{"title":"Sept 26 Touring artists","description":null,"products":[{"product_id":"iron-and-wine_archive-series-volume-no-5-tallahassee-recordings","title":"Archive Series Volume No. 5: Tallahassee Recordings","description":"\u003cp\u003eArchive Series Volume No. 5: Tallahassee is the lost-in-time debut album from \u003ca href=\"https:\/\/megamart.subpop.com\/collections\/iron-wine\"\u003eIron \u0026amp; Wine\u003c\/a\u003e. A collection of songs recorded three years prior to his official Sub Pop debut, The Creek Drank the Cradle (2002).  A period before the concept of Iron \u0026amp; Wine existed and principal songwriter Sam Beam was studying at Florida State University with the intent of pursuing a career in film. Tallahassee documents the very first steps on a journey that would lead to a career as one of America’s most original and distinctive singer-songwriters. \u003c\/p\u003e\n\u003cp\u003eCreek arrived like a thief in the night with its lo-fi, hushed vocals and intimate nature, while almost inversely Tallahassee comes with a strange sense of confidence. Perhaps an almost youthful discretion that likely comes from being too young to know better and too naïve to give a shit. The recordings themselves are more polished than Creek and give a peak into what a studio version of that record might have offered up. \u003c\/p\u003e\n\u003cp\u003eTallahassee was recorded over the course of 1998-1999 when Beam and future bandmate EJ Holowicki moved into a house together. Beam had not been performing publicly, however he was known for playing an original song or two in the early morning glow of a long night. Holowicki also in the film program and who would go onto a career as a sound designer at Skywalker Sound, had a mobile recording device and after some prodding convinced his friend to record these late-night meditations. \u003c\/p\u003e\n\u003cp\u003eTogether they would record close to twenty-four songs, ideas and sketches, with EJ on bass and Sam on vocals, guitar, harmonica and drums.  The recordings – all captured in the house where they lived – have a “live in the room” feel akin to say Neil Young’s Harvest or Nick Drake’s Five Leaves Left, rather than the homespun lo-fi 4-track home recording experiment taking place at the time. \u003c\/p\u003e\n\u003cp\u003eThese recordings, minus one track, have never been made available and were instead left preserved on a hard drive for the last twenty years.  The one track that floated out there, called “In Your Own Time” was shared without a title to childhood friend Ben Bridwell (\u003ca href=\"https:\/\/megamart.subpop.com\/collections\/band-of-horses\"\u003eBand of Horses\u003c\/a\u003e) at some point. The song became known as the “Fuck Like A Dog” song and Ben shared it with more than a few folks during the golden era of mix cd’s.  Two of those folks were Jonathan Poneman from Sub Pop and journalist Mike McGonigal, who included it on his best songs of 2001 mix cd, passed out to friends and acquaintances.  And for many that is where the Iron \u0026amp; Wine story begins, until now…\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"docs-internal-guid-60b54ee0-7fff-e801-614e-1eaa8c722144\"\u003eTallahassee is the foreword to your favorite book that you’ve somehow skipped over time and time again. It’s an alternative history mixed with some revisionist history told over the course of eleven songs. It’s also the debut record by Iron \u0026amp; Wine some twenty years after the fact.\u003c\/span\u003e\u003c\/p\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"Loser (color) LP","offer_id":40768806355119,"sku":"714040","price":18.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":40768806387887,"sku":"714041","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768806420655,"sku":"714042","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40768806453423,"sku":"714044","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/ironandwine-asv5-tallahassee-3000px_18840270-243e-44eb-80f8-542a8bab1ba7.jpg?v=1633413996"},{"product_id":"beach-house_bloom","title":"Bloom","description":"\u003cp\u003e\u003ccite\u003eBloom\u003c\/cite\u003e is the fourth full-length album by Baltimore-based Beach House. Like their previous releases (\u003ca href=\"http:\/\/www.subpop.com\/releases\/beach_house\/full_lengths\/beach_house\"\u003e\u003ccite\u003eBeach House\u003c\/cite\u003e\u003c\/a\u003e in 2006, \u003ca href=\"http:\/\/www.subpop.com\/releases\/beach_house\/full_lengths\/devotion\"\u003e\u003ccite\u003eDevotion\u003c\/cite\u003e\u003c\/a\u003e in 2008, \u003ca href=\"http:\/\/www.subpop.com\/releases\/beach_house\/full_lengths\/teen_dream\"\u003e\u003ccite\u003eTeen Dream\u003c\/cite\u003e\u003c\/a\u003e in 2010), it further develops their distinctive sound yet stands apart as a new piece of work. \u003ccite\u003eBloom\u003c\/cite\u003e is meant to be experienced as an \u003cspan class=\"caps\"\u003eALBUM\u003c\/span\u003e, a singular, unified vision of the world. Though not stripped down, the many layers of \u003ccite\u003eBloom\u003c\/cite\u003e are uncomplicated and meticulously constructed to ensure there is no waste. \u003ccite\u003eBloom\u003c\/cite\u003e was recorded in 2011 at Sonic Ranch Studios in Tornillo, TX and mixed at Electric Lady in \u003cspan class=\"caps\"\u003eNYC\u003c\/span\u003e. The band co-produced the record with Chris Coady. \u003c\/p\u003e","brand":"Beach House","offers":[{"title":"2xLP","offer_id":40768815071407,"sku":"709651","price":19.25,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768815104175,"sku":"709652","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40768815136943,"sku":"709654","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/12778_cbbf4dc3-9efa-48cd-9e05-9c4dfe79b3f6.jpg?v=1777592061"},{"product_id":"iron-and-wine_beast-epic","title":"Beast Epic","description":"\u003cp\u003e\"I must confess that I’ve always shied away from album introductions citing the usual \"dancing to architecture\" cop out. Speaking to their own work is uncomfortable for many artists, but I’ve made a new album called \u003ci\u003eBeast Epic\u003c\/i\u003e which is important to me and I wanted to take a moment to talk about why. I’ve been releasing music for about fifteen years now and I feel very blessed to have put out five other full lengths, many EPs and singles, a few collaborations with people much more talented than myself, and made contributions to numerous movie scores and soundtracks. This is my sixth collection of new Iron \u0026amp; Wine material and I’m happy to say that it’s my fourth for Sub Pop Records.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"It’s a warm and serendipitous time to be reuniting with my Seattle friends because I feel there’s a certain kinship between this new collection of songs and my earliest material, which Sub Pop was kind enough to release.\u003c\/p\u003e\n\u003cp\u003e“I have been and always will be fascinated by the way time asserts itself on our bodies and our hearts. The ferris wheel keeps spinning and we’re constantly approaching, leaving or returning to something totally unexpected or startlingly familiar. The rite of passage is an image I've returned to often because I feel we’re all constantly in some stage of transition.  \u003ci\u003eBeast Epic\u003c\/i\u003e is saturated with this idea but in a different way simply because each time I return to the theme I’ve collected new experiences to draw from. Where the older songs painted a picture of youth moving wide-eyed into adulthood’s violent pleasures and disappointments, this collection speaks to the beauty and pain of growing up after you’ve already grown up. For me, that experience has been more generous in its gifts and darker in its tragedies.\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e“The sound of \u003ci\u003eBeast Epic\u003c\/i\u003e harks back to previous work, in a way, as well. By employing the old discipline of recording everything live and doing minimal overdubbing, I feel like it wears both its achievements and its imperfections on its sleeve. Over the years, I’ve enjoyed experimenting with different genres, sonics and songwriting styles and all that traveled distance is evident in the feel and the arrangements here, but the muscles seemed to have relaxed and been allowed to effortlessly do what they do best (read full artist statement \u003ca title=\"Link: http:\/\/www.subpop.com\/artists\/iron_and_wine\" href=\"http:\/\/www.subpop.com\/artists\/iron_and_wine\"\u003eover here\u003c\/a\u003e).” \u003c\/p\u003e\n\u003cp\u003e - Sam Beam\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan id=\"docs-internal-guid-2d8ecb33-8499-66b9-f09f-7e4b72b334d8\"\u003e\u003ci\u003eBeast Epic\u003c\/i\u003e was written and produced by Sam Beam. It was recorded and engineered by Tom Schick at the Loft in Chicago in July 2016 and January 2017, and mastered by Richard Dodd in Nashville, Tennessee. The musicians who played on the album include longtime Iron \u0026amp; Wine collaborators Rob Burger (keys), Joe Adamik (percussion, drums), and Jim Becker (guitar, banjo, violin, mandolin), along with bassist Sebastian Steinberg (Soul Coughing and Fiona Apple), and Chicagoan Teddy Rankin Parker (cello).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe Deluxe 2xLP version of \u003ci\u003eBeast Epic \u003c\/i\u003eis on red \u0026amp; blue vinyl with alternate artwork, two bonus tracks from the \u003ci\u003eBeast Epic \u003c\/i\u003erecording sessions and three home-recorded demos, and has an etching on side D. The 5 bonus tracks are also included in the digital download that comes with this deluxe 2xLP edition. The bonus tracks are: 1. Hearts Walk Anywhere; 2. Kicking the Old Rain; 3. About a Bruise (demo); 4. Claim a Ghost (demo); 5. Summer Clouds (demo).\u003c\/p\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"Deluxe","offer_id":40768817168559,"sku":"711703","price":20.43,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":40768817201327,"sku":"711701","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768817234095,"sku":"711702","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40768817299631,"sku":"711704","price":7.1,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/ironandwine-beastepic-3000.jpg?v=1633414137"},{"product_id":"sera-cahoone_only-as-the-day-is-long","title":"Only as the Day Is Long","description":"\u003cp\u003eDaughter of a Rocky Mountain dynamite salesman, songwriter Sera Cahoone got her musical start on the drums at twelve years old. At twenty-one she left Colorado in favor of Seattle, Washington’s gloomy skies and drummed for, among others, now-defunct indie favorites \u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/Carissa%27s_Wierd\"\u003eCarissa’s Wierd\u003c\/a\u003e, L.A. musician Patrick Park, and on \u003ca href=\"http:\/\/www.subpop.com\/artists\/band_of_horses\"\u003eBand of Horses’\u003c\/a\u003e debut, \u003ca href=\"http:\/\/www.subpop.com\/releases\/band_of_horses\/full_lengths\/everthing_all_the_time\"\u003e\u003ccite\u003eEverything All the Time\u003c\/cite\u003e\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003eIn 2006, Cahoone decided to step out from the cymbals and snare and focus on singing, songwriting, and guitar playing, skills she’d been honing for nearly 15 years on her own. The fruit of her newfound dedication was \u003ca href=\"http:\/\/www.subpop.com\/releases\/sera_cahoone\/full_lengths\/sera_cahoone\"\u003e\u003ccite\u003eSera Cahoone\u003c\/cite\u003e\u003c\/a\u003e (2006), her self-released first album of thoughtful country songs that was lauded by indie-rock tastemaker \u003ca href=\"http:\/\/www.kexp.org\"\u003e\u003cspan class=\"caps\"\u003eKEXP\u003c\/span\u003e-FM\u003c\/a\u003e in Seattle along with \u003ca href=\"http:\/\/www.npr.org\/templates\/story\/story.php?storyId=6142022\"\u003e\u003cspan class=\"caps\"\u003eNPR\u003c\/span\u003e\u003c\/a\u003e. And \u003ccite\u003eThe Stranger\u003c\/cite\u003e called Sera’s debut “…a breathtaking collection of sad and dusky songs that reveal an artist of remarkable depth as well as a truly stunning voice.”\u003c\/p\u003e\u003cp\u003eOn \u003ccite\u003eOnly as the Day Is Long\u003c\/cite\u003e, the airy gentleness of the arrangements is counterweighted by tension in the lyrics. “I know I’m safe for now, but I know the rest is on its way,” she sings on the title song. Time and again, characters mired in the present cast either skeptical or hopeful eyes on the future: “It’s got to get better than this” (“Runnin’ Your Way”), “I wish this night would pass on by” (“Shitty Hotel”), “Time’s been moving too fast” (“You’re Not Broken”). \u003ccite\u003eOnly as the Day Is Long\u003c\/cite\u003e, Sera Cahoone’s quiet, country-noirish second album and Sub Pop debut is out March 18, 2008.\u003c\/p\u003e","brand":"Sera Cahoone","offers":[{"title":"CD","offer_id":40768818806959,"sku":"707592","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/4026.jpg?v=1633414139"},{"product_id":"quasi_field-studies","title":"Field Studies","description":"\u003cp\u003eUp Records (via Sub Pop) presents a vinyl repress of Quasi’s fourth album, Field Studies, which was originally released September 7th, 1999. \u003cb\u003eThe first run will be on White vinyl while supplies last.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eQuasi stretch out yet further on Field Studies, their fourth album, and easily justify their recent status as one of the foremost purveyors of underground pop. Every element that made their previous album, Featuring “Birds”, so widely acclaimed – concise songwriting, arching melodies, and dead- on harmonies atop occasionally clamorous and always- propulsive rhythms – is further developed on Field Studies. The tonal palette has expanded to include strings, church organ, theremin, and various electronic instruments, in addition to the keyboards, guitars, and drums that have always been their mainstays.\u003c\/p\u003e\u003cp\u003eSomehow, Sam Coomes and Janet Weiss manage once again to play nearly all the instruments on the record themselves. They accomplish this task despite spending the better part of 1999 on the road performing either as Quasi, with Sleater-Kinney (Janet’s other band), or as part of Elliott Smith’s touring band. Quasi returns the favor to Elliott in kind on Field Studies, enlisting his prowess on bass guitar on several songs.\u003c\/p\u003e\u003cp\u003eField Studies was mostly recorded at Jackpot! Studio in Portland, OR with Larry Crane (of Tape Op magazine); a couple of songs were recorded in Seattle with Phil Ek (Built to Spill, Fleet Foxes), one was recorded in Portland’s Old Church, and another was recorded at Janet’s home, where Quasi recorded their entire first album.Hooray for gloomy gusses!\u003c\/p\u003e","brand":"Quasi","offers":[{"title":"LP","offer_id":40768834076847,"sku":"800721","price":13.39,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40768834109615,"sku":"800722","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/quasi-fieldstudies-cover-900x900-300.jpg?v=1633414307"},{"product_id":"band-of-horses_cease-to-begin","title":"Cease to Begin","description":"\u003cp\u003eReleased in March of 2006, \u003ca href=\"http:\/\/www.subpop.com\/artists\/band_of_horses\"\u003eBand of Horses’\u003c\/a\u003e debut \u003ca href=\"http:\/\/www.subpop.com\/releases\/band_of_horses\/full_lengths\/everthing_all_the_time\"\u003e\u003cem\u003eEverything All the Time\u003c\/em\u003e\u003c\/a\u003e propelled the band from early shows opening for friends \u003ca href=\"http:\/\/www.subpop.com\/artists\/iron_and_wine\"\u003eIron \u0026amp; Wine\u003c\/a\u003e, to playing on \u003cstrong\u003e\u003cem\u003eThe Late Show with David Letterman\u003c\/em\u003e\u003c\/strong\u003e by July, and being nominated as one of ten finalists (along with Joanna Newsom, Beirut, Tom Waits, and, the eventual winner, Cat Power) for the \u003ca href=\"http:\/\/www.shortlistofmusic.com\/\"\u003eShortlist Music Prize\u003c\/a\u003e for that same year. The record also received celebratory press in \u003ccite\u003eSpin\u003c\/cite\u003e, \u003ccite\u003eEntertainment Weekly\u003c\/cite\u003e, \u003ccite\u003eNY Times\u003c\/cite\u003e, \u003ccite\u003eHarp\u003c\/cite\u003e, \u003ca href=\"http:\/\/www.billboard.com\/bbcom\/reviews\/album_review_display.jsp?vnu_content_id=1002277106\"\u003e\u003ccite\u003eBillboard\u003c\/cite\u003e\u003c\/a\u003e, \u003ca href=\"http:\/\/www.pitchforkmedia.com\/record-reviews\/b\/band-of-horses\/everything-all-the-time.shtml\"\u003e\u003ccite\u003ePitchfork\u003c\/cite\u003e\u003c\/a\u003e, \u003cem\u003eMagnet\u003c\/em\u003e, \u003cem\u003e\u003cspan class=\"caps\"\u003eNME\u003c\/span\u003e\u003c\/em\u003e, \u003cem\u003eUncut\u003c\/em\u003e, and a slew of others. For a lot of reasons, \u003cem\u003eCease to Begin\u003c\/em\u003e is the perfect title for this new record. Though they worked with producer \u003ca href=\"http:\/\/www.philek.com\/\"\u003ePhil Ek\u003c\/a\u003e again, as they did on \u003ca href=\"http:\/\/www.subpop.com\/releases\/band_of_horses\/full_lengths\/everthing_all_the_time\"\u003e\u003cem\u003eEverything All the Time\u003c\/em\u003e\u003c\/a\u003e, much has changed for \u003ca href=\"http:\/\/www.subpop.com\/artists\/band_of_horses\"\u003eBand of Horses\u003c\/a\u003e between the fairly recent then and now. Band members have come and gone, including Mat Brooke, who left to pursue other interests and \u003ca href=\"http:\/\/www.subpop.com\/artists\/grand_archives\"\u003ehis own band\u003c\/a\u003e. Core members Ben Bridwell, Rob Hampton and Creighton Barrett moved from Seattle to Mt. Pleasant, SC, to be closer to their families. And, close friends and family have come and gone—some far too early. Necessarily shot through with these experiences, the songs on \u003cem\u003eCease to Begin\u003c\/em\u003e are strikingly beautiful, if less elliptical and more straightforward, dealing with the reconciliation of attachment and detachment, the strength that’s found through suffering, and the understanding that we are as significant as we are insignificant. It’s also a great rock record.\u003c\/p\u003e\n\u003cp\u003eSP745\u003c\/p\u003e\n\u003cp\u003eRelease date: October 9, 2007\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.pitchforkmedia.com\/article\/record_review\/46159-cease-to-begin\"\u003ePitchfork review of \u003ccite\u003eCease to Begin\u003c\/cite\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/web.archive.org\/web\/20120502050944\/http:\/\/www.stylusmagazine.com\/reviews\/band-of-horses\/cease-to-begin.htm\"\u003eStylus review of \u003ccite\u003eCease to Begin\u003c\/cite\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"Band of Horses","offers":[{"title":"LP","offer_id":40768843415727,"sku":"707451","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768843448495,"sku":"707452","price":10.2,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40768843481263,"sku":"707454","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/3551.jpg?v=1762539156"},{"product_id":"iron-and-wine_iron-and-wine-calexico-in-the-reins","title":"Iron and Wine\/Calexico - In The Reins","description":"\u003cp\u003eThis is Sam Beam (\u003ca title=\"Link: https:\/\/megamart.subpop.com\/artists\/iron_and_wine\" href=\"https:\/\/megamart.subpop.com\/artists\/iron_and_wine\"\u003eIron \u0026amp; Wine\u003c\/a\u003e as you know him) playing many a sweet lick with his buddies in Calexico. Do you want to know how this record came about? Well I will tell you…\u003c\/p\u003e\r\u003cp\u003eThree years ago, Iron And Wine’s \u003ca href=\"https:\/\/megamart.subpop.com\/artists\/sam_beam_and_jesca_hoop\"\u003eSam Beam\u003c\/a\u003e entertained the idea of recording with Calexico founding members Joey Burns and John Convertino as the backing band for what would have become his debut record. Due to unavoidable situations, that recording didn’t happen. Finally, after much acclaim for both bands, recording for “In The Reins” took place in December of 2004. It’s a collaborative affair that features seven Sam originals with the backing of the full Calexico band and vocals by Joey Burns. A truly harmonious affair with equal parts Iron and Wine and Calexico to satisfy fans of either or both. These tracks offer something new and exciting beyond what the listener has come to expect from either act.\u003c\/p\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"LP","offer_id":40768853737647,"sku":"40600991","price":15.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40768853770415,"sku":"40600992","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/2821.jpg?v=1633414610"},{"product_id":"built-to-spill_theres-nothing-wrong-with-love","title":"There's Nothing Wrong With Love","description":"\u003cp\u003e\u003cem\u003eThere's Nothing Wrong with Love\u003c\/em\u003e\u003cspan\u003e is the second full-length album released by legendary indie rock band \u003ca href=\"https:\/\/megamart.subpop.com\/artists\/built_to_spill\"\u003eBuilt to Spill\u003c\/a\u003e. It was originally released September 13, 1994 on the Up Records label. The line-up for the album was Doug Martsch, bassist Brett Nelson, and drummer Andy Capps, with Phil Ek producing. The album features the enduring singles “In the Morning,” “Car,” and “Distopian Dream Girl.”  \u003c\/span\u003e\u003cem\u003eThere’s Nothing Wrong With Love\u003c\/em\u003e will be available October 30th from Up Records, which is distributed through Sub Pop.\u003cbr\u003e \u003cbr\u003e\u003cem\u003eThere’s Nothing Wrong with Love\u003c\/em\u003e was wonderfully received by critics upon its release. It went on to earn “Best Albums of 90’s” notices from the likes of \u003cem\u003ePitchfork, PASTE, SPIN\u003c\/em\u003e, and has sold nearly 140k copies to date. This new, vinyl edition is the first time the album has been available on vinyl since its original run.\u003c\/p\u003e\u003cp\u003eAll orders receive an immediate digital download of the full album. \u003c\/p\u003e","brand":"Built to Spill","offers":[{"title":"LP","offer_id":40768872906927,"sku":"800061","price":16.1,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40768872939695,"sku":"800062","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Color LP","offer_id":44091650801839,"sku":"800063","price":16.1,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/BuiltToSpill_TheresNothingWrongWithLove_Anniversary_LP_MockUp.jpg?v=1719894936"},{"product_id":"iron-and-wine_boy-with-a-coin","title":"Boy With a Coin","description":"\u003cp\u003eBoy With a Coin is the single from the Iron and Wine album, \u003ci\u003eThe Shepherd’s Dog\u003c\/i\u003e! 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Kline’s dissonant lyrics pair with the band’s driving, jangly\rgrooves to create striking moments of musical chemistry.\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e\u003ci\u003eVessel’s\u003c\/i\u003e 34-minute run time is exactly double the\rlength of Frankie Cosmos’ breakout record, \u003ci\u003eZentropy\u003c\/i\u003e, and it is an\renormous leap forward. Typically, albums by artists at a similar stage in their\rcareers are written with the weight of knowing that someone is on the other end\rlistening. Yet, despite being fully aware of their ever-growing audience, Kline\rand band have written \u003ci\u003eVessel\u003c\/i\u003e with a clarity not muddled by the fear of\ranyone’s expectations. \u003ci\u003eVessel\u003c\/i\u003e’s unique\rsensibility, esoteric narratives, and reveling energy place it comfortably in\rKline’s ongoing musical auto-biography.\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e\u003ci\u003eVessel\u003c\/i\u003e was recorded in Binghamton, New\rYork with Hunter Davidsohn, the producer and engineer who helped craft \u003ci\u003eZentropy\u003c\/i\u003e\rand \u003ci\u003eNext Thing\u003c\/i\u003e, and at\rGravesend Recordings in Brooklyn with Carlos Hernandez and Julian Fader.\rIt features contributions from Alex Bailey (formerly of Warehouse, and now part\rof the live configuration of Frankie Cosmos), Vishal Narang (of Airhead DC),\rand singer\/songwriter Anna McClellan, all of whom have played on bills with\rFrankie Cosmos and collaborated on-stage with the band. The final mixes were\rdone by Davidsohn, and the album was mastered by Josh Bonati.    \u003c\/p\u003e","brand":"Frankie Cosmos","offers":[{"title":"LP","offer_id":40768888668335,"sku":"712151","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768888701103,"sku":"712152","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40768888733871,"sku":"712154","price":7.1,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/frankiecosmos-vessel-3000.jpg?v=1633415118"},{"product_id":"band-of-horses_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. 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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":40768889716911,"sku":"706901","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768889749679,"sku":"706902","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40768889782447,"sku":"706904","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/BandOfHorses_EverythingAllTheTime_LP_MockUp_f25b7128-4ecd-4573-9e79-1cafad7ff0e7.jpg?v=1762539162"},{"product_id":"beach-house_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":40768893485231,"sku":"711421","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768893517999,"sku":"711422","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40768893550767,"sku":"711424","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/beachhouse-thankyourluckystars-900px.jpg?v=1633415183"},{"product_id":"iron-and-wine_around-the-well","title":"Around the Well","description":"\u003cp\u003eCollecting songs ranging from out-of-print to never-before-released, \u003ccite\u003e\u003ci\u003eAround the Well\u003c\/i\u003e\u003c\/cite\u003e spans Iron \u0026amp; Wine’s earliest sessions which yielded the band’s debut (2002’s \u003ca href=\"http:\/\/www.subpop.com\/catalog\/artists\/iron_and_wine\/full_lengths\/the_creek_drank_the_cradle\/\"\u003e\u003ccite\u003eThe Creek Drank the Cradle\u003c\/cite\u003e\u003c\/a\u003e) through material recorded for 2007’s \u003ca href=\"http:\/\/www.subpop.com\/catalog\/artists\/iron_and_wine\/full_lengths\/the_shepherds_dog\/\"\u003e\u003ccite\u003eThe Shepherd’s Dog\u003c\/cite\u003e\u003c\/a\u003e. The double-disc \u003ccite\u003e\u003ci\u003eAround the Well\u003c\/i\u003e\u003c\/cite\u003e collection is broken up into two sections. The first half is an assortment of hushed home recordings, unedited and raw, and the second highlights moments captured in the confines of proper studios with the help of other musicians, friends and engineers. The album’s title comes from a line in the song “The Trapeze Swinger,” a fan favorite which was written for and included in the movie \u003ccite\u003e\u003ci\u003eIn Good Company\u003c\/i\u003e\u003c\/cite\u003e. Three more songs written and recorded for the film finally make their appearance here as well: “Belated Promise Ring,” “God Made the Automobile” and “Homeward, These Shoes.” \u003ccite\u003e\u003ci\u003eAround the Well\u003c\/i\u003e\u003c\/cite\u003e also brings together hard-to-find covers such as The Flaming Lips’ “Waitin’ for a Superman” and New Order’s “Love Vigilantes,” along with one of Iron and Wine’s earliest originals, “Sacred Vision.”\u003c\/p\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"3xLP","offer_id":40768893780143,"sku":"708081","price":22.45,"currency_code":"USD","in_stock":true},{"title":"2xCD","offer_id":40768893812911,"sku":"708082","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/5344.jpg?v=1633415188"},{"product_id":"iron-and-wine_our-endless-numbered-days-deluxe-edition","title":"Our Endless Numbered Days (Deluxe Edition)","description":"\u003cp\u003eThis newly expanded, deluxe edition of \u003ci\u003eOur Endless Numbered Days \u003c\/i\u003efeatures eight previously never before heard demos, new artwork, and a 12-page booklet including liner notes from author Amanda Petrusich. \u003c\/p\u003e\u003cp\u003eSam Beam, aka Iron \u0026amp; Wine, released \u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/our_endless_numbered_days\" href=\"https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/our_endless_numbered_days\"\u003e\u003ci\u003eOur Endless Numbered Days\u003c\/i\u003e\u003c\/a\u003e, his second album, in March of 2004. It followed his seemingly out of nowhere debut arrival, \u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/the_creek_drank_the_cradle\" href=\"https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/the_creek_drank_the_cradle\"\u003e\u003ci\u003eThe Creek Drank the Cradle\u003c\/i\u003e \u003c\/a\u003e(2002) which was a quiet word of mouth treasure. \u003ci\u003eOur Endless Numbered Days\u003c\/i\u003e was recorded in Chicago and was the first in a string of releases to be produced by Brian Deck (Red Red Meat, Modest Mouse, \u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/ugly_casanova\/sharpen_your_teeth\" href=\"https:\/\/megamart.subpop.com\/releases\/ugly_casanova\/sharpen_your_teeth\"\u003eUgly Casanova\u003c\/a\u003e, etc.).\u003c\/p\u003e\u003cp\u003eThe record, which has sold over 556,000 copies, marked many firsts for Beam both professionally and personally and as Petrusich so rightly calls it in her liner notes “\u003ci\u003eOur Endless Numbered Days\u003c\/i\u003e is a timeless record about the passage of time.”\u003c\/p\u003e\u003cp\u003eUpon its release \u003ci\u003eSPIN \u003c\/i\u003ecalled the record a “masterwork” one that is “self-assured, spellbinding, and richly, refreshingly adult.”  \u003ci\u003ePitchfork\u003c\/i\u003e, in their “Best New Music” review, had this to say: “An astoundingly progressive record: Beam has successfully transgressed his cultural pigeonhole without sacrificing any of his dusty allure.”\u003cbr\u003e\u003c\/p\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"2xLP","offer_id":40768895353007,"sku":"712881","price":19.25,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40768895385775,"sku":"712882","price":7.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/ironandwine-endlessnumbereddaydeluxe-3600px_54072d89-110c-488a-bf65-46a32ad76ea1.jpg?v=1633415226"},{"product_id":"sera-cahoone_sera-cahoone","title":"Sera Cahoone","description":null,"brand":"Sera Cahoone","offers":[{"title":"CD","offer_id":40768895910063,"sku":"40759992","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40768895942831,"sku":"614511853026","price":14.25,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/2920.jpg?v=1633415238"},{"product_id":"quasi_r-and-b-transmogrification","title":"R \u0026 B Transmogrification","description":"\u003cp\u003eUp Records (via Sub Pop) presents a vinyl repress of Quasi’s second album, R\u0026amp;B Transmogrification, which was originally released March 25th, 1997. \u003cb\u003eThe first run will be on Light Green vinyl while supplies last.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eQuasi’s (pronounced KWAH-zee) primary instrumentalist Sam Coomes played in the Donner Party before starting Motorgoat in 1992 with drummer Janet Weiss. 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Recorded in a cold, Portland, OR basement during the winter of 1996, R\u0026amp;B Transmogrification serves as an almost exact representation of the duo’s amazing live sound.\u003c\/p\u003e\u003cp\u003eWith a heavy emphasis on fuzz piano and “kinetic” drumming, guitars chime in spare and harmonious throughout the songs, showing the soulful grace hidden behind a thin veil of cacophony. This all lays the foundation for lyrical explorations of the apparently inexhaustible themes of death and the failure of love. But never have the two morose subjects sounded so beautiful and harmless.\u003c\/p\u003e","brand":"Quasi","offers":[{"title":"LP","offer_id":40768899776687,"sku":"800401","price":11.69,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/quasi-r-btransmogrification-cover-900x900-300.jpg?v=1633415293"},{"product_id":"beach-house_teen-dream","title":"Teen Dream","description":"\u003cp\u003eRecorded in upstate New York, in a converted church called Dreamland with producer\/engineer Chris Coady (who has worked with TV on the Radio, Yeah Yeah Yeahs, Blonde Redhead, and a bunch of others) \u003ccite\u003e\u003ci\u003eTeen Dream\u003c\/i\u003e\u003c\/cite\u003e is the third album from the Baltimore-based duo \u003ca title=\"Link: http:\/\/www.subpop.com\/artists\/beach_house\/\" href=\"http:\/\/www.subpop.com\/artists\/beach_house\/\"\u003eBeach House\u003c\/a\u003e, and their Sub Pop debut. The album gives voice to a full universe of unbridled imagination, and the manifestation of \u003ccite\u003eTeen Dream\u003c\/cite\u003e has been a welcomed and all-consuming obsession for the band. \u003cbr\u003e\u003c\/p\u003e","brand":"Beach House","offers":[{"title":"2xLP","offer_id":40768900858031,"sku":"708451","price":19.25,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768900890799,"sku":"708452","price":10.2,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40768900923567,"sku":"708454","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/BeachHouse_TeenDream_LP_Black_2022_01_dff1b882-2309-4a2f-89c5-3fa9d244b0be.jpg?v=1779822791"},{"product_id":"built-to-spill_built-to-spill-caustic-resin-split","title":"Built To Spill \/ Caustic Resin Split","description":null,"brand":"Built to Spill","offers":[{"title":"CD","offer_id":40768902234287,"sku":"800182","price":8.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/builttospill-causticresin-cover-900x900-300.jpg?v=1633415334"},{"product_id":"beach-house_beach-house","title":"Beach House","description":"\u003cp\u003e\u003ccite\u003eBeach House\u003c\/cite\u003e is the debut album by Baltimore duo Beach House and was released in October 2006. \u003c\/p\u003e","brand":"Beach House","offers":[{"title":"LP","offer_id":40768906002607,"sku":"40845991","price":19.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40768906035375,"sku":"40845992","price":14.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/11382.jpg?v=1633415404"},{"product_id":"sera-cahoone_from-where-i-started","title":"From Where I Started","description":"\u003cp\u003eSera's fourth album was released on March 24th. Please note that the LP will include a download card in the package.\u003c\/p\u003e","brand":"Sera Cahoone","offers":[{"title":"LP","offer_id":40768920027311,"sku":"40759981","price":12.5,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40768920060079,"sku":"40759982","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/seracahoone-fwis-cover.jpg?v=1633415613"},{"product_id":"iron-and-wine_the-sea-and-the-rhythm","title":"The Sea And The Rhythm","description":"\u003cp\u003e5 songs recorded in Sam Beam’s bedroom from the same sessions that gave us 2002’s \u003ci\u003e\u003ca href=\"https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/the_creek_drank_the_cradle\"\u003eThe Creek Drank the Cradle\u003c\/a\u003e\u003c\/i\u003e. \u003c\/p\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"12 inch","offer_id":40768943063215,"sku":"706191","price":13.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768943095983,"sku":"706192","price":5.84,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/2760.jpg?v=1633415914"},{"product_id":"sera-cahoone_deer-creek-canyon","title":"Deer Creek Canyon","description":"\u003cp\u003eSera Cahoone is a long way from home. Growing up the daughter of a dynamite salesman in the Colorado foothills, she got her start on the drums at 11, and at 12 her mom was taking her to dive bars to sit in with the scruffy old blues men. By the time she picked up a guitar, she had been so shaped by these things – the dynamite, the blues, the woods and the hills – it’s no surprise she went on to be one of the strongest songwriters in Seattle’s ever-vibrant Americana scene.\u003c\/p\u003e\n\u003cp\u003eSince migrating to Seattle in 1998, she has played with Carissa’s Wierd, Band of Horses, Betsy Olson, and singer-songwriter Patrick Park. She released her solo debut in 2006, and her widely acclaimed Sub Pop debut \u003ccite\u003eOnly as the Day Is Long\u003c\/cite\u003e in 2008.\u003c\/p\u003e\n\u003cp\u003e\u003ccite\u003eDeer Creek Canyon\u003c\/cite\u003e, her third solo album, sees her ruminating on the gravitational pull of home. Titled for the Colorado canyon where she came of age, where her mother still lives, \u003ccite\u003eDeer Creek Canyon\u003c\/cite\u003e delves deeper and sees her voice remarkably stronger than on her past albums. Where her previous efforts explored the complicated throes of dark emotions, this album is more richly focused. Home is even present in the more personal songs struggling with various facets of love and friendship (“Worry All Your Life”, “Shakin’ Hands”).\u003c\/p\u003e\n\u003cp\u003e\u003ccite\u003eDeer Creek Canyon\u003c\/cite\u003e was recorded in 2012 at Bear Creek Studio in Woodinville, Wash., then headed to LA where Sera co-produced it with Thom Monahan (Devendra Banhart, Vetiver). 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Listen closely, the music feels like home.\u003c\/p\u003e","brand":"Sera Cahoone","offers":[{"title":"LP","offer_id":40768947814575,"sku":"710051","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768947847343,"sku":"710052","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/12146.jpg?v=1633415942"},{"product_id":"quasi_featuring-birds","title":"Featuring \"Birds","description":"\u003cp\u003eUp Records (via Sub Pop) presents a vinyl repress of Quasi’s third album, Featuring “Birds”, which was originally released April 20th, 1998. \u003c\/p\u003e\n\u003cp\u003eOn this, Quasi’s third album (their second for Up Records), Quasi’s transformation is possibly complete. They have succeeded in writing a perfect pop album while maintaining the tension and dramatic joy of their past releases. Sam Coomes (formerly of Heatmiser, Donner Party) and Janet Weiss (also of Sleater-Kinney) are the only two individuals alive who can make it ok to be happy about singing along to the ideas of suicide and lost love. They can do it because you dearly want them to, and because no one else has ever dared to try. These themes have become necessary inclusions for the band, and on Featuring “Birds” they are even accompanied by notions of love renewed. Quasi turns a new leaf?\u003c\/p\u003e\n\u003cp\u003eRecorded at Portland’s Jackpot Studio by Mr. Larry Crane (editor of Tape Op magazine) in November of 1997, Featuring “Birds” is an expansion of Quasi’s technical and musical boundaries. For the first time, they have recorded in a profes- sional studio, and for the first time they have used more than eight tracks (16, this time around). The songs date from late ’96, when Quasi was just recording their last album, up to the moment they entered the studio for this album. The sole guest musician on the album is Charlie Campbell of Pond, who wrote and played guitar on “Tomorrow You’ll Hide.”\u003c\/p\u003e","brand":"Quasi","offers":[{"title":"Color LP","offer_id":43762883559599,"sku":"800543","price":16.1,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":40768960233647,"sku":"800541","price":16.1,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40768960266415,"sku":"800542","price":8.3,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/quasi-featuringbirds-900_b376883c-1275-42d3-8265-d6f7c12e065d.jpg?v=1715668141"},{"product_id":"beach-house_7","title":"7","description":"\u003cp\u003e\u003ci\u003e*\u003cb\u003eLoser edition vinyl is SOLD OUT! (5\/11\/18 7:10 pm PST)\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e7\u003c\/i\u003e is our 7th full-length record. At its release, we will have been a band for over 13 years. 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":40768960626863,"sku":"712401","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768960659631,"sku":"712402","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40768960692399,"sku":"712404","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/beachhouse-7-lp-black-square.jpg?v=1755282716"},{"product_id":"iron-and-wine_weed-garden","title":"Weed Garden","description":"\u003cp\u003eIron \u0026amp; Wine follow up their 2018 Grammy-nominated full-length \u003ci\u003e\u003ca href=\"https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/beast_epic\"\u003eBeast Epic\u003c\/a\u003e\u003c\/i\u003e with \u003ci\u003eWeed Garden\u003c\/i\u003e, a collection of material that began about three years ago. The six-song EP features songs that were part of the writing phase for \u003ci\u003eBeast Epic\u003c\/i\u003e, but went unfinished. They were part of a larger narrative for principal songwriter Sam Beam, who ran out of time to get them where they needed to be for inclusion on \u003ci\u003eBeast Epic\u003c\/i\u003e. \u003ci\u003eWeed Garden \u003c\/i\u003ealso includes the fan favorite “Waves of Galveston.”\u003c\/p\u003e\u003cp\u003eWhile on tour in the fall of 2017, the final pieces of material took shape and a sense of urgency prevailed in bringing these characters full circle. To resolution. To completion. In January of 2018, Beam and company hunkered down in Chicago at The Loft recording studio to capture these six songs.  No more, no less. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eWeed Garden\u003c\/i\u003e joins the good company of previous Iron \u0026amp; Wine EP’s – \u003ci\u003e\u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/the_sea_and_the_rhythm\" href=\"https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/the_sea_and_the_rhythm\"\u003eThe Sea \u0026amp; the Rhythm\u003c\/a\u003e\u003c\/i\u003e, \u003ci\u003e\u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/woman_king\" href=\"https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/woman_king\"\u003eWoman King\u003c\/a\u003e\u003c\/i\u003e, \u003ci\u003eIn the Reins \u003c\/i\u003e– and in 2018’s attention-span challenged world that's not a bad thing.\u003c\/p\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"LP","offer_id":40768961347759,"sku":"712551","price":13.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768961380527,"sku":"712552","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40768961413295,"sku":"712554","price":7.1,"currency_code":"USD","in_stock":false},{"title":"Loser (color) LP","offer_id":42276501553327,"sku":"712550","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/ironandwine-weedgarden-cover-3000x3000_20eb1a6c-46fc-4ccb-bb28-133e305599fe.jpg?v=1674517971"},{"product_id":"beach-house_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. Levitation – “The branches of the trees, they will hang lower now, you will grow too quick, then you will get over it”\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e2. Sparks - “It’s a gift, taken from the lips, you live again”\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e3. Space Song - “What makes this fragile world go ‘round, were you ever lost, was she ever found?”\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e4. Beyond Love - “They take the simple things inside you and put nightmares in your hands”\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e5. 10:37 - “ Here she comes, all parts of everything, stars in the motherhand”\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e6. PPP - “Did you see it coming, it happened so fast, the timing was perfect, water on glass…”\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e7. Wildflower - “ What’s left you make something of it\"\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e8. 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":40768964001967,"sku":"711221","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768964034735,"sku":"711222","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40768964067503,"sku":"711224","price":7.1,"currency_code":"USD","in_stock":true},{"title":"White LP","offer_id":40768964100271,"sku":"711223","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/BeachHouse_DepressionCherry_LPRepack_MockUp-jk_35c78fe3-c36f-43da-8880-cbcb1fc25317.jpg?v=1744200734"},{"product_id":"frankie-cosmos_close-it-quietly","title":"Close It Quietly","description":"\u003cp\u003eClose It Quietly is a continual reframing of the known. It’s like giving yourself a haircut or rearranging your room. You know your hair. You know your room. Here’s the same hair, the same room, seen again as something new. Close It Quietly takes the trademark \u003ca href=\"https:\/\/megamart.subpop.com\/artists\/frankie_cosmos\"\u003eFrankie Cosmos\u003c\/a\u003e micro-universe and upends it, spilling outwards into a swirl of referentiality that’s a marked departure from earlier releases, imagining and reimagining motifs and sounds throughout the album. FC’s fourth studio release is a manifestation of the band’s collaborative spirit: Greta Kline and longtime bandmates Lauren Martin (synth), Luke Pyenson (drums), and Alex Bailey (bass) luxuriated in studio time with Gabe Wax, who engineered and co-produced the record with the band.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecording close to home— at Brooklyn’s Figure 8 Studios— grounded the band, and their process was enriched by working closely with Wax, whose intuition and attention to detail made the familiar unfamiliar and allowed the band to reshape their own contexts. On opener “Moonsea,” an unaccompanied Greta begins, “The world is crumbling and I don’t have much to say.” Take that as a wink and a metonym for the whole album, as her signature vocals are joined by Alex’s ascending bassline and Lauren’s eddying synths, invoking a loungey take on Broadcast or Stereolab’s space-disco experimental pop. There’s much more than “not much” to say here, and it's augmented and expanded by experimentation with synth patches, textures, and other recording nuances courtesy of Wax.\u003c\/p\u003e\u003cp\u003eAs the lineup has solidified into the most permanent expression of full-band Frankie Cosmos, the bandmates have felt more comfortable deviating from their default instruments and contributing bigger-picture ideas to continue pushing the sound forward. The synergy of its creation is clear upon listening: the multiple hands dipping and re-dipping into each song form a multifaceted whole. The band’s closeness and aesthetic consistency freed its members to take more musically-formal risks, notes Luke: \"Everything will sound like Frankie Cosmos because Greta has such a distinct voice (literally and figuratively). We have so much latitude to experiment with the instrumental music, and this time around we really took advantage of that.\"\u003c\/p\u003e\u003cp\u003eThe album forms its own vortex of reinvention that’s embodied through both the tracks themselves and the recording and arranging processes. “A Joke” curls in on itself, in word and in deed, a series of undercuts defining negative space: “It’s just a joke I wasn’t trying to tell;” “It wasn’t really a game;” “I do not know what I am for\/I wasn’t really keeping score.” Inverting technology’s human mimicry, Luke impersonates a drum machine until the song’s end. “A Joke’s” tricks scratch at something bigger, a small song embodying the laughability of attempting to neatly organize or adhere to any particular role.\u003c\/p\u003e\u003cp\u003e“Rings of a Tree” frees itself from its original context: released earlier this year on Greta’s solo piano album Haunted Items, she didn’t initially anticipate a major deviation; then, Luke says, “Lauren and I had the same arrangement idea without talking about it. Like, ‘let’s make this song funky. Let’s channel Orange Juice.’ We texted Greta and Alex before practice and Alex came in with a new guitar part that perfectly captured what Lauren and I heard in our heads.” \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e“I’m just fucking glad for my bubble\/despite how often it is penetrated by evil” Greta sings on “Last Season’s Textures,” taking to task the accusation that young people cloister themselves in complacency: she’s quick to point to, thank, and feel suspicious of that sphere all at once. The song explores the feeling of safety in her realm; reasonable despair re: reality (“the news is excruciating”); and a quick admission that darkness isn’t something a liberal-minded social network can block out. Kline notes how the song is “partly about misogyny and internalized misogyny--moments where I've felt betrayed by what is meant to be a safe space.”\u003c\/p\u003e\u003cp\u003eWithout losing any intimacy of prior albums, Close it Quietly is different, is outer. The album functions as a benign doppelganger, a shadow self of past releases; where other Frankie Cosmos records shine brightest looking inward, Close it Quietly refracts the self into the world, and vice versa, miraculously echoing Thoreau’s assertion that “when I reflect, I find that there is other than me.”\u003c\/p\u003e\u003cp\u003eReflection--and refraction--isn’t tidy. “Flowers don’t grow\/in an organized way\/why should I?” Greta sings on “A Joke.” Growth isn’t linear. Change happens in circles. While recording the album, Alex says, “I closed my eyes a lot.” Stand in the sun, listen to Close it Quietly, and do the same.\u003c\/p\u003e","brand":"Frankie Cosmos","offers":[{"title":"Puppy CD","offer_id":40768966623407,"sku":"713203","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Loser (color) LP","offer_id":40768966656175,"sku":"713200","price":13.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40768966688943,"sku":"713201","price":16.1,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40768966721711,"sku":"713202","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40768966754479,"sku":"713204","price":7.1,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/frankiecosmos-closeitquietly-3000_a4d8b4bd-d9e0-457f-9d60-f531ad866e3f.jpg?v=1633416236"},{"product_id":"iron-and-wine_archive-series-volume-no-1","title":"Archive Series Volume No. 1","description":"\u003cp\u003e\u003ci\u003eArchive Series Volume No. 1 \u003c\/i\u003efeatures 16 home recordings from the same period as his stunning 2002 debut album \u003ci\u003e\u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/the_creek_drank_the_cradle\" href=\"https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/the_creek_drank_the_cradle\"\u003eThe Creek Drank the Cradle\u003c\/a\u003e\u003c\/i\u003e. \u003c\/p\u003e\u003cp\u003eThe album was digitally transferred from the original cassettes. It comes packaged in gatefold artwork featuring the Bird of Paradise quilt housed in the American Folk Art Museum. \u003c\/p\u003e\u003cp\u003eArchive Series Volume No. 1:\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e01 Slow Black River\u003cbr\u003e02 The Wind Is Low\u003cbr\u003e03 Eden\u003cbr\u003e04 Two Hungry Blackbirds\u003cbr\u003e05 Freckled Girl\u003cbr\u003e06 Judgement\u003cbr\u003e07 Sing Song Bird\u003cbr\u003e08 Beyond the Fence\u003cbr\u003e09 Quarters in a Pocket\u003cbr\u003e10 Loretta\u003cbr\u003e11 Everyone's Summer of '95\u003cbr\u003e12 Minor Piano Keys\u003cbr\u003e13 Your Sly Smile\u003cbr\u003e14 Halfway to Richmond\u003cbr\u003e15 Wade Across the Water\u003cbr\u003e16 Postcard\u003c\/p\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"LP","offer_id":40768970358959,"sku":"40600981","price":21.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40768970391727,"sku":"40600982","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/i-wcover.jpg?v=1633416286"},{"product_id":"iron-and-wine_the-creek-drank-the-cradle","title":"The Creek Drank the Cradle","description":"\u003cp\u003e\u003ci\u003eThe Creek Drank the Cradle\u003c\/i\u003e is filled with hushed, restrained vocals, affecting lyrics from a naturalist’s perspective, exploring relationships and the hope born from them, all of which come across as though whispered to you personally, accompanied by guitar, banjo, slide guitar… Taken as a whole, \u003cem\u003eThe Creek Drank the Cradle, \u003c\/em\u003e\u003ca title=\"Link: https:\/\/www.subpop.com\/artists\/iron_and_wine\" href=\"https:\/\/www.subpop.com\/artists\/iron_and_wine\"\u003eIron \u0026amp; Wine’s\u003c\/a\u003e debut album, is an ode to an older South; a part of America that is defined by “traditional values,” pastoral imagery and arcane manners. Or maybe that’s just what we want to hear.\u003cbr\u003e\u003c\/p\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"LP","offer_id":40768971079855,"sku":"706001","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768971112623,"sku":"706002","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40768971145391,"sku":"706004","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/2041.jpg?v=1633416303"},{"product_id":"iron-and-wine_our-endless-numbered-days","title":"Our Endless Numbered Days","description":"\u003cp\u003eMiami’s Sam Beam makes music under the name Iron \u0026amp; Wine and September, 2002 saw the release of his debut album, \u003ca href=\"http:\/\/megamart.subpop.com\/releases\/iron_and_wine\/the_creek_drank_the_cradle\"\u003e\u003cem\u003eThe Creek Drank the Cradle\u003c\/em\u003e\u003c\/a\u003e. That record was\/is hushed, literate, intimate, melodic: a quiet treasure which, with its unaffected candor and depth, found fans all over. \u003cem\u003eOur Endless Numbered Days\u003c\/em\u003e is the second full-length album from Iron and Wine and it was recorded both at Sam’s Miami home and in Chicago’s Engine Studios with Brian Deck (Red Red Meat, Modest Mouse, Ugly Casanova, etc.) On it, Sam is aided and abetted by regular touring and recording conspirators: his sister Sarah Beam, Patrick McKinney, Jeff McGriff, EJ Holowicki, and Jonathon Bradley. Listening to \u003cem\u003eOur Endless Numbered Days\u003c\/em\u003e makes plain Sam’s deft touch with words and melody; one that allows him to turn out stories about love, loss, faith, or the lack of it that are at once personal and universal, set to music that is sweetly haunting and timeless.\u003cbr\u003e\u003c\/p\u003e\r\u003cp\u003eThe original pressing of this CD \u003cb\u003e(which is out of print and unavailable)\u003c\/b\u003e came with a bonus disc, which included the following tracks:\u003cbr\u003e\r1. Cinder and Smoke (demo)\u003cbr\u003e\r2. Swans and the Swimming\u003cbr\u003e\r3. Free Until They Cut Me Down (demo)\u003cbr\u003e\r4. Hickory\u003c\/p\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"LP","offer_id":40768973111471,"sku":"706301","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768973144239,"sku":"706302","price":9.5,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40768973177007,"sku":"706304","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/6668.jpg?v=1765776890"},{"product_id":"beach-house_beach-house-bloom-shirt","title":"Beach House Bloom Shirt","description":"\u003cp\u003eBeach House t-shirt featuring artwork from \u003ca href=\"https:\/\/megamart.subpop.com\/products\/beach-house_bloom?_pos=1\u0026amp;_sid=5538d8760\u0026amp;_ss=r\"\u003e\u003ccite\u003eBloom\u003c\/cite\u003e\u003c\/a\u003e. \u003c\/p\u003e","brand":"Beach House","offers":[{"title":"XS","offer_id":40768979009711,"sku":"20845981","price":13.5,"currency_code":"USD","in_stock":false},{"title":"S","offer_id":40768979042479,"sku":"20845982","price":13.5,"currency_code":"USD","in_stock":true},{"title":"M","offer_id":40768979075247,"sku":"20845983","price":13.5,"currency_code":"USD","in_stock":true},{"title":"L","offer_id":40768979108015,"sku":"20845984","price":13.5,"currency_code":"USD","in_stock":true},{"title":"XL","offer_id":40768979140783,"sku":"20845985","price":13.5,"currency_code":"USD","in_stock":true},{"title":"2XL","offer_id":40768979173551,"sku":"20845986","price":13.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/BeachHouse_Bloom_TShirt_Black_01.jpg?v=1648502108"},{"product_id":"iron-and-wine_the-shepherds-dog","title":"The Shepherd's Dog","description":"\u003cp\u003e\u003ca title=\"Link: http:\/\/www.subpop.com\/artists\/iron_and_wine\" href=\"http:\/\/www.subpop.com\/artists\/iron_and_wine\"\u003eIron \u0026amp; Wine’s\u003c\/a\u003e release (not including the collaborative \u003cem\u003eIn the Reins\u003c\/em\u003e EP which featured songs by Iron and Wine’s Sam Beam and performances by both Iron and Wine and Calexico together) was 2005’s \u003ca href=\"http:\/\/megamart.subpop.com\/releases\/iron_and_wine\/woman_king\"\u003e\u003cem\u003eWoman King\u003c\/em\u003e\u003c\/a\u003e, a 6-song EP which distinguished itself from its predecessors with a deepening integration of spiraling, dense opuses with intimate confessionals. On \u003cem\u003eThe Shepherd’s Dog\u003c\/em\u003e this integration is complete. Sam Beam has confessed to finding spiritual inspiration in Tom Waits’ pièce de résistance, \u003cem\u003eSwordfishtrombones\u003c\/em\u003e, an album with which Waits upended his previous strategies and forged a new musical language for himself. Recorded by Sam with the assistance of longtime producer Brian Deck and engineer Colin Studebaker, \u003cem\u003eThe Shepherd’s Dog\u003c\/em\u003e succeeds in accomplishing a similar cathartic recasting of the artist’s intentions. The arrangements here are kaleidoscopic and rich. “White Tooth Man” rocks with a desperate, menacing intensity while \"Boy with a Coin,” the album’s first single, is darkly playful with a handclap hook tumbling under its cascading melody. The whole album breathes. Its seductive rhythms percolate and undulate, from the Psych-Bhangra-redux of “Pagan Angel and a Borrowed Car” to the album’s last dance—a waltz—\"Flightless Bird, American Mouth.” Compositionally, it is \u003ca title=\"Link: http:\/\/www.ironandwine.com\/\" href=\"http:\/\/www.subpop.com\/artists\/iron_and_wine\"\u003eIron and Wine’s\u003c\/a\u003e most ambitious and accomplished recording to date. It’s also the most satisfying.\u003cbr\u003e\u003c\/p\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"LP","offer_id":40768997916847,"sku":"707101","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40768997949615,"sku":"707102","price":10.2,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40768997982383,"sku":"707104","price":7.1,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/3507.jpg?v=1633416711"},{"product_id":"downtown-boys_cost-of-living","title":"Cost of Living","description":"\u003cp\u003e\u003cb\u003e*Loser edition vinyl LP is SOLD OUT. Black vinyl now available and shipping with all orders. \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThe United States’ myriad inequalities, hatreds and phobias are painfully evident in 2017, offering proof that the age-old dichotomy of “political bands” versus “apolitical bands” simply doesn’t exist. Either you are comfortable and unfazed by the current reigning power structures, or you use your music as a vehicle for the dismantling of oppression and the creation of something better. No matter what your songs are about, you are choosing a side.\u003c\/p\u003e\u003cp\u003eThe position of Providence, RI’s Downtown Boys has been clear since they started storming through basements and DIY spaces with their radically-minded rock music: they are here to topple the white-cis-het hegemony and draft a new history. Downtown Boys began by combining revolutionary ideals with boundless energy and contagious, inclusive fun, and their resolve has only strengthened as their sound and audience have grown.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eCost of Living\u003c\/i\u003e is their third full-length, following a self-released 2012 debut and 2015’s \u003ci\u003eFull Communism\u003c\/i\u003e on Don Giovanni Records. They recorded it with Guy Picciotto (Fugazi; producer of Blonde Redhead, The Gossip), one of indie-rock’s most mythological figures, in the producer’s chair. Picciotto fostered the band’s improvisational urges while pulling the root of their music to the forefront: unflinching choruses, fearlessly confrontational vocals, and the sense that each song will incite the room into action, sending bodies into motion that were previously thought to have atrophied. \u003c\/p\u003e\u003cp\u003eDowntown Boys are keenly aware of the increased visibility and credibility that comes with signing to a corporate-media conglomerate such as Sub Pop. They’re using this platform as a megaphone for their protest music, amplifying and centering Chicana, queer, and Latino voices in the far-too-whitewashed world of rock. In just one example, album-opener “A Wall” rides the feel-good power that drove so many tunes by The Clash and Wire as it calls out the idea that a wall could ever succeed in snuffing the humanity and spirit of those it’s designed to crush. \u003c\/p\u003e\u003cp\u003eCompared to previous efforts, Downtown Boys have shifted from a once-meaty brass section to the subtler melodic accompaniment of keyboards and a saxophone, coloring their anthems with warm, bright tones while singer\/lyricist Victoria Ruiz spits out her frustrations and passions. Some might say it shows a sense of maturity, as Downtown Boys have undoubtedly smoothed down some of their earlier edges, but there is no compromise to their righteous assault and captivating presence. Like the socially conscious groups of years past, from Public Enemy to Rage Against the Machine, Downtown Boys harness powerful sloganeering, repetitive grooves, and earworm hooks to create one of the most necessary musical statements of the day. We should all do well to take notice! \u003c\/p\u003e\u003cp\u003e- Matt Korvette, Pissed Jeans \u003c\/p\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"Downtown Boys","offers":[{"title":"LP","offer_id":40769000210607,"sku":"712061","price":13.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40769000243375,"sku":"712062","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40769000276143,"sku":"712064","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/downtownboys-costofliving-cd-mm.jpg?v=1741396566"},{"product_id":"iron-and-wine_woman-king","title":"Woman King","description":"\u003cp\u003eAside from the immediacy and intimacy of his recorded work, there is one thing (aside from the evidently ceaselessly noteworthy fact that he sports a beard…) clear about Iron \u0026amp; Wine’s Sam Beam: he is wonderfully prolific. In just short of 2 1\/2 years he has released 2 albums (2002’s \u003ci\u003e\u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/the_creek_drank_the_cradle\" href=\"https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/the_creek_drank_the_cradle\"\u003eThe Creek Drank the Cradle\u003c\/a\u003e\u003c\/i\u003e and 2004’s \u003ci\u003e\u003ca href=\"https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/our_endless_numbered_days\"\u003eOur Endless Numbered Days\u003c\/a\u003e\u003c\/i\u003e) and (with this and 2003’s \u003ci\u003e\u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/the_sea_and_the_rhythm\" href=\"https:\/\/megamart.subpop.com\/releases\/iron_and_wine\/the_sea_and_the_rhythm\"\u003eThe Sea and the Rhythm)\u003c\/a\u003e\u003c\/i\u003e two EPs. Recorded in August 2004 with Brian Deck at his Engine Studios, Iron \u0026amp; Wine’s latest release is striking both for its broadened palette (percussion, piano, violin, electric guitar) and its thematic focus on female characters both archetypal and personal. The latter is mostly coincidental, a larger batch of songs yielding recurrent imagery when pared down for this EP. The increasingly complex beauty of Iron \u0026amp; Wine’s albums might best be summed up by the following, from \u003cspan class=\"caps\"\u003eSPIN\u003c\/span\u003e (in a review of \u003ci\u003eOur Endless Numbered Days\u003c\/i\u003e):“…Beam is a fearlessly accessible songwriter, framing his melancholy in concrete imagery and solid, inviting melodies. He writes with the self-confidence of a man at peace with his gauzy gifts. He sings like a father talking to a child he respects or like a husband to a wife he adores. Beam has given us his second straight masterwork: self-assured, spellbinding and richly, refreshingly adult.” Here’s the third.\u003c\/p\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"LP","offer_id":40769001226415,"sku":"706651","price":13.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40769001259183,"sku":"706652","price":5.84,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/2040.jpg?v=1633416759"},{"product_id":"beach-house_b-sides-and-rarities","title":"B-Sides and Rarities","description":"\u003cp class=\"MsoNormal\"\u003eThis compilation contains every song Beach\rHouse – aka Alex Scally and Victoria Legrand – has made that does not exist on\rone of their albums. The band explains:\u003c\/p\u003e\u003cp\u003eWhen we announced that we were releasing a B-sides\rand rarities album, someone on Twitter asked, “B-sides record? Why would Beach\rHouse put out a B-sides record? Their A-sides are like B-sides.” This random\rperson has a point. Our goal has never been to make music that is explicitly\rcommercial. Over the years, as we have worked on our 6 LPs, it wasn’t the\r“best\" or most catchy songs that made the records, just the ones that fit\rtogether to make a cohesive work. Accordingly, our B-sides are not songs that\rwe didn’t like as much, just ones that didn’t have a place on the records we\rwere making. \u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eThe oldest song is “Rain in Numbers” and was\rrecorded in 2005, during the summer when we formed the band. We\rdidn’t have a piano, so we asked our friend if we could use his, which was\rpretty out of tune. We used the mic that was on the four-track machine to\rrecord the piano and vocals. It was originally the secret song on our\rself-titled debut. \u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eThe next couple of songs are from late 2008.\rWe were so excited about “Used to Be” that we quickly recorded it and put it on\ra 7”  for our fall tour with the Baltimore Round Robin. The same session\rbegat our cover of Queen’s “Play the Game” for a charity compilation benefiting\rAIDS research; we will continue to donate all profits from the song to that\rcharity. As fans of Queen, we thought it would be fun and ridiculous to try to\radapt their high-powered pop song into our realm. These songs were recorded at\rthe same studio where we made \u003ci\u003eDevotion\u003c\/i\u003e. \u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eThere are a bunch of songs written and\rrecorded in the 2009-2010 window. “Baby” was written and recorded in October\r2009 with our friend Jason Quever. “10 Mile Stereo” was recorded during\rthe \u003ci\u003eTeen Dream\u003c\/i\u003e session in July 2009. Since\rwe used tape, we often slowed the tape way down to create\reffects while recording, which led to “10 Mile Stereo (Cough Syrup Remix).”\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e“White Moon” and “The Arrangement” were both\rsongs that we didn’t believe fit on \u003ci\u003eTeen\rDream\u003c\/i\u003e. “White\rMoon” originally appeared on our iTunes live session. Since that was recorded\rand mixed very hastily, we have remixed it to better match our current\raesthetics. We have also remixed and included the version of “Norway\" we\rdid at that same session. We wrote and recorded “I Do Not Care for the Winter\rSun” during a break between tours and released it on the internet for free,\runmastered. Well, it’s finally been mastered…\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e“Wherever You Go” is another song from that\rera.  We always loved this song but thought it sounded too much like\rour old music. We didn’t finish it until 2011 during the \u003ci\u003eBloom\u003c\/i\u003e recording session. It\rappeared originally as a secret song on \u003ci\u003eBloom\u003c\/i\u003e. “Equal\rMind” was also recorded during the \u003ci\u003eBloom\u003c\/i\u003e \u003cspan\u003esession,\rbut we left it off the record after realizing it had the exact same tempo as\r“Other People.” \u003ca name=\"_gjdgxs\"\u003e\u003c\/a\u003e“Saturn Song” is built on a piano\rloop we wrote while recording\u003c\/span\u003e \u003ci\u003eBloom\u003c\/i\u003e,\rand contains sounds recorded in deep space. It originally appeared on a\rcompilation of songs incorporating space sounds that was released in 2014.\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eFinally, there are two previously unreleased\rsongs from the \u003ci\u003eDepression\rCherry\/Thank Your Lucky Stars\u003c\/i\u003e sessions. They are called\r“Chariot” and “Baseball Diamond.” \u003c\/p\u003e","brand":"Beach House","offers":[{"title":"LP","offer_id":40769017479343,"sku":"712051","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40769017512111,"sku":"712052","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40769017544879,"sku":"712054","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/beachhouse-bsidesandrarities-cover-3000x3000-300_de33ec26-7420-46c2-aacf-e8b401ff3a7a.jpg?v=1708729672"},{"product_id":"beach-house_once-twice-melody","title":"Once Twice Melody","description":"\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/oLvPATX2rRw\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen\u003e\u003c\/iframe\u003e\n\u003cp\u003eOnce Twice Melody is the 8th studio album by Beach House. It is a double album, featuring 18 songs presented in 4 chapters. Across these songs, many types of style and song structures can be heard. Songs without drums, songs centered around acoustic guitar, mostly electronic songs with no guitar, wandering and repetitive melodies, songs built around the string sections. In addition to new sounds, many of the drum machines, organs, keyboards and tones that listeners may associate with previous Beach House records remain present throughout many of the compositions. \u003c\/p\u003e\n\u003cp\u003eBeach House is Victoria Legrand, lead singer and multi-instrumentalist, and Alex Scally, guitarist and multi-instrumentalist. They write all of their songs together. Once Twice Melody is the first album produced entirely by the band. The live drums are by James Barone (same as their 2018 album, 7), and were recorded at Pachyderm studio in Minnesota and United Studio in Los Angeles. For the first time, a live string ensemble was used. Strings were arranged by David Campbell. \u003c\/p\u003e\n\u003cp\u003eThe writing and recording of Once Twice Melody began in 2018 and was completed in July of 2021. Most of the songs were created during this time, though a few date back over the previous 10 years. Most of the recording was done at Apple Orchard Studio in Baltimore. Once Twice Melody was mixed largely by Alan Moulder but a few tracks were also mixed by Caesar Edmunds, Trevor Spencer, and Dave Fridmann.\u003cbr\u003e\u003c\/p\u003e","brand":"Beach House","offers":[{"title":"Vinyl Box Set","offer_id":40952572051631,"sku":"714703","price":34.44,"currency_code":"USD","in_stock":false},{"title":"2xLP","offer_id":40952572084399,"sku":"714701","price":19.25,"currency_code":"USD","in_stock":true},{"title":"2xCD","offer_id":40952572117167,"sku":"714702","price":10.8,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":40952572149935,"sku":"714704","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/BeachHouse_OnceTwiceMelody_LP_Box_04_4f3af121-937c-43f0-bad7-e191021028cd.jpg?v=1741396588"},{"product_id":"sweeping-promises_hunger-for-a-way-out","title":"Hunger for a Way Out","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eStraight from the depths of an unused Boston-area concrete laboratory comes the debut of Sweeping Promises. Written and recorded with a patented \"single mic technique\" just before quarantine, \"Hunger for a Way Out\", is a post-punk leaning gem of unpolished DIY sound. The title track kicks things off in absolutely classic fashion, full of spirited hooks that echo the early Rough Trade sound. Angular guitars and sharp synth notes float atop a raw rhythm section, while Lira Mondal's effervescent vocals truly define Sweeping Promises' sound. There's something simple yet otherworldly about these tracks - you have the DIY prowess of Kleenex\/LiLiPUT and Girls at Our Best!, a brooding new wave-y minimal synth sound woven in, and an undeniable pop-leaning appeal captured in vibrant monaural glory. It's hard to mistake these ten tracks of naturally urgent and driving post-punk for anything other than sheer brilliance. Sweeping Promises deliver in spades on \"Hunger for a Way Out\".\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePackaged in a full color jacket with risograph lyric insert designed by D.H. 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After a decade sprinkling glitter into grit, building a reputation as one of the most ferociously creative art-rock groups working, the upstate New York band have eased fully into their light. This is Guerilla Toss at their most luminescent -- awake, alive, and extending an open invitation to anyone who wants to soak it all up beside them.\u003c\/p\u003e\u003cp\u003eSinger and lyricist Kassie Carlson, multi-instrumentalist Peter Negroponte and guitarist Arian Shafiee wrote Famously Alive at home in the Catskills during the pervading quiet of the pandemic year. The uncertainty of COVID-19 lockdowns and the total disruption of routine forced Carlson to negotiate with herself in new and challenging ways. \"You have to be with yourself all the time during the pandemic,\" she says. \"I had to figure out a way to manage my anxiety. The pandemic was hard, but it helped me get comfortable inside my own body. My peace of mind came out of being thrust into the deepest shit. This album is all about being happy, being alive, and strength. It’s meant to inspire people.\"\u003c\/p\u003e\u003cp\u003eThe album's title derives from a poem written by a close friend of the band, Jonny Tatelman, who supported Carlson through the early stages of her recovery from opiate addiction. The poem comprises the entirety of the lyrics to the title track, an exuberant ode to loving your own survival and charting a course into unconditional self-acceptance. \"The song 'Famously Alive' is about living with purpose and excitement whether you’re famous or not, accepting your strangeness and thriving even if your successes look different than other people’s,\" notes Carlson. \"To me, 'Famously Alive' means flipping the notion of dying famously to living famously,\" Negroponte adds. \"I also like to think of it as a way to describe living through something traumatic and coming out of it a stronger, wiser person.\"\u003c\/p\u003e\u003cp\u003eSongs like the expansive, gleaming \"Live Exponential\" similarly invite the listener to lean into the light. \"It’s about loving yourself and finding a way to be comfortable in your own body -- to live life to the fullest and beyond,\" says Carlson. Throughout the record, Guerilla Toss meet themselves with curiosity, generosity, and acceptance even for the harder parts of being alive. Opener \"Cannibal Capital,\" a song about the exhaustion and dread of social anxiety, came together in a flurry toward the end of the album's sessions. A taut bass groove erupts into competing squalls of guitar and synth that support one of the most immediate and arresting vocal hooks of Guerilla Toss's catalog to date.\u003c\/p\u003e\u003cp\u003eTogether with guitarist Arian Shafiee, Carlson and Negroponte cultivated a sound that spliced together psychedelic texturing and Krautrock syncopation with the gloss and glow of contemporary pop music. \"I like to combine as many musical influences as possible,\" says Negroponte. \"We thought the sleekness of current radio pop would make our dense wall-of-sound aesthetic both more bizarre and more accessible and fun at the same time.\" Carlson was similarly inspired by a wide range of artists from around the world after diving deep into obscure 7-inches for her weekly show on Radio Catskill, Rare Pear Radio.\u003c\/p\u003e\u003cp\u003eWhile writing the album, Carlson took voice lessons online for the first time. Though she has been singing since she was four years old, at first with a vocal harmony group in her family's church, she hadn't formally trained her voice since joining Guerilla Toss. The lessons allowed her to deepen and broaden her range, helping her feel more embodied and connected to her voice. Underneath ripples of Auto-Tune, playful, searching vocal melodies suspend lyrics about reaching for yourself and holding fast in your own love.\u003c\/p\u003e\u003cp\u003eFamously Alive finds Guerilla Toss coming into the fullness of their power, celebrating their prismatic idiosyncrasies from a place of optimism and abundance. \"It felt like I didn’t need to force myself into this dark place to create anymore,\" Carlson says. \"For the first time in my life, I feel like I’m finally comfortable inside my body.\"\u003cbr\u003e\u003c\/p\u003e","brand":"Guerilla Toss","offers":[{"title":"Loser (color) LP","offer_id":41177252954287,"sku":"714800","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":41177252987055,"sku":"714802","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":41177253019823,"sku":"714804","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/GuerillaToss_FamouslyAlive_LP_Loser_01.jpg?v=1722399703"},{"product_id":"built-to-spill_when-the-wind-forgets-your-name","title":"When The Wind Forgets Your Name","description":"\u003cp\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\/p\u003e\u003cp\u003eFollowing several albums and EPs on Pacific Northwest independent labels, including the unmistakably canonical indie rock classic, There’s Nothing Wrong With Love, released on Sub Pop offshoot Up Records in 1994, Martsch signed with Warner Brothers from 1995 to 2016. He and his rotating cast of cohorts recorded six more, inarguably great albums during that time – Perfect From Now On, Keep It Like a Secret, Ancient Melodies of the Future, You In Reverse, Untethered Moon, There Is No Enemy. There was also a live album, and a solo record, Now You Know. While the band’s impeccable recorded catalog is the entry point, Built to Spill live is an essential FORCE of its own: heavy, psychedelic, melodic and visceral tunes blaring from amps that sound as if they’re powered by Mack trucks. \u003c\/p\u003e\u003cp\u003eNow in 2022, Built to Spill returns with When the Wind 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\/p\u003e\u003cp\u003eWhen the Wind Forgets Your Name continues expanding the Built to Spill universe in new and exciting ways. In 2018 Martsch’s good fortune and keen intuition brought him together with Brazilian lo-fi punk artist and producer Le Almeida, and his long-time collaborator, João Casaes, both of the psychedelic jazz rock band, Oruã. On discovering their music Martsch fell in love with it right away. So when he needed a new backing band for shows in Brazil, he asked them to join. “We rehearsed at their studio in downtown Rio de Janeiro and I loved everything about it. They had old crappy gear. The walls were covered with xeroxed fliers. They smoked tons of weed,” Martsch says.\u003c\/p\u003e\u003cp\u003eThe Brazil dates went so well Martsch, Almeida, and Casaes made the decision to continue playing together throughout 2019, touring the US and Europe. During soundchecks they learned new songs Martsch had written, and when the touring ended, they recorded the bass and drum tracks at his rehearsal space in Boise. After Almeida and Casaes flew home, Martsch began overdubbing guitars and vocals by himself. \u003c\/p\u003e\u003cp\u003eMartsch, Almeida, and Casaes had planned to mix the album together later in 2020 somewhere in Brazil or the US, but the pandemic kept them from reuniting in person. “We were able to send the tracks back and forth though, so we were still able to collaborate on the mixing process.” \u003c\/p\u003e\u003cp\u003eWhat emerged is When the Wind Forgets Your Name, a complex and cohesive blend of the artists’ distinct musical ideas. Alongside Built to Spill’s poetic lyrics and themes, the experimentation and attention to detail produces an album full of unique, vivid, and timeless sounds.\u003c\/p\u003e\u003cp\u003eThe spare, power trio guitar riff in “Gonna Lose” is an anxiety-fueled joyride in song (“What could be more disorienting than being on acid in a dream?”). “Spiderweb” and “Never Alright” are classic-sounding, guitar-driven odes to REM and Dinosaur Jr (“No one can ever help no one not get their heart broken”). If there is such a thing as a Built to Spill sound, “Rocksteady” is maybe the band’s furthest departure from it yet with its reggae and dub-inspired instrumentation.\u003c\/p\u003e\u003cp\u003eThe album also contains bittersweet songs like the lo-fi ‘60s-style anthem “Fool’s Gold,” with its mellotron strings, and bluesy, wailing guitars (“Fool’s gold made me rich for a little while”), and “Understood,” a song about misunderstanding, which also takes inspiration from Evel Knievel’s failed stunt in Martsch’s hometown when he was a child. (“The deaf hear, the blind see. Just different things than you and me.”) \u003c\/p\u003e\u003cp\u003eMartsch was also able to champion his love of comics by recruiting Alex Graham to illustrate the cover of When the Wind Forgets Your Name. “Alex published Dog Biscuits (Fantagraphics Books) online during the pandemic and it really spoke to me. I was thrilled when she agreed to paint the album cover.” What evolved was even better than he had imagined, with Graham also drawing a fifty panel comic strip for the gatefold. “I just asked for a painting and a comic. She created it all completely on her own.”\u003c\/p\u003e\u003cp\u003eAlmeida and Casaes have returned to their duties in Oruã, and Martsch has begun playing with yet another Built to Spill lineup that features Prism Bitch’s Teresa Esguerra on drums and Blood Lemon’s Melanie Radford on bass. Built to Spill and Oruã are currently touring and have a string of shows planned together in September.\u003c\/p\u003e\u003cp\u003eMartsch concludes, “Making When the Wind Forgets Your Name was such a great experience.  I had an incredible time traveling and recording with Almeida and Casaes. I also learned so much about Brazilian culture and music while creating it. My Portuguese was terrible when I first met Almeida and Casaes, but by the end of the year it was even worse.” (He also learned that when Billy Idol sings “Eyes Without a Face” it sounds like “Help the Fish'' in Portuguese.)\u003c\/p\u003e\u003cp\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\/p\u003e","brand":"Built To Spill","offers":[{"title":"Loser (color) LP","offer_id":41504521814191,"sku":"715100","price":16.1,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":41504521846959,"sku":"715101","price":16.1,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":41504521879727,"sku":"715102","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":41504521912495,"sku":"715104","price":7.1,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/BuiltToSpill_WhenTheWorldForgetsYourName_LP_Loser_01.jpg?v=1741396623"},{"product_id":"frankie-cosmos_inner-world-peace","title":"Inner World Peace","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\u003eInstant centerpiece “One Year Stand” is a small snowglobe of intimacy recalling the softest moments of Yo La Tengo’s And Then Nothing Turned Itself Inside Out. Lifted by Martin’s drones on Hammond organ and synthesizer, it could be played on repeat in a loop. I like to think it’s obvious how Greta’s vocals were recorded: late at night as we all sat by in low light, transfixed as she sings “I’m not worried about the \/ rest of my life \/ because you are here today \/ I go back in time \/ I’m a cast iron.” The voices of Kline and Martin, who have sung together since middle school, blend seamlessly.\u003c\/p\u003e\n\u003cp\u003eThe first order of business upon setting up camp in Brooklyn’s Figure 8 studios was to project giant colorful slides the band had made for each track. Co-producing with Nate Mendelsohn, my Shitty Hits Recording partner, we aimed for FC’s aesthetic idiosyncrasies to shine.The mood board for “Magnetic Personality” has a neon green and black checkerboard, a screen capture of the game Street Fighter with “K.O.” in fat red letters, and a cover of Mad Magazine that says “Spy Vs. Spy! The Top Secret Files.” On tracks like “F.O.O.F.” (Freak Out On Friday), “Fragments” and “Aftershook,” the group are at their most psychedelic and playful, interjecting fuzz solos, bits of percussion, and other sonically adventurous ear candy. An internal logic strengthens everything, and in their proggiest moments, Frankie Cosmos are simply a one-take band who don’t miss. When on Inner World Peace they sound wildly, freshly different, it may just be that they’re coming deeper into their own.\u003c\/p\u003e\n\u003cp\u003eThroughout the album there are plays on the notion of feeling seen or invisible, as in “Magnetic Personality” when Kline sings “ask me how I am and I won’t really say,” or in “One Year Stand” when she says “maybe I’m asking myself.” Kline emphasizes that this was her first group of songs in years that weren’t written while on tour, but rather with ample time on her hands. She reflects on past selves in “Abigail” (“that version of myself I don’t want back”) and “Wayne” (“Like in first grade \/ How I went by Wayne \/ I always had \/ another name”). If we’re alone, what becomes of the things we see? As in “Fruit Stand,” Kline asks “If it’s raining and I can’t feel it, is it raining?”\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. 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Can you take the person you discover there out with you?”\u003c\/p\u003e\n\u003cp\u003e- katie von schleicher\u003c\/p\u003e","brand":"Frankie Cosmos","offers":[{"title":"Loser (color) LP","offer_id":41895214022831,"sku":"714950","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":41895214055599,"sku":"714952","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":41895214088367,"sku":"714954","price":7.1,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/FrankieCosmos_InnerWorldPeace_LP_Loser_01.jpg?v=1741396633"},{"product_id":"quasi_breaking-the-balls-of-history","title":"Breaking the Balls of History","description":"\u003cp\u003eBreaking the Balls of History is Quasi’s tenth record, landing ten years after their last record, on February tenth. Three tens, which aligns with the thirty years they’ve played together. Sam Coomes and Janet Weiss have become Pacific Northwest icons, and Quasi has always felt so steadfast— their enduring friendship so generative, their energy infinite, each album more raucous and catchy and ferocious and funny than the last. But we were wrong to ever take Quasi for granted. For a while, they thought 2013’s intricate Mole City might be their last record. They’d go out on a great one and move on.\u003c\/p\u003e\n\u003cp\u003eThen in August 2019 a car smashed into Janet’s and broke both legs and her collarbone. Then a deadly virus collided with all of us, and no one knew when or if live music as we knew it—the touring, the communal crowds, the sonic church of the dark club—would ever happen again. “There’s no investing in the future anymore,” Janet realized. “The future is now. Do it now if you want to do it. Don’t put it off. All those things you only realize when it’s almost too late. It could be gone in a second.”\u003c\/p\u003e\n\u003cp\u003eUnder lockdown, Portland’s streets fell still, airplanes vanished, wildlife emerged. And with the obliterated normal came an unexpected gift: uninterrupted time, hours every day, to make art. Quasi couldn’t go on the road, so they got an idea: they would act as if they were on tour and play together every single day. Each afternoon, Sam and Janet bunkered down in their tiny practice space and channeled the bewilderment and absurdity of this alien new world into songs. Janet’s strength returned and rose to athlete-level stamina. “When you’re younger and in a band, you make records because that’s what you do,” Sam said. “But this time, the whole thing felt purposeful in a way that was unique to the circumstances.” They knew they would keep it to just the two of them playing together in a room. They knew they’d record the songs live and together, to capture a moment.\u003c\/p\u003e\n\u003cp\u003eThe incredible result of those sessions is Breaking the Balls of History, recorded in five days and produced by John Goodmanson at the legendary Robert Lang Studios in Shoreline, WA. Here are two artists at their prime, each a human library of musical knowledge and experience, entirely distinctive in their songcraft and sound. In Quasi-form, the band becomes alchemically even greater than the sum of its parts: Janet’s galloping drums and Sam’s punk-symphonic Rocksichord and their intertwining vocals make something gigantic, anthemic. In the thick of a cataclysmic social and political moment, they’ve crafted exquisitely melodic songs that glitter with rage and wild humor and intelligence, driven by a big bruised pounding heart.\u003c\/p\u003e\n\u003cp\u003e“A last long laugh at the edge of death” sings Sam at the album’s outset, and that gleeful defiance—which might as well be the logline of our present moment—sets the table for the songs to come. In “Gravity,” Quasi’s predilection for the absurd now tips into unnerving realism; in the post-facts era, the very thing that tethers us all to the earth is rendered meaningless (“you can walk on water if you so choose in your made-in-USA concrete shoes.”) Punchy warning verses about death and disarray swoon into the blissed-out, checked-out chorus of “Queen of Ears” (“But I, I float above it all, wizard of idleness, mistress of killing time.”) Janet’s voice floats sweet and eerie through the atmospheric suspended reality of “Inbetweenness.” Etch “Doomscrollers” onto the golden record and launch it into space as a precise time capsule of the incomprehensible present. “The Losers Win” is a tart arsenic nightcap to close out the record, and hell, the nation.\u003c\/p\u003e\n\u003cp\u003eIt sounds dark, and because it’s rising to the moment, it is. But this is also a record surging with energy and pleasure and joy. “It felt so life-affirming. I can hear in the music how happy I am to be there and to be playing at that level again,” Janet said. “I get to exist.”\u003c\/p\u003e\n\u003cp\u003eI’ve been listening to this record for a few months now, and I can’t stop thinking about how as the world started to end, and then kept on ending in all kinds of surprising new ways, Sam and Janet returned to their practice space every day and made songs. Face to face, instrument to instrument, they decided to build something new. They did the work. They made their art. They’ve lived through enough to understand that nothing is permanent, and that when your faith in humanity sinks, you turn to the life force of what you can rely on: the people you trust, the community that claims you, and what you can create. You can’t control the time. But you can make a record of a time. 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We hope you enjoy these tunes, Alex and Victoria\/Beach House.\"\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"Beach House","offers":[{"title":"Color LP","offer_id":42321549328559,"sku":"715450","price":13.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":42498273968303,"sku":"715451","price":13.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":42498274001071,"sku":"715452","price":6.5,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":42498274033839,"sku":"715454","price":6.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/BeachHouse_Become_LP_Black_01_e7e9f86a-607d-45ed-9e41-dbb7d1f07e4d.jpg?v=1787748967"},{"product_id":"hannah-jadagu_aperture","title":"Aperture","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eFresh out of high school, Hannah Jadagu released her debut EP, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eWhat Is Going On?\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, a collection of intimate bedroom pop tracks recorded entirely on an iPhone 7, which was, at the time, Jadagu’s most accessible mode of production. An off-the-cuff approach to music making and instinctive ability to write unforgettable hooks belied the intensity of Jadagu’s subject matter. In a short run time, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eWhat Is Going On? \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003econfronts some of the nation’s most urgent struggles all through Jadagu’s compassionate perspective. “I want my songs to be both super intimate and still universally relatable,” Jadagu says. “With the EP, so many people told me that the songs resonated with them on a personal level, and that’s what I’m always hoping for.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eResonate it did; \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eWhat Is Going On?\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e is Jadagu’s first Sub Pop release, but she’d been putting out music on SoundCloud for years, garnering a small online fanbase as she settled into an aesthetic, and recognition from a broader audience was overdue. “It really took off when I became a percussionist in my middle school’s band,” she says. “Writing songs started as a hobby and quickly became a passion to the point that I spent all my free time recording.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eOn May 19th, 2023 Jadagu premieres \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eAperture\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, her first LP and most ambitious work to date. Written in the years between graduating from high school in Mesquite, TX and her sophomore year of college in New York, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eAperture\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e finds Jadagu in a state of transition. “Where I grew up, everyone is Christian; even if you don’t go to church, you’re still practicing in some form,” Jadagu says, laughing. “Moving out of my small hometown has made me reflect on how embedded Christianity is in the culture down there, and though I’ve been questioning my relationship to the church since high school, it’s definitely a theme on this album, but so is family.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eAs a kid, Jadagu followed her older sister – a major source of inspiration who she refers to as “the blueprint” – to a local children’s chorus, where she received choral training. “I hated it,” Jadagu admits. “But it taught me how to harmonize, how to discover my tone, how to recognize and write melody.” The aching single “Admit It” is dedicated to Jadagu’s sister, whose  boundless love and impeccable taste has been a constant for Jadagu ever since she was a kid. At home, the siblings were raised on mom’s Young Money mixtapes  and the Black Eyed Peas (to whom she credits her love of vocoder) but it was in the sanctity of her sister’s car that Jadagu discovered indie artists who would go on to inspire her work. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Lose” showcases Jadagu’s love of contemporary indie auteurs as it weaves a spare and unpretentious guitar riff with barebones piano chords all while Jadagu sings about the thrill and underlying fear that comes with beginning a new relationship. It is, in her words, a “classic pop song.” “The things we haven’t done\/ Play out in my mind\/ Would you just give me time?” she sings, nearing the end, as the skittering drumbeat propels the song from a place of contemplative yearning to defiance. “Every track on this album, except for “Admit It”, was written first on guitar, which is an instrumental throughline,” Jadagu says. “But the blanket of synths I use throughout helps me move between sensibilities. There’s rock Hannah, there’s hip-hop Hannah, and so on. I didn’t want any of the songs to sound too alike.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eEmblematic of this ethos is the single “Warning Sign,” which starts out as an acoustic, R\u0026amp;B slowburner before a muscular electric guitar enters the mix and the song morphs into something akin to psychedelic. “I knew I could make another album on my phone, but I wanted to make sure that I was leveling up, especially for the debut,” Jadagu says. So she began the difficult process of searching for a co-producer capable of complementing her work without dominating it. Enter Max Robert Baby, a French songwriter and producer who captured Jadagu’s attention with his take on \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eAperture\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e’s lead single “Say It Now.” The duo worked together remotely, sending stems to one another via email, before eventually meeting in-person for the first time at Greasy Studios on the outskirts of Paris. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“When I recorded my EP, it was all MIDI, but in the studio Max and I worked with a ton of analog instruments,” Jadagu says. “There’s some Glockenspiel on the album, calling back to my percussionist days, and some synth warping that adds texture.” While \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eWhat Is Going On?\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e was heavy on layered reverb, making Jadagu’s vocals feel “shy,” she took what she calls a more “intimate, up close” approach while recording her voice for the LP. That experimentation is best heard on the rousing “What You Did,” which leverages crushing accusations against the song’s unnamed subject. Screaming static and a crunchy guitar part softens under Jadagu’s calm delivery as she sings: “\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eAct like it’s best if we make amends, but I dont wanna talk to you again.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eAn aperture is strictly defined as an opening, a hole, a gap. On a camera, it’s the mechanism that light passes through, allowing a photographer to immortalize a moment in time. For Jadagu, the word perfectly encapsulates the mood of her debut album. In the years it took her to complete, she faced moments of darkness, sure, but the process of making it, her first ever in a professional studio, was ultimately a cathartic experience, one she now shares with you, the listener. Let the light in.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTrack listing:\u003c\/b\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eExplanation\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eSay It Now\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eSix Months\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhat You Did\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eLose\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eAdmit It\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eDreaming\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eShut Down\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eWarning Sign\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eScratch The Surface\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eLetter To Myself\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eYour Thoughts Are Ur Biggest Obstacle\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Hannah Jadagu","offers":[{"title":"Loser (color) LP","offer_id":42329452839087,"sku":"715440","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":42329452871855,"sku":"715442","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":42329452904623,"sku":"715444","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/HannahJadagu_Aperture_Loser_MockUp.jpg?v=1741396659"},{"product_id":"iron-and-wine_who-can-see-forever-soundtrack","title":"Who Can See Forever Soundtrack","description":"\u003cp\u003eThe live record was once considered a staple of an artist’s discography. A\u003cbr\u003edocument capturing a moment in time or perhaps reinventing older material\u003cbr\u003eas it was being given new life or perhaps showcasing a band at the height\u003cbr\u003eof their prowess, it was a standard release in every band’s catalog.\u003cbr\u003eRecently, the internet has made bootlegging almost non-existent as bands\u003cbr\u003especialize in offering board-quality downloads that can be equally as\u003cbr\u003eimportant as a band’s official releases. The live experience has always\u003cbr\u003ebeen the going-to-church portion of our communal experience, and the live\u003cbr\u003erecord should capture that spirit and energy. With those goals in mind, Iron\u003cbr\u003e\u0026amp;amp; Wine offer their first official live record with the career-spanning set Who\u003cbr\u003eCan See Forever.\u003cbr\u003e\u003cbr\u003eCaptured over two evenings at the historic Haw River Ballroom in\u003cbr\u003eSaxapahaw, North Carolina, Who Can See Forever finds Iron \u0026amp;amp; Wine in full\u003cbr\u003eflight, working their way through a catalog of songs spanning their twenty-\u003cbr\u003eplus-year career. The recordings happened deep into a three-year period\u003cbr\u003eby a band of assassins assembled by mainstay Sam Beam that included\u003cbr\u003ebassist Sebastian Steinberg (Fiona Apple, Soul Coughing), drummer Beth\u003cbr\u003eGoodfellow (Allison Russell, Better Oblivion Community Center), cellist\u003cbr\u003eTeddy Rankin-Parker and keyboardist Eliza Hardy-Jones (War on Drugs,\u003cbr\u003eGrace Potter). It was a creative period for Beam that rendered two albums\u003cbr\u003e(Beast Epic and Weed Garden) and garnered four Grammy nominations.\u003cbr\u003e\u003cbr\u003eWhile having performed many shows solo acoustic and known mostly as a\u003cbr\u003esinger-songwriter to those in the know, Beam has over the years\u003cbr\u003eassembled some of the most adventurous musicians when putting together\u003cbr\u003ehis touring bands. From members of Antibalas to Califone, Chicago\u003cbr\u003eUnderground Duo to Tin Hat Trio, Isotope 217 to Calexico, Beam has rarely\u003cbr\u003esought the comfort of straight interpretation. Taking as much inspiration\u003cbr\u003efrom Little Feat or The Talking Heads as he might from Tom Waits or\u003cbr\u003eLeonard Cohen, the musicians are cast in roles like actors with the hope\u003cbr\u003ethey bring something new and different night in and night out.\u003cbr\u003e\u003cbr\u003eWho Can See Forever offers a fresh listen to many of Iron \u0026amp;amp; Wine’s most\u003cbr\u003ewell-loved songs, including “The Trapeze Swinger,” “Boy With a Coin,” and\u003cbr\u003e“Naked As We Came,” while also showcasing more recent classics like\u003cbr\u003e“Thomas County Law” and “Monkeys Uptown” to name but a few of the\u003cbr\u003ealbums nineteen tracks.\u003cbr\u003e\u003cbr\u003eInitially intended as a live concert film, Who Can See Forever was shot\u003cbr\u003eover three years by director Josh Sliffe. Using the traditional concert film as\u003cbr\u003eits jumping-off point, Who Can See Forever digs into its subject matter\u003cbr\u003ethrough a series of interviews, moments in between, and unguarded\u003cbr\u003ebehind-the-scenes footage to put the viewer at the center of the Iron \u0026amp;amp;\u003cbr\u003eWine universe. Part concert film, part music documentary, and part\u003cbr\u003emeditative examination, both Who Can See Forever and its accompanying\u003cbr\u003esoundtrack are the perfect companion piece for existing fans and a\u003cbr\u003ewelcome entry point for new ones.\u003c\/p\u003e","brand":"Iron \u0026 Wine","offers":[{"title":"Loser (color) 2xLP","offer_id":42751632408751,"sku":"716010","price":20.5,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":42751632441519,"sku":"716012","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/IronAndWine_WCSFS_2xLoser_MockUp_9769e280-4e95-4494-9456-5155ad10147b.jpg?v=1787748996"},{"product_id":"slift_ilion","title":"ILION","description":"\u003cp\u003eSLIFT’s ILION 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. ILION is the kind of music where you listen to it and think to yourself, “This came from only three people?” It sure did, and SLIFT’s utter ferocity is way more than a tempest in a teacup. It reaches outwards for miles and creates new zeniths within unforeseen horizons of rock.\u003c\/p\u003e\n\u003cp\u003eSLIFT is made up of brothers Jean and Remí Fossat and Canek Flores, who first met the brothers Fossat at (of all things) school. After the band formally came together in 2016, they quickly made their 2017 debut EP, Space Is the Key, 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 La Planeté Inexploreé, and in 2019, their KEXP session recorded at the Trans Musicales festival in Rennes became a viral sensation, racking up more than 1.4 million YouTube views.\u003c\/p\u003e\n\u003cp\u003eUMMON 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 ILION, 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 ILION to a list of reference points would be missing the point—specifically, that you really have to sit down and experience this thing and let it take over your ear space. The record marks the band’s second Sub Pop release, following last year’s Singles Club 7” release of “Unseen” b\/w “The Real Unseen,” which were outtakes from the UMMON 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 ILION’s title track and the stretched-out abandon of centerpiece “Weavers’ Weft” to the intense climax of the 12-and-a-half-minute epic “The Story That Has Never Been Told.”\u003c\/p\u003e\n\u003cp\u003eBut what is this journey? To hear SLIFT tell it, Joseph Campbell would be proud of the thematic path laid out before the listeners on ILION, which is named after the Ancient Greek word for the city of Troy and, conceptually speaking, picks up where UMMON left off: “This is an album constructed in the manner of a Homeric story,” the band explains. “Where 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\/p\u003e\n\u003cp\u003eHeavy shit, to be sure—but fear not, because you don’t need a 12-sided die and a copy of The Odyssey to get what SLIFT are dishing out on ILION. All you need are two ears, an open mind, and the willingness to be truly blown away.\u003c\/p\u003e","brand":"SLIFT","offers":[{"title":"Loser (color) 2xLP","offer_id":42761926475951,"sku":"716260","price":22.45,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":42761926508719,"sku":"716262","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/SLIFT_ILION_MockUp_Loser_RedBlack_Transp2_3840x2160_c910d56e-a4bf-447e-aa23-b8bc00df0bd0.jpg?v=1742272284"},{"product_id":"slift_ilion-black-t-shirt","title":"ILION Black T-Shirt","description":"\u003cp\u003eA t-shirt to coincide with SLIFT'S 2024 release \u003ca href=\"https:\/\/megamart.subpop.com\/collections\/slift\/products\/slift_ilion\"\u003e\u003cem\u003eILION.\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"SLIFT","offers":[{"title":"S","offer_id":42761926770863,"sku":"21626992","price":13.5,"currency_code":"USD","in_stock":true},{"title":"M","offer_id":42761926803631,"sku":"21626993","price":13.5,"currency_code":"USD","in_stock":false},{"title":"L","offer_id":42761926836399,"sku":"21626994","price":13.5,"currency_code":"USD","in_stock":true},{"title":"XL","offer_id":42761926869167,"sku":"21626995","price":13.5,"currency_code":"USD","in_stock":true},{"title":"2XL","offer_id":42761926901935,"sku":"21626996","price":13.5,"currency_code":"USD","in_stock":false},{"title":"3XL","offer_id":42761926934703,"sku":"21626997","price":13.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/products\/SLIFT_Shirt1.png?v=1696397073"},{"product_id":"iron-and-wine_light-verse","title":"Light Verse","description":"\u003cp\u003e“All our dreamers lose to the light” - from “Angels Go Home”\u003c\/p\u003e\n\u003cp\u003eWhen the pandemic began, and the world shut down, so did the process of creating for Iron \u0026amp; Wine’s Sam Beam. In its place was a domesticity that the singer hadn’t felt in a long time, and although it was filled with many rewards, making music was not one of them. Reflecting on that time, Beam notes:\u003c\/p\u003e\n\u003cp\u003e“I feel blessed and grateful that I and most of my friends and family made it through the pandemic relatively unscathed compared to so many others, but it completely paralyzed the songwriter in me. While so many artists, fortunately, found inspiration in the chaos, I was the opposite and withered with the constant background noise of uncertainty and fear. The last thing I wanted to write about was COVID, and yet every moment I sat with my pen, it lingered around the edges and wouldn’t leave. I struggled to focus until I gave up, and this lasted for over two years.”\u003c\/p\u003e\n\u003cp\u003eThe journey back began with a recording session in Memphis to record a handful of Lori McKenna tracks for the EP Lori with friend and producer Matt Ross-Spang. \u003c\/p\u003e\n\u003cp\u003e“Recording has always been my favorite, and that session was an attempt to reconnect with what I love most about making music. I could finally feel the blood coming back into the body and the creative muscles beginning to relax and move again.”\u003c\/p\u003e\n\u003cp\u003eSoon a series of short tours were booked entitled “Back to Basics,” which, out of necessity, were solo acoustic shows in smaller venues. They had an unspoken weight to them for Beam and the audiences alike, and also an incredible sense of relief for finally sharing art together and being back to work! A larger tour with Andrew Bird followed in the summer of ’22, and Beam was inspired even more by the excitement of collaborating with Andrew and his band and the warmth of musical friends. \u003c\/p\u003e\n\u003cp\u003e“By the time I got home, the paralysis had officially passed, and I was finishing lyrics and booking studio time for what would become Light Verse!”\u003c\/p\u003e\n\u003cp\u003eAs Beam began to assemble the musicians he wanted for his record, one common thread arose- they all lived in Los Angeles!  Outside of his own pedigree, the decision to work with engineer and mixer Dave Way at his studio Waystation high up in Laurel Canyon was a logical step based on recommendations from two of the joining players on the record. An additional session would also take place at Silent Zoo Studio, where a 24-piece orchestra would lay claim to a handful of songs, helping prepare them for lift-off.   \u003c\/p\u003e\n\u003cp\u003e“I’ve met and played with so many talented musicians from Los Angeles over the years but never recorded there, and this felt like the perfect time to try. Tyler Chester plays all the keyboards, Sebastian Steinberg plays the bass, David Garza guitar and slide and stuff, Griffin Goldsmith, Beth Goodfellow, and Kyle Crane all play drums here and there, and Paul Cartwright plays many various sizes of violin and mandolin and wrote some wonderful string arrangements for the orchestra! Even Fiona Apple was kind and generous enough to lend us her voice (that miracle that sounds like both a sacrifice and a weapon at the same time) to a duet called “All In Good Time.” \u003c\/p\u003e\n\u003cp\u003eBeam lyrically once again takes focus on a series of both fictional and personal insights, filled with desperate characters and wide-eyed optimists, offering promise and a dose of heartache, tears and laughter, life and love. Taking stock in the album’s title, he jokes, “Light verse is a form of poetry about playful themes that often uses nonsense and wordplay, and it’s my first official Iron \u0026amp; Wine comedy album!…. Just kidding….”\u003c\/p\u003e\n\u003cp\u003eWhile true this may be Iron \u0026amp; Wine’s most playful record, Beam says the title mostly reflects the way the songs were born with joy after the heaviness and anxiety of the pandemic. Where recent records like Beast Epic or Weed Garden gave air to the disquiet of middle-aged frailty and brokenness, these songs trade that for the focus acceptance can bring. Moment by moment, they delight in being pointed or silly (or both) and attempt beauty over prettiness.\u003c\/p\u003e\n\u003cp\u003eLight Verse arrives April 26th, and it’s Iron \u0026amp; Wine’s seventh full-length overall and fifth for Sub Pop Records. Fashioned as an album that should be taken as a whole, it sounds lovingly handmade and self-assured as a secret handshake. 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Grim Iconic...(Sadistic Mantra), the Tacoma-based artist’s second album, is driven by opposing forces: noisy abstractions and tightly structured beats, anguish and dissolution at the outside world and empowerment within, apathy and catharsis. Grim Iconic...(Sadistic Mantra) weds scouring electronics to hooky songs and Gallego’s powerful drumming in a way that feels visceral and new. It’s his most personal statement to date, at once playful and intent, driven and combustible, total fucking chaos mixed into glints of broken-glass beauty. \u003c\/p\u003e\u003cp\u003eBorn in Tucson, Arizona, Gallego experienced culture shock as a child after relocating to the frigid climes of the Pacific Northwest. 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To me, it’s the very next scene after the last album closes. ‘Drummy’ married the two approaches and pushed it into this next sequence of songs.” Fascinating amalgams of visceral rhythms and incandescent noise permeate Grim Iconic... (Sadistic Mantra), from the looping hand drums of \"34\" to the Funhouse-meets-Tropicália blasts of \"World i.” It all embraces a sense of freedom while facing modernism. \u003c\/p\u003e\u003cp\u003e“Dogear” is a face-melting party starter that sounds like someone forced Talking Heads and Rudimentary Peni to share a practice space. “I wanted a song that felt playful in the way it attempted to be dissonant without taking itself too seriously,” Gallego says. “Cholla Beat” is even more ambitious, an anthemic mix of WAR and Wire led by unruly synthesizers spiraling down a labyrinth of production. \u003c\/p\u003e\u003cp\u003eGallego’s influences for the album are vast, ranging from British documentary filmmaker Adam Curtis to electric Miles Davis to audio miscreants like Demdike Stare and Oneohtrix Point Never. But it’s Gallego’s assured sonic vision that resounds the loudest. And, while J.R.C.G. is a solo project, conceived and executed primarily in Gallego’s home studio, he found strength in opening the project to others, starting with Seth Manchester as co-producer. Manchester’s penchant for bone-rattling frequencies, as seen in his production work with The Body, Battles, and Mdou Moctar, made him a natural fit for Gallego. Together, they retained the intimacy of Gallego’s home recordings while taking advantage of the hi-fi stylings of his Machines With Magnets Studio in Rhode Island. The closing song, “World i,” offers a glimpse into the live experience of Grim Iconic...(Sadistic Mantra), with upwards of seven band members blasting off. The album features a fascinating mix of supporting players, many of whom cycle through J.R.C.G.’s live lineup: Morgan Henderson (The Blood Brothers, Fleet Foxes), Jason Clackley (Dreamdecay, The Exquisites), Jon Scheid (Dreamdecay, U Sco), Erica Miller (Casual Hex, Big Bite), Veronica Dye (Terminator) Phil Cleary (U Sco), and Alex Gaziano (Dreamdecay, Kidcrash, Science Amplification). \u003c\/p\u003e\u003cp\u003eTaken as a whole, G.I.S.M. is a whirlwind of sound, pummeling, and cleansing. It’s a sweaty, thrilling aural adventure and, like a great basement show, it’ll leave you breathless, exhausted, and wanting to repeat it all over again. 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You’ve got to say it with the trademark Welsh lilt, and pay due homage to this inimitable band’s origins in the renowned hit factory of Caldicot, South Wales. Do that, and you’re about right with how to summarise a group who’ve released ten singles, two albums, two EPs, three things nobody knew how to describe, and an album under a different band’s name, all since 2021 and while playing 200+ gigs a year.\u003c\/p\u003e\u003cp\u003eThird LP On The Intricate Inner Workings Of The System, due 2024 via Sub Pop, sees the band serve up a beefy slab of their speciality Modern-Lovers-meets-Nuggets garage rock. There’s B-52’s call-and-response fun mixed with AC\/DC power chord grunt. Leaning towards fast-paced punk, opening double salvo ‘War Movies’ and ‘Quality Pints’ sets out the stall: duel vocal piss taking, surreal takes on everyday topics that go full circle and become profound, riffs all day long and then all the next day too. ‘Quality Pints’ deals with the pressing concerns of any conscientious touring outfit, taking to heart the rule of the three R’s as penned by renowned fellow pints fan Mark E Smith of The Fall. Repetition, repetition, repetition. If it’s that important, which it is, it’s worth saying again. ‘War Movies’ dresses distorted chugging with a comprehensive ‘best of’ list for the genre, with Sam Willmett offering a solo casually chucked out in a way that will make your dad promptly give up any resurgent guitar playing ambitions.\u003c\/p\u003e\u003cp\u003eMelody is still ever-present, with the hilariously meta ‘Pop Single’ channelling Ray Davies at his most self aware. You ask for a pop single, that’s what you get - The Bug Club don’t mess about. And it’s this confidently silly strain that gives us ‘Lonsdale Slipons’, which finally sees the UK’s worst ever shoes paid tribute to in song form, and ‘We Don’t Care About That’, which tells us all to stop talking about lots of things. Considering attempting a tentative review of what you’re listening to? Well stop. ‘Better Than Good’ has you covered there, too. You’re getting what you’re given, and thankfully everybody seems happy with that - especially this track’s lo-fi production, Violent Femmes bass and Sterling Morrison solo.  Best to leave the hot takes to The Bug Club, we reckon. This record backs us up.\u003c\/p\u003e\u003cp\u003eSo, that’s what they’ve been finishing up during their massive month-long break from gigs. In a bid to avoid being branded layabouts, The Bug Club will support their upcoming Sub Pop release with a US tour in September. \u003c\/p\u003e\u003cp\u003eInitially comprising the songwriting core of Sam Willmett (vocals\/guitar) and Tilly Harris (vocals\/bass) with Dan Matthew (drums), The Bug Club started plying their trade in 2016. They were signed by UK label Bingo Records in Autumn 2020 and first single 'We Don’t Need Room For Lovin’ was released in February 2021. It quickly established The Bug Club as the tongue-in-cheek and live-focused antidote to the previous year’s penned-in pandemic drudgery.  BBC 6 Music’s Marc Riley was an early champion, hammering the single, booking the band in for a session as soon as it was allowed and rightfully praising songwriters capable of singing the whole alphabet in a two-minute song and making it work.\u003c\/p\u003e\u003cp\u003eEP Launching Moondream One came next complete with 7”, comic book and free jingles (radio stabs are something of a forte for the band), followed by Pure Particles, whose vinyl release included a board game brimming with cult references. Fed up with the conventional approach they then released ‘Intelectuals’: a standalone track that was actually a five-track ‘song suite’ like some kind of streaming-model-snubbing, Telecaster-bashing answer to Bach. Highbrow musos took a lyrical beating for the ages. 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Ivor Cutler seemed to have left his surreal stamp somewhere - the fully illustrated picture book included with the record helped suggest that - but they’d never heard him until somebody else made the comparison. Happy accidents abound. Things went pair-shaped with Sam and Tilly in 2024 after Dan swapped his sticks for his gardening tools and a quiet life in the countryside. During a trip to America they caught the eye of Sub Pop. And guess what: new music is hurtling towards their ever-growing loyal fanbase who can look forward to a year for The Bug Club with stuff going on, constantly. 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