{"title":"New Releases","description":"","products":[{"product_id":"clarke-and-the-himselfs_mary-rae-says","title":"Mary Rae Says","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eLA’s \u003c\/span\u003eClarke and the Himselfs\u003cspan\u003e has been releasing compelling, catchy, heart-warming rock and roll since starting as a solo project in Boise in 2011. “Mary Rae Says” and “Crystal Blue” are new, exclusive tracks produced by Don Bolles (Germs, 45 Grave), who also contributed drums, bass, and vocals to \"Crystal Blue.\"\u003c\/span\u003e","brand":"Clarke and the Himselfs","offers":[{"title":"Digital","offer_id":32452088594528,"sku":"713456","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/clarkeandthehimselfs-maryraesays-cover-1936x1936.jpg?v=1593631149"},{"product_id":"guerilla-toss_human-girl","title":"Human Girl","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eNYC (via Boston) band \u003c\/span\u003eGuerilla Toss\u003cspan\u003e present “Human Girl” and “Own Zone,” two new, exclusive tracks that perfectly capture the exuberant, danceable fusion of post-punk, funk, and experimental rock that Guerilla Toss have been serving up since 2012.\u003c\/span\u003e","brand":"Guerilla Toss","offers":[{"title":"Digital","offer_id":32452089249888,"sku":"713626","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/guerillatoss-humangirl-cover-1936x1936.jpg?v=1593631150"},{"product_id":"moor-mother_forever-industries","title":"Forever Industries","description":"\u003cp\u003eMoor Mother’s contribution to the Sub Pop Singles Club Vol. 5 is Forever Industries, two phenomenal, atmospheric tracks of jazz-tinged experimental hip-hop recorded in early 2020. The songs speak about the temporal domain known as the future, making space, outer space, and industry. The A side is produced by Olof Melander, and the B side is produced by frequent Moor Mother collaborator Mental Jewelry; both tracks were recorded by Moor Mother in her home studio in North Philadelphia. \u003c\/p\u003e\u003cp\u003e\u003cspan id=\"docs-internal-guid-b12a7a88-7fff-e71c-eeec-b508cc83f27a\"\u003eMoor Mother – aka Camae Ayewa – is a touring musician, poet, and visual artist based in Philadelphia. Over the past four years, Moor Mother released two acclaimed albums, 2016’s Fetish Bones, and 2019’s powerhouse of liberation-minded punk\/hip-hop\/electronic energy, Analog Fluids of Sonic Black Holes. Moor Mother has toured throughout the world and performed live with Nicole Mitchell, Art Ensemble of Chicago, The Bug, and Justin Broadrick, to name a few. As a visual and soundscape artist, her work has been presented at The Kitchen NYC, Metropolitan Museum of Art Chicago, Guggenheim, and the Hirshhorn Gallery. She is the co-founder of Rockers! Philly, an event series and festival focused on marginalized artists, and Black Quantum Futurism Collective, a literary and artistic collaboration with Rasheedah Phillips. In addition to her solo work as Moor Mother, Ayewa is a vocalist and collaborator in Irreversible Entanglements, 700 Bliss (with DJ Haram), Art Ensemble of Chicago, and Moor\/Jewelry (with Mental Jewelry).\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Moor Mother","offers":[{"title":"Digital","offer_id":32615742341216,"sku":"713836","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/moormother-foreverindustries-cover-3600x3600.jpg?v=1598462010"},{"product_id":"father-john-misty_to-s-to-r","title":"To S. \/ To R.","description":"\u003cp\u003e\u003cspan id=\"docs-internal-guid-0fe0e30a-7fff-17bf-671e-20f59fa150e2\"\u003e“To S.” b\/w “To R.” is Father John Misty's double A-side contribution to Sub Pop Singles Club Vol. 5, and his first new, original, studio material since his acclaimed 4th album, 2018’s God’s Favorite Customer. These gorgeous, meticulously rendered tunes were recorded at Fivestar Studios and Funky Monkey Soundhaus NoHo in Los Angeles, produced by Dave Cerminara and The Haxan Cloak, mixed by Cerminara, and mastered by Adam Ayan at Gateway Mastering.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan id=\"docs-internal-guid-fcfde4a6-7fff-9812-0629-160decc1c188\"\u003e“To S.” and “To R.” follows Father John Misty’s Off-Key In Hamburg, his first live album, released in March of 2020, and Anthem +3, a collection of covers of songs by Leonard Cohen, Yusuf\/Cat Stevens, and Link Wray was released July 2020. Combined, Off-Key In Hamburg and Anthem +3 raised over $100,000 for multiple causes including The Recording Academy’s MusiCares COVID-19 Relief Fund, CARE Action and Ground Game LA. Father John Misty is also selling his infamous “Poem Zone” t-shirt via his official webstore, with August proceeds from the store benefitting his touring crew.  \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Father John Misty","offers":[{"title":"Digital","offer_id":32615743160416,"sku":"713696","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/fatherjohnmisty-tos-cover-3600x3600.jpg?v=1598462011"},{"product_id":"finom_mine","title":"Mine","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThere's obvious chemistry emanating throughout Finom's music that's so tangible it can only come from a decades-spanning friendship. Songwriters Sima Cunningham and Macie Stewart formed their unbreakable bond performing throughout the fringes of Chicago's many interlocking communities, collaborating with titans from the city's indie rock, hip-hop, and improvised worlds. The two formed Finom in 2014 as an outlet to explore an unconventional approach to their instruments. “That’s the whole genesis of the band: us walking up to our guitars and saying, ‘how can we make this noisemaker do something different?’” says Cunningham. Their 2016 self-titled debut EP took these experiments live and showcased the band’s vocal interplay that is another key to their songs. The full-length follow up, \u003c\/span\u003e\u003cem\u003eParts\u003c\/em\u003e\u003cspan\u003e, found the duo adding a drummer, Matt Carroll, and expanding their sound; Spin wrote: \u003c\/span\u003e\u003cem\u003e\"Finom’s aesthetic universe has the cramped intimacy of a small rehearsal space, and they are its masters. Anything they can squeeze inside—swirling baroque vocal melodies, punchy punk power chords, three-minute rockers and dreamlike chamber-pop suites—ends up sounding like Finom.” \u003c\/em\u003e\u003cspan\u003eTheir latest album, \u003c\/span\u003e\u003cem\u003eFantasize Your Ghost\u003c\/em\u003e\u003cspan\u003e, was released in June of 2020 and found the band featured in outlets such as Premier Guitar and Uncut with songs that capture more closely the band’s live show\u003c\/span\u003e","brand":"FINOM","offers":[{"title":"Digital","offer_id":32745448079456,"sku":"713946","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/ohmme-mine-cover-4000.jpg?v=1603740590"},{"product_id":"julia-jacklin_to-perth-before-the-border-closes","title":"to Perth, before the border closes","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eOn “to Perth, before the border closes,” Australian singer\/songwriter Julia Jacklin copes with an extended period of transience. In her words: “I’ve moved around a lot the last 5 years; chasing things, love, work, something new, whatever and there’s always this fear that I’m leaving good things behind just to go somewhere else and be lonely. Whispering “everything changes” to myself helps get me to sleep at night.” B-side “Cry” is a Dolly Parton-inspired stream-of-consciousness, featuring Perth musicians Jennifer Aslett, Chris Wright, and Jacob Diamond; it was recorded by her old friend and housemate Ryan Brennan, who nine years ago was the first person to record her music. \u003c\/span\u003e","brand":"Julia Jacklin","offers":[{"title":"Digital","offer_id":32745448177760,"sku":"713936","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/juliajacklin-toperth-cover-4000.jpg?v=1603740590"},{"product_id":"le-ren_its-time-i-played-a-love-song","title":"It's Time I Played a Love Song","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eRepresented by the prestigious record label Secretly Canadian, Le Ren (moniker of Montreal-based artist Lauren Spear) was introduced to US audiences last year when she opened for Orville Peck on his national tour. This summer she released her debut EP \u003c\/span\u003e\u003cem\u003eMorning \u0026amp; Melancholia.\u003c\/em\u003e\u003cspan\u003e Lauren has studied folk and bluegrass going back to her early teens, partaking in workshops all over North America. Growing up on Ne\u003c\/span\u003e\u003cu\u003ex\u003c\/u\u003e\u003cspan\u003ewléle\u003c\/span\u003e\u003cu\u003ex\u003c\/u\u003e\u003cspan\u003em\/Bowen Island, she was raised on the holy trinity of John Prine, Joni Mitchell and Bob Dylan. Their curious, deadpan and cosmic approach to life’s most brutal swipes feed Le Ren’s sensibilities, and her own lyrical couplets are as simply put as they are devastating. \u003c\/span\u003e","brand":"Le Ren","offers":[{"title":"Digital","offer_id":32745448210528,"sku":"713726","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/leren-itstimeiplayedalovesong-cover-4000.jpg?v=1603740590"},{"product_id":"eddie-vedder_cartography","title":"Cartography","description":"Eddie Vedder \/ Cartography","brand":"Eddie Vedder","offers":[{"title":"Digital","offer_id":32746456023136,"sku":"713786","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/eddievedder-cartography-cover-4000.jpg?v=1603843898"},{"product_id":"sub-pop_sub-pop-singles-club-vol-6","title":"Sub Pop Singles Club Vol. 6","description":"\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Sub Pop Singles Club Vol. 6 continues Sub Pop’s intermittent-yet-legendary series of limited-edition, subscription-only 7” singles by artists that we, and hopefully you, like. These 7”s will be limited to a mere 1,000 copies, and once they are gone, they are gone forever. We’ve been doing this series since 1988, roping artists like Nirvana, The White Stripes, Iron \u0026amp; Wine, Julien Baker, Eddie Vedder, and many more into doing singles for us along the way. Many of these singles have become sought-after rarities, commanding big bucks on the collector-nerd circuit. But, more importantly, they’ve contained great music! Prove it, you say? Check out many of the past Singles Club releases via the\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/open.spotify.com\/playlist\/4WrhlgcIjSev1pB1qLGKuo?si=8N9EgnaRS_qUBElOLUKT8Q\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/open.spotify.com\/playlist\/4WrhlgcIjSev1pB1qLGKuo?si%3D8N9EgnaRS_qUBElOLUKT8Q\u0026amp;source=gmail\u0026amp;ust=1607401235185000\u0026amp;usg=AFQjCNFlJgZhYx-kPTf2VtdV9LYR8a5oXw\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/open.spotify.com\/playlist\/4WrhlgcIjSev1pB1qLGKuo?si=8N9EgnaRS_qUBElOLUKT8Q\"\u003eSub Pop Singles Club Playlist\u003c\/a\u003e. \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eWhat do you get with a subscription? \u003c\/p\u003e\n\u003cul style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eApproximately 24 amazing, exclusive songs by your new favorite musicians! This round will feature the king of filth himself, John Waters; \u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eJeff Tweedy;  Washed Out; Hand Habits; Porridge Radio; TV Priest; \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eBNH Deluxe; \u003cmeta charset=\"utf-8\"\u003eDuma;\u003c\/span\u003e LIDS (feat. members of METZ, Holy Fuck, Constantines); Sheltered Workshop Singers and lots more TBA!\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e12 vinyl 7” singles with artful packaging lovingly designed by the musicians and the Sub Pop art department!\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eDigital downloads of all the songs via your Sub Pop Mega Mart account!\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eBragging rights! The joy of possessing objects!\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThis is what it’ll cost you:\u003cbr data-mce-fragment=\"1\"\u003e$135 for the U.S.\u003cbr data-mce-fragment=\"1\"\u003e$175 for Canada\u003cbr data-mce-fragment=\"1\"\u003e$200 for the rest of the world. \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eShipping is included in each of those prices. \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eAnswers to frequently and often aggressively asked questions:\u003c\/p\u003e\n\u003cul style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eSubscribing is the only way to get the physical 7”s. They will not be available in stores.\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eYou can subscribe from anywhere in the world. Non-US subscriptions cost more only because shipping to non-US locations costs more.\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eYou can purchase a subscription as a gift. Simply enter the recipient’s name and address in the delivery address fields for your order.\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eSubscriptions are exempt from any Mega Mart sale discounts. \u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eYou can buy a subscription in the same order as other items you wish to purchase from us. We will ship the rest of your order as soon as possible, but\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eno Singles Club 7”s will ship until April 2021\u003c\/strong\u003e, when you’ll get the first two. The following singles will arrive in pairs every other month thereafter. (We are shipping two singles at a time, every other month, because shipping is expensive and we want this subscription to be relatively affordable.)\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eIf you need to change your address at any point during your subscription, please email\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"mailto:websales@subpop.com\" data-mce-fragment=\"1\" data-mce-href=\"mailto:websales@subpop.com\"\u003ewebsales@subpop.com\u003c\/a\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Sub Pop","offers":[{"title":"US","offer_id":32897522040928,"sku":"714391","price":135.0,"currency_code":"USD","in_stock":false},{"title":"Canada","offer_id":32897522073696,"sku":"714392","price":175.0,"currency_code":"USD","in_stock":false},{"title":"World","offer_id":32897522106464,"sku":"714394","price":200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/singlesclubvol6-square.jpg?v=1607232643"},{"product_id":"hannah-jadagu_what-is-going-on","title":"What Is Going On?","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eHailing from Mesquite, Texas and now residing in New York, the incredibly resourceful 18 year-old records and produces her music all through her iPhone 7. Using Garageband iOS, an iRig, microphone, and guitar, Hannah has found a process that has served her well so far in her young recording career. The songs 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;\"\u003eWhat Is Going On?\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e encapsulate the thoughts, hopes, and fears of growing up as a young Black woman in the U.S. with themes of empowerment and a wise-beyond-her-years worldview weaved throughout. \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“My Bones,” the powerful opening statement from \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eWhat Is Going On?\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, holds great meaning for Hannah. “With the influx of media coverage of Black women going missing, being murdered, and the lack of care there is for Black women in general, both within this country and the world, I wanted to dedicate a song to it,” she says. “I kept the lyric brief, writing ‘You could take my bones and place them home, they won’t find out’ because I felt those words spoke enough to the situation.”\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“Sundown” was the first song that helped Hannah realize that music could be a way to express what she was otherwise unable to articulate.“‘Sundown’ takes place when I was a junior in high school and I decided to write a song about how I was feeling at the time,” she says. “I was exhausted from schoolwork, extracurricular activities, college-prep, and overall life of being a pre-college teen. ‘Sundown’ was a way for me to express thoughts I’d kept to myself.” She continues, “Sonically, this song is layered with many different background vocals, uses of reverb, chorus and pitch shift. It’s very telling of the music I was consuming at the moment.”\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“‘Think Too Much’ is the only song that I’d written with the intent of putting it on an EP,” Hannah says. “I was challenging myself to make a song that was high energy, fun, and a ‘bop.’ At the time, I remember listening to a lot of Dayglow, Jean Dawson, and Winnetka Bowling League, and thinking to myself, ‘These people are making such catchy and fun songs without even trying.’ Then I thought to myself, ‘You’re overthinking this.’ I asked all my friends what they thought about ‘too much,’ compiled their responses, chose some fun chords and rhythms inspired by Snail Mail and Phoenix, and went to work.”\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 title track “What Is Going On?” was a rewrite of a past demo she had originally posted to Soundcloud. The song talks about the sort of confusion that comes with the infatuation you can have for someone. “It’s very much my only attempt at an anthem for teenage love,’' laughs Hannah. “When I had originally posted the demo, people really loved it. However, there wasn’t much of a story to tell. So eventually I took it down until I had an experience that inspired me. I FaceTimed my sister about it, and she encouraged me to practically rewrite the whole song. In terms of the production side, I wanted to tap into the rockstar in me, heavily influenced by Clairo\/Rostam, Deb Never, and Beabadoobee. This song was definitely my favorite to produce.” \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“Bleep Bloop” was written during Hannah’s first semester of senior year. “I couldn't seem to sleep one night, so I just grabbed my guitar and started singing\/playing what came to mind. Most of the lyrics blossomed out of a singular freestyle without much premeditation,” she says. “The song both acknowledges and battles with the idea that we as young people are often expected to just ‘deal with it,’ and the lack of awareness for our mental health. While I feel that I am very privileged, I still think it’s okay to not feel good, and be able to talk about it. The production on this track is sort of an homage to Dijon’s ‘Nico’s Red Truck,’ a song I was super obsessed with at the time. I was also listening to a lot of SZA’s ‘20 Something’ and Frank Ocean.”\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;\"\u003eHannah concludes, “\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eWhat Is Going On?\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e will always be special to me. It represents my first project, and it’s full of my thoughts and emotions during my own personal experiences, and also what was happening in the world. It truly is like seeing through my exterior, and getting to know me over the past few years, in just a matter of 30 minutes.”\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;\"\u003eWhat Is Going On?\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e strikes us as pretty special, too. Same with Hannah. And all that is plainly obvious in just a matter of 30 minutes.\u003c\/span\u003e\u003c\/p\u003e","brand":"Hannah Jadagu","offers":[{"title":"Digital","offer_id":39257281921120,"sku":"713756","price":5.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":39390020436064,"sku":"713754","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/hannahjadagu-whatisgoingon-3600x3600.jpg?v=1615584121"},{"product_id":"whitmer-thomas_big-baby-big-baby-christmas","title":"Big Baby \/ Big Baby Christmas","description":"\u003cp\u003eJust in time for the holidays, the Alabama-born LA-based multidisciplinary artist Whitmer Thomas is sharing an extended version of his single \"Big Baby Christmas\" the holiday version of “Big Baby,” his minor viral hit of 2020.\u003c\/p\u003e\n\u003cp\u003eThomas says of the track, “Christmas is for the babies. Brought you by the elves. Please enjoy the full-length version of Big Baby Christmas. Slappy do to you!”\u003c\/p\u003e","brand":"Whitmer Thomas","offers":[{"title":"7 inch","offer_id":39410649563232,"sku":"731467","price":7.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39410649530464,"sku":"731466","price":2.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/whitmerthomas-bigbabychristmas-3600.jpg?v=1638400668"},{"product_id":"sub-pop_sub-pop-singles-club-vol-7","title":"Sub Pop Singles Club Vol. 7","description":"\u003cp\u003e\u003cstrong\u003e*Now ships as an entire collection in one shipment!*\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Sub Pop Singles Club is back for yet another year! Subscribe to the Sub Pop Singles Club Vol. 7 to get twelve exclusive, limited-edition, colored-vinyl 7” records that you will, undoubtedly, love and adore and absolutely not sell on the internet for a lot of money in a few years!\u003cbr\u003e\u003cbr\u003eWe have, yet again, convinced some of the top musicians of the day to allow us to put their songs out: Vol. 7 of the series will include \u003cstrong\u003eBartees Strange\u003c\/strong\u003e, \u003cstrong\u003eParty Dozen\u003c\/strong\u003e, \u003cstrong\u003eMatthew “Doc” Dunn\u003c\/strong\u003e, \u003cstrong\u003eThe William Loveday Intention\u003c\/strong\u003e (aka \u003cstrong\u003eBilly Childish\u003c\/strong\u003e!), \u003cstrong\u003eThe Shadracks\u003c\/strong\u003e (feat. the son of Billy Childish!), \u003cstrong\u003eSidney Gish\u003c\/strong\u003e, \u003cstrong\u003eDummy\u003c\/strong\u003e, \u003cstrong\u003eHunx And His Punx\u003c\/strong\u003e, \u003cstrong\u003eIrreversible Entanglements\u003c\/strong\u003e, \u003cstrong\u003eDummy\u003c\/strong\u003e, \u003cstrong\u003eSLIFT\u003c\/strong\u003e, \u003cstrong\u003eKeiji Haino\u003c\/strong\u003e, and \u003cstrong\u003eZeal \u0026amp; Ardor\u003c\/strong\u003e.\u003cbr\u003e\u003cbr\u003eThis series began in April, 2022 and ended February, 2023. If you order now, you will get all twelve singles in one shipment. You'll get digital versions of the songs via your Sub Pop Mega Mart account. \u003cstrong\u003eOnly 1,000 sets are available\u003c\/strong\u003e. \u003cbr\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"US","offer_id":39415941922912,"sku":"715151","price":140.0,"currency_code":"USD","in_stock":true},{"title":"Canada","offer_id":39415941890144,"sku":"715152","price":180.0,"currency_code":"USD","in_stock":true},{"title":"World","offer_id":39415941857376,"sku":"715154","price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/singles-7-square.jpg?v=1639605763"},{"product_id":"girl-and-girl_fight-night-ep","title":"Fight Night EP","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThis 5-song collection\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e features new interpretations of songs from the group’s 2023 EP, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eDivorce +\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, and\u003c\/span\u003e \u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003erecorded at Fight Night Studios in Melbourne, Australia.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFight Night Records is a recording studio perched above Dutch Vinyl record store in Melbourne, established in 2015 by identical twins Harley \u0026amp; Delaney Stewart. Their live studio sessions have captured performances by some of Australia’s most incredible underground talent including Grace Cummings, Folk Bitch Trio, Felix Riebl, Gabriella Cohen, Jazz Party,  Bones \u0026amp; Jones and Sweet Talk.\u003c\/span\u003e\u003c\/p\u003e","brand":"Girl and Girl","offers":[{"title":"Digital","offer_id":39777063731296,"sku":"716276","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/girlandgirl-fightnight-3000.jpg?v=1695421092"},{"product_id":"ryan-kattner-and-brett-morris_destroy-all-neighbors-original-motion-picture-soundtrack","title":"Destroy All Neighbors (Original Motion Picture Soundtrack)","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSub Pop is digitally releasing the Destroy All Neighbors (Original Motion Picture Soundtrack).\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe film was scored by Ryan Kattner and Brett Morris of Man Man and features a new Man Man track titled “Free.” Kattner also lends his acting chops to the film’s ensemble cast, which stars Jonah Ray Rodrigues and Alex Winter. \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 \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eDestroy All Neighbors\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e film depicts William Brown (\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eJonah Ray Rodrigues)\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, a neurotic, self-absorbed musician determined to finish his prog-rock magnum opus, facing a creative roadblock in the form of a noisy and grotesque neighbor named Vlad (\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eAlex Winter\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e). Finally working up the nerve to demand that Vlad keep it down, William inadvertently decapitates him. But, while attempting to cover up one murder, William's accidental reign of terror causes victims to pile up and become undead corpses who torment and create more bloody detours on his road to prog-rock Valhalla.\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;\"\u003eRyan Kattner (aka Honus Honus of Man Man) offers this on the experience: “\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eWhen I was first approached to score \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eDestroy All Neighbors\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, I didn’t realize how incredibly bonkers and wall-to-wall the music cues would be; I was too absorbed by how psychotic the script was and in disbelief that it was getting made. It reminded me of the Blockbuster Video movie you’d rent as a kid and watch multiple times over the weekend. \u003c\/span\u003e\u003c\/i\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;\"\u003e“Once the dust settled and I decided to take the gig (and, more importantly, they decided to hire me), one thing became very clear: I  would need a brilliant guitar wizard\/musician to help execute the scale of everything required. Insert Brett Morris (Comedy Bang Bang). Between progressive rock cues, Euro-trash EDM, 80s synth diving, bad acoustic guitar pop, etc., we got to cover a gambit of vibes, and we’re proud of our contributions (even if the schizophrenic nature of the cues made us lose our minds at times).\u003c\/span\u003e\u003c\/i\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;\"\u003e“While this wasn’t my first time scoring, it was the first time I got a little weirder with the job. Since we didn’t have the budget to license the semi-obscure prog song everyone fell in love with during the edit, it forced me to write an original Man Man song to win over hearts\/minds, which, in turn, created its own issues because the film people then had to change my mind about not keeping it for the new Man Man album coming out this year. \u003c\/span\u003e\u003c\/i\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;\"\u003e“Scoring hire aside, a month out from shooting, they asked me to read for one of the film’s antagonists, Caleb Bang Jansen, probably because they wanted to see me run around in only my skivvies (which I somehow overlooked when reading the audition sides) and play a horrendously penned acoustic guitar song on camera. I’d only done one previous feature and a handful of short films, but I love being forced out of my comfort zone. I also have the forgiveness of “musician turned actor” that isn’t afforded to the inverse. Sharing screen time with Alex, Jonah, and Thomas Lennon was a blast. I’ve got the bug if anyone else wants me for anything. That’s how this happens, right? Maybe my dream of a B-Movie actor will finally come true! \u003c\/span\u003e\u003c\/i\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;\"\u003e“Anyhoo, Sub Pop putting out a 69-track album of bizarre cues means everyone wins. Go see \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eDestroy All Neighbors\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 while it’s on the big screen, rewatch it on Shudder, and stream the fuck out of the soundtrack. I love you.”\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e","brand":"Ryan Kattner \u0026 Brett Morris","offers":[{"title":"Digital","offer_id":40021007695968,"sku":"716376","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/products\/destroyallneighbors-soundtrack-3000px.jpg?v=1704843879"},{"product_id":"the-fluid_tin-top-toy-2024-remaster","title":"Tin Top Toy (2024 Remaster)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis is the digital release of The Fluid's classic Tin Top Toy single. For this 2024 reissue, we remastered the tracks, and added the previously unreleased session outtake \"Satisfied.\" \u003c\/span\u003e\u003c\/p\u003e","brand":"The Fluid","offers":[{"title":"Digital","offer_id":41360346677344,"sku":"716866","price":3.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/thefluid-tintoptoy-7inch-2400px.jpg?v=1728886216"},{"product_id":"the-gits_kings-and-queens-2024-remaster","title":"Kings \u0026 Queens (2024 Remaster)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMia Zapata of the Gits was the greatest rock singer of her time. This is not hyperbole; if you ever saw her, you know it’s true. She was likely the greatest singer in punk rock history, the woman who married the 78 and the ’78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame built around her by Andy Kessler, Matt Dresdner, and Steve Moriarty made it true.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMia Zapata (1965 – 1993), the vocalist and front person for The Gits (1986 – 1993), was not the type of voice one usually associates with a punk rock band. She had the sizzle, sass, shriek, grace, rasp, and fury of a classic blues shouter (what if Janis Joplin had fronted Fugazi, we ask?). There was a purity and accuracy to her voice. She could simultaneously point it at the stars and scoop cigarette butts off of the venue floor. It sounded like a voice on fire, desperate and angry, pleading and commanding, all at the same time (what if Amy Winehouse had fronted Fugazi, we ask?). And her onstage persona was utterly devoid of bullshit: Mia Zapata was a rag doll, a stick figure, a sock puppet, alternately bent with sadness and arched with rage. Sometimes, she looked like she was in pain, clawing at an ulcer; other times, like a holy woman on a soapbox, testifying the joy of truth; and still other times, like someone draped in a bedtime t-shirt reading from the margins of her notebooks. The voice and the presence were extraordinary, and there was nothing like it anywhere in punk – it was like finding the missing link between Nina Simone and Johnny Rotten (what if Joss Stone had fronted Fugazi, we ask?).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMuch of this story takes place in Seattle during the strange night fog of the early 1990s, but did that matter? No. The Gits were beyond era or place. Maybe that’s why they were one of the most important acts to emerge from Seattle during that time. The Gits defied any categorizations – were they ferocious post-hardcore sideways-metal screw-propellor punk rockers? Some cross between Iron Maiden and an SST band? And although Mia Zapata was undoubtedly a once-in-a-generation talent – a wrapped-tight urchin\/ingenue\/artist applying a shredded Bonnie Raitt blues-rasp perfect-pitched alto to tight punk rock – the band matched her and inspired her to double down. Andy Kessler (guitar – metronomic and furious), Steve Moriarty (drums – martial and explosive), and Matt Dresdner (bass – fluid, punching, beat-addicted and melodic) wrote and performed with a jaw-tightened fury, a clenched soul that shrieked and stomped with precision. The Gits were an angry, inflamed slinky fully in tune with the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop, and Ian MacKaye all in the same goddamn song.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986. Matt, Mia, Andy, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) woodshedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and ’91 before signing with C\/Z Records and releasing their first full-length album, \u003c\/span\u003e\u003cspan\u003eFrenching The Bully\u003c\/span\u003e\u003cspan\u003e. Soon, Seattle, North America, and the world felt the kind of awe the Gits inspired when peak emotion meets peak grindage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNow, Sub Pop is re-releasing the entirety of the Gits’ catalog, including all four extant albums (three of which, sadly, were released posthumously): \u003c\/span\u003e\u003cspan\u003eFrenching The Bully\u003c\/span\u003e\u003cspan\u003e (1992), \u003c\/span\u003e\u003cspan\u003eEnter: The Conquering Chicken \u003c\/span\u003e\u003cspan\u003e(1994), \u003c\/span\u003e\u003cspan\u003eKings \u0026amp; Queens\u003c\/span\u003e\u003cspan\u003e (1996), and \u003c\/span\u003e\u003cspan\u003eSeafish Louisville\u003c\/span\u003e\u003cspan\u003e (2000). All have been remastered by Jack Endino, one of Seattle’s most respected producers and engineers and the band’s closest studio associate.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn July 7, 1993, Mia Zapata died. We leave it at that, not only because you can read the sad details elsewhere but because this is not about death but an extraordinary life. So, friends, please listen to one of the greatest punk rock bands of all time, fronted by the greatest woman rock vocalist of the last half-century. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e- \u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eTim Sommer\u003c\/p\u003e","brand":"The Gits","offers":[{"title":"Digital","offer_id":41420140413024,"sku":"716516","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/thegits-kingsandqueens-3600px.jpg?v=1730842959"},{"product_id":"the-gits_seafish-louisville-2024-remaster","title":"Seafish Louisville (2024 Remaster)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMia Zapata of the Gits was the greatest rock singer of her time. This is not hyperbole; if you ever saw her, you know it’s true. She was likely the greatest singer in punk rock history, the woman who married the 78 and the ’78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame built around her by Andy Kessler, Matt Dresdner, and Steve Moriarty made it true.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMia Zapata (1965 – 1993), the vocalist and front person for The Gits (1986 – 1993), was not the type of voice one usually associates with a punk rock band. She had the sizzle, sass, shriek, grace, rasp, and fury of a classic blues shouter (what if Janis Joplin had fronted Fugazi, we ask?). There was a purity and accuracy to her voice. She could simultaneously point it at the stars and scoop cigarette butts off of the venue floor. It sounded like a voice on fire, desperate and angry, pleading and commanding, all at the same time (what if Amy Winehouse had fronted Fugazi, we ask?). And her onstage persona was utterly devoid of bullshit: Mia Zapata was a rag doll, a stick figure, a sock puppet, alternately bent with sadness and arched with rage. Sometimes, she looked like she was in pain, clawing at an ulcer; other times, like a holy woman on a soapbox, testifying the joy of truth; and still other times, like someone draped in a bedtime t-shirt reading from the margins of her notebooks. The voice and the presence were extraordinary, and there was nothing like it anywhere in punk – it was like finding the missing link between Nina Simone and Johnny Rotten (what if Joss Stone had fronted Fugazi, we ask?).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMuch of this story takes place in Seattle during the strange night fog of the early 1990s, but did that matter? No. The Gits were beyond era or place. Maybe that’s why they were one of the most important acts to emerge from Seattle during that time. The Gits defied any categorizations – were they ferocious post-hardcore sideways-metal screw-propellor punk rockers? Some cross between Iron Maiden and an SST band? And although Mia Zapata was undoubtedly a once-in-a-generation talent – a wrapped-tight urchin\/ingenue\/artist applying a shredded Bonnie Raitt blues-rasp perfect-pitched alto to tight punk rock – the band matched her and inspired her to double down. Andy Kessler (guitar – metronomic and furious), Steve Moriarty (drums – martial and explosive), and Matt Dresdner (bass – fluid, punching, beat-addicted and melodic) wrote and performed with a jaw-tightened fury, a clenched soul that shrieked and stomped with precision. The Gits were an angry, inflamed slinky fully in tune with the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop, and Ian MacKaye all in the same goddamn song.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986. Matt, Mia, Andy, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) woodshedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and ’91 before signing with C\/Z Records and releasing their first full-length album, \u003c\/span\u003e\u003cspan\u003eFrenching The Bully\u003c\/span\u003e\u003cspan\u003e. Soon, Seattle, North America, and the world felt the kind of awe the Gits inspired when peak emotion meets peak grindage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNow, Sub Pop is re-releasing the entirety of the Gits’ catalog, including all four extant albums (three of which, sadly, were released posthumously): \u003c\/span\u003e\u003cspan\u003eFrenching The Bully\u003c\/span\u003e\u003cspan\u003e (1992), \u003c\/span\u003e\u003cspan\u003eEnter: The Conquering Chicken \u003c\/span\u003e\u003cspan\u003e(1994), \u003c\/span\u003e\u003cspan\u003eKings \u0026amp; Queens\u003c\/span\u003e\u003cspan\u003e (1996), and \u003c\/span\u003e\u003cspan\u003eSeafish Louisville\u003c\/span\u003e\u003cspan\u003e (2000). All have been remastered by Jack Endino, one of Seattle’s most respected producers and engineers and the band’s closest studio associate.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn July 7, 1993, Mia Zapata died. We leave it at that, not only because you can read the sad details elsewhere but because this is not about death but an extraordinary life. So, friends, please listen to one of the greatest punk rock bands of all time, fronted by the greatest woman rock vocalist of the last half-century. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e- \u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eTim Sommer\u003c\/p\u003e","brand":"The Gits","offers":[{"title":"Digital","offer_id":41420140445792,"sku":"716526","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/thegits-seafishlouisville-3600px.jpg?v=1730842969"},{"product_id":"the-gits_live-at-the-x-ray","title":"Live at The X-Ray","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eThe Gits Live at The X-Ray is a new live album featuring recordings from the band’s June 1993 set featuring 14 tracks recorded at the famed Portland, Oregon nightclub.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eOf playing live and the song “Wingo Lamo,” guitarist Andy Kessler offers this, “‘Wingo…’ was always one of my favorites to play live. And then there’s the thing about how I’d misheard Mia’s lyrics to the chorus as, ‘Just like my father told me…’  The actual line is, ‘Immobilized by the torment…’  But I truly wondered what it was her father told her. And to this day I still do.  I always loved it when she changed the chorus and gave me a look and a laugh.”\u003c\/p\u003e","brand":"The Gits","offers":[{"title":"Digital","offer_id":41445873156192,"sku":"716536","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/thegits-liveatthexray-3600.jpg?v=1732300015"},{"product_id":"amen-dunes_death-jokes-ii","title":"Death Jokes II","description":"\u003cp\u003eDeath Jokes II is the final work of the acclaimed Amen Dunes project. \u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eThis is the last chapter of the final volume. Goodbye, I've barely said a word to you, but it's always like that at parties - we never really see each other, we never say the things we should like to; in fact it's the same everywhere in this life. Let's hope that when we are dead things will be better arranged.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eAmen Dunes was founded in 2006 with D.I.A., an album he recorded on an 8-track recorder in a trailer in Upstate New York. It grew from there, with McMahon releasing 6 full-length albums and 2 EPs over the last 18 years. Today he releases the 7th and final album, Death Jokes II, a reworked version of his May 2024 Sub Pop debut, Death Jokes. Hailed as “a daring turn in a different direction” by NPR Music, “a testament to McMahon’s sheer artistic brilliance” by Stereogum, and “a body of musical work that’s often as confounding as it is brilliant” by GQ, Death Jokes marked a major departure from Amen Dunes’ previous output, an ambitious album that saw McMahon immerse himself in the electronic music he grew up with but never imagined himself able to make.\u003c\/p\u003e\n\u003cp\u003eDeath Jokes was a complex project that took close to four years to complete and was recorded in various iterations, including an alternate version of the album recorded in June of 2021 at the famed East West Studios in Los Angeles (in the \"Pet Sounds\" and the haunted \"Whitney Houston\" rooms)  with Money Mark (Beastie Boys) on keyboards, and both Jim Keltner (Bob Dylan et. al) and Carla Azar (Autolux) on drums.\u003c\/p\u003e\n\u003cp\u003eIn reimagining the album as Death Jokes II, McMahon revisited all that material for stripped down remixes of the songs by Craig Silvey. These new mixes also include unheard contributions from notable Death Jokes contributors Panoram, Kwake Bass (Dean Blunt, MF DOOM), Christoffer Berg (Fever Ray), and Robbie Lee, a multi-instrumentalist and NYC veteran.\u003c\/p\u003e\n\u003cp\u003eDeath Jokes II is a celebration of endings and of deaths, marking the end of Amen Dunes, itself.\u003c\/p\u003e","brand":"Amen Dunes","offers":[{"title":"Digital","offer_id":41475714515040,"sku":"716916","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/amendunes-deathjokesii-2400px.jpg?v=1733527461"},{"product_id":"father-john-misty_i-love-you-honeybear-demos-etc","title":"I Love You, Honeybear Demos, etc.","description":"\u003cp\u003eA digital-only release of demos that were initially released on cassette in 2015.  It also includes a solo acoustic performance of Nirvana’s ”Heart Shaped Box” recorded for SiriusXM during the I Love You, Honeybear cycle. \u003c\/p\u003e","brand":"Father John Misty","offers":[{"title":"Digital","offer_id":41587454214240,"sku":"716886","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/fjm-iloveyouhoneybeardemos-3600x3600.jpg?v=1738789721"},{"product_id":"deeper_live-in-koln","title":"Live in Köln","description":"\u003cp\u003eThis 10-track live set features music from the band's 2023 Sub Pop debut, \u003ci\u003eCareful!\u003c\/i\u003e, and their 2020 album \u003ci\u003eAuto-Pain\u003c\/i\u003e on Fire Talk. These songs were captured from a live performance at Lanxess Arena in Cologne while on a seven-date European tour, opening for Depeche Mode. The album was recorded by Terence Hulkes and mixed, mastered, and produced by Dave Vettraino at Public House Sounds Recordings.\u003c\/p\u003e\u003cp\u003eThe band's thoughts on releasing a live album: \"I've always loved how live records reflect a band's relationship to their catalog – what their favorites are versus the audience's and using the interplay between them to shape the arc of a performance. One of the best parts of touring is reconfiguring the sets each night and exploring how songs from different records fit together live. It's not a surprise that song orders on studio albums are pretty deliberate, which is why it's so much fun and organic to explore how to structure live sets for different audiences. We loved this live set in Cologne because it captured one of our favorite combinations of songs from Auto-Pain and Careful! that we refined over the busy year of touring.\u003c\/p\u003e\u003cp\u003eFeeding off 20k people, the energy in these recordings made a nice contrast to our previous live tracks from the pandemic that had no audience. This live album comes from our last show with Depeche Mode, which was also the final show of their 18-month world tour. It was pretty special to close it out with them and still feels surreal to have been given the opportunity.\"\u003c\/p\u003e","brand":"Deeper","offers":[{"title":"Digital","offer_id":41811934707808,"sku":"716846","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/deeper-liveinkoln-3600x3600.jpg?v=1745523661"},{"product_id":"suki-waterhouse_memoir-of-a-sparklemuffin-deluxe","title":"Memoir of a Sparklemuffin (Deluxe)","description":"\u003cp\u003eMemoir of a Sparklemuffin (Deluxe, features the new track “The Bellboy (One Last Crush)” alongside an expansive collection of live arrangements and bonus\u003cbr\u003etracks. The deluxe album also includes a special performance of “Yeah! Oh,\u003cbr\u003eYeah!” with Stephin Merritt of The Magnetic Fields, which the two performed\u003cbr\u003etogether at her sold-out Sparklemuffin Tour stop at the Brooklyn Paramount in\u003cbr\u003eDecember 2024.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSuki Waterhouse - Memoir of a Sparklemuffin (Deluxe) Tracklisting\u003c\/strong\u003e\u003cbr\u003e1. Gateway Drug\u003cbr\u003e2. Supersad\u003cbr\u003e3. Blackout Drunk\u003cbr\u003e4. Faded\u003cbr\u003e5. Nonchalant\u003cbr\u003e6. My Fun\u003cbr\u003e7. Model, Actress, Whatever\u003cbr\u003e8. To Get You\u003cbr\u003e9. Lullaby\u003cbr\u003e10. Big Love\u003cbr\u003e11. Lawsuit\u003cbr\u003e12. OMG\u003cbr\u003e13. Think Twice\u003cbr\u003e14. Could’ve Been A Star\u003cbr\u003e15. Legendary\u003cbr\u003e16. Everybody Breaks Up Anyway\u003cbr\u003e17. Helpless\u003cbr\u003e18. To Love\u003cbr\u003e19. The Bellboy (One Last Crush)\u003cbr\u003e20. Everything You Feared\u003cbr\u003e21. So Close\u003cbr\u003e22. 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He began learning music from his father, Dei Kee Tla Tin (Dave Galanin, 1955-2021), an accomplished Blues guitarist who performed under the name Strummin’ Dog. In 2013, Galanin was in a serious boat accident while returning home from a hunting trip that broke his back and ribs. He recalls the stars overhead as he was airlifted from the boat, connecting him to his earliest memory of looking up at the night sky, and his connection to Land. Galanin has returned to this experience of intense connection to Land throughout his career; in many ways, it guides his creative practice. Following the accident, his father gave him the name Yeil Ya Tseen, meaning Raven be alive, an affirmation of Galanin’s survival and an acknowledgment of his experience. After his father’s passing, Galanin renamed his musical project Ya Tseen (to be alive) as a connection to his lineage and responsibility to live and create as a part of Lingit cultural continuum.\u003c\/p\u003e\n\u003cp\u003eYeil Ya Tseen\/Galanin has been creating music, customary Tlingit carving, and interdisciplinary art for over two decades. Galanin’s sculpture and video work have been shown at the Public Art Abu Dhabi Biennial, Whitney Biennial, Sydney Biennial, Desert X, Art Week Miami Beach, and by the New York Public Art Fund. Galanin is a member of the artist collective Black Constellation. In 2018, Galanin raised his first Kooteeya (totem pole) as lead carver in Juneau, Alaska, followed by a second in 2023. Galanin’s visual and sonic work are interconnected streams of creative flow, each integral to the watershed of work he produces and contributes to.  \u003c\/p\u003e\n\u003cp\u003eYa Tseen (previously Indian Agent, Silver Jackson) has performed across North America, Europe, and Australia, most recently with Portugal the Man and Samantha Crain to fund the rebuilding of a Tlingit clan house in Sitka. As Ya Tseen, the band has expanded into a musical project, a fluid collective woven from numerous voices and sonic signatures. \u003c\/p\u003e\n\u003cp\u003eYa Tseen’s first album with Sub Pop Indian Yard included collaborations with Shabazz Palaces, Stas THEE Boss, Nick Hakim and continued his long term collaborations with O.C.Notes, Zak D. Wass, Tunia, Jesse Hughey,  supported by Derek Haukaas (drums), Nikko Van Wycke (Bass), Jase Ihler (drums).\u003c\/p\u003e\n\u003cp\u003eWith their second release on Sub Pop Ya Tseen expands their collaborative approach, featuring Portugal The Man, Meshell Ndegeocello, dreamcastmoe, Anel Figueroa, Jahon Mikal, Pink Sifu, Sidibe, Hanna Ben, and Ashley Young. \u003c\/p\u003e\n\u003cp\u003eYa Tseen’s newest album, Stand On My Shoulder, builds on connection and revolutionary love as the foundation for collective liberation that ran throughout Indian Yard. The album cover art is a monoprint created by Galanin, based on a photograph of his father in Tlingit regalia. The regalia remains, but the wearer isn’t visible, leaving space to be filled by future generations. With Stand On My Shoulder Ya Tseen uplifts the gifts given to us by our ancestors and the collective responsibilities we have to future generations. The album is an incandescent exploration of existence and a celebration of the persistence of love and connection to Land.\u003c\/p\u003e","brand":"Ya Tseen","offers":[{"title":"Digital","offer_id":42166384525408,"sku":"716746","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/yatseen-standonmysholders-1500px.jpg?v=1753328539"},{"product_id":"naima-bock_live-in-toulon","title":"Live in Toulon","description":"\u003cp\u003e\u003cem\u003eLive In Toulon\u003c\/em\u003e features five exquisite live versions of songs from Bock's 2024 album, \u003ca href=\"https:\/\/ghp4kve1xp2zqiab-11018829920.shopifypreview.com\/products\/naima-bock_below-a-massive-dark-land\"\u003e\u003cem\u003eBelow a Massive Dark Land\u003c\/em\u003e \u003c\/a\u003eand her 2022 debut, \u003cem\u003e\u003ca href=\"https:\/\/ghp4kve1xp2zqiab-11018829920.shopifypreview.com\/products\/naima-bock_giant-palm\"\u003eGiant Palm\u003c\/a\u003e.\u003c\/em\u003e This performance was recorded by Thomas Alberny as part of the \"Faveurs de Printemps\" festival, presented by Tandem, in Toulon, France, in April of 2024.\u003c\/p\u003e","brand":"Naima Bock","offers":[{"title":"Digital","offer_id":42257361895520,"sku":"717216","price":5.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/naimabock-liveintoulon-1500px.jpg?v=1756333918"},{"product_id":"velocity-girl_simpatico-remastered-and-expanded","title":"¡Simpatico! (Remastered and Expanded)","description":"\u003cp\u003e\u003ci\u003e¡Simpatico! (Remastered and Expanded)\u003c\/i\u003e gives Velocity Girl’s long out-of-print 1994 sophomore album, \u003ci\u003e¡Simpatico!\u003c\/i\u003e, an overdue refresh with a sparkling-fresh mastering job and a treasure trove of bonus tracks from the \u003ci\u003e¡Simpatico!\u003c\/i\u003e era. The original album sounds better than ever, and it’s complemented by a full album of B-sides and rarities.\u003c\/p\u003e\n\u003cp\u003eVelocity\n Girl formed in 1989 or so at the University of Maryland outside \nWashington, DC with guitarist Archie Moore (Black Tambourine), guitarist \nBrian Nelson (Black Tambourine), drummer Jim Spellman (Starry Eyes, \nFoxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), bassist \nKelly Riles (Starry Eyes), and singer Sarah Shannon (Starry Eyes, The \nNot Its). The band combined English-inspired noisy shoegaze fuzz with \nscrappy US indie rock and classic ‘60s-style pop songwriting. A killer \nsingle on Slumberland and non-stop touring grabbed the attention of the \nindie-rock cognoscenti, and soon after Velocity Girl signed a contract \nwith Sub Pop on a car hood in Hoboken, New Jersey. \u003c\/p\u003e\n\u003cp\u003eAfter touring in support of their debut, \u003ci\u003eCopacetic\u003c\/i\u003e,\n the band spent the better part of a year coming up with a batch of \nsongs for a second album. They had never worked that way before – having\n focused time, and a budget (from a label!), to make an album that \nwasn’t a self-produced, punk-rock studio thing was a fresh experience. \nHaving played their new material for months in the noisy style of \u003ci\u003eCopacetic\u003c\/i\u003e,\n the band found themselves excited about the tunes, but trying to move \naway from the scrappy, amateur vibe of their previous records. And their\n influences were a bit different this time around: less My Bloody \nValentine and Wedding Present, more New Order. \u003c\/p\u003e\u003cbr\u003e\u003cp\u003eSomebody\n at Sub Pop connected the band with John Porter, the one-time Roxy Music\n member who had produced The Smiths, Billy Bragg, The Alarm, and a bunch\n of other 80’s stuff. They met up on a tour stop in Los Angeles, at a \nHamburger Hamlet. He agreed to produce the album, in a three-week \nsession at Cue Studios in Falls Church, VA. He was exactly what the band\n needed: an editor, arranger, and taskmaster. As he mercilessly excised \nevery unnecessarily repeated bar, the band realized they’d gravitated to\n a sound with cleaner lines, and almost entirely ditched the noisy \nguitar, no doubt influenced by Porter’s presence. Velocity Girl was \nextremely happy with the results, and \u003ci\u003e¡Simpatico!\u003c\/i\u003e came out in June of 1994.\u003c\/p\u003e\n\u003cp\u003eThis\n expanded reissue adds eight songs recorded at Inner Ear Studios in \nArlington, VA, a few months after the album sessions. These sessions \nprovided playfully experimental B sides to the album’s singles, two \ncover songs (the New Order cover “Your Silent Face,” and a Beach Boys \ncover) for a single on Merge Records, and a compilation track. \u003c\/p\u003e","brand":"Velocity Girl","offers":[{"title":"Loser (color) 2xLP","offer_id":42405558583392,"sku":"717030","price":30.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":42405558616160,"sku":"717032","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":42405558648928,"sku":"717036","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/VelocityGirl_Simpatico_Mockup_LP_US_2000x1417_8bafbd7d-6160-4d6c-a64c-27f4a57ff67c.jpg?v=1764096839"},{"product_id":"chat-pile_masks","title":"Masks","description":"\u003cp\u003e\u003cspan id=\"docs-internal-guid-40d49041-7fff-fcd8-0cde-1d6df99769e3\"\u003eSub Pop and Oklahoma City noise-rock powerhouse Chat Pile present a limited-edition 7” single featuring two studio tracks: one brand new original, and the other a burly re-imagining of the early Nirvana song “Sifting.”\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"docs-internal-guid-b412ca8e-7fff-5e05-6434-b8d9253b0872\"\u003eSub Pop is thrilled that Chat Pile graced us with these two massive songs, and we couldn’t be happier to add them to the list of greats who have released a Sub Pop 7”. The band kindly shared their perspective on this release, so we’ll let them elaborate further!  \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"It’s a true dream to put out a single on Sub Pop, and our new song ‘Masks’ hopefully honors the spirit of the mythical, sometimes mystical, city of Seattle. Thanks in part to the movie Hype, we have long been obsessed with Seattle, the American underground of the late ‘80s, and Sub Pop and their tools of world domination. Everything we learned about packaging Chat Pile we learned from Sub Pop co-founders Jonathan Poneman and Bruce Pavitt.\u003c\/p\u003e\n\u003cp\u003e“We wanted to cover a song from the early Sub Pop era, and something off Bleach seemed the obvious choice. Songs like ‘Paper Cuts,’ ‘Negative Creep,’ and especially ‘Sifting’ are fairly lateral to the type of sounds we make with Chat Pile. 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That evolutionary tension is what fuels much of her new album as Lala Lala, Heaven 2. \u003c\/p\u003e\n\u003cp\u003eFor many years, West lived in Chicago, where she established her project Lala Lala as part of that city’s indie scene, releasing several records on the Sub Pop imprint Hardly Art. Those albums, The Lamb and I Want the Door to Open, were powerful statements from a curious artist: catchy guitar-pop songs about being stuck in the ups and downs of life, the struggle to stay sober, to leave town, to blow up your life.\u003c\/p\u003e\n\u003cp\u003eWest left Chicago to search for more and, in the process, wrote her new album, Heaven 2. On her journey, she landed in New Mexico, where she lived off the grid in Taos. “It was very challenging, freezing, infested with poisonous animals. But it’s still the most beautiful and magical place I’ve ever been and I dream about it all the time,” West says. “I worked on organic vegetable farms and hiked in the mountains a lot, looked for staurolites, and sometimes rode horses. Cut off the top of my thumb at work. Those are just some things that happened.” She then made her way to Iceland, where she lived for two years on and off, with the off being in London, where she grew up. In Iceland, she was in “a residency at LunGa school in a tiny town called Seydisfjordur, where the sun never rose in the winter.” Eventually, she made her way to Reykjavik and settled in with the music community and released an instrumental album (If I Were A Real Man I Would Be Able To Break The Neck Of A Suffering Bird) before heading to Los Angeles, where she has, almost surprisingly, fallen in love and found herself settled. It’s been a good place to live, not specifically because she likes L.A. or because she doesn’t like L.A., but because she’s discovered that, “wherever you go, there you are,” she says. “I wish there was a cooler way to say that.”\u003c\/p\u003e\n\u003cp\u003eFortunately, there is, and, again and again, on Heaven 2, she says it. On the single, “Even Mountains Erode,” West sings, “There are symbols and signs, you're missing your life,” which West says is about learning to slow down. To stop and smell the flowers. There are flowers wherever you live. She produced that song and the album, with Jay Som’s Melina Duterte, who provides a strong punchiness as a bed for West’s warm, rounded vocals. West says the relationship between the two of them was telepathic. It created a bold and confident album that West says would be perfectly appropriate to box to. Duterte and West performed almost all of the album’s instruments, with a few crucial guests, like Sen Morimoto on saxophone on the opening track, “Car Anymore,” and a bridge written by Porches’ Aaron Maine on the title track, “Heaven 2.” That song “is very melodramatic,” says West. “I was definitely feeling very doomed and defeated when I wrote it.” And the song does start with a bit of gloom. But it is lush, with West’s vocal building and building like a cloud swelling before a storm. The synths sweep across the song, the drums patter like raindrops on a car roof. And then the whole sky opens up, with a massive instrumental outro that feels like all your sins are being washed away. \u003c\/p\u003e\n\u003cp\u003eCatharsis is not only about the pain, but the escape that happens when you free yourself of it. And so there are moments of bold joy on the album, too. “Arrow,” which samples the French electro pop band La Femme, moves fast, and its swiftness and pleasure feel like running towards something, not away. “None of this was supposed to happen,” West sings, as the song races away from her. It wasn’t supposed to happen, but it did. “It’s such a basic spiritual thing,” West says, “Resistance is the root of all suffering, and I did not know that. I thought that I could dictate the course of my life.” Of course, like everyone else, she could not. 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An impossible thing but it’s real.”\u003c\/p\u003e\u003cp\u003eHen’s Teeth and his previous album, Light Verse, are siblings of a sort. They were recorded during the same sessions after a year’s-long dry spell, with the same band, at Waystation studio in Laurel Canyon. “When I’ve been on a writing kick, and the band can meet me where I’m at, they push me into something I hadn’t imagined. I’m at a point in my life where spontaneity is a lot more important to me. I don’t have as much to prove as I used to. I’m a lot freer and I love making music more than ever. There are no right or wrong answers. You just pray for your luck and try your best.” \u003c\/p\u003e\u003cp\u003eIn this case prayers were answered and luck struck hard. The musicians cohered so quickly and inspired each other so much that they were often getting songs recorded in just a few takes, sometimes at the rate of two or three per day. The two albums might therefore be thought of as fraternal twins: they share DNA and complement each other but have distinct identities and are defined as much by their differences as their similarities. \u003c\/p\u003e\u003cp\u003eLight Verse (2024) took its name from a form of poetry that makes heavy use of wordplay, humor, and nonsense. Its cover depicts figures in silhouette, floating or falling through a cyanotype sky. It’s a sweet and airy album, impressionistic, at times even flirting with abstraction, a hearty shaking off of the doom and gloom of the Covid era. Many of the songs are named for ideas or feelings that gesture toward hope amidst uncertainty: “You Never Know,” “All in Good Time” (a gorgeous duet with Fiona Apple), “Cutting It Close,” “Taken by Surprise.” \u003c\/p\u003e\u003cp\u003eThe world of Hen’s Teeth is earthier, darker, more robust and more tactile than that of Light Verse. The songs have titles like “Roses,” “Robin’s Egg,” “Dates and Dead People,” “Singing Saw.” “Run into the one you love forever \/ Laugh into each other’s empty mouth,” Beam sings on “Roses,” the album’s first track. It’s one of several songs in which lovers are depicted as so deeply entwined they physically merge. “Paper and Stone” recalls that “But for the time we fell in two \/ You’d be me and I’d be you \/ One crust of bread could fit in our mouths \/ You’d breathe in and I’d let it out.” And on “In Your Ocean,” we find Beam “Praying for dry ground \/ Though I only want to drown \/ When I find myself swimming in your ocean.” \u003c\/p\u003e\u003cp\u003eThe cover is a portrait of Beam surrounded on all sides by flourishing ferns and other tropical plant life. He is wearing a pin-stripe jacket and holding a massive cluster of grapes, prodigious beard spilling down his chest. He could be a local harvest god or a gentleman outlaw holed up in a jungle cave. There are white feathers covering his eyes but these somehow do not suggest blindness. Rather they seem to literalize the poetic notion of an artist’s vision taking flight. The whole surreal scene is washed in humid, spooky red. It’s somewhere between Leonora Carrington and Frida Kahlo, and the contrast with the cool blue-white palette of Light Verse could not be starker. \u003c\/p\u003e\u003cp\u003e“The experiments in this one were more with genre than with form. For the last couple years one of my go-to’s has been Van Morrisson’s Astral Weeks, that style where jazz musicians play folk music and it blossoms in different ways than folk musicians are normally interested in doing. ‘Singing Saw’ feels like a song that Doc Boggs and Simon \u0026amp; Garfunkel might have done together. ‘Roses’ and ‘In Your Ocean’ are straight forward folk rock, but they build to these apocalyptic endings. ‘Dates and Dead People’ and ‘Defiance, Ohio’ take a lot from Tropicalia, which is some of my favorite music too. I don’t see it as that much different from jazz. All these forms have been in rock music forever.” \u003c\/p\u003e\u003cp\u003eAbout the players: David Garza on guitar, Sebastian Steinberg on bass, and Tyler Chester on keyboards. Griffin Goldsmith, Beth Goodfellow, and Kyle Crane all play drums. Paul Cartwright plays violin and mandolin among other stringed instruments; he also handled string arrangements for both records. The indie-country trio I’m With Her appears on the ebullient lead single, “Robin’s Egg,” and again on the tender, mournful “Wait Up.” \u003c\/p\u003e\u003cp\u003e“I’m obsessed with duets,” Beam says. “Ever since I did Love Letter to Fire with Jesca Hoop. I just love the form. It’s inherently dramatic. And it’s so fun. I had these songs and I finished them with I’m With Her in mind.” Arden Beam—Beam’s daughter—contributes harmonies and backing vocals on the tracks, “Roses,” “Singing Saw,” “Defiance, Ohio” and “Grace Notes.” Her contributions lend a personal poignancy, as well as a wonderful sonic texture, to Hen’s Teeth. Born two months before the release of his debut album, The Creek Drank the Cradle (2002), she is now 23 years old and a musician herself—the first of his children to appear on one of his records. \u003c\/p\u003e\u003cp\u003e“It’s exciting, making it more of a family affair. I like making Iron and Wine records, but I like the collaboration even more. Interacting with a bunch of friends and being blown away by what they can bring, musically and emotionally, to a set of three chords. I get to play all day with these people I love and they respond by giving me their most vulnerable, expressive self. 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If it happens - a big if - it does so naturally, and perhaps nobody knows that better than Band of Horses, whose landmark debut Everything All The Time still, after twenty years, feels as vital and, dare we say, transcendent as when it came out in 2006.\u003c\/p\u003e\n\u003cp\u003eGuitarist\/vocalist Ben Bridwell formed Band of Horses in Seattle in 2004, after the end of his nearly ten-year run in northwest melancholic darlings Carissa’s Wierd. Carissa’s Wierd trafficked in beautiful orchestral pop, whose songs told unflinching stories of heartbreak and loss, leavened with defeatist humor. Band of Horses rose from the ashes of that well-loved band, buoyed by Bridwell’s warm, reverb-heavy vocals, and woodsy, dreamy songs oozing with tension, longing and hope. Armed with a fresh Sub Pop deal and a smashing batch of songs, the band recorded their debut full-length, Everything All the Time, with producer Phil Ek at Seattle’s Avast studios.\u003c\/p\u003e\n\u003cp\u003eAt times raggedly epic (“The Great Salt Lake”) and delicately pensive (“St. Augustine,” “Monsters”), Everything All The Time is an album painted gorgeously in fragile highs and lows. That’s part of the genius in Band of Horses: they craft intelligent, classic movements within their songs, perfectly balancing desperation and hope, calmness and mania, love and fear. And of course there’s the massive single, “The Funeral,” which became a defining song of the era, and continues to inspire new generations of fans and artists alike. On top of tons of film and TV placements, the song was sampled by Kid Cudi, and transformed into a 2025 dance edit by acclaimed producer\/multi-instrumentalist Gryffin. \u003c\/p\u003e\n\u003cp\u003eNow, on the occasion of the 20th birthday of the album, Sub Pop and Band of Horses present the definitive snapshot of the band circa Everything All The Time. For this anniversary release, the album has been fully remastered, with the artwork refreshed and expanded into a gatefold jacket with liner notes by Phil Ek. And the album is accompanied by an additional LP of bonus tracks, including the 2005 tour EP, a trove of previously unreleased studio and live tracks, and rarities like “The End’s Not Near” (as featured on The O.C.) and a demo version of “The Funeral.” \u003cbr\u003e\u003c\/p\u003e","brand":"Band of Horses","offers":[{"title":"Loser (color) 2xLP","offer_id":42466638299232,"sku":"717300","price":33.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":42466638266464,"sku":"717306","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/BandOfHorses_EverythingAllTheTime_20th_Mockup_LP_US_2000x1417_28a2c15a-71c8-4d05-b9fa-bfd6527fc48c.jpg?v=1768004683"},{"product_id":"sunn-o_sunn-o","title":"sunn O)))","description":"\u003cp\u003eFor nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognizable as their own.\u003c\/p\u003e\u003cp\u003eNow, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for new label Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms.\u003c\/p\u003e\u003cp\u003eThe eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location would prove crucial to the recording process.\u003c\/p\u003e\u003cp\u003e“The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.”\u003c\/p\u003e\u003cp\u003e“It was very inviting and very comfortable there,” adds Anderson. “There was no stress, no worry about the timeline or anything like that. We just let ourselves go, and let the music come out.”\u003c\/p\u003e\u003cp\u003eSUNN O))) have long welcomed collaborators into their self-contained world, including such esteemed fellow travellers as Hungarian vocal explorer Attila Csihar, Icelandic composer Hildur Guðnadóttir, Seattle-based multi-instrumentalist Steve Moore, Texan polymath Mark Deutrom, Silkworm co-founder Tim Midyett and legendary singer-songwriter Scott Walker. For the new album, however, O’Malley and Anderson explore the still-fertile, primal territory of the duo format.\u003c\/p\u003e\u003cp\u003e“On this album for the first time all of the instrumentation was performed by Greg and I,” says O’Malley. “All of the records have our leadership and direction, of course, but this time around, it was almost like this crucible of ideas that was really at the core of what we’ve been doing.”\u003c\/p\u003e\u003cp\u003eRecording exclusively as a duo should not be interpreted as SUNN O))) limiting or restricting themselves. To the contrary, it has opened up new possibilities for their music.\u003c\/p\u003e\u003cp\u003e“What’s been happening with our performances over the last couple years with the two of us and no other collaborators or players has been really fresh and exciting,” says Anderson. “There’s been a lot of development. A lot of that was unexpected. And a lot of things that happened in the studio were really exciting and different from what we had been playing live, as well.”\u003c\/p\u003e\u003cp\u003eThe six compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Opener “XXANN” enters with howling feedback before crunching into what might at first seem familiar territory – until one registers the sound of water trickling beneath. “Mindrolling” likewise incorporates field recordings, as does “Glory Black”, which in addition introduces piano, by turns sonorous and delicate, into the mix, lending the already formidable piece a hushed, solemn feel. The Newcastle-forged originators of black metal get a shout out in the title of “Does Anyone Hear Like Venom?” which seems to position Cronos, Mantas and Abaddon as deep listeners, attuned to their Tyneside surroundings in much the same way as SUNN O))) are to the forest enfolding Bear Creek Studios. Throughout the album, the interplay between O’Malley and Anderson attains fresh heights of telepathic intensity as they shape a music that itself breathes the bracing, earthy air of the Pacific Northwest.\u003c\/p\u003e\u003cp\u003e“It’s always developing,” says Anderson. “That’s a constant, and that’s what sustains my interest and passion. There’s a movement that’s happening, whether it’s forward, backwards, to the side, whatever.\u003c\/p\u003e\u003cp\u003eThat’s what makes playing in this group, at least for me, different and unique and special.”\u003c\/p\u003e\u003cp\u003eIn October 2025 SUNN O))) released the first fruit of a new deal with celebrated US label Sub Pop in the form of a maxi 12” featuring “Eternity’s Pillars”, “Raise The Chalice” and “Reverential” – three monumental tracks from the same sessions that produced the new album. The alliance with Sub Pop makes perfect sense, as Anderson explains.\u003c\/p\u003e\u003cp\u003e“We decided that we should approach Sub Pop, after I’d had some great conversations with Jonathan Poneman,” he says. “So I called him up and before I could get the words out of my mouth, he said, ‘We’d love to do it. Tell me what you guys need.’ He was really excited and supportive.”\u003c\/p\u003e\u003cp\u003eSUNN O))) are no strangers to striking cover art – as illustrated by their collaborations with Joanne Ratcliffe for Black One, Richard Serra for Monoliths \u0026amp; Dimensions, Angela LaFont Bolliger for Kannon and Samantha Keely Smith for Life Metal and Pyroclasts. For SUNN O))) they have been granted permission by the estate of the late American artist Mark Rothko to reproduce two of his paintings on the album’s sleeve.\u003c\/p\u003e\u003cp\u003e“Over a few years, I developed a correspondence with Christopher Rothko via the Rothko Foundation’s Henry Mandell,” explains O’Malley. “It’s such an honour to be in the proximity of art on that scale, which has moved me personally so much for decades. Standing in front of a Rothko painting you can experience landscapes, worlds and environments subjectively in the abstraction.”\u003c\/p\u003e\u003cp\u003eLiner notes for the album are provided by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the multifaceted relationship between humanity and nature. Macfarlane negotiates the peaks and valleys of the SUNN O))) sound in a poetic, philosophical manner that will be familiar to readers of Mountains Of The Mind: A History Of A Fascination (2003), The Wild Places (2007), Underland: A Deep Time Journey (2019) or Is A River Alive? (2025).\u003c\/p\u003e\u003cp\u003e“I’ve been very interested in Robert’s writing for a long time,” says O’Malley. “He was very up for engaging with this project. And what he ended up turning in was mind-blowing. It’s part of the creative process, framing our music in a certain way, visually and with language, before presenting it to the world.”\u003c\/p\u003e\u003cp\u003eAll of which adds up to a fully immersive experience, uniting sound, word and visual into something that is undeniably, completely SUNN O))).\u003c\/p\u003e\u003cp\u003eJoseph Stannard, January 2026\u003c\/p\u003e","brand":"sunn O)))","offers":[{"title":"Loser (color) 2xLP","offer_id":42466638332000,"sku":"716850","price":36.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":42466638364768,"sku":"716852","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":42466638397536,"sku":"716856","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/sunnO_sunnO_Mockup_LP_US_2000x1417_wObi.jpg?v=1768240566"},{"product_id":"waterbaby_memory-be-a-blade","title":"Memory Be a Blade","description":"\u003cp\u003e“I think I suffer heavy from limerence,” says Stockholm-born singer-songwriter waterbaby. Upon learning the term, she realized how much it resonated with the type of person she is, especially as an artist.\u003c\/p\u003e\u003cp\u003e“I’m extremely nostalgic. I ruminate, both good and bad. I romanticize. I can be very much stuck in the past, but it doesn’t feel like a sad way because I’m cherishing my history.”\u003c\/p\u003e\u003cp\u003eOn Memory Be a Blade, the Stockholm, Sweden-born singer-songwriter’s second release on Sub Pop, the nostalgia runs deep. Her follow-up to 2023 EP Foam is darker, richer, and more personal than ever. She wanted her lyrics to dig deeper and evolve her writing forward, something she accomplishes stunningly across the eight-track project.\u003c\/p\u003e\u003cp\u003eTo spark inspiration for her new lyrics, waterbaby reflected on a past break-up. She had mostly moved on and was seeing someone new while recording the album. But when the newer relationship ended, she witnessed how much the album took on a new meaning to reflect the heartbreak she hadn’t anticipated experiencing.\u003c\/p\u003e\u003cp\u003e“Many of the songs came to mean very different things than what I had thought when writing them in the first place,” waterbaby admits.\u003c\/p\u003e\u003cp\u003eBoth relationships made the singer reflect on her people-pleasing tendencies. She realized how badly she wanted to make the people she loves proud, sometimes to her detriment. “My favorite version [of myself] is me through someone else’s eye,” she explains. She began to wonder what it looked like when you no longer have the lens of that person on you: “What do you do? Is it a good idea to try and live up to that?”\u003c\/p\u003e\u003cp\u003e“The older I get, it becomes more and more painful when you’re not being true to yourself,” she surmises.\u003c\/p\u003e\u003cp\u003eIn the two years following Foam, waterbaby and her primary collaborator, Marcus White (YG, Anna of the North) took their time to get the album right. They wrote and recorded around Stockholm, the south of Sweden, and even Los Angeles. As it took shape, however, waterbaby began to notice how much she would stiffen up behind the microphone. She admits she gets quite shy in the studio, opting for the familiarity of people like White to stay by her side. But in order to take her words and sound deeper, White encouraged her to improvise what she sang instead of writing it out ahead of time. \u003c\/p\u003e\u003cp\u003e“A larger part of the lyrics come from long freestyles that I did straight into the microphone,” she explains. \u003c\/p\u003e\u003cp\u003eHer improvisations were paired with compositions that reflected waterbaby’s classical background. White played piano alongside his lush and ethereal arrangements of string and horn parts. Musicians like violinist Oliva Lundberg, cellists Filip Lundberg and Kristina Winiarski, saxophonist Sebastian Mattebo, trombonist Hannes Falk Junestav, and flutist Pelle Westlin round out the dreamy ensemble. \u003c\/p\u003e\u003cp\u003ewaterbaby offered up the first taste of her Memory Be a Blade with May single “Amiss.” The song felt like the perfect way to invite listeners into the dark, lush world of her new music without giving away too much of what’s to come. Like other songs on the project, “Amiss” has waterbaby trying to answer some big questions about love and relationships: When do you know you’ve done enough? How do you know when it’s time to give up?\u003c\/p\u003e\u003cp\u003eNext single, “Beck n Call,” features a special collaborator: waterbaby’s own brother ttoh . \u003c\/p\u003e\u003cp\u003e“He really lifted the song,” she says of his verse. The pair debuted the track during a live performance at the Way Out West festival in Gothenburg, Sweden. “Mom’s super emotional and nostalgic. It’s been fun and [there were] so many nice moments during rehearsals.”\u003c\/p\u003e\u003cp\u003ettoh also appears on “Clay,” which began as a freestyle she had done over White’s super-pitched-up guitar. 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Slinging indie rock and hardcore records in his hometown record store while attending university, Edkins became an ardent student of rock ‘n’ roll; from the psychedelic 1960s to the DIY 1990s and beyond. \u003cem\u003eHoopla\u003c\/em\u003e, the catchy, melodic second LP from Edkins’s solo project Weird Nightmare, mixes and matches these influences in fun and exhilarating combinations, displaying his sophisticated musical mind. Bursting to life with hooks and earworms, \u003cem\u003eHoopla \u003c\/em\u003eis that one tape that never gets ejected from the car stereo, but plays on repeat, soundtracking the summer. 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If Weird Nightmare’s debut was an underground crowd pleaser akin to Richard Linklater’s \u003cem\u003eSlacker\u003c\/em\u003e, then \u003cem\u003eHoopla \u003c\/em\u003eis Edkins’s \u003cem\u003eDazed and Confused\u003c\/em\u003e, or even better, \u003cem\u003eBefore Sunrise\u003c\/em\u003e. \u003cem\u003eHoopla \u003c\/em\u003erepresents a huge leap forward in his sonic palette and emotional vulnerability.\u003c\/p\u003e\n\u003cp\u003eResplendent with sunny, guitar pop, \u003cem\u003eHoopla \u003c\/em\u003ewas produced with just the right amount of fuzz and crunch. The immediate, crisp, unfussy recording brings you right into the studio with Edkins and his rhythm section: Loel Campbell on drums and bassist Roddy Kuester. This is top-shelf power pop; these sharp jolts of adrenaline could slip into a radio rock block between The Replacements and Elvis Costello \u0026amp; the Attractions. 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On their new self-titled album as youbet (due May 1st 2026, via Hardly Art), longtime music educators Nick Llobet (he\/they) and Micah Prussack (she\/her) proudly act as both explorer and guide, sharing three-dimensional musical sculptures so confidently and esoterically their own that they couldn’t have been released under any other name but youbet. Created in motion and shaped between long stretches of touring, the album reflects a moment of ecstatic possibility and grit. Both sharpened and expansive, youbet grows from the confines of home recording and “bedroom pop” into something sturdier, louder, and unmistakably their own.\u003c\/p\u003e\n\u003cp\u003e“I myself am a constant student of life, of creating,” Llobet says. “I see people's creative anxieties because I have lived them. It’s very therapeutic because I can tell that I'm giving people strong advice based on all my failures.” Llobet relocated to New York from Denver in 2013 and forged initial connections in the local scene, while creating youbet and writing two albums, but it wasn’t until meeting Prussack in 2022 that they discovered a different level of musical connection. When the duo started playing together, they quickly realized their uniquely shared musical language and eagerness to learn from everything, connecting over a vast array of musical influence and their own practice of teaching. “Early in our friendship, Nick and I were playing guitar in the park and we decided that the Beatles were so good because they learned how to play hundreds of songs together,” Prussack says. “So we began our quest to learn 1,000 songs. Nick started compiling a massive playlist called ‘Learn Me’ filled with music that we habitually study and generate new ideas from.” \u003c\/p\u003e\u003cp\u003eThe duo began experimenting musically, and their subsequent year of touring led to a new, more refined sound. “We had a huge opportunity for reinvention,” Prussack says. “Nick will never play the chord that you expect, and is always pushing me outside of my creative box. Their compositions are so exciting to explore, and on tour we began to reconsider and transform the kernel of each song to match our new environment.”\u003c\/p\u003e\u003cp\u003eThat depth of surprise and expansive warmth radiates from album opener “Ground Kiss”, a late-night existential query written when Llobet found themselves adjusting to living alone after the end of an 11-year relationship. “The song represents an endless search for that something and the rebuilding that goes along with trial and failure,” they say. The song unites the spectrum between clouds of plucked Big Thief-esque glow and bursts of distorted frustration. To that end, youbet demonstrates Llobet and Prussack’s ability to weave beguiling musical and lyrical expression, pushing and pulling at the resulting mesh.\u003c\/p\u003e\u003cp\u003eDeveloping their finely tuned fusion between complex musicality and deeply felt emotion required more than hoping inspiration would strike. Instead, the process of creating youbet involved countless hours of precise engineering, meticulous craft, and gritty dedication. The duo were consistently listening, learning, and writing. But that hard work boils down into every facet of their work, including bringing a set of dumbbells on tour so they could keep active and stay disciplined. For their part, Llobet sees the resulting album as a statement of that hard work and the opening of a new chapter. “It’s the beginning of a new era for youbet,” they say. “The band started as a sort of bedroom project for myself, but it has transformed into something expansive since working with Micah. It’s like we’re running a family business.”\u003c\/p\u003e\u003cp\u003eThe broiling “Undefined” draws from that personal soul-searching, a musical mosaic of life before and after a complicated breakup. Llobet first worked out the verses while waiting for a guitar student, a fitting backdrop for the song's balance of wizardly art pop experimentalism and diligent power pop hookiness. Co-producers Katie Von Schleicher and Julian Fader help round out the mix, the former adding synth glisten and the latter a drum backbone hammered into place by Prussack’s bass.\u003c\/p\u003e\u003cp\u003eThe concussive “See Thru” rushes headlong through heavy alt rock chop, moments of gentler curve, and even bubbly electronics—a track Llobet notes began when they were toying with a Debussy piano part on guitar and then stamped in the harmonics and energy of Japanese hard rock band Boris. Elsewhere, “Receive” finds Llobet carving away at generational conflict, tethering propulsive bursts of guitar reverie with raw emotional vigor in the vein of Pile. “On the verse, the bass is playing variations on the vocal melody,” Prussack says. “Throughout the album, there’s unique interplay and variation that you can only get from a lot of hard work together.”\u003c\/p\u003e\u003cp\u003eEchoing their strengths as educators, the ability to voraciously learn from a breadth of influences informs youbet—from the dizzying score to Alfred Hitchcock’s Vertigo to dazzling flamenco—but their ability to recognize meaning beyond signposts and find connections to emotional experience pushes everything into a topographical realism. “Having respect for the canon doesn’t mean we’re ever limited by revivalism. There’s a whole universe of musical vocabulary that we can borrow from and translate into our language,” Prussack says.\u003c\/p\u003e\u003cp\u003eThat willingness to learn from the past while building the future is something tied deeply to the band’s New York City roots, with so many visionary artists having previously built new worlds within the city’s confines. “For years, I was too intimidated to step into the scene. It’s been such a breath of fresh air to build this new craft, this new philosophy of songwriting in a scene I respect and feel in community with,” says Llobet.\u003c\/p\u003e\u003cp\u003eCompelling art requires an unimaginable burst of new life, a shift from two-dimensional ideas to viscous, sinewy reality. As much as the hard work bolsters the music, it’s truly the resounding spirit of Llobet and Prussack’s relationship at the core of youbet. “Micah has brought a lot of order to my chaotic neurodivergence,” Llobet reflects. “I consider her my musical confidant. She can be cleverly critical and extremely encouraging. She's probably the most opinionated person I know. Together we build this musical balance.” What emerges is an album that doesn’t just break free of its former constraints, but reconfigures them into something sturdier: a collaborative language capable of holding contradiction, growth, and connection all at once.\u003c\/p\u003e","brand":"youbet","offers":[{"title":"LP","offer_id":42567303069792,"sku":"731841","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":42567303102560,"sku":"731842","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":42567303135328,"sku":"731846","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/youbet_youbet_Mockup_LP_US_2000x1417_e85537c1-25fd-4923-80bf-a892a7ed607a.jpg?v=1770832408"},{"product_id":"the-bug-club_every-single-muscle","title":"Every Single Muscle","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Bug Club are back with a new album. It’s been a whole eleven months since their last. Where have they been?\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003eEvery Single Muscle\u003c\/em\u003e\u003cspan\u003e, the band’s fifth LP, arrives \u003c\/span\u003e\u003cspan\u003eMay 29th, 2026\u003c\/span\u003e\u003cspan\u003e via Sub Pop, making it a hat-trick for the Welsh duo and their esteemed Seattle-based patrons. Since \u003c\/span\u003e\u003cem\u003eVery Human Features\u003c\/em\u003e\u003cspan\u003e, which emerged in June of 2025, the non-stop tour has seen the BBC 6 Music and KEXP favorites ping-pong across the Atlantic like they used to the Severn Bridge. Various festival slots in the summer kept them from having any sort of holiday - who needs one when you live in Wales anyway? - until it was time to head back to the writing room. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSo that answers that first question. Not that you’d have otherwise known. Ever self-effacing, songwriters Sam (guitar, vocals) and Tilly (bass, vocals) go as far as to claim that they’ve been sitting around “doing nothing at all” during track “It’s Our Manager David.” That’s clearly a lie. \u003c\/span\u003e\u003cem\u003eEvery Single Muscle\u003c\/em\u003e\u003cspan\u003e gets off to a full-throttle, chugging start with “Miss Wales 2012,” referencing a competition both Tilly and Sam have actually won. Dead serious. It’s the first of many sub-two-minute tracks on the album, setting the tone for The Bug Club’s punkiest offering yet and recalling both the short, sharp snaps of their very first singles and the grunt of recent releases. 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Bring what you like; space is tight but they’ll get it in there somehow. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn to the words, because with these guys those are important. While \u003c\/span\u003e\u003cem\u003eVery Human Features\u003c\/em\u003e\u003cspan\u003e did an excellent job of pointing at everyday things and highlighting their absurdity, on \u003c\/span\u003e\u003cem\u003eEvery Single Muscle\u003c\/em\u003e\u003cspan\u003e The Bug Club look more closely at themselves. Not so much in an introspective way, though. More in a way an alien might probe a captive specimen on an intergalactic gurney. Horror movies get their “body” subgenre, now garage rock albums get theirs too. Self-interested in an entirely new sense of the term, the human form and condition is prodded and inspected from every angle throughout the course of the album. “Look Like Me” sees them singing about their own appearance, while on “How Can We Be Friends” they are preoccupied with others’. “Every Single Muscle” itemizes organs as if they belong on a shopping list, and both “Make It Count” and “Pretty as a Magazine” bemoan the fact people don’t know what to do with their own bodies. Altogether, we get a sense of surreal detachment from the self that sets up the ever-present ennui-laden humor; the last song sees Sam announce he’s “bored of being human.” The Bug Club seem almost suspicious of the concept of being a person - as if they’ve woken up in a costume they didn’t want to put on and cannot take off.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eInitially comprising the songwriting core of Sam Willmett (vocals\/guitar) and Tilly Harris (vocals\/bass) with Dan Matthew (drums), The Bug Club started plying their trade in 2016. They were signed by UK label Bingo Records in Autumn 2020 and first single “We Don’t Need Room for Lovin” was released in February 2021, followed by EP \u003c\/span\u003e\u003cem\u003eLaunching Moondream One\u003c\/em\u003e\u003cspan\u003e. It quickly established The Bug Club as the tongue-in-cheek and live-focused antidote to the previous year’s penned-in pandemic drudgery. BBC 6 Music’s Marc Riley was an early champion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cem\u003ePure Particles\u003c\/em\u003e \u003c\/span\u003e\u003cspan\u003efollowed, whose vinyl release included a board game brimming with cult references. Fed up with the conventional approach they then released “Intelectuals”: a standalone track that was actually a five-track “song suite” like some kind of streaming-model-snubbing, Telecaster-bashing answer to Bach. Highbrow musos took a lyrical beating for the ages. Second standalone release “Two Beauties” marked release number two for 2022 and built up to the appearance of debut album \u003c\/span\u003e\u003cem\u003eGreen Dream in F#\u003c\/em\u003e\u003cspan\u003e by October. The following January they decided to pull their fingers out, get some disguises and support themselves on tour as Mr. Anyways Holey Spirits. A live album documented this, then they got abstract with titles and put out the picture disc \u003c\/span\u003e\u003cem\u003ePicture This!\u003c\/em\u003e\u003cspan\u003e By the autumn of 2023 it was time for forty-seven track, poetry-infused double album \u003c\/span\u003e\u003cem\u003eRare Birds: Hour of Song\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eDuring a trip to America they caught the eye of Sub Pop, just in time to get them on board to serve up a beefy slab of garage-punk on \u003cem\u003eOn the Inner Workings of the System\u003c\/em\u003e, gaining an appropriately beefed-up stateside following in the process. The partnership proved fruitful, and with Sup Pop firmly in The Bug Club club they got cracking on \u003cem\u003eVery Human Features\u003c\/em\u003e. Is three the magic number? Probably not. But \u003cem\u003eEvery Single Muscle\u003c\/em\u003e - number three for The Bug Club and Sub Pop - certainly comes close enough to convince your average strange human person that it might be.\u003cbr\u003e\u003c\/p\u003e","brand":"The Bug Club","offers":[{"title":"Loser (color) LP","offer_id":42585399885920,"sku":"717270","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":42585399918688,"sku":"717272","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":42585399951456,"sku":"717276","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/TheBugClub_EverySingleMuscle_Mockup_LP_US_2000x1417_52c7fef1-2383-4aad-91ee-6331cf13a5e0.jpg?v=1771391147"},{"product_id":"tofusmell_all-my-time","title":"All My Time","description":"\u003cp\u003e“You cannot plan anything. You can't expect anything good or bad. Everything is just going to continue to be however it will be.”\u003c\/p\u003e\n\u003cp\u003eThis is the way musician Rae Chen encapsulates his debut album as tofusmell, All My Time. \u003c\/p\u003e\u003cp\u003eAt times reserved and gracefully restrained, and other times overflowing and agitated, All My Time showcases Rae’s signature precision in vulnerable, clear-eyed songwriting, with a larger, lusher, and more fleshed-out scale of production than we’ve seen from him before. Here, Chen poetically distills the uncomfortable complications of learning to release expectation from outcome, and in turn live contentedly in life’s constant, confusing uncertainty. It’s not necessarily an apathetic resignation strung through the songs of All My Time, but rather a hopeful insistence that impermanence, and the toiling mystery it brings, is its own kind of steady salve. \u003c\/p\u003e\u003cp\u003eFollowing the release of his 2023 EP Humor, Chen spent a few months intermittently touring with Leith Ross before making the daring decision to move away from his home state of Florida to Winnipeg, Canada. Once there, he finished writing the songs that would come to make up All My Time, and began recording. While Chen has primarily worked solo in the past – writing, producing, and recording his music himself – he brought in a collection of new collaborators to help build the songs of All My Time. Six of the songs were co-produced and recorded with Keiran Placatka in Winnipeg, and then developed throughout the months following Chen’s move. New friends, Chen found the production process with Placatka to be surprisingly intuitive and creatively inspiring. For the two of them, it wasn’t just the instrumental arrangements that felt important to the songmaking, but also the emotional atmosphere those arrangements conjured. This inclination is evident on album standout “Pilot Fish” – Chen’s hushed vocals and shuffling guitar interplay seamlessly with swirling electronic chimes and warm, ambling base, swelling and receding like a gentle tide.\u003c\/p\u003e\u003cp\u003eInterspersed with Placatka’s contributions are four songs produced and recorded with Paul Larson in Los Angeles, each one with an energetic and dynamic live-band sound inspired by folk-rock of the early aughts. Tracks like “Voice Cracks” and “Force the Sun West!” incorporate reeling, fuzzed electric guitar and punchy drums bolstered by darker-toned production. Having only ever recorded in the confines of his bedroom, Chen took advantage of this new opportunity of working in studio spaces to showcase the breadth of his range and musical interests. While it required him to relinquish some amount of creative control – an unfamiliar practice – it was well worth the leap. \u003c\/p\u003e\u003cp\u003eThe collection is rounded out with “Luck”, produced by Chen himself, and “Overspender”, produced with Jack Hallenbeck in Los Angeles and reminiscent of the whisper-close folk stylings of Sufjan Stevens and Nick Drake that Chen has become well known for. Despite the myriad hands involved in the overall production, All My Time remains cohesive, held together with Chen’s earnest and enveloping story-telling. \u003c\/p\u003e\u003cp\u003eRecurring through All My Time is a zen-like admittance of the inconsequentiality of one's small place in the world, paired with an involuntary desire to still seize control of times uncontrollable will, yearning for a path that must surely be better than the present one. On “(Me Tomorrow)” we hear Chen tell himself “The sky is bending around you\/you’re nothing”, a declaration he returns to on “Walk Me Back To Nothing” with the aching verse “I am the leaves damp\/I am the rain falling\/I am nothing\/I am just misunderstanding.” The songs across All My Time find Chen in constant search of safety, contentment, and reassurance that he never quite grasps. When Chen sighs out “I hate not ever knowing” on “Rock Collector”, there’s a weariness that weighs the words down. He’s both too young, and too old. Time moves both too slow, and too fast. But rather than incongruous, these dueling laments reveal a sharp truth about what it means to be young and alive. There is no use in waiting to arrive at a moment of pure and perfect growth: the arrival is in the journey itself. The going and going and going becomes a different kind of revelatory answer. 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Telehealth’s PNW post-punk creates similar architectural spaces, where the gleaming, futuristic, tech-industrial rhythms and synths of Bezos-era Seattle commingle with the raw, independent, underground sound the city lovingly preserves for cultural texture and marketing purposes. The outcome? Think XTC, REM, and YMO with a stronger focus on ROI. Imagine The B-52s, but B2B. Envision a bigger-brained Brainiac, a trans-human Gary Numan, or a terminally online Pylon. Finally, a band with assets diverse enough to play in your basement or the Amazon Spheres.\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"docs-internal-guid-3438bec3-7fff-2a6e-c7ac-796b7f735ad2\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eGreen World Image is a sweaty journey through the anxiety- and profit-inducing system Telehealth inhabits and critiques at the same time, sold back to listeners as an absurd art rock slice of strife. “Donor Country (A gOoD cAuSe)” is a shimmering, arpeggiated ode to the generous sponsors who keep Telehealth on life support, while “Cool Job” soundtracks the band members’ efforts to secure decent benefits with ass-slapping percussion and nervy bass lines. “Things I’ve Killed” transforms a millennial hit list into a propulsive synth punk wormhole, and “Yassify Me” dresses up the carnage with a ring light and a wellness routine, simultaneously weaponizing therapy-speak and new wave. 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It is a gentle, undeniable charmer full of the naturally timeless sophistication and fierce, penetrating hooks that define a classic album. \u003c\/p\u003e\u003cp\u003eSoon after their formation, Rogue Wave found themselves invited to play shows with bands like Spoon, Destroyer, Mates of State, Super Furry Animals, The Clientele and The Shins. “Rogue Wave seems like a classic Bay Area band, in the tradition of Thinking Fellers and Barbara Manning—they’ve just got that vibe,” gushed Carl Newman, The New Pornographers’ vocalist and songwriter. And he’s right—the quartet effused vitality, all the while infusing their damaged melodies with casual charm. \u003c\/p\u003e","brand":"Rogue Wave","offers":[{"title":"Digital","offer_id":42664846360672,"sku":"717316","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/roguewave-outoftheshadow-cover-1500x1500.jpg?v=1774563223"},{"product_id":"nation-of-language_tougher-than-the-rest","title":"Tougher Than the Rest","description":"\u003cp\u003eNation of Language is sharing a striking new cover of Bruce Springsteen’s Tunnel of Love album track “Tougher Than the Rest.” The song will also be available on a limited-edition 7” single (of 1000 copies). Nation of Language’s Ian Richard Devaney offers this on the track: \"Like any good New Jersey resident I grew up listening to Springsteen, but this song somehow slipped by me during that formative era. I was really only exposed to it within the last few years, and it's followed me around since then. \u003c\/p\u003e\u003cp\u003eI can remember finishing a particularly emotional show somewhere deep in last year's tour, and our sound engineer Skinny started playing it as our exit music. It caught me so hard that I stayed there, just offstage, and listened to the rest of the song blasting, mixed with the sounds of all of the people milling about the venue. \u003c\/p\u003e\u003cp\u003eWhen we ultimately endeavored that we might try doing our own version of the song we luckily\u003cb\u003e \u003c\/b\u003ehad a Yamaha CS-80 at our disposal, the same synth model which featured pretty heavily across the \u003ci\u003eTunnel of Love \u003c\/i\u003esessions back in ’87. Knowing we were working with some of the same textures as the original made it a little less daunting to cover Bruce.”\u003c\/p\u003e","brand":"Nation of Language","offers":[{"title":"7 inch","offer_id":42710948184160,"sku":"717487","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":42710948151392,"sku":"717486","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/NationOfLanguage_TTTR_7Inch_2000x1417_0b5bf6c8-12ad-4702-92fa-f90efbcc9a3f.jpg?v=1776116731"},{"product_id":"father-john-misty_the-payoff","title":"The Payoff","description":"\u003cp\u003e\"The Payoff\" was written and composed by Josh Tillman, arranged by Drew Erickson, and co-produced by Erickson and Tillman. \"The Payoff\" was also mixed and engineered by Michael Harris at Fivestar Studios in Topanga, CA, and mastered by Adam Ayan Mastering.\u003c\/p\u003e\n\u003cp\u003e“The Payoff” is the second Father John Misty single of 2026 and arrives five months after “The Old Law,” released in January. The latter track was previously known to Father John Misty fans as “God’s Trash” and debuted as part of the live set in the fall of 2024. Both singles follow the release of Mahashmashana, Father John Misty’s acclaimed sixth long player in twelve years, released in November 2024.\u003c\/p\u003e","brand":"Father John Misty","offers":[{"title":"Digital","offer_id":42740363788384,"sku":"717496","price":1.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/father-john-misty-the-payoff-cover.jpg?v=1778090722"}],"url":"https:\/\/megamart.subpop.com\/collections\/new-releases\/rogue-wave.oembed","provider":"Sub Pop Mega Mart","version":"1.0","type":"link"}