Sub Pop has teamed up with long-running Canadian punk icons Fucked Up for a 7” single featuring two brand new, exclusive songs. “Disabuse” and “Self Driving Man” are light-speed cuts of pure hardcore from Fucked Up. These tracks leap out of the speakers, bearing the indelible stamps of Pacific Northwest punk legends Poison Idea’s 1990 anti-oppression anthem “Discontent” and Japanese punk masters Paintbox’s “The Door.” Sitting at the chaotic crossroads of punk, hardcore, and grunge, the two songs are perfectly suited for a Sub Pop single, and there’s even a limited-edition alternate sleeve based on Poison Idea’s classic 1990 Sub Pop Singles Club 7”.
 
“Disabuse,” out now on all DSPs, is a song, Damian, the band’s singer, wrote for his daughter, who experienced bullying and intimidation. The B-side, “Self Driving Man,” wrestles the out-of-control automation of our world onto the pavement and into the abyss of faceless progress.
 
This 7” is now available for pre-order at megamart.subpop.com, Bandcamp, and all music retailers. The 7” is on emerald vinyl and includes a lyric sheet. Fans ordering directly from Sub Pop and the band can choose between the standard jacket or the limited alternate sleeve. Or they can - and should - order both!

Standard Edition 

Mail-order only Edition

On February 14th, 2025, Father John Misty’s I Love You, Honeybear, his internationally acclaimed second album, will be available as a single LP for its 10th anniversary along with a digital-only companion release of demos that were initially released on cassette in 2015.  The digital companion piece (“I Love You, Honeybear Demos, etc.” ) also includes a solo acoustic performance of Nirvana’s ”Heart Shaped Box” recorded for SiriusXM during the …Honeybear cycle.  While his excellent debut, Fear Fun, would “introduce” the world to the singer and songwriter, it was the love and brutal honesty showcased in I Love You, Honeybear that would elevate Father John Misty’s career. The album became his most successful release to date.
 
Tillman wrote the following for the album’s release: “I Love You, Honeybear is a concept album about a guy named Josh Tillman who spends quite a bit of time banging his head against walls, cultivating weak ties with strangers, and generally avoiding intimacy at all costs. This all serves to fuel a version of himself that his self-loathing narcissism can deal with. We see him engaging in all manner of regrettable behavior…
 
“My ambition, aside from making an indulgent, soulful, and epic sound worthy of the subject matter, was to address the sensuality of fear, the terrifying force of love, the unutterable pleasures of true intimacy, and the destruction of emotional and intellectual prisons in my own voice. Blammo” (Read full bio here).
 
Father John Misty’s I Love You, Honeybear debuted at number 17 on the Billboard 200 albums chart. It appeared on over 70 year-end lists for 2015, with “Album of the Year” honors from the likes of PASTE, Time Out New York, Under The Radar, GQ (UK), and Drowned in Sound with additional Top 20 placements from the likes of Billboard, Pitchfork, Stereogum, Exclaim, BBC, The Guardian, Entertainment Weekly, and Rolling Stone. The album would also earn “Best of the Decade” notices from the likes of Pitchfork, PASTE, NME, Aquarium Drunkard, and Consequence of Sound. Last week, I Love You, Honeybear made Rolling Stone’s  The 250 Greatest Albums of the 21st Century list.
 
The success of Father John Misty’s I Love You, Honeybear led to incredible late-night performances of album tracks “Bored in the USA” on The Late Show with David Letterman, “True Affection” on Late Night with Seth Meyers, “Chateau Lobby (#4 For Two Virgins)” on Later…with Jools Holland, “I Love You, Honeybear” on Conan, “The Ideal Husband” on Jimmy Kimmel Live’s outdoor stage, and “Holy Shit” on The Late Show with Stephen Colbert. Father John Misty also earned a 2016 Brit Award nomination for “Best International Male Solo Artist” alongside Kendrick Lamar, Drake, and The Weeknd. 
 
I Love You, Honeybear single LP edition is available to preorder worldwide from Sub Pop. LP preorders from Sub Pop Mega Mart in North America, Mega Mart 2 in the UK and EU, Father John Misty’s Official Website, and select independent retailers worldwide will receive the limited Loser edition on Pearlescent Red vinyl. There is also a Coke Bottle Clear vinyl available in Canada (all vinyl colors available while stock lasts!). As for the aforementioned I Love You, Honeybear demos, those will also be available on all DSPs on February 14th.
 
Also in February, Father John Misty will begin his international headline touring in support of Mahashmashana, his acclaimed new album from 2024, which begins February 12th in Chattanooga, TN at The Signal and runs through Wednesday, April 16th in London, UK at eartH Theatre (Rough Trade Outstore).
 

 
Mahashmashana and its singles have also seen placement on “Best of 2024” lists from the likes of The New Yorker, Variety, The Ringer, Vogue, Under the Radar, Uproxx, Stereogum, Brooklyn Vegan, The AV Club, PASTE, Consequence of Sound, PopMatters, GQ (UK), Philadelphia Inquirer, Pitchfork, New York Times, and more. Recently, Tillman sat for an interview with The Jokermen Podcast, which you can listen to here.
 
Mahashmashana is now available CD/LP/DSPs in North America from Father John Misty’s official merch stores in the US and EU, megamart.subpop.com, Bella Union (UK/EU), and independent retailers worldwide. The Mahashmashana album cover artwork is from Joe Roberts (LSD World Peace).

On April 4th, Greek Artist Σtella (pronounced Stella) will release her mesmerizing new record Adagio on CD/LP/DSPs from Sub Pop. Adagio is a pop record that feels like a warm blanket; it swaddles its listeners with nylon-string guitars, featherlight percussion, psychedelic keyboards, and staccato drums. Written and recorded over the span of five years with a consortium of international collaborators, including !!!’s Rafael Cohen and British songwriter Gabriel Stebbing, Adagio is 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 sung in English, as all her records have been, Σtella also delivers her first two songs in Greek, “Omorfo Mou,” and a cover of a 1969 cult classic of the Greek New Wave, Litsa Sakellariou’s “Ta Vimata.”

Today, you can watch the captivating new video for the album’s title track, “Adagio,” which was Directed by Debora Maité. Click here to watch.
 
Adagio follows the release of her 2022 Sub Pop debut, Up and Away, which has catapulted her beyond three million monthly Spotify listeners and has secured key licensing placements in the MAX show Industry and an online H&M Clothing commercial.
 
Adagio is now available to preorder from Sub Pop. LP preorders from the Sub Pop Mega Mart (North America), Mega Mart 2 (UK/EU), and independent retailers worldwide will receive the album on Clear Pink vinyl in North America and white vinyl in the EU.
 
More about Σtella’s Adagio
 
Almost as soon as Stella Chronopoulou began writing Adagio, 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.
 
Σtella, 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.
 
But 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 five sophisticated and playful pop albums rendered with international élan. After releasing her Sub Pop debut, Up and Away, 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.
 
That longing is the thread that loosely binds together her fifth album, the entrancing Adagio. Borrowing its name, of course, from the term for music that’s meant to be played slowly, Adagio 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, Adagio is a 27-minute meditation on love and desire, rest and time. 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 Sakelariou’s “Ta Vimata.” It is a sign of the self-assurance that radiates throughout these tender and smitten little tunes.
 
During 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 Adagio. 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.
 
But the pair’s hallmark here is the opening title cut, “Adagio,” where Σtella sings to the concept of slowness like some long-lost lover. “I want you to know I hear you, Adagio” 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.
 
A 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 had 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.
 
Start to finish, Σtella sounds more at ease and comfortable than she’s ever been on Adagio. No, these fetching songs will not slow her career or grant her that title track’s wish. Still, for half an hour, Adagio does add an extra measure of warmth to the world, with time loosening its grip even if it doesn’t slow down.

Σtella
Adagio
 
Track Listing:
1. Adagio
2. Ta Vimata
3. Omorfo Mou
4. Baby Brazil feat. Las Palabras
5. Can I Say
6. 80 Days
7. Too Poor
8. Corfu
9. Caravan