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Heralded as one of her most captivating and immediate front-to-back statements of purpose, a deeply spiritual collection of songs. It was the first time in her career where she handed over all production duties to someone other than herself, that someone being the legendary Madlib. The beats on “Seeds” are naturally heavy, funky, soulful, abrupt yet hypnotic. All the characteristics of Madlib’s signature sound we know and love. On the B Side of the vinyl is a collection of Georgia Anne Muldrow instrumentals from across 3 Dudley Perkins albums, “Young Spirit”, “Self Study”, and “Holy Smokes.” Beats with synths reminiscent of J Dilla’s electronic era but with enough G-Funk influence to melt your Raiders hat. Bass lines that could get The Click back together. Georgia Anne Muldrow is a master of her craft on the beats and the microphone. This record is a testament to that. 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In a world that’s arguably darker than the one that greeted Wild Loneliness in 2022 or What a Time to Be Alive in 2018, are any of us okay? “It’s always been the case that everyone is going through something that you may not be aware of,” notes Mac McCaughan. “This is currently more true than ever—but also the case that we are all going through some things together. In the face of that, what good is art and where is happiness found? (Spoiler alert: I don’t know.)” In seeking an answer, Songs in the Key of Yikes unleashes a sound that is triumphant and bright in the darkness, Majesty Shredding in overdrive. Lead single “Is It Making You Feel Something” sets the tone early with the band—McCaughan, Laura Ballance, Jim Wilbur, and Laura King— building an anthem out of the potential for joy, diving into slop-polluted waters (“now fakes are faking everything \/ that once made your poor heart sing”) and emerging with a pearl. “No Hope” is similarly resilient, McCaughan’s lyrics painting a crushing scene before entering its titular refrain. He repeats the phrase nine times, pauses a beat, and transforms its sentiment entirely, breaking the chant with the line “and here we are singing.” The lyric is sharp, at once a simple observation and a profound statement of being, the song’s crushing nights and endless days no less so on its account, but McCaughan’s voice finds a certain sweetness in having endured, and continuing to do so. Paradoxically, the energy of Songs in the Key of Yikes borders on and sometimes spills into euphoria, as in “Stuck in a Dream” which emerges like a mirage-born oasis between “Everybody Dies” and “Train on Fire,” a full-sprint crowd pleaser suitable for pogoing in the pit. “Care Less” is a dark, comic mirror to that energy, a garage-y jam in which an acid-tongued McCaughan seeks refuge from the storm by pretending it’s not raging right outside his door. This strategy doesn’t work. Of course it doesn’t. It’s a song on a Superchunk album, and Superchunk albums are arguments against insularity, parties large enough to host everyone. This one, in addition to welcoming Laura King into the fold after two years as their touring drummer, features contributions from Rosali Middleman (“Bruised Lung” and “Everybody Dies”), Bella Quinlan and Holly Thomas of Quivers (“Cue”), and touring bassist Betsy Wright (“Care Less”). The album was engineered by Paul Voran (The Menzingers, Hurray for the Riff Raff) and Eli Webb, and mixed by Mike Montgomery (The Breeders, Protomartyr). Together, they reach no conclusions on what good art is in the face of crisis. They also make great art. 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Composed of singer and guitarist Wendy Eisenberg, drummer Josh Daniel, and bassist Steve Cameron, Editrix thrives on musical risk-taking, often veering into noise-rock territory with a playful edge. On their latest release, The Big E, Editrix unleashes their fangs, resulting in a demonic wall of scuzz. But for as intense as Editrix sounds, the act is convivial and easygoing — ingrained in deep friendships and speedy, yet jovial recording sessions. Editrix’s most pummeling moments seem to be founded on a heartfelt connection, adding emotional resonance to their most feral noise. In the three years since their second LP Editrix II, Eisenberg, Daniel, and Cameron have thrived in individual states of motion — in and away from music. New York City-based Eisenberg is an accomplished solo artist in the avant-garde realm, receiving recent acclaim for their album Viewfinder(released by American Dreams in 2024). They are also a prolific collaborator, performing in a handful of projects alongside the likes of romantic partner more eaze, Bill Orcutt, David Grubbs, and others. Cameron relocated from Massachusetts to New York City around the same time Editrix II came out, taking a slight step away from music to return to school. Daniel is the only member of Editrix left living in Massachusetts, and performs with the eclectic bands Landowner, Hot Dirt, and The Leafies. Due to Editrix being scattered, the band’s new album, The Big E, found them toying with a fresh process. Editrix was quick to write off the idea of collaborating remotely, as the act relishes the warmth of happy accidents that only happen in person.\u003cbr\u003eThe Big E sparked with Eisenberg, Daniel, and Cameron compiling a list of albums they each admire to establish a self-professed “vibe” up front. King Crimson, My Disco, and Horse Lords were a few key touchstones that shine through, their grounded grooviness balancing erraticism. Eisenberg also found themself infatuated with ‘70s outlaw country and Van Dyke Parks production. The Big E is titled after a comedic bit between band members, sharing its name with a prominent regional fair in Western Massachusetts, although the title-track aptly features massive E chords. When held up alongside Editrix II — which found the act toying with Finnish death metal and harsh noise — The Big E feels settled in its skin. Editrix recorded The Big E with legendary tech death producer Colin Marston (Krallice, Behold..., Dysrhythmia) at his soon-to-be-shuttered studio in Queens. Though these tracks sound toiled over and technical, they are very spontaneous. The majority of The Big E was captured live, with a handful of overdubs added after the fact and came to life over the course of four focused, but rewarding days. Eisenberg uses zen words like “meditative” and “evocative” to describe Editrix’s methods, but the end result is crunchy, intricate, and impressively baffling. 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You might have only heard these records once or twice before, coming out of a passing kid's transistor radio, or in the background in a cafe, or a chippie, and then they disappeared into the ether never to be heard again - until now.\u003c\/p\u003e\n\u003cp\u003eAside from the Fortunes, Marty Wilde and Candlewick Green, very few of these names will be at all familiar but the harmonies, the string and brass arrangements and top session musician playing will all be familiar to anyone who loves the sound of ‘My Baby Loves Lovin'’, ‘Silver Lady’ or ‘(If Paradise Is) Half As Nice’. They are all incredibly catchy.\u003c\/p\u003e\n\u003cp\u003eCompiled by Bob Stanley from his sizeable collection of 70s 7\" singles, ”Chip Shop Pop”  revives records on Bell, UK, Young Blood and Bradley's, labels that were home to these unabashed radio-friendly sounds that would disappear when first disco, then punk, came along later in the 70s.\u003c\/p\u003e\n\u003cp\u003eDormant for decades, many unavailable for more than fifty years, here is a perfect collection of sunshine-friendly pop with a capital P.\u003c\/p\u003e","brand":"Ace","offers":[{"title":"Double Vinyl LP","offer_id":53333261648195,"sku":"RPT-08113","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0821\/1601\/8499\/files\/79fa6982bee74aa51f3d35a7459c1790.png?v=1750354672"},{"product_id":"lorelle-meets-the-obsolete-corporal","title":"Lorelle Meets The Obsolete - Corporal","description":"\u003cp\u003eLorelle Meets The Obsolete return with their seventh album, Corporal, on October 10. It’s the Mexican duo’s finest, most ferocious work to date which sees them turbo-charge their psychedelic post-punk with a new electronic engine. Mixed by Antoine Goulet (live sound engineer for SUUNS) and mastered by Mikey Young (Eddy Current Suppression Ring), the most obvious comparison in terms of mood and mode is Primal Scream’s classic XTRMNTR, another record that processed personal and political conflicts and spat them out as distorted dance music. It shows the influence of the duo’s DJ sets and last year’s radical Remezcla remix collection on their way of thinking and why they are now namechecking the likes of Moor Mother, MF DOOM, Patrick Cowley, The Bug, Paula Garcés, Phil Kieran, Coby Sey, Run the Jewels and Anadol.“Playing other artists’ music is different,” says Lorena Quintanilla about the change of direction towards the dancefloor. “You’re not just listening, you’re watching how energy flows and how it affects other people. 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Following his Crohn’s disease diagnosis in 2021, Johnston felt stuck mourning the loss of his life before, and struggling to cope with not only his new reality, but also an ongoing battle with OCD and anxiety. Autofiction finds the Irish musician discovering the tools he needs to keep moving forward. “I’m now at the point where I don't really let it define me,” he says. “The lyric ‘your mind changed from a fear to a song’ [on ‘Lough’] is my expression of freedom: to no longer be held down by something you’ve got used to. I’m trying to not even make sense of it all, but just live in it, and be grateful for the things I do have.” The lyrics across Autofiction—which dive deep into mental health burdens, self-forgiveness, recovery, and gratitude for supportive, uplifting partnership—are Johnston’s most direct, diaristic and literal to date. 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This collaboration marks the first time a Nintendo soundtrack has been commercially released on vinyl outside of Japan. \u003c\/p\u003e\n\u003cp\u003eThis box set features heavyweight LPs that come in printed disc inners and spined inner sleeves, all housed in a rigid board dual slipcase. All packaging is adorned with archival artwork by the team behind The Legend of Zelda: Breath of the Wild. \u003c\/p\u003e\n\u003cp\u003eEach disc side is sequenced around a theme, reflecting players’ adventures in the game, whether exploring Hyrule, battling enemies, freeing the Divine Beasts from Calamity Ganon’s hold, or unlocking the mysteries of the Shrines. \u003c\/p\u003e\n\u003cp\u003eThe unforgettable music of The Legend of Zelda: Breath of the Wild introduced bold new musical textures to the series, while embracing classic themes. 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