{"title":"Artists","description":"\u003cp\u003eBrowse our Artists collection. Hot Sale.\u003c\/p\u003e","products":[{"product_id":"adagio","title":"Adagio","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAlmost as soon as Stella Chronopoulou began writing \u003c\/span\u003e\u003cspan\u003eAdagio\u003c\/span\u003e\u003cspan\u003e, her fifth album as Σtella, she knew the time had finally come to sing in Greek, her native tongue. It would be a first. She started the record almost by accident in 2019, during an 11-hour boat ride to the island of Anafi. Σtella had recently gone through a patch of personal turmoil and needed a break from home. On the ferry, she pulled out her cell phone as the boat clipped through the Mediterranean and began with a simple melody, steadily piecing together a rough instrumental. As psychedelic keyboards twinkled and swayed above staccato drums, the track suggested some deep exhalation, as if Σtella were letting go of long-unnecessary baggage. For a spell, she set the instrumental aside. She understood the words would eventually need to be in Greek, given how and where she’d written it, the mood of the moment. But she wasn’t ready yet, or in a rush. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eΣtella, after all, grew up in a slow place. Truth be told, she wasn’t very far away from the hubbub of Athens, Greece, living just above the historic city in a relatively rural suburb. When her father bought land there several decades ago, his friends joked wolves may eat him. For Σtella, though, it was an idyll: The sounds of passing goats woke her most mornings. She and her friends played unfettered in empty streets, not worried about cars or permission. At night, doors remained unlocked. The living felt easy. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBut during the last decade, life has steadily become busier for Σtella, who now lives near downtown Athens. She has become one of modern Greece’s most popular musical exports, with three sophisticated and playful pop albums rendered with international élan. After releasing her Sub Pop debut, \u003c\/span\u003e\u003cspan\u003eUp and Away\u003c\/span\u003e\u003cspan\u003e, in 2022, she soon catapulted beyond three million monthly Spotify listeners. That success was a blessing, of course, but Σtella still sometimes found herself pining for the slower pace of her youth. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThat longing is the thread that loosely binds together her fifth album, the entrancing \u003c\/span\u003e\u003cspan\u003eAdagio\u003c\/span\u003e\u003cspan\u003e. Borrowing its name, of course, from the term for music that’s meant to be played slowly, \u003c\/span\u003e\u003cspan\u003eAdagio\u003c\/span\u003e\u003cspan\u003e is a pop record that feels like a very warm blanket, its nylon-string guitars and featherlight percussion swaddling its listeners for three minutes at a time. Written and recorded over the span of five years, with a consortium of international collaborators including !!!’s Rafael Cohen and British songwriter Gabriel Stebbing, \u003c\/span\u003e\u003cspan\u003eAdagio \u003c\/span\u003e\u003cspan\u003eis a 27-minute meditation on love and desire, rest and time. The album was produced by Σtella and mixed by Edmund Irwin-Singer. Though the bulk of it is indeed sung in English, as all her records have been, Σtella also delivers her first two songs in Greek here—“Omorfo Mou,” the one that began on the boat, and a cover of a 1969 cult classic of the Greek New Wave, Litsa Sakellariou’s “Ta Vimata.” It is a sign of the self-assurance that radiates throughout these tender and smitten little tunes.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDuring the Covid-19 pandemic, Σtella opted to try some new approaches to writing. Upon the suggestion of a mutual friend, she began exchanging emails with !!!’s Cohen (working now under the name Las Palabras), each sharing links to records and sounds they loved. There was an instant chemistry, and they penned five songs through Zoom and email. (They’ve yet to meet.) Three of them provide the framework for \u003c\/span\u003e\u003cspan\u003eAdagio\u003c\/span\u003e\u003cspan\u003e. There’s “Baby Brazil,” a suave tune about falling for someone, about letting go of the need to control everything. Together, Cohen and Σtella found a spellbinding intersection of Tropicalia, disco, and yé-yé. Pushing and pulling between verses of nylon-stringed guitars and choruses where soft strings and electronics rise like bioluminescent tides, “80 Days” suggests giving into desire and into this song’s sweet sweep.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBut the pair’s hallmark here is the opening title cut, “Adagio,” where Σtella sings to the concept of slowness like some long-lost lover. “You’re one I know\/too shy to show,” she offers over gentle samba percussion and jangling chords. “Why you’re tormenting me?” Her guitar solo then cuts through it with a Wes Montgomery verve, curling like a finger that beckons an object of desire. Maybe it seems strange to write a love song to the idea of slowing down, but who hasn’t felt that way in our era of instant everything—the desire to step back and let the world just come to you? When Σtella sings here, it’s hard not to long for that same state of grace. You can hear it again in the mesmerizing instrumental “Corfu” and the sashaying love song “Can I Say,” written in memoriam for Σtella’s stolen bike.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA few years after that boat ride across the Mediterranean, Σtella finally revisited the instrumental she had written on board. She’d always resisted writing and singing in Greek because its words often felt too heavy and intense, the tone not suited to her lilting songs. Still, she knew this one \u003c\/span\u003e\u003cspan\u003ehad\u003c\/span\u003e\u003cspan\u003e to be Greek. She thought about the beautiful phrase “Omorfo Mou,” a common pledge of Greek adoration that loosely translates into “my beautiful one.” It soon became a song of want and longing, the antithesis of the way she felt back on the boat, when she was getting away from rather than going toward anything. What’s more, its swaggering rhythm only emerges after Σtella’s winning cover of “Ta Vimata.” The bass and percussion bounce beneath her curling voice, faithful and new, linking her to a lineage of sophisticated Greek pop and the country’s famed New Wave. Two circles close with these two songs, a kind of dual homecoming.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eStart to finish, Σtella sounds more at ease and comfortable than she’s ever been on \u003c\/span\u003e\u003cspan\u003eAdagio\u003c\/span\u003e\u003cspan\u003e. No, these fetching songs will not slow her career or grant her that title track’s wish. Still, for half an hour, \u003c\/span\u003e\u003cspan\u003eAdagio\u003c\/span\u003e\u003cspan\u003e does add an extra measure of warmth to the world, with time loosening its grip even if it doesn’t slow down. \u003c\/span\u003e\u003c\/p\u003e","brand":"Σtella","offers":[{"title":"Loser (color) LP","offer_id":58576394092918,"sku":"wem1788151873746","price":15.87,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":58576394125686,"sku":"gcm1788151873747","price":7.44,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576394158454,"sku":"osw1788151873748","price":7.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/adagio_1.jpg?v=1788151878"},{"product_id":"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":58576394191222,"sku":"sbq1788151874523","price":15.87,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":58576394223990,"sku":"vmg1788151874524","price":17.94,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":58576394256758,"sku":"bhj1788151874525","price":8.16,"currency_code":"GBP","in_stock":true},{"title":"Cassette","offer_id":58576394289526,"sku":"rsz1788151874526","price":6.4,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576394322294,"sku":"ewc1788151874527","price":6.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/when-the-wind-forgets-your-name_1.jpg?v=1788151879"},{"product_id":"packaging","title":"Packaging","description":"\u003cp\u003ePerhaps it was the exhausting grind of modern music-making, or some related epiphany sprouted from the subconscious loam, that led Seattle’s Daniel Lyon and Denver’s Daniel “Connor” Birch to name their collaborative project Packaging. But while the name (and the name of their debut album) may connote a cynical mindset, the music they make does not. Instead, it’s a passionate merging of two distinct voices: the krautrock chug and psychedelic swirl of Lyon’s Spirit Award and the electronic grandeur of Birch’s Flaural, with a light dusting of bristling self-awareness sprinkled on top.\u003c\/p\u003e\n\u003cp\u003eThough the duo currently live in different states, Lyon and Birch originally bonded during their respective bands’ first tour in 2016. Ever since then they stayed in each other’s orbit, mutually contributing to records and staying in such constant contact that a creative collaboration seemed fated. In 2022 the pair started a long-distance recording process that involved several plane tickets to Denver and a handful of contributors including Luke Temple (Here We Go Magic), Ash Reiter (Sugar Candy Mountain), James Barone (Beach House), and Andy Rauworth (Gauntlet Hair). Eerily to everyone involved, a serendipity seemed to settle on the project: no challenges, no problems, just uncanny coincidences and intuitive creation.\u003c\/p\u003e\u003cp\u003eThe seeds of songs soon flourished into a self-titled sound garden, one that Lyon and Birch encourage you to experience whilst traveling in the physical (or metaphysical) world. Transit is a series of evanescences, the simple pleasures of the journey often clashing with the urgency of the destination. Fittingly, recurring concepts throughout Packaging – the edge of the water, the Texas desert, the empty terminal – mark the miles, forming little permanents amid the shifting moods and fleeting scenery. On five-minute pulse-pounder “Running Through the Airport,” the “routine malaise” of the workweek is counterbalanced by the similarly restless buzz of the flow state. “In My Pocket” takes stock of what remains after a lifetime of ephemeral memories and lost possessions as Lyon’s synth replicates a receipt printer. “Didn’t Wanna Stay” is itself a study in change: life yielding to death as people move measuredly through its chapters.\u003c\/p\u003e\u003cp\u003eThe strength of Packaging lies in the ways its members push each other to new places. Lyon, who takes lead vocals, is used to obscuring his vocals with effects in his own band. Here, urged by Birch, he lets his low, comparatively unadorned falsetto carry an uncharted emotional weight. Birch is right there to back him up, sculpting a bruised synth to lead the quietly devastating “On Holiday” and layering ponderous aquatics underneath “Say What You Need.” Lyon, meanwhile, lends his gift to turn any song into a sleek driving monster; the introductory “Always Calling” and its hefty lockstep pace is momentum incarnate, each layer relentlessly building into a pensive crescendo that ends without resolving.\u003c\/p\u003e\u003cp\u003eThere’s a reflexive irony in choosing to name yourself after the surface level. Both Birch and Lyon are lifelong musicians, people who understand both the vibrancy inherent in a life creating music and the enervating miasma that settles as you choose to lead it. Plenty of their peers find their hard work ignored if it isn’t packaged properly, and yet the energy it takes to make that package often sucks the enjoyment out of the work, the only reason nowadays to undertake it. Packaging, then, is a flipping of the script, a way to reclaim that joy through mutual trust and the spark of imagination. With the fruits of their bond, they hope to soundtrack your own movement\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\u003cp\u003efrom locale to locale, past to future – until one day you finally reach its end.\u003c\/p\u003e\u003c\/li\u003e\u003c\/ul\u003e","brand":"Packaging","offers":[{"title":"Color LP","offer_id":58576394551670,"sku":"jrr1788151875071","price":16.75,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":58576394584438,"sku":"uqw1788151875072","price":14.0,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576394617206,"sku":"cws1788151875073","price":6.8,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/packaging_1.jpg?v=1788151879"},{"product_id":"eternitys-pillars-bw-raise-the-chalice-reverential","title":"Eternity's Pillars b\/w Raise the Chalice \u0026 Reverential","description":"\u003cp\u003eSP1713 Eternity’s Pillars b\/w Raise the Chalice \u0026amp; Reverential is sunn O)))’s premier work on the maxi 12” medium for Sub Pop.\u003c\/p\u003e\n\u003cp\u003eIt consists of three brand new tracks created and performed by the iconic duo of Stephen O’Malley and Greg Anderson and co-produced by sunn O))) and Brad Wood. Brad Wood recorded the material at Bear Creek Studios in Woodinville and Sea Grass in Los Angeles in 2025. The tracks on this maxi 12” are the first official sunn O))) studio recordings to feature only the original core duo on heavily saturated electric guitars and synthesis.\u003c\/p\u003e\u003cp\u003esunn O))) gave extreme focus and care to each step and aspect of the recording, each tone and level of saturation, each gain stage and speaker, each arrangement and harmonic. The Pacific Northwest forest is our guide. \u003c\/p\u003e\u003cp\u003e“Eternity’s Pillars” is named for the mid-1980s television program created and hosted by jazz visionary and spiritual guru Alice Coltrane Turiyasangitananda, focusing on her incessant belief in music’s capacity to attain spiritual transcendence. “Raise the Chalice” is named for a rallying cry often uttered by Northwest legend Ron Guardipee throughout the mid-1990s. “Reverential” equally pays respect and sends loud praise to those who came before us with the heaviest burdens, expressions with music and art being the materials of an antiphon.\u003c\/p\u003e\u003cp\u003eThe front cover of the maxi 12” depicts the duo in the woods northeast of Seattle, through the lens of Charles Peterson.\u003c\/p\u003e","brand":"sunn O)))","offers":[{"title":"Sub Pop Exclusive 12 inch","offer_id":58576394781046,"sku":"azv1788151875466","price":16.15,"currency_code":"GBP","in_stock":true},{"title":"Loser (color) 12 inch","offer_id":58576394813814,"sku":"pym1788151875467","price":15.73,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576394846582,"sku":"mfi1788151875468","price":6.39,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/eternitys-pillars-bw-raise-the-chalice-reverential_1.jpg?v=1788151880"},{"product_id":"the-longer-this-goes-on","title":"The Longer This Goes On","description":"\u003cp\u003eThere’s one thing Forth Wanderers want to make clear as they prepare to release their third album The Longer This Goes On: “We’re not back,” guitarist Ben Guterl says emphatically. It’s perhaps an unexpected sentiment to pair with the band’s first album since they parted ways seven years ago, but the band insists it’s just an honest answer—they came together to record the ten intricately constructed gems that make up this new record, and they’re still figuring out what being in Forth Wanderers means to them, over ten years after the project’s conception. Listening to these songs, each a glittering celebration of vocalist Ava Trilling’s urgent and intuitive lyrics and the band’s natural musical chemistry, though, it’s hard to feel like there’s much of anything left unsaid. Filled with spit-shined melodies, chiming vocal harmonies, and slinky, slanted rhythms, the album is more expansive than just a return to form. Here, the band aren’t afraid to take the scenic route to a hook, layering instrumental flourishes to fill in the empty spaces, creating room for Trilling’s haunting range, or repeating a riff or a lyric until it becomes a Zen koan. On The Longer This Goes On, Forth Wanderers sound more self-aware and self-assured than ever before. Just don’t call it a comeback. \u003c\/p\u003e\u003cp\u003eThe road to The Longer This Goes On began in a Brooklyn coffee shop during the summer of 2021. There, Guterl and Trilling met for the first time since Forth Wanderers’ dissolution in 2018. “We talked for four or five hours about everything under the sun,” Trilling explained. “At the tail end of our conversation, Ben asked if I wanted to try making music again.” The question took her by surprise, but Trilling agreed. The three years they’d been apart had deflated some of the pressures the band felt when they were touring their previous music: “It felt like there wasn’t as much riding on the band,” Guterl added. “We all felt free to mess around and have fun.” Guterl remembers the reassurance he felt when he reconnected to play music with bassist Noah Schifrin, guitarist Duke Greene, and drummer Zach Lorelli: “It felt the best it had between us since we had started the band. It felt like we were just in high school again.”\u003c\/p\u003e\u003cp\u003eFrom the bottom up, the band reimagined the way they were used to working. “Prior to this, the band built songs from demos Ben would send us,” Schifrin explained. “This is the first time where a lot of the music was formed organically.” “All five of us really contributed to the writing process in ways that we hadn’t before in the past,” Guterl added. \u003c\/p\u003e\u003cp\u003eThere’s evidence of this collaborative environment throughout the album: Take the simmering slowburn “Honey,” which opens with just a reverberating guitar and Trilling’s honeyed vocals, weaving a languid, lazy melody, before a drum fill introduces a gallop. By its end, the song sounds something closer to a blissed-out disco, a honky tonk in heaven. On “Springboard,” the guitar’s melody seems to sizzle, melt, and burst as Trilling’s lyrics twist the voyeuristic gaze on her imagined observer: “Do you like to watch me dance?” But for every slow, sauntering groove, there’s the ebullient pop rush of “Barnard,” which opens with the fervent march of a drum and never looks back, stacking guitar riffs like the fireworks as the song careens towards its explosive conclusion. “Bluff,” by contrast, opens with the cool tones of the keyboard and auxiliary percussion, Trilling’s voice guiding the song through to its melancholic core. These moments, under the watchful eye of producer Dan Howard, capture the band at their most present and unburdened, creating their sound in real time for the very first time. \u003c\/p\u003e\u003cp\u003eThe distance since the band’s initial split also allowed for some much needed time for growth and reflection. “To be able to apologize for things and address things, to acknowledge how hard it must have been to be a young woman in a band of dudes—we were working through a lot, and it was hard,” Schifrin added. They were, at various points, still only teenagers when their music started gaining traction with musicians like Lorde, and the distance between that adolescent fame and their adult lives has allowed for reflection. “Seven years later, we’re coming together as… not different people, but adults. There’s not the pressure to be labeled a certain way or stay in your comfort zone,” Trilling said. “We had more fun with style and testing what we could get away with, whether it’s bluesy, country, slower, or darker; whatever sounded good.”\u003c\/p\u003e\u003cp\u003eIndeed, the fiery spirit of country and blues is present across the record—from the swaggering bassline of “Make Me” to the spun-out melodies of “Spit”—a fitting mode for Trilling’s lyrics, which are at turns wry, painfully honest, and always burning with an undeniable forthrightness. “Don't pull me up \/ I'd rather we lie down. Move my tongue \/ so I can make a sound,” she sings on “To Know Me\/ To Love Me,” sounding equal parts overwhelmed and over it, as if overcommitting oneself is just the price of entry for a life worth living. On “7 Months,” she sings of sleepless nights and weeks spent lying in bed, only to hope that the nameless “you” in the song will stick by her side. These kinds of confessionals—broad enough to make anyone lost in the mess of an uncertain romantic limbo feel understood, yet so precisely written that it must have clearly come from lived experience—are exactly what made Forth Wanderers songs both so universally relatable and specifically felt. On The Longer This Goes On, they’ve deepened that ability to pull at potent threads of romantic ennui with minimalist lyrics and lush instrumentation. \u003c\/p\u003e\u003cp\u003eForth Wanderers aren’t sure what’s next—they’re not sure if they’ll continue to record new music or if they’ll ever perform these songs live. These recordings, then, are ten fleeting yet invaluable impressions of the time spent as a band; rekindling of friendships between high school buddies whose dreams catapulted them into the spotlight before they were old enough to drive; songs that capture the uncertainty of the future as much as their music cements their own self-confidence in the present. 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After 2023 debut album Aperture garnered glowing praise from outlets like The New York Times and NPR, Jadagu’s blossoming career took her away from her blossoming relationship in New York. “I was feeling love and gratitude, but also guilt about being away for my job,” she recalled. “Being a musician requires sacrificing time–And one thing about me, I'm a quality time girlie.” Her expansive second album sees her grappling with that separation, finding connections that extend beyond the physical and strengthening her own voice in the process. Describe verberates with that tension, between wanting connection and craving space. Its lyrics, as on her debut, ache with an emotional specificity that can only be pulled from lived experience. “I’ve been five thousand miles away,” she sings over ricochetting hi-hats on “More”—“Why does three thousand feel like more?”\u003c\/p\u003e\u003cp\u003eBut that distance also pushed Jadagu to explore new dimensions of her sound. “I'm super into artists that are able to mix analog with modern,” she said, and moving to California for the summer gave her the opportunity to meet new collaborators and experiment with analog synthesizers and drum machines. And while the warm hum of her guitar was her primary instrument for Aperture, she began to feel that her muscle memory of the instrument was holding her back. “It was freeing to be able to sit at a synth and drone on one note while I explored my vocals,\" she said. ”I found that to be a bit more freeing than playing on a guitar.” Working with producer Sora Lopez at his studio in Altadena and remotely on a few songs with Aperture co-producer and collaborator Max Baby out of Paris, Jadagu carved out a sound on Describe that is both distinctively hers and a total departure from the distorted guitar melodies of her debut.\u003c\/p\u003e\u003cp\u003eDescribe’s debut single “My Love,” which Jadagu wrote shortly after releasing Aperture and moving “three thousand miles” from the intimacy and comfort of her home in New York, is emblematic of that sonic shift: Opening with an effervescent synth and a propulsive percussive rhythm, the song’s instrumentation is at once euphoric and reserved, making room for Jadagu’s diaphanous vocals while still maintaining the heartbeat of a kick drum and buzzing synth bassline. “I’m starting to miss not waking up with your face,” she sings, trying to make up for distance over the phone through a bad connection as small electronic flourishes spring up around her lush vocals. \u003c\/p\u003e\u003cp\u003e“Gimme Time” is a softer and more soulful turn for Jadagu, layering the textured tone of an electric piano atop lyrics about learning about oneself in the absence of the comforts of home. “Doing Now” with its collage-like soundscapes, combining a deceptively simple guitar melody with her hypnotic vocals repeating the song’s self-aware refrain: “Timid, I get so timid.” “Normal Today” sounds like nothing she’s previously released, thrumming with icy industrialism that melts into pizzicato violins. 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Throughout the record, her voice is a light in the dark—soft, intimate, and sensual on “Perfect,” cheeky and cute on “Tell Me That.” \u003c\/p\u003e\u003cp\u003eMuch of Describe, though, is about what goes unsaid: “A lot of this album is me trying to figure out how to express ideas that aren’t always so concrete,” Jadagu said. “It's just a flow of things that I'm feeling and going through and expressing.” It’s fitting, then, that Describe ends with “Bergamont,” which finds Jadagu singing some of her most brutally honest lyrics to date over a layered synth that mimics the tension and release of a long, cleansing breath. “I hope you find something true to you,” she sings. 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