{"title":"Breakfast Records","description":null,"products":[{"product_id":"red-thread-route","title":"Red Thread Route","description":"\u003cp\u003eJust one year on from their debut album, Langkamer return with new EP ‘Red Thread Route’, a freewheeling testament to the highs and lows of the road. Written whilst touring the UK and Europe, it's a more kinetic turn for the band, one that amplifies their trademark blend of slacker rock and old Americana. From the anthemic twists and turns of lead single ‘Total Motion’, to the soft country reverie of ‘So Long Little Rock’, in every song you can feel the listless locomotion of a band in transit. At times crawling, at times careening, it’s a dynamic, indomitable record, one that reveals Langkamer’s prowess in every riff and rhythm. The EP sees Langkamer join forces with several stalwarts of the Bristol music scene. Willie J Healey and Clara Mann lend their unmistakable vocals, while production was deftly handled by the dynamic duo of Alfie Tyson-Brown (Katy J Pearson) and Jack Ogborne (Bingo Fury). 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Recorded in a remote cottage on the North Yorkshire Moors, the album rises above its humble beginnings and encapsulates the band’s meticulous eye for musical detail. Sprawling in a concise sort of a way, as ambitious as it is accessible, each track tells a new story in its personality and production. 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From scuzzy opener \"\u003cem\u003eHeart of Tin\u003c\/em\u003e\" to the sparse, haunting piano of closer \"\u003cem\u003eBluff\u003c\/em\u003e\", there is a candor that challenges any casual listener, an emotional weight that lingers long after the album ends.\u003c\/p\u003e\n\n\u003cp\u003eAmongst Langkamer’s prolific output, \u003cem\u003eLangzamer\u003c\/em\u003e bravely stands tall as their most restrained, matured, and sincere collection to date.\u003c\/p\u003e","brand":"Breakfast Records","offers":[{"title":"Clear LP","offer_id":50532509155659,"sku":"2204555","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Langzamer_-_Front_Cover_d8e0f1f6_thumbnail_4096.jpg?v=1728123229"},{"product_id":"crisps","title":"Crisps","description":"\u003cp\u003eThe final peek into their genre-bending debut album, ‘Evil On Tap’ sees Getdown Services take on that most mythical of beasts, the incessant banality of evil. Having showcased their more introspective side on ‘I Wish It Didn’t Bother Me’, ‘Evil Tap’ is a resounding call to arms, a full-throttle hard rock hallelujah against the daily miseries of late stage capitalism. As vocalist Ben Sadler states: This song is about the nature of repetition and how it feeds into everyday life. I wrote this song when I was in a particularly dissatisfied place. Working all the time whilst still not having enough money to cover the essentials is a fairly standard experience and, as is the culture in the UK, I tend to turn to drinking or reality tv or material goods or whatever as a distraction which obviously only ends up making things worse. How can there be one fix for 69 million people, and the fix that’s offered is simply ignore it. That being said there is comfort in repetition and routine, and finding a nice middle ground with anything is important. The world has evil on tap but learning to stem the flow and bend it, much like an avatar, is the key to becoming the master of the elements. \u003c\/p\u003e\u003cp\u003eGetdown Services have long been known for their raucous live sets, and ‘Evil On Tap’ has long been a tubthumping favourite of audiences. Although not the only rock’n’roll track on \u003ci\u003eCrisps\u003c\/i\u003e, which often barrels through different genres at breakneck speed, it is perhaps the purest testament to their headbanging roots. But ‘Evil On Tap’ is also hardly out of place amongst the canny twists and turns of their debut. As expected from previous singles, there’s plenty of their signature apocalyptic disco, most notably on the title track, but veins of proto-punk, new wave, krautrock, electro and even gospel also weave through the record, each new experiment giving the listener a little more insight to the arcane, acrobatic minds of Josh Law and Ben Sadler. 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This was none so clear than on their last EP, 2024’s Liquid Gold, which channelled traditional Americana and the creative values of mid 90’s indie, resulting in the clearest expression yet of the storytelling partnership between lead vocalists, Harry Jordan and Tom O’Reilly. It once again saw them rack up glowing reviews, from DORK magazine to The Guardian and lead to recording sessions at Abbey Road Studios. \u003c\/p\u003e\n\u003cp\u003eNow, with the arrival of their upcoming second album\u003cem\u003e Final Sirens Call\u003c\/em\u003e, released via Breakfast Records, this growth is placed front and centre. Although its eleven tracks still hum with the same frenetic energy, the record sees the Eades quintet dive ever deeper into their roots, finding a rare solace amidst the shifting earth. 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Recorded live with a nine-piece band over two days at Fish Factory studios in London, it reflected not only Thompson's passion for the dynamics of live sound, but also his distinctive blend of literary and music influences, whether they be the greats of English Modernism or the broadsides of Appalachian folk.\u003c\/p\u003e\n\u003cp\u003eNow, Thompson returns with a new EP, composed of four tracks taken from the same sessions at Fish Factory.\u003cbr\u003eWhile ‘Algebra Parable’ often found its footing in freewheeling, classic balladery, ‘On Platt’s Eyot’ truly captures the breadth of Thompson’s artistry. Produced by Nye Banfield, it's full of deftly rendered metaphors and almost painterly imagery, calling back to the vibrant poetry at the heart of New York’s Greenwich Village scene in the 1960s.\u003c\/p\u003e\n\u003cp\u003eHowever, Thompson’s work also forever stretches such comparisons, moving between intimate folk and freewheeling jazz at a moment's notice. 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