{"title":"Spinning Top","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eSpinning Top is a record label based in Fremantle, Western Australia. With a focus on nurturing and promoting emerging talent, Spinning Top has become a prominent force in the music industry. The label prides itself on its diverse roster of *artists* who span various genres and styles.\u003c\/p\u003e\n\n\u003cp\u003eFounded by *name*, Spinning Top has quickly gained recognition for its commitment to quality music. The label's dedication to supporting local artists has helped put Fremantle on the map as a hub for musical creativity.\u003c\/p\u003e\n\n\u003cp\u003eWith an impressive catalogue of releases, Spinning Top continues to push boundaries and challenge conventions. 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Opener Song For Agnes explodes out the speakers like an intergalactic rock opera, running a synapse-tingling gauntlet through bubbling synth pop, 80s hair metal and blissed out saxophone before you know what’s hit you. It’s an apposite curtain-raiser for an album that can encompass pounding techno (Human Touch), elastic hipped robofunk (America’s Cup), tripped out motorik (Czech Locomotive) and acres more besides without even stopping for breath. \u003cbr\u003e\u003cbr\u003eTake lead single Pink Lunettes, which opens up thumping like ESG eight hours into a session at Berghain before climbing aboard a gargantuan synthship and disappearing off over the horizon. \u003cbr\u003e\u003cbr\u003eLyrically, too, \u003ci\u003e9\u003c\/i\u003e takes Pond into uncharted territory. Allbrook’s songs here take a more impressionistic tack than before, resulting in both the hilarious one-liners within Human Touch’s gonzoid thrash (sample lyric: “she was jacking a car but she seemed quite nice so I let her use the toilet in my place”) and the social and environmental concerns of blissed out closer Toast, which addressed both last year’s bush fires and the appalling wealth divide in Allbrook’s childhood home in Western Australia. \u003cbr\u003e\u003cbr\u003eAbove all though, what you get from\u003ci\u003e 9 \u003c\/i\u003eis a sense of creative abandon and just plain fun. 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Their repertoire includes some of the most well-loved Australian singles of the past decade, including triple j hottest 100 entries Farewell Rocketship, Jellylegs and My Eagle. A live phenomenon, Children Collide have played sets at SXSW, The Great Escape, Splendour in the Grass and the Big Day Out as well as headline shows in London, Paris, LA, New York and Tokyo. Johnny Mackay and Ryan Ceasar have once again joined forces for their fourth studio album, adding live bassist Chelsea Wheatley to their meteoric live shows.\u003c\/p\u003e\u003cp\u003eRecorded by Loren Humphrey at Diamond Mine and Stockholm Syndrome in New York City, both released singles Funeral for a Ghost and Trampoline are emblematic of what to expect from \u003ci\u003eTime Itself\u003c\/i\u003e but even then, only to a degree. 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There's the snarling, Nirvana-esque Return to Femmes, the fuzzed-out charge of opener Man of the People and the twirling, acid-tinged Trampoline to contend with the latter of which Mackay proudly describes as “one of my favourite songs I've ever written.” The sprawling six-and-a-half-minute wig-out of Mind Spider, too, serves as a strange bedfellow to the bouncy, mosh-ready Uh Oh and yet, all of them make perfect sense as Children Collide songs.\u003c\/p\u003e","brand":"Spinning Top","offers":[{"title":"White | LP","offer_id":50402303082827,"sku":"1123647","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/3cb56db5-1cbe-4862-bd9a-f89d65da435f_thumbnail_4096.jpg?v=1726539886"},{"product_id":"drama-king","title":"Drama King","description":"\u003cp\u003eWithin the first few seconds of the opening song on Australian troubadour Peter Bibby’s latest album, we get an unvarnished look at the man behind the music as he observes the late-night scene of a local watering hole with increasingly bleary eyes:“No one seems to want to talk to me \/ ‘cuz I’m the arsehole, probably.”\u003c\/p\u003e\u003cp\u003eIndeed, that lovable ambivalence is at the heart of Drama King, Bibby’s fourth studio album for Spinning Top Records. The project was produced by first-time collaborator Dan Luscombe (The Drones, Amyl and the Sniffers) and mixed by White Denim’s Josh Block a frequent collaborator with Leon Bridges.\u003c\/p\u003e\u003cp\u003eAn artist who has been celebrated as inherently working-class and wholeheartedly independent, Bibby comes by this caution honestly, having cut his teeth in the rough-and-tumble underground rock scene centered around Perth’s Hyde Park Hotel in Western Australia.\u003c\/p\u003e\u003cp\u003eBibby’s affable personality has gotten him plenty of mileage as a live act. He’s toured the U.S. with Pond and performed at the infamous open mic night at Pappy and Harriet’s in the California desert. 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Soaring into view like a gigantic interplanetary craft, it takes in a sparkling vista of cosmic disco all robo grooves and quivering strings, while “Would It Pain You to See?”, perhaps one of the most surprising songs on the album, is a glistening slink of sensual R\u0026amp;B.\u003c\/p\u003e\u003cp\u003eIndeed, one of the most rewarding things about \u003ci\u003eSaturnia\u003c\/i\u003e is how the songs pivot and change unexpectedly throughout, beginning as one thing before launching off into a completely different stratosphere.\u003c\/p\u003e","brand":"Spinning Top","offers":[{"title":"Clear LP","offer_id":50426337886539,"sku":"2049021","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Saturnia_61caca91_thumbnail_4096.jpg?v=1726807549"},{"product_id":"stung","title":"Stung!","description":"\u003cp\u003eAlbums of the Year 2024 - Number 97\u003c\/p\u003e\u003cp\u003ePond are one of the most versatile, inquisitive, and accomplished bands of the psychedelic rock vanguard.\u003c\/p\u003e\u003cp\u003eThe last four Pond albums have been showcases of tidiness and brevity, 10 ideas always tucked into 40 minutes or so. 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Billy’s studio capture of ‘I Love You’ was never released in his lifetime and though a nice version was issued on The Missing Years compilation, the feverish rendition here recorded with his then backing group the Storm ranks as Billy’s wildest recording ever. Two interviews with Billy also survive from these broadcasts and feature on this release and Billy’s most left field single - ‘Phone Box’ - gained some TV exposure on the aforementioned Dee Time, and the maestro here plays guitar and sings it live.\u003c\/p\u003e","brand":"Top Sounds","offers":[{"title":"Black | 10\"","offer_id":50457682608459,"sku":"1120251","price":21.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/b94aed56-c56f-4d7f-9414-b2d12cb3c004_thumbnail_4096.jpg?v=1727207422"},{"product_id":"delorean-highway","title":"Delorean Highway","description":"\u003cp\u003eGum - a.k.a. 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