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On their wildly ambitious second album, they are realising these aims on a truly epic scale.\u003c\/p\u003e\n\n\u003cp\u003eCreated over the course of two years with a cast of 47 musicians – including a gospel choir and a 16-piece string orchestra – \u003cstrong\u003e\u003cem\u003eThe Worm\u003c\/em\u003e\u003c\/strong\u003e is less a concept album than a fully-fledged musical universe, transcending genre and medium. Set in a disorienting anachronistic version of Medieval England – as steeped in dystopian sci-fi fantasy as it is folklore and Old English mythology – it’s part political polemic, part deeply moving psychological journey.\u003c\/p\u003e\n\n\u003cp\u003eThough always admired for their defiantly genre-agnostic approach, The Worm sees HMLTD pushing sonic experimentation to a whole new level, from dissonant free jazz riffing to vintage soul and English folk fusions to rock opera. 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":"last-man-dancing-signed-postcard","title":"Last Man Dancing: Signed Postcard","description":"\u003cp\u003eSigned postcard.\u003c\/p\u003e\n","brand":"Jake Shears","offers":[{"title":"Default Title","offer_id":44440526192925,"sku":"7808336433O","price":1.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/JakeShears-LastManDancing_3000x_0a0f1bfa-cf6e-4fed-8198-bf5aeb9b6e50.jpg?v=1746745810"},{"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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The Upper Cuts (2023 Edition) also adds seven bonus tracks, including Braxe’s remix of Britney Spears’ “Anticipating,” and two completely new tracks “True Love” and “Never Coming Back,” which features the Norwegian pop artist Annie.\u003c\/p\u003e\n","brand":"Alan Braxe, Fred Falke \u0026 Friends","offers":[{"title":"Default Title","offer_id":44444988113181,"sku":"SMGLR4LP","price":30.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/TheUpperCuts_GATEFOLD_LP_mockBlack5.jpg?v=1751958498"},{"product_id":"my-soft-machine-vinyl-lp","title":"My Soft Machine: Vinyl LP","description":"\u003cp\u003eTwice Grammy-nominated, Mercury Prize and BRIT Award-winning artist Arlo Parks is returning with her second album, \u003cem\u003eMy Soft Machine\u003c\/em\u003e, due 26th May on Transgressive Records.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eMy Soft Machine\u003c\/em\u003e is a deeply personal body of work; a narration of Parks’ experiences as she navigates her 20’s and the growth intertwined. 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There is a quote from a Joanna Hogg film called the Souvenir, it’s an A24 semi-autobiographical film with Tilda Swinton - it recounts a young film student falling in love with an older, charismatic man as a young film student then being drawn into his addiction - in an early scene he’s explaining why people watch films - “we don’t want to see life as it is played out we want to see life as it is experienced in this soft machine.” So there we have it, the record is called....\u003cem\u003eMy Soft Machine.\u003c\/em\u003e” - Arlo Parks\u003c\/p\u003e\n","brand":"ceva","offers":[{"title":"Default Title","offer_id":44445082747165,"sku":"TRANS700X","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/products\/MAIN_20LPBLACK_02b21581-1434-4d08-97f6-a4f8e2efeb19.png?v=1678118821"},{"product_id":"fear-of-tomorrow-limited-edition-blade-bullet-colour-vinyl","title":"Fear Of Tomorrow: Limited Edition Blade Bullet Colour Vinyl","description":"\u003cp\u003eAfter making quite a name for themselves in tape-trading circles as one of Europe’s most promising early thrash metal  bands,  Denmark’s  Artillery  released  their  debut \u003cem\u003eFear of Tomorrow \u003c\/em\u003ein 1985. 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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They’re clear-eyed statements of and about digging your way toward confidence, self-possession, and relief.\u003c\/p\u003e\n\n\u003cp\u003eSabrina shed her previous, pop-leaning project, Baum, and the process emboldened her. Subtracting self-consciousness became a catalyst for the lucid songs of \u003cem\u003eBlondshell\u003c\/em\u003e, on which her experiences all coalesce to form her truest expressions of self yet. “It was me, as a person, in my songs,” she says. 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Recorded at the UK’s most remote studio in the Outer Hebrides, Less follows their critically acclaimed 2022 album, Return with a statement in reduction that turns out to be as powerful and potent as it is tender and introspective.\u003cbr\u003e\n\u003cbr\u003e\n\u003cem\u003e“The mission statement was to be super minimal,” \u003c\/em\u003esays deathcrash singer Tiernan Banks. \u003cem\u003e“Just simple and beautiful guitar parts and to be really bare. 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":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). Recorded at the UK’s most remote studio in the Outer Hebrides, Less follows their critically acclaimed 2022 album, Return with a statement in reduction that turns out to be as powerful and potent as it is tender and introspective.\u003cbr\u003e\n \u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003e“The mission statement was to be super minimal,” \u003c\/em\u003esays deathcrash singer Tiernan Banks. \u003cem\u003e“Just simple and beautiful guitar parts and to be really bare. 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-limited-transparent-blue-vinyl-lp","title":"Divine Machines: Limited Transparent Blue 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. It’s a theory that’s been proven time and time again, and one that Newcastle trio Demob Happy are underlining with \u003cem\u003eDivine Machines\u003c\/em\u003e: a third album that harnesses their delicate tightrope of heaviness and melody, sweetness and riffs, and rides it up to the stratosphere.\u003c\/p\u003e\n","brand":"Demob Happy","offers":[{"title":"Default Title","offer_id":44445323264285,"sku":"LIB237LPX","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/Demob_Happy_-_Divine_Machines_-_Transparent_Blue.jpg?v=1745624668"},{"product_id":"end-times-vinyl-lp","title":"End Times: Vinyl LP","description":"\u003cp\u003eThe eighth Eels studio album, \u003cem\u003eEnd Times\u003c\/em\u003e, is the sound of an artist growing older in uncertain times. An artist who has lost his great love while struggling with his faith in an increasingly hostile world teetering on self-destruction. 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.' 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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. 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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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How to avoid spending too much time in them, most days. Taking inventory of the real, physical self is difficult work, work that I’m not entirely opposed to but work that became immediately more treacherous for me when I had to witness the very real toll that time, modern anxieties, isolation, and boredom were taking on me. It was easier, it seemed, to spiral into a not-so-distant glorious past, to use memory as a tool of both excitement and healing. But, speaking of excitement, I like to stumble towards a band with no agenda, no purpose, uncovering sound almost on accident. This is how I first heard Wednesday. The band came to me and I don’t remember how, or why. They simply arrived, as if we’d been traveling toward each other our whole lives. \u003cem\u003eI Was Trying To Describe You To Someone\u003c\/em\u003e soaked into my summer of 2020, and in sound, in spirit, in central concerns and the execution of them, it took me back to an era before the current era, which I’d needed at the time. The past can feel less hellish than the present if we are, sometimes, not fully honest with ourselves. There is the trick of nostalgia that I spend a lot of time playing with in my own writing, and somewhat tormented by in my own living. 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