{"title":"Pre Orders","description":"","products":[{"product_id":"sleater-kinney_call-the-doctor","title":"Call The Doctor","description":"\u003cp\u003eSleater-Kinney was an acclaimed, American rock band that formed in Olympia, Washington in 1994. The band's core lineup consisted of Corin Tucker (vocals and guitar), Carrie Brownstein (guitar and vocals), and Janet Weiss (drums). Sleater-Kinney were known for their feminist, left-leaning politics, and were an integral part of the riot grrrl and indie rock scenes in the Pacific Northwest. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eCall the Doctor\u003c\/i\u003e is Sleater-Kinney’s second studio album. It was produced by John Goodmanson and released on March 25, 1996 by Chainsaw Records. The album is often considered to be Sleater-Kinney's first proper album because Tucker and co-vocalist and guitarist Carrie Brownstein left their previous bands, Heavens to Betsy and Excuse 17, at the time of its recording. The line-up featured Corin Tucker (vocals, guitar), Carrie Brownstein (guitar, vocals) and Lora Macfarlane (drums, vocals). \u003cspan\u003e\u003ci\u003eCall the Doctor\u003c\/i\u003e appeared at #3 in The Village Voice's “Pazz \u003c\/span\u003e\u0026amp; Jop” critics' poll for 1996. In 2010, the album was ranked #49 in the list of the 100 greatest albums of the nineties by the editors of Rolling Stone. \u003c\/p\u003e\u003cp\u003e“Trades sex-worker role-playing, doll parts, gender-bending, and other common female-rock tropes for stories of everyday struggle [...] Sleater-Kinney proves that punk still offers new ways to say no\" - Johnny Ray Huston, SPIN\u003c\/p\u003e\u003cp\u003eThe album has been freshly remastered by Greg Calbi for this release. This reissue coincides with Sub Pop’s October 21st, 2014 release of remastered versions of Sleater-Kinney’s six other albums, as well as a limited-edition, deluxe vinyl box set featuring all seven albums. \u003c\/p\u003e\u003cp\u003eThe digital versions of these reissues come out via Sub Pop on September 2nd, 2014.\u003c\/p\u003e","brand":"Sleater-Kinney","offers":[{"title":"Color LP","offer_id":42661919326304,"sku":"711043","price":23.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":31826147311712,"sku":"711041","price":23.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826147344480,"sku":"711042","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556509790304,"sku":"711046","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/SleaterKinney_CallTheDoctor_Mockup_LP_US_2000x1417_e71f0c83-18ba-485c-a388-32dc569c06a9.jpg?v=1774411117"},{"product_id":"goat_commune","title":"Commune","description":"\u003cp\u003e\u003ci\u003e\u003cspan\u003eTen years ago the mysterious Swedish collective GOAT unleashed the modern psych opus Commune, a heavy dose of acidic grooves, hypnotic incantations, serpentine guitar lines, and blistering proto-metal fuzz. “GOAT is mainly a symbol of sacrifice. To sacrifice the individual for the collective good. To become one with the rest of humanity and universe,” said an unnamed GOAT conspirator. Commune perfectly encapsulates that philosophy, and it remains a tripped-out joy to experience.  \u003c\/span\u003e\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eCommune\u003c\/i\u003e is the 2nd full-length and debut Sub Pop album by Swedish band Goat.\u003c\/p\u003e","brand":"Goat","offers":[{"title":"Color LP","offer_id":42998867689568,"sku":"710955","price":28.0,"currency_code":"USD","in_stock":true},{"title":"Loser LP","offer_id":40957084696672,"sku":"710953","price":23.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":31826251415648,"sku":"710951","price":23.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826251448416,"sku":"710952","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556518309984,"sku":"710956","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/Goat_Commune_LP_JadeBlue_2000x1417_405de0f8-076f-4e91-a4ff-833f65134d8d.jpg?v=1785125085"},{"product_id":"michael-yonkers_microminiature-love","title":"Microminiature Love","description":"\u003cp\u003eOriginally recorded in 1968 and slated for release on Sire Records, \u003ccite\u003eMicrominiature Love\u003c\/cite\u003e languished unreleased until unearthed and issued by \u003ca href=\"http:\/\/www.destijlrecs.com\/\"\u003eDe Stijl Records\u003c\/a\u003e as a limited, vinyl-only pressing in 2002. Our friends at \u003ca href=\"http:\/\/www.aquariusrecords.org\"\u003eAquarius Records\u003c\/a\u003e had the following to say about the original vinyl release:\u003c\/p\u003e\n\u003cp\u003e“An obscure late-sixties ahead-of-his-time visionary gets his due with this LP reissue. Yonkers’ stuff was like nothing anyone had heard back then (or even now really): fucked-up garage psych with dementedly genius lyrics and crazy acid-fried guitar. Yonkers, a legendary Minneapolis-area figure, built his own effects pedals, cut his Fender Telecaster down to a plank, and played like no one else ever. I’m at a loss of words on how to describe this. It’s sort of like a fusion of stripped down Black Sabbath, The Troggs, Pere Ubu, and The Cramps??”\u003c\/p\u003e\n\u003cp\u003eThe July 22, 2003 CD reissue includes six bonus tracks not found on that first pressing of the LP.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Michael Yonkers","offers":[{"title":"Color LP","offer_id":42892324995168,"sku":"705083","price":23.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":31826337136736,"sku":"705081","price":14.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826337169504,"sku":"705082","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556510937184,"sku":"705086","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/MichaelYonkersBand_MicrominiatureLove_Mockup_LP_US_2000x1417_60913da3-f3a3-41d5-8274-1a48b70d8f80.jpg?v=1782108155"},{"product_id":"sweeping-promises_romanticize-citrus-t-shirt","title":"Romanticize Citrus T-Shirt","description":"\u003cp\u003eA t-shirt to coincide with Sweeping Promises' album \u003ca href=\"https:\/\/megamart.subpop.com\/products\/sweeping-promises_you-say-i-romanticize\"\u003e\u003cem\u003eYou Say I Romanticize\u003c\/em\u003e\u003c\/a\u003e. 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In 2023, they followed up with the acclaimed Good Living Is Coming for You, which made Album of the Year lists for Pitchfork, NPR, Paste, and BBC, just to name a few. The album found guitarist\/producer Caufield Schnug and bassist\/vocalist Lira Mondal testing the limits of their home-recording resourcefulness as freshly minted Kansans – new place, new space. Now, the band is back with a frenetic new offering: You Say I Romanticize.\u003c\/p\u003e\n\u003cp\u003eRecorded over an 18-month period, largely prepared and periodically interrupted by Schnug’s non-SP production work, You Say I Romanticize is a tribute to the chaos of creation and collaboration under shifting circumstances. For years now, Schnug and Mondal have embedded themselves in their combination tour house and recording studio in Kansas, annually working on dozens of albums from other bands, hosting tour stops, planning shows, and the like. After an immersive process of tracking and whittling down YSIR demos and carving out an idiosyncratic chamber recording method for the album’s intentional wall-of-sound, the duo brought in touring drummer Spenser Gralla to play the songs like the band would on stage.\u003c\/p\u003e\n\u003cp\u003eThe album’s frenzied execution, akin to the group’s renowned live show, prevails most of all in Mondal’s vocals. Whereas previously, you might have heard a growl here and there on certain Sweeping Promises tracks, the band’s formidable singer shouts, roars, hits all sorts of tricky notes, and shreds her throat all over the record, notably on the pummeling opener “Shooting Shadows” and the smoldering “Cocoon.”  \u003c\/p\u003e\n\u003cp\u003eA shadow side exists along with Sweeping Promises’ love of their artistic community—borne of weirdos channeling their misfit status into vibrant art and punk rock music, often passing through the revolving door that is their home studio. You Say I Romanticize takes the art-by-any-means-necessary ethos Mondal and Schnug have developed over the years and turns the prompt upside-down, landing on a personality epidemic manifesting across all ten tracks. \u003c\/p\u003e\n\u003cp\u003eA big theme of You Say I Romanticize is hinted at in its title. Taken from a lyric sung on driving album closer “Write Lightly”—a narrative about the importance of self-expression in writing being scrubbed away by “professional” concerns—many of the characters Mondal fleshed out here are outcasts, marginalized by society and morphed into longing fanatics. The personalities depicted on You Say I Romanticize are often writerly types; as writing is, by and large, an art of obsession. To wit, “Last Man,” by equal turns musically nervous and cathartic, loosely takes after Mary Shelley’s literary work of the same name, The Last Man—a dystopian 19th Century novel written in wake of a cholera outbreak. 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Backed by the gentle lilt of a pedal steel and keyboard on “Pulling Up Roots,” she declares, “I’m alright\/ After all this time.” \u003c\/p\u003e\u003cp\u003eIt’s a lyric that feels like a deep exhale, one that reflects the transformative journey to Cahoone’s boldest and brightest album. The daughter of a dynamite salesman raised in the Colorado foothills, Cahoone picked up drumming at just 11 years old. Within a year, she was sitting in on sessions at local dive bars. Her earliest musical memories are of listening to soft rock and country, sounds that “took over my soul” in early adulthood, she says. After relocating to the Pacific Northwest in 1998, Cahoone became a fixture in the Seattle music scene, drumming with cult Seattle slowcore legends Carissa’s Wierd. After their split in 2003, she joined fellow Carrisa’s Wierd alum in Band of Horses, including playing on their certified Gold 2006 album Everything All the Time. \u003c\/p\u003e\u003cp\u003eThat same year, Cahoone released her first solo record, a self-titled debut that established her as a singular songwriter and gifted guitarist. Cahoone soon signed to Sub Pop, where she released her 2008 record Only as the Day Is Long and 2012’s Deer Creek Canyon, which drew comparisons to Gillian Welch and Jenny Lewis. After self-releasing the rollicking and raucous From Where I Started in 2017, Cahoone returns to Sup Pop for I’ve Missed You All These Years. “I signed when I was pretty young, and I felt like a bit of an imposter,” Cahoone says. “Coming back to Sub Pop, I feel like I just fit in, and they understand me. I feel a lot stronger in myself.” \u003c\/p\u003e\u003cp\u003eCahoone began writing the songs on I’ve Missed You All These Years almost as soon as she finished her last album. Retreating to a cabin in the forest in 2018, she began crafting melodies without lyrics, just using her guitar. “Being in a remote location got me to slow down and be in the trees,” Cahoone says. There, she put together the first pieces of what would later become the soft sway of “Not How I Hoped,” the barroom swing of “Pulling Up Roots,” and the galloping rhythm of “Horse Runnin.’” \u003c\/p\u003e\u003cp\u003eThe eight years that shaped this album were full of profound changes for Cahoone: She lost her best friend, her father, and her dog all within a short time period. “My father had Parkinson’s, and he died during the pandemic, so I didn’t get to be with him,” she recalls. The experience inspired the lyrics on the gossamer, finger-picked gem “Supposed To Be”: “And I’m still living here\/ And I’m so much older\/ You’re always on my mind\/ And I miss my father.” It’s a powerful reflection of the way grief and love can coexist, the way memories keep us tethered to the ones we love. “Writing songs helps me get through difficult periods,” Cahoone says. “These people live in you. They come out in your lyrics, and they're with you all the time.” \u003c\/p\u003e\u003cp\u003eIn the time since her last record, Cahoone dedicated her time to developing her skills as a producer and drummer, including producing three records for friends Dean Johnson and Margo Cilker. “I learned a lot from producing about letting go and being open to new possibilities,” Cahoone explains. “I realized that I have to trust my intuition. Finding that strength in myself and trying to get the best out of other musicians has just made me a better musician and communicator. It’s helped me get out of my own sadness through getting into somebody else's sadness.”\u003c\/p\u003e\u003cp\u003eSera’s album continued to take shape at a cabin in Leavenworth, Washington, where Cahoone spent time writing and recording demos, then later at Bear Creek Studio in Woodinville, returning to the same space she created Deer Creek Canyon to track her new crop of songs. \u003c\/p\u003e\u003cp\u003e“The way it was recorded was just beautiful,” Cahoone adds. It was a collaborative effort from generations of friends and fellow musicians. “I've been playing with my band for a long time, and I wanted to bring them in. For this record, I brought in pretty much everyone that I've played with off and on for years,” she says. This meant including Alex Guy on strings, Jeff Fielder on guitar and banjo, Daniel Walker on keys, Jason Kardong on steel, Keith Lowe on upright bass, Jonas Haskins on bass, and Aaron O’Neil on the drums. John Askew, who engineered records Cahoone had recently produced, oversaw production. “I just wanted to do it right, I wanted it to just sound gorgeous, and I wanted to do it collectively with the people I love.” \u003c\/p\u003e\u003cp\u003eFittingly, I’ve Missed You All These Years, the sixth album from Sera Cahoone, captures the sound of ecstatic collaboration, the closest thing to being a fly on the wall in a room full of exceptionally talented friends. You can hear it in the hum of an accordion on “Tangled Nights,” the sigh of a pedal steel on “Not How I Had Hoped,” the breezy falsetto on “Say Something.” It’s a record about finding comfort in community; about rediscovering yourself by connecting with the people you love. \u003c\/p\u003e\u003cp\u003eThere are bittersweet moments on I’ve Missed You All These Years, as on the reflective and winsome “Not How I Had Hoped,” which culminates with the heartbreaking refrain, “Oh god I love you still\/ But this isn’t how I hoped.” Here, Cahoone’s vocals are more striking than ever, a honeyed croon conveying so many emotions in one note. “I just kept singing it, and it just felt so good,” Cahoone says of that line. “I had to sit with that for a little while because I realized nothing else would work there. 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Following 2024’s Exotic Birds of Prey, It’s a Style Sport stays true to Shabazz Palaces' form in its daring show of experimental, avant-hip-hop and free-form poetry, but also reveals a more reflective and upfront side of the Seattle-based musician than we’ve seen before. It’s a Style Sport finds Butler compiling what he’s learned from his storied, dense career into a playful, shimmering portal, again proving himself an artist of chameleonic ambition, fueled by curiosity, courage, and a limitless imagination. \u003c\/p\u003e\u003cp\u003eButler’s work has long been situated in the canon of Afrofuturist trailblazers like Sun Ra, Alice Coltrane, and Pharoah Saunders, and for good reason – his work resides along the edges of the surreal, crafted with soundscapes and stories that are speculative, unapologetically Black, and ooze wonder of a different realm. Yet here, we see the rapper engaging in what could be considered an “Afro-fractal” poetic, what the artist Char Jeré describes as “a way of defiling a linear, colonial, capitalist temporality. It makes the future less of a destination and more of an ongoing rehearsal or ritual. The future and the past are happening constantly and simultaneously.” On It’s a Style Sport, a visage of Butler’s past lives as a rapper and performer is flung up against his contemporary persona, taunting and illuminating. At its core, It’s a Style Sport is an ode to the rap game of years past, when the playfully competitive ambition drove the genre to always outdo, outrun, and out-finesse your peers\u003c\/p\u003e\u003cp\u003eIn contrast to the social-media-centered strategy of today’s music business, with artists and labels hyper-focused on “brands” and “identity”, here, Butler gives homage to the oft-forgotten honor of exceptional showmanship. “Taking it back to what rap is really all about,” he explains. “Or at least what it says it was about. This kind of tough, friendly competition to see who could out-style the next person with surface stuff, but also substance as well.” It’s true Butler isn’t afraid of being opaque, esoteric, or illegible – each Shabazz Palaces release boasts a complete reinvention and upending of the form, uninterested in comparison and challenging understanding. But It’s a Style Sport dons an open self-awareness, with the spotlight pointed back at himself. A desire for realness trumpets throughout the album as we follow the artist as he looks at his past, the choices he’s made, and the world he envisions for every future yet to come, all packaged in inventive, complex production and deliciously hypnotic rhyme flow. \u003c\/p\u003e\u003cp\u003eTo record, Butler gathered together his closest collaborators and friends for eight days at Seattle’s Hall of Justice Studios. With blueprints of each song in hand, he allowed his friends to play, explore, and experiment until the songs took shape. Contributions include Evan Flory-Barnes on upright and electric bass; Thaddeus Turner on guitar, keyboards, and vocals; Kassa Overall on drums; Gerald Turner on bass and vocals; Marquetta Miller on vocals; and Carlos Overall on saxophone. Butler’s longtime friend and collaborator Erik Blood also provided instrumentation, production, and mixing. It was important to Butler that the recording process feel collaborative and communal, an effort made even easier by the fact that every musician has been in the touring bands for Shabazz Palaces and Digable Planets for five to ten years. The longevity and closeness of their relationships made for a convivial and familiar energy, and underscores Butler’s goal to craft an album that confidently flexes the unique and pristine prowess contained in the Shabazz universe. \u003c\/p\u003e\u003cp\u003eThe album opens with the thumping meditation “Ahh World (I Won The Alpha Bet)”, with Butler taking on the role of an all-knowing narrator, telling the story of his own life and rise to excellence from a fantasy-fueled third-person perspective, and ending with a list of rules – directives for a successful life. What’s made clear here, and what pumps through the heart of the rest of the album, is that his parameter of success is tied to the value of one’s character – how good can you be? How noble? How honest? Butler deals out flair while staying grounded in what matters most: his own honor. “Show Me Missouri in Mink” pivots to a melodic R\u0026amp;B flow, chronicling passages of his life and, again, speaking from the vantage point of someone who’s accrued a wealth of wisdom from decades of living and mistake-making, daring the listener to move with righteousness. “Every heart’s for sale, it seems”, he sings. “Everybody selling dreams\/You could tell me anything\/You’ve got to show me what you mean.” \u003c\/p\u003e\u003cp\u003eIt’s not just careful, cautionary tales Butler extolls, though. Playful production and cheeky storytelling abounds, especially on “Tongue In Chic”, a whimsical pop number where Butler chronicles perilous dating attempts over punchy drums, Prince-like guitar licks, and 80s Italo disco synth melodies. “New girlfriend, that’s what I need,” he repeats again and again with a charming, teenage earnestness. \u003c\/p\u003e\u003cp\u003eAlbum closer “From One Future To Another” is one of the most captivating moments on the collection, opening with sparse upright bass and cymbal brushes before blossoming into a fuzzed-out, swirling, live-band kaleidoscope that brings to mind Slowdive, Yo La Tengo, and Stereolab all at once. In a honeyed falsetto, Butler sings of “Ghost torn lingering memories” and gaining back “the time that’s gone”. It’s an appropriate conclusion to the saga Butler’s penned – It’s a Style Sport is less about Butler looking back with nostalgia, and instead letting each iteration of time – past and future – return to him and touch him, before drifting away again. In this realm, where time is a multi-shaped fractal, everything is futurity: unpredictable, otherworldly, and unequivocally ours for the taking, ours for the making. Butler is neither attempting to repeat what he’s done before, nor outdo himself. But even in this galaxy, where time exists in a kind of recursive spiral, refracted slivers of bouncing light, Butler holds tight to his principled conviction, refuting vague, empty performativity in pursuit of something deeper, grander, truer, and altogether more impressive: “The surface belies the depth within\/Must we be beautiful to win\/Praise success reward and gains\/No matter what our dreams remain.” \u003c\/p\u003e","brand":"Shabazz Palaces","offers":[{"title":"Loser (color) LP","offer_id":43027747307616,"sku":"717150","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":43027747340384,"sku":"717152","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":43027747373152,"sku":"717156","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/ShabazzPalaces_ItsAStyleSport_Mockup_LP_US_2000x1417_370ac5cc-69bd-4f9f-b33c-b8d3de31d7d6.jpg?v=1786383408"},{"product_id":"clipping_splendor-and-misery-anniversary-x","title":"Splendor \u0026 Misery (Anniversary X)","description":"\u003cp\u003eSplendor \u0026amp; Misery (Anniversary X) is the tenth-anniversary edition of experimental rap trio Clipping’s Hugo Award-nominated sci-fi opus. 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