{"title":"SHOEGAZE \/ DD RECOMMENDS","description":"","products":[{"product_id":"downward-the-brass-tax","title":"Downward  \"The Brass Tax\" EP","description":"\u003cp\u003e🚛 - In Stock \u0026amp; Shipping\u003cbr\u003e\u003cbr\u003eOklahoma’s DOWNWARD is the perfect example of a band who keeps their head down and drives. Not worried about keeping up with sonic trends or online presence, the band has garnered somewhat of a cult following, proving quality music is what people crave most. Since their inception the band have fine tuned their blend of simultaneously airy and heavy music, and their newest effort, “The Brass Tax”, is no exception. 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New Low\u003c\/span\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e02. Panic Song\u003c\/span\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e03. Punishment Existence\u003c\/span\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e04. Your Love Is Alcohol\u003c\/span\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e05. I Hate Everything\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"New Low\" is a new 5 song 12\"EP from Greet Death. The first four singles from this session were released digitally over a span of months in 2021 into 2022, leaving the title track exclusive to this final collection. 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They initially made waves with their infectious debut album \"Dixieland\" (Flesh and Bone, 2017). The album was well received, with Pitchfork giving it a \"7.7\" rating and stating \"...This is a remarkably tuneful, forthright pop-rock band that just so happens to play six-minute songs at bradycardic tempos\". \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003e\"New Hell\" is the latest album from Greet Death. It was recorded by Nick Diener (The Swellers) at Oneder Studios. Additional recording was done by Jake Morse. It was all mastered by Jay Maas at Getaway Recording, and artwork for the release was created by illustrator Liam Rush. \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003eThe album as a whole is a creative intermingling of lush melodic atmosphere with melancholic lyrical content. Within that haze their personal subject matter is cleverly cloaked amid beautiful vocal deliveries and dreamy guitar work. This is the case in songs \"Circles of Hell\", \"Do You Feel Nothing\", \"Let It Die\", and \"You're Gonna Hate What You've Done\". This not-so-subtle vitriol continues to spread through self reflection in unforgettable songs like \"Entertainment\", \"Strange Days\", as well as the tone-soaked \"Strain\". While \"Crush\" plays as a complex outpouring disguised as a hook-laden pop number. All of this leads to \"New Hell\", a nearly ten minute epic of towering proportions. 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On this three-way split, All Under Heaven leads with a jangly guitar, with Defabritus’ distinctive, lingering vocals on ‘Show You My Pain’, which slowly flows into ‘Head Down’. Leaving Time bring a punch of heaviness in the middle of the split, with their ringing guitar leads and post-hardcore inspired sound. Finally, on ‘Sunny’, Glare sound as bright as ever, with a careful blend of Smashing Pumpkins and Lush inspired swirling guitars and vocals. This first 3-way split on Sunday Drive Records captures the current sound of shoegaze\/alternative-rock in 2022—All Under Heaven, Leaving Time and Glare continue to evolve in this space and build interest of what’s next.\u003c\/p\u003e\n\u003cp\u003eTrack Listing: \u003cbr\u003e\u003cspan style=\"font-style: normal;\"\u003e01. Show You My Pain \u003cbr\u003e\u003c\/span\u003e \u003cspan style=\"font-style: normal;\"\u003e02. Head Down \u003cbr\u003e\u003c\/span\u003e \u003cspan style=\"font-style: normal;\"\u003e03. 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The band often alter their songs live to fit the personal experience of the show itself, and such obsession with mood has proven to be one of their most prevalent strengths.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Pleasure Suck I\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2. Ricky (Caught Me Tryin')\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e3. Time To Scratch Them All\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e4. Pianos, Heavy Instrument\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e5. 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The first single “Julia’s War” has been road-tested across a recent sold out US tour, as well as at UK festivals including Green Man, and we can attest that it’s a ginormous singalong anthem and one which marks The Next Phase of New American Shoegaze (~ Third Man Records). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHotline TNT have toured relentlessly, including US-wide tours with Wednesday and Snail Mail, enduring seemingly endless lineup shifts to become a linchpin of several interconnecting DIY scenes. 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Hartzman again brought demos to the studio, where she and her bandmates—Xandy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake “M.J.” Lenderman (guitar)—worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism—not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman’s masterfully subjective approach to detail selection. Every image or scene is filtered through Hartzman’s agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman’s specific obsessions and vulnerabilities, about the fragmented way she processes the world. 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They’ve chopped up samples, chewed them up, spit them back out again, baby birded it. Across four albums and a smattering of EPs, Zack Schwartz, Corey Wichlin, and Rivka Ravede have fully solidified their stance as some of rock’s weirdest and best deconstructionists. 2018’s Hypnic Jerks was a study in noise punk sampledelia. It was a breakthrough for the band. Frank Ocean became a fan, spinning “fell asleep with a vision,” on Blonded Radio. 2021’s ENTERTAINMENT DEATH, was nasty dream pop by way of K-Mart realism and hitting the channel search setting on an old TV set.\u003c\/p\u003e\n\u003cp\u003eTheir last release, 2023’s i’m so lucky, explored the breakup between Schwartz and Ravede, setting the stage and emotional territory for the band’s fifth record, YOU’LL HAVE TO LOSE SOMETHING. This latest offering is the most crystallized version of the band’s aesthetic, a continued meditation on the end of relationships and the unsteadiness that follows. It is a meticulous, beautiful, and quietly heartbreaking collection of songs. More often than not, it sounds like listening to a walkman from inside of a hurricane, like the YouTube videos you’d watch in bed for 18 hours straight after you break your wrist from a skateboarding accident.\u003c\/p\u003e\n\u003cp\u003eThe goal in making YOU’LL HAVE TO LOSE SOMETHING was to soften out some of the edges. “Less hard left turns,” says Wichlin. “We wanted to make something intentionally less antagonistic,” he jokes. In practice, this means the record has slightly fewer drastic arrangement changes, and it is more stripped down. Take “I’VE BEEN EVIL,” one of the newest songs on the record, as one such offering. It is straightforward in that its tempo is consistent, in that the song keeps us in the same place. It does not digress. It holds itself steady, with bleary-eyed guitars and hushed vocals. The song is weary, the song is a whisper. The utterance “I’ve been evil,” is like the shrug of a shoulder, a so what, ha ha. \u003c\/p\u003e\n\u003cp\u003eLess straightforward is the sublime “LET THE VIRGIN DRIVE,” a genuinely frightening pop track that anchors itself on fucked up Japanese City pop samples and a demented news clip of someone screaming. The song was originally written around the time the band was touring ENTERTAINMENT, DEATH, and took a few years to fully flesh itself out. It is like staring into the sun, like waking up in a body bag “It’s about unrequited love and making up a situation or whole life in your head,” says Schwartz of its thematic underpinning, “The other person finally ‘sees you’ and your ‘problems are solved,’ but they aren’t, really.” The song hiccups and warbles — you can hear the tape hiss, the instability, how it kind of feels like the whole song might get sucked into a black hole’s event horizon. “Heaven is a lie\/cause you are earthly\/and you’re alive,” Schwartz sings at the song’s outset.\u003c\/p\u003e\n\u003cp\u003eYOU’LL HAVE TO LOSE SOMETHING is a record of provocations.  It wants you to think it is just normal rock ‘n’ roll music. That it is purely pleasure oriented. But beneath these intentions is a collection of songs that are as complex as ever. The Ravede-led “FOUND A BODY,” is a downtempo smoke cloud of variegated synths. “Found a body,” she sings “No one can touch me.” “SUN SWEPT THE EVENING RED,” starts out disconcertingly chipper, before breaking down into an assault of sludged out guitars, auto-tuned vocals, a flurry of strings. Like all SPIRIT records, It is music made by three distinct voices, written independently and then assembled together. Despite being written all over the globe, with Ravede in Portugal and Schwartz and Wichlin back in Philadelphia, the trio arrived at the same themes: that of the brutality of coming to terms with reality, that of what it means to lie to protect yourself and your heart.  Schwartz says he writes songs more or less in a stream of consciousness. The band listens to very little outside music when working. The result is a record that very much is its own world. 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