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Major musical touchpoints included Stravinsky’s ‘Rite Of Spring’, Pink Floyd and Nina Simone’s rendition of ‘Sinnerman’ and references for the world of The Worm included 14th century texts The Canterbury Tales and The Decameron, Aleksey German’s 2013 sci-fi film Hard To Be A God, Bergman’s The Seventh Seal and Tarkovsky’s Andrei Rublev and the hopeful narrative arc of 90s mecha anime series ‘Neon Genesis Evangelion’. \u003c\/p\u003e\n","brand":"HMLTD","offers":[{"title":"Default Title","offer_id":44435065635101,"sku":"LUCKY161LPX","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/LUCKY161LPX_HMLTD_The_Worm_Mock_Up.png?v=1747782334"},{"product_id":"ive-felt-better-daniel-avery-remix-plastic-future-skee-mask-remix-vinyl-12-single","title":"I've Felt Better (Daniel Avery Remix) \/ Plastic Future (Skee Mask Remix): Vinyl 12\" Single","description":"\u003cp\u003eIn November 2022, GOLD PANDA released his long-awaited album \"The Work\". 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After years of cult-like indie success and underground fandom, the band found themselves with a viral TikTok hit with the quirky and irreverent \"Body Terror Song,\" and a new audience of fans that connected with the trademark witty, incisive lyricism AJJ is known for.\u003cbr\u003e\n\u003cbr\u003e\nWith \u003cem\u003eDisposable Everything\u003c\/em\u003e, the band hit their fully-realized form with an album that juxtaposes apocalyptic despair with the warm comfort of an electric blanket. Sonically, the album hits fans with an equal amount of rousing punk anthems and acoustic balladry that truly captures the simultaneous terror and wonder of being alive. 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Their instrumental abilities at such high speeds sounded phenomenal for the mid-’80s, and the distinctive style of singer Flemming Ronsdorf (somewhere  between AC\/DC’s  Bon Scott and Accept’s Udo Dirkschneider) would become one of Artillery’s most recognizable assets. 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A radio campaign will also be run for the second single ‘Duffy’s’ and we expect support from BBC 6 Music, Apple Music and other tastemaker stations.\u003c\/p\u003e\n","brand":"deathcrash","offers":[{"title":"Default Title","offer_id":44445272080669,"sku":"UR12","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/Deathcrash_-_Less_-_Mockup_281_29.png?v=1759501623"},{"product_id":"less-green-vinyl-3-page-concertina-booklet","title":"Less: Green Vinyl + 3 Page Concertina booklet","description":"\u003cp\u003eLondon slowcore band deathcrash have today announced their new album Less, due March 17th via untitled (recs). 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To be….less.” \u003c\/em\u003e\u003cbr\u003e\n\u003cbr\u003e\nSwiftly following Return, the band initially had no plans to make a full length. “The last thing we felt like doing was making another album,” says bassist Patrick Fitzgerald. \u003cem\u003e“It was like, ‘let's do this little EP that's aesthetically quite different and pared down’.” \u003c\/em\u003eLess was always planned to be a statement in reduction but it soon became apparent that the songs the band were writing were significant, personal and, despite the intentions to strip things back, bigger. \u003cem\u003e“As time went on, we started putting much more emotional weight into it and it became more important to us,”\u003c\/em\u003e says Banks.\u003cbr\u003e\n\u003cbr\u003e\nThe result is a record that is as powerful and potent as it is tender and introspective, with arrangements that manage to feel refined yet detailed and with a deep emotional resonance at the core of the record. Banks’ voice shifts from hushed whispers to guttural screams, one minute tapping into the kind of fragile beauty that artists like Elliott Smith managed so well, on tracks such as ‘Duffy’s’ before unleashing a doom metal growl in thundering unison with the band on ‘Empty Heavy’.\u003cbr\u003e\n\u003cbr\u003e\nThe record has confirmed early press support from a number of UK publications, including a 4-page print feature in Loud \u0026amp; Quiet, a feature in Line of Best Fit, and early indications of support from Stereogum and a number of other U.S. publications too. A radio campaign will also be run for the second single ‘Duffy’s’ and we expect support from BBC 6 Music, Apple Music and other tastemaker stations.\u003c\/p\u003e\n","brand":"deathcrash","offers":[{"title":"Default Title","offer_id":44445300654365,"sku":"UR12GRE","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/products\/deathcrash1_d87c0e3c-38c4-4f58-b2d1-b0b44baa110a.png?v=1686616786"},{"product_id":"divine-machines-vinyl-lp","title":"Divine Machines: Vinyl LP","description":"\u003cp\u003eFrom \u003cem\u003eOK Computer\u003c\/em\u003e to \u003cem\u003eScreamadelica\u003c\/em\u003e, history has shown that a band’s third album is when shit starts to get real. When, after an introductory debut and a second that tests new waters, the particular alchemy of a group stamps its personality in ways that no other configuration of individuals can do; when the outside voices have been tempered and all that’s left is a perfect cocktail of confidence, skill and momentum. 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The two singles taken from the album (Make Them Disappear and Split) both feature the luxurious vocals of Jo Sims. 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Largely self-recorded on an old four track tape machine by eels leader Mark Oliver Everett aka E in his los angeles basement, it's a 'divorce album' with a modern twist: the artist equates his personal loss with the world he lives in losing its integrity. When Everett finds comfort 'In a Dying World,' the end times he speaks of isn't about 'mayan calendar conspiracy theory bullshit,' he says, but, 'the state of the desperate times we live in. The bottom line-ness of it all. The end of common decency. The loss of caring about doing a good job. These are tough times. Who can you trust? walter cronkite is just a ghost.' While the last Eels album, \u003cem\u003eHombre Lobo\u003c\/em\u003e tackled the subject of desire, 'the before,the spark that ignites everything,' everett says, \u003cem\u003eEnd Times\u003c\/em\u003e is about the other side: the after.and while \u003cem\u003eHombre Lobo\u003c\/em\u003e was written from the point of view of a fictional character, End Times is pure real life. Brutally unblinking, \u003cem\u003eEnd Times\u003c\/em\u003e may be the elecro-shock blues of break-up albums. While the 1998 eels album \u003cem\u003eElectro-Shock Blues\u003c\/em\u003e dealt with the untimely deaths of Everett's mother, father and sister, \u003cem\u003eEnd Times \u003c\/em\u003etakes a hard look at losing love.\u003c\/p\u003e\n","brand":"Eels","offers":[{"title":"Default Title","offer_id":44445359866141,"sku":"EWORKS120","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/EELS_EndTimes_mockup.png?v=1746745606"},{"product_id":"hombre-lobo-vinyl-lp","title":"Hombre Lobo: Vinyl LP","description":"\u003cp\u003eEels' seventh studio album \u003cem\u003eHombre Lobo\u003c\/em\u003e. Eels is the ever-changing project of singer \/ songwriter and multi-instrumentalist Mark Oliver Everett (aka E). \u003cem\u003eHombre Lobo\u003c\/em\u003e was recorded entirely at E's studio in los angeles with Koool G Murder (bass, keyboards and guitar) and Knuckles (drums and percussion). The album was written about desire and is more blood and thorns rather than hearts and flowers. The album keeps faith with the band's established sonic template of downbeat pop shrouded in distortion. It's E's lyrics that are the true, bitter joy of this record, sacrificing nothing of his wit in pursuit of heartbreaking, heartbroken directness.\u003c\/p\u003e\n","brand":"Eels","offers":[{"title":"Default Title","offer_id":44445360357661,"sku":"EWORKS119","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/EELS_HombreLobo_mockup.png?v=1748034800"},{"product_id":"tomorrow-morning-vinyl-lp","title":"Tomorrow Morning: Vinyl LP","description":"\u003cp\u003eThe ninth Eels studio album, \u003cem\u003eTomorrow Morning\u003c\/em\u003e, is the brightest and most overtly uplifting work of the Eels' fourteen year career. The final installment of a trilogy that started with 2009's \u003cem\u003eHombre Lobo\u003c\/em\u003e' and 2010's End Times (released a half year from each other), \u003cem\u003eTomorrow Morning\u003c\/em\u003e finishes the story on a high note. unlike either the combustive garage-rock longing of \u003cem\u003eHombre Lobo \u003c\/em\u003eor the stripped-down acoustic starkness of \u003cem\u003eEnd Times, Tomorrow Morning\u003c\/em\u003e is a new musical landscape: electronic keyboards, drum machines, tape loops and found sounds. \"it's a very electronic album - sounds normally associated with a kind of 'colder' music,\" says Everett, \"but i wanted to make a warm album that was a celebration using electronic instruments to reflect joy in the times i live in.\" Helping Everett bring the vibrant celebration to life are performances by longtime eels bassist \/ keyboardist Koool G Murder and drummer \/ percussionist Knuckles, along with new eels collaborators the amy davies choir and Tomorrow Morning orchestra. It's a bold, experimental and immediate new eels sound. as everett puts it, \"there's a lot going on in these songs.\"\u003c\/p\u003e\n","brand":"Eels","offers":[{"title":"Default Title","offer_id":44445361537309,"sku":"EWORKS121","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/Eels_Tomorrow_Morning_LP.jpg?v=1746388180"},{"product_id":"aspirin-sun-vinyl-lp","title":"Aspirin Sun: Vinyl LP","description":"\u003cp\u003e“It felt like I was driving through tunnels,” Emma Tricca says of her fourth album – her first for Bella Union. A phosphorescent panorama of undulating colour, shape and sound.\u003c\/p\u003e\n\n\u003cp\u003eAs with any transformation, it is this sense of movement that underpins \u003cem\u003eAspirin Sun\u003c\/em\u003e and its bold new form, ebbing and flowing, continually unfurling. The tunnels led the Italian-born, London-based singer-songwriter towards something expansive and far-reaching: an entirely new and experimental collection of songs.\u003c\/p\u003e\n\n\u003cp\u003eThis new psychedelic horizon could only be fully brought to life by a band she calls her family. The same musicians she collaborated with on her 2018 outing, St. Peter: Sonic Youth’s Steve Shelley, Dream Syndicate guitarist Jason Victor, and bass player Pete Galub. 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Though its creation took place amid personal and global turmoil, the ruminative yet candid Big Picture is Fenne’s most cohesive, resolute work to date, both lyrically and sonically. “This isn’t a sad album — it’s about as uplifting as my way of doing things will allow,” she says. “These songs explore worry and doubt and letting go, but those themes are framed brightly.” With confidence and quiet strength, each track provides an insight into Fenne’s ever-changing view of love and, ultimately, its redefinition — love as a process, not something to be lost and found. While the album was written alone in Fenne’s Bristol flat – a fact intentionally reflected in its compact sonic quality – Big Picture was transformed from a solitary venture into a unifying collaboration during the recording process when she was joined by her touring band, Melina Dutere of Jay Som (mixing), Christian Lee Hutson (guitar and co production), and Katy Kirby (vocals). 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Lead by acclaimed guitarist and vocalist Ripley Johnson, Rose City Band are some of the best players in contemporary rock: pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg, bassist Dewey Mahood (aka Plankton Wat), drummer Dustin Dybvig, and features Sanae Yamada of Moon Duo on Synthesizer. At its inception Rose City Band focused on what songwriter Johnson calls “porch music”. Recorded largely at Center for Sound, Light, and Color Therapy in Portland and mixed by John McEntire, Garden Party features guest appearances by Moon Duo bandmates John Jeffrey on drums and Sanae Yamada on synths, as well as Rose City Band live performers Hasenberg on keyboards and Walker on pedal steel.\u003c\/p\u003e\n\n\u003cp\u003eWith the musicians in his life in mind, Ripley’s porch has opened up for each player to step into. 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Ripley says it best: “I always like when an album starts in one place, and ends in another” What a beautiful journey it is.\u003c\/p\u003e\n","brand":"Rose City Band","offers":[{"title":"Default Title","offer_id":44446499307805,"sku":"THRILL588LPY","price":37.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/588sideAbluewSticker.jpg?v=1746746161"},{"product_id":"sublimation-vinyl-lp","title":"Sublimation: Vinyl LP","description":"\u003cp\u003eShalom makes strikingly direct music with such emotional openness and clarity that each track on her debut album Sublimation, out March 10 via Saddle Creek, feels like a quiet revelation. While the Brooklyn-based, South Africa-raised artist writes fearlessly personal songs about moments in her life combining the storytelling of Lucy Dacus with the urgency of Indigo DeSouza, her honesty is so blunt it’s inviting. Her lyrics clear whatever tension there is to make room for catharsis. These 13 tracks are a reflection of the many sides of herself with stories of heartbreak, feeling like an outsider, self-medicating and partying, and ultimately choosing love over fear. While she paints the edges of indie rock, Shalom along with her collaborator Ryan Hemsworth (Quarter-Life Crisis) team up for challenging and vivid arrangements that are danceable, driving, and also delicate.\u003c\/p\u003e\n\n\u003cp\u003eThough Shalom has only been writing her own songs since the summer of 2020, she’d played bass in a band in the New Brunswick DIY scene. Following the dissolution of her band, she went through a period of mourning and writer’s block. “It was some of the most painful, creative experiences I've ever had,” she says. She wrote “Concrete,” the first song she ever wrote and produced herself, as a way to process the loss of that creative outlet. It’s a gorgeous track complete with yearning strings and Shalom singing, “We watched the future that we built just slip away \/ I still think of you almost every day \/ But there are good things in life no one can force you to take.” Even though it was her debut song, there’s depth and generosity tucked in each line.\u003c\/p\u003e\n\n\u003cp\u003eShe quietly released “Concrete” and a couple of other early home-recorded demos on a self-released EP titled the first snowstorm of the year in December 2020, which eventually caught the ear of producer Ryan Hemsworth. Impressed by her already-fully formed perspective and tight melodic sensibility, Hemsworth asked Shalom to write some more. “When I started writing I just kept having people believe in me and I started realizing that these were good songs,” she says. “I received the validation that I needed to keep going. ”They quickly began collaborating with Shalom writing on bass and Hemsworth emailing tracks back for her to tweak and find a home for her lyrics. Among the earliest songs of their partnership is the rocking “Soccer Mommy,” which bluntly opens with, “I did a bunch of drugs before I turned 21 \/ Ate two tabs once a week for a whole month straight.”\u003c\/p\u003e\n\n\u003cp\u003eWhat started as a casual email collaboration quickly garnered enough material to make an album. Lead single “Happenstance” finds Shalom world sick. Over a muscular bassline, she sings, “I’m waiting for the day that I can finally walk away from all this bullshit.\" As the track settles into a mesmerizing groove, she sings over the chorus, “I’m just trying to erase myself whenever I get the chance \/ my need to evaporate and receive validation at the same time.” It’s in these contradictions where Shalom’s writing thrives and is at the core of Sublimation. On opener “Narcissist,” which is so anthemic it’s meant to be played almost violently loud, the hook goes, “and maybe I’m a narcissist \/ I don’t even know if I exist \/ I wish I’d evaporate.” Shalom explains, “When I do something really embarrassing, the thing that I hear in my brain is literally “evaporate.” Her songwriting gets at two fundamental but at-odds emotions, effortlessly speaking truth to something that’s hard to articulate in real life: simultaneously wanting to be the center of attention and wanting to disappear completely.\u003c\/p\u003e\n\n\u003cp\u003eAs much as the album hones in on processing her trauma like on “Train Station,” which deals with a sudden breakup, and “Nowadays” which deals with profound grief, there’s a resiliency that stays constant throughout Sublimation. On the ebullient and funky “Did It To Myself,” she opens herself up. She sings, “what hurts can be amazing \/ and now I’m back on my own, oh” over bouncy synths and a sparkling arrangement. Shalom explains, “Anytime you move forward, you have to remember the past: Most of my songs are about moving forward by dealing with a memory.” Few songwriters not only fail to match Shalom’s excavating introspection but also the grace with which she deals with these uncomfortable truths.\u003c\/p\u003e\n\n\u003cp\u003eMany of the songs on Sublimation came together almost instantly with Shalom sitting down with her bass and coming out with a fully-written song in a couple of hours. Standout “Lighter,” Shalom recalls, took 45 minutes. Arguably the poppiest song on the record with its breezy indie rock arrangement, she sings over shimmering guitars, “so done with being myself \/ I’d rather be anyone else \/ I’m tired of being a fighter.” Despite the unflinching subject matter, Sublimation is not a difficult listen. “The record is an introduction to me as a songwriter,” she says. “I think it shows my versatility, but really, it’s me being really honest, earnest, and naked. 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Between hushed incantations and molten guitars, 15-minute noise-rock epics and healing psalms, the record is a testament to connectivity and receptivity: to a union of disparate minds committing to something greater than the sum of its parts.\u003c\/p\u003e\n\n\u003cp\u003eStuart Braithwaite of Mogwai, Elisabeth Elektra, Evi Vine, Steven Hill, members of Abrasive Trees, Burning House and Prosthetic Head convened to improvise the album in early 2021, inspired by a Twitter exchange between Abrasive Trees guitarist\/songwriter Matthew Rochford, musician Elisabeth Elektra and fellow artist Nick Hudson about the Isle of Lewis. A couple of Zoom meetings would subsequently lead to Rochford, Elektra, Vine, Braithwaite, Hill, drummer Ash Babb and cellist Ben Roberts visiting the dramatic location of Great Bernera’s Black Bay Studios on the Isle of Lewis in the Outer Hebrides, where they tracked the songs in just four days: a testament to the musicians’ focused openness to their shared mission and environment.\u003c\/p\u003e\n\n\u003cp\u003eThis is an album of elemental force and evocative poise, its controlled power focused around the ego-free chemistry between the players. By abandoning all certainties, Silver Moth have found something truly special on \u003cem\u003eBlack Bay\u003c\/em\u003e.\u003c\/p\u003e\n","brand":"Silver Moth","offers":[{"title":"Default Title","offer_id":44446524571933,"sku":"BELLA1401V","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/Silver_Moth_-_Black_Bay_BELLA1401V_Standard_LP.jpg?v=1749598909"}],"url":"https:\/\/thesoundofvinyl.com\/collections\/best-sellers.oembed?page=235","provider":"The Sound of Vinyl","version":"1.0","type":"link"}