone around you is going to turn their back.”\u003c\/p\u003e\n\u003cp\u003eA related adage is that you have your whole life to write your first album and a year to write your second, but Rogue had anything but writer’s block after completing \u003ci\u003e\u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/rogue_wave\/out_of_the_shadow\" href=\"https:\/\/megamart.subpop.com\/releases\/rogue_wave\/out_of_the_shadow\"\u003eOut Of The Shadow\u003c\/a\u003e\u003c\/i\u003e and seeing it re-released by Sub Pop in 2004 (the original, limited pressing was released on the band’s own label in early 2003). In fact, the group entered the studio at the end of March with more than enough material for a full-length (three albums worth, to be exact). “I’ve wanted to record records for years and years, so really, it’s like someone opened the door for me to get started,” explains Rogue. “I feel like \u003ci\u003eDescended Like Vultures\u003c\/i\u003e is actually the beginning. This is really where we start.”\u003c\/p\u003e\n\u003cp\u003eThough Rogue assembled the Oakland, CA, quartet which includes fellow multi-instrumentalists Pat Spurgeon (focus: drums), Gram LeBron (guitar) and newest member Evan Farrell (bass) in late 2002, \u003ci\u003eDescended Like Vultures \u003c\/i\u003eis the first time the band’s leader has ever made a record with a whole group in the studio. The band spent 10 days with Bill Racine (who also produced Out Of The Shadow with Rogue) at Supernatural Sound in Oregon City, OR, resulting in the creation of 11 tracks that journey through a dreamy landscape inspired by several decades of classic rock and pop (from Fleetwood Mac to Neil Young to My Bloody Valentine.) The Mark Kozelek-esque “California” and the XTC-flavored “Catform,” which sports Rogue’s most dazzling vocal performance to date both feature cold yet inspired examinations of human nature informed by Rogue’s experiences on the road.\u003c\/p\u003e\n\u003cp\u003eFor the first time as an entire unit, Rogue Wave went out of its way to create a free-flowing album that includes equal amounts of tension, release and resolution. 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After a pair of self-titled EPs, the band - Hadji Bakara (electronic manipulations), Dan Boeckner (guitar, vocals), Spencer Krug (keyboards, vocals), Arlen Thompson (drums) -  released Apologies to the Queen Mary to widespread acclaim in September, 2005. The album was recorded by Modest Mouse frontman Isaac Brock and engineer Chris Chandler at Audible Alchemy in Portland, Oregon.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eApologies to the Queen Mary\u003c\/em\u003e barrels headfirst and breathlessly through songs written during Wolf Parade’s early years together as a band. The album’s catchy, energetic urgency immediately established them as one of the defining forces of 2000s indie-rock. 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Two decades on, Apologies to the Queen Mary has lost none of its vitality and continues to win over new generations of fans.\u003c\/p\u003e","brand":"Wolf Parade","offers":[{"title":"Color LP","offer_id":42469903597664,"sku":"706553","price":23.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":31826514706528,"sku":"706551","price":23.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826514739296,"sku":"706552","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826514772064,"sku":"706554","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556518834272,"sku":"706556","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/WolfParade_ApologiesToTheQueenMary_ClearPinkVinyl_Mockup_LP_US_2000x1417_a9280167-d79a-47b2-b798-f1593ddaafdd.jpg?v=1768279147"},{"product_id":"built-to-spill_theres-nothing-wrong-with-love","title":"There's Nothing Wrong With Love","description":"\u003cp\u003e\u003cem\u003eThere's Nothing Wrong with Love\u003c\/em\u003e\u003cspan\u003e is the second full-length album released by legendary indie rock band \u003ca href=\"https:\/\/megamart.subpop.com\/artists\/built_to_spill\"\u003eBuilt to Spill\u003c\/a\u003e. It was originally released September 13, 1994 on the Up Records label. The line-up for the album was Doug Martsch, bassist Brett Nelson, and drummer Andy Capps, with Phil Ek producing. The album features the enduring singles “In the Morning,” “Car,” and “Distopian Dream Girl.”  \u003c\/span\u003e\u003cem\u003eThere’s Nothing Wrong With Love\u003c\/em\u003e will be available October 30th from Up Records, which is distributed through Sub Pop.\u003cbr\u003e \u003cbr\u003e\u003cem\u003eThere’s Nothing Wrong with Love\u003c\/em\u003e was wonderfully received by critics upon its release. It went on to earn “Best Albums of 90’s” notices from the likes of \u003cem\u003ePitchfork, PASTE, SPIN\u003c\/em\u003e, and has sold nearly 140k copies to date. This new, vinyl edition is the first time the album has been available on vinyl since its original run.\u003c\/p\u003e\u003cp\u003eAll orders receive an immediate digital download of the full album. \u003c\/p\u003e","brand":"Built to Spill","offers":[{"title":"Color LP","offer_id":41058484191328,"sku":"800063","price":23.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":31826519261280,"sku":"800061","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826519294048,"sku":"800062","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":31826519326816,"sku":"800066","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/BuiltToSpill_TheresNothingWrongWithLove_Anniversary_LP_MockUp.jpg?v=1719852715"},{"product_id":"earth_pentastar-in-the-style-of-demons","title":"Pentastar: In the Style of Demons","description":"\u003cp\u003eOriginally released 7\/23\/96.\u003cbr\u003e\u003c\/p\u003e","brand":"Earth","offers":[{"title":"Color LP","offer_id":42656706199648,"sku":"703613","price":23.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":31826521227360,"sku":"703611","price":23.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826521260128,"sku":"703612","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556519063648,"sku":"703616","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/Earth_Pentastar_Mockup_LP_US_2000x1417_3cf79e90-58ed-4bf8-9101-f6afc972d13d.jpg?v=1774237997"},{"product_id":"flight-of-the-conchords_flight-of-the-conchords","title":"Flight of the Conchords","description":"\u003cp\u003e\u003ca href=\"http:\/\/www.subpop.com\/artists\/flight_of_the_conchords\"\u003eFlight of the Conchords\u003c\/a\u003e follow the release of their six-track \u003cdel\u003eGrammy Award-nominated\u003c\/del\u003e \u003cstrong\u003eGrammy Award-winning\u003c\/strong\u003e (it’s true!) \u003cspan class=\"caps\"\u003eCDEP\u003c\/span\u003e \u003ca href=\"http:\/\/www.subpop.com\/releases\/flight_of_the_conchords\/eps\/the_distant_future\"\u003e\u003ccite\u003eThe Distant Future\u003c\/cite\u003e\u003c\/a\u003e with their full-length record album debut, the conveniently titled \u003ccite\u003eFlight of the Conchords\u003c\/cite\u003e (which, not at all coincidentally, is also the name of their \u003cspan class=\"caps\"\u003eHBO\u003c\/span\u003e television series). Produced by Mickey Petralia (Beck \u003ccite\u003eMidnight Vultures\u003c\/cite\u003e, Ladytron \u003ccite\u003eLight \u0026amp; Magic\u003c\/cite\u003e) in Los Angeles, New York and Wellington, the album features fully fleshed-out and professionally recorded versions of Flight of the Conchords concert \u003cstrong\u003eand\u003c\/strong\u003e television favorites. And its release finally renders pointless all the inexpert fan-made audio transfers (the modern day equivalent of holding a microphone up to the television speaker and shouting at your mom to be quiet), which have bloated hard drives the world over. The songs are heard here in expanded but reverent arrangements. Bret McKenzie and Jemaine Clement’s trademark acoustic guitars lead the blitz, backed by a diverse array of instrumentation and production technique.\u003c\/p\u003e\n\u003cp\u003eAnd, the album sounds legitimate and musically, it’s incredible, but, as Shakespeare said, “Does it funny?” Happily, yes. If amazing, delightful and hilarious is your idea of funny, then prepare for undisappointment! These 15 songs pay homage to Pet Shop Boys, censorship, Marvin Gaye, sexism, Shabba Ranks, and backhanded compliments. 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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. 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The Damned meets ZZ Top? The Motörhead of the Southwest? Something like that, sure, but ultimately The Supersuckers are their own thing, and on \u003c\/span\u003e\u003cspan\u003eThe Sacrilicious Sounds…\u003c\/span\u003e\u003cspan\u003e - and especially on the single “Born With a Tail” - singer Eddie Spaghetti’s woeful country laments begin to poke more assertively through their raw punk aggro. About that aggro: this is the band's sole album with Rick Sims, of Illinois punk legends Didjits, on guitar, and Sims dutifully cranks up The Supersuckers’ already formidable wall of overdriven guitars. 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Lael says, “this challenge to winnow away what is unessential is the most maddening and, ultimately, rewarding part of writing a song.”\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLael’s new album Acquainted With Night is a testament to this poetic devotion. Stripped of any extraneous word or sound, the songs are lit by Lael’s crystalline voice which lays on a lush bed of Omnichord. The collection touches on themes that have been thread into her work for years: isolation, mortality, yearning, and reaching ever toward the transcendent experience.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLael grew up on a farm in rural Virginia, but for nearly 10 years called Los Angeles home. Those years were spent developing her songwriting and performing in venues across the city, but the right way to record the songs proved more elusive. She worked with countless musicians, producers and collaborators, making entire records and eventually stowing them away. She says, “Every time I reached the end of recording, I felt the songs had been stripped of their vitality in the process of layering drums, bass, guitar\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e, violin and organ over them. They felt weighed down.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDespite endless frustration she never resigned and in a moment of illumination the most obvious solution presented itself: do the simple thing. In early 2019, in the midst of major transition, she acquired a new instrument, the Omnichord, and began recording a deluge of emerging songs with the intention to capture them in their truest form. Guy Blakeslee, who had been an advocate for years, facilitated the process by setting up the cassette recorder in her bedroom and providing empathic guidance, subtle yet affecting accompaniment and engineering prowess. Limited to only 4-tracks and first takes, Lael had to surrender some of her perfectionism to deliver the songs in their essence.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe first song she recorded was “For No One For Now” which calls to mind the agitated beat of driving fast on the freeway against the backdrop of the San Fernando Valley with its bent palms. Lael explains, “I’ve always loved these stretches of road where the magic of the city seems hemmed in by the mundane.” The song contrasts romantic idealizations with the banality of folding sheets and toasting bread. It highlights her oft-thwarted attempts to enjoy the day to day while her mind wanders off toward the dream, the ideal. “We almost lost this one because we had this complex method of listening back on a boombox since the rewind button didn’t work on the recorder. I accidentally recorded over a part of it so we were stuck with the first mix in all its imperfection. This was the thrilling element of recording in this way.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOn the other hand, recording “Every Star Shivers in the Dark” took a bit more time. She notes, “it was written so quickly that I needed to let it sink in, get to know it through many attempts at capturing the feeling I had at its inception.” Los Angeles is a player on this album and this song is an ode to the sprawling city, the outskirts of Eden. One can envision her walking from Dodgers Stadium to downtown, observing strangers and her own strangeness but determined to find communion with others.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Blue Vein” is her personal anthem. A Paul Revere piece. Galloping through the town as a strident declamation. She offers this, “I wrote this song pre-Omnichord and it is the only recording I play guitar on. I wrote it around New Year’s Eve and it felt like a resolution.” Indeed, it is an amalgam of thoughts, concerns, and lessons as she nearly speaks the words, unmasked by flourishes, ensuring the meaning cuts through. In the final verse she states that, “some say the truth springs for reservoir seekers, but I think the truth sings to whoever listens” thereby establishing herself as the proverbial carrier pigeon delivering a message.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLael returned to her family farm back in April 2020 and has taken advantage of the limitations imposed by this period. She re-discovered her Sony Handycam from high school and is using it to make impressionistic companion pieces to the songs she recorded in Los Angeles. She continues, “I am enjoying the strong contrast between the songs I wrote and recorded in California and the videos I am making for them in Virginia. It offers something unexpected.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe lo-fi quality of the films certainly suits the tone of the album. Guy comments, “an idea that was floating around in our conversations before and during the process was ‘lost tapes’ - and I think these recordings feel like such an artifact - a sonic portrait of a season of a life, a sacred tape made in private by an artist at the peak of creative power and rediscovered by chance for the ages.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eNormally a morning person, Lael recorded most of these songs in the early darkening evening and so became Acquainted With Night.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Lael Neale","offers":[{"title":"Color LP","offer_id":32920042111072,"sku":"714021","price":18.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":32920042176608,"sku":"714022","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":32920042078304,"sku":"714024","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32920042143840,"sku":"714026","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/laelneale-acquaintedwithnight-3600x3600.jpg?v=1619652158"},{"product_id":"chai_wink","title":"WINK","description":"\u003cp\u003eSince breaking out in 2018, CHAI have been associated with explosive joy. At their live shows, the Japanese four-piece of identical twins MANA (lead vocals and keys) and KANA (guitar), drummer YUNA, and bassist-lyricist YUUKI have become known for buoyant displays of eclectic and clever songwriting, impressive musicianship, matching outfits, delightful choreography, and sheer relief. At the core of their music, CHAI have upheld a stated mission to deconstruct the standards of beauty and cuteness that can be so oppressive in Japan. Following the release of 2019’s second album PUNK, CHAI’s adventures took them around the world, to music festivals like Primavera Sound and Pitchfork Music Festival, and touring with indie-rock mainstays like Whitney and Mac DeMarco.\u003c\/p\u003e\n\u003cp\u003eLike all musicians, CHAI spent 2020 forced to rethink the fabric of their work and lives. But CHAI took this as an opportunity to shake up their process and bring their music somewhere thrillingly new. Having previously used their maximalist recordings to capture the exuberance of their live shows, with the audiences’ reactions in mind, CHAI instead focused on crafting the slightly-subtler and more introspective kinds of songs they enjoy listening to at home—where, for the first time, they recorded all of the music. Amidst the global shutdown, CHAI worked on Garageband and traded their song ideas—which they had more time than ever to consider—over Zoom and phone calls, turning their limitations into a strength.\u003c\/p\u003e\n\u003cp\u003eTheir third full-length and first for Sub Pop, WINK contains CHAI’s mellowest and most minimal music, and also their most affecting and exciting songwriting by far. While the band leaned into a more personal sound, WINK is also the first CHAI album to feature contributions from outside producers (Mndsgn, YMCK) as well as a feature from the Chicago rapper-singer Ric Wilson. CHAI draw R\u0026amp;B and hip-hop into their mix (Mac Miller, the Internet, and Brockhampton were on their minds) of dance-punk and pop-rock, all while remaining undeniably CHAI. Whether in relation to this newfound sense of openness or their at-home ways of composing, the theme of WINK is to challenge yourself.\u003c\/p\u003e\n\u003cp\u003eWINK is a fitting title then: a subtle but bold gesture. A wink is an unselfconscious act of conviction, or as CHAI puts it: “A person who winks is a person with a pure heart, who lives with flexibility, who does what they want. A person who winks is a person who is free.” YUUKI noted that “With this album, we’re winking at you. We’re living freely and we hope that when you listen, you can wink and live freely, too.”\u003c\/p\u003e\n\u003cp\u003eThe lead single “ACTION” was a response to watching the Black Lives Matter protests unfold across America and the world in June of 2020 while the band was in Japan. “Seeing how the world came together during the protests really moved me,” said YUUKI. “I wanted to dedicate that song to the year of action.” In a sense, the flipside is “PING PONG!”: a laserbeam ode to a social activity that CHAI love but cannot currently partake in. In Japan, CHAI would often play ping pong after visits to the public hot springs, called onsen. “PING PONG!” also features YMCK, who brought a gaming feel to the production, which CHAI wanted to match.\u003c\/p\u003e\n\u003cp\u003e“Nobody Knows We Are Fun,” meanwhile, was inspired by an at-home activity: YUUKI was watching 2019’s Booksmart when she had the idea for the song. (The movie’s whip smart protagonists decide to attend a party before high school graduation after realizing, “Nobody knows we’re fun!”) “I thought, ‘We, CHAI, can really relate to that scene,” YUUKI said of the song, which the band describe as “a mix of screaming our annoyances—why don’t you guys notice us!—while trying to be cute and sexy.”\u003c\/p\u003e\n\u003cp\u003eCHAI’s past albums have been filled with playful references, in the lyrics, to food, and WINK’s intimate single “Maybe Chocolate Chips” offers an evolution of this motif. YUUKI wanted to write a self-love song about her moles: “Maybe if people would look at their moles as chocolate chips they would see them positively,” she says. “Maybe Chocolate Chips” features the Chicago rapper Ric Wilson, who they initially connected with at the 2019 Pitchfork Music Festival, and who brought additional layers of depth. CHAI’s adventures on tour—and love of food—also seeped into the single “Donuts Mind if I Do,” inspired by a bit of serendipity in a hotel lobby where free donuts were on offer with the sign “Donuts Mind If I Do.” “Free donuts, how cute. You never see this in Japan,” YUUKI thought, looking at the sign. “But what does it mean?” CHAI’s tour manager explained that it was a play on “don’t mind if I do,” which only stoked YUUKI’s curiosity further: What does that mean? “I looked it up and realize, you really don’t hold yourself back with ‘don’t mind if I do,’” YUUKI said. “CHAI has always been about living freely and doing as you please,” and that spirit of abundance informed this sticky-sweet song.\u003c\/p\u003e\n\u003cp\u003eTowards the end of WINK, CHAI’s move towards mellowness shines with two of the sparest and most stunning songs the band has ever recorded. YUUKI wrote the penultimate “Wish Upon a Star” as a lullaby of sorts: What kind of song would I want to listen to before I go to sleep at night? she wondered. (KANA had been experiencing sleep difficulties at the time.) She set out to craft a bedtime ballad that promotes comfort, warmth, and relaxation. Meanwhile, the glowing closer, “Salty,” penned by MANA, is a beautiful exploration of nostalgia and memory: a song about “holding onto a memory and putting it into taste” and what taste can do psychologically. “You bite into a rice ball and you taste the salt and immediately you think of that memory,” MANA says, noting that she was inspired by her kitchen, where she wrote and recorded it.\u003c\/p\u003e\n\u003cp\u003eWith these two songs especially, and WINK as a whole, CHAI came to see the album—with its home-y feel—as a collection where each song is like a new friend, something comforting to rely on and reach out to, as the album was for them throughout 2020. “When you can’t sleep at night, you can go to ‘Wish Upon a Star,’” the band says. “When you need to go down memory lane, you can go to ‘Salty.’”\u003c\/p\u003e\n\u003cp\u003eThis impulse towards connection is in WINK’s title, too. After the “i” of PINK and the “u” of PUNK—which represented the band’s act of introducing themselves, and then of centering their audiences—they have come full circle with the “we” of WINK. It signals CHAI’s relationship with the outside world, an embrace of profound togetherness. Through music, as CHAI said, “we are all coming together.” In that act of opening themselves up, CHAI grew into their best work: “This album showed us, we’re ready to do more.”\u003c\/p\u003e","brand":"CHAI","offers":[{"title":"Color LP","offer_id":32921769410656,"sku":"714201","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":32921769377888,"sku":"714202","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":32921769345120,"sku":"714204","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32921769443424,"sku":"714206","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/chai-wink-3000.jpg?v=1610670833"},{"product_id":"chad-vangaalen_worlds-most-stressed-out-gardener","title":"World's Most Stressed Out Gardener","description":"\u003cp\u003e2020 was a terrible year for gardening. It was terrible for peppers, it was terrible for tomatoes, it was terrible for the condition of the soul. But Chad VanGaalen somehow raised a garden all the same: carrots and sprouts and broccoli and a revivifying new album, all of them grown at home. He likes to eat directly off the plant, he says—\"I get down on my knees and graze. It's nice to feel the vegetables in your face\"—and the 13 songs on World's Most Stressed Out Gardener were harvested with just such a spirit: in their raw state, young and vegetal, at the very moment, they were made. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWhat that means is that the Calgary songwriter's new album is a psychedelic bumper crop. A collection of tunes that does away with obsessiveness, the anxiety of perfectionism, in favor of freshness and immediacy — capturing the world as it was met while recording alone at home over a period of years. \"Don't overthink it,\" VanGaalen told himself again and again, despite the push\/pull love\/hate of his relationship with songwriting. \"I'm always trying to get outside of the song—but then I realize I love the song.\"\u003c\/p\u003e\n\u003cp\u003eThis is a record that gleams with VanGaalen's musical signatures: found sound, reverb, polychromatic folk music that is by turns cartoonish and hyperphysical—like ultra magnified footage of a virus or a leaf. Apparently, the LP began life as a \"pretty minimal\" flute record. (There's only a vestige now, on \"Flute Peace\"—one of three instrumentals.) Later it became an electronic record \"for a while\" and finally, \"right at the last second,\" it \"turned into a pile of garbage.\" The good kind of garbage: glinting, useful, free. Music as compost—leaves, and branches ready to be re-ingested by the earth, turned into a flower.   \u003c\/p\u003e\n\u003cp\u003eThroughout these 40 minutes, VanGaalen floats from mania to solace to oblivion, searching for zen in all the wrong places. \"Turn up the radio \/ I think we’re dead,\" he sings on \"Nothing Is Strange\"; or, on the inside-out rocker \"Nightmare Scenario\": \"You’re stressed out when you should be feeling very well.\" The singer's mental landscape is rotting and redemptive, beautiful in spite of itself—and his soundscapes reflect this fertile decay. He has been influenced by his instrumental work on TV scores (Dream Corp's third season began this fall), but still \"nothing can really replace the human voice,” he admits. Like Arthur Russell or Syd Barrett, it’s VanGaalen’s vocals that shine a path through the swampland—from the cello-lashed “Water Brother” to “Starlight”’s krautrock pipe-dream. \u003c\/p\u003e\n\u003cp\u003eThese days, VanGaalen cherishes the privacy of the studio, the capacity to wander around, get distracted, and \"move at the speed of life.\" Whereas once he would obsess over mic techniques, now he puts the microphone in the same place every time—trying to capture a song quickly, the idea at its heart. He'll act on his infatuations—for the flute, a squeaky clarinet, his basement's copper plumbing (remade into xylophones for \"Samurai Sword\")—and then he'll try to get out, \"veering away from responsibility,\" before he overdoes his stay. \u003c\/p\u003e\n\u003cp\u003eIn the end, it's like gardening. You have to live with your horrible decision-making; the weather's going to fuck you if it wants to; and if you plant a hundred heads of broccoli, \"now you gotta eat a hundred heads of broccoli—or watch them go to seed.\" But mostly VanGaalen just tries to be a deer: \"I remember seeing some deer come out in the Okanagan Valley once,\" he says, \"watching them wait for a sunbeam to hit a perfect bunch of grapes—and then eating them right out of the sunbeam. I'd recommend that.\"  \u003c\/p\u003e\n\u003cp\u003eYou can do it too—taste the sun-swabbed grapes—when World's Most Stressed Out Gardener is released on March 19, 2021. \u003c\/p\u003e\n\u003cp\u003eby Sean Michaels\u003c\/p\u003e","brand":"Chad VanGaalen","offers":[{"title":"Color LP","offer_id":32926538498144,"sku":"714081","price":18.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":32926538465376,"sku":"714082","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32926538432608,"sku":"714086","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/LP.jpg?v=1741201414"},{"product_id":"marinero_hella-love","title":"Hella Love","description":"\u003ctable\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd\u003e\n\u003cp\u003eHella Love, the Hardly Art debut from Marinero, is an album about closing a chapter. It’s Jess Sylvester’s grand farewell, and love letter to his hometown and the place he grew up, The San Francisco Bay Area, before relocating to Los Angeles after finishing his debut release. Using the moniker Marinero (which means “sailor” in Spanish), Jess Sylvester was drawn to this name as a means to honor his parent’s stories -- his father, a sailor, and mother, a Mexican-American who grew up in San Francisco. This record blends many worlds from beginning to end, and as you go deeper it hits harder. It’s his goodbye to The Bay.\u003c\/p\u003e\n\u003cp\u003ePulling sonic influences from classic Latin American groups and international composers from the 60’s \u0026amp; 70’s: Los Terricolas, Ennio Morricone, Esquivel, Carole King and, Serge Gainsbourg Hella Love finds Sylvester fusing classical arrangements with a variety of different genres, evoking a sonic nostalgia blended with other contemporary artists like Chicano Batman, Connan Mockasin, and Chris Cohen. The album was written, played, and produced by Jess Sylvester with help from Bay Area engineer Jason Kick (Mild High Club’s Skiptracing) at Tunnel Vision and Santo Recording in Oakland, California. \u003c\/p\u003e\n\u003cp\u003eOn the standout single “Nuestra Victoria,” Sylvester shares “It’s my way of talking about gentrification in SF, or specifically the Mission where my mom and family grew up. The song is about a bakery, or panaderia called La Victoria, and was a place where my mother and tias went growing up, a place I also went to that is no longer there.” It was one of the oldest Mexican-American businesses in SF and I wanted to honor it”. “Through the Fog” highlights Sylvester’s exploration of his influences from the Tropicalia movement, weaving bossa rhythms with lush percussion and orchestration. Using SF’s infamous fog as a metaphor for “tough times”, Sylvester expands that it is a dedication to his friends and family who have helped him get through substance abuse issues, heartbreak, and other painful experiences. “There are a few easter eggs in the lyrics for Bay Area folks or people who have followed my music in the past but it’s mostly about getting through something difficult with the love and support from the homies and fam.” The album’s title track, “Hella Love,” summarizes both of his parent’s stories of how they ended up in the bay. The first verse is about his father’s voyage out west as a sailor during the late ’60s while the second verse follows his mother’s experience moving to The Mission District when she was a young girl.\u003c\/p\u003e\n\u003cp\u003eIt’s difficult to classify or generalize about Marinero’s music or identity. To him, it’s important to let his music do the talking. “I’m Chicanx, a bay native, biracial, and I’ve luckily gotten to travel and spend time in Mexico and I feel like my personality and specific musical tastes come through on this album. More than these generalizations we often make, I’m just a human who can both fear and love, and I’m just hoping to connect with others to share optimism and experience joy and laughter, even if for a moment.” Lean your ear to the ground because Jess Sylvester has been many things and will continue to share his journey. It is clear this gifted creator has more to say.\u003c\/p\u003e\n\u003c\/td\u003e\u003c\/tr\u003e\u003c\/tbody\u003e\u003c\/table\u003e","brand":"Marinero","offers":[{"title":"Color LP","offer_id":39247069970528,"sku":"731351","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39247069904992,"sku":"731352","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":39247069937760,"sku":"731354","price":7.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39247069872224,"sku":"731356","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/marinero-hellalove-3000.jpg?v=1621377142"},{"product_id":"colleen-green_cool","title":"Cool","description":"Colleen Green has always been cool, but on 2015’s I Want To Grow Up, she didn’t necessarily feel it. Too young to be free of insecurities but old enough to be sick of them running her life, Green was experiencing an existential crisis. Five years and a new album later, we find her parsing out what it means to be grown-up—and realizing that it’s actually pretty Cool.\u003cp\u003e\u003c\/p\u003e\u003cp\u003eOpener “Someone Else” is a paean to power in which Green lets a lover know that double standards can go both ways. A groovy bass loop and zig-zagging guitar lines underscore her realization that happiness is in her own hands, and the vibe is set. Next up is the witty, catchy “I Wanna Be A Dog,” where Green celebrates the simplicity of a canine life and questions why she’s still overcomplicating her own. Dark and slinky “Highway” uses ruthless driving as a metaphor for a lifestyle that no longer interests her.\u003c\/p\u003e\u003cp\u003eBurnt out on bad feelings and ready to have fun with melodies and beats, Green enlisted producer Gordon Raphael (The Strokes) to take her songs to higher ground while keeping her lo-fi aesthetic intact. Raphael was already a fan, having caught a show in L.A. and finding himself “struck by how confident and powerful she looked, even though she was the only one onstage.” He agreed to take the gig, and together with drummer Brendan Eder and hip hop producer Aqua over a few weeks in Los Angeles, Cool was created. \u003c\/p\u003e\u003cp\u003eThe album’s themes come together on the anthemic “It’s Nice to Be Nice,” Green’s reminder to herself that you get what you give, so it’s important to try and be the best person you can—a hard-won but essential lesson in the emotional maturity that defines Cool.\u003c\/p\u003e","brand":"Colleen Green","offers":[{"title":"Color LP","offer_id":39322594508896,"sku":"731261","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39322594574432,"sku":"731262","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":39322594607200,"sku":"731264","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":39322594541664,"sku":"731266","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/colleengreen-cool-4000.jpg?v=1624386968"},{"product_id":"shannon-lay_geist","title":"Geist","description":"\u003cp\u003eGeist feels like a window - or a mirror - into possibilities of the self and beyond. Shannon Lay’s new album is tender intensity, placeless and ethereal.  It exists in the chasms of the present -- a world populated by shadow selves, spiritual awakenings, déjà vu, and past lives.\u003c\/p\u003e\n\u003cp\u003e“Something sleeps inside us,” Lay insists on the opening track, and that’s the guiding philosophy throughout. A winding, golden, delicate thread of intuition that explores the unknown, the possibility. Its title, Geist, the German word for spirit, is rife with an otherworldly presence, the suggestion of another. The promise that you are never alone.\u003c\/p\u003e\n\u003cp\u003eLay tracked vocals and guitar at Jarvis Tavinere of Woods’s studio, then sent the songs out to multi-instrumentalists Ben Boye (Bonnie Prince Billy, Ty Segall) in Los Angeles and Devin Hoff (Sharon Van Etten, Cibo Matto) in New York; trusting their musical instincts and intuition. She then sent those recordings to Sofia Arreguin (Wand) and Aaron Otheim (Heatwarmer, Mega Bog) for additional keys, while Ty Segall contributed a guitar solo on “Shores.” \u003c\/p\u003e\n\u003cp\u003eAs a whole, Geist is both esoteric and accessible. Songs range from a concise, pared-back cover of Syd Barrett’s tilt-a-whirl-esque “Late Night,” to the meditative Dune-inspired \"Rare to Wake,” to the mostly a-cappella  “Awaken and Allow,” which channels Lay’s deep Irish roots, a moment of reflection, before a drop happens -- its intensity mirroring the anticipation and anxiety that come with taking the first step to accepting change for yourself.\u003c\/p\u003e\n\u003cp\u003eAnd the title track “Geist,” a song about the power living in all of us, is a love song to the possibility of healing, an ode to falling into the arms of what you’re becoming. It’s a glimpse into the parts of yourself you have yet to meet. But you can, if you want to.\u003c\/p\u003e","brand":"Shannon Lay","offers":[{"title":"Color LP","offer_id":39333437472864,"sku":"714420","price":9.5,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39333437440096,"sku":"714422","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39333437407328,"sku":"714426","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/ShannonLay_Geist_LP_Loser_01.jpg?v=1741202295"},{"product_id":"lala-lala_i-want-the-door-to-open","title":"I Want The Door To Open","description":"\u003cp\u003e“I want total freedom, total possibility, total acceptance. I want to fall in love with the rock.”\u003c\/p\u003e\n\u003cp\u003eThat’s how Lillie West describes the theme of “DIVER,” the song she calls the thesis of Lala Lala’s third record, I Want The Door To Open. The rock in question is a reference to Sisyphus, the mythical figure doomed by the gods to forever push a boulder up from the depths of hell. To West, it is the perfect metaphor for “the labor of living, of figuring out who you are, what's wrong with you, what's right with you,” she says. “I think it’s easy to feel like we keep making the same mistakes over and over again, that we never learn, that we’re Sisyphus; but time is actually a spiral that we move up. The key is falling in love with the labor of walking up the mountain.”\u003c\/p\u003e\n\u003cp\u003eComing off of 2018’s acclaimed \u003ca href=\"https:\/\/megamart.subpop.com\/products\/lala-lala_the-lamb?_pos=1\u0026amp;_sid=852c3a643\u0026amp;_ss=r\"\u003eThe Lamb\u003c\/a\u003e, an introspective indie rock album recorded live with a three-piece band, West knew she was ready to make something sonically bigger and thematically more outward-looking than anything she’d done before; a record that would be less a straightforward documentation of her own personal struggles and more like a poem or a puzzle box, with sonic and lyrical clues that would allow the listener to, as the title says, open the door to the greater meaning of those struggles. \u003c\/p\u003e\n\u003cp\u003eThe result is I Want The Door To Open, a bold exploration of persona and presence from an artist questioning how to be herself fully in a world where the self is in constant negotiation. From the moment West declares “I want to look right into the camera” over a cascade of dreamy vocal loops on opening track “Lava,” I Want The Door To Open distinguishes itself from anything she’s done before in scope and intensity. The ultra-magnified iteration of Lala Lala is fully encapsulated in the monumental “DIVER.” Inspired by a character from a Jennifer Egan novel, it’s a pop song of Kate Bush-esque proportions replete with layered synths and booming, wide open drumming contributed by fellow Chicago musician Nnamdi Ogbonnaya, and West pushing her vocals to the ragged edge.\u003c\/p\u003e\n\u003cp\u003eWest co-produced I Want The Door To Open with Yoni Wolf of Why? and reached out to various music friends to help her achieve a galactic level of atmospherics that would’ve been impossible on her own. In addition to Ogbonnaya, I Want The Door To Open features contributions from poet Kara Jackson, \u003ca href=\"https:\/\/megamart.subpop.com\/products\/ohmme_mine?_pos=1\u0026amp;_sid=c8b430d01\u0026amp;_ss=r\"\u003eOHMME\u003c\/a\u003e, Adam Schatz of Landlady, Sen Morimoto, Christian Lee Hutson, and Kaina Castillo. Former tourmate Ben Gibbard can be heard on the gentle “Plates,” a song about accepting the past regardless of whatever negative feelings accompany those memories; a necessary act for unlocking the door to the present moment West is actively seeking on the record.\u003c\/p\u003e\n\u003cp\u003eThroughout I Want The Door To Open, West is fascinated with the idea of avatars: how we present ourselves to the world versus how other people see us versus who we really are when we’re alone, and how those images can change over time. “How can anyone else know who you are? How can you know who anyone else is when all these different avatars or personalities or performances are happening simultaneously, in different places,” asks West. It’s a question she poses on the cinematic “Color of the Pool,” a song about wanting to embody the characteristics of something pure and uncatchable that features stacks of wigged-out saxophone from Schatz. West revisits the topic on “Photo Photo,” on which OHMME provide a haunting medieval vocal round as West attempts to parse the various aspects of presentation and representation.\u003c\/p\u003e\n\u003cp\u003e“Utopia Planet,” the final track on I Want The Door To Open, features a very special guest: West’s own Grandma Beth, who charmingly relays her thoughts on a painting West made of herself—another avatar of the artist as seen through the eyes of someone who loves her. It is the fitting end to the inner labyrinth that West maps on I Want The Door To Open, a musical quest undertaken with the knowledge that the titular door may never open; but it is through falling in love with the quest itself that one may find the closest thing to total freedom, total possibility, and total acceptance available to us on this plane of existence.\u003c\/p\u003e","brand":"Lala Lala","offers":[{"title":"Color LP","offer_id":39333437571168,"sku":"731321","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39333437505632,"sku":"731322","price":6.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":39333437603936,"sku":"731324","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39333437538400,"sku":"731326","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/LalaLala_IWantTheDoorToOpen_LP_Loser_01.jpg?v=1767848845"},{"product_id":"bria-salmena_cuntry-covers-vol-1","title":"Cuntry Covers Vol. 1","description":"\u003cp\u003eBria \u003cem\u003eCuntry Covers Vol. 1 \u003c\/em\u003eon Opaque Breeze Blue vinyl LP!\u003c\/p\u003e\n\u003cp\u003eBria is an intimate and incisive labor of love from multi-instrumentalists Bria Salmena and Duncan Hay Jennings. Catapulted by a deep sense of dread and confusion in the depths of 2020, Salmena decided to forgo writing her own music. “I wanted to listen for what might reflect my life back to me,” she says, “six tracks that could be my mirror.” The result is a pointillistic knockout of an EP that weaves a landscape both luscious and a little rogue; showing us exactly what good songs can do.  \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBria’s internal turbulence seemed to mirror last year’s external instability. When Jennings and back-up singer Jaime McCuaig moved to The Outside Inn, a hobby farm in Hockley Hills, Ontario, Bria soon joined. The farm’s living-room-turned-studio proved an ideal setting for the long-time friends to compile a record of handpicked country covers. They went searching for songs that could speak to our everyday loneliness; outside and in. Cuntry Covers Vol. 1. houses it all: well-worn favorites and lesser-known gems. \u003c\/p\u003e\n\u003cp\u003eThe record opens with “Green Rocky Road,” as performed by Greenwich Village legend Karen Dalton. Jennings’ twangy guitar carries Bria’s original inflection and richly textured vocals, complete with dreamy overlay. “Dreaming My Dreams With You,” a rendition of the Waylon Jennings hit, is followed by John Cale’s “Buffalo Ballet,” a lyrical journey through Abilene, Texas, the endpoint of the Chisholm Trail. Engineered and mixed by Jennings, each song brings desire and sexuality front and centre, with all the swagger you’d expect  – and more. Bria hopes the record will be understood as a small contribution to the subversion of a genre with deep patriarchal roots. Mistress Mary’s “I Don’t Wanna Love Ya Now,” from the 1969 album Housewife, served as the original inspiration. “It was the first song Duncan and I worked on,” Bria notes. “It definitely set the tone for the other tracks we picked.” \u003c\/p\u003e\n\u003cp\u003eBria’s voice – described as wavering between “sultry and howitzer” – shines on “Fruits Of My Labour,” written and performed by country great, Lucinda Williams. The Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore” is a harmonic (and hypnotic) standout. A musical explorer who moves fluidly between styles, Bria doesn’t consider herself a country artist: “I feel as though I’m a visitor here, paying respect to a style that has informed a part of my musical identity. Country music, as much as any other art form, should be an arena for representation, expression and provocation. I have a ton of reverence for artists who came before me and challenged the primarily white-heterosexual status quo.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSalmena and Jennings have toured for years as members of Toronto four-piece FRIGS, whose 2018 debut Basic Behaviour was long-listed for the Polaris Music Prize. Making a mark in diverse genres from country to punk, both play as permanent members of Orville Peck’s band. Cuntry Covers was recorded on the territories of the Anishnaabe, the Haudenosaunee, the Wendat and the Mississaugas of the Credit. The release also features contributions from FRIGS drummer Kris Bowering and vocals by Ali Jennings. Bria's first release is a gorgeous debut, a homage to the songs that brought solace and relief in the stillness of last year.  \u003c\/p\u003e\n\u003cp\u003e- Zoe Imani Sharpe \u003c\/p\u003e","brand":"Bria Salmena","offers":[{"title":"Color LP","offer_id":39333437767776,"sku":"714560","price":18.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39333437735008,"sku":"714562","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":39333437669472,"sku":"714564","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39333437702240,"sku":"714566","price":6.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/bria-vol1-cuntrycovers1500-300dpi.jpg?v=1625771933"},{"product_id":"metz_live-at-the-opera-house","title":"Live at the Opera House","description":"\u003cdiv\u003e\u003cb\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eLimited-Edition tricolor vinyl LP!\u003c\/p\u003e\n\u003cp\u003eLong considered one of the planet's most bombastic live acts and foremost purveyors of abrasive melodicism, METZ have spent the majority of their 11 year tenure criss-crossing the globe and bringing their unparalleled energy directly to the people. The release of their stunning new LP, Atlas Vending, saw the band pushing into new sonic territory while retaining their trademark aural maelstrom. Forced to adapt to a world without live performance and touring, METZ were determined to connect with their fans and create a live experience as dynamic as Atlas Vending within the confines and challenges of the pandemic. \u003c\/p\u003e\n\u003cp\u003eOn October 15th, 2020 METZ took to the stage at the Opera House in Toronto, a hometown favorite independent venue, to livestream a performance of Atlas Vending in its entirety. They enlisted long-time video collaborator Scott Cudmore to direct the concert film and Graham Walsh and Seth Manchester to oversee the recording and mixing, respectively. METZ: Live at the Opera House, delivers a raw, powerful, incredibly loud auditory experience paired with a stunning visual concert film that grabs you, shakes you, and doesn't let go until the final crushing blow and the feedback subsides. \u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"METZ","offers":[{"title":"Color LP","offer_id":39344585801824,"sku":"714180","price":21.0,"currency_code":"USD","in_stock":false},{"title":"Digital Album + Concert Film","offer_id":39344585769056,"sku":"714186","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/metz-liveattheoperahouse-digital-3000.jpg?v=1627602706"},{"product_id":"aeon-station_observatory","title":"Observatory","description":"Aeon Station’s Observatory is an epic statement more than a decade in the making, with miles of timeless melodies and the kind of overpowering songwriting that will reaffirm your belief in life itself. Longtime Wrens member Kevin Whelan’s first solo album draws heavily from the perseverance of the soul, resulting in rock music possessing an infectious and inspiring sonic uplift. If you’re familiar with Whelan’s past work, these ten tracks bear a certain and unmistakable familiarity—but they also mark an exciting new chapter in Whelan’s musical career, as he steps out with more vulnerability than ever before.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eObservatory came together carefully for Whelan—over the course of 14 years, specifically, as clusters of demos and sketches were eventually assembled and recorded largely by Whelan himself, with assistance from Wrens bandmate Jerry MacDonald and Greg Whelan as well as Tom Beaujour in his Union City recording space. Additionally, his wife Mary Ann provided backup vocals. “It’s the best I’ve done and may ever do frankly,” Whelan states. “It’s written over such a long period of my life. Music I did in the past was tinged with expectations or presumptions, but this time, it was just for me.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe long gestation of Observatory means that a lot of lived experience went into making this album. As time passed, Whelan got married, started a family, and moved to the Asia Pacific region for a period of time; at 15 months old, his son (now eight) was also diagnosed with autism, and the title of Observatory is inspired by Whelan’s relationship with his son. “The moment you’re told your child is not ‘neurotypical,’ your whole world expands in ways you never imagined,” he explains. “Even though he doesn’t speak much at all, or look at anyone directly, you can see him observing everything around him. The album title reflects upon the stories within the songs — each one observing a certain situation or feeling.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhelan’s scope of musical vision on Observatory is wide open and free with possibilities—at once recalling the reflective wisdom of Bruce Springsteen, Broken Social Scene’s huge anthemic burn, and the Wrens’ own pulsing-with-life take on rock music. Above all, this is music not only for dreamers but for those who realize and appreciate the enormity of every moment. “It’s about never letting go about those dreams and your passion,” he states. “The album starts from a place of realizing that everything is temporary, what we love eventually changes or leaves us, and regardless we continue to search and find our way back home.” If you’ve ever caught air in your lungs or felt your heart beating in your chest, there’s no doubt that you’ll find some level of connection with Observatory’s open-hearted, instantly classic-sounding rock.","brand":"Aeon Station","offers":[{"title":"Color LP","offer_id":39367083458656,"sku":"714590","price":18.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39367083393120,"sku":"714592","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39367083425888,"sku":"714596","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/aeonstation-3000px.jpg?v=1631817298"},{"product_id":"my-idea_cry-mfer","title":"CRY MFER","description":"\u003cp\u003eThe closer you are to someone, the crueler you can treat them, but if they love you, they’re inclined to forgive you. Lily Konigsberg and Nate Amos forgive each other now, but they were in a bad way when they recorded Cry Mfer — which is not to say their debut album is some kind of sonic bum out. Cry Mfer proves you can still make pop music while spiraling, as evidenced by the existence of “Breathe You,” a bop all about fucking Nate constructed while “high as shit in my room making fun of Justin Bieber,” the vocals of which Lily tracked while “blindly sad” and “genuinely devastated.” \u003c\/p\u003e\u003cp\u003eThey’re best friends now, and they were best friends when they recorded Cry Mfer last year, but they didn’t know that yet. (“We definitely were like, oh, maybe we're in love?” Lily recalls; it was a confusing time.) Cry Mfer is the sound of two people figuring out what they mean to one another “in the midst of,” quoth Nate, “a bunch of other chaos,” up to and including being drunk as skunks; when listening to the album, Nate can “smell” the aforementioned chaos. “Thank God we're not those people [anymore],” Lily, with the clarity of newfound sobriety, marvels. \u003c\/p\u003e\u003cp\u003eWhen not using the other party as an emotional punching bag, Nate and Lily used one another as a creative filter and sounding board — pushing, prodding and challenging themselves to “mess with different sounds,” harkening to, Nate says, “songwriting duos who seem to have their own language that other people don't quite understand.” In life, as in art, they share a language, a hive mind, finishing each other’s sentences while lounging on Lily’s parents’ couch in the Hudson Valley. (Lily recently moved back to her hometown of Hudson in order to “get her life together;” it’s “definitely working,” she says.)\u003c\/p\u003e\u003cp\u003eThe duo joined forces in the Fall of 2020, when Lily, after a few years gobbing away in the punk trio Palberta, solicited Nate (who, at the time, was popping away as half of dance duo Water From Your Eyes) as a potential producer for her solo record; the subsequent songwriting competition that followed resulted in dozens of tracks and one EP, That’s My Idea. No strangers to productivity, Nate’s Water From Your Eyes recently released their fifth album, and Lily recently released her solo LP, both to high marks.  \u003c\/p\u003e\u003cp\u003eCry Mfer is, true to the band’s vision, a beautiful mess of different sounds, completely and effortlessly genreless (though if pressed to label it, the band settles on “Truth or Dare Pop”). While a milieu of myriad styles, from folk to dance, the album’s main through line is truth, regardless of how much the expression thereof may hurt (after all, as Lily sings in the title track, “truth and life go hand in hand”). Its lyrics aren’t “particularly diary-ish,” Nate says, they’re “a little more…” “Diarrhea-ish,” Lily jokes. \u003c\/p\u003e\u003cp\u003eThe album, while permeated with lyrics about lying and crying and, well, hurting the one you love, has a palpable sense of humor and self-awareness, a testament to “rolling your eyes at something while acknowledging that it's also still kicking your ass,” says Nate. \u003c\/p\u003e\u003cp\u003eIt’s a reaction against the self-seriousness that runs rampant throughout indie music, which comes as no surprise when you learn the duo originally wanted to call themselves The Grammys (Why? Because when the two of them started working together, “we were like, we're gonna get a Grammy,” Lily says). They aren’t ashamed to admit they listen to Ariana Grande and Justin Bieber, in much the same way they aren’t ashamed to use a vocoder or lyrically play the heel. \u003c\/p\u003e\u003cp\u003eA perfect example is the song “Crutch,” an anthem to codependency from a self-described authority on the subject (“I’m sorry about this stuff, but it doesn’t really matter that much,” Lily breathily sings over bright guitars. “Truth is that I really miss your touch, and I’m hanging on you ‘cause you’re my crutch”). \u003c\/p\u003e\u003cp\u003eSuffering is mitigated a little bit when you turn it into, ahem, art — pain is temporary, but music is forever (or, at least, until the grid goes down). You’ll be pleased to know the “something” Lily was needing in the chorus to “Cry Mfer” she now has — “In the moment I thought I was needing a big life change and shift, like I had been stuck in something, and I was right, I just went about it in a very wrong way,” she says. “And now the thing that I'm needing, I'm getting, actually, which is through being sober and getting my life together.”\u003c\/p\u003e\u003cp\u003e“I was telling myself a lot of stuff through those lyrics that was subconscious,” she continues. “I thought I was talking to other people, but I was talking to myself.”\u003c\/p\u003e\u003cp\u003eMy Idea has only just begun, but already misery is in the rearview. Cry Mfer is a punisher, to be sure, but it’s also a banger; reflecting on the time period during which it was recorded, Nate breathes a sigh of relief: “Oof. Well, we made it, and we got something out of it, too.” And so, dear listener, have you.\u003cbr\u003e\u003c\/p\u003e","brand":"My Idea","offers":[{"title":"Color LP","offer_id":39438429028448,"sku":"731430","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39438428995680,"sku":"731432","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39438428962912,"sku":"731436","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/myidea-crymfer-3600.jpg?v=1643665741"},{"product_id":"la-luz_la-luz-the-instrumentals","title":"La Luz - The Instrumentals","description":"\u003cp\u003e\u003cem\u003eLa Luz - The Instrumentals\u003c\/em\u003e is a fully instrumental version of La Luz's self-titled 2021 album. Produced by Adrian Younge - renowned for his work with Ghostface Killah, Kendrick Lamar, and many more - The Instrumentals offers a uniquely atmospheric way to re-experience the ghostly electric guitar shimmers, charging fuzz-guitar rock, soulful organ-driven dream-funk, galactic synths, and breezy ‘70s folk-pop of the album. On aqua\/natural-swirl vinyl, and limited to 2200 copies worldwide.\u003c\/p\u003e\n\u003cp\u003e\"Fun fact: we played at least twice as many instruments on our new album La Luz than we have on any album before! These instrumental mixes pull back the curtain to reveal the sonic landscape of the songs in all their beautiful stereophonic 3-D glory. Each track is its own living realm that we’re inviting you to step inside and explore. Hum your own melody, write your own words, lie down in a field of poppies while an orchestra of light dances behind your eyelids\" – Shana Cleveland, La Luz\u003c\/p\u003e\n\u003cp\u003e\"This instrumental album truly represents the core of this incredible trio. Omit the vocal and the listener gets a behind the scenes look into their indelible minds. Such a journey.” - Adrian Younge\u003cbr\u003e\u003c\/p\u003e","brand":"La Luz","offers":[{"title":"Color LP","offer_id":39445739274336,"sku":"731420","price":23.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/laluz-theinstrumentals-2400.jpg?v=1645034091"},{"product_id":"whitmer-thomas_the-older-i-get-the-funnier-i-was","title":"The Older I Get The Funnier I Was","description":"\u003cp\u003eThe Older I Get the Funnier I Was, which follows Thomas’ brilliant 2020 HBO special The Golden One and his Can't Believe You're Happy Here EP released earlier this year, surveys a range of emotion and offers a broad sonic palette, moving between pop punk, electro, and the obvious influence of the singer-songwriters he grew up listening to in early childhood. It conjures the ennui of Bright Eyes alongside the barefaced storytelling of John Prine, the overstuffed lists of Fred Thomas with the lackadaisical humor of Colleen Green, among many others.\u003c\/p\u003e\n\u003cp\u003eThomas attributes the dexterity of the record to Duterte, who recorded and engineered most of it in addition to serving up plenty of encouragement when Thomas got down on the process. “As a comic, I used to test out new songs during sets to see if the funny bits were hitting, but since I wrote this in isolation I ended up writing lyrics and worrying less about making jokes,” Thomas says. That said, the album’s plenty funny. Stand-out and lead single “Rigamarole” opens with a Thomas-voiced infomercial that recalls his oft-cited lookalike Jim Carrey as the Grinch, before launching into a buoyant pop song about being depressed.\u003c\/p\u003e\n\u003cp\u003eWhitmer Thomas will admit that when he traveled home to small town Gulf Shores, Alabama to record his HBO stand-up special, The Golden One, he expected to be greeted as a returning hero, a conquering king, or at minimum, a guy with a moderately successful career as an entertainer in Los Angeles. “I expected a big welcome home, open arms, but when I went back I realized: nobody fucking knows me. Nobody remembers me,” Thomas says. “In the years I’d been performing that show, I’d been romanticizing my childhood in this mythologized place, but the visit made me see that I’m not really from there anymore.” \u003c\/p\u003e\n\u003cp\u003eThe sense of alienation compounded when Thomas recognized how few people in town remembered his mom, to whom The Golden One is dedicated and largely about. Thomas grew up watching her perform with her twin sister at the legendary Flora-Bama Lounge, where he set the special, and still counts her as one of his musical influences. His new album, The Older I Get the Funnier I Was, isn’t overtly about his mom, her presence is deeply felt throughout. While in Gulf Shores, Thomas discovered dozens of her old recordings, all of which had been wrecked by Katrina, but upon returning to LA, Thomas paid “a fancy place in Hollywood” to fix the tapes and hired Melina Duterte (Jay Som, Bachelor, Routine) to mix them. The two struck up a collaborative friendship, and as the pandemic forced everyone indoors, Thomas had the sound of his mom’s voice back. “I was listening to songs she recorded when she was about my age, just these heartfelt, sweet Americana songs,” he says. “I decided then that I wanted to lose the Ian Curtis voice I always sing with; I wanted to do what came naturally, because my mom always sounded like herself, even when she was singing some cheesy reggae song about, like, Jamaica.”\u003c\/p\u003e\n\u003cp\u003eIf you’ve heard Songs from the Golden One, released by Hardly Art to acclaim after the special premiered, or seen Thomas’ viral lockdown hit “Big Baby” then you know the voice to which he’s referring: it’s deep, British, melancholic, and a far cry from Thomas’ chirpy speaking voice which he describes as being “like a 12-year-olds.” Nevertheless, he committed throughout the process of writing and recording The Older I Get the Funnier I Was, knowing it was time to retire his darkwave persona, at least for the time being. It makes sense: much of the album chronicles what Thomas calls “being a kid and feeling like you have no control and overcompensating by being annoying.” \u003c\/p\u003e\n\u003cp\u003e“So much of the album is about witnessing drug and alcohol addiction as a kid and seeing what it does to people, but also realizing that there's nothing you can do about it,” Thomas says. It’s familiar territory (see: “Partied to Death”) but the methodology feels totally different this time around; true to its title, The Older I Get the Funnier I Was isn’t always looking for laughs.\u003c\/p\u003e\n\u003cp\u003eSoon, Thomas will take these songs on the road as part of a new comedy show, but for now they exist simply as a product of a particularly confusing moment in his life, when home started to feel less like Alabama and more like Los Angeles, and yet he still couldn’t shake the hardwired desire to resurrect childhood, make it somehow cinematic. Thomas might’ve left his hometown behind, but his kid self is still tagging along, a Peter Pan shadow he can’t untether himself from. The first line he sings on The Older I Get the Funnier I Was is: “There should be a room at every party where you can just sit and watch a movie.” Find a 12-year-old who wouldn’t say the same.\u003c\/p\u003e","brand":"Whitmer Thomas","offers":[{"title":"Color LP","offer_id":39523417653344,"sku":"731520","price":23.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39523417620576,"sku":"731526","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/whitmerthomas-theolderigetthefunnieriwas-frontcover-3600x3600.jpg?v=1659129277"},{"product_id":"bloods_together-baby","title":"Together, Baby!","description":"“This is definitely our most thought out record to date” says Bloods frontwoman and main songwriter MC. “It’s the album we’ve had the most time to flesh out and the first one we’ve made ourselves.” \n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eSince releasing their debut EP Golden Fang, the Sydney-based three-piece have been consistently gracing stages in Australia and the US. Early 2020 saw them gearing up for another big run – putting the finishing touches on their most recent EP, Seattle, following another successful US tour, where they recorded said EP in the town that inspired it – when, like most of the world, they found themselves caught in the middle of covid related lockdowns.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e“We had finished recording our EP and were all feeling so enthusiastic about what was ahead,” says drummer and chief video director Dirk Jonker, who along with Bassist\/Producer Mike Morgan make up Bloods. “It was all so strange going from touring the US and recording an EP in Seattle to being forced to stay at home with no real clarity about what the world would look like beyond lockdown.” \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eWith no shows to support Seattle, it became obvious the approach to how they functioned as a band had to pivot drastically “I was writing without having any sense of when we would be able to play music in a room together again.” says MC. “Writing became a way for me to distract myself through lockdown. I’d build these songs in Garageband and then email them to Dirk and Mike. In retrospect I think it was a way for me to keep the enthusiasm going and remind myself and them that there was a world outside our four walls that we use to be a part of.” As she shared the songs with her band mates one thing became obvious – the songs were banking up and feeling more and more like a body of work. “I had a ZOOM catch up with the guys and put it to them that we could write an album in a way we’d never done before – by correspondence, giving each of us time to spend with the songs, coming up with our parts individually” says MC “I would send the song over to Dirk first, removing the programmed drums I’d put in and he’d come up with a beat and send that track over to me. I’d then layer my vocal and guitar part over that and send it over to Mike to come up with a bass part. I’d then add any additional parts and finish off the demo that way. It was a weird way to do it, but it worked.”\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eWithout realising it, the group’s signature sound of slapdash, shambolic garage fun, subtly shifted into a new and slightly more sophisticated era. “We knew we wanted to expand our sound,” says Morgan who engineered, produced, and mixed the album. “But we were so used to bringing the songs together in a room, together. We knew from the get-go that we wanted to take care of all the production ourselves, so the three of us discussed the arrangements and ideas at length, which meant that by the time we DID get into the studio the songs were all well thought out. It was great too because it was the three of us as a unit - like a gang - on this mission.’ \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eThe first song we had the chance to put down as a band was ‘BOSS’ and it feels like that set the tone for where we wanted to take this album.” When lockdown momentarily lifted at the end of 2021, the band headed into Sydney’s revered Studios 301, with Morgan behind the desk and put down their first single from the record, ‘BOSS.’ “We recorded all of ‘BOSS’ in one evening” says Jonker. “We were working on the arrangement right up until Mike pressed record. There was a real energy in the room that we carried into the rest of the album. For me, it was the most fun and most comfortable I've felt in the studio. Having Mike at the helm really made a difference - I was able try some things out on the drums that I might not have done in the past. It helps that he's a good friend as well as a bandmate!”\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eAs the songs took shape, the band went about finishing the record on their own, finding gaps between lockdown restrictions to get into the studio and get to work. “I feel like we inadvertently set ourselves the unspoken goal of getting a record together on which any song could be a single, so that was a challenge.” says Morgan. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eThe result of their efforts is Together, Baby!, the band’s most assured, experimental and ambitious album yet. Self-produced with Morgan at the helm, Together, Baby! sees Bloods seriously pushing the definition of punk rock. Opening with ‘Radical’, a reimagined Chilean protest song sung entirely in Spanish complete with chants (provided by MC’s mum and sisters) and horns. As Jonker’s heavy beat pummels through the sound of a cacelorazo (group clanging of pots and pans – a protest strategy used in Chile), the tone is immediately and unexpectedly set for how wide Bloods have set their sonic sights on this record.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eThrough this more adventurous lens, Bloods have managed to evolve the charm that has made them favourites in the garage punk scene the world over. The full-bore energy assault of ‘BOSS’ and ‘Devo’ hark to the band’s earlier EP and singles, while the glittering, emo-pop escape of ‘Thinking of You Thinking of Me’ that Jonker describes as “possibly my fave song MC has ever written for us” and the infectious ‘I Like You’ that sees the band teaming up with iconic punk Laura Jane Grace (Against Me!), both touch on the sparkling, ear-worm pop of the band’s preceding album, Feelings. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e“I think our songwriting\/arranging sessions during covid really helped give us a bit of extra time to make these songs the best they could be,” says Jonker. “And I feel like we pushed each other to do the best we were capable of, but we were all supporting each other at the same time and just grateful to be able to be making music together again,” Morgan follows up. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eWith the luxury of their close friendship as the ever-reliable anchor, it’s the unexpected moments on Together, Baby! that tell the story of how far the band has come. Album centrepiece ‘Chasing Constellations,’ a heartfelt acoustic song, started out as a garage rock thumper that Jonker initially penned for the Feelings album. “I remembered it when going into recording” says MC of the song. “I always really loved it but struggled with the melody a lot. We needed one last song and in the studio I said ‘hey, why don’t we try Dirk’s song as an acoustic’ and Dirk and Mike just thrashed it out, without me even having a melody for it at the time. It took me a few weeks to find what I wanted to say, but when it came together it was so hard to ever imagine it any other way.” \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eIt’s the surprise banger, the penultimate track on the record, ‘Take Aim’ that further exemplifies how much the band pushed themselves on Together, Baby! With the album done and first master sent for approval, MC threw a final spanner in the works – she didn’t think ‘Take Aim’ was done – she wanted to rework and re-record the entire vocal part. “Initially ‘Take Aim‘ was solid, but we all agreed it was fine; just not a standout and thanks to MC's ability to hear the missing 5%, a re-work of the lyric and the melody at the 11th hour pushed it into the stratosphere! Now it is one of my faves!” says Morgan of the tune. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eWhile Together, Baby! felt a very deliberate and apt title for this album – a lyric taken from the heartfelt album closer ‘Southern Light’ - it is also a reflection of how this album came to life. Starting with MC at the songwriting level and collaborating with Dirk and Mike on making those songs their own. Taking them into the studio with Mike heading up production, working on recording ideas with MC and Dirk to capture their expansive sonic vision and finally releasing them with videos crafted by Dirk, who collaborates closely with MC and drives all the creative direction. This is a band that does things together, baby, and the results is an album that oozes a tremendous amount of soul, innovation, and DIY ethos.\u003c\/div\u003e","brand":"Bloods","offers":[{"title":"Color LP","offer_id":39541705343072,"sku":"760100","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39541705310304,"sku":"760106","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/bloods-togetherbaby-3000px.jpg?v=1663263247"},{"product_id":"cumulus_something-brighter","title":"Something Brighter","description":"\u003cp class=\"x-scope qowt-word-para-2\" id=\"E184\"\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E185\"\u003eSomething Brighter\u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E186\"\u003e sees Alexandra a world away from the creative burnout she felt at the end of 2019. At the time, she had just wrapped up what would be the final leg of touring in support of the sophomore album \u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E187\"\u003eComfort World\u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E188\"\u003e, and found herself questioning what might come next. Rather than pursuing stage lights at the expense of a personal life, Alexandra was craving stability and balance. Not an uncommon desire for seasoned musical artists at the end of an album campaign. Falling in love, and moving from Seattle back to her college town of Bellingham, WA made even the most basic life details nostalgic. All of a sudden she was separated from her bandmates, building an emotionally mature partnership with her soon to be husband, and was surrounded by the scenery that inspired her to become a songwriter over 10 years ago. There was something ripe for reflection in moving back to the town where her creative life began, in an effort to build something completely new. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"x-scope qowt-word-para-2\" id=\"E190\"\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E191\"\u003eWith the distance between Seattle and Bellingham providing an insulating cushion, Alexandra was able to keep creative momentum moving by collaborating via email with her bandmate William \u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E193\"\u003eCremin\u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E195\"\u003e. Simultaneously she was starting a new career, so working remotely made keeping music in her life more attainable and less daunting. Music felt less like business, and more about genuine fun and experimentation. In another shift, she abandoned the guitar for musical typing and midi loops, building confidence in her ability to flesh out a recording with only voice and keys, enough for William to understand her overall vision and add his arrangement and production ideas. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"x-scope qowt-word-para-2\" id=\"E197\"\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E198\"\u003eFast forward a few months to 2020, and all of a sudden the world was paused in a surreal way. The language that William and Alex had developed by writing and recording remotely, was now a necessity and a lifeline. With more time to dwell on her thoughts than ever- Alexandra dug into the archives of her voice memos and \u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E200\"\u003eGarageband\u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E202\"\u003e recordings. Enlisting Andrew \u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E204\"\u003eVait\u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E206\"\u003e as a co-arranger, co-writer, and lead producer, the demos started going via email from Alexandra, to Wil\u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E207\"\u003el\u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E208\"\u003eiam, to Andrew and coming back as fully realized songs- suddenly there was enough for a record.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"x-scope qowt-word-para-2\" id=\"E210\"\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E211\"\u003eEventually, with a full album’s worth of songs and covid-tests largely available, studio time was possible. Andrew and Alexandra spent 3 days in the Hall of Justice, laying down vocals and tracking drums and guitars with bandmates Tom Fitzgibbon and Sebastien \u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E213\"\u003eDeramat\u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E215\"\u003e, Zooming in William as he and his wife were expecting their first baby.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"x-scope qowt-word-para-2\" id=\"E217\"\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E218\"\u003eGratitude and the bittersweetness of learning from the past are in the undercurrent of every song on \u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E219\"\u003eSomething Brighter\u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E220\"\u003e. What a beautiful thing to make mistakes and learn from them; to heal wounds, to love deeply, and to dance in your underwear. Despite being written and recorded during some of the scariest and darkest of times, these songs unequivocally reach for the light.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"x-scope qowt-word-para-1\" id=\"E222\"\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E223\"\u003eThe release of \u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E224\"\u003eSomething Brighter\u003c\/span\u003e\u003cspan class=\"qowt-font1-TimesNewRoman\" id=\"E225\"\u003e marks the initial offering from Cumulus on Share It Music. In furtherance of the label’s mission, a donation will be made to the Campaign for Southern Equality.\u003c\/span\u003e\u003c\/p\u003e","brand":"Cumulus","offers":[{"title":"Color LP","offer_id":39555463413856,"sku":"760120","price":27.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":39555463446624,"sku":"760121","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/cumulus-somethingbrighter-4000.jpg?v=1665779134"},{"product_id":"shana-cleveland_manzanita","title":"Manzanita","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eManzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It’s also the name of the brand new full length by songwriter, musician, visual artist, and writer Shana Cleveland. Subtle, powerful, and unafraid. We can’t actually tell you how much we love this record because you’d never believe us, so we’ll just say that it is her strongest and most personal album to date. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThese songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eNight of the Worm Moon\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman “Sun Ra” Blount and Octavia Butler, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eManzanita \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003econcerns the love that loves to love. “This is a supernatural love album set in the California wilderness,” Cleveland explains. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe combinations of words and song structure are so strong throughout that one hardly notices Cleveland’s nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It’s peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in “Mystic Mine,” with its “Mystic Mine Lane, cars rotting away\/ I feel so relieved to be\/ Back in the country.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Album starts off so strongly with the gorgeous, Mellotron-backed, angelic dirge “A Ghost,” and we’re off from there. These are domestic scenes, and bliss abounds, but it’s more about the utter weirdness of being a creature than anything, as in “Walking Through Morning Dew” with its “Little Ozzy crawling up my lap\/ To claw my playing mute\/ Sometimes in his face I think\/ I’m seeing you.” In “Mayonnaise,” a paean to the writer Richard Brautigan who she adores for his “\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003esweet and gently psychedelic California nature scenes\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e,” the song’s protagonist sings “Now I am a Californian\/ I never wanna leave the state again… I’ll write a thousand songs before I’m done.” Hopefully Cleveland will write at least that many. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThis is a love album that’s somehow populated with the insect world, ghosts, and evil spirits. Sonically, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eManzanita \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003esits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there’s a different sonic palette in use here. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eWhile Shana Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana’s solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord—little of which would have been out of place on her previous two solo records—Sprott also adds layers of synthesizer. And while synthesizers have a reputation for being \"unnatural\" instruments, Cleveland contends that “they are actually the best vehicle for conveying the sounds of nature (bugs, wind, birds, chainsaws--rural white noise); we used synthesizers as a way of recreating the atmosphere of being outside in the natural world while in the studio.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe natural world continues to inspire, in part because that’s her workplace. “Part of moving to California for me was living somewhere where writing outside was possible all year,” Cleveland says. The record was recorded around the time of having her first child, an experience which made her realize that she is not separate from nature, that none of us are. “I think of this as a Springtime record,” Cleveland says. “In California, Spring is the season when nature comes inside. The house is suddenly full of weird bugs. Everything is blindingly in bloom.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSo much of the pop music we love is propelled by those first blushes of infatuation and lust, but \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eManzanita \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003econcerns the kind of love that one can only experience with time, work, and devotion. “The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B),” she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you’ve heard it, surviving heavy shit (this is the first release since Cleveland’s successful treatment for a diagnosis of breast cancer at the start of 2022). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eA song like the fluttering orchestral pop number “Faces in the Firelight” delivers little gifts with each listen. At first it sounds like the singer says “Faces in the firelight\/ A blooming room inside the night\/ Do you love me like I do?” Which she does sing, but there’s a dramatic pause before Cleveland does add “youuuu.” And that is such a great and intentional riff on the usual love song, to intentionally posit self-love before also expressing devotion for the other.  It’s a little thing, but it’s real. And in that, it’s a big thing. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“Faces in the Firelight” is addressed to both her son in utero and her life partner (the also ridiculously talented guitarist, vocalist, songwriter, producer and longtime member of Shannon and the Clams, Will Sprott). “The song is about watching Will tend to a huge burn pile that was still going long after dark and realizing that out there in the dark field he looked like the ultrasound image we had on our fridge,” she says. “I was thinking that the greatest act of love might be  to wait for someone. To say, I’ll be here whenever you’re done, whenever you’re ready.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Shana Cleveland","offers":[{"title":"Color LP","offer_id":39588296065120,"sku":"731590","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39588296097888,"sku":"731592","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":39588296032352,"sku":"731594","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39588295999584,"sku":"731596","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/shanacleveland-manzanita-2400x2400.jpg?v=1672956409"},{"product_id":"dick-stusso_s-p","title":"S.P.","description":"\u003cp\u003eDick Stusso is a mess. The third album from everyone’s favorite increasingly unhinged rock phenom is a document of slow, full mental unraveling in a money-chasing saga set with a world in perpetual decay as its backdrop. With S.P., the man behind the Dick Stusso persona (specifically, California-based singer and songwriter Nic Russo, who is doing much better than his fictional counterpart) has created his most out-there and toothsome record to date, plunging his listeners into a world that might seem strange—that is, until they take a look at what’s actually around them too.\u003c\/p\u003e\u003cp\u003eS.P. is the first Dick Stusso record in four years, following his stellar Hardly Art debut In Heaven from 2018—but this latest missive is more of an indirect sequel to the buzz-building 2015 release Nashville Dreams \/ Sings the Blues, diving deeper into Dick Stusso’s crumbling psyche and dystopian surroundings. If our introduction to Dick was someone trying to pursue their dreams and turning into a failure as a result, S.P. reflects the moment where, in Russo’s words, “The character is becoming unlikable. He’s succumbing to what is taking place around him.” \u003c\/p\u003e\u003cp\u003eThe wild-eyed sounds on S.P.—spanning countrified rock duets, Guided by Voices-recalling anthems, and outro noise-burst sound experiments—are partially owed to the record’s protracted gestational period. Nearly half of its 18 songs were completed before the pandemic, when Russo decided to take a beat and allow the music to sprout new, weird buds in his rehearsal space. “I took my time and let these songs get as strange as they could be,” he explains, and after he completed the self-recording process, boards man and pal Andrew Oswald came in to mix down the record’s unique feel.\u003c\/p\u003e\u003cp\u003eThe result is a record that bridges the gap between the ultra lo-fi confines of Nashville Dreams and the lush echoes of In Heaven, with a few helping hands to fully flesh out Russo’s vision. In addition to being a “major musical influence” on Russo’s creative process at large, Grace Cooper (The Sandwitches, Grace Sings Sludge) contributes vocals to “Dinner for Two” and “Self Reflection (Deep)”; elsewhere, his father Marc Russo—a Grammy-winning saxophonist and longtime member of the Doobie Brothers—lays down expert horn arrangements on “Garbagedump #1.” “During the pandemic he had more downtime at home. We had talked about doing something collaborative with horns for a while,” Russo explains. “He had the time, and he’s so far out of my caliber as a musician, so it’s very serendipitous that it could happen. He made the song very special.”\u003c\/p\u003e\u003cp\u003e“This could be heaven, or it could be hell,” he croons over the song’s barroom sway, and that opening line picks up In Heaven’s titular thread while introducing the uncertainty hovering over S.P. “Things are great, but they’re also awful at the same time,” Russo explains while talking about the overall vibe. The haunted ballad “A Fairly Normal Guy” captures our protagonist listening to music on his phone while feeling “not quite right,” while the deceptively easy going “Dinner For Two” uses darkness to mask a warm, sunny perspective right underneath. \u003c\/p\u003e\u003cp\u003e\u003cspan id=\"docs-internal-guid-4b0c91c7-7fff-ee3c-8c1b-d5c09c1b6445\"\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e“If we can go out and just eat some good food, maybe we can be happy,” Russo states while talking about the thematic bent of “Dinner For Two,” landing on an unexpectedly optimistic conclusion: “After accepting certain things about the way we’re living, maybe it isn’t so bad in the end.” Surprising, maybe—but S.P. is full of twists and turns like that, further establishing Russo as a fascinating craftsman who’s never bound to do the same thing twice. Would you want it any other way?\u003c\/p\u003e","brand":"Dick Stusso","offers":[{"title":"Color LP","offer_id":39602932645984,"sku":"731620","price":23.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39602932678752,"sku":"731626","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/dickstusso-sp-4000.jpg?v=1675286497"},{"product_id":"spirit-award_the-fear","title":"The Fear","description":"\u003cp\u003eSpirit Award is the moniker for Seattle-based singer\/songwriter Daniel Lyon. The band's vision has always been to make something with intention, love, vulnerability, raw emotion, and authenticity that captures the human spirit. The sound has morphed into a feeling and sound that is motorik, psychedelic, fuzzy, ethereal, driving, and aggressive but still maintains some pop sensibilities, citing the work of Arthur Russell, Neu!, and Suicide among their inspiration.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe Fear album is an exploration of the supernatural, love, dreaming\/waking, and most of all facing the things that scare you or you think you can’t do, all encompassed in a warping and changing landscape, shedding your perceived notions of what you think life or the world is and being open to new ideas or experiences. The Fear is intended as a meditation, a release of energy and putting positivity and motivation for creating love and joy, challenging what you were raised in or what society tells you to believe. Finding what rings true to you based on your experience, enjoying the journey with plenty of room to ask questions and entertain the mystical.\u003c\/p\u003e\n\u003cp\u003eThe album was recorded in various places, houses, studios, basements and bedrooms by Daniel, then co-produced and mixed at Way Out in Woodinville, Washington by Trevor Spencer (Beach House, Father John Misty, Valley Maker). Spirit Award has chosen to donate a portion of proceeds to MusiCares, which provides a safety net of critical health and welfare services to the music community.\u003c\/p\u003e","brand":"Spirit Award","offers":[{"title":"Color LP","offer_id":39648423411808,"sku":"760140","price":27.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":39648423444576,"sku":"760141","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/spiritfrontcoverthefearfinal.jpg?v=1683322080"},{"product_id":"ill-peach_this-is-not-an-exit","title":"THIS IS NOT AN EXIT","description":"\u003cp\u003eHere’s the thing about ill peach: this band exists because they are too weird to not exist.\u003c\/p\u003e\n\u003cp\u003eThe seed of ill peach was first planted in the recording studios of New York City where Pat Morrissey and Jess Corazza were working together as professional songwriters, collaborating with artists like Icona Pop, SZA, Weezer, Pharrell, Big Freedia, and others. Then came the day they were offered their own publishing deal. Cool, right? Well, about that.\u003c\/p\u003e\n\u003cp\u003e “Everyone kept saying, ‘The stuff that you’re writing is slightly too left-of-center—weirdo stuff,” remembers Morrissey. “Why don’t you start your own project?”\u003c\/p\u003e\n\u003cp\u003eThus ill peach, a pop band with a punk streak and a taste for both the rotten and the sweet, with an approach to making music that goes something like: “Do you want to pick up a guitar and do you want to be on this water jug and we’ll record it on the iPhone and create some weird drum pattern?”\u003c\/p\u003e\n\u003cp\u003eFollowing a series of well-received EPs on their own Pop Can Records (a record label and artist collective Morrissey and close collaborator Jesse Schuster run with friends), a digital single for Hardly Art’s 15th anniversary series, and some colorful music videos that crystallized the band’s visual aesthetic along with their sound, ill peach’s “weirdo stuff” comes to fruition on first full-length THIS IS NOT AN EXIT: a collection of anthemic songs built out of bright pop and gritty experimental elements (Morrissey names the sculptural use of distortion on the final albums by Low as an inspiration), punctuated with hooky choruses ready to be screamed along to in the safety of your own bedroom or with a bunch of friends at one of ill peach’s intense live shows.\u003c\/p\u003e\n\u003cp\u003eIf ill peach first blossomed in New York, it took quarantine in Los Angeles for the project to ripen. Corazza describes it as a time when “the veil of the music industry fell down—you couldn’t put on a facade anymore because everything was too fucking real.” The end of the world turned out to be what ill peach needed to get real with themselves. “It helped us creatively to zone in and removed us from the [industry] side of things to where we could just be like: this is our new identity, let's jump with both feet.”\u003c\/p\u003e\n\u003cp\u003eTHIS IS NOT AN EXIT’s title is a reflection of something Corazza realized during a period of personal and familial crises. “I kept walking into buildings and I’d try to exit somewhere and the sign would be like, ‘This is not an exit,’” she says. “It just felt like a metaphor for a hopeful thing—don't give up yet.” The combination of hope and anxiety is all over This is Not an Exit, reflected in a sonic palette (Alternative! Electronica! Indie! Radio Pop! Coldplay!) as eclectic as it is unpretentious.\u003c\/p\u003e\n\u003cp\u003eOpening track “BLOOM” is a euphoric song that tempers dream pop-like ethereality with New Order-ish synthesizers and propulsive breakbeats. Next is driving “BLAH BLAH BLAH,” an angsty pop song about language losing its meaning in the face of information overload, a real “flip the couch” number, if you will (just try not to sing along when the chorus hits.) Then comes the dynamic “HUSH,” a buzzing loud-quiet-loud rock anthem that you’ll swear has been on the radio since 1995, ill peach’s very own “Rage Against the Machine song,” as Morrissey puts it. \u003c\/p\u003e\n\u003cp\u003eThe softer side of ill peach comes to the fore on “HEAD FULL OF HOLES,” where Corazza and Morrissey blend electronic and rock elements on a trip-hop indie pop track about the dangers of living in the past. On the soothing “CAPILLARY BED,” which was made primarily on an OP–1 synthesizer, Corazza’s vocals sound more angelic than ever as she uses the metaphor of blood vessels delivering nutrients to the body to describe the magic of human connection. (“Weirdo stuff,” remember?)\u003c\/p\u003e\n\u003cp\u003eUltimately, says Corazza, THIS IS NOT AN EXIT is a record about healing, a process often spoken about in New Age-y terms but one that in reality can be really confusing and, yes, weird. But it is the beautiful strangeness of being alive that ill peach capture so well on This is Not an Exit. The band’s unabashed embrace of their own zany impulses enhances the honesty at the heart of their songs, because what is zanier than unpredictability of human emotions in the face of life’s challenges? What is more beautiful than coming out the other side with greater wisdom and compassion for yourself and others? As Morrissey says: “You can't run away—you gotta just face these things.” That’s a song worth singing along to.\u003c\/p\u003e","brand":"ill peach","offers":[{"title":"Color LP","offer_id":39745860337760,"sku":"731710","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39745860370528,"sku":"731712","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39745860403296,"sku":"731716","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/illpeach-thisisnotanexit-3600x3600.jpg?v=1690841315"},{"product_id":"derrick-brown_a-close-shave-with-heaven","title":"A Close Shave With Heaven","description":"\u003cp\u003eNot enough has been said about Derrick Brown’s new classic comedy and poetry album. His popularity has grown enormously, comparatively, to other comedian poets. It began with his years as a paratrooper for the 82nd Airborne, (which he is prone to mention every time the lunch bill is set down on the table.) His love for poetry grew from the foxhole to the coffee house. Soon his pairing of comedy with poetry would take hold at All Tomorrow’s Parties in 2009, a ‘cool’ fact he will mention after two beers.\u003cbr\u003e\u003cbr\u003eShould he be in films? His destructive good looks, shocking sensitivity and personal hotline to the heavens make him a winner in our book... and that’s a book that isn’t selling that great! \u003cbr\u003e\u003cbr\u003eThere is a triumphant atmosphere to this record. If sadness is\u003cbr\u003ethe absence of stupidity, then this record is madcap stupid. The listening pleasure is maximized by Brown’s smooth-as-yogurt voice. On behalf of all of us at the label, we humbly thank you for listening and buying a back-up copy in case this one melts.\u003c\/p\u003e","brand":"Derrick Brown","offers":[{"title":"Color LP","offer_id":40016072474720,"sku":"760761","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/ScreenShot2024-01-08at1.04.33PM.png?v=1704747899"},{"product_id":"mega-cat_mega-cat","title":"mega cat","description":"\u003cp class=\"x-scope qowt-word-para-0\" id=\"E151\"\u003e\u003cspan class=\"qowt-font2-TimesNewRoman\" id=\"E152\"\u003emega cat is a disembodied multidimensional being most discernibly experienced as sound waves. It was first discovered in a basement home studio in the Central District of Seattle, Washington by audio chemists Aaron Benson (drums, percussion, guitar) Kim West (synthesizer, piano) and Ryan Devlin (bass, guitar.) Upon first encountering mega cat, all three researchers experienced a loss of time, body dissociation, euphoria, and ego death. Reports of holographic thought, enhanced perception, and minor instances of levitation have been widely documented from just one encounter with mega cat. Though the being doesn’t seem to use traditional language to communicate, mega cat transmits instrumental narratives that feel familiar to fans of 20th century science fiction, afro-beat, hip hop, and psychedelic music. In a rare interview, the creature stated “mega cat is mutant. mega cat isn’t done mutating.”\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"x-scope qowt-word-para-0\" id=\"E153\"\u003e\n\u003c\/p\u003e\u003cp class=\"x-scope qowt-word-para-0\" id=\"E155\"\u003e\u003cspan class=\"qowt-font2-TimesNewRoman\" id=\"E156\"\u003eArchaeologists are now linking artwork found in early human settlements with the stories being “transmitted” via mega cat’s music. The now famous graphic cave etchings of battles between animals appearing to be giant rodents and amphibians seem to be mirrored in the recent mega cat transmissions “Rat Fight” and “Good Newts.” Largely derided as a hoax, the woman claiming to be Sarah Connor from the year 2029 was recently verified to be a genetic twin to actress Linda Hamilton. How, then, is this woman 20 years Hamilton’s junior? The synchronicity of mega cat’s twin “Ballads of Sarah Connor” parts I and II is again tough to explain. Are these coincidences some sort of massive publicity stunt on the part of label Share It Music and distributor Sub Pop Records? And, if so, to what end? Is mega cat trying to tell us something we’ve yet to fully discern?\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"x-scope qowt-word-para-0\" id=\"E157\"\u003e\n\u003c\/p\u003e\n\u003cp class=\"x-scope qowt-word-para-0\" id=\"E159\"\u003e\u003cspan class=\"qowt-font2-TimesNewRoman\" id=\"E160\"\u003eIn public appearances to the audio and scientific communities, Benson, West and Devlin are joined by Dave Dederer (Presidents of the United States of America) on guitar and Daniel Weiss (The Sextones) on percussion. Though mega cat shifts shape, the clearest imagery of the disembodied being has been transcribed by the Japanese born, Seattle based illustrator and muralist Shogo Ota (tiremanstudio.com). The world has been promised a complete transcription of mega cat’s messages to date sometime in February of 2024.\u003c\/span\u003e\u003c\/p\u003e","brand":"mega cat","offers":[{"title":"Color LP","offer_id":40266538254432,"sku":"760161","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40266538221664,"sku":"760166","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/mega-cat-mega-cat-album-cover-by-shogo-ota-3000px-300dpi.jpg?v=1707952334"},{"product_id":"youbet_way-to-be","title":"Way To Be","description":"\u003cp\u003eNick Llobet (they\/them) was ready to throw in the towel. Llobet, who grew up in South Florida, learned to play guitar at a very young age, dabbling in everything from classical, blues, classic rock, and flamenco. They’d spent much of their early 20s searching for their voice as an artist and as an individual, as well as for a musical community. Llobet would eventually move to Brooklyn, but after three years of looking for a hopeful artistic breakthrough, they spent much of their time in seclusion, consumed by social anxiety and imposter syndrome—and they were considering abandoning songwriting completely. \u003c\/p\u003e\u003cp\u003eOne day, while commuting through Penn Station and en route to their partner’s family home in Virginia (that would also lead to the crucial purchase of a secondhand Tascam cassette recorder), they noticed Patti Smith sitting alone, waiting for a train. The typically shy Llobet decided to approach the icon, who was, in turn, delighted to see that Llobet was carrying a guitar. At the end of their interaction, Smith offered some parting wisdom: “She wished me luck and said, ‘Practice hard, Nick.’” \u003c\/p\u003e\u003cp\u003eLlobet took her advice to heart, and this chance encounter kicked off a personal and artistic rebirth. They started performing as youbet, a play on their last name, and began “changing [their] vision for what a song could be.” Eventually, this journey resulted in youbet’s latest record, Way To Be. Across 12 delightfully off-kilter tunes, Llobet uses wordplay and tongue-in-cheek humor to obliquely explore dysfunctional relationships, regret, self-confidence or the lack thereof, queerness, and self-discovery. Fuzzy at the edges and filled with playful, kinetic arrangements, Way To Be is a bridge into the entrancing world of youbet. You won’t want to leave.\u003c\/p\u003e\u003cp\u003eWay To Be arrives four years after youbet’s debut, Compare \u0026amp; Despair, a delightful gem of a record that showcases Llobet’s propensity for freewheeling whimsy and emotional intensity. In May 2019, they were inspired by a song-a-week writing group that produced Compare \u0026amp; Despair. Llobet decided to helm a second club in which contributors would upload that week’s song to a private Bandcamp. Invigorated by this small musical collaboration, the feedback, and the accountability, Llobet wrote 18 songs throughout the duration of the club (Twelve of these songs became Way To Be). \u003c\/p\u003e\u003cp\u003eAfter this songwriting marathon, Llobet spent 2020 focusing on instrumental guitar work and political engagement. By the summer of 2021, they were ready to revisit the Way To Be tracks. Over the next year-and-a-half, Llobet worked on the record relentlessly, refining the lyrics, recording, and arrangements from their apartment. Llobet self-produced Way To Be and describes the process as an enormous, labor-intensive undertaking that felt akin to “making a whole film.” Along the way, Llobet was joined by collaborators, including Julian Fader (Ava Luna), Adam Brisbin (Buck Meek), and Daniel Siles. \u003c\/p\u003e\u003cp\u003eLlobet is also an abstract storyteller, preferring to structure songs around snapshots of their life. Take “Carsick,” Way To Be’s lead single, which dances around Llobet’s frustration with their own addictive personality. “I tend to do things in excess, I like to party, sometimes a little too hard,” they say, “I wish I could be more in control of myself, hence the lyric ‘Knowing when to stop\/It must be sweet.’”\u003c\/p\u003e\u003cp\u003eMany of these songs touch on the duality of self-love and self-loathing, like on the downcast “Nurture.” But even when the subject matter is heavy, playfulness is an intrinsic part of Way To Be. Across the album, darkness is regularly softened by Llobet’s inclination towards lightheartedness. “Seeds of Evil,” a topsy-turvy study of self-criticism, plays with this contrast, pairing a lovely melody with devilish lyrics about losing perspective. “It’s choose your own adventure music,” Llobet says. “I like to keep listeners on their toes.”\u003c\/p\u003e\u003cp\u003eIndeed, the songs on Way To Be are unpredictable, and each listen offers the opportunity to dig into a new aspect of the album, from Llobet’s distinctively high voice to their complex guitar playing. “Peel,” which combines the Flamenco guitar techniques Llobet studied as a teen with a rhythm inspired by Maybelle Carter, is especially invigorating. The most labor-intensive track on the album, Llobet says that “Peel”’s lyrics—“I tried a dream\/And took it too far”—reflect their exasperated mental state during the writing process. Through its nods to Llobet’s musical education and Miami beaches, “Peel” connects their past and present. \u003c\/p\u003e\u003cp\u003e\u003cspan id=\"docs-internal-guid-0b0f8224-7fff-9acf-57e8-4e6b4aef71aa\"\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eLlobet concludes, “Every song I birth is an opportunity to reinvent myself and gives me a chance to perform through a different spiritual filter. Each song is like a creature that lives within the depths of my soul, waiting to be written. I have this growing collection of spirit demons that keep me company in my creative life.”\u003c\/p\u003e","brand":"youbet","offers":[{"title":"Color LP","offer_id":40297793814624,"sku":"731760","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40297793880160,"sku":"731762","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40297793847392,"sku":"731766","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/youbet-way2be-3600x3600.jpg?v=1708724378"},{"product_id":"chris-cohen_paint-a-room","title":"Paint a Room","description":"\u003cp\u003eChris Cohen was always a quiet kid. In fact, this introversion was one reason he began playing music as a toddler—to communicate without speaking to identify with others without the direct representation of words. It has worked, too, with Cohen’s terrific stint in the mighty Deerhoof and his own captivating art-rock act The Curtains, preceding production and session work for the likes of Weyes Blood, Kurt Vile, Le Ren, and Marina Allen. Somewhere along that long way, Cohen started writing lyrics. He found that, though it didn’t come naturally, the process offered a new sense of self-discovery and reckoning, a way to see himself and the world from unexpected angles. His three twilit albums of casually complicated pop during the last decade radiated these epiphanies: handling family strife, navigating advancing age, and understanding social woes.\u003c\/p\u003e\u003cp\u003eBut Cohen has never had as much to sing so directly as he does on Paint a Room, his first album in five years and his debut for Hardly Art. If Cohen’s meanings have previously lurked inside the tessellated musical layers he built alone, they are newly clear and resonant here, animated and underscored for the first time by a band playing in real time. There is the endless miasma of state violence on the subversively melodious opener “Damage,” the existential exhaustion of modernity on the horn-traced jangle “Laughing”: this is Cohen communicating with friends not only through his deep understanding of groove, harmony, and hook but also with his listeners through songs that croon of our uneasy little era.\u003c\/p\u003e\u003cp\u003eIn the past, Cohen made records in spells of isolation, phases when, as he puts it, he would “try to make my world a lot smaller.” He would play any of a dozen or so instruments until he stumbled upon something interesting, then slowly build upward and outward upon the idea. The method was solitary and stepwise, an act of accretion and deletion.\u003c\/p\u003e\u003cp\u003eCohen, though, has been playing live with bassist Davin Givhan, drummer Josh da Costa, and keyboardist Jay Israelson in some fashion for the better part of a decade. This time around, then, he built demos in the dusty garage of the suburban Altadena rental that smelled like old wood and gasoline and tried something new—he took the songs on tour with that crew, yielding total control by letting them fill in or flourish their own parts as they saw fit. They came back home and began recording as a band. \u003c\/p\u003e\u003cp\u003eCohen even called in a few friends to help, with Jeff Parker contributing the fluttering horn arrangement on “Damage,” and Parker collaborator Josh Johnson (who produced Meshell Ndegeocello’s Grammy-Award-winning album The Omnichord Real Book) supplying flute, sax, and clarinet arrangements throughout the record. It felt a little bit like producing someone else’s records, with Cohen given the chance to step back and evaluate others’ contributions to his own songs rather than scrutinize every little bit he made himself. This was a longtime ambition realized, another way of relating to others openly through sound.\u003c\/p\u003e\u003cp\u003eCohen, really, has never sounded so assured on a solo album, gliding above or sinking into this band that boasts a preternatural sense of feel. On “Damage,” as he surveys the way we lord power over people with less of it in most every walk of life, his voice lifts above Johnson’s horns like he’s looking for a way out. Cohen wrote “Sunever” for a transgender child in his life, while considering the violence that hard-and-fast categories can create. This song reminds us that we are “always in between,” that transitions are just a part of life.  With the hook, he sweetly sings his vow: “You’re gonna find a way.” Cohen is tender and vulnerable in the lead, his voice cracking with feeling as the tune presses forward toward a better future. Written by cutting and pasting phrases from the unemployment form he filled out at the pandemic’s start, the frolicking “Physical Address” considers what it is we all want for our lives, how we untether ourselves from the past in the present. On Paint a Room, Cohen’s music feels like a warm spring breeze, easy to love and gentle to feel. But it’s often carrying something heavy, as if blowing in from some unseen storm cloud.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eCohen had another hobby as a kid: transcendental meditation, a practice his parents taught him when he was six. It’s still part of his life, a window into observing his thought processes, habits, and relationship to the rest of the world. Making music—and, turns out, writing lyrics for it—works in a similar way for Cohen, as he’s able to understand and then articulate notions that wouldn’t be so easy with the absolutism of mere words. Paint a Room both reckons with reality and conjures an alternate one, where nighttime walks and a neighbor’s wind chimes offer endless escapes for the imagination, space for the mind to roam. Sublime and sunlit, these 10 songs consider dreamy new ways out of old predicaments, clearly stating the problem and dancing and singing their way somewhere new.\u003c\/p\u003e","brand":"Chris Cohen","offers":[{"title":"Color LP","offer_id":40746658300000,"sku":"731730","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40746658332768,"sku":"731732","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40746658365536,"sku":"731736","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/chriscohen-paintaroom-4800.jpg?v=1714161810"},{"product_id":"instant-crush_im-sorry-i-didnt-bite-my-tongue","title":"I'M SORRY I DIDN'T BITE MY TONGUE","description":"\u003cp\u003eThis album will forever be special to me, because it was never truly my intention to make an album. The first song that was included on this record was written in 2021, and the last in 2023. It truly encapsulates how I felt over the last 3 years. It captures how I found myself and who I wanted to be, while tapping into every emotion I have felt. Writing this album taught me how to speak up for myself as a person, and to say what is on my mind no matter how much fear saying those words might bring me.\u003c\/p\u003e\u003cp\u003eDuring this journey I have met and worked with so many incredible people who helped define both the sound of instant crush, and the sound of my musical voice. Fusing shimmery synths, electrifying guitar riffs, and penetrating vocals, the album is both catchy and relatable. Drawing inspiration from acts such as Bloc Party, the Killers, and Paramore, this album has something for everyone.\u003c\/p\u003e\u003cp\u003eIn partnering with Seattle nonprofit record label Share It Music, a portion of the proceeds from the album are going to our chosen charity, Joyful Heart Foundation. Since 2004, Joyful Heart Foundation has been a leading national organization with a mission to transform society’s response to sexual assault, domestic violence, and child abuse, as well as support survivors, and end this violence forever. For more information, please visit: \u003ca href=\"http:\/\/www.joyfulheartfoundation.org\/\"\u003ewww.joyfulheartfoundation.org\u003c\/a\u003e\u003c\/p\u003e","brand":"instant crush","offers":[{"title":"Color LP","offer_id":41381290115168,"sku":"7602012","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":41381290082400,"sku":"760206","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/instantcrush-imsorryididntbitemytongue-cover-3000x3000.jpg?v=1729812142"}],"url":"https:\/\/megamart.subpop.com\/collections\/format-color-lp\/black-marble.oembed","provider":"Sub Pop Mega Mart","version":"1.0","type":"link"}