{"title":"halfoffcds","description":"","products":[{"product_id":"shabazz-palaces_quazarz-vs-the-jealous-machines","title":"Quazarz vs. The Jealous Machines","description":"\u003cp class=\"MsoNormal\"\u003e**Be sure to check out the \u003cb\u003e\u003ca title=\"Link: http:\/\/https:\/\/megamart.subpop.com\/releases\/shabazz_palaces\/quazarz_vs_the_jealous_machines_illustrated_album\" href=\"http:\/\/megamart.subpop.com\/releases\/shabazz_palaces\/quazarz_vs_the_jealous_machines_illustrated_album\"\u003eIllustrated Album\u003c\/a\u003e\u003c\/b\u003e format as well \u003cb\u003e\u003ca title=\"Link: http:\/\/https:\/\/megamart.subpop.com\/releases\/shabazz_palaces\/quazarz_vs_the_jealous_machines_illustrated_album\" href=\"http:\/\/megamart.subpop.com\/releases\/shabazz_palaces\/quazarz_vs_the_jealous_machines_illustrated_album\"\u003eover here\u003c\/a\u003e\u003c\/b\u003e, which comes with a digital download of the full album.**\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eQuazarz came to the Earth from somewhere else, a musical\rambassador from his place to ours. Somehow, through fire or through fury, the\rPalaceer of \u003ca title=\"Link: http:\/\/www.subpop.com\/artists\/shabazz_palaces\" href=\"http:\/\/www.subpop.com\/artists\/shabazz_palaces\"\u003eShabazz Palaces \u003c\/a\u003ecaught wind of the tale, and it is through his\rprism that we hear the story.\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eThe beach was there, and Atlaantiis, and chemical alterations\rand cell memories and Andre Norton, Richard K. Morgan, and always Octavia\rButler. There were killings and there were votes, and brutality in both. There\rwas sound and there were other worlds, and there was a vastness so\rparticipation sometimes came only at the edges. And the Palaceer coasted down\rwith the alien notion, like Quazarz, and so became.\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eOn Quazarz when they look at this place they see the\rinhabitants, the humans, but they don’t assess as we do. And so Quazarz was\rsent to meet a cat with vibration, a creative and courageous, caring,\rcompassionate dude that stood out. The dude was a drug dealer, but that was\rneither here nor there, until his dealings squashed the rendezvous, leaving our\ralien alone to figure out what this place is really all about.\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eComing from a simpler, more essential, innocent place, the\rhero could not make heads nor tails of most advancements. From an aerial view,\rhe saw that a good percentage of earthly vibrations were on very small squares\rand it became his belief that this world was very disposable and the spans short.\rHis opinion was not of anything good nor bad but simply the truth. The\rmachines—he noted—though at the behest of their master’s voice, are scorned,\rand jealous as all hell.\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAnd so the tale is told while surfing on the board of Shabazz\rPalaces, with its sturdy base angled for takeoff on a new trajectory. There is\rnew blood and space and room to be different and have different assets and\rdifferent art and different ways to talk and also open up some space inside to\rdo something new. There are pages and there are drawings, and color and faces\rand inked dialogues written in ancient futuristic hieroglyph. There are scales\rand there is melody and there are Sunny days and there is Darkness, but \u003ci\u003ethat\u003c\/i\u003e—it\rshould be noted—to the Palaceer is not a lack of illumination or brightness.\rMaybe it is dark, but in it is always optimism and joy, a bright darkness and a\rfull, hopeful one as well.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\r\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eIt comes in gold, and it comes for the night. And so Quazarz\rsang the Jealous Machines. And so too did the Jealous Machines sing the\r\u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/shabazz_palaces\/quazarz_born_on_a_gangster_star\" href=\"https:\/\/megamart.subpop.com\/releases\/shabazz_palaces\/quazarz_born_on_a_gangster_star\"\u003eGangster Star\u003c\/a\u003e.\u003c\/p\u003e","brand":"Shabazz Palaces","offers":[{"title":"CD","offer_id":31826129911904,"sku":"711852","price":6.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":31826129879136,"sku":"711851","price":23.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826129944672,"sku":"711854","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556509888608,"sku":"711856","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/shabazzpalaces-quazarzvsjealousmachines-2400x2400-72.jpg?v=1581642377"},{"product_id":"shabazz-palaces_quazarz-born-on-a-gangster-star","title":"Quazarz: Born on a Gangster Star","description":"\u003cp\u003e…speaking of air and darkness, \u003ci\u003eBorn on a Gangster Star\u003c\/i\u003e came into the world in a big damn hurry, like nightfall on an island. You can see it happening, but then again it’s so gradual that the next thing you know—it’s dark.\u003c\/p\u003e\u003cp\u003eImbued with the energy and ideas from all the creative embers floating in the atmosphere like fireflies, Shabazz Palaces recorded this entire album over the course of two weeks with Blood in Seattle. New gear and new equipment disintegrated comfort zones into dust and a new path appeared in the rubble.\u003c\/p\u003e\u003cp\u003eHerein the Palaceer continues the tale of Quazars, a sentient being from somewhere else, an observer sent here to Amurderca to chronicle and explore as a musical emissary. What he finds in our world is a cutthroat place, a landscape where someone like him could never quite feel comfortable amidst all the brutality and alternative facts and death masquerading as connectivity.  \u003c\/p\u003e\u003cp\u003eInspired by days on end spent in the waves—water and light, both—of Southern California, the work came to the Palaceer in a flash, like being picked up by something and carried. Always dribbling with his head up, he can see what’s going on around him and react to it, rather than starting in a certain direction and hoping to achieve something upon arrival. \u003c\/p\u003e\u003cp\u003eWhat’s good?—the kids ask. What does it even mean, and what does it even matter? Who is behind these choices? We are all of us sitting under a waterfall of all. this. shit. But it’s the excess that is casting us into ruts.\u003c\/p\u003e\u003cp\u003eThe Palaceer stays away from the fleeting and the superficial nonessential. Stay away from your device—your phantom limb—and stay away from your image—your phantom self; that is his decree. Considering the motions behind the things you like to consume artistically, rather than just the way something looks or sounds, and thinking in layers, and trying to be more considerate and not so self-oriented—this is his medicine for combat. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eBorn on a Gangster Star\u003c\/i\u003e flirts with a pop sensibility, but through the prism of Shabazz Palaces’s fire and fury. For the Palaceer, that sense is all about how the groove is moving, and the supernatural telepathy that occurs amongst his cohort. Appearing here, in body or in spirit, are Julian Casablancas, Thundercat, Darrius Willrich, Gamble and Huff, Loud Eyes Lou, Thaddillac, Ahmir, Jon Kirby, Sunny Levine, and Blood. The story belongs to Quazarz, but the air and darkness belong to us. \u003c\/p\u003e\u003cp\u003eAnd so we shine a light on the fake.\u003c\/p\u003e","brand":"Shabazz Palaces","offers":[{"title":"LP","offer_id":31826131779680,"sku":"712101","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826131812448,"sku":"712102","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826131877984,"sku":"712104","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556510445664,"sku":"712106","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/shabazzpalaces-quazarzgangsterstar-3600x3600-300.jpg?v=1581642466"},{"product_id":"chad-vangaalen_light-information","title":"Light Information","description":"\u003cp\u003e\u003ci\u003eNobody cared about their old heads, because the new ones work just fine now, don't they?.... they have the same size mouth and eyes. \u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe song “Old Heads” is a sci-fi space anthem to technology that constantly replaces itself, proving both necessary and unnecessary at the same time. It’s also a jangly pop gem, a trip through the fantastical that is ultimately warm and relatable. This remarkable coexistence is one of many achievements of Chad VanGaalen’s \u003ci\u003eLight Information\u003c\/i\u003e, his sixth record on Sub Pop, due September 8th. \u003c\/p\u003e\u003cp\u003eFor an album that’s about “not feeling comfortable with really anything,” as VanGaalen says, \u003ci\u003eLight Information\u003c\/i\u003e is nonetheless a vivid, welcoming journey through future worlds and relentless memories. The rich soundscapes and sometimes jarring imagery (“I’ll be the host body, yes, for the parasitic demons. They can eat me from the inside out, I already hear them chewing.”) could only come from the mind of a creative polymath--an accomplished visual artist, animator, director, and producer, VanGaalen has scored television shows, designed puppet characters for Adult Swim, directed videos for Shabazz Palaces, Strand of Oaks, METZ, Dan Deacon, and The Head and the Heart, and produced records for Women, Alvvays, and others. \u003c\/p\u003e\u003cp\u003eWhile alienation has always been a theme of VanGaalen’s music, \u003ci\u003eLight Information \u003c\/i\u003edraws on a new kind of wisdom--and anxiety--gained as he watches his kids growing up. “Being a parent has given me a sort of alternate perspective, worrying about exposure to a new type of consciousness that's happening through the internet,” he says. “I didn’t have that growing up, and I’m maybe trying to preserve a little bit of that selfishly for my kids.”\u003c\/p\u003e\u003cp\u003eAs always, VanGaalen wrote, played, and produced all of the music on \u003ci\u003eLight Information\u003c\/i\u003e (save Ryan Bourne’s bass part on “Mystery Elementals” and vocals on “Static Shape” from his young daughters Ezzy and Pip), and designed the cover art. The product of six years’ work, going back even before 2014’s Shrink Dust, Light Information emerged from the experimental instruments that fill VanGaalen’s Calgary garage studio. Among them is a beloved Korg 770 monosynth, which VanGaalen coveted for years before fixing one up and devoting a lot of recent energy to recording “duets” with it. One of these, “Prep Piano and 770,” is the lone instrumental on \u003ci\u003eLight Information\u003c\/i\u003e, more atmosphere and chord bursts than the rest of the album’s hooky rock narrative.\u003c\/p\u003e\u003cp\u003e“If I was going to go out and buy a record, I would probably want it to sound only like that,” says VanGaalen. “That one’s for me.”\u003c\/p\u003e\u003cp\u003eThroughout the dark-wave reverb of \u003ci\u003eLight Information \u003c\/i\u003eare stories of paranoia, disembodiment, and isolation--but there’s also playfulness, empathy, and intimacy. “I sit and do a drawing, a portrait of my dad,” sings VanGaalen on “Broken Bell.” “I should really visit him before he is dead. Cuz we are getting old. Our cells just won’t divide like they told us. But I’m not really good at this kind of thing.”\u003c\/p\u003e\u003cp\u003eBut VanGaalen is good at a lot of things--and he’s trying to pursue them for the right reasons. “I'm just trying to get over the weight of feeling like I have to be making something of my time constantly,” he says. “Especially with kids, you get these small breaks where you get to make stuff, and now I try to say ‘you know what, I'm going to make something for me.’”\u003c\/p\u003e\u003cp\u003eAnd if he could make anything for himself, it would be without constraint. “I would love to build a living structure from scratch,” he says. “I've slowly been ripping my studio apart and building additions, but you're always kind of down to this box. I’d love to explore more open forms of architecture, with an endless supply of materials to use, even garbage. Building codes keep us in these boxes--You can't just build a giant hand made out of wood that's the size of a house to live in. But we really should be able to do that.”\u003c\/p\u003e\u003cp\u003e--Evie Nagy\u003c\/p\u003e","brand":"Chad VanGaalen","offers":[{"title":"LP","offer_id":31826131910752,"sku":"712031","price":18.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826131943520,"sku":"712032","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826132009056,"sku":"712034","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556513427552,"sku":"712036","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/cvg-lightinformation-3600x3600-300.jpg?v=1581642481"},{"product_id":"pissed-jeans_why-love-now","title":"Why Love Now","description":"\u003cp\u003ePissed Jeans have been making gnarly noise for 13 years, and on their fifth album, \u003ci\u003eWhy Love Now\u003c\/i\u003e, the male-fronted quartet is taking aim at the mundane discomforts of modern life—from fetish webcams to office-supply deliveries. \"Rock bands can retreat to the safety of what rock bands usually sing about. So 60 years from now, when no one has a telephone, bands will be writing songs like, 'I'm waiting for her to call me on my telephone.' Kids are going to be like, 'Grandpa, tell me, what was that?' I'd rather not shy away from talking about the internet or interactions in 2016,\" says frontman Matt Korvette.\u003c\/p\u003e\u003cp\u003ePissed Jeans' gutter-scraped amalgamation of sludge, punk, noise, and bracing wit make the band—Korvette, Brad Fry (guitar), Randy Huth (bass) and Sean McGuinness (drums)—a release valve for a world where absurdity seems in a constant battle trying to outdo itself. \u003ci\u003eWhy Love Now\u003c\/i\u003e picks at the bursting seams that are barely holding 21st-century life together. Take the grinding rave-up \"The Bar Is Low,\" which, according to Korvette, is \"about how every guy seems to be revealing themselves as a shithead. It seems like every guy is getting outed, across every board of entertainment and politics and music. There's no guy that isn't a total creep.\"\u003c\/p\u003e\u003cp\u003eThe lyrics on \u003ci\u003eWhy Love Now\u003c\/i\u003e are particularly pointed about gender relations and the minefield they present in 2016. \"'It's Your Knees' is about the endless, unrequested, commenting on if you'd fuck a girl. 'My great aunt won a cooking contest.' 'Oh, that's pretty hot. I'd hit that,'\" says Korvette. On \"Love Without Emotion\" Korvette channels Nick Cave's guttural side while bemoaning his detachment over cavernous guitars. \"Ignorecam\" twists the idea of fetish cam shows- \"where the woman just ignores you and watches TV or eats macaroni and cheese or talks on the phone\"—into a showcase for Korvette's rancid yelp and his bandmates' pummeling rock.\u003c\/p\u003e\u003cp\u003eAs they did on their last album, 2013's \u003ci\u003e\u003ca href=\"https:\/\/megamart.subpop.com\/releases\/pissed_jeans\/honeys\"\u003eHoneys\u003c\/a\u003e\u003c\/i\u003e, Pissed Jeans offer a couple of \"fuck that shit type songs\" about the working world. And the startling \"I'm A Man,\" which comes at the album's midpoint, finds author Lindsay Hunter (Ugly Girls) taking center stage, delivering a self-penned monologue of W.B. Mason-inspired erotica—office small talk about pens and coffee given just enough of a twist to expose its filthy underside, with Hunter adopting a grimacing menace that makes its depiction of curdled masculinity even more harrowing.\u003c\/p\u003e\u003cp\u003eNo Wave legend Lydia Lunch shacked up in Philadelphia to produce \u003ci\u003eWhy Love Now\u003c\/i\u003e alongside local metal legend Arthur Rizk (Eternal Champion, Goat Semen). \"I knew she wasn't a traditional producer,\" Korvette says of Lunch. \"I like how she's so cool and really intimidating. She ended up being so fucking awesome and crazy. She was super into it, constantly threatening to bend us over the bathtub. I'm not really sure what that entails, but I know she probably wasn't joking.” The combination of Lunch's spiritual guidance and Rizk's technical prowess supercharged Pissed Jeans, and the bracing \u003ci\u003eWhy Love Now\u003c\/i\u003e documents them at their grimy, grinning best. While its references may be very early-21st-century, its willingness to state its case cement it as an album in line with punk's tradition of turning norms on their heads and shaking them loose.\u003c\/p\u003e","brand":"Pissed Jeans","offers":[{"title":"LP","offer_id":31826133745760,"sku":"711901","price":18.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826133778528,"sku":"711902","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826133811296,"sku":"711904","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":31826133844064,"sku":"711906","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/pissedjeans-whylovenow-cover-3000x3000-300.jpg?v=1581642601"},{"product_id":"metz_strange-peace","title":"Strange Peace","description":"\u003cp\u003e\u003cb\u003e*Loser edition LP is sold out. Black vinyl now shipping.\u003c\/b\u003e (10:56 am, 9\/25\/17)\u003c\/p\u003e\u003cp\u003eSince releasing their \u003ca title=\"Link: http:\/\/https:\/\/megamart.subpop.com\/releases\/metz\/metz\" href=\"http:\/\/https:\/\/megamart.subpop.com\/releases\/metz\/metz\"\u003eself-titled debut\u003c\/a\u003e record in 2012, which The New Yorker called, “One of the year’s best albums...a punishing, noisy, exhilarating thing,” the Toronto-based 3-piece \u003ca href=\"http:\/\/www.subpop.com\/artists\/metz\"\u003eMETZ\u003c\/a\u003e have garnered international acclaim as one of the most electrifying and forceful live acts, touring widely and extensively, playing hundreds of shows each year around the world.\u003c\/p\u003e\u003cp\u003eNow, Alex Edkins (guitar, vocals), along with Hayden Menzies (drums), and Chris Slorach (bass) are set to unleash their highly-anticipated third full-length album,\u003ci\u003e Strange Peace\u003c\/i\u003e, an emphatic but artful hammer swing to the status quo.\u003c\/p\u003e\u003cp\u003e\"The best punk isn't an assault as much as it's a challenge — to what's normal, to what's comfortable, or simply to what's expected. Teetering on the edge of perpetual implosion,” NPR wrote in their glowing review of METZ’s 2015 second album, \u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/metz\/ii\" href=\"https:\/\/megamart.subpop.com\/releases\/metz\/ii\"\u003e\u003ci\u003eII\u003c\/i\u003e\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eStrange Peace\u003c\/i\u003e was recorded in Chicago, live off the floor to tape with Steve Albini. The result is a distinct artistic maturation into new and alarming territory, frantically pushing past where the band has gone before, while capturing the notorious intensity of their live show. The trio continued to assemble the album (including home recordings, additional instrumentation) in their hometown, adding the finishing touches with longtime collaborator, engineer and mixer, Graham Walsh.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eStrange Peace\u003c\/i\u003e isn’t merely a collection of eleven uninhibited and urgent songs. It’s also a kind of sonic venting, a truculent social commentary that bludgeons and provokes, excites and unsettles. With all the pleasurable tension and anxiety of a fever dream, \u003ci\u003eStrange Peace\u003c\/i\u003e is equal parts- challenging and accessible. It is this implausible balancing act, moving from one end of the musical spectrum to the other, that only a band of METZ’s power and capacity can maintain: discordant and melodic, powerful and controlled, meticulous and instinctive, subtle and complex, precise and reckless, wholehearted and merciless, brutal and optimistic, terrifying and fun.\u003c\/p\u003e\u003cp\u003e“Their whiplash of distortion is made with precision, a contained chaos. But you would never talk about them like that. Because METZ are not something you study or analyze,” wrote Liisa Ladouceur in Exclaim! “They are something you feel: a transfer of energy, pure and simple.” In other words: to feel something, fiercely and intensely, but together, not alone.\u003c\/p\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"METZ","offers":[{"title":"LP","offer_id":31826139545696,"sku":"711991","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":32611832758368,"sku":"711992","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826139611232,"sku":"711994","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556513493088,"sku":"711996","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/metz-strangepeace-3000.jpg?v=1581642753"},{"product_id":"washed-out_paracosm","title":"Paracosm","description":"\u003cp\u003eThe music recorded by Ernest Greene as Washed Out has been nothing if not dreamy, and on his second full-length, \u003ccite\u003e\u003ci\u003eParacosm\u003c\/i\u003e\u003c\/cite\u003e, he takes the dreamlike, otherworldly atmospheres of his music a huge leap further.\u003c\/p\u003e\r\u003cp\u003eThe title refers to a phenomenon in which people create detailed imaginary worlds, and the idea of escaping is all over \u003ccite\u003e\u003ci\u003eParacosm’s\u003c\/i\u003e\u003c\/cite\u003e music and lyrics. \u003ccite\u003eParacosm\u003c\/cite\u003e finds Greene reaching beyond the computers and synths that filled Washed Out’s previous recordings, expanding his sonic palette to include over 50 different instruments, the most significant of which turned out to be old keyboards like the Mellotron, Chamberlin, Novatron, and Optigan.\u003c\/p\u003e\r\u003cp\u003e“I’ve grown as a songwriter to the point where I want to have more involved arrangements, and that’s really hard to do with sampling,” says Greene. “These machines were kind of a happy medium: The sounds have a very worn, distressed quality about them, much like an old sample. But they also offer much more flexibility because they’re playable.”\u003c\/p\u003e\r\u003cp\u003eFollowing two years on the road in support of the critically-acclaimed \u003ccite\u003e\u003ci\u003e\u003ca href=\"https:\/\/megamart.subpop.com\/releases\/washed_out\/within_and_without\"\u003eWithin And Without\u003c\/a\u003e\u003c\/i\u003e\u003c\/cite\u003e, and the lauded \u003ccite\u003e\u003ci\u003eLife Of Leisure\u003c\/i\u003e\u003c\/cite\u003e EP (which can still be heard during “Portlandia’s” opening credits), he and his wife, Blair (who plays in the Washed Out live band), relocated from the big-city hubbub of Atlanta to a house outside Athens, where Greene could shut out the real world in favor of an alternate universe of his own making. Listeners will be immediately struck by \u003ccite\u003e\u003ci\u003eParacosm’s\u003c\/i\u003e\u003c\/cite\u003e seamless melding of organic and synthetic sounds, and its lighter tone. Greene says: “I knew from the beginning I wanted this record to be optimistic, very much a daytime-sounding album. I think the last record felt more nocturnal in some ways. This one I just imagined being outside, surrounded by a beautiful, natural environment.”\u003c\/p\u003e\r\u003cp\u003eWith its gorgeous execution and uplifting attitude, \u003ccite\u003e\u003ci\u003eParacosm\u003c\/i\u003e\u003c\/cite\u003e is primed to be this year’s summer record. And it promises to do what its name suggests: take listeners to a better world.\u003c\/p\u003e\r\u003cp\u003e\u003ccite\u003e\u003ci\u003eParacosm\u003c\/i\u003e\u003c\/cite\u003e was recorded at in Atlanta with Ben H. Allen (Animal Collective, Deerhunter, Gnarls Barkley, Washed Out – Within and Without) at Maze Studios.\u003c\/p\u003e\r\u003cp\u003e\u003cstrong\u003eMP3 download included with all vinyl releases\u003c\/strong\u003e\u003c\/p\u003e","brand":"Washed Out","offers":[{"title":"LP","offer_id":31826142167136,"sku":"710551","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826142232672,"sku":"710552","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":32615934656608,"sku":"710554","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556517523552,"sku":"710556","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/13290.jpg?v=1581642887"},{"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. The line-up featured Corin Tucker (vocals, guitar), Carrie Brownstein (guitar, vocals) and Lora Macfarlane (drums, vocals). \u003cspan\u003e\u003ci\u003eCall the Doctor\u003c\/i\u003e appeared at #3 in The Village Voice's “Pazz \u003c\/span\u003e\u0026amp; Jop” critics' poll for 1996. In 2010, the album was ranked #49 in the list of the 100 greatest albums of the nineties by the editors of Rolling Stone. \u003c\/p\u003e\u003cp\u003e“Trades sex-worker role-playing, doll parts, gender-bending, and other common female-rock tropes for stories of everyday struggle [...] Sleater-Kinney proves that punk still offers new ways to say no\" - Johnny Ray Huston, SPIN\u003c\/p\u003e\u003cp\u003eThe album has been freshly remastered by Greg Calbi for this release. This reissue coincides with Sub Pop’s October 21st, 2014 release of remastered versions of Sleater-Kinney’s six other albums, as well as a limited-edition, deluxe vinyl box set featuring all seven albums. \u003c\/p\u003e\u003cp\u003eThe digital versions of these reissues come out via Sub Pop on September 2nd, 2014.\u003c\/p\u003e","brand":"Sleater-Kinney","offers":[{"title":"Color LP","offer_id":42661919326304,"sku":"711043","price":23.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":31826147311712,"sku":"711041","price":23.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826147344480,"sku":"711042","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556509790304,"sku":"711046","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/SleaterKinney_CallTheDoctor_Mockup_LP_US_2000x1417_e71f0c83-18ba-485c-a388-32dc569c06a9.jpg?v=1774411117"},{"product_id":"corridor_junior","title":"Junior","description":"\u003cp\u003e\u003ca href=\"https:\/\/www.subpop.com\/artists\/corridor\"\u003eCorridor\u003c\/a\u003e are a group from Montreal and their Sub Pop debut, Junior, was made just yesterday. The rock'n'roll band had barely inked their record deal when they surfed into studio, racing against time to make the most dazzling, immediate and inventive album of their young career: 39 minutes of darting and dodging guitars, spiraling vocal harmonies, and the complicated, goldenrod nostalgia of a Sunday mid-afternoon. \u003c\/p\u003e\u003cp\u003eThis ain't Corridor's first rodeo. Junior is the band's third full-length and their third recorded with their friend, producer (and occasionally roommate) Emmanuel Ethier. However 2015's Le Voyage Éternel and 2017's Supermercado were made languorously, their songs taking shape across whole seasons. This time Dominic Berthiaume (vocals\/bass), Julian Perreault (guitar), Jonathan Robert (vocals\/guitar\/synths), and Julien Bakvis (drums) permitted themselves no such indulgence. The band were committed to releasing an album every two years, and for Junior it required a blitz. \"If you want to release something this fall, we need the masters by the 10th of May,\" the label had warned them. Winter was already in its last throes: on March 1, Corridor went into studio; in mid-April, Corridor came out. They had somehow created Junior and it was, if we may be so bold, spectacular. \u003c\/p\u003e\u003cp\u003eSingers, two guitars, bass, drums: the timelessness of the setup underpins the timelessness of the sound, a rock'n'roll borrowing from each of the past six decades—punk and pop, psych and jangle, daydream and swoon. This is music that's muscular, exciting and full of love, its riffs a kind of medicine. Whereas Corridor's past work could sometimes seem overstuffed, twenty ideas to the same song, the new work is hypnotic, distilled. \"Part of the beauty of the thing is that we didn't have time to think about it,\" says Berthiaume. Six of Junior's 10 tracks were conceived during a single weekend. The words to \"Bang\" were written on the eve of the sessions, as Robert began to panic: \"Je payerai tôt ou tard,\" he sings: I'll pay, sooner or later. Fewer jams, fewer overdubs—no fortnight in the countryside, secluding themselves in a chalet. Even the artwork came in the nick of time: in spite of other, meticulous, masterpieces, Robert's \"shitty last-minute collage\" (of an egg saying hello) was the one his bandmates went for.  \u003c\/p\u003e\u003cp\u003eThat might be Corridor's best trick—their mixture of seriousness and whimsy. Songs like \"Miscroscopie\" and the standout \"Domino\" are purposeful, full of songcraft, even as they let loose, slip their collar. \"Topographe\"'s all call and answer, like rival Cupids shooting arrows at each other across a ravine. \"Pow\" and \"Goldie\" are like hurtling racecars, or teams of horses, accelerating towards a memory. And Junior's title track—by turns twitchy and anthemic—is in fact a tribute to Perreault, their \"joueur étoile,\" star player: in spite of his disappointed parents (\"parents déçus\"), he's Corridor's VIP. Junior's ten tracks are filled with tributes like this, impressionistic portraits of characters in the band-members' lives. Their tone is affectionate, the meaning hazy—even if you speak French. \u003c\/p\u003e\u003cp\u003eSub Pop have never before, in their 33-year history, signed a Francophone act. Maybe the band's magic springs from their ingenious hooks, their topaz-tinted vision. Maybe it's the panache of Québec's insurgent underground scene, or the camaraderie of Robert and Berthiaume, who have played together since they were 14. Maybe it's their name—a hallway crossed with a toreador. Probably it's all of these, and none of them: Junior is a joy, a hasty miracle, because it's so much damn fun to listen to. This album is 39 minutes; each day has 24 hours; you can listen 36 times before tomorrow. \u003c\/p\u003e","brand":"Corridor","offers":[{"title":"Loser (color) LP","offer_id":31826173886560,"sku":"713270","price":18.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":31826173919328,"sku":"713271","price":18.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826173952096,"sku":"713272","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":32611765846112,"sku":"713274","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556518441056,"sku":"713276","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/corridor-junior-3000.jpg?v=1581643628"},{"product_id":"shearwater_jet-plane-and-oxbow","title":"Jet Plane and Oxbow","description":"\u003cp\u003e*\u003cb\u003eLOSER EDITION LP SOLD OUT!\u003c\/b\u003e Black vinyl shipping now. \u003c\/p\u003e\u003cp\u003eThis is definitely Shearwater’s biggest and loudest record—it’s easy to imagine these songs roaring from the stage—but it’s also their most detailed and intricate one. Frontman Jonathan Meiburg and producer\/engineer Reisch (who also recorded 2012’s \u003ci\u003eAnimal Joy\u003c\/i\u003e and the off-the-cuff collaborations of 2014’s \u003ci\u003eFellow Travelers\u003c\/i\u003e) spent two years crafting \u003ci\u003eJet Plane and Oxbow\u003c\/i\u003e with help from drummer Cully Symington, longtime Shearwater associates Howard Draper and Lucas Oswald, and tour mates Jesca Hoop, Abram Shook, and Jenn Wasner. \u003c\/p\u003e\u003cp\u003eBut their secret weapon this time is film composer and percussionist Brian Reitzell, whose soundtracks include \u003ci\u003eThe Virgin Suicides\u003c\/i\u003e, \u003ci\u003eLost in Translation\u003c\/i\u003e, \u003ci\u003eThe Bling Ring\u003c\/i\u003e, and \u003ci\u003e30 Days of Night\u003c\/i\u003e. Reitzell’s arsenal of strange instruments emphasizes \u003ci\u003eJet Plane and Oxbow\u003c\/i\u003e’s cinematic depth and scope, and reflects the band’s choice to anchor the record in the era when digital technology was just beginning to transform the world of recorded music. In Shearwater’s hands this doesn’t feel like nostalgia; the racing synths and hammered dulcimers of heart-pounding opener “Prime” or the addled motorik of “Radio Silence” sound more like a metaphor for our own bewildering moment. (For a full bio, along with a conversation between famed music journalist Michael Azerrad \u0026amp; Shearwater frontman Meiburg, read \u003ca href=\"https:\/\/www.subpop.com\/artists\/shearwater\"\u003ehere\u003c\/a\u003e).\u003c\/p\u003e","brand":"Shearwater","offers":[{"title":"2xLP","offer_id":31826194497632,"sku":"711121","price":28.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826194530400,"sku":"711122","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556517228640,"sku":"711126","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/shearwater-jetplaneoxbow-900.jpg?v=1581643946"},{"product_id":"mike-and-the-melvins_three-men-and-a-baby","title":"Three Men and a Baby","description":"\u003cp\u003e\u003cb\u003eLoser edition is now SOLD OUT. Black vinyl is available. (3\/23 4:24pm PST).\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eThree Men and a Baby\u003c\/i\u003e is the new album by Mike and the Melvins. It was supposed to come out sixteen years ago.\u003c\/p\u003e\u003cp\u003eThese are the facts we can be sure of: in 1998, around the time his band \u003ca href=\"http:\/\/www.subpop.com\/artists\/godheadsilo\"\u003egodheadSilo\u003c\/a\u003e went on hiatus, bassist\/vocalist Mike Kunka busied himself by tagging along on a tour with his friends the Melvins. Somewhere along the way, Mike and the Melvins – King Buzzo (guitar\/bass\/vocals), Dale Crover (drums\/vocals), and Kevin Rutmanis (bass\/vocals), at the time – decided to make a record together, and gave the project the imaginative moniker Mike and the Melvins. Sub Pop, ever on the hunt for music’s Next Big Thing, enthusiastically agreed to fund and release the super-group’s debut, and recording commenced sometime in 1999.\u003c\/p\u003e\u003cp\u003eIt’s at this point that things get hazy. Apparently, one or more of the following happened:\u003c\/p\u003e\u003cp\u003eSome “junior-high level bullshit.”\u003cbr\u003eA house was built, a barn was raised, children were born.\u003cbr\u003eTypical record-label skullduggery.\u003cbr\u003eA scorching case of whooping cough. \u003cbr\u003eSurgery. Lots of surgery.\u003cbr\u003eShocking and poorly-timed gear theft. \u003cbr\u003eSome other stuff, probably, or maybe not.\u003c\/p\u003e\u003cp\u003eWhatever the reasons, the incomplete recording languished on a shelf from 1999 until 2015, when, much to everyone’s surprise, the involved parties reconvened, finished the damn thing, and delivered it post-haste to Sub Pop International Headquarters, where it was promptly scheduled for the coveted April 1st, 2016 release date. What a story, right?\u003c\/p\u003e\u003cp\u003eSo, about the record: It’s real good! Mike’s signature bass crunch and vocals are all over it, and the Melvins are in fine form. It has everything from hefty noise-rock churn to a Public Image Ltd. song to cough-syrup blues to deconstructed black metal. Neither Melvins nor godheadSilo fans will be disappointed, nor will detractors of either; to paraphrase Mike, if you don’t like it, it probably wasn’t meant for you.\u003c\/p\u003e\u003cp\u003eMost of Three Men and a Baby was recorded in 1999 at Louder Studios by Tim Green (The Fucking Champs), and the rest was recorded and mixed in 2015 at Sound of Sirens by Toshi Kasai.\u003c\/p\u003e","brand":"Mike \u0026 The Melvins","offers":[{"title":"LP","offer_id":31826287296608,"sku":"711471","price":18.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826287329376,"sku":"711472","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826287362144,"sku":"711474","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556524699744,"sku":"711476","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/mikeandthemelvins-threemenandababy-cover-900x900-300.jpg?v=1581645366"},{"product_id":"tad_salt-lick-deluxe-edition","title":"Salt Lick (Deluxe Edition)","description":"\u003cp\u003e\u003ca href=\"http:\/\/subpop.com\/artists\/tad\"\u003eTAD\u003c\/a\u003e was a mighty force in the late-‘80s\/early-‘90s Seattle scene. Their heavy, churning rock\/metal\/punk buzz was a crucial part of Sub Pop’s early years, and, along with peers like Mudhoney, Nirvana, and Soundgarden, they defined the sound that reinvigorated the rock world in the early ‘90s. TAD was led by the physically imposing yet incredibly sweet singer\/guitarist TAD Doyle, with bassist Kurt Danielson (ex-Bundle of Hiss), drummer Steve Wied, and guitarist Gary Thorstensen. With an image that sometimes cast the band as deranged lumberjacks, and influence from Head of David and Killdozer, TAD put a uniquely rain-and-fog-coated Northwest spin on ‘80s underground rock. The band released two albums and a few EPs on Sub Pop between 1988 and 1991, all of which are now lovingly remastered by the band’s friend and engineer Jack Endino (Soundgarden, Nirvana, Mudhoney, Screaming Trees) and repackaged with bonus tracks and expansive liner notes.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAfter their 1989 debut album, \u003ci\u003e\u003ca title=\"Link: http:\/\/megamart.subpop.com\/releases\/tad\/gods_balls_deluxe_edition\" href=\"http:\/\/megamart.subpop.com\/releases\/tad\/gods_balls_deluxe_edition\"\u003eGod’s Balls\u003c\/a\u003e\u003c\/i\u003e, TAD continued to write and record, releasing a string of singles and the \u003ci\u003eSalt Lick\u003c\/i\u003e EP between 1989 and 1990. \u003ci\u003eSalt Lick \u003c\/i\u003efeatures the single “Wood Goblins,” the video for which MTV banned because it was, to the delicate eyes of MTV programmers, “too ugly.” The sounds of \u003ci\u003eSalt Lick\u003c\/i\u003e are, indeed, wonderfully ugly, thanks in part to the involvement of noise-rock technician Steve Albini (Big Black, Shellac, Nirvana, The Jesus Lizard), who recorded the EP. The band continued to release singles and gain momentum in the press. As TAD himself puts it: “Lyrically we had a lot of subject matter that was meant to be tongue in cheek from the beginning but had been presented by Sub Pop and ourselves as true-to-life. As a result, the press had taken it all seriously and began to feed on and ravenously devour the mythology that we had created.”\u003c\/p\u003e\u003cp\u003eThis reissue of \u003ci\u003eSalt Lick\u003c\/i\u003e includes tracks from the “Wood Goblins” single, a split 7” with Pussy Galore, and the “Loser” 7”. This material has been out of print on vinyl\/CD for many years, and this is its first digital release.\u003c\/p\u003e","brand":"TAD","offers":[{"title":"LP","offer_id":31826307350624,"sku":"711781","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826307383392,"sku":"711782","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":31826307416160,"sku":"711786","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/tad-saltlick-1500.jpg?v=1581645664"},{"product_id":"u-men_u-men","title":"U-Men","description":"\u003cp\u003eThe U-Men are one of the best bands I’ve ever seen. They were hypnotic, frenetic, powerful and compelling. It was impossible to resist getting sucked into their weird, darkly absurd world. They effortlessly blended The Sonics, Link Wray, Pere Ubu, and Captain Beefheart. Their shows were loose-limbed, drunken dance parties and no two shows were alike. The U-Men were avant-garage explorers and, most importantly, they fucking rocked. I was lucky enough to live in their hometown and I saw them every chance I could.  \u003c\/p\u003e\u003cp\u003eFrom 1983 to 1987, the U-Men were the undisputed kings of the Seattle Underground. No one else came close. They ruled a bleak backwater landscape populated by maybe 200 people. They were the only band that could unify the disparate sub-subcultures and get all 200 of those people to fill a room. Anglophilic, dress-dark Goths; neo-psych MDA acolytes; skate punks who shit in bathtubs at parties; Mod vigilantes who tormented the homeless with pellet guns; college kids who thought college kids were lame; Industrial Artistes; some random guy with a moustache; and eccentrics who insisted that they couldn’t be pigeonholed: all coalesced around the U-Men.\u003c\/p\u003e\u003cp\u003eSub Pop co-founder, Bruce Pavitt released the first record by the U-Men, a 4-song 12” EP on Bombshelter Records. By the time they had recorded songs for another record, Bruce was too broke to release it on his proto-Sub Pop label, so he hooked them up with Gerard Cosloy at Homestead Records. This was a big deal. Homestead had a heavy rep at the time with recent releases by Foetus, Nick Cave, Sonic Youth, and Big Black. I was sure that the release of their second 12”, \u003ci\u003eStop Spinning\u003c\/i\u003e, would propel the U-Men into the ranks of those Homestead acts and the worldwide underground would get hip to Seattle’s finest. Following the departure of bassist Jim Tillman, the later incarnation of the band recorded two fantastic singles, and recorded their one full-length album, \u003ci\u003eStep on a Bug\u003c\/i\u003e, for Black Label which was run out of Fallout Records. They became increasingly disenchanted with the direction the Seattle underground was heading and called it quits in 1989.\u003c\/p\u003e\u003cp\u003eThe U-Men had nothing to do with Grunge. They were their own unique thing. I loved them and I still miss them. I remember thinking at the time that most of their recordings were a little soft and didn’t capture the power of the band live. Now, thirty years later, their records sound great to me and we are lucky that they exist. I’m stoked that Sub Pop complied these long out-of-print records and scrounged up some unreleased songs so that everyone has a chance to take a trip back to old weird Seattle.\u003c\/p\u003e\u003cp\u003e—Mark Arm, Seattle, August 2017\u003c\/p\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"U-Men","offers":[{"title":"3xLP","offer_id":31826341888096,"sku":"711431","price":43.0,"currency_code":"USD","in_stock":false},{"title":"2xCD","offer_id":32611918086240,"sku":"711432","price":15.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556526993504,"sku":"711436","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/u-men-cover-3000.jpg?v=1581646308"},{"product_id":"pissed-jeans_king-of-jeans","title":"King of Jeans","description":"\u003cp\u003eIf 2005’s \u003ca href=\"https:\/\/www.subpop.com\/releases\/pissed_jeans\/shallow_remastered\"\u003e\u003ccite\u003eShallow\u003c\/cite\u003e\u003c\/a\u003e was Pissed Jeans coping with moving out of their parents’ homes, and 2007’s \u003ca href=\"https:\/\/www.subpop.com\/releases\/pissed_jeans\/hope_for_men\"\u003e\u003ccite\u003eHope for Men\u003c\/cite\u003e\u003c\/a\u003e their initial reaction to the mechanical lifestyle of a wage-earner, \u003ccite\u003eKing of Jeans\u003c\/cite\u003e is their formal and uneasy acceptance of adulthood, by way of one hell of a rock record. Working with renowned producer Alex Newport (who holds a Fudge Tunnel pedigree and has worked with such luminaries as At the Drive-In, The Locust and Sepultura), Pissed Jeans have pushed further into the raw, minimal core of heavy rock music with \u003ccite\u003eKing of Jeans\u003c\/cite\u003e. Masters of the mundane, beasts of the banal, high priests of the humdrum: these four, white, male high school graduates hardly look further than their own appendages for artistic inspiration, content to execute their own brand of brash and heavy punk music in the Joe Carducci-approved standard rock formation of guitar, bass, drums and vocals. From simple minds and simple fabrics comes this \u003ccite\u003eKing of Jeans\u003c\/cite\u003e. 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With \u003ci\u003eDiaper Island\u003c\/i\u003e, VanGaalen distills his approach, producing his most sonically cohesive album to date, and the closest thing he has done to a rock album.\u003c\/p\u003e","brand":"Chad VanGaalen","offers":[{"title":"LP","offer_id":31826368233568,"sku":"708711","price":16.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826368266336,"sku":"708712","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556513263712,"sku":"708716","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/8947.jpg?v=1581646989"},{"product_id":"j-mascis_several-shades-of-why","title":"Several Shades of Why","description":"\u003cp\u003eIn the quarter century since he founded Dinosaur (Jr.), J Mascis has created some of the era’s signature songs, albums and styles. The laconically-based roar of his guitar, drums and vocals have driven a long string of bands—Deep Wound, Dinosaur Jr., Gobblehoof, Velvet Monkeys, the Fog, Witch, Sweet Apple—and he has guested on innumerable sessions. But \u003ccite\u003eSeveral Shades of Why\u003c\/cite\u003e, recorded at Amherst, Massachusetts’ Bisquiteen Studios, is J’s first solo studio record, and it is an album of incredible beauty, performed with a delicacy not always associated with his work.\u003c\/p\u003e\r\u003cp\u003eNearly all acoustic, \u003ccite\u003eSeveral Shades of Why\u003c\/cite\u003e was created with the help of a few friends. Notable amongst them are Kurt Vile, Sophie Trudeau (A Silver Mount Zion), Kurt Fedora (long-time collusionist), Kevin Drew (Broken Social Scene), Ben Bridwell (\u003ca href=\"http:\/\/www.subpop.com\/artists\/band_of_horses\/\"\u003eBand of Horses\u003c\/a\u003e), Pall Jenkins (Black Heart Procession), Matt Valentine (The Golden Road), and Suzanne Thorpe (Wounded Knees). Together in small mutable groupings, they conjure up classic sounds ranging from English-tinged folk to drifty, West Coast-style singer\/songwriterism. But every track, every note even, bears that distinct Mascis watermark, both in the shape of the tunes and the glorious rasp of the vocals. Ten brilliant tunes that quietly grow and expand until they fill your brain with the purest pleasure.\u003c\/p\u003e","brand":"J Mascis","offers":[{"title":"LP","offer_id":31826369249376,"sku":"708591","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826369282144,"sku":"708592","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826369314912,"sku":"708594","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556523487328,"sku":"708596","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/8403.jpg?v=1581647026"},{"product_id":"j-mascis_tied-to-a-star","title":"Tied to a Star","description":"\u003cp\u003e\u003cspan\u003eJ Mascis’ \u003ci\u003eTied to a Star\u003c\/i\u003e, the follow up to his acclaimed Sub Pop debut \u003ci\u003eSeveral Shades of Why\u003c\/i\u003e, will be available on CD \/ LP \/ DL August 25th in Europe and August 26th in North America. The album, led by the songs “Every Morning” and “Wide Awake,” was recorded and produced by Mascis and mixed by John Agnello at Bisquiteen in Amherst, MA. Tied to a Star also features guest appearances from musicians Ken Maiuri (Young@Heart Chorus), Pall Jenkins (Black Heart Procession), Mark Mulcahy (Miracle Legion) and Chan Marshall (Cat Power). \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"J Mascis","offers":[{"title":"LP","offer_id":31826374525024,"sku":"710831","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826374557792,"sku":"710832","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826374590560,"sku":"710834","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556525125728,"sku":"710836","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/jmascis-tiedtoastar.jpg?v=1581647164"},{"product_id":"sleater-kinney_the-hot-rock","title":"The Hot Rock","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\u003eThe Hot Rock \u003c\/i\u003eis the fourth studio album by Sleater-Kinney, originally released on February 23, 1999 by Kill Rock Stars. It was produced by Roger Moutenot and recorded at Avast studio in Seattle, Washington in July 1998. \u003cspan\u003e\u003ci\u003eThe Hot Rock\u003c\/i\u003e reached #181 on the U.S. Billboard 200 chart \u003c\/span\u003eand #12 on the Heatseekers Albums chart, becoming the first \u003cspan\u003eSleater-Kinney album to enter the charts. \u003ci\u003eThe Hot Rock\u003c\/i\u003e appeared at \u003c\/span\u003e#23 in The Village Voice's “Pazz \u0026amp; Jop” critics' poll for 1999. \u003cspan\u003eSimilarly, Spin placed \u003ci\u003eThe Hot Rock\u003c\/i\u003e at #18 in its list of \"The Top \u003c\/span\u003e20 Albums of 1999\". In 2002, Rolling Stone ranked the album at #17 on its list of \"Women in Rock: The 50 Essential Albums\".\u003c\/p\u003e\u003cp\u003e“The expansive new sound gives Sleater-Kinney room to experiment with their Husker Du-style storytelling... They've earned the right to keep reinventing themselves\". - Rob Sheffield, Rolling Stone\u003c\/p\u003e\u003cp\u003e\"Tucker explores what her voice can do when it's not in overdrive, stretching vowels like a religious supplicant or spewing prosody like Patti Smith. At the same time, Brownstein blossoms as a singer herself [...] braiding lines with Tucker so artfully the result sounds like the voicings of a single restless mind\". [Grade: A] - Will Hermes, Entertainment Weekly\u003c\/p\u003e\u003cp\u003eThe album has been freshly remastered by Greg Calbi for this release. This reissue coincides with Sub Pop’s October 21st, 2014 release of remastered versions of Sleater-Kinney’s six other albums, as well as a limited-edition, deluxe vinyl box set featuring all seven albums. \u003c\/p\u003e\u003cp\u003eThe digital versions of these reissues come out via Sub Pop on September 2nd, 2014.\u003c\/p\u003e","brand":"Sleater-Kinney","offers":[{"title":"LP","offer_id":31826376032352,"sku":"711061","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826376065120,"sku":"711062","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556510969952,"sku":"711066","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/sleaterkinney-hotrock-1425px.jpg?v=1581647228"},{"product_id":"sleater-kinney_no-cities-to-love","title":"No Cities to Love","description":"\u003cp\u003e\"We sound possessed on these songs,\" says guitarist\/vocalist\rCarrie Brownstein about Sleater-Kinney's eighth studio album, \u003ci\u003eNo Cities to Love\u003c\/i\u003e. \"Willing it\rall--the entire weight of the band and what it means to us--back into\rexistence.\"\u003c\/p\u003e\u003cp\u003eThe new record is the first in 10 years from the acclaimed trio--Brownstein,\rvocalist\/guitarist Corin Tucker, and drummer Janet Weiss--who came crashing out\rof the '90s Pacific Northwest riot grrrl scene, setting a new bar for punk's\rpolitical insight and emotional impact. Formed in Olympia, WA in 1994,\rSleater-Kinney were hailed as \"America's best rock band\" by Greil\rMarcus in \u003ci\u003eTime Magazine\u003c\/i\u003e, and put out\rseven searing albums in 10 years before going on indefinite hiatus in 2006. \u003c\/p\u003e\u003cp\u003eBut the new album isn't about reminiscing, it's about\rreinvention--the ignition of an unparalleled chemistry to create new sounds and\rtell new stories. \"I always considered Corin and Carrie to be musical\rsoulmates in the tradition of the greats,\" says Weiss, whose drums fuel\rthe fire of Tucker and Brownstein's vocal and guitar interplay. \"Something\rabout taking a break brought them closer, desperate to reach together again for\rtheir true expression.\" The result is a record that grapples with love,\rpower and redemption without restraint. \"The three of us want the same\rthing,\" says Weiss. \"We want the songs to be daunting.\"\u003c\/p\u003e\u003cp\u003eProduced by long-time Sleater-Kinney collaborator John\rGoodmanson, who helmed many of the band's earlier albums including 1997\rbreakout set \u003ci\u003eDig Me Out\u003c\/i\u003e,\u003ci\u003e No Cities to Love \u003c\/i\u003eis indeed formidable\rfrom the first beat. Lead track \"Price Tag\" is a pounding anthem\rabout greed and the human cost of capitalism, establishing both the album's melodic\rdrive and its themes of power and powerlessness--giving voice, as Tucker says,\rto those who \"struggle to be heard against the dominant culture or status\rquo.\"\u003c\/p\u003e\u003cp\u003e\"Bury Our Friends\" has Tucker and Brownstein\rjoining vocal forces, locking arms to defeat a pressing fear of insignificance.\rIt's also emblematic of the band's give and take, and commitment to working and\rreworking each song until it's as strong as it can be. \"'Bury Our Friends'\rwas written in the 11th hour,\" says Tucker. \"Carrie had her great\rchime-y guitar riff, but we had gone around in circles with how to make that\rpart into a cohesive song. I think Carrie finally cracked the chorus idea and\ryelled, 'Sing with me!'\" \"A New Wave\" similarly went through\rmany iterations during the writing process, with five or six potential\rchoruses, before crystallizing. It enters with an insistent guitar riff, and a\rbattle between acceptance and defiance--\"Every day I throw a little\rparty,\" howls Brownstein, \"but a fit would be more fitting.\"\u003c\/p\u003e\u003cp\u003eThe album's meditative title track was inspired by the trend\rof atomic tourism and its function as a metaphor for someone enthralled and\rimpressed by power. \"That form of power, that presence, is not only\rdestructive it's also hollowed-out, past its prime,\" says Brownstein. \"The\rcharacter in that song has made a ritual out of seeking structures and people\rin which to find strength, yet they keep coming up empty.\"\u003c\/p\u003e\u003cp\u003eSleater-Kinney's decade apart made\rroom for family and other fruitful collaborations, as well as an understanding\rof what the band's singular chemistry demands. \"Creativity is about where\ryou want your blood to flow, because in order to do something meaningful and\rpowerful there has to be life inside of it,\" says Brownstein. \"Sleater-Kinney\risn't something you can do half-assed or half-heartedly. We have to really want\rit. This band requires a certain desperation, a direness. We have to be willing\rto push because the entity that is this band will push right back.\"\u003c\/p\u003e\u003cp\u003e\"The core of this record is\rour relationship to each other, to the music, and how all of us still felt\rstrongly enough about those to sweat it out in the basement and to try and\rreinvent our band,\" adds Tucker. With \u003ci\u003eNo\rCities to Love\u003c\/i\u003e, \"we went for the jugular.\"\u003c\/p\u003e\u003cp\u003e\u003ci\u003e--Evie Nagy\u003c\/i\u003e\u003c\/p\u003e","brand":"Sleater-Kinney","offers":[{"title":"Deluxe","offer_id":31826394972256,"sku":"711003","price":33.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":31826395005024,"sku":"711001","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826395037792,"sku":"711002","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826395070560,"sku":"711004","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556519686240,"sku":"711006","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/s-k-nctl-blackvinyl.jpg?v=1741202335"},{"product_id":"pissed-jeans_honeys","title":"Honeys","description":"\u003cp\u003eAge and four full-lengths haven’t mellowed Pissed Jeans; they can still unleash a blare that will exfoliate your cochlea. Formed in Allentown, Pennsylvania, Pissed Jeans released \u003ccite\u003e\u003ca title=\"Link: https:\/\/www.subpop.com\/releases\/pissed_jeans\/shallow_remastered\" href=\"https:\/\/www.subpop.com\/releases\/pissed_jeans\/shallow_remastered\"\u003eShallow\u003c\/a\u003e\u003c\/cite\u003e, their first album, in 2005 on Parts Unknown Records. The band relocated to Philadelphia seven years ago, and Sub Pop released \u003ca href=\"http:\/\/www.subpop.com\/releases\/pissed_jeans\/full_lengths\/hope_for_men\"\u003e\u003ccite\u003eHope for Men\u003c\/cite\u003e\u003c\/a\u003e in 2007, and then \u003ca href=\"http:\/\/www.subpop.com\/releases\/pissed_jeans\/full_lengths\/king_of_jeans\"\u003e\u003ccite\u003eKing of Jeans\u003c\/cite\u003e\u003c\/a\u003e in 2009. The latter was recorded by Grammy nominee Alex Newport, who also recorded \u003ccite\u003eHoneys\u003c\/cite\u003e.\u003c\/p\u003e\r\u003cp\u003eAge and experience have, however, refined Pissed Jeans. Their ideas and execution have become more subtly focused. The songs on \u003ccite\u003eHoneys\u003c\/cite\u003e are direct without being obtuse, evocative without being vague, personal without being indulgent. They also rock like nobody’s business. Forget all the claptrap you’ve heard about other bands delivering the goods. If you want bloodthirsty, you’ve got it… At times \u003ccite\u003eHoneys\u003c\/cite\u003e is the sound of being bashed over the head with a snow shovel. At times the band slows down and sounds like waking from a nightmare you can’t quite remember. The songs are catchy, but in a way that would appeal to mental patients who only understand colors.\u003c\/p\u003e\r\u003cp\u003e\u003ccite\u003eHoneys\u003c\/cite\u003e stews on the kind of mundane, niggling things that keep you up late at night. It’s an ode to the misery and shackles of being a responsible adult, and the shame of one’s own narcissism. Pissed Jeans trucks in menacing songs about insecurity, and nobody has ever done it better.\u003c\/p\u003e\r\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"caps\"\u003eTAKE\u003c\/span\u003e \u003cspan class=\"caps\"\u003eNOTICE\u003c\/span\u003e! The colored Loser edition seen in some photos above is long gone, but the glorious black vinyl is still available \u0026amp; worth your hard-earned cash all the same!\u003c\/strong\u003e\u003cbr\u003e\rVinyl LP comes with a digital download code inside the sleeve.\u003c\/p\u003e","brand":"Pissed Jeans","offers":[{"title":"LP","offer_id":31826439241824,"sku":"710291","price":16.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826439274592,"sku":"710292","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556514902112,"sku":"710296","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/12689.jpg?v=1581648650"},{"product_id":"king-tuff_black-moon-spell","title":"Black Moon Spell","description":"\u003cp\u003eKing Tuff’s new record is called \u003ci\u003eBlack Moon Spell\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003eIt was produced and recorded by Bobby Harlow at Studio B in Los Angeles, California, in the hot winter of 2014. \u003c\/p\u003e\u003cp\u003eNo one involved was prepared to make a record, but an invisible hand pushed them to do it. Perhaps it was God or that special someone we all know and love called The Devil.\u003c\/p\u003e\u003cp\u003eGod and The Devil actually have very similar interests. They both love electric guitars and they both want you to listen to Black Moon Spell and freak the fuck out.\u003c\/p\u003e\u003cp\u003eThere were many strange occurrences during the recording session- Dracula landlords, flashes of mysterious light, haunted microphones, songs that mixed themselves, demonic vortexes swirling in coffee cups, etc.\u003c\/p\u003e\u003cp\u003eUnder the \u003ci\u003eBlack Moon Spell\u003c\/i\u003e you may experience euphoria, demented visions, wet dreams, bouts of backwards laughter, and dazed confusion resulting in primordial dancing.\u003c\/p\u003e\u003cp\u003eFire played a very important role in the making of this album. \u003ca href=\"http:\/\/megamart.subpop.com\/artists\/king_tuff\"\u003eKing Tuff\u003c\/a\u003e loves fire.\u003c\/p\u003e\u003cp\u003eFor some reason, no one can really explain how the \u003ci\u003eBlack Moon Spell\u003c\/i\u003e came to be. It just appeared one day and demanded heavy rock music and meatball subs.\u003c\/p\u003e\u003cp\u003eBackwards messages may be found on this record.\u003c\/p\u003e\u003cp\u003eLos Angeles, full of its screaming coyotes and creeping helicopters, surely slathered its sexy, twisted, hairy, polluted spirit all over \u003ci\u003eBlack Moon Spell\u003c\/i\u003e. The Sunset Strip shat itself when it heard all these guitar solos.\u003c\/p\u003e\u003cp\u003eA lot of people always ask King Tuff when he’s gonna put out a new record. The answer is September 23, 2014. \u003c\/p\u003e\u003cp\u003eCan you feel the \u003ci\u003eBlack Moon Spell\u003c\/i\u003e creeping up the back of yr neck yet? \u003c\/p\u003e\u003cp\u003eKing Tuff would prefer not to tell you the full story of making this record because its long and crazy and you wouldn’t believe him anyway. Also, I am King Tuff.\u003c\/p\u003e\u003cp\u003eMagic Jake, who played bass and is beautiful like sunshine, would like to take this moment to give you a hug and invite you to a tanning party on a beach of your choice.\u003c\/p\u003e\u003cp\u003eOld Gary, who plays drums and has the most glorious cackle, would like to take this moment to crack a cold one with you and invite you to watch the old ballgame with him.\u003c\/p\u003e\u003cp\u003eOld Gary was out watching the old ballgame, so a wild critter named Ty Segall played drums on the song “Black Moon Spell”. Ty enjoys speaking in a goblin voice in his spare time.\u003c\/p\u003e\u003cp\u003eNight fell on Studio B. A Tarot card leapt from the deck and said, “No human judgement is of any value here.” King Tuff agreed.\u003c\/p\u003e\u003cp\u003eSub Pop first discovered King Tuff curled up in his palace in Vermont. It was basically a shit hut made of moss, mud, and glimmering stones hidden near the graveyard, and it was guarded by beautiful wild bullfrogs with silver fangs and baseball bats. \u003c\/p\u003e\u003cp\u003ePunx, Squares, Skaters, Farmers, Bartenders, Grandparents, Stoners, Carpenters, Hobos, Heshers, Babes, Babies, Plumbers, Strippers, Art Teachers, Teenagers, Townies, Moms, Dads, Truck Drivers, and Witches will all love this record. \u003c\/p\u003e\u003cp\u003eEvery song on \u003ci\u003eBlack Moon Spell\u003c\/i\u003e was written without giving a shining fuck about nothing.\u003c\/p\u003e\u003cp\u003eListen to \u003ci\u003eBlack Moon Spell\u003c\/i\u003e, turn yr volume knob up to 666, put yr lover in a 69, and let yr inner grinagog rear it’s wicked, unwashed, smiling snake head.\u003c\/p\u003e\u003cp\u003eListen to \u003ci\u003eBlack Moon Spell\u003c\/i\u003e and give yr ears what they’ve been begging for all year; a heavily weird, heavenly dark, hysterically magical Rock \u0026amp; Roll Sexperience.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eps. the only part of this story that isn’t true is the part about the shit hut. I actually was living at my parents’ house when I was discovered. Love, KT\u003c\/p\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"King Tuff","offers":[{"title":"LP","offer_id":31826445992032,"sku":"710801","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826446024800,"sku":"710802","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556510249056,"sku":"710806","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/kingtuff-blackmoonspell-digital-900.jpg?v=1581648877"},{"product_id":"sleater-kinney_all-hands-on-the-bad-one","title":"All Hands On the Bad One","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\u003eAll Hands on the Bad One\u003c\/i\u003e is the fifth studio album by Sleater-Kinney, originally released on May 2, 2000 by Kill Rock Stars. The album was produced by John Goodmanson and recorded from December 1999 to January 2000 at Jackpot! Studio in Portland, Oregon and John \u0026amp; Stu's Place in Seattle, Washington. \u003c\/p\u003e\u003cp\u003eUpon release, \u003ci\u003eAll Hands on the Bad One \u003c\/i\u003ereached #177 on the US Billboard Top 200 chart and #12 on the Heatseekers Albums \u003cspan\u003echart. \u003ci\u003eAll Hands on the Bad One\u003c\/i\u003e appeared on several end-of-year lists \u003c\/span\u003eand received a nomination for Outstanding Music Album at the 12th Annual Gay and Lesbian Alliance Against Defamation Awards. The Village Voice placed it at #10 in its 2000 “Pazz \u0026amp; Jop” Critics' Poll.\u003c\/p\u003e\u003cp\u003e“The band's most melodic, playful, sarcastic, and punchy album to date” [8.3 \/ 10 ] - Brent DiCrescenzo, Pitchfork\u003c\/p\u003e\u003cp\u003eThe album has been freshly remastered by Greg Calbi for this release. This reissue coincides with Sub Pop’s October 21st, 2014 release of remastered versions of Sleater-Kinney’s six other albums, as well as a limited-edition, deluxe vinyl box set featuring all seven albums. \u003c\/p\u003e\u003cp\u003eThe digital versions of these reissues come out via Sub Pop on September 2nd, 2014.\u003c\/p\u003e","brand":"Sleater-Kinney","offers":[{"title":"LP","offer_id":31826450153568,"sku":"711071","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826450186336,"sku":"711072","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556514803808,"sku":"711076","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/sleaterkinney-allhands-1425.jpg?v=1581649014"},{"product_id":"sleater-kinney_sleater-kinney","title":"Sleater-Kinney","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\u003eSleater-Kinney \u003c\/i\u003eis the first effort from the group, recorded by Nick Carrol at 486 Victoria Street in Melbourne, Australia, and produced by Tim Green and the band at the Red House in Olympia, Washington. The album was originally released in 1995 by the independent queercore record label Chainsaw Records. The line-up featured Corin Tucker (vocals, guitar), Carrie Brownstein (guitar, vocals) and Lora Macfarlane (drums).\u003c\/p\u003e\u003cp\u003e“While their same-sex one-on-ones aren't exactly odes to joy, they convey a depth of feeling that could pass for passion.” [Grade: A-] - Robert Christgau, Consumer Guide\u003c\/p\u003e\u003cp\u003eThe album has been freshly remastered by Greg Calbi for this release. This reissue coincides with Sub Pop’s October 21st, 2014 release of remastered versions of Sleater-Kinney’s six other albums, as well as a limited-edition, deluxe vinyl box set featuring all seven albums. \u003c\/p\u003e\u003cp\u003eThe digital versions of these reissues come out via Sub Pop on September 2nd, 2014.\u003c\/p\u003e","brand":"Sleater-Kinney","offers":[{"title":"LP","offer_id":31826459263072,"sku":"711031","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826459295840,"sku":"711032","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556511854688,"sku":"711036","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/sleaterkinney-selftitled-1425.jpg?v=1581649220"},{"product_id":"chad-vangaalen_shrink-dust","title":"Shrink Dust","description":"\u003cp\u003eChad VanGaalen's blood flows by unrestrained creative impulses.  He has never worked in a commercial recording studio.  By his hands alone, one line, sound, shape or word leads organically to the next. In 2011, he wanted to score a science fiction film, so he started making one. The first episode of his animated feature, \u003ci\u003eTranslated Log of Inhabitants\u003c\/i\u003e, should be released this year, with a fully illustrated D\u0026amp;D-esque compendium of 150 associated characters.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eShrink Dust\u003c\/i\u003e, his fifth full-length album under his own name, is partially a score to this film, but it’s also—in Chad’s view—a country record.\u003c\/p\u003e\u003cp\u003eAlways a fan of esoteric instruments, Chad recently acquired an aluminum pedal steel guitar, and began trying to figure out how to play it: “It took me a month to set it up, and a year to be comfortable recording myself playing this thing.”  His experiments with this instrument unify the album, along with themes of death, transformation, fear, benign evil, and the eccentricity of love.  A newfound affection for The Flying Burrito Brothers, and the sci-fi mysticism of the 1980s graphic novel The Incal by Alejandro Jodorowsky and Moebius, were also significant in recent years.  \u003c\/p\u003e\u003cp\u003eSomehow, with all of its disparate influences and components, \u003ci\u003eShrink Dust\u003c\/i\u003e might be one of the most accessible moments in CVG’s creative life, simply because it is more apparent than ever how much fun he is having blurring the lines between the vivid worlds of his creation, and the world his audience inhabits.  For those who are open to it, Chad’s adventures in music and art illuminate a path that is more colorful, playful, and sustainable than those commonly available to us.  A path that is, most importantly, always changeable.\u003c\/p\u003e\u003cp\u003eYou can see and hear his alternate reality through the artifacts he offers up.  But as it turns out, the only true access point into Chad VanGaalen’s expanding universe is one’s own will to create.\u003c\/p\u003e\u003cp\u003eFind Chad: He’s a monster.\u003c\/p\u003e\u003cp\u003e- Bryan Webb\u003c\/p\u003e","brand":"Chad VanGaalen","offers":[{"title":"LP","offer_id":31826467455072,"sku":"710811","price":14.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826467487840,"sku":"710812","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556526141536,"sku":"710816","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/cvg-shrinkdust.jpg?v=1581649510"},{"product_id":"tad_gods-balls-deluxe-edition","title":"God's Balls (Deluxe Edition)","description":"\u003cp\u003e\u003ca href=\"http:\/\/subpop.com\/artists\/tad\"\u003eTAD\u003c\/a\u003e was a mighty force in the late-‘80s\/early-‘90s Seattle scene. Their heavy, churning rock\/metal\/punk buzz was a crucial part of Sub Pop’s early years, and, along with peers like Mudhoney, Nirvana, and Soundgarden, they defined the sound that reinvigorated the rock world in the early ‘90s. TAD was led by the physically imposing yet incredibly sweet singer\/guitarist TAD Doyle, with bassist Kurt Danielson (ex-Bundle of Hiss), drummer Steve Wied, and guitarist Gary Thorstensen. With an image that sometimes cast the band as deranged lumberjacks, and influence from Head of David and Killdozer, TAD put a uniquely rain-and-fog-coated Northwest spin on ‘80s underground rock. The band released two albums and a few EPs on Sub Pop between 1988 and 1991, all of which are now lovingly remastered by the band’s friend and engineer Jack Endino (Soundgarden, Nirvana, Mudhoney, Screaming Trees) and repackaged with bonus tracks and expansive liner notes.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eGod’s Balls\u003c\/i\u003e, TAD’s punishing, noise-drenched debut album, was recorded with Jack Endino at Reciprocal Recording in Seattle in 1988, and released early the following year. In addition to their usual arsenal of guitars, bass, and drums, the band employed a variety of unusual instruments – an empty gas tank from a car, a hacksaw, a large brass tube from a microwave transmitter, CB radio mics, a cello bow used on cymbals to emulate guitar feedback – to thunderous effect, adding a Neubauten-esque clang to the band’s rock riffs. After releasing \u003ci\u003eGod’s Balls\u003c\/i\u003e, TAD flew to Europe with Nirvana for both bands’ first European tour. The now-legendary, month-long tour took the bands to the UK, Ireland, Scotland, France, Belgium, Switzerland, Germany, Austria, Czechoslovakia, Hungary, Italy, Denmark and Sweden.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThis reissue of \u003ci\u003eGod’s Balls\u003c\/i\u003e features CD\/digital bonus tracks from TAD’s 1988 debut 7” plus the previously unreleased “Tuna Car” from the 7” session. \u003ci\u003eGod’s Balls \u003c\/i\u003ehas been out of print on LP\/CD for many years, and this is its first digital release.\u003c\/p\u003e","brand":"TAD","offers":[{"title":"LP","offer_id":31826502025312,"sku":"711771","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31826502058080,"sku":"711772","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":31826502090848,"sku":"711776","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/tad-godsballs-2400.jpg?v=1581650331"},{"product_id":"obits_i-blame-you","title":"I Blame You","description":"\u003cp\u003eObits are Rick Froberg, Sohrab Habibion, Greg Simpson, and Scott Gursky. They reside in Brooklyn, NY. There is a bootleg of their first live show from Jan. ‘08 at the Cake Shop in NY somewhere on the internet. As with most of these sorts of things, the sound quality of that recording is pretty poor. The songs though… The songs are really great. Obits like a lot of music—Television, Wipers, Michael Yonkers, 13th Floor Elevators, Neu!, The Shangri-Las, African psych, punk rock. They don’t really sound that much like Creedence, maybe a little. Since that first show, we somehow convinced them that releasing some records on Sub Pop would be a good idea. Obits came out to Seattle in July of 2008 and played our 20th anniversary festival. In December of 2008, they released their first single, “One Cross Apiece” b\/w “Put It in Writing” on their own Stint Records label and did some touring with the \u003ca href=\"http:\/\/www.subpop.com\/artists\/constantines\/\"\u003eConstantines\u003c\/a\u003e and \u003ca href=\"http:\/\/www.myspace.com\/thenightmarchers\/\"\u003eThe Night Marchers\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003e“We’re not into innovation as a band,” says Froberg, who’s already done his fair share of innovating with Drive Like Jehu and Hot Snakes. “I think innovation is overrated and an overestimated quality. Anything that’s going to be original is going to happen without your control. Things that make your band sound like you, are things you wouldn’t be able to change anyway. 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You know your room. Here’s the same hair, the same room, seen again as something new. Close It Quietly takes the trademark \u003ca href=\"https:\/\/megamart.subpop.com\/artists\/frankie_cosmos\"\u003eFrankie Cosmos\u003c\/a\u003e micro-universe and upends it, spilling outwards into a swirl of referentiality that’s a marked departure from earlier releases, imagining and reimagining motifs and sounds throughout the album. FC’s fourth studio release is a manifestation of the band’s collaborative spirit: Greta Kline and longtime bandmates Lauren Martin (synth), Luke Pyenson (drums), and Alex Bailey (bass) luxuriated in studio time with Gabe Wax, who engineered and co-produced the record with the band.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecording close to home— at Brooklyn’s Figure 8 Studios— grounded the band, and their process was enriched by working closely with Wax, whose intuition and attention to detail made the familiar unfamiliar and allowed the band to reshape their own contexts. On opener “Moonsea,” an unaccompanied Greta begins, “The world is crumbling and I don’t have much to say.” Take that as a wink and a metonym for the whole album, as her signature vocals are joined by Alex’s ascending bassline and Lauren’s eddying synths, invoking a loungey take on Broadcast or Stereolab’s space-disco experimental pop. There’s much more than “not much” to say here, and it's augmented and expanded by experimentation with synth patches, textures, and other recording nuances courtesy of Wax.\u003c\/p\u003e\u003cp\u003eAs the lineup has solidified into the most permanent expression of full-band Frankie Cosmos, the bandmates have felt more comfortable deviating from their default instruments and contributing bigger-picture ideas to continue pushing the sound forward. The synergy of its creation is clear upon listening: the multiple hands dipping and re-dipping into each song form a multifaceted whole. The band’s closeness and aesthetic consistency freed its members to take more musically-formal risks, notes Luke: \"Everything will sound like Frankie Cosmos because Greta has such a distinct voice (literally and figuratively). We have so much latitude to experiment with the instrumental music, and this time around we really took advantage of that.\"\u003c\/p\u003e\u003cp\u003eThe album forms its own vortex of reinvention that’s embodied through both the tracks themselves and the recording and arranging processes. “A Joke” curls in on itself, in word and in deed, a series of undercuts defining negative space: “It’s just a joke I wasn’t trying to tell;” “It wasn’t really a game;” “I do not know what I am for\/I wasn’t really keeping score.” Inverting technology’s human mimicry, Luke impersonates a drum machine until the song’s end. “A Joke’s” tricks scratch at something bigger, a small song embodying the laughability of attempting to neatly organize or adhere to any particular role.\u003c\/p\u003e\u003cp\u003e“Rings of a Tree” frees itself from its original context: released earlier this year on Greta’s solo piano album Haunted Items, she didn’t initially anticipate a major deviation; then, Luke says, “Lauren and I had the same arrangement idea without talking about it. Like, ‘let’s make this song funky. Let’s channel Orange Juice.’ We texted Greta and Alex before practice and Alex came in with a new guitar part that perfectly captured what Lauren and I heard in our heads.” \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e“I’m just fucking glad for my bubble\/despite how often it is penetrated by evil” Greta sings on “Last Season’s Textures,” taking to task the accusation that young people cloister themselves in complacency: she’s quick to point to, thank, and feel suspicious of that sphere all at once. The song explores the feeling of safety in her realm; reasonable despair re: reality (“the news is excruciating”); and a quick admission that darkness isn’t something a liberal-minded social network can block out. Kline notes how the song is “partly about misogyny and internalized misogyny--moments where I've felt betrayed by what is meant to be a safe space.”\u003c\/p\u003e\u003cp\u003eWithout losing any intimacy of prior albums, Close it Quietly is different, is outer. The album functions as a benign doppelganger, a shadow self of past releases; where other Frankie Cosmos records shine brightest looking inward, Close it Quietly refracts the self into the world, and vice versa, miraculously echoing Thoreau’s assertion that “when I reflect, I find that there is other than me.”\u003c\/p\u003e\u003cp\u003eReflection--and refraction--isn’t tidy. “Flowers don’t grow\/in an organized way\/why should I?” Greta sings on “A Joke.” Growth isn’t linear. Change happens in circles. 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From 1992 to 1997, Flake Music released several singles before releasing \u003ci\u003eWhen You Land Here… \u003c\/i\u003ein 1997.\u003ci\u003e \u003c\/i\u003eUpon the album’s release, Flake Music began touring largely due to support from Modest Mouse, amongst others.  \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1996, Mercer started The Shins as an outlet for his songwriting, and the rest is well-known history.\u003c\/p\u003e\n\u003cp\u003eAvailable on vinyl for the first time in over 15 years, the only full length from Flake Music has been remastered for this release, and includes a brand new interpretation on the original artwork by Seattle, WA artist \u003ca href=\"http:\/\/www.keithnegley.com\/\"\u003eKeith Negley\u003c\/a\u003e. \u003c\/p\u003e","brand":"Flake Music","offers":[{"title":"LP","offer_id":31826639061088,"sku":"711111","price":16.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826639093856,"sku":"711112","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556523880544,"sku":"711116","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/flake-whenyouland-1425.jpg?v=1581652670"},{"product_id":"shabazz-palaces_the-don-of-diamond-dreams","title":"The Don Of Diamond Dreams","description":"\u003cp\u003eCruise the city in a night ship, dressed to kill in the Seville. Float down waterfalls and fountains, reclined on some pimp shit. The time zone ghost returns to paint a picture that echoes through infinity. The sun is put to rest, the soliloquy is killer bee. A diamond purpose lying beneath the surface. Nothing is ever what it seems, but forever is the theme. It’s time. \u003ca href=\"https:\/\/megamart.subpop.com\/artists\/shabazz_palaces\"\u003eShabazz Palaces\u003c\/a\u003e are back with yet another classic of divine mathematics design. More dazzling Afrofuturist sutras to illuminate distant constellations with sacred abstractions. Enter The Don of Diamond Dreams, raw and uncut, but glowing with 10,000 karat shine. \u003c\/p\u003e\n\u003cp\u003eIf you adhere to the corporeal limitations of space and chronology, it’s been roughly a decade since Shabazz Palaces first shook the ramparts with their debut stylistic revolution, \u003ca href=\"https:\/\/megamart.subpop.com\/releases\/shabazz_palaces\/black_up\"\u003eBlack Up\u003c\/a\u003e -- which Pitchfork named as one of the Best of the 2010s, hailing it as an “album of impossible vision.” But the project masterminded by vocalist and producer Ishmael Butler (with levitational assists from multi-instrumentalist Tendai \"Baba\" Maraire) has never conformed to gravitational consideration or terrestrial measurement. They are heirs to the astral imagination of Sun Ra and George Clinton, Octavia Butler and Alice Coltrane. If they technically claim residence in Seattle, their sound emanates much closer to Alpha Centauri than Alki Beach. \u003c\/p\u003e\n\u003cp\u003eIn his unstinting drive to re-imagine hip-hop, Butler remains one of the preeminent visionaries of the last quarter-century. His first album with Digable Planets, Reachin (A New Refutation of Time and Space, nodded at Miles Davis in the first half of its title, but 27 years later, he has become one of the most vaunted inheritors of the trumpet deity’s rarefied legacy -- still innovating as he enters his fourth decade as a working musician -- splintering, rebuilding, and expanding the possibilities of sound. He has collaborated with like-minded visionaries Flying Lotus and Thundercat, Battles and Animal Collective. While all-timers like Radiohead and Lauryn Hill have invited him to join them on tour. \u003c\/p\u003e\n\u003cp\u003eIt remains impossible to accurately describe a Shabazz Palaces album without lapsing into cosmic tropes. Yet sometimes clichés are stand-ins for eternal truths. Therein, The Don of Diamond Dreams embodies a futuristic manifestation of ancient myth, full of robotic vocoder and warped auto-tune, Funkadelic refracted into different dimensions, weird portals and warm nocturnal joy rides alongside the coast (a reflection of it being mixed near the beach in California). The synthesizers are alien but the drums speak a universal language. It is hip-hop, dub, jazz, R\u0026amp;B, soul, funk, African, experimental, and occasionally even pop. But over the course of five albums, Shabazz Palaces have conceived the fluid boundaries of their own one-band genre. \u003c\/p\u003e\n\u003cp\u003eEven though the construction of the album is meticulous, it’s a startling masterpiece of improvisation and instinct. It’s both cerebral and automatic, with Butler jotting down phrases and ideas in his phone and eventually shaping them into amorphous abstract expressionist canvasses. If anything, their latest illustrates Butler’s gift for being a conduit of sounds and experience. It’s partially shaped by his own reflection on being a parent and watching his son, Jazz, become internationally renowned as the artist, Lil Tracy. If you listen closely, you can hear the interplay between father and son, as Butler does what is impossible for most veteran artists: he absorbs the sounds of today’s youth, but filters it through his own fractured lens, spitting back convex poems with wild cadences, free-styling with the wisdom of age and the frenetic passion of someone still trying to show and prove. It’s confident and suffused with the thing that defines almost all great art: the willingness to risk attempting something new. \u003c\/p\u003e\n\u003cp\u003eThere is “Ad Ventures,” a shout out to Butler’s crew, The Black Constellation. The beat operates like a melodic free jazz hymn, with Ish boasting about Ethiopian carats and watching lakes from a theological terrace. It’s an imagistic rendering of their tours through Europe in sprinter vans, blitzing from place to place and absorbing every detail. Featuring Purple Tape Nate, “Fast Learner” offers odd splendor, spoken word reveries and flexes that wriggle through a wrinkle in time. The synthesizers sound like New Age from the 37th century crossed with 90s R\u0026amp;B, the drums are slow and seething. On top of that, Butler laid a guitar line down and auto-tune harmonies that instantiate the feeling of driving along PCH at night. \u003c\/p\u003e\n\u003cp\u003e“Wet” is a freestyle of sorts with Ish offering his own twist on contemporary rap cadences but making it sound like an underwater Atlantis symphony. There are Based God shout-outs and fuzzy guitars that wouldn’t sound out of place on an Ariel Pink album. “Chocolate Souffle” is some god-level shit-talking in the way that only Butler could do: replete with Maurice Chevalier allusions and admissions of being an “elitist at the zenith of slick demeanor.” While “Thanking the Girls” might be the most poignant song in the Shabazz catalog, a song that acknowledges the myriad positive ways in which women have shaped Butler’s life. The second verse is dedicated to his two daughters and the pride which they engender. Of course, this is a Shabazz Palaces song so the beat sounds like a riff on Panda Bear distilled through a bent futuristic boom-bap prism. \u003c\/p\u003e\n\u003cp\u003eIn some respects, it’s difficult to consider the possibility that this might be the best Shabazz Palaces album yet. Very few musicians have ever peaked in their fifth decade on earth, but whoever said they were actually from earth? It’s wrong to say that Shabazz Palaces have gone beyond the looking glass. This time they’ve shattered it entirely and created a brilliant new universe in each one of the shards. \u003c\/p\u003e\n\u003cp\u003eShabazz Palaces The Don of Diamond Dreams will be available April 17th, 2020 worldwide on Sub Pop. The 10-track album includes the highlights “Fast Learner (ft. Purple Tape Nate),” “Chocolate Souffle,” “Bad Bitch Walking (ft. Stas THEE Boss), and “Thanking The Girls.” It also features contributions from singer\/keyboardist Darrius Willrich, Percussionist Carlos Niño, Knife Knights collaborator OCnotes, Saxophonist Carlos Overall, and bassist Evan Flory-Barnes. \u003c\/p\u003e\n\u003cp\u003eThe Don of Diamond Dreams was recorded throughout 2019 and produced by Shabazz Palaces at Protect and Exalt: A Black Space in Seattle, mixed and engineered by Erik Blood with mixing assistance from Andy Kravitz at Studio 4 Labs in Venice, California, and mastered by Scott Sedillo at Bernie Grundman Mastering in Los Angeles. \u003c\/p\u003e","brand":"Shabazz Palaces","offers":[{"title":"CD","offer_id":32100539662432,"sku":"713352","price":7.2,"currency_code":"USD","in_stock":true},{"title":"Loser (color) LP","offer_id":32100539596896,"sku":"713350","price":23.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":32100539629664,"sku":"713351","price":23.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":32100539695200,"sku":"713354","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556526469216,"sku":"713356","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/shabazzpalaces-thedonofdiamonddreams-cover-3600x3600.jpg?v=1587000233"},{"product_id":"loma_dont-shy-away","title":"Don't Shy Away","description":"\u003cp\u003e\u003cb\u003e\u003c\/b\u003eOn December 26th, 2018, Emily Cross received an excited email from a friend: Brian Eno was talking about her band on BBC radio. “At first I didn’t think it was real,” she admits. But then she heard a recording: Eno was praising “Black Willow” from Loma’s \u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/loma\/loma\" href=\"https:\/\/megamart.subpop.com\/releases\/loma\/loma\"\u003eself-titled debut\u003c\/a\u003e, a song whose minimal groove and hypnotic refrain seem as much farewell as a manifesto: I make my bed beside the road \/ I carry a diamond blade \/ I will not serve you. He said he’d had it on repeat.\u003c\/p\u003e\u003cp\u003eAt the time, a second Loma album seemed unlikely. The band began as a serendipitous collaboration between Cross, the multi-talented musician and recording engineer Dan Duszynski, and Shearwater frontman Jonathan Meiburg, who wanted to play a supporting role after years at the microphone. They’d capped a grueling tour with a standout performance on a packed beach at Sub Pop’s SPF 30 festival, in which Cross leapt into the crowd, and then into the sea, while the band carried on from the stage—an emotional peak that also felt like a natural ending. “It was the biggest audience we’d ever had,” she says. “We thought, why not stop here?”   \u003c\/p\u003e\u003cp\u003eFollowing the tour, Cross went to rural Mexico to work on visual art and a solo record, while Meiburg began a new Shearwater effort. But after a few months apart (and Eno’s encouraging words), the trio changed their minds and reconvened at Duszynski’s home in rural Texas, where they began to develop songs that would become Don’t Shy Away. Loma writes by consensus, and though Cross is always the singer, she, Duszynski and Meiburg often trade instruments.  Meiburg compares their process to using a ouija board, and says the songs revealed themselves slowly, over many months. “Each of us is a very strong flavor,” he says, “but in Loma, nobody wears the crown, so we have to trust each other—and we end up in places none of us would have gone on our own. I think we all wanted to experience that again.” The album that emerged is gently spectacular—a vivid work whose light touch belies its timely themes of solitude, impermanence, and finding light in deep darkness. Stuck \/ beneath \/ a rock, Cross begins, as if noticing her predicament for the first time. Then she adds: I begin to see \/ the beauty in it. \u003c\/p\u003e\u003cp\u003eIt’s a couplet that evokes the album in miniature. Don’t Shy Away is shot through with revelations, both joyful (“Given a Sign”) and sober (the clear-eyed title track), and winds from moment to moment with confidence and humor. Like Loma’s first effort, there’s a tangible and sensuous feeling of place; insects sing in the trees, an ill-fitting door creaks in the wind. But there’s also a daring and hard-won wisdom, underlined by Cross’s benevolent clarinet, which often sounds like an extension of her singing voice. “Ocotillo”’s desert landscape unreels into a blazing sun; “Elliptical Days” seems to ascend endlessly like Escher’s circling monks; the jubilant “Breaking Waves Like a Stone” appears out of a haze of synthesizers that pulse like fireflies. A series of guests wander through these absorbing soundscapes, including touring members Emily Lee (piano, violin) and Matt Schuessler (bass), Flock of Dimes\/Wye Oak’s Jenn Wasner, and a surprisingly bass-heavy horn section. \u003c\/p\u003e\u003cp\u003eAnd then there’s Brian Eno. Loma invited him to participate in the mantra-like “Homing,” which concludes the album, and sent him stems  to interact with in any way he liked. He never spoke directly with the band, but his completed mix arrived via e-mail late one night, without warning, and they gathered to listen in the converted bedroom Duszynski uses as a control room. “I was a little worried,” says Cross. “What if we didn’t like it?” But it was all they’d hoped for: minimal but enveloping, friendly but enigmatic, as much Loma as Eno—a perfect ending to an album about finding a new home inside an old one.  I am somewhere that you know, Cross sings, above a chorus of her bandmates’ blended voices. I am right behind your eyes. \u003c\/p\u003e","brand":"Loma","offers":[{"title":"LP","offer_id":32615743193184,"sku":"713661","price":13.8,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":32615743225952,"sku":"713662","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32615743258720,"sku":"713666","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/loma-dontshyaway-2400px.jpg?v=1619653488"},{"product_id":"metz_atlas-vending","title":"Atlas Vending","description":"\u003cp\u003eMETZ's latest full-length album (Oct. 2020)!\u003c\/p\u003e\n\u003cp\u003e“Change is inevitable if you’re lucky,” says guitarist\/vocalist Alex Edkins while talking about Atlas Vending, the fourth full-length album by Toronto’s \u003ca href=\"https:\/\/megamart.subpop.com\/artists\/metz\"\u003eMETZ\u003c\/a\u003e. “Our goal is to remain in flux, to grow in a natural and gradual way. We’ve always been wary to not overthink or intellectualize the music we love but also not satisfied until we’ve accomplished something that pushes us forward.” The music made by Edkins and his compatriots Hayden Menzies (drums) and Chris Slorach (bass) has always been a little difficult to pin down. Their earliest recordings contained nods to the teeming energy of early ‘90s DIY hardcore, the aggravated angularities of This Heat, and the noisy riffing of AmRep’s quintessential guitar manglers, but there was never a moment where METZ sounded like they were paying tribute to the heroes of their youth. If anything, the sonic trajectory of their albums captured the journey of a band shedding influences and digging deeper into their fundamental core—steady propulsive drums, chest-thumping bass lines, bloody-fingered guitar riffs, the howling angst of our fading innocence. With Atlas Vending, METZ not only continues to push their music into new territories of dynamics, crooked melodies, and sweat-drenched rhythms, they explore the theme of growing up and maturing within a format typically suspended in youth.\u003c\/p\u003e\n\u003cp\u003eCovering seemingly disparate themes such as paternity, crushing social anxiety, addiction, isolation, media-induced paranoia, and the restless urge to leave everything behind, each of Atlas Vending’s ten songs offer a snapshot of today's modern condition and together form a musical and narrative whole. Album opener “Pulse” is a completely unnerving exercise in reductionist tension, with verses providing little more than a lone discordant chord, a hammering kick drum, and the occasional punctuation of a diving bass note. From there METZ launches into “Blind Youth Industrial Park,” an absolute scorcher of paranoid dissonance and malicious force centered on a chromatic descending riff and a merciless four-to-the-floor drum battery.\u003c\/p\u003e\n\u003cp\u003eThe album hits its stride with “No Ceiling”—a minute-and-a-half rager that comes about as close to containing a pop hook as anything METZ has ever written. Though it’s still saturated with in-the-red distortion, this truncated anthem about discovering love and purpose provides the rare counterpoint to the band’s grievous compositions. But there’s no yielding to complacency on Atlas Vending, and the mercurial nature of love and romance is expertly captured in the alternately brutal verses and beguiling choruses of “Hail Taxi.” If METZ’s current mission is to mirror the inevitable struggles of adulthood, they’ve successfully managed to tap into the conflicted relationship between rebellion and revelry with the song’s tactics of offsetting their signature bombast with anthemic melodic resolutions.\u003c\/p\u003e\n\u003cp\u003eThe song sequencing follows a cradle-to-grave trajectory, spanning from primitive origins through increasingly nuanced and turbulent peaks and valleys all the way to the climactic closer, “A Boat to Drown In.” The lyrics speak to this arc as well, with the songs addressing life’s struggles all the way through to death, as Edkins snarls “crashed through the pearly gates and opened up my eyes, I can see it now” before the band launches into the album’s cascading outro. \u003c\/p\u003e\n\u003cp\u003eWhile past METZ albums thrived on an abrasive relentlessness, the trio embarked on Atlas Vending with the goal to make a more patient and honest record—something that invited repeated listens rather than a few exhilarating bludgeonings. It’s as if the band realized they were in it for the long haul, and their music could serve as a constant as they navigated life’s trials and tribulations. The result is a record that sounds massive, articulate, and earnest. Bolstered by the co-production of Ben Greenberg (Uniform) and the engineering and mixing skills of Seth Manchester (Daughters, Lingua Ignota, The Body) at Machines with Magnets in Pawtucket, Rhode Island, METZ deliver the most dynamic, dimensional, and compelling work of their career. \u003c\/p\u003e","brand":"METZ","offers":[{"title":"Loser (color) LP","offer_id":32615743783008,"sku":"713400","price":23.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":32615743815776,"sku":"713401","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":32615743848544,"sku":"713402","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":32615743881312,"sku":"713404","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32615743914080,"sku":"713406","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/metz-atlasvending-cover-3750.jpg?v=1620337046"},{"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":"lael-neale_acquainted-with-night","title":"Acquainted with Night","description":"\u003cp\u003eIt is the simple thing that is so hard to do. This is the paradox that musician Lael Neale has lived within throughout her development as an artist. It is the reason she became enthralled with poetry. Poems are a distillation. 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":"father-john-misty_chloe-and-the-next-20th-century","title":"Chloë and the Next 20th Century","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eFather John Misty returns with \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eChloë and The Next 20th Century\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, his fifth album and first new material since the 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;\"\u003eGod’s Favorite Customer\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e in 2018.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eChloë and the Next 20th Century\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e was written and recorded August through December 2020 and features arrangements by Drew Erickson. The album sees Tillman and \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eproducer\/multi-instrumentalist Jonathan Wilson resume their longtime collaboration, as well as Dave Cerminara, returning as engineer and mixer. Basic tracks were recorded at Wilson’s Five Star Studios with strings, brass, and woodwinds recorded at United Recordings in a session featuring Dan Higgins and Wayne Bergeron, among others.  \u003c\/span\u003e\u003c\/p\u003e\n\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eChloë and The Next 20th Century\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e features the singles “Funny Girl,” “Q4,” “Goodbye Mr. Blue,” and “Kiss Me (I Loved You),” and will be available April 8th, 2022 worldwide from Sub Pop and in Europe from Bella Union.\u003c\/span\u003e","brand":"Father John Misty","offers":[{"title":"Deluxe Box Set","offer_id":39415941824608,"sku":"714303","price":46.8,"currency_code":"USD","in_stock":true},{"title":"Loser (color) 2xLP","offer_id":39415941693536,"sku":"714300","price":28.0,"currency_code":"USD","in_stock":false},{"title":"2xLP","offer_id":39415941726304,"sku":"714301","price":28.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39415941759072,"sku":"714302","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":39415941791840,"sku":"714304","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/fjm-chloe-4000x4000_2eed8c67-42f4-499d-a866-0ea6094693b7.jpg?v=1639605752"},{"product_id":"guerilla-toss_famously-alive","title":"Famously Alive","description":"\u003cp\u003eDig deep enough inside yourself -- start treating your body as your sanctuary rather than your enemy -- and eventually you'll find yourself blooming right back out into the sun. That's the transformation Guerilla Toss trace on their newest album Famously Alive, their effervescent Sub Pop debut. After a decade sprinkling glitter into grit, building a reputation as one of the most ferociously creative art-rock groups working, the upstate New York band have eased fully into their light. This is Guerilla Toss at their most luminescent -- awake, alive, and extending an open invitation to anyone who wants to soak it all up beside them.\u003c\/p\u003e\u003cp\u003eSinger and lyricist Kassie Carlson, multi-instrumentalist Peter Negroponte and guitarist Arian Shafiee wrote Famously Alive at home in the Catskills during the pervading quiet of the pandemic year. The uncertainty of COVID-19 lockdowns and the total disruption of routine forced Carlson to negotiate with herself in new and challenging ways. \"You have to be with yourself all the time during the pandemic,\" she says. \"I had to figure out a way to manage my anxiety. The pandemic was hard, but it helped me get comfortable inside my own body. My peace of mind came out of being thrust into the deepest shit. This album is all about being happy, being alive, and strength. It’s meant to inspire people.\"\u003c\/p\u003e\u003cp\u003eThe album's title derives from a poem written by a close friend of the band, Jonny Tatelman, who supported Carlson through the early stages of her recovery from opiate addiction. The poem comprises the entirety of the lyrics to the title track, an exuberant ode to loving your own survival and charting a course into unconditional self-acceptance. \"The song 'Famously Alive' is about living with purpose and excitement whether you’re famous or not, accepting your strangeness and thriving even if your successes look different than other people’s,\" notes Carlson. \"To me, 'Famously Alive' means flipping the notion of dying famously to living famously,\" Negroponte adds. \"I also like to think of it as a way to describe living through something traumatic and coming out of it a stronger, wiser person.\"\u003c\/p\u003e\u003cp\u003eSongs like the expansive, gleaming \"Live Exponential\" similarly invite the listener to lean into the light. \"It’s about loving yourself and finding a way to be comfortable in your own body -- to live life to the fullest and beyond,\" says Carlson. Throughout the record, Guerilla Toss meet themselves with curiosity, generosity, and acceptance even for the harder parts of being alive. Opener \"Cannibal Capital,\" a song about the exhaustion and dread of social anxiety, came together in a flurry toward the end of the album's sessions. A taut bass groove erupts into competing squalls of guitar and synth that support one of the most immediate and arresting vocal hooks of Guerilla Toss's catalog to date.\u003c\/p\u003e\u003cp\u003eTogether with guitarist Arian Shafiee, Carlson and Negroponte cultivated a sound that spliced together psychedelic texturing and Krautrock syncopation with the gloss and glow of contemporary pop music. \"I like to combine as many musical influences as possible,\" says Negroponte. \"We thought the sleekness of current radio pop would make our dense wall-of-sound aesthetic both more bizarre and more accessible and fun at the same time.\" Carlson was similarly inspired by a wide range of artists from around the world after diving deep into obscure 7-inches for her weekly show on Radio Catskill, Rare Pear Radio.\u003c\/p\u003e\u003cp\u003eWhile writing the album, Carlson took voice lessons online for the first time. Though she has been singing since she was four years old, at first with a vocal harmony group in her family's church, she hadn't formally trained her voice since joining Guerilla Toss. The lessons allowed her to deepen and broaden her range, helping her feel more embodied and connected to her voice. Underneath ripples of Auto-Tune, playful, searching vocal melodies suspend lyrics about reaching for yourself and holding fast in your own love.\u003c\/p\u003e\u003cp\u003eFamously Alive finds Guerilla Toss coming into the fullness of their power, celebrating their prismatic idiosyncrasies from a place of optimism and abundance. \"It felt like I didn’t need to force myself into this dark place to create anymore,\" Carlson says. \"For the first time in my life, I feel like I’m finally comfortable inside my body.\"\u003cbr\u003e\u003c\/p\u003e","brand":"Guerilla Toss","offers":[{"title":"Loser (color) LP","offer_id":39426672164960,"sku":"714800","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39426672066656,"sku":"714802","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":39426672132192,"sku":"714804","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39426672099424,"sku":"714806","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/GuerillaToss_FamouslyAlive_LP_Loser_01.jpg?v=1722289673"},{"product_id":"rolling-blackouts-coastal-fever_endless-rooms","title":"Endless Rooms","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eWhile initial ideas for \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eEndless Rooms\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e were traded online during long spells spent separated by Australia’s strict lockdowns, the album was truly born during small windows of freedom in which the band would decamp to a mud-brick house in the bush around two hours north of Melbourne built by the extended Russo family in the 1970s. There, its 12 tracks took shape, informed to such an extent by the acoustics and ambience of the rambling lakeside house that they decided to record the album there (and put the house on the album cover). For the first time, the band self-produced the record (alongside engineer, collaborator and old friend, \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eMatt Duffy\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e). The result is a collection of songs permeated by the spirit of the place; punctuated by field recordings of rain, fire, birds, and wind. \"It's almost an anti-concept album,\" says the band. \"The \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eEndless Rooms\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e of the title reflects our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Rolling Blackouts Coastal Fever","offers":[{"title":"Loser (color) LP","offer_id":39438429192288,"sku":"714990","price":23.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":39438429159520,"sku":"714991","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39438429061216,"sku":"714992","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":39438429126752,"sku":"714994","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39438429093984,"sku":"714996","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/rbcf-endlessrooms-2400.jpg?v=1643665752"},{"product_id":"weird-nightmare_weird-nightmare","title":"Weird Nightmare","description":"\u003cp\u003eIf you’re looking for a raw, sugary blast of distorted pop, look no further than Weird Nightmare. The debut album from \u003ca href=\"https:\/\/megamart.subpop.com\/collections\/metz\"\u003eMETZ\u003c\/a\u003e guitarist and vocalist Alex Edkins contains all of his main band’s bite with an unexpected, yet totally satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously hissy miniature epics of classic-era Guided by Voices combined with the bombast of Copper Blue- era Sugar—just tons of red-line distortion cut with the type of tunecraft that thrills the moment it hits your ears. \u003c\/p\u003e\n\u003cp\u003eThese ten songs showcase a new side of Edkins’ already-established songwriting, but even though the bulk of Weird Nightmare was recorded during the COVID-19 pandemic some of its tunes date back to 2013 in demo form. “Hooks and melody have always been a big part of my writing, but they really became the main focus this time” he explains. “It was about doing what felt natural.” \u003c\/p\u003e\n\u003cp\u003eTo be clear: Weird Nightmare is not a “pandemic album,” but an album—some of which had been gestating for quite a while—that just so happened to be recorded during the pandemic. “I had always planned on finishing these songs, but being unable to tour with METZ, and forced to lock down, really gave me a push.” After days spent homeschooling his son, Edkins would drive to the METZ rehearsal room and tinker deep into the night on these songs’ deceptively simple structures and rich, static-laden textures. “It was a godsend for me,” he states about the creative process. “The hours would disappear and I would get lost in the music and record. It was a beautiful escape.”\u003c\/p\u003e\n\u003cp\u003eWeird Nightmare is, in its own way, a study in extremes: Edkins’ melodic instincts and penchant for dissonance are both turned up to the max throughout, the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the edge.” He also cites other artists who are masterful at mixing the sublime and the punishing—Kim Deal and Scout Niblett among them—as influences on his own songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never been attracted to virtuosity or technicality. Certain songs have the power to lift your spirits like nothing else can. I wanted to create that type of song.” \u003c\/p\u003e\n\u003cp\u003e“I’ve found a new confidence in my writing and producing,” Edkins continues while discussing his songwriting approach on Weird Nightmare. “I really enjoy creating and recording, and I wanted this record to reflect how much fun I was having.” And even though its songs occasionally dip into weighty themes—underneath the driving riffs of “Darkroom” are ruminations on trying to fight off bad habits amidst personal malaise, while the anthemic “Lusitania” is, in his words, “a fictional love song”—this album is indeed an absolute blast to listen to. \u003c\/p\u003e\n\u003cp\u003eA few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad VanGaalen adds his unmistakable touch to the ever-escalating “Oh No,” while Alicia Bognanno of Bully lends her distinctive pipes to the thrashing “Wrecked,” a collaboration that effectively saved the song. “I almost didn’t put it on the album because I thought it was missing something,” Edkins explains. “I sent it to Alicia and she lifted it way up.” \u003c\/p\u003e\n\u003cp\u003eAnd taking risks and reaching out of Edkins’ comfort zone was the name of the game when it came to making Weird Nightmare. “I found myself doing new things I didn’t have the guts to do before, recording everything by myself and trusting all of my musical instincts,” he states. “I think when music manifests quickly, a certain amount of honesty automatically comes along with it. When it is a purely instinctual creation, there is no opportunity to obscure the truth.”\u003cbr\u003e\u003c\/p\u003e","brand":"Weird Nightmare","offers":[{"title":"Loser (color) LP","offer_id":39448627773536,"sku":"714750","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39448627806304,"sku":"714752","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":39448627839072,"sku":"714754","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39448627871840,"sku":"714756","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/WeirdNightMare_MockUp_LP.png?v=1741202470"},{"product_id":"naima-bock_giant-palm","title":"Giant Palm","description":"\u003cp\u003eThe roots of Naima Bock’s music are far reaching. Born in Glastonbury to a Brazilian father and a Greek mother, Naima spent her early childhood in Brazil before eventually returning to England and various homes in South-East London. This heritage combines with more recent pursuits in Naima’s music; from the Brazilian standards that the family would listen to driving to the beach, to the European folk traditions she tapped into on her own, and the pursuits that interest her today – studies in archaeology, work as a gardener, and walking the world’s great trails – Naima’s music draws from family, the earth and the handing down of music through generations. \u003c\/p\u003e\u003cp\u003eNaima’s debut album Giant Palm is undoubtedly infused with the Brazilian music of her youth and regular family visits. She found inspiration in “the percussion, the melodies, chords - and particularly the poetic juxtaposition of tragedy and beauty held within the lyrics”. By the age of 15 Naima was embedded in the music scene of South-East London, slotting into a group of like-minded friends writing and playing music. This led to the creation of Goat Girl, the band she toured the world with playing bass and singing alongside her school friends. After six years, Naima decided to leave Goat Girl to try something new. In the intervening years she set up a gardening company and started a degree at University College London in archeology because, as she jokes, “I liked being near the ground”. During this time she was writing music, playing guitar, and learning violin. She was also introduced to producer and arranger Joel Burton through Josh Cohen and his label, Memorials of Distinction. Over the time he and Naima worked together, Joel’s burgeoning interest in Western Classical music, global folk music, experience in large scale arrangement and orchestration informed the collaborative process that eventually culminated in Giant Palm.  \u003c\/p\u003e\u003cp\u003eNaima had been writing songs for years without any strong idea of where to take them. However, over a gradual process of rehearsing and performing with Joel, the compositions began to settle into something more concrete. It wasn’t until restrictions began to ease post- lockdown that they were able to focus on getting the songs finished and recorded. Fortunately, Dan Carey of Speedy Wunderground offered his spare studio space in Streatham, in south east London, free of charge. Informed by a desire to create music that was considered and intentional, they spent the month leading up to the recording expanding the arrangements, to be performed by a large and varied group of musicians - with Joel scoring parts and recording the synth and electronic elements in advance. Once they managed to schedule slots for the more-than 30 musicians on the record - the expansive yet delicate arrangements were brought to life and captured with the help of engineer Syd Kemp.\u003c\/p\u003e\u003cp\u003eNaima loves the collective voice of traditionals that belong to everyone. She’s recently found a home for this passion in her role in the ever-shifting line-up of South-London folk collective Broadside Hacks, but it’s long been a way for her to explore her own artistry. She learned to play guitar and violin through these songs, but she also found her voice in them. “All the other representations that I’d had of singing felt so unattainable” she recalls, but in folk music she found that singing can take on so many forms without the need to exactly replicate something. Here, qualities that make her voice unique were able to flourish. This is present all through her music, as well as a feeling of community and the sharing of ideas.\u003c\/p\u003e\u003cp\u003eWritten over the space of years, each of Naima’s songs represents a snapshot of a specific feeling, of brief moments in Naima’s life that make up a larger whole. “I never change lyrics” she says, “even if I don’t relate to them anymore, I related to them once which means someone else could, somewhere”. Whether that’s in the playful humour of ‘Campervan’, the peaceful exhale of ‘Giant Palm’ or in the darker moments like in the stark, self-critical honesty of ‘Every Morning’, whatever the form it’s always laid bare. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThere’s also a feeling of clarity to the songs, which Naima largely credits to the fact that many of them were written while walking. She finds inspiration in the meditative and revealing nature of long walks with a fixed but far-off destination. “There’s a stripping away that takes place”, she says, the slowing of thoughts by the rhythm of walking is often to thank for the sharp focus of her lyrics. Be that during a period of three years where she would return to Spanish pilgrimage network Camino de Santiago for weeks at a time, or simple hours spent in the English countryside.\u003c\/p\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"Naima Bock","offers":[{"title":"Loser (color) LP","offer_id":39467466522720,"sku":"714860","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39467466555488,"sku":"714862","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39467466489952,"sku":"714866","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/naimabock-giantpalm-cover-2400.jpg?v=1649446905"},{"product_id":"kiwi-jr_chopper","title":"Chopper","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSmash cut to Kiwi Jr.’s third album, Chopper, overseen by trusted pilot Dan Boeckner (Wolf Parade, Handsome Furs) on storied Sub Pop Records. Turning nocturnal with necks mock turtle, our Local Kiwi Jr. takes neon flight off the digital cliff - like The Monkees starring in Blade Runner; like Michael Mann directs Encino Man. Ten songs with synth shimmer, zen gongs with yard strimmer. The signs along the highway read “LESS BAR, MORE NOIR AHEAD.” Ah, those late summer, Joe Strummer, Home on the Range Rover Blues.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThere's a melancholy to all forms of flight, and the view out the Chopper is as hazy as it gets: mission-oriented, both stealth and self-realized. This album is decidedly (yet almost secretly) anti-patio-sunscreen-Beach Boys bachelor cruise sing-a-long. Sure, these songs let a little light through the blinds, but they sting insomnia, corrupt mayors, Kennedy Curses, sex tapes, and deer rifles. Chopper is the bird's eye view of the big event - a real nighttime character of oil stain, film grain, search light, night flight. It is muscular and fragile; loud yet quiet: both an observer and somehow the observed spectacle itself.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWhat was slack in the slacker phase, got tauter, with lacquer glaze. Slick gloss, rightened wrongs; murdered boss, promoted\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003epawns. With Boeckner transmitting high-voltage shocks upon every reach for a familiar instrument, Kiwi Jr. expands the palette with string machine song, synthesizered oblong, and Dentyne Classic Menthol vocals from area soprano Dorothea Paas (US Girls, Badge Epoch Ensemble) like the missing piece all along.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eKiwi Jr. brings the Chopper to a new space, demilitarizing the technology just like flasks, aviators, and cargo shorts. Graceful in the air above, but when the Chopper lands, there's chaos on the ground. Kiwi Jr. shout, “Look Out!” When it gets close, it'll blow the hat right off of your head.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHold onto your hats, Babies.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e—---\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eKIWI JR. is Jeremy Gaudet vocals and guitar, Brian Murphy guitar, Mike Walker bass, Brohan Moore drums, and everybody played a little bit of keyboard.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e","brand":"Kiwi Jr.","offers":[{"title":"Loser (color) LP","offer_id":39484913811552,"sku":"715000","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39484913713248,"sku":"715002","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":39484913746016,"sku":"715004","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39484913778784,"sku":"715006","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/kiwijr-chopper-3000.jpg?v=1652741160"},{"product_id":"king-tuff_smalltown-stardust","title":"Smalltown Stardust","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThere are times in our life when we feel magic in the air. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eWhen new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. \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;\"\u003eIt’s a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. \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;\"\u003eBut knowing he couldn’t simply recreate this time in his life at will, Thomas—who hails from Brattleboro, Vermont—set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. \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“I wanted to make an album to remind myself that life is magical,” he reflects. \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;\"\u003eAnd so, Thomas seized upon his memories, creating what he calls “an album about love and nature and youth.” \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 result is \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSmalltown Stardust\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist’s back catalog. On \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSmalltown Stardust\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. Images of his youth abound: from Route 91 which runs through his hometown (in “Smalltown Stardust”); to Redtooth, a spectre who used to roam the streets (“Bandits Of Blue Sky”); to old friends, old haunts and old dreams (“Always Find Me”); to Vermont’s Rock River, which gave its name to a song of a torch still burning for past love: “\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThose days are gone and we can’t rewind\/ Cuz people grow and places change\/ But my love for you will never fade away.” \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;\"\u003eBut at the core 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;\"\u003eSmalltown Stardust \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eis Thomas’s desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs and create a setting unmistakably far away from Los Angeles. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“I consider nature to be my religion,” he explains,\u003c\/span\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;\"\u003eSmalltown Stardust\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is nothing if not a spiritual exploration. Thomas’s identification as a sort of eternal spiritual seeker is underscored in one of the album’s sweetest moments, “A Meditation,” which features a home audio recording of Thomas as an eight year old, trying his hand at leading a meditation. It’s a journey that he continues to this day, as he intones on “Portrait of God”: \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“Walking in the woods, wading in the river” and “breathing in the mountain air” \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ebefore heading back to a place where he finds himself “\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eOil painting in my garage\/ Let my colors flow\/ I’m working on my portrait of God.” \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 so much 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;\"\u003eSmalltown Stardust\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e invokes idealized traces and places of Thomas’s past, the album’s recording process made his communal vision a reality. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThomas’s Los Angeles home in 2020\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eformed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021’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;\"\u003eFun House\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e and 2022’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;\"\u003eSqueeze,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSmalltown Stardust. \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThomas describes the time with a fitting metaphor: \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eI’ve always thrived around other people making things. You want to bloom with each other.” Ashworth’s contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. As Thomas notes, “I tried to follow her vision a lot. It helps to open your world to collaborators. You always get something completely different than you would have expected.”\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;\"\u003eWith the gorgeous orchestral tones of “Love Letter to Plants,” it’s immediately clear that Thomas is declaring a wider vision of what his music can be. Gone are many of the squalling guitars of previous King Tuff records, replaced with thoughtful, tender touches of cello and violin on “Love Letter to Plants,” “\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ePebbles In A Stream” and “The Bandits Of Blue Sky”; a plaintive saxophone on \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eAlways Find Me\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e”; and orchestral vocal harmonies with Ashworth that lift the songs to a celestial plane. (Though the rollicking, joyous leads on “Portrait of God” show Thomas hasn’t lost his touch on guitar.) On “How I Love,” Thomas makes clear that all of this is by design: “\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSo lost in nothing but noise for so many years, I forgot to love.”\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;\"\u003eIn the end, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSmalltown Stardust \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eis not merely a nostalgia trip. In making the record, Thomas not only conjured a special time in his life, he found new inspiration, surrounded by a small circle of collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSmalltown Stardust\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us. “I’m a different person now than I was 20 years ago when I first started it. But oddly, when I first started the band, it was more like this,” he says. Which is to say, things have come full circle. Or as Thomas intones on “The Wheel”:  \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“\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eOoh we were just kids then… \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eCaught up in the turning of the wheel….\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eAnd it’s coming ‘round again.”\u003c\/span\u003e\u003c\/p\u003e","brand":"King Tuff","offers":[{"title":"Loser (color) LP","offer_id":39555464069216,"sku":"715250","price":23.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":39555464101984,"sku":"715251","price":23.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":39555464003680,"sku":"715252","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":39555464036448,"sku":"715254","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":39555463970912,"sku":"715256","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/KingTuff_SmalltownStardust_LP_Loser_01.jpg?v=1741201908"},{"product_id":"quasi_breaking-the-balls-of-history","title":"Breaking the Balls of History","description":"\u003cp\u003eBreaking the Balls of History is Quasi’s tenth record, landing ten years after their last record, on February tenth. Three tens, which aligns with the thirty years they’ve played together. Sam Coomes and Janet Weiss have become Pacific Northwest icons, and Quasi has always felt so steadfast— their enduring friendship so generative, their energy infinite, each album more raucous and catchy and ferocious and funny than the last. But we were wrong to ever take Quasi for granted. For a while, they thought 2013’s intricate Mole City might be their last record. They’d go out on a great one and move on.\u003c\/p\u003e\n\u003cp\u003eThen in August 2019 a car smashed into Janet’s and broke both legs and her collarbone. Then a deadly virus collided with all of us, and no one knew when or if live music as we knew it—the touring, the communal crowds, the sonic church of the dark club—would ever happen again. “There’s no investing in the future anymore,” Janet realized. “The future is now. Do it now if you want to do it. Don’t put it off. All those things you only realize when it’s almost too late. It could be gone in a second.”\u003c\/p\u003e\n\u003cp\u003eUnder lockdown, Portland’s streets fell still, airplanes vanished, wildlife emerged. And with the obliterated normal came an unexpected gift: uninterrupted time, hours every day, to make art. Quasi couldn’t go on the road, so they got an idea: they would act as if they were on tour and play together every single day. Each afternoon, Sam and Janet bunkered down in their tiny practice space and channeled the bewilderment and absurdity of this alien new world into songs. Janet’s strength returned and rose to athlete-level stamina. “When you’re younger and in a band, you make records because that’s what you do,” Sam said. “But this time, the whole thing felt purposeful in a way that was unique to the circumstances.” They knew they would keep it to just the two of them playing together in a room. They knew they’d record the songs live and together, to capture a moment.\u003c\/p\u003e\n\u003cp\u003eThe incredible result of those sessions is Breaking the Balls of History, recorded in five days and produced by John Goodmanson at the legendary Robert Lang Studios in Shoreline, WA. Here are two artists at their prime, each a human library of musical knowledge and experience, entirely distinctive in their songcraft and sound. In Quasi-form, the band becomes alchemically even greater than the sum of its parts: Janet’s galloping drums and Sam’s punk-symphonic Rocksichord and their intertwining vocals make something gigantic, anthemic. In the thick of a cataclysmic social and political moment, they’ve crafted exquisitely melodic songs that glitter with rage and wild humor and intelligence, driven by a big bruised pounding heart.\u003c\/p\u003e\n\u003cp\u003e“A last long laugh at the edge of death” sings Sam at the album’s outset, and that gleeful defiance—which might as well be the logline of our present moment—sets the table for the songs to come. In “Gravity,” Quasi’s predilection for the absurd now tips into unnerving realism; in the post-facts era, the very thing that tethers us all to the earth is rendered meaningless (“you can walk on water if you so choose in your made-in-USA concrete shoes.”) Punchy warning verses about death and disarray swoon into the blissed-out, checked-out chorus of “Queen of Ears” (“But I, I float above it all, wizard of idleness, mistress of killing time.”) Janet’s voice floats sweet and eerie through the atmospheric suspended reality of “Inbetweenness.” Etch “Doomscrollers” onto the golden record and launch it into space as a precise time capsule of the incomprehensible present. “The Losers Win” is a tart arsenic nightcap to close out the record, and hell, the nation.\u003c\/p\u003e\n\u003cp\u003eIt sounds dark, and because it’s rising to the moment, it is. But this is also a record surging with energy and pleasure and joy. “It felt so life-affirming. I can hear in the music how happy I am to be there and to be playing at that level again,” Janet said. “I get to exist.”\u003c\/p\u003e\n\u003cp\u003eI’ve been listening to this record for a few months now, and I can’t stop thinking about how as the world started to end, and then kept on ending in all kinds of surprising new ways, Sam and Janet returned to their practice space every day and made songs. Face to face, instrument to instrument, they decided to build something new. They did the work. They made their art. They’ve lived through enough to understand that nothing is permanent, and that when your faith in humanity sinks, you turn to the life force of what you can rely on: the people you trust, the community that claims you, and what you can create. You can’t control the time. But you can make a record of a time. And luckily for us, Quasi has again.\u003c\/p\u003e\n\u003cp\u003e—Chelsey Johnson\u003c\/p\u003e","brand":"Quasi","offers":[{"title":"Loser (color) LP","offer_id":39555464822880,"sku":"715280","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39555464888416,"sku":"715282","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39555464855648,"sku":"715286","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/quasi-btboh-3600.jpg?v=1665779156"},{"product_id":"bria-salmena_cuntry-covers-vol-2","title":"Cuntry Covers Vol. 2","description":"\u003cp\u003eAs its name suggested, the intimate and sultry Cuntry Covers Vol. 1 was always going to have a follow-up. Led by the brooding vocals of Bria Salmena, Cuntry Covers Vol. 2 is every bit as potent as its predecessor whose noir-inflected alternative country-rock stood in sharp contrast to the singer's commanding delivery as leader of post-punk revivalists FRIGS. Debuting the project in 2021, the languid, reverb-drenched Cuntry Covers Vol. 1 saw her artfully collaborating with multi-instrumentalist Duncan Hay Jennings and reimagining a carefully picked collection of Americana anthems.\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eVol. 2 pushes the envelope further and harder. Encompassing feverish takes on tracks by Gillian Welch, Paula Cole, Mary Margaret O’Hara, Robert Lester Folsom, Glenn Campbell – by way of Nick Cave – and the late, great Loretta Lynn, Bria’s deliciously dark approach shimmers through these six startling songs.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCreated during a break from Salmena and Jennings’ work in Orville Peck’s world-conquering backing band, Vol. 2 was recorded directly after Peck’s second album and Bria’s US tour supporting Wolf Alice. Embracing contrast, the sunny circumstances in which Vol. 1 was made were flipped on their head. Instead of a bucolic barn in the Canadian countryside, they recorded the new tracks in chilly\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eToronto, huddled together in their tiny makeshift home studio, with Jennings at the controls. “There’s a lot of chaotic energy to it, because it's us cramped in a space where we're all also working and living during the dead of winter,” explains Salmena, who also enlisted the help of local Toronto musicians Lucas Savatti (FRIGS), Simone Baril (US Girls, The Highest Order, Darlene Shrugg, Partner), Andrew Manktelow, and frequent collaborator Jaime Rae McCuaig.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe intention behind the songs was different this time around too. While Vol. 1 was Bria’s attempt at subverting country music’s conservative roots and primarily white and heterosexual agenda, here the emphasis was on experimentation. The duo purposely split the two sides of the EP, with the A-side acting as more of an homage to the tracks covered, and the B-sides interpretations taking on a more traditional route with the source material. “We wanted to mess with things,” she says. And while Vol. 2 might be less personal, it’s just as idiosyncratic, with half of the reversions staying truthful to the originals and others taken to a different universe entirely.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe opening trio of tracks triumphs at the latter. A double dose of nostalgia can be found in a pumping, synth-led 1990s dance version of “Where Have All the Cowboys Gone?” originally by US songwriter Paula Cole. Bria’s hypnotic vocals then lead a woozy version of Canadian icon Mary Margaret O’Hara’s jazz ballad “When You Know Why You're Happy”. “It's uplifting but there's also a darkness and somberness to it that really resonated with me,” she says. “I wanted to explore that.” Most innovative of all is their take on Loretta Lynn’s groundbreaking “Don’t Come Home A-Drinkin’ (With Lovin’ On Your Mind)”. Recorded before the iconic artist’s recent death, Bria’s punky version drills into the fiery confidence of the song, which topped the country charts in 1967. About marital rape, it was chosen by Bria because of Lynn’s unapologetic approach to such a highly charged subject matter.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCo-producers Salmena and Jennings are more faithful on the flipside. Nick Cave’s doomy version of “By The Time I Get to Phoenix” – which featured on The Bad Seeds’ 1986 covers album Kicking Against The Pricks – is rendered in fittingly apocalyptic style. “We liked the history of the song and we were attracted to Cave's dark and brooding version. We felt we could honor that well,” she explains. Gillian Welch’s meditative “I Dream A Highway” is similarly mournful, and “See You Later, I’m Gone”, originally by 1970s folk singer Robert Lester Folsom, sees a moment of hopefulness spring from the gothic gloom that precedes it.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBuilding on the tried-and-true\/bold-and-new duality of Cuntry Covers’ first offering, Vol. 2 delivers a deeper dive into the duo’s brilliant alchemy of traditional and contemporary reinterpretations. But it’s the added experimental flourishes, from dizzying electronica and pulsing bass to sax-driven soul, that takes Bria’s new EP into previously uncharted territory, signalling a thrilling new step in this adventurous artist’s evolution.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTrack listing:\u003c\/b\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\n\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eWhere Have All The Cowboys Gone?   \u003c\/span\u003e \u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e           \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\n\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eWhen You Know Why You’re Happy    \u003c\/span\u003e \u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e           \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eDon’t Come Home A-Drinkin’ (With Lovin’ on Your Mind)                 \u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eBy The Time I Get To Phoenix                 \u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eI Dream A Highway                    \u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eSee You Later, I’m Gone \u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Bria Salmena","offers":[{"title":"Loser (color) LP","offer_id":39568442785888,"sku":"715230","price":18.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39568442818656,"sku":"715232","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39568442753120,"sku":"715236","price":6.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/bria-cuntrycoversvol2-2400px.jpg?v=1668457343"},{"product_id":"debby-friday_good-luck","title":"GOOD LUCK","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe usual boom-and-bust cycles of growing up -- breaking down, gathering the strength to get up, fumbling hard, doing it all over again - can feel unmooring, to say the least, but, and according to DEBBY FRIDAY, its tragedies and glories need savoring. Losing illusions, gaining expectations; getting deep into the private, soupy kaleidoscope of what’s possible and what’s futile -- \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eGOOD LUCK\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, her debut, and supernovic, full-length album, is built on welcoming the journey’s complicated drops and mountain highs with something more like grace. \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;\"\u003eNigerian-born, then an emigré to bits of Canada - from Montreal to Vancouver to Toronto - DEBBY FRIDAY’s roamings through space and time really began when the sun fell. Nightlife was her emancipation from the toughness of home life, and she fell into it, body and soul, totally seduced. Raves til sunrise; house music in unknown basements and warehouses -- the lure of the party was the perfect escape. “I was like a little club rat,” she laughs. Her adoration of the world that it opened for her came in “almost in a sensual way.” \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;\"\u003eThings that feel good sometimes do fall apart, though. In 2017, after DJing for less than a year, her life just sort 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;\"\u003eimploded. \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eParties started getting less functional. Nothing was going the way that she wanted it to go. So she gathered her things and embarked on what would turn out to be the first of a few of her coming-of-age stories -- a wave of bildungsromans. “Personal issues: mental health stuff, substance abuse stuff, stupid love;” she lists, but the way DEBBY says it, it seems as if she’s grateful for the valleys she had to walk through in order to see the version of herself we get today. After making the decision to stop herself in her tracks, she pulverized new paths for herself forward. Late-night YouTube tutorials on music production led to an EP, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eBITCHPUNK\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, and \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eBITCHPUNK \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eled to her first public performances, and all that gave way to a second EP, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eDEATH DRIVE. \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eHer art endowed her with the strength she needed to move on. “This is what I was born to do,” she goes. “It came to me so naturally and instinctively. I felt just so clear, focused, and in my power in a way that I’d never felt before up until that point.” \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 what does it take to hone that power? Discipline - routines, rituals; an MFA, practices of writing and filmmaking, and music-making that guide a person from one day to the next - but something close to mysticism, too. DEBBY’S serious, long-term relationships to the study of astrology, psychology, and philosophy allow her to move through the world, relate to others, and get closer to what’s inside her. She believes in what emerges. She believes in making the unconscious, conscious. She wants to be in dialogue with the darkness. \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;\"\u003eIt’s why \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eGOOD LUCK \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eworks like such a study in entropy. On the surface, you’ll hear hints of \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eSantigold’s \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003edub dazzle, the MIDI-crush of \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eDeath Grips\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, but less obviously the plaintiveness of directors like \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eEric Rohmer, \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eor the grotesque decadence of later-era \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eSylvia Plath\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e. (Juno Award and Polaris Prize-nominated composer \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eGraham Walsh \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eadds a sort of heft and pull to the genre-flexibility on parade here: think of it a little like \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eSevdaliza \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003emeets \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eFKA Twigs\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e.) \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;\"\u003eFew do it like her, though. If lucid, acid housey, high-BPM tracks like “I GOT IT” - accompanied by \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eChris Vargas \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eof \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003ePelada \/ Uñas \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e- has her cocksure and vainglorious about her “big ol ego” and “red blood libido,” a crushing track like “LET U DOWN” (“I been your Brutus, your Judas \/ I’ve been so wrecked and so ruthless”) doesn’t hesitate to explore the lower ends of the emotional register. She’s drawn to certain keys and moods (the brooding D and F minors, for instance, are all over this album) to suggest melancholia and darkness. However, the lead single, “SO HARD TO TELL,” sees FRIDAY totally shed all of her signature industrial tropes, to deliver a completely out-of-pocket, yet totally assured, falsetto pop song. Sounding like little that has come before in her catalog, this track is a crucial signifier in FRIDAY’S essential development. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe album \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eGOOD LUCK\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is being co-released with a short film of the same name, co-directed by FRIDAY and Nathan De Paz Habib (past work includes \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eEroica, \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ebased on \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eChino Amobi'\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003es novel of the same name\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e). \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eIt’s a story of individuation. It’s a love story about a woman and her masked beloved, but outside of the accompanying-but-stand-alone visual, it’s all a willing, yearning investigation into what goes on behind the veil of sadness, of cruelty. Because knowing the darkness is the only way to understand the light, but also the greys and the blues and the in-between states. FRIDAY’s explorations in \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eGOOD LUCK \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e-- delving down into the muck of nuance - are a kind of courage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTrack listing:\u003c\/b\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eGOOD LUCK\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eSO HARD TO TELL\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eI GOT IT (FEAT. UÑAS)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eHOT LOVE\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eHEARTBREAKERRR\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eWHAT A MAN\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eSAFE\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eLET U DOWN\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003ePLUTO BABY\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eWAKE UP\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"DEBBY FRIDAY","offers":[{"title":"Loser (color) LP","offer_id":39581219749984,"sku":"715330","price":18.4,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39581219782752,"sku":"715332","price":9.6,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39581219717216,"sku":"715336","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/debbyfriday-goodluck-3600px.jpg?v=1671231733"},{"product_id":"mudhoney_plastic-eternity","title":"Plastic Eternity","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe world is filling up with trash. Humanity remains addicted to pollution despite the planet getting hotter by the minute. People are downing horse dewormer because some goober on television told them it cured COVID. Tom Herman of pioneering \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eavant garage\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e band Pere Ubu still doesn’t have his own Wikipedia article. The apocalypse, it seems, is stupider than anyone could’ve predicted.\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;\"\u003eFortunately, the absurdities of modern life have always been prime subject matter for Seattle-based band Mudhoney. The foursome take aim at all of them with barbed humor and muck-encrusted riffs on \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ePlastic Eternity\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, their 11th studio album.\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;\"\u003eMudhoney (vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters) remain the ur underground group, their gnarly primordial punk stew and Arm’s sharply funny lyrics as potent a combination as they’ve been since the band’s formation in the late 1980s. From taking on climate change from the perspective of the climate if the climate tried to play guitar like Jimi Hendrix (“Cry Me An Atmospheric River”) to a driving rock and roll song about taking drugs meant for livestock (“Here Comes the Flood”) to a classic punk attack on treating humans \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003elike\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e livestock (“Human Stock Capital”), \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ePlastic Eternity\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is a heady run through all the proto-genres of guitar rock with a keen eye on the inanities of the world in the 2020’s.\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 recording 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;\"\u003ePlastic Eternity\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e delivered several firsts for the band. With Maddison planning on moving his family to Australia, Mudhoney was forced to work on a deadline, booking nine days at Crackle \u0026amp; Pop! in Seattle with longtime producer Johnny Sangster. Since the pandemic had made it impossible for them to convene in their practice space for nearly a year and a half, this meant they were going in to make a record with an assortment of half-forgotten riffs and nascent ideas rather than fully-fledged, well-rehearsed songs. \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 was unusual for a band used to writing songs by “standing in a room and looking at each other and playing,” says Arm. “We had the time and space to think about things as we were doing them, and to make a kind of course correction—to use a fucking terrible cliche.” They built “Flush the Fascists” around a looping synth line, broke out a harmonizer on two tracks, added a vocoder to “Plasticity,” and even created a protest song out of a spontaneous jam on “Move Under,” the chorus of which Arm calls “something the Runaways might have come up with if they were us.”  “Undermine the foundations\/ Of the lies that they repeat,” implores Arm on the chorus. “You gotta move under\/ \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eUntil it all comes down\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ePlastic Eternity\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e also marks the first time Mudhoney has given writing credit to anyone outside the band, thanks to Sangster, whom Arm calls “a brilliant musician and way more adept at musical theory than any of us,” stepping in at times to offer advice on where the songs could go.\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;\"\u003eAlso unusual for Mudhoney: \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ePlastic Eternity\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e contains two genuine love songs. The first is for the aforementioned Tom Herman, one Arm’s favorite guitarists and the protagonist of “Tom Herman’s Hermits.” Then there’s closing track “Little Dogs,” an paean to the simple joys of hanging out with tiny canines, and one in particular: Arm’s Pomeranian, Russell, whom he couldn’t bear to give up after fostering him, sure that any other owner wouldn’t allow the little fellow to “let his freak flag fly.” No irony here—just gratitude to a little pal in dark times.\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 it seems, despite its mordant delivery and crusty exterior, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ePlastic Eternity\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is not just a rebuke to the constant attacks on our intelligence and our planet—it’s an ode to the connections we make with other living beings. What is the persistence of Mudhoney but a testament to that? When asked why they continue making records nearly four decades after forming, Arm’s answer is simple.\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“We like each other and we like being in a band together,” says Arm. “Some people have poker night or whatever the fuck, and they have the excuse to get together with their friends. For us, this [band] is that. This is what we do.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTrack listing:\u003c\/b\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eSouvenir of My Trip\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eAlmost Everything\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eCascades of Crap\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eFlush the Fascists\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eMove Under\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eSevered Dreams in the Sleeper Cell\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eHere Comes the Flood\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eHuman Stock Capital\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eTom Herman's Hermits\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eOne or Two\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eCry Me an Atmospheric River\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003ePlasticity\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eLittle Dogs\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Mudhoney","offers":[{"title":"Loser (color) LP","offer_id":39597723025504,"sku":"714450","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39597722959968,"sku":"714452","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":39597723058272,"sku":"714454","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":39597722992736,"sku":"714456","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/Mudhoney_PlasticEternity_LP_Loser_01.jpg?v=1741202148"},{"product_id":"lael-neale_star-eaters-delight","title":"Star Eaters Delight","description":"\u003cp\u003eLael Neale still has a flip phone and there were no screens involved in the creation of her new record Star Eaters Delight. \u003c\/p\u003e\n\u003cp\u003eThe album is her second for Sub Pop and reveals an expansion of her sonic collaboration with producer and accompanist Guy Blakeslee.\u003c\/p\u003e\n\u003cp\u003eIn April of 2020, in the wake of transformations both personal and global, Lael moved from Los Angeles back to her family’s farm in rural Virginia. 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There’s some pop, yes, a wiry bit of Cars-esque neon called “Everynight.” Look around the right corners, and you might see some of the old buildings peeking through, too, but in this context—on a song like “Sub,” say, a song that began life as a slow and dark prog jam but is now an elegantly cresting wave of post-punk—they feel more sophisticated, lit up in the cold, bright glow of Television. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAuto-Pain\u003c\/em\u003e was released in March 2020, which means Deeper wasn’t able to play their new album live for nearly a year and a half. “It was hard living in the vacuum of depending on Spotify numbers to quantify what your music means to other people,” McBride says. Nature abhors a vacuum, though, and the band rushed to fill not only their empty time but the suddenly empty idea of what, exactly, their identity was. “Isolated by ourselves, we were like, ‘What is Deeper?’” Bhatti says. “We’ve always talked about how we didn’t want to stay in one genre as a band,” Gohl says, and absent any audience expectations, they gave themselves the freedom to tinker. \u003c\/p\u003e\n\u003cp\u003e“One vibe I thought about a lot was Bowie’s most coked-out productions,” Gohl says. 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It was a creative period for Beam that rendered two albums\u003cbr\u003e(Beast Epic and Weed Garden) and garnered four Grammy nominations.\u003cbr\u003e\u003cbr\u003eWhile having performed many shows solo acoustic and known mostly as a\u003cbr\u003esinger-songwriter to those in the know, Beam has over the years\u003cbr\u003eassembled some of the most adventurous musicians when putting together\u003cbr\u003ehis touring bands. From members of Antibalas to Califone, Chicago\u003cbr\u003eUnderground Duo to Tin Hat Trio, Isotope 217 to Calexico, Beam has rarely\u003cbr\u003esought the comfort of straight interpretation. 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":"omni_souvenir","title":"Souvenir","description":"\u003cp\u003eThe music of Atlanta trio Omni has always swung fast and hit hard. And Souvenir, their fourth album and second for Sub Pop, packs their biggest punch yet. Inactive during the majority of the pandemic–the longest downtime in their history–they approached this recording with lots of pent-up energy. Guitarist Frankie Broyles, singer\/bassist Philip Frobos, and drummer Chris Yonker converted their creative fuel into sharp, driving songs that land immediately, sporting chopping riffs, staccato beats, and wiry melodies.\u003c\/p\u003e\u003cp\u003eWhy does Souvenir sound so sharp? Because each track is a compact unit that stands on its own, reflecting the time and place in which it was created. That’s why Omni called the album Souvenir: it’s a collection of audio objects, a stash of musical miniatures. Think of it as a family photo album, a binder of rare playing cards, a shoebox holding precious gems.\u003c\/p\u003e\u003cp\u003eTake “Plastic Pyramid,” the first song Omni wrote after coming out of lockdown. Filled with twists and turns, it’s a journey unto itself, charged by clanging chords, spinning rhythm, and Frobos trading lines with Izzy Glaudini of Automatic, with whom Omni toured with last fall. (Glaudini sings on two other Souvenir tracks, the first guest vocalist the band has collaborated with). Or take opener “Exacto,” a slicing web of intertwined guitar and bass. Its razor-fine notes and syncopated beats perfectly match pointillist Frobos lyrics such as “Exacto, de facto, concise, quite right”–a line that could well be an Omni mantra. \u003c\/p\u003e\u003cp\u003eThe precision and clarity of Souvenir comes from some new Omni developments. For one, this is their first album with Yonker as their full-time drummer, and his forceful playing adds exclamation points to every pointed moment on Souvenir. In addition, the trio worked with Atlanta-based engineer Kristofer Sampson for the first time. Sampson pushed the band to a higher degree of power, with Frobos’s vocals more upfront in his pulsing mix and the rest of the music leaping out of the speakers. \u003c\/p\u003e\u003cp\u003eYou might notice that Frobos’ singing is a bit more emotional and even nostalgic this time around. In crafting his vocals, he was inspired by the early college radio rock of formative favorites like REM, the Cure, and Big Audio Dynamite–the kind of bands whose melodies could have been top 40 hits in an alternative universe. The lyrics on Souvenir are also by turns funny, absurd, and even cryptic. A wry humor has always coursed through Omni’s songs, and this time, it comes in shades of both dark and light. In “Granite Kiss,” an “astronomical” love story concludes with the hope that “we can decay together,” while in “PG,” a romantic walk in the park includes a rose-colored mugging.\u003c\/p\u003e\u003cp\u003eImmediacy rushes throughout every moment of Souvenir, making it the band's most powerful album to date. Omni has truly crafted a musical keepsake–a set of songs that you’ll want to keep close, an aural memento you'll cherish for the rest of time. \u003c\/p\u003e","brand":"Omni","offers":[{"title":"Loser (color) LP","offer_id":39860316012640,"sku":"715930","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39860316045408,"sku":"715932","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39860315979872,"sku":"715936","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/Omni_Souvenir_MockUp_LP_USLoser_2000x1417_53756dac-6901-4ce7-8ee7-643bb8ca8b59.jpg?v=1721244472"}],"url":"https:\/\/megamart.subpop.com\/collections\/halfoffcds\/corridor.oembed","provider":"Sub Pop Mega Mart","version":"1.0","type":"link"}