{"title":"All","description":"","products":[{"product_id":"ceres","title":"Ceres - We Are A Team","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eDon't be shocked, but Ceres have made an album about love.\u003c\/p\u003e\n\u003cp\u003eGone is the dark night of the soul that propelled 2016's Drag It Down On You, replaced with a desire to spread positivity in the world via their third full-length, We Are a Team.\u003c\/p\u003e\n\u003cp\u003e\"That was the whole reason for this album to be,\" says frontman Tom Lanyon.\u003c\/p\u003e\n\u003cp\u003eYou can hear it from the first line of the record \"I'm gonna get happy\" to the swooning, string-laden closing track \"Something Good\" with its refrain, \"I think something good's gonna happen\".\u003c\/p\u003e\n\u003cp\u003e\"We Are A Team is not this dark, at the bottom of everything kind of record. It's a more uplifting thing.\"\u003c\/p\u003e\n\u003cp\u003eWith the exception of two songs Stay Awake and Collarbone, 2011 Lanyon wrote the album between February and September 2018, when Ceres gathered in a house in Apollo Bay with producer Tom Bromley (guitarist for UK outfit Los Campesinos!) and Grammy-nominated engineer Andrei Eremin (Chet Faker, Tash Sultana) to record We Are a Team.\u003c\/p\u003e\n\u003cp\u003eSetting up in a seven-bedroom house on an idyllic rural property without phone reception or internet, for 16 days they \"all completely lost [their] minds\".\u003c\/p\u003e\n\u003cp\u003e\"Everyone fought,\" chuckles Lanyon. \"But everyone was firing on such creativity and trying to do the right thing, and everyone has strong opinions. It was a struggle to get it done. But I think that means we care and we tried our hardest. I've never worked on anything as hard.\"\u003c\/p\u003e\n\u003cp\u003eTurn the volume up hear the wind howling through the house's rafters; at the end of Something Good you can detect the sound of it creaking. The fact that the house became a part of the recording tied in nicely with the album's themes, as the property belongs to the family of Lanyon's partner and was a favourite location of her late father Viv, the namesake of the album's lead single.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\"For us to make a record about that family's niece or daughter in that house is pretty incredible,\" says Lanyon.\u003cbr\u003e\u003cbr\u003eWhile the album might mark a shift thematically for Ceres which formed in 2012 and is completed by guitarist Sean Callanan, bassist Grant Young and drummer Frank Morda musically We Are a Team continues the band's ability to create stirring, life-affirming indie-rock anthems, albeit with a more nuanced, mature songwriting flare that reflects the roadwork and emotional growth of the past three years.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"tracklist-group\"\u003e1. Marriage\u003cbr\u003e2. Collarbone, 2011\u003cbr\u003e3. 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Little New Bern","brand":"TT","offers":[{"title":"Vinyl","offer_id":41637173526691,"sku":"85873LP","price":44.99,"currency_code":"AUD","in_stock":true},{"title":"CD","offer_id":11527861600292,"sku":"85972CD","price":14.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0088\/1334\/6852\/products\/716n9-lBGmL._SL1200.jpg?v=1566881027"},{"product_id":"charley-crockett","title":"Charley Crockett - Lil G.L.'S Blue Bonanza","description":"\u003cmeta charset=\"utf-8\"\u003e\r\u003cp\u003e'Lil G.L.'s Blue Bonanza' pays tribute to Charley Crockett's busking days, with an album stocked with his own interpretations of old-school country songs and half-forgotten blues gems.\u003c\/p\u003e\r\u003cp\u003eFeaturing 15 songs originally performed by George Jones, Ernest Tubb, T-Bone Walker, Jimmy Reed, Charles Brown, Lavelle White, Ray Charles, and others, Blue Bonanza shines a light on a modern musician with traditional roots. It's also the second release in his ongoing Lil G.L. series, following 2017's Lil G.L.'s Honky Tonk Jubilee.\u003c\/p\u003e\r\u003cmeta charset=\"utf-8\"\u003e1. Here Am I\u003cbr\u003e2. That's How I Got To Memphis\u003cbr\u003e3. It's A Man Down There\u003cbr\u003e4. Travelin' Blues\u003cbr\u003e5. Trouble Blues\u003cbr\u003e6. The Race Is On\u003cbr\u003e7. Burn Another Honky Tonk Down\u003cbr\u003e8. Good Time Charley's Got The Blues\u003cbr\u003e9. Lots Of Luck\u003cbr\u003e10. Servant Of Love\u003cbr\u003e11. Bright Lights Big City\u003cbr\u003e12. A Dime At A Time\u003cbr\u003e13. T-Bone Shuffle\u003cbr\u003e14. Saturday Satan Sunday Saint\u003cbr\u003e15. 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Due out June 7, the album spans two decades (50s-70s) of pop, rock and jazz, presenting her unique and sophisticated interpretations of these songs.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e1. Bad Company\u003cbr\u003e2. My Fathers Gun\u003cbr\u003e3. Lonely People\u003cbr\u003e4. Houston\u003cbr\u003e5. You're Nobody 'til Somebody Loves You\u003cbr\u003e6. Nagasaki\u003cbr\u003e7. Mac The Knife\u003cbr\u003e8. Quicksilver Girl\u003cbr\u003e9. The End Of The World\u003cbr\u003e10. 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But while 'Ire' brought Parkway Drive's uncompromising artistry to bold new levels, 'Reverence' pushes their creative ambition even further.\u003c\/p\u003e\n\u003cp\u003eNot only Parkway Drive's most sonically adventurous album so far, 'Reverence' is also their most personal. With its barrage of heart-shredding anthems, the album was closely informed by a series of tragedies the band's endured over the past few years, including the untimely loss of two loved ones. \"We realized how short and fragile life could be,\" says McCall. \"We took stock of what we had and realized what actually mattered. What we went through was horrendous.\"\u003c\/p\u003e\n\u003cp\u003eProduced by long-time Parkway Drive sound engineer George Hadjichristou and recorded at All Buttons In Recording Studio in Ottawa, Reverence both expands the band's sonic palette and offers up their most devastating songs yet.\u003c\/p\u003e\n\u003cp\u003eIn reflecting on the making of Reverence, Parkway Drive point out that using heartbreak as creative fuel has ultimately had a life-changing impact on the band. \"This time there are triumphs that come from swinging a sledgehammer and dealing with real raw emotion,\" says McCall. \"I hope Reverence is the kind of album that redefines what people expect of us, in the sense that you can now expect the unexpected. This time around we've taken more risks, and I don't think we've ever sounded more interesting.\"\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e1. Wishing Wells\u003cbr\u003e2. Prey\u003cbr\u003e3. Absolute Power\u003cbr\u003e4. 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While tradition would suggest heavy acts only lose their intensity with each record, the opposite is true of High Tension. \"This was always the direction we were heading into.\" Says Utomo.\u003c\/p\u003e\n\u003cp\u003eThe High Tension of 2018, however, is a different beast to the one that released those records thanks to the presence of guitarist and songwriter Mike Deslandes and drummer Lauren Hammel, who both joined after the release of Bully of 2015. (Co-founding bassist Matt Weston completes the line-up). In that regard, Utomo views Purge as a resetting of the High Tension blueprint.\u003cbr\u003e\"It was inevitable that we were going to produce a record unlike our previous work; with Lauren and Mike joining the band, our natural response was to reshape our sound.\"\u003c\/p\u003e\n\u003cp\u003eIt's a bold move for a band that has started to make waves above the underground. After forming in Melbourne in 2012, High Tension's debut album, the following year's Death Beat, was nominated for both AIR and ARIA Awards for Best Hard Rock\/Heavy Metal album, while its follow-up, 2015's Bully, received widespread critical acclaim including The Age Music Victoria Award for Best Heavy Album and saw the group hit the road in support of acts such as Refused, Laneway Festival national tour and Splendour In The Grass.\u003c\/p\u003e\n\u003cp\u003eWhile acknowledging that some of her lyrics touch on themes concerning the impacts of colonialism and oppression, Utomo's main focus on the record is the anti-communist purge in Indonesia in 1965 and 1966 during which hundreds of thousands of members of the communist party were slaughtered by the military and Muslim groups under the orders of General Suharto just prior to his seizing power of the country and the intergenerational trauma that still permeates Indonesian society. \"In the past I've touched on that theme, but on this album it's referenced more tirelessly\".\u003c\/p\u003e\n\u003cp\u003e\"The reason why I keep writing and referencing this era is because it's still unresolved, it's something that's still in suspense, and there's still more work to be done,\" she adds.\u003c\/p\u003e\n\u003cp\u003eUtomo had to walk a fine line while using the survivors' stories in her lyrics, ever conscious that \"there are still present day implications\" for those involved.\u003c\/p\u003e\n\u003cp\u003eThe band commissioned Melbourne artist Loretta Lizzio to paint the album's cover, a striking image of a snake shedding its skin that tied in beautifully with the themes of Purge and the rebirth of the band.\u003c\/p\u003e\n\u003cp\u003eWith Deslandes engineering and producing the album bassist Matt Weston directs all the band's videos, reinforcing the outfit's DIY ethic the quartet were able to take their time in the studio. Tracked at Melbourne's Sing Sing South in May 2017, Utomo worked on vocals with Deslandes over the following months at The Aviary in Abbotsford.\u003c\/p\u003e\n\u003cp\u003eThe final product sounds as tormented as the subject matter. While the rapid-fire tempo of the verses in \"Ular\" is a throwback to each member's punk roots, the calamitous din of its chorus represents the sound of High Tension now: a black-death-extreme metal hybrid. If there is any respite on the album it comes in the shape of \"Surrender,\" an atmospheric, ghostly slow burn in which Utomo's throat shredding vocals are replaced by something far more ethereal.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e1. Red White Shame\u003cbr\u003e2. Ghost To Ghost\u003cbr\u003e3. Ular\u003cbr\u003e4. Bite The Leash (Burn)\u003cbr\u003e5. Surrender\u003cbr\u003e6. Veil\u003cbr\u003e7. The Stench\u003cbr\u003e8. The Legacy\u003cbr\u003e9. Purge\u003cbr\u003e10. Rise","brand":"Civilians","offers":[{"title":"Vinyl (Ox Blood)","offer_id":41637172773027,"sku":"CVLP075","price":29.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0088\/1334\/6852\/products\/a0862909577_10_2fd04b5b-9fc5-4069-a0fb-9043ff3d4a59.jpg?v=1762483095"},{"product_id":"cancer-bats-spark-that-moves-the","title":"Cancer Bats - The Spark That Moves","description":"\u003cmeta charset=\"utf-8\"\u003e\r\u003cp\u003e'The Spark That Moves' is the sixth studio album from Canadian hard-core punk band, Cancer Bats.\u003c\/p\u003e\r\u003cp\u003eFuelled by a burning desire to rage harder, play louder and have more fun than any other band, Cancer Bats mix hard-core, southern metal and punk rock into a lethal rock and roll explosion.\u003c\/p\u003e\r\u003cmeta charset=\"utf-8\"\u003e1. Gate Keeper\u003cbr\u003e2. Brightest Days\u003cbr\u003e3. We Run Free\u003cbr\u003e4. Space and Time\u003cbr\u003e5. Bed of Nails\u003cbr\u003e6. 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As they find their feet planted further into the ground, the realities of life have begun to settle in, but in true Luca style they have found a way to embrace what some consider limitations with positivity and open hearts, and from that mindset; their new album Stay was born.\u003c\/p\u003e\n\u003cp\u003e\"Stay is really about trying to realise what you have, understand what is working for you, and finding acceptance and balance in that life.\" Explains vocalist Tyler Richardson. \"Approaching 30, some of us having families, others having careers, it's my first year teaching high school and it's amazing, but it's also been hard a times. We've seen opportunities come and go that maybe if we were 20 we could have jumped on, but we accepted we couldn't be on tour all the time, and so we cherish the fact we can do a few Australian runs, maybe jump overseas once or twice a year. To us it really is about focusing on the positive and ensuring we pay it forward.\"\u003c\/p\u003e\n\u003cp\u003eWorking once again with their tried and tested team of Jimmy Balderston (Ghostnote Studios, Adelaide) and Nic White, the band introduced new blood to the recording process with former tour mate Darren Cordeux of Kisschasy co-producing and Jason Livermore at The Blasting Room (Rise Against, Frenzal Rhomb, A Day To Remember) mixing and mastering. \"Darren has a great ear for melody and we immediately thought of him when it came time to review these songs,\" says Richardson. \"He helped us push these songs to another level. 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And now they continue forth with their highly anticipated fifth album, 'Ire,'  \u003cbr\u003e\u003cbr\u003e'Ire,' the follow-up to 2012's gold-certified 'Atlas,' features first single \"Vice Grip.\"\u003cbr\u003e\u003cbr\u003eParkway Drive has taken a stunning creative leap and produced what they consider to be a career-defining statement and the results are mind-blowing. 'Ire' is the sound of a band that continues to push their own limits. It's bigger, heavier, more melodic and has more depth to it than anything they've done in the past. It retains all the hallmarks of classic Parkway Drive, but it's clearly something brave and new.\u003c\/p\u003e\n\u003cp\u003e\"This is the album for us. Every single step of the way, whenever there was gamble to take, we took the biggest one we could. If this isn't the album that can go further than anything we thought was possible with this band and this type of music, that's fine, but we can't go back from this as far as we're concerned\"  Winston McCall\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e1. Destroyer\u003cbr\u003e2. Dying To Believe\u003cbr\u003e3. Vice Grip\u003cbr\u003e4. Crushed\u003cbr\u003e5. Fractures\u003cbr\u003e6. Writings On The Wall\u003cbr\u003e7. Bottom Feeder\u003cbr\u003e8. The Sound Of Violence\u003cbr\u003e9. Vicious\u003cbr\u003e10. Dedicated\u003cbr\u003e11. 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Cronise joined forces with guitarist Kyle Shutt, bassist Bryan Richie, and drummer Trivett Wingo, and made a much raved-over appearance at Austin's famed SXSW festival.\u003c\/p\u003e\r\u003cp\u003eNational touring stints with everyone from Clutch to indie rock darlings ...And You Will Know Us by the Trail of Dead followed, and by mid-2005 the Sword had been picked up by New York-based indie label Kemado Records, with their much-anticipated debut album, 'Age of Winters,' appearing early the next year.\u003c\/p\u003e\r\u003cp\u003eBefore completing their second album, they contributed two songs (one original and one Led Zeppelin cover) to a split 12\" EP with Swedish heavy rockers Witchcraft in November 2007. 'Gods Of The Earth' arrived in spring 2008. Changing their muse from fantasy to science fiction, the Sword released 'Warp Riders' in 2010, a concept album featuring an original narrative written by the band.\u003c\/p\u003e\r\u003cp\u003eIn 2012 they came back from their sci-fi journey with their fourth full-length, 'Apocryphon,' which blended the fantasy elements of their earlier work with more a more far-out, metaphysical vibe.\u003c\/p\u003e\r\u003cmeta charset=\"utf-8\"\u003e1. Unicorn Farm\u003cbr\u003e2. Empty Temples\u003cbr\u003e3. High Country\u003cbr\u003e4. Tears Like Diamonds\u003cbr\u003e5. Mist And Shadow\u003cbr\u003e6. Agartha\u003cbr\u003e7. Seriously Mysterious\u003cbr\u003e8. Suffer No Fools\u003cbr\u003e9. Early Snow\u003cbr\u003e10. The Dreamthieves\u003cbr\u003e11. Buzzards\u003cbr\u003e12. Silver Petals\u003cbr\u003e13. Ghost Eye\u003cbr\u003e14. Turned To Dust\u003cbr\u003e15. 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It is the follow up of the critically acclaimed 'The Hurry and The Harm,' and his recent collaboration with Alecia Moore (P!nk) 'rose ave.' by YOU+ME.\u003c\/p\u003e\n\u003cp\u003e\"There's a line that I'm trying to find, between the water and the open sky,\" sings Dallas Green on \"Friends,\" the penultimate track off of his fifth release as City and Colour, 'If I Should Go Before You.' For someone like Green, it's hard to imagine that there's much left to search for he's traversed the globe on tour, released numerous albums (one most recently as YOU+ME with Alecia Moore, aka P!nk) and collected scores of accolades. Though Green is a musician, he doesn't make a show of things: that's the songs' job. Thus he's done this all quietly, intentionally, still looking for the next answer or dog-eared chapter each record holds. And this time, on 'If I Should Go Before You,' he once again uncovered something new: a certain kind of family in his bandmates.\u003c\/p\u003e\n\u003cp\u003e\"It's been a very special two years for me,\" says Green, about the period since the release of 2013's The Hurry and the Harm, which has seen him touring with the consistent ensemble of Dante Schwebel (guitar: Dan Auerbach, Rumba Shaker), Doug MacGregor (drums: Constantines), Jack Lawrence (bass: The Raconteurs, Dead Weather) and multi-instrumentalist Matt Kelly. \"They inspired me to want to create new music, just to create it with them I don't think I wrote these songs for the band, per se, but I certainly wrote them because of the band.\"\u003c\/p\u003e\n\u003cp\u003eGreen had always been an introspective, solitary writer, demoing songs in his basement, working up every instrumental part by himself. But he considers If I Should Go Before You' to be a band record, where the input of these trusted comrades was of the up most importance. Even more pivotal was trying to capture the essence of their live show symbiosis in the studio; which comes through with an undeniable force. For a project that was very much about the inner world of Green, these relationships have morphed City and Colour into something with more emotive power than ever before: the layers go beyond just music and lyrics, into the people creating the songs themselves.\u003c\/p\u003e\n\u003cp\u003e\"Anybody who has seen us play will understand that this is the best representation of what we do live that we have ever recorded,\" says Green. \"I was so excited about being able to make and record an album with these guys that it just flowed. I felt so confident about their abilities to make all of my ideas come true.\" But there was one thing that Green did want to do himself this time: produce the record. He returned to Blackbird Studios in Nashville, where 'The Hurry And The Harm' was made, but decided to take the production reigns himself, with the help of friend Karl Bareham as his partner and engineer, along with the masterful mixing skills of Jaquire King (Dawes, Kings of Leon, Tom Waits). Everyone who had a hand in the making of the record was or became part of the City and Colour family. Green's songs have always had a striking, visceral feel that pumps through the veins like oxygen, and, this time, it became a sort of translatable DNA.\u003c\/p\u003e\n\u003cp\u003eAlong the way, Nashville has come to be a special refuge for Green it's a city he's gotten to know for several years now while not in his native Toronto, Canada, and he even recently purchased a home in the town. \"In Toronto, I think of what I have to do,\" he says. \"In Nashville, I think of everything I have done.\" Indeed, it's a perfect time to think of everything he has done - and If I Should Go Before You is a celebration\u003cbr\u003eof that. With instrumentation recorded live off the floor, it comprises every part of the person Green has become over the years: chugging ballads that tug at the gut, aching confessionals set to slicing guitars, little licks of pedal steel for his new southern-swept soul, moody distortion from punk rock roots. Though he's recorded in many incarnations, 'If I Should Go Before You' acts like a roadmap through all of them, showing that none of these were simply \"projects,\" but they were part of the same whole.\u003c\/p\u003e\n\u003cp\u003eThe album opens with the sweeping, \"Woman,\" a track that very well could be a surprise to those who might expect a simpler, acoustic-based entrance gate. At over nine minutes long, it's a sultry and dynamic ode to everlasting love expressed through a powerful, layered build of sounds and emotions like a complex sweep of watercolours percussive heartbeat, echoing riffs, Green's grounded yet ethereal falsetto. You can almost picture the stage lights spiral across a crowded auditorium; it moves with a life outside just the studio walls.\u003c\/p\u003e\n\u003cp\u003eRare does a record strike a perfect balance between the live sound and studio magic; but this is one of them, that captures the synchronicity of Green and the band at its best both at the controls and on stage, through songs like the deconstructed waltz of the title track, a devastating request to a cherished lover. \"It's about the idea of loving someone so much you want them to move on if you were to go, but loving them so much you wouldn't want to if they did,\" Green says. \"But, in my head, it also says, 'if I were to go, I give you this record to listen to.'\" It's a sentiment that expresses just how strongly he feels this album is a key to past, present and future. 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The 11-song collection is a glorious hard rocking statement, retaining all of the ingredients that enabled Monster Truck to break out of the box whilst continuing a gradual evolution expanding upon ideas established at the quartet's inception. Month after month spent on the road has served to improve them as a band, just as it should, fundamentally because they looked around and learned.\u003c\/p\u003e\r\u003cp\u003e\"Touring the last record we've been privileged to play with a lot of great headlining acts,\" says guitarist Jeremy Widerman. \"For instance, when we opened for Slash we would pick up on how accurately he controls the Wah pedal, and we wanted to include some of that in our own songs. Or touring with Alice In Chains and watching their vocal harmonies and realizing that we needed to strengthen up in that areaå« so we did. There are so many little ways to hone our sound.\"\u003c\/p\u003e\r\u003cp\u003eDon't be alarmed. 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After 11 highly acclaimed studio albums, Williams is in the most prolific period of her nearly four-decade career, as she continues to challenge herself creatively. 'The Ghosts of Highway 20' finds Williams exploring new territory personally, sonically and vocally like never before.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e'The Ghosts of Highway 20' is unlike any other Lucinda Williams album prior. There is a common thread running through the songs, uniting them under one collective theme as the haunting title track illustrates. 12 of the 14 songs were inspired by various periods and experiences throughout Williams' life that all tie into Highway 20 (aka Interstate 20), which runs in part from Georgia to Texas, the focal region of the album. Whether it is cities she has resided in (Atlanta, GA, Macon, GA), has family ties to (Shreveport, LA, Monroe, LA) or previously written about (Jackson, LA, Vicksburg, MS), Williams' personal experiences and connections to these areas inform the narratives. However, this is not an album about geographic locations, but songs and stories inspired by people, place and time.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e'The Ghosts of Highway 20' features some of the most expansive and experimental arrangementsWilliams has ever recorded, as heard on the epic \"Dust\", the chilling \"If My Love Could Kill\" and \"House of Earth\", a lost Woody Guthrie song Williams wrote the music to. Revered guitarists Bill Frisell and Greg Leisz provide incredible sonic textures and ethereal tones that enhance Williams' brilliant writing and wise and weathered vocals. Williams expands her own vocal timbre with sultry jazz-styled phrasing on \"I Know All About It\" and the extensive improvisational track \"Faith \u0026amp; Grace\". Williams puts her signature on a new interpretation of Bruce Springsteen's \"Factory\", and melts into the absolutely stunning \"Louisiana Story\" and \"Place In My Heart\".\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e'The Ghosts of Highway 20' was co-produced by Williams, Leisz and Tom Overby and recorded withWilliams' ace rhythm section of Butch Norton (drums) and David Sutton (bass). Guitarist Val McCallum guests on two tracks.\u003c\/span\u003e\u003cbr\u003e\u003cspan mce-data-marked=\"1\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAt 62, Lucinda Williams' songs are as genuine and soulful as when she began writing. She defines the word artist by never compromising her music and staying true to her muse. 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