{"title":"Week 40 2026","description":null,"products":[{"product_id":"lone-ark-meets-the-18th-parallel-showcase-vol-1-lp","title":"Lone Ark meets The 18th Parallel - Showcase Vol. 1 [LP]","description":"\u003cp\u003eCat No: FTR036\u003cbr\u003eFormat: 12\" Vinyl LP w\/ Artwork Sleeve\u003cbr\u003eRelease Date: 02 Oct 2026\u003cbr\u003eGenre: Reggae \/ Dub\u003cbr\u003e\u003cbr\u003eProbably the most respected and sought-after producer of the European reggae scene of the last ten years, Spanish genius Roberto Sánchez (Willi Williams, Earl Zero, Alpheus, Keith \u0026amp; Tex, Milton Henry,...) takes place behind the microphone to deliver a new album as a singer under his pseudonym LONE ARK. Soberly titled Showcase Vol. 1, this album is a collaboration between Sánchez and the Swiss band THE 18TH PARALLEL, whose playing is well known to reggae fans, since its musicians have recently played and produced some remarkable records, including I've Seen by Oku Onuora, Roots I Vision by Micah Shemaiah or Wonderland of Green by The Silvertones and Burro Banton.\u003cbr\u003e\u003cbr\u003eFaithful to the Jamaican roots reggae tradition, Showcase Vol. 1 offers six vocal tracks followed by their dub counterparts where all the creativity of the sound engineer and the musicians is freely expressed. On instrumentals at the same time heavy and irresistibly dancing, with a modern production but deeply rooted in the roots reggae sound, Lone Ark and The 18th Parallel push their listeners to critical reflection. 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This compilation presents some of the best songs included in the soundtracks of his flm masterpieces.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAmong his most celebrated flms are Pulp Fiction (1994), Jackie Brown (1997), Kill Bill (2003-2004), Death Proof (2007), Inglourious Basterds (2009), Django Unchained (2012), The Hateful Eight (2015), and Once Upon a Time in Hollywood (2019).\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"One of the things about using music in movies that's so cool, is the fact that if you do it right, if you use the right song, in the right scene; really when you take songs and put them in a sequence in a movie right, it's about as cinematic a thing as you can do. You are really doing what movies do better than any other art form; it really works in this visceral, emotional, cinematic way that's just really special.\" -Quentin Tarantino\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTracks: Dick Dale \u0026amp; The Del-Tones - Misirlou (1962) From Pulp Fiction \/ The Coasters - Down In Mexico (1956) From Death Proof \/ The Big Bopper - Chantilly Lace (1959) From True Romance \/ Esquivel - Harlem Nocturne (1960) From Four Rooms \/ Nick Perito - The Green Leaves Of Summer (1960) From Inglourious Basterds \/ Howlin' Wolf - Somebody In My Home (1959) From The Hateful Eight \/ Dee Clark - Hey Little Girl (1959) From Once Upon A Time In Hollywood \/ Charlie Feathers - I Can't Hardly Stand It (1956) From Kill Bill Vol.2 \/ The Robins - Since I First Met You (1956) From Pulp Fiction \/ Johnny Otis - Willie And The Hand Jive (1958) From Pulp Fiction \/ Link Wray - Rumble (1958) From Pulp Fiction \/ The Tornadoes - Bustin' Surfboards (1962) From Pulp Fiction \/ Johnny Cash - I Walk The Line (1956) From Kill Bill Vol.2 \/ The Clovers - Love Potion No.9 (1959) From Death Proof \/ The Falcons - You're So Fine (1959) From Jackie Brown \/ The Shirelles - Will You Love Me Tomorrow (1960) From True Romance \/ Woody Thorne - Teenagers In Love (1961) From Pulp Fiction \/ Burl Ives - A Little Bitty Tear (1961) From True Romance \/ Duane Eddy - Rebel Rouser (1958) From Pulp Fiction \/ Rick Nelson - Lonesome Town (1958) From Pulp Fiction \/ Jim Lowe - The Green Door (1956) From Once Upon A Time In Hollywood \/ Screamin' Jay Hawkins - I Put A Spell On You (1956) From Death Proof \/ Connie Francis - Stupid Cupid (1958) From Inglourious Basterds \/ Les Paul \u0026amp; Mary Ford - How High The Moon (1951) From Death Proof 2 \/ Rick Nelson - Waitin' In School (1957) From Pulp Fiction \/ Elvis Presley - Heartbreak Hotel (1956) From True Romance \/ Frank Sinatra - (Love Is) The Tender Trap (1955) From True Romance\u003c\/p\u003e","brand":"NEW CONTINENT","offers":[{"title":"Default Title","offer_id":44724868808860,"sku":"648077","price":12.69,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/2_f894e050-9f0d-4648-83e4-5a929b6069bf.webp?v=1738260657"},{"product_id":"tilaye-gebre-tilayes-saxophone-with-the-dahlak-band","title":"Tilaye Gebre - Tilaye's Saxophone With The Dahlak Band","description":"\u003cp\u003eFormat: LP\u003cbr\u003eCatalogue No.: MUZLP004\u003cbr\u003eBarcode: 7320470278857\u003cbr\u003eRelease Date: 02 Oct 2026\u003cbr\u003eGenre: Ethiopian Rare Groove\u003c\/p\u003e\n\u003cp\u003eGATEFOLD.\u003c\/p\u003e\n\u003cp\u003eTilaye Gebre is one of Ethiopia’s most soulful saxophone giants, with a musical legacy that’s hard to surpass. A founding member of the Equators, later renamed the Dahlak Band, he was a key figure in Ethiopia’s vibrant hotel music scene and a sought-after musician and arranger for artists like Aster Aweke, Mahmoud Ahmed, Tilahun Gessesse, and Muluken Melesse.\u003c\/p\u003e\n\u003cp\u003eIn the quiet storm of Ethiopian music in the mid- to late-1970s, Tilaye Gebre was something of the eye at the center. Even though much of the music from that period has been ridiculously hard to excavate from history, chances are that if you pick up any gem recorded in Addis Ababa during those times, it features Tilaye on saxophone and his arrangements.\u003c\/p\u003e\n\u003cp\u003eIn Africa’s second most populous country, having such a tight-knit musical scene surrounding the recording industry, it seems as if the movers and shakers were largely in each other’s phone books. Given the wealth of Ethiopian musical treasures unearthed in the last few decades, it’s easy to imagine Ethiopia as a society littered with musical institutions, but nothing could be further from the truth. In fact, only a select few talented musicians were given the opportunity to study music full-time. One institution that stood out, however, was the Haile Selassie First Theatre (Ethiopian National Theatre) in Addis Ababa, where Tilaye was one of 120 pupils attending. A feature on national radio mentioned the new music school being inaugurated, and Tilaye — in fifth grade — jumped at the idea of choosing music as his vocation.\u003c\/p\u003e\n\u003cp\u003eA founding member of the renowned Equators, and later the Dahlak Band, Tilaye was also a central figure in Ethiopia’s vibrant hotel music scene, where creativity and innovation flourished. He later joined the legendary Walias Band, with whom he toured extensively across the United States. It was during one of these tours that Tilaye made the pivotal decision to remain in the U.S. and further develop his musical craft. His artistry has since taken him around the world, with performances in major cities across Europe, Canada, and the Virgin Islands. Along the way, he has collaborated with some of the greatest Ethiopian vocalists of all time — including Tilahun Gessesse, Mahmoud Ahmed, Aster Aweke, Muluken Melesse, and others — bringing the sound of Ethiopia to global audiences. Notably, with the legendary Mahmoud Ahmed, Tilaye graced iconic stages such as Berklee College of Music in Oakland, Millennium Park in Chicago, Wolf Trap in Virginia, and the prestigious Carnegie Hall in New York City.\u003c\/p\u003e\n\u003cp\u003eWith the Dahlak Band, Tilaye had managed to secure a musical residency at the legendary Ghion Hotel, where they honed their skills and developed their musical expression to unparalleled levels. From the late sixties onwards, Dahlak Band lit up Addis Ababa with a mixture of James Brown and Wilson Pickett tunes, rhythm and blues, soul, funk, and the sound of the disco era — mixed with modern Ethiopian styles — serving up majestic concoctions with full-range instrumentation, featuring trumpet, keyboard, saxophone, bass, drums, and guitar. Through their hotel sessions, Tilaye developed further as an arranger, arranging fellow band member Muluken Melesse’s first solo album, Muluken Melesse with the Dahlak Band (Kaifa Records – LPKF 39), recorded during the turbulent years of 1975–1976, following the fall of Haile Selassie. Everything was in flux in this transitional period, but a constant was how Tilaye stood in the spotlight. On that record, there’s a loose vibe to the soundscape that lets Tilaye’s skills shine, while all the other musical contributions coalesce into a slowly cooking atmosphere where the groove at times fluctuates into psychedelic territory, making the music stand out from most contemporaries.\u003c\/p\u003e\n\u003cp\u003eMost of their recorded output came from one-take live cassette recordings at the Ghion, or from music shops at that time — one microphone at the front, hit record: no EQ, no reverb, just some delay. Some of the Dahlak Band’s releases featured Tilaye as frontman, such as Tilaye’s Saxophone with the Dahlak Band from the late 1970s — typical of a rare groove on the Ethiopian scene — with excursions into reggae territory, including the band’s characteristic sound featuring Tilaye Gebre (tenor and alto saxophone), Dawit Yifru (organ), David Kassa (electric guitar), Shimelis Beyene (trumpet), Moges Habte (tenor saxophone), Abera Feyissa (bass guitar), Tesfaye Tessema (drums), and Muluken Melesse (cowbell). The Dahlak Band’s output was so prodigious that they simply couldn’t be pigeonholed.\u003c\/p\u003e\n\u003cp\u003eNo saxophonist in Ethiopia influenced the sound of popular music more than Tilaye in the 1970s, yet his recordings have been hard to come by for ages, which has meant that newcomers to the scene have gems to uncover in retrospect. Arguably, Tilaye shifted gears when he relocated to the U.S. to such an extent that his musicianship became even more renowned, accompanying the greatest of his contemporaries internationally. Tilaye is one of Ethiopia’s all-time greats, with a musical legacy — both as musician and arranger — that’s hard to surpass. It’s a wonder to be able to enjoy a recording like this half a century later.\u003c\/p\u003e\n\u003cp\u003eTRACKLIST\u003cbr\u003eA1. Ālibek’agnimi A2. Ānichī keto gidi yeleshimi A3. Tizita B1. Ts’igērēda B2. Ālichalikumi C1. Eyut sitinafik’egni C2. Feqresh yemench weha D1. Ye’āyinē tesifa D2. 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In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eWhile the title of the piece “Hatred of Music” might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. Historical rituals of destroying pianos, mountains of pirated CDRs pushed by bulldozers in Eastern Europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. They also really didn't at all. Despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases Heckerʼs continued mastery of organizing sound into a visceral near entity. It is an almost physical presence that the listener feels as much as hears. \u003c\/p\u003e\n\u003cp\u003eThis work is a significant contribution to Hecker's oeuvre, one which spans over ten years of musical production. Ravedeath is an enigmatic document of beauty and force. The album was recorded mostly over the period of one day in July of 2010. Iceland-based musician Ben Frost assisted with the engineering and performs on this recording.\u003c\/p\u003e\n\u003cp\u003e RECEIVED AN 8.6 BEST NEW MUSIC RATING FROM PITCHFORK. \u003c\/p\u003e\n\u003cp\u003e 1. The Piano Drop 02:53\u003cbr\u003e 2. In The Fog 04:52\u003cbr\u003e 3. In The Fog II 06:01\u003cbr\u003e 4. In The Fog III 05:00\u003cbr\u003e 5. No Drums 03:24\u003cbr\u003e 6. Hatred of Music I 06:11\u003cbr\u003e 7. Hatred of Music II 04:22\u003cbr\u003e 8. Analog Paralysis, 1978 03:51\u003cbr\u003e 9. Studio Suicide, 1980 03:24\u003cbr\u003e 10. In The Air I 04:11\u003cbr\u003e 11. In The Air II 04:07\u003cbr\u003e 12. 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The tracks performed here are: ‘Theme One’; ‘After the Flood’; ‘Visions’; ‘Darkness’; ‘Refugees’; ‘ManErg’; ‘Killer’.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTracks: Theme One \/ After the Flood \/ Visions \/ Darkness \/ Refugees \/ ManErg \/ Killer\u003c\/p\u003e","brand":"Proper","offers":[{"title":"Default Title","offer_id":46687177703580,"sku":"GEMLP1004","price":24.21,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/2_298f07e3-7d7a-4835-a177-07fd88bba423.png?v=1776365432"},{"product_id":"kaitlyn-aurelia-smith-ruin-it-s-not-just-music-lp","title":"KAITLYN AURELIA SMITH - RUIN : IT”S NOT JUST MUSIC [LP]","description":"\u003cp\u003eFormat: LP\u003cbr\u003eCatalogue No.: SPECIAL001\u003cbr\u003eBarcode: 5051142053824\u003cbr\u003eRelease Date: 02 Oct 2026\u003cbr\u003eGenre: Drum \u0026amp; Bass\/ Electronica\u003c\/p\u003e\n\u003cp\u003eKaitlyn Aurelia Smith returns this year with “Ruin: It’s Not Just Music”, a new studio album that marks one of the most decisive statements in her creative trajectory. \u003c\/p\u003e\n\u003cp\u003eAcross the past decade, KAS has established herself as a unique voice in experimental electronic music, a composer and synthesist whose work dissolves the boundaries between ambient electronica, contemporary classical, composition, and immersive sound design. Her new album “Ruin: It’s Not Just Music” arrives with a distinctive gravitational pull. The record moves with greater physical force, placing rhythm and impact at the centre of its architecture, revealing a more confrontational and embodied dimension of KAS’s musical language. \u003c\/p\u003e\n\u003cp\u003eThe first single “Ruin” arrives May 22nd, with the full album released October 2nd via SOMEONE SPECIAL the new label co-founded by KAS. \u003c\/p\u003e\n\u003cp\u003eWhere much of KAS’s earlier work explored harmonic environments, the forthcoming album is built around tension and release. Inspired by the sound of drum and bass, breakbeats fracture through dense fields of synthesis, percussive patterns and her signature melodic fragments – motions that feel closer to the kinetic language of club music than the meditative spaces often associated with her past catalogue. The result is a body of work that feels both recognisably hers and newly charged, music that moves through the body as insistently as it engages the mind. \u003c\/p\u003e\n\u003cp\u003eFor listeners who first encountered KAS through the glowing synthesis of “Ears” (2016) or the intricate experimental pop of “The Kid” (2017), this direction may feel initially surprising, yet the shift has been quietly unfolding across the past several years. KAS’s practice has steadily expanded beyond the expectations placed upon experimental electronic artists, moving between orchestral composition, audiovisual installations, film scoring, and large-scale commissions while retaining the unmistakable sonic signature that defines her work. \u003c\/p\u003e\n\u003cp\u003eThe 2022 albums “I Could Be Your Dog \/ I Could Be Your Moon” (2022) and “Let’s Turn It Into Sound” (2022) explored a deeply immersive approach to composition, expanded her reputation and instinct for constructing detailed sonic ecosystems while continuing to blur the lines between experimental electronics and contemporary pop structures. KAS’s most recent output has continued to widen that field including the rhythm oriented electronic album “Gush” (2025) and her return to more orchestral roots with “Thoughts on the Future” (2025). Together these releases underscored the breadth of her practice. \u003c\/p\u003e\n\u003cp\u003eHer prolific collaborators and creative partners have ranged from Patti Smith and Suzanne Ciani to Danny Elfman, Tycho, Glass Beams, RY X, Caribou, Four Tet, Reggie Watts, and Max Richter, while her compositions have appeared in projects with Apple, Chanel, Meow Wolf, the BBC Orchestra, and major film and television productions. \u003c\/p\u003e\n\u003cp\u003eOn “Ruin: It’s Not Just Music”, that vocabulary becomes more kinetic than ever before. The record draws energy from jungle, drum and bass, and dance-floor focused electronic music while retaining the intricate synthesis and tonal curiosity that have defined KAS’s work from the beginning. 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The result is a body of work that feels both recognisably hers and newly charged, music that moves through the body as insistently as it engages the mind. \u003c\/p\u003e\n\u003cp\u003eFor listeners who first encountered KAS through the glowing synthesis of “Ears” (2016) or the intricate experimental pop of “The Kid” (2017), this direction may feel initially surprising, yet the shift has been quietly unfolding across the past several years. KAS’s practice has steadily expanded beyond the expectations placed upon experimental electronic artists, moving between orchestral composition, audiovisual installations, film scoring, and large-scale commissions while retaining the unmistakable sonic signature that defines her work. \u003c\/p\u003e\n\u003cp\u003eThe 2022 albums “I Could Be Your Dog \/ I Could Be Your Moon” (2022) and “Let’s Turn It Into Sound” (2022) explored a deeply immersive approach to composition, expanded her reputation and instinct for constructing detailed sonic ecosystems while continuing to blur the lines between experimental electronics and contemporary pop structures. KAS’s most recent output has continued to widen that field including the rhythm oriented electronic album “Gush” (2025) and her return to more orchestral roots with “Thoughts on the Future” (2025). Together these releases underscored the breadth of her practice. \u003c\/p\u003e\n\u003cp\u003eHer prolific collaborators and creative partners have ranged from Patti Smith and Suzanne Ciani to Danny Elfman, Tycho, Glass Beams, RY X, Caribou, Four Tet, Reggie Watts, and Max Richter, while her compositions have appeared in projects with Apple, Chanel, Meow Wolf, the BBC Orchestra, and major film and television productions. \u003c\/p\u003e\n\u003cp\u003eOn “Ruin: It’s Not Just Music”, that vocabulary becomes more kinetic than ever before. The record draws energy from jungle, drum and bass, and dance-floor focused electronic music while retaining the intricate synthesis and tonal curiosity that have defined KAS’s work from the beginning. 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Whether you're waking up or just pulled an all-nighter, I tip my hat to you, sunriser.\" Brice's sixth studio album delivers hopeful and resilient reflections on love, faith, and heartbreak for all sunrisers - from firefighters, nurses, and truck drivers, to blue-collar workers clocking out of graveyard shifts, to tired parents waking up to take care of little ones. Through the lens of what defines who he is -- God, country, and family -- the award-winning Country star encourages listeners to keep rising.\u003c\/p\u003e\n\u003cp\u003eCD Tracks: Sunriser \/ Killed The Man \/ Me And Whiskey \/ Country Nowadays \/ Devil's At It Again \/ She Wasn't Like That \/ Bury The Dead \/ Truck Bed Mixtape \/ What You Know About That \/ Said No Country Boy Ever \/ All The Way Down \/ Drinkin' Buddies \/ Old Men \/ Cry \/ Daddy Don't Care \/ When The Kingdom Comes\u003c\/p\u003e","brand":"CURB RECORDS","offers":[{"title":"Default Title","offer_id":46960367141020,"sku":"194646052421","price":13.66,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/0_baae0204-ab89-4d71-87b9-a3d8a4a92d57.webp?v=1779643054"},{"product_id":"lee-brice-sunriser-lp","title":"Lee Brice - Sunriser [LP]","description":"\u003cp\u003eCat. no: 194646052414\u003cbr\u003eFormat: LP\u003cbr\u003eBarcode: 194646052414\u003cbr\u003eRelease Date: 02 Oct 2026\u003cbr\u003eGenre: Country\u003c\/p\u003e\n\u003cp\u003eLee Brice's new 16-song album, Sunriser, honors those up before dawn. As Brice shares, \"Anybody can see a sunset, but a sunrise, you gotta earn. Whether you're waking up or just pulled an all-nighter, I tip my hat to you, sunriser.\" Brice's sixth studio album delivers hopeful and resilient reflections on love, faith, and heartbreak for all sunrisers - from firefighters, nurses, and truck drivers, to blue-collar workers clocking out of graveyard shifts, to tired parents waking up to take care of little ones. 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Built around minimalist production, sensual lyricism, and stacked harmonies, the album refects a renewed openness in her work, shaped by themes of desire, femininity, confdence, and self-revelation. Featuring collaborations with Brent Faiyaz and Bryson Tiller, AMA presents a portrait of womanhood that feels unguarded, instinctive, and emotionally direct.\u003c\/p\u003e\n\u003cp\u003eTracklisting\u003cbr\u003e1. Life's Better\u003cbr\u003e2. So...\u003cbr\u003e3. Aura (feat. Bryson Tiller)\u003cbr\u003e4. Creature\u003cbr\u003e5. Ride or Die\u003cbr\u003e6. Need it Bad (feat. Brent Faiyaz)\u003cbr\u003e7. Friend Zone\u003cbr\u003e8. Be For Real\u003cbr\u003e9. Holding Back\u003cbr\u003e10. Different High\u003cbr\u003e11. I Don't\u003cbr\u003e12. I'll Do It All Again\u003cbr\u003e13. RIP\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/EwzmQhhJoGY\" title=\"Ama - So... (Official Music Video)\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Pulse Records","offers":[{"title":"Default Title","offer_id":47002378764444,"sku":"PUL01047","price":12.9,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/unnamed_1_6ca64b0e-16b3-4b38-a08b-b9d81e1fc95c.jpg?v=1780414701"},{"product_id":"ama-ama-translucent-clear-vinyl","title":"Ama - Ama [translucent clear vinyl]","description":"\u003cp\u003eCat. no: PUL01046\u003cbr\u003eFormat: LP Translucent Clear inyl\u003cbr\u003eBarcode: 888072795372\u003cbr\u003eRelease Date: 02 Oct 2026\u003cbr\u003eGenre: Soul\/R\u0026amp;B\u003c\/p\u003e\n\u003cp\u003eLondon-raised R\u0026amp;B singer-songwriter Ama announces her self-titled sophomore album, AMA\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe project marks a deliberate shift into a more exposed creative state, as Ama steps away from the sonic intensity and layered abstraction of her debut, I Came Home Late, and into a more immediate, stripped-back approach to melody and songwriting. Built around minimalist production, sensual lyricism, and stacked harmonies, the album refects a renewed openness in her work, shaped by themes of desire, femininity, confdence, and self-revelation. Featuring collaborations with Brent Faiyaz and Bryson Tiller, AMA presents a portrait of womanhood that feels unguarded, instinctive, and emotionally direct.\u003c\/p\u003e\n\u003cp\u003eTracklisting\u003cbr\u003e1. Life's Better\u003cbr\u003e2. So...\u003cbr\u003e3. Aura (feat. Bryson Tiller)\u003cbr\u003e4. Creature\u003cbr\u003e5. Ride or Die\u003cbr\u003e6. Need it Bad (feat. Brent Faiyaz)\u003cbr\u003e7. Friend Zone\u003cbr\u003e8. Be For Real\u003cbr\u003e9. Holding Back\u003cbr\u003e10. Different High\u003cbr\u003e11. I Don't\u003cbr\u003e12. I'll Do It All Again\u003cbr\u003e13. RIP\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/EwzmQhhJoGY\" title=\"Ama - So... 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Ɵ͡͡͡͡͡͡͡͡͡͡͡ʅ༽ྀ҉ྀO◉☼ྀ⊖☼ྀ☼ྀ❁҉ྀ☼ྀ☼ྀྀྀ☼ྀ☼ྀ______oOo___________+-_.:._-*”+-_.:._☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉-*\"+-_.:.*\"+-_.:._-*\"+-_.:._-*\"+-ʅ͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡( ̸̢̛̼̞̭͋ͅ) ̸͚̰͛̔̾̀̿͒͂ȯ ̶̞̮͖̑̈́) ̸̢̛̼̞̭͋ͅv ̴̢͚͚͎͎̞͒͊̎ȯ ) ̴̲̣̝̀͜ͅ_.:._-*\"+-_.:._-*\"+-_.:._-*\"+-_.:._-*\"+-_.:._-*\"+-_.:._-*\")̸̢̛̼̞̭͋ͅ)̴͎̜͍̱̋̌͋̓̾̚͡͡͡͡͡͡͡͡͡͡͡ʅ(͡͡͡͡͡͡͡͡͡͡͡ʅ(☼ྀ◞⊖◟☼ྀ◉༽∷▲∵⣎⡇ྀ∷༽◉☼ྀ◞⊖◟☼ྀꉂ ꆭ(☼ྀ❁)ᕗ҉ྀƟʅ͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡( ̸̢̛̼̞̭͋ͅ) ̸͚̰͛̔̾̀̿͒͂: : : ̶̢͙͙͕̠̩͆( ̸̷͚̰̮͍͚̫͚͛̔̾̀̿͒͂͂̍) (Ɵ͡͡͡͡͡͡͡͡͡͡͡ʅ(̸̢̛̼̞̭͋ͅ)̸͚̰͛̔̾̀̿͒͂vȯ̶̞̮͖̑̈́)̸̢̛̼̞̭͋ͅ)̴͎̜͍̱̋̌͋̓̾̚͡͡͡͡͡͡͡͡͡͡͡ʅ\u003c\/p\u003e\n\u003cp\u003eTrack2:༽༽ྀ༽ɷԾᄑ◟ᄑ\u003c\/p\u003e\n\u003cp\u003eTrack3:☼ྀ☼ྀྀྀ☼ྀ☼ྀ::°。* ̧.·* ́ ̈・*・.°。· ́ ̈ ́ ゚* ́ ̈・。・ ゚. ́ ̈ ゚..·・*.。* ̈°。.・*。 ̧.·* ́.l̡̡̡̡̡̡̡̡̡ ̡̡̡ Ɵ͡͡͡͡͡͡͡͡͡͡͡ʅ(̸̢̛̼̞̭͋ͅ)̸͚̰͛̔̾̀̿͒͂vȯ̶̞̮͖̑̈́)̸̢̛̼̞̭͋ͅ)̴͎̜͍̱̋̌͋̓̾̚͡͡͡͡͡͡͡͡͡͡͡ʅl̡̡̡̡̡̡̡̡̡ ̡̡̡ ʅ͡͡͡͡͡͡͡͡͡͡͡()ʃ͡͡͡͡͡͡͡͡͡͡͡ꐑȯ ) ̴̲̣̝̀͜ͅ༽༽༽༽ྀྀྀ: : ̶̢͙͙͕̠̩͆( ̸̷͚̰̮͍͚̫͚͛̔̾̀̿͒͂͂̍) (l̡̡̡̡̡̡̡̡̡ ̡̡̡ Ɵʅ͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡( ̸̢̛̼̞̭͋ͅ) ̸͚̰͛̔̾̀̿͒͂ȯ ̶̞̮͖̑̈́) ̸̢̛̼̞̭͋ͅv ̴̢͚͚͎͎̞͒͊̎ȯ ) ̴̲̣̝̀͜ͅ) ̸̠̜̅̐͊̋̿̐̓ ̴̡̛̅͐͛̀̽ ̴̲̣̝̀͜ͅ( ̴̲̣̝̀͜ͅ) : ̶̱̼̣̤̰̲̣̈́̋͌̿̄̍̊ : ̸̠̜̅̐͊̋̿̐̓ : ̶̢͙͙͕̠̩͆( ) ̶̱̼̣̤̰̲̣̈́̋͌̿̄̍̊ ̴̡̛̅͐͛̀̽ ̴̡̛̅͐͛̀̽ ̴̡̛̅͐͛̀̽ ̸̠̜̅̐͊̋̿̐̓ V V ̴̠̼̩̘͈̦̥̉͋̐͗͌͠V ̸̠̜̅̐͊̋̿̐̓Ɵ͡͡͡͡͡͡͡͡͡͡͡ʅ(̸̢̛̼̞̭͋ͅ)̸͚̰͛̔̾̀̿͒͂ȯ̶̞̮͖̑̈́)̸̢̛̼̞̭͋ͅ)̴͎̜͍̱̋̌͋̓̾̚͡͡͡͡͡͡͡͡͡͡͡ʅʅ͡͡͡͡͡͡͡͡͡͡͡()ʃ͡͡͡͡͡͡͡͡͡͡͡ꐑȯ ) ̴̲̣̝̀͜ͅ༽༽༽༽ྀྀྀ) ̸̠̜̅̐͊̋̿̐̓ ̴̡̛̅͐͛̀̽ ̴̲̣̝̀͜ͅ( ̴̲̣̝̀͜ͅ) : ̶̱̼̣̤̰̲̣̈́̋͌̿̄̍̊ ☼ྀ◉༽∷▲∵⣎⡇ྀ: ̸̠̜̅̐͊̋̿̐̓ : ̶̢͙͙͕̠̩͆( ) ̶̱̼̣̤̰̲̣̈́̋͌̿̄̍̊ ̴̡̛̅͐͛̀̽ ̴̡̛̅͐͛̀̽ \u003c\/p\u003e\n\u003cp\u003eTrack4:☼ྀ☼ྀ◉҉ྀO◉☼ྀ⊖☼ྀ☼ྀ❁҉ྀ☼ྀ☼ྀྀྀ☼ྀ☼ྀ: : : ̶̢͙͙͕̠̩͆( ̸̷͚̰̮͍͚̫͚͛̔̾̀̿͒͂͂̍) (l̡̡̡̡̡̡̡̡̡ ̡̡̡ Ɵʅ()ʅ͡͡͡͡͡͡͡͡͡͡͡()ʃ͡͡͡͡͡͡͡͡͡͡͡ꐑȯ ) ̴̲̣̝̀͜ͅ༽༽༽༽ྀྀྀ) ̸̠̜̅̐͊̋̿̐̓ ̴̡̛̅͐͛̀̽ ̴̲̣̝̀͜ͅ( ̴̲̣̝̀͜ͅ) : ̶̱̼̣̤̰̲̣̈́̋͌̿̄̍̊ ☼ྀ◉༽∷▲∵⣎⡇ྀ: ̸̠̜̅̐͊̋̿̐̓ : ̶̢͙͙͕̠̩͆( ) \u003c\/p\u003e\n\u003cp\u003eTrack5:☼ྀ☼ྀ◉ྀO◉◖ƪ❍⊁◞..◟⊀⦁⦁⦁❍|◗щ(*ᄋ△Φ☆)ノ☼ྀ⊖☼ྀ☼ྀ❁ྀ☼ྀ☼ྀྀྀ☼ྀ☼ྀ______oOo___________+-_.:._-*”+-_.:._-*\"+-_.:._-*\"+-_.:._-*\"+-_.:._-*\"+-_.:._-*\"+-_.:._-*\"+-_.:._-*༽༽༽༽༽༽༽ʅ͡͡͡͡͡͡͡͡͡͡͡()ʃ͡͡͡͡͡͡͡͡͡͡͡ꐑ(༽༽༽ȯ ) ̴̲̣̝̀͜ͅ༽༽༽༽ྀྀྀ) ̸̠̜̅̐͊̋̿̐̓ ̴̡̛̅͐͛̀̽ ̴̲̣̝̀͜ͅ( ̴̲̣̝̀͜ͅ) : ̶̱̼̣̤̰̲̣̈́̋͌̿̄̍̊ : ̸̠̜̅̐͊̋̿̐̓ : ̶̢͙͙͕̠̩͆( ) ̶̱̼̣̤̰̲̣̈́̋͌̿̄̍̊ ̴̡̛̅͐͛̀̽ ̴̡̛̅͐͛̀̽ ̴̡̛̅͐͛̀̽ ̸̠̜̅̐͊̋̿̐̓ ༽༽༽༽༽༽ྀྀྀྀྀྀྀྀྀྀྀ༽༽༽ʅ͡͡͡͡͡͡͡͡͡͡͡()ʃ͡͡͡͡͡͡͡͡͡͡͡ꐑ(༽༽༽༽༽༽༽༽༽༽༽༽) (l̡̡̡̡̡̡̡̡̡ ̡̡̡ Ɵ͡͡͡͡͡͡͡͡͡͡͡ʅ༽ྀ\"+-_.:._-*\"+-_.:._-*\"+-_.:._-*\")̴̲̣̝̀͜ͅ)̸̠̜̅̐͊̋̿̐̓ ̴̡̛̅͐͛̀̽ ͡͡͡͡͡͡͡͡͡͡͡ʅ(͡͡͡͡͡͡͡͡͡͡͡ʅ(☼ྀ◞⊖◟☼ྀ◉༽∷▲∵⣎⡇ྀ∷༽◉☼ྀ◞⊖◟☼\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eTrack6:°。* ̧.·* ́ ̈・*・.°。· ́ ̈ ́ ゚༽༽༽༽ྀྀྀ: : ̶̢͙͙͕̠̩͆( ̸̷͚̰̮͍͚̫͚͛̔̾̀̿͒͂͂̍) (l̡̡̡̡̡̡̡̡̡ ̡̡̡ * ́ ྀ̈∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀ☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eTrack7:Ɵʅ͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡( ̸̢̛̼̞̭͋ͅ) ̸͚̰͛̔̾̀̿͒͂v ȯ ̶̞̮͖̑̈́) ̸̢̛̼̞̭͋ͅ) ̴͎̜͍̱̋̌͋̓̾̚☼ྀ◞⊖◟∷༽◉☼ྀ◞⊖◟☼ྀꉂ ꆭ(☼ྀ❁)ᕗ҉ྀ͡͡͡͡͡͡͡͡͡͡͡ʅl̡̡̡̡̡̡̡̡̡ ̡̡̡ \/ ̸̠̜̅̐͊̋̿̐̓\\ ̸̠̜̅̐͊̋̿̐̓ ̴̡̛̅͐͛̀̽ \/ ̶̱̼̣̤̰̲̣̈́̋͌̿̄̍̊\\ ̴̲̣̝̀͜ͅ ̴̡̛̅͐͛̀̽ ̴̡̛̅͐͛̀̽ ( ̸̠̜̅̐͊̋̿̐̓ ̴̲̣̝̀͜ͅ( o ʅ͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡( ̸̢̛̼̞̭͋ͅ) ̸͚̰͛̔̾̀̿͒͂☼ྀ☼ྀ◉҉ྀO◉☼ྀ⊖☼ྀ☼ྀ❁҉ྀ☼ྀ☼ྀྀƟʅ͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡( ̸̢̛̼̞̭͋ͅ) ̸͚̰͛̔̾̀̿͒͂v ȯ ̶̞̮͖̑̈́) ̸̢̛̼̞̭͋ͅ) ̴͎̜͍̱̋̌͋̓̾̚☼ྀ◞⊖◟∷༽◉☼ྀ◞⊖◟☼ྀꉂ ꆭ(☼ྀ❁)ᕗ҉ྀ͡͡͡͡͡͡͡͡͡͡͡ʅl̡̡̡̡̡̡̡̡̡ ̡̡̡ \/ ̸̠̜̅̐͊̋̿̐̓\\ ̸̠̜̅̐͊̋̿̐̓ ̴̡̛̅͐͛̀̽ \/ ̶̱̼̣̤̰̲̣̈́̋͌̿̄̍̊\\ ̴̲̣̝̀͜ͅ ̴̡̛̅͐͛̀̽ ̴̡̛̅͐͛̀̽ ( ̸̠̜̅̐͊̋̿̐̓ ̴̲̣̝̀͜ͅ( o ʅ͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡( ̸̢̛̼̞̭͋ͅ) ̸͚̰͛̔̾̀̿͒͂☼ྀ☼ྀ◉҉ྀO◉☼ྀ⊖☼ྀ☼ྀ❁҉ྀ☼ྀ☼ྀྀྀ☼ྀ☼ྀ: : : ̶̢͙͙͕̠̩͆( ̸̷͚̰̮͍͚̫͚͛̔̾̀̿͒͂͂̍) (l̡̡̡̡̡̡̡̡̡ ̡̡̡ Ɵ͡͡͡͡͡͡͡͡͡͡͡ʅ(̸̢̛̼̞̭͋ͅ)̸͚̰͛̔̾̀̿͒͂vȯ̶̞̮͖̑̈́)̸̢̛̼̞̭͋ͅ)̴͎̜͍̱̋̌͋̓̾̚͡͡͡͡͡͡͡͡͡͡͡ʅl̡̡̡̡̡̡̡̡̡ ̡̡̡ ʅ͡͡͡͡͡͡͡͡͡͡͡()ʃ͡͡͡͡͡͡͡͡͡͡͡ꐑȯ ) ̴̲̣̝̀͜ͅ༽༽༽༽ྀྀྀ: : ̶̢͙͙͕̠̩͆( ̸̷͚̰̮͍͚̫͚͛̔̾̀̿͒͂͂̍) (l̡̡̡̡̡̡̡̡̡ ̡̡̡ Ɵʅ͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡( ̸̢̛̼̞̭͋ͅ) ̸͚̰͛̔̾̀̿͒͂ȯ ̶̞̮͖̑̈́) ̸̢̛̼̞̭͋ͅv ̴̢͚͚͎͎̞͒͊̎ȯ ) ̴̲̣̝̀͜ͅ) ̸̠̜̅̐͊̋̿̐̓ ̴̡̛̅͐͛̀̽ ̴̲̣̝̀͜ͅ( ̴̲̣̝̀͜ͅ) : ̶̱̼̣̤̰̲̣̈́̋͌̿̄̍̊ : ̸̠̜̅̐͊̋̿̐̓ : ̶̢͙͙͕̠̩͆( ) ̶̱̼̣̤̰̲̣̈́̋͌̿̄̍̊ ̴̡̛̅͐͛̀̽ ̴̡̛̅͐͛̀̽ ̴̡̛̅͐͛̀̽ ̸̠̜̅̐͊̋̿̐̓ V V ̴̠̼̩̘͈̦̥̉͋̐͗͌͠V ̸̠̜̅̐͊̋̿̐̓Ɵ͡͡͡͡͡͡͡͡͡͡͡ʅ(̸̢̛̼̞̭͋ͅ)̸͚̰͛̔̾̀̿͒͂ȯ̶̞̮͖̑̈́)̸̢̛̼̞̭͋ͅ)̴͎̜͍̱̋̌͋̓̾̚͡͡͡͡͡͡͡͡͡͡͡ʅʅ͡͡͡͡͡͡͡͡͡͡͡()ʃ͡͡͡͡͡͡͡͡͡͡͡ꐑȯ ) ̴̲̣̝̀͜ͅ༽༽༽༽ྀྀྀ) ̸̠̜̅̐͊̋̿̐̓ ̴̡̛̅͐͛̀̽ ̴̲̣̝̀͜ͅ( ̴̲̣̝̀͜ͅ) : ̶̱̼̣̤̰̲̣̈́̋͌̿̄̍̊ ☼ྀ◉༽∷▲ྀ☼ྀ☼ྀ: : : ̶̢͙͙͕̠̩͆( ̸̷͚̰̮͍͚̫͚͛̔̾̀̿͒͂͂̍) (l̡̡̡̡̡̡̡̡̡ ̡̡̡ Ɵ͡͡͡͡͡͡͡͡͡͡͡ʅ(̸̢̛̼̞̭͋ͅ)̸͚̰͛̔̾̀̿͒͂vȯ̶̞̮͖̑̈́)̸̢̛̼̞̭͋ͅ)̴͎̜͍̱̋̌͋̓̾̚͡͡͡͡͡͡͡͡͡͡͡ʅl̡̡̡̡̡̡̡̡̡ ̡̡̡ ʅ͡͡͡͡͡͡͡͡͡͡͡()ʃ͡͡͡͡͡͡͡͡͡͡͡ꐑȯ ) ̴̲̣̝̀͜ͅ༽༽༽༽ྀྀྀ: : ̶̢͙͙͕̠̩͆( ̸̷͚̰̮͍͚̫͚͛̔̾̀̿͒͂͂̍) (l̡̡̡̡̡̡̡̡̡ ̡̡̡ Ɵʅ͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡͡( ̸̢̛̼̞̭͋ͅ) ̸͚̰͛̔̾̀̿͒͂ȯ ̶̞̮͖̑̈́) ̸̢̛̼̞̭͋ͅv ̴̢͚͚͎͎̞͒͊̎ȯ ) ̴̲̣̝̀͜ͅ) ̸̠̜̅̐͊̋̿̐̓ ̴̡̛̅͐͛̀̽ ̴̲̣̝̀͜ͅ( ̴̲̣̝̀͜ͅ) : ̶̱̼̣̤̰̲̣̈́̋͌̿̄̍̊ : ̸̠̜̅̐͊̋̿̐̓ : ̶̢͙͙͕̠̩͆( ) ̶̱̼̣̤̰̲̣̈́̋͌̿̄̍̊ ̴̡̛̅͐͛̀̽ ̴̡̛̅͐͛̀̽ ̴̡̛̅͐͛̀̽ ̸̠̜̅̐͊̋̿̐̓ V V ̴̠̼̩̘͈̦̥̉͋̐͗͌͠V ̸̠̜̅̐͊̋̿̐̓Ɵ͡͡͡͡͡͡͡͡͡͡͡ʅ(̸̢̛̼̞̭͋ͅ)̸͚̰͛̔̾̀̿͒͂ȯ̶̞̮͖̑̈́)̸̢̛̼̞̭͋ͅ)̴͎̜͍̱̋̌͋̓̾̚͡͡͡͡͡͡͡͡͡͡͡ʅʅ͡͡͡͡͡͡͡͡͡͡͡()ʃ͡͡͡͡͡͡͡͡͡͡͡ꐑȯ ) ̴̲̣̝̀͜ͅ༽༽༽༽ྀྀྀ) ̸̠̜̅̐͊̋̿̐̓ ̴̡̛̅͐͛̀̽ ̴̲̣̝̀͜ͅ( ̴̲̣̝̀͜ͅ) : ̶̱̼̣̤̰̲̣̈́̋͌̿̄̍̊ ☼ྀ◉༽∷▲\u003c\/p\u003e\n\u003cp\u003eTrack8:҉҉҉҉●ྀ●ྀ●҉ྀྀ ྀ͞ ྀྀྀ͢҉ྀྀྀ҉҈҉҈҉҈҉҈҉҈҉҉●ྀ●ྀ●҉ྀྀ ྀ͞ ྀྀྀ͢҉ྀྀྀ҉҈҉҈҉҈҉҈҉҈҉҉҉҉●ྀ●ྀ●҉ྀྀ ྀ͞ ྀྀྀ͢҉ྀྀྀ҉҈҉҈҉҈҉҈҉҈҉●ྀ●ྀ●҉ྀྀ ྀ͞ ྀྀྀ͢҉ྀྀྀ\u003c\/p\u003e","brand":"Text Records","offers":[{"title":"Default Title","offer_id":47040525238428,"sku":"TEXT059","price":26.58,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/TEXT059_1.jpg?v=1781027321"},{"product_id":"media-puzzle-new-racehorse-purple-vinyl","title":"MEDIA PUZZLE - NEW RACEHORSE [Purple Vinyl]","description":"\u003cp\u003eFormat: LP\u003cbr\u003eCatalogue No.: IMP260R\u003cbr\u003eBarcode: 9362299012609\u003cbr\u003eRelease Date: 02 Oct 2026 2026\u003cbr\u003eGenre: Post-Punk\u003c\/p\u003e\n\u003cp\u003eTRACKLIST: \u003cbr\u003e1. Knowledge\u003cbr\u003e2. New Pet\u003cbr\u003e3. Out Of The Rain\u003cbr\u003e4. I Don’t Care!\u003cbr\u003e5. More Horse, Less Code\u003cbr\u003e6. Tea Time\u003cbr\u003e7. My Age, In Minutes And Seconds\u003cbr\u003e8. Don’t Know You\u003cbr\u003e9. See You There\u003cbr\u003e10. Equine End Of Life\u003cbr\u003e11. Dead Dog!\u003cbr\u003e12. 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Ditching the previous drum machine-focused, egg-punk fashion.. This fourth album is the most collaborative yet, mixing oddball pop and garage punk.\u003c\/p\u003e","brand":"IMPRESSED RECORDINGS","offers":[{"title":"Default Title","offer_id":47065930989724,"sku":"IMP260R","price":28.48,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/4_90c882dd-3efd-41f7-8c14-3ff963f98469.webp?v=1781457371"},{"product_id":"johnny-marr-the-age-of-everything-cd","title":"Johnny Marr - The Age of Everything [CD]","description":"\u003cp\u003eFormat: CD\u003cbr\u003eCatalogue No.: 964264742\u003cbr\u003eBarcode: 4099964264746\u003cbr\u003eRelease Date: 02 Oct 2026\u003cbr\u003eGenre: Indie\/Alternative\u003c\/p\u003e\n\u003cp\u003eThe Age Of Everything is Johnny Marr's fifth full length studio record. Written in London, developed live on the road across the East Coast of North America and recorded in Manchester, The Age Of Everything captures the energy and tensions of the city. Sharp, fast and dynamic, filled with ideas and possibilities.\u003c\/p\u003e\n\u003cp\u003e“This is the record that’s been the most cathartic. The title came to me early in the process and became an inescapable idea. It seemed to sum up the way I think a lot of people are feeling. It’s all encompassing, but it's not necessarily a negative statement. There’s a sense of overwhelm in the culture brought about by technology, but looking at it with a different light, there could also be a sense of possibility.” Johnny Marr\u003c\/p\u003e\n\u003cp\u003e1. Spin\u003cbr\u003e2. Beyond The Rain\u003cbr\u003e3. It's Time\u003cbr\u003e4. How Come\u003cbr\u003e5. Ophelia\u003cbr\u003e6. That Feeling\u003cbr\u003e7. In And Out Of Love\u003cbr\u003e8. Just Once More\u003cbr\u003e9. Fire With Fire\u003cbr\u003e10. All In A Life\u003c\/p\u003e","brand":"BMG","offers":[{"title":"Default Title","offer_id":47071879725212,"sku":"964264742","price":13.68,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/JohnnyMarrCD_Exploded02.10.26.jpg?v=1781606870"},{"product_id":"johnny-marr-the-age-of-everything-black-lp","title":"Johnny Marr - The Age of Everything [Black LP]","description":"\u003cp\u003eFormat: LP\u003cbr\u003eCatalogue No.: 964264691\u003cbr\u003eBarcode: 4099964264692\u003cbr\u003eRelease Date: 02 Oct 2026\u003cbr\u003eGenre: Indie\/Alternative\u003c\/p\u003e\n\u003cp\u003eThe Age Of Everything is Johnny Marr's fifth full length studio record. Written in London, developed live on the road across the East Coast of North America and recorded in Manchester, The Age Of Everything captures the energy and tensions of the city. Sharp, fast and dynamic, filled with ideas and possibilities.\u003c\/p\u003e\n\u003cp\u003e“This is the record that’s been the most cathartic. The title came to me early in the process and became an inescapable idea. It seemed to sum up the way I think a lot of people are feeling. It’s all encompassing, but it's not necessarily a negative statement. There’s a sense of overwhelm in the culture brought about by technology, but looking at it with a different light, there could also be a sense of possibility.” Johnny Marr\u003c\/p\u003e\n\u003cp\u003eA\u003cbr\u003e1. Spin\u003cbr\u003e2. Beyond The Rain\u003cbr\u003e3. It's Time\u003cbr\u003e4. How Come\u003cbr\u003e5. Ophelia\u003c\/p\u003e\n\u003cp\u003eB\u003cbr\u003e1. That Feeling\u003cbr\u003e2. In And Out Of Love\u003cbr\u003e3. Just Once More\u003cbr\u003e4. Fire With Fire\u003cbr\u003e5. All In A Life\u003c\/p\u003e","brand":"BMG","offers":[{"title":"Default Title","offer_id":47071879757980,"sku":"964264691","price":27.4,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/johnnyMarrLPBlack_Exploded02.10.26.jpg?v=1781606814"},{"product_id":"johnny-marr-the-age-of-everything-red-lp","title":"Johnny Marr - The Age of Everything [Red LP]","description":"\u003cp\u003eFormat: LP\u003cbr\u003eCatalogue No.: 964264501\u003cbr\u003eBarcode: 4099964264500\u003cbr\u003eRelease Date: 02 Oct 2026\u003cbr\u003eGenre: Indie\/Alternative\u003c\/p\u003e\n\u003cp\u003eThe Age Of Everything is Johnny Marr's fifth full length studio record. Written in London, developed live on the road across the East Coast of North America and recorded in Manchester, The Age Of Everything captures the energy and tensions of the city. Sharp, fast and dynamic, filled with ideas and possibilities.\u003c\/p\u003e\n\u003cp\u003e“This is the record that’s been the most cathartic. The title came to me early in the process and became an inescapable idea. It seemed to sum up the way I think a lot of people are feeling. It’s all encompassing, but it's not necessarily a negative statement. There’s a sense of overwhelm in the culture brought about by technology, but looking at it with a different light, there could also be a sense of possibility.” Johnny Marr\u003c\/p\u003e\n\u003cp\u003eA\u003cbr\u003e1. Spin\u003cbr\u003e2. Beyond The Rain\u003cbr\u003e3. It's Time\u003cbr\u003e4. How Come\u003cbr\u003e5. Ophelia\u003c\/p\u003e\n\u003cp\u003eB\u003cbr\u003e1. That Feeling\u003cbr\u003e2. In And Out Of Love\u003cbr\u003e3. Just Once More\u003cbr\u003e4. Fire With Fire\u003cbr\u003e5. 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Tom is also a member of upcoming meditative folk group,  Twelfth House.  \u003c\/p\u003e\n\u003cp\u003eFohn has been played and supported by the likes of Carla Dal Forno, Hannah Peel, BBC Radio 3’s Night Tracks, BBC 6 Music’s Zakia, DJ Sundae, Moopie and many more.  \u003c\/p\u003e\n\u003cp\u003eFFO: Oren Ambarchi, Milkweed, Shovel Dance Collective, Daisy Rickman, Tara Clerkin Trio and Flaer.\u003c\/p\u003e\n\u003cp\u003eFohn conjures a dreamlike landscape of introspective beauty, loneliness and transience from analogue tape and field recordings on new album, Porcelain.\u003cbr\u003e \u003cbr\u003eA late summer evening in southern France. The dry mistral wind billows the washing that hangs outside the windows on narrow streets, bringing with it the first whispers of autumn. In the distance children are playing in the square, their shouts caught in the dust whipped up by their feet. A bell tolls, the light dies, and a rich, compelling solitude descends.\u003cbr\u003e Violinist and multi-instrumentalist Fohn, aka Tom Connolly, describes the act of making music as “building fictional environments that become places of solace,” and a process of translation and projection that bridges his internal and external worlds.\u003c\/p\u003e\n\u003cp\u003eWhile musicians like John Also Bennett, Oren Ambarchi and Connolly’s own group Quade drift behind his sound, Porcelain draws its temperamental inspiration from films like Call Be My Your Name and Andrei Tarkovsky’s The Mirror, as well as the sculptures of Anthony Gormley, whose solitary figures stand isolated in expanses of water along the UK coastline.\u003cbr\u003e \u003cbr\u003eHow does Connolly describe the atmosphere he wants the music to evoke? “It's the feeling of the inevitability of something having to pass,” he answers. “It's compelling because it's fundamentally unattainable. You're searching and grasping for something that you can never fully hold.”\u003c\/p\u003e\n\u003cp\u003eA moving, intimate and deeply personal album, Porcelain shimmers in the illusive light of melancholy. For Connolly it provided the release of catharsis, but it’s a feeling that will mean something different to everyone who listens.\u003c\/p\u003e\n\u003cp\u003eLP  Digital:\u003cbr\u003eA1.  1.  Blunt Edge\u003cbr\u003eA2.  2.  Before The Infidel\u003cbr\u003eA3.  3.  Sanctuary In Waiting\u003cbr\u003eA4.  4.  Like A Mirror\u003cbr\u003eA5. 5. False Dawn\u003cbr\u003eB1.  6.  Hagstone Lullaby\u003cbr\u003eB2.  7. At Moot Point\u003cbr\u003eB3.  8. Prove Fruitful\u003cbr\u003eB4.  9.  In Shadows Of Regret\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"715\" height=\"402\" src=\"https:\/\/www.youtube.com\/embed\/b4ERx6okBc4\" title=\"Fohn - Sanctuary In Waiting (Official Video)\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Odda Recordings","offers":[{"title":"Default Title","offer_id":47108623630492,"sku":"ODA09M","price":23.92,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/ODA09MMU.jpg?v=1782393145"},{"product_id":"franck-roger-real-tone-classics-vol-6","title":"Franck Roger - Real Tone Classics Vol 6","description":"\u003cp\u003eFormat: 12\" Vinyl\u003cbr\u003eCatalogue No.: RTR006\u003cbr\u003eRelease Date: 02 Oct 2026\u003cbr\u003eGenre: Deep House, Soulful House\u003c\/p\u003e\n\u003cp\u003eTracklist :\u003cbr\u003eA1: Franck Roger Feat Rona Ray - Why Don't You Stay\u003cbr\u003eA2: Volt\u003cbr\u003eB1: Mister Henderson\u003cbr\u003eB2: My Own Thing\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eReal Tone Classics Vol 6 – a limited-edition vinyl release handpicked from the legendary archives of Real Tone Records.\u003c\/p\u003e","brand":"Real Tone Records","offers":[{"title":"Default Title","offer_id":47113373483164,"sku":"RTR006","price":15.18,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/rel_8d4693cc-4272-4790-9c0c-04352daa4340.jpg?v=1782484458"},{"product_id":"miranda-lambert-crisco-cd","title":"Miranda Lambert - Crisco [CD]","description":"\u003cp\u003e\u003cspan\u003eFormat: CD\u003cbr\u003eCatalogue No.: 7420543\u003cbr\u003eBarcode: 0600574205438\u003cbr\u003eRelease Date: 02 Oct 2026\u003cbr\u003eGenre: Folk\/Americana\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCritically acclaimed groundbreaker\/songwriter\/\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003esuperstar Miranda Lambert will release her latest album, Crisco, on October 2, 2026.  From dance floors and dive bars to desert highways and kitchen-table conversations, Crisco celebrates the many worlds that have always existed within country music. The album features 12 tracks including title track “Crisco” and Grammy-nominated single  “A Song To Sing” with Chris Stapleton.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e***********\u003c\/p\u003e\n\u003cp\u003eBIO\u003c\/p\u003e\n\u003cp\u003eCritically acclaimed groundbreaker\/songwriter\/superstar Miranda Lambert has defined her multifaceted career as an artist, entertainer, entrepreneur, advocate and businesswoman with an unflinching quest for excellence, honesty and conviction. Her latest album, 2024’s GRAMMY-nominated Postcards from Texas, continued her unbroken streak of 10 consecutive Top 10s on the Top Country Albums chart, while brand new song “Crisco” marks her first release with MCA. The most-awarded artist in Academy of Country Music history, including their top honor for Entertainer of the Year, she has also won three GRAMMYs and 14 Country Music Association Awards. A TIME100 honoree and perennial best-of-the-year list maker at the New York Times, TIME, Rolling Stone, Billboard, Stereogum, People and more, NPR has called her “the most riveting country star of her generation.”\u003c\/p\u003e\n\u003cp\u003eLambert has taken those standards to become a label co-founder, teaming with longtime collaborator Jon Randall to launch their own imprint, Big Loud Texas, in partnership with Big Loud Records. She is also a New York Times bestselling author and the first female restaurateur on Lower Broadway with her Tex-Mex cantina Casa Rosa, while also expanding her creative reach with her Wanda June Home collection as well as Idyllwind, her western clothing, accessories and footwear brand at Boot Barn. Her passion for animals inspired the creation of MuttNation Foundation, a 501c3 nonprofit which has raised over $13 million since inception to promote shelter pet adoption, support rescue organizations nationwide, advance spay \u0026amp; neuter and help shelters recover from natural disaster.\u003c\/p\u003e","brand":"Island","offers":[{"title":"Default Title","offer_id":47125875261596,"sku":"7420543","price":13.89,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/ML_Crisco_CD_Packshot.jpg?v=1782754565"},{"product_id":"miranda-lambert-crisco-red-leather-lp","title":"Miranda Lambert - Crisco [RED LEATHER LP]","description":"\u003cp\u003e\u003cspan\u003eFormat: LP\u003cbr\u003eCatalogue No.: 7420545\u003cbr\u003eBarcode: 0600574205452\u003cbr\u003eRelease Date: 02 Oct 2026\u003cbr\u003eGenre: Folk\/Americana\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCritically acclaimed groundbreaker\/songwriter\/\u003c\/span\u003e\u003cwbr\u003e\u003cspan\u003esuperstar Miranda Lambert will release her latest album, Crisco, on October 2, 2026.  From dance floors and dive bars to desert highways and kitchen-table conversations, Crisco celebrates the many worlds that have always existed within country music. The album features 12 tracks including title track “Crisco” and Grammy-nominated single  “A Song To Sing” with Chris Stapleton.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e***********\u003c\/p\u003e\n\u003cp\u003eBIO\u003c\/p\u003e\n\u003cp\u003eCritically acclaimed groundbreaker\/songwriter\/superstar Miranda Lambert has defined her multifaceted career as an artist, entertainer, entrepreneur, advocate and businesswoman with an unflinching quest for excellence, honesty and conviction. Her latest album, 2024’s GRAMMY-nominated Postcards from Texas, continued her unbroken streak of 10 consecutive Top 10s on the Top Country Albums chart, while brand new song “Crisco” marks her first release with MCA. The most-awarded artist in Academy of Country Music history, including their top honor for Entertainer of the Year, she has also won three GRAMMYs and 14 Country Music Association Awards. A TIME100 honoree and perennial best-of-the-year list maker at the New York Times, TIME, Rolling Stone, Billboard, Stereogum, People and more, NPR has called her “the most riveting country star of her generation.”\u003c\/p\u003e\n\u003cp\u003eLambert has taken those standards to become a label co-founder, teaming with longtime collaborator Jon Randall to launch their own imprint, Big Loud Texas, in partnership with Big Loud Records. She is also a New York Times bestselling author and the first female restaurateur on Lower Broadway with her Tex-Mex cantina Casa Rosa, while also expanding her creative reach with her Wanda June Home collection as well as Idyllwind, her western clothing, accessories and footwear brand at Boot Barn. Her passion for animals inspired the creation of MuttNation Foundation, a 501c3 nonprofit which has raised over $13 million since inception to promote shelter pet adoption, support rescue organizations nationwide, advance spay \u0026amp; neuter and help shelters recover from natural disaster.\u003c\/p\u003e\n\u003cp\u003eSide A\u003cbr\u003e1. Snakeskin Boots\u003cbr\u003e2. Crisco\u003cbr\u003e3. Cowgirl Curtsy\u003cbr\u003e4. Two Things Can Be True\u003cbr\u003e5. Cuttin’ Onions\u003cbr\u003e6. Till The Going’s Gone\u003c\/p\u003e\n\u003cp\u003eSide B\u003cbr\u003e7. To Everything\u003cbr\u003e8. Whiskey Business\u003cbr\u003e9. Right Where We Left It\u003cbr\u003e10. A Song To Sing (with Chris Stapleton)\u003cbr\u003e11. I’ll Have To Say I Love You In A Song\u003cbr\u003e12. Sunset Marquis\u003c\/p\u003e","brand":"Island","offers":[{"title":"Default Title","offer_id":47125882994844,"sku":"7420545","price":33.12,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/ML_STANDARD_Packshot_Vinyl_NoSticker.jpg?v=1782754690"},{"product_id":"marina-herlop-dja-dja-cd","title":"Marina Herlop - Dja Dja [CD]","description":"\u003cp\u003eFormat: CD\u003cbr\u003eCatalogue No.: MH1CD\u003cbr\u003eBarcode: 4062548148473\u003cbr\u003eRelease Date: 02 Oct 2026\u003cbr\u003eGenre: Dance\/Electronic - Experimental\u003c\/p\u003e\n\u003cp\u003eMarina Herlop's Dja Dja opens like a held breath finally released: a violent celebration of life, though not the hedonist's easy yes. The exultation here is hard-won, arrived at rather than assumed, an affirmation drawn up from reflection and a long inward descent, stripped of every naïveté. What animates it is a kind of undirected anger, rage reimagined as a creative force that spends itself in catharsis, and a gratitude so overwhelming it can no longer be contained by the body. This is a music of struggle, but the struggle is not for conquest or ruin; it is for self-affirmation, for the quiet authority of someone defending her principles without ever needing to name them.\u003c\/p\u003e\n\u003cp\u003eConceived as a single, unbroken body of work in which every track answers to the others, Dja Dja is the most architecturally ambitious thing Herlop has made, a giant sudoku built out of smaller sudokus, where the whole had to\u003cbr\u003ecohere even as each piece kept its own internal logic. Beneath that design lies a borrowed scaffolding, a structure used at first for purely architectural reasons and then, once the music had taken its shape, allowed to fall away. The frame is gone; the music stands without it. Whatever a listener finds in it is, by her own insistence, no less true than what she found while making it.\u003c\/p\u003e\n\u003cp\u003eThat borrowed scaffolding was the Hero's Journey, and over time it bled past mere structure into the music's character and into the making itself, there were stretches where Herlop found herself scoring the very ordeal she happened to be living, the process quietly rhyming with its own form, faintly meta, faintly ironic. \u003c\/p\u003e\n\u003cp\u003eAcross these movements the Catalan composer—classically trained, equally at home in the avant-garde—sets herself a double standard she refused to relax: more open and intelligible than her earlier records, yet venturing onto ground she had never walked before. Voice and bass, so central to her past work, are held deliberately in reserve, withheld until their arrival some ten minutes in lands with real force. For the first time she lets orchestral brass into her palette, scored not by formal training but by intuition, feeling her way toward timbres that conjure whole worlds without ever tipping into excess.\u003c\/p\u003e\n\u003cp\u003eAlmost everything was made by hand, at home, in a process that could take exactly as long as the music demanded. For months a vast cardboard diagram lay on her studio floor, mapping harmony, instrumentation, tempo and meter until its private rules acquired the force of law; the gamelan was recorded in Bali with local musicians; a trusted friend served as score doctor through the long work of harmony, structure and mix. Throughout, Herlop describes subordinating herself to the music rather than commanding it, following its instructions for as long as it needed her.\u003c\/p\u003e\n\u003cp\u003eIt is fitting, then, that Dja Dja is her first self-released album, a record made with this much autonomy seemed to ask for it, and the slow pace of its making left no room for a label's calendar. The release is austere by design, almost without imagery. Herlop has little appetite for the visual; she prefers a music that is blind and self-sufficient, and in an age of visual surplus she would rather hand the picture back to the listener. The only story she asks anyone to follow is the one the music tells itself.\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan\u003eTRACKLIST:\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eA1. Flor de los precipicios \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eA2. Heladas \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eA3. As meigas \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eA4. Vas volant \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eA5. ツラ \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eA6. Lilit \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eA7. Siete mares \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eB1. Jaque \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eB2. Los dos lobos\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eB3. You’ve Lost Your Muchness\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eB4. Hay ángeles\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eB5. Average evil\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eB6. Thálassa!\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eB7. Bliss\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eB8. Muy heladas\u003c\/span\u003e\u003c\/div\u003e","brand":"Marina Herlop","offers":[{"title":"Default Title","offer_id":47168328695964,"sku":"MH1CD","price":16.15,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8714\/6043\/files\/cd_eb15a77c-3306-4531-bea1-85a1bbfb1462.jpg?v=1783437525"},{"product_id":"marina-herlop-dja-dja-lp-with-printed-insert","title":"Marina Herlop - Dja Dja [LP with Printed Insert]","description":"\u003cp\u003eFormat: LP\u003cbr\u003eCatalogue No.: MH1\u003cbr\u003eBarcode: 4062548146103\u003cbr\u003eRelease Date: 02 Oct 2026\u003cbr\u003eGenre: Dance\/Electronic - Experimental\u003c\/p\u003e\n\u003cp\u003eMarina Herlop's Dja Dja opens like a held breath finally released: a violent celebration of life, though not the hedonist's easy yes. The exultation here is hard-won, arrived at rather than assumed, an affirmation drawn up from reflection and a long inward descent, stripped of every naïveté. What animates it is a kind of undirected anger, rage reimagined as a creative force that spends itself in catharsis, and a gratitude so overwhelming it can no longer be contained by the body. This is a music of struggle, but the struggle is not for conquest or ruin; it is for self-affirmation, for the quiet authority of someone defending her principles without ever needing to name them.\u003c\/p\u003e\n\u003cp\u003eConceived as a single, unbroken body of work in which every track answers to the others, Dja Dja is the most architecturally ambitious thing Herlop has made, a giant sudoku built out of smaller sudokus, where the whole had to\u003cbr\u003ecohere even as each piece kept its own internal logic. Beneath that design lies a borrowed scaffolding, a structure used at first for purely architectural reasons and then, once the music had taken its shape, allowed to fall away. The frame is gone; the music stands without it. Whatever a listener finds in it is, by her own insistence, no less true than what she found while making it.\u003c\/p\u003e\n\u003cp\u003eThat borrowed scaffolding was the Hero's Journey, and over time it bled past mere structure into the music's character and into the making itself, there were stretches where Herlop found herself scoring the very ordeal she happened to be living, the process quietly rhyming with its own form, faintly meta, faintly ironic. \u003c\/p\u003e\n\u003cp\u003eAcross these movements the Catalan composer—classically trained, equally at home in the avant-garde—sets herself a double standard she refused to relax: more open and intelligible than her earlier records, yet venturing onto ground she had never walked before. Voice and bass, so central to her past work, are held deliberately in reserve, withheld until their arrival some ten minutes in lands with real force. For the first time she lets orchestral brass into her palette, scored not by formal training but by intuition, feeling her way toward timbres that conjure whole worlds without ever tipping into excess.\u003c\/p\u003e\n\u003cp\u003eAlmost everything was made by hand, at home, in a process that could take exactly as long as the music demanded. For months a vast cardboard diagram lay on her studio floor, mapping harmony, instrumentation, tempo and meter until its private rules acquired the force of law; the gamelan was recorded in Bali with local musicians; a trusted friend served as score doctor through the long work of harmony, structure and mix. Throughout, Herlop describes subordinating herself to the music rather than commanding it, following its instructions for as long as it needed her.\u003c\/p\u003e\n\u003cp\u003eIt is fitting, then, that Dja Dja is her first self-released album, a record made with this much autonomy seemed to ask for it, and the slow pace of its making left no room for a label's calendar. The release is austere by design, almost without imagery. Herlop has little appetite for the visual; she prefers a music that is blind and self-sufficient, and in an age of visual surplus she would rather hand the picture back to the listener. The only story she asks anyone to follow is the one the music tells itself.\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan\u003eTRACKLIST:\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eA1. Flor de los precipicios \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eA2. Heladas \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eA3. 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For a man who has spent over two decades as the self proclaimed “King,\" the project’s title speaks volumes. This is not a surrender of the crown to a rival, but rather a symbolic death of the ego. T.I. is choosing to dismantle the moniker on his own terms, trading the battlefield for peace, legacy, and the freedom to step out of the booth and into the next phase of his life as an actor and family man.\u003c\/p\u003e\n\u003cp\u003eRather than leaning on pure nostalgia, KILL THE KING proves T.I. is walking away while his pen is still razor-sharp. The project is anchored by the certified gold lead single \"LET 'EM KNOW,\" produced by long-time collaborator Pharrell Williams, which sets an immediate tone of veteran-level precision and polished bravado. Across the 18-track album, T.I. pulls together a masterclass of multi-generational talent that bridges the gap between his trap origins and modern dominance. The album boasts heavy-hitting Southern anthems like \"DOPE BOYS ACADEMY” featuring 2 Chainz, Jeezy, and T-Pain, alongside soulful reflections from the Dr. Dre produced track \"WHERE I’M FROM\" with Anderson .Paak, Atlanta eloquence with Usher on \"GORGEOUS,\" and moody, atmospheric cuts featuring Summer Walker and YoungBoy Never Broke Again.\u003c\/p\u003e\n\u003cp\u003eUltimately, KILL THE KING is designed to leave nothing unsaid, directly addressing the trials, tribulations, triumphs, and the undeniable imprint he’s left on global hip-hop culture. To mark the end of this historic era, T.I. isn't just letting the music speak for itself; he will be taking his final bow on the road with The King Succession Tour, bringing his sons Domani and King along to officially pass the musical torch. With this final statement, T.I. ensures that the trap music foundation he helped lay the framework for what will endure long after he sets down the mic. 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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 modern alternative classic, Pitchfork praised 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.\"\u003c\/p\u003e\n\u003cp\u003eTwenty 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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With unapologetic anthems on veganism, anti-fascism, and gay rights, it endures as a foundational text for activist punk.\u003c\/p\u003e\n\u003cp\u003e• 30th anniversary of the iconic sophomore album from Canadian band, Propagandhi\u003cbr\u003e• Produced by Ryan Greene of Motor Studios (NOFX, Bad Religion, Nerf Herder)\u003cbr\u003e• pro-feminist\/animal-friendly\/anti-fascist\/gay-positive\u003cbr\u003e• Ranked as one of the best political punk albums in history (Phoenix New Times)\u003cbr\u003e• Features hit singles \"The Only Good Fascist Is A Very Dead Fascist\" and \"And We Thought Nation-States Were A Good Idea\"\u003cbr\u003e• Toured with NOFX, Bad Religion, Descendents, and more\u003c\/p\u003e\n\u003cp\u003eTracklisting\u003cbr\u003e1. Apparently, I'm A \"P.C. Fascist\"\u003cbr\u003e2. Nailing Descartes To The Wall\/ (Liquid) Meat Is Still Murder\u003cbr\u003e3. Less Talk, More Rock\u003cbr\u003e4. Anchorless\u003cbr\u003e5. Rio De San Atlanta, Manitoba\u003cbr\u003e6. 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Fueled by the raw, metallic energy of tracks like \"Bring Out Your Dead,\" \"Firecracker,\" and \"Solitaire,\" it perfectly bridges melody and aggression—solidifying its spot as one of the absolute best, most crucial releases in the Fat Wreck Chords vault.\u003c\/p\u003e\n\u003cp\u003eTracklisting\u003cbr\u003e1. Firecracker\u003cbr\u003e2. Better Days\u003cbr\u003e3. Solitaire\u003cbr\u003e4. Never Good Enough\u003cbr\u003e5. Gear Box\u003cbr\u003e6. Monster\u003cbr\u003e7. Bring Out Your Dead\u003cbr\u003e8. Rottin' Apple\u003cbr\u003e9. Radio Suicide\u003cbr\u003e10. Somnombulance\u003cbr\u003e11. Six Feet\u003cbr\u003e12. Speedball\u003cbr\u003e13. Wrong Side Of The Tracks\u003cbr\u003e14. 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Known for his luxurious, groove-driven productions and remixes, Dimitri From Paris has reworked tracks for artists including Björk, Quincy Jones, Chic and New Order, while helping define the sound of modern disco and house music in a way only he can.\u003c\/p\u003e\n\u003cp\u003eWhen he got the chance by Dafia label head Mannix to get his hands on the original multitrack tapes, he didn't hesitate to deliver two classic DFP revisions in the making. His Main version leaves all the essential elements of the timeless Original, highlights the parts that have deserved more exposure whilst adding crisp beats and nice effects to the game. 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Both deeply respectful of tradition and unmistakably contemporary, the album quickly became a major success, launching Sangaré's career while she was still very young.\u003c\/p\u003e\n\u003cp\u003eWorld Circuit's Nick Gold first encountered Moussolou through a cassette given to him by Ali Farka Touré in Bamako, where the album seemed to be playing everywhere, providing an all-enveloping soundtrack to the city. Captivated by what he heard, Gold was determined to release the album internationally, beginning a long and fruitful relationship with Oumou Sangaré.\u003c\/p\u003e\n\u003cp\u003eThe album established Sangaré as both a formidable musical talent and a socially conscious artist, redefining how traditional Malian music could engage with contemporary issues. Its blend of cultural authenticity and fearless advocacy has made Moussolou a landmark recording in African and world music, laying the foundation for Sangaré's enduring reputation as one of the continent's most celebrated artists and a powerful voice for women's rights.\u003c\/p\u003e\n\u003cp\u003eTo celebrate the 40th anniversary of World Circuit Records, this empowering and influential debut is being reissued on transparent turquoise vinyl. The release also includes a full-colour booklet featuring lyrics in both English and French.\u003c\/p\u003e\n\u003cp\u003eTRACKLIST:\u003cbr\u003eSide A\u003cbr\u003e1. Djama Kaissoumou\u003cbr\u003e2. Diaraby Nene\u003cbr\u003e3. Woula Bara Diagna\u003c\/p\u003e\n\u003cp\u003eSide B\u003cbr\u003e1. Moussolou\u003cbr\u003e2. Diya Gneba\u003cbr\u003e3. 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From Kubla Khan’s hefty low-end groove to Alpha Dog’s deconstructed nightclub dub via Schadenfreude’s Eurodisco bass and fizzing hi-hat pulse, Paul Epworth’s phenomenal new mixes lift Baxter’s tracks up to another level. \u003c\/p\u003e\n\u003cp\u003eFinally, Allbarone done, and it's become the perfect soundtrack to whatever you’re doing this weekend.\u003c\/p\u003e\n\u003cp\u003eTracklisting\u003cbr\u003e1. Kubla Khan (Paul Epworth extended version)\u003cbr\u003e2. Allbarone (Paul Epworth extended version)\u003cbr\u003e3. Alpha Dog (Paul Epworth extended version)\u003cbr\u003e4. Schadenfreude (Paul Epworth extended version)\u003cbr\u003e5. 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