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Blasting back with thirteen tracks that strike a balance between artifice and earnestness, between sci-fi silliness and existential intensity, World Wide Pop is a showcase for Superorganism’s newly deepened understanding of each other’s interests and impulses, the kind of creative convergence you’d expect when online friends start spending time together IRL (their debut was completed before the whole band had ever been in the same room at the same time). \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/rEbdvw4JMck\" height=\"315\" width=\"560\" name=\"966cacb8-1111-4099-8a4b-ec25ca89f74d\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Superorganism","offers":[{"title":"Default Title","offer_id":43774453612731,"sku":"","price":18.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0517\/0341\/4971\/products\/Superorganism-WorldWidePop-CASSETTE-01.jpg?v=1667233283"},{"product_id":"taylor-swift-midnights-lavender-edition-cd","title":"Taylor Swift - Midnights (Lavender Edition) CD","description":"\u003cp\u003eCD, Lavender Edition \u003cbr\u003eRepublic Records – \u003cspan data-mce-fragment=\"1\"\u003e2445897162 \u003c\/span\u003e(2022) US \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eTarget exclusive \"Lavender Disc\" edition containing 3 bonus tracks.\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eIncludes 24-page insert with credits, liner notes, lyrics (including bonus track), and photos. \u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eTaylor Swift\u003c\/strong\u003e’s new studio album \u003cstrong\u003eMidnights\u003c\/strong\u003e is available everywhere on October 21st. It’s a collection of music written in the middle of the night, a journey through terrors and sweet dreams. The floors we pace and the demons we face - the stories of 13 sleepless nights scattered throughout Taylor’s life. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe name=\"22da22e6-6f91-459d-a795-aa6aa78dc7a8\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/videoseries?list=OLAK5uy_lw2-Cu3aRY2Tkfi28_79m05SkBF_tlufg\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Taylor Swift","offers":[{"title":"Default Title","offer_id":43895539204283,"sku":"","price":35.0,"currency_code":"SGD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0517\/0341\/4971\/products\/TAYLORSWIFT-MIDNIGHTS-LAVENDEREDITION-CD.jpg?v=1668522913"},{"product_id":"weyes-blood-and-in-the-darkness-hearts-aglow-cassette","title":"Weyes Blood - And In The Darkness Hearts Aglow (Cassette)","description":"\u003cp\u003eCassette, Purple Translucent Shell \u003cbr\u003eSub Pop – SP1485 (2022) US \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHello Listener, \u003cbr\u003e\u003cbr\u003eWell, here we are! Still making it all happen in our very own, fully functional shit show. My heart, like a glow stick that’s been cracked, lights up my chest in a little explosion of earnestness. And when your heart's on fire, smoke gets in your eyes. \u003cbr\u003e\u003cbr\u003eTitanic Rising was the first album of three in a special trilogy. It was an observation of things to come, the feelings of impending doom. And in the Darkness, Hearts Aglow is about entering the next phase, the one in which we all find ourselves today — we are literally in the thick of it. Feeling around in the dark for meaning in a time of instability and irrevocable change. Looking for embers where fire used to be. Seeking freedom from algorithms and a destiny of repetitive loops. Information is abundant, and yet so abstract in its use and ability to provoke tangible actions. Our mediums of communication are fraught with caveats. Our pain, an ironic joke born from a gridlocked panopticon of our own making, swirling on into infinity. \u003cbr\u003e\u003cbr\u003eI was asking a lot of questions while writing these songs, and hyper isolation kept coming up for me. “It’s Not Just Me, It’s Everybody” is a Buddhist anthem, ensconced in the interconnectivity of all beings, and the fraying of our social fabric. Our culture relies less and less on people. This breeds a new, unprecedented level of isolation. The promise we can buy our way out of that emptiness offers little comfort in the face of fear we all now live with – the fear of becoming obsolete. Something is off, and even though the feeling appears differently for each individual, it is universal. \u003cbr\u003e\u003cbr\u003eTechnology is harvesting our attention away from each other. We all have a “Grapevine” entwined around our past with unresolved wounds and pain. Being in love doesn’t necessarily mean being together. Why else do so many love songs yearn for a connection? \u003cbr\u003e\u003cbr\u003eCould it be narcissism? We encourage each other to aspire – to reach for the external to quell our desires, thinking goals of wellness and bliss will alleviate the baseline anxiety of living in a time like ours. We think the answer is outside ourselves, through technology, imaginary frontiers that will magically absolve us of all our problems. We look everywhere but in ourselves for a salve. In “God Turn Me into a Flower,” I relay the myth of Narcissus, whose obsession with a reflection in a pool leads him to starve and lose all perception outside his infatuation. In a state of great hubris, he doesn’t recognize that the thing he so passionately desired was ultimately just himself. God turns him into a pliable flower who sways with the universe. \u003cbr\u003e\u003cbr\u003eThe pliable softness of a flower has become my mantra as we barrel on towards an uncertain fate. I see the heart as a guide, with an emanation of hope, shining through in this dark age. Somewhere along the line, we lost the plot on who we are. Chaos is natural. But so is negentropy, or the tendency for things to fall into order. These songs may not be manifestos or solutions, but I know they shed light on the meaning of our contemporary disillusionment. And maybe that’s the beginning of the nuanced journey towards understanding the natural cycles of life and death, all over again. \u003cbr\u003e\u003cbr\u003eThoughts and Prayers,\u003cbr\u003eNatalie Mering (aka Weyes Blood)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/videoseries?list=OLAK5uy_lL5DnYfe-pwqkKq_0dIgpzkCoSP5GVskE\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Weyes Blood","offers":[{"title":"Default Title","offer_id":43956792295611,"sku":"","price":22.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0517\/0341\/4971\/products\/WeyesBlood-AndInTheDarknessHeartsAglow-CASSETTE.jpg?v=1669217268"},{"product_id":"weyes-blood-titanic-rising-cassette","title":"Weyes Blood - Titanic Rising (Cassette)","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCassette, Smoke \u003cbr\u003eSub Pop - SP 1232 (2019) US \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003eThe phantom zone, the parallax, the upside down—there is a rich cultural history of exploring in-between places. Through her latest, \u003cstrong\u003eTitanic Rising\u003c\/strong\u003e, \u003cstrong\u003eWeyes Blood\u003c\/strong\u003e (a.k.a. \u003cstrong\u003eNatalie Mering\u003c\/strong\u003e) has, too, designed her own universe to soulfully navigate life’s mysteries. Maneuvering through a space-time continuum, she intriguingly plays the role of melodic, sometimes melancholic, anthropologist. \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eTellingly, Mering classifies \u003cstrong\u003eTitanic Rising\u003c\/strong\u003e as the Kinks meet WWII or Bob Seger meets Enya. The latter captures the album’s willful expansiveness (“You can tell there’s not a guy pulling the strings in Enya’s studio,” she notes, admiringly). The former relays her imperative to connect with listeners. “The clarity of Bob Seger is unmistakable. I’m a big fan of conversational songwriting,” she adds. “I just try to do that in a way that uses abstract imagery as well.” \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“An album is like a Rubik’s Cube,” she says. “Sometimes you get all the dimensions—the lyrics, the melody, the production—to line up. I try to be futuristic and ancient at once, which is a difficult alchemy. It’s taken a lot of different tries to get it right.” As concept-album as it may sound, it’s also a devoted exercise in realism, albeit occasionally magical. Here, the throwback-cinema grandeur of “A Lot’s Gonna Change” gracefully coexists with the otherworldly title track, an ominous instrumental. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTitanic Rising\u003c\/strong\u003e, written and recorded during the first half of 2018, is the culmination of three albums and years of touring: stronger chops and ballsier decisions. It’s an achievement in transcendent vocals and levitating arrangements—one she could reach only by flying under the radar for so many years. “I used to want to belong,” says the L.A. based musician. “I realized I had to forge my own path. Nobody was going to do that for me. That was liberating. I became a Joan of Arc solo musician.” \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe \u003cstrong\u003eWeyes Blood\u003c\/strong\u003e frontwoman grew up singing in gospel and madrigal choirs. “Classical and Renaissance music really influenced me,” says Mering, who first picked up a guitar at age 8. (Listen closely to Titanic Rising, and you’ll also hear the jazz of Hoagy Carmichael mingle with the artful mysticism of Alejandro Jodorowsky and the monomyth of scholar Joseph Campbell.) “Something to Believe,” a confessional that makes judicious use of the slide guitar, touches on that cosmological upbringing. “Belief is something all humans need. Shared myths are part of our psychology and survival,” she says. “Now we have a weird mishmash of capitalism and movies and science. There have been moments where I felt very existential and lost.” \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs a kid, she filled that void with Titanic. (Yes, the movie.) “It was engineered for little girls and had its own mythology,” she explains. Mering also noticed that the blockbuster romance actually offered a story about loss born of man’s hubris. “It’s so symbolic that The Titanic would crash into an iceberg, and now that iceberg is melting, sinking civilization.” Today, this hubris also extends to the relentless adoption of technology, at the expense of both happiness and attention spans. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe track “Movies” marks another Titanic-related epiphany, “that movies had been brainwashing people and their ideas about romantic love.” To that end, Mering has become an expert at deconstructing intimacy. Sweeping and string-laden, “Andromeda” seems engineered to fibrillate hearts. “It’s about losing your interest in trying to be in love,” she says. “Everybody is their own galaxy, their own separate entity. There is a feeling of needing to be saved, and that’s a lot to ask of people.” Its companion track, “Everyday,” “is about the chaos of modern dating,” she says, “the idea of sailing off onto your ships to nowhere to deal with all your baggage.” \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBut \u003cstrong\u003eWeyes Blood\u003c\/strong\u003e isn’t one to stew. Her observations play out in an ethereal saunter: far more meditative than cynical. “I experience reality on a slower, more hypnotic level,” she says. “I’m a more contemplative kind of writer.” To Mering, listening and thinking are concurrent experiences. “There are complicated influences mixed in with more relatable nostalgic melodies,” she says. “In my mind my music feels so big, a true production. I’m not a huge, popular artist, but I feel like one when I’m in the studio. But it’s never taking away from the music. 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The resulting sound is entirely his own. He takes the listener down desert highways, through a world where worn out gamblers, road-dogs, and lovesick hustlers drift in and out of his masked gaze.\u003cbr\u003eOrville’s debut album, \u003cstrong\u003ePony\u003c\/strong\u003e, delivers a diverse collection of stories that sing of heartbreak, revenge and the unrelenting tug of the cowboy ethos. Warm lap steel guitars and echoing drums move through dreamy ballads and sometimes near frantic buzzsaw tunes - all the while paying homage to his country music roots. \u003cbr\u003e\u003cbr\u003ePony’s lead single “Dead of Night” is a torch song about two hustlers traveling through Nevada desert. Their whirlwind romance takes us on a dusty trail of memories - racing down canyon highways, hitchhiking through casino towns and ultimately, ending in tragedy. Orville recalls the adventures of his young love, as he watches the boys silently pass him on the strip, haunted by the happy memories of his past. \u003cbr\u003e\u003cbr\u003eOn the campfire lullaby, “Big Sky,” Orville sings about his past lovers - an aloof biker, an abusive boxer and an overly protective jailor in the Florida Keys - and the inevitable demise of each one, as he leaves them for the wide open, big sky. \u003cbr\u003e\u003cbr\u003eMeanwhile “Turn To Hate” finds Orville struggling to keep his resentment from building into hatred. A continuous battle between embracing the strength and freedom of being an outsider, and the inevitable struggle of wanting normalcy and familiarity. It encapsulates Orville's dilemma as a cowboy. He sings about having to constantly repair situations in his wake, and fighting with himself over his decision making. To stay or go; to cry or not; whether to leave without saying goodbye in order to soften the blow; All the while wishing someone would tell him that they can't stay, and to make the decision for him. \u003cbr\u003e\u003cbr\u003eAnd “Buffalo Run” acts as a warning, a song built around the imagery of stampeding buffalo in the badlands of the Northern Plains. 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If it happens at all, it happens naturally — and perhaps nobody knows that better than Seattle, Washington’s \u003cstrong\u003eBand of Horses\u003c\/strong\u003e. Guitarist\/vocalist Ben Bridwell and bassist Mat Brooke formed \u003cstrong\u003eBand of Horses\u003c\/strong\u003e in 2004, after the dissolution of their nearly ten-year run in northwest melancholic darlings Carissa’s Wierd. Carissa’s Wierd trafficked in sadly beautiful orchestral pop, whose songs told unflinching stories of heartbreak and loss, leavened with defeatist humor. And, \u003cstrong\u003eBand of Horses\u003c\/strong\u003e rises from the ashes of that well-loved and short-lived band. After playing music with each other for over a decade, Bridwell and Brooke picked up together again when Bridwell began fleshing out his compositions post-Carissa’s. “It was really just a natural thing we started doing,” explains Bridwell. Buoyed by Bridwell’s warm, reverb-heavy vocals (which strangely channel a dichotomous blend of Wayne Coyne, Brian Wilson and Doug Martsch,) \u003cstrong\u003eBand of Horses\u003c\/strong\u003e’ woodsy, dreamy songs ooze with amorphous tension, longing and hope. At times raggedly epic (“The Great Salt Lake”) and delicately pensive (“St. Augustine,” “Monsters”), \u003cstrong\u003eEverything All the Time\u003c\/strong\u003e is an album painted gorgeously in fragile highs and lows. \u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/cMFWFhTFohk\" height=\"315\" width=\"560\" name=\"91e96813-9e6b-4377-936f-586336e288c2\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Band Of Horses","offers":[{"title":"Default Title","offer_id":43956808450235,"sku":"","price":18.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0517\/0341\/4971\/products\/BandOfHorses-EverythingAllTheTime-CASSETTE.jpg?v=1669218521"},{"product_id":"beach-house-7-cassette","title":"Beach House - 7 (Cassette)","description":"\u003cp\u003eCassette, Yellow \u003cbr\u003eSub Pop ‎(2018) US \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBeach House\u003c\/strong\u003e released\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eB-sides and Rarities\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein 2017, which served as a proverbial \"cleaning out the closet\" to pave way for a new creative process. 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Spacemen 3's\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonic Boom\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(Peter Kember) became a significant force on this record by shedding conventions and helping to keep the songs alive, fresh, and protected from the destructive elements of recording studio overproduction and over-perfection. The band's trusted live drummer from 2016 to the present,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eJames Barone\u003c\/strong\u003e, played on the entire record, helping to keep rhythm at the center of a lot of these songs. \u003c\/p\u003e\n\u003cp\u003e\"Looking back, there is quite a bit of chaos happening in these songs, and a pervasive dark field that we had little control over. The discussions surrounding women's issues were a constant source of inspiration and questioning. The energy, lyrics and moods of much of this record grew from ruminations on the roles, pressures and conditions that our society places on women, past and present. The twisted double edge of glamour, with its perils and perfect moments, was an endless source (see \"L'Inconnue,\" \"Drunk in LA,\" \"Woo,\" \"Girl Of The Year,\" \"Last Ride\"). In a more general sense, we are interested by the human mind's (and nature's) tendency to create forces equal and opposite to those present. 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We used the mic that was on the four-track machine to record the piano and vocals. It was originally the secret song on our self-titled debut. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe next couple of songs are from late 2008. We were so excited about “Used to Be” that we quickly recorded it and put it on a 7” for our fall tour with the Baltimore Round Robin. The same session begat our cover of Queen’s “Play the Game” for a charity compilation benefiting AIDS research; we will continue to donate all profits from the song to that charity. As fans of Queen, we thought it would be fun and ridiculous to try to adapt their high-powered pop song into our realm. These songs were recorded at the same studio where we made Devotion. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThere are a bunch of songs written and recorded in the 2009-2010 window. “Baby” was written and recorded in October 2009 with our friend Jason Quever. “10 Mile Stereo” was recorded during the Teen Dream session in July 2009. Since we used tape, we often slowed the tape way down to create effects while recording, which led to “10 Mile Stereo (Cough Syrup Remix).” \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“White Moon” and “The Arrangement” were both songs that we didn’t believe fit on Teen Dream. “White Moon” originally appeared on our iTunes live session. Since that was recorded and mixed very hastily, we have remixed it to better match our current aesthetics. We have also remixed and included the version of “Norway\" we did at that same session. 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It is a sign of the album’s magnitude in sound, and of the band’s boldness in breaking away from home comforts. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eAmerican Football\u003c\/strong\u003e also joked that LP3’s genre was ‘post-house’, because of this very conscious visual break. But, in a strange way, there are links in LP3 with an actual post-house genre: shoegaze. The more exploratory members of the original British shoegaze scene were inspired by the dreamtime and circularity of house music (ambient house in particular), cherishing its sonic possibilities. That spirit drips into LP3, most obviously on ‘I Can’t Feel You’, a collaboration with \u003cstrong\u003eRachel Goswell\u003c\/strong\u003e of Slowdive. \u003cbr\u003e\u003cbr\u003eThe album also features \u003cstrong\u003eHayley Williams\u003c\/strong\u003e from Paramore on the album’s catchiest moment, ‘Uncomfortably Numb’, and \u003cstrong\u003eElizabeth Powell\u003c\/strong\u003e, of the Québécoise act Land Of Talk. Mike wrote lyrics in French especially for her. \u003cbr\u003e\u003cbr\u003eLP3 is contemplative, rich, expressive, yet with a queasy undercurrent. It is heavy with expectancy, revealing its ideas slowly, eliciting the hidden stories people carry around with them. \u003cbr\u003e\u003cbr\u003eAmerican Football is now a bona fide ongoing focus, and they are making some of the best music of their lives. \u003cstrong\u003eAmerican Football (LP3)\u003c\/strong\u003e stands with two other rare reunion successes – Slowdive and My Bloody Valentine’s mbv – as a fine example of how a band refinding one another can augment, rather than taint, their legacy. \u003cbr\u003e\u003cbr\u003eAmerican Football stands as an enduring symbol of elusive emotional landscapes, where introspection can be as dramatic as confrontation. \u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/videoseries?list=OLAK5uy_kSEDVdGyqKnHvZzZs7DaGzfd9J7-eXeU4\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"American Football","offers":[{"title":"Default Title","offer_id":44848231645371,"sku":null,"price":30.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0517\/0341\/4971\/files\/AmericanFootball-LP3-CS-BLUE-01.jpg?v=1702225498"},{"product_id":"american-football-american-football-ep-cassette","title":"American Football - American Football EP (Cassette)","description":"\u003cp\u003eCassette EP \u003cbr data-mce-fragment=\"1\"\u003ePolyvinyl Record Company (2019) US \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFrom Urbana, IL, \u003cstrong\u003eAmerican Football\u003c\/strong\u003e offered up a debut EP featuring the talents of guitarist\/vocalist Mike Kinsella (Owen, Cap'n Jazz, Joan of Arc), guitarist Steve Holmes and the impeccably timed, jazz-like drumming of Steve Lamos.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eAmerican Football\u003c\/strong\u003e created the kind of songs that held new discoveries upon each listen. 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