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Horrorful Heights offers one of the most approachable entry points to the band’s world in years: a record that gathers their core strengths into a cohesive, vivid set.\u003cbr\u003eRecorded with long-time drummer Dave Pearce and guitarist Paul Simmons, alongside new bassist Louis Wiggett, the album moves fluidly between jangling psych-pop, heavy-lit guitar workouts and pastoral comedown reveries. Wiggett also brings a surprising new colour to the Frond palette, contributing pedal steel to “Best Laid Plans” and “Momma Bear,” recalling early-70s country-tinged British rock from Bronco or Cochise.\u003cbr\u003eThe album’s range is wide but sharply defined. “Draining The Bad Blood” channels the classic Bevis Frond mode of melodic guitar pop—cut from the same cloth as longtime fan favourites later covered by Teenage Fanclub and The Lemonheads. “Space Age Eyes,” a concise nine-minute odyssey, nods toward the transcendental explorations of ’70s electric Miles Davis, complete with a blistering solo from Simmons and rhythmic elasticity from Pearce.\u003cbr\u003eThe sitar-laden title track, written off-the-cuff while Saloman half-watched a football match, drifts through incense-hazed psychedelia with layered vocals and tumbling tablas—an affectionate echo of the head-shop mysticism he has toyed with throughout the band’s history. 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both of which found her ruminating on the end of a relationship.\u003cbr\u003e\u003cbr\u003eThe Philadelphia native started penning songs in middle school, so by the time she began studying songwriting at Berklee College of Music in Boston, she was already ahead of the game.\u003cbr\u003eCiting a wide array of influences that includes Dodie, H.E.R., and John Mayer, she released her debut EP, Indigo, in 2018.\u003cbr\u003eTwo years later, she issued her first full-length effort, Give Me a Minute, with producer and multi-instrumentalist Philip Etherington.\u003cbr\u003eAn evocative and intimate folk-pop outing that garnered millions of streams, the album elicited praise from contemporaries like FINNEAS, Phoebe Bridgers, and Shawn Mendes.\u003cbr\u003e2021's When the World Stopped Moving: The Live EP delivered an intimate eight-song set of stripped-down favorites culled from McAlpine's popular social media channel.\u003cbr\u003e\u003cbr\u003eIn 2022, she unveiled her sophomore long-player, Five Seconds Flat.\u003cbr\u003eA bold and immersive collection of songs written after a difficult breakup, the 14-track set reached number five on Billboard's Heatseekers chart, thanks in part to the streaming hits \"Doomsday\" and \"All My Ghosts,\" and guest spots from FINNEAS and Jacob Collier.\u003cbr\u003eFollowing collaborations with Noah Kahan and Niall Horan, McAlpine released \"Older\" in February 2024, as the first single and title track of her third studio album.\u003cbr\u003eProduced by McAlpine and Mason Stoops, with contributions by Ryan Lerman, Jeremy Most, and Tony Berg, Older arrived in April 2024 and found the singer continuing to explore themes of heartbreak and emotional growth in the wake of a break-up.\u003cbr\u003eThe album, which charted at 93 the Billboard 200, also included the single \"I Guess.\" ~ Matt Collar \u0026amp; 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It’s also, by some distance, the group’s most instantly gripping and eclectic work to date.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14.0pt; font-family: 'Times New Roman',serif; mso-font-kerning: 0pt; mso-ansi-language: EN-GB;\"\u003eOpening with lead single \u003cem\u003ePOLLYANNA\u003c\/em\u003e, the record immediately immerses the listener in Just Mustard’s private sonic world, a dense and volatile landscape of crushing textures, careening jet-engine guitars, and insistent percussive rhythms. Hovering above it all are Katy Ball’s airy, celestial vocals, gliding gracefully over the beautiful chaos below.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14.0pt; font-family: 'Times New Roman',serif; mso-font-kerning: 0pt; mso-ansi-language: EN-GB;\"\u003eSince their wider emergence with \u003cem\u003eWednesday \u003c\/em\u003e(2018), Just Mustard have emerged as Ireland’s most accomplished contribution to the modern shoegaze and dream-pop resurgence, a revival that’s swept from TikTok to record stores in a haze of shimmering, ear-bleeding distortion. 2023’s \u003cem\u003eHeart Under\u003c\/em\u003e marked a major leap forward in production and scope, but compared to \u003cem\u003eWE WERE JUST HERE\u003c\/em\u003e it now feels more like a necessary stepping stone. This new record’s compositional ambition, textural range, and adventurous song structures make it their most confident and fully realised release to date.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size: 14.0pt; font-family: 'Times New Roman',serif; mso-font-kerning: 0pt; mso-ansi-language: EN-GB;\"\u003eENDLESS DEATHLESS\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14.0pt; font-family: 'Times New Roman',serif; mso-font-kerning: 0pt; mso-ansi-language: EN-GB;\"\u003e ignites with siren-like streams of high-end guitar screechery, both punctuating and complementing Ball’s inviting vocals in a dynamic reminiscent of the Kevin Shields\/Belinda Butcher interplay at the heart of My Bloody Valentine. While MBV remain the most obvious touchstone, \u003cem\u003eWe Were Just Here\u003c\/em\u003e proves that shoegaze possesses an uncanny ability to sound both timeless and futuristic, a guitar-based genre forever mutating and absorbing new ideas within its blissful cacophony.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14.0pt; font-family: 'Times New Roman',serif; mso-font-kerning: 0pt; mso-ansi-language: EN-GB;\"\u003eJust Mustard’s strength lies in their capacity to meld reverence for the past with a restless drive toward the present and beyond. Tracks including \u003cem\u003eWE WERE JUST HERE\u003c\/em\u003e and \u003cem\u003eTHAT I MIGHT NOT SEE\u003c\/em\u003e (Mazzy Star reference?) pulse and shudder with stuttering, strobing rhythms more evocative of dance music than rock, yet retain their raw, abrasive edge and in doing so conjure a kind of warped reimagining of the indie-sleaze electro aesthetic.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14.0pt; font-family: 'Times New Roman',serif; mso-font-kerning: 0pt; mso-ansi-language: EN-GB;\"\u003eThroughout the record, the consistent shining light is the guitar wizardy of David Noonan and Mete Kalyoncuoglu, who coax all manner of beautiful noise from their instruments. From the chiming, string-like drones of \u003cem\u003eSOMEWHERE \u003c\/em\u003eand \u003cem\u003eTHE STEPS\u003c\/em\u003e, to the incendiary sonic assaults of \u003cem\u003ePOLLYANNA \u003c\/em\u003eand \u003cem\u003eSILVER\u003c\/em\u003e, and finally the dizzying, psychedelic seesawing of the cathartic, disorienting closer \u003cem\u003eOUT OF HEAVEN\u003c\/em\u003e, their work here is consistently breathtaking.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14.0pt; font-family: 'Times New Roman',serif; mso-font-kerning: 0pt; mso-ansi-language: EN-GB;\"\u003eWith \u003cem\u003eWE WERE JUST HERE\u003c\/em\u003e, Just Mustard have not only expanded their own ambitions but reaffirmed the enduring vitality of shoegaze as a living, shape-shifting form and its genuinely experimental spirit. \u003cem\u003eWE WERE JUST HERE\u003c\/em\u003e is a magnificent, immersive album, one to be experienced not only as sound, but as pure, primal sensation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14.0pt; font-family: 'Times New Roman',serif; mso-font-kerning: 0pt; mso-ansi-language: EN-GB;\"\u003eJust Mustard – \u003cem\u003eWE WERE JUST HERE\u003c\/em\u003e is out now on vinyl and CD.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14.0pt;\"\u003eOn \u003cem\u003e\u003cspan style=\"font-family: 'Aptos',sans-serif; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi;\"\u003eWE WERE JUST HERE\u003c\/span\u003e\u003c\/em\u003e, Dundalk’s Just Mustard surge out of the shadows from the submerged world of \u003cem\u003e\u003cspan style=\"font-family: 'Aptos',sans-serif; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi;\"\u003eHeart Under\u003c\/span\u003e\u003c\/em\u003e with a sound that leans toward light and euphoria. Their signature elements remain intact - warped guitars, cavernous low ends, twisted sound design - but this time the noise is channeled into something warmer and more melodic. Inspired by club spaces and physical joy, the songs strive for immediacy and feeling. Katie Ball’s vocals rise higher in the mix, capturing a conflicted pursuit of happiness that she describes as “trying to feel euphoric, but at a cost.” Produced by the band and mixed by David Wrench (FKA Twigs, Frank Ocean, Caribou) the album expands their emotional palette while keeping things strange, textured, and uniquely their own. \u003cem\u003e\u003cspan style=\"font-family: 'Aptos',sans-serif; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi;\"\u003eWE WERE JUST HERE\u003c\/span\u003e\u003c\/em\u003e explodes into technicolor, creating a world that feels immediate, haunted and ecstatic.\u003c\/span\u003e\u003cspan style=\"font-size: 14.0pt; font-family: 'Times New Roman',serif; mso-font-kerning: 0pt; mso-ansi-language: EN-GB;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Times New Roman',serif; mso-font-kerning: 0pt; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"PARTISAN RECORDS","offers":[{"title":"Indies Purple Vinyl","offer_id":53206490349895,"sku":"TRI-64923","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"Standard Black Vinyl","offer_id":53206490612039,"sku":"TRI-64924","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"CD","offer_id":53206490841415,"sku":"TRI-64925","price":13.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0931\/9779\/5655\/files\/74fa52eb3e7dba5338e5ce85193170e8.jpg?v=1769372236"},{"product_id":"half-japanese-adventure","title":"Half Japanese - 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C21 offers memorable melodies, wild riffs with super hooks, yet never veers from their adventurous spirit, radical ideas and eccentric musical shapes. The current collective of musicians features: Jowe Head, David Callahan of Wolfhounds \/ Moonshake \/ solo fame, Jeff Bloom out from Television Personalities, Alternative TV's Lee McFadden, Lucie Rejchrtova (Crazy World Of Arthur Brown), Chloe Herington from chamber rock faves Chrome Hoof, and Luke Haines, who led Auteurs and Black Box Recorder and plays with REM's Peter Buck. SWELL MAPS will be performing throughout 2026 across the UK and Europe and are proud to present this stellar document, which maintains the group's devotion to D-I-Y ideals and impulses. The vinyl album covers were hand-screened and stamped by a feminist cooperative in Valencia, Spain and are offered in three randomly picked variants. 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The only way to find out is to buy this, their debut album for Seattle’s oldest megacorp, Sub Pop Records.\u003cbr\u003eGreen World Image follows extensive US touring, a self-released album, and a snappy 2023 7” from the Sub Pop Singles Club.\u003cbr\u003eFor fans of B-52s, Water From Your Eyes, Devo, Snooper.\u003cbr\u003eHometown: Seattle, WA\u003cbr\u003eThe Kalshi app is a “prediction market for trading the future,” a platform allowing users to gamble on the outcome of almost any real-world event — from the accuracy of the weather forecast, to whether or not famine will officially be declared in Gaza. 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Cindy songs come out of the x-rays my particular brain makes out of what I see and experience. What you hear on this record is the result of collaboration with the members of Cindy that transforms that shadowy thing into full color, fully fleshed. Each of them, in music, is sure-footed and unblinking, and making this record together felt like, yes, yes, you see what I mean.\"\u003cbr\u003eCindy is Karina, Staizsh, Will \u0026amp; Oli. 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The band themselves rework the remaining two tracks. 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An analog band who’ve thrived in an increasingly digital world without resting on the comforts of nostalgia. Five friends who’ve persisted through several breakups and breakthroughs, but have only grown as people and evolved as a musical unit. 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This time the question of how to focus the album was handled in a novel way: “Releasing an album into the world is like releasing your intentions so we wanted to approach it as if we had a genie offering us one wish”, says Al Sharland. “On a personal and political level, it’s apparent that we could all do with more compassion.”\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003eThe way we talk to ourselves influencing how we talk to each other and thereby creating the world in which we live; this tied together the songs already written (‘Everybody Is A Little More Broken Than They Pretend To Be’, and ‘Don’t Hang Your Head’) with those that would be written with the concept of compassion in mind (‘Permission To Rest’). Perhaps where compassion is needed the most is when it comes to people who don’t share our values and this is what the title track ‘Compassion’ is grappling with. “We love playing in this band more than ever and we feel so loved by the fans we have and this album is a big, stanky hug back to them”, clarifies Irwin. “We don’t just want to leave the world with better music than when we found it”, winks Al, “we want to leave it a more confident, compassionate spinning orb.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003eTo follow.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003eTo follow.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003ehttps:\/\/thehoosiers.com\/pages\/tour\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003ehttps:\/\/thehoosiers.com\/\u003c\/p\u003e","brand":"CRAB RACE","offers":[{"title":"CD","offer_id":53717781348679,"sku":"TRI-72730","price":16.99,"currency_code":"EUR","in_stock":true},{"title":"Indies Limited  Edition Red Vinyl","offer_id":53717781381447,"sku":"TRI-72731","price":32.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0931\/9779\/5655\/files\/dc9250300ae6ab6a3c993d5b2f8c6228.png?v=1776358114"},{"product_id":"radhika-cine-pop","title":"Radhika - Cine-Pop","description":"\u003cp\u003eRadhika Meera Dade: “Ever since I entered this realm, music has surrounded me in every way possible. The sounds of magic have been nourishing my soul since birth, the first memories I have as a young child are listening to my dad’s eclectic vinyl collection. I feel so lucky to have been exposed to such a range of music at a really young age: artists from Alice Coltrane to The Go-Betweens, all of these musicians have subconsciously and consciously inspired me musically in many different ways”.\u003cbr\u003eGlass Modern is very proud to present the debut album by Radhika Meera Dade. Cine-Pop is a collection of songs that flow gently and easily in and out of each other - a suite, a short film, everything an album should be. Coming in at 33.3 minutes, it’s the perfect length for an album, it doesn’t short change you, it doesn’t stay too long - it’s designed to be played in one sitting. It’s like being in a friend’s house and noticing the things that are most important in their life - objects, family portraits, records, musical equipment, their curated accumulation. It reflects so many things - culture, community, fandom and the incredible bond between Radhika and her father, Sushil, the Future Pilot AKA. The record spans generations and continents but its home is always Radhika and the family jams she made with Sushil in various garages, bedrooms and garden dens - her soaring voice and love of all kinds of music from Bollywood to Goth Pop to The Glasgow School. The songs are collected from memory and the immediacy of time - one goes all the way back to her 10 year old self penning Future Me, an eco anthem. In different moments other musicians appear - most notably key collaborator, Eric MacDonald, on hazy synth and keys, and Radhika’s mother Vinita, who has a gorgeous voice too. The Glasgow School is very present - Mitch Mitchell (The Pastels) , Gerard Love (Lightships\/ ex-Teenage Fanclub) and Tracyanne Campbell (Camera Obscura) all bring their casual magic to the table. Cine-Pop, mostly made in Glasgow at La Chunky Studio with the excellent Colin McGeogh (who also contributes flute, keys and electronics) is a one-off. It’s unrepeatable - there, gone. It’s the world through the eyes of a dazzling young Indo-Scottish woman. Everything she is has gone into it, is part of it and is there for a reason. Following on from the first single, Starry Eyes, which was played multiple times on BBC 6Music and other stations, other singles to be released from the album include Feline Bandits plus a version of the Strawberry Switchblade classic Since Yesterday. 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Blow was originally released in July 1992, followed by Blowback in autumn of the same year featuring new mixes and overdubs and released as a limited CDEP that quickly fell out of print, known only to the most fervent 4AD fans. Swallow parted ways with 4AD shortly after the release of Blowback, but their brief period with the label has been outlived by this cornerstone dream-pop classic which has until now been obscured by the mists of time and memory.\u003c\/p\u003e\n\u003cp\u003eWith Blown, Swallow are reintroduced as an important force in the 4AD canon and the shoegaze genre, alongside their more well-known counterparts. The songs of Blown have been reconstructed from the original 24 track tape recordings and remixed. It has been freshly remastered by Anne Taegart at Dubplates \u0026amp; Mastering Berlin and lovingly presented in a brand-new package designed by longtime supporter Chris Bigg (v23) based on the original design by Vaughn Oliver.\u003c\/p\u003e\n\u003cp\u003eLouise Trehy and Mike Mason met in early 90’s Camberwell, London. Both were deeply involved with the independent music scene of the time; Louise co-founded Setanta Records (home of The Divine Comedy, Edwyn Collins and Into Paradise with whom Mike would occasionally play), and Mike traversed between bike courier, video director, and lighting designer for Spacemen 3, Slowdive, Spiritualized, Curve and Chapterhouse. Prompted by Louise, they started writing songs together, drawing inspiration from a healthy mix of sources: CAN, noise, post-punk, and American forces of nature like Captain Beefheart and Butthole Surfers. Their first songs quickly surfaced and were recorded onto a Tascam 4-track portastudio. Louise posted the four-song demo to Ivo Watts-Russell who signed them to 4AD, sight unseen.\u003c\/p\u003e\n\u003cp\u003eWith the task of finishing their first record, the pair borrowed guitars from Tom Greenhalgh of the Mekons and they decamped to record at Edinburgh’s Palladium Studios and later, Blackwing in London. John Fryer was enlisted to produce (right off handling Nine Inch Nails’ 1989 record Pretty Hate Machine), utilizing Eventide Harmonizers (a Cocteau Twins staple) to provide the band’s lush, ethereal dazzle.\u003c\/p\u003e\n\u003cp\u003eBlow would be released in July of 1992, and arrived in a sleeve designed by Vaughan Oliver (v23). Subsequently, they did a handful of support gigs with Bob Mould’s post-Hüsker Dü project Sugar and American shoegaze peers Medicine to promote the album across the UK. Contemporary reviews of Blow would unimaginatively make much of the 4AD and Cocteau’s connections. But with the music press’ attention later shifted to the Nirvana explosion of underground American bands, it was difficult for the album to get much attention.\u003c\/p\u003e\n\u003cp\u003eThough, in the end, the band found the finished album different than they imagined it would sound. Feeling as though their initial ideas had been lost in the production, they petitioned Ivo to re-record parts of the album; he suggested they remix the tracks as they wished, instead. New mixes and overdubs resulted in dissonant and ambient versions closer to the band’s intentions, released as Blowback in the autumn of 1992. Sadly, expectations, hopes, and shifting priorities from both Ivo and the band led to Swallow’s departure from 4AD shortly after the release of Blowback.\u003c\/p\u003e\n\u003cp\u003eSwallow pressed on and were invited to play a ten date UK tour with Mazzy Star. It was Mazzy Star who recommended Geoff Travis sign the band to his label Rough Trade in late 1993. Mike and Louise’s only release for the label was the 1994 Hush EP — recorded at home and more stripped back than the band’s previous releases, the release allowed the songs to stand ahead of their production for the first time. The full Hush session recordings would ultimately be released digitally in 2009.\u003c\/p\u003e\n\u003cp\u003eUnable to gain any traction from Hush at the time, Swallow would come to an end later that year, with the dissolution of Mike and Louise’s relationship. Unexpectedly, though, 1995 would see The Chemical Brothers sampling the Blow tracks ‘Peekaboo’ and ‘Follow Me Down’ on ‘One Too Many Mornings’, taken off their massively successful debut LP Exit Planet Dust. This brought new ears and royalties, both happily welcomed. 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The record looks closely at the lives of working-class folk in small towns who bust their asses off while trying to find any salvation they can. “I hope these songs touch people’s hearts,” Amba says. “They’re about people who really need to be seen and heard.”\u003c\/p\u003e\n\u003cp\u003eThe record was tracked live at Drop of Sun Studios in Asheville, an hour from Amba’s hometown, with no overdubs. Their best friend Kevin Hyland plays electric guitar, while drummer Jim White, whom Amba met on the streets of New York years earlier and now calls the closest thing they’ve had to a family, plays drums. The three musicians rehearsed relentlessly, playing together all day, every day, “until we got real tight,” says Amba. 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