{"title":"Artists","description":"\u003cp\u003eBrowse our Artists collection. Hot Sale.\u003c\/p\u003e","products":[{"product_id":"ultramega-ok-expanded-reissue","title":"Ultramega OK (Expanded Reissue)","description":"\u003cp\u003e\u003cstrong\u003e*Loser editions are SOLD OUT (as of 4\/24\/17). Black vinyl will be shipping on all orders placed after 4\/23\/17.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis remixed and expanded reissue of Soundgarden’s \u003ci\u003eUltramega OK\u003c\/i\u003e is a long-planned “correction” of the legendary band’s Grammy®-nominated debut full-length. The album was originally recorded and released in 1988 on SST Records. While the band enjoyed working with the original producer, Drew Canulette, they soon realized they weren’t quite happy with the final mix. Thus, shortly after the album’s release, the band decided to remix the album for subsequent pressings. However, success intervened: the band rapidly scored a deal with A\u0026amp;M and began work on their major-label debut, \u003ci\u003eLouder Than Love\u003c\/i\u003e, and the \u003ci\u003eUltramega OK\u003c\/i\u003e remix project fell by the wayside as Soundgarden climbed their way to (ultra)mega-stardom.\u003c\/p\u003e\n\u003cp\u003eIn 2016, after worldwide success, a breakup, a reunion, and many albums and tours, the band finally acquired the original multi-track tapes to\u003ci\u003e Ultramega OK \u003c\/i\u003eand carved out time to dig into the remix. They handed the tapes over to longtime friend and engineer Jack Endino (Nirvana, Mudhoney, Screaming Trees, Skin Yard), who worked with the band to create a fresh mix of the album that, for the band, ties up this persistent loose end and remedies the sound of their debut album.\u003c\/p\u003e\n\u003cp\u003eWhile they were at it, the band dug out six early versions of tracks that wound up on \u003ci\u003eUltramega OK\u003c\/i\u003e. The songs were recorded in 1987 on 8-track tape by Jack Endino and Chris Hanzsek at Reciprocal Recording in Seattle, and mixed by Jack Endino in 2016. These versions feature the band in raw, powerful form – sonically closer to the band’s Endino-recorded debut EP \u003ci\u003eScreaming Life\u003c\/i\u003e – and provide a fascinating window into the development of songs that eventually became staples of the band’s set. The six songs comprise what the band refers to as \u003ci\u003eUltramega EP\u003c\/i\u003e, and they are included in this reissue.\u003c\/p\u003e\n\u003cp\u003eHailed as grunge innovators, Soundgarden redefined rock music for a generation. In the ‘80s, the band - singer\/guitarist Chris Cornell, guitarist Kim Thayil, bassist Hiro Yamamoto, and drummer Matt Cameron - combined a punk ethos, brutal metal soundscapes, and Cornell’s ravenous roar to capture the attention of the masses. Jagged and ferocious, their music was deeply at odds with the synth-pop and hair metal which dominated the 80’s airwaves. Early indie releases, including seminal \u003ci\u003eScreaming Life\u003c\/i\u003e and \u003ci\u003eUltramega OK\u003c\/i\u003e, quickly led to a dedicated indie following as the band toured on both sides of the Atlantic. Subsequent albums, including \u003ci\u003eBadmotorfinger, Superunknown, \u003c\/i\u003eand\u003ci\u003e Down on the Upside,\u003c\/i\u003e achieved multi-platinum sales and launched the band to international fame.\u003c\/p\u003e","brand":"Soundgarden","offers":[{"title":"2xLP","offer_id":53403364917615,"sku":"mkb1788117134914","price":19.32,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403364950383,"sku":"wlf1788117134915","price":7.44,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":53403364983151,"sku":"dnq1788117134916","price":6.6,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403365015919,"sku":"cjq1788117134917","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/ultramega-ok-expanded-reissue_1.jpg?v=1788117139"},{"product_id":"the-ruminant-band","title":"The Ruminant Band","description":"\u003cp\u003eOver the course of three records, the last two on Sub Pop (2003’s \u003ccite\u003eMouthfuls\u003c\/cite\u003e and 2005’s \u003ccite\u003eSpelled in Bones\u003c\/cite\u003e), Eric D. Johnson’s Fruit Bats have looked for ways to file down the cynical edge of modern life and found many. Using bright melodies, defiantly major-key chord structures, natural imagery mixed with the occasional blazing insight and tender observation, the Fruit Bats have never shied away from darkness, but more uncommon in this day and age, they’ve refused to shy away from light.  With \u003ccite\u003eThe Ruminant Band\u003c\/cite\u003e, this tradition continues in characteristically rich and involving fashion. From the barn-floor stomp of “The Hobo Girl” and the Fleetwood Mac-esque shimmy of the title track to the propulsive yet spacious ‘70s country-rock jam “Tegucigalpa” and the parlor piano soft-shoe of “Flamingo,” \u003ccite\u003eThe Ruminant Band\u003c\/cite\u003e makes good on Johnson’s recent message board promise: “We are going to choogle for you.” Though he has spent the handful of years between Fruit Bats records playing with peers as heralded and forward-thinking as Vetiver and The Shins, the songwriting and production on \u003ccite\u003eThe Ruminant Band\u003c\/cite\u003e mark a further crystallization of Johnson’s own melodic instincts and overall vision over the past near-decade, abetted by brothers-in-arms who know both bluster and restraint.\u003c\/p\u003e","brand":"Fruit Bats","offers":[{"title":"Color LP","offer_id":53403365376367,"sku":"qmz1788117142325","price":15.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":53403365409135,"sku":"pfb1788117142326","price":13.26,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403365441903,"sku":"tpe1788117142327","price":9.48,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403365474671,"sku":"qbg1788117142328","price":6.8,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/the-ruminant-band_1.jpg?v=1788117147"},{"product_id":"everything-all-the-time","title":"Everything All The Time","description":"\u003cp\u003eAchieving musical transcendence is a tricky feat, almost definitively. If it happens at all, it happens naturally — and perhaps nobody knows that better than Seattle, Washington’s Band of Horses. Guitarist\/vocalist Ben Bridwell and bassist Mat Brooke formed Band of Horses in 2004, after the dissolution of their nearly ten-year run in northwest melancholic darlings Carissa’s Wierd. Carissa’s Wierd trafficked in sadly beautiful orchestral pop, whose songs told unflinching stories of heartbreak and loss, leavened with defeatist humor. And, Band of Horses rises from the ashes of that well-loved and short-lived band. After playing music with each other for over a decade, Bridwell and Brooke picked up together again when Bridwell began fleshing out his compositions post-Carissa’s. “It was really just a natural thing we started doing,” explains Bridwell. Buoyed by Bridwell’s warm, reverb-heavy vocals (which strangely channel a dichotomous blend of Wayne Coyne, Brian Wilson and Doug Martsch,) Band of Horses’ woodsy, dreamy songs ooze with amorphous tension, longing and hope. At times raggedly epic (“The Great Salt Lake”) and delicately pensive (“St. Augustine,” “Monsters”), Everything All the Time is an album painted gorgeously in fragile highs and lows.\u003c\/p\u003e","brand":"Band of Horses","offers":[{"title":"LP","offer_id":53403365572975,"sku":"bjq1788117146265","price":17.25,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403365605743,"sku":"aoc1788117146266","price":7.8,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":53403365638511,"sku":"hov1788117146267","price":7.1,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403365671279,"sku":"aia1788117146268","price":6.6,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/everything-all-the-time_1.jpg?v=1788117151"},{"product_id":"sea-lion","title":"Sea Lion","description":"\u003cp\u003eNew Zealand’s The Ruby Suns formed in Auckland in 2004, under the somewhat longer and inarguably more rhyming name Ryan McPhun and The Ruby Suns. The band is now shortly, sweetly and simply called The Ruby Suns, and principal Ruby Sun Ryan McPhun is currently and ably abetted by Amee Robinson and Imogen Taylor. Although New Zealand is somewhat isolated in the southern most part of the Pacific Ocean, Ryan has remained true to his buccaneer instinct. He and his Dictaphone (portable tape recorder) have ventured into the wilds of Africa, the ancient monasteries of Thailand, and the haunting landscapes that surround his everyday. Recorded almost entirely in McPhun’s basement, \u003ccite\u003eSea Lion\u003c\/cite\u003e’s melodic musings found inspiration in the natural world and his travels within it. “Tane Mahuta,” sung entirely in Māori, is an indigenous-sounding ode to the great Waipoua forest near Auckland and “Adventure Tour” tells a tale of a memorable drive through New Zealand’s South Island. An African influence also exerts a strong presence in the album (“Kenya Dig It?” being the most obvious). Not only was he struck by the people (“Ole Rinka” is about a man he met in the Maasai Mara National Reserve), but he was also enamored of the music, especially Kenyan traditional music and modern day hip-hop. The depth and breadth of the Ruby Suns’ songs has, no surprise, grown dramatically since their 2005 self-titled debut. The epic \u003ccite\u003eSea Lion\u003c\/cite\u003e was intended to be a world music album, but reverb and psychedelic pop crept in to create a unique mixture of exotic sounds, accomplished with an impressive array of instruments—from steel-string ukulele to djembe drums to pots and pans, all set upon a cozy cushion of synths and cassette samples.\u003c\/p\u003e\u003cp style=\"text-align:right;\"\u003eQ\u0026amp;A with The Ruby Suns in The Fader\u003cbr\u003eDrowned in Sound review of \u003ccite\u003eSea Lion\u003c\/cite\u003e\u003cbr\u003ePitchfork ‘Best New Music’ review of \u003ccite\u003eSea Lion\u003c\/cite\u003e\u003c\/p\u003e","brand":"The Ruby Suns","offers":[{"title":"CD","offer_id":53403366228335,"sku":"jcm1788117152973","price":9.24,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403366261103,"sku":"gta1788117152974","price":6.2,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/sea-lion_1.jpg?v=1788117157"},{"product_id":"let-it-slide","title":"Let It Slide","description":"\u003cp\u003eMade in Germany –  some on clear chartreuse vinyl.\u003c\/p\u003e","brand":"Mudhoney","offers":[{"title":"CD","offer_id":53403366293871,"sku":"mjd1788117154033","price":4.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/let-it-slide_1.gif?v=1788117157"},{"product_id":"blue-cathedral","title":"Blue Cathedral","description":"\u003cp\u003e\u003ci\u003eBlue Cathedral\u003c\/i\u003e is the third album from Comets on Fire and their first for Sub Pop. It is also the Bay area band’s most varied and richly textured album yet. With their first two albums, (2001’s self-titled debut\/self-released and 2002’s \u003ci\u003eField Recordings from the Sun \u003c\/i\u003eon Ba Da Bing!) they established themselves as flag-bearers of modern psychedelia. However, where their previous efforts are full-tilt psychedelic affairs, \u003ci\u003eBlue Cathedral\u003c\/i\u003e is harder to pin down (which elusiveness we heartily support). Their trademark sound is here enriched by more structured, keyboard-driven jams, churning Blue Oyster Cult-ish chooglers and slow burners reminiscent of Harvest-era Pink Floyd. They recently opened a string of dates for Sonic Youth and have also played shows with Rocket From The Tombs, Dead Meadow \u003cspan class=\"caps\"\u003eAND\u003c\/span\u003e Dead Moon, Sunburned Hand of the Man and more. They also made a \u003cspan class=\"caps\"\u003eBIG\u003c\/span\u003e fan outta Lord Head on High, Julian Cope, who said of them: “Comets on Fire deserve our gratitude…for their distillation of all the best rock riffs since High Rise’s take on Blue Cheer…” Naturally, we agree.\u003cbr\u003e\u003c\/p\u003e","brand":"Comets on Fire","offers":[{"title":"LP","offer_id":53403366359407,"sku":"bro1788117157365","price":14.95,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403366392175,"sku":"prb1788117157366","price":8.4,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403366424943,"sku":"zld1788117157367","price":6.3,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/blue-cathedral_1.jpg?v=1788117162"},{"product_id":"bleach","title":"Bleach","description":"\u003cp\u003eContinuing our legacy of reminding people Nirvana had a record before \u003ccite\u003e\u003ci\u003eNevermind\u003c\/i\u003e\u003c\/cite\u003e, on November 22, 2011 Sub Pop Records presents a non-deluxe, affordably-priced, single-LP version of \u003ccite\u003eBleach\u003c\/cite\u003e, Nirvana’s debut album. Originally released by us in June of 1989, \u003ccite\u003eBleach\u003c\/cite\u003e was re-mastered, deluxed-up and reissued by us in November of 2009. That version of the \u003ccite\u003eBleach\u003c\/cite\u003e LP is two pieces of 180-gram vinyl with a 16-page booklet. It’s really nice. It’s also $28. This sturdy single-LP version of \u003ccite\u003eBleach\u003c\/cite\u003e contains the full re-mastered album, as found on that \u003ccite\u003eBleach: Deluxe Edition\u003c\/cite\u003e.\u003cbr\u003e\u003c\/p\u003e","brand":"Nirvana","offers":[{"title":"LP","offer_id":53403366457711,"sku":"pzk1788117159231","price":14.03,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403366490479,"sku":"owq1788117159232","price":9.48,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":53403366523247,"sku":"nrb1788117159233","price":7.5,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403366556015,"sku":"ffj1788117159234","price":6.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/bleach_1.jpg?v=1788117165"},{"product_id":"eerieconsiliation","title":"Eerieconsiliation","description":"","brand":"Elevator to Hell","offers":[{"title":"CD","offer_id":53403366687087,"sku":"xqq1788117161612","price":7.7,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403366719855,"sku":"pmr1788117161613","price":6.3,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/eerieconsiliation_1.gif?v=1788117168"},{"product_id":"stolen-chrome","title":"Stolen Chrome","description":"\u003cp\u003eBased out of Minneapolis, Sukpatch were at the forefront of an emerging trend of indie rock with lo-fi electronic and hip-hop beats. The duo recorded their tracks at home, embracing the aesthetics of their low budget studio equipment and the grainy, dusty tones of their loops and samples. Appropriately, their initial recordings were passed along on cassettes – eventually reaching the Pacific Northwest and finding a home on Seattle indie label Slabco. After releasing three records on Slabco, Sub Pop released the band's \u003cem\u003eStolen Chrome \/ Bubble Staff\u003c\/em\u003e 7-inch in 1998 for the third installemnt of their newly revived Singles Club. The boom-bap beats against the group's clean guitar riffs is a dazzling combination, somewhat predicting the rock and electronic crossover that would boom in the next decade with acts like Grandaddy and RJD2. \u003c\/p\u003e\u003cp\u003e\u003cem\u003e-Dusty Henry, courtesy of KEXP\u003c\/em\u003e\u003c\/p\u003e","brand":"Sukpatch","offers":[{"title":"7 inch","offer_id":53403367113071,"sku":"gla1788117185918","price":3.25,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403367145839,"sku":"jhp1788117185919","price":1.56,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/stolen-chrome_1.gif?v=1788117190"},{"product_id":"alala","title":"Alala","description":"\u003cp\u003eFour-song white label 12\" with remixes by Bonde Do Role and Princess Superstar for you to go buckwild on.  \u003c\/p\u003e\u003cp\u003eThe CD includes two tracks.\u003cbr\u003e\u003c\/p\u003e","brand":"CSS","offers":[{"title":"CD","offer_id":53403367211375,"sku":"wvm1788117191979","price":2.25,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403367244143,"sku":"zrf1788117191980","price":3.12,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/alala_1.jpg?v=1788117196"},{"product_id":"stab-the-unstoppable-hero","title":"Stab The Unstoppable Hero","description":"\u003cp\u003eSecond full-length from Los Angeles power pop alchemists Arlo (the most oft-cited comparisons include The Pixies, Guided by Voices and The Ramones – not bad company to keep). Between now and their January 2001 debut (Up High in the Night), new drummer Tom Sanford has joined the fold, strengthening an already formidable force. Stab the Unstoppable Hero builds upon the groundwork laid with Up High in the Night, adding new dimensions to the pop-rock landscape inhabited by singer-guitarists Nate and Sean (ref. the twang provided by erstwhile Beachwood Sparks\/Futher guitarist Josh Schwartz on “Up”) and including songs written by bassist and resident dangerous Beatles freak, Shmed.\u003c\/p\u003e","brand":"Arlo","offers":[{"title":"CD","offer_id":53403367407983,"sku":"wsc1788117178379","price":6.2,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403367440751,"sku":"lff1788117178380","price":7.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/stab-the-unstoppable-hero_1.jpg?v=1788117205"},{"product_id":"we-will-become-silhouettes","title":"We Will Become Silhouettes","description":"\u003cp\u003eA single from The Postal Service! 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Formed by siblings Robert Lippok and Ronald Lippok in 1995 with then-Kreidler bassist Stefan Schneider, To Rococo Rot obviously find influence in their hometown genre of Krautrock, but, sound somehow, less cold and robotic. Sadly, the group disbanded in 2014. Robert Lippock graciously spoke of the break-up to Boiler Room: \"We never want our reason to make music to be the economic situation: we never did that through all the years, and now of course we could have played the festivals and made remixes for people, but making money shouldn’t be the reason to be together if we didn’t all feel as we should about the music.” This was #25 in volume 2 of the Sub Pop Singles Club, limited edition 1300 copies pressed on purple marbled vinyl in an op-art embossed sleeve. \u003c\/p\u003e\u003cp\u003e\u003cem\u003e-Janice Headley, courtesy of KEXP\u003c\/em\u003e\u003c\/p\u003e","brand":"To Rococco Rot","offers":[{"title":"7 inch","offer_id":53403367965039,"sku":"tcx1788117223300","price":3.6,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/jacky_1.gif?v=1788117227"},{"product_id":"fuckin-a","title":"Fuckin A","description":"\u003cp\u003e\u003cb\u003e*Blue colored vinyl SOLD OUT. Black vinyl shipping now. \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIn the 4 days it took to record the new record, The Thermals and producer Chris Walla worked in tandem to create what is the perfect follow-up to the chaotic pop madness of their 2003 debut, More Parts Per Million. Fuckin A is another twenty-eight minute triumph for The Thermals — screaming, piercing, as painful and discordant as it is joyous and melodic. Every track is pushed deep into the red, wrapped in a thick sheet of distortion, and served on a tattered blanket of very questionable fidelity. In other words, The Thermals are still The Thermals. They’re a little bit older, a lot wiser, a whole lot higher, but still unrelenting in their mission to smash pop music in the face, and to have fun doing it, goddammit!\u003c\/p\u003e","brand":"Thermals","offers":[{"title":"LP","offer_id":53403367997807,"sku":"xkn1788117225248","price":14.26,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403368030575,"sku":"jjr1788117225249","price":8.4,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403368063343,"sku":"aey1788117225250","price":7.3,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/fuckin-a_1.jpg?v=1788117229"},{"product_id":"static-delusions-and-stone-still-days","title":"Static Delusions and Stone-Still Days","description":"\u003cp\u003eSeattle rock band The Catheters have already, despite their tender age, released one full-length and a handful of singles, and spent time on the road with the likes of The Murder City Devils, Mudhoney and Motorhead (and that’s just the M’s…). An auspicious beginning, but nothing that even hints at the rock captured on this record. It’s an album that elevates and obliterates in one motion – shaking either fist or ass in the face of our collective mortality.\u003c\/p\u003e\r\u003cp\u003eFirst LP with Sub Pop. Artwork is purposefully wonky.\u003c\/p\u003e","brand":"The Catheters","offers":[{"title":"LP","offer_id":53403368522095,"sku":"ypk1788117235225","price":3.96,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403368554863,"sku":"eky1788117235226","price":7.92,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403368587631,"sku":"dgx1788117235227","price":7.4,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/static-delusions-and-stone-still-days_1.gif?v=1788117261"},{"product_id":"total-life-forever","title":"Total Life Forever","description":"\u003cp\u003eIn April of 2008, we at Sub Pop Records had the good fortune to release the US version of \u003ccite\u003eAntidotes\u003c\/cite\u003e, the debut album by Oxford, UK quintet Foals. \u003ccite\u003eAntidotes\u003c\/cite\u003e was a special album. Two years on from that impressive introduction, a choice has been made–-rather than contort \u003ccite\u003eAntidotes’\u003c\/cite\u003e lithesome guitars into ever more elaborate patterns, \u003ccite\u003eTotal Life Forever\u003c\/cite\u003e is the sound of a band settling into and surveying the decay of old protocols. With this new album, Foals strip their sound back and turn themselves inside out searching for that invisible human thing. The result is an album as persuasive emotionally as \u003ccite\u003eAntidotes\u003c\/cite\u003e was physically. Whereas that album constantly reinforced its own presence by filling the air with yelping and polyrhythm, tracks on \u003ccite\u003eTotal Life Forever\u003c\/cite\u003e such as disarming opener “Blue Blood,” “2 Trees” and the astonishing “Black Gold” are happier to leave gaps for the listener to explore in mind’s ear and eye. Written primarily in the basement of their Oxford HQ (“The House of Supreme Mathematics”) and recorded in Gothenburg with former Clor man Luke Smith, \u003ccite\u003eTotal Life Forever\u003c\/cite\u003e finds Foals singing rather than shouting, emotional as well as functional. The band’s soul-search reveals new antidotes found in infinite, internal spaces rather than carved violently upon the air–-\u003ccite\u003eTotal Life Forever\u003c\/cite\u003e feels more the work of artists than artisans. It’s a triumph that they’ve managed to remain a band of progress and propulsion while investigating that vast, dark space lurking inside themselves-–that gap between ribs where “nature, or god or whatever you wanna call it, will come in.”\u003c\/p\u003e","brand":"Foals","offers":[{"title":"2xLP","offer_id":53403368620399,"sku":"rko1788117259665","price":22.4,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403368653167,"sku":"eln1788117259666","price":7.68,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403368685935,"sku":"kyv1788117259667","price":7.3,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/total-life-forever_1.jpg?v=1788117265"},{"product_id":"sea-to-shining-sea","title":"Sea to Shining Sea","description":"\u003cp\u003eBecause at this point I can’t imagine that you’re not sick of people blathering on about this and that, the following from a December, 2000 aricle in \u003cspan class=\"caps\"\u003eNME\u003c\/span\u003e (read it aloud in a British accent for full effect): “Take cover. Incendiary underground missionaries Love as Laughter are getting ready for an explosive deliverance from the bland and the apathetic. And with fanaticism like this, it looks like salvation is only a matter of time…” Throw in the fact that the \u003cspan class=\"caps\"\u003eNME\u003c\/span\u003e folks tapped the recent L\/A\/L single “My Case” as ‘Single of the Week’ and that they found the last L\/A\/L full-length, Destination 2000 to be one of the best of ‘99, and you’ve got a full-scale UK phenom happening. And, Sea to Shining Sea is their latest and greatest blast of sci-fi rock and roll. You should ask yourself if you will make it through another year without an intelligent rock record standard to have on hand for all those times when you just can’t take another minute of bad plastic radio.\u003c\/p\u003e","brand":"Love as Laughter","offers":[{"title":"CD","offer_id":53403368784239,"sku":"skk1788117270231","price":6.4,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403368817007,"sku":"nrg1788117270232","price":7.3,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/sea-to-shining-sea_1.jpg?v=1788117274"},{"product_id":"jericho-sirens","title":"Jericho Sirens","description":"\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cb\u003eLoser edition black vinyl is now sold out. All future orders will receive CLEAR vinyl going forward. (3\/15\/18 - 10:45 am PST)\u003c\/b\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eSwami John Reis and Rick Froberg have been making\rnoises together since high school. In 1986 it was the post-hardcore chime of\rPitchfork. In 1991 it was the sprawling, multi-faceted arrangements of Drive\rLike Jehu. In 1999 it was the lean, mean swagger of Hot Snakes. Reis and\rFroberg are responsible for some of the most turbulent rock and roll of their,\ror any, generation.\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eHot Snakes streamlined Jehu’s complex compositions\rand emerged as bona fide downstroke warlords. They made 3 studio albums of\rhigh-velocity, slash-your-face, piss-punk: 2000’s \u003ci\u003eAutomatic Midnight\u003c\/i\u003e,\r2002’s \u003ci\u003eSuicide Invoice\u003c\/i\u003e and 2004’s \u003ci\u003eAudit in Progress\u003c\/i\u003e. The\rband ceased activity in 2005 but reunited for a triumphant world tour in 2011,\rplanting the seeds for what has cum.\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eNow, after a 14-year hiatus from the studio, Hot\rSnakes have kicked down the door back into our lives with their new album, \u003ci\u003eJericho\rSirens\u003c\/i\u003e, due out March 16 from Sub Pop. Fresh, warm piss, bottled and sold\ras lube.\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e“I considered stopping playing guitar on a social\rmedia poll after I completely mastered the instrument,\" Reis says. “But so\rmany people kept sending me letters and voicemail messages, asking me at the dry\rcleaners, or the butcher shop to bring back Hot Snakes. They were missing rock\rand roll music. I’ve always considered Hot Snakes to be more in the vein of the\rproto-Vog movement of the early ‘70s. But to these people, this is their rock ‘n’\rroll. I understand that. I totally understand people's desire to be controlled\rand humiliated by my guitar. Anyone can play the stupid guitar. What they want\ris for me to use it as a branding iron.\"\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eThe new album blasts out of the speakers with the\rfurious “I Need a Doctor,” inspired by Froberg’s experience needing a doctor's\rnote in order to miss an important work function. “Yeah, I had to be quick on\rmy feet,\" says Rick. \"Luckily a friend had a stack of stationary from\rPlanned Parenthood and I used that to forge a note relieving me of my\robligation to go to a really lame Christmas party at a karaoke joint.”\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eThroughout \u003ci\u003eJericho Sirens\u003c\/i\u003e, Froberg\rcommiserates with the frustration and torrential apathy that seems to be a\rfixture in our daily lives, while also reminding us that we have no fucking\rclue. “Songs like ‘Death Camp Fantasy’ and ‘Jericho Sirens’ are about that,” he\rsays. “No matter where you look, there’re always people saying the world’s\rabout to end. Every movie is a disaster movie. I’m super fascinated by it. It\ris hysterical, and it’s a self-fulfilling prophecy. It snowballs, like\rfeedback, or my balls on the windshield.”\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eMusically, the album incorporates the most extreme\rfringes of the Hot Snakes sound (the vein-bulging, 78-second “Why Don’t It Sink\rIn?” the manic, Asian Blues on speed of “Having Another?”), while staying true\rto longstanding influences such as the Wipers, Dead Moon, Michael Jackson, and\rSuicide on propulsive tracks such as “Six Wave Hold-Down,” one of the first\rsongs written for the project during a Mummer Parade 2017 session in\rPhiladelphia. Other moments like the choruses of “Jericho Sirens” and\r“Psychoactive” nod to Status Quo and AC\/DC with Froberg admitting, “I still\rflip bird and ride my BMX on top of cop cars.”\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e“My muse was love. It sounds like panic and chaos,”\rReis says. “Restlessness and unease. That’s a sound that I would ask for. I\rwant that record. The inspiration would be simple, maybe even kind of\rstraightforward. Very early rock ‘n’ roll DNA with lots of rules. I would find\rsome note or rhythm in it that captivated me and I dwelled on it and bent it.\rThat's where I found dissonance. Bending and rubbing against each other\runcomfortably. Marinate and refine. A lot of the other Hot Snakes records\ralways had tension and release, but this one is mainly just tension.”\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e\u003ci\u003eJericho Sirens\u003c\/i\u003e was recorded in short\rbursts over the past year, mostly in San Diego and Philadelphia with longtime\rbassist Gar Wood, Jason Kourkounis and Mario Rubalcaba, both of whom drummed on\rprior Hot Snakes releases but never on the same one. For Reis, reactivating his\rcreative partnership with Froberg was one of the most rewarding aspects of the\rprocess: “Our perspectives are similar. Our tastes are similar. He is my\rfamily. And what more is there to say? My favorite part of making this record\rwas hearing him find his voice and direction for this record. I came hard.\"\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eIn tandem with a full back catalog reissue series and the new album, Hot\rSnakes will return to the road in 2018 to incinerate the villages, and they’re\ralready looking ahead to more music. Says Gar Wood, “There're already 2 more\rrecords written and recorded. We wanted to come out with this one using the\rmore mainstream sounding stuff to give people a chance to catch up.”\u003c\/p\u003e","brand":"Hot Snakes","offers":[{"title":"LP","offer_id":53403369767279,"sku":"fej1788117299309","price":15.18,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403369800047,"sku":"mlf1788117299310","price":7.44,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":53403369832815,"sku":"max1788117299311","price":8.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403369865583,"sku":"ihh1788117299312","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/jericho-sirens_1.jpg?v=1788117304"},{"product_id":"me-first","title":"Me First","description":"\u003cp\u003eThe Elected are a band who would cite incredibly disparate influences if you were to ask them (and we didn’t…) about whose music might have shaped their record’s sound. ‘Zine writers are going to have a  field day coming up with reference points. Herewith, a few freebies to get started: (1) \"Nilsson’s soundtrack to “Midnight Cowboy,” given an ambient remix by Aphex Twin.\" (2) \"Like the weird sound coming from your radio when one station playing the Zombies’ “Care of Cell 44” starts to bleed into another station playing moody electronica.\" (3) “Lost, unreleased Sun Studios heartbreak songs from the future.” Me First is the debut release from Rilo Kiley co-singer\/songwriter Blake Sennett, and features, in various roles and among others: Mike Bloom, Jason Boesel and Jenny Lewis (both also from Rilo Kiley), Daniel Brummel (from Ozma), Schmed (from Arlo), Orenda Fink (of Azure Ray), and Jimmy Tamborello (The Postal Service\/\u003cspan class=\"caps\"\u003eDNTEL\u003c\/span\u003e). The album was recorded in the spring of 2003 with the help of Mike Mogis (Saddle Creek partner and producer extraordinaire for Bright Eyes, The Faint, et al).\u003c\/p\u003e","brand":"The Elected","offers":[{"title":"LP","offer_id":53403369931119,"sku":"rrd1788117283950","price":7.9,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403369963887,"sku":"hmy1788117283951","price":9.24,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403369996655,"sku":"ndh1788117283952","price":7.2,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/me-first_1.jpg?v=1788117310"},{"product_id":"double-negative","title":"Double Negative","description":"\u003cp\u003eIn 2018, Low 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, 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: \u003ci\u003eDouble Negative\u003c\/i\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\/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 \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 is, 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\n\u003cp\u003e \u003c\/p\u003e","brand":"Low","offers":[{"title":"LP","offer_id":53403370193263,"sku":"blr1788117315342","price":17.48,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403370226031,"sku":"coh1788117315343","price":9.36,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":53403370258799,"sku":"xnb1788117315344","price":7.2,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403370291567,"sku":"nzz1788117315345","price":7.4,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/double-negative_1.jpg?v=1788117319"},{"product_id":"tripper","title":"Tripper","description":"*BLUE VINYL SOLD OUT - ONLY BLACK VINYL AVAILABLE NOW*\r\u003cp\u003eWith the 2001 release of the Fruit Bats’ debut album, \u003ccite\u003eEcholocation\u003c\/cite\u003e, Eric D. Johnson embarked on a career in music that has, to date, included ten years with the Fruit Bats, sideman duties for bands including Califone, Vetiver and The Shins, and more recently, soundtrack work for films like \u003ccite\u003eCeremony\u003c\/cite\u003e and the soon-to-be-released Paul Rudd comedy \u003ccite\u003eOur Idiot Brother\u003c\/cite\u003e. \u003ccite\u003eTripper\u003c\/cite\u003e, the new and fifth Fruit Bats full-length, was recorded at \u003cspan class=\"caps\"\u003eWACS\u003c\/span\u003e Studio in Los Angeles with Thom Monahan, best known as producer for the last four Vetiver albums, Devendra Banhart’s \u003ccite\u003eCripple Crow\u003c\/cite\u003e, and the Pernice Brothers. For the first week of recording, Johnson brought in a full band—Sam Wagster, Ron Lewis and Graeme Gibson—to capture some of the live excitement of the previous Fruit Bats album, 2009’s \u003ccite\u003eThe Ruminant Band\u003c\/cite\u003e. However, having recently worked alone on soundtracks for an extended period, Johnson knew that he wanted \u003ccite\u003eTripper\u003c\/cite\u003e to be more of a solitary pursuit than his previous album. For the remaining four weeks, he worked with Monahan to deepen and refine the sound. Though, perhaps the most radical thing about the album is not its haunting production, but the way it allows narratives to shape its songs. Johnson says that, though he began experimenting with story songs on \u003ccite\u003eThe Ruminant Band\u003c\/cite\u003e, he has only recently made them his focus. As Johnson approached recording for this latest Fruit Bats album, he began to think, more and more, about the appeal of changing scenery. His own process shifted slightly to focus more on story-based songs, and following his collaborations with film-makers, he began experimenting with more abstract, less folk-based sounds. The resulting album, a bittersweet meditation on hitting the road, leaving the familiar behind and reinventing yourself, is a reinvention itself.\u003c\/p\u003e","brand":"Fruit Bats","offers":[{"title":"LP","offer_id":53403370553711,"sku":"qbr1788117331287","price":12.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403370586479,"sku":"xlb1788117331288","price":7.68,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403370619247,"sku":"tmp1788117331289","price":6.2,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/tripper_1.jpg?v=1788117343"},{"product_id":"junior","title":"Junior","description":"\u003cp\u003eCorridor are a group from Montreal and their Sub Pop debut, Junior, was made just yesterday. The rock'n'roll band had barely inked their record deal when they surfed into studio, racing against time to make the most dazzling, immediate and inventive album of their young career: 39 minutes of darting and dodging guitars, spiraling vocal harmonies, and the complicated, goldenrod nostalgia of a Sunday mid-afternoon. \u003c\/p\u003e\u003cp\u003eThis ain't Corridor's first rodeo. Junior is the band's third full-length and their third recorded with their friend, producer (and occasionally roommate) Emmanuel Ethier. However 2015's Le Voyage Éternel and 2017's Supermercado were made languorously, their songs taking shape across whole seasons. This time Dominic Berthiaume (vocals\/bass), Julian Perreault (guitar), Jonathan Robert (vocals\/guitar\/synths), and Julien Bakvis (drums) permitted themselves no such indulgence. The band were committed to releasing an album every two years, and for Junior it required a blitz. \"If you want to release something this fall, we need the masters by the 10th of May,\" the label had warned them. Winter was already in its last throes: on March 1, Corridor went into studio; in mid-April, Corridor came out. They had somehow created Junior and it was, if we may be so bold, spectacular. \u003c\/p\u003e\u003cp\u003eSingers, two guitars, bass, drums: the timelessness of the setup underpins the timelessness of the sound, a rock'n'roll borrowing from each of the past six decades—punk and pop, psych and jangle, daydream and swoon. This is music that's muscular, exciting and full of love, its riffs a kind of medicine. Whereas Corridor's past work could sometimes seem overstuffed, twenty ideas to the same song, the new work is hypnotic, distilled. \"Part of the beauty of the thing is that we didn't have time to think about it,\" says Berthiaume. Six of Junior's 10 tracks were conceived during a single weekend. The words to \"Bang\" were written on the eve of the sessions, as Robert began to panic: \"Je payerai tôt ou tard,\" he sings: I'll pay, sooner or later. Fewer jams, fewer overdubs—no fortnight in the countryside, secluding themselves in a chalet. Even the artwork came in the nick of time: in spite of other, meticulous, masterpieces, Robert's \"shitty last-minute collage\" (of an egg saying hello) was the one his bandmates went for.  \u003c\/p\u003e\u003cp\u003eThat might be Corridor's best trick—their mixture of seriousness and whimsy. Songs like \"Miscroscopie\" and the standout \"Domino\" are purposeful, full of songcraft, even as they let loose, slip their collar. \"Topographe\"'s all call and answer, like rival Cupids shooting arrows at each other across a ravine. \"Pow\" and \"Goldie\" are like hurtling racecars, or teams of horses, accelerating towards a memory. And Junior's title track—by turns twitchy and anthemic—is in fact a tribute to Perreault, their \"joueur étoile,\" star player: in spite of his disappointed parents (\"parents déçus\"), he's Corridor's VIP. Junior's ten tracks are filled with tributes like this, impressionistic portraits of characters in the band-members' lives. Their tone is affectionate, the meaning hazy—even if you speak French. \u003c\/p\u003e\u003cp\u003eSub Pop have never before, in their 33-year history, signed a Francophone act. Maybe the band's magic springs from their ingenious hooks, their topaz-tinted vision. Maybe it's the panache of Québec's insurgent underground scene, or the camaraderie of Robert and Berthiaume, who have played together since they were 14. Maybe it's their name—a hallway crossed with a toreador. Probably it's all of these, and none of them: Junior is a joy, a hasty miracle, because it's so much damn fun to listen to. This album is 39 minutes; each day has 24 hours; you can listen 36 times before tomorrow. \u003c\/p\u003e","brand":"Corridor","offers":[{"title":"Loser (color) LP","offer_id":53403370815855,"sku":"mdp1788117349976","price":12.96,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":53403370848623,"sku":"egl1788117349977","price":11.88,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403370881391,"sku":"aof1788117349978","price":6.3,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":53403370914159,"sku":"kap1788117349979","price":8.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403370946927,"sku":"shh1788117349980","price":7.4,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/junior_1.jpg?v=1788117354"},{"product_id":"thank-your-lucky-stars","title":"Thank Your Lucky Stars","description":"\u003cp\u003e\u003ci\u003e\u003cb\u003e*LOSER EDITION VINYL IS SOLD OUT*\u003c\/b\u003e \u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eThank Your Lucky Stars\u003c\/i\u003e is the 6th album from Beach House (and 2nd new full length of 2015)! The band have the following to say about it:\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e“Thank Your Lucky Stars is our sixth full length record. It was written after \u003ci\u003eDepression Cherry\u003c\/i\u003e from July 2014 - November 2014 and recorded during the same session as\u003ci\u003e Depression Cherry\u003c\/i\u003e. The songs came together very quickly and were driven by the lyrics and the narrative. In this way, the record feels very new for us, and a great departure from our last few records. Thematically, this record often feels political. It’s hard to put it into words, but something about the record made us want to release it without the normal “campaign.” We wanted it to simply enter the world and exist.\u003c\/p\u003e\u003cp\u003eThank you very much,\u003c\/p\u003e\u003cp\u003eBeach House”\u003c\/p\u003e","brand":"Beach House","offers":[{"title":"LP","offer_id":53403371241839,"sku":"xvm1788117370284","price":16.33,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403371274607,"sku":"zae1788117370285","price":7.56,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":53403371307375,"sku":"qfr1788117370286","price":7.8,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403371340143,"sku":"ean1788117370287","price":7.8,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/thank-your-lucky-stars_1.jpg?v=1788117374"},{"product_id":"face","title":"Face","description":"\u003cp\u003eReleased 5\/1\/92.  First pressing on marbled orange vinyl.  CD has bonus track Wasted on B.C..\u003cbr\u003e\u003c\/p\u003e","brand":"Big Chief","offers":[{"title":"CD","offer_id":53403371405679,"sku":"btw1788117353030","price":6.12,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403371438447,"sku":"ndr1788117353031","price":6.4,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/face_1.gif?v=1788117379"},{"product_id":"in-the-capital-read-my-mind","title":"In the Capital \/ Read My Mind","description":"\u003cp\u003eAfter a landmark 12 months for Rolling Blackouts Coastal Fever, who released their debut album Hope Downs to worldwide critical acclaim in June 2018 – Sub Pop is excited to reveal new music from the Melbourne band in the form of single, “In the Capital.” Available digitally and on a limited edition 7-inch alongside a B-side titled “Read My Mind.” \u003c\/p\u003e\u003cp\u003eRolling Blackouts C.F.’s Fran Keaney describes how “In the Capital” came together: “I first had the idea for the melody and some of the lyrics when I was swimming. 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A unique and glorified offering into our ever-uniforming musical soundscape. \u003cem\u003eLese Majesty\u003c\/em\u003e is a beatific war cry, born of a spell, acknowledging that sophistication and the instinctual are not at odds; Indeed an undoing of the lie of their disparate natures.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cem\u003eLese Majesty\u003c\/em\u003e is not a launching pad for the group’s fan base increasing propaganda.  It is a series of astral suites, recorded happenings, shared. A dare to dive deep into Shabazz Palaces sounds, vibrations unfettered. A dope-hex thrown from the compartments that have artificially contained us all and hindered our sublime collusion.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eThese reveries were sent to Palaceer Lazaro and Fly Guy ‘Dai in the year of gun beat battles in excess; In a succession of days, whilst walking in dreams and in varied transcendental states….(every minute of every day is filled with observation and composition. In action). Songs are committed and gathered by robots at Protect and Exalt Labs, a Black Space in Seattle, Washington.\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe visual features of \u003cem\u003eLese Majesty\u003c\/em\u003e are resultant of the gleanings of fellow Constellationaire, Nep Sidhu.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eThe Black Constellation squads up, protects and exalts the messages within, and colludes accordingly. 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Evan, a dedicated student of classical music and a pop-music encyclopedist, intended Memoryhouse to be a multimedia art project, pairing his instrumental compositions with Denise’s photographs and short films. Testing ways to blur the boundaries between genres, to weave a synthesis of music and photography, they experimented with themes, lyrics and multiple layers of instrumentation. Nouvion’s soft, ethereal voice anchored the frozen textures of Abeele’s compositions with frank sentimentality—a unique approach towards humanizing the electro-pop compositions they were creating. The results, at once timeless and new, were impressive and in September 2011 we at Sub Pop released a fully re-recorded, remixed and re-mastered version of the band’s 2010 self-released, digital-only EP, \u003ccite\u003eThe Years\u003c\/cite\u003e.\u003c\/p\u003e\r\u003cp\u003eThe new album is called \u003ccite\u003eThe Slideshow Effect\u003c\/cite\u003e and its title speaks to what hasn’t changed for Memoryhouse: their continuing interest in the synthesis of the aural and the visual. It refers to the photographic\/cinematic technique of zooming and panning to animate still images, often used in documentary film making to give movement to archival photographs. The 10-track album, produced by Abeele, with assistance from friend, collaborator, and occasional Memoryhouse bassist Barzin Hassani Rad, finds Memoryhouse heading toward a new clarity in composition as well as sound; a more organic direction for artists who are, in their own words, transitioning from a “bedroom recording project” into a fully realized band. Nouvion’s voice has never been more present than on the new album, which finds her stepping away from Memoryhouse’s past reverbed sound in favor of a more upfront, and intimate vocal approach. They half-seriously refer to their new sound as “Taylor Swift with Built to Spill as her backing band.” However \u003ccite\u003eThe Slideshow Effect\u003c\/cite\u003e might be described, we fully-seriously love it.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Memoryhouse","offers":[{"title":"LP","offer_id":53403372355951,"sku":"uno1788117405274","price":10.88,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403372388719,"sku":"oxu1788117405275","price":7.44,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403372421487,"sku":"pkw1788117405276","price":6.4,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/the-slideshow-effect_1.jpg?v=1788117409"},{"product_id":"depression-cherry","title":"Depression Cherry","description":"\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cstrong\u003eThe current version of Depression Cherry, on both CD and LP, comes housed in a chrome-red cardboard jacket, with holographic foil-stamped lettering, and a flood of black ink inside the jacket.\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eBeach House is Victoria Legrand and Alex Scally. We have been a band for over a decade living and working in Baltimore, MD. \u003ci\u003eDepression Cherry\u003c\/i\u003e is our 5th full-length record and was recorded at Studio in the Country in Bogalusa, Louisiana from November ’14 through January ’15. This time period crossed the anniversaries of both John Lennon’s and Roy Orbison’s death.  \u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eIn general, this record shows a return to simplicity, with songs structured around a melody and a few instruments, with live drums playing a far lesser role. With the growing success of \u003ci\u003eTeen Dream\u003c\/i\u003e and \u003ci\u003eBloom\u003c\/i\u003e, the larger stages and bigger rooms naturally drove us towards a louder, more aggressive place; a place farther from our natural tendencies. Here, we continue to let ourselves evolve while fully ignoring the commercial context in which we exist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eHere are a few quotes that we feel relate to the feeling and themes of this record:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e— \"I’ll never be able to be here again. As the minutes slide by, I move on. The flow of time is something I cannot stop. I haven’t a choice. I go. One caravan has stopped, another starts up. There are people I have yet to meet, others I’ll never see again. People who are gone before you know it, people who are just passing through. Even as we exchange hellos, they seem to grow transparent. I must keep living with the flowing river before my eyes.” - \u003cspan\u003efrom \u003ci\u003eKitchen\u003c\/i\u003e by Banana Yoshimoto\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e— “We inhabit a world in which the future promises endless possibilities and the past lies irretrievably behind us. The arrow of time… is the medium of creativity in terms of which life can be understood.” - from \u003ci\u003eThe Arrow of Time\u003c\/i\u003e by Peter Coveney and Roger Highfield \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e— “Mostly it is loss which teaches us about the worth of things.” - from \u003ci\u003eParerga and Paralipomena \u003c\/i\u003eby Arthur Schopenhauer\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e— \"Hark, now hear the sailors cry, feel the air and see the sky, let your soul and spirit fly, into the mystic……\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e….when the fog horn blows, i want to hear it, i don’t have to fear it” - from “Into the Mystic” by Van Morrison\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eHere is the track listing with selected lyrics.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. 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Bluebird - “I would not ever try to capture you\"\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e9. Days of Candy - “I know it comes too soon, the universe is riding off with you…... i want to know you there, the universe is riding off with you.\" \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eFor us, \u003ci\u003eDepression Cherry\u003c\/i\u003e is a color, a place, a feeling, an energy… that describes the place you arrive as you move through the endlessly varied trips of existence…\u003c\/span\u003e\u003c\/p\u003e","brand":"Beach House","offers":[{"title":"Black LP","offer_id":53403372487023,"sku":"hbx1788117408665","price":16.33,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403372519791,"sku":"pjf1788117408666","price":9.36,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":53403372552559,"sku":"hiu1788117408667","price":7.1,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403372585327,"sku":"oix1788117408668","price":6.5,"currency_code":"USD","in_stock":true},{"title":"White LP","offer_id":53403372618095,"sku":"xxb1788117408669","price":11.7,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/depression-cherry_1.jpg?v=1788117412"},{"product_id":"is-itdead","title":"Is It...Dead?","description":"\u003cp\u003eCollaboration between Crash Rawk, Role Play, and Sub Pop. 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That’s one of the things that makes Poor Moon sound so special: this band grew out of the songs, not vice-versa.\u003c\/p\u003e\r\u003cp\u003e“I’ve known Christian for so long, and have loved his songwriting as long as I’ve known him,” says Wescott. The two men previously played together in Pedro the Lion and Crystal Skulls; both are members of Fleet Foxes.\u003c\/p\u003e\r\u003cp\u003eAssorted timbres decorate these ten originals-marimba, harpsichord, fretless zither-but this isn’t everything-but-the-kitchen-sink arranging. Thoughtful, impassioned vocal harmonies further reinforce the myriad musical bonds at play. And while these songs cover some of the most tumultuous episodes in Wargo’s life, they handle even the heaviest topics, including death, addiction, and spirituality, with a certain lightness. “There’s often a paradox between what a song sounds like and what we’re actually talking about,” adds Ian Murray.\u003c\/p\u003e\r\u003cp\u003e\u003ccite\u003ePoor Moon\u003c\/cite\u003e was produced and recorded by the band at Highland House, Fastback Studios and Avast! in Seattle, Washington. The album was engineered and mixed by Jared Hankins and mastered by Bernie Grundman (Michael Jackson, Queen, Prince).\u003c\/p\u003e\r\u003cp\u003eAll LPs come with a download code.\u003c\/p\u003e\r\u003cp\u003e\u003cb\u003eIf you pre-order \u003ccite\u003ePoor Moon\u003c\/cite\u003e, you’ll receive a limited edition Poor Moon 7\"! 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We have now written and released a total of 77 songs together. \u003c\/p\u003e\u003cp\u003eLast year, we released an album of b-sides and rarities. It felt like a good step for us. It helped us clean the creative closet, put the past to bed, and start anew. \u003c\/p\u003e\u003cp\u003eThroughout the process of recording \u003ci\u003e7\u003c\/i\u003e, our goal was rebirth and rejuvenation. We wanted to rethink old methods and shed some self-imposed limitations. In the past, we often limited our writing to parts that we could perform live. On \u003ci\u003e7\u003c\/i\u003e, we decided to follow whatever came naturally. As a result, there are some songs with no guitar, and some without keyboard. There are songs with layers and production that we could never recreate live, and that is exciting to us. Basically, we let our creative moods, instead of instrumentation, dictate the album’s feel.\u003c\/p\u003e\u003cp\u003eIn the past, the economics of recording have dictated that we write for a year, go to the studio, and record the entire record as quickly as possible. We have always hated this because by the time the recording happens, a certain excitement about older songs has often been lost. This time, we built a \"home\" studio, and began all of the songs there.  Whenever we had a group of 3-4 songs that we were excited about, we would go to a “proper” recording studio and finish recording them there. This way, the amount of time between the original idea and the finished song was pretty short (of the album’s 11 songs, 8\rwere finished at Carriage House in Stamford, CT and 2 at Palmetto Studio in Los\rAngeles).\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e7\u003c\/i\u003e didn’t have a producer in the traditional sense. We much\rpreferred this, as it felt like the ideas drove the creativity, not any one\rperson’s process. James Barone, who became our live drummer in 2016, played on\rthe entire record. His tastes and the trust we have in him really helped us\rkeep rhythm at the center of a lot of these songs. We also worked with Sonic\rBoom (Peter Kember). Peter became a great force on this record, in the shedding\rof conventions and in helping to keep the songs alive, fresh and protected from\rthe destructive forces of recording studio over-production\/over-perfection.\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eThe societal insanity of 2016-17 was also deeply influential, as\rit must be for most artists these days. Looking back, there is quite a bit of\rchaos happening in these songs, and a pervasive dark field that we had\rlittle control over. The discussions surrounding women’s issues were a constant\rsource of inspiration and questioning. The energy, lyrics and moods of much of\rthis record grew from ruminations on the roles, pressures and conditions that\rour society places on women, past and present. The twisted double edge of\rglamour, with its perils and perfect moments, was an endless source (see\r“L’Inconnue,” “Drunk in LA,” “Woo,” “Girl Of The Year,” “Last Ride”).\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eIn a more general sense, we are interested by the human mind's\r(and nature’s) tendency to create forces equal and opposite to those present.\rThematically, this record often deals with the beauty that arises in dealing\rwith darkness; the empathy and love that grows from collective trauma; the\rplace one reaches when they accept rather than deny (see “Dark Spring,” “Pay No\rMind,” “Lemon Glow,” “Dive,” “Black Car,” “Lose Your Smile”).\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eThe title, \u003ci\u003e7\u003c\/i\u003e, itself is simply a number that\rrepresents our seventh record. We hoped its simplicity would encourage people\rto look inside. No title using words that we could find felt like an\rappropriate summation of the album.\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eThe number 7 does represent some interesting connections\rin numerology. 1 and 7 have always shared a common look, so \u003ci\u003e7\u003c\/i\u003e feels\rlike the perfect step in the sequence to act as a restart or\r“semi-first.”  Most early religions also had a fascination with 7 as\rbeing the highest level of spirituality, as in \"Seventh Heaven.”  At\rour best creative moments, we felt we were channeling some kind of heavy truth,\rand we sincerely hope the listeners will feel that. \u003c\/p\u003e\u003cp\u003eMuch Love,\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eBeach House\u003c\/p\u003e","brand":"Beach House","offers":[{"title":"LP","offer_id":53403372978543,"sku":"wfz1788117421466","price":18.17,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403373011311,"sku":"axe1788117421467","price":7.68,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":53403373044079,"sku":"uvg1788117421468","price":6.6,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403373076847,"sku":"gec1788117421469","price":6.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/7_1.jpg?v=1788117426"},{"product_id":"runaround-uk-press","title":"Runaround U.K. press","description":"","brand":"Arlo","offers":[{"title":"CD","offer_id":53403373863279,"sku":"ptx1788117448376","price":4.02,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/runaround-uk-press_1.jpg?v=1788117452"},{"product_id":"your-reverie","title":"Your Reverie","description":"\u003cp\u003eWe’re releasing a new Kelley Stoltz album February 5, 2008. The a-side of this single will be on that album, the b-side will not. 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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\r\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\r\u003cp\u003eMusically, \u003ccite\u003eFear Fun\u003c\/cite\u003e consists 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 class=\"caps\"\u003eIII\u003c\/span\u003e.\u003c\/p\u003e\r\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\r\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\r\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\r\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\r\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\r\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\r\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\r\u003cp\u003eInterviews by Richard Metzger and Casey Wescott\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\rWritten by Paula Zabrey, Jan. 2012\u003c\/p\u003e\r\u003cp\u003eVinyl includes mp3 download code.\u003c\/p\u003e","brand":"Father John Misty","offers":[{"title":"LP","offer_id":53403374256495,"sku":"lcf1788117473625","price":16.79,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403374289263,"sku":"myj1788117473626","price":9.48,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":53403374322031,"sku":"edh1788117473627","price":6.2,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403374354799,"sku":"hmf1788117473628","price":6.9,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/fear-fun_1.jpg?v=1788117477"},{"product_id":"remember-the-night-parties","title":"Remember the Night Parties","description":"\u003cp\u003eLike many of the best things, Oxford Collapse started as a joke of sorts. 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Father John Misty is the brainchild of singer-songwriter Josh Tillman. Tillman has released two widely acclaimed albums – \u003ci\u003eFear Fun\u003c\/i\u003e (2012) and \u003ci\u003eI Love You, Honeybear\u003c\/i\u003e (2015) – and the recent “Real Love Baby” single as Father John Misty, and recently contributed to songs by Beyoncé, Lady Gaga, and Kid Cudi. \u003c\/p\u003e\u003cp\u003eWhile we could say a lot about \u003ci\u003ePure Comedy\u003c\/i\u003e – including that it is a bold, important album in the tradition of American songwriting greats like Harry Nilsson, Randy Newman, and Leonard Cohen – we think it’s best to let its creator describe it himself. Take it away, Mr. Tillman:\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003ePure Comedy\u003c\/i\u003e is the story of a species born with a half-formed brain. The species’ only hope for survival, finding itself on a cruel, unpredictable rock surrounded by other species who seem far more adept at this whole thing (and to whom they are delicious), is the reliance on other, slightly older, half-formed brains. This reliance takes on a few different names as their story unfolds, like “love,” “culture,” “family,” etc. Over time, and as their brains prove to be remarkably good at inventing meaning where there is none, the species becomes the purveyor of increasingly bizarre and sophisticated ironies. These ironies are designed to help cope with the species’ loathsome vulnerability and to try and reconcile how disproportionate their imagination is to the monotony of their existence.\u003c\/p\u003e\u003cp\u003eSomething like that.\u003c\/p\u003e\u003cp\u003e\u003ci\u003ePure Comedy\u003c\/i\u003e was recorded in 2016 at the legendary United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, CA. 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But GOAT’s strange amalgam\risn’t some cheap game of cultural appropriation—it’s nearly impossible to\rpinpoint the exact origins of the elusive group’s sound. The fact that they\rpledge allegiance to a spot on the periphery of our maps bolsters the nomadic\rquality of their sonic explorations. With \u003ci\u003eRequiem\u003c\/i\u003e, GOAT continue to rock\rand writhe to a beat beholden to no nation, no state.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGOAT’s\ronly outright declaration for \u003ci\u003eRequiem\u003c\/i\u003e is that it is their “folk” album,\rand the album is focused more on their subdued bucolic ritualism than\rpsilocybin freakouts. 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With its title ripped from a passage in the Scott Walker-biography Deep Shade Of Blue, the record is a concentrated effort by Jaap van der Velde, Erik Woudwijk and Elias Elgersma to explore the physicality of their music in fresh ways. \u003c\/p\u003e\u003cp\u003e“When we were on tour in 2018, I bought Meredith Monk’s Dolmen Music in Switzerland,” Van der Velde recalls, “Elias and I have been completely immersed in her music ever since. But also the work of Joan La Barbara for example, who also did things with extended vocal techniques, that was also quite vital to us. We discovered that the human voice offers so many beautiful elements that can still feel very physical and intrusive.”\u003c\/p\u003e\u003cp\u003eDuring those formative years, the Dutch trio was often typecast as your resident tricksters. Hailing from the backwater Frisian municipality of Dokkum, Van der Velde, Woudwijk and Elgersma shrewdly courted spirituality under their own nonconformist whims, even if that wasn’t immediately obvious to outsiders. For those on the outside looking in, it was hard to tell whether the band was taking the piss or genuinely unraveling themselves as starry-eyed romantics.\u003c\/p\u003e\u003cp\u003eThe Homesick relished and thrived in that very schism on Youth Hunt. When not ruminating on their environment under the guise of Dark Age Christianity, they wrapped their ambivalence into sure-fire pop earworms. Even the album’s production values were undeniably quixotic: the exuberant vocal retorts of Elgersma and Van der Velde drenched in reverb, as warped synths and distorted guitars launched skyward with the glee of a firework spectacle. \u003c\/p\u003e\u003cp\u003eAs an inverse to that mindset, The Big Exercise finds the band keenly second-guessing their core chemistry as a live unit, imbuing their angular post-punk workouts with baroque elements such as piano, acoustic guitar, percussion, and even clarinet. “It’s the opposite of trying to translate recorded music to the stage,” Elgersma comments. “We were already playing these songs live for quite some time, so for this album, we wanted to unlock the potential of these songs further in the studio.”\u003c\/p\u003e\u003cp\u003eOpening track “What’s In Store” was in part inspired by Van der Velde’s unprompted deep dive into the world of National Anthems, making his own attempt to conjure a similarly timeless melody. The song seamlessly bleeds into the chivalrous prance of  “Children’s Day” and the fragmented “Pawing,” righteously encouraging Erik Woudwijk’s nimble, cerebral drumming to become the band’s driving force. \u003c\/p\u003e\u003cp\u003eThe headstrong wanderlust of The Big Exercise is very fitting, given The Homesick’s exodus as a small-town Dutch band ready to trot the world. Contrary to Youth Hunt’s quest for belonging, roots, and provenance, however, the band’s creative trajectory is now dictated by a sense of otherness and imagination. The sharp contrasts are nevertheless ever-present; the music’s new sonorous depth is underpinned by wry meditations on family ties, alternate realities, and commonplace encounters. As the band’s chief lyricists, Elgersma and Van der Velde deliberately keep each other in the dark, allowing the syntax of words and music to entangle in surprising – sometimes delightfully absurd – ways.\u003c\/p\u003e\u003cp\u003e“I Celebrate My Fantasy,” for example, summons a mirage of creeping pianos, sylvan clarinet flourishes and cartoonish sprawls with mock-paranoia, as Elgersma documents a macabre vision he had during a mild case of sleep paralysis. True to the band’s method of holding the more mundane, fleeting moments under a magnifying glass, capricious closing track “Male Bonding” pulls a wide range of movements out of the top hat: the album’s rare heavy burst is promptly mediated by almost medieval-sounding prog rock-flirtations. \u003c\/p\u003e\u003cp\u003eWith aplomb, The Homesick made a record impregnated with impressions which – when superimposed – still fit neatly under the pop umbrella. That obvious nod to Scott Walker isn’t an aberration either: straddling pop sonority and the cacophonous fringes is something well worth aspiring.  \u003c\/p\u003e\u003cp\u003e“That’s also a  phenomenal aspect of the position we’re now in as a band,” Van der Velde enthuses. “I consider The Homesick a pop band first and foremost. If you’d introduce a late-era Scott Walker-record to a layman, it would likely fall on flat ears. But put it in the right scene of a good movie, and that person may finally understand its potential. The Homesick is allowed to play around in that pop framework, and the goal is to explore what’s possible within it. You can do super radical and weird things, and at the same time convey it all as straightforward pop music. With this album, I hope people will hear things anew after multiple listens.”\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"The Homesick","offers":[{"title":"Loser (color) LP","offer_id":53403375272303,"sku":"prw1788117501964","price":5.89,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":53403375305071,"sku":"ncu1788117501965","price":6.55,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":53403375337839,"sku":"rpo1788117501966","price":3.72,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":53403375370607,"sku":"nnm1788117501967","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0911\/0169\/2271\/files\/the-big-exercise_1.jpg?v=1788117506"},{"product_id":"love-letter-for-fire","title":"Love Letter for Fire","description":"\u003cp\u003e\u003cb\u003e*Loser edition is sold out! Black vinyl shipping now. \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eLove Letter for Fire\u003c\/i\u003e is the name of the collaborative record from songwriters Sam Beam (Iron \u0026amp; Wine) and Jesca Hoop.  A collection of songs steeped in the tradition of the male\/female duet where love – in its many forms - takes center stage.  \u003c\/p\u003e\u003cp\u003eContemplating a duets album for some time, Beam was never able to find the right voice - until Hoop’s music found its way to his stereo. Diving into her catalog on iTunes one afternoon, specifically the album Kismet, was the spark Sam needed to reach out to Jesca and propose the idea of writing together.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe timing could not have been better for Beam: “I was looking to work with another songwriter because I had never shared the songwriting responsibility with anyone. 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I had melodies over the years that I’d been compiling that I thought, this sounds like a classic Kenny and Dolly, ‘Islands in the Stream’ kind of thing, or George and Tammy”.  While the record itself is not Countrypolitan in nature, the two have carved out something that feels wholly original and should have no trouble appealing to fans of their previous work.\u003c\/p\u003e\u003cp\u003eOver the course of thirteen songs Love Letter for Fire brims with joyful energy, contrasting Beam and Hoop’s songwriting styles yet never feeling forced, nor pandering. Veering from disparate pop (“Every Songbird Says” \/ “Chalk It Up To Chi”) to introspective folk (“One Way to Pray” \/ “Soft Place to Land”) to a few things in between (“Welcome to Feeling” \/ “Midas Tongue”), the record never rests solely on just the two voices but rather showcases the new chapter of songwriting each found in the collaboration. Beam notes: “(Jesca) brought a lot of energy and a lot of heart in places where I would be cerebral, she would bring heart.  In places where I would be steady, she would add an exclamation point.” \u003c\/p\u003e\u003cp\u003eRecorded in Portland, Oregon with the steady hand of Tucker Martine, the album features a collection of handpicked musicians. The band includes Rob Burger, a frequent Iron \u0026amp; Wine contributor, Sebastian Steinberg (Soul Coughing, Fiona Apple), Teddy Rankin-Parker (Primus), Eyvind Kang (Decemberists\/Tzadik and Ipecac labels) and Glenn Kotche (Wilco). This particular set of musicians had never worked together, but quickly found themselves on equal footing.  For Beam it was a bit of a dream team: “It was a really fun band, and a lot less guitar than I usually have on my [Iron \u0026amp; Wine] records.  Tucker and the band were able to help bring out what’s inside of you that you might not know is there.”\u003c\/p\u003e\u003cp\u003eThe album’s title comes from the song, “We Two Are A Moon“ and the irony of the title and record of love songs by two folks not in love is not lost on its creators. The idea of love in song and life is a constant and universal denominator that everyone relates to. Hoop describes love and the songs succinctly: “Each song has its heat, its own trajectory. The album title represents a kind of “ephemeral love that passes through” and then it’s gone\". Beam on the other hand insists the title plays on itself in that “is it a love letter for fire? 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Based in Portland, he serves up all the observational, storytelling talent with none of the attitude that so often comes with male singer-songwriter territory. “I've found my place,” he says. “I'm not one of those people that approaches music for anyone other than myself. My favorite part about music is when it's just me and a notebook.” Speaking of, his second forthcoming album \u003ci\u003eFull Circle Nightmare\u003c\/i\u003e is entirely autobiographical. Sonically, thematically, lyrically, it's a huge leap forward from his 2016 release.\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003eThe title \u003ci\u003eFull Circle Nightmare\u003c\/i\u003e refers to a moment where Craft saw his life for what it is and told himself to be satisfied. “But that's nightmarish to me,” he laughs. He described his debut record as: “like walking down this long hall of bizarre characters and surreal experiences, moving through the spider web of love and loss.” This album is when you get to the end of that hallway, turn around and see all the stuff you've been through, then walk through the door, close it and start a new chapter in an even crazier hallway. A straight-up rollicking rock'n'roll album, it traverses all the different nuances of the genre; from the bluegrass twang of 'Exile Rag,’ to the gothic style of 'Gold Calf Moan,' it's a timeless piece that could exist in any of the past five decades.\u003c\/p\u003e\n\u003cp\u003eIn terms of contemporary peers, Craft likes to stay in his own lane. He's an old soul who sticks to his tried and tested influences. Social media is not his game - it's just not interesting to him. He's not fussed about preaching his politics or discussing the status quo either. “I don't really like writing a time piece. 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