{"title":"Our Catalogue","description":null,"products":[{"product_id":"beach-bunny-tunnel-vision-vinyl-ltd-ed-grape-w-4-unique-cards","title":"BEACH BUNNY - TUNNEL VISION VINYL (LTD. ED. GRAPE W\/ 4 UNIQUE CARDS)","description":"\u003ch3\u003eLIMITED EDITION GRAPE VINYL W\/ 4 UNIQUE CARDS\u003c\/h3\u003e\n\u003cp\u003eRelease Date: 15th August 2025\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\"Tunnel Vision, the third LP from Chicago indie band, Beach Bunny, finds them getting back to basics. Rocked by the pandemic, singer\/songwriter Lili Trifilio, dealt with a lengthy bout of writer’s block for the first time in the lead up to recording. As she regained her confidence, she turned inward to write about the quarter life crisis she was experiencing and the existential challenges her friends were facing. Trifilio’s incisive lyrics and buoyant vocals are complimented by undeniably catchy guitar-based hooks, making it clear that Tunnel Vision is a modern power pop classic. Beach Bunny - the name refers interchangeably to both Trifilio and the full band that also features bassist\/lead guitarist Anthony Vaccaro and drummer Jon Alvarado—recorded Tunnel Vision in 2024 in Chicago with longtime producer Sean O’Keefe (Fall Out Boy, Motion City Soundtrack). Where the band experimented with synths and samples on Emotional Creature, this new album returns to their urgent, wildly catchy guitar riffs. Tunnel Vision includes 2024 singles “tangy, sharp and sweet” (Needle Drop) “Vertigo” and “charming” (Rolling Stone) “Clueless.” The album also features a re-recording of “Cycles,” a song released under Trifilio’s own name in 2019; the subject matter—encouraging someone not to give into social expectations—fits right in with the rest of the new album.\"\u003c\/p\u003e\n\u003cp\u003eBB002LP\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"LTD. ED. 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The quintet’s superb second album might be called Nobody’s Coming To Save You, then, but it could easily be subtitled ‘harder, better, faster, stronger’. Recorded at Donegal’s Attica Studios and Holy Mountain Studios in London with producers Mark Bowen of Idles and Loren Humphrey (Geese, Cameron Winter), alongside engineer Chris Fullard (Idles, Sunn O))) and world-renowned mixer John Congleton (St. Vincent, Modest Mouse, Swans), the crack team that readily assembled for LP2 speaks volumes of its quality from the off. This is Gurriers taking all the musical chemistry and smart, interrogational worldview that made them great in the first place, and souping it up to the next level. From the rattling tension of the title track’s opening moments that then give way to a cacophonous, cathartic climax, Nobody’s Coming To Save You takes this spirit of the sweaty basement venue and turns it stadium-sized. It’s not just loud, but dynamic. ‘Shades’ takes shards of industrial, angular guitar and sends them into a gnarly hardcore chorus, while ‘Drones’ is a true pressure-cranking slow build with a drop destined to decimate every mosh pit they travel through. On ‘Pins’, they explore a looser, more melodic swagger that comes on like a grunge\/ trip-hop hybrid, whereas ‘Party Lines’ is pure insatiable dance-punk hedonism. If the band’s MO was to find a way to make the record “slap you in the face”, then consider yourself smacked. With Nobody’s Coming To Save You, Gurriers have sent their ambitions sky-high and come out swinging.\"\u003c\/p\u003e\n\u003cp\u003ePIASR1632LPX\u003c\/p\u003e","brand":"PIAS - NET1","offers":[{"title":"LTD. ED. 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Raw, bruised, and unflinchingly self-aware, their first full-length release captures the emotional fallout of love, guilt, shame, and self-destruction with a clarity that feels almost confrontational. The record captures a band documenting themselves in real time, preserving every fracture, ugly thought and moment of collapse without compromise. Blending grunge intensity, shoegaze textures and confessional songwriting, the record draws on the charged candour of artists including Led Zeppelin, Sun Kil Moon and Smashing Pumpkins, while carrying the lyrical directness and storytelling instinct of artists like Radiohead. Across its 11 tracks, Keo move between moments of towering vulnerability and total collapse, pairing brooding atmospheres with melodies that feel built to be screamed back in over-spilling rooms.\"\u003c\/p\u003e\n\u003cp\u003e“The next big guitar band.\" - The London Standard\u003c\/p\u003e\n\u003cp\u003e“A sound that has given UK guitar its biggest kick up the fretboard in years.” Rolling Stone UK\u003c\/p\u003e\n\u003cp\u003e“Keo are already that band.\" - DORK\u003c\/p\u003e\n\u003cp\u003e“There’s something undeniably compelling about Keo’s willingness to lay everything bare.” -Kerrang!\u003c\/p\u003e\n\u003cp\u003e\"Indie-rock’s most promising new proposition” - DIY\u003c\/p\u003e\n\u003cp\u003eThe Dinked Edition of ‘Put A Smile On For Me’ comes in an exclusive collector’s format featuring alternative artwork and a limited yellow marbled vinyl pressing. 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After a brief disappearance into solo records and restless touring, Wolter siblings Jack and Lily resurface with 3: a record drenched in salt and sun, with the tide pulling at its edges. Three years have gone by since the band’s last show. Somewhere in between, life happened. Lily spent six months in Sri Lanka and Indonesia, trading songs for surfboards and stepping back from music for the first time in years. When Jack went out on the road with CMAT, Lily started a band of her own. ‘3’ is the sound of this magnetic songwriting duo finding each other again. Written on a monthlong surf trip to Lagos, Portugal, these are songs with sandy feet and sunburnt shoulders, hooks that glow and harmonies that ache. Beauty built carefully, like a perfect sandcastle on a summer holiday, only to be flattened in an instant by your auntie’s passing cruelty. There's sweetness here, but it comes with teeth. A year later, the band flew to the Isle of Lewis off Scotland’s northwest coast to record the album live at Black Bay Studio. Perched on a sheltered harbour, twenty miles from the nearest shop, the refurbished fish factory was the first room the band had ever recorded in outside their home studio. Engineers Pete and Cal, truly dedicated to the island they live on, held the room for ten days, offering the kind of generous, unhurried attention that lets a record breathe. The remote landscape pulled the Isles into new, thrilling territory. They kept binoculars close by, peering through the soaring live-room window to scan the sprawling coastal view for white eagles and dolphins. 3 is a record of firsts for the Brighton-based band. The first as a true three-piece, with close friend Joe Taylor (Anna B Savage, Iona Zajac) joining on drums, and the first they’ve ever recorded live. Jack and Lily trade shimmering guitars and sunlit harmonies like shared secrets, while Joe Taylor anchors it all: falsetto drifting wistfully above, drums crashing below. These are songs that read like postcards or pages ripped from a diary and slipped under someone's door. Recording the album live has kept the ink wet and the page still warm. The album carries a lot of the band’s adopted hometown of Brighton. 'Bom Bane's' is named for the off-kilter Kemptown restaurant the band orbited. ‘Embo' is two verses long and a nostalgia-soaked love letter to a seafront flat at Embassy Court, and the people and memories that passed through it. 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Written more collaboratively than past releases, the group reconvened with Triple Seven co-producer Ben Lumsdaine in Los Angeles, where the quintet packed into a tiny studio and tracked half the songs live in the room, imbuing the album with the immediate energy of a band in sync after heavy touring. It gave them the ability to synthesize an even greater array of touchstones this time around, with the ‘90s dream-pop and alt-rock of Triple Seven fusing with ‘80s college rock and ‘00s indie.\"\u003c\/p\u003e\n\u003cp\u003eWSP080LP-C1\u003c\/p\u003e","brand":"WINSPEAR","offers":[{"title":"LIMITED INDIES EDITION DEVIL'S BLUSH PINK VINYL + EXCLUSIVE PILL PACKAGE \u0026 POSTCARD","offer_id":55578421395832,"sku":"VEV-11522","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/WISHY-NATURE_SPILLVINYL.jpg?v=1781017242"},{"product_id":"julia-jacklin-the-gem-vinyl-ltd-indies-ed-turquoise-gatefold","title":"JULIA JACKLIN - THE GEM VINYL (LTD. INDIES ED. 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When Jacklin first moved to Melbourne from Sydney in 2017, she discovered a little bar on a back street in Collingwood, where bands pushed dining tables to the side and set up in a corner on the floor. She didn’t know anyone in town but knew she wanted to make the city her home, so she started hanging out there, forcing herself out of her comfort zone. The pub was named The Gem. Fast forward eight years and Jacklin, with three celebrated solo records under her belt – Don’t Let The Kids Win (2016), Crushing (2019), and PRE PLEASURE (2022) – was looking to make a fourth. With time on her hands – she was out of contract with her record label, was searching for a manager – she decided to make the record at home in Melbourne, something she’d never done before. She called up an old drinking buddy Robert Muinos, owner of Rat Shack studios, which is located above The Gem, and brought in friends Jacob Diamond (guitar), Mimi Gilbert (bass), and Jess Elwood (drums). Recording happened in close quarters, in converted hotel room accommodation upstairs at the pub. As it was a residential bar, they couldn’t record late into the night for fear of bothering the neighbour and sound bleed was a glorious constraint: foot traffic to the hairdresser and the tattoo parlour next door, loud music from the bands and the kitchen crew downstairs. If anyone needed a break from the sessions, they would venture downstairs and watch a band playing. Jacklin and the band even played two unannounced shows there to try out the songs before recording them. They thought they’d smash out the record in two weeks, like she’d always done, but that wasn’t the case. In fact, it took nearly a year of tinkering to arrive at something Jacklin could get behind. “The Gem felt like a metaphor for the whole process, because a lot of it did feel like digging. 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More recently, the glitchy and anthemic “Real Tree Lee” was an A-list record at BBC 6Music and had support from BBC Radio 1. At both Brighton’s The Great Escape and SXSW in Austin this year the band were championed as one of the buzziest acts of the festival with snaking queues of people waiting hours to see them perform . A relentless touring schedule in 2025 saw them hone their status as festival headliners in waiting, picking up a global army of new fans and playing to huge crowds at Glastonbury, Green Man, End Of The Road and more. The band recently toured Japan where they were greeted by fans in homemade Adult DVD merch, played a series of sold-out shows and saw posts about their performances go viral with millions of views. In the making of their exhilarating debut album, vocalist Harry Hanson and synth-player Greg Lonsdale, alongside Danny Blackburn (guitar\/synth), Jake Williams (synth), Jonathan Newell (drums), and George Manson (bass), went harder on what was already working for them: witty observational songwriting based in real-life characters and a pulsating synth-punk sound perfect for both the rave and the mosh pit. Fusing together an intense musical workout with depictions of a motley crew of figures ranging from 5G conspiracy theorists to an existential cowboy, Adult DVD is the electrifying sound of a band exceeding their own expectations while going just as hard, if not harder than their adrenaline-fuelled live shows. On Adult DVD Hanson and Lonsdale continue to take a screenwriter’s approach to songwriting, filling their lyrics with stories pulled from the outskirts of society yet painting a vivid and comic picture of modern Britain. “We don't take things too seriously,” Lonsdale explains. “The lyrics have got sillier, the songs have got sillier. We make music for people to enjoy, so let them have a laugh.” Produced by the band at The Nave Studios Leeds , the general theme of the album is to let go and take life a little less seriously. “Cowboy On Aisle Three” conjures an image of a wrangler swapping the rodeo for a supermarket over a swaggering synth riff . It’s an EQ-pushing beast that merges an existential crisis with the band’s playful spirit and relentless pursuit of bangers. Speaking about the song, Hanson says: “I came up with the idea when I was in Lidl. 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It stands as the opposite to their song “Do Something,” one of a few occasions when Adult DVD tips its cap to the band’s older material. “‘Do Something’ was about somebody trying things,” Lonsdale explains. “‘Jesus Christ Supercar’ is about always putting an excuse in the way.” Simmering with boredom, wasted time, scams and a preoccupation with death and sex, the Adult DVD universe is a place to escape to and also get lost. These are songs that untangle the complicated ways in which people find themselves living, mining both laughter and energy from thinking. “There isn't that much down time on the album,” Hanson says in reference to its pulsating energy and high BPM count. “It's got harder in both directions. 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With follow up Cancel Me (I’m Tired), Fat Dog have created an exhilarating, swaggering, panoramic, inventive, re-inventive, re-re-inventive electro-punk-art-pop-rock’n’roll-space-country triumph that deserves all the adjectives. Over ten mind-bending and melodic tracks, it blends electro-pop anthems, cascading rave bangers, cowboy-tinged pitstops and swirling psychedelia. Into its lyrical orbit, the record pulls mentions of addiction, family ties, love, AI, ancestry, extra-terrestrials, Chris Tarrant, S\u0026amp;M, B\u0026amp;M, H\u0026amp;M and M\u0026amp;Ms. Cancel Me (I’m Tired) possesses all the rabid frenzy and electrifying excitement of their debut but now delivered on a grand and glorious scale. Big, big things are ahead. Fat Dog are only just getting going.\"\u003c\/p\u003e\n\u003cp\u003eWIGLP568X\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"LTD. INDIES ED. 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Clarity and conviction ring true through the static and noise, while utopian ideas to remodel a broken system gain traction. This is a rejection of the attention economy and a call to reconnect through community and organisation. Those simple acts that were once commonplace have become increasingly radical as new fractures emerge. “Through repetition the message has gained weight and become something more urgent,” The Sick Man Of Europe explains. “The vehicle for this message needed to evolve, grow to gain the strength to carry it. We’ve landed on something more expansive, immediate and immersive. Less is more. Until it isn't.”\u003c\/p\u003e\n\u003cp\u003e“Blends pulsating motorik beats, nagging basslines and droning electronics into all-consuming atmospheres. 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The shared history, the same pop references, the parallel lives… Railcard had to happen, and there was no time to lose. Two Steps At A Time - the album title and theme song - express exactly how quickly Railcard have worked since then - jumping over pavement cracks and whistling past graveyards to get these songs written, recorded and released while they are still sweet and fresh. The band released three digital EPs in early 2026, which were then gathered onto a CD and released by Skep Wax and Slumberland. The CDs sold out very quickly. (New copies will be made available to coincide with the album release.) The critical response to a mail-order-only CD was far greater than anyone expected. Railcard made their live debut in December 2025 and had by then recruited their fourth member: Allison Thomson (Trash Can Sinatras, The Love Band), whose flawless trumpet and swirly keyboard-playing complete the Railcard sound, allowing the band to fulfil the significant ambition and range of the songs, which are mostly co-written and often co-sung by Love and Button. “Flannelette” and “Sunday Sun”, delicate and swoony, could almost be Slapp Happy at their most Bacharach. “Foxy”, mysterious and charming, has more than a hint of Kate Bush December magic. The raucous duet “I’m A Disaster” is The Kinks meets deadpan Shangri-Las. The title track could have been an alternative theme tune for Whatever Happened To The Likely Lads. “Runaround” is like a school choir doing The Raincoats. “Unstable Neighbour”, mesmerising and insistent: it might make you think of Stereolab; we might imagine an indiepop Hawkwind. Peter Momtchiloff also contributes two wonderful songs on the album: the fragile and hallucinatory “Paper Thin” and the Love-meets-Undertones rush of “Hillman Minx”. As with the first EPs, Railcard enlisted the sonic services of Medway psych expert Allan Crockford (of The Prisoners, JTQ and many more) who has delivered mixes that pump with vintage valve energy and reverby depth. Two Steps At A Time is released on Skep Wax and Slumberland September 18th, and the band have a string of UK dates through the summer and Autumn. Ian Button also performs with The Penrose Web, Heavenly, Swansea Sound and The Catenary Wires. Peter Momtchiloff also performs with Heavenly and Would-be-goods.\"\u003c\/p\u003e\n\u003cp\u003eFOR FANS OF: Burt Bacharach, Nancy Sinatra, Dolly Mixture, Heavenly, Stereolab, Love\u003c\/p\u003e\n\u003cp\u003eSKEPWAX046DLP\u003c\/p\u003e","brand":"Skep Wax Records","offers":[{"title":"SUPER LTD. 'DINKED' ED. 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Originally released in 2006, 'Howling Bells' marked a striking debut for the Australian band Produced by Grammy Award-winning Ken Nelson (Coldplay, Gomez, The Charlatans), the album introduced their cinematic blend of darkly romantic songwriting, atmospheric guitars, and Juanita Stein's unmistakable vocals. Hailed upon release as a moder alternative classic, Pitchfork raised Stein's \"thoroughly unexpected, confidently strange, and immediately commanding voice, while NME simply called it \"an extraordinary album.\" The Guardian described it as \"bruising, narcotised rock'n'roll, refracted through the bottom of a glass, darkly... on the verge of unequivocal magnificence'. MOJO celebrated \"an utterly flawless, heart-twisting vocal throughout,\" praising her ability to turn \"tales of sorrow and betrayal\" into \"something exquisite,\" and Clash observed that it's the voice that grabs you,\" calling it a wonderfully lucid piece of songwriting, emotion lingering on each note.' Twenty years later, the album retains its intoxicating magic. Still, the opening seconds pull you in; still, the record won't let you go. For the first time ever on vinyl, listeners can experience one of the great alternative debuts of its era in a format worthy of its enduring legacy.\"\u003c\/p\u003e\n\u003cp\u003e\"OK, now I can finally listen to Setting Sun on vinyl and be reminded all over again why I love Howling Bells\" Chris Martin \u003c\/p\u003e\n\u003cp\u003e\"There was a time when we thought great records would just keep rolling in. We didn't realize we were living in a golden age until it was gone. Twenty years later, Howling Bells stands as a testament to what we've been missing\" Brandon Flowers\u003c\/p\u003e\n\u003cp\u003e“A haunting, beautiful and at times emotionally brutal debut by one of alt-rock's unsung talents” Brett Anderson\u003c\/p\u003e\n\u003cp\u003e\"Listening to Howling Bells' debut album was a cultural awakening for me back in the early 2000s. 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On All Set The Bone, he embraces friction instead of refusing it, using scant rehearsal times and urgent, self-appointed deadlines to fill his third album with ambitious whims: smile-stretching guitar scorchers, cosmic percussive surges, near-baroque piano riffs, psych-rock noodles, brass cutouts, and enough key changes to build an unsolvable musical maze. All Set The Bone was finished quickly, in a real Hollywood studio with one of rock’s best modern architects, John Congleton, and with minimal separation between idea and outcome. For Freeman, uncertainty has become his wealthiest currency. “It should never feel comfortable,” he says. “Every album should scare you.”.\"\u003c\/p\u003e\n\u003cp\u003eFFO: Pavement, Modest Mouse, Neil Young, MJ Lenderman\u003c\/p\u003e\n\u003cp\u003eTRANS993XD\u003c\/p\u003e","brand":"TRANSGRESSIVE RECORDS","offers":[{"title":"2LP 'DUSK' COLOURED VINYL","offer_id":55612683288952,"sku":"VEV-11764","price":35.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/GREG_FREEMAN_-_ALL_SET_THE_BONE_VINYL.jpg?v=1784624731"},{"product_id":"chelsea-wolfe-the-dark-vinyl-ltd-indies-ed-forest-green","title":"CHELSEA WOLFE - THE DARK VINYL (LTD. INDIES ED. 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The Detroit outfit, fronted by the lyricist, storyteller and vocalist Joe Casey, have always been rooted in the darkness and decay of modern living and they're in full swing on 'Hotel Usona'. Expect dark, brooding post-punk of the highest order with a soviet-era style. Martyrs!\u003c\/h3\u003e\n\u003ch3\u003eFor Fans Of: Preoccupations, Cola, Prostitute, Shame\u003cbr\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\"Recorded with legendary producer Dave Fridmann (Nick Cave, MGMT, The Flaming Lips) at his own Tarbox Road Studios in western New York, Hotel Usona—Protomartyr's seventh full-length studio album—is an effort that finds the Detroit post-punk outfit reckoning with the horrors of our current moment. It is not easy listening. It’s essential. Over the last two decades, Protomartyr—vocalist Joe Casey, drummer Alex Leonard, bassist Scott Davidson, guitarist-multi-instrumentalist and co-producer Greg Ahee—have built one of the most rewarding and often exhilarating bodies of work in recent memory by veering in and out of darkness, grappling with what most frightens us, saddens us, disgusts us, embarrasses and enrages us. The stuff that makes us human. Casey has imagined his country as an aging hotel here, each song a room haunted by its own troublesome guest: the slow paralysis of modern life (“Sounds We Cannot Hear”), AI (“Feed the Sewer”), deportation (“Third Country”), warped patriotism (“Exalted Eagles”), violence (“The Knife Dream”), JD Vance (“Converts”), and the often unbearable weight of becoming a father anyway (“Checking Out”). It’s a hard look at a nation in free fall, gripped by fascism. Musically, Ahee has built worlds within a world, drawing new influence from the Middle East and ‘50s exotica, finding common ground between dread and joy, a speciality. All of it—Leonard’s drumming in particular—is rendered more tangible and terrifying by Fridmann, whose son, Jon, contributes horns. You can feel the stakes in every song, feel the band levitating to meet them. They’ve never sounded more powerful.\"\u003c\/p\u003e\n\u003cp\u003eWIGLP571X\u003c\/p\u003e","brand":"Domino Records","offers":[{"title":"LTD. INDIES ED. GOLD VINYL + ZINE \u0026 POSTER","offer_id":55614564008312,"sku":"VEV-07974","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/PROTOMARTYR-HOTELUSONAVINYL.jpg?v=1784725724"},{"product_id":"master-peace-if-i-don-t-love-you-who-will-vinyl-super-ltd-dinked-ed-yellow-red-splatter-2lp-ft-stupid-kids-ep","title":"MASTER PEACE - if i don’t love you, who will ? VINYL (SUPER LTD. 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This duality is not just in his upbringing, it is the driving force behind his sound, a gutsy fusion of raucous indie, punk energy, razor-sharp lyricism and an undeniable sense of fun, built for stages rather than boxes. Never one to fit neatly into a singular scene, Peace grew up with Skepta and Giggs in his brother’s headphones, and The Kooks, Bloc Party and Vampire Weekend in his own. By the time he was making music himself, he had already learned to navigate both worlds. \"I always had my foot in each door but never felt like I fit in with either crowd, so I decided I needed to create something new,\" he says. That split identity birthed a sound that is impossible to categorise and impossible to ignore. Master Peace's 2024 debut album How To Make A Master Peace announced one of British music's most original new voices, earning him the Ivor Novello Rising Star Award, Zane Lowe recognition, MTV Push honours, a Rolling Stone nomination and standout appearances at Glastonbury, alongside tours and shows with Franz Ferdinand and Kasabian. Since then, an exhaustive touring schedule has only strengthened his reputation as one of the UK's most exhilarating live performers. From headline tours across the UK and his first headline US run to a European tour supporting 5 Seconds Of Summer, Peace has shared stages with the likes of Duckwrth, Bastille, Franz Ferdinand and Mike Skinner, building a loyal following through his electrifying live shows. Earlier this year, Master Peace released Stupid Kids, a deeply personal EP that confronted the labels placed upon him growing up. Living with undiagnosed autism and ADHD, leaving school with no qualifications and being repeatedly dismissed by teachers, Peace reclaimed the phrase that had followed him throughout his childhood, turning it into a rallying cry for anyone who has ever been underestimated. Honest without losing its humour or energy, Stupid Kids cemented his ability to pair fearless storytelling with euphoric indie-soaked anthems. Now, Master Peace enters his next chapter with his second album If I Don't Love You, Who Will? arriving on October 2nd. Introduced by the singles \"Love Hate\" and \"ONE Of ONE\", the record expands his world once again, pushing his songwriting further while retaining the emotional directness and restless energy that have become his trademark. It is his most ambitious statement yet, a record about identity, connection, self-worth and finding belonging, delivered with the genre-defying confidence that has become synonymous with Master Peace. A genuine musical chameleon, Peace moves effortlessly between rap, indie, punk and alternative without ever feeling like he is borrowing from any one world. Equally at home alongside a new generation of artists like Malcolm Todd and Royel Otis as he is helping define the UK's indie sleaze resurgence, he continues to dismantle expectations around genre, audience and identity. Few artists make those worlds feel as naturally connected. That same spirit defines his live shows. A Master Peace crowd is remarkably diverse, bringing together fans from every walk of life and every generation, united by his infectious charisma and genre-fluid stompers. His concerts are celebrations of individuality as much as they are gigs, a space where indie kids, rap fans and everyone in between find common ground. Master Peace has emerged as a voice for a generation that often feels overlooked, proof that there is not one route into music, success or belonging. 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Midway through the same song, that which takes its name from a traditional piece popularized by Mahalia Jackson, we hear the long, low woosh of a passing bus. Distant traffic has forever been a trope of lo-fi, but here, it is a pristine woosh. The highest of fidelity and sure of purpose. The same can be said for Molina’s always remarkable voice, here settling into a matured, assured, and subtly lowered tenor. It all adds up to something near in mood to Neil Young’s song “On The Beach,” and maybe even Boz Scagg’s 1969 self-titled album laid to tape at the legendary Muscle Shoals studio.\"\u003c\/p\u003e\n\u003cp\u003eSC065LP-C1\u003c\/p\u003e","brand":"VENUS VINYL","offers":[{"title":"LIMITED 'REVINYL' EDITION ECO MIX RANDOM COLOUR VINYL RE-ISSUE","offer_id":55659332764024,"sku":"VEV-08977","price":21.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/SONGS-OHIA-DIDN_TITRAINVINYL.webp?v=1789259261"},{"product_id":"the-tallest-man-on-earth-sometimes-the-blues-is-just-a-passing-bird-vinyl-re-issue-ltd-revinyl-ed-ecomix","title":"THE TALLEST MAN ON EARTH - SOMETIMES THE BLUES IS JUST A PASSING BIRD VINYL RE-ISSUE (LTD. 'REVINYL' ED. ECOMIX)","description":"\u003cp\u003eRelease Date: 18th September 2026\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003eNeither a sequel nor a satellite to 'the wild hunt', the tallest man on earth's ep, 'sometimes the blues is just a passing bird', is a statement in its own right. while many post-lp eps round up same-session tracks or studio experiments for diehard fans, these five austere folk songs were written on the road and recorded during a recent break from touring. they're unmistakably tallest, marked by the vulnerability in kristian matsson's croak of a voice, the strident complexity of his guitarwork, and his thoughtful, often fractured lyrics inspired, ostensibly, by his native sweden - specifically the mountainous region of dalarna, northwest of stockholm. and yet, despite the same elements, 'sometimes the blues is just a passing bird' has a very different character from 'the wild hunt'. it's slightly darker, more wounded, muted, and meditative. the ep allows matsson to explore one particular mood: a primary colour in his palette, a bluesy melancholy that defines and permeates every song here.\u003c\/p\u003e","brand":"DEAD OCEANS","offers":[{"title":"LIMITED 'REVINYL' EDITION ECOMIX VINYL","offer_id":55663484731768,"sku":"VEV-00028","price":15.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6395\/4238\/files\/image_e0f9d3a1-d5d0-4b6f-b3c4-4ff0ff4a7d6b.jpg?v=1789575929"}],"url":"https:\/\/venusvinyl.com\/collections\/our-catalogue.oembed?page=2","provider":"VENUS VINYL","version":"1.0","type":"link"}