{"title":"Sub Pop","description":"","products":[{"product_id":"nirvana-bleach-deluxe-edition","title":"Nirvana - Bleach \"Deluxe Edition\" (Double 180g Black Vinyl + 16-Page Booklet)","description":"\u003cp data-mce-fragment=\"1\"\u003eMarking the 20th Anniversary of Nirvana’s debut album, Sub Pop re-issued the Platinum Certified\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ccite data-mce-fragment=\"1\"\u003eBleach\u003c\/cite\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eon November 3, 2009. This expanded CD\/double-LP includes a never-before-released live performance, special packaging and the first run of the double-LP was on 180g white vinyl (the first run of the original LP was also on white vinyl,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003ewhich is totally sold out and no longer available!\u003c\/b\u003e).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOriginally recorded over three sessions with producer Jack Endino at Seattle’s Reciprocal Recording Studios in December 1988 and January 1989,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ccite data-mce-fragment=\"1\"\u003eBleach\u003c\/cite\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ewas released in June of ‘89 and remains unequivocally\/unsurprisingly Sub Pop’s very favorite Nirvana full-length. The album initially sold 40,000 copies, but was brought into the international spotlight following the release and worldwide success of their 1991 sophomore effort,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ccite data-mce-fragment=\"1\"\u003eNevermind\u003c\/cite\u003e. Subsequently\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ccite data-mce-fragment=\"1\"\u003eBleach\u003c\/cite\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ewent on to sell 1.7 million copies in the US alone, according to Nielsen SoundScan. This 20th Anniversary Edition has been re-mastered from the original tapes at Sterling Sound in a session overseen by producer Jack Endino.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis edition includes an unreleased live recording of a complete February 9th, 1990 show at the Pine Street Theatre in Portland, Oregon. The show features performances of “Love Buzz,” “About a Girl” and a cover of The Vaselines’ song “Molly’s Lips” and has been re-mixed from the original tapes by Endino (complete track listing below).\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":43914061873416,"sku":"","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/5861.jpg?v=1672842988"},{"product_id":"the-shins-oh-inverted-world-20th-anniversary-remastered-edition-on-black-vinyl-expanded-booklet","title":"The Shins - Oh, Inverted World \"20th Anniversary\" (Remastered Edition on Black Vinyl + Expanded Booklet)","description":"\u003cspan data-mce-fragment=\"1\"\u003eOh, Inverted World, the earth-shattering, indie-rock-redefining 2001 debut album by The Shins, is presented here in its finest form, dressed up all nice for its 20th birthday. The classic tunes get new life by way of a full remastering job under band leader James Mercer’s watchful eye, the art is given a little extra zest via a die-cut jacket and a classy inner sleeve, and the package is rounded off with a big ol’ booklet with vintage photos, handwritten lyrics, and more.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe music, of course, is obviously essential. Aside from a friendly reminder that this is the album with the smash hit “New Slang,” as heard in the hit movie Garden State, we just need to note that the remastering job truly makes this the album James Mercer always wanted it to be. Never quite satisfied with the sonics of the original, Mercer took the 20th anniversary of the album as his opportunity to finally set the (literal!) record straight. And the results sound stellar: great for new fans, and well worth the attention of those already on board!\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor old times’ sake, here’s what we had to say about this record back when it came out: Hailing from Albuquerque, NM, The Shins sprung from the ashes of Flake\/Flake Music in 1997 (though those previous incarnations date back nearly a decade) – same members\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e, different instruments, different approach. Counterpoint guitars have given way to a single guitar pitted against calculated keyboard passages; swarming indie rock machinations led to pop-based melodic endeavors (who knew?).\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":43918427488520,"sku":"","price":26.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/a3929727902_10.jpg?v=1672920447"},{"product_id":"shannon-lay-geist-limited-coloured-vinyl","title":"Shannon Lay - Geist (Limited Coloured Vinyl)","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eGeist feels like a window - or a mirror - into possibilities of the self and beyond. Shannon Lay’s new album is tender intensity, placeless and ethereal. It exists in the chasms of the present -- a world populated by shadow selves, spiritual awakenings, déjà vu, and past lives.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLay tracked vocals and guitar at Jarvis Tavinere of Woods’s studio, then sent the songs out to multi-instrumentalists Ben Boye (Bonnie Prince Billy, Ty Segall) in Los Angeles and Devin Hoff (Sharon Van Etten, Cibo Matto) in New York; trusting their musical instincts and intuition. She then sent those recordings to Sofia Arreguin (Wand) and Aaron Otheim (Heatwarmer, Mega Bog) for additional keys, while Ty Segall contributed a guitar solo on “Shores.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAs a whole, Geist is both esoteric and accessible. Songs range from a concise, pared-back cover of Syd Barrett’s tilt-a-whirl-esque “Late Night,” to the meditative Dune-inspired \"Rare to Wake,” to the mostly a-cappella “Awaken and Allow,” which channels Lay’s deep Irish\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eroots, a moment of reflection, before a drop happens -- its intensity mirroring the anticipation and anxiety that come with taking the first step to accepting change for yourself.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":43944360837384,"sku":"","price":15.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/a2117704671_10.jpg?v=1673351751"},{"product_id":"flock-of-dimes-head-of-roses-loser-edition-first-pressing-on-colored-vinyl","title":"Flock of Dimes - Head of Roses (Loser Edition - First Pressing on Colored Vinyl)","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn her second full-length record, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eHead of Roses\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, Jenn Wasner follows a winding thread of intuition into the unknown and into healing, led by gut feelings and the near-spiritual experience of visceral songwriting. The result is a combination of Wasner’s ability to embrace new levels of vulnerability, honesty and openness, with the self-assuredness that comes with a decade-plus career as a songwriter, producer, multi-instrumentalist and prolific collaborator. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSimply put, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eHead of Roses\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a record about heartbreak, but from a dualistic perspective. It’s about the experience of having one’s heart broken and breaking someone else’s heart at the same time. But beyond that, it’s about having to reconcile the experience of one’s own pain with the understanding that it’s impossible to go through life without being the source of great pain for someone else.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":43944884633864,"sku":"","price":15.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/4b3229d1-1316-477d-8006-4b179c72d3ec.webp?v=1673359871"},{"product_id":"metz-strange-peace-black-vinyl","title":"METZ - Strange Peace (Black Vinyl)","description":"\u003cp data-mce-fragment=\"1\"\u003eSince releasing their\u003cspan data-mce-fragment=\"1\"\u003e self-titled debut\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003erecord in 2012, which The New Yorker called, “One of the year’s best albums…a punishing, noisy, exhilarating thing,” the Toronto-based 3-piece\u003cspan data-mce-fragment=\"1\"\u003e METZ\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ehave garnered international acclaim as one of the most electrifying and forceful live acts, touring widely and extensively, playing hundreds of shows each year around the world.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNow, Alex Edkins (guitar, vocals), along with Hayden Menzies (drums), and Chris Slorach (bass) are set to unleash their highly-anticipated third full-length album,\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eStrange Peace\u003c\/i\u003e, an emphatic but artful hammer swing to the status quo.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci\u003eStrange Peace\u003c\/i\u003e\u003cspan\u003e was recorded in Chicago, live off the floor to tape with Steve Albini. The result is a distinct artistic maturation into new and alarming territory, frantically pushing past where the band has gone before, while capturing the notorious intensity of their live show. The trio continued to assemble the album (including home recordings, additional instrumentation) in their hometown, adding the finishing touches with longtime collaborator, engineer and mixer, Graham Walsh.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":43949583827208,"sku":"","price":19.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/metz-strangepeace-3000.jpg?v=1673438774"},{"product_id":"built-to-spill-when-the-wind-forgets-your-name-loser-edition-first-pressing-on-rainforest-green-marble-vinyl","title":"Built to Spill - When the Wind Forgets Your Name (Black Vinyl)","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSince its inception in 1992, Built to Spill founder Doug Martsch intended his beloved band to be a collaborative project, an ever-evolving group of incredible musicians making music and playing live together. “I wanted to switch the lineup for many reasons. Each time we finish a record I want the next one to sound totally different. It’s fun to play with people who bring in new styles and ideas,” says Martsch. “And it’s nice to be in a band with people who aren’t sick of me yet.”\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eBuilt to Spill returns with When the Wind\u003cspan class=\"bcTruncateMore\"\u003e Forgets Your Name, Martsch’s unbelievably great new album (and also his eighth full-length)... with a fresh new label. “I’m psyched: I’ve wanted to be on Sub Pop since I was a teenager. And I think I’m the first fifty year-old they’ve ever signed.” (The rumors are true, we love quinquagenarians…)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cspan class=\"bcTruncateMore\"\u003eIt may have taken us 30 years of obvious fandom and courtship, but on September 9, 2022, Sub Pop Records is unabashedly proud to finally release an excellent new album from Built to Spill: When the Wind Forgets Your Name. Sometimes persistence pays off.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":43985193009416,"sku":"","price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/a2956750859_10.jpg?v=1673962345"},{"product_id":"clipping-wriggle-expanded-limited-edition-first-pressing-on-coloured-vinyl","title":"clipping. - Wriggle \"Expanded\" (Limited Edition\/First Pressing on Coloured Vinyl)","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis LP finally brings a Clipping fan-favourite, 2016’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eWriggle\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, onto vinyl in an improved, expanded version that features new art, previously unreleased remixes, and a track that’s exclusive to the vinyl format.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe original, digital-only\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eWriggle EP\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewas six tracks that weren’t finished in time to make it onto the group’s 2014 Sub Pop debut,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eClppng\u003c\/i\u003e. For “Shooter,” Clipping recorded themselves firing fifteen different guns, the sounds of which exclusively constituted the beat’s drums, augmented only by a synthesized tone-row. The verses referenced the well-worn technique of “hashtag rap,” but instead of using it to boast about the rapper’s personal wealth and masculine prowess, Clipping put forth imagistic narratives of three violent encounters. True to much of the group’s music, “Shooter” was an attempt to reframe a familiar style and test the limits of its formal capabilities. “Hot Fuck No Love” contains what might be the most explicit verse to date from Clipping’s favorite New Jersey rapper Cakes Da Killa. The EP’s title track, “Wriggle,” was built around a sample of the influential power-electronics song “Wriggle Like a Fucking Eel” by Whitehouse, transforming William Bennett’s torturous imperative into a instructional dance-floor banger. “Wriggle” and “Shooter” have become classic Clipping tracks and staples of their live show.\u003c\/p\u003e\n\u003cp\u003eWith this vinyl edition, Clipping fans old and new - and there are many new fans thanks to their breakout 2020 album,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eVisions of Bodies Being Burned\u003c\/i\u003e, and Daveed Diggs’ thriving acting career - get the vinyl version of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eWriggle\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ethey’ve been clamouring for.\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":43992726667528,"sku":"","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/clipping-wriggle-3600px_740x_d2ce4a0a-96b4-4da1-a0d5-deafbaad0051.webp?v=1674056351"},{"product_id":"metz-metz-black-vinyl-1","title":"METZ - METZ (Black Vinyl)","description":"\u003cp\u003e\u003cspan\u003eCanada’s \u003c\/span\u003e\u003cspan class=\"caps\"\u003eMETZ\u003c\/span\u003e\u003cspan\u003e are a return to everything that’s good about loud, ecstatic live music; a frantic nod to Nation of Ulysses, Shellac, The Pixies, The Jesus Lizard, and Public Image Ltd. at their most vicious, while carving out some heavy new business. \u003c\/span\u003e\u003cspan class=\"caps\"\u003eMETZ\u003c\/span\u003e\u003cspan\u003e have been around for over three years, sharing stages with Mission of Burma, Mudhoney, Oneida, and NoMeansNo. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ccite\u003e\u003cspan class=\"caps\"\u003e\u003ci\u003eMETZ\u003c\/i\u003e\u003c\/span\u003e\u003c\/cite\u003e\u003cspan\u003e, the band’s self-titled and formidable debut full-length was produced by the band and recorded by Graham Walsh (Holy Fuck) and Alexandre Bonenfant. Both live and here on this record, \u003c\/span\u003e\u003cspan class=\"caps\"\u003eMETZ\u003c\/span\u003e\u003cspan\u003e articulate with deafening clarity what we’ve known for some time: The world of good music needs a new power trio, and this is it.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44253094641928,"sku":"","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/12158_1.jpg?v=1677768630"},{"product_id":"metz-atlas-vending-black-vinyl","title":"METZ - Atlas Vending (Black Vinyl)","description":"\u003cp\u003e\u003cspan\u003e“Change is inevitable if you’re lucky,” says guitarist\/vocalist Alex Edkins while talking about Atlas Vending, the fourth full-length album by Toronto’s METZ\u003c\/span\u003e\u003cspan\u003e. \u003c\/span\u003e\u003cspan\u003e“Our goal is to remain in flux, to grow in a natural and gradual way. We’ve always been wary to not overthink or intellectualize the music we love but also not satisfied until we’ve accomplished something that pushes us forward.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe music made by Edkins and his compatriots Hayden Menzies (drums) and Chris Slorach (bass) has always been a little difficult to pin down. Their earliest recordings contained nods to the teeming energy of early ‘90s DIY hardcore, the aggravated angularities of This Heat, and the noisy riffing of AmRep’s quintessential guitar manglers, but there was never a moment where METZ sounded like they were paying tribute to the heroes of their youth. If anything, the sonic trajectory of their albums captured the journey of a band shedding influences and digging deeper into their fundamental core—steady propulsive drums, chest-thumping bass lines, bloody-fingered guitar riffs, the howling angst of our fading innocence. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWith Atlas Vending, METZ not only continues to push their music into new territories of dynamics, crooked melodies, and sweat-drenched rhythms, they explore the theme of growing up and maturing within a format typically suspended in youth.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44253128098056,"sku":"","price":24.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/metz-atlasvending-cover-3750.jpg?v=1677769085"},{"product_id":"low-ones-and-sixes-double-black-vinyl","title":"Low - Ones and Sixes (Double Black Vinyl)","description":"\u003cp\u003e“In our 20+ years of writing songs, I’ve learned that no matter how escapist, divergent, or even transcendent the creative process feels, the result is more beholden to what is going on at the moment. It’s hard to admit that one is so influenced by what is in front of us. Doesn’t it come from something magical and far away? No, it comes from here. It comes from now. I’m not going to tell you what this record is about because I have too much respect for that moment when you come to know it for yourself.”\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e— Alan Sparhawk, Low\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003eCo-produced by Low and engineer BJ Burton at Justin Vernon’s April Base Studios in Eau Claire, WI, Ones and Sixes is the new (and, so far, the best) album from the Duluth-based trio of Alan Sparhawk, Mimi Parker and Steve Garrington.\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44260864622856,"sku":"","price":26.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/61U51ubHCSL._AC_SL1400.jpg?v=1677942639"},{"product_id":"low-double-negative-black-vinyl","title":"Low - Double Negative (Black Vinyl)","description":"\u003cspan\u003eIn 2018,Low\u003c\/span\u003e\u003cspan\u003e will turn twenty-five. Since 1993, Alan Sparhawk and Mimi Parker—the married couple whose heaven-and-earth harmonies have always held the band’s center—have pioneered a subgenre, shrugged off its strictures, recorded a Christmas Classic\u003c\/span\u003e\u003cspan\u003e, become a magnetic onstage force, and emerged as one of music’s most steadfast and vital vehicles for pulling light from our darkest emotional recesses. But Low will not commemorate its first quarter-century with mawkish nostalgia or safe runs through songbook favorites. Instead, in faithfully defiant fashion, Low will release its most brazen, abrasive (and, paradoxically, most empowering) album ever: \u003c\/span\u003e\u003ci\u003eDouble Negative\u003c\/i\u003e\u003cspan\u003e, an unflinching eleven-song quest through snarling static and shattering beats that somehow culminates in the brightest pop song of Low’s career.\u003c\/span\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTo make \u003ci\u003eDouble Negative\u003c\/i\u003e, Low reenlisted B.J. Burton, the quietly energetic and adventurous producer who has made records with James Blake, Sylvan Esso, and The Tallest Man on Earth in recent years while working as one of the go-to figures at Bon Iver’s home studio, April Base. Burton recorded Low’s last album, 2015’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eOnes and Sixes\u003c\/i\u003e, at April Base, adding might to many of its beats and squelch and frisson beneath many of its melodies.\u003c\/p\u003e\n\u003cp\u003eThis time, though, Sparhawk, Parker, and bassist Steve Garrington knew they wanted to go further with Burton and his palette of sounds, to see what someone who is, as Sparhawk puts it, “a hip-hop guy” could truly do to their music. Rather than obsessively write and rehearse at home in Duluth, Minnesota, they would often head southeast to Eau Claire, Wisconsin, arriving with sketches and ideas that they would work on for days with Burton. Band and producer became collaborative cowriters, building the pieces up and breaking them down and building them again until their purpose and force felt clear. As the world outside seemed to slide deeper into instability, Low repeated this process for the better part of two years, pondering the results during tours and breaks at home. They considered not only how the fragments fit together but also how, in the United States of 2018, they functioned as statements and salves.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eDouble Negative\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis, indeed, a record perfectly and painfully suited for our time. Loud and contentious and commanding, Low fights for the world by fighting against it. It begins in pure bedlam, with a beat built from a loop of ruptured noise waging war against the paired voices of Sparhawk and Parker the moment they begin to sing during the massive “Quorum.” For forty minutes, they indulge the battle, trying to be heard amid the noisy grain, sometimes winning and sometimes being tossed toward oblivion. In spite of the mounting noise, Sparhawk and Parker still sing. Or maybe they sing because of the noise. For Low, has there ever really been a difference?\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44261190992136,"sku":"","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/low-doublenegative-cover-3000_740x_405cffeb-c9ac-462f-860f-5da2bbd08605.webp?v=1677951093"},{"product_id":"low-hey-what-black-vinyl","title":"Low - Hey What (Black Vinyl)","description":"Focusing on their craft, staying out of the fray, and holding fast their faith to find new ways to express the discord and delight of being alive, to turn the duality of existence into hymns we can share, Low present HEY WHAT. These ten pieces—each built around their own instantaneous, undeniable hook—are turbocharged by the vivid textures that surround them. The ineffable, familiar harmonies of Alan Sparhawk and Mimi Parker break through the chaos like a life raft. Layers of distorted sound accrete with each new verse - building, breaking, colossal then restrained, a solemn vow only whispered. There will be time to unravel and attribute meaning to the music and art of these times, but the creative moment looks FORWARD, with teeth.\u003cbr\u003e\u003cbr\u003eHEY WHAT is Low's thirteenth full-length release in twenty-seven years, and their third with producer BJ Burton.","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44275265732872,"sku":"","price":30.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/low-heywhat-cover-3600_740x_9177db56-f597-427c-b0fb-07b545d47b6a.jpg?v=1678191259"},{"product_id":"mark-lanegan-the-winding-sheet-black-vinyl","title":"Mark Lanegan - The Winding Sheet (Black Vinyl)","description":"\u003ci\u003eThe Winding Sheet\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003eis Lanegan’s first solo work and showcases his adept skills as a lyricist and his deep, soulful voice. Highlights include “Mockingbirds,” “Ugly Sunday” and the haunting “Wild Flowers.” The late Kurt Cobain lends vocals to  “Down in the Dark,” and for the folk classic “Where Did You Sleep Last Night” Cobain contributes guitar and vocals and Krist Novoselic plays bass. Nirvana would later also cover “Where Did You Sleep Last Night” on their \u003c\/span\u003e\u003ci\u003eUnplugged \u003c\/i\u003e\u003cspan\u003ealbum. The album was produced by Jack Endino, Lanegan, and Johnson. With extra tracks “I Love You Little Girl.”\u003c\/span\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44275421184264,"sku":"","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/lanegan-windingsheet-2015-1500_1024x1024_2x_2aa76d15-25ac-474f-8f26-15f407c2d75d.webp?v=1678193882"},{"product_id":"tv-priest-uppers-black-vinyl","title":"TV Priest - Uppers (Black Vinyl)","description":"\u003cp\u003eIt’s tempting to think that you have all the answers, screaming your gospel every day with certainty and anger. Life isn’t quite like that though, and the debut album from London four-piece TV Priest instead embraces the beautiful and terrifying unknowns that exist personally, politically, and culturally.\u003c\/p\u003e\n\u003cp\u003ePosing as many questions as it answers, Uppers is a thunderous opening statement that continues the UK’s recent resurgence of grubby, furious post-punk music. It says something very different though – something completely its own.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAccording to Nic Bueth, Uppers sees TV Priest \"explicitly and outwardly\" trying to avoid narrowmindedness and avoiding conflicting points of view. \"There will never be a solution if it's just heads banging together,\" he adds. Uppers sees TV Priest taking musical and personal risks, reaching outside of themselves and trying to make sense of this increasingly messy world. It's a band and a record that couldn’t arrive at a more perfect time.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44275733725448,"sku":"","price":23.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/tv-priest-uppers-album-art-3000_740x_67aafd70-7908-432d-a820-07280fee71c2.webp?v=1678198671"},{"product_id":"tv-priest-my-other-people-loser-edition-first-pressing-on-coloured-vinyl","title":"TV Priest - My Other People (Loser Edition\/First Pressing on Coloured Vinyl)","description":"\u003cp\u003eWithout a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer’s shoulders, leaving little room for true vulnerability. “A lot of it did feel like I was being really careful and a bit at arm's length,” says vocalist Charlie Drinkwater. “I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest.”\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eMy Other People\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003emaintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using “Saintless” (the closing song from\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eUppers\u003c\/i\u003e) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. “Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well,” he says. “There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in.”\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44275759874312,"sku":"","price":16.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/tvpriest-myotherpeople-3000_740x_83ba2ce1-737d-46a9-9dc4-ff667fa5274c.webp?v=1678199244"},{"product_id":"weird-nightmare-weird-nightmare-limited-coloured-vinyl","title":"Weird Nightmare - Weird Nightmare (Limited Coloured Vinyl)","description":"\u003cp\u003eIf you’re looking for a raw, sugary blast of distorted pop, look no further than Weird Nightmare. The debut album from METZ guitarist and vocalist Alex Edkins contains all of his main band’s bite with an unexpected, yet totally satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously hissy miniature epics of classic-era Guided by Voices combined with the bombast of Copper Blue- era Sugar—just tons of red-line distortion cut with the type of tunecraft that thrills the moment it hits your ears. \u003c\/p\u003e\n\u003cp\u003eThese ten songs showcase a new side of Edkins’ already-established songwriting, but even though the bulk of Weird Nightmare was recorded during the COVID-19 pandemic some of its tunes date back to 2013 in demo form. “Hooks and melody have always been a big part of my writing, but they really became the main focus this time” he explains. “It was about doing what felt natural.” \u003c\/p\u003e\n\u003cp\u003eTo be clear: Weird Nightmare is not a “pandemic album,” but an album—some of which had been gestating for quite a while—that just so happened to be recorded during the pandemic. “I had always planned on finishing these songs, but being unable to tour with METZ, and forced to lock down, really gave me a push.” After days spent homeschooling his son, Edkins would drive to the METZ rehearsal room and tinker deep into the night on these songs’ deceptively simple structures and rich, static-laden textures. “It was a godsend for me,” he states about the creative process. “The hours would disappear and I would get lost in the music and record. It was a beautiful escape.”\u003c\/p\u003e\n\u003cp\u003eWeird Nightmare is, in its own way, a study in extremes: Edkins’ melodic instincts and penchant for dissonance are both turned up to the max throughout, the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the edge.” He also cites other artists who are masterful at mixing the sublime and the punishing—Kim Deal and Scout Niblett among them—as influences on his own songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never been attracted to virtuosity or technicality. Certain songs have the power to lift your spirits like nothing else can. I wanted to create that type of song.” \u003c\/p\u003e\n\u003cp\u003e“I’ve found a new confidence in my writing and producing,” Edkins continues while discussing his songwriting approach on Weird Nightmare. “I really enjoy creating and recording, and I wanted this record to reflect how much fun I was having.” And even though its songs occasionally dip into weighty themes—underneath the driving riffs of “Darkroom” are ruminations on trying to fight off bad habits amidst personal malaise, while the anthemic “Lusitania” is, in his words, “a fictional love song”—this album is indeed an absolute blast to listen to. \u003c\/p\u003e\n\u003cp\u003eA few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad VanGaalen adds his unmistakable touch to the ever-escalating “Oh No,” while Alicia Bognanno of Bully lends her distinctive pipes to the thrashing “Wrecked,” a collaboration that effectively saved the song. “I almost didn’t put it on the album because I thought it was missing something,” Edkins explains. “I sent it to Alicia and she lifted it way up.” \u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44294794084616,"sku":"","price":21.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/weirdnightmare-st-4000.jpg?v=1678557340"},{"product_id":"frankie-cosmos-inner-world-peace-loser-edition-limited-edition-first-pressing-on-colored-vinyl","title":"Frankie Cosmos - Inner World Peace (Loser Edition\/Limited Edition First Pressing on Colored Vinyl)","description":"\u003cp\u003eSeveral things happened before a warm day when I met the four members of Frankie Cosmos in a Brooklyn studio to begin making their album. Greta Kline spent a few years living with her family and writing a mere 100 songs, turning her empathy anywhere from the navel to the moon, rendering it all warm, close and reflexively humorous. In music, everyone loves a teen sensation, but Kline has never been more fascinating than now, a decade into being one of the most prolific songwriters of her generation. She’s lodged in my mind amongst authors, other observational alchemists like Rachel Cusk or Sheila Heti, but she’s funnier, which is a charm endemic to musicians. \u003c\/p\u003e\n\u003cp\u003eMeanwhile Frankie Cosmos, a rare, dwindling democratic entity called a band, had been on pandemic hiatus with no idea if they’d continue. In the openness of that uncertainty they met up, planning to hang out and play music together for the first time in nearly 500 days. There, whittling down the multitude of music to work with, they created Inner World Peace, a collection of Greta’s songs changed and sculpted by their time together. While Kline’s musical taste at the time was leaning toward aughts indie rock she’d loved as a teenager, keyboardist Lauren Martin and drummer Luke Pyenson cite “droning, meditation, repetition, clarity and intentionality,” as well as “‘70s folk and pop” as a reference for how they approached their parts. Bassist\/guitarist Alex Bailey says that at the time he referred to it as their “ambient” or “psych” album. Somewhere between those textural elements and Kline’s penchant for concise pop, Inner World Peace finds its balance. \u003c\/p\u003e\n\u003cp\u003eInner World Peace excels in passing on the emotions it holds. When in the towering “Empty Head” Kline sings of wanting to let thoughts slide away, her voice is buoyed on a bed of synths and harmonium as tranquility abounds. When her thoughts become hurried and full of desire, so does the band, and she leaps from word to word as if unable to contain them all. As a group, they carry it all deftly, and with constant regard for Kline’s point of view.\u003c\/p\u003e\n\u003cp\u003eSays Greta, “To me, the album is about perception. It’s about the question of “who am I?” and whether or not the answer matters. It’s about quantum time, the possibilities of invisible worlds. The album is about finding myself floating in a new context. A teenager again, living with my parents. An adult, choosing to live with my family in an act of love. Time propelled us forward, aged us, and also froze. If you don’t leave the house, who are you to the world? Can you take the person you discover there out with you?”\u003c\/p\u003e\n\u003cp\u003e- katie von schleicher\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44359544799496,"sku":"","price":21.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/Frankie_Cosmos_-_Inner_World_Peace_2048x2048_e3070edd-3ff5-4a0c-9a26-3ba6b64da43f.webp?v=1680091889"},{"product_id":"father-john-misty-fear-fun-black-vinyl","title":"Father John Misty - Fear Fun (Black Vinyl)","description":"\u003cp\u003eWhen discussing ‘Father John Misty’, Tillman paraphrases Philip Roth: ’It’s all of me and none of me, if you can’t see that, you won’t get it’. What I call it is totally arbitrary, but I like the name. You’ve got to have a name. I never got to choose mine.”\u003c\/p\u003e\n\u003cp\u003eHe goes on, “‘People who make records are afforded this assumption by the culture that their music is coming from an exclusively personal place, but more often than not what you hear are actually the affectations of an ’alter-ego’ or a cartoon of an emotionally heightened persona,” says Josh Tillman, who has been recording\/releasing solo albums since 2003 and who recently left Seattle’s Fleet Foxes after playing drums from 2008-2011. “That kind of emotional quotient isn’t sustainable if your concern is portraying a human-being made up of more than just chest-beating pathos. I see a lot of rampant, sexless, male-fantasy everywhere in the music around me. I didn’t want any alter-egos, any vagaries, fantasy, escapism, any over-wrought sentimentality. I like humor and sex and mischief. So when you think about it, it’s kind of mischievous to write about yourself in a plain-spoken, kind of explicitly obvious way and call it something like ‘Misty’. I mean, I may as well have called it ‘Steve’”.\u003c\/p\u003e\n\u003cp\u003eMusically,\u003cspan\u003e \u003c\/span\u003e\u003ccite\u003eFear Fun\u003c\/cite\u003e\u003cspan\u003e \u003c\/span\u003econsists of such disparate elements as Waylon Jennings, Harry Nilsson, Arthur Russell, “All Things Must Pass,” and “Physical Graffiti,” often within the same song. Tillman’s voice has never been better and often sounds like Roy Orbison, “The Caruso of Rock”, at his most joyous, while the music maintains a dark, mysterious and yet conversely playful, almost Dionysian quality. Lyrically, his absurdist fever dreams of pain and pleasure elicit, in equal measures, the blunt descriptive power of Bukowski or Brautigan, the hedonist-philosophy of Oscar Wilde and the dried-out wit of Loudon Wainwright\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"caps\"\u003eIII\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp\u003eThe album began gestating during what Tillman describes as an “immobilizing period of depression”, in his former Seattle home. “Songwriting for me had always only been interesting and necessary because I saw it as this vehicle for truth, but I had this realization that all I had really done with it was lick my wounds for years and years, and become more and more isolated from people and experiences. I don’t even like wound-licking music, I want to listen to someone rip their arm off and beat themselves with it. I don’t believe that until now I’ve ever put anything at risk in my music. I was hell-bent on putting my preciousness at stake in order to find something worth singing about.”\u003c\/p\u003e\n\u003cp\u003eHe continues, “I lost all interest in writing music, or identifying as a ‘songwriter’. I got into my van with enough mushrooms to choke a horse and started driving down the coast with nowhere to go. After a few weeks, I was writing a novel, which is where I finally found my narrative voice. The voice that is actually useful.\u003c\/p\u003e\n\u003cp\u003e“It was a while before that voice started manifesting in a musical way, but once I settled in the Laurel Canyon spider-shack where I’m living now, I spent months demoing all these weird-ass songs about weird-ass experiences almost in real-time, and kind of had this musical ‘Oh-there-I-am’ moment, identical to how I felt when I was writing the book. It was unbelievably liberating. I knew there was never any going back to the place I was writing from before, which was a huge relief. The monkey got banished off my back.”\u003c\/p\u003e\n\u003cp\u003eTillman brought the demos to LA producer\/songwriter\/pal Jonathan Wilson, and in February 2011 began recording at his home-studio in Echo Park. “Initially, the idea was to just kind of recreate the demos with me playing everything, since they were pretty fleshed out and sounded cool, but a place like LA affords you a different wealth of talent, potential, etc than just about anywhere else. I realized what was possible between Jonathan’s abilities, and the caliber of musicians that are just hanging around LA, pretty quickly. People were coming in and out of the studio all day sometimes, and other days, it would just be Jonathan and I holed up, getting stoned, and doing everything.\u003c\/p\u003e\n\u003cp\u003e“I was honest with myself about what music actually excites my joy-glands when I was considering the arrangements and instrumentation,” says Tillman. “As opposed to what’s been enjoyable to me in the past – namely, alienating people or making choices based on what I think people won’t like or understand. Pretty narcissistic stuff.”\u003c\/p\u003e\n\u003cp\u003eWhen asked about Laurel Canyon, where he eventually ended up living in the aforementioned tree-house with a family of spiders, Tillman says, “My attitude about it all is pretty explicit in the record. Given my fairly adversarial personal attitude about the music and aesthetic that comes from that place, it’s kind of a huge joke that I live in a former hippie-fantasy land. I have a really morbid sense of humor.”\u003c\/p\u003e\n\u003cp\u003ePhil Ek (who everyone knows has worked with Built To Spill, Modest Mouse, Band of Horses, Fleet Foxes) heard the rough versions of the album in May 2011 and offered his services to mix. “Phil and I have known each other for a while by virtue of Fleet Foxes, so he was familiar with my music, but we had never discussed working together. I think he immediately recognized the shift in my writing and singing from a producer and friend’s standpoint. His excitement is really evident in mixes, I think.”\u003c\/p\u003e\n\u003cp\u003eInterviews by Richard Metzger and Casey Wescott\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWritten by Paula Zabrey, Jan. 2012\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44363170873608,"sku":"","price":26.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/a0964363878_10.jpg?v=1680185359"},{"product_id":"moaning-uneasy-laughter-loser-edition-first-pressing-on-white-vinyl","title":"Moaning - Uneasy Laughter (Loser Edition \/ First Pressing on White Vinyl)","description":"\u003cspan\u003eWhat happens when an abrasive rock trio trades guitars for synths, cranks up the beats and leans into the everyday anxieties of simply being a functioning human in the 21st century? The answer is Uneasy Laughter, the sensational second Sub Pop release from Los Angeles-based Moaning.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eVocalist\/guitarist Sean Solomon, bassist\/keyboardist Pascal Stevenson and drummer Andrew MacKelvie have been friends and co-conspirators amid the fertile L.A. DIY scene for more than a decade. They are also immersed in other creative pursuits — Solomon is a noted illustrator, art director and animator, while Stevenson and MacKelvie have played or worked behind the boards with acts such as Cherry Glazerr, Sasami and Surf Curse. On Uneasy Laughter, they’ve tackled challenges both personal and universal the only way they know how: by talking about how they’re feeling and channeling those emotions directly into their music.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“We’ve known each other forever and we’re really comfortable trying to express where we’re at. A lot of bands aren’t so close,” says MacKelvie. Adds Solomon, who celebrated a year of sobriety during the Uneasy Laughter sessions, “Men are conditioned not to be vulnerable or admit they’re wrong. But I wanted to talk\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eopenly about my feelings and mistakes I’ve made.”\u003cbr\u003e\u003cbr\u003eMoaning’s 2018’s self-titled Sub Pop debut featured songs mostly written in practice or brought in already complete by individual band members. It garnered acclaim from Pitchfork, Stereogum and Los Angeles Times, who observed, “Moaning craft anxious music for an increasingly nervous local scene.” But Uneasy Laughter is a collaborative breakthrough which significantly brightens Moaning’s once claustrophobic sound, again abetted by producer\/engineer Alex Newport (At The Drive-In, Bloc Party, Melvins). The trio points to first single “Ego,” which features a costume-heavy video directed by Ambar Navarro, as an embodiment of this evolution.\u003cbr\u003e\u003cbr\u003eSolomon admits Uneasy Laughter could have gone in quite another direction had he not gotten sober and educated himself on such core subjects as gender and mental health. “I did a lot of reading in the tour van — authors like bell hooks, Mark Fisher, and Alain de Botton, all really inspired me. I don’t want to be the person who influences young people to go get high and become cliche tragic artists,” he says. “What I’d rather convey to people is that they’re not alone in what they think and how they feel. ‘Ego’ specifically and the album overall is about those themes — letting go of your bullshit so you can help other people and be present.”\u003cbr\u003e\u003cbr\u003e“We want to be part of a community,” he adds. “I wrote online about being sober for a year, and I had kids from all over writing and asking for advice. One of them said, ‘For the first time I can remember, I didn’t drink last night.’ I thought, for once, maybe we did something besides sell a record. That’s a win. That’s incredibly exciting.”\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44366101840136,"sku":"","price":16.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/0018380113_10.jpg?v=1680267893"},{"product_id":"sleater-kinney-one-beat-remastered-reissue-black-vinyl","title":"Sleater-Kinney - One Beat \"Remastered\/Reissue\" (Black Vinyl)","description":"\u003cspan\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.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOne Beat is the sixth studio album from Sleater-Kinney, originally released on August 20, 2002 by Kill Rock Stars. It was produced by John Goodmanson and recorded between March and April 2002 at Jackpot! Studio in Portland, Oregon. The album peaked at number 107 in the United States on the Billboard 200 and entered the Billboard Top Independent Albums at number five.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\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\/span\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44366129004808,"sku":"","price":24.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/sleaterkinney-onebeat-1425_1200x1200_a554d80a-d43d-4833-8a37-75f6607dcea1.webp?v=1680268308"},{"product_id":"σtella-up-and-away-loser-edition-limited-edition-first-pressing-on-colored-vinyl","title":"Σtella - Up and Away (Loser Edition\/Limited Edition First Pressing on Colored Vinyl)","description":"\u003cspan\u003eΣtella makes her Sub Pop debut with the mesmerizing Up and Away, an old-school pop paean to the pangs and raptures of love. From the Greek folk-inflected get-go, we’re swept up in Σtella’s world – and it’s quite the captivating place to be.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe singer-songwriter joined forces with artist and producer Tom Calvert (aka Redinho), and it was a match made in Athens; the results are heavenly. Tom caught one of Σtella’s gigs on a visit to the city. He reached out, they started hanging out, and the pair soon clicked creatively. Both mention chemistry when asked about their collaboration and it’s clear, from what we hear, they had it in spades. The meld is seamless.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eΣtella’s songs have always riffed on American and Greek mid-century pop but Up and Away doubles down on the vintage aesthetic. Tom says he styled the record “as if it was a rare gem from the ’60s found in a box of records in Athens,” and Σtella notes she was ready for a more “deeply Greek touch – it felt comfortable and right, smoothly fusing with the pop.” The bouzouki appears on a full five tracks played by Christos Skondras who, she says, “was brilliant at improvising,” while Sofia Labropoulou on the kanun “brought an insane amount of dreaminess to the last two songs. Having these amazing\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003emusicians play for Up and Away – I couldn’t be more grateful.”\u003cbr\u003e\u003cbr\u003eWhile not exclusively a confessional artist, Σtella is always intimate – when she sings, it’s personal. She says she writes, “about things I feel passion for. Stories about me, about others, about all that’s there in love and war. ”While she won’t be drawn out on more private inspirations for this album (“There were one or two interesting things going on in my life, but we won’t be going into those…”), Σtella will say she was, “in a very emotional state at the time, which came through in the lyrics and vocals.” And it’s true, her honeyed voice – layered in those unmistakable harmonies of hers – thrillingly runs the gamut from tender to terse, by turns bracing and smitten, aching and forlorn.\u003cbr\u003e\u003cbr\u003eBut it’s the lyrics that feel key. Across her output, Σtella has proven herself a strong storyteller, and Up and Away is no exception (the guise of the medieval bard she assumes on the cover is telling). Past releases have been studded with gem-like vignettes – a diverse array of stories set tightly together to form non-linear narratives unified by emotion. Her latest feels singular in that it seems to trace a longer-form tale across songs, with each track escalating the record’s erotic arc. Rollicking album opener “Up and Away” launches us headlong into an all-consuming affair. She’s caught, she shivers, thrilled by a new beginning, the sweetness of her vocals offset by vertiginous, blistering blasts of bouzouki. And so the sensual scene is set.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44366147453192,"sku":"","price":25.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/a0878865907_10.jpg?v=1680268622"},{"product_id":"the-shins-chutes-too-narrow-black-vinyl","title":"The Shins - Chutes Too Narrow (Black Vinyl)","description":"\u003cp\u003e\u003cspan\u003eThe Shin’s debut full-length, 2001’s \u003c\/span\u003e\u003ci\u003eOh, Inverted World\u003c\/i\u003e\u003cspan\u003e, was a stunner; resoundingly well-received and landing itself on numerous year-end best-of-lists. \u003c\/span\u003e\u003cspan class=\"caps\"\u003eMOJO\u003c\/span\u003e\u003cspan\u003e placed it at #14 of the year and commented, “This quartet from Albuquerque, New Mexico captured our hearts this summer with their pristine pop perfection.” And, Seattle’s \u003c\/span\u003e\u003ci\u003eThe Stranger\u003c\/i\u003e\u003cspan\u003e went even further with, “…a referential, brilliant record which had better blow up, or the world has forgotten what pop music is all about.” As far as we’re concerned it did blow up – seems there’s still some hope for the world and its conception of pop music. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSince that first record, singer\/songwriter\/guitarist James Mercer and drummer Jesse Sandoval moved from Albuquerque to Portland, OR and bassist Neal Langford was replaced with Dave Hernandez (ex-Scared Of Chaka), who played bass on the stand-out track from the first record, “New Slang.” \u003c\/span\u003e\u003ci\u003eChutes Too Narrow\u003c\/i\u003e\u003cspan\u003e, their heavily anticipated follow-up, was recorded in James’ basement home studio, with later mixing assistance from Phil Ek (Built to Spill, Modest Mouse, David Cross, Les Savy Fav, etc.). And, with 10 songs, clocking in at just over 30 minutes, the new record is a brief yet entirely scintillating glimpse at chiming, reflective and perfectly skewed pop innovation.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44366161903880,"sku":"","price":24.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/11170_740x_5dbfc119-cc8d-4c78-bcbf-13d0a5ab07d6.webp?v=1680269007"},{"product_id":"suki-waterhouse-i-cant-let-go-loser-edition-limited-edition-on-first-pressing","title":"Suki Waterhouse - I Can't Let Go (Loser Edition on Gold Vinyl)","description":"\u003cp\u003e\u003cem\u003eI Can't Let Go\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis the new full-length debut from Suki Waterhouse, available on LP, CD and Digital.\u003c\/p\u003e\n\u003cp\u003eNowadays, voice memos, videos, and pictures chronicle our lives in real-time. We trace where we’ve been and reveal where we’re going. However, Suki Waterhouse catalogs the most intimate, formative, and significant moments of her life through songs. You might recognize her name or her work as singer, songwriter, actress but you’ll really get to know the multi-faceted artist through her music. Memories of unrequited love, fits of longing, instances of anxiety, and unfiltered snapshots interlock like puzzle pieces into a mosaic of well-worn country, nineties-style alternative, and unassuming pop. She writes the kind of tunes meant to be grafted onto dusty old vinyl from your favorite vintage record store, yet perfect for a sun-soaked festival stage. These compositions comprise her upcoming 2022 full-length debut album, I Can’t Let Go [Sub Pop Records].\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“The album is called I Can’t Let Go, because for years it felt like I was wearing heavy moments on my sleeve and it just didn’t make sense to do so anymore. There’s so much that I’ve never spoken about. Writing music has always been where it felt safe to do so. Every song for the record was a necessity. In many ways, I’ve been observing my life as an outsider—even when I’ve been on the inside. It’s like I was a visitor watching things happen.’\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eGrowing up in London, Suki gravitated towards music’s magnetic pull. She listened to the likes of Alanis Morissette and Fiona Apple. Meanwhile, Oasis held a particularly special place in her heart. She initially teased out this facet of her creativity with a series of singles, generating nearly 20 million total streams independently. Nylon hailed her debut “Brutally” as “what a Lana Del Rey deep cut mixed with Joni Mitchell’s ‘Both Sides, Now’ would sound like.” In addition to raves from Garage, Vice and Lemonade Magazine, DUJOR put it best, “Suki Waterhouse’s music has swagger.” Constantly consuming artists of all stripes, she listened to the likes of Sharon Van Etten, Valerie June, Garbage, Frazey Ford, Lou Doillon, and Lucinda Williams. In late 2020, she finally dove into making what would become I Can’t Let Go. Falling in love with Hiss Golden Messenger’s Terms of Surrender, she reached out to its producer Brad Cook [Bon Iver,War On Drugs, Snail Mail, Waxahatchee].\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“I’ve been dreaming up this record for years,” she recalls. The weeks I spent in North Carolina with Brad were by far the best of my life.’\u003cbr data-mce-fragment=\"1\"\u003eThe first single “Moves” illuminates the nuances of her sound. Guitar echoes through soft piano and a veil of reverb. The momentum builds, and she warns, “I might put some goddamn moves on you, babe I know you need it.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“‘Moves’ is a song I first started writing one night on the couch, picking up the guitar and seeing what came out,” she explains. “It was a moment where I felt the urge to both sever a previous bond, while putting my faith back in trying a different path. I often think, ‘what happens when you are struck by someone who changes the course of your entire life?’ The song speculates on that journey, one that moves beyond lust and physical longing, where you know that you now have something to give.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe companion single “My Mind” pairs breathy vocals with an airy riff paced like a tumbleweed as her angelic hum takes hold.\u003cbr data-mce-fragment=\"1\"\u003eNext up is “Devil I Know.” A sparse beat trudges in tribal-style rhythm, while she leans into the cataclysmic chorus, “Back in hell at least I’m comfortable, need your body when my fire’s gone.”\u003cbr data-mce-fragment=\"1\"\u003eThere is also “‘Melrose Meltdown,” which Suki describes as “A shattering of illusion, undoing from a cage I'd been kept myself in where I'd thought was safe. It’s a sweeter send off, but there is an anger there when I sing it’.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eI Can’t Let Go culminates on “Blessed.” Her voice ebbs in and out of the cracks between lightly strummed guitar and delicate synths as she exhales, “I could be something.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“‘Blessed’ was right at the end,” she goes on. “It’s a song about the delicacy of family, a reflection on the moments that tested the fabric of it, when supposed light contains shadows. Ultimately, you’re cherishing the mistakes.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the end, Suki not only catalogs her life up to this point in the album, but she also fulfills a lifelong ambition.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“When I’ve been stuck or feel out of touch with a sense of inner meaning and outer purpose, I’ve found both through searching my memories and finding those events buried in the shadowy areas of the psyche where they were ignored,” she leaves off. “So many times of change in my life have required return visits—especially at the transitions through to the next stages. The album is an exploration of those moments when there is nothing left to lose. What is left and can’t be thrown away is the self.”\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44366171799816,"sku":"","price":26.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/products\/sukiwaterhouse-icantletgo-4000x4000_1200x1200_3611a4b6-7da9-48af-ac2e-4025fa8ec7f5.webp?v=1680269315"},{"product_id":"weyes-blood-and-in-the-darkness-hearts-aglow-loser-edition-first-pressing-on-clear-vinyl","title":"Weyes Blood - And In The Darkness, Hearts Aglow (Loser Edition on Clear Vinyl)","description":"\u003cp data-mce-fragment=\"1\"\u003eAugust 25th, 2022 Los Angeles, CA \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHello Listener, \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWell, here we are! Still making it all happen in our very own, fully functional shit show. My heart, like a glow stick that’s been cracked, lights up my chest in a little explosion of earnestness. And when your heart’s on fire, smoke gets in your eyes. \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTitanic Rising was the first album of three in a special trilogy. It was an observation of things to come, the feelings of impending doom. And in the Darkness, Hearts Aglow is about entering the next phase, the one in which we all find ourselves today — we are literally in the thick of it. Feeling around in the dark for meaning in a time of instability and irrevocable change. Looking for embers where fire used to be. Seeking freedom from algorithms and a destiny of repetitive loops. Information is abundant, and yet so abstract in its use and ability to provoke tangible actions. Our mediums of communication are fraught with caveats. Our pain, an ironic joke born from a gridlocked panopticon of our own making, swirling on into infinity. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI was asking a lot of questions while writing these songs, and hyper isolation kept coming up for me. “It’s Not Just Me, It’s Everybody” is a Buddhist anthem, ensconced in the interconnectivity of all beings, and the fraying of our social fabric. Our culture relies less and less on people. This breeds a new, unprecedented level of isolation. The promise we can buy our way out of that emptiness offers little comfort in the face of fear we all now live with – the fear of becoming obsolete. Something is off, and even though the feeling appears differently for each individual, it is universal. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTechnology is harvesting our attention away from each other. We all have a “Grapevine” entwined around our past with unresolved wounds and pain. Being in love doesn’t necessarily mean being together. Why else do so many love songs yearn for a connection? \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCould it be narcissism? We encourage each other to aspire – to reach for the external to quell our desires, thinking goals of wellness and bliss will alleviate the baseline anxiety of living in a time like ours. We think the answer is outside ourselves, through technology, imaginary frontiers that will magically absolve us of all our problems. We look everywhere but in ourselves for a salve. In “God Turn Me into a Flower,” I relay the myth of Narcissus, whose obsession with a reflection in a pool leads him to starve and lose all perception outside his infatuation. In a state of great hubris, he doesn’t recognize that the thing he so passionately desired was ultimately just himself. God turns him into a pliable flower who sways with the universe. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe pliable softness of a flower has become my mantra as we barrel on towards an uncertain fate. I see the heart as a guide, with an emanation of hope, shining through in this dark age. Somewhere along the line, we lost the plot on who we are. Chaos is natural. But so is negentropy, or the tendency for things to fall into order. These songs may not be manifestos or solutions, but I know they shed light on the meaning of our contemporary disillusionment. And maybe that’s the beginning of the nuanced journey towards understanding the natural cycles of life and death, all over again. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThoughts and Prayers,\u003cbr data-mce-fragment=\"1\"\u003eNatalie Mering (aka Weyes Blood)\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44832120865032,"sku":"","price":31.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/weyesblood-aitdha-2400px_740x_ee360027-56d1-4874-a0cb-ff1655d4f97f.webp?v=1699033095"},{"product_id":"the-vaselines-the-way-of-the-vaselines-wide-spined-double-black-vinyl","title":"The Vaselines - The Way of the Vaselines (Wide Spined Double Black Vinyl)","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Vaselines have long been celebrated by musicians and music enthusiasts across genres and across the globe, including super-fan Kurt Cobain. Emerging in the mid-eighties under the wing of The Pastels’s Stephen McRobbie, The Vaselines came to define the sly wit and irresistible pop hooks of the era’s Scottish indie scene. Sub Pop's remastered reintroduction of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Way of The Vaselines\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e is an opportunity for those already familiar with the Scottish band's brief career to delve deeper into their body of work, while those new to their music can experience firsthand why so many hold them in such high regard. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally mastered from a cassette tape (and since remastered on much better equipment in the new millennium), \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Way of The Vaselines \u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003ecompiles the band's two EPs (\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eSon of a Gun \u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003eand \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eDying for It\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e) and their sole LP release (\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eDum-Dum\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e). This 2023 edition is the first ever vinyl release of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Way of The Vaselines\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, which originally came out on CD in 1992.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":44834268610824,"sku":"","price":32.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/71vboNmiu2L._UF1000_1000_QL80.jpg?v=1699106579"},{"product_id":"earth-earth-2-special-low-frequency-version-30th-anniversary-edition-loser-edition-on-double-curacao-blue-vinyl","title":"Earth - Earth 2 Special Low Frequency Version \"30th Anniversary Edition\" (Loser Edition on Double Glacial Blue Vinyl)","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eDid you know that the music on Earth 2—repressed now for its 30th anniversary, back in its original artwork, and accompanied by a riveting set of remixes that demonstrate the reach of what Dylan Carlson long ago called “ambient metal”—works much the same way? The surface is massive and obvious, the meatpaw riffs of Carlson and bassist Dave Harwell pounding and swiping and pawing at the speakers, a true bludgeon in three-dimensional sound. Listen, though, for the details in the corners, for the finesse beneath the force, and Earth 2 reveals new levels of depth and wonder.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe widespread impact of Earth 2 suggests that others have indeed been leaning in, listening to these minutiae and making something new of them. A masterpiece without many genre precedents, Earth 2 surely helped send doom metal down its more modern drone, ambient, and avant-garde avenues. Those descendants are obvious. Perhaps more surprising and gratifying are the ways it has influenced electronic music, modern composition, and even hip-hop by realigning our senses of tempo, time, and texture. Earth 2 engendered a rearrangement of expectations, regardless of preferred form.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eEarth 2 was never an obvious record. 30 years on, have we yet to grasp the enormity of Earth 2, an album that has continued its slow cycle of influence, uninterrupted? Probably not. Hell, most of us don’t even know there are horses on the cover.\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/3GtMh4VlkB1U6W1QFVXkk1?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":45105857331464,"sku":"","price":36.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/a3672466792_10.jpg?v=1705577155"},{"product_id":"beach-house-once-twice-melody-double-140g-black-vinyl-wide-spine-outer-sleeve-silver-and-black-print-inner-sleeves-and-pull-out-poster-24-x-36","title":"Beach House - Once Twice Melody (Silver Edition on Double Black Vinyl w\/ Double-Sided Poster)","description":"\u003cspan data-mce-fragment=\"1\"\u003eBeach House release their 8th album titled \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eOnce Twice Melody. Once Twice Melody\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, the first album produced entirely by Beach House, was recorded at Pachyderm studio in Cannon Falls, MN, United Studio in Los Angeles, CA, and Apple Orchard Studios in Baltimore, MD. For the first time, a live string ensemble was used, with arrangements by David Campbell. \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eOnce Twice Melody\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e was mostly mixed by Alan Moulder but a few tracks were also mixed by Caesar Edmunds, Trevor Spencer, and Dave Fridmann.”\u003c\/span\u003e","brand":"Bella Union","offers":[{"title":"Default Title","offer_id":45175409869064,"sku":"BELLA1289V","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/beachhouse-oncetwicemelody-std-1500_1200x1200_3e702487-053f-4156-b59e-eba9ff01e826.webp?v=1707404736"},{"product_id":"pissed-jeans-half-divorced-loser-edition-on-green-vinyl","title":"Pissed Jeans - Half Divorced (Loser Edition on Green Vinyl)","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003ePissed Jeans has never been a band that goes halfway-they're known for their feral vocals, biting lyrics, buzzsaw guitars, and unhinged live shows, and their sixth album, Half-Divorced is no exception. These songs skewer the tension between youthful optimism and the sobering realities of adulthood, and when viewed through frontman Matt Korvette's scowl, everything takes on a level of violent absurdity. Pissed Jeans' notorious acerbic sense of humor remains sharper than ever as they dismember some of the joys that contemporary adult life has to offer, from helicopter parents to stolen catalytic converters to being $62,000 in debt. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn \"Seatbelt Alarm Silencer,\" Korvette growls, \"Call it a death drive but that ain't fair \/ Drive implies I'm headed somewhere.\" Korvette, Brad Fry (guitar), Randy Huth (bass), and Sean McGuinness (drums) weren't in any rush to finish Half-Divorced, which was recorded by Don Godwin at Tonal Park in Takoma Park, Maryland. \"We're not the kind of band that bangs out a new record every two years,\" Korvette said. \"Pissed Jeans is truly like an art project for us, which is what makes it so fun.\" This lack of restraint rages within the songs that unexpectedly veer into classic hardcore punk territory-often coming in at under two minutes long and erupting like the \"butane tank explosion\" Korvette sings about in \"Junktime.\" In the last song, \"Moving On,\" Korvette sneers, \"Cheesing into my camera phone \/ Pretending that I'm not alone \/ Life's the first thing that we all postpone.\" \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eOne gets the sense that Pissed Jeans refuses to \"postpone\" life in quite the same way-life, like art, is something that happens now, not later. -Chelsea Hodson\u003c\/span\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":45329497325832,"sku":"","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/a1996958208_10.jpg?v=1710852989"},{"product_id":"metz-up-on-gravity-hill-loser-edition-on-yellow-vinyl","title":"METZ - Up On Gravity Hill (Loser Edition on Yellow Vinyl)","description":"\u003cp\u003eWith time, we come to understand the way the joy of connection is mirrored by the void of loss, how the constancy of love is matched only by the impermanence of life, the simple idea that we could not create light if we did not risk the dark - we’d never need to.\u003c\/p\u003e\n\u003cp\u003eSo it is with Metz, a band once known for blowing out eardrums with songs of joyous rage who have, over their past few records, begun exploring ways to turn abrasiveness into atmospherics, the evolution of their sound not only a reflection of the maturing of the band themselves but also of a changed world that demands nuance and compassion to comprehend and to survive.\u003c\/p\u003e\n\u003cp\u003eIt was a journey already underway on 2020’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAtlas Vending\u003c\/i\u003e, but one that reaches new heights on\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eUp On Gravity Hill\u003c\/i\u003e, where the Canadian trio creates a kaleidoscopic sonic world as tender as it is dark, aided once again by engineer Seth Manchester (Mdou Moctar, Lingua Ignota, Battles, The Body). Deep, detailed, and unyieldingly personal, it is not only Metz’s most powerful record to date but also their most beautiful.\u003c\/p\u003e\n\u003cp\u003eStill three punks from Ontario at heart, guitarist and vocalist Alex Edkins, drummer Hayden Menzies, and bassist Chris Slorach waste no time as opener “No Reservation\/Love Comes Crashing” sweeps in like a wave, sonically and thematically setting the scene for the record to come. A dynamic song about feeling suspended in stasis, layers of dissonance melt into a restlessly heady outro marked by escalating crescendos of shimmering noise that reach for the stars—and is that a violin quivering brightly beneath those elegant swells of guitar, those charging drum fills, those intricate bass lines? It is indeed, courtesy of composer Owen Pallett; his presence an immediate indicator that Metz are thinking more cinematically than ever before.\u003c\/p\u003e\n\u003cp\u003eThe change is partially inspired by Edkins’ work as a scorer for film and television and his pop-leaning solo project, Weird Nightmare, where, he says, he learned to write more intuitively, letting his emotions lead the way. But make no mistake: Up On Gravity Hill is a total band effort, the work of three musicians who have been playing together for over a decade, with all the trust that entails.\u003c\/p\u003e\n\u003cp\u003eFor those who believe in the power of the rock band to exemplify the highest resonance of human connection, there is much on Up On Gravity Hill to lift the spirit, a puzzle worth repeated listening to unlock or just to get lost in again and again. Rather than the music being flattened into a single plane, the band explores “the space above the cymbals,” resulting in some of the most spacious, sympathetic, and accessible songs—could we call them pop?—of their career. If this seems contradictory, well, Metz has always been something of a contradiction. “We’ve never been heavy enough for metal or hardcore purists, but we're way too heavy for indie rock. We just don't have a lane—and that's okay. We exist outside the lines of delineation. I think this record is even more like that,” says Edkins.\u003c\/p\u003e\n\u003c!----\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":45704278147336,"sku":"","price":28.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/metz-upongravityhill-3600_1200x1200_4f892954-2964-4f51-9090-b7ebf2ef0052.webp?v=1717245741"},{"product_id":"shabazz-palaces-exotic-birds-of-prey-loser-edition-on-creamy-white-vinyl","title":"Shabazz Palaces - Exotic Birds of Prey (Loser Edition On Creamy White Vinyl)","description":"\u003cp\u003e\u003cspan\u003eShabazz Palaces release two new mini-albums, \u003c\/span\u003e\u003ci\u003eRobed in Rareness\u003c\/i\u003e\u003cspan\u003e and\u003c\/span\u003e\u003ci\u003e\u003cspan\u003e \u003c\/span\u003eExotic Birds of Prey\u003c\/i\u003e\u003cspan\u003e. Shabazz Palaces is masterminded by Ishmael Butler (Digable Planets), whose relentless drive to reimagine hip-hop – even as he enjoys his fifth decade on Earth – remains undiminished. \u003c\/span\u003e\u003ci\u003eExotic Birds of Prey\u003c\/i\u003e\u003cspan\u003e furthers the modus operandi of \u003c\/span\u003e\u003ci\u003eRobed in Rareness\u003c\/i\u003e\u003cspan\u003e: a respectful eye on the past, an embrace of an ever-evolving present, with its feet firmly planted in the future. Where Robed warped sounds like shoegaze and ambient music into the Shabazz Palaces multiverse, Exotic cross-pollinates these elements with twisted electro and funk vibes.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":45704360395016,"sku":"","price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/a0173682144_10.jpg?v=1717246473"},{"product_id":"amen-dunes-death-jokes-loser-edition-on-double-coke-bottle-green-vinyl","title":"Amen Dunes - Death Jokes (Loser Edition on Double Coke Bottle Green Vinyl)","description":"\u003cp\u003eWith\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDeath Jokes\u003c\/i\u003e, for the first time since the project's incarnation in 2006, the spiritual reflections and meditations of Amen Dunes are turned away from himself, and out sharply towards the world. The album is also a drastic turn musically and thematically, rooted in the electronic music of raves and of rap music he grew up with but never imagined himself able to make,  playing like a scathing electronic essay on America’s culture of violence, dominance, and destructive individualism. \u003c\/p\u003e\n\u003cp\u003e The work on\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDeath Jokes\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ebegan just weeks before the first word of the pandemic came in the winter of 2019; it was completed three years later as we began to emerge from the worst. The album's meaning morphed as the pandemic went on, first a reflection on our attachment to form, and to ourselves, and then shifting into a solemn indictment of our culture’s blind spots as we misjudge and attack, veiled self-centeredness and self-importance masquerading as morality.\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":49902762950920,"sku":"","price":32.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/a1571352336_10.jpg?v=1724945189"},{"product_id":"alan-sparhawk-low-white-roses-my-god-loser-edition-on-clear-vinyl","title":"Alan Sparhawk (Low) - White Roses, My God (Loser Edition on Clear Vinyl)","description":"\u003cp\u003eAlan Sparhawk of Low’s solo debut for Sub Pop is at once a bold new, electro-pop-infused adventure, and an extension of the innovation and experimentation that drove his work as a member of Low. It is his first album since the tragic 2022 loss of his wife and partner in Low, Mimi Parker. Recorded primarily by Alan at his home, with additional work and mixing by co-producer and young Minneapolis musician Nat Harvie. \u003c\/p\u003e\n\u003cp\u003eAlan Sparhawk has always been a prolific, protean musician. A restless soul eager to explore unfamiliar sonic and psychic terrain. Though he’s obviously (and justifiably) best-known for his thirty years as frontman of the legendary band Low, a look at Sparhawk’s many side projects across that same span of time shows him experimenting with everything from punk and funk to production work and improvisation. Low itself never settled for a set sound or approach. The band was always a collaboration—a conversation, a romance—between Sparhawk and his wife, Mimi Parker, who was the band’s co-founder, drummer, co-lead vocalist, and its blazing irreplaceable heart. To take the journey from Low’s hushed early work, through the tremendous melodies of their middle period, all the way to the late lush chaos of their final albums, is to witness heads, hearts, and spirits in an act of perpetual becoming. Parker passed away in 2022 after a long battle with cancer, and there is no question that \u003ci\u003eWhite Roses, My\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eGod\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis a record borne of grief. You can hear it in the title, as well as tracks such as “Heaven”, in which Sparhawk describes the afterlife, wrenchingly, as “a lonely place if you’re alone.” You can sense it too in Sparhawk’s decision to create this thing entirely on his own: every note, every lyric, every programmed beat. It would be reductive, even foolish, to see grief as the sole source or the final limit of this taut, brilliant, provocative, thrilling album, whose bold experimentation is powered by profound lyrics and propulsive beats.\u003c\/p\u003e\n\u003cp\u003e“Can you feel something here?” Sparhawk asks on “Feel Something.” The line repeats over and over, evolving first into “I want to feel something here” and then “Can you help me feel something here?” Meanwhile the musical means he’s chosen to convey this message—especially the pitch-shifter—might seem at first like they’re making it harder to access that very something he wants us (and himself) to feel. Isn’t the vocoder a barrier between us and the deep emotionality we’ve long associated with an Alan Sparhawk vocal? Maybe, maybe not. Probably not. But even if it is, then it’s a barrier worth breaking and the music itself is the hammer. Sparhawk conjures forth the ghosts trapped inside these machines. \u003ci\u003eWhite Roses, My God\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis an exorcism whose purpose is not to banish the spirit but to set it free.  In many ways \u003ci\u003eWhite Roses, My God\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003efeels like a hard break with the past, almost a debut. And yet there’s incredible continuity with Sparhawk’s past work and his traditional ways of working. He’s pathbreaking, yet again, invested as ever in the endless process of becoming himself. As he puts it on “Station”: “I can please myself with the things I seek out.” Us, too. We are lucky to be here to hear it as it happens.\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":50104180998408,"sku":"","price":29.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/a1021311001_10.jpg?v=1727532305"},{"product_id":"tunde-adebimpe-the-black-boltz-loser-edition-on-coloured-vinyl","title":"Tunde Adebimpe - The Black Boltz (Loser Edition on Coloured Vinyl)","description":"\u003cp\u003e\u003cspan\u003eFor the last 24 years, Tunde Adebimpe has largely been known as the co-founder, co-vocalist and principal songwriter for TV On The Radio. The mostly-black, art-rock band triumphed through two decades of volatile cultural change to become one of the most beloved, enduring and influential groups from New York City’s early-2000s rock scene. Though Tunde’s poetic songwriting and transparent, towering vocals are central to the band’s dissonant sound, TV On The Radio, has and always will be a collaboration between a group of singular musicians.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTunde’s personal story exists on a parallel path, as a sort of creative polymath. He is a musician but also an illustrator and painter. He’s a former animator and one-time stop-motion filmmaker. He is a television and film actor. And now he is also a solo artist, with his first-ever formal solo album, Thee Black Boltz (Sub Pop, 2025).\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTunde initially conceived of the album in 2019, while TV On The Radio was on a break. Two years later, as the world was emerging out of the global Covid pandemic, he started to put ideas down on paper; specifically, a notebook, which captures a free-thinking mix of words, illustrations and ideas. It is how Tunde begins most of his projects. Included in this notebook was a list of musical references and visual sketches that constituted what he calls, “mixtape of\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eemotions the music could evoke. A feeling map of sorts.” He started capturing those ideas in 2021 with the help of multi-instrumentalist Wilder Zoby (Run The Jewels), with whom he shares a studio with in Los Angeles.\u003cbr\u003e\u003cbr\u003eA child of Nigerian immigrants who came to America for a better life, Tunde split his youth between Nigeria and Pittsburgh. His father was a medical professional who loved to doodle and draw, and in doing so, ignited a passion for visual art in his children. “I remember the first time I saw that he could draw, like really draw,” Tunde remembers, “it was like he revealed some superpower. From then on, I was always doodling and he was very encouraging.”\u003cbr\u003e\u003cbr\u003eTunde moved to New York to attend college and found himself amongst a group of friends immersed in indie rock, tape-trading and zine-making. He discovered that creative expression, often visual, was a language he felt most comfortable with; that art allowed him to best communicate his feelings and also to make sense of the world around him. NYU Film School followed (much to his parents’ chagrin), and it was there Tunde developed an interest in the world of stop-motion animation. It ultimately led to a job working on MTV’s cult hit, “Celebrity Deathmatch.”\u003cbr\u003e\u003cbr\u003eFilm school is also where Tunde was introduced to acting. “I thought I wanted to be a director, but I didn’t feel comfortable giving anyone real instruction,” he laughs. “But I took direction well, and being in front of the camera felt more collaborative, more my speed.” Tunde’s first official role in front of the camera was in a classmate’s film, 2001’s “Jump Tomorrow.” Subsequently, Tunde has appeared in several television and film projects, including critically acclaimed roles in “Rachel Getting Married” (2008), “Spider Man Homecoming” (2017), “Twisters” (2024) and “Star Wars: Skeleton Crew” (2024).\u003cbr\u003e\u003cbr\u003eAround the same time as he was shooting his first movie, Tunde was also experimenting with making music. Making 4-track recordings in his bedroom and doing noise shows with his friends utilized the same creative muscles, he found, as making tapes and zines. “I don’t play an instrument. But it was one of the first times that I really got into just a punk ethos of like, if you have an idea, just get it out. It doesn’t need to be perfect. You don’t need a label or billboards. You can do everything yourself.” It was doing these 4-track songs and moving to Williamsburg in 2000 that led Tunde to meet Dave Sitek and his brother, and their collective lo-fi recordings became the genesis for TV On The Radio.\u003cbr\u003e\u003cbr\u003eThee Black Boltz is not a TV On The Radio album. But in a lot of ways, the excitement of doing something on his own for the first time ignited a similar spark in him as the early TV On The Radio days. The songwriting process is the same, he says, but with his TVOTR bandmates, Tunde knows he doesn’t always have to complete his ideas. “I’ve been doing this thing with this group of people for so long, that I can just have a vague sketch of a concept and I know Jaleel or Kyp will have five brilliant ideas on where it can go. But for Thee Black Boltz, I didn’t have that scaffolding to hang on. That was both terrifying and exhilarating.”\u003cbr\u003e\u003cbr\u003eAt the heart of the album is its title, a nod to Tunde’s propensity to write and sing about the human condition, in all its forms, under all its stressors, both big and small. It is his response to the macro unease of a post-pandemic world careening towards violent authoritarianism and the personal grief that has come from loss in recent years, specifically the sudden passing of his younger sister while making this album. Thee Black Boltz is Tunde’s desperate grasping of small moments of joy amidst the dissonance and sadness, any way he can. Making this album, he says, was his way of processing everything. “It was my way of building a rock or a platform for myself in the middle of this fucking ocean.”\u003cbr\u003e\u003cbr\u003eAnd thus, Thee Black Boltz. As he writes in his notebook, “The sparks of inspiration\/motivation\/hope that flash up in the midst of (and sometimes as a result of) deep grief, depression or despair. Sort of like electrons building up in storm clouds clashing until they fire off lightning and illuminate a way out, if only for a second.” “Also,” he adds. “It’s a good name for a cool metal band, and I think that most people would describe me as akin to a very cool metal band.”\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":51424196526344,"sku":"","price":32.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/a0256029870_10.jpg?v=1747137790"},{"product_id":"slift-ilion-double-black-vinyl","title":"Slift - ILION (Double Black Vinyl)","description":"\u003cp\u003eSLIFT’s \u003cem\u003eILION\u003c\/em\u003e is a towering work of rock music, a steamrolling record that starts at the highest peak and never lets up. If that sounds overwhelming, trust that this Toulouse trio have you in good hands. Their third full-length feels massive and oceanic, merging the furious intensity of metal and the wigged-out guitar heroics of psych rock with post-rock’s epic sense of scale.\u003c\/p\u003e\n\u003cp\u003eThe band is made up of brothers Jean and Remí Fossat and Canek Flores, who first met the brothers Fossat at school. After formally coming together in 2016, they quickly made their 2017 debut EP, \u003cem\u003eSpace Is the Key\u003c\/em\u003e, which merged stoner rock’s heaviness with the sugar-rush qualities of garage rock. From there, things only got weirder: The trio experimented with faster tempos and bongos on the following year’s full-length \u003cem\u003eLa Planeté Inexploreé\u003c\/em\u003e, and in 2019, their KEXP session recorded at the Trans Musicales festival in Rennes became a viral sensation. \u003cem\u003eUMMON\u003c\/em\u003e from 2020 represented SLIFT’s pivot towards the celestially crushing confines of psych-metal, marked by Remí’s rolling basslines and Flores’s relentless skin-pounding. But nothing in their already-estimable catalog could prepare you for \u003cem\u003eILION\u003c\/em\u003e, a huge-sounding and melodically dense record that at once recalls Godspeed! You Black Emperor’s perpetually uplifting surge, the passionate burn of post-hardcore legends …And You Will Know Us By the Trail of Dead, Led Zep’s psychotic blues-rock mysticism, and the psychedelic swirl of Swedish experimental greats Goat.\u003c\/p\u003e\n\u003cp\u003eBut reducing \u003cem\u003eILION\u003c\/em\u003e to a list of reference points would be missing the point. The record marks the band’s second Sub Pop release, following last year’s Singles Club 7” release of \u003cem\u003eUnseen \u003c\/em\u003eb\/w\u003cem\u003e The Real Unseen\u003c\/em\u003e, which were outtakes from the \u003cem\u003eUMMON\u003c\/em\u003e sessions and offered a mere taste of the pure expansiveness on display here. Over eight tracks and 75+ minutes, SLIFT unleash the fury with walls of guitar and multi-part song structures that make you feel as if you’re being taken on a true journey - from the pure oblivion of \u003cem\u003eILION\u003c\/em\u003e’s title track and the stretched-out abandon of centerpiece \u003cem\u003eWeavers’ Weft\u003c\/em\u003e to the intense climax of the 12-and-a-half-minute epic \u003cem\u003eThe Story That Has Never Been Told\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eNamed after the Ancient Greek word for the city of Troy and, conceptually speaking, \u003cem\u003eILION \u003c\/em\u003epicks up where \u003cem\u003eUMMON\u003c\/em\u003e left off: “\u003cem\u003eThis is an album constructed in the manner of a Homeric story,\u003c\/em\u003e” the band explains. “\u003cem\u003eWhere the two records differ is that ILION is about human emotions and feelings, whereas UMMON was telling an epic story with a distant view. ILION represents the fall of humanity and the rebirth of all things in time and space.\u003c\/em\u003e” Heavy shit, to be sure, but fear not, because you don’t need a 12-sided die and a copy of \u003cem\u003eThe Odyssey\u003c\/em\u003e to get what SLIFT are dishing out on \u003cem\u003eILION\u003c\/em\u003e. All you need are two ears, an open mind, and the willingness to be truly blown away.\u003c\/p\u003e\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/13eFPkUHYAhYQ7uSSm9It3?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":51491739468040,"sku":"","price":33.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/Slift_Ilion_1500px.webp?v=1747916762"},{"product_id":"bria-salmena-big-dog-loser-edition-on-orchid-vinyl","title":"Bria Salmena - Big Dog (Loser Edition on Orchid Vinyl)","description":"\u003cp\u003e\u003cspan\u003eBria Salmena’s debut solo album Big Dog chronicles a story of transformation–a deeply personal exploration of resilience and a declaration of artistic independence forged through collaboration. Long celebrated as the frontwoman of Canadian post-punk outfit FRIGS and as a vocalist in Orville Peck’s live band, Salmena culminates her artistic evolution on Big Dog. Anchored by her commanding voice—alternately tender, raw, and defiant—the album traverses the terrain of vulnerability and connection, marking the arrival of an artist boldly coming into her own.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBig Dog is a record of big emotions and big ambitions. Musically, the record takes elements of hypnotic krautrock and shimmery\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eshoegaze, opulent goth, and pulsing darkwave, with a smearing of electronic textures for a sophisticated and often uncanny sound. Amidst this vast sonic landscape, Salmena’s potent lyrical imagery and gorgeous vocals stand dead center, perfectly in focus.\u003cbr\u003e\u003cbr\u003eFor Salmena, it is impossible to unlink the personal journey represented by Big Dog from the collaborative relationships that went into its creation. Salmena worked with producer and multi-instrumentalist Duncan Hay Jennings in both FRIGS and Orville Peck’s band. Jennings, who is not only Salmena’s closest creative collaborator but also her closest friend, wrote Big Dog with Salmena over several years, during which Salmena was based in LA and Jennings in Toronto. Before Big Dog, the two gave classic and modern Americana songs a goth-y dream pop treatment on Salmena’s Cuntry Covers EPs.\u003cbr\u003e\u003cbr\u003eGraham Walsh (Holy F**k, METZ, Debby Friday, Alvvays) helped the pair further refine their budding mix of rock and electronic music, while Meg Remy (of critically acclaimed experimental pop project U.S. Girls) focused primarily on Salmena’s vocals. Remy helped coax out the unforgettable performances that lie at the center of Big Dog through a series of cathartic meetings, pushing Salmena to dig even more deeply into the meaning of her lyrics and really think about different ways of using her voice. As Big Dog came together, it became apparent that Salmena’s songwriting had taken a raw and intimate turn, going well beyond her and Jennings’ work on their prior EPs.\u003cbr\u003e\u003cbr\u003eBig Dog’s sound hovers between two worlds, gritty punk honesty always simmering below gleaming atmospherics, impossible to ignore. There are alternative rock touchstones—you’ll hear Live Through This, The Distillers, Mazzy Star —and one genuine alternative rock icon in Lee Ranaldo, who contributes guitar to \"See'er.” But there’s also a sleekness that’s just as much a callback to ‘80s coldwave as it is to ecstatic forms of dance music. Salmena’s rich voice is ever-present, a constant warm glow within a mesh of mechanical sounds. At its core, Big Dog is more than just a record about discovering who you are by processing painful experiences. It’s a record about discovering that you are never really alone.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ciframe style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/4iWJZ8fvIWxEH7oz7hpwOo?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":51946842292488,"sku":"SP1647","price":31.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/a2007324825_10.jpg?v=1752343383"},{"product_id":"weyes-blood-titanic-rising-black-vinyl","title":"Weyes Blood - Titanic Rising (Black Vinyl)","description":"\u003cp\u003e\u003cspan\u003eThe phantom zone, the parallax, the upside down—there is a rich cultural history of exploring in-between places. Through her latest, Titanic Rising, Weyes Blood (a.k.a. Natalie Mering) has, too, designed her own universe to soulfully navigate life’s mysteries. Maneuvering through a space-time continuum, she intriguingly plays the role of melodic, sometimes melancholic, anthropologist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTellingly, Mering classifies Titanic Rising as the Kinks meet WWII or Bob Seger meets Enya. The latter captures the album’s willful expansiveness (“You can tell there’s not a guy pulling the strings in Enya’s studio,” she notes, admiringly). The former relays her imperative to connect with listeners. “The clarity of Bob Seger is unmistakable. I’m a big fan of conversational songwriting,” she adds. “I just try to do that in a way that uses abstract imagery as well.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“An album is like a Rubik’s Cube,” she says. “Sometimes you get all the dimensions—the lyrics, the melody, the production—to line up. I try to be futuristic and ancient at once, which is a difficult alchemy. It’s taken a lot of different tries to get it right.” As concept-album as it may sound, it’s also a devoted exercise in realism, albeit occasionally magical. Here, the throwback-cinema grandeur of “A Lot’s Gonna Change” gracefully coexists with the otherworldly\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003etitle track, an ominous instrumental.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eTitanic Rising, written and recorded during the first half of 2018, is the culmination of three albums and years of touring: stronger chops and ballsier decisions. It’s an achievement in transcendent vocals and levitating arrangements—one she could reach only by flying under the radar for so many years. “I used to want to belong,” says the L.A. based musician. “I realized I had to forge my own path. Nobody was going to do that for me. That was liberating. I became a Joan of Arc solo musician.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eThe Weyes Blood frontwoman grew up singing in gospel and madrigal choirs. “Classical and Renaissance music really influenced me,” says Mering, who first picked up a guitar at age 8. (Listen closely to Titanic Rising, and you’ll also hear the jazz of Hoagy Carmichael mingle with the artful mysticism of Alejandro Jodorowsky and the monomyth of scholar Joseph Campbell.) “Something to Believe,” a confessional that makes judicious use of the slide guitar, touches on that cosmological upbringing. “Belief is something all humans need. Shared myths are part of our psychology and survival,” she says. “Now we have a weird mishmash of capitalism and movies and science. There have been moments where I felt very existential and lost.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eAs a kid, she filled that void with Titanic. (Yes, the movie.) “It was engineered for little girls and had its own mythology,” she explains. Mering also noticed that the blockbuster romance actually offered a story about loss born of man’s hubris. “It’s so symbolic that The Titanic would crash into an iceberg, and now that iceberg is melting, sinking civilization.” Today, this hubris also extends to the relentless adoption of technology, at the expense of both happiness and attention spans.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eThe track “Movies” marks another Titanic-related epiphany, “that movies had been brainwashing people and their ideas about romantic love.” To that end, Mering has become an expert at deconstructing intimacy. Sweeping and string-laden, “Andromeda” seems engineered to fibrillate hearts. “It’s about losing your interest in trying to be in love,” she says. “Everybody is their own galaxy, their own separate entity. There is a feeling of needing to be saved, and that’s a lot to ask of people.” Its companion track, “Everyday,” “is about the chaos of modern dating,” she says, “the idea of sailing off onto your ships to nowhere to deal with all your baggage.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eBut Weyes Blood isn’t one to stew. Her observations play out in an ethereal saunter: far more meditative than cynical. “I experience reality on a slower, more hypnotic level,” she says. “I’m a more contemplative kind of writer.” To Mering, listening and thinking are concurrent experiences. “There are complicated influences mixed in with more relatable nostalgic melodies,” she says. “In my mind my music feels so big, a true production. I’m not a huge, popular artist, but I feel like one when I’m in the studio. But it’s never taking away from the music. I’m just making a bigger space for myself.”\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/0Cuqhgy8vm96JEkBY3polk?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":52111121744136,"sku":"SP1232","price":29.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/a1673180911_10.jpg?v=1754241420"},{"product_id":"nation-of-language-dance-called-memory-loser-edition-on-white-and-red-opaque-corona-effect-vinyl","title":"Nation of Language - Dance Called Memory (Loser Edition on White and Red Opaque Corona Effect Vinyl)","description":"\u003cp\u003e\u003cspan\u003eSynthpop, minimal wave, post-punk, goth, new romantic — fans and critics alike have dug deeply into their vintage thesauruses to describe the beguiling work of Nation of Language. And if you can’t precisely define the band, that’s the point. Frontman Ian Richard Devaney has become prodigious in expanding what synthesizer-driven music can evoke, such that his output is as much an extrasensory journey as it is an all-too-human destination. With that experience in mind, he wrote the band’s fourth album — the spectral, spacious Dance Called Memory — in the most humble of ways: chipping away at melancholia by sitting around and strumming his guitar. “It’s a great way to distract yourself,” he says, “when you are depressed.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNation of Language’s first two albums, Introduction, Presence (2020), and A Way Forward (2021), came as pandemic godsends: gorgeous, relatable soundtracks to our collective doldrums. But it was their last LP, Strange Disciple (2023), that catapulted the group from cultural standouts to critical darlings, with the album being named Rough Trade’s Album of the Year. With that release, Pitchfork wrote that the band “are learning what it means to get bigger and better.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is Devaney’s calling: soulfully translating individual despair into a comforting, collective mourning. This uncannily\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003epervades the album. The single “Now That You’re Gone,” which radiates and reverberates with a devastating wistfulness, was inspired by witnessing his godfather’s tragic death from ALS, and his parents’ role as caretakers for this ailing friend. “To be a caretaker — transforming your home into a kind of hospital wing and structuring your life around the dire needs of another — is such a difficult, powerful act of love and friendship,” Devaney says. “It’s made more difficult by our economic system that doesn’t seem to value this in any way commensurate with how hard it is.” At its heart, the song is a reflection of how friends can be there for each other, and also highlights a theme throughout the record: the pain and lost promise of friendships that fall apart.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eThis concept is echoed in the track “I’m Not Ready for the Change,” referencing the psychic dyspepsia that repeatedly reincarnates throughout our lives. Says Devaney: “I came across a photo from a party — it was filled with couples that were no longer together, friends who had gone their separate ways. It wasn’t from very long ago, but the sheer impossibility of such a gathering struck me in the heaviest way. Sometimes it feels like the pages of life’s book are turning faster than you can comprehend them.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eIn approaching the recording of Dance Called Memory, the band once again collaborated with friend and Strange Disciple producer Nick Millhiser (LCD Soundsystem, Holy Ghost!). “What’s so great about working with Nick is his ability to make us feel like we don’t need to do what might be expected of us, or to chase any particular sound,” says synth player Aidan Noell, who, along with bass player Alex MacKay, rounds out the Nation of Language lineup. As a result, they imbued Dance Called Memory with a shifted palette — sampling chopped-up drum breaks on “I’m Not Ready for the Change” for a touch of Loveless-era My Bloody Valentine, or smashing all of the percussion of “In Another Life” through a synthesizer to cast a shade of early-2000s electronic music.\u003cbr\u003e\u003cbr\u003eUltimately, the hope was to weave raw vulnerability and humanity into a synth-heavy album. “There is a dichotomy between the Kraftwerk school of thought and the Brian Eno school of thought, each of which I’ve been drawn to at different points. I’ve read about how Kraftwerk wanted to remove all of the humanity from their music, but Eno often spoke about wanting to make synthesized music that felt distinctly human,” Devaney says. “As much as Kraftwerk is a sonically foundational influence, with this record I leaned much more towards the Eno school of thought. That this thing should be as unvarnished and warm as possible. In this era quickly being defined by the rise of AI supplanting human creators I’m focusing more on the human condition, and I need the underlying music to support that.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eDespite the heavy themes at its core, Devaney insists, “Instead of hopelessness, I want to leave the listener with a feeling of us really seeing one another, that our individual struggles can actually unite us in empathy.”\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/2fNPTFiU2sCY9m6tv3Ucqa?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":52472591810824,"sku":"SP1700X","price":31.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/a0910386475_10_1.jpg?v=1758384799"},{"product_id":"clipping-dead-channel-sky-loser-edition-on-double-neon-pink-vinyl","title":"clipping. - Dead Channel Sky (Loser Edition on Double Neon Pink Vinyl)","description":"\u003cp\u003e\u003cspan\u003eBecause of their mix of hellified gangster shit and progressive compositions, I once jokingly called Clipping “Deathrow Tull.” Well, it’s not a joke anymore. While their last few projects have been record-long concepts like the classic prog rock of old, Dead Channel Sky is mixtape-like, a carefully curated collection of songs in which every track is a love letter to a possible present. Like a mashup of distinct elements, the overall concept is there, but the result is brief glimpses into a world rather than an overview of it. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it’s a reminder of how slipshod our present moment truly is.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn my book Dead Precedents: How Hip-Hop Defines the Future, I draw what Walter Benjamin would call correspondences between early hip-hop culture and cyberpunk literature, the binary stars of the solar system at the end of the millennium. I exploit their similarities to illustrate how the cultural practices of hip-hop have informed the cultural practices of the now. Hip-hop was borne of the post-apocalyptic scene in the South Bronx in the early 1970s. Its repurposing of outmoded technology, the hand-styled hieroglyphic screennames on every colorfast surface, and\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ethe gyrating dance moves—an entire culture forged from the freshest of what was available at hand—mirrors the post-apocalyptic techno-scrounge of William Gibson’s Neuromancer, Rudy Rucker’s Software, and other early works by the contributors to Bruce Sterling’s Mirrorshades anthology (Pat Cadigan, John Shirley, Lewis Shiner, and Sterling himself, among others). Add the leather-clad mohawks of Afrika Bambaataa and the Soulsonic Force or Rammellzee’s B-boy battle armor and a blend of the two comes further into focus.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eJuxtaposing high-tech, corporate command-and-control systems (the “cyber”) with the lo-fi, D.I.Y. underground (the “punk”), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. There are works before and works since that embody the visions and values of cyberpunk, but these dates act as rough parameters for their assimilation into the larger social sphere, for the time it took cyberpunk to become cyberculture. In the meantime, hip-hop matured, went through its Golden Era, then melted into further forms. Over the same decades, it went from “Planet Rock” to “Bring da Ruckus” to “Hard Knock Life,” from Fab 5 Freddy to Public Enemy to Missy Elliott, from Run-DMC to N.W.A. to Notorious B.I.G. While other genres flirted with it, hip-hop was fickle and fey. Any tryst with the odd bedfellow was a one-night stand at best. Rap and rock birthed mutant offspring maligned by most, and hip-hop’s relations with electronica rarely fared any better.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eThose twin suns - hip-hop and cyberpunk - both rose in the 1970s and warmed the wider world during the 1980s and 1990s. What if someone explicitly merged them into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that’s long since moved on.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eOn Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle, are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum \u0026amp; bass, big beat—the detritus of a different timeline, the survivors of armed audio warfare. That war at thirty-three and a third, its atrocities imprinted upon yet another generation, what someone once called, “the presence of the significance of things” without a hint of ambiguity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eClipping are very story oriented. They deal in ontology and narrative as much as beats and rhymes. They’ve been approaching making music like writing science fiction since the band’s conception. Two of their records have been nominated for Hugo Awards (one of science fiction’s top literary prizes), and a novella spun-off from their music was nominated for a third. As Clipping, they’ve collaborated with as many of their fellow experimental noise artists as they have fellow rappers. Here those co-conspirators include everyone from the guitarist Nels Cline on the outro to “Dodger” (titled “Malleus”) to their labelmates Cartel Madras on “Mirrorshades, pt. 2,” rapper\/actor Tia Nomore on “Scams,”as well the wordy wordsmith Aesop Rock on “Welcome Home Warrior.” Diggs is known for intricate lyrics and rapid-fire rapping, and the tracks that Snipes and Hutson build in the background are no less complex. On “Code,” they sample narrated memories from the Afrofuturist documentary The Last Angel of History; and on “Dominator,” they repurpose a line from the classic Dutch hardcore track “Dominator” by Human Resource. All of the above serves to give us a glimpse of an adjacent possible present, where hip-hop and cyberpunk are one culture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eBinary stars are often perceived as one object when viewed with the naked eye. Like those twin sun systems, it’ll take some special equipment and some discerning attention to pull the stars apart on this record. As Diggs barks on the fire-starting “Change the Channel”: Everything is very important!\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/2AkszlufP2t2ZHfC8NKKvN?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":52569479315720,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/a3843558528_10.jpg?v=1759785667"},{"product_id":"σtella-adagio-loser-edition-on-white-vinyl","title":"Σtella - Adagio (Loser Edition on White Vinyl)","description":"\u003cp\u003eAlmost as soon as Stella Chronopoulou began writing \u003cem\u003eAdagio\u003c\/em\u003e, her fifth album as Σtella, she knew the time had finally come to sing in Greek, her native tongue. It would be a first. She started the record almost by accident in 2019, during an 11-hour boat ride to the island of Anafi. Σtella had recently gone through a patch of personal turmoil and needed a break from home. On the ferry, she pulled out her cell phone as the boat clipped through the Mediterranean and began with a simple melody, steadily piecing together a rough instrumental. As psychedelic keyboards twinkled and swayed above staccato drums, the track suggested some deep exhalation, as if Σtella were letting go of long-unnecessary baggage. For a spell, she set the instrumental aside. She understood the words would eventually need to be in Greek, given how and where she’d written it, the mood of the moment. But she wasn’t ready yet, or in a rush.\u003c\/p\u003e\n\u003cp\u003eBorrowing its name, of course, from the term for music that’s meant to be played slowly, \u003cem\u003eAdagio\u003c\/em\u003e is a pop record that feels like a very warm blanket, its nylon-string guitars and featherlight percussion swaddling its listeners for three minutes at a time. Written and recorded over the span of five years, with a consortium of international collaborators including !!!’s Rafael Cohen and British songwriter Gabriel Stebbing, \u003cem\u003eAdagio\u003c\/em\u003e is a 27-minute meditation on love and desire, rest and time. The album was produced by Σtella and mixed by Edmund Irwin-Singer. Though the bulk of it is indeed sung in English, as all her records have been, Σtella also delivers her first two songs in Greek here—“Omorfo Mou,” the one that began on the boat, and a cover of a 1969 cult classic of the Greek New Wave, Litsa Sakellariou’s “Ta Vimata.” It is a sign of the self-assurance that radiates throughout these tender and smitten little tunes.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/3TAhlJxvOBskHFd0J1YRmq?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":52864368574728,"sku":null,"price":31.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/tella_-_Adagio_-_2025.webp?v=1764004024"},{"product_id":"the-gits-frenching-the-bully-limited-edition-on-opaque-red-vinyl","title":"The Gits - Frenching the Bully (Limited Edition on Opaque Red Vinyl)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMia Zapata was the greatest rock singer of her time. She may well have been the greatest blues 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 that was built around her by Andy Kessler (guitar: metronomic and furious), Matt Dresdner (bass: fluid, punching, beat-addicted and melodic), and Steve Moriarty (drums: martial and explosive) - who, with Mia, combined to form The Gits - made it true. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986, grabbing and swapping pieces of art, thrash, noise, punk rock, classic rock, and all the sorts of magical silly and bookish jingle bells that an old-school liberal arts education handed you; for the next few years they worked on turning it all into something tough, sensitive, both brutal and kind. Andy, Matt, Mia, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) wood-shedded 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\u003cem\u003eFrenching the Bully\u003c\/em\u003e\u003cspan\u003e. Seattle quickly claimed the quartet as their own and embraced the Gits blend of ferocious fangs and soft heart, the slug\/slap of the guitars, and the gorgeous, soft underbelly of the poetic emotions. These qualities not only fit in with the doe-eyed\/sharp-clawed grunge ethos but earned the Gits the respect of their peers, including Nirvana, who tapped them to open a major local show in 1990. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan\u003eIn 1993, less than four weeks after accepting an offer from Atlantic Records, Mia died. But this is not about death; it’s about an extraordinary life. I do not say, “You should have been there,” I say, “We are lucky so many of us were, and I am so glad we have this extraordinary evidence of the power and gifts of Mia and the Gits that you now can hold in your hands.” \u003c\/span\u003e\u003cem\u003eFrenching the Bully\u003c\/em\u003e\u003cspan\u003e, this extraordinary testament to the soul, shock, fury and feeling of the Gits, has been long out of print on vinyl, and this new edition - remastered by legendary Seattle engineer Jack Endino - joyfully rectifies that.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/0unK1ttNt8xgj6bU0cMo2t?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":52971146182920,"sku":"SP1648RD","price":31.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/thegits-frenchingthebully-3600px_1024x1024_2x_9500083f-0300-4312-bba8-c2d5eed4b78a.webp?v=1765727375"},{"product_id":"slift-ilion-loser-edition-on-double-blackened-red-vinyl","title":"SLIFT - ILION (Loser Edition on Double Blackened Red Vinyl)","description":"\u003cp\u003eSLIFT’s \u003cem\u003eILION\u003c\/em\u003e is a towering work of rock music, a steamrolling record that starts at the highest peak and never lets up. If that sounds overwhelming, trust that this Toulouse trio have you in good hands. Their third full-length feels massive and oceanic, merging the furious intensity of metal and the wigged-out guitar heroics of psych rock with post-rock’s epic sense of scale.\u003c\/p\u003e\n\u003cp\u003eThe band is made up of brothers Jean and Remí Fossat and Canek Flores, who first met the brothers Fossat at school. After formally coming together in 2016, they quickly made their 2017 debut EP, \u003cem\u003eSpace Is the Key\u003c\/em\u003e, which merged stoner rock’s heaviness with the sugar-rush qualities of garage rock. From there, things only got weirder: The trio experimented with faster tempos and bongos on the following year’s full-length \u003cem\u003eLa Planeté Inexploreé\u003c\/em\u003e, and in 2019, their KEXP session recorded at the Trans Musicales festival in Rennes became a viral sensation. \u003cem\u003eUMMON\u003c\/em\u003e from 2020 represented SLIFT’s pivot towards the celestially crushing confines of psych-metal, marked by Remí’s rolling basslines and Flores’s relentless skin-pounding. But nothing in their already-estimable catalog could prepare you for \u003cem\u003eILION\u003c\/em\u003e, a huge-sounding and melodically dense record that at once recalls Godspeed! You Black Emperor’s perpetually uplifting surge, the passionate burn of post-hardcore legends …And You Will Know Us By the Trail of Dead, Led Zep’s psychotic blues-rock mysticism, and the psychedelic swirl of Swedish experimental greats Goat.\u003c\/p\u003e\n\u003cp\u003eBut reducing \u003cem\u003eILION\u003c\/em\u003e to a list of reference points would be missing the point. The record marks the band’s second Sub Pop release, following last year’s Singles Club 7” release of \u003cem\u003eUnseen \u003c\/em\u003eb\/w\u003cem\u003e The Real Unseen\u003c\/em\u003e, which were outtakes from the \u003cem\u003eUMMON\u003c\/em\u003e sessions and offered a mere taste of the pure expansiveness on display here. Over eight tracks and 75+ minutes, SLIFT unleash the fury with walls of guitar and multi-part song structures that make you feel as if you’re being taken on a true journey - from the pure oblivion of \u003cem\u003eILION\u003c\/em\u003e’s title track and the stretched-out abandon of centerpiece \u003cem\u003eWeavers’ Weft\u003c\/em\u003e to the intense climax of the 12-and-a-half-minute epic \u003cem\u003eThe Story That Has Never Been Told\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eNamed after the Ancient Greek word for the city of Troy and, conceptually speaking, \u003cem\u003eILION \u003c\/em\u003epicks up where \u003cem\u003eUMMON\u003c\/em\u003e left off: “\u003cem\u003eThis is an album constructed in the manner of a Homeric story,\u003c\/em\u003e” the band explains. “\u003cem\u003eWhere the two records differ is that ILION is about human emotions and feelings, whereas UMMON was telling an epic story with a distant view. ILION represents the fall of humanity and the rebirth of all things in time and space.\u003c\/em\u003e” Heavy shit, to be sure, but fear not, because you don’t need a 12-sided die and a copy of \u003cem\u003eThe Odyssey\u003c\/em\u003e to get what SLIFT are dishing out on \u003cem\u003eILION\u003c\/em\u003e. All you need are two ears, an open mind, and the willingness to be truly blown away.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/13eFPkUHYAhYQ7uSSm9It3?utm_source=generator\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":53266508906760,"sku":"SP1626X","price":33.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/a0712164230_10.jpg?v=1770415611"},{"product_id":"velocity-girl-simpatico-remastered-and-expanded-loser-edition-on-bio-petrol-and-magenta-vinyl","title":"Velocity Girl - ¡Simpatico! (Remastered and Expanded Loser Edition on Bio Petrol and Magenta Vinyl)","description":"\u003cp data-end=\"532\" data-start=\"182\"\u003e\u003cem data-end=\"221\" data-start=\"182\"\u003e¡Simpatico! (Remastered and Expanded)\u003c\/em\u003e gives Velocity Girl’s long out-of-print 1994 sophomore album, \u003cem data-end=\"301\" data-start=\"288\"\u003e¡Simpatico!\u003c\/em\u003e, an overdue refresh with a sparkling-fresh mastering job and a treasure trove of bonus tracks from the \u003cem data-end=\"418\" data-start=\"405\"\u003e¡Simpatico!\u003c\/em\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 data-end=\"1293\" data-start=\"534\"\u003eVelocity Girl formed in 1989 or so at the University of Maryland outside Washington DC with guitarist Archie Moore (Black Tambourine), guitarist Brian Nelson (Black Tambourine), drummer Jim Spellman (Starry Eyes, Foxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), bassist Kelly Riles (Starry Eyes), and singer Sarah Shannon (Starry Eyes, The Not Its). The band combined English-inspired noisy shoegaze fuzz with scrappy US indie rock and classic ‘60s-style pop songwriting. A killer single on Slumberland and non-stop touring grabbed the attention of the indie-rock cognoscenti, and soon after Velocity Girl signed a contract with Sub Pop on a car hood in Hoboken, New Jersey.\u003c\/p\u003e\n\u003cp data-end=\"1977\" data-start=\"1295\"\u003eAfter touring in support of their debut, \u003cem data-end=\"1347\" data-start=\"1336\"\u003eCopacetic\u003c\/em\u003e, the band spent the better part of a year coming up with a batch of songs for a second album. They had never worked that way before – having focused time, and a budget (from a label!), to make an album that wasn’t a self-produced, punk-rock studio thing was a fresh experience. Having played their new material for months in the noisy style of \u003cem data-end=\"1703\" data-start=\"1692\"\u003eCopacetic\u003c\/em\u003e, the band found themselves excited about the tunes, but trying to move away from the scrappy, amateur vibe of their previous records. And their influences were a bit different this time around: less My Bloody Valentine and The Wedding Present, more New Order.\u003c\/p\u003e\n\u003cp data-end=\"2623\" data-start=\"1979\"\u003eSomebody at Sub Pop connected the band with John Porter, the one-time Roxy Music member who had produced The Smiths, Billy Bragg, The Alarm, and a bunch of other ’80s acts. They met up on a tour stop in Los Angeles, at a Hamburger Hamlet. He agreed to produce the album in a three-week session at Cue Studios in Falls Church, VA. He was exactly what the band needed: an editor, arranger, and taskmaster. As he mercilessly excised every unnecessarily repeated bar, the band realized they’d gravitated to a sound with cleaner lines, and almost entirely ditched the noisy guitar, no doubt influenced by Porter’s presence. Velocity Girl was extremely happy with the results, and \u003cem data-end=\"2698\" data-start=\"2685\"\u003e¡Simpatico!\u003c\/em\u003e came out in June of 1994. This expanded reissue adds a number of songs recorded at Inner Ear Studios in Arlington, VA, a few months after the album sessions. These sessions provided playfully experimental B-sides to the album’s singles, two cover songs (\u003cem data-end=\"2973\" data-start=\"2953\"\u003eYour Silent Face\u003c\/em\u003e by New Order, and a Beach Boys cover) for a single on Merge Records, and a compilation track.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/6qzIRz6ibQ4hF8YWRGkLoS?utm_source=generator\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":53266520047880,"sku":"SP1703X","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/VELOCITYGIRL-_Simpatico_RemasteredandExpanded.webp?v=1770416182"},{"product_id":"lala-lala-heaven-2-loser-edition-on-crystal-clear-vinyl","title":"Lala Lala - Heaven 2 (Loser Edition on Crystal Clear Vinyl)","description":"\u003cp\u003eThe fourth album and Sub Pop debut by Lala Lala, aka Lillie West, is a punchy, warm, and hook-filled burst for indie-pop fans, co-produced by Lala Lala and Melina Duterte of Jay Som and featuring contributions from Sen Morimoto and Porches’ Aaron Maine. Lillie West has always made her music in response to an itch to always be moving. But, as she recently experienced a burgeoning desire to settle down, she realised that steadiness can beget creativity. That evolution is what fuels much of \u003cem\u003eHeaven 2\u003c\/em\u003e. For many years, West lived in Chicago, where she established Lala Lala as part of that city’s indie scene, releasing several records on the Sub Pop imprint Hardly Art. Those albums, \u003cem\u003eThe Lamb and I Want the Door to Open\u003c\/em\u003e, 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. West left Chicago to search for more and, in the process, wrote \u003cem\u003eHeaven 2\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eOn her journey, she landed in New Mexico, where she lived off the grid in Taos. “\u003cem\u003eIt 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,\u003c\/em\u003e” West says. 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. Eventually, she made her way to Reykjavik and settled in with the music community and released an instrumental album (\u003cem\u003eIf I Were A Real Man I Would Be Able To Break The Neck Of A Suffering Bird\u003c\/em\u003e) before heading to Los Angeles, where she has fallen in love and found herself settled.\u003c\/p\u003e\n\u003cp\u003eWest produced the album with Jay Som’s Melina Duterte, who provides a strong punchiness as a bed for West’s warm, rounded vocals. The relationship between the two of them was telepathic, and the result is a bold and confident album. 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\u003ci\u003e.\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/5DNFT7cSHevC4ayOuLA22e?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":53366853796104,"sku":"SP1696X","price":29.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/Lala_Lala_-_Heaven_2_-_2026.jpg?v=1771709424"},{"product_id":"iron-wine-hens-teeth-loser-edition-on-oxblood-vinyl","title":"Iron \u0026 Wine - Hen's Teeth (Loser Edition on Oxblood Vinyl)","description":"\u003cp\u003e“\u003cem\u003eI’ve always wanted to use that title,\u003c\/em\u003e” Sam Beam says of \u003cem\u003eHen’s Teeth\u003c\/em\u003e, his eighth full-length album and his sixth for Sub Pop Records. “\u003cem\u003eI just love it. To me it suggests the impossible. Hen’s teeth do not exist. And that’s what this record felt like: a gift that shouldn’t be there but it is. An impossible thing but it’s real.\u003c\/em\u003e”\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHen’s Teeth\u003c\/em\u003e and his previous album, \u003cem\u003eLight Verse\u003c\/em\u003e, are siblings of a sort. They were recorded during the same sessions after a year-long dry spell, with the same band, at Waystation studio in Laurel Canyon. “\u003cem\u003eWhen 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\/em\u003e” In 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\n\u003cp\u003eThe world of \u003cem\u003eHen’s Teeth\u003c\/em\u003e is earthier, darker, more robust and more tactile than that of \u003cem\u003eLight Verse\u003c\/em\u003e. The 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\n\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 \u003cem\u003eI’m With Her\u003c\/em\u003e appears on the ebullient lead single, “Robin’s Egg,” and again on the tender, mournful “Wait Up.”\u003c\/p\u003e\n\u003cp\u003e\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/4v7qrSwfjkEKu4hd1OwwvN?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":53366925951240,"sku":"SP1707X","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/Iron_And_Wine_-_Hen_s_Teeth_-_2026.webp?v=1771710697"},{"product_id":"sunn-o-sunn-o-loser-edition-on-double-oxblood-vinyl","title":"Sunn O))) - Sunn O))) (Loser Edition on Double Oxblood Vinyl)","description":"\u003cp\u003e\u003cspan\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 recognisable as their own. Now, Sunn O))) return with their first album of new material since 2019’s \u003cem\u003ePyroclasts\u003c\/em\u003e. Their tenth album (and debut for 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\/span\u003e\u003cspan\u003eThe eponymously titled \u003cem\u003eSunn O))) \u003c\/em\u003ewas tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (Hum, Tar, Sunny Day Real Estate, Liz Phair).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSunn O))) have long welcomed collaborators into their self-contained world: past work has featured, Attila Csihar (Mayhem), composer Hildur Guðnadóttir, multi-instrumentalist Steve Moore, polymath Mark Deutrom, Silkworm’s Tim Midyett and legendary singer-songwriter Scott Walker. But on this album O’Malley and Anderson found fresh possibilities in the primal territory of the duo format, performing all the instrumentation themselves. \u003c\/span\u003e\u003cspan\u003eThe compositions on\u003cem\u003e Sunn O)))\u003c\/em\u003e are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Amidst howling feedback and glacial crunch, one finds surprisingly delicate moments: a field recording of water trickles beneath, piano interludes lend a hushed, solemn feel. All while the duo attains fresh heights of telepathic intensity as they shape music that breathes the bracing, earthy air of the Pacific Northwest.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFraming the album visually are two paintings by the late American artist Mark Rothko. Liner notes are by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the relationship between humanity and nature. Through the work of the band, Macfarlane, and Rothko, sound, word and visual combine into a fully immersive experience that is undeniably, completely Sunn O))).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/1grbT4stwprQnmPMxshbbI?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":56101034033416,"sku":"SP1685X","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/a3577788719_10.jpg?v=1775484677"},{"product_id":"sunny-day-real-estate-lp2-remastered-edition-on-double-black-vinyl-w-bonus-tracks","title":"Sunny Day Real Estate - LP2 (Remastered Edition on Double Black Vinyl w\/ Bonus Tracks)","description":"\u003cp\u003e\u003cspan\u003eThis is the 2009 reissue of Sunny Day Real Estate’s 1995 sophomore album, commonly, and largely unofficially, referred to as either \u003c\/span\u003e\u003cem\u003eLP2\u003c\/em\u003e\u003cspan\u003e or \u003c\/span\u003e\u003cem\u003eThe Pink Album\u003c\/em\u003e\u003cspan\u003e. \u003c\/span\u003e\u003cspan\u003eThis edition has been remastered and includes the bonus tracks “Spade and Parade” and “Bucket of Chicken,” as well as newly written liner notes.\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/26cZAXVrLIwAM9hMWtWskU?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":57827692937480,"sku":"SP852","price":32.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/a3191808500_10.jpg?v=1778876481"},{"product_id":"telehealth-green-world-image-loser-edition-on-clear-vinyl","title":"Telehealth - Green World Image (Loser Edition on Clear Vinyl)","description":"\u003cp\u003eTelehealth was forged in the opportunity-rich environment of post-Covid Seattle as a scalable music startup with similar goals. Co-founded in 2022 by married couple and fellow gambling enthusiasts Alexander Attitude (synths\/vox\/guitar) and Kendra Cox (synths\/vox), and joined by longtime collaborators Ian McCutcheon (drums), John O’Connor (bass), and Dillon Sturtevant (guitar), the group aims to financialize any difference of opinion over how the in-shambles local “music scene” should proceed.\u003c\/p\u003e\n\u003cp\u003eCan you be DIY and have good SEO? Can one earn progressive cultural cachet and hard cash at the same time? Is art funded by tech industry “culture grants” kind of a bummer, authentically gorpcore (young men are embracing the “quarter-zip lifestyle” according to the New York Times), or ironically punk? For Telehealth, the answer to these questions aren’t yes or no, but rather, an untapped gap in the music market waiting for a band visionary and unhinged enough to bet on the spread. Produced by Trevor Spencer,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGreen World Image\u003c\/em\u003e, Telehealth’s sophomore LP (following debut LP Content Oscillator and a Sub Pop Singles Club release, both from 2023), and its IPO with angel investors Sub Pop, is a vertically-integrated artwork for the post-grunge, post-flannel Seattleite, and consumers around the globe who are also ready to financialize their own passion for music.\u003c\/p\u003e\n\u003cp\u003eTrauma-informed, results-driven, and eminently danceable, the weirdo punk record is inspired by Attitude’s tenure as a former architect in a Climate Pledged- city that has perfected the art of “Green World” architecture with its network of efficiently zoned 5-over-1s. 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 transhuman 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\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/1aDMfclP6HvvAPAvIhyEtq?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":57827883155720,"sku":"SP1720X","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/44451329349-scaled.jpg?v=1778880344"},{"product_id":"slift-fantasia-loser-edition-on-double-sparkle-starlight-vinyl","title":"SLIFT - Fantasia (Loser Edition on Double Sparkle Starlight Vinyl)","description":"\u003cp\u003eIn the technical sense, every previous album by the radiant and heavy French trio SLIFT has been a fantasia - a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. Their acclaimed third album, 2024’s \u003cem\u003eIlion\u003c\/em\u003e, was a sci-fi story built with 10 to 13-minute exploratory escapades, often starting with doom metal or stoner rock before spinning freely into glorious instrumental oblivion. But, in a bit of intentional irony, SLIFT’s fourth album is actually called \u003cem\u003eFantasia\u003c\/em\u003e. It’s their leanest and most direct record to date; taken together, its eight songs clock in at less than 50 minutes. It is also their most riveting album yet, a pointed saga about overcoming international upheaval delivered by a band bearing down, not wasting a single second in the process.\u003c\/p\u003e\n\u003cp\u003eThey wanted to write and render songs that recognized the turmoil of these days and to sing of a more hopeful vision, of a time when a reckoning arrives. SLIFT didn’t want to lose the message by playing too much. To wit, the longest song on \u003cem\u003eFantasia\u003c\/em\u003e is the opening title track, a nine-minute preamble in which Jean Fossat screams of his desires for the world: rising above our pain, burying our dread, and finding, individually and collectively, “a fire for your soul.” The songs that follow aren’t lacking the complexity or intensity that have made SLIFT a rising, radical star in heavy music; it’s simply that they’ve found new ways to weave the complexities of their past inside every piece, like a tapestry that reveals a new layer every time you look. In doing so, they offer an affirming and urgent message: Together, we can still change the times in which we live.\u003c\/p\u003e\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/1BAZfqnxagI9RNfIVr8FwQ?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":57963097161992,"sku":"SP1725X","price":36.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/SLIFT_Fantasia_Cover_1500x1500_ef155c93-2217-41f7-a064-58e883c06191.webp?v=1780936553"},{"product_id":"band-of-horses-everything-all-the-time-20th-anniversary-edition-loser-edition-on-double-yellow-vinyl","title":"Band of Horses - Everything All the Time \"20th Anniversary Edition\" (Loser Edition on Double Yellow Vinyl)","description":"\u003cp\u003eAchieving musical transcendence is a tricky feat. If it happens - a big if - it does so naturally, and perhaps nobody knows that better than Band of Horses, whose landmark debut \u003cem\u003eEverything All The Time\u003c\/em\u003e still, after twenty years, feels as vital and, dare we say, transcendent as when it came out in 2006.\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 \u003cem\u003eEverything All The Time\u003c\/em\u003e. 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.”\u003c\/p\u003e\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/7ik4rjxOnmwnAWWzjj5ni3?utm_source=generator\u0026amp;si=79d361465ece456a\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":58291438616840,"sku":"SP1730AE","price":36.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/a3236768930_10.jpg?v=1784836282"},{"product_id":"sleater-kinney-call-the-doctor-30th-anniversary-edition-on-pearl-northern-light-vinyl","title":"Sleater-Kinney - Call the Doctor \"30th Anniversary Edition\" (Limited Edition on Pearl Northern Light Vinyl)","description":"\u003cp\u003eSleater-Kinney is an acclaimed, American rock band that formed in Olympia, Washington in 1994. The band's core lineup consists 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.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCall the Doctor\u003c\/em\u003e is Sleater-Kinney’s second studio album. It was produced by John Goodmanson and originally 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).\u003c\/p\u003e\n\u003cp\u003e\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/3ULIRcAOMyaT6K4gIhX8aJ?utm_source=generator\u0026amp;si=b436e3e59d294073\" width=\"100%\" height=\"352\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Default Title","offer_id":58291733299464,"sku":"SP1104AE","price":32.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/4581\/9656\/files\/566f3094ba43bf2a81b2d898f726db78.webp?v=1784840609"}],"url":"https:\/\/shopmusicandriots.com\/collections\/sub-pop.oembed?page=3","provider":"Music And Riots ","version":"1.0","type":"link"}