{"title":"New Releases","description":"\u003cp\u003eBrowse our New Releases collection. New Arrival.\u003c\/p\u003e","products":[{"product_id":"masks","title":"Masks","description":"\u003cp\u003e\u003cspan id=\"docs-internal-guid-40d49041-7fff-fcd8-0cde-1d6df99769e3\"\u003eSub Pop and Oklahoma City noise-rock powerhouse Chat Pile present a limited-edition 7” single featuring two studio tracks: one brand new original, and the other a burly re-imagining of the early Nirvana song “Sifting.”\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"docs-internal-guid-b412ca8e-7fff-5e05-6434-b8d9253b0872\"\u003eSub Pop is thrilled that Chat Pile graced us with these two massive songs, and we couldn’t be happier to add them to the list of greats who have released a Sub Pop 7”. The band kindly shared their perspective on this release, so we’ll let them elaborate further!  \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"It’s a true dream to put out a single on Sub Pop, and our new song ‘Masks’ hopefully honors the spirit of the mythical, sometimes mystical, city of Seattle. Thanks in part to the movie Hype, we have long been obsessed with Seattle, the American underground of the late ‘80s, and Sub Pop and their tools of world domination. Everything we learned about packaging Chat Pile we learned from Sub Pop co-founders Jonathan Poneman and Bruce Pavitt.\u003c\/p\u003e\n\u003cp\u003e“We wanted to cover a song from the early Sub Pop era, and something off Bleach seemed the obvious choice. Songs like ‘Paper Cuts,’ ‘Negative Creep,’ and especially ‘Sifting’ are fairly lateral to the type of sounds we make with Chat Pile. (Perhaps next time we’ll take on a TAD song!)\u003c\/p\u003e\n\u003cp\u003e“P.S. - Fuck ICE.”\u003c\/p\u003e","brand":"Chat Pile","offers":[{"title":"7 inch","offer_id":58576395534710,"sku":"ohb1788151894084","price":8.28,"currency_code":"GBP","in_stock":true},{"title":"Color 7 inch","offer_id":58576395567478,"sku":"ocn1788151894085","price":8.16,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576395600246,"sku":"cwy1788151894086","price":1.26,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/masks_1.jpg?v=1788151903"},{"product_id":"live-in-toulon","title":"Live in Toulon","description":"\u003cp\u003e\u003cem\u003eLive In Toulon\u003c\/em\u003e features five exquisite live versions of songs from Bock's 2024 album, \u003cem\u003eBelow a Massive Dark Land\u003c\/em\u003e and her 2022 debut, \u003cem\u003eGiant Palm.\u003c\/em\u003e This performance was recorded by Thomas Alberny as part of the \"Faveurs de Printemps\" festival, presented by Tandem, in Toulon, France, in April of 2024.\u003c\/p\u003e","brand":"Naima Bock","offers":[{"title":"Digital","offer_id":58576395633014,"sku":"veq1788151873505","price":3.15,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/live-in-toulon_1.jpg?v=1788151903"},{"product_id":"heaven-2","title":"Heaven 2","description":"\u003cp\u003eLillie West has always made her music in response to an itchiness to always be moving, but as she developed a burgeoning desire to settle, she found the surprise realization that steadiness can beget creativity. 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. But it’s still the most beautiful and magical place I’ve ever been and I dream about it all the time,” West says. “I worked on organic vegetable farms and hiked in the mountains a lot, looked for staurolites, and sometimes rode horses. Cut off the top of my thumb at work. Those are just some things that happened.” She then made her way to Iceland, where she lived for two years on and off, with the off being in London, where she grew up. In Iceland, she was in “a residency at LunGa school in a tiny town called Seydisfjordur, where the sun never rose in the winter.” Eventually, she made her way to Reykjavik and settled in with the music community and released an instrumental album (If I Were A Real Man I Would Be Able To Break The Neck Of A Suffering Bird) before heading to Los Angeles, where she has, almost surprisingly, fallen in love and found herself settled. 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. And so there are moments of bold joy on the album, too. “Arrow,” which samples the French electro pop band La Femme, moves fast, and its swiftness and pleasure feel like running towards something, not away. “None of this was supposed to happen,” West sings, as the song races away from her. It wasn’t supposed to happen, but it did. “It’s such a basic spiritual thing,” West says, “Resistance is the root of all suffering, and I did not know that. I thought that I could dictate the course of my life.” Of course, like everyone else, she could not. Wherever you go, there you are.\u003c\/p\u003e","brand":"Lala Lala","offers":[{"title":"Loser (color) LP","offer_id":58576396058998,"sku":"rrb1788151903342","price":14.49,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":58576396091766,"sku":"ldz1788151903343","price":9.36,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576396124534,"sku":"cui1788151903344","price":6.7,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/heaven-2_1.jpg?v=1788151909"},{"product_id":"simpatico-remastered-and-expanded","title":"¡Simpatico! (Remastered and Expanded)","description":"\u003cp\u003e\u003ci\u003e¡Simpatico! (Remastered and Expanded)\u003c\/i\u003e gives Velocity Girl’s long out-of-print 1994 sophomore album, \u003ci\u003e¡Simpatico!\u003c\/i\u003e, an overdue refresh with a sparkling-fresh mastering job and a treasure trove of bonus tracks from the \u003ci\u003e¡Simpatico!\u003c\/i\u003e era. The original album sounds better than ever, and it’s complemented by a full album of B-sides and rarities.\u003c\/p\u003e\n\u003cp\u003eVelocity\n Girl formed in 1989 or so at the University of Maryland outside \nWashington, DC with guitarist Archie Moore (Black Tambourine), guitarist \nBrian Nelson (Black Tambourine), drummer Jim Spellman (Starry Eyes, \nFoxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), bassist \nKelly Riles (Starry Eyes), and singer Sarah Shannon (Starry Eyes, The \nNot Its). 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":58576396517750,"sku":"rfv1788151915375","price":22.5,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":58576396550518,"sku":"lvq1788151915376","price":8.04,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576396583286,"sku":"dtk1788151915377","price":7.6,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/simpatico-remastered-and-expanded_1.jpg?v=1788151924"},{"product_id":"sunn-o","title":"sunn O)))","description":"\u003cp\u003eFor nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognizable as their own.\u003c\/p\u003e\u003cp\u003eNow, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. 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. We just let ourselves go, and let the music come out.”\u003c\/p\u003e\u003cp\u003eSUNN O))) have long welcomed collaborators into their self-contained world, including such esteemed fellow travellers as Hungarian vocal explorer Attila Csihar, Icelandic composer Hildur Guðnadóttir, Seattle-based multi-instrumentalist Steve Moore, Texan polymath Mark Deutrom, Silkworm co-founder Tim Midyett and legendary singer-songwriter Scott Walker. 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. And a lot of things that happened in the studio were really exciting and different from what we had been playing live, as well.”\u003c\/p\u003e\u003cp\u003eThe six compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Opener “XXANN” enters with howling feedback before crunching into what might at first seem familiar territory – until one registers the sound of water trickling beneath. “Mindrolling” likewise incorporates field recordings, as does “Glory Black”, which in addition introduces piano, by turns sonorous and delicate, into the mix, lending the already formidable piece a hushed, solemn feel. The Newcastle-forged originators of black metal get a shout out in the title of “Does Anyone Hear Like Venom?” which seems to position Cronos, Mantas and Abaddon as deep listeners, attuned to their Tyneside surroundings in much the same way as SUNN O))) are to the forest enfolding Bear Creek Studios. 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. It’s part of the creative process, framing our music in a certain way, visually and with language, before presenting it to the world.”\u003c\/p\u003e\u003cp\u003eAll of which adds up to a fully immersive experience, uniting sound, word and visual into something that is undeniably, completely SUNN O))).\u003c\/p\u003e\u003cp\u003eJoseph Stannard, January 2026\u003c\/p\u003e","brand":"sunn O)))","offers":[{"title":"Loser (color) 2xLP","offer_id":58576396976502,"sku":"uzz1788151920970","price":28.44,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":58576397009270,"sku":"ibl1788151920971","price":10.2,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576397042038,"sku":"szq1788151920972","price":6.1,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/sunn-o_1.jpg?v=1788151928"},{"product_id":"everything-all-the-time-20th-anniversary-edition","title":"Everything All The Time (20th Anniversary Edition)","description":"\u003cp\u003eAchieving musical transcendence is a tricky feat. If it happens - a big if - it does so naturally, and perhaps nobody knows that better than Band of Horses, whose landmark debut Everything All The Time still, after twenty years, feels as vital and, dare we say, transcendent as when it came out in 2006.\u003c\/p\u003e\n\u003cp\u003eGuitarist\/vocalist Ben Bridwell formed Band of Horses in Seattle in 2004, after the end of his nearly ten-year run in northwest melancholic darlings Carissa’s Wierd. Carissa’s Wierd trafficked in beautiful orchestral pop, whose songs told unflinching stories of heartbreak and loss, leavened with defeatist humor. Band of Horses rose from the ashes of that well-loved band, buoyed by Bridwell’s warm, reverb-heavy vocals, and woodsy, dreamy songs oozing with tension, longing and hope. Armed with a fresh Sub Pop deal and a smashing batch of songs, the band recorded their debut full-length, Everything All the Time, with producer Phil Ek at Seattle’s Avast studios.\u003c\/p\u003e\n\u003cp\u003eAt times raggedly epic (“The Great Salt Lake”) and delicately pensive (“St. Augustine,” “Monsters”), Everything All The Time is an album painted gorgeously in fragile highs and lows. That’s part of the genius in Band of Horses: they craft intelligent, classic movements within their songs, perfectly balancing desperation and hope, calmness and mania, love and fear. And of course there’s the massive single, “The Funeral,” which became a defining song of the era, and continues to inspire new generations of fans and artists alike. On top of tons of film and TV placements, the song was sampled by Kid Cudi, and transformed into a 2025 dance edit by acclaimed producer\/multi-instrumentalist Gryffin. \u003c\/p\u003e\n\u003cp\u003eNow, on the occasion of the 20th birthday of the album, Sub Pop and Band of Horses present the definitive snapshot of the band circa Everything All The Time. For this anniversary release, the album has been fully remastered, with the artwork refreshed and expanded into a gatefold jacket with liner notes by Phil Ek. And the album is accompanied by an additional LP of bonus tracks, including the 2005 tour EP, a trove of previously unreleased studio and live tracks, and rarities like “The End’s Not Near” (as featured on The O.C.) and a demo version of “The Funeral.” \u003cbr\u003e\u003c\/p\u003e","brand":"Band of Horses","offers":[{"title":"Loser (color) 2xLP","offer_id":58576397533558,"sku":"cnq1788151911929","price":20.46,"currency_code":"GBP","in_stock":true},{"title":"2xCD","offer_id":58576397566326,"sku":"qsw1788151911930","price":9.1,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576397599094,"sku":"cef1788151911931","price":7.8,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/everything-all-the-time-20th-anniversary-edition_1.jpg?v=1788151942"},{"product_id":"hoopla","title":"Hoopla","description":"\u003cp\u003eEvery band worth its salt has a member who worked in a record store.\u003c\/p\u003e\n\u003cp\u003eIn METZ, the fearless noise rock trio who released five full-length albums on Sub Pop between 2012 and 2024, it was singer and guitarist Alex Edkins. 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. New and nostalgic at the same time, Hoopla will perk up your ears.\u003c\/p\u003e\n\u003cp\u003eWeird Nightmare’s self-produced, and decidedly lo-fi, self-titled debut was recorded at home during the pandemic and released by Sub Pop in 2022. \u003cem\u003eWeird Nightmare\u003c\/em\u003e displayed Edkins’s indie rock sensibility, with a penchant for undeniable hooks and massive sing-along choruses. His skills at writing and performing only tightened on a series of singles that followed.\u003c\/p\u003e\n\u003cp\u003eOn the new studio album \u003cem\u003eHoopla\u003c\/em\u003e—co-produced with Spoon’s Jim Eno and recorded at Seth Manchester’s Machines With Magnets—Edkins expands Weird Nightmare’s dimensions even further. Gilded onto the direct emotions of his straightforward songwriting, new musical textures such as piano, bells, and castanets give these well-wrought tunes a shiny luster. It’s like a beloved indie director leveling up to their first studio feature. If Weird Nightmare’s debut was an underground crowd pleaser akin to Richard Linklater’s \u003cem\u003eSlacker\u003c\/em\u003e, then \u003cem\u003eHoopla \u003c\/em\u003eis Edkins’s \u003cem\u003eDazed and Confused\u003c\/em\u003e, or even better, \u003cem\u003eBefore Sunrise\u003c\/em\u003e. \u003cem\u003eHoopla \u003c\/em\u003erepresents a huge leap forward in his sonic palette and emotional vulnerability.\u003c\/p\u003e\n\u003cp\u003eResplendent with sunny, guitar pop, \u003cem\u003eHoopla \u003c\/em\u003ewas produced with just the right amount of fuzz and crunch. The immediate, crisp, unfussy recording brings you right into the studio with Edkins and his rhythm section: Loel Campbell on drums and bassist Roddy Kuester. This is top-shelf power pop; these sharp jolts of adrenaline could slip into a radio rock block between The Replacements and Elvis Costello \u0026amp; the Attractions. Or fit just as easily on a college radio set alongside Sharp Pins, Ratboys, and Alvvays.\u003c\/p\u003e\n\u003cp\u003eAt its heart, this album is an optimistic, shining light in our strange time. Through Weird Nightmare, Edkins wants you to know that he is still in love with the world, and he invites the listeners of \u003cem\u003eHoopla \u003c\/em\u003eto feel the same. Take this chance to seize a glimmer of widescreen pop magic in our used-up old world. You deserve it.\u003c\/p\u003e","brand":"Weird Nightmare","offers":[{"title":"Loser (color) LP","offer_id":58576397861238,"sku":"jui1788151939971","price":18.17,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":58576397894006,"sku":"uwe1788151939972","price":8.16,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576397926774,"sku":"ihk1788151939973","price":6.8,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/hoopla_1.jpg?v=1788151947"},{"product_id":"memory-be-a-blade","title":"Memory Be a Blade","description":"\u003cp\u003e“I think I suffer heavy from limerence,” says Stockholm-born singer-songwriter waterbaby. Upon learning the term, she realized how much it resonated with the type of person she is, especially as an artist.\u003c\/p\u003e\u003cp\u003e“I’m extremely nostalgic. I ruminate, both good and bad. I romanticize. I can be very much stuck in the past, but it doesn’t feel like a sad way because I’m cherishing my history.”\u003c\/p\u003e\u003cp\u003eOn Memory Be a Blade, the Stockholm, Sweden-born singer-songwriter’s second release on Sub Pop, the nostalgia runs deep. Her follow-up to 2023 EP Foam is darker, richer, and more personal than ever. She wanted her lyrics to dig deeper and evolve her writing forward, something she accomplishes stunningly across the eight-track project.\u003c\/p\u003e\u003cp\u003eTo spark inspiration for her new lyrics, waterbaby reflected on a past break-up. She had mostly moved on and was seeing someone new while recording the album. But when the newer relationship ended, she witnessed how much the album took on a new meaning to reflect the heartbreak she hadn’t anticipated experiencing.\u003c\/p\u003e\u003cp\u003e“Many of the songs came to mean very different things than what I had thought when writing them in the first place,” waterbaby admits.\u003c\/p\u003e\u003cp\u003eBoth relationships made the singer reflect on her people-pleasing tendencies. She realized how badly she wanted to make the people she loves proud, sometimes to her detriment. “My favorite version [of myself] is me through someone else’s eye,” she explains. She began to wonder what it looked like when you no longer have the lens of that person on you: “What do you do? Is it a good idea to try and live up to that?”\u003c\/p\u003e\u003cp\u003e“The older I get, it becomes more and more painful when you’re not being true to yourself,” she surmises.\u003c\/p\u003e\u003cp\u003eIn the two years following Foam, waterbaby and her primary collaborator, Marcus White (YG, Anna of the North) took their time to get the album right. They wrote and recorded around Stockholm, the south of Sweden, and even Los Angeles. As it took shape, however, waterbaby began to notice how much she would stiffen up behind the microphone. She admits she gets quite shy in the studio, opting for the familiarity of people like White to stay by her side. But in order to take her words and sound deeper, White encouraged her to improvise what she sang instead of writing it out ahead of time. \u003c\/p\u003e\u003cp\u003e“A larger part of the lyrics come from long freestyles that I did straight into the microphone,” she explains. \u003c\/p\u003e\u003cp\u003eHer improvisations were paired with compositions that reflected waterbaby’s classical background. White played piano alongside his lush and ethereal arrangements of string and horn parts. Musicians like violinist Oliva Lundberg, cellists Filip Lundberg and Kristina Winiarski, saxophonist Sebastian Mattebo, trombonist Hannes Falk Junestav, and flutist Pelle Westlin round out the dreamy ensemble. \u003c\/p\u003e\u003cp\u003ewaterbaby offered up the first taste of her Memory Be a Blade with May single “Amiss.” The song felt like the perfect way to invite listeners into the dark, lush world of her new music without giving away too much of what’s to come. Like other songs on the project, “Amiss” has waterbaby trying to answer some big questions about love and relationships: When do you know you’ve done enough? How do you know when it’s time to give up?\u003c\/p\u003e\u003cp\u003eNext single, “Beck n Call,” features a special collaborator: waterbaby’s own brother ttoh . \u003c\/p\u003e\u003cp\u003e“He really lifted the song,” she says of his verse. The pair debuted the track during a live performance at the Way Out West festival in Gothenburg, Sweden. “Mom’s super emotional and nostalgic. It’s been fun and [there were] so many nice moments during rehearsals.”\u003c\/p\u003e\u003cp\u003ettoh also appears on “Clay,” which began as a freestyle she had done over White’s super-pitched-up guitar. 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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. The songs “No Me Jodas” and “Sirena” particularly channel her influence, serving as crystallized representations of the love between a woman and her ancestor.\u003c\/p\u003e\u003cp\u003e“I think it is such a pivotal, desperate, yet desirous moment that our music is simply for anyone and everyone who believes in the new future we can make together,” Victoria Marie says, “a world that will be awkward, inconsistent, yet truly free when it comes to all that matters.”\u003c\/p\u003e\u003cp\u003ePublic Luxury is available worldwide on June 26th, 2026 from Sub Pop.\u003cbr\u003eBy Pierce Jordan\u003c\/p\u003e","brand":"Downtown Boys","offers":[{"title":"Loser (color) LP","offer_id":58576398975350,"sku":"qcx1788151963937","price":17.71,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":58576399008118,"sku":"zmc1788151963938","price":7.32,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576399040886,"sku":"son1788151963939","price":7.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/public-luxury_1.jpg?v=1788151968"},{"product_id":"descended-like-vultures-20th-anniversary-directors-cut","title":"Descended Like Vultures (20th Anniversary Director's Cut)","description":"\u003cp\u003eThe album has been expanded to include rare and unreleased bonus material from the album’s era.\u003c\/p\u003e\n\u003cp\u003eReleased in 2005, Descended Like Vultures is Rogue Wave’s second album for Sub Pop. It would be the first time the band’s leader made a record with a whole group – Rogue, Spurgeon, Le Bron, and new bass player Evan Farrell – in the studio. They 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.)\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 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. 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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. 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