{"title":"Pre Orders","description":"\u003cp\u003eBrowse our Pre Orders collection. New Arrival.\u003c\/p\u003e","products":[{"product_id":"free-electricity","title":"Free Electricity","description":"\u003cp\u003eThe Go appeared in Detroit in 1998, and I immediately became a fan. 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. The ten-track long player was written, composed, and arranged by Bobby Harlow (except track one, which was written by Harlow and Dion Fischer; and track five, written by Harlow and Cary Loren).\u003c\/p\u003e\u003cp\u003eFree Electricity was mixed and produced by Matthew Smith, engineered by Jim Diamond at Ghetto Recorders, and mastered by Jim Kissling at Jim Kissling Mastering in Detroit, Michigan.\u003c\/p\u003e","brand":"The Go","offers":[{"title":"Loser (color) LP","offer_id":58576399925622,"sku":"qvw1788151983841","price":18.46,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":58576399958390,"sku":"prj1788151983842","price":8.88,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576399991158,"sku":"rcg1788151983843","price":7.7,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/free-electricity_1.jpg?v=1788151989"},{"product_id":"ive-missed-you-all-these-years","title":"I've Missed You All These Years","description":"\u003cp\u003eThere’s a moment halfway through I’ve Missed You All These Years, the fifth record from Seattle songwriter and producer Sera Cahoone, that captures the album’s mix of collective joy and resilient wisdom. 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. That one just kind of came out of my soul.” But this record is emphatically not about the darkness; it’s about what happens after the storm clears, the moment when you begin to come back into your own body after a dark, dissociative winter. “It’s about remembering who you are and who you love,” she says. “It’s about not taking people for granted.”\u003c\/p\u003e\u003cp\u003eThis sense of lightness is evident throughout the album, from the carefree piano and electric guitar that rev to life on “Say Something” to the rippling acoustic melodies on the wistful and tender “No One Like You.” Cahoone has a knack for rendering intricate portraits in her lyrics, which she describes as “somewhat autobiographical”: “Hits Right” takes us into the mind of a pensive barfly; “Horse Runnin’” colors a romantic interest with all the eccentric details of a classic rom-com. “Something Good” casts the album in a warm glow as it ends, capturing new love via a slow morning spent drinking coffee in the living room. \u003c\/p\u003e\u003cp\u003eOn her sixth record, Sera Cahoone is in full command of her powers. In its nuanced melodies and its complex emotions, in its ability to hold loss and connection in the same hand, I’ve Missed You All These Years is triumphant, a celebration of life rooted in the knowledge of its fleeting nature. The product of a lifetime spent performing and producing music, the album crosses between blues, folk, pop, and country, evoking Loretta Lynn in one song and Lucinda Williams in the next. It’s a testament to the strength that creativity and community brings, a portrait of an artist who knows herself completely. “I want people to feel what I felt and put themselves in the way I felt back then,” Cahoone says. “I want them to think, ‘If she made it through, I can too.’” \u003c\/p\u003e","brand":"Sera Cahoone","offers":[{"title":"Loser (color) LP","offer_id":58576401531254,"sku":"eou1788152004577","price":16.0,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":58576401564022,"sku":"pqz1788152004578","price":9.36,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576401596790,"sku":"ics1788152004579","price":6.1,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/ive-missed-you-all-these-years_1.jpg?v=1788152009"},{"product_id":"splendor-misery-anniversary-x","title":"Splendor \u0026 Misery (Anniversary X)","description":"\u003cp\u003eSplendor \u0026amp; Misery (Anniversary X) is the tenth-anniversary edition of experimental rap trio Clipping’s Hugo Award-nominated sci-fi opus. This deluxe edition features revised art, the original album, plus eight previously unreleased songs and alternate takes.\u003c\/p\u003e\u003cp\u003eSplendor \u0026amp; Misery is an Afrofuturist, dystopian concept album that follows the sole survivor of a slave uprising on an interstellar cargo ship, and the onboard computer that falls in love with him. Thinking he is alone and lost in space, the character discovers music in the ship’s shuddering hull and chirping instrument panels. Clipping’s music draws an imaginary sonic map of the ship’s decks, hallways, and quarters, while Daveed Diggs’ lyrics ride the rhythms produced by its engines and machinery. \u003c\/p\u003e\u003cp\u003eSplendor \u0026amp; Misery is one of Clipping’s most beloved releases. It made multiple year-end lists and earned praise from The New York Times, Bandcamp Daily, CLASH, The Line Of Best Fit, The Needle Drop, Uproxx, The Observer, and Stereogum. In 2019, Pitchfork ranked Splendor \u0026amp; Misery as one of the 33 best industrial albums of all time. Clipping celebrated the album in August, 2026 with the Splendor \u0026amp; Misery Fest at NYC’s Knockdown Center with opening acts SPELLLING, Shabazz Palaces, ELUCID, Fatboi Sharif, evicshen, and Maria Chavez.\u003c\/p\u003e","brand":"clipping.","offers":[{"title":"Loser (color) 2xLP","offer_id":58576404939126,"sku":"dvv1788152048870","price":25.16,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576404971894,"sku":"hav1788152048871","price":6.1,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/splendor-misery-anniversary-x_1.jpg?v=1788152053"},{"product_id":"its-a-style-sport","title":"It's a Style Sport","description":"\u003cp\u003eWith bravado, precision, and mesmerizing authenticity, ever-evolving musician, producer, and rapper Ishmael Butler returns as Shabazz Palaces with It’s a Style Sport, out on Oct 23 via Sub Pop Records. Following 2024’s Exotic Birds of Prey, It’s a Style Sport stays true to Shabazz Palaces' form in its daring show of experimental, avant-hip-hop and free-form poetry, but also reveals a more reflective and upfront side of the Seattle-based musician than we’ve seen before. It’s a Style Sport finds Butler compiling what he’s learned from his storied, dense career into a playful, shimmering portal, again proving himself an artist of chameleonic ambition, fueled by curiosity, courage, and a limitless imagination. \u003c\/p\u003e\u003cp\u003eButler’s work has long been situated in the canon of Afrofuturist trailblazers like Sun Ra, Alice Coltrane, and Pharoah Saunders, and for good reason – his work resides along the edges of the surreal, crafted with soundscapes and stories that are speculative, unapologetically Black, and ooze wonder of a different realm. Yet here, we see the rapper engaging in what could be considered an “Afro-fractal” poetic, what the artist Char Jeré describes as “a way of defiling a linear, colonial, capitalist temporality. It makes the future less of a destination and more of an ongoing rehearsal or ritual. The future and the past are happening constantly and simultaneously.” On It’s a Style Sport, a visage of Butler’s past lives as a rapper and performer is flung up against his contemporary persona, taunting and illuminating. At its core, It’s a Style Sport is an ode to the rap game of years past, when the playfully competitive ambition drove the genre to always outdo, outrun, and out-finesse your peers\u003c\/p\u003e\u003cp\u003eIn contrast to the social-media-centered strategy of today’s music business, with artists and labels hyper-focused on “brands” and “identity”, here, Butler gives homage to the oft-forgotten honor of exceptional showmanship. “Taking it back to what rap is really all about,” he explains. “Or at least what it says it was about. This kind of tough, friendly competition to see who could out-style the next person with surface stuff, but also substance as well.” It’s true Butler isn’t afraid of being opaque, esoteric, or illegible – each Shabazz Palaces release boasts a complete reinvention and upending of the form, uninterested in comparison and challenging understanding. But It’s a Style Sport dons an open self-awareness, with the spotlight pointed back at himself. A desire for realness trumpets throughout the album as we follow the artist as he looks at his past, the choices he’s made, and the world he envisions for every future yet to come, all packaged in inventive, complex production and deliciously hypnotic rhyme flow. \u003c\/p\u003e\u003cp\u003eTo record, Butler gathered together his closest collaborators and friends for eight days at Seattle’s Hall of Justice Studios. With blueprints of each song in hand, he allowed his friends to play, explore, and experiment until the songs took shape. Contributions include Evan Flory-Barnes on upright and electric bass; Thaddeus Turner on guitar, keyboards, and vocals; Kassa Overall on drums; Gerald Turner on bass and vocals; Marquetta Miller on vocals; and Carlos Overall on saxophone. Butler’s longtime friend and collaborator Erik Blood also provided instrumentation, production, and mixing. It was important to Butler that the recording process feel collaborative and communal, an effort made even easier by the fact that every musician has been in the touring bands for Shabazz Palaces and Digable Planets for five to ten years. The longevity and closeness of their relationships made for a convivial and familiar energy, and underscores Butler’s goal to craft an album that confidently flexes the unique and pristine prowess contained in the Shabazz universe. \u003c\/p\u003e\u003cp\u003eThe album opens with the thumping meditation “Ahh World (I Won The Alpha Bet)”, with Butler taking on the role of an all-knowing narrator, telling the story of his own life and rise to excellence from a fantasy-fueled third-person perspective, and ending with a list of rules – directives for a successful life. What’s made clear here, and what pumps through the heart of the rest of the album, is that his parameter of success is tied to the value of one’s character – how good can you be? How noble? How honest? Butler deals out flair while staying grounded in what matters most: his own honor. “Show Me Missouri in Mink” pivots to a melodic R\u0026amp;B flow, chronicling passages of his life and, again, speaking from the vantage point of someone who’s accrued a wealth of wisdom from decades of living and mistake-making, daring the listener to move with righteousness. “Every heart’s for sale, it seems”, he sings. “Everybody selling dreams\/You could tell me anything\/You’ve got to show me what you mean.” \u003c\/p\u003e\u003cp\u003eIt’s not just careful, cautionary tales Butler extolls, though. Playful production and cheeky storytelling abounds, especially on “Tongue In Chic”, a whimsical pop number where Butler chronicles perilous dating attempts over punchy drums, Prince-like guitar licks, and 80s Italo disco synth melodies. “New girlfriend, that’s what I need,” he repeats again and again with a charming, teenage earnestness. \u003c\/p\u003e\u003cp\u003eAlbum closer “From One Future To Another” is one of the most captivating moments on the collection, opening with sparse upright bass and cymbal brushes before blossoming into a fuzzed-out, swirling, live-band kaleidoscope that brings to mind Slowdive, Yo La Tengo, and Stereolab all at once. In a honeyed falsetto, Butler sings of “Ghost torn lingering memories” and gaining back “the time that’s gone”. It’s an appropriate conclusion to the saga Butler’s penned – It’s a Style Sport is less about Butler looking back with nostalgia, and instead letting each iteration of time – past and future – return to him and touch him, before drifting away again. In this realm, where time is a multi-shaped fractal, everything is futurity: unpredictable, otherworldly, and unequivocally ours for the taking, ours for the making. Butler is neither attempting to repeat what he’s done before, nor outdo himself. But even in this galaxy, where time exists in a kind of recursive spiral, refracted slivers of bouncing light, Butler holds tight to his principled conviction, refuting vague, empty performativity in pursuit of something deeper, grander, truer, and altogether more impressive: “The surface belies the depth within\/Must we be beautiful to win\/Praise success reward and gains\/No matter what our dreams remain.” \u003c\/p\u003e","brand":"Shabazz Palaces","offers":[{"title":"Loser (color) LP","offer_id":58576405299574,"sku":"ugn1788152053308","price":14.95,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":58576405332342,"sku":"pov1788152053309","price":9.48,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576405365110,"sku":"klq1788152053310","price":7.1,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/its-a-style-sport_1.jpg?v=1788152057"},{"product_id":"ultimate-love-forever","title":"ULTIMATE LOVE FOREVER","description":"\u003cp\u003eLex Walton (née Alex) is an American songwriter, actress, prose poet, and filmmaker whose work is unflinchingly confessional, and whose live performances are filled with ecstatic masochism and flailing. She has released a number of solo home recordings, collaborations with Devi McCallion (Black Dresses, Girls Rituals), Geese, and Ezra Furman, written the pop music manifesto The Sound Rocker's Prayer, and starred in Louise Weard's epic film Castration Movie Anthology II: The Best Of Both Worlds.\u003c\/p\u003e\u003cp\u003eULTIMATE LOVE FOREVER is Lex’s unwavering, iconoclastic Sub Pop debut. We’ll let the already excited music press do the talking! PASTE: “Walton’s wiggly, anxious power pop wades through pages of dead links and forum threads to get to its incendiary hooks... with its lo-fi hissing and tongue-twisting one-liners.” The Quietus: \"For fans of early Jonathan Richman, NYC gutter punks Dollhouse, or staring at the fluorescent lights of the Walgreens ceiling on your third day withdrawing from psych meds, barely able to parse the words ‘Medicaid coverage has lapsed’ as a pharmacist misgenders you.\" \u003c\/p\u003e\u003cp\u003eULTIMATE LOVE FOREVER was written by Lex Walton, produced by Lex and Dan Boeckner (Wolf Parade, Handsome Furs), recorded, mixed, and mastered by Ben Greenberg (Uniform, The Men) at Thump and Circular Ruin. ULTIMATE LOVE FOREVER features appearances from Boeckner, Greenberg, Emerson Borakove, Alice Cohen, Brendan Dunphy, Emily Green (Geese), Scotty Malcolm, Sarah Neufeld (Arcade Fire), and Sam Revaz (Geese).\u003c\/p\u003e","brand":"Lex Walton","offers":[{"title":"Loser (color) LP","offer_id":58576406151542,"sku":"fzs1788152075278","price":14.49,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":58576406184310,"sku":"opt1788152075279","price":6.6,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":58576406217078,"sku":"dnd1788152075280","price":4.34,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0995\/0553\/7398\/files\/ultimate-love-forever_1.jpg?v=1788152080"}],"url":"https:\/\/www.willowharvestlane.shop\/collections\/pre-orders.oembed","provider":"TABAGNI","version":"1.0","type":"link"}