{"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":"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":"the-head-and-the-heart_live-at-neumos-2011","title":"Live at Neumos (2011)","description":"\u003cp\u003eSeattle indie-folk icons The Head and the Heart commemorate the 15th anniversary of their landmark debut album with the release of a 2011 live show at their beloved hometown venue Neumos. 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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. Similarly, “My Anchoress” resonates in its portrayal of 15th Century author Julian of Norwich—centered around her enduring Revelations of Divine Love (one of the earliest English-written works by a woman), which details her eccentric, sensuous religious visions.\u003c\/p\u003e\n\u003cp\u003eSweeping Promises have long been progenitors of concept-forward art-punk music that is remarkably immediate and irresistible. For being largely about personalities boxed in by isolation, You Say I Romanticize is carried by an outright soaring energy. —Martin Douglas\u003c\/p\u003e","brand":"Sweeping Promises","offers":[{"title":"Loser (color) LP","offer_id":42755115352160,"sku":"714770","price":24.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":42755115384928,"sku":"714772","price":13.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":42755115417696,"sku":"714776","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/SweepingPromises_YouSayIRomanticize_Mockup_LP_US_2000x1417_91bfea9a-3666-4321-9eb6-8413c5a5739c.jpg?v=1780607140"},{"product_id":"sera-cahoone_ive-missed-you-all-these-years","title":"I've Missed You All These Years","description":"\u003cp\u003eThere’s a moment halfway through I’ve Missed You All These Years, the fifth record from Seattle songwriter and producer Sera Cahoone, that captures the album’s mix of collective joy and resilient wisdom. 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. That one just kind of came out of my soul.” But this record is emphatically not about the darkness; it’s about what happens after the storm clears, the moment when you begin to come back into your own body after a dark, dissociative winter. “It’s about remembering who you are and who you love,” she says. “It’s about not taking people for granted.”\u003c\/p\u003e\u003cp\u003eThis sense of lightness is evident throughout the album, from the carefree piano and electric guitar that rev to life on “Say Something” to the rippling acoustic melodies on the wistful and tender “No One Like You.” Cahoone has a knack for rendering intricate portraits in her lyrics, which she describes as “somewhat autobiographical”: “Hits Right” takes us into the mind of a pensive barfly; “Horse Runnin’” colors a romantic interest with all the eccentric details of a classic rom-com. “Something Good” casts the album in a warm glow as it ends, capturing new love via a slow morning spent drinking coffee in the living room. \u003c\/p\u003e\u003cp\u003eOn her sixth record, Sera Cahoone is in full command of her powers. In its nuanced melodies and its complex emotions, in its ability to hold loss and connection in the same hand, I’ve Missed You All These Years is triumphant, a celebration of life rooted in the knowledge of its fleeting nature. The product of a lifetime spent performing and producing music, the album crosses between blues, folk, pop, and country, evoking Loretta Lynn in one song and Lucinda Williams in the next. 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