{"title":"DINKED EDITION","description":"","products":[{"product_id":"home-counties-humdrum-vinyl-ltd-ed-clear","title":"HOME COUNTIES - HUMDRUM VINYL (SUPER LTD. 'DINKED' *SIGNED* ED. VARIANTS)","description":"\u003ch3\u003eSUPER LIMITED 'DINKED' *SIGNED* EDITION VINYL VARIANTS\u003c\/h3\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eDINKED EDITION STRICTLY 1 PER CUSTOMER!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRelease Date: 24th October 2025\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\"‘Humdrum’ is the new album by East-London sextet, Home Counties. Written in the Summer of 2024, and recorded with Al Doyle of LCD Soundsystem last Autumn, the band’s second album explores themes of fractious communication, quiet resentment, and the spiral of overthinking. 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'DINKED' ED. GATEFOLD VARIANTS)","description":"\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eDINKED EDITION SOLD OUT!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRelease Date: 27th March 2026\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\"In the hands of Courtney Barnett, fragments of everyday life become rich and riveting. A deft lyricist and virtuosic guitarist, she is an emblem of millennial wit and one of Australia’s most successful musical exports. Creature of Habit, Courtney Barnett’s fourth studio album, marks a decisive new chapter in her musical evolution. It’s a bold, emotionally resonant record that explores the central question: how to get out of your own way so you can truly feel your life. Written in the wake of a relocation from Australia to Los Angeles and the closure of her long-running label Milk! Records, Barnett was grappling with changes that put the future of both her life and career in question. Rather than internalizing those feelings, she decided to bring all this swirling confusion directly into the recording process. Based for much of her adult life in Melbourne, Barnett first found critical acclaim with 2013’s The Double EP: A Sea of Split Peas, and broke into the mainstream in 2015 with her debut album, Sometimes I Sit and Think, and Sometimes I Just Sit. Garnering a coveted Best New Artist Grammy nomination and numerous other accolades, the album stands as a generational classic. Barnett followed her debut with 2017’s Lotta Sea Lice , an acclaimed collaborative record with Kurt Vile, and eschewed the vignettes of her early records on 2018’s Tell Me How You Really Feel, her humid, political sophomore record, which featured the Margaret Atwood-invoking single “Nameless, Faceless”. In 2021, she released Things Take Time, Take Time, a remarkable artistic step forward. Now, 5 years later, she’s made the move to Fiction Records and is back with this incredible new record - a brilliant, bold and addictive musical statement.\"\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e0484883 - SUPER LIMITED 'DINKED' NUMBERED EDITION GALAXY BLACK TRANSLUCENT CARAMEL VINYL GATEFOLD + POSTER \u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003e- STRICTLY 1 PER CUSTOMER!\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e0484186 - LIMITED INDIES EDITION 'ANOTHER BEAUTIFUL DAY' CARAMEL VINYL GATEFOLD\u003cbr\u003e\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"SUPER LIMITED 'DINKED' NUMBERED EDITION GALAXY BLACK TRANSLUCENT CARAMEL VINYL GATEFOLD + POSTER - STRICTLY 1 PER CUSTOMER!","offer_id":55423743164792,"sku":"0484883","price":24.99,"currency_code":"GBP","in_stock":false},{"title":"LIMITED INDIES EDITION 'ANOTHER BEAUTIFUL DAY' CARAMEL VINYL GATEFOLD","offer_id":55423743197560,"sku":"0484186","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/COURTNEYBARNETT-CREATUREOFHABITVINYL.jpg?v=1768859739"},{"product_id":"white-denim-13-vinyl-super-ltd-dinked-ed-black-yellow-split-lp-w-signed-hand-numbered-a4-risograph-art-print-bumper-sticker","title":"WHITE DENIM - 13 VINYL (SUPER LTD. ED. VARIANTS)","description":"\u003cp style=\"text-align: center;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eDINKED EDITION NOW SOLD OUT!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRelease Date: 24th April 2026\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\"“I’ve always wanted to make work that’s a reflection of my life experience,” says singer-guitarist James Petralli, leader of venturous L.A.-based rockers White Denim. “The just-below-the-surface significance to ‘13’ as an album title is that I was born on the thirteenth of August. ‘13’ in numerology can signify independence, creativity, and a solid foundation, but inversely is often considered to be unlucky and can signify chaos and misfortune. Like everyone, I can certainly see both sides in my life.” ‘13’ also happens to be the thirteenth album of White Denim’s career. An incandescent, groove-heavy alchemy of rock, funk, dub, soul and down-dirty blues – and plenty more besides – it’s imbued with the same questing spirit that’s been the band’s trademark since first starting in Austin, Texas, some 20 years ago. Petralli’s wide-ranging musical appetites have become more voracious over time. The sounds and textures of ‘13’ are informed by everyone from Scritti Politti to The Gap Band, Terry Reid to King Tubby, Caetano Veloso to John Cale, Stevie Wonder to ‘80s-era Steve Winwood. Such diversity is reflected in multi-faceted gems like “(God Created) Lock And Key”, “Only A Fool” and “That’s Rap”. The seed of the project is rooted in the irresistible “Chew Nails”. “It’s a straightforward glam-rock tune,” says Petralli. “My take on the ‘New York Groove’, which is itself a take on the Bo Diddley beat. It has a big ol’ guitar riff and a singalong chorus. It’s familiar territory for me, yet the vocal is perhaps more forward than most things I’ve done for the band. It’s the song that made me feel like I was definitely making a White Denim album.” The duality of ‘13’ is immediately apparent. The pungent funk-blues of opener “(God Created) Lock And Key” begins with a piece of waggish self-mythology – “On the thirteenth day God created White Denim…” – but soon goes somewhere darker. “This is a Beefheart \/ Sun Ra sort of thing,” Petralli explains. “I hope that it’s a somewhat terrifying, startling, and visceral piece for everyone that hears it. Everything I say in that song is the truth. It's about power, generational cycles of abuse, shame, violence, and survival. The things that we all understand and know and see and push down to get through the day.” Elsewhere, the temperate “Time Time” heads into the kind of soulful, horn-gilded territory that earmarked White Denim’s previous album, 2024’s critically lauded ‘12’. Here, Petralli addresses the roll of the years, creative freedom and the importance of family: “It’s a sort of promise that, as long as I’m alive, I will try to prioritise my wife and children and our relationships above all else.” This is a key theme of ‘13’. “I felt that I had to write about my life and experience as a middle-aged dad trying to do better for a family and make sense of this life through making art,” he adds. A similar sensibility drives the fabulous “Earth To”, a hallucinatory piece of self-reflection that charts Petralli’s journey thus far. Though, as ever with White Denim, it also speaks to the universal. “If you zoom out a little bit, the song is ultimately a sort of takedown of the American dream,” he says. Then there’s “Keep Calling Me (Baby)”, which rides a fine line between dubby calypso and shimmery sunshine-pop. Petralli likens it to “sort of Ace of Base meets Cyndi Lauper meets Roy Orbison in my mind. Nick Lowe’s ‘Jesus Of Cool’ tells me it’s OK to do whatever you want. He gave me permission to do this one.” The song features band members Michael Hunter (keyboards) and Cat Clemons (guitar), alongside original drummer Josh Block, who, having also journeyed west from Texas in recent times, is now Petralli’s neighbour. Block’s presence on ‘13’ - alongside the likes of Matt Young (drums, percussion), Jesse Chandler (clarinet, sax, flute), Kosta Galanoupolis (bass), and Dawes siblings Griffin and Taylor Goldsmith – highlights both the fluid nature of latter-day White Denim and Petralli’s determination to honour the band’s initial directive. Also aboard is fellow original, bassist Steve Terebecki. “I wouldn’t call a project White Denim if it didn't include significant contributions from another founding member of the group,” asserts Petralli. “‘12’ and ‘13’ both feature Josh and Steve in various capacities. I recorded and arranged these last two records for the most part, but I really don’t ever want to be alone. Music has given me a place and purpose in this world. And it’s been the primary way I’ve connected with other people over the years.” ‘13’ proves that Petrali continues to do so. 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It’s about the disorienting loop of joy and dread: feeling safe in love, yet knowing the bubble could burst at any moment; struggling to stay present while global anxiety and private doubt pull you in different directions. A meditation on love, identity, and fragility in an age where the world feels balanced on a knife edge. Since emerging in the early 2010s, British producer, songwriter, and musician James Blake has become one of the most influential artists of his generation. He has earned nine GRAMMY® nominations and two wins, a Mercury Prize, and an Ivor Novello Award, while his groundbreaking blend of electronica, soul, hip-hop, and alternative R\u0026amp;B has shaped the sound of contemporary music. Across six acclaimed albums, including his GRAMMY®-nominated 'Playing Robots Into Heaven', the platinum-selling ‘Overgrown', and the UK Top-5 'Friends That Break Your Heart', Blake has evolved from post-dubstep visionary to globally celebrated vocalist, composer, and producer. 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Written in Brighton and at an artistic residency at The Cornish Bank and recorded at Rockfield Studios and Bristol’s Cotham Parish Church, The New Eve Is Rising takes the four-piece’s untamed melting pot of musical styles - an instinctive, incendiary mix of Patti Smith radical poetry, rock’n’roll recklessness, freak folk experimentalism and plenty more - and somehow turns it into a collection of clarion calls that you can still hum. It’s completely immersive; a whole world to dive into that’s taken on a life of its own. “We’re all adhering to The New Eve entity of the band,” Ella notes. “The band knows what it wants.” Across its nine tracks are references to highwayman’s caves and 12th Century lovers Heloise and Abelard; to krautrock and Swedish cow calls and even lyrics whispered into a bat detector. 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A loose concept record, it chronicles the rise and fall of a doomed zealot whose pursuit of holy vengeance spirals into a psychotic orgy of violence, greed, and lust. It’s dense, turbulent, and charged with blaring Middle Eastern, African and East Asian influences - all scorched into shape by producer Chris Koltay (The Armed, Mdou Moctar). 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The guitars, drums and bass were laid down live in Bristol, over-dubs added and then mixed\/produced by John McBain in Portland. Initially planned as two single albums, (Volumes 1+2) it soon made sense that they should be put together as a double LP. Named in a nod to the Stooges' Raw Power classic 'Your Pretty Face Is Going To Hell', it describes the trajectory we're all on. The Heads are renowned for their brutalist take on psychedelic rock, this new album shows how much they have absorbed from their years of existence, their peers and the world around them. Not much change though, they haven't mellowed out. The pummel is there, the spaced out sike zones are there, there’s wigged out guitar solos that will peel the paint off the walls, there’s even pop songs if you look\/listen hard enough. John McBain has done a grand job in fine tuning the noise and sonic assault. It's hard to draw a direct “for fans of “ list, because ultimately this album is for fans of The Heads. However, you can trace the DNA of this album back to the Stooges, Hawkwind, 13th Floor Elevators, Can, Mudhoney, Monster Magnet, Loop, Spacemen 3, MC5 etc. all squeezed through The Head's heavy sonic blender. A band that only ever existed on the fringes, \"if you're not on the edge, you're taking up too much space''. Life and jobs got in the way a bit but hey, at least that kept it pure. 'One chord, three pedals, six years' was an old mantra of theirs. They've pushed that to 'three chords, double album, 20 years'. Don't expect another. notes from Simon Price about the album........ The lyrics reflect a despair at what we, the human race, has done, is doing and will do. Not only to ourselves and to each other but also to the delicate balance of our ecosystems, Gaia, Mother Earth. The creatures and critters really don't deserve us. But it seems it's so much easier to kill than to create. We're crap custodians, quick to destroy habitats and homes rather than to nurture our inter-connected futures. Playing loud guitars, creating beautiful noise, gives us release, escape from the mundanities of life. Screaming into the void. Know that doesn't really help much but it's better than nothing. your pretty place is going to hell, Raw Power from a lost age of comparative innocence. 'what've we done? Made it for nothing? The race was won but can't stop the rushing?' The money machine chews it all up,spitting out diminishing returns, ever increasing pain and poisoning our planetary home. 'So many lives in concrete hives' This is progress? We've lost our connections to the 'Vast One', forgotten that we are a part of the greatest whole. 'Chopping it down, delicate balance.' if only plastic would rust Music allows us to vent some frustrations of powerlessness, confusion, anger, of living in a world run by egotistical greedy old men. 'Cos it's always been this way' Does it have to be this way? is this it? really? we, humanity, are the plague that will choke our planet, the only animal that kills for fun.'The only hope is in the trees, bullets fly but no bees' in 5000 years, a flicker of a candle in space's eternity, we have managed to go from \u003cspan style=\"text-decoration: underline;\"\u003ecaves\u003c\/span\u003e to the moon and yet seemingly get nowhere. Everybody knows we got nowhere. Animals adapt or die, only we haven't\/can't adapt to our environment, still gathering in excess and hunting wealth to the detriment of all else. 'The earth\/the planet, the future is gold\/sold' yourprettyplaceisgoingtohell Wars rage endlessly, driven by vain ancients, warped realities, climate collapse, greed and desperation. The innocents are at best ignored, at worst destroyed. It's not all doom, gloom and pessimistic rantings; shyness, love and loss are also covered. We know everything and yet have seemingly learnt nothing. snafu 'the less you know, the more that you say' there's a 'post truth' media slop overload, AI can only speed the descent, junked up food for primitive brains. wanna just shut out the noise, so we plug in, bang the drums, hit the fuzz Apparently we want to go to Mars and beyond but cannot see what we've already got, heaven in a wild flower. Not to worry, we're fucked, but, hey, we've got enough distractions, such as making this album, so we can ignore that iceberg dead ahead. yourprettyplaceisgoingtohell pre-apocalypse blues of rhythmic fuzz and acid rock. 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Off the back of singer Tiernan Banks' solo debut album 'The Ribbon Songs' last year, deathcrash has grown louder and prouder to use Banks' beautiful vocals more frequently and front-and-centre. They have become more comfortable with wearing their influences on their sleeve and incorporating bigger emo and indie-rock elements into their slowcore \u0026amp; post-rock sound. The results have us doing somersaults!\u003c\/h3\u003e\n\u003ch3\u003eFor Fans Of: Mogwai, The American Analog Set, Slint, Duster\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\"deathcrash’s third album, Somersaults, glimmers with an everyday euphoria. The London-based slowcore\/ post-rock quartet has always had an affinity for building worlds only to crush them. From their breakout EP, People thought my windows were stars (2021), through two critically acclaimed studio albums, Return (2022) and Less (2023), they have been both the architects and the destroyers, the creationists and the ones manning the flood barrier. But, recorded between Black Box Studio in the Loire Valley and Haggerston’s Holy Mountain, Somersaults is almost joyful. Its ten tracks are more vocal heavy than any of the band’s catalogue – think Mark Linkous via The Kinks – but lyrically, Somersaults resists revelation. For all its abrasion, phrases appear half-swallowed, broken off at the edge of meaning, consumed by the smaller textures of living. “Thirty, no career, it fucking worries me \/ And doing the band doesn’t help,” Banks sings in ‘NYC’. 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The Belfast group could comfortably power an underground warehouse party after-dark, incite a mid-day festival mosh-pit, or shake an arena on any given evening. Their power has seamlessly translated to the stage with the group packing venues and delivering alternately sweaty and electrifying performances to a growing rabid fan base. As a group, they've sold out shows across the UK, EU and USA, notched festival performances such as Glastonbury, SXSW, BBK, Trans Musicals and more across 11 countries and were handpicked to tour alongside IDLES and Fontaines D.C.. Coming from dissimilar backgrounds and rallying together naturally, Ben and Ross first crossed paths in film school. As the story goes, Ben had noticed a framed poster of Dublin disruptors Gilla Band in one of Ross’s Instagram photos and felt a kinship before ever actually speaking to him. “Nobody else at our school was into experimental noise guitar bands, so that was all I needed to see,” laughs Ben. Emerging in 2022, Chalk initially made waves with songs like “Them,” “Velodrome,” and “Static.” In 2025, the guys hit the studio in Donegal with producer and longtime creative cohort Chris W Ryan to bring Crystalpunk to life. Documenting youth and living fully in their process allowed the band to create their most immersive piece to date. Ultimately, they come-of-age and tell a story that resonates beyond borders. Not just a portrait of the band, but one of their home, a complicated place where the sacrifices made and risks taken by activists, artists, ravers and punks created the only environment that a band like Chalk could emerge from. 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Mapping out a new form of spectral dub, the sound is deliberately immersive, introverted, and yes, definitely implosive. In pursuit of heavy lids, blurred vision, and merciless bass bin punishment, it’s one part meditation, two parts low-end theory, and essentially a confession of devoted sound system addiction. As expected from a tag team featuring British soundlab explorer and 'London Zoo' composer Kevin Martin, aka The Bug, and Michael Fiedler, aka Jah Schulz—a long-time graduate of Germany's new school of sound system reggae culture—the duo approaches their target differently yet share the goal of keeping their sound \"raw\" (Fiedler) and \"brutally minimal\" (Martin). This proves that opposites can attract, even if their tools are different and their methods sometimes diverge. From such a disparate combo, hailing from different geographical and aesthetic backgrounds, contrasts are certainly on display, even within each artist's own contributions. From the melancholia and transcendence of 'Alien Virus (West Indian Centre, Leeds),' to the duality of ascension and descension on 'Hope,' or the Sunn 0))) in dub, visceral drone of 'Dread (The End, London),' to the tripped-out repetitions of 'Midnight,' which reinvents Chain Reaction for post-millennials, the result is both sacred and narcotic. Each track illuminates the emotional impact and atmospheric pressure being explored across this deceptively sparse album—a mastery of tone and texture. This collection might be as reduced, minimal, and deep as The Bug has ever gone, perhaps echoing the solemnity of his recent Kevin Richard Martin Black release and invoking the futurist steppas self-pioneered on his previous Pressure album. Alternatively, Fiedler‘s Ghost Dubs project ventures into his most heavyweight direction yet, which is no mean feat considering his previous, the critically acclaimed album Damaged, was a monstrously massive triumph of analogue weight and enviable sound design. Implosion is ice-cool, a stark contrast to the warmth and sociability of traditional Jamaican roots and the current trends in digi-dub. Instead, the mood is soaked in tension and intense dread, finding an unexpected melting point where classic dub's stark rhythm attack, isolationist ambience's eerie drift, dub techno's floatation strategies, and even the relentless riffs of doom metal collide. As the bass-obsessed pair drop what is arguably the heaviest ambient dub album to emerge from any electronic sector—a moody counterpoint to The Orb's fluffy clouds, etc, Martin has cited The Roots Radics, Black Jade, and On U Sound's Pounding System as heavily influencing his approach to the album, while Fiedler has expressed his admiration for Adrian Sherwood's productions and Rhythm \u0026amp; Sound's enchanting soundscape. Yet, the super heavyweight pulsations, emotive resonances, and bone-rattling vibrations detonated here effortlessly go far beyond these influences. Shadowy and elusive, there’s a mysteriousness at this record's core. A haunting moodiness oscillating between nostalgia and future shock. Despite the deadly fixation with SLOW and HEAVY, the album maintains a totally hypnotic swing throughout. Implosion and its lead single 'Imploded Versions' are testaments to being enveloped in bass, seduced by bass, submerged in bass, and utterly crushed by bass, as The Bug and Ghost Dubs seek to craft a new form of dub for zonal headz and Babylon seekers. Mastered by Stefan Betke (a.k.a. POLE) at Scape Mastering studio, this record is heavy as f-ck without resorting to continuous distortion. It’s low-end worship taken to an absolute extreme, yet remains highly listenable and definitely danceable, albeit at the slowest of paces. Sacred and narcotic, this is low-end worship amplified to the max. Dive in if you dare.\"\u003c\/p\u003e\n\u003cp\u003ePRESH027LPX\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"Default Title","offer_id":55438213382520,"sku":"PRESH027LPX","price":34.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/THEBUGvsGHOSTDUBS-IMPLOSIONvinyl_34897493-8657-4873-8eff-118e102ab01f.webp?v=1769987030"},{"product_id":"mildred-fenceline-vinyl-super-ltd-dinked-ed-ups-brown-lp-w-signed-numbered-poster-poster-w-postcard-origami-van-maze-horoscope-embedded","title":"mildred - FENCELINE VINYL (SUPER LTD. 'DINKED' ED. *SIGNED* VARIANTS)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eDINKED EDITION STRICTLY 1 PER CUSTOMER!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRelease Date: 24th April 2026\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\"Mildred is a band from Oakland, CA of four equal parts. They don’t have a lead singer, no one person writes the songs. The songs that make up their debut album Fenceline come together as a group with their genesis sprouting from any one of their members each time. This isn’t a case of Henry (vocals, guitar), Jack (vocals, guitar), Matt (vocals, bass, woodwinds) or Will (drums, production) sauntering in and slapping their latest offering down on the table to be fleshed out as they see it in their mind though. Mildred have a quieter, sweeter process. The songs are often wrestled from the lead writer by the other three, a lyric might have been mumbled absentmindedly for a few days before one of the other three grabs at it, forcing the lead writer to focus on something great they had come up with without really noticing. If you ask any Mildred member what their favourite part of Fenceline is, it will never be something they wrote. If you pin them down and ask them what their favourite part of something they did write was, it will always be something somebody else added to it. This is what makes Mildred - in many ways a classic four piece - so special. This wonderfully easy bond between four friends just hanging out and writing songs is so palpable it’s intoxicating. Summed up neatly by Clash Magazine saying, “imagine if Pavement went Americana and you’d be close”, Mildred make music that is pure and poetic, gently addictive and never overwrought. They describe the creation of the band as being born from “deciding that playing\/talking about\/thinking about music together is fun and something we want to structure our lives around as best we can”. Mildred is a vehicle for these four people to continue to spend time in each other’s company, encouraging whatever phrase one of them might have been humming to be explored as fully as possible, nurtured into something tangible. Most bands are formed so they can get out of whatever diy space they start out playing in, Mildred was formed so they can spend more time there. The space in question for Mildred is a house. The Ward St. house in Berkeley to be exact, already a landmark in Mildred lore. When Fenceline began taking shape Henry, Jack, Matt, and occasionally Will were living there together; Matt hunkered in an “extra-legal” room in the attic where he bathed on his knees and Henry and Will would have to stoop to visit. Jack and Henry shared a wall in adjacent shoeboxes on the middle floor, Henry staring directly out at an old walnut tree they nicknamed Walter. Will was away studying in the desert but would stay whenever he was in town. While living on Ward St. they would write songs in the porous space between the kitchen and the living room after dinner, before they even knew they were a band. A drum set, guitars, and Matt’s woodwinds were always strewn about. After that they would go up to the roof - beautifully painted by Jack for the cover of Fenceline -, Jones the cat often creeping up the stairs curiously behind, and talk the songs over some more, or just continue hanging out, talking about whatever. (The Mildred core belief system goes as follows: “talking about the weather is a legitimate and profound form of human discourse and exchange. So is talking about grocery stores and produce prices. Front lawns are too tidy, let them grow. Free associating is one of life's great pleasures. We believe in the reality of pathetic fallacy. The crunch wrap supreme is the pinnacle of modernity.”). This is what makes the songs on Fenceline hang together, naturally, as roommates do. These four people are very different in many ways. Jack is a PHD student, often working underground, studying the atom beyond any conceivable point. Will is an environmental lawyer. Matt is an architect, a job he took up properly after a year in a Benedictine monastery. Henry works in affordable housing, helps his dad grow beans, and plays a lot of basketball. The lyrics for their songs are written largely alone and often draw from their own individual lives and experiences but there’s a shared something there. “It makes sense when common threads emerge” they say, “because we do things together a lot as friends: cook, laze about on a weekend, listen to an album, go walkabout, read, go see movies etc. People will tell us after seeing us live that we’re, “like… a real band.” There’s maybe a shared rhythm and camaraderie in our lives that comes through in the music.” That shared something takes many forms; flaming pinecones floating down the river, scattered papers and dog-eared books, exhausting party conversation and Irish goodbyes, leaves the colour of UPS trucks. Songs often take place across whole days: long days working at Henry’s aunt and uncle’s farm, an afternoon down in San Francisco on the day the sailors come in and booze all day in their cracker-jack uniforms, one of those youthful afternoons that seemed to stretch forever. Others stem from a shared love of a good reference; breadcrumbs dropped from old favourite books, songs and poems, or Matt’s favourite little red book on architecture, waiting to be found by those who love to go over lyrics with a fine-toothed comb. Strikingly literal or intriguingly oblique, Mildred have a remarkable way with lyrics that lodge themselves in your head softly but with such determination that they begin to feel like shimmering memories from your own life. Fenceline is a collection of songs that you want to hold close and delve into, and yet play to everyone you know. While the lyrics were largely written in and around the Ward St. house, the fleshing out of the songs had to take place elsewhere. The house was owned by septuagenarian slumlord Suzanne, along with 17 others in various states of decay across Oakland. “She drove around in a BMW, with red lipstick smeared on and beyond her lips, and thick black sunglasses” the band recall, “one time she made our friend get down on his knees on the curb and bend over to sign his lease on the passenger seat.” When the band called her one day to let her know that the makeshift sauna they had built in the backyard had gone up in flames and set fire to Walter the tree, she didn’t even call them back. That kind of landlord. Suzanne eventually did catch wind of Matt’s secret bedroom though and that was enough to stir her into action. She called them “matricidal felonious degenerates” and asked if they would inflict such horrors on their own mothers, threatening to lock them out in the next 24 hours. They managed to stay until the end of the month, but Ward St. was no more. Fleshing out the songs written in Ward St. was therefore largely done in Matt’s new abode. He moved in with a handsome but fragile 97-year-old ex-lawyer\/taxi driver who likes to chat about baseball and has a sizable garage. He didn’t mind the band setting up there in the evenings and they would power up a bunch of big stage lights Matt found in a dumpster and play. “They make the room feel atmospheric in a way that borders on over-the-top corny\/comical” Mildred say, “often when the lights come out is when our practices devolve into heinous nonsense:bad spoken word, screaming, impersonations etc.” In amongst this heinous nonsense the songs took on their final forms, a lot of that atmosphere creeping into their makeup. Mildred’s songs have a magic that makes them feel like they were purposely written for whatever time of day or time of year you’re listening to them in, maybe a result of this liminal space where they were finalised, maybe just the sign of great songs. For recording, the band took a week off work and decamped to Luke Temple’s studio in Pasadena, having all been carried through the pandemic by his 2019 album Both-And. Thrilled by the prospect of a full week of just playing music together rather than squeezing in around work, they recorded live together in the room, the only way they know how. The sound that emerged is warm and organic rather than polished or ‘perfect’. Mildred slip effortlessly into grooves and perfect harmonies on songs like ‘Charlie’, ‘Fenceline’ and the extended rolling free association of ‘Mumblecore Melody’ while on the like of ‘Cobwebs’ with its racing pulse and distant, roomy vocals or closer ‘Hardcore of Beauty’ which tumbles from steady drum-machine languor into yelping, shouting crescendo, you can hear the thrill of more left-field ideas taking shape live in the room. When the recording week had finished, only one song didn’t feel quite right, ‘Fish Sticks’. Ahead of Fenceline, Mildred have just released their debut twin EPs mild and red, a collection of songs impossible not to play over and over in a startling way considering they were created before Mildred even knew they were a band, with no thoughts beyond just messing around back in Ward St. Arriving purposefully on the scene in that gentle, approachable Mildred way, the EPs picked up support from The Guardian, The Line of Best Fit, DIY, Uncut, The New Cue, Clash, Brooklyn Vegan and more. In amongst the release, they also played made their debut on UK shores with a headline show at The Windmill in Brixton (during which they took a blackout well in their stride with some rip-roaring acapella fun), as well as playing at London’s The Shacklewell Arms and Bristol’s The Louisiana. While in Bristol with a free afternoon, Mildred took ‘Fish Sticks’ to a friend, Jack Ogborne aka Bingo Fury (The Cindys, Naima Bock), to give it another go in his studio in the basement of a centuries-old pub across the street from what used to be a prison, with a secret passageway connecting the two. It’s not easy to tell that ‘Fish Sticks’ has a very different recording setup as it settles so comfortably in with the rest of Fenceline; but the change of scenery gave it new life and a final product - an endlessly repayable distillation of the Mildred sound with a central guitar line for the ages and irresistible harmonies - that they all liked so much it became the lead single. A bit of tinkering, overdubs and a beautifully cohesive final mix from Will followed by mastering from GRAMMY nominee Jason Mitchell, and Fenceline was finished. The title track, and album title, in part stems from long drives (Mildred’s music is perfect for long drives). In the US you can’t drive anywhere for any length of time without seeing an ‘Adopt-a-Highway’ sign. “It’s some sort of state program whereby businesses\/individuals sign up to clean a portion of a highway a couple times a year in return for roadside advertisement” Henry explains, “I had the line “I’m adopting a highway... just to try things my way” and then an image of a narrator “adopting” a stretch of highway, not out of civic duty, but as a petty way to remain in someone’s mind, knowing they’ll have to drive past the signs over and over again”. This is a perfect example of the kind of songwriting that makes Mildred already feel timeless. Ordinary - everyday, even - objects from daily life looked at in such a way as to change the way you see them forever. Songs dance back and forth over the line between crystal clear snapshots of the real world and hazy poetic embellishment, to create a dream-like version of life that is both intensely relatable and tantalizingly out of reach. It’s hard to put your finger on exactly what it is about this band that makes the atmosphere they conjure so enticing but it’s impossible to step away from.\"\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eMODD03LPX - SUPER LIMITED 'DINKED' EDITION 'UPS' BROWN VINYL W\/ *SIGNED* \u0026amp; NUMBERED POSTER + POSTER W\/ POSTCARD ORIGAMI VAN MAZE \u0026amp; HOROSCOPE EMBEDDED - \u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eDINKED EDITION STRICTLY 1 PER CUSTOMER!\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eMODD03LP - BLACK VINYL\u003cbr\u003e\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"SUPER LIMITED 'DINKED' EDITION 'UPS' BROWN VINYL w\/ *SIGNED* \u0026 NUMBERED POSTER + POSTER w\/ POSTCARD ORIGAMI VAN MAZE \u0026 HOROSCOPE EMBEDDED  - STRICTLY 1 PER CUSTOMER!","offer_id":55439369699704,"sku":"MODD03LPX","price":27.99,"currency_code":"GBP","in_stock":false},{"title":"BLACK VINYL","offer_id":55439369732472,"sku":"MODD03LP","price":25.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/MILDRED-FENCELINEVINYL.jpg?v=1770053195"},{"product_id":"punchbag-i-am-obsessed-and-i-am-not-your-punchbag-vinyl-super-ltd-dinked-ed-transparent-yellow-lp-w-signed-numbered-a5-insert-temporary-tattoo","title":"PUNCHBAG - I AM OBSESSED AND I AM NOT YOUR PUNCHBAG VINYL (SUPER LTD. 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Clara’s lyrics frame fixation as bodily and inescapable, from dirt under fingernails to crumbs in bedsheets and thoughts that won’t leave your chest. \"It's about being completely obsessed with something or someone, but not in a cute way, more in a 'your whole body is under attack' kinda way. It's sort of disordered, chaotic, overwhelming,\" Clara explains. The new single follows July 2025 release ‘I Love This!’ (also set to feature on the EP) – a wide-eyed surge of feeling that reinforced PUNCHBAG’s instinct for pairing pop immediacy with emotional overload. Speaking more on their upcoming second EP, the band said: \"If our first EP was a selfie, these new songs are like zooming in and thinking, 'fucking hell my pores look huge'. This EP is turning up the contrast on everyday life, rinsing the disgusting dish towel so far that all the gunk comes out. It’s pushing PUNCHBAG’s sonic world even further, into a grander landscape, and dramatising the everyday more than ever before.\" With each release, Clara and Anders continue to push their instincts further, tightening their sound and leaning harder into the extremes that define it - all part of a wider mission to distil the most intense, concentrated version of who they are as artists. That intensity spills directly into their live shows, where the duo’s sibling chemistry and unfiltered energy have earned a reputation for turning rooms into something closer to group therapy than a gig - a visceral, communal thrill and a celebration of feeling too much, all at once.\"\u003c\/p\u003e\n\u003cp\u003eNERD07\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"Default Title","offer_id":55440818274680,"sku":"NERD07","price":20.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/PUNCHBAG-IAMOBSESSEDANDIAMNOTYOURPUNCHBAGvinyl.jpg?v=1770148899"},{"product_id":"ladylike-its-a-pleasure-of-mine-to-know-youre-fine-vinyl-super-ltd-dinked-ed-milky-clear-lp-w-signed-numbered-a5-debossed-dinked-insert-pocket-sized-linen-art-print","title":"ladylike - IT'S A PLEASURE OF MINE, TO KNOW YOU'RE FINE VINYL (SUPER LTD. 'DINKED' ED. 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The quartet — Georgia Butler (vocals, guitar), Spencer Withey (vocals, guitar, synth), James Ely (drums), and Archie Sagers (six-string bass) serve their folk rare: raw and pastoral, but with a side of textural, atmospheric builds directly wired into the tensions of the modern world. It’s a formula that has gained them slots at Green Man; Left Of The Dial; The Great Escape; and Dot To Dot, plus support slots with Ugly, Mary in the Junkyard and Lime Garden. After soft-launching the idea of starting a project together at End of the Road, the band’s initial practices took place in a recital room on a brutalist university campus. A setting that, on the surface, is wildly at odds with the rural authenticity of their sound. Pause and look, however, and the campus may have seeped its way into the architectural structures of their songs, with an emphasis on functionality, honesty, and the incorporation of rougher textures and exposed materials. The alchemy lies in the band’s ability to marry those spaces, and when raw elements meet modernity, they absolutely soar. The band’s forthcoming debut EP was recorded with producer Ali Chant (Aldous Harding, Perfume Genius, PJ Harvey). It captures the quiet urgency that has always been ladylike’s hallmark. Across four tracks, they explore cycles renewal, and the beauty of persistence, finding poetry in English idioms and the banality of the mundane.\"\u003c\/p\u003e\n\u003cp\u003eNERD08\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"Default Title","offer_id":55448494408056,"sku":"NERD08","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/ladylike_-_IT_S_A_PLEASURE_OF_MINE_TO_KNOW_YOU_RE_FINE_vinyl.jpg?v=1770716895"},{"product_id":"life-abstract-natural-vinyl-super-ltd-dinked-ed-blue-green-yellow-splatter-lp-w-alt-artwork-band-photograph-art-print","title":"LIFE - ABSTRACT \/ NATURAL VINYL (SUPER LTD. 'DINKED' ED. VARIANTS)","description":"\u003cp style=\"text-align: center;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eDINKED EDITION IS STRICTLY 1 PER CUSTOMER!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRelease Date: 19th June 2026\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\"Proudly independent and deeply rooted in community, LIFE are a tightly-bonded collective whose creative world has always extended far beyond their music. On ABSTRACT \/ NATURAL, that world expands further still. Lead single ‘The Dollywaggon’ stands as a compelling entry point to the record as a whole. Built on razor-sharp guitars, swirling synths and lightning-quick, surgically precise drumming, the track finds frontman Mez Sanders-Green delivering near stream-of-consciousness reflections from a protagonist caught between escape and self-reckoning (“I never wanted to leave myself, but I’m leaving now”), and driven by a restless sense of adventure: “the placard reads right to roam, and the boy is roaming”. Written while Mez was walking the 193-mile UK coast-to-coast route, the song traces a physical and emotional journey from the West Coast, over the Lake District and Yorkshire Dales, across the moors and finally home to the East Coast. That sense of movement runs throughout ABSTRACT \/ NATURAL. Characters rooted in folklore and landscape sit alongside reflections on fatherhood, freedom and personal evolution, forming a body of work that feels both intimate and outward-looking. The album began life not in a rehearsal room, but on the pages of a poetry book frontman Mez has been writing; a collection of musings on landscape, nature, love, acceptance and letting go. Hearing melodies embedded in his words, Mez began presenting fragments to the band as “wonky lullabies”, turning hills, ridges and landmarks into characters: Hen Comb, Pavey Arc, Sergeant Man, The Grey Friar and The Dollywaggon. From there, bandmates Stewart Baxter, Lydia Palmeira and Mick Sanders shaped the music around these narratives, instinctively weaving them into vivid arrangements that collectively present a fully-realised universe. Produced by Stewart Baxter and Oliver Varga, mixed by James Kenosha and mastered by Stephen Kerrison, ABSTRACT \/ NATURAL was recorded at LIFE’s own studio in Hull (The Moon Factory); a space the band built themselves on the banks of the river and now run as a creative hub for emerging Northern artists. The result is LIFE’s most expansive and experimental work to date: story-rich, exploratory and beautifully rooted in a sense of place. 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'DINKED' ED. VARIANTS)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eDINKED EDITION SOLD OUT!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRelease Date: 1st May 2026\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\"White Flowers, the long-running collaboration between Joey Cobb and Katie Drew, exists within what they call “the realm” – a shared creative space, wherein time, rather than being a restrictive force, is fluid and boundless, and music exists as an endless conversation with their past and present selves. Adopting what the band describe as a “sketchbook” approach to writing, White Flowers is the product of a decade’s worth of recordings - snippets nestled away on hard drives, only to truly make sense years later. On Dreams For Somebody Else, the band expand upon the dark-hued dream pop of their debut, this time channelling the catharsis of dance music via repetitive structures and “sad, euphoric sounds”: a mosaic of soaring choruses swirl around imposing arrays of synths, guitars, and percussion. Drawing inspiration from Annie Ernaux’s The Years, the album delves into themes of isolation, dissociation and identity. “The album has that same feeling of disassociating from your own life, because you’re just blending into everyone else”, the band explains. “There’s a sadness there, because it’s as if you’re looking back on things that happened to you, and they feel like they don’t belong to you anymore”. It’s the dull ache of nostalgia intertwined with a sense of wonder at what could lie ahead - the hopeful optimism and endless loss that defines the human experience. “It’s this idea of identity not being a fixed thing, but something that’s always changing. It’s a fluid thing, similar to time. Things aren’t really fixed, but rather in a constant state of change. It’s important to remember that we’re all going through that.”.\"\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eCON1021LP - BLACK VINYL W\/ ROUNDED SLEEVE\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eCON1021LPD - SUPER LIMITED 'DINKED' NUMBERED EDITION TRANSPARENT VINYL W\/ ALTERNATIVE ROUNDED SLEEVE + A6 DREAM DIARY + BONUS CD - \u003cstrong\u003eSTRICTLY 1 PER CUSTOMER!\u003c\/strong\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"BLACK VINYL W\/ ROUNDED SLEEVE","offer_id":55456022528376,"sku":"CON1021LP","price":26.99,"currency_code":"GBP","in_stock":true},{"title":"SUPER LIMITED 'DINKED' NUMBERED EDITION TRANSPARENT VINYL W\/ ALTERNATIVE ROUNDED SLEEVE + A6 DREAM DIARY + BONUS CD - STRICTLY 1 PER CUSTOMER!","offer_id":55456022495608,"sku":"CON1021LPD","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/WHITEFLOWERS-DREAMSFORSOMEBODYELSEvinyl.jpg?v=1771348587"},{"product_id":"hannah-peel-beibei-wang-the-endless-dance-vinyl-super-ltd-dinked-ed-orange-marble-signed-numbered-art-print-sticker-sheet","title":"HANNAH PEEL \u0026 BEIBEI WANG - THE ENDLESS DANCE VINYL (SUPER LTD. 'DINKED' ED. ORANGE MARBLE + *SIGNED* NUMBERED ART PRINT \u0026 STICKER SHEET)","description":"\u003cp\u003eRelease Date: 22nd May 2026\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\"The Endless Dance is the first collaborative album from Northern Irish producer and composer Hannah Peel and Chinese percussionist Beibei Wang. The record is grounded in the strength of ancient concepts, but comes alive with the joy and freedom of play as together, Peel and Wang travel through the 24 solar terms of the Chinese calendar with a cornucopia of sound in tow – synths and prepared piano alongside traditional and unconventional percussion. Both genre-defying, storied artists in their own right, Peel and Wang met while working on Manchester Collective’s 2023 album NEON. Wang was struck by Peel’s titular composition; a speculative portrait of the noise and lights of Tokyo’s Shinjuku district. Peel’s uncanny ability to evoke the atmosphere of a city she had never been to led the pair to collaborate on a series of performances, beginning with a fully improvised show at Kings Place in London, June 2023. They immediately began to map out a new, imagined space through sound. “In our heads, it was a place that neither of us had been to,” explains Peel. Perhaps this is somewhere no-one has been to before. “We wanted to create a different type of world through imagination,” she adds. The artistic freedom and chemistry of these performances led to The Endless Dance, something of a permanent record of their shared musical landscape, informed by the flora and fauna that emerge and retreat through the seasons. The album is collaged together from recordings made over five days at legendary rural studio Real World, a setting which aligned with the duo’s inspiration from the natural world. With their intentions set and shared musical language already established, Peel and Wang created sounds without self-consciousness, locking into tones and rhythms that felt fun and energetic. Opening track ‘Wild Geese Arrive’ is based around a marimba warm-up that Wang didn’t even know was being recorded. The interweaving polyrhythms of ‘Tiger Sex’ are joined by a sample of Peel’s echoing voice encouraging Wang to keep going. Even Peel’s hiccups were recorded and sampled on ‘Wild Geese Arrive’. Peel and Wang were encouraged to utilise these humorous, human moments by producer Mike Lindsay [LUMP, Tunng, Guy Garvey, Jon Hopkins] who brought a new level of energy and creativity to the record as he was given free rein to try out ideas. “Mike loves elements that are nuanced, like breath or the noises in a room,” says Peel, who highlights Lindsay's organic sensibility towards the work. “It was important to find a producer who could pull together something human and connected, that you could dance to, or you could put on while traveling to new destinations.” Peel used a Prophet-6 synth for arpeggiated and chordal synth patterns, a Lyra-8 for oscillating delays, a Moog Sound Studio Trio for beats and pulses and screws placed in between strings of a grand piano. Wang echoed the varying timbres of Peel’s electronics using her suite of traditional Chinese instruments – from water percussion to temple bells – alongside some unusual additions, like rice bowls from her kitchen and even a jawbone instrument, which can be heard on ‘Mantis vs. Horse’. On ‘Awaken The Insects’, Wang’s voice is a key percussive element, rapping in a rhythmic duet with bamboo clappers called Kuai Ban (快板). She sounds angry and defiant, but she’s actually reciting a tongue-twister she learnt as a child. “As soon as I showed it to my Chinese friends, they could not stop laughing,” says Wang. “It's just so silly, and I didn’t know I could do it.” Tongue twisters have a long tradition in Chinese comedic and performing arts (曲艺), and both artists credit this strong sense of play to the supportive relief of working with a fellow female artist, free of the competitive expectations of patriarchy. The Endless Dance certainly represents a step-change from the duo’s shared classical backgrounds – but their knowledge and training is also the foundation of its freewheeling audacity, giving them the confidence to trust their instincts. In the music’s instrumentation and form, they drew from Wang’s training in both Chinese and Western musical systems. “The Western world has an orchestral system, but in ancient China instruments were categorised by the material they're made out of: metal, earth, skin, bamboo, very connected to nature,” she explains. “The West has a 12-note system, but Chinese scales are ongoing, so it’s one but also infinite notes. We were influenced by these two sound systems and how the cultures behind them blend together.” On the languid ‘Limit of Heat’, bending synth tones and bubbling water percussion meander freely, juxtaposed with the grounding notes of a grand piano. The duo are joined by Hyelim Kim on Daegeum, a Korean flute with “colourful overtones on every note”. The sessions were also rooted in the ancient Chinese philosophy of Taoism, which emphasises the importance of harmony and intuition. “We appreciate and value what we're doing in the moment – this is very Taoism,” says Wang. “We don't worry about the result, we don't stress about so much preparation. We don't resolve the chords; we let them go on and on, letting them flow, and letting nature guide us.” This state is embodied in the free-flowing movements of ‘Mantis vs Horse’, a supremely danceable melee of clip-clopping percussion and arpeggiated synth that grows and develops with organic wonder; and on ‘Thunder Begins to Soften’, a relaxed rumble of beats and wobbling notes – the sound of organisms powering down and conserving energy so they can start up again. As with the Chinese calendar, The Endless Dance is intended as a never-ending cycle of sound, in tune with the rhythms of nature and human life. The duo see their different cultural perspectives as a strength. Track to track, The Endless Dance is unpredictable and unexpected, which is in part due to the genuine curiosity and outside perspectives that each player brought to the sessions. “I am so familiar with Chinese heritage, but I don't see how it can present in electronics, for instance,” says Wang. “Hannah comes in with that direction, to imagine what the sounds could be together.” The characterful richness of the album stems from the commonalities they found in the sessions. “We both come from cultures where story is really important,” explains Peel. “The attention to detail comes from telling a story, and one note can set that off in a different direction.” The Endless Dance is a major work from two accomplished, singular artists – but it’s also the sound of mutual curiosity and shared fun, or as Wang puts it: “Two women talking in totally different languages that had a wonderful chat.”.\"\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eLPRW269D - SUPER LIMITED 'DINKED' EDITION ORANGE MARBLE VINYL + *SIGNED* NUMBERED ART PRINT \u0026amp; STICKER SHEET \u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003e- DINKED EDITION STRICTLY 1 PER CUSTOMER!\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eLPRW269 - LIMITED EDITION LIGHT BLUE VINYL\u003cbr\u003e\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"SUPER LIMITED 'DINKED' EDITION ORANGE MARBLE VINYL + *SIGNED* NUMBERED ART PRINT \u0026 STICKER SHEET","offer_id":55474470158712,"sku":"LPRW269D","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"LIMITED EDITION LIGHT BLUE VINYL","offer_id":55474470191480,"sku":"LPRW269","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/HANNAH_PEEL_BEIBEI_WANG_-_THE_ENDLESS_DANCE_VINYL.jpg?v=1771979533"},{"product_id":"hayley-williams-ego-death-at-a-bachelorette-party-vinyl-super-ltd-dinked-hand-numbered-ed-light-blue-swirl-vasalisa-2lp-w-alt-artwork-gatefold-a3-poster","title":"HAYLEY WILLIAMS - EGO DEATH AT A BACHELORETTE PARTY VINYL (SUPER LTD. 'DINKED' HAND-NUMBERED ED. LIGHT BLUE SWIRL 'VASALISA' 2LP GATEFOLD W\/ ALT. ARTWORK + A3 POSTER)","description":"\u003ch3\u003eLIMITED 'DINKED' HAND-NUMBERED EDITION LIGHT BLUE SWIRL 'VASALISA' 2LP VINYL GATEFOLD W\/ ALTERNATIVE ARTWORK + A3 POSTER\u003c\/h3\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eDINKED EDITION STRICTLY 1 PER CUSTOMER!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRelease Date: 22nd May 2026\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\"Released on 7th November 2025 - Ego Death At A Bachelorette Party was a standout album last year and puts Hayley Williams’ full range on display. “Mirtazapine” is a late-’90s alt-rock love letter to antidepressants, while on “Glum,” she subverts her own voice - using vocal presets to striking effect as the track meditates on loneliness. Other standouts include “Whim,” an easy Americana earworm with a songwriting backbone that nods to her Nashville roots, and “Ice in My OJ,” a thoroughly modern track that pairs sharp production with some of Williams’ most biting and humorous lyrics to date. Long-time Paramore fans may quickly recognize the “Ice In My OJ” chorus, as it was first sung by Williams in 2004 on “Jumping Inside” by the Mammoth City Messengers. But perhaps all of her talents converge most impactfully on the album’s only previously unreleased track, “Parachute.” It’s a reminder of Williams ability to strike right at the heart, with not only her confessional lyrics, but her unmatched delivery. The album captures all the dynamism Williams has shown throughout her career and collaborations. At its core, these songs are the work of a supremely gifted artist with a voracious, genre-defying appetite for music and creative exploration. These songs come as the third batch of work released from Williams as a solo artist. The COVID-era saw her release two extraordinary albums – 2020’s Petals For Armor and 2021’s Flowers for Vases. Both albums were gorgeous and stark meditations on loss and offered up a contrast to the high-energy and up-tempo muscle she displays in Paramore. “The record—epitomizing vulnerability and transformative growth—reveals a more mature and introspective side of Williams,” said Pitchfork of Petals, and went on to say of Flowers “her voice is undoubtedly the standout feature… husky and gentle, dangerous yet warm,” and explained that the minimal production “makes this a purposeful reset.” Hayley Williams is a 3x GRAMMY winning singer, songwriter and musician best known for her role as the frontperson of legendary rock band Paramore. With her incredible range and delivery, Billboard ranked her at #13 on their list of 50 Greatest Rock Singers of All Times saying, “when it comes to singers in contemporary rock, Hayley Williams reigns supreme.” Frequently listed as a source of inspiration from contemporary performers as varied as Chappell Roan, Doechii and Billie Eilish – she’s also appeared on a wide variety of albums and singles as a collaborator and guest vocalist including Turnstile’s latest “Seein’ Stars”, Moses Sumney’s “I Like It I Like It,” and Taylor Swift’s “Castles Crumbling.” Swift went on to have Paramore open the first ever The Eras Tour show that debuted in Arizona and later they went on to open all dates on the European leg of her world tour. At just 16 she brought the band to the masses with the release of their album All We Know Is Falling which was certified Gold and just celebrated its 20 year anniversary last week. The band’s breakthrough came with 2007’s Riot!, powered by the success of the 6X certified platinum single “Misery Business.” In 2009, Brand New Eyes solidified their place in the rock landscape. Paramore’s self-titled 2013 album marked a commercial and critical peak, with the platinum single “Ain’t It Fun” earning Paramore their first Grammy win for ‘Best Rock Song’ in 2015 and further nominations for ‘Best Rock Album.’ 2017’s After Laughter introduced a polished, ‘pop-influenced sound that continued to attract acclaim with the breakout single “Hard Times.” After a long hiatus, in 2023, they returned with This Is Why, a full grown, alternative-leaning record that earned the band two Grammy wins for ‘Best Alternative Song’ and ‘Best Rock Album’ making Paramore the first female-fronted rock band to ever win the category in its 31-year history.\"\u003c\/p\u003e\n\u003cp\u003ePA001LP-C12 \u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003e- STRICTLY 1 PER CUSTOMER!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"Default Title","offer_id":55477165982072,"sku":"PA001LP-C12","price":36.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/HAYLEYWILLIAMS-EGODEATHATABACHELORETTEPARTYVINYLCOLOUR.png?v=1772100895"},{"product_id":"rose-mcdowall-cut-with-the-cake-knife-vinyl-super-ltd-dinked-numbered-ed-red-black-marble-lp-obi-strip-w-alt-artwork-signed-risograph-poster","title":"ROSE MCDOWALL - CUT WITH THE CAKE KNIFE VINYL (LTD. ED. VARIANTS)","description":"\u003cp style=\"text-align: center;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eDINKED EDITION SOLD OUT!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRelease Date: 26th June 2026\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\"Originally reissued 2015 Recorded in the aftermath of Strawberry Switchblade's break up, the original \"Sunflower Demos\" included songs intended for the unrealised 2nd album. These songs posit an alternative future where McDowall pursued a Pop career instead of becoming an underground icon. \"In McDowall’s world, cake and chaos go hand in hand. She’s the witch at the door of the gingerbread house, beckoning you inside.\" - Pitchfork \"One wonders what would have happened had these delirious songs made it to mainstream radio airplay. The exquisite nature of this slices of dappled pop genius is a joy to behold.\" -The Quietus Rose McDowall's Cut With The Cake Knife was originally reissued in 2015 by Night School Records and Sacred Bones. Since then, Rose McDowall and her previous band Strawberry Switchblade have only grown in cult status. Following a discovery by a generation of young, disaffected kids on social media of Strawberry Switchblade and McDowall's succeeding band Sorrow, Night School Records has remastered Cut With The Cake Knife and presents the album with a reimagined artwork that more closely recreates the original hand-made CD produced by McDowall. Cut The With The Cake Knife was recorded by Rose McDowall in 1988\/89 following the break up of her group Strawberry Switchblade. Produced with the aid of several musicians in several studios, the album features songs written for the fabled second Strawberry Switchblade album. More importantly perhaps it showcases the honest, direct and life-affirming songs of one of the greatest unsung songwriters of the modern pop era at a tumultuous time in her career. Tibet opens the set and could be one of the best pop songs you’ve never heard. The innate sadness of the songs’ content – the loss of a friendship, impending sorrow – is heightened to heart-melting level by McDowall’s pop nous and melodic sensibility. Choruses and hooks are everywhere on Cake Knife, from the outsider take on stadium 80s pop in Wings Of Heaven to the spiraling, ecstatic So Vicious, a glorious anthem that highlights the human fragility in McDowall’s vocal performance, an instrument that has never lost the naïve purity it first exemplified in Strawberry Switchblade’s early 80s recordings. The centerpiece of the album, the title-track, is the greatest Switchblade pop chart hit that never was. Like the veiled melancholy of her former group’s hits, Cut With The Cake Knife hints at a darkness beneath the gloss, a darkness that saw McDowall delve into more esoteric territory with her subsequent recordings and collaborations. Cut With The Cake Knife serves as the bridge between the pop music McDowall had been making with her friends Jill Bryson, Lawrence from Felt and Primal Scream to what became a more extreme, deep sound informed by neo-folk and post industrial music. Rose McDowall’s role in the canon has always been one of an outsider. Beginning in Glasgow’s East End in the avant proto-noise group The Poems, achieving fame briefly in the 80s and then disappearing into counter-cultural folklore, the emphasis in the internet-age has been skewed towards her image and cultural significance. Unseen to many, her solo work, her groups Sorrow and Spell and her collaborations with a whole host of underground luminaries have still touched lives. As McDowall elucidates: “They're real sad songs, about real life. I've had people come up to me to say I'd connected with them and helped them. I remember a gig in America when we made a whole room cry. It was bizarre. A couple at the front of the stage started crying and then these two boys beside and suddenly everyone was crying. And I thought, \"that's power.\" Night School’s issue of Cut With The Cake Knife includes unpublished photographs, extensive sleeve notes from Rose McDowall and 2 bonus tracks culled from the bootleg 7” “Don’t Fear The Reaper.”.\"\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eLSSN027DE - SUPER LIMITED 'DINKED' NUMBERED EDITION RED \u0026amp; BLACK MARBLE VINYL OBI-STRIP W\/ ALTERNATIVE ARTWORK + *SIGNED* RISOGRAPH POSTER - \u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eSTRICTLY 1 PER CUSTOMER!\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eLSSN027R - BLACK VINYL RE-ISSUE\u003cbr\u003e\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"SUPER LIMITED 'DINKED' NUMBERED EDITION RED \u0026 BLACK MARBLE VINYL OBI-STRIP W\/ ALTERNATIVE ARTWORK + *SIGNED* RISOGRAPH POSTER","offer_id":55486989336952,"sku":"LSSN027DE","price":27.99,"currency_code":"GBP","in_stock":false},{"title":"BLACK VINYL RE-ISSUE","offer_id":55486989369720,"sku":"LSSN027R","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/ROSE_MCDOWALL_-_CUT_WITH_THE_CAKE_KNIFE_VINYL.png?v=1772570631"},{"product_id":"francis-of-delirium-run-run-pure-beauty-vinyl-super-ltd-dinked-ed-cornetto-red-w-alt-artwork-sticker-sheet-lyric-poster","title":"FRANCIS OF DELIRIUM - RUN, RUN PURE BEAUTY VINYL (SUPER LTD. 'DINKED' ED. CORNETTO RED W\/ ALT. ARTWORK + STICKER SHEET \u0026 LYRIC POSTER)","description":"\u003ch3\u003eSUPER LIMITED 'DINKED' EDITION CORNETTO RED VINYL W\/ ALTERNATIVE ARTWORK + STICKER SHEET \u0026amp; LYRIC POSTER\u003c\/h3\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003e- DINKED EDITION STRICTLY 1 PER CUSTOMER!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRelease Date: 29th May 2026\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\"Francis of Delirium follows up her acclaimed debut album with Run, Run Pure Beauty. Featuring the singles ‘Little Black Dress’ and ‘It’s a Beautiful Life’, it serves as an excavation of hope in bleak times. Recorded after coming off tours with both Bôa and Blondshell, the album was produced by Jana Bahrich (Francis of Delirium herself) and long time collaborator Chris Hewett, and mixed by Nicolas Vernhes (Deerhunter, Dirty Projectors, Silver Jews, Wild Nothing). Its eleven songs of discovery, despair and perseverance ultimately serve as a mirror on its creator and is a brilliant next installment in the Francis of Delirium arc. An artist who seeks to connect with her listeners on a deeper level, she’s made hope and inner strength central themes on her new album, Run, Run Pure Beauty. Jana says the title track is “an imagining of the world after it has been destroyed by humans and technology. Thrashing against what humans have left behind, ultimately the pure beauty of nature wins out.” Wanting to bring different perspectives into her songwriting with this record - informed by both her travels and the tumultuous times we find ourselves in - she’s also brought about a progression in her sound with these new songs somehow sounding larger, with undeniable harmonies and more orchestration. “Jana Bahrich seems too young for this tremendous debut’s ambitious anthems…” Uncut, 8\/10 'Lighthouse' Album Review \"Capturing a similar melancholy sparkle to indie favourites such as Japanese Breakfast and Snail Mail, Lighthouse's 11 tracks encapsulate both bittersweet, desperate yearning and a breathless new romance; throughout, the golden-hour world they live in is astonishingly vivid. Bahrich’s choruses, almost every one, are lump-in-your-throat gorgeous.” NME \"There’s a bit of Pixies and Snail Mail and the Beths in there, and maybe some Lomelda and Lucy Dacus and Built To Spill. 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His music has been supported by Mike D from The Beastie Boys and Thom Yorke, has been A-listed on BBC6 Music, where he has performed sessions for Mary Anne Hobbs, Tom Ravenscroft, Gilles Peterson and Steve Lamacq. His tracks have featured on numerous TV shows such as I May Destroy You, Black Ops and Utopia. He recently wrote his first video game soundtrack for C Smash VRS on Playstation, his work featuring alongside UNKLE and Ken Ishii. As an integral part of the legendary East London studio\/venue\/community Total Refreshment Centre, Danalogue has produced\/mixed records for Snapped Ankles, Joshua Idehen and Rozi Plain, and collaborated on albums with Alabaster DePlume, and Sarathy Korwar.\"\u003c\/p\u003e\n\u003cp\u003eCIS211LPX\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"Default Title","offer_id":55495515767160,"sku":"CIS211LPX","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/DANALOGUE-TELEPORTATIONSVINYL.jpg?v=1773092165"},{"product_id":"floating-points-elaenia-vinyl-super-ltd-dinked-archive-10th-ann-ed-oxblood-w-obi-strip-postcards-booklet","title":"FLOATING POINTS - ELAENIA VINYL (SUPER LTD. 'DINKED ARCHIVE' 10TH ANN. ED. 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Emerging from Mexico City’s improvisational and experimental scene, she has become a key voice in contemporary avant-pop\u003c\/p\u003e\n\u003cp\u003eBill Orcutt is an American guitarist and composer known for his raw, highly individual approach to improvisation. A co-founder of the 1990s noise-rock duo Harry Pussy, he helped shape a fiercely abrasive aesthetic that drew from no wave, hardcore punk, and free jazz. Often playing a four-string guitar in unconventional tunings, he combines shards of melody, sudden silences, and surging rhythmic bursts, creating music that feels both primitive and structurally intricate. In parallel with his work as a guitarist, he runs the Palilalia and Fake Estates imprints and develops his own audio software, continuing to blur lines between avant-garde experimentation, song form, and DIY practice.\u003c\/p\u003e\n\u003cp\u003eAlmost Waking:\u003cbr\u003eI had known about Bill’s music for a while: since his 2017 release under his own name. I connected a lot with his music and I had no idea that years later we would be collaborating! It was a total surprise that we started chatting on the internet of collaborating! — we bounced ideas back and forth, all starting with a series of guitar solo stuff that Bill sent me. I had a great time with the pieces and in some of them had the honor to collaborate with I. La Catolica in the studio here in Mexico as well where we were trying to decipher the harmonic possibilities of Bill’s ideas and very carefully develop some good melodies that followed correctly the guitar. The vocal melodies followed also the same principle of trying to get tight with Bill’s iniciatives. The idea was to leave a lot of space but in only one of the tracks I just went on with the idea of harmonizing shamelessly the vocals. The album ended up having this nostalgic vibe to it. 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The surrounding moors provided a haunting backdrop, enveloping the creative process and setting the tone for 'Melting, Sometimes Bleeding'.\"\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eVENN084 - LIMITED EDITION WHITE MARBLE VINYL\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eVENN084X - SUPER LIMITED 'DINKED' *SIGNED* NUMBERED EDITION CLEAR BLUE SPLATTER VINYL W\/ ALTERNATIVE ARTWORK PRINT + POSTCARD - STRICTLY 1 PER CUSTOMER!\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"LIMITED EDITION WHITE MARBLE VINYL","offer_id":55501249708408,"sku":"VENN084","price":21.99,"currency_code":"GBP","in_stock":true},{"title":"SUPER LIMITED 'DINKED' *SIGNED* NUMBERED EDITION CLEAR BLUE SPLATTER VINYL W\/ ALTERNATIVE ARTWORK PRINT + POSTCARD - STRICTLY 1 PER CUSTOMER!","offer_id":55501249675640,"sku":"VENN084X","price":21.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/NIGHT_SWIMMING_-_MELTING_SOMETIMES_BLEEDING_VINYL.jpg?v=1773614726"},{"product_id":"death-cab-for-cutie-i-built-you-a-tower-vinyl-super-ltd-dinked-numbered-ed-tie-dye-orange-white-gatefold-slipmat-art-print","title":"DEATH CAB FOR CUTIE - I BUILT YOU A TOWER VINYL (LTD. 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All of this is on top of a packed-out UK tour with THUS LOVE and shows with the likes of The Belair Lip Bombs, The Hold Steady, Thistle, Sunflower Bean, and a sold-out headline London date. “Grazer” also follows an immaculate run of five singles which have seen the band deliver on all the promise of their early word-of-mouth live reputation, earning widespread support that includes a digital cover with Dork, and props from the likes of Stereogum, Consequence, Under The Radar, NME, CLASH, DIY, The Line Of Best Fit, Paste, and So Young, as well as radio play from BBC Radio 6 Music, Radio X, Apple Music 1 and more. These singles, alongside “Grazer”, will now form a six track EP titled How They Faked The Moon Landing. The one-stop introductory release will be landing on 12” vinyl on 22nd May via Fear Of Missing Out Records, as one of DINKED’s Early Doors Editions. Recorded with Ali Chant (Dry Cleaning, Yard Act, Sorry), the sub-3-minute new single epitomises everything that has brought Ain’t to this point. It’s full of warm, slurring guitar lines, hooky vocal harmonies, subtly intricate drumming, fluid bass, and contemplative lyrics. In keeping with their earlier material there are knowing nods to idiosyncratic guitar music and 90s slacker indie with hints of shoegaze, Midwest rock, and lo-fi, atmospheric dream pop. How They Faked The Moon Landing rounds off an incendiary start for Ain’t, start being the operative word. With more music planned for 2026 and a slew of headline dates and festival appearances at 2000trees, The Great Escape, Ritual Union, and more, the new single and EP act less as a rounding off and more as a primer for what’s yet to come.\"\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor Fans Of: Wednesday, Dry Cleaning, Mannequin Pussy, Porridge Radio, Hank, Man\/Woman\/Chainsaw\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNERD09\u003c\/span\u003e\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"Default Title","offer_id":55505473307000,"sku":"NERD09","price":19.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/AIN_T-HOWTHEYFAKEDTHEMOONLANDINGEPVINYL.jpg?v=1773872383"},{"product_id":"dead-pioneers-wagon-burner-vinyl-super-ltd-dinked-hand-numbered-ed-black-white-splatter-w-signed-postcard-print-poster","title":"DEAD PIONEERS - WAGON BURNER VINYL (SUPER LTD. 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Following an embryonic performance of the piece, Deal secured a grant to expand it to include music created especially for the work. “The idea was to mix spoken-word with punk music” explains Deal, who hooked up with drummer Shane Zweygardt and guitarist Abe Brennan during lockdown and began kicking the concept around. But what became Dead Pioneers didn’t truly take shape until Deal connected with bassist Lee Tesche, who you may know from righteous Atlantan post-punks Algiers. Unlikely as it sounds, a conversation between Tesche and Deal about Sleaford Mods evolved into a creative connection that’s now three albums deep; the arrival of guitarist Joshua Rivera made the quintet quorate. “Josh is Mexican-American,” says Deal. “He is also inherently indigenous, under a different set of circumstances within colonialism. But I consider him to be my indigenous brother. We spend a lot of time trying to figure out how all of this fits together.” A miraculous, natural chemistry made this supposed one-off project an actual band almost as soon as they cut what became their 2023 self-titled debut album (“We approached it like I approach my visual art: execute quickly, first thought is best thought,” Deal says), but they didn’t necessarily take it seriously until, unexpectedly, the outside world did. “I was like, we’ve made this record – what should I do with it? Put it online?” Deal remembers. The response was vigorously positive, and soon came demands to commit this noise to vinyl. A first thousand-copy pressing sold out in minutes. “So then we pressed another thousand,” he adds, still marvelling at it all. “And then they were gone, too.” What followed was “a series of strange accidents” that led to the group signing to Hassle, befriending Jello Biafra and touring with kindred spirits like Pennywise, Propaghandi, even Pearl Jam. “Punk-rock had made everything seem so accessible when I was a kid,” says Deal. “Like, simply having the balls to get up on stage and stage dive and then be carried off by people that become your best friends once they get your feet back on the ground.” Now, punk-rock was reaching out its hands to Dead Pioneers and pulling them onto larger and larger stages. The group returned that favour by simply getting better and better: their second album, 2025’s PO$T AMERICAN, was sharper, angrier, funnier than the debut, a riot riveted with punch-a-Nazi thrills. And now, Wagon Burner, their fearsome third album. Described by Deal as “more collaborative”, it’s a heavier, harder but also more accessible set, vicious hooks scattered among the punk-rock melee and guest appearances by kindred spirits Cheap Perfume (on the righteous ‘Nazi Teeth’), The Interrupters (on the shout-a-long anthem ‘Never Alone’) and, bringing it back to the group’s beginnings, Sleaford Mods (on the searing slow-burn of ‘The Worst Among Us’). 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Distinctly British in both name and spirit, Pollyfromthedirt – a playful nod to his hometown’s affectionate nickname, The Dirt, and his mum Polly – is an artist who wears his roots on his sleeve. If folk and lo-fi punk share any kind of resemblance - strained balladry, a DIY ethos and bewildering sparse arrangements - then an act like Pollyfromthedirt, fluent in both mocking dry wit and heavier techniques, is perfectly poised to disrupt them. His playfully defiant name thumbs its nose at the local archetype of a true northerner.\"\u003c\/p\u003e\n\u003cp\u003eFor Fans Of: Chanel Beads, Cameron Winter, Dove Ellis, RIP Magic, Ebbb, Dean Blunt, Tirzah, King Krule\u003c\/p\u003e\n\u003cp\u003eNERD10\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"Default Title","offer_id":55512921506168,"sku":"NERD10","price":21.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/POLLYFROMTHEDIRT-THEDIRTVINYL.jpg?v=1774527430"},{"product_id":"the-mighty-lemon-drops-happy-head-vinyl-super-ltd-dinked-40th-ann-ed-marbled-red-black-lp-bonus-7-w-obi-strip-gold-foil-sticker","title":"THE MIGHTY LEMON DROPS - HAPPY HEAD VINYL (SUPER LTD. 'DINKED' 40TH ANN' ED. 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Includes the singles ’The Other Side Of You’ and ‘My Biggest Thrill’, alongside the title track ‘Happy Head’ - a song which first appeared on C86 - NME’s now iconic compilation that helped define a generation of indie guitar music. The album also features a re-recorded version of ‘Like An Angel’, the band’s breakthrough independent single. Newly remastered from the original tapes by Phil Kinrade at AIR Mastering to mark the album’s 40th anniversary. Pressed on 140g black and red marbled vinyl, accompanied by a bonus black 7” featuring the early ‘Dreamworld’ versions of ‘Something Happens’ and ‘Now She’s Gone’. Assembled with the assistance of the band who have provided a new introductory sleeve note. Strictly limited to 500 units.\"\u003c\/p\u003e\n\u003cp\u003eFor Fans Of: British indie guitar music from the ‘80s: The Smiths, Echo And The Bunnymen, The Mission, Love and Rockets, The Chameleons.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCRV2316\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"Default Title","offer_id":55516184379768,"sku":"CRV2316","price":30.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/THEMIGHTYLEMONDROPS-HAPPYHEADvinyl.jpg?v=1774821636"},{"product_id":"slift-fantasia-vinyl-super-ltd-dinked-ed-crystal-clear-2lp-w-signed-print-etched-d-side","title":"SLIFT - FANTASIA VINYL (LTD. 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Though only Jean and bassist Rémi Fossat are related, SLIFT is essentially a band of brothers. They’ve been friends with drummer Canek Flores since high school, and 2026 marks a decade together in this trio. They rehearse with religious regularity in a basement in the countryside near Toulouse, inside the jam room where they’ve long indulged their propensity for longform wonder. But they built the songs of Fantasia differently. Jean started many of the songs by himself, then quickly brought them to basement rehearsals with a clear and concise idea of how he imagined them taking shape. By the time they crossed France’s northern border into Belgium to record in the enormous live room at Daft Studios, they had a tight set of lean, agile, and punchy songs. The band’s vast influences are evident: the album evokes Clutch getting wild, John Coltrane, Charlie Parker, Soviet writer Mikhail Bulgakov, Pink Floyd, and Master of Reality-era Sabbath. And the sonic tapestry is aided by the skillful mixing of Kurt Ballou (Converge, Cave In, High on Fire). The songs aren’t lacking the complexity or intensity that have made SLIFT a rising star in heavy music; they’ve simply found new ways to weave the complexities of their past inside every piece, like a tapestry that reveals a new layer every time you look. In doing so, they offer an affirming and urgent message: Together, we can still change the times in which we live. It is dreadfully easy these days to feel powerless. SLIFT reckons directly with the modern onslaught of cruelty and absurdity on Fantasia, whether that’s not caring about our home planet or one another. But these eight songs are about trusting in some hidden power for fighting back, for believing in a world where something we cannot yet articulate or define offers not just a way to disrupt the status quo but perhaps to destroy it completely. SLIFT is loud, heavy, and aggressive inside these anthems. 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The band set out to create a record that authentically reflects who they are today, and it unequivocally distills two decades of experience into an album that is as invigoratingly surprising as it is unmistakably theirs. The past few years have seen the band return to live stages around the world, huge dance remixes of their hit 'Sweet Disposition' by John Summit, Lost Frequencies and BUNT., and a long-awaited official release of Mac Miller bootleg 'Love Lost'.\"\u003c\/p\u003e\n\u003cp\u003eFor Fans Of: Kings of Leon, MGMT, The Killers, Florence + The Machine, Muse\u003c\/p\u003e\n\u003cp\u003eMUSH030LP8\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"Default Title","offer_id":55519563710840,"sku":"MUSH030LP8","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/THETEMPERTRAP-SUNGAZERVINYL.jpg?v=1775085643"},{"product_id":"jjerome87-the-canyon-vinyl-super-ltd-dinked-ed-midnight-sky-lp-w-signed-art-card-bumper-sticker","title":"JJEROME87 - THE CANYON VINYL (SUPER LTD. 'DINKED' *SIGNED* ED. 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Recorded in LA alongside producer Carlos De La Gaza, a dedicated group of session musicians and a trio of female vocalists, The Canyon is a collection of alt-J (esque) songs with a Californian, Motown, Blues and Gospel energy.\"\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eMUSH034LP4 - SUPER LIMITED 'DINKED' EDITION ‘MIDNIGHT SKY’ VINYL W\/ *SIGNED* ART CARD + BUMPER STICKER - \u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eSTRICTLY 1 PER CUSTOMER!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eMUSH034LP2 - LIMITED INDIES EDITION ORANGE VINYL\u003cbr\u003e\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"SUPER LIMITED 'DINKED' EDITION ‘MIDNIGHT SKY’ VINYL W\/ *SIGNED* ART CARD + BUMPER STICKER - STRICTLY 1 PER CUSTOMER!","offer_id":55530216325496,"sku":"MUSH034LP4","price":26.99,"currency_code":"GBP","in_stock":true},{"title":"LIMITED INDIES EDITION ORANGE VINYL","offer_id":55530216358264,"sku":"MUSH034LP2","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/JJEROME87-THECANYONVINYL.jpg?v=1776090638"},{"product_id":"lucia-and-the-best-boys-picking-petals-vinyl-super-ltd-dinked-signed-hand-numbered-ed-cream-black-marble-effect-lp-w-alt-artwork-oversleeve-bonus-zine","title":"LUCIA \u0026 THE BEST BOYS - PICKING PETALS VINYL (SUPER LTD. 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The intention behind Picking Petals sharpened into focus in the face of this. This time, it was crucial to capture the essence of Lucia \u0026amp; The Best Boys’ live shows— loud and electric. In recent years, Fairfull has shared bills with a new wave of women in alternative music: joining Wolf Alice on their Blue Weekend tour in 2022 and, more recently, opening for the aforementioned The Last Dinner Party. In summer 2024, she toured alongside fellow Scottish icon Shirley Manson on the UK and European leg of Garbage’s live shows. The Scottish synchronicity feels poignant. This rich and historical landscape is where Picking Petals came to be, Lucia heading north to write in weather-beaten bothies alongside the band or in solitude. Likewise, the songwriter was insistent that acclaimed alt-pop producer Yves Rothman experience her stomping ground rather than sun-drenched LA, hunkering down in Mogwai’s Castle of Doom studios, a Glasgow townhouse transformed into a citadel of sound. For some people, Picking Petals will be a coming-of-age album. 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His 15th studio album and first full-length release under his own name in six years, Different When It’s Silent is a direct, focused record that reconnects with the distinctive sonic language that has defined Tricky’s work since his groundbreaking 1995 debut, Maxinquaye. Following a premiere by Lauren Laverne on BBC Radio 6 Music, the album’s first single, “Out Of Place” arrives as a powerful closing moment for the record. Featuring longtime collaborator Marta, the track pairs Marta’s restrained vocal with Tricky’s urgent, almost punk-like delivery. The contrast between the two creates a dynamic finale that captures the album’s stripped back intensity. Originally written for Marta’s own album, Tricky ultimately reclaimed “Out Of Place” for Different When It’s Silent. Different When It’s Silent follows a prolific period of activity. Since 2020’s Fall to Pieces, Tricky has released music under several different guises, including the collaborative project Lonely Guest, the Fifteen Days project with producer Mike Theis under the name Theis Thaws, and last year’s joint record Out The Way with Marta, al via his own label, False Idols. Yet returning to an album under his own name took on a different shape. “In my mind it was another side project” he explains. But after hearing the material, his manager Alan McGee felt the songs clearly belonged to a Tricky record. Recorded between Tricky’s home in France and sessions in Bristol, the album draws strongly on the musical community that shaped him. Central to its sound is the voice of Bristol singer Mitch Sanders, whose soulful falsetto runs through much of the record. Their connection reflects a shared musical background and an instinctive chemistry that carries through the performances. Across fourteen tracks, Tricky blends skeletal blues, brooding electronics, distorted guitars and stark hip-hop rhythms into a sound that feels both stripped-back and expansive. The album moves fluidly across styles while maintaining the restless experimentation that has defined his work for more than three decades. “I just love making music” Tricky says. “I’m grateful I’ve had the chance to live this life and keep creating.”.\"\u003c\/p\u003e\n\u003cp\u003eFI2LPDINKED\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"Default Title","offer_id":55536957915512,"sku":"FI2LPDINKED","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/TRICKY-DIFFERENTWHENIT_SSILENTVINYL.jpg?v=1776811337"},{"product_id":"1000-rabbits-are-we-friends-yet-vinyl-super-ltd-dinked-numbered-ed-pearl-lagoon-ep-w-set-of-a5-friendship-forms","title":"1000 RABBITS - ARE WE FRIENDS YET? VINYL (SUPER LTD. 'DINKED' NUMBERED ED. 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Written across living rooms, rehearsal spaces, and stages over the course of two years, Are we friends yet? captures a formative chapter: six tracks shaped by time, space, and the energy of the people in the room. Some tracks date back to their earliest days, others are more recent, but together they form a vivid introduction to the band’s world. Each track has been molded through live performance, evolving night after night. The EP’s title - Are we friends yet? - comes from a defining moment that has emerged in their live show; a question posed by River during the closing track “Spring Cleaning”, the final song of both the record and every set they play. 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Where his debut had been a solo endeavour, Decoding Birdsong brims with collaboration, including Australia’s Pretty Girl, London band Los Bitchos, and Bristol producer 1-800 GIRLS, as well as Imogen and the Knife and indie pop star Ellur. Speaking about the new record, Antony explains “Decoding Birdsong is about choosing to believe in something. Coincidence as a religion. Making your own luck in the face of loneliness and doubt. The smallest things can feel seminal, seismic and life affirming if you just choose to lean in, but it also asks if this is a dangerous way to live. What happens when your numbers come in? What are the consequences of luck? Should you listen to the birds, or are you only ever going to hear what you want to hear? 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A fervent eclecticism and unpredictable restlessness underpins the album. Latterly the record dives into the moody technoid textures and multi-layered harmonies that characterised their debut EP All At Once - exemplified by ‘Youth’ and the closing track “I’m Not Enough” that lands an emotional gut punch to an album that is already littered with them. Ebbb are exploring far and wide, deep and vast, yet they do so via an approach that remains unmistakably them. Shallow Hits is an album bursting with ideas, textures, rhythms, detail and emotion. A bold and singular debut record from a group who truly do not sound like anyone else right now. Their visceral live performances, coupled with a building hype for their EP from supporters across press and radio culminated with NME awarding them a coveted spot in their 100 Essential Emerging Artists of 2025 list.\u003c\/p\u003e\n\u003cp\u003e“A truly thrilling, game-changing force in UK indie” – NME\u003c\/p\u003e\n\u003cp\u003e“Ebbb seamlessly mix seemingly opposing styles into something that flows without friction” – ROLLING STONE\u003c\/p\u003e\n\u003cp\u003e“Combining choral and orchestral roots with a love of grindcore, new wave, dream pop and techno” – THE QUIETUS\u003c\/p\u003e\n\u003cp\u003e“Beautiful, boundary-less and bohemian” – WONDERLAND “An almost religious experience” – SO YOUNG\u003c\/p\u003e\n\u003cp\u003eFOR FANS OF: Panda Bear \/ Animal Collective \/ The Smile \/ Bicep \/ Pollyfromthedirt \/ Grizzly Bear \/ Adult DVD \/ Maribou State\u003c\/p\u003e\n\u003cp\u003eZEN327R\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"Default Title","offer_id":55547023917432,"sku":"ZEN327R","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/EBBB-SHALLOWHITSVINYL.jpg?v=1778067218"},{"product_id":"yard-act-youre-gonna-need-a-little-music-vinyl-super-ltd-dinked-numbered-ed-red-black-splatter-w-alt-artwork","title":"YARD ACT - YOU'RE GONNA NEED A LITTLE MUSIC VINYL (SUPER LTD. 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With its Top Five-placing 2024 follow-up Where’s My Utopia?, the band - vocalist James Smith, bassist Ryan Needham, guitarist Sam Shipstone and drummer Jay Russell - blasted both of those conceits apart, creating a musically-exploratory and diverse record that worked to unpick and examine the very notion of ambition and fulfillment; of ‘what happens next’. The journey of Smith’s lyrics across each of their albums, Shipstone muses, has always been quite Faustian: “It’s someone who’s seeking a goal, and then makes a pact with the devil to get the goods they want, but when they get them they’re corrupted so they get the rewards but also this bitterness too.” “And how does Faust end?” questions Needham. “Oh, not well…” If this sounds like a macabre place to root the objectively excellent third album from one of the country’s most celebrated bands of the last decade, then it’s also crucial to understanding Yard Act’s newest - and best - record yet, You’re Gonna Need A Little Music. Simultaneously the most dynamic, collaborative, energised work they’ve laid to tape, but also containing some of the darkest, most cynical and truly questioning moments they’ve concocted too, it picks up their tale and examines the findings more unsparingly than ever. It feels appropriate that, in order to interrogate these existential subjects, the writing and recording of You’re Gonna Need A Little Music involved the four musicians coming together and strengthening their own core unit more than ever. Weirdly, for a band so associated with incendiary live shows and constant touring, their third LP marks the first time that the quartet have ever made an album together, as a live band in the same room. “The first two records were both laptop records essentially,” says Smith. The Overload was written alongside Needham before the band had fully formed; its follow-up was carved out in snatches of time on tour buses and hotel rooms, amongst a relentless schedule of “slinging [all our gear] in the rehearsal space, going back home, and then a week later piling it back into a van again.” If their last record was created like a game of Exquisite Corpse, each member taking the track and adding their part in turn (“I always thought that was a really over the top name for a piece of folded down paper…” Needham notes), then this time they laid down roots and gave themselves time. Russell kitted out their new studio in Leeds with everything they required to track the band live at the same time throughout the writing process, including an old piano passed down from Smith’s late aunt that would become integral to the process. For the first time in a long time, Yard Act were able to settle into an “uninterrupted five month period” of creativity, crafting “40 or 50 songs” and allowing themselves to follow their ideas with no external pressure. “It felt like freedom,” says Smith. “It felt like everything I’d wanted from being in a band - to be able to make enough money to be left alone. The results speak for themselves. Recorded between Leeds and Glendale, Los Angeles with producer Justin Meldal-Johnsen (Nine Inch Nails, Beck, St. Vincent), You’re Gonna Need A Little Music rings with the chemistry and energy of a band absolutely locked in. Each track has its own distinct character, whether in the ominous, guttural ferocity of ‘Redeemer’, the sleazy disco odyssey of its title track, the fizzing indie smarts of ‘Cherophobe Rock’ or the loose, cerebral meditations of ‘Janey Said’. It stems from a time of experimentation and exploration - ask Shipstone about “The Code” and he’ll give you a technical explanation as to why these songs are able to constantly veer into unexpected places whilst never undermining their melodic clout. The sense is of a band hitting a purple patch, where all the efforts of the last half-decade come together and create magic. “I think most bands’ best stuff comes around the 3rd or 4th album where they really outgrow their influences and become their own thing,” muses Smith as Needham chips in: “I keep saying, it’s like Blur. This is Parklife. The first album they were doing the genre-y thing; the second one was a kick against that but they didn’t really know what they were doing, and then they made Parklife, which was the perfect distillation of it all.” You’re Gonna Need A Little Music, however, is no whimsical walk through suburban England. From the opening self-analytical sprawl of ‘Empty Pledges’ - a track that begins with juddering deep breaths at the top of a skyscraper and freefalls into a torrent of thoughts about purpose, pride and the feeling of punching your way out of a prison of your own making - Yard Act’s third seeks to work through some of the most complicated facets of life. In some ways, and on purpose, it is a step away from Smith’s venerated vignettes and character studies; a move towards something more “impressionistic” and up for interpretation. “I felt like I’d taken it to its logical extreme on ‘Blackpool Illuminations’ [on the last record], and I didn’t want to tread old ground,” he says. And yet the feeling still pours through, perhaps more than ever. There is a journey, should you want to trace it, from the fictional Isle of Balamory to the fantasy\/ reality of San Francisco Bay. Tread the path with him and you’ll keep running into Janey - a mirror to Smith’s own psyche; a person but, y’know, not exactly. “I think the album is about multiple realities and how individualism has led us, in the modern world, to question if there even is a shared reality anymore because everyone just believes what they want now, this is the price we've paid for pursuing neoliberalism ultimately” Smith suggests. The questions are deep, but the spirit of You’re Gonna Need A Little Music is boundless - not for nothing does its title point to the power of art and creativity to rescue us from the mire. ‘Thrill of The Chase’, with its snarled, frenetic climax as close to rap as Smith has ever reached, is filled with venom but you can also picture it giddily going off in the mosh pit. ‘Redeemer’ might have thrown the kitchen sink - or at least its cookware - at the situation, with Meldal-Johnsen concocting a brittle, metallic soundscape out of a day of rattling pots and pans, but the result is direct, visceral and exciting. It’s a balancing act that culminates, as all Yard Act albums do, with a final moment of optimism in ‘Over The Barrel’: a track that travels from rinky dink bar-room piano through a euphoric indie- rock chorus and out, finally, into that sought-after ocean. Perhaps it’s less certain than Smith has been in the past. “‘Over The Barrel’ [as a saying] can have multiple meanings. 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In the band’s words it is “about self pity and realising that maybe all of the healing your inner child stuff you hear about isn’t actually total bollocks. Musically and lyrically I think it’s about us trying to clean up our act a bit.” New single ‘I Can’t Die Like That’ provides the second taste of the album and is the kind of instant earworm built for festival crowds. Wildly infectious, it is quintessential Getdown Services, pairing huge hooks with the band’s perceptive and poignant lyricism. As the band explain, “‘I Can’t Die Like That’ is about the feeling of simple things becoming complicated. We thought it was interesting to think about the ways in which something as straightforward as dying can be difficult. It’s also about clinging on to feelings that comfort you but aren’t necessarily healthy.” Like much of ‘Massive Champion’, it finds catharsis in contradiction, meeting often heavy subject matter with both candour and humour. A triumph of hard work and the grassroots scene, Getdown Services jokingly coined themselves Britain’s Best Band. With ‘Massive Champion’, it feels less like a punchline and more like a statement of intent. As their audience continues to grow exponentially both at home and across the world, they look every bit on a fast track to becoming one of the country’s biggest and most vital bands. 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We shoot for homogeneity - if it sounds good and its component parts can't be pulled out, we’ve matched the job description,” they say of finding balance in their desire to ‘pull the rug’ musically whenever listeners least expect it. Much like the typo in their name, now proudly worn by the band as a badge of honour, the result is an album of happy accidents that truly embody their audiences’ visceral knee-jerk reactions. The cut-out windows of an eighties protocomputer punch card that line the sleeve offer a portal into Formal Sppeedwear’s universe. After signing with melodic in 2023, the trio’s now sold out 2024 debut EP - a self-titled, self-produced 12” sample of elastic bass arrangements, leaping guitar motifs and sparse, un-assuming percussive work - picked up notable fans at BBC 6 Music and helped to secure shows around the country with the likes of Fat Dog, Preoccupations, Warmduscher and Divorce. A legion of listeners grew, barraging Instagram DMs curious to unearth the mystery behind their idiosyncratic, off-kilter lyrics – usually a product of Beck’s phonetically-associated wordplay. Prolific in their output, the band diligently produced Punch Card themselves with mastering from Paul D. Millar (Slug Bug). Led by a preference for sonic variety, they even discarded three tracks not belonging on the record; not because they didn’t fit - but because they did. Through their boomerang voice notes and a sense of telepathy that only college friends bonded by Neu! and Yellow Magic Orchestra could possess, they explain; “There’s definitely a subconscious level to what we do but it’s always driven by what works sonically. The real challenge becomes how to recreate it live.” Blame those tracks which formed quickly when raw ideas and lyrics flowed from jam sessions in their Tremolo rehearsal room. Jagged, punchy ‘Indecent’ was largely improvised by the trio as a single recorded live take, and ‘The Ballad of DCB’ (avid bookworms in Stoke may have an inkling as to the meaning behind its acronym) was wrangled from a spritely brink of uncertainty after twilight tinkering powered a plethora of jangling guitar lines. Live staple ‘Wait (Hatchet Gets a New Hide) serves as collage of ideas and melodies harking back to the early days of Sppeedwear, completed on a Tascam 488 cassette recorder. But, between joyfully jarring twists and turns, it is a rare moment of wistfulness which offers the biggest hint to the album’s wider Punch Card themes. A turning point in the recording process, finale ‘Friedrich Backs Up Nothing’ shimmers with strange atmospheres and sound-manipulated cellos; lyrically considering how history might react to the world today. 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It’s the sound of the quartet - Yasmin Berndt (guitar, vocals), Poppy Dodgson (vocal, drums), Zoë Zinsmeister (bass, vocals) and Polly Jessett (guitar) - bringing a greater sense of nuance and space to their music, while deploying myriad genres to maximum effect. From the righteous, elasticated rock of recent single ‘DOG’ to the syncopated post-punk and brass blasts of ‘Dance’ and on to the chamber folk ambiance of closer ‘Spring’, Baby You’re A Winner is the most authentic, realised portrait of Grandmas House to date. The songs here navigate a precarious balancing act between sadness and catharsis, ultimately landing in a place of salvation - the product of the band’s tight-knit friendship, this album is their gift to the world, born from a period of grief and hardship but emerging from the other side with profound love and strength. 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The lyrics resonate with core values of compassion, resilience, and community—themes rarely explored within a classroom setting or seen in today's fragmented society. By prioritising conviction over commercial success, the Dublin artist's outspokenness may invite controversy. Yet beneath the fervor lies a profound desire for positive social change at home in Ireland, and beyond.\u003c\/p\u003e\n\u003cp\u003eMeryl Streek returned to Darkland Studios in Dublin to fine-tune the recordings previously made in a shed at the back of his ma's garden. Here he continued the genre-blurring nature of his earlier work, enticing listeners toward dissonant landscapes and hypnotic rhythms. Gentle piano tones collide with abrasive synths, creating a striking tension between beauty and noise. Streek tempers his rage when appropriate, integrating atmospheric textures and pop sensibilities into his ever-expanding sonic collage.\u003c\/p\u003e\n\u003cp\u003eAs is tradition with any Meryl Streek record, ‘Stories They Don’t Teach You At School’ unearths many uncomfortable truths. ‘Rotten Fruit’ examines media manipulation and the numbing proliferation of misinformation, all soundtracked by synth-punk. With gliding keys and a crunchy bassline, ‘Council Estates’ critiques systemic government failures affecting the working class. ‘Kelly’ is a slice of electronica that details an ongoing criminal investigation, currently classified as a “Contested Cause of Death”. The indie pop of 'The Chancer' brings much-needed attention to landlord politicians. 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