{"title":"Pre Orders","description":"","products":[{"product_id":"the-afghan-whigs_congregation","title":"Congregation","description":"\u003cp\u003e1992’s \u003ci\u003eCongregation\u003c\/i\u003e, The Afghan Whigs’ third album, finds the Whigs’ soul and psychedelic influences shining through, and helped define the band’s sound for years to come. Until now, \u003ci\u003eCongregation\u003c\/i\u003e was out of print on vinyl since its original pressing sold out many years ago.\u003cbr\u003e\u003c\/p\u003e","brand":"The Afghan Whigs","offers":[{"title":"Color 2xLP","offer_id":43110643990624,"sku":"701303","price":35.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":31826134466656,"sku":"701301","price":30.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826134368352,"sku":"701302","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Cassette","offer_id":31826134433888,"sku":"701304","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556518768736,"sku":"701306","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/AfghanWhigs_Congregation_Mockup_2xLP_US_2000x1417_44accd1c-3ed3-4c45-99db-6e36bc66b1aa.jpg?v=1788155609"},{"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":"the-afghan-whigs_do-to-the-beast","title":"Do to the Beast","description":"\u003cp\u003e\u003ci\u003eDo to the Beast\u003c\/i\u003e is the first new album by The Afghan Whigs in over a decade and a half. Founded in Cincinnati, Ohio, in 1988, the band has long stood out from its peers, with their savage, rapturous blend of hard rock, classic soul, and frontman Greg Dulli’s searing obsessions. The new album serves as both a homecoming – it marks their return to Sub Pop, for whom the Whigs were the first signing from outside the label’s Northwest base – and a glimpse into the future of one of the most acclaimed bands of the past thirty years.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eDo to the Beast \u003c\/i\u003eproves an appropriately feral title for one of the most intense, cathartic records of Dulli’s entire career – one that adds fresh twists to The Afghan Whigs canon. On it, one finds the \u003ci\u003efilm noir \u003c\/i\u003estorytelling of \u003ci\u003eBlack Love\u003c\/i\u003e, the exuberance of \u003ci\u003e1965\u003c\/i\u003e, the brutal introspection of \u003ci\u003eGentlemen\u003c\/i\u003e, but rendered with a galvanized musical spirit and rhythmic heft that suggests transcendence and hope amidst the bloodletting. “A lot of records I’ve done stemmed from epochal experiences in my life – and this time I’ve used them all,” Dulli says. “These new songs are very visual to me. They come from the neighborhoods of my mind. It’s like \u003ci\u003eRashomon\u003c\/i\u003e, with the story told from different points of memory.”\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eDo to the Beast \u003c\/i\u003ewas created in L.A., New Orleans, Cincinnati, and Joshua Tree – a virtual map of the band’s past and present homes. “The album was named in Cincinnati, which is especially fitting,” Dulli notes. “I was recording a beatbox track for the song ‘Matamoros,’ and my friend Manuel Agnelli (of Italian rock band Afterhours) was in the control room. After I finished, he said it sounded like I was singing ‘Do to the beast what you do to the bush.’ And I thought, ‘Brother, you just named the record.’”\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eDo to the Beast\u003c\/i\u003e features Dulli and Curley joined by the Whigs’ current core players – guitarists Dave Rosser and Jon Skibic, multi-instrumentalist Rick Nelson, and drummer Cully Symington. While original Whigs guitarist Rick McCollum does not appear on the record, a panoply of notable personages from the group’s past and present make memorable cameos: soul maverick Van Hunt, Mark McGuire (Emeralds), Usher’s musical director Johnny “Natural” Najera, Alain Johannes (Queens of the Stone Age, Arctic Monkeys), Clay Tarver (Bullet LaVolta, Chavez), Dave Catching (QOTSA, Eagles of Death Metal), Patrick Keeler (Raconteurs, Greenhornes), Ben Daughtrey (Squirrel Bait), Joseph Arthur, and a host of others. For Dulli, these outside collaborators add crucial dimension. “Someone like Alain is a great texturalist,” Dulli says. “He and Mark McGuire create these, womblike tapestries and nuances. And Johnny Natural blew our minds when we played with him and Usher at South By Southwest. They were all instructed to play guitar not as guitar, but to create a supernatural sound – and each one of them ran with that.”\u003c\/p\u003e\n\u003cp\u003eLikewise, “It Kills” contrasts its lush Gamble and Huff-style orchestration with Van Hunt unleashing a passionate virtuoso howl – transforming the song in the process. “We’d brought Van Hunt on tour with the Whigs, and began duetting on his song ‘Mean Sleep’ together every night.,” Dulli notes. “He’d do this scream live that he didn't do on the recording; and I thought to myself, ‘Wow, he sounds like Bobby Womack!’ When I wrote ‘It Kills,’ I wanted another voice on it, like a Greek chorus, so I called Van. I said, “Do whatever you like, just try not to use actual words – and if you can do that Bobby Womack thing, do that, too!”\u003c\/p\u003e\n\u003cp\u003eIndeed, \u003ci\u003eDo to the Beast \u003c\/i\u003etakes The Afghan Whigs to previously uncharted zones. That’s clear from the Lennonesque primal screaming announcing album opener “Parked Outside” – one of the hardest-rocking Whigs songs ever, propelled by a pile-driving riff that would make Malcolm Young envious. First single “Algiers,” meanwhile, hotwires a pounding “Be My Baby” drumbeat with spaghetti-western atmospherics.\u003cb\u003e \u003c\/b\u003eElsewhere, “Matamoros” – named after a town in Mexico cursed by a series of Satanic murders – finds Dulli at his most psychosexually sinister: over its relentless, Zeppelin-meets-disco groove, he coolly threatens to expose “every little crime that you hide.”\u003c\/p\u003e\n\u003cp\u003eSuch themes of duality, viscera, and love destroyed echo throughout tracks that dynamically flow in and out of each other – from ambitious revenge fantasy “These Sticks” to album centerpiece “Lost in the Woods.” Here, Dulli imagines himself on his deathbed in an especially haunting lyric, set to a swinging melody evoking Duke Ellington and Cab Calloway. “That song resonates the most with me,” he says. “It reminds me of my childhood; sitting in the back of my parents’ Bonneville hearing ‘You’re My Best Friend’ by Queen on AM radio. I played a distorted Wurlitzer at the end to capture that feeling; I did a lot of little personal homages like that throughout this record.”\u003c\/p\u003e\n\u003cp\u003eThat there’s even a new Afghan Whigs release at all comes as something of a surprise, even to its members. After the band initially split in 2001, Dulli went on to considerable notoriety with his bands The Twilight Singers and The Gutter Twins (the latter an ongoing collaboration with close friend Mark Lanegan). While Whigs songs would pop up occasionally in his sets, Dulli didn’t fully engage that material again until a solo acoustic tour in 2010, which Curley joined for a few dates. The Afghan Whigs subsequently reunited for a successful 2012 tour that found them headlining major festivals like Lollapalooza, curating their own All Tomorrow’s Parties gathering, and selling out prestigious venues throughout the U.S., Europe, and Southern Hemisphere. But once the tour was over, so, apparently, were the Whigs. “We played a final New Year’s Eve show in Cincinnati,” Dulli recalls. “And I assumed we were done. We’d completed the cycle.”\u003c\/p\u003e\n\u003cp\u003eThat wasn’t actually the case, however. The Afghan Whigs were unexpectedly brought back into the ring by \u003ci\u003eThe Fader, \u003c\/i\u003ewhich had arranged for them to play a surprise collaborative set with R\u0026amp;B superstar Usher at 2013’s SXSW conference. “That moment crystallized the possibility that we’d record together again,” Curley says. “Soon after, Greg began compiling the ideas he’d kept in his pocket that he felt were distinctly Whigs songs.”\u003c\/p\u003e\n\u003cp\u003eReunited anew, The Afghan Whigs will tour worldwide in support of \u003ci\u003eDo to the Beast\u003c\/i\u003e – kicking off an extensive jaunt with a performance at Coachella 2014 in April. “It feels like a celebration, and the start of something new,” Curley says. “Something that’s exhilarating and scary at the same time.”\u003c\/p\u003e","brand":"The Afghan Whigs","offers":[{"title":"Color 2xLP","offer_id":43110648184928,"sku":"710613","price":53.0,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":31826193776736,"sku":"710611","price":28.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826193809504,"sku":"710612","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32556517687392,"sku":"710616","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/AfghanWhigs_DoToTheBeast_Mockup_2xLP_US_2000x1417_5ad2f7e6-17aa-47ad-98f0-b51450c3c70c.jpg?v=1788155900"},{"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":"the-afghan-whigs_in-spades","title":"In Spades","description":"\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e“Divination\/Cleromancy\/Comes the card that I refused to see”\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e– The Afghan Whigs, “Oriole”\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e“Cleromancy” isn’t a word one normally finds in rock lyrics. Then again, \u003ci\u003eIn Spades\u003c\/i\u003e – the forthcoming album by The Afghan Whigs, from which the new song “Oriole” hails – is defined only by its own mystical inner logic. The term means to divine, in a supernatural manner, a prediction of destiny from the random casting of lots: the throwing of dice, picking a card from a deck. From its evocative cover art to the troubled spirits haunting its halls, In Spades casts a spell that challenges the listener to unpack its dark metaphors and spectral imagery. \u003c\/p\u003e\n\u003cp\u003eOn the one hand, \u003ci\u003eIn Spades\u003c\/i\u003e is as quintessentially Afghan Whigs as anything the group has ever done – fulfilling its original mandate to explore the missing link between howling Midwestern punk like Die Kreuzen and Hüsker Dü, The Temptations’ psychedelic soul symphonies, and the expansive hard-rock tapestries of Led Zeppelin and Lynyrd Skynyrd. At the same time, this new record continues to push beyond anything in the Whigs’ previous repertoire – another trademark, along with the explosive group dynamic captured on the recording. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIndeed, the chemistry of the lineup – Dulli, guitarists Dave Rosser and Jon Skibic, drummer Patrick Keeler, multi-instrumentalist Rick Nelson, and Whigs co-founder\/bassist John Curley – set the tone for \u003ci\u003eIn Spades\u003c\/i\u003e’ creation. When it came to follow up the band’s triumphant return to recording – \u003ci\u003e\u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/the_afghan_whigs\/do_to_the_beast\" href=\"https:\/\/megamart.subpop.com\/releases\/the_afghan_whigs\/do_to_the_beast\"\u003eDo To the Beast\u003c\/a\u003e\u003c\/i\u003e (2014), which was the band’s first ever Top 40 album, – the die was cast. “This is the first time since \u003ci\u003eBlack Love\u003c\/i\u003e [the Whigs’ 1996 noir masterpiece] that we’ve done a full-blown band album,” Dulli says. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe joys, sorrows, and upheavals of innocence and experience echo throughout \u003ci\u003eIn Spades\u003c\/i\u003e: it powerfully documents where The Afghan Whigs have been, and where they might go next. For Dulli and Curley, it’s a journey that, since their origins as one of the first Sub Pop acts to be signed from outside the label’s Pacific Northwest base, has spanned decades. Dulli notes they were barely in their twenties when they first started the band, and yet here they are, fulfilling dreams long held and frequently realized. “Having a break from the Whigs helped me remember what made it so rewarding,” Curley says. “Over the course of a lifetime, there are constants, and there’s also change. You see who’s dropped off the vine – who’s going in reverse, and who’s still by your side. It’s interesting to see where life takes you, and where it doesn’t. That’s the journey and it hasn’t stopped.” \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eIn Spades\u003c\/i\u003e was recorded at Rick Nelson’s studio Marigny Sound in New Orleans, LA.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003e\u003ca href=\"https:\/\/megamart.subpop.com\/releases\/the_afghan_whigs\/congregation\"\u003eCongregation\u003c\/a\u003e\u003c\/i\u003e\u003c\/b\u003e and \u003cb\u003e\u003ci\u003e\u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/the_afghan_whigs\/up_in_it\" href=\"https:\/\/megamart.subpop.com\/releases\/the_afghan_whigs\/up_in_it\"\u003eUp In It\u003c\/a\u003e\u003c\/i\u003e\u003c\/b\u003e are also being released on cassette the same day and will be shipped out when they are available. \u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"The Afghan Whigs","offers":[{"title":"Color LP","offer_id":43110648512608,"sku":"717603","price":34.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":31826463883360,"sku":"711501","price":23.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826463916128,"sku":"711502","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":31826463948896,"sku":"711504","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556510347360,"sku":"711506","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/AfghanWhigs_InSpades_Mockup_LP_EU_US_2000x1417_004bb5bb-4bc0-4c92-9a34-f1968af9dfad.jpg?v=1788156037"},{"product_id":"thermals_the-body-the-blood-the-machine","title":"The Body, The Blood, The Machine","description":"\u003cp\u003e\u003ci\u003eThe Body, The Blood, The Machine\u003c\/i\u003e was recorded at Supernatural Sound Studios in Oregon City, twenty miles south of The Thermals’ home in Portland, OR by Fugazi’s Brendan Canty. With the unfortunate departure of original Thermals drummer Jordan Hudson in late 2005, Kathy Foster and Hutch Harris (bass and guitar\/vocals, respectively) split up duties on the new record themselves with Foster pulling double shifts as The Thermals’ rhythm section for almost the entire record while Harris sang, performed all the guitar tracks and some of the bass tracks, and the two shared keyboard\/organ duties. With a wider, brighter, and wilder sound than anything The Thermals have done in the past, \u003ci\u003eThe Body, The Blood, The Machine \u003c\/i\u003eadds walls of guitars, organs, and even a few “ballads” (aka slightly pretty songs) to the mix, while still retaining the gritty post-pop-punk sound for which The Thermals are globally famous. The lyrics envision a United States governed by a fascist Christian state, and focus on the need (and means) to escape. While hardly a concept album, there is definitely a story told in the songs: a story about getting the fuck \u003cspan class=\"caps\"\u003eOUT\u003c\/span\u003e while you still can. With the recent addition of local drummer extraordinaire, Lorin Coleman, The Thermals will be touring extensively with the release of \u003ci\u003eThe Body, The Blood, The Machine.\u003c\/i\u003e\u003c\/p\u003e","brand":"Thermals","offers":[{"title":"Color LP","offer_id":43073840185440,"sku":"707033","price":25.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":31826620547168,"sku":"707031","price":23.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":31826620579936,"sku":"707032","price":14.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":32556525715552,"sku":"707036","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0110\/1882\/9920\/files\/TheThermals_TBTBTM_Mockup_LP_US_2000x1417_3d82b0e3-b6b3-420e-b9a2-9a0c588858ce.jpg?v=1787289546"},{"product_id":"the-go_free-electricity","title":"Free Electricity","description":"\u003cp\u003eThe Go appeared in Detroit in 1998, and I immediately became a fan. I'd been waiting for Detroit to produce a group this good since Brownsville Station broke up, and here they were, except I liked The Go even more than all their hometown predecessors. I eventually was asked to produce their first two albums, so I was granted the rare opportunity to be the producer of my favorite rock and roll group.\u003c\/p\u003e\u003cp\u003eThe first was the debut album Whatcha Doin', and the second was the mysterious, legendary \"lost\" album, Free Electricity.\u003c\/p\u003e\u003cp\u003eAfter a few bass and lead guitar personnel shakeups, and a lot of touring in the U.S. following the release of Whatcha Doin’, The Go were back in Detroit with a bunch of new songs which they wanted to record immediately. We again went to Ghetto Recorders, and were in there for a week, maybe two weeks? The Go played these songs at full blast in the studio, getting them all on tape in just one or two takes. The atmosphere surrounding these sessions was one of openness and creativity, so the overdubbing process was an avalanche of ideas, coming down really fast, and going to tape effortlessly.\u003c\/p\u003e\u003cp\u003eThe title track might have ended up sounding like a more traditional rock and roll song, but I suggested they do a take with the lead guitar blasting non-stop, something which made the dynamics more like that of a free jazz ensemble. When I sat down to mix the track, the reverb tank seemed to open up like a giant hole in the earth's crust and suddenly what came out of the speakers was a big, cavernous sound, like some haunted frequency beamed across the time barrier from the Grande Ballroom circa 1968. At this point, the mixing board felt more like a Ouija board. We were going where the music was leading us, and the strange sounds just kept on coming.\u003c\/p\u003e\u003cp\u003eThere's a heavy jazz influence on this record. We were all listening to a lot of ‘60s free jazz, so it seemed quite normal (to some of us) that the mixes tended to sound a bit more like records by Pharoah Sanders and Sun Ra than the records being made by our peers in the rock and roll scene.\u003c\/p\u003e\u003cp\u003ePerhaps this was perceived as a strange approach back in the year 2000, and there certainly were some people who felt we were totally out of control and maybe a bit crazy, but The Go were only as out of control as their musical and literary heroes, like the Fugs and Allen Ginsberg and the Bonzo Dog Band and Nilsson and lots of other individualists who inspired them.  \u003c\/p\u003e\u003cp\u003eGuest appearances by Cary Loren from Destroy All Monsters and John Olson from Wolf Eyes only reinforced the album's musical direction. Anyway, \"weird\" or not, this was an inspired recording made by an inspired group of musicians. There was a feeling of excitement and adventure happening at these sessions, and I think we captured that feeling on tape. \u003c\/p\u003e\u003cp\u003e---------------\u003c\/p\u003e\u003cp\u003eThe Go’s Free Electricity, the group’s storied, long-lost album, will finally see worldwide release on Friday, September 4th, 2026. 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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. 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She has released a number of solo home recordings, collaborations with Devi McCallion (Black Dresses, Girls Rituals), Geese, and Ezra Furman, written the pop music manifesto The Sound Rocker's Prayer, and starred in Louise Weard's epic film Castration Movie Anthology II: The Best Of Both Worlds.\u003c\/p\u003e\u003cp\u003eULTIMATE LOVE FOREVER is Lex’s unwavering, iconoclastic Sub Pop debut. We’ll let the already excited music press do the talking! 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Combining punk, poetry, sound collage, performance art, and visual art, the band creates a multidisciplinary body of work that blurs the line between personal and political.\u003c\/p\u003e\u003cp\u003ePowered by thoughtful musicianship, energetic live performances, and a crystal-clear artistic mission, PISS writes punk music that aims to transcend the limitations of a well-established genre. Their work draws inspiration from a range of unexpected influences: literary giants, philosophers, filmmakers, painters, psychoanalysts, activists, children, members of a German anarcho-feminist militant group, and conversations with audience members. These voices represent varying ideological beliefs about gender-based violence and enable PISS to create art that depicts challenging and controversial issues such as sexual violence and enculturated gender norms without reduction, romanticization, polemics, or dogmatism. \u003c\/p\u003e\u003cp\u003eTheir debut LP, you made me \/ skin on linen, depicts a childhood shaped by structural, systemic, and intimate violence. Throughout the record, art-making motifs serve as metaphors for the myriad ways we carry the effects of this violence: each experience leaves an impression, gradually creating or deforming the self, much like a piece of clay molded by every mark it receives. The record resists simple conclusions; rather than offering a single perspective, it examines violence as a ubiquitous facet of our culture. It asks questions—how does violence impact our development? Are our wounds inextricable parts of us? 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Finally, the sludgy noise-rock single \"i wanted to be a singer\" strips away metaphor, foregoing literary devices and narrative techniques, to open the record with a direct address that asks listeners to approach the album not as entertainment, but as lived experience. \u003c\/p\u003e\u003cp\u003eWhile you made me \/ skin on linen exists as a recorded work, PISS was meant to be experienced live. Every performance presents the album’s narrative, preserving its emotional arc from beginning to end, while allowing the work to exist as an evolving experience. With each show, the band aims to transform venues into spaces where confrontation, catharsis, reflection, and mutual care can coexist. \u003c\/p\u003e\u003cp\u003ePISS made their live debut at Vancouver’s DIY venue Red Gate in April 2024 with little expectation beyond performing locally. Instead, the 30-minute performance left the audience transfixed by a set that moved through crushing noise, intimate subtleties, spoken-word samples, and moments of overwhelming emotional release. Taylor Zantingh’s visceral physicality challenges onlookers to move beyond passive media consumption. On the record, she describes how violence from her past affects her present; in a live show, audiences become active participants, witnessing her depict the enduring impacts of trauma in real time. The band’s first show sparked word-of-mouth momentum that has since spread from Vancouver’s local underground scene to audiences, journalists, and musicians around the world. 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