{"title":"Test Collection","description":"","products":[{"product_id":"wolf-parade_apologies-to-the-queen-mary","title":"Apologies to the Queen Mary","description":"\u003cp\u003eSub Pop and Wolf Parade present a new, pink-vinyl pressing of their landmark album \u003cem\u003eApologies to the Queen Mary.\u003c\/em\u003e This edition brings the long out-of-print album back to its original, single-LP format hot on the heels of the 2025 TV show Heated Rivalry, which introduced the album’s single “I’ll Believe in Anything” to a vast new audience, making the song a bona fide viral hit.\u003c\/p\u003e\n\u003cp\u003eWolf Parade was founded in 2003 in Montreal, Quebec. After a pair of self-titled EPs, the band - Hadji Bakara (electronic manipulations), Dan Boeckner (guitar, vocals), Spencer Krug (keyboards, vocals), Arlen Thompson (drums) -  released Apologies to the Queen Mary to widespread acclaim in September, 2005. 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While the album defies expectations as much as it defies the odds, singer\/guitarist Zach Rogue knows the score: “That’s the whole thing with the title,” he admits. “It’s like waiting for the other shoe to drop... this perception that everyone around you is going to turn their back.”\u003c\/p\u003e\n\u003cp\u003eA related adage is that you have your whole life to write your first album and a year to write your second, but Rogue had anything but writer’s block after completing \u003ci\u003e\u003ca title=\"Link: https:\/\/megamart.subpop.com\/releases\/rogue_wave\/out_of_the_shadow\" href=\"https:\/\/megamart.subpop.com\/releases\/rogue_wave\/out_of_the_shadow\"\u003eOut Of The Shadow\u003c\/a\u003e\u003c\/i\u003e and seeing it re-released by Sub Pop in 2004 (the original, limited pressing was released on the band’s own label in early 2003). 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The band spent 10 days with Bill Racine (who also produced Out Of The Shadow with Rogue) at Supernatural Sound in Oregon City, OR, resulting in the creation of 11 tracks that journey through a dreamy landscape inspired by several decades of classic rock and pop (from Fleetwood Mac to Neil Young to My Bloody Valentine.) The Mark Kozelek-esque “California” and the XTC-flavored “Catform,” which sports Rogue’s most dazzling vocal performance to date both feature cold yet inspired examinations of human nature informed by Rogue’s experiences on the road.\u003c\/p\u003e\n\u003cp\u003eFor the first time as an entire unit, Rogue Wave went out of its way to create a free-flowing album that includes equal amounts of tension, release and resolution. 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The band's core lineup consisted of Corin Tucker (vocals and guitar), Carrie Brownstein (guitar and vocals), and Janet Weiss (drums). Sleater-Kinney were known for their feminist, left-leaning politics, and were an integral part of the riot grrrl and indie rock scenes in the Pacific Northwest. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eCall the Doctor\u003c\/i\u003e is Sleater-Kinney’s second studio album. It was produced by John Goodmanson and released on March 25, 1996 by Chainsaw Records. The album is often considered to be Sleater-Kinney's first proper album because Tucker and co-vocalist and guitarist Carrie Brownstein left their previous bands, Heavens to Betsy and Excuse 17, at the time of its recording. The line-up featured Corin Tucker (vocals, guitar), Carrie Brownstein (guitar, vocals) and Lora Macfarlane (drums, vocals). \u003cspan\u003e\u003ci\u003eCall the Doctor\u003c\/i\u003e appeared at #3 in The Village Voice's “Pazz \u003c\/span\u003e\u0026amp; Jop” critics' poll for 1996. 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She was likely the greatest singer in punk rock history, the woman who married the 78 and the ’78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame built around her by Andy Kessler, Matt Dresdner, and Steve Moriarty made it true.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMia Zapata (1965 – 1993), the vocalist and front person for The Gits (1986 – 1993), was not the type of voice one usually associates with a punk rock band. She had the sizzle, sass, shriek, grace, rasp, and fury of a classic blues shouter (what if Janis Joplin had fronted Fugazi, we ask?). There was a purity and accuracy to her voice. She could simultaneously point it at the stars and scoop cigarette butts off of the venue floor. It sounded like a voice on fire, desperate and angry, pleading and commanding, all at the same time (what if Amy Winehouse had fronted Fugazi, we ask?). And her onstage persona was utterly devoid of bullshit: Mia Zapata was a rag doll, a stick figure, a sock puppet, alternately bent with sadness and arched with rage. Sometimes, she looked like she was in pain, clawing at an ulcer; other times, like a holy woman on a soapbox, testifying the joy of truth; and still other times, like someone draped in a bedtime t-shirt reading from the margins of her notebooks. The voice and the presence were extraordinary, and there was nothing like it anywhere in punk – it was like finding the missing link between Nina Simone and Johnny Rotten (what if Joss Stone had fronted Fugazi, we ask?).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMuch of this story takes place in Seattle during the strange night fog of the early 1990s, but did that matter? No. The Gits were beyond era or place. Maybe that’s why they were one of the most important acts to emerge from Seattle during that time. The Gits defied any categorizations – were they ferocious post-hardcore sideways-metal screw-propellor punk rockers? Some cross between Iron Maiden and an SST band? And although Mia Zapata was undoubtedly a once-in-a-generation talent – a wrapped-tight urchin\/ingenue\/artist applying a shredded Bonnie Raitt blues-rasp perfect-pitched alto to tight punk rock – the band matched her and inspired her to double down. Andy Kessler (guitar – metronomic and furious), Steve Moriarty (drums – martial and explosive), and Matt Dresdner (bass – fluid, punching, beat-addicted and melodic) wrote and performed with a jaw-tightened fury, a clenched soul that shrieked and stomped with precision. The Gits were an angry, inflamed slinky fully in tune with the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop, and Ian MacKaye all in the same goddamn song.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986. Matt, Mia, Andy, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) woodshedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and ’91 before signing with C\/Z Records and releasing their first full-length album, \u003c\/span\u003e\u003cspan\u003eFrenching The Bully\u003c\/span\u003e\u003cspan\u003e. Soon, Seattle, North America, and the world felt the kind of awe the Gits inspired when peak emotion meets peak grindage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNow, Sub Pop is re-releasing the entirety of the Gits’ catalog, including all four extant albums (three of which, sadly, were released posthumously): \u003c\/span\u003e\u003cspan\u003eFrenching The Bully\u003c\/span\u003e\u003cspan\u003e (1992), \u003c\/span\u003e\u003cspan\u003eEnter: The Conquering Chicken \u003c\/span\u003e\u003cspan\u003e(1994), \u003c\/span\u003e\u003cspan\u003eKings \u0026amp; Queens\u003c\/span\u003e\u003cspan\u003e (1996), and \u003c\/span\u003e\u003cspan\u003eSeafish Louisville\u003c\/span\u003e\u003cspan\u003e (2000). All have been remastered by Jack Endino, one of Seattle’s most respected producers and engineers and the band’s closest studio associate.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn July 7, 1993, Mia Zapata died. We leave it at that, not only because you can read the sad details elsewhere but because this is not about death but an extraordinary life. 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The band combined English-inspired noisy shoegaze fuzz with \nscrappy US indie rock and classic ‘60s-style pop songwriting. A killer \nsingle on Slumberland and non-stop touring grabbed the attention of the \nindie-rock cognoscenti, and soon after Velocity Girl signed a contract \nwith Sub Pop on a car hood in Hoboken, New Jersey. \u003c\/p\u003e\n\u003cp\u003eAfter touring in support of their debut, \u003ci\u003eCopacetic\u003c\/i\u003e,\n the band spent the better part of a year coming up with a batch of \nsongs for a second album. They had never worked that way before – having\n focused time, and a budget (from a label!), to make an album that \nwasn’t a self-produced, punk-rock studio thing was a fresh experience. \nHaving played their new material for months in the noisy style of \u003ci\u003eCopacetic\u003c\/i\u003e,\n the band found themselves excited about the tunes, but trying to move \naway from the scrappy, amateur vibe of their previous records. And their\n influences were a bit different this time around: less My Bloody \nValentine and Wedding Present, more New Order. \u003c\/p\u003e\u003cbr\u003e\u003cp\u003eSomebody\n at Sub Pop connected the band with John Porter, the one-time Roxy Music\n member who had produced The Smiths, Billy Bragg, The Alarm, and a bunch\n of other 80’s stuff. They met up on a tour stop in Los Angeles, at a \nHamburger Hamlet. He agreed to produce the album, in a three-week \nsession at Cue Studios in Falls Church, VA. He was exactly what the band\n needed: an editor, arranger, and taskmaster. As he mercilessly excised \nevery unnecessarily repeated bar, the band realized they’d gravitated to\n a sound with cleaner lines, and almost entirely ditched the noisy \nguitar, no doubt influenced by Porter’s presence. Velocity Girl was \nextremely happy with the results, and \u003ci\u003e¡Simpatico!\u003c\/i\u003e came out in June of 1994.\u003c\/p\u003e\n\u003cp\u003eThis\n expanded reissue adds eight songs recorded at Inner Ear Studios in \nArlington, VA, a few months after the album sessions. These sessions \nprovided playfully experimental B sides to the album’s singles, two \ncover songs (the New Order cover “Your Silent Face,” and a Beach Boys \ncover) for a single on Merge Records, and a compilation track. \u003c\/p\u003e","brand":"Velocity Girl","offers":[{"title":"Loser (color) 2xLP","offer_id":46294462988463,"sku":"717030","price":20.5,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":46294463021231,"sku":"717032","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/VelocityGirl_Simpatico_Mockup_LP_US_2000x1417_8bafbd7d-6160-4d6c-a64c-27f4a57ff67c.jpg?v=1764133410"},{"product_id":"la-luz_extra-extra","title":"Extra! Extra!","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLa Luz returns with \u003c\/span\u003e\u003cem\u003eExtra! Extra!\u003c\/em\u003e \u003cspan\u003e exclusively for Record Store Day Black Friday 2025! Picking up on the themes originally shared on their 2024 album \u003c\/span\u003e\u003cem\u003eNews of the Universe\u003c\/em\u003e\u003cspan\u003e, this limited EP showcases the band's agility with reworked versions of a selection of recent songs, offering new perspectives on already well-loved tunes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"\u003c\/span\u003e\u003cspan\u003e\u003cem\u003eExtra! Extra!\u003c\/em\u003e \u003c\/span\u003e\u003cspan\u003efinds us unwinding and unravelling after a year on the road in support of \u003c\/span\u003e\u003cem\u003eNews of the Universe\u003c\/em\u003e\u003cspan\u003e,” explains Shana Cleveland, \"our planetary love letter to the strangeness and beauty of life on Earth.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\"After running around the globe, playing these songs every night, we thought it would be fun to deconstruct and reinvent them together. 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To me it suggests the impossible. Hen’s teeth do not exist. And that’s what this record felt like: a gift that shouldn’t be there but it is. An impossible thing but it’s real.”\u003c\/p\u003e\u003cp\u003eHen’s Teeth and his previous album, Light Verse, are siblings of a sort. They were recorded during the same sessions after a year’s-long dry spell, with the same band, at Waystation studio in Laurel Canyon. “When I’ve been on a writing kick, and the band can meet me where I’m at, they push me into something I hadn’t imagined. I’m at a point in my life where spontaneity is a lot more important to me. I don’t have as much to prove as I used to. I’m a lot freer and I love making music more than ever. There are no right or wrong answers. You just pray for your luck and try your best.” \u003c\/p\u003e\u003cp\u003eIn this case prayers were answered and luck struck hard. 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Many of the songs are named for ideas or feelings that gesture toward hope amidst uncertainty: “You Never Know,” “All in Good Time” (a gorgeous duet with Fiona Apple), “Cutting It Close,” “Taken by Surprise.” \u003c\/p\u003e\u003cp\u003eThe world of Hen’s Teeth is earthier, darker, more robust and more tactile than that of Light Verse. The songs have titles like “Roses,” “Robin’s Egg,” “Dates and Dead People,” “Singing Saw.” “Run into the one you love forever \/ Laugh into each other’s empty mouth,” Beam sings on “Roses,” the album’s first track. It’s one of several songs in which lovers are depicted as so deeply entwined they physically merge. “Paper and Stone” recalls that “But for the time we fell in two \/ You’d be me and I’d be you \/ One crust of bread could fit in our mouths \/ You’d breathe in and I’d let it out.” And on “In Your Ocean,” we find Beam “Praying for dry ground \/ Though I only want to drown \/ When I find myself swimming in your ocean.” \u003c\/p\u003e\u003cp\u003eThe cover is a portrait of Beam surrounded on all sides by flourishing ferns and other tropical plant life. He is wearing a pin-stripe jacket and holding a massive cluster of grapes, prodigious beard spilling down his chest. He could be a local harvest god or a gentleman outlaw holed up in a jungle cave. There are white feathers covering his eyes but these somehow do not suggest blindness. Rather they seem to literalize the poetic notion of an artist’s vision taking flight. The whole surreal scene is washed in humid, spooky red. It’s somewhere between Leonora Carrington and Frida Kahlo, and the contrast with the cool blue-white palette of Light Verse could not be starker. \u003c\/p\u003e\u003cp\u003e“The experiments in this one were more with genre than with form. For the last couple years one of my go-to’s has been Van Morrisson’s Astral Weeks, that style where jazz musicians play folk music and it blossoms in different ways than folk musicians are normally interested in doing. ‘Singing Saw’ feels like a song that Doc Boggs and Simon \u0026amp; Garfunkel might have done together. ‘Roses’ and ‘In Your Ocean’ are straight forward folk rock, but they build to these apocalyptic endings. ‘Dates and Dead People’ and ‘Defiance, Ohio’ take a lot from Tropicalia, which is some of my favorite music too. I don’t see it as that much different from jazz. All these forms have been in rock music forever.” \u003c\/p\u003e\u003cp\u003eAbout the players: David Garza on guitar, Sebastian Steinberg on bass, and Tyler Chester on keyboards. Griffin Goldsmith, Beth Goodfellow, and Kyle Crane all play drums. Paul Cartwright plays violin and mandolin among other stringed instruments; he also handled string arrangements for both records. The indie-country trio I’m With Her appears on the ebullient lead single, “Robin’s Egg,” and again on the tender, mournful “Wait Up.” \u003c\/p\u003e\u003cp\u003e“I’m obsessed with duets,” Beam says. “Ever since I did Love Letter to Fire with Jesca Hoop. I just love the form. It’s inherently dramatic. And it’s so fun. 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That evolutionary tension is what fuels much of her new album as Lala Lala, Heaven 2. \u003c\/p\u003e\n\u003cp\u003eFor many years, West lived in Chicago, where she established her project Lala Lala as part of that city’s indie scene, releasing several records on the Sub Pop imprint Hardly Art. Those albums, The Lamb and I Want the Door to Open, were powerful statements from a curious artist: catchy guitar-pop songs about being stuck in the ups and downs of life, the struggle to stay sober, to leave town, to blow up your life.\u003c\/p\u003e\n\u003cp\u003eWest left Chicago to search for more and, in the process, wrote her new album, Heaven 2. On her journey, she landed in New Mexico, where she lived off the grid in Taos. “It was very challenging, freezing, infested with poisonous animals. 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It’s been a good place to live, not specifically because she likes L.A. or because she doesn’t like L.A., but because she’s discovered that, “wherever you go, there you are,” she says. “I wish there was a cooler way to say that.”\u003c\/p\u003e\n\u003cp\u003eFortunately, there is, and, again and again, on Heaven 2, she says it. On the single, “Even Mountains Erode,” West sings, “There are symbols and signs, you're missing your life,” which West says is about learning to slow down. To stop and smell the flowers. There are flowers wherever you live. She produced that song and the album, with Jay Som’s Melina Duterte, who provides a strong punchiness as a bed for West’s warm, rounded vocals. West says the relationship between the two of them was telepathic. It created a bold and confident album that West says would be perfectly appropriate to box to. Duterte and West performed almost all of the album’s instruments, with a few crucial guests, like Sen Morimoto on saxophone on the opening track, “Car Anymore,” and a bridge written by Porches’ Aaron Maine on the title track, “Heaven 2.” That song “is very melodramatic,” says West. “I was definitely feeling very doomed and defeated when I wrote it.” And the song does start with a bit of gloom. But it is lush, with West’s vocal building and building like a cloud swelling before a storm. The synths sweep across the song, the drums patter like raindrops on a car roof. And then the whole sky opens up, with a massive instrumental outro that feels like all your sins are being washed away. \u003c\/p\u003e\n\u003cp\u003eCatharsis is not only about the pain, but the escape that happens when you free yourself of it. 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Their tenth album – their debut for new label Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms.\u003c\/p\u003e\u003cp\u003eThe eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location would prove crucial to the recording process.\u003c\/p\u003e\u003cp\u003e“The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.”\u003c\/p\u003e\u003cp\u003e“It was very inviting and very comfortable there,” adds Anderson. “There was no stress, no worry about the timeline or anything like that. 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For the new album, however, O’Malley and Anderson explore the still-fertile, primal territory of the duo format.\u003c\/p\u003e\u003cp\u003e“On this album for the first time all of the instrumentation was performed by Greg and I,” says O’Malley. “All of the records have our leadership and direction, of course, but this time around, it was almost like this crucible of ideas that was really at the core of what we’ve been doing.”\u003c\/p\u003e\u003cp\u003eRecording exclusively as a duo should not be interpreted as SUNN O))) limiting or restricting themselves. To the contrary, it has opened up new possibilities for their music.\u003c\/p\u003e\u003cp\u003e“What’s been happening with our performances over the last couple years with the two of us and no other collaborators or players has been really fresh and exciting,” says Anderson. “There’s been a lot of development. A lot of that was unexpected. 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Throughout the album, the interplay between O’Malley and Anderson attains fresh heights of telepathic intensity as they shape a music that itself breathes the bracing, earthy air of the Pacific Northwest.\u003c\/p\u003e\u003cp\u003e“It’s always developing,” says Anderson. “That’s a constant, and that’s what sustains my interest and passion. There’s a movement that’s happening, whether it’s forward, backwards, to the side, whatever.\u003c\/p\u003e\u003cp\u003eThat’s what makes playing in this group, at least for me, different and unique and special.”\u003c\/p\u003e\u003cp\u003eIn October 2025 SUNN O))) released the first fruit of a new deal with celebrated US label Sub Pop in the form of a maxi 12” featuring “Eternity’s Pillars”, “Raise The Chalice” and “Reverential” – three monumental tracks from the same sessions that produced the new album. The alliance with Sub Pop makes perfect sense, as Anderson explains.\u003c\/p\u003e\u003cp\u003e“We decided that we should approach Sub Pop, after I’d had some great conversations with Jonathan Poneman,” he says. “So I called him up and before I could get the words out of my mouth, he said, ‘We’d love to do it. Tell me what you guys need.’ He was really excited and supportive.”\u003c\/p\u003e\u003cp\u003eSUNN O))) are no strangers to striking cover art – as illustrated by their collaborations with Joanne Ratcliffe for Black One, Richard Serra for Monoliths \u0026amp; Dimensions, Angela LaFont Bolliger for Kannon and Samantha Keely Smith for Life Metal and Pyroclasts. For SUNN O))) they have been granted permission by the estate of the late American artist Mark Rothko to reproduce two of his paintings on the album’s sleeve.\u003c\/p\u003e\u003cp\u003e“Over a few years, I developed a correspondence with Christopher Rothko via the Rothko Foundation’s Henry Mandell,” explains O’Malley. “It’s such an honour to be in the proximity of art on that scale, which has moved me personally so much for decades. Standing in front of a Rothko painting you can experience landscapes, worlds and environments subjectively in the abstraction.”\u003c\/p\u003e\u003cp\u003eLiner notes for the album are provided by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the multifaceted relationship between humanity and nature. Macfarlane negotiates the peaks and valleys of the SUNN O))) sound in a poetic, philosophical manner that will be familiar to readers of Mountains Of The Mind: A History Of A Fascination (2003), The Wild Places (2007), Underland: A Deep Time Journey (2019) or Is A River Alive? (2025).\u003c\/p\u003e\u003cp\u003e“I’ve been very interested in Robert’s writing for a long time,” says O’Malley. “He was very up for engaging with this project. And what he ended up turning in was mind-blowing. 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Slinging indie rock and hardcore records in his hometown record store while attending university, Edkins became an ardent student of rock ‘n’ roll; from the psychedelic 1960s to the DIY 1990s and beyond. \u003cem\u003eHoopla\u003c\/em\u003e, the catchy, melodic second LP from Edkins’s solo project Weird Nightmare, mixes and matches these influences in fun and exhilarating combinations, displaying his sophisticated musical mind. Bursting to life with hooks and earworms, \u003cem\u003eHoopla \u003c\/em\u003eis that one tape that never gets ejected from the car stereo, but plays on repeat, soundtracking the summer. 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For their part, Llobet sees the resulting album as a statement of that hard work and the opening of a new chapter. “It’s the beginning of a new era for youbet,” they say. “The band started as a sort of bedroom project for myself, but it has transformed into something expansive since working with Micah. It’s like we’re running a family business.”\u003c\/p\u003e\u003cp\u003eThe broiling “Undefined” draws from that personal soul-searching, a musical mosaic of life before and after a complicated breakup. Llobet first worked out the verses while waiting for a guitar student, a fitting backdrop for the song's balance of wizardly art pop experimentalism and diligent power pop hookiness. Co-producers Katie Von Schleicher and Julian Fader help round out the mix, the former adding synth glisten and the latter a drum backbone hammered into place by Prussack’s bass.\u003c\/p\u003e\u003cp\u003eThe concussive “See Thru” rushes headlong through heavy alt rock chop, moments of gentler curve, and even bubbly electronics—a track Llobet notes began when they were toying with a Debussy piano part on guitar and then stamped in the harmonics and energy of Japanese hard rock band Boris. Elsewhere, “Receive” finds Llobet carving away at generational conflict, tethering propulsive bursts of guitar reverie with raw emotional vigor in the vein of Pile. “On the verse, the bass is playing variations on the vocal melody,” Prussack says. “Throughout the album, there’s unique interplay and variation that you can only get from a lot of hard work together.”\u003c\/p\u003e\u003cp\u003eEchoing their strengths as educators, the ability to voraciously learn from a breadth of influences informs youbet—from the dizzying score to Alfred Hitchcock’s Vertigo to dazzling flamenco—but their ability to recognize meaning beyond signposts and find connections to emotional experience pushes everything into a topographical realism. “Having respect for the canon doesn’t mean we’re ever limited by revivalism. There’s a whole universe of musical vocabulary that we can borrow from and translate into our language,” Prussack says.\u003c\/p\u003e\u003cp\u003eThat willingness to learn from the past while building the future is something tied deeply to the band’s New York City roots, with so many visionary artists having previously built new worlds within the city’s confines. “For years, I was too intimidated to step into the scene. It’s been such a breath of fresh air to build this new craft, this new philosophy of songwriting in a scene I respect and feel in community with,” says Llobet.\u003c\/p\u003e\u003cp\u003eCompelling art requires an unimaginable burst of new life, a shift from two-dimensional ideas to viscous, sinewy reality. As much as the hard work bolsters the music, it’s truly the resounding spirit of Llobet and Prussack’s relationship at the core of youbet. “Micah has brought a lot of order to my chaotic neurodivergence,” Llobet reflects. “I consider her my musical confidant. She can be cleverly critical and extremely encouraging. She's probably the most opinionated person I know. Together we build this musical balance.” What emerges is an album that doesn’t just break free of its former constraints, but reconfigures them into something sturdier: a collaborative language capable of holding contradiction, growth, and connection all at once.\u003c\/p\u003e","brand":"youbet","offers":[{"title":"LP","offer_id":46558344544431,"sku":"731841","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":46558344577199,"sku":"731842","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/youbet_youbet_Mockup_LP_US_2000x1417_e85537c1-25fd-4923-80bf-a892a7ed607a.jpg?v=1770874062"},{"product_id":"the-bug-club_every-single-muscle","title":"Every Single Muscle","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Bug Club are back with a new album. It’s been a whole eleven months since their last. Where have they been?\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003eEvery Single Muscle\u003c\/em\u003e\u003cspan\u003e, the band’s fifth LP, arrives \u003c\/span\u003e\u003cspan\u003eMay 29th, 2026\u003c\/span\u003e\u003cspan\u003e via Sub Pop, making it a hat-trick for the Welsh duo and their esteemed Seattle-based patrons. Since \u003c\/span\u003e\u003cem\u003eVery Human Features\u003c\/em\u003e\u003cspan\u003e, which emerged in June of 2025, the non-stop tour has seen the BBC 6 Music and KEXP favorites ping-pong across the Atlantic like they used to the Severn Bridge. Various festival slots in the summer kept them from having any sort of holiday - who needs one when you live in Wales anyway? - until it was time to head back to the writing room. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSo that answers that first question. Not that you’d have otherwise known. Ever self-effacing, songwriters Sam (guitar, vocals) and Tilly (bass, vocals) go as far as to claim that they’ve been sitting around “doing nothing at all” during track “It’s Our Manager David.” That’s clearly a lie. \u003c\/span\u003e\u003cem\u003eEvery Single Muscle\u003c\/em\u003e\u003cspan\u003e gets off to a full-throttle, chugging start with “Miss Wales 2012,” referencing a competition both Tilly and Sam have actually won. Dead serious. It’s the first of many sub-two-minute tracks on the album, setting the tone for The Bug Club’s punkiest offering yet and recalling both the short, sharp snaps of their very first singles and the grunt of recent releases. So packed is the album with wall-to-wall riffs and lyrical hooks rammed into tight confines that Sam actually asks permission to squeeze in a solo during second track “A Good Day for Dying.” He’s given two seconds. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNot that we’re short-changed, though, because Sam asks again later on and is granted more. Across eighteen tunes there’s enough classic Sam\/Tilly guitar interplay to satisfy even the most vociferous Bug Club club member and firmly refute the band’s own claim that they are only “just about technically proficient on our instruments.” “Full Range of Motion” has a choppy rhythm that sits atop drummer Tom’s tight beat and serves to remind us all of Minutemen, for a minute. “Make It Count” brings sweet melody and call and response, while “All My Clothes Fell Off” allows for a slower paced ballad that builds to a crescendo that would not be out of place in the world of classic rock. “Cut to Black” combines a Sparks-esque falsetto and Tilly’s melodic bass playing with a rhythm something close-ish to what Klaus Dinger used to do for Neu! And closer “My Uncle Warren Drives a Passat” sees them doing a bit of a left turn and swapping out guitars for keys. This record’s an exercise in efficient maximalism - the musical equivalent of your dad packing the car for a holiday. Bring what you like; space is tight but they’ll get it in there somehow. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn to the words, because with these guys those are important. While \u003c\/span\u003e\u003cem\u003eVery Human Features\u003c\/em\u003e\u003cspan\u003e did an excellent job of pointing at everyday things and highlighting their absurdity, on \u003c\/span\u003e\u003cem\u003eEvery Single Muscle\u003c\/em\u003e\u003cspan\u003e The Bug Club look more closely at themselves. Not so much in an introspective way, though. More in a way an alien might probe a captive specimen on an intergalactic gurney. Horror movies get their “body” subgenre, now garage rock albums get theirs too. Self-interested in an entirely new sense of the term, the human form and condition is prodded and inspected from every angle throughout the course of the album. “Look Like Me” sees them singing about their own appearance, while on “How Can We Be Friends” they are preoccupied with others’. “Every Single Muscle” itemizes organs as if they belong on a shopping list, and both “Make It Count” and “Pretty as a Magazine” bemoan the fact people don’t know what to do with their own bodies. Altogether, we get a sense of surreal detachment from the self that sets up the ever-present ennui-laden humor; the last song sees Sam announce he’s “bored of being human.” The Bug Club seem almost suspicious of the concept of being a person - as if they’ve woken up in a costume they didn’t want to put on and cannot take off.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\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, followed by EP \u003c\/span\u003e\u003cem\u003eLaunching Moondream One\u003c\/em\u003e\u003cspan\u003e. 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.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cem\u003ePure Particles\u003c\/em\u003e \u003c\/span\u003e\u003cspan\u003efollowed, 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. Second standalone release “Two Beauties” marked release number two for 2022 and built up to the appearance of debut album \u003c\/span\u003e\u003cem\u003eGreen Dream in F#\u003c\/em\u003e\u003cspan\u003e by October. The following January they decided to pull their fingers out, get some disguises and support themselves on tour as Mr. Anyways Holey Spirits. A live album documented this, then they got abstract with titles and put out the picture disc \u003c\/span\u003e\u003cem\u003ePicture This!\u003c\/em\u003e\u003cspan\u003e By the autumn of 2023 it was time for forty-seven track, poetry-infused double album \u003c\/span\u003e\u003cem\u003eRare Birds: Hour of Song\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eDuring a trip to America they caught the eye of Sub Pop, just in time to get them on board to serve up a beefy slab of garage-punk on \u003cem\u003eOn the Inner Workings of the System\u003c\/em\u003e, gaining an appropriately beefed-up stateside following in the process. The partnership proved fruitful, and with Sup Pop firmly in The Bug Club club they got cracking on \u003cem\u003eVery Human Features\u003c\/em\u003e. Is three the magic number? Probably not. But \u003cem\u003eEvery Single Muscle\u003c\/em\u003e - number three for The Bug Club and Sub Pop - certainly comes close enough to convince your average strange human person that it might be.\u003cbr\u003e\u003c\/p\u003e","brand":"The Bug Club","offers":[{"title":"Loser (color) LP","offer_id":46571561681071,"sku":"717270","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":46571561713839,"sku":"717272","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/TheBugClub_EverySingleMuscle_Mockup_LP_US_2000x1417_52c7fef1-2383-4aad-91ee-6331cf13a5e0.jpg?v=1771392821"},{"product_id":"tofusmell_all-my-time","title":"All My Time","description":"\u003cp\u003e“You cannot plan anything. You can't expect anything good or bad. Everything is just going to continue to be however it will be.”\u003c\/p\u003e\n\u003cp\u003eThis is the way musician Rae Chen encapsulates his debut album as tofusmell, All My Time. \u003c\/p\u003e\u003cp\u003eAt times reserved and gracefully restrained, and other times overflowing and agitated, All My Time showcases Rae’s signature precision in vulnerable, clear-eyed songwriting, with a larger, lusher, and more fleshed-out scale of production than we’ve seen from him before. Here, Chen poetically distills the uncomfortable complications of learning to release expectation from outcome, and in turn live contentedly in life’s constant, confusing uncertainty. It’s not necessarily an apathetic resignation strung through the songs of All My Time, but rather a hopeful insistence that impermanence, and the toiling mystery it brings, is its own kind of steady salve. \u003c\/p\u003e\u003cp\u003eFollowing the release of his 2023 EP Humor, Chen spent a few months intermittently touring with Leith Ross before making the daring decision to move away from his home state of Florida to Winnipeg, Canada. Once there, he finished writing the songs that would come to make up All My Time, and began recording. While Chen has primarily worked solo in the past – writing, producing, and recording his music himself – he brought in a collection of new collaborators to help build the songs of All My Time. Six of the songs were co-produced and recorded with Keiran Placatka in Winnipeg, and then developed throughout the months following Chen’s move. New friends, Chen found the production process with Placatka to be surprisingly intuitive and creatively inspiring. For the two of them, it wasn’t just the instrumental arrangements that felt important to the songmaking, but also the emotional atmosphere those arrangements conjured. This inclination is evident on album standout “Pilot Fish” – Chen’s hushed vocals and shuffling guitar interplay seamlessly with swirling electronic chimes and warm, ambling base, swelling and receding like a gentle tide.\u003c\/p\u003e\u003cp\u003eInterspersed with Placatka’s contributions are four songs produced and recorded with Paul Larson in Los Angeles, each one with an energetic and dynamic live-band sound inspired by folk-rock of the early aughts. Tracks like “Voice Cracks” and “Force the Sun West!” incorporate reeling, fuzzed electric guitar and punchy drums bolstered by darker-toned production. Having only ever recorded in the confines of his bedroom, Chen took advantage of this new opportunity of working in studio spaces to showcase the breadth of his range and musical interests. While it required him to relinquish some amount of creative control – an unfamiliar practice – it was well worth the leap. \u003c\/p\u003e\u003cp\u003eThe collection is rounded out with “Luck”, produced by Chen himself, and “Overspender”, produced with Jack Hallenbeck in Los Angeles and reminiscent of the whisper-close folk stylings of Sufjan Stevens and Nick Drake that Chen has become well known for. Despite the myriad hands involved in the overall production, All My Time remains cohesive, held together with Chen’s earnest and enveloping story-telling. \u003c\/p\u003e\u003cp\u003eRecurring through All My Time is a zen-like admittance of the inconsequentiality of one's small place in the world, paired with an involuntary desire to still seize control of times uncontrollable will, yearning for a path that must surely be better than the present one. On “(Me Tomorrow)” we hear Chen tell himself “The sky is bending around you\/you’re nothing”, a declaration he returns to on “Walk Me Back To Nothing” with the aching verse “I am the leaves damp\/I am the rain falling\/I am nothing\/I am just misunderstanding.” The songs across All My Time find Chen in constant search of safety, contentment, and reassurance that he never quite grasps. When Chen sighs out “I hate not ever knowing” on “Rock Collector”, there’s a weariness that weighs the words down. He’s both too young, and too old. Time moves both too slow, and too fast. But rather than incongruous, these dueling laments reveal a sharp truth about what it means to be young and alive. There is no use in waiting to arrive at a moment of pure and perfect growth: the arrival is in the journey itself. The going and going and going becomes a different kind of revelatory answer. And it’s with this reassurance that we leave All My Time, Chen’s steady-handed and confident collection of musical prose, executed with immense beauty, craft, and care. \u003c\/p\u003e\u003cp\u003eTasha Viets-VanLear\u003c\/p\u003e","brand":"tofusmell","offers":[{"title":"CD","offer_id":46586555498671,"sku":"731792","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/tofusmell_AllMyTime_Mockup_CD_2000x1417_a82868fd-66d2-4fe1-ab39-f710a5553ba7.jpg?v=1771913297"},{"product_id":"telehealth_green-world-image","title":"Green World Image","description":"\u003cp\u003eThe Kalshi app is a “prediction market for trading the future,” a platform allowing users to gamble on the outcome of almost any real-world event — from the accuracy of the weather forecast, to whether or not famine will officially be declared in Gaza. Joining CNN as the network’s official betting partner in late 2025, platform co-founder Tarek Mansour was quoted after the deal saying, “The long-term vision is to financialize everything and create a tradable asset out of any difference in opinion.”\u003c\/p\u003e\n\u003cp\u003eTelehealth was forged in the opportunity-rich environment of post-COVID Seattle as a scalable music startup with similar goals. Co-founded in 2022 by married couple and fellow gambling enthusiasts Alexander Attitude (synths\/vox\/guitar) and Kendra Cox (synths\/vox), and joined by longtime collaborators Ian McCutcheon (drums), John O’Connor (bass), and Dillon Sturtevant (guitar), the group aims to financialize any difference of opinion over how the in-shambles local “music scene” should proceed.\u003c\/p\u003e\n\u003cp\u003eCan you be DIY and have good SEO? Can one earn progressive cultural cachet and hard cash at the same time? Is art funded by tech industry “culture grants” kind of a bummer, authentically gorp-core (young men are embracing the “quarter-zip lifestyle” according to the New York Times), or ironically punk? For Telehealth, the answer to these questions aren’t yes or no, but rather, an untapped gap in the music market waiting for a band visionary and unhinged enough to bet on the spread. Green World Image, Telehealth’s sophomore LP and its IPO with angel investors Sub Pop, is a vertically-integrated artwork for the post-grunge, post-flannel Seattleite, and consumers around the globe who are also ready to financialize their own passion for music. \u003c\/p\u003e\n\u003cp\u003eTrauma-informed, results-driven, and eminently dance-able, the weirdo punk record is inspired by Attitude’s tenure as a former architect in a Climate Pledged™ city that has perfected the art of “Green World” architecture with its network of efficiently zoned 5-over-1s. Telehealth’s PNW post-punk creates similar architectural spaces, where the gleaming, futuristic, tech-industrial rhythms and synths of Bezos-era Seattle commingle with the raw, independent, underground sound the city lovingly preserves for cultural texture and marketing purposes. The outcome? Think XTC, REM, and YMO with a stronger focus on ROI. Imagine The B-52s, but B2B. Envision a bigger-brained Brainiac, a trans-human Gary Numan, or a terminally online Pylon. Finally, a band with assets diverse enough to play in your basement or the Amazon Spheres.\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"docs-internal-guid-3438bec3-7fff-2a6e-c7ac-796b7f735ad2\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eGreen World Image is a sweaty journey through the anxiety- and profit-inducing system Telehealth inhabits and critiques at the same time, sold back to listeners as an absurd art rock slice of strife. “Donor Country (A gOoD cAuSe)” is a shimmering, arpeggiated ode to the generous sponsors who keep Telehealth on life support, while “Cool Job” soundtracks the band members’ efforts to secure decent benefits with ass-slapping percussion and nervy bass lines. “Things I’ve Killed” transforms a millennial hit list into a propulsive synth punk wormhole, and “Yassify Me” dresses up the carnage with a ring light and a wellness routine, simultaneously weaponizing therapy-speak and new wave. Produced by Trevor Spencer, the record follows Telehealth’s 2023 debut LP Content Oscillator and Sub Pop Singles Club release “\u003ca href=\"https:\/\/telehealth.bandcamp.com\/album\/mindtrap\"\u003eMindtrap\/Bitter Melody\u003c\/a\u003e.”\u003c\/p\u003e","brand":"Telehealth","offers":[{"title":"Loser (color) LP","offer_id":46589806280879,"sku":"717200","price":16.1,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":46589806313647,"sku":"717202","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/Telehealth_GreenWorldImage_Mockup_US_LP_2000x1417_621e4c88-70b4-4c42-b337-fa45f9541c4e.jpg?v=1772002340"},{"product_id":"telehealth_green-world-image-sand-t-shirt","title":"Green World Image Sand T-Shirt","description":"\u003cp\u003eA brand new Telehealth t-shirt to coincide with their new album Green World Image. Two-sided design printed on a sand color t-shirt.\n\u003c\/p\u003e","brand":"Telehealth","offers":[{"title":"S","offer_id":46589806608559,"sku":"21720992","price":13.5,"currency_code":"USD","in_stock":true},{"title":"M","offer_id":46589806641327,"sku":"21720993","price":13.5,"currency_code":"USD","in_stock":true},{"title":"L","offer_id":46589806674095,"sku":"21720994","price":13.5,"currency_code":"USD","in_stock":false},{"title":"XL","offer_id":46589806706863,"sku":"21720995","price":13.5,"currency_code":"USD","in_stock":true},{"title":"2XL","offer_id":46589806739631,"sku":"21720996","price":13.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/Telehealth_Shirt_front.jpg?v=1772002344"},{"product_id":"downtown-boys_public-luxury","title":"Public Luxury","description":"\u003cp\u003e\u003ci\u003eTodavía creo en un futuro \u003c\/i\u003e\u003cbr\u003e\u003ci\u003eTodavía veo nuestros muertos \u003c\/i\u003e\u003cbr\u003e\u003ci\u003eYa quemé la silla \u003c\/i\u003e\u003cbr\u003e\u003ci\u003eTen fé en lo que ves \u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eI still believe in a future\u003c\/i\u003e\u003cbr\u003e\u003ci\u003eI still see our dead\u003c\/i\u003e\u003cbr\u003e\u003ci\u003eI already burned the chair\u003c\/i\u003e\u003cbr\u003e\u003ci\u003eHave faith in what you see\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eDowntown Boys have pushed relentlessly forward as an artistic and political project since their founding. Singer Victoria Marie and guitarist\/singer Joey La Neve DeFrancesco first met at union meetings while working together at a hotel in Providence, RI, writing many of the band’s early songs about their organizing efforts and exploitative workplace conditions. The quintet is completed by saxophonist-synthesist Joe DeGeorge, bassist Mary Jane Regalado, and drummer Joey Doubek. Through years of creating and touring, Downtown Boys continued to grow as artists, musicians, and organizers. Now, Downtown Boys have arrived with Public Luxury on Sub Pop Records, an enthralling new record that keeps politics front and center while summoning the band’s most urgent and powerful sound to date. \u003c\/p\u003e\u003cp\u003e“This record is bigger and more expansive than anything we’ve done before,” explained DeFrancesco. “In writing this music, I tried to get closer to the feeling and sound of our live shows, which is where Downtown Boys is best experienced. When we perform, the guitars, keyboards, saxophones, the singing and intros, and the crowd yelling along with us all blend into a beautiful, cathartic energy. We wanted these songs to carry the depth of that live experience onto the recording itself.”\u003c\/p\u003e\u003cp\u003eThe definition of Public Luxury falls very much in line with that of the title of the second Downtown Boys LP, Full Communism. Straight up, Public Luxury means, “everything for everyone.” It’s the stubborn insistence that a better world is possible, while fully recognizing the horrors we witness daily, and the individual and collective responsibility to resist the nihilism and hopelessness we all feel. \u003c\/p\u003e\u003cp\u003eVictoria Marie asserts that Public Luxury means that, “We as the people have the power – and we will have it all. The ultimate burn to injustice is taking the dirt, the shards, the smoke of it all in the struggle for freedom and liberation — finding power in the mundane — I think that is the story to be told.”\u003c\/p\u003e\u003cp\u003eSentiments like “everything for everyone,” and “we will have it all” perfectly represent the cathartic, communal live experience this cadre of multi-instrumentalists create. These sentiments also encapsulate the inclusive, joyful fusion found in Downtown Boys’ sound: punk and indie roots mix with Latin traditions, drum machines blend with acoustic drums, saxophones both support and interject between riffs, and layers of synths blend with guitars, doubling or tripling melodies to create blankets of melodic texture. The amount of ground covered on Public Luxury can’t be overstated. Public Luxury’s opening song and lead single, “No Me Jodas,” is a massive track whose thundering drums signal the beginning of Downtown Boys’ new era. “No Me Jodas,” “Sirena,” “Viva La Rosa,” and the rework of “Mi Concha” by Malportado Kids (a project started by Marie and DeFrancesco) add to the already robust catalog of Downtown Boys tracks sung entirely in Spanish. Songs like “Yellow Sun,” with its twinkling vibraphone, as well as “Albuterol” hit with all the emotion and sophistication of Sam’s Town-era The Killers. The industrial punk breakbeat of “You’re a Ghost” is unlike anything the band has done. Anthemic punk songs like “Viva La Rosa,” “The City Begins,” and “Enemy Without” are reminiscent of Downtown Boys’ earlier music, while “Public Works” and “Public Luxury” sit awash in a dreamy bath of synthesizers.\u003c\/p\u003e\u003cp\u003eYears in the making, Public Luxury comes nearly a decade after Downtown Boys' previous album, Cost of Living, their acclaimed Sub Pop debut, which included the fan favorites “Somos Chulas (No Somos Pendejas)” and “A Wall.” But the Downtown Boys never stopped: they were touring throughout, always organizing, and they composed the soundtrack for the Italian motion picture Miss Marx, which won awards for best score at the 2020 Venice Film Festival and the David di Donatello Awards.\u003c\/p\u003e\u003cp\u003eIn more ways than one, Public Luxury is a revisitation of Downtown Boys’ past for the sake of their future. Co-produced by DeFrancesco and recording engineer Seth Manchester (Lambrini Girls, Lightning Bolt, Model\/Actriz), the band created Public Luxury at the Pawtucket, RI studio and arts space Machines With Magnets, not far from the band’s first home of Providence, RI. Years prior, Machines With Magnets hosted a number of the first Downtown Boys performances. Manchester watched the band grow from these early days, making their time in the studio one of two homecomings that would define the production of the album. The other came in May of 2025, before production, when Victoria Marie’s grandmother—a monumental figure for the entire band—passed away. 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Their acclaimed third album, 2024’s Ilion, was a sci-fi story built with 10- to 13-minute exploratory escapades, often starting with doom metal or stoner rock before spinning freely into glorious instrumental oblivion. But, in a bit of intentional irony, SLIFT’s fourth album is actually called Fantasia. It’s their leanest and most direct record to date; taken together, its eight songs clock in at less than 50 minutes. It is also their most riveting album yet, a pointed saga about overcoming international upheaval delivered by a band bearing down, not wasting a single second in the process.\u003c\/p\u003e\n\u003cp\u003eThey wanted to write and render songs that recognized the turmoil of these days and to sing of a more hopeful vision, of a time when a reckoning arrives. SLIFT didn’t want to lose the message by playing too much. 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They rehearse with religious regularity in a basement in the countryside near Toulouse, inside the jam room where they’ve long indulged their propensity for long-form wonder. But they built the songs of Fantasia differently. Jean started many of the songs by himself, then quickly brought them to basement rehearsals with a clear and concise idea of how he imagined them taking shape. At first, SLIFT struggled to keep the songs tight, old habits making them wonder if this song or that one shouldn’t break the double-digit threshold. By the time they crossed France’s northern border into Belgium to record in the enormous live room at Daft Studios, though, the songs were lean, agile, and punchy. They made most of them in a single take.\u003c\/p\u003e\n\u003cp\u003eAs Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surrealism into places and plots that almost felt real. He wanted to accomplish the same thing, to add supernatural touches to his contemplation of politics so that the listener might see reality differently, might question what they were missing about this plane. SLIFT even borrowed the song title “Orbis Tertius” from a 1940 Borges short story that uses the idea of subjective idealism—that is, believing the world only exists as far as our minds go—to ask questions of memory, history, possibility, and, ultimately, control. Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order.\u003c\/p\u003e\n\u003cp\u003eThe town first comes into focus on “Corrupted Sky,” where lurid keyboards and a relentless rhythm section illustrate a city of power-hungry wastrels. Jean’s guitar solo feels like an exhilarating chase sequence in a video game, as he tries to dodge doom while arriving in Fantasia. They treat the newcomer like poison incarnate during the prog gem “The Village,” while he predicts their downfall during “A Storm of Wings.” In a mighty, fists-up anthem that suggests Clutch getting wild, SLIFT alludes to John Coltrane, Charlie Parker, and Soviet writer Mikhail Bulgakov to portend the arrival of some great liberating force, some redemptive truth. \u003c\/p\u003e\n\u003cp\u003eThat slowly starts to emerge during the record’s back half, as memory returns to the masses, as people start to remember that they are more than the oppressive uniformity of their society. “Waiting Man”—a psychedelic ballad that suggests Pink Floyd wandering into the Master of Reality sessions—is the breaking point. 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In 2023, they followed up with the acclaimed Good Living Is Coming for You, which made Album of the Year lists for Pitchfork, NPR, Paste, and BBC, just to name a few. The album found guitarist\/producer Caufield Schnug and bassist\/vocalist Lira Mondal testing the limits of their home-recording resourcefulness as freshly minted Kansans – new place, new space. Now, the band is back with a frenetic new offering: You Say I Romanticize.\u003c\/p\u003e\n\u003cp\u003eRecorded over an 18-month period, largely prepared and periodically interrupted by Schnug’s non-SP production work, You Say I Romanticize is a tribute to the chaos of creation and collaboration under shifting circumstances. For years now, Schnug and Mondal have embedded themselves in their combination tour house and recording studio in Kansas, annually working on dozens of albums from other bands, hosting tour stops, planning shows, and the like. After an immersive process of tracking and whittling down YSIR demos and carving out an idiosyncratic chamber recording method for the album’s intentional wall-of-sound, the duo brought in touring drummer Spenser Gralla to play the songs like the band would on stage.\u003c\/p\u003e\n\u003cp\u003eThe album’s frenzied execution, akin to the group’s renowned live show, prevails most of all in Mondal’s vocals. Whereas previously, you might have heard a growl here and there on certain Sweeping Promises tracks, the band’s formidable singer shouts, roars, hits all sorts of tricky notes, and shreds her throat all over the record, notably on the pummeling opener “Shooting Shadows” and the smoldering “Cocoon.”  \u003c\/p\u003e\n\u003cp\u003eA shadow side exists along with Sweeping Promises’ love of their artistic community—borne of weirdos channeling their misfit status into vibrant art and punk rock music, often passing through the revolving door that is their home studio. You Say I Romanticize takes the art-by-any-means-necessary ethos Mondal and Schnug have developed over the years and turns the prompt upside-down, landing on a personality epidemic manifesting across all ten tracks. \u003c\/p\u003e\n\u003cp\u003eA big theme of You Say I Romanticize is hinted at in its title. Taken from a lyric sung on driving album closer “Write Lightly”—a narrative about the importance of self-expression in writing being scrubbed away by “professional” concerns—many of the characters Mondal fleshed out here are outcasts, marginalized by society and morphed into longing fanatics. The personalities depicted on You Say I Romanticize are often writerly types; as writing is, by and large, an art of obsession. To wit, “Last Man,” by equal turns musically nervous and cathartic, loosely takes after Mary Shelley’s literary work of the same name, The Last Man—a dystopian 19th Century novel written in wake of a cholera outbreak. 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Born in Buenos Aires, raised in Miami, and now based in the Pacific Northwest, his work draws from a wide range of Latin American musical traditions—Argentine folk, Peruvian chicha, Colombian cumbia—woven into hypnotic electronic production shaped by psychedelic guitar, field recordings, and dub-influenced textures. The result is a sound that moves fluidly between cultural landscapes, rooted in tradition but oriented toward something more exploratory and unbound.\u003c\/p\u003e\n\u003cp\u003eMusic has long served as a point of connection to Selasco’s cultural lineage. His grandparents founded the influential Argentine label Music Hall in the 1950s, helping introduce vinyl records to the country and shaping a generation of popular music. Years later, after his family immigrated to the United States, his father started an independent record label, ANS Records, in Miami, focusing on bringing Latin American music to international audiences. 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Elsewhere, “Ritmo Subversivo” sets a cinematic tone—pulling from spy soundtracks and heist movies—while “Sabotaje Tropical” pushes a more urgent, disruptive force through driving percussion and jagged guitar work. \u003c\/p\u003e\u003cp\u003eIn line with its themes of resistance and migration, Colapso directs 10% of its proceeds to the Northwest Immigrant Rights Project (NWIRP), and is released via Share It Music, a label that connects independent artists with community-focused initiatives, with distribution by Sub Pop.\u003c\/p\u003e\u003cp\u003eTerror\/Cactus has released music on Shika Shika Collective, Nacional Records, Names You Can Trust, and Earthly Measures, and has toured across the U.S., Canada, Mexico, Colombia, and Argentina. His work has been featured by KEXP and Remezcla, and in 2025 he toured North America as direct support for Yin Yin. 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Backed by the gentle lilt of a pedal steel and keyboard on “Pulling Up Roots,” she declares, “I’m alright\/ After all this time.” \u003c\/p\u003e\u003cp\u003eIt’s a lyric that feels like a deep exhale, one that reflects the transformative journey to Cahoone’s boldest and brightest album. The daughter of a dynamite salesman raised in the Colorado foothills, Cahoone picked up drumming at just 11 years old. Within a year, she was sitting in on sessions at local dive bars. Her earliest musical memories are of listening to soft rock and country, sounds that “took over my soul” in early adulthood, she says. After relocating to the Pacific Northwest in 1998, Cahoone became a fixture in the Seattle music scene, drumming with cult Seattle slowcore legends Carissa’s Wierd. After their split in 2003, she joined fellow Carrisa’s Wierd alum in Band of Horses, including playing on their certified Gold 2006 album Everything All the Time. \u003c\/p\u003e\u003cp\u003eThat same year, Cahoone released her first solo record, a self-titled debut that established her as a singular songwriter and gifted guitarist. Cahoone soon signed to Sub Pop, where she released her 2008 record Only as the Day Is Long and 2012’s Deer Creek Canyon, which drew comparisons to Gillian Welch and Jenny Lewis. After self-releasing the rollicking and raucous From Where I Started in 2017, Cahoone returns to Sup Pop for I’ve Missed You All These Years. “I signed when I was pretty young, and I felt like a bit of an imposter,” Cahoone says. “Coming back to Sub Pop, I feel like I just fit in, and they understand me. I feel a lot stronger in myself.” \u003c\/p\u003e\u003cp\u003eCahoone began writing the songs on I’ve Missed You All These Years almost as soon as she finished her last album. Retreating to a cabin in the forest in 2018, she began crafting melodies without lyrics, just using her guitar. “Being in a remote location got me to slow down and be in the trees,” Cahoone says. There, she put together the first pieces of what would later become the soft sway of “Not How I Hoped,” the barroom swing of “Pulling Up Roots,” and the galloping rhythm of “Horse Runnin.’” \u003c\/p\u003e\u003cp\u003eThe eight years that shaped this album were full of profound changes for Cahoone: She lost her best friend, her father, and her dog all within a short time period. “My father had Parkinson’s, and he died during the pandemic, so I didn’t get to be with him,” she recalls. The experience inspired the lyrics on the gossamer, finger-picked gem “Supposed To Be”: “And I’m still living here\/ And I’m so much older\/ You’re always on my mind\/ And I miss my father.” It’s a powerful reflection of the way grief and love can coexist, the way memories keep us tethered to the ones we love. “Writing songs helps me get through difficult periods,” Cahoone says. “These people live in you. They come out in your lyrics, and they're with you all the time.” \u003c\/p\u003e\u003cp\u003eIn the time since her last record, Cahoone dedicated her time to developing her skills as a producer and drummer, including producing three records for friends Dean Johnson and Margo Cilker. “I learned a lot from producing about letting go and being open to new possibilities,” Cahoone explains. “I realized that I have to trust my intuition. Finding that strength in myself and trying to get the best out of other musicians has just made me a better musician and communicator. It’s helped me get out of my own sadness through getting into somebody else's sadness.”\u003c\/p\u003e\u003cp\u003eSera’s album continued to take shape at a cabin in Leavenworth, Washington, where Cahoone spent time writing and recording demos, then later at Bear Creek Studio in Woodinville, returning to the same space she created Deer Creek Canyon to track her new crop of songs. \u003c\/p\u003e\u003cp\u003e“The way it was recorded was just beautiful,” Cahoone adds. It was a collaborative effort from generations of friends and fellow musicians. “I've been playing with my band for a long time, and I wanted to bring them in. For this record, I brought in pretty much everyone that I've played with off and on for years,” she says. This meant including Alex Guy on strings, Jeff Fielder on guitar and banjo, Daniel Walker on keys, Jason Kardong on steel, Keith Lowe on upright bass, Jonas Haskins on bass, and Aaron O’Neil on the drums. John Askew, who engineered records Cahoone had recently produced, oversaw production. “I just wanted to do it right, I wanted it to just sound gorgeous, and I wanted to do it collectively with the people I love.” \u003c\/p\u003e\u003cp\u003eFittingly, I’ve Missed You All These Years, the sixth album from Sera Cahoone, captures the sound of ecstatic collaboration, the closest thing to being a fly on the wall in a room full of exceptionally talented friends. You can hear it in the hum of an accordion on “Tangled Nights,” the sigh of a pedal steel on “Not How I Had Hoped,” the breezy falsetto on “Say Something.” It’s a record about finding comfort in community; about rediscovering yourself by connecting with the people you love. \u003c\/p\u003e\u003cp\u003eThere are bittersweet moments on I’ve Missed You All These Years, as on the reflective and winsome “Not How I Had Hoped,” which culminates with the heartbreaking refrain, “Oh god I love you still\/ But this isn’t how I hoped.” Here, Cahoone’s vocals are more striking than ever, a honeyed croon conveying so many emotions in one note. “I just kept singing it, and it just felt so good,” Cahoone says of that line. “I had to sit with that for a little while because I realized nothing else would work there. 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I'd been waiting for Detroit to produce a group this good since Brownsville Station broke up, and here they were, except I liked The Go even more than all their hometown predecessors. I eventually was asked to produce their first two albums, so I was granted the rare opportunity to be the producer of my favorite rock and roll group.\u003c\/p\u003e\u003cp\u003eThe first was the debut album Whatcha Doin', and the second was the mysterious, legendary \"lost\" album, Free Electricity.\u003c\/p\u003e\u003cp\u003eAfter a few bass and lead guitar personnel shakeups, and a lot of touring in the U.S. following the release of Whatcha Doin’, The Go were back in Detroit with a bunch of new songs which they wanted to record immediately. We again went to Ghetto Recorders, and were in there for a week, maybe two weeks? The Go played these songs at full blast in the studio, getting them all on tape in just one or two takes. The atmosphere surrounding these sessions was one of openness and creativity, so the overdubbing process was an avalanche of ideas, coming down really fast, and going to tape effortlessly.\u003c\/p\u003e\u003cp\u003eThe title track might have ended up sounding like a more traditional rock and roll song, but I suggested they do a take with the lead guitar blasting non-stop, something which made the dynamics more like that of a free jazz ensemble. When I sat down to mix the track, the reverb tank seemed to open up like a giant hole in the earth's crust and suddenly what came out of the speakers was a big, cavernous sound, like some haunted frequency beamed across the time barrier from the Grande Ballroom circa 1968. At this point, the mixing board felt more like a Ouija board. We were going where the music was leading us, and the strange sounds just kept on coming.\u003c\/p\u003e\u003cp\u003eThere's a heavy jazz influence on this record. We were all listening to a lot of ‘60s free jazz, so it seemed quite normal (to some of us) that the mixes tended to sound a bit more like records by Pharoah Sanders and Sun Ra than the records being made by our peers in the rock and roll scene.\u003c\/p\u003e\u003cp\u003ePerhaps this was perceived as a strange approach back in the year 2000, and there certainly were some people who felt we were totally out of control and maybe a bit crazy, but The Go were only as out of control as their musical and literary heroes, like the Fugs and Allen Ginsberg and the Bonzo Dog Band and Nilsson and lots of other individualists who inspired them.  \u003c\/p\u003e\u003cp\u003eGuest appearances by Cary Loren from Destroy All Monsters and John Olson from Wolf Eyes only reinforced the album's musical direction. Anyway, \"weird\" or not, this was an inspired recording made by an inspired group of musicians. There was a feeling of excitement and adventure happening at these sessions, and I think we captured that feeling on tape. \u003c\/p\u003e\u003cp\u003e---------------\u003c\/p\u003e\u003cp\u003eThe Go’s Free Electricity, the group’s storied, long-lost album, will finally see worldwide release on Friday, September 4th, 2026. 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Born into the Sitka Tribe of Alaska (Tlingit) Galanin is L’uknax.ádi (Raven Coho clan). He began learning music from his father, Dei Kee Tla Tin (Dave Galanin, 1955-2021), an accomplished Blues guitarist who performed under the name Strummin’ Dog. In 2013, Galanin was in a serious boat accident while returning home from a hunting trip that broke his back and ribs. He recalls the stars overhead as he was airlifted from the boat, connecting him to his earliest memory of looking up at the night sky, and his connection to Land. Galanin has returned to this experience of intense connection to Land throughout his career; in many ways, it guides his creative practice. Following the accident, his father gave him the name Yeil Ya Tseen, meaning Raven be alive, an affirmation of Galanin’s survival and an acknowledgment of his experience. After his father’s passing, Galanin renamed his musical project Ya Tseen (to be alive) as a connection to his lineage and responsibility to live and create as a part of Lingit cultural continuum.\u003c\/p\u003e\n\u003cp\u003eYeil Ya Tseen\/Galanin has been creating music, customary Tlingit carving, and interdisciplinary art for over two decades. Galanin’s sculpture and video work have been shown at the Public Art Abu Dhabi Biennial, Whitney Biennial, Sydney Biennial, Desert X, Art Week Miami Beach, and by the New York Public Art Fund. Galanin is a member of the artist collective Black Constellation. In 2018, Galanin raised his first Kooteeya (totem pole) as lead carver in Juneau, Alaska, followed by a second in 2023. Galanin’s visual and sonic work are interconnected streams of creative flow, each integral to the watershed of work he produces and contributes to.  \u003c\/p\u003e\n\u003cp\u003eYa Tseen (previously Indian Agent, Silver Jackson) has performed across North America, Europe, and Australia, most recently with Portugal the Man and Samantha Crain to fund the rebuilding of a Tlingit clan house in Sitka. As Ya Tseen, the band has expanded into a musical project, a fluid collective woven from numerous voices and sonic signatures. \u003c\/p\u003e\n\u003cp\u003eYa Tseen’s first album with Sub Pop Indian Yard included collaborations with Shabazz Palaces, Stas THEE Boss, Nick Hakim and continued his long term collaborations with O.C.Notes, Zak D. Wass, Tunia, Jesse Hughey,  supported by Derek Haukaas (drums), Nikko Van Wycke (Bass), Jase Ihler (drums).\u003c\/p\u003e\n\u003cp\u003eWith their second release on Sub Pop Ya Tseen expands their collaborative approach, featuring Portugal The Man, Meshell Ndegeocello, dreamcastmoe, Anel Figueroa, Jahon Mikal, Pink Sifu, Sidibe, Hanna Ben, and Ashley Young. \u003c\/p\u003e\n\u003cp\u003eYa Tseen’s newest album, Stand On My Shoulder, builds on connection and revolutionary love as the foundation for collective liberation that ran throughout Indian Yard. The album cover art is a monoprint created by Galanin, based on a photograph of his father in Tlingit regalia. The regalia remains, but the wearer isn’t visible, leaving space to be filled by future generations. With Stand On My Shoulder Ya Tseen uplifts the gifts given to us by our ancestors and the collective responsibilities we have to future generations. 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Blending infectious indie rock with emotionally honest songwriting, the band has quickly become a standout in Seattle's live music scene, delivering dynamic performances that balance vulnerability with high-energy musicianship.\u003c\/p\u003e\u003cp\u003eSince their inception, waltzerr has toured throughout the west coast, performing at local shows and festivals while sharing the stage with artists like FIGHTMASTER, Wallice, Ava Maybee, and Bear Hands.\u003c\/p\u003e\u003cp\u003eIn August 2026, Tomorrow Will Be Better marks waltzerr's full-length debut album. Across ten tracks, the album pairs shimmering guitars, driving rhythms, and expansive production with deeply expressive vocals to explore the emotional aftermath of love, friendship, and change. Moving between moments of catharsis and quiet reflection, the record captures the tension between holding on and moving forward, offering a collection of songs that feel as intimate as they are anthemic.\u003c\/p\u003e","brand":"waltzerr","offers":[{"title":"Color LP","offer_id":47411427999919,"sku":"760531","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0492\/1527\/5174\/files\/waltzerr-tomorrowwillbebetter-cover-3000x3000.jpg?v=1787927932"}],"url":"https:\/\/direct.subpop.com\/collections\/test-collection.oembed?page=2","provider":"Sub Pop Direct","version":"1.0","type":"link"}