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Having released one of the most exciting records of 2012 (\u003ccite\u003eWorld Music\u003c\/cite\u003e), the Swedish collective’s voodoo grooves are given new twists \u0026amp; turns on these exclusive remixes by the likes of Thought Forms, High Wolf, Redg Weeks, Tom Furse (The Horrors), and Teeth Of The Sea. Seriously tasty stuff!\u003c\/p\u003e","brand":"Goat","offers":[{"title":"12 inch","offer_id":54460776317266,"sku":"xjx1788116460798","price":11.4,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1085\/6821\/5890\/files\/run-to-your-mama-remixes---vol-1_1.jpg?v=1788116466"},{"product_id":"gas","title":"Gas","description":"\u003cp\u003eFrom In the Red's site:\u003c\/p\u003e\u003cp\u003eIn The Red is proud to announce the first new album from Australia’s favorite misanthropic noise-makers in over 20 (!!!) years. 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Here, Quever delves further into epic dream-pop using mostly vintage organs, pulsing bass, and Kraut-via-Ringo-inspired drum rhythms. Intact from those earlier efforts is Quever’s sense of arrangement and drama, as well as his soaring vocals, draped in reverb gauze. The words reveal a fascination with mortality and things cosmic, while sonically the voice acts as another instrument. This obsessively all-analog effort (no computer processing here whatsoever!) cuts across several eras of dreamy sound: ‘80s\/’90s Creation and 4AD Records, The Zombies, ‘60s French pop, even Can’s Future Days—and then there’s the inevitable connection to former tourmates Beach House and Grizzly Bear. Indeed, Beach House’s Alex Scally helped with some of the arrangements, though You Can Have What You Want is its own strain of addictive pop. 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Reuniting in\rAdelaide with new and former members, including local drummer Martin Bland, Adelaide’s Greasy Pop Records\rreleased their first two full-length outings: 1986’s \u003ci\u003eBloodloss\u003c\/i\u003e and \u003ci\u003eHuman Skin Suit\u003c\/i\u003e (1988). These releases were the only recordings to feature a female lead vocalist in Sharron Weatherill. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003ci\u003eBloodloss\u003c\/i\u003e is a lo-fi cacophony of angular post punk, peppered with free-form mayhem and grungy backbeats,\rand fits nicely among the output of other Australian bands of the time. Listening to this incarnation of Bloodloss,\rit seems not surprising that legendary Seattle growler Mark Arm would later join the mix and help propel the\rband through much of the 90s. \u003cp\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\u003cdiv\u003eCheck out this record as well for the Mark Arm-era Bloodloss. \u003c\/div\u003e","brand":"Bloodloss","offers":[{"title":"LP","offer_id":54460778807634,"sku":"wjt1788116539431","price":15.2,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1085\/6821\/5890\/files\/bloodloss_1.jpg?v=1788116548"},{"product_id":"the-day-that-didnt-exist","title":"The Day That Didn't Exist","description":"\u003cp\u003eImport on Munster with \u003cspan class=\"caps\"\u003eBONUS\u003c\/span\u003e live tracks!\u003c\/p\u003e","brand":"Fastbacks","offers":[{"title":"CD","offer_id":54460778905938,"sku":"gtp1788116543670","price":12.96,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1085\/6821\/5890\/files\/the-day-that-didnt-exist_1.gif?v=1788116550"},{"product_id":"ruler-of-the-night","title":"Ruler of the Night","description":"\u003cp\u003e\u003ccite\u003eRuler of the Night\u003c\/cite\u003e is acclaimed songwriter Tim Cohen’s second LP under the Magic Trick portmanteau. Together with vocalists Noelle Cahill and Alicia Vanden Heuvel (Aislers Set), and James Kim (Kelly Stoltz’s band), Cohen has crafted a lush, absorbing, and alternately uplifting and devastating pop tapestry. 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Recorded with Mark Gajadhar (Blood Brothers, Past Lives) on Orcas Island. \u003c\/p\u003e\u003cp\u003eAll LPs include a download code. \u003c\/p\u003e","brand":"Grave Babies","offers":[{"title":"LP","offer_id":54460779331922,"sku":"dpr1788116562687","price":17.25,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":54460779364690,"sku":"anq1788116562688","price":7.7,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":54460779397458,"sku":"ziq1788116562689","price":6.3,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1085\/6821\/5890\/files\/holographic-violence_1.jpg?v=1788116567"},{"product_id":"the-process-lonely","title":"The Process \/ Lonely","description":"\u003cp\u003eChastity Belt and Melbourne band Loose Tooth have shared a \"digital split single\" featuring new material from both acts: Chastity Belt's A Side \"The Process\" and Loose Tooth's B side \"Lonely.\"  \u003c\/p\u003e\u003cp\u003eOf \"The Process,\" Chastity Belt songwriter Lydia Lund explains, \"The lyrics came later and are a sort of reminder of the way self-criticism can compound. When I’m in that critical state of mind, I try to suspend judgement for that current state and I find it reassuring to remember that it’s temporary - a process.\"\u003c\/p\u003e\u003cp\u003eAs for \"Lonely.\" Loose Tooth says, \"We wrote ‘Lonely’ at the end of 2019. It is about an experience we witnessed when we were teenagers. #MeToo brought up a lot of realizations for many people, and for us; thinking back to us as young and vulnerable women, finishing high school and feeling invincible; we didn't realize that we could be taken advantage of by predatory and powerful men. ‘Lonely’ is about the power dynamics and manipulation of these relationships, and the lasting cycle of trauma that they can bring.\"\u003c\/p\u003e","brand":"Chastity Belt","offers":[{"title":"Digital","offer_id":54460779495762,"sku":"uyv1788116566335","price":1.6,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1085\/6821\/5890\/files\/the-process-lonely_1.jpg?v=1788116572"},{"product_id":"meditations-in-the-key-of-red","title":"Meditations in the Key of Red","description":"\u003cp\u003eIndian Agent is the collaboration between sidereal visual artists and musicians Yéil Ya-Tseen (Nicholas Galanin), OCnotes (Otis Calvin III), and Zak Dylan Wass. Historically, the Indian Agent was a post filled with settlers appointed by the colonial U.S. government to control Indigenous populations. These non-Indigenous Indian Agents managed and enforced oppression of indigenous civilization throughout Turtle Island. The Indian Agent once oversaw the rape, murder and brainwashing, of minds, bodies, souls, land and culture in the name of the United States of America. \u003cbr\u003eThis true history of the Indian Agent is intentionally shrouded in mystery along with truths about the spread of the sickness known as manifest destiny. \u003cbr\u003e\u003cbr\u003eIn adopting this title, we shift and reverse the brainwashing and destruction of past Indian Agents. We replace destructive false agency with our song, purpose, and lineage. As artists we harness the power of our blood memories to speak truth and positivity of our collective agency in radical contrast to oppression. We recognize our existence as a product of the violent history of the United States, our ancestry is Indigenous, African, and European, we come from boreal and tropical rain forests, deserts, islands and oceans; carrying the songs and stories of the land and our people. In sharing our stories and song we become the agents of our instinctive desire: sharing peace, light and vision with the world.\u003cbr\u003e\u003c\/p\u003e","brand":"Indian Agent","offers":[{"title":"2xLP","offer_id":54460779823442,"sku":"yae1788116580485","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1085\/6821\/5890\/files\/meditations-in-the-key-of-red_1.jpg?v=1788116586"},{"product_id":"minor-works","title":"Minor Works","description":"\u003cp\u003e\u003ccite\u003eMinor Works\u003c\/cite\u003e stands as the third, yet first label-distributed, album recorded by J. Tillman (a.k.a. Father John Misty). Released in 2006.\u003c\/p\u003e","brand":"J. Tillman","offers":[{"title":"CD","offer_id":54460779888978,"sku":"exn1788116587949","price":9.48,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1085\/6821\/5890\/files\/minor-works_1.jpg?v=1788116596"},{"product_id":"batstew","title":"Batstew","description":"\u003cp\u003eThis is one of those LPs that I’ve heard about for years. People’d say to me “Roland, it’s right up your alley” or “Roland it’s terrible.  You’d love it!” But when I’d ask’em to describe it they’d go doe-eyed \u0026amp; get all pickle faced ‘n say “you just have to hear it for yourself.” Well finally, thanks to the De Stijl label, I have. And let me tell you something: I am perplexed about what I heard. Mostly, I guess, ’cause I ain’t hearin things what other scribes have insinuated I should. Department Store Santas? Desperate Bicycles? Not in my kung fu village! To me this LP teeters on a precipice between euphoria \u0026amp; anguish. It is certainly the work of an unstable mind \u0026amp; tortured soul.  I mean, you can almost feel Tucker’s circuits shorting out as the record progresses. You don’t need to read the insert to hear that!  There’s a lot of sadness \u0026amp; confusion goin on too. It’s a record about a guy’s love for his car. It’s a record about a guy’s love for his girl.  There’s a song that’s evidently an ode to homosexual love (not that there’s anything wrong w\/ that). The guy records himself talkin to his car, slammin the doors, the girl whispers \u0026amp; sings along sometimes.  Yeah, it has it’s moments. Like the naif, art brut-ish noisescapes that Tucker occasionally creates or like the dingaling song at the end of side 2 that’s about a Cadillac (among other things) that eventually crumbles into a fuzzy guitar “freakout”. It is one odd fucker of an LP, there’s no denyin that. But how someone—\u0026amp; I won’t say who—winds up comparin it to the albums by Department Store Santas \u0026amp; Desperate Bicycles is beyond me. Oh sure, those’re nice lures you’re tossin out there, but they’re inappropriate. Those bands LPs are challenging.  Tucker’s is more challenged. Maybe what they meant to say was that one day Mark Tucker saw someone dressed as a department store Santa, went bananas, then desperately rode a bicycle to the mental institution. I dunno. I wasn’t there. If I was to sell you this record I would say “imagine a record that sounds like someone who claims to be Daniel Johnston who rerecorded Smile” or “imagine if Larry Fischer had been commissioned to do the Pink Moon LP as literally a Volkswagen commercial”. Would you buy it? I know I would because that sounds like something that’s right up my alley \u0026amp; the descriptions are terrible enough that I’d probably love it. That said, \u003ccite\u003eBatstew\u003c\/cite\u003e is certainly a unique album. I dunno about a masterpiece, but shorter people are prone to exaggeration. And that’s a fact! I’m glad I got to hear it \u0026amp; props to De Stijl for reissuing it.\u003c\/p\u003e\u003cp\u003e~ Roland Woodbe \/ siltblog\u003c\/p\u003e","brand":"Mark Tucker","offers":[{"title":"LP","offer_id":54460779921746,"sku":"tdh1788116592962","price":11.25,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1085\/6821\/5890\/files\/batstew_1.jpg?v=1788116598"},{"product_id":"the-big-balloon","title":"The Big Balloon","description":"\u003cp\u003e“The Big Balloon” b\/w “Its You Again”\u003c\/p\u003e","brand":"Michael Yonkers","offers":[{"title":"7 inch","offer_id":54460780151122,"sku":"nfl1788116577049","price":3.51,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1085\/6821\/5890\/files\/the-big-balloon_1.jpg?v=1788116606"},{"product_id":"to-find-me-gone","title":"To Find Me Gone","description":"\u003cp\u003eSecond full-length album from Vetiver.\u003c\/p\u003e","brand":"Vetiver","offers":[{"title":"CD","offer_id":54460780446034,"sku":"urt1788116595079","price":9.36,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1085\/6821\/5890\/files\/to-find-me-gone_1.jpg?v=1788116609"},{"product_id":"the-future-is-wide-open","title":"The Future Is Wide Open","description":"","brand":"Walls","offers":[{"title":"Digital","offer_id":54460780937554,"sku":"lsf1788116594488","price":6.6,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1085\/6821\/5890\/files\/the-future-is-wide-open_1.jpg?v=1788116623"},{"product_id":"play-silver-nickels-and-golden-dimes","title":"Play Silver Nickels and Golden Dimes","description":"\u003cp\u003eIn this 7\", the Beets (of Queens, NY) win the prize of performing two cover songs originally written by Howard Stern’s first band, when he was in sixth grade. 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Lest there be other confusion, my friend Oliver, this 65 year old dude from Kashmir, told me \u003cspan class=\"caps\"\u003eDOST\u003c\/span\u003e means “brother man”. So basically, \u003cspan class=\"caps\"\u003eDOST\u003c\/span\u003e is “friend” but a more familiar way of the word. Just so happens that it’s the phonetic same as “dosed”. One crystalline thing herein is the Jams. Freeze has reached that point where he’s saying more by saying less and that’s a level that many songwriters never reach. 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The combination of synthesisers with nursery school chimes produces a truly haunting and chilling effect, like icy nails down the spine. Matching the film’s disquieting ability to get under the audience’s skin, the soundtrack is also a vital part of Starry Eye’s wonderful constant blurring between reality and fiction. Jumping from a calm false sense of security to knife’s edge tension in a heartbeat, it is a piece of genius and its importance to the film’s ability to disturb cannot be understated.\u003c\/p\u003e\u003cp\u003eA truly spectacular performance from Essoe, combined with a killer soundtrack and a constant underlying terror made Starry Eyes one of the highlights of the festival. Such a masterful grasp of tension and the creation of genuine fear of the unexpected also sees directors Kolsch and Widmyer as very exciting prospects for the future. Intense, uncomfortable and bloody brilliant.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRating: 10\/10\"\u003c\/p\u003e\u003cp\u003e- ukhorrorscene.com\u003cbr\u003e\u003c\/p\u003e","brand":"Jonathan Snipes","offers":[{"title":"LP","offer_id":54460787458386,"sku":"edc1788116752738","price":19.04,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1085\/6821\/5890\/files\/starry-eyes_1.jpg?v=1788116757"},{"product_id":"come-on-down","title":"Come on Down","description":"\u003cp\u003eReleased in 1985, Green River’s “Come On Down\" was a record existing in its sonic universe--out of step with its own time. Was it glam? Was it punk? Was it metal? Was it cool? We now know it was one of the building blocks of what Mark Arm would coin as \"grunge\", but in 1985 this record was a silent groundbreaker. It was not only the raw, sludgy, slower guitar sound that makes this band important in its place in rock history, but the members of Green River would go on to lead some of the biggest names in the genre: Mudhoney and Mother Love Bone, the latter of which also contained the roots of Pearl Jam. In 1986 they signed with Sub Pop Records and one could argue loudly that without Green River in 1984, there might be no Sub Pop Records today.\u003c\/p\u003e\u003cp\u003eOriginally released on the forward-thinking Homestead Records in 1985, \"Come On  Down\" is now being reissued for the first time on Jackpot Records. It has been mastered from the original master tapes by original producer and recording engineer Chris Hanzsek (Soundgarden, Melvins) as well as a tape transfer by Jack Endino (Nirvana, Soundgarden). The record will also include the iconic original cover artwork and a printed inner sleeve with the lyrics and a photo of the original master tape box. We're proud to announce that this record will also include a rare, unreleased bonus track. Come drink in the sludge that kick started it all.\u003c\/p\u003e\u003cp\u003e1. Come On Down\u003cbr\u003e2. New God\u003cbr\u003e3. Swallow My Pride\u003cbr\u003e4. Ride of Your Life\u003cbr\u003e5. Corner of My Eye\u003cbr\u003e6. Tunnel of Love\u003cbr\u003e7. 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Assembled over emails sent between Seattle and Japan, \u003ccite\u003eSuchness\u003c\/cite\u003e transcended geographical and language barriers – and traditional ideas of what a “band” is – in its making.\u003c\/p\u003e","brand":"We Are Loud Whispers","offers":[{"title":"LP","offer_id":54460788834642,"sku":"hjt1788116775405","price":14.72,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":54460788867410,"sku":"xxi1788116775406","price":8.0,"currency_code":"GBP","in_stock":true},{"title":"Digital","offer_id":54460788900178,"sku":"dzq1788116775407","price":7.6,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1085\/6821\/5890\/files\/suchness_1.jpg?v=1788116780"},{"product_id":"one-scythe-fits-all-original-soundtrack","title":"One Scythe Fits All (Original Soundtrack)","description":"\u003cp\u003eThe highest fidelity lo-fi synth driven soundtrack written and recorded by PIG HEART TRANSPLANT partners in crime, Greg Wilkinson and Jon Kortland. 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Tongue-in-cheek shit-shooting and existential rumination feed into each other infinitely.\u003c\/span\u003e\u003c\/p\u003e\u003cp id=\"E150\"\u003e\u003cspan class=\"qowt-font2-Calibri\" id=\"E151\"\u003eTheirs is a long-term relationship, and that loop sustains them. That’s a creative thesis in and of itself, but isn’t that also just the mark of a true-blue friendship?\u003c\/span\u003e\u003c\/p\u003e\u003cp id=\"E160\"\u003e\u003cspan class=\"qowt-font2-Calibri\" id=\"E161\"\u003eThe band talks a lot about intention these days—how to be more present with each other. The four piece—Julia Shapiro (vocals, guitar, drums), Lydia Lund (vocals, guitar), Gretchen Grimm (drums, vocals, guitar) and Annie Truscott (bass)—is nine years deep in this, after all. It seems now, more than ever, that circuit is a movement of intentionality, one that creates a space inside which they can be themselves, among themselves. It’s a space where the euphoria of making music with your best friends is protected from the outside world’s churning expectations. It’s a kind of safe zone for the band to occupy as their best selves: a group of friends who love each other.\u003c\/span\u003e\u003c\/p\u003e\u003cp id=\"E170\"\u003e\u003cspan class=\"qowt-font2-Calibri\" id=\"E171\"\u003eTheir fourth record, \u003c\/span\u003e\u003cspan class=\"qowt-font2-Calibri\" id=\"E172\"\u003eChastity Belt\u003c\/span\u003e\u003cspan class=\"qowt-font2-Calibri\" id=\"E173\"\u003e, comes out of that safe space. After a restorative few months on hiatus in 2018, each member worked on solo material or toured with other bands. “So much of the break was reminding ourselves to stay present, and giving ourselves permission to stop without saying when were gonna meet up again,” says guitarist Lydia Lund. “It was so important to have that—not saying, ‘we’re gonna get back together at this point,’ but really just open it up so we could get back to our present connection.”\u003c\/span\u003e\u003c\/p\u003e\u003cp id=\"E182\"\u003e\u003cspan class=\"qowt-font2-Calibri\" id=\"E183\"\u003eTheir experience navigating adult life within the strange seasons of the music industry has Chastity Belt orienting themselves towards whatever gets them to feel the most present with each other, in any part of the band grind. With the luxury of spending several weeks in the studio with Jay Som’s Melina Duterte, Chastity Belt was able to experiment. The new self-titled album is the work of the band playing “old songs, and trying new things on top of it,” like adding more dynamic harmonies and violin, says bassist Annie Truscott. Lydia, Gretchen, and Julia all share lead vocals on different tracks on the album. The result is their most sonically developed and nuanced record yet; one that’s not only a product of, but a series of reflections on what it means to take what you need and to understand yourself better.\u003c\/span\u003e\u003c\/p\u003e\u003cp id=\"E192\"\u003e\u003cspan class=\"qowt-font2-Calibri\" id=\"E193\"\u003eMany of Chastity Belt’s signature dynamics, from the silly to the sincere, have read as feminist gestures: the Cool Slut DGAF-iness, the shrugging off of the “women in rock” press gargle, the fundamentally punk act of creating music on your own as a woman, and being lyrically forthright. 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