{"title":"Loser (color) 2xLP","description":null,"products":[{"product_id":"earth_earth-2","title":"Earth 2","description":"\u003cp\u003eReleased 1\/93.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e2023:\u003c\/p\u003e\n\u003cp\u003eDid you know there are horses on the cover of Earth 2: Special Low Frequency Version? There are at least three in the right hand corner, gathered inexplicably near a white canvas tent, a human possibly perched among its folds. As widescreen and vast as the cover may seem, those little details—the horses, the possible human, the faint wisp of white clouds—give it depth and wonder, something to which the imagination can return.\u003c\/p\u003e\n\u003cp\u003eDid you know that the music on Earth 2—repressed now for its 30th anniversary, back in its original artwork, and accompanied by a riveting set of remixes that demonstrate the reach of what Dylan Carlson long ago called “ambient metal”—works much the same way? The surface is massive and obvious, the meat-paw riffs of Carlson and bassist Dave Harwell pounding and swiping and pawing at the speakers, a true bludgeon in three-dimensional sound. Listen, though, for the details in the corners, for the finesse beneath the force, and Earth 2 reveals new levels of depth and wonder.\u003c\/p\u003e\n\u003cp\u003eThe widespread impact of Earth 2 suggests that others have indeed been leaning in, listening to these minutiae and making something new of them. A masterpiece without many genre precedents, Earth 2 surely helped send doom metal down its more modern drone, ambient, and avant-garde avenues. Those descendants are obvious. Perhaps more surprising and gratifying are the ways it has influenced electronic music, modern composition, and even hip-hop by realigning our senses of tempo, time, and texture. See the 2023 digital\/ltd. LP companion piece, Earth 2.23: Special Lower Frequency Mix, for evidence from The Bug, Flowdan, Justin K. Broadrick of Godflesh\/Jesu, Robert Hampson of Loop, and Brett Netson of Built to Spill\/Earth. Earth 2 engendered a rearrangement of expectations, regardless of preferred form.\u003c\/p\u003e\n\u003cp\u003eThese are not obvious directions for Earth’s impact. Again, Earth 2 was never an obvious record. 30 years on, have we yet to grasp the enormity of Earth 2, an album that has continued its slow cycle of influence, uninterrupted? Probably not. Hell, most of us don’t even know there are horses on the cover.\u003c\/p\u003e","brand":"Earth","offers":[{"title":"Loser (color) 2xLP","offer_id":39769939935328,"sku":"701850","price":31.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":31826503008352,"sku":"701851","price":28.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826503041120,"sku":"701852","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556523356256,"sku":"701856","price":3.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/earth-earth2-1500.jpg?v=1581650355"},{"product_id":"the-vaselines_the-way-of-the-vaselines","title":"The Way of the Vaselines","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Vaselines have long been celebrated by musicians and music enthusiasts across genres and across the globe, including super-fan Kurt Cobain. Emerging in the mid-eighties under the wing of The Pastels’s Stephen McRobbie, The Vaselines came to define the sly wit and irresistible pop hooks of the era’s Scottish indie scene. Sub Pop's remastered reintroduction of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Way of The Vaselines\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is an opportunity for those already familiar with the Scottish band's brief career to delve deeper into their body of work, while those new to their music can experience firsthand why so many hold them in such high regard. Originally mastered from a cassette tape (and since remastered on much better equipment in the new millennium), \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Way of The Vaselines \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ecompiles the band's two EPs (\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSon of a Gun \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eand \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eDying for It\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e) and their sole LP release (\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eDum-Dum\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e). \u003c\/span\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThis 2023 edition is the first ever vinyl release of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Way of The Vaselines\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, which originally came out on CD in 1992.\u003c\/span\u003e","brand":"The Vaselines","offers":[{"title":"2xLP","offer_id":42386267439200,"sku":"701451","price":28.0,"currency_code":"USD","in_stock":true},{"title":"Loser (color) 2xLP","offer_id":39882100539488,"sku":"701455","price":28.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826547277920,"sku":"701452","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556521554016,"sku":"701456","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/13112.jpg?v=1581651481"},{"product_id":"the-postal-service_everything-will-change","title":"Everything Will Change","description":"\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-weight: 400;\"\u003eBefore embarking on their long awaited tour celebrating the 20th anniversary tour of their timeless \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGive Up\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, The Postal Service reflect on the album’s rapturously received 10th\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eanniversary tour via \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEverything Will Change–\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ea 16-track live set documenting that 2013 trek with live versions of Postal Service classics including the platinum-certified single “Such Great Heights,” “The District Sleeps Alone Tonight,” “Sleeping In,” “Natural Anthem,” and more, all performed live at the Greek Theatre in Berkeley, CA.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-----\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"docs-internal-guid-77f6c32f-7fff-9833-9bda-c920ce858dea\"\u003eThe Postal Service’s Everything Will Change live album will be available digitally for the first time on December 4th, 2020 worldwide through Sub Pop. The beloved band’s 15-track set, which features fan favorites ”Such Great Heights,” “The District Sleeps Alone Tonight,” “Sleeping In” and “Natural Anthem,” along with a cover of Beat Happening’s “Our Secret” and a rare live take on Dntel’s “(This Is) The Dream of Evan and Chan,” was performed live at the Greek Theatre in Berkeley, CA, during their 2013 reunion tour. This 2020 release of Everything Will Change was remixed by Don Gunn and remastered by Dave Cooley earlier this year, from the recordings that were originally released as part of the the 2014 concert film.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRelive that night by watching live performances of \u003ca href=\"https:\/\/youtu.be\/S9xsOJaeN60\" title=\"Link: https:\/\/youtu.be\/S9xsOJaeN60\"\u003e“The District Sleeps Alone Tonight,”\u003c\/a\u003e and \u003ca href=\"https:\/\/youtu.be\/Rh-DXisVUkU\" title=\"Link: https:\/\/youtu.be\/Rh-DXisVUkU\"\u003e“Natural Anthem”\u003c\/a\u003e now.\u003c\/p\u003e\n\u003cp\u003eA collaboration between Benjamin Gibbard (of Death Cab for Cutie) and Jimmy Tamborello (from Dntel), with Rilo Kiley’s Jenny Lewis, The Postal Service released Give Up, their one and only album, in 2003. That record went on to sell over a million copies and most of the band’s fans never had the chance to see them perform live. In 2013 and in celebration of the 10-year anniversary of Give Up, Sub Pop released an expanded, deluxe version of that album and the band reunited to tour the world. \u003c\/p\u003e","brand":"The Postal Service","offers":[{"title":"Loser (color) 2xLP","offer_id":39668608925792,"sku":"713970","price":28.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39668608958560,"sku":"713972","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32827139096672,"sku":"713976","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/PostalService_EverytingWillChange_2xLoser_MockUp.jpg?v=1712272002"},{"product_id":"six-finger-satellite_the-pigeon-is-the-most-popular-bird-remastered","title":"The Pigeon Is The Most Popular Bird (Remastered)","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e2023 colored-vinyl and CD reissue of \u003cem\u003eThe Pigeon Is the Most Popular Bird...\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFormed in 1990 in Providence, Rhode Island by J. Ryan (singer\/keyboards), John MacLean (guitar), Peter Phillips (guitar), Chris Dixon (bass), and Rick Pelletier (drums), Six Finger Satellite  quickly signed to Sub Pop and released the band’s first demo tape as the \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWeapon\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e EP.  \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFollowing \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWeapon\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Dixon left the group and was replaced by Kurt Niemand, and the band quickly jumped into making their debut full-length with Bob Weston (of Shellac, who later named a single \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Bird Is the Most Popular Finger\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e in honor of Six Finger Satellite). Released in 1993, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Pigeon Is the Most Popular Bird \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ewas the first release to truly capture the adventurous, biting spirit and sound of Six Finger Satellite. \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe album is a landmark of noisy, distressing post-punk, drawing influence from Gang of Four, The Birthday Party, and Wire while adding a healthy dose of the band’s own, unique sonic antagonism. Amongst the brittle rock tracks, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Pigeon Is the Most Popular Bird\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e has dashes of ahead-of-their-time keyboard and studio experiments that became more prominent on the band’s later albums, presaging LCD Soundsystem, DFA Records, and much of the early-2000s post-punk revival.\u003c\/span\u003e\u003c\/p\u003e","brand":"Six Finger Satellite","offers":[{"title":"Loser (color) 2xLP","offer_id":39647551357024,"sku":"714570","price":33.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39647551389792,"sku":"714572","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39647551422560,"sku":"714576","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/sixfingersatellite-pigeon-2400.jpg?v=1683157297"},{"product_id":"iron-and-wine_who-can-see-forever-soundtrack","title":"Who Can See Forever Soundtrack","description":"\u003cp\u003eThe live record was once considered a staple of an artist’s discography. A\u003cbr\u003edocument capturing a moment in time or perhaps reinventing older material\u003cbr\u003eas it was being given new life or perhaps showcasing a band at the height\u003cbr\u003eof their prowess, it was a standard release in every band’s catalog.\u003cbr\u003eRecently, the internet has made bootlegging almost non-existent as bands\u003cbr\u003especialize in offering board-quality downloads that can be equally as\u003cbr\u003eimportant as a band’s official releases. The live experience has always\u003cbr\u003ebeen the going-to-church portion of our communal experience, and the live\u003cbr\u003erecord should capture that spirit and energy. With those goals in mind, Iron\u003cbr\u003e\u0026amp;amp; Wine offer their first official live record with the career-spanning set Who\u003cbr\u003eCan See Forever.\u003cbr\u003e\u003cbr\u003eCaptured over two evenings at the historic Haw River Ballroom in\u003cbr\u003eSaxapahaw, North Carolina, Who Can See Forever finds Iron \u0026amp;amp; Wine in full\u003cbr\u003eflight, working their way through a catalog of songs spanning their twenty-\u003cbr\u003eplus-year career. The recordings happened deep into a three-year period\u003cbr\u003eby a band of assassins assembled by mainstay Sam Beam that included\u003cbr\u003ebassist Sebastian Steinberg (Fiona Apple, Soul Coughing), drummer Beth\u003cbr\u003eGoodfellow (Allison Russell, Better Oblivion Community Center), cellist\u003cbr\u003eTeddy Rankin-Parker and keyboardist Eliza Hardy-Jones (War on Drugs,\u003cbr\u003eGrace Potter). It was a creative period for Beam that rendered two albums\u003cbr\u003e(Beast Epic and Weed Garden) and garnered four Grammy nominations.\u003cbr\u003e\u003cbr\u003eWhile having performed many shows solo acoustic and known mostly as a\u003cbr\u003esinger-songwriter to those in the know, Beam has over the years\u003cbr\u003eassembled some of the most adventurous musicians when putting together\u003cbr\u003ehis touring bands. From members of Antibalas to Califone, Chicago\u003cbr\u003eUnderground Duo to Tin Hat Trio, Isotope 217 to Calexico, Beam has rarely\u003cbr\u003esought the comfort of straight interpretation. Taking as much inspiration\u003cbr\u003efrom Little Feat or The Talking Heads as he might from Tom Waits or\u003cbr\u003eLeonard Cohen, the musicians are cast in roles like actors with the hope\u003cbr\u003ethey bring something new and different night in and night out.\u003cbr\u003e\u003cbr\u003eWho Can See Forever offers a fresh listen to many of Iron \u0026amp;amp; Wine’s most\u003cbr\u003ewell-loved songs, including “The Trapeze Swinger,” “Boy With a Coin,” and\u003cbr\u003e“Naked As We Came,” while also showcasing more recent classics like\u003cbr\u003e“Thomas County Law” and “Monkeys Uptown” to name but a few of the\u003cbr\u003ealbums nineteen tracks.\u003cbr\u003e\u003cbr\u003eInitially intended as a live concert film, Who Can See Forever was shot\u003cbr\u003eover three years by director Josh Sliffe. Using the traditional concert film as\u003cbr\u003eits jumping-off point, Who Can See Forever digs into its subject matter\u003cbr\u003ethrough a series of interviews, moments in between, and unguarded\u003cbr\u003ebehind-the-scenes footage to put the viewer at the center of the Iron \u0026amp;amp;\u003cbr\u003eWine universe. Part concert film, part music documentary, and part\u003cbr\u003emeditative examination, both Who Can See Forever and its accompanying\u003cbr\u003esoundtrack are the perfect companion piece for existing fans and a\u003cbr\u003ewelcome entry point for new ones.\u003c\/p\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"Loser (color) 2xLP","offer_id":39777063075936,"sku":"716010","price":30.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39777063043168,"sku":"716012","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39777063010400,"sku":"716016","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/ironandwine-wcsf-3000px.jpg?v=1695421050"},{"product_id":"slift_ilion","title":"ILION","description":"\u003cp\u003eSLIFT’s ILION is a towering work of rock music, a steamrolling record that starts at the highest peak and never lets up. If that sounds overwhelming, trust that this Toulouse trio have you in good hands. Their third full-length feels massive and oceanic, merging the furious intensity of metal and the wigged-out guitar heroics of psych rock with post-rock’s epic sense of scale. ILION is the kind of music where you listen to it and think to yourself, “This came from only three people?” It sure did, and SLIFT’s utter ferocity is way more than a tempest in a teacup. It reaches outwards for miles and creates new zeniths within unforeseen horizons of rock.\u003c\/p\u003e\n\u003cp\u003eSLIFT is made up of brothers Jean and Remí Fossat and Canek Flores, who first met the brothers Fossat at (of all things) school. After the band formally came together in 2016, they quickly made their 2017 debut EP, Space Is the Key, which merged stoner rock’s heaviness with the sugar-rush qualities of garage rock. From there, things only got weirder: The trio experimented with faster tempos and bongos(!) on the following year’s full-length La Planeté Inexploreé, and in 2019, their KEXP session recorded at the Trans Musicales festival in Rennes became a viral sensation, racking up more than 1.4 million YouTube views.\u003c\/p\u003e\n\u003cp\u003eUMMON from 2020 represented SLIFT’s pivot towards the celestially crushing confines of psych-metal, marked by Remí’s rolling basslines and Flores’s relentless skin-pounding. But nothing in their already-estimable catalog could prepare you for ILION, a huge-sounding and melodically dense record that at once recalls Godspeed! You Black Emperor’s perpetually uplifting surge, the passionate burn of post-hardcore legends …And You Will Know Us By the Trail of Dead, Led Zep’s psychotic blues-rock mysticism, and the psychedelic swirl of Swedish experimental greats Goat. \u003c\/p\u003e\n\u003cp\u003eBut reducing ILION to a list of reference points would be missing the point—specifically, that you really have to sit down and experience this thing and let it take over your ear space. The record marks the band’s second Sub Pop release, following last year’s Singles Club 7” release of “Unseen” b\/w “The Real Unseen,” which were outtakes from the UMMON sessions and offered a mere taste of the pure expansiveness on display here. Over eight tracks and 75+ minutes, SLIFT unleash the fury with walls of guitar and multi-part song structures that make you feel as if you’re being taken on a true journey—from the pure oblivion of ILION’s title track and the stretched-out abandon of centerpiece “Weavers’ Weft” to the intense climax of the 12-and-a-half-minute epic “The Story That Has Never Been Told.”\u003c\/p\u003e\n\u003cp\u003eBut what is this journey? To hear SLIFT tell it, Joseph Campbell would be proud of the thematic path laid out before the listeners on ILION, which is named after the Ancient Greek word for the city of Troy and, conceptually speaking, picks up where UMMON left off: “This is an album constructed in the manner of a Homeric story,” the band explains. “Where the two records differ is that ILION is about human emotions and feelings, whereas UMMON was telling an epic story with a distant view. ILION represents the fall of humanity and the rebirth of all things in time and space.”\u003c\/p\u003e\n\u003cp\u003eHeavy shit, to be sure—but fear not, because you don’t need a 12-sided die and a copy of The Odyssey to get what SLIFT are dishing out on ILION. All you need are two ears, an open mind, and the willingness to be truly blown away.\u003c\/p\u003e","brand":"SLIFT","offers":[{"title":"Loser (color) 2xLP","offer_id":39777063895136,"sku":"716260","price":33.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39777063927904,"sku":"716262","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39777063960672,"sku":"716266","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/SLIFT_ILION_MockUp_Loser_RedBlack_Transp2_3840x2160_c910d56e-a4bf-447e-aa23-b8bc00df0bd0.jpg?v=1741202358"},{"product_id":"amen-dunes_death-jokes","title":"Death Jokes","description":"\u003cp\u003eAmen Dunes has always worked with an outsider’s verve, but as he approached his seventh album in fall 2019, it was clear to Damon McMahon that he needed to become an outsider to his own history. “I was tired of the music I’d become convinced I had to limit myself to.” Instead of embarking on a familiar project, he decided to become a beginner again, immersing himself in the fundamentals of both piano and the electronic music he’d grown up with at raves and clubs but never imagined himself able to make. Few Amen Dunes fans might have perceived the lasting effect such music had on his work, but with Death Jokes, these influences would become clear. This album also marks a change in thematic focus; through samples and lyrics, Damon is much more directly critiquing the way American culture exalts violence, coercion, and groupthink as societal inevitabilities.\u003c\/p\u003e\n\u003cp\u003eTo learn the piano, Damon hired the first teacher his local shop recommended, a psychic medium named Jonichi who had studied with Nadia Boulanger, a preeminent French conductor and music teacher who left lasting influences on everyone from Igor Stravinsky to Quincy Jones. Parallel to those tradition-focused lessons, Damon was teaching himself how to use Ableton and program drum machines, a departure for a musician who had long avoided working with “any technology more complex than a screwdriver,” but a homecoming for the kid who’d grown up to a soundtrack of techno and rap music.\u003c\/p\u003e\n\u003cp\u003eOne day that winter Damon felt a song coming on and recorded a voice memo as he sang along with the piano. The resulting demo eventually became “Round the World,” the nine minute penultimate track on Death Jokes which soon seemed prophetic. What first sounds like a heartbreak ballad— Made up my mind\/ I give up on you— later warps into a ghostly dirge—This world’s on fire\/ Nothing seems true. The haunted refrains of round the world, round the world and let it rattle, let it rattle, sounded quite different a few months later, when the pandemic took over around the world.\u003c\/p\u003e\n\u003cp\u003e“A lot of my songs come to me in full,” he says, but this one felt more like a channeling, like speaking to ghosts before they were ghosts. To write “Round the World,” a three-year process in total, Damon listened to the original voice memo and “took dictation, word for word, of exactly what the singer had sung.” Many of the tracks on Death Jokes had similar beginnings, a process he recalls with a raw disbelief. These songs almost seem to foresee the pandemic, but they’re more about the lingering effects those years have had on all of us, spiritually and emotionally. Their meaning morphed as the pandemic went on: at first they were reflections on our attachment to form, and to ourselves, and then they shifted into solemn indictments of our culture’s blind spots as we misjudge and attack, our veiled self-centeredness and self-importance masquerading as morality. \u003c\/p\u003e\n\u003cp\u003eThe plague’s coming, he sings on “I Don’t Mind,” another song written before covid took over the states. If they take me first, I’ll come back for you. This song “blossomed madly, starting with just the little harpsichords,” before including “drum loops from my R100,” and “wonderfully fucked” midi guitars, “wild double vocals, bass tracks from Sam Wilkes, digital chorus singers, an alarm clock, and a sarangi player coming in and out of the whole thing.” The song sounds like “the world’s on fire” because it was and still is. As he worked, Damon fought intense illness for most of 2020, first with Covid, then with lingering respiratory issues, and thirty lost pounds. \u003c\/p\u003e\n\u003cp\u003eThroughout this depleted state, two years and twenty-one failed collaborations passed. He was unable to find those who understood his unorthodox methods, this “loose, wild, self-propelled approach” that signaled a new direction for Amen Dunes. As he kept working, Damon saw the birth of his first child, moved cross country to Woodstock, NY, and dove repeatedly into the uncertain states of learning and losing. He knew he had to go it mostly alone this time, but not everything from that year was a wash; the collaborations that worked, however small, proved to be profound. The jazz bassist Sam Wilkes appears on a trio of songs, and Christoffer Berg (Fever Ray) and Kwake Bass (Tirzah \u0026amp; Dean Blunt) provided tracks on several others; sessions with Panoram and Money Mark also ended up in the final version of Death Jokes.\u003c\/p\u003e\n\u003cp\u003eThough the eerie, modern blend of folk and blues that Amen Dunes is best known for is very much present here, Death Jokes is a major departure, an ambitious electronic album that reveals new artistic abilities and concerns. On most songs Damon incorporated sounds, talking, and music pilfered from Youtube, and the vast collage of samples include Nadia Boulanger giving advice in French, an ancient music scholar’s lyre performance of the oldest written song in human history, protest chants, a grunting powerlifter, and bits of stand-up from Lenny Bruce, and others, included as “thought provocation and irritant.”\u003c\/p\u003e\n\u003cp\u003eThese fourteen songs function as an essay on the way America’s culture of violence, dominance, and destructive individualism has crescendoed and imploded in recent years. On “Exodus, Damon seems to sing in tongues: You say life is hard \/ Well at least you think it is\/ But it’s a joke\/ Some day we lose it. The imperative that follows— so use it — is garbled and chopped, as if the only way to deliver sincerity into our spiritual malaise is to smuggle it.\u003c\/p\u003e\n\u003cp\u003eOn “Mary Anne,” a ballad about the ways we fail and harm each other and an ode to the innocence that persists, you can still get the feeling that all our human mess is worth it: In purgatory we both got lost\/ When we meet again we will catch up, love. When a comment Damon made a few years ago about having never collaborated with women was interpreted by a journalist without curiosity, he felt compelled to publicly speak about the sexual abuse two women committed against him in his childhood. “Mary Anne” is a gentle song in a dark album, an attempt to forgive both the abuse and the ignorant retribution.   “Purple Land,” also speaks to the fragility of youth, this time as a time capsule for a child as she grows up in a dark and uncertain world—You’ll be all grown \/ I’ll be long gone  \/You’ll be living on the sun \/ If you ain’t careful, you’re gonna forget it.\u003c\/p\u003e\n\u003cp\u003eSeen as an essay, Death Jokes reaches a thesis in the last two tracks. These songs mourn “the soul atrophy and separation between us” but they mourn with hope that we might be able to move past the coldness of holding passing convictions above the more complicated truths inherent in this life. These are gospel songs. They’re spirituals that have clawed their way out of a culture dead-set on smothering the boldness that a spiritual life fosters. Yet there’s still humor here alongside open-ended questions. “I Don’t Mind,” a cheerful, bleating ode to everything we can’t understand, ends like a music box slowing down as the singer calls up someone who is about to die to ask, What’d you think of life on earth?\u003c\/p\u003e","brand":"Amen Dunes","offers":[{"title":"Loser (color) 2xLP","offer_id":40226457518176,"sku":"715550","price":32.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40226457485408,"sku":"715552","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40226457452640,"sku":"715556","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/AmenDunes_DeathJokes_MockUp_LP_USLoser_2000x1417_ebbdc416-c1ff-4ffc-b112-c59624fb2e73.jpg?v=1712253677"},{"product_id":"velocity-girl_ultracopacetic-copacetic-remixed-and-expanded","title":"UltraCopacetic (Copacetic Remixed and Expanded)","description":"\u003cp\u003eVelocity Girl formed in 1989 or so at the University of Maryland outside Washington DC, and shortly thereafter settled on the lasting lineup of guitarist Archie Moore (Black Tambourine), guitarist Brian Nelson (Black Tambourine), drummer Jim Spellman (Starry Eyes, Foxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), bassist Kelly Riles (Starry Eyes), and singer Sarah Shannon (Starry Eyes, The Not Its). The band combined English-inspired noisy shoegaze fuzz with scrappy US indie rock and classic ‘60s-style pop songwriting. A killer single on Slumberland and non-stop touring grabbed the attention of the indie-rock cognoscenti of the day, and, following a heated courtship involving both dinner AND dessert, Velocity Girl signed a contract on a car hood in Hoboken, New Jersey, making Sub Pop their home. \u003c\/p\u003e\u003cp\u003eIn 1992 the band began work on their debut album, Copacetic, at Easley Studios - once home base to the Bar-Kays and other classic soul bands - in Memphis with Bob Weston (Volcano Suns, Shellac) at the helm, and then mixed the album with Weston in Chicago. While the album had strong songs - pop tunes like “Audrey’s Eyes,” “Pop Loser,” and “Living Well” alongside ambitious explorations like “Pretty Sister” and “Here Comes” - the band had little experience with production and lacked the skills to “drive the boat” in the studio. As a result, the album turned out to be a rather stripped-down affair, lacking the lushness of their prior recordings. To the band’s ear it was jarring, and they soon realized this wasn’t the record they hoped to make. Bob Weston had done exactly what was asked of him and captured the sounds, but the band didn’t do its part to articulate a clear vision. But the band’s slot in the studio was over, and Polvo had just showed up to work on their album, so off Velocity Girl went to shoot the video for “Audrey’s Eyes.” Copacetic came out in 1993 and people seemed to like it just fine, but within the band there was a sense of disappointment to the point where most members couldn’t stand to hear the record.\u003c\/p\u003e\u003cp\u003eBetween then and now, the band learned a lot about recording, and Archie Moore developed a career in audio work, and the band finally decided to revisit Copacetic. After extensive digging, the 2” tape reels appeared in Jim’s ex-wife’s mother’s house, and in the spring of 2023 Archie began working on a remix.\u003c\/p\u003e\u003cp\u003eSong by song the new mixes emerged just as the band envisioned them. Soaring vocals from Sarah (who studied opera in college), chiming lead guitar, juicy fuzzed out rhythm guitars and clear pounding drums. The pop songs are much poppier. The sonic blasts are more powerful, and the record hangs together as a cohesive document that flows from song to song. The approach was not to make a 2024 sounding record but rather to go back to the 1992 mindset and create the record the band should have made then. The result, UltraCopacetic (Copacetic Remixed and Expanded), is an exciting alternate history of Copacetic. \u003c\/p\u003e\u003cp\u003eAnd, while they were at it, the band dug up and refreshed the rest of their studio material from the era: Ultracopacetic includes “Warm\/Crawl” from the Velocity Girl\/Tsunami split 7”, “Creepy” from the Crazy Town 7”, “Stupid Thing” from the Audrey’s Eyes 7”, and the unreleased album outtake “Even Die.” Topping it all off is the band’s complete five-song 1993 John Peel session, including two tracks that haven’t been heard since the original broadcast. UltraCopacetic is truly the definitive version of Velocity Girl’s first record.\u003c\/p\u003e","brand":"Velocity Girl","offers":[{"title":"Loser (color) 2xLP","offer_id":40964323836000,"sku":"716400","price":31.0,"currency_code":"USD","in_stock":false},{"title":"2xLP","offer_id":41195210408032,"sku":"716401","price":31.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40964323770464,"sku":"716402","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40964323803232,"sku":"716406","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/VelocityGirl_UltraCopacetic_MockUP_Black_2000x1417px.jpg?v=1724367600"},{"product_id":"suki-waterhouse_memoir-of-a-sparklemuffin","title":"Memoir of a Sparklemuffin","description":"\u003cp\u003eSuki Waterhouse’s music sounds like a collage of her inspirations, experiences, and emotions stitched together by honeyed vocal delivery, bright-eyed melodies, and evocative storytelling. It doubles as a mirror image of her life as a consummate creative, artist, actress, model, and mother, yet it also breaks the glass to unveil raw truth. She leans on an ever-evolving sonic palette to convey what she’s feeling—whether it be folky Americana, nineties alternative, turn-of-the-century indie, or handcrafted otherworldly pop. You’ll hear Suki’s longing in a swooning chorus, fearlessness in a crunchy chord, elation in a danceable waltz, and wonder in a soft coo befitting of a lullaby. Now, the platinum-certified songstress asserts herself as a versatile, vibrant, and vital presence on her 2024 double-LP, Memoir of a Sparklemuffin [Sub Pop]. \u003c\/p\u003e\u003cp\u003eShe faithfully followed a lifelong passion for music to her 2022 full-length debut, I Can’t Let Go. Adorned by “Moves” and “Melrose Meltdown,” it incited widespread critical applause from Variety, Nylon, NME, The Line of Best Fit, and more. Between headlining shows and touring with Father John Misty, “Good Looking” surged online, generating nearly a billion streams, going RIAA platinum, and paving the way for the Milk Teeth EP and her sold-out, headlining Coolest Place in the World Tour. Simultaneously, Suki’s life moved at lightspeed. She absorbed inspiration from a season of change earmarked by unforgettable moments a la gracing the stage of Lollapalooza 2023, performing on multiple continents, becoming a mom, and closing out the Gobi Tent at Coachella in 2024. \u003c\/p\u003e\u003cp\u003eAlong the way, she carefully assembled Memoir of a Sparklemuffin. Beyond listening to everyone from Camera Obscura to The Raveonettes, Bloc Party, and The Teenagers, she took advantage of her proximity to various collaborators.\u003c\/p\u003e\u003cp\u003e“I finished the record in the last few months of my pregnancy and turned my living room into a home studio,” she recalls. “I stopped going to big studios and enclosed myself at home for the last two months of being pregnant, and the best thing about LA is you can call up the most incredible musicians in the world and have them in your front room in 15 minutes!”\u003c\/p\u003e\u003cp\u003eShe brought this body of work to life with Executive Producer Eli Hirsch (courtship.) as well as Jonathan Rado (Weyes Blood, Father John Misty, Beyonce), Brad Cook (Bon Iver, War on Drugs, Snail Mail), Greg Gonzalez (Cigarettes After Sex), Rick Nowels (James Blake, Lana del Rey), and Natalie Findlay and Jules Apollinaire of the band Ttrruuces (with whom she co-wrote “Good Looking” and “OMG”). \u003c\/p\u003e\u003cp\u003eShe loosely tethered these 18 tracks to a transformative central concept represented by the Sparklemuffin spider….\u003c\/p\u003e\u003cp\u003e“I always put the past into what I make because I feel like you need to keep exposing darkness to sunlight. When it’s exposed, it heals. I wanted a totem of metamorphosis, but I didn’t feel like a butterfly. I felt more like a scrappy spider,” she laughs. “I came across the Sparklemuffin—which is wildly colored, does this razzle-dazzle dance, and its mate will cannibalize it if she doesn’t approve of the dance. It’s a metaphor for the dance of life we’re all in. The title felt hilarious, ridiculous, and wonderful to me. \u003c\/p\u003e\u003cp\u003eShe initially teased the record with “OMG,” “Faded,” and “My Fun,” drawing listeners into Sparklemuffin’s sticky stylistic web. The propulsive gallop of the single “Supersad” bursts out of the gate, kickstarted by fast-paced drum fills and garage-y guitars. On the hook, she reminds, “There’s no point in being supersad.” “I tried to write a nineties song you could hear playing at the mall in Clueless or as an opening track for Legally Blonde,” she smiles. \u003c\/p\u003e\u003cp\u003eThen, there’s “To Get You.” Recorded to tape and co-written with Greg of Cigarettes After Sex with production by Foxygen’s Jonathan Rado, her vocals glide over softly strummed acoustic guitar, a delicate bassline, and a distant backbeat. She exhales, “Honey, you’ll never know, what I did…to get you.”\u003c\/p\u003e\u003cp\u003e“I know I've experienced sadistic and fetishized love, and this song was about everything I had to go through in order to find love in a pure form,” she notes. “It’s a difficult journey to discover peace within yourself and share your heart with another person. I didn’t always imagine it for myself. You can picture a girl scouring the streets for ‘the one’.” \u003c\/p\u003e\u003cp\u003e“Blackout Drunk” intoxicates with its swinging handclap-laden bounce, woozy riffing, doo-wop harmonies, and chantable chorus. She sets the scene, “There’s always the guy who can’t keep his shit together on a night out. It just doesn’t need to happen! She’s furious and falling asleep next to him, but she can’t wait to wake him up and tell him all the shitty, embarrassing things that he did last night.”\u003c\/p\u003e\u003cp\u003e“Gateway Drug” illuminates the dynamics of the record. Drums lumber beneath her ethereal intonation as guitars rev up in a rush of distortion. “There’s a massive crash, and it’s a huge release of energy,” she smiles. \u003c\/p\u003e\u003cp\u003eAmong other standouts, “Model, Actress, Whatever” instantly transfixes, threading a lilting acoustic guitar melody through hazy verses. Emotion overflows on the swooning hook, “All of my dreams came true, the bigger the ocean, the deeper the blue, call me a model, actress, whatever.”\u003c\/p\u003e\u003cp\u003eUltimately, Suki’s unapologetically being herself on the album, and it’s wonderful to hear, see, and feel.\u003c\/p\u003e\u003cp\u003e“I just hope this can be the soundtrack to somebody’s life,” she says. “Whenever I'm making music, I always try to remember why I started writing in the first place and continue to do so. 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It also includes the brand new, previously unreleased song “I Guess Time Just Makes Fools of Us All.” \u003c\/p\u003e\n\u003cp\u003eFather John Misty has sold over 1.1 million copies in the US and has amassed over 11.7 million monthly listeners to date. He’s earned accolades from the likes of The Guardian, The Sunday Times, Rolling Stone, and has performed on Saturday Night Live, Austin City Limits, the Late Show with Stephen Colbert, and The Tonight Show. 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\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt was produced by Josh Tillman and Drew Erickson.\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt was engineered and additionally produced by Michael Harris.\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt was arranged by Drew Erickson.\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt was performed by Josh Tillman, Drew Erickson, Jonathan Wilson, Dan Bailey, Eli Thomson, David Vandervelde, Chris Dixie Darley, Jon Titterington, and Kyle Flynn.\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt was executive produced by Jonathan Wilson.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e It was recorded and mixed at Five Star and East\/West, United Studios, and Drew’s House. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMahāśmaśāna (\u003c\/span\u003e\u003cspan\u003eमहामशान\u003c\/span\u003e\u003cspan\u003e)— great cremation ground, all \u003c\/span\u003e\u003cspan\u003ethings going thither\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMMXXIV Sub Pop Records \u003c\/span\u003e\u003c\/p\u003e","brand":"Father John Misty","offers":[{"title":"Loser (color) 2xLP","offer_id":41280891224160,"sku":"716660","price":34.0,"currency_code":"USD","in_stock":false},{"title":"2xLP","offer_id":42338168176736,"sku":"716661","price":34.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":41280891191392,"sku":"716662","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":41280891158624,"sku":"716666","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/FatherJohnMisty_Mahashmashana_MockUp_LP_Loser_v1_2000x1417_90523f40-51e1-4856-9690-ad5ac7ed3ca1.jpg?v=1726263183"},{"product_id":"clipping_dead-channel-sky","title":"Dead Channel Sky","description":"\u003cp\u003eBecause of their mix of hellified gangster shit and progressive compositions, I once jokingly called Clipping “Death-row Tull.” Well, it’s not a joke anymore. While their last few projects have been record-long concepts like the classic prog rock of old, Dead Channel Sky is mix tape-like, a carefully curated collection of songs in which every track is a love letter to a possible present. Like a mashup of distinct elements, the overall concept is there, but the result is brief glimpses into a world rather than an overview of it. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it’s a reminder of how slipshod our present moment truly is.\u003c\/p\u003e\n\u003cp\u003eIn my book Dead Precedents: How Hip-Hop Defines the Future, I draw what Walter Benjamin would call correspondences between early hip-hop culture and cyberpunk literature, the binary stars of the solar system at the end of the millennium. I exploit their similarities to illustrate how the cultural practices of hip-hop have informed the cultural practices of the now. Hip-hop was borne of the post-apocalyptic scene in the South Bronx in the early 1970s. Its repurposing of outmoded technology, the hand-styled hieroglyphic screen names on every colorfast surface, and the gyrating dance moves—an entire culture forged from the freshest of what was available at hand—mirrors the post-apocalyptic techno-scrounge of William Gibson’s Neuromancer, Rudy Rucker’s Software, and other early works by the contributors to Bruce Sterling’s Mirrorshades anthology (Pat Cadigan, John Shirley, Lewis Shiner, and Sterling himself, among others). Add the leather-clad mohawks of Afrika Bambaataa and the Soulsonic Force or Rammellzee’s B-boy battle armor and a blend of the two comes further into focus.\u003c\/p\u003e\n\u003cp\u003eJuxtaposing high-tech, corporate command-and-control systems (the “cyber”) with the lo-fi, D.I.Y. underground (the “punk”), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. There are works before and works since that embody the visions and values of cyberpunk, but these dates act as rough parameters for their assimilation into the larger social sphere, for the time it took cyberpunk to become cyber-culture. In the meantime, hip-hop matured, went through its Golden Era, then melted into further forms. Over the same decades, it went from “Planet Rock” to “Bring da Ruckus” to “Hard Knock Life,” from Fab 5 Freddy to Public Enemy to Missy Elliott, from Run-DMC to N.W.A. to Notorious B.I.G. While other genres flirted with it, hip-hop was fickle and fey. Any tryst with the odd bedfellow was a one-night stand at best. Rap and rock birthed mutant offspring maligned by most, and hip-hop’s relations with electronica rarely fared any better.\u003c\/p\u003e\n\u003cp\u003eThose twin suns—hip-hop and cyberpunk—both rose in the 1970s and warmed the wider world during the 1980s and 1990s. What if someone explicitly merged them into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that’s long since moved on.\u003c\/p\u003e\n\u003cp\u003eOn Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle, are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum \u0026amp; bass, big beat—the detritus of a different timeline, the survivors of armed audio warfare. That war at thirty-three and a third, its atrocities imprinted upon yet another generation, what someone once called, “the presence of the significance of things” without a hint of ambiguity.\u003c\/p\u003e\n\u003cp\u003eClipping are very story oriented. They deal in ontology and narrative as much as beats and rhymes. They’ve been approaching making music like writing science fiction since the band’s conception. Two of their records have been nominated for Hugo Awards (one of science fiction’s top literary prizes), and a novella spun-off from their music was nominated for a third. As Clipping, they’ve collaborated with as many of their fellow experimental noise artists as they have fellow rappers. Here those co-conspirators include everyone from the guitarist Nels Cline on the outro to “Dodger” (titled “Malleus”) to their label-mates Cartel Madras on “Mirrorshades, pt. 2,” rapper\/actor Tia Nomore on “Scams,”as well the wordy wordsmith Aesop Rock on “Welcome Home Warrior.” Diggs is known for intricate lyrics and rapid-fire rapping, and the tracks that Snipes and Hutson build in the background are no less complex. On “Code,” they sample narrated memories from the Afrofuturist documentary The Last Angel of History; and on “Dominator,” they repurpose a line from the classic Dutch hardcore track “Dominator” by Human Resource. All of the above serves to give us a glimpse of an adjacent possible present, where hip-hop and cyberpunk are one culture.\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"docs-internal-guid-8dfb840a-7fff-3fb0-c40a-56ced277fa52\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBinary stars are often perceived as one object when viewed with the naked eye. Like those twin sun systems, it’ll take some special equipment and some discerning attention to pull the stars apart on this record. As Diggs barks on the fire-starting “Change the Channel”: Everything is very important!\u003c\/p\u003e","brand":"clipping.","offers":[{"title":"Loser (color) 2xLP","offer_id":41521913495648,"sku":"715750","price":30.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":41521913528416,"sku":"715752","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":41521913561184,"sku":"715756","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/Clipping_DeadChannelSky_MockUp_LP_US_2000x1417_4ea74849-12ea-46ed-8e59-d66ef89b9066.jpg?v=1736299091"},{"product_id":"six-finger-satellite_severe-exposure-deluxe-edition","title":"Severe Exposure: Deluxe Edition","description":"\u003cp\u003eSub Pop marks the 30th anniversary of Six Finger Satellite’s sophomore album, Severe Exposure, with an expanded double-LP edition of the album. In addition to the original album, Severe Exposure: Deluxe Edition includes a bonus 12” of the 1994 Machine Cuisine EP, and a download of 17 additional songs, including rare singles, compilation tracks, and unreleased material. All the material has been freshly mastered by JJ Golden, and the vinyl is packaged in a lovely slipcase with individual jackets for each LP. \u003c\/p\u003e\n\u003cp\u003eFormed in 1990 in Providence, Rhode Island by J. Ryan (singer\/keyboards), John MacLean (guitar), Peter Phillips (guitar), Chris Dixon (bass), and Rick Pelletier (drums), Six Finger Satellite quickly signed to Sub Pop for the Weapon EP. Shortly thereafter, they released their landmark 1993 debut, The Pigeon Is the Most Popular Bird, and then, in 1995, Severe Exposure. \u003c\/p\u003e\u003cp\u003eSevere Exposure foreshadowed the early ‘00s revival of post-punk and synth-oriented rock by adding synths to the band’s caustic, tense post-punk sound. 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In his words: “I’m always surprised at how much I love it and how important it was to us throughout our development as a band.” Severe Exposure is the band’s best selling album, and it was recorded by the band at their own studio, The Parlour, in Providence, RI. \u003c\/p\u003e","brand":"Six Finger Satellite","offers":[{"title":"Loser (color) 2xLP","offer_id":42118020268128,"sku":"716760","price":46.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":42124650610784,"sku":"716766","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/SixFingerSatellite_SevereExposure_Deluxe_Mockup_LP_US_2000x1417_d434f797-3f39-4e2b-bf7d-829c11ea7168.jpg?v=1752175941"},{"product_id":"flock-of-dimes_the-life-you-save","title":"The Life You Save","description":"\u003cp\u003e\u003ci\u003eI did not enter this world afraid\u003cbr\u003e\u003c\/i\u003e\u003ci\u003eAnd I refuse to leave it this way.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eFlock of Dimes – the solo project of multi-instrumentalist and producer Jenn Wasner – releases her third album, \u003cem\u003eThe Life You Save\u003c\/em\u003e, worldwide on October 10th, 2025, on Sub Pop Records.\u003c\/p\u003e\n\u003cp\u003eAcross the last few decades – whether it be as Flock of Dimes, as half of beloved duo Wye Oak, or via one of her many collaborations with Bon Iver, Sylvan Esso, and a sprawling list of other musical juggernauts – Wasner’s extensive catalog displays her gift for balancing authenticity and directness with an unmistakable left-of-center sensibility. Her songwriting has always found her as a keen-eyed observer, a deeply empathetic and thoughtful storyteller with a skill for probing memory, heartbreak, and unhealed trauma, a shroud of syncopation or off-kilter guitar taking a song somewhere quietly prodigious. \u003c\/p\u003e\n\u003cp\u003eHer last solo album, the critically-lauded Head of Roses, took on heartbreak from a dualistic perspective, following a winding thread of intuition into the unknown and into healing. Her new album, The Life You Save, takes that a step further; put simply, it’s the most honest, intimate and personally revealing record of Wasner’s career. As heart-wrenching as they are hopeful, its twelve tracks delve the depths of addiction and codependency, inherited and experienced trauma, and the process of finding peace in the face of others’ suffering. The Life You Save is resonant, unflinchingly exposed – like a missive from the eye of a storm. But while it somehow manages to feel both viscerally raw and vulnerable, above it floats a sense of quiet peace, a sheen of hindsight, or perhaps of acceptance. It is the story of how it feels to be trapped between two worlds—the one you came from, and the one you’ve escaped to; about the belief that somehow, you can take the ones you love with you to this place; about the grief of realizing that the only person you can save is yourself.\u003c\/p\u003e\n\u003cp\u003eThe Life You Save was produced by Jenn Wasner and recorded at Betty’s in Chapel Hill, NC, and Montrose Recording in Los Angeles, CA, and includes the highlights “Long After Midnight,” “Defeat,” “Afraid,” “Keep Me In The Dark,” and “River In My Arms.” The Life You Save also features additional production from Nick Sanborn (tracks 2, 3, 4, 7, 8, 11), is engineered by Adrian Olsen \u0026amp; Alli Rogers, mixed by Adrian Olsen, and mastered by Huntley Miller.\u003c\/p\u003e\n\u003cp\u003eJenn writes on The Life You Save:\u003c\/p\u003e\n\u003cp\u003e“My previous records, generally, have been a summary of things I had already been through— experiences I had observed and reflected upon, reporting back from some amount of distance. But this record is different. It is an attempt to report from inside of a process that is ongoing and unfinished, from which I will likely never fully emerge as long as I am alive: my struggle within the cycles of addiction and co-dependency. \u003c\/p\u003e\n\u003cp\u003e“I set out trying to make a record about \u003ci\u003eother \u003c\/i\u003epeople.\u003c\/p\u003e\n\u003cp\u003e“\u003ci\u003eTheir\u003c\/i\u003e problems, \u003ci\u003etheir\u003c\/i\u003e struggles, \u003ci\u003etheir\u003c\/i\u003e addictions.\u003c\/p\u003e\n\u003cp\u003e“I struggled for many years to give myself permission to write about this subject–worried that I was telling someone else’s story, a story that was not mine to tell. The work felt hazy and obscured; I was confused, and I struggled. The beauty of songwriting, at its best, is that it puts you in touch with your subconscious–a place where you can only tell the truth. Many of those truths were hard to accept.  Some I don’t, even now, feel fully ready to say. But through this process, I came to understand that I was struggling with this record because I wasn’t being honest with myself. I was so deeply entrenched in the system in which I was raised that I thought I was outside of it, and the ways in which I continued to participate remained invisible to me.\u003c\/p\u003e\n\u003cp\u003e“But slowly, painstakingly, through this work I began to realize—I am not apart from all of this. I have been performing my role from a distance, but I am still engaged, still connected: \u003c\/p\u003e\n\u003cp\u003e“I’m inside it, after all. \u003c\/p\u003e\n\u003cp\u003e“As it turns out, this record is not someone else’s story–it is mine, the story of my life. A life spent believing I had escaped, and that I deserved to feel guilty for doing so. A life in which I believed that the right combination of words, actions, effort, and expense could somehow change others’ behavior. And a life in which blindness to my own patterns caused me to hurt others, and prevented me from finding the true love and acceptance I yearned for. \u003c\/p\u003e\n\u003cp\u003e“The belief that you can rescue others comes from more than one place, internally speaking. The part that is easiest to see and acknowledge is the one that stems from love, good intentions, and a genuine desire to offer care and support. But there’s an uglier side, and that part is harder to look at—the ego, the pridefulness, the belief that you are better, stronger, somehow more deserving than all the rest. That through your attempts to control others’ behavior, you can somehow secure a sense of safety for yourself. \u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e“I know the rules, but I ignore them, \u003c\/i\u003e\u003cbr\u003e\u003ci\u003eI think I’m good enough to pull this off. \u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e“Or, more simply: \u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e“I think I’m god; I know I’m not. \u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e“For me, that was the puzzle piece that finally made it all make sense. But it was also the piece that was the hardest to hold. It took a long time for me to build up enough love—not for others, but for myself—that acknowledging this truth would not break me. I understand now that I’m not the savior, not the hero, not the chosen one. I’m spinning in my own wheel, a bundle of addictions and adaptations and blind spots, just like everybody else. And there is a beauty to that, along with a kind of freedom. \u003c\/p\u003e\n\u003cp\u003eIn the end, it is my hope that this record exists as a testament to the depth of my love for those I cannot save, and that it might provide some comfort for anyone who is still learning how to love and live for themselves.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFlock of Dimes\u003c\/b\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eThe Life You Save \u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eProduction Credits\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduced by Jenn Wasner\u003cbr\u003e\u003cbr\u003e\"Defeat\" produced by Jenn Wasner and Nick Sanborn\u003cbr\u003e\u003cbr\u003eAdditional production on “Keep Me in the Dark,” “Long After Midnight,” “Close to Home,” “Not Yet Free,” “Pride,” and “River in My Arms” by Nick Sanborn\u003c\/p\u003e\n\u003cp\u003eEngineered by Adrian Olsen \u0026amp; Alli Rogers\u003c\/p\u003e\n\u003cp\u003eMixed by Adrian Olsen\u003c\/p\u003e\n\u003cp\u003eMastered by Huntley Miller\u003c\/p\u003e\n\u003cp\u003eRecorded at Betty’s in Chapel Hill, NC and Montrose Recording in Los Angeles, CA.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePlayers\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eJenn Wasner - vocals, acoustic and electric guitars, bass, \u003c\/p\u003e\n\u003cp\u003esynthesizers, electronics \u003c\/p\u003e\n\u003cp\u003eAlan Good Parker - electric bass, acoustic, electric and tenor guitars, pedal and lap steel, mandolin, cello\u003c\/p\u003e\n\u003cp\u003eJacob Ungerleider - piano, synthesizers, pump organ, tenor guitar \u003c\/p\u003e\n\u003cp\u003eMatt McCaughan- drums and electronics\u003c\/p\u003e\n\u003cp\u003eTJ Maiani - drums\u003c\/p\u003e\n\u003cp\u003eNick Sanborn - synthesizer and modular processing \u003c\/p\u003e\n\u003cp\u003eAdam Schatz - saxophone and electronics\u003c\/p\u003e\n\u003cp\u003eMeg Duffy - acoustic guitar and sustainer guitar \u003c\/p\u003e\n\u003cp\u003eAdrian Olsen - modular processing \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCaroline Shaw - violin\u003c\/span\u003e\u003c\/p\u003e","brand":"Flock of Dimes","offers":[{"title":"Loser (color) 2xLP","offer_id":42153504374880,"sku":"715950","price":28.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":42153504342112,"sku":"715952","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":42153504309344,"sku":"715956","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/FlockOfDimes_TheLifeYouSave_Mockup_US_LP_2000x1417_f4e815dd-ca80-446a-bbf5-3d29b3afcc47.jpg?v=1753242613"},{"product_id":"velocity-girl_simpatico-remastered-and-expanded","title":"¡Simpatico! 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If it happens - a big if - it does so naturally, and perhaps nobody knows that better than Band of Horses, whose landmark debut Everything All The Time still, after twenty years, feels as vital and, dare we say, transcendent as when it came out in 2006.\u003c\/p\u003e\n\u003cp\u003eGuitarist\/vocalist Ben Bridwell formed Band of Horses in Seattle in 2004, after the end of his nearly ten-year run in northwest melancholic darlings Carissa’s Wierd. Carissa’s Wierd trafficked in beautiful orchestral pop, whose songs told unflinching stories of heartbreak and loss, leavened with defeatist humor. Band of Horses rose from the ashes of that well-loved band, buoyed by Bridwell’s warm, reverb-heavy vocals, and woodsy, dreamy songs oozing with tension, longing and hope. Armed with a fresh Sub Pop deal and a smashing batch of songs, the band recorded their debut full-length, Everything All the Time, with producer Phil Ek at Seattle’s Avast studios.\u003c\/p\u003e\n\u003cp\u003eAt times raggedly epic (“The Great Salt Lake”) and delicately pensive (“St. Augustine,” “Monsters”), Everything All The Time is an album painted gorgeously in fragile highs and lows. That’s part of the genius in Band of Horses: they craft intelligent, classic movements within their songs, perfectly balancing desperation and hope, calmness and mania, love and fear. And of course there’s the massive single, “The Funeral,” which became a defining song of the era, and continues to inspire new generations of fans and artists alike. On top of tons of film and TV placements, the song was sampled by Kid Cudi, and transformed into a 2025 dance edit by acclaimed producer\/multi-instrumentalist Gryffin. \u003c\/p\u003e\n\u003cp\u003eNow, on the occasion of the 20th birthday of the album, Sub Pop and Band of Horses present the definitive snapshot of the band circa Everything All The Time. For this anniversary release, the album has been fully remastered, with the artwork refreshed and expanded into a gatefold jacket with liner notes by Phil Ek. 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Their tenth album – their debut for new label Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms.\u003c\/p\u003e\u003cp\u003eThe eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location would prove crucial to the recording process.\u003c\/p\u003e\u003cp\u003e“The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.”\u003c\/p\u003e\u003cp\u003e“It was very inviting and very comfortable there,” adds Anderson. “There was no stress, no worry about the timeline or anything like that. We just let ourselves go, and let the music come out.”\u003c\/p\u003e\u003cp\u003eSUNN O))) have long welcomed collaborators into their self-contained world, including such esteemed fellow travellers as Hungarian vocal explorer Attila Csihar, Icelandic composer Hildur Guðnadóttir, Seattle-based multi-instrumentalist Steve Moore, Texan polymath Mark Deutrom, Silkworm co-founder Tim Midyett and legendary singer-songwriter Scott Walker. For the new album, however, O’Malley and Anderson explore the still-fertile, primal territory of the duo format.\u003c\/p\u003e\u003cp\u003e“On this album for the first time all of the instrumentation was performed by Greg and I,” says O’Malley. “All of the records have our leadership and direction, of course, but this time around, it was almost like this crucible of ideas that was really at the core of what we’ve been doing.”\u003c\/p\u003e\u003cp\u003eRecording exclusively as a duo should not be interpreted as SUNN O))) limiting or restricting themselves. To the contrary, it has opened up new possibilities for their music.\u003c\/p\u003e\u003cp\u003e“What’s been happening with our performances over the last couple years with the two of us and no other collaborators or players has been really fresh and exciting,” says Anderson. “There’s been a lot of development. A lot of that was unexpected. And a lot of things that happened in the studio were really exciting and different from what we had been playing live, as well.”\u003c\/p\u003e\u003cp\u003eThe six compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Opener “XXANN” enters with howling feedback before crunching into what might at first seem familiar territory – until one registers the sound of water trickling beneath. “Mindrolling” likewise incorporates field recordings, as does “Glory Black”, which in addition introduces piano, by turns sonorous and delicate, into the mix, lending the already formidable piece a hushed, solemn feel. The Newcastle-forged originators of black metal get a shout out in the title of “Does Anyone Hear Like Venom?” which seems to position Cronos, Mantas and Abaddon as deep listeners, attuned to their Tyneside surroundings in much the same way as SUNN O))) are to the forest enfolding Bear Creek Studios. Throughout the album, the interplay between O’Malley and Anderson attains fresh heights of telepathic intensity as they shape a music that itself breathes the bracing, earthy air of the Pacific Northwest.\u003c\/p\u003e\u003cp\u003e“It’s always developing,” says Anderson. “That’s a constant, and that’s what sustains my interest and passion. There’s a movement that’s happening, whether it’s forward, backwards, to the side, whatever.\u003c\/p\u003e\u003cp\u003eThat’s what makes playing in this group, at least for me, different and unique and special.”\u003c\/p\u003e\u003cp\u003eIn October 2025 SUNN O))) released the first fruit of a new deal with celebrated US label Sub Pop in the form of a maxi 12” featuring “Eternity’s Pillars”, “Raise The Chalice” and “Reverential” – three monumental tracks from the same sessions that produced the new album. The alliance with Sub Pop makes perfect sense, as Anderson explains.\u003c\/p\u003e\u003cp\u003e“We decided that we should approach Sub Pop, after I’d had some great conversations with Jonathan Poneman,” he says. “So I called him up and before I could get the words out of my mouth, he said, ‘We’d love to do it. Tell me what you guys need.’ He was really excited and supportive.”\u003c\/p\u003e\u003cp\u003eSUNN O))) are no strangers to striking cover art – as illustrated by their collaborations with Joanne Ratcliffe for Black One, Richard Serra for Monoliths \u0026amp; Dimensions, Angela LaFont Bolliger for Kannon and Samantha Keely Smith for Life Metal and Pyroclasts. For SUNN O))) they have been granted permission by the estate of the late American artist Mark Rothko to reproduce two of his paintings on the album’s sleeve.\u003c\/p\u003e\u003cp\u003e“Over a few years, I developed a correspondence with Christopher Rothko via the Rothko Foundation’s Henry Mandell,” explains O’Malley. “It’s such an honour to be in the proximity of art on that scale, which has moved me personally so much for decades. Standing in front of a Rothko painting you can experience landscapes, worlds and environments subjectively in the abstraction.”\u003c\/p\u003e\u003cp\u003eLiner notes for the album are provided by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the multifaceted relationship between humanity and nature. Macfarlane negotiates the peaks and valleys of the SUNN O))) sound in a poetic, philosophical manner that will be familiar to readers of Mountains Of The Mind: A History Of A Fascination (2003), The Wild Places (2007), Underland: A Deep Time Journey (2019) or Is A River Alive? (2025).\u003c\/p\u003e\u003cp\u003e“I’ve been very interested in Robert’s writing for a long time,” says O’Malley. “He was very up for engaging with this project. And what he ended up turning in was mind-blowing. It’s part of the creative process, framing our music in a certain way, visually and with language, before presenting it to the world.”\u003c\/p\u003e\u003cp\u003eAll of which adds up to a fully immersive experience, uniting sound, word and visual into something that is undeniably, completely SUNN O))).\u003c\/p\u003e\u003cp\u003eJoseph Stannard, January 2026\u003c\/p\u003e","brand":"sunn O)))","offers":[{"title":"Loser (color) 2xLP","offer_id":42466638332000,"sku":"716850","price":36.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":42466638364768,"sku":"716852","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":42466638397536,"sku":"716856","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/sunnO_sunnO_Mockup_LP_US_2000x1417_wObi.jpg?v=1768240566"},{"product_id":"slift_fantasia","title":"Fantasia","description":"\u003cp\u003eIn the technical sense, every previous album by the radiant and heavy French trio SLIFT has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. Their acclaimed third album, 2024’s Ilion, was a sci-fi story built with 10- to 13-minute exploratory escapades, often starting with doom metal or stoner rock before spinning freely into glorious instrumental oblivion. But, in a bit of intentional irony, SLIFT’s fourth album is actually called Fantasia. It’s their leanest and most direct record to date; taken together, its eight songs clock in at less than 50 minutes. It is also their most riveting album yet, a pointed saga about overcoming international upheaval delivered by a band bearing down, not wasting a single second in the process.\u003c\/p\u003e\n\u003cp\u003eThey wanted to write and render songs that recognized the turmoil of these days and to sing of a more hopeful vision, of a time when a reckoning arrives. SLIFT didn’t want to lose the message by playing too much. To wit, the longest song on Fantasia is the opening title track, a nine-minute preamble in which Jean Fossat screams of his desires for the world: rising above our pain, burying our dread, and finding, individually and collectively, “a fire for your soul.” The songs that follow aren’t lacking the complexity or intensity that have made SLIFT a rising, radical star in heavy music; it’s simply that they’ve found new ways to weave the complexities of their past inside every piece, like a tapestry that reveals a new layer every time you look. In doing so, they offer an affirming and urgent message: Together, we can still change the times in which we live.\u003c\/p\u003e\n\u003cp\u003eThough only Jean and bassist Rémi Fossat are related, SLIFT is essentially a band of brothers. They’ve been friends with drummer Canek Flores since high school, and 2026 marks a decade together in this trio. They rehearse with religious regularity in a basement in the countryside near Toulouse, inside the jam room where they’ve long indulged their propensity for long-form wonder. But they built the songs of Fantasia differently. Jean started many of the songs by himself, then quickly brought them to basement rehearsals with a clear and concise idea of how he imagined them taking shape. At first, SLIFT struggled to keep the songs tight, old habits making them wonder if this song or that one shouldn’t break the double-digit threshold. By the time they crossed France’s northern border into Belgium to record in the enormous live room at Daft Studios, though, the songs were lean, agile, and punchy. They made most of them in a single take.\u003c\/p\u003e\n\u003cp\u003eAs Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surrealism into places and plots that almost felt real. He wanted to accomplish the same thing, to add supernatural touches to his contemplation of politics so that the listener might see reality differently, might question what they were missing about this plane. SLIFT even borrowed the song title “Orbis Tertius” from a 1940 Borges short story that uses the idea of subjective idealism—that is, believing the world only exists as far as our minds go—to ask questions of memory, history, possibility, and, ultimately, control. Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order.\u003c\/p\u003e\n\u003cp\u003eThe town first comes into focus on “Corrupted Sky,” where lurid keyboards and a relentless rhythm section illustrate a city of power-hungry wastrels. Jean’s guitar solo feels like an exhilarating chase sequence in a video game, as he tries to dodge doom while arriving in Fantasia. They treat the newcomer like poison incarnate during the prog gem “The Village,” while he predicts their downfall during “A Storm of Wings.” In a mighty, fists-up anthem that suggests Clutch getting wild, SLIFT alludes to John Coltrane, Charlie Parker, and Soviet writer Mikhail Bulgakov to portend the arrival of some great liberating force, some redemptive truth. \u003c\/p\u003e\n\u003cp\u003eThat slowly starts to emerge during the record’s back half, as memory returns to the masses, as people start to remember that they are more than the oppressive uniformity of their society. “Waiting Man”—a psychedelic ballad that suggests Pink Floyd wandering into the Master of Reality sessions—is the breaking point. The narrator realizes that the world he’s committed to is a lie. “I waited for love, waited my time,” Jean Fossat sings, his voice more vulnerable than it’s ever been. “Waited the seasons of my life.” He knows he must find his own way out of this mess and into something better, so long as it’s not too late.\u003c\/p\u003e\n\u003cp\u003eIt is dreadfully easy these days to feel powerless. We have instant access to a world of news, and so much of it is so very heavy. SLIFT reckons directly with the modern onslaught of cruelty and absurdity on Fantasia, whether that’s not caring about our home planet or one another. But these eight songs are about trusting in some hidden power for fighting back, for believing in a world where something we cannot yet articulate or define offers not just a way to disrupt the status quo but perhaps to destroy it completely. SLIFT is loud, heavy, and aggressive inside these anthems. 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