{"title":"Red Crk Recordings @sw@if@label-46044@","description":null,"products":[{"product_id":"julie-christmas-ridiculous-and-full-of-blood-lp-gatefold","title":"Julie Christmas - Ridiculous And Full Of Blood - LP Gatefold","description":"\u003cp\u003eThrough a mixture of her work fronting Made Out of Babies, her collaborations with Cult of Luna and her 2010 solo album The Bad Wife, Julie Christmas has become a visionary adored by alternative music’s fan-base. And now, after 14 years, she’s finally releasing her second record under her own name.\u003c\/p\u003e\u003cp\u003eRidiculous and Full of Blood is the most comprehensive declaration of this musician’s talents yet, assisted by a staggering array of talent.\u003cbr\u003eGuitarist\/vocalist Johannes Persson (Cult of Luna), drummer Chris Enriquez (Spotlights), bassist\/producer Andrew Schneider (Kenmode\/ Unsane), guitarist John LaMacchia (Candiria) and keyboardist Tom Tierney (On the Might of Princes) were all paramount in bringing these new, genre-smashing tunes to life.\u003cbr\u003e“We’re all friends, I love the guys in this band,” Christmas says. “They make it look easy. I’m playing with people who are musicians through and through. They’re really talented and smart, and they’re just great people.”\u003c\/p\u003e\u003cp\u003eThose talents shine through in myriad ways across Ridiculous and Full of Blood’s 10 songs, from noise rock to punk via shoegaze and altpop.\u003cbr\u003eMeanwhile, lyrically, Christmas and her collaborators have “brought out different parts of the character that I am”.\u003cbr\u003eEven the album’s title, Ridiculous and Full of Blood, was penned as a tongue-in-cheek description of how Christmas views herself.\u003cbr\u003e“If you are throwing yourself into life it can and should get wild!,” she explains. “One day we were at Damnation Festival in front of all these people, then 24 hours later I was back at work, teaching kids how to make solar panels. That’s me: ridiculous and full of blood!”\u003c\/p\u003e\u003cp\u003eAlthough Christmas took 14 years to make a full-length follow-up to The Bad Wife, there’s no doubting that this successor is more than worth the wait.\u003cbr\u003eIts impossible-to pigeonhole songs are destined to not only reinforce the love fans already have for this peerless creative; they’ll certainly win over countless newcomers, as well.\u003cbr\u003e– Matt Mills, March 2024\u003c\/p\u003e\u003cp\u003eSide A:\u003cbr\u003eNot enough \/ Supernatural \/ The ash \/ Thin skin \/ End of the world\u003cbr\u003eSide B:\u003cbr\u003eSilver dollars \/ Kids \/ The lighthouse \/ Blast \/ Seven days\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53357268304215,"sku":"P-153377-","price":32.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Julie-Christmas-Ridiculous-And-Full-Of-Blood-LP-Gatefold-153377-1-1712911075.jpg?v=1778234925"},{"product_id":"cult-of-luna-vertikal-10th-anniversary-double-lp-gatefold","title":"Cult Of Luna - Vertikal (10th Anniversary) - DOUBLE LP GATEFOLD","description":"\u003cp\u003eWe were very young when we signed a multi album deal with Earache Records. In fact, some of us hadn’t even crossed the twenty line yet.\u003c\/p\u003e\u003cp\u003eBetween 2002 and 2008 we managed to write and produce four albums and do the touring that came with it. After we kept our part of the deal, we were exhausted.\u003c\/p\u003e\u003cp\u003eThe writing of Eternal Kingdom had been energy draining and we needed a break. During the years that passed we realised that if we were going to continue, we had to do something different. We also found out the hard way that when you shut down the machine it takes quite a lot to get it going again. We had no label and all we knew was that we wanted to do something that felt like we were breaking into new territories.\u003c\/p\u003e\u003cp\u003eSomewhere Along The Highway and Eternal Kingdom were inspired by the landscape of Västerbotten, the county we are from. We realised that there was only one way to go for us: to the city, into the future. Making a droney John Carpenter-esque album would be too easy and we’ve never been about taking the simple route. I was studying film at the time and had been floored by the aesthetic of German expressionism. This resonated perfectly with Erik Olofsson, who had just got into Italian futurism. This was a real challenge.\u003c\/p\u003e\u003cp\u003eBefore we even started to write we had talked extensively about what kind of colour scheme we wanted to use, what the band photos would look like and how we wanted to record the album to make it sound like a machine. That was the thing: when we finally got the machine started again, we aimed to become one.\u003c\/p\u003e\u003cp\u003eI had started to experiment with different tunings and one day I tuned down the lower B to G# and the main riff of what would later become Vicarious Redemption appeared from nowhere. I put a lot of effort into that song to make it a reference point of where we were going musically.\u003c\/p\u003e\u003cp\u003eThis would also be the first album where I had the full vocal responsibility. When we recorded two demo tracks in order to have something to show when we started to shop for labels, I had to do the vocals in one night and one morning. I remember leaving the studio after spending the night recording and feeling that this would never work out. I knew that taking over the vocal responsibility from Claes would be big shoes to fill, but maybe they were too big? I thought I sounded like a horse crow and if things didn’t improve, I needed to figure something out. Maybe a different vocalist? Luckily, and maybe by the grace of the metal gods, things did get better and we managed to record 30 minutes of music in just two days.\u003c\/p\u003e\u003cp\u003eWe put in a lot of effort to realize our vision of the stale, artificial city in all aspects of what an album is. The way we played guitar (only down strokes), the production, artwork and band photos, everything was done with the vision as a guide.\u003c\/p\u003e\u003cp\u003eVertikal is the album where we had the most precise vision of what we wanted to do and worked hardest to transform it from an idea into reality.\u003c\/p\u003e\u003cp\u003eA lot of things happened during the years between Eternal Kingdom and Vertikal and I could continue writing for ages but this will do for now. Ten years have passed since its release and what felt like a rebirth of the band, the band that is still ongoing with new goals and missions. This box that we are very proud of consists of everything we recorded during the Vertikal session including the two demo tracks.\u003c\/p\u003e\u003cp\u003eIt’s a full circle kind of thing. At the time we had no label and now we are releasing it on our very own. 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A midpoint that needs to be crossed so we can finish what we started with 2019's 'A Dawn to Fear,'\" the band adds. \"It's been an interesting, as well as an introspective, way of working, having our instinct leading the way and then having to figure out where it takes us. But not only has it been a linear journey; some aspects of it are also clearly circular. For example, we have been a fan of Mark Lanegan for many years. So in 2005, when we wrote the song 'And With Her Came the Birds', we had his voice in mind, and the working title was 'The Lanegan Song'. But we were not many years over 20, and our lack of self-confidence prevented us from even daring to ask. It took fifteen years for us to get the guts to ask him. 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Seismic riffs, earth-quaking growls and brave collaborations with everyone from Julie Christmas to Colin Stetson have ensured they’re as blistering as they are forward-thinking.\u003cbr\u003eEclecticism and violence are married in Final Light: Perturbator’s team-up with Cult of Luna singer\/guitarist Johannes Persson. The pair’s self-titled debut album is the perfect conglomerate between seemingly incompatible sounds. On its opening track, the insidious “Nothing Will Bear Your Name”, synths bubble to construct an arresting opening half. Then, release. Johannes’ roar strikes and guitar chords boom as\u003cbr\u003ecomputerised beats anchor the chaos.\u003cbr\u003e“It Came with the Water” echoes Cult of Luna’s 2013 titan Vertikal, invoking images of an urban dystopia as its deep guitar melody grinds beneath sci-fi electronica. The title track’s distorted EDM beats, on the other hand, are all James ‘Perturbator’ Kent, capable of invigorating the seediest of underground nightclubs. Both parties are clearly playing to their strengths – but for them to do so in such perfect harmony is, in itself, a genre-demolishing feat.\u003cbr\u003eLyrically, Final Light seethes with anger. “There was so much that I was so fucking pissed about,” Johannes explains. “Some of my friends were dealing with a poisonous person: a narcissistic, crazy person. I was walking around full of anger and hate, so I think that came out in those lyrics.”\u003cbr\u003eThe tandem’s story began in 2019. Walter Hoeijmakers, the artistic director of the Netherlands’ lauded Roadburn festival, approached James ‘Perturbator’ Kent with the opportunity of doing a commissioned piece with any musician of his choosing. As soon as the pair began work on their boundary-decimating songs, they knew that they had to be immortalised as an album.\u003cbr\u003e“It was immediate,” states Perturbator. “It’s a project that I really want to share; it’s not only the fruit of a collaboration between me and one of my favourite musicians, but also very unique and once-in-a-lifetime.”\u003cbr\u003eThey wrote and recorded together in Paris before the start of the pandemic. Covid, which postponed the Roadburn festival at which the band would have debuted, gave them time to perfect what they’d crafted.\u003cbr\u003eJohannes recorded additional vocals at Cult of Luna’s resident studio in Umeå, Sweden, fully capturing the rage of his apocalyptically harsh voice.\u003cbr\u003eBorders were built to be shattered. This is the sound of their destruction. Single-handedly, Final Light have birthed a new, bleak breed of experimental metal.\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53422580040023,"sku":"P-121536-","price":12.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Final-Light-Final-Light-CD-DIGIPAK-121536-1-1651042764.jpg?v=1778145947"},{"product_id":"final-light-final-light-lp-gatefold","title":"Final Light - Final Light - LP Gatefold","description":"\u003cp\u003eSide A:\u003cbr\u003eNothing Will Bear Your Name \/ In The Void \/ It Came With The Water\u003c\/p\u003e\u003cp\u003eSide B:\u003cbr\u003eFinal Light \/ The Fall Of A Giant \/ Ruin To Decay\u003c\/p\u003e\u003cp\u003eJames ‘Perturbator’ Kent and Cult of Luna are the masters of their respective worlds. Over the last decade, the French maestro has become the most expectation-breaking name in synthwave, transcending its ’80s video game aesthetic with metal and post-punk.\u003c\/p\u003e\u003cp\u003eMeanwhile, the Swedish sextet have affirmed themselves as post-metal’s biggest stars. Seismic riffs, earth-quaking growls and brave collaborations with everyone from Julie Christmas to Colin Stetson have ensured they’re as blistering as they are forward-thinking.\u003cbr\u003eEclecticism and violence are married in Final Light: Perturbator’s team-up with Cult of Luna singer\/guitarist Johannes Persson. The pair’s self-titled debut album is the perfect conglomerate between seemingly incompatible sounds. On its opening track, the insidious “Nothing Will Bear Your Name”, synths bubble to construct an arresting opening half. Then, release. Johannes’ roar strikes and guitar chords boom as\u003cbr\u003ecomputerised beats anchor the chaos.\u003cbr\u003e“It Came with the Water” echoes Cult of Luna’s 2013 titan Vertikal, invoking images of an urban dystopia as its deep guitar melody grinds beneath sci-fi electronica. The title track’s distorted EDM beats, on the other hand, are all James ‘Perturbator’ Kent, capable of invigorating the seediest of underground nightclubs. Both parties are clearly playing to their strengths – but for them to do so in such perfect harmony is, in itself, a genre-demolishing feat.\u003cbr\u003eLyrically, Final Light seethes with anger. “There was so much that I was so fucking pissed about,” Johannes explains. “Some of my friends were dealing with a poisonous person: a narcissistic, crazy person. I was walking around full of anger and hate, so I think that came out in those lyrics.”\u003cbr\u003eThe tandem’s story began in 2019. Walter Hoeijmakers, the artistic director of the Netherlands’ lauded Roadburn festival, approached James ‘Perturbator’ Kent with the opportunity of doing a commissioned piece with any musician of his choosing. As soon as the pair began work on their boundary-decimating songs, they knew that they had to be immortalised as an album.\u003cbr\u003e“It was immediate,” states Perturbator. “It’s a project that I really want to share; it’s not only the fruit of a collaboration between me and one of my favourite musicians, but also very unique and once-in-a-lifetime.”\u003cbr\u003eThey wrote and recorded together in Paris before the start of the pandemic. Covid, which postponed the Roadburn festival at which the band would have debuted, gave them time to perfect what they’d crafted.\u003cbr\u003eJohannes recorded additional vocals at Cult of Luna’s resident studio in Umeå, Sweden, fully capturing the rage of his apocalyptically harsh voice.\u003cbr\u003eBorders were built to be shattered. This is the sound of their destruction. Single-handedly, Final Light have birthed a new, bleak breed of experimental metal.\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53422580203863,"sku":"P-121538-","price":26.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Final-Light-Final-Light-LP-Gatefold-121538-1-1651051066.jpg?v=1778145956"},{"product_id":"final-light-final-light-lp-gatefold-coloured","title":"Final Light - Final Light - LP Gatefold Coloured","description":"\u003cp\u003eSide A:\u003cbr\u003eNothing Will Bear Your Name \/ In The Void \/ It Came With The Water\u003c\/p\u003e\u003cp\u003eSide B:\u003cbr\u003eFinal Light \/ The Fall Of A Giant \/ Ruin To Decay\u003c\/p\u003e\u003cp\u003eJames ‘Perturbator’ Kent and Cult of Luna are the masters of their respective worlds. Over the last decade, the French maestro has become the most expectation-breaking name in synthwave, transcending its ’80s video game aesthetic with metal and post-punk.\u003c\/p\u003e\u003cp\u003eMeanwhile, the Swedish sextet have affirmed themselves as post-metal’s biggest stars. Seismic riffs, earth-quaking growls and brave collaborations with everyone from Julie Christmas to Colin Stetson have ensured they’re as blistering as they are forward-thinking.\u003cbr\u003eEclecticism and violence are married in Final Light: Perturbator’s team-up with Cult of Luna singer\/guitarist Johannes Persson. The pair’s self-titled debut album is the perfect conglomerate between seemingly incompatible sounds. On its opening track, the insidious “Nothing Will Bear Your Name”, synths bubble to construct an arresting opening half. Then, release. Johannes’ roar strikes and guitar chords boom as\u003cbr\u003ecomputerised beats anchor the chaos.\u003cbr\u003e“It Came with the Water” echoes Cult of Luna’s 2013 titan Vertikal, invoking images of an urban dystopia as its deep guitar melody grinds beneath sci-fi electronica. The title track’s distorted EDM beats, on the other hand, are all James ‘Perturbator’ Kent, capable of invigorating the seediest of underground nightclubs. Both parties are clearly playing to their strengths – but for them to do so in such perfect harmony is, in itself, a genre-demolishing feat.\u003cbr\u003eLyrically, Final Light seethes with anger. “There was so much that I was so fucking pissed about,” Johannes explains. “Some of my friends were dealing with a poisonous person: a narcissistic, crazy person. I was walking around full of anger and hate, so I think that came out in those lyrics.”\u003cbr\u003eThe tandem’s story began in 2019. Walter Hoeijmakers, the artistic director of the Netherlands’ lauded Roadburn festival, approached James ‘Perturbator’ Kent with the opportunity of doing a commissioned piece with any musician of his choosing. As soon as the pair began work on their boundary-decimating songs, they knew that they had to be immortalised as an album.\u003cbr\u003e“It was immediate,” states Perturbator. “It’s a project that I really want to share; it’s not only the fruit of a collaboration between me and one of my favourite musicians, but also very unique and once-in-a-lifetime.”\u003cbr\u003eThey wrote and recorded together in Paris before the start of the pandemic. Covid, which postponed the Roadburn festival at which the band would have debuted, gave them time to perfect what they’d crafted.\u003cbr\u003eJohannes recorded additional vocals at Cult of Luna’s resident studio in Umeå, Sweden, fully capturing the rage of his apocalyptically harsh voice.\u003cbr\u003eBorders were built to be shattered. 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And live, they’re a ruthless force, matching the power of their music with boundless, must-see energy.\u003cbr\u003eAfter debut album You, Me \u0026amp; the Violence sparked listeners’ imaginations, 2018 follow-up We Already Lost the World was an unyielding inferno of brazen ideas. Metal Hammer UK called it “intelligent, poignant art,” writing that “this downward spiral changes pace and weight at every turn.” It screamed for mutual respect in a world of increasingly extreme political divides, and used the vehicles of punk, post-hardcore and post-metal to carry its cries.\u003cbr\u003eNow comes Gris Klein. Birds in Row’s third full-length album is their most genre-bending and timely declaration yet. “Water Wings” opens, its scraping guitar strums a ticking clock, counting down to the inevitable barrage of hardcore to follow. “Noah” revs up over its six gargantuan minutes. Its singing slowly spirals into apoplectic screeches. “Trompe l’oeil” is half folk, half punk, and “Winter Yet” has no qualms about busting out seismic metal guitars at its climax. It’s an amorphous beast of an album: always unpredictable, but never out of character for this creative collective.\u003cbr\u003eGris Klein’s lyrics were sculpted by the Covid-19 pandemic, eloquently summarizing the cruel and sometimes nonsensical nature of mental illness. “Trompe l’oeil”, for example, sings, “Most of the times I feel lonely are when my friends are around.” “This is the exact moment where you should feel like you’re surrounded by people you love and you’re not alone,” the band add. “It asks, ‘If I can’t feel loved in this specific moment, then when can I feel that?’”\u003cbr\u003eGris Klein is a portrait of a world enduring its most chaotic era in a generation. Yet throughout, the Birds in Row manifesto is the same as it’s always been: love each other. “We really want people to know that they’re not alone, and that they can count on each other,” they say. “The way we treat each other is political. It’s OK to trust each other. All the movies about catastrophes show people turning against each other, but that’s not what would happen. When people are in the shit, they help each other. That’s what we’re trying to transmit with this record: hold each other’s hands.”\u003cbr\u003eNot even a world-shaking pandemic could damage Birds in Row’s invention, compassion and brutality. Now three albums in, they remain the model portrait of punk.\u003cbr\u003e– Matt Mills, May 2022\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53424747053399,"sku":"P-124203-","price":17.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Birds-In-Row-Gris-Klein-CD-DIGIBOOK-124203-1-1658294704.jpg?v=1778153305"},{"product_id":"birds-in-row-gris-klein-lp-gatefold-coloured","title":"Birds In Row - Gris Klein - LP Gatefold Coloured","description":"\u003cp\u003eIf you’re looking for a band that embody everything hardcore punk should be, then you’re looking for Birds in Row. Sonically, they’re fearless. Lyrically, they’re as poetic as they are recusant. And live, they’re a ruthless force, matching the power of their music with boundless, must-see energy.\u003cbr\u003eAfter debut album You, Me \u0026amp; the Violence sparked listeners’ imaginations, 2018 follow-up We Already Lost the World was an unyielding inferno of brazen ideas. Metal Hammer UK called it “intelligent, poignant art,” writing that “this downward spiral changes pace and weight at every turn.” It screamed for mutual respect in a world of increasingly extreme political divides, and used the vehicles of punk, post-hardcore and post-metal to carry its cries.\u003cbr\u003eNow comes Gris Klein. Birds in Row’s third full-length album is their most genre-bending and timely declaration yet. “Water Wings” opens, its scraping guitar strums a ticking clock, counting down to the inevitable barrage of hardcore to follow. “Noah” revs up over its six gargantuan minutes. Its singing slowly spirals into apoplectic screeches. “Trompe l’oeil” is half folk, half punk, and “Winter Yet” has no qualms about busting out seismic metal guitars at its climax. It’s an amorphous beast of an album: always unpredictable, but never out of character for this creative collective.\u003cbr\u003eGris Klein’s lyrics were sculpted by the Covid-19 pandemic, eloquently summarizing the cruel and sometimes nonsensical nature of mental illness. “Trompe l’oeil”, for example, sings, “Most of the times I feel lonely are when my friends are around.” “This is the exact moment where you should feel like you’re surrounded by people you love and you’re not alone,” the band add. “It asks, ‘If I can’t feel loved in this specific moment, then when can I feel that?’”\u003cbr\u003eGris Klein is a portrait of a world enduring its most chaotic era in a generation. Yet throughout, the Birds in Row manifesto is the same as it’s always been: love each other. “We really want people to know that they’re not alone, and that they can count on each other,” they say. “The way we treat each other is political. It’s OK to trust each other. All the movies about catastrophes show people turning against each other, but that’s not what would happen. When people are in the shit, they help each other. That’s what we’re trying to transmit with this record: hold each other’s hands.”\u003cbr\u003eNot even a world-shaking pandemic could damage Birds in Row’s invention, compassion and brutality. Now three albums in, they remain the model portrait of punk.\u003cbr\u003e– Matt Mills, May 2022\u003c\/p\u003e\u003cp\u003eSide A :\u003cbr\u003eWater Wings \/ Daltonians \/ Confettis \/ Noah \/ Cathedrals \/ Nympheas\u003c\/p\u003e\u003cp\u003eSide B :\u003cbr\u003eGrisaille \/ Trompe L’œil \/ Rodin \/ Winter, Yet \/ Secession\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53424747970903,"sku":"P-124206-","price":30.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Birds-In-Row-Gris-Klein-LP-Gatefold-Coloured-124206-1-1658295497.jpg?v=1778153321"},{"product_id":"julie-christmas-ridiculous-and-full-of-blood-cd-digipak","title":"Julie Christmas - Ridiculous And Full Of Blood - CD DIGIPAK","description":"\u003cp\u003eThrough a mixture of her work fronting Made Out of Babies, her collaborations with Cult of Luna and her 2010 solo album The Bad Wife, Julie Christmas has become a visionary adored by alternative music’s fan-base. And now, after 14 years, she’s finally releasing her second record under her own name.\u003c\/p\u003e\u003cp\u003eRidiculous and Full of Blood is the most comprehensive declaration of this musician’s talents yet, assisted by a staggering array of talent.\u003cbr\u003eGuitarist\/vocalist Johannes Persson (Cult of Luna), drummer Chris Enriquez (Spotlights), bassist\/producer Andrew Schneider (Kenmode\/ Unsane), guitarist John LaMacchia (Candiria) and keyboardist Tom Tierney (On the Might of Princes) were all paramount in bringing these new, genre-smashing tunes to life.\u003cbr\u003e“We’re all friends, I love the guys in this band,” Christmas says. “They make it look easy. I’m playing with people who are musicians through and through. They’re really talented and smart, and they’re just great people.”\u003c\/p\u003e\u003cp\u003eThose talents shine through in myriad ways across Ridiculous and Full of Blood’s 10 songs, from noise rock to punk via shoegaze and altpop.\u003cbr\u003eMeanwhile, lyrically, Christmas and her collaborators have “brought out different parts of the character that I am”.\u003cbr\u003eEven the album’s title, Ridiculous and Full of Blood, was penned as a tongue-in-cheek description of how Christmas views herself.\u003cbr\u003e“If you are throwing yourself into life it can and should get wild!,” she explains. “One day we were at Damnation Festival in front of all these people, then 24 hours later I was back at work, teaching kids how to make solar panels. That’s me: ridiculous and full of blood!”\u003c\/p\u003e\u003cp\u003eAlthough Christmas took 14 years to make a full-length follow-up to The Bad Wife, there’s no doubting that this successor is more than worth the wait.\u003cbr\u003eIts impossible-to pigeonhole songs are destined to not only reinforce the love fans already have for this peerless creative; they’ll certainly win over countless newcomers, as well.\u003cbr\u003e– Matt Mills, March 2024\u003c\/p\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53438877466967,"sku":"P-153376-","price":15.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Julie-Christmas-Ridiculous-And-Full-Of-Blood-CD-DIGIPAK-153376-1-1712755315.jpg?v=1778234916"},{"product_id":"cult-of-luna-in-the-shadow-of-your-shadow-double-lp-gatefold-coloured","title":"Cult Of Luna - In the Shadow of Your Shadow - DOUBLE LP GATEFOLD COLOURED","description":"\u003cp\u003eThere’s no limit to Cult of Luna’s creative vision. Inspired by artists from hardcore, sludge metal, folk, art-rock and beyond, the Swedish luminaries are revered as one of the heaviest and most restless bands in alternative music. In the Shadow of Your Shadow is another bold leap into the black: possibly the darkest release to bear their name, yet full of ideas that show they’re still peerless 25 years since debuting.\u003c\/p\u003e\u003cp\u003e“Stagnation is the only thing that scares me,” states singer\/guitarist\/co-founder Johannes Persson. “I’ve said this in every interview I’ve done for the past 25 years: I don’t care whether or not people think we’re repeating ourselves. As long as we feel like we aren’t, we will continue to do this.”\u003c\/p\u003e\u003cp\u003eThis new, 10th studio album is a 71-minute monolith: a stark rejection of trends, convention and pandering to one’s audience. Lyrically, it channels recent experiences of loss into a bleak set of songs. The title track and lead single is about feelings thought to be long buried, returning after something painful occurs. It takes the perspective of this anguish and characterizes it as a parasite: “His body is weak, the cracks will fit me. A disfigured form, I will complete it.”\u003c\/p\u003e\u003cp\u003eFollow-up ‘Sadness Will Reign’ is a blunt, misanthropic statement, declaring, “All of you are born from filth!” Screams from Joe Duplantier, frontman of Grammy-winning extreme metal titans Gojira, hammer home the track’s fury. But, for all the ferocity on show, the band also broaden their own horizons. ‘One More Day’ – a song about the emotional struggle of depression, getting through life one day at a time – drops to a Fields of the Nephilim-like crawl, emphasising the baritone of 16 Horsepower leader and American folk icon David Eugene Edwards.\u003c\/p\u003e\u003cp\u003e“David has been a huge influence for years,” says Persson. “I’ve been a huge fan of 16 Horsepower, his solo projects and Wovenhand for decades. ‘One More Day’ is one of my favorite tracks on the album. His voice fits perfectly on the song and it carries the subject matter with conviction.”\u003c\/p\u003e\u003cp\u003eThe album concludes with the cataclysmic ‘Burial’, the ending of which stacks some of Cult of Luna’s finest, hardest riffs into a truly towering achievement. A near-12-minute contemplation on mortality, it was inspired by the arc of life and death and how it’s perceived differently by people from different walks of life.\u003c\/p\u003e\u003cp\u003e“I’ve always had a non-dramatic relationship with death,” explains Persson. “I think it’s because I grew up in a religious environment where death was not considered the end. Even though I’m an atheist and believe that what happens after you die is the same as what happened before you were born, the subject of the end, and how it makes people want to throw themselves into the vast nothingness, has always fascinated me.”\u003c\/p\u003e\u003cp\u003eCo-produced by Daniel Berglund and mixed by Magnus Lindberg, ‘In the Shadow of Your Shadow’ is another evolutionary effort from a band who refuse to stand still. It’s devastating and diverse, and it cements their place as trailblazers.\u003c\/p\u003e\u003cp\u003e2x12\" 140gr splatter version\u003cbr\u003ebooklet 12 pages offset paper\u003cbr\u003eGatefold rough side print\u003c\/p\u003e\u003cp\u003eSide A : In the Shadow of Your Shadow 7:34 \/ Sadness Will Reign (feat. Joe Duplantier) 4:47 \/ Landby 2:43\u003cbr\u003eSide B : Breach 12:15 \/ The Rift 7:54\u003cbr\u003eSide C : A Way Back 5:57 \/ One More Day (feat. David Eugene Edwards) 11:48\u003cbr\u003eSide D : From Grey to Black 6:36 \/ Burial 11:50\u003c\/p\u003e\u003cdiv class=\"hidden\"\u003eThis item is available for pre-order. It will be available on 11\/06\/2026. \u003cbr\u003eNotice: orders cannot be split into several shipments. Your order will be dispatched when all items are available.\u003c\/div\u003e","brand":"Season of Mist - International","offers":[{"title":"Default Title","offer_id":53854595449175,"sku":"P-180080-","price":45.49,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/6500\/8471\/files\/Cult-Of-Luna-In-the-Shadow-of-Your-Shadow-DOUBLE-LP-GATEFOLD-COLOURED-180080-1-1782207707.jpg?v=1782210510"},{"product_id":"cult-of-luna-in-the-shadow-of-your-shadow-double-lp-gatefold","title":"Cult Of Luna - In the Shadow of Your Shadow - DOUBLE LP GATEFOLD","description":"\u003cp\u003eThere’s no limit to Cult of Luna’s creative vision. Inspired by artists from hardcore, sludge metal, folk, art-rock and beyond, the Swedish luminaries are revered as one of the heaviest and most restless bands in alternative music. 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A disfigured form, I will complete it.”\u003c\/p\u003e\u003cp\u003eFollow-up ‘Sadness Will Reign’ is a blunt, misanthropic statement, declaring, “All of you are born from filth!” Screams from Joe Duplantier, frontman of Grammy-winning extreme metal titans Gojira, hammer home the track’s fury. But, for all the ferocity on show, the band also broaden their own horizons. ‘One More Day’ – a song about the emotional struggle of depression, getting through life one day at a time – drops to a Fields of the Nephilim-like crawl, emphasising the baritone of 16 Horsepower leader and American folk icon David Eugene Edwards.\u003c\/p\u003e\u003cp\u003e“David has been a huge influence for years,” says Persson. “I’ve been a huge fan of 16 Horsepower, his solo projects and Wovenhand for decades. ‘One More Day’ is one of my favorite tracks on the album. His voice fits perfectly on the song and it carries the subject matter with conviction.”\u003c\/p\u003e\u003cp\u003eThe album concludes with the cataclysmic ‘Burial’, the ending of which stacks some of Cult of Luna’s finest, hardest riffs into a truly towering achievement. A near-12-minute contemplation on mortality, it was inspired by the arc of life and death and how it’s perceived differently by people from different walks of life.\u003c\/p\u003e\u003cp\u003e“I’ve always had a non-dramatic relationship with death,” explains Persson. “I think it’s because I grew up in a religious environment where death was not considered the end. 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