{"title":"Easter Sale 2024","description":"\u003cp\u003eWe have some exciting new releases coming in over the next few months, so to make some room in the FTH office, we thought we’d pop some records up for a bargain price.\u003c\/p\u003e","products":[{"product_id":"dana-gavanski-when-it-comes-clear-lp","title":"Dana Gavanski - When It Comes","description":"\u003cp\u003eLimited edition clear vinyl LP. The new album from Dana Gavanski, includes the singles Letting Go and Indigo Highway. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClear Vinyl: \u003c\/strong\u003ePressed to clear vinyl at Pallas (DE), packaged in a high-quality matte jacket with printed inner sleeve.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrange Vinyl: \u003c\/strong\u003ePressed to orange vinyl \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eat Pallas (DE), packaged in a high-quality matte jacket with printed inner sleeve.\u003c\/span\u003e Official Store\u003cspan data-mce-fragment=\"1\"\u003e \/ Rough Trade exclusive pressing of 300 for world ex-Canada.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOrange\/White Marble Vinyl: \u003c\/strong\u003eDinked Edition. This variant of the record comes with LP a bonus 7\" (including bonus tracks 'When It Comes' and 'My Thoughts'). Limited to 400. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eNon-mint option: \u003c\/b\u003eMinor cosmetic damage to the packaging \/ sleeve. The Vinyl is in mint condition.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe CD is presented in a gatefold softpack.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/4Iq2Ot88JwpHXmB2P0cUNs?utm_source=generator\" width=\"100%\" height=\"152\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Full Time Hobby","offers":[{"title":"Orange Vinyl","offer_id":43007788024050,"sku":"FTH428LPA","price":23.99,"currency_code":"GBP","in_stock":true},{"title":"Clear Vinyl","offer_id":42997274935538,"sku":"FTH428LP","price":23.99,"currency_code":"GBP","in_stock":true},{"title":"Orange \/ Marble Vinyl","offer_id":43325736780018,"sku":"DG-WIC-MOL7","price":26.0,"currency_code":"GBP","in_stock":true},{"title":"Softpack CD","offer_id":42997258289394,"sku":"FTH428CD","price":10.99,"currency_code":"GBP","in_stock":true},{"title":"**Second Chance** Orange \/ White Marble Vinyl","offer_id":44359419199730,"sku":"FTH428DINKSC","price":17.99,"currency_code":"GBP","in_stock":false},{"title":"**Second Chance** Orange Vinyl","offer_id":46886680756466,"sku":"FTH428LPASC","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0615\/8617\/8290\/files\/DANAGAVANSKI.WHENITCOMES.ORANGE.png?v=1752314082"},{"product_id":"the-besnard-lakes-are-the-last-of-the-great-thunderstorm-warnings","title":"The Besnard Lakes - Are the Last of the Great Thunderstorm Warnings","description":"\u003cp\u003e\u003cstrong\u003eVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2xLP pressing, presented in a gatefold sleeve with insert + download \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ecode. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e***\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eGatefold softpack with foldout lyric \u0026amp; credit poster, packaged in a re-sealable plastic outerbag, no single-use shrinkwrap used.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlbum info\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eThe Besnard Lakes have passed through death and they're here to tell the tale. Nearly five years after their last lightning-tinted volley, the magisterial Montreal psych-rock band has sworn off compromise, split with their long-standing label, and completed a searing, 72-minute suite about the darkness of death and the light on the other side.\u003cbr\u003e\u003cbr\u003eIgnited by their love for each other, for playing music together, the sextet found themselves unspooling the most uncompromising recording of their career. Despite all its grandeur, ...The Last of the Great Thunderstorm Warnings honours the very essence of punk rock: the notion that a band needs only be relevant to itself. At last, the Besnard Lakes have crafted a continuous long-form suite: nine tracks that could be listened together as one, like Spiritualized's Lazer Guided Melodies or even Dark Side of the Moon, overflowing with melody and harmony, drone and dazzle, the group's own unique weather.\u003cbr\u003e\u003cbr\u003eThe Besnard Lakes Are The Last of the Great Thunderstorm Warnings is a double LP. \"Near Death\" is the title of the first side. \"Death,\" \"After Death,\" and \"Life\" follows next. It's literally a journey into (and back from) the brink: the story of the Besnard Lakes'\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eown odyssey but also a remembrance of others, especially the death of Lasek's father in 2019. Being on your deathbed is perhaps the most psychedelic trip you can go on: in Lasek's father's case, he surfaced from a morphine dream to talk about \"a window\" on his blanket, with \"a carpenter inside, making intricate objects.\" That experience pervades the album, catching fire on the song \"Christmas Can Wait\"; elsewhere the band pays tribute to the late Mark Hollis and, on \"The Father of Time Wakes Up,\" they mourn the death of Prince.\u003c\/span\u003e \u003c\/div\u003e\n\u003cp\u003e\u003ciframe loading=\"lazy\" height=\"152\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/4P30drNRGzSgCeQi9afo9O?utm_source=generator\" style=\"border-radius: 12px;\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Full Time Hobby","offers":[{"title":"DINKED: 2x Red Vinyl w\/ Yellow Splatter + Orange Flexi","offer_id":46897040130290,"sku":"FTH382DINK","price":28.99,"currency_code":"GBP","in_stock":false},{"title":"*SIGNED* 2x Purple Vinyl","offer_id":55750186369408,"sku":"FTH382LPAS","price":26.99,"currency_code":"GBP","in_stock":true},{"title":"*SIGNED* 2x Clear Vinyl","offer_id":57410478637440,"sku":"FTH382LPS","price":26.99,"currency_code":"GBP","in_stock":true},{"title":"*SIGNED* Softpack CD","offer_id":57410491154816,"sku":"FTH382CDS","price":10.99,"currency_code":"GBP","in_stock":true},{"title":"2x Clear Vinyl","offer_id":46896917512434,"sku":"FTH382LP","price":26.99,"currency_code":"GBP","in_stock":true},{"title":"Softpack CD","offer_id":42464067944690,"sku":"FTH382CD","price":10.99,"currency_code":"GBP","in_stock":true},{"title":"2x Purple Vinyl","offer_id":42464063488242,"sku":"FTH382LPA","price":26.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0615\/8617\/8290\/files\/besnard_lakes_dinked.png?v=1771326930"},{"product_id":"dana-gavanski-yesterday-is-gone","title":"Dana Gavanski - Yesterday Is Gone","description":"\u003cp\u003e\u003cstrong\u003eVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLimited edition re-press on recycled vinyl in a gatefold sleeve with download code. No shrinkwrap, comes packaged in a plastic outer bag. Each record is unique.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003e***\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cstrong\u003eCD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eGatefold softpack. Our physical formats are packaged in an open-top bag rather than shrinkwrap.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e‘I’m learning how to say goodbye \/ to let you go and face the tide \/ to wrap my feelings in a song,’ sings Dana Gavanski on the title track of her debut LP, Yesterday Is Gone. To wrap her feelings in a song: this is the task Dana has dedicated herself to with this record. It’s a goal common to many songwriters, but few approach it with such aplomb. By turns break-up album, project of curiosity, and, as Dana puts it, ‘a reckoning with myself’, Yesterday Is Gone is her attempt to ‘learn to say what I feel and feel what I say’: an album of longing and devotion to longing, and of the uncertainty that arises from learning about oneself, of pushing boundaries, falling hard, and getting back up.\u003cbr\u003e\u003cbr\u003eBorn in Vancouver to a Serbian family, Dana has always harboured a desire to sing. In her final year of university in Montreal, she picked up the guitar left by her ex-partner and decided to re-learn. But with a father in film and a painter mother, other art-forms clamoured for her attention. She spent a summer as her producer father’s assistant in the Laurentians, in a derelict hotel-turned-office that looked like something out of The Shining. The long days behind a computer cemented her desire to make music, ‘because it was so impossible to play that I needed to, in order to feel like it was real.’ The income she saved that summer funded a year of writing religiously, leading to EP Spring Demos in September 2017, which Dana describes as ‘whatever was coming out of me. A flood.’\u003cbr\u003e\u003cbr\u003eFollowing Spring Demos, Yesterday Is Gone reflects Dana’s aim ‘to make something bigger, more thought through’. Steeped in determination and uncertainty in equal measure – ‘I just wanted to write a good song’ – the album took shape after she returned from a writing residency in Banff, Alberta. She left the residency resolved not to worry about her songs being ‘too obvious’. She’d begun to learn the art of empty time, of being alone with her emotions, losing herself in a landscape. She thought of Vashti Bunyan, riding for hours and writing, writing, writing. She considered how she might use writing to make sense of her life after the tumults of a break-up and a new city. Adrift in Toronto, Dana struggled to feel at home and connected to people, but the solitude also allowed her to ground herself in writing. She kept office-style hours at her bedroom desk every day until she started to understand the writing process, to see that ‘transforming a burning desire into something clear and tangible is a vulnerable and delicate act. You have to be able to let things happen, to accept losing control.’\u003cbr\u003e\u003cbr\u003eThe record is a co-production between Dana, Toronto-based musician Sam Gleason, and Mike Lindsay of Tunng and LUMP. While Sam helped Dana bring out the tunes, Mike’s input marked ‘the beginning of developing a sound that was closer to what I had in my head’. Though excited by the other elements of a song introduced during production, Dana and Mike were keen on ‘finding essential things, not overblowing, keeping things bare and letting the elements speak for themselves’. Not that the sheer variety of sounds and instruments didn’t overwhelm. ‘But you have that feeling,’ Dana says, ‘then you just pick up an instrument. At the base, you do know what you want. It’s about how to chip away at what you don’t want.’ \u003cbr\u003e\u003cbr\u003eThe album shapeshifted as it passed through the hands of Dana, Sam, and Mike, taking on different tastes, feelings, and visions. When Dana performed the songs with a band, they found new form again. She was intrigued by performers like David Bowie and Aldous Harding, who inhabit different personalities on stage, physically tuning themselves to their music. ‘Watching these kinds of performances,’ Dana says, ‘I feel my body longing to express myself in exaggerations … to leave behind self-consciousness and become this energy.’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e**Second Chance** Option:\u003c\/b\u003e Minor cosmetic damage to the packaging \/ sleeve. The Vinyl is in mint condition.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6Bgf98jE8PF1h8XXXtU2ev?utm_source=generator\" width=\"100%\" height=\"152\" loading=\"lazy\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Full Time Hobby","offers":[{"title":"Black Vinyl","offer_id":46077989880050,"sku":"FTH356LP","price":22.99,"currency_code":"GBP","in_stock":true},{"title":"Recycled Vinyl","offer_id":42464113852658,"sku":"FTH356LPB","price":23.99,"currency_code":"GBP","in_stock":true},{"title":"*SIGNED* Black Vinyl","offer_id":55824229302656,"sku":"FTH356LPSIGNED","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"Limited Edition Orange Vinyl","offer_id":46077999448306,"sku":"FTH356LPA","price":23.99,"currency_code":"GBP","in_stock":true},{"title":"Softpack CD","offer_id":42466520432882,"sku":"FTH356CD","price":10.99,"currency_code":"GBP","in_stock":true},{"title":"*SIGNED* **Second Chance** Black Vinyl","offer_id":55824228680064,"sku":"FTH356LPSCS","price":12.0,"currency_code":"GBP","in_stock":true},{"title":"*Second Chance* Recycled Vinyl","offer_id":46886691897586,"sku":"FTH356LPBSC","price":14.99,"currency_code":"GBP","in_stock":true},{"title":"**Second Chance** Black Vinyl","offer_id":56079972696448,"sku":"FTH356LPSC","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0615\/8617\/8290\/files\/DANA.YESTERDAY.BLACK.png?v=1751366582"},{"product_id":"squirrel-flower-planet-i","title":"Squirrel Flower -  Planet (i)","description":"\u003cp\u003e\u003cstrong\u003eVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLimited edition transparent blue vinyl with lyric book. Each order comes with a Squirrel Flower bookmark.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e***\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cstrong\u003eCD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIncludes lyric book. Comes with a Squirrel Flower bookmark.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eSquirrel Flower’s heart-rending sophomore album Planet (i), following her 2020 debut I Was Born Swimming, is exactly that. A singular planet, a world entirely of artist Ella Williams’ making. The title came first to her as a joke: it’s her made-up name for the new planet people will inevitably settle and destroy after leaving Earth, as well as the universe imagined within her music. “Planet (i) is my body and mind,” Williams says, “and it’s the physical and emotional world of our planet. It’s both.” Buoyed by her steadfast vision and propelled by her burning comet of a voice, the record is a love letter to disaster in every form imaginable. Tornadoes, flooding, gaslighting assholes, cars on fire—these songs fully embrace a planet in ruin. As Williams rides from melancholy to jubilance to complete emotional devastation over the course of twelve songs, she carves out a future for herself and those she loves. Planet (i), out June 25, 2021 on Polyvinyl and Full Time Hobby, is at once a refuge, an act of self-healing, and a musical reflection of Squirrel Flower’s inner and outer worlds.\u003cbr\u003e\u003cbr\u003eWilliams wrote most of the songs on Planet (i) before the COVID-19 pandemic, but disaster looms large in its DNA. Susceptible to head injuries having played a lot of sports in her youth, Williams received three concussions from 2019-2020; two at cafe jobs in her\u003cspan class=\"bcTruncateMore\"\u003e home state of Massachusetts, and a third, funnily enough, while making out with someone in a sloped attic at a house show. Amidst the chaos of touring internationally during her own healing process, she began weaving threads between her physical and personal sense of ruin and her lifelong fear of the elements: of being swept up by storms, floods, and the deep ocean. “To overcome my fear of disasters,” Williams says, “I had to embody them, to stare them down.” This journey of decay and healing is the lifeblood of Planet (i). “I’m not scared of the storm,” she insists on “Desert Wildflowers.” “I’ll be lying on the roof when the tornado turns.”\u003cbr\u003e\u003cbr\u003eOnce quarantine set in, Williams, known for her magnetic live concerts, began to produce demos in her room, amassing a collection of more than 30 recordings. “I constantly write,” she says, “but because of the pandemic and the unemployment checks I received, I was able to spend every day recording what became the skeleton of this album.” Feeling a sense of artistic synchronicity over international phone calls with producer Ali Chant (PJ Harvey, Perfume Genius), and with newfound covid antibodies, Williams flew to Bristol, UK in the fall of 2020 to record Planet (i) at Chant’s studio, The Playpen. “We had this shared creative language,” she recalls, “and the recording process was, like my demo process, very sculptural. Instead of recording live with a full band, we built this record layer by layer, experimenting, taking risks.” Williams dedicated her time in Bristol to exploration, both in the studio and outside of it. As she roamed the city in her beloved green garden mucks, the same boots featured on Planet (i)’s album art, Squirrel Flower unlocked a new creative alchemy.\u003cbr\u003e\u003cbr\u003eWhile Williams and Chant played most of the instruments on the record, Bristol drummer Matt Brown and Portishead’s Adrian Utley also joined their sessions. “Adrian brought such stunning textures to the arrangements,” Williams says. “I was starstruck watching him play guitar with a pair of pliers.” And when Chant suggested the idea of backup vocals, Williams, whose voice had until now stood alone in her songs, enthusiastically enlisted friends and family to join her remotely with their voices and instruments. Around Squirrel Flower’s voice and vision dance the contributions of Jess Shoman (Tenci), Tomberlin, Katy J. Pearson, Jemima Coulter, Brooke Bentham, and her brothers Nate and Jameson Williams, as well as her father Jesse.\u003cbr\u003e\u003cbr\u003eThe songs on Planet (i) are Squirrel Flower’s instruments for connection: with the people in her life, her collaborators, audiences, and ancestors; a lineage of artists whose spirits continue to inform her art. At the heart of this record is an insistence on connection and healing in the face of catastrophe. Williams treats her songs like well-loved cars, vehicles with busted exteriors and flame-kissed engines. These songs hurtle down a freeway wracked by firestorms and flash floods, their drivers in search of human connection, no matter how tenuous, no matter how painful. In this search for communion, Squirrel Flower sings with the clarity of an artist who has discovered not only the precise power of her voice, but all the devastating shapes it can take.\u003cbr\u003e\u003cbr\u003eOn the explosive lead single “Hurt A Fly,” Williams is a volatile, relentless presence. She takes the persona of a manipulative lover as she lurches from guilt to sorrow to renewed fury, backed by whirring, frenetic guitars. And in “I’ll Go Running,” Williams begins on a haunting simmer, pitching her voice over languid, slow-burning guitars from quiet resistance to full-on emotional rebellion by the song’s end: “I’ll be newer than before \/ I’ll be something that you’ve never seen.” It’s the mantra of an artist in flux, obsessed with motion and change, but determined to move and change on her own terms. On “Flames and Flat Tires,” the third single, Williams rides this motion onward in a bright wave of sound, comparing her body to a burning car on a 4am joyride, the city crumbling behind her.\u003cbr\u003e\u003cbr\u003eOn Planet (i), Squirrel Flower reveals a bright and uncompromising vision, confident in her powers of self-healing and growth. No matter what the disaster ahead of or within her looks like, and no matter how she shape-shifts to meet it, Squirrel Flower will always be a world of her own, a space-rock flying down the road in flames and flat tires. As Planet (i) wheels to a close from the cartop lovesickness of “Iowa 146,” the floodwaters of “Deluge in the South,” and the tornado fury of “Pass,” to the hushed climax and acceptance of “Starshine,” she leaves us to face down disaster with hope in hand:\u003cbr\u003e\u003cbr\u003eDon’t let it pass.\u003cbr\u003eDon’t let it wither.\u003c\/span\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Full Time Hobby","offers":[{"title":"Transparent Blue Vinyl","offer_id":42466556346610,"sku":"FTH410LP","price":23.99,"currency_code":"GBP","in_stock":true},{"title":"Transparent Orange Vinyl + CD","offer_id":46897343398130,"sku":"FTH410LPRT","price":23.99,"currency_code":"GBP","in_stock":true},{"title":"Softpack CD","offer_id":42466559688946,"sku":"FTH410CD","price":10.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0615\/8617\/8290\/files\/SQUIRRELFLOWER.PLANET.BLUE.png?v=1714050268"},{"product_id":"tunng-dead-club","title":"Tunng Presents...Dead Club","description":"\u003cp\u003e\u003cstrong\u003eVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2xLP black vinyl, presented in a gatefold sleeve, includes download code. Packaged in an open-top polybag rather than shrinkwrap. Art by Lilias Buchanan. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e***\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cstrong\u003eCD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003ePresented in a gatefold softpack sleeve with lyric book.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAn album, podcast series and conversation on death and grief composed and produced by Tunng.\u003cbr\u003e\u003cbr\u003eThe breadth, detail and care of Tunng’s Dead Club project is a striking thing. “It’s not just a record, it’s a discussion, it’s a podcast series, it’s poetry, it’s short stories, it’s an examination,” says the band’s Mike Lindsay. Tackling the still near-untouchable subjects - grief, loss, the act of dying, where we go, what becomes of those left behind - death is a taboo beyond all others. \u003cbr\u003e\u003cbr\u003eAround the time of Tunng’s sixth album, 2018’s Songs You Make at Night, lyricist Sam Genders found Max Porter’s novel Grief is The Thing with Feathers, and was struck by its power. Its viscerality and rawness and rage. Its beauty and love and connection. He passed Porter’s book around his band members.\u003cbr\u003e\u003cbr\u003eFor months the six band members discussed the subject at length. That they are such a sizeable band, diverse in opinion and perspective, proved helpful: “When all those things come together that’s what makes it Tunng,” says Genders. “And because the subject of death is so powerful for people in different ways, we talked about the kinds of issues it might bring up, that we might need to be sensitive about.” \u003cbr\u003eFirstly, Dead Club is an extraordinary record; contemplative, intimate and celebratory. It includes collaborations with Max Porter, who wrote two new pieces for the album. It draws on the research the band conducted — nods to the Wari people of Brazil who eat their dead, discussions of consciousness and memory, Genders’ visit to a death cafe in Sheffield, and the Swedish art of Death Cleaning. It touches on personal loss, fear, and humour and sorrow and love.\u003cbr\u003e“Trying to turn this whole concept into an album, into music, without it being too sombre and difficult for people to listen to, that’s been the challenge,” says Lindsay. “We wanted it to be colourful and we wanted it to be kind of uplifting. Although some of it’s a lot darker than I was imagining it originally, I think it’s a thought-provoking and emotional journey; it doesn’t make me feel sad.”\u003cbr\u003e\u003cbr\u003eIt's also a podcast series, produced by the band’s Becky Jacobs and Sam Genders, speaking to those who work in the field of death: philosophers, scientists, frontline workers, and beyond. Philosophers Alain De Botton and A.C. Grayling discuss cultural attitudes towards death, alongside palliative care physician and author Kathryn Mannix, mentalist Derren Brown, forensic anthropologist Dame Sue Black, musician Speech Debelle, and Poetry editor of the New Yorker, Kevin Young. Samples from these discussions in turn appear on the album: Brown’s voice hovers over Fatally Human, Black considers what happens after we die on The Last Day, while on A Million Colours, Ibrahim Ag Alhabib of Tinariwen speaks of the traditions around death of the Tuareg in northern Mali.\u003cbr\u003eThere were live events planned of course, collisions of music and readings and art that the band had hoped might prompt conversations about the subject among the audience. Perhaps the hope of this project is not to commandeer grief, to explain it or provide a structure for loss, but to bring a new openness to the subject. \u003cbr\u003e\u003cbr\u003eWe no longer have the religious script we once had that helped us to deal with death, Genders notes. “And I think a lot of us are struggling to know how to behave around it.” But there are skills we can learn, conversations we can have, cultural baggage we can question, to find an approach that reflects an experience that is “inherently human”, as Genders puts it. “I think in life in general there’s something very powerful in total honesty,” he says. “In being honest about all the different ways that you experience things. Because it’s nearly always the case that you discover everyone’s got the same anxieties, and the same fears, and having the same experiences. 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Just a handful of copies left. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eCD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e6-panel softpack CD with lyric booklet.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan\u003eSome musical partnerships are so strong, intuitive and natural that they almost can’t be separated due to the natural magnetism present in the relationship. One such tight knit songwriting family are Tunng, and their new album Songs You Make At Night reunites founding members Sam Genders and Mike Lindsay (fresh from his LUMP side project with Laura Marling) and the rest of the Tunng gang for the first time since 2007’s Good Arrows.\u003cbr\u003e\u003cbr\u003e“We really wanted to do a Tunng record going back to the original line up,” Lindsay says. “there was a real magic in the early records that we all wanted to capture again in this one.”\u003cbr\u003e\u003cbr\u003eSince forming in 2003 and over the course of five albums, Tunng are a group that have explored the boundaries between acoustic and electronic music, becoming synonymous with the folktronica genre before moving into territory that managed to both evade that label and continue to redefine it. Songs You Make At Night finds a group of people reconnecting with a previous collective state to bring out something new and forward-looking. “We're all so different but each bring something essential, something Tunng to the party. Be that to the studio, to the stage, to the van, or to the pub. I think that the new songs Mike and Sam have crafted between them have brought out the best in all of us.” confirms singer Becky Jacobs.\u003cbr\u003e\u003cbr\u003eSongs You Make At Night is also Tunng's most electronic-leaning to date. Take lead single ABOP which brings the Moog right to your face, with a heavily swung frazzled 808 pigeon beat that builds into a magical folk pop feast. \u003cbr\u003e\u003cbr\u003eSongs You Make At Night’s tone, theme, lyrics, mood and characters exist in a fluctuating state between night and day (\"I got very much into the idea of a dark underwater world suffused with pockets of light and beauty and some of the songs grew out of that.\" says Sam Genders), the conscious and unconscious. Crepuscular in its nature, Lindsay explains the all-encompassing title. \"I think it’s also important to stress the songs you make at night not, we make at night. Then the word “songs” can mean a multitude of things. It can mean songs, or dreams, pillow talk or actions and decisions, moves, and can be very personal... the thoughts that keep you awake at night.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Full Time Hobby","offers":[{"title":"Black Vinyl","offer_id":42466610938098,"sku":"FTH314LP","price":22.99,"currency_code":"GBP","in_stock":true},{"title":"SIGNED Black LP","offer_id":44001618329842,"sku":"FTH314LPS","price":22.99,"currency_code":"GBP","in_stock":false},{"title":"Purple Vinyl","offer_id":44348082782450,"sku":"FTH314LPURP","price":23.99,"currency_code":"GBP","in_stock":true},{"title":"Blue Vinyl","offer_id":46897336156402,"sku":"FTH314LPA","price":23.99,"currency_code":"GBP","in_stock":true},{"title":"Softpack CD","offer_id":42466612969714,"sku":"FTH314CD","price":10.99,"currency_code":"GBP","in_stock":true},{"title":"*Second Chance* Black Vinyl","offer_id":56501175976320,"sku":"FTH314LPNM","price":14.99,"currency_code":"GBP","in_stock":false},{"title":"*Second Chance* Blue Vinyl","offer_id":56501223588224,"sku":"FTH314LPASC","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0615\/8617\/8290\/files\/tunng.songsyoumakeatnight.black.png?v=1713447777"},{"product_id":"bananagun-the-true-story-of-bananagun","title":"Bananagun - The True Story of Bananagun","description":"\u003cp\u003e\u003cstrong\u003eVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDeluxe: \u003c\/strong\u003eTransparent red \/ yellow split colour splatter vinyl with bonus 7\" featuring Maston \u0026amp; Traffik Island remixes of \"Out Of Reach\" \u0026amp; \"Taking The Present For Granted\" respectively. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBlack\u003c\/strong\u003e: the same great album on black vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCompact disc, presented in softpack sleeve with re-useable plastic outer sleeve. Carbon offset.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe loading=\"lazy\" height=\"152\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/63Ni4GNsGv4L6Ole60Brqb?utm_source=generator\" style=\"border-radius: 12px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e***\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eHailing from Melbourne, but with a sound stretching from 60s and 70s afrobeat and exotica to Fela Kuti-esque repetition, the proto-garage rhythmic fury of The Monks and the grooves of Os Mutantes, there’s an enticing lost world exoticism to the music of Bananagun. It’s the sort of stuff that could’ve come from a dusty record crate of hidden gems; yet as the punchy, colourfully vibrant pair of singles Do Yeah and Out of Reach have proven over the past 12 months, the band are no revivalists. On debut album The True Story of Bananagun, they make a giant leap forward with their outward-looking blend of global tropicalia.\u003cbr\u003e\u003cbr\u003eThe True Story of Bananagun marks Bananagun’s first full foray into writing and recording as a complete band, having originally germinated in the bedroom ideas and demos of guitarist, vocalist and flautist Nick van Bakel. The multi-instrumentalist grew up on skate videos, absorbing the hip-hop beats that soundtracked them - taking on touchstones like Self Core label founder Mr. Dibbs and other early 90’s turntablists.\u003cbr\u003e\u003cbr\u003eThat love of the groove underpins Bananagun - even if the rhythms now traverse far beyond those fledgling influences. \"We didn't want to do what everyone else was doing,” the band’s founder\u003cspan class=\"bcTruncateMore\"\u003e says. “We wanted it to be vibrant, colourful and have depth like the jungle. Like an ode to nature.\"\u003cbr\u003e\u003cbr\u003eVan Bakel was joined first by cousin Jimi Gregg on drums – the pair’s shared love of the Jungle Book apparently made him a natural fit – and the rest of the group are friends first and foremost, put together as a band because of a shared emphasis on keeping things fun. Jack Crook (guitar\/vocals), Charlotte Tobin (djembe\/percussion) and Josh Dans (bass) complete the five-piece and between them there’s a freshness and playful spontaneity to The True Story of Bananagun, borne out of late night practice jams and hangs at producer John Lee’s Phaedra Studios.\u003cbr\u003e\u003cbr\u003e“We were playing a lot leading up to recording so we’re all over it live”, van Bakel fondly recalls of the sessions that became more like a communal hang out, with Zoe Fox and Miles Bedford there too to add extra vocals and saxophone. “It was a good time, meeting there every night, using proper gear [rather than my bedroom setups.] It felt like everyone had a bit of a buzz going on.”\u003cbr\u003e\u003cbr\u003eTracks like The Master and People Talk Too Much bounce around atop hybrid percussion that fuses West African high life with Brazilian tropicalia; the likes of She Now hark to a more westernised early rhythm ‘n’ blues beat, remoulded and refreshed in the group’s own inimitable summery style. Freak Machine is perhaps the closest to those early 90’s beats, but even then the group add layers and layers of bright guitars, harmonic flower-pop vocals and other sounds to transmute the source material to an entirely new plain. Elsewhere there’s a 90 second track called Bird Up! that cut and pastes kookaburra and parrot calls as an homage to the wildlife surrounding van Bakel’s home 80 kilometres from Melbourne.\u003cbr\u003e\u003cbr\u003eOh, and there are hooks galore too – try and stop yourself from humming along to Out of Reach’s swooping vocal melody.\u003cbr\u003e\u003cbr\u003eBananagun are first and foremost a band enthused with the joy of living and The True Story of Bananagun is a ebullient listen; van Bakel - as the main songwriter - is keen not to let any lyrical themes overpower that. There’s more to this record than blissed out grooves and tripped out fuzz though: The Master is about learning to be your own master and resisting the urge to compare yourself to others; She Now addresses gender identity and extolls the importance of people being able to identify how they feel. Then there’s closing track Taking The Present For Granted, which perhaps sums up the band’s ethos on life, trying to take in the world around you and appreciating the here and now.\u003cbr\u003e\u003cbr\u003eA keen meditator, van Bakel says of the track: “so often people are having a shit time stuck in their own existential crisis, but if you get outside you head and participate in life and appreciate how beautiful it all is you can have a better time.”\u003cbr\u003e\u003cbr\u003eEven the band’s seemingly innocuous name has an underlying message of connectivity that matches the universality of the music. “It’s like non-violent combat! 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Their first album to be recorded in its entirety with the full, six-piece band (core duo Sam and Mike Lindsay handled the majority of the first two), there’s a new depth of sound and power here, and a clutch of songs that’ll get right under your skin. Taking influences from Icelandic prog rock, choral music and film soundtracks, Good Arrows marks a significant development for Tunng – they’ve expanded beyond the awkwardly-applied folktronica label to become a fully fledged (if experimentally-skewed) pop band.\u003c\/span\u003e\u003c\/p\u003e","brand":"Full Time Hobby","offers":[{"title":"White Vinyl","offer_id":42468108435698,"sku":"FTH040LP","price":23.99,"currency_code":"GBP","in_stock":false},{"title":"Jewel Case CD","offer_id":42468112236786,"sku":"FTH040CD","price":10.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0615\/8617\/8290\/files\/TUNNG.GOODARROWS.png?v=1714494558"},{"product_id":"tunng-and-then-we-saw-land","title":"Tunng - ...And Then We Saw Land","description":"\u003cp\u003e\u003cstrong\u003eVinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGatefold sleeve with beautiful art from Vanessa Da Silva. 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Released in 2021. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGatefold softpack CD with lyric insert.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eEsther Rose was in perpetual motion when she wrote How Many Times. In the span of two years, she moved three times, navigated the end of a relationship, and began touring more than ever. The New Orleans-based singer-songwriter used that momentum while she penned her third studio album. That’s why, as the album title’s nod to the cyclical nature of life implies, there’s a rush that accompanies How Many Times as if you’re experiencing an awakening, too.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRose expands her alt-country sound into a blossoming world of folk pop and tender harmonies. A collection of complete takes recorded live to tape with rich instrumentation, soul-tugging hooks, and resonating vocal melodies, How Many Times carries you into the room in which it was made. There to help realize this was co-producer Ross Farbe of synthpop band Video Age, who Rose also credits for bringing a stereo pop glow to these new songs.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRose’s journey through the past few years has been one of saying yes to new opportunities, all while nurturing and playing in bands in the New Orleans country music scene. The arrival of How Many Times is evidence of the sweeping growth Rose has undergone, both personally and artistically. 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If so, everyone is going to be feeling relaxed and confident.” This approach is a useful one to have when your wife, Alison Alderdice, is in your band.\u003cbr\u003e\u003cbr\u003eWhilst the Saxophones began as the solo project of Erenkov - a project that was loosely started over a decade ago but gained full momentum and dedication in recent years - he wanted to bring in some primitive drum and percussion playing and couldn’t think of anyone more suited than his wife. “I wanted to share the band with her,” he says. “Plus, I would be devastated if I had to leave for weeks at a time to tour without her.”\u003cbr\u003e\u003cbr\u003eErenkov was studying jazz but became disenchanted with its direction. “I was frustrated by the lack of emotion I perceived in much of the music I was listening to and I couldn’t find a way to make my studies meaningfully connect to contemporary culture,” he says. His discontent led him to learn guitar and to begin singing. He learnt his playing from studying the likes of Daniel Johnston. “I loved how much songwriters could convey with so little technical skill,” he recalls. “In comparison to the work I was doing in University, spending many hours on big band arrangements and studying jazz theory, songwriting seemed like the most liberating thing.” Thankfully Erenkov had a voice to match his newfound playing style and songwriter ambitions, his deeply immersive and emotive vocals sitting in that unique register between rich and high, recalling the likes of M. Ward or Timber Timbre. Jazz isn’t completely absent from the project however, and Erenkov views the outlet as “A hybrid of the love I have for jazz and the love I have for simple direct expressions of feeling.”\u003cbr\u003e\u003cbr\u003eIf You’re on the Water EP came in 2016 with a knock-out title track that was inspired by a tumultuous time over a summer week that saw suicide, the transition of a relationship, and Erenkov and his father being involved in a nearly fatal boating accident. Thankfully things have calmed down in his life since then and Erenkov and Alderdice have remained focused on making this album and preparing for the upcoming birth of their first child.\u003cbr\u003e\u003cbr\u003eThe songs were formed and written during a period in which the pair were living on a boat during a very wet winter in the San Francisco Bay Area. “Much of the music was written over rainy mornings on acoustic guitar inside the cabin of our boat and outside of the city in a little guesthouse in Pt. Reyes,” he reflects. It was then recorded in Portland over 10 days, the recording was an intense and occasionally tense process. So much of Erenkov was invested in the songs that it led to a mounting sense of pressure. “I felt like I had to be incredibly vigilant and aware the whole time. It was exhausting, but I think it worked. I love the record we made.” Whilst some people on their debut album wish to throw everything into the production, often operating under the misapprehension that every space needs to be filled and explored, The Saxophones’ release is the complete opposite. Songs of The Saxophones understands the need for space, creating breathing room for the songs to swell and float.\u003cbr\u003e\u003cbr\u003e“I wanted the record to be very consistent,” Erenkov says. “I did not want the woodwinds to be bloated, and I am very particular about not overdoing it when it comes to synths and extra bells and whistles. 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Many of the songs address existential suffering and the traumas inflicted by partners in relationships, so a melancholic tone runs through the record, but overall it’s a record of hope and positivity, according to Erenkov. “While the record sounds sad, to me, it is really about growth and the human capacity for change.”\u003cbr\u003e\u003cbr\u003eThe biggest change for the band has just occurred as The Saxophones brought another new person to the family in the form of their newborn son. Erenkov will initially tour the record in May without Alderdice. “We don’t know what having a baby will be like and how to handle the baby coming with us, but we’re going to try,” he says of future touring plans beyond that. 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Includes download card.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/1dICDajly4maZ867rOAK1e?utm_source=generator\" width=\"100%\" height=\"152\" loading=\"lazy\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e(An introduction to Aidan Knight: As a songwriter, performer and producer based on Vancouver Island, Aidan has released 3 critically acclaimed albums (Versicolour, Small Reveal, and Each Other), toured with artists like Half Moon Run, Andy Shauf, James Vincent McMorrow, Villagers, Dan Mangan and more. 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And yet, many things haven't dramatically changed - the climate crisis continues to elude politicians, songwriters and performers who labour to create all music still haven’t seized the means of production, and I still enjoy a bowl of cereal now\u003cspan class=\"bcTruncateMore\"\u003e and then.\u003cbr\u003e\u003cbr\u003eI remember waking up in a tent after playing Glastonbury when Brexit happened in 2016. Loading-in at First Avenue in Minneapolis the night Prince died. Rescuing a hedgehog in Rotterdam after having a panic attack on stage. So many memories filed away at the time. I stopped drinking in 2017, stopped self-sabotaging and started recording new music in our 2 bedroom apartment. We moved in July of 2018 after 9 years there. Predictably, I panicked and thought about scrapping the entire record because I was extremely sad and couldn't tell anyone. Self improvement isn't always linear I suppose. 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Their story is one of finding solace and strength in solitude, where lush arrangements search for the meaning of self, both within and without partnership. Exploring loneliness, as well as the growth and beauty blooming from it, Macie’s inner meditations reassess their own relationships in a singular voice that could ring true to anyone.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Life is a perpetual discovery of your own habits and perceptions,” \u003c\/em\u003eMacie explains.\u003cem\u003e “This record is about digging into and embracing those less favourable parts of yourself in order to shed them. The hope is always to find the most authentic self while honouring who you once were, and who you could be.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e Written during a period of solitude between long walks in the forest preserve by their home, noticing habitual patterns within the pages of their journal, and documenting their dreams, Macie’s experiences capture those which any one of us could feel. Inwardly forming but outwardly extending, their otherworldly observations command attention from where improvisation and composition meet. Just ask The Weather Station, Clare Rousay, or Japanese Breakfast, with whom she has toured as a multi-instrumentalist, or Iron \u0026amp; Wine after co-producing and performing on their EP of Laurie McKenna songs. As a string arranger, Macie draws upon years of performing classical, jazz, and Irish folk, since beginning their musical career aged 3 (as daughter of pianist Sami Scot, learning to talk was punctuated by becoming proficient on piano and violin) and she has even crafted unique arrangements for the band Whitney, SZA, V.V. Lightbody, and Knox Fortune among many others.\u003c\/p\u003e\n\u003cp\u003eSometimes the truth is hard to admit, especially when it comes to admitting it to yourself. 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