{"title":"World of Echo","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eWorld of Echo is an independent record label based in London, UK. It is closely connected to a record shop with the same name. With a strong presence in the music industry, World of Echo offers a diverse range of music genres and artists.\u003c\/p\u003e\n\n\u003cp\u003eThe label has established itself as a reputable platform for emerging talent, showcasing unique and innovative sounds. Their commitment to supporting independent artists sets them apart from other labels, providing a space for creativity and artistic expression.\u003c\/p\u003e\n\n\u003cp\u003eWith their extensive knowledge and expertise in the industry, World of Echo curates an impressive collection of vinyl records that cater to all music enthusiasts. Whether you're searching for rare finds or contemporary releases, this label guarantees quality and authenticity.\u003c\/p\u003e","products":[{"product_id":"two-wishes","title":"Two Wishes","description":"\u003cp\u003eEast London record shop World of Echo debuts on the other side of the counter with a reissue of \u003ci\u003eTwo Wishes\u003c\/i\u003e, the solitary 12\" by Anglo-German collective, Mutabor!. Seemingly lost to time, Mutabor! were first brought to World of Echo's attention when drummer \/ singer, Gary Asquith, played at the shop's first birthday celebrations while promoting one of his other bands, Rema Rema. And so the story goes...\u003c\/p\u003e\u003cp\u003eMutabor! emerged wraith-like from the monochromatic grit of Berlin's art punk underground late in 1981 when Asquith left London to set up temporary residence in the city following a chance meeting with Malaria's Bettina Koster backstage at a Birthday Party gig at the Lyceum earlier that year. Beguiled by the possibilities of collaboration, musical and otherwise, he was soon to make his own contributions to what was an already fecund scene. Partnering with Koster, and Gudrun Gut and Manon Duursma also of Malaria!, Mutabor! were publicly birthed via an impromptu performance at punk rock polestar the Risiko. Asquith found himself playing percussion in what would be a first, while the rest of the band ossified in front of him in typically idealistic post-punk democracy. Little documentation of the performance survives beyond that which exists in the memories of those playing - that itself shaky enough - though there was clearly sufficient encouragement for them to commit to a recording session.\u003c\/p\u003e\u003cp\u003eLater that winter, the four booked time at Music Lab, the studio operated by Harris Johns, for what would ultimately be their only studio visit. Two songs were laid to tape, and soon after a photoshoot was to take place at Koster's flat, resulting in a handful of images that, along with the music, comprise the sum total evidence of the band's existence. \u003ci\u003e1001 Nights \u003c\/i\u003eand \u003ci\u003eTreats\u003c\/i\u003e both found their way to Peter Kent, a co-founder of 4AD who had recently left the label with the ambition of starting his own imprint. Entitled Two Wishes, the two track 12\" was to be the first and only release on Loaded. It seems that Mutabor! were to represent a series of firsts and lasts, a trend that continues now as they open the World of Echo imprint. \u003c\/p\u003e\u003cp\u003eIt's fitting to think of Mutabor! in these prescient terms given how they sounded. Berlin at that time shared a spiritual axis with New York, the conceptual and aesthetic discordance of no wave and a nascent off-beat dance culture underpinning much of the respective creative activity. There are shared signifiers, but even in that context, \u003ci\u003eTwo Wishes\u003c\/i\u003e sounds oddly out of step, moving to its own unusual rhythm. 1001 Nights stutters along on a tribal beat that seems to run independent of skronking sax, spidery guitar lines and deadpan vocal incantations, the ghosts of two songs meeting in some kind of incompatible voodoo union. On the reverse, \u003ci\u003eTreats\u003c\/i\u003e slows down and dims the lights further, as Asquith sardonically recites desirous threats as an increasingly malevolent sax and guitar grinds behind him. No surprise the darkness within the music given the parent bands and the backdrop of a crepuscular early 80s Berlin, though there remains a complex compositional element to these songs that suggests a broader spectrum of emotion - desire, romance, and ultimately, infinite possibility.\u003c\/p\u003e\u003cp\u003eRecut and mastered, Two Wishes is now presented with the original front cover artwork alongside additional imagery, including a 16 page booklet, all culled from Asquith's own archive. A brief bolt of energy at a crucial juncture in music history, Mutabor!'s story is emblematic of the mutli-verse of post-punk and the creativity its ideology necessitated.\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"Black | 12\" - 1103857","offer_id":50388077904203,"sku":"1103857","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/211b2fbf-a504-462c-8950-9250d1b917ab_thumbnail_4096.png?v=1726339496"},{"product_id":"on-the-turning-ground","title":"On The Turning Ground","description":"\u003cp\u003eNot far off two years from the day, Bristol's Tara Clerkin Trio return to World of Echo and the EP format for a five song collection of quixotic, emotional redolence. But do not mistake their absence for inertia. If their musical output has been a little sparse during those in-between years, limited to a few solo ventures and an astonishing ten minute long piece as a trio, their time has otherwise been richly spent: continuous writing and recording, extensive live performances across Europe and Japan, a cultivation of local and more far-flung artistic connections (musical and otherwise), and a monthly NTS show that, through the voice of others, speaks most obviously to their own unorthodox interests. It's the conflux of that winding activity that leads indirectly to \u003ci\u003eOn The Turning Ground\u003c\/i\u003e, 26 minutes of probing, thoughtful composition that draws from no one specific source.\u003c\/p\u003e\u003cp\u003eTheir inspirations might be centreless, but the trio still possess a very obvious anchor in the form of their hometown. Bristol stands as a city of multitudes, heterogenous and vibrant in such a way as to allow it to renew and remake time and again. Tara Clerkin Trio drink from that same well, duly reflecting a rich musical heritage built on fwd-facing electronic subcultures and experimental urges. As such, On The Turning Ground finds them subject to their own subtle internal evolution, the pervasive sense that you've caught them mid-bloom, on their way to becoming but never anything but themselves.\u003c\/p\u003e\u003cp\u003eThe two instrumental pieces that bookend the EP stand as a perfect case in point, displaying an increasing mastery of compositional space. Pensive and restrained, 'Brigstow' and 'Once Around' both emanate an interstitial quality that's not so much after- as in-between-hours, miniature dub-folk symphonies held together by the kind of tacit understanding that remains the preserve of only the closest of family units. If those two tracks are shaped by a sense of shifting temporality, then the three vocal-led pieces that comprise the record's core feel like a gentle ossifying of aesthetic into something approaching their own unique form of avant-pop. 'Pop' is, of course, a broadly subjective concept, but there's no avoiding the overt sparkling melodicism of songs like 'Marble Walls' and 'The Turning Ground', undeniable re-directions of that late 90s impulse to bend pop sensibilities into off-centre terrain, to render the familiar new again. This is what Tara Clerkin Trio do, gently pulling the ground from under your feet, turning you to face something you'd not quite seen before. To view the world as they do: sideways, sometimes, all of the time.\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"Black 12\"","offer_id":50405513363787,"sku":"2055078","price":19.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/On_The_Turning_Ground_-_EP_aaed3acc_thumbnail_4096.jpg?v=1726578630"},{"product_id":"in-spring","title":"In Spring","description":"\u003cp\u003eIn spring,\u003cbr\u003eAgain.\u003cbr\u003eBut it's true this time.\u003cbr\u003e\u003cbr\u003eIn Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.\u003cbr\u003e\u003cbr\u003eIf the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.\u003cbr\u003e\u003cbr\u003eTheir geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"12\" - Black","offer_id":50405514084683,"sku":"1131379","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/b606f7d8-7447-4b8a-a287-83f380521b92_thumbnail_4096.jpg?v=1726578653"},{"product_id":"selected-songs-1997-2003","title":"Selected Songs 1997-2003","description":"\u003cp\u003e\u003ci\u003eSelected Songs 1997-2003\u003c\/i\u003e compiles some of the finest moments in the recording history of Hydroplane, the Melbourne-based indie-pop three-piece that operated alongside The Cat’s Miaow through the second half of the nineties. It’s the third release in what feels, now, like a loosely planned series by World Of Echo, documenting the music made by this group of friends in Melbourne sharehouses (The Cat’s Miaow’s Songs ’94-’98, 2022), or in the case of The Shapiros (Gone By Fall, 2023), while traversing the International Pop Underground.\u003c\/p\u003e\u003cp\u003eHydroplane would be familiar to anyone already following these breadcrumb trails – Andrew Withycombe, Bart Cummings and Kerrie Bolton were the group’s core, all members of The Cat’s Miaow. With Cat’s Miaow drummer Cameron Smith itinerant, having moved to London, the trio used this opportunity to expand their music. It’s a subtle, but important shift. If The Cat’s Miaow was about the perfect, minimalist, two-minute pop song, Hydroplane’s music was far more open-ended, embracing the loops and drones, sampled house-y shuffle beats, the burbling of a Roland Jupiter-4 synth, all of which the trio joined, effortlessly, to their endless capacity for moving, elegant melodicism.\u003c\/p\u003e\u003cp\u003eThey may have only planned to release one seven-inch single, but the sound Hydroplane created was so bewitching, so compelling, that the project’s lifespan ran for around half a decade, and they ended up releasing three albums, including a self-titled debut recently reissued by Efficient Space, and seven singles. There are all kinds of compelling things happening in the music compiled here – the hazy repetition of the gentler side of Krautrock is in here, somewhere, which also suggests Stereolab at their most intimate and disarmed; the gently drifting guitars, gauzy and oneiric, set the songs adrift and floating, each one lost in its own imagined, distracted world. Songs like “The Love You Bring” set indistinct tonal floats across dance rhythms, in a way not quite heard since My Bloody Valentine’s “Instrumental” – but with the added gift of Bolton’s gorgeous voice.\u003c\/p\u003e\u003cp\u003eThis loose coalition with dance music, and the quiet experimentalism at the heart of Hydroplane, also gestures towards peers like Hood, Acetate Zero and Other People’s Children, and releases on renegade labels like Wurlitzer Jukebox and Enraptured. Like those groups and labels, The Cat’s Miaow were reconciling independent pop music’s past – sweet melody and melancholy, chiming and droning guitars – with the futures promised by DIY electronics and nascent digitalia, the interface of indie and IDM that led to some of the underground’s most blissful, texturally swoonsome music. All that is here, but also, the poise of the melodies is pure Cat’s Miaow, though, with Bolton’s voice sailing, pacifically, over some of the most pared-down, gorgeous music made during their decade.\u003c\/p\u003e\u003cp\u003eIt was a time, too, when such music could make waves – “We Crossed The Atlantic”, one of their early singles, was picked up by John Peel, who played it repeatedly on his legendary radio show, the song reaching #13 on his 1997 Festive 50. That the song itself was a cover of a tune by 1960s Australian beatnik-pop-poet Pip Proud felt even more perfect – a group of outsiders paying tribute to another outsider, played on the radio one of the few broadcasters brave and human enough to take a chance on this music. But it was a time where everything was up for grabs, and genres were flowing into each other: folk songs went drone; indie re-discovered noise; ambient pop floated, again, out onto the dancefloor. And while they may have been sequestered away in Melbourne, Australia, Hydroplane felt core to that scene, a quietly driving force.\u003c\/p\u003e\u003cp\u003eCompiling material from across their brief but mercurial career, this double album perfectly captures the magic and mystery of Hydroplane’s dreamlike, perfect pop songs.\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"2LP - Black","offer_id":50416752361803,"sku":"2046958","price":32.99,"currency_code":"GBP","in_stock":false},{"title":"2LP - Orange","offer_id":58323135955275,"sku":"R2832-4710","price":33.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Selected_Songs_1997-2003_a60162e8_thumbnail_4096.jpg?v=1726709339"},{"product_id":"thorn-valley","title":"Thorn Valley","description":"\u003cp\u003e“Let me fly you home. We can talk on the way”\u003c\/p\u003e\u003cp\u003eThorn Valley is a 20 song assemblage of various transmissions from the ever diffuse and widening DIY underground, released to mark the four year anniversary of World of Echo. The river ever bends, the valley ever deepens. \u003c\/p\u003e\u003cp\u003eAvailable as a gatefold double LP pressed in an edition of 500. Artwork by Matthew Walkerdine  \u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"Black | LP | x2","offer_id":50426929643851,"sku":"2002444","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Thorn_Valley_8dcfe432_thumbnail_4096.jpg?v=1726819445"},{"product_id":"i-wish-i-was-special","title":"“I wish I was special”","description":"\u003cp\u003eGuests are Jessica Higgins and Matthew Walkerdine of Glasgow, UK, both formerly of the bands Vital Idles and Mordwaffe. They have been closely tied with DIY music, art and publishing for over a decade. Using (amateur) electronics, singing, speaking and field recording they make songs which blend the rhythms of popular music and contemporary approaches to collage, sampling, improvisation and repetition. As inspired by film and art as they are the legacies of twee underground and avant garde experimentalism, their loose, domestically twinged compositions explore feelings, atmospheres and moments which are hard to articulate and the quite literal notion of being a “guest”. \u003c\/p\u003e\u003cp\u003e“I wish I was special” is their debut record, and with it a chance taken to explore terrain not previously covered by their other groups. The ideology of DIY practice appears integral to these eleven compositions, side-stepping virtuosity in favour of instinct and impression, unafraid to press unknown buttons and walk head first into mistake, finding inspiration where convention might not otherwise allow one to tread. The results are confoundingly fresh, sharp-of-mind, and unusually intimate. There’s an obvious intelligence at play here, and no little humour of course, but crucially there’s also a sense of the personal, a first-thought\/best-thought (auto)didacticism that celebrates shared understanding and implicit trust. What, ultimately, we might view as the fearlessness in radically being yourself around another. It’s an approach that draws some comparison with the private musings of Flaming Tunes, Idea Fire Company’s domestic electronics, or perhaps even Annea Lockwood’s framing of emotional connection within avant garde structures. More so, Guests represent a compelling continuation of DIY post-punk experimentation that values intuition over prowess, and with it guides the listener into unexpected spaces that somehow comfort as much as they challenge.\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"Black LP","offer_id":50451129073995,"sku":"2188089","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/unnamed_-_2024-03-04T144112.865_ea88b920_thumbnail_4096.jpg?v=1727118287"},{"product_id":"songs-94-98","title":"Songs '94-'98","description":"\u003cp\u003e\u003cem\u003eSongs ’94-’98\u003c\/em\u003e is a smart selection of material from \u003cstrong\u003eThe Cat’s Miaow\u003c\/strong\u003e, an Australian indie-pop group that gifted their decade with some of its finest songs. Released on World Of Echo, the album draws from the group’s string of excellent seven-inch singles, a small clutch of compilation contributions, and features one previously unreleased song, \"\u003cem\u003eI Take It That We’re Through\u003c\/em\u003e\", recorded in 1998.\u003c\/p\u003e\n\n\u003cp\u003ePart of the burgeoning international pop underground of the nineties, \u003cstrong\u003eThe Cat’s Miaow\u003c\/strong\u003e’s legend has only built over subsequent decades, as more people discover this most quixotic and curious of groups: a recent appearance on A Colourful Storm’s compilation of Australian indie-pop, \u003cem\u003eI Won’t Have To Think About You\u003c\/em\u003e, is testament to their enduring influence. In part emulating the selection of tracks on the 1997 CD-only compilation, \u003cem\u003eSongs For Girls To Sing\u003c\/em\u003e, \u003cem\u003eSongs ’94-’98\u003c\/em\u003e is also the group’s first ever full-length 12” vinyl collection.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eThe Cat’s Miaow\u003c\/strong\u003e started out in 1992 as a home-recording duo, Bart Cummings (guitar, bass, vocals) and Andrew Withycombe (bass, guitar) taking time out from duties with Girl Of The World and The Ampersands (respectively), knocking out songs on Withycombe’s four-track. Soon joined by Kerrie Bolton (vocals) and Cam Smith (drums), the quartet spent the next five years quietly, slowly working away in the suburbs of Melbourne, recording gem after gem of independent pop.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eThe Cat’s Miaow\u003c\/strong\u003e were always worldly and stylish, each seven-inch single a refined artifact, each song a peaceable jewel. You could hear some relationships with other music – someone (if not everyone) in \u003cstrong\u003eThe Cat’s Miaow\u003c\/strong\u003e was a Galaxie 500 fan; there’s a minimalism to the playing and melodies that recalls Young Marble Giants, Marine Girls, Beat Happening – but the spirit in these songs is endearingly individualized, the result of a hermetic vision, an ideal of what a simple, unadorned pop song could be.\u003c\/p\u003e\n\n\u003cp\u003eIt’s not much of a surprise that \u003cstrong\u003eThe Cat’s Miaow\u003c\/strong\u003e found a receptive audience, and no small amount of support, from the networked communities of indie-pop labels and fanatics that developed in the nineties. But they also understood the importance of the local: their first few cassettes reached the world’s mail routes via Wayne Davidson’s legendary Melbourne tape label, Toytown; they turned up on a split single with Davidson’s group, Stinky Fire Engine; they appeared on a tribute cassette for one of Australia’s finest, The Sugargliders, and indeed that’s Josh Meadows of said group playing wah guitar on \"\u003cem\u003eStay\u003c\/em\u003e\".\u003c\/p\u003e\n\n\u003cp\u003eCosmopolitan yet homely, dedicated to their craft, \u003cstrong\u003eThe Cat’s Miaow\u003c\/strong\u003e always felt a little like a group moving in slow motion, using that pace and focus fully to embrace the art of the perfectly stated pop song – every element in place, no flash and no fuss, no excess, just the core of the thing. Few managed to tease such fierce poetry from such understated, elegant means. From Australia or anywhere.\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"LP - Black","offer_id":50455037804875,"sku":"1154712","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"LP - Blue","offer_id":51948954943819,"sku":"R0180-4597","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2255faa2-4ed2-428d-a456-dd8264bed554_thumbnail_4096.jpg?v=1727187723"},{"product_id":"high-tide","title":"High Tide","description":"\u003cp\u003e\u003cstrong\u003eAble Noise\u003c\/strong\u003e is a cross-continent duo based between The Hague (NL) and Athens (GR), built around the experimental baritone guitar and drum playing of George Knegtel and Alex Andropoulos.\u003c\/p\u003e\n\n\u003cp\u003eAfter a few formative attempts at collaboration, they officially came together as the \u003cstrong\u003eAble Noise\u003c\/strong\u003e we see now in 2017, uniting over shared thoughts on art and performance encountered while studying at The Royal Academy of Arts in The Hague.\u003c\/p\u003e\n\n\u003cp\u003eTheir first recorded work, a seamless 30 minutes of glistening post-rock anti-formalism, emerged in low-key fashion in 2020 as a cassette through Glasgow’s famed GLARC label.\u003c\/p\u003e\n\n\u003cp\u003eNumerous European wide tours and left-of-centre festival appearances led the pair back to the studio for the recording of debut LP, \u003cem\u003eHigh Tide\u003c\/em\u003e, to be released via World of Echo.\u003c\/p\u003e\n\n\u003cp\u003eThe shift to a studio environment was a significant one, since \u003cstrong\u003eAble Noise\u003c\/strong\u003e was primarily conceived as a live band, thinking of and writing for the live concert experience specifically.\u003c\/p\u003e\n\n\u003cp\u003eConsider their practice an Active Performance of sorts, one that seeks to challenge understandings of the medium of the live arena, how its properties and limitations can be addressed creatively, and the dialogical relationship between performer and the audience.\u003c\/p\u003e\n\n\u003cp\u003eThose who have caught them live will have witnessed very physical yet malleable performances, shaped each time by the context at hand, be that the time of day, the acoustic properties of the space, and the shared energy of the assembled patrons.\u003c\/p\u003e\n\n\u003cp\u003eTrue to this approach, the pair have embarked upon the recording of their debut album with a similar exploratory impetus.\u003c\/p\u003e\n\n\u003cp\u003eIn a studio without a physical audience to confront, the questions are suddenly quite different: how does one create a definitive recorded music initially rooted in improvisation, how is that recording then listened to and understood, and, without the spectacle of performance, how is it possible to work with the sense of hearing alone.\u003c\/p\u003e\n\n\u003cp\u003eUnsurprisingly, the music of \u003cem\u003eHigh Tide\u003c\/em\u003e is significantly different to that of an \u003cstrong\u003eAble Noise\u003c\/strong\u003e live set.\u003c\/p\u003e\n\n\u003cp\u003eMinimalism has been traded for a detail-oriented approach, the limitations of two sets of hands suddenly lifted by the possibilities of multi-tracked thinking, post-production and various processing techniques.\u003c\/p\u003e\n\n\u003cp\u003eReliant much less on their own capabilities - and limitations! - as musicians, Knegtel and Andropoulos heartily invited the contributions of friends from both their local Athenian music community and those made while playing the UK, with the important disclaimer given that anything played during the recording session will not sound the same once on record.\u003c\/p\u003e\n\n\u003cp\u003eThe result is duos, trios, quartets and sextets playing in different experiences of time, and on dynamic scales vastly different from one another, brought to equal footing.\u003c\/p\u003e\n\n\u003cp\u003eCritically, the wholesomeness of their creative communion belies the darker theme of inertia that the pair acknowledge runs throughout the album, a sense of bodies of very different weights and momentums existing alongside each other, either adapting to or clashing with one another.\u003c\/p\u003e\n\n\u003cp\u003eIn short, the outside world can’t help but seep in, even as you create within your own hermetic universe - the feeling of hopelessness amidst endless political and social strife, obsolescence in the face of technological development, time’s inexorable march.\u003c\/p\u003e\n\n\u003cp\u003eThese are things we’ve all felt, and while \u003cem\u003eHigh Tide\u003c\/em\u003e, like much before it, doesn’t provide any definitive resolution for these challenges, it does present its own set of unique possibilities written in the shared language of its creators.\u003c\/p\u003e\n\n\u003cp\u003eFor fans of Caroline, Tortoise, Tara Clerkin Trio, Gastr Del Sol, Jim O’Rourke.\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"LP - Black","offer_id":50471005749579,"sku":"2217144","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/High_Tide_682c206a_thumbnail_4096.jpg?v=1727387715"},{"product_id":"gone-by-fall-the-collected-works-of-the-shapiros","title":"Gone By Fall: The Collected Works of The Shapiros","description":"\u003cp\u003eWorld of Echo release \u003ci\u003eGone By Fall – The Collected Works of The Shapiros\u003c\/i\u003e, a 12-song compilation by a here today, gone tomorrow pop group formed by Pam Berry (Black Tambourine, The Pines, Glo-worm, Castaway Stones, Belmondo, etc.) and Bart Cummings (The Cat’s Miaow, Hydroplane, Bart \u0026amp; Friends, etc.), while the latter was in Washington, DC in 1994. Tapping into that city’s inspiring independent pop scene, looking for like-minded souls, Berry and Cummings were joined by Scooter, a.k.a. R. Scott Kelly (Veronica Lake, Belmondo, Sabine, etc.), and Trish Roy (Belmondo, Heartworms).\u003c\/p\u003e\u003cp\u003eThe Shapiros may only have existed for a few weeks, during August 1994, but during that brief window of opportunity, the quartet recorded twelve gorgeous pop songs – nine originals, each a model of concision and restraint, and three covers, which gift the listener some of the coordinates to the group’s sound, a meeting point of C86 and the Brill Building Sound: lovely versions of Beat Happening’s “Cry For A Shadow”, 14 Iced Bears’ “Cut”, and The Shirelles’ “Will You Still Love Me Tomorrow”.\u003c\/p\u003e\u003cp\u003eThe material was recorded over three days at Mulberry Lane, the basement studio of Archie Moore – who, at the time of the sessions, was busy as one-fifth of Velocity Girl – and released via time-honoured formats for independent pop: two seven-inch singles, one split single with another Cummings project (Pencil Tin), and a few stray compilation appearances. The band in many ways was driven by Berry, who organised the release of The Shapiros’ first two singles, through the Fantastic and Popfactory labels. This is unsurprising: as co-founder of the long-lasting Chickfactor fanzine, Berry was a significant and supportive presence in independent music in the USA.\u003c\/p\u003e\u003cp\u003eThe songs on The Shapiros are perfectly formed; they’ve no need to say any more than what’s necessary, and this elegance of form lends them a timelessness that, for some, might seem outsize to the brevity of the project’s existence. But great things often happen in passing, capturing the sparks of a situation and the enthusiasms of new and unpredictable encounters. For Cummings, being in Washington was “the most fun I’d had in my life up to that point,” and he’s quick to point out the significance of what had happened in the city in recent times: it was a stronghold for creative independent pop music, with bands like Unrest, Velocity Girl, and Glo-worm, and thrilling pop singles being released at a fierce clip by labels like Teenbeat and the early Slumberland Records. The Shapiros’ music is a particularly seductive kind of blissful pop. The reverberant chime of a guitar, the subtle sweep of brushes on drums, a gently pulsing bass guitar, all perfectly played and placed, frame a beautifully unaffected voice, one that’s understated without being detached. It’s music that understands how small gestures are often the most deeply affecting. And though it may speak quietly at times, it’s strident and strong; clear and direct. They may have only recorded twelve songs and played two gigs (one supporting Lois and The Magnetic Fields, the other Nord Express), but what a body of work to leave behind – diminutive in the best possible way; every second of these twenty-five-or-so minutes of Shapiros magic counts, every moment matters. \u003c\/p\u003e\u003cp\u003eFor fans od Sarah Records, K Records, The Cat's Miaow, Black Tambourine, Slumberland Records etc.\u003cbr\u003e\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"LP","offer_id":50478801781067,"sku":"2008015","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Shapiros_-_Gone_By_Fall_The_Collected_Works_of_The_Shapiros_78009422_thumbna.jpg?v=1727491118"},{"product_id":"iv","title":"IV","description":"\u003cp\u003eWith \u003ci\u003eIV\u003c\/i\u003e, World Of Echo inaugurates a series of reissues by Japanese guitarist, Naoki Zushi. Perhaps best known for his stellar guitar contributions to psych folk group, Nagisa Ni Te, Zushi has had a parallel career, for several decades, slowly releasing solo albums that spotlight his exultant guitar playing. Originally released to CD only by Shinji Shibayama of Nagisa Ni Te’s Org imprint in 2018, \u003ci\u003eIV \u003c\/i\u003ehas Zushi playing and writing at a peak, its six songs slowly unfurling with a kind of paradoxical understated grandeur.\u003c\/p\u003e\u003cp\u003eThis is psychedelic guitar music at its most paced and considered, yet given to flights of inspiration, and in this respect, Zushi sits within a lineage of guitarists who’ve used their instrument both as textural anchor and improvisatory tool – think of figures like Phil Manzanera and Robert Fripp, but also Roy Montgomery, Liz Harris of Grouper, even Tom Verlaine on his instrumental solo albums. Like those artists, Zushi locates moments of deep emotional resonance amidst luxuriant textural and melodic exploration.\u003c\/p\u003e\u003cp\u003eZushi’s history stretches back to the mid 1970s. While for many, he first appeared on the scene as a founding member of noise legends Hijokaidan, alongside Jojo Hiroshige, his musical contributions predate that encounter. He started out playing progressive rock and improvised music, making home recordings of when he was in high school. He was a member of Rasenkaidan (Spiral Staircase) alongside Hiroshige and Idiot (Kenichi Takayama), the group that soon mutated into Hijokaidan (Emergency Staircase).\u003c\/p\u003e\u003cp\u003eZushi and Takayama would soon form Idiot O’Clock, in 1982; Zushi also led his own Naoki Zushi Unit, starting in 1983. But for many, Zushi’s first significant appearance on record was as a member of Shinji Shibayama’s mid-eighties psych-pop group, Hallelujahs, whose sole album was recently reissued on vinyl. That group mutated into Nagisa Ni Te, and Zushi has played a significant role as their lead guitarist for several decades.\u003c\/p\u003e\u003cp\u003eHis own solo music has appeared sporadically – \u003ci\u003eParadise\u003c\/i\u003e (1987), \u003ci\u003ePhenomenal Luciferin\u003c\/i\u003e (1998),\u003ci\u003e III\u003c\/i\u003e (2005) and \u003ci\u003eIV\u003c\/i\u003e, with a few recent, meditative offerings, \u003ci\u003eFor My Friends’ Sleep\u003c\/i\u003e (2021) and \u003ci\u003eNocturnes\u003c\/i\u003e (2022). With\u003ci\u003e IV\u003c\/i\u003e, though, Zushi achieved something remarkable, a kind of extended exploration of the time-altering properties of echoplexed, hypnotically spiralling guitar interplay.\u003c\/p\u003e\u003cp\u003eThe opening ‘Mirror’, “a song about the mirror inside me,” Zushi explains, starts out as a lush psych-folk song, slow and gentle, but soon takes to the skies with a cat’s cradle of Fripp-esque guitars, before thick, droning chords sweep the song to a drowsy coda. ‘Nocturne’ weaves silver skeins of guitar melody around a cyclical chord pattern; it gathers energy and quiet intensity through insistent repetition. The rest of the album explores the nuance Zushi can draw out of simple elements, building on what ‘Mirror’ and ‘Nocturne’ offer – the profundity of a chord change; the melancholy of a few quietly sighed words; the exhilaration of a guitar solo bursting out of the speakers; the subtle shifts in emotional register offered by tone and touch.\u003c\/p\u003e\u003cp\u003eThroughout, there’s something quiet, yet ineffable, shading the contours of the songs, such that it makes perfect sense when Zushi says, “What I want to express through music may be ‘sense of mystery’.” A few of the songs had their basic parts recorded at LM Studio and Studio Nemu with Shibayama and Masako Takeda joining on bass and drums, respectively; much of the album, however, was tracked at Zushi’s home studio. That seems appropriate for a collection of songs that are expansive in their intimacy.\u003c\/p\u003e\u003cp\u003eAsked what drove the sessions, Zushi answers, “I thought I’d make IV an album that particularly focuses on the guitar play.” And focus it does, as Zushi’s sky-scraping, soaring, elemental tone is front and centre throughout. But these are no guitar heroics; rather, Zushi uses the guitar as conduit and diviner, a tool for spirit location, and IV is his most eloquent expression yet of such singular magic.\u003c\/p\u003e\u003cp\u003eFor fans of  Hallelujahs, Nagisa Ni Te, Roy Montgomery, Grouper, Manuel Gottsching\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"Black LP","offer_id":50494062723403,"sku":"2217951","price":33.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Naoki_Zushi__IV_15cd2fae_thumbnail_4096.jpg?v=1727703159"},{"product_id":"skipping-stones-the-cassette-years-92-93","title":"Skipping Stones: The Cassette Years 92-93","description":"\u003cp\u003eThe Cat’s Miaow return to World Of Echo with \u003ci\u003eSkipping Stones: The Cassette Years ’92-’93\u003c\/i\u003e, their second compilation for the imprint, and the fourth in a loosely defined series of reissues associated with the group (also including The Shapiros’ \u003ci\u003eGone By Fall: The Collected Works of Th\u003c\/i\u003ee \u003ci\u003eShapiros\u003c\/i\u003e and Hydroplane’s \u003ci\u003eSelected Songs 1997-2003\u003c\/i\u003e). It’s a smart selection of songs by one of Australia’s finest independent pop music groups, whose initial run, across the nineties, was as mysterious as it was bewitching. A generous double album featuring thirty-five songs drawn from The Cat’s Miaow’s history, \u003ci\u003eSkipping Stones\u003c\/i\u003e lets listeners in on a bunch more secrets.\u003c\/p\u003e\u003cp\u003eAn even deeper pass through the archives of The Cat’s Miaow,\u003ci\u003e Skipping Stones\u003c\/i\u003e is a welcome follow-up to 2022’s \u003ci\u003eSongs ’94-’98,\u003c\/i\u003e which pulled together material from seven-inch singles and compilations. Diving into the four cassettes that the group released over a two-year period, \u003ci\u003eSkipping Stones\u003c\/i\u003e is full of surprises, rich with unexpected and inspired detours, while reminding everyone just how clear and distinct The Cat’s Miaow’s music was from the very start. Looking in from the outside, they always felt like a group that knew just what they were doing, but intuitive as they are, they weren’t forcing anything: these songs always sound exactly what they need to be, rough edges, playful moments and all.\u003c\/p\u003e\u003cp\u003eIt's also a fascinating snapshot of one arm of the ‘international pop underground’. While they were clearly listening to music from the US, UK and elsewhere – there are glimpses of Galaxie 500, Spacemen 3, Beat Happening, and The Pastels in some of the songs here – The Cat’s Miaow also feel, consciously or not, part of a continuum of Australian underground pop that takes in The Particles, The Lighthouse Keepers, The Cannanes, The Honeys, Even As We Speak, and The Sugargliders (who they would cover several times). Like those before them, The Cat’s Miaow balanced opposing forces in their music: naivete and knowingness; fragility and strength; worldliness and world-weariness; play and seriousness; heartache and pleasure.\u003c\/p\u003e\u003cp\u003eThe four cassettes that\u003ci\u003e Skipping Stones\u003c\/i\u003e draws from – \u003ci\u003eLittle Baby Sour Puss, Pet Sounds \u003c\/i\u003e(both 1992), \u003ci\u003eFrom My Window\u003c\/i\u003e, and \u003ci\u003eHow Did Everything Get So Fucked Up\u003c\/i\u003e (both 1993) – were released or assisted by Toytown, a Melbourne cassette label of rare taste, savvy and intelligence, run by Wayne Davidson. Toytown felt like the perfect early home for The Cat’s Miaow, their cassettes rubbing shoulders in the label’s catalogue with brilliant groups like Sukpatch, The Ah Club, Kitty Craft, and Land Of The Loops. The local context is just as important, too, with The Cat’s Miaow sharing their time and creative vision with friends in The Ampersands, Stinky Fire Engine, Girl Of The World, Super Falling Star, Pencil Tin and The Sugargliders. And cassettes were an important form of exchange – cheap, easy to reproduce, not too expensive to send interstate or overseas, they were the most accessible DIY format for any group starting to spread the word about their noise.\u003c\/p\u003e\u003cp\u003eAll of this is to say, the thirty-five songs here landed in several different contexts, national and international, which goes part-way to explaining the group’s curious cosmopolitanism, the style and spirit in their sound. The Cat’s Miaow may have been bedroom dreamers, but their songs were richly informed, with the sweetest of girl-pop moves sashaying into walls of tremolo-d and distorted guitar, jangling six strings tangling with melodic bass that’s pure Peter Hook\/Naomi Yang, while the gentle trickle of a drum machine or the earthy twitch of brushes on drum skins provided the spine for Kerrie’s and Bart’s lovely, unforced singing.\u003c\/p\u003e\u003cp\u003eThere are a clutch of gorgeous songs here that would reappear in a different form on later releases, classics like “The Phoebe I Know”, “Third Floor Fire Escape View”, “Not Like I Was Doing Anything” and “You Left A Note On The Table”, but plenty of other magic too, all of it finding its way to vinyl for the first time (some tracks appeared on compact disc via the compilations \u003ci\u003eA Kiss and A Cuddle\u003c\/i\u003e [Bus Stop, 1996] and \u003ci\u003eSongs\u003c\/i\u003e \u003ci\u003eFor Girls to Sing\u003c\/i\u003e [Drive-In, 1997]). Remarkably, The Cat’s Miaow have also recently released a split single with Rocketship featuring newly recorded material and returned to the stage for their second-ever gig.\u003c\/p\u003e\u003cp\u003eBut this double LP on World Of Echo feels like the very core of the thing – some of the most heartbreakingly beautiful, effortlessly lush and deeply moving pop music you’re likely to hear.\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"Black LP","offer_id":50498342977867,"sku":"2185530","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Cats_Miaow_-_Skipping_Stones__The_Cassette_Years_92-_71764746_thumbnail_4096.jpg?v=1727745311"},{"product_id":"movietone","title":"Movietone","description":"\u003cp\u003eWorld Of Echo are proud to announce the long-awaited reissue of the self-titled debut album by Bristol’s \u003cstrong\u003eMovietone\u003c\/strong\u003e. Originally released in 1995 by Planet Records and reissued on CD in 2003 by The Pastels’ Geographic Music imprint, this is the first time \u003cem\u003eMovietone\u003c\/em\u003e has been reissued on vinyl.\u003c\/p\u003e\n\n\u003cp\u003eAn expanded double-LP edition, it includes the extra tracks from the 2003 CD (their first two singles, and an unreleased demo of “Chance Is Her Opera”), and adds three more unearthed gems: demos of “Alkaline Eye” and “She Smiled Mandarine Like”, and an early take of “Late July”, recorded in a garden by Dave Pearce (Flying Saucer Attack) in 1993.\u003c\/p\u003e\n\n\u003cp\u003eTaken together, this is the definitive collection of music from the first phase of one of Bristol’s most remarkable groups.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eMovietone\u003c\/em\u003e was the culmination of a series of events, explorations, and discoveries, starting at secondary school – the group’s core membership of Kate Wright, Rachel Brook, Matt Elliott and Matt Jones met at Cotham School in Bristol. As for many other groups, their early years were all about experimenting and finding ways to ‘make do’, a DIY sensibility that would inform \u003cem\u003eMovietone\u003c\/em\u003e through their decade-long lifespan.\u003c\/p\u003e\n\n\u003cp\u003eBy the time they released \u003cem\u003eMovietone\u003c\/em\u003e, they’d found a home with Bristol’s Planet, run by author Richard King and James Webster, who had both released their first two singles, “She Smiled Mandarine Like” and “Mono Valley”. There was other music happening around them in Bristol, too, from the Jones brothers’ avant-rock outfit Crescent (who were \u003cem\u003eMovietone\u003c\/em\u003e’s closest conspirators) through Elliott’s jungle\/electronica project Third Eye Foundation, and Brook and Elliott’s membership of Flying Saucer Attack.\u003c\/p\u003e\n\n\u003cp\u003eThe vision in the music, mostly, belongs to Wright, but \u003cem\u003eMovietone\u003c\/em\u003e ran in democratic creative consort. Listening back to \u003cem\u003eMovietone\u003c\/em\u003e, you can hear this democracy in action through the wildness of the music, which is balanced by the poetics of Wright’s lyrics and melodies.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eMovietone\u003c\/em\u003e would go on to make three fantastic albums for Domino – Night and Day (1997), The Blossom Filled Streets (2000), and The Sand and The Stars (2003) – and their Peel Sessions were released in 2022 on Textile.\u003c\/p\u003e\n\n\u003cp\u003eStill held in high regard by artists like Steven R. Smith and The Pastels, whose Stephen McRobbie once described them as “one of the great unknown English groups,” it’s an absolute thrill to listen to \u003cem\u003eMovietone\u003c\/em\u003e anew – still inspired, still seductive, still magic, still mysterious.\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"2LP - Black","offer_id":50526279696715,"sku":"2003284","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/First_Album_c4ba5c6a_thumbnail_4096.jpg?v=1728041231"},{"product_id":"smallest-things","title":"smallest things","description":"\u003cp\u003eMemotone, aka Will Yates, releases a new 12-track album, \u003cem\u003esmallest things\u003c\/em\u003e, on World of Echo.\u003c\/p\u003e\n\u003cp\u003eWill Yates has made music as Memotone since 2007. He operates in the tradition of what Robert Fripp has called 'a small, independent, mobile, and intelligent unit.' If you book him, he will come. When he arrives, he will have everything he needs to make his complex, engaging music: a clarinet, a guitar, synths, samplers and pedals, quickly unpacked in the corner of a club, gallery or village hall. Starting small, he will build layer upon layer of melody, accompanying himself and cutting across himself, creating a music that avoids cliche and moves beyond easy description. His recordings have followed the same trajectory. Moving quickly, he has released fifteen or so albums across various labels (including Trilogy Tapes, Discrepant, Soda Gong). Taken together, these recordings are the sound of a skilled, inventive composer pushing at the edges of what he wants to listen to himself. It is possible to hear a variety ofinfluences in his music: folk and jazz forms, the textural inventiveness of British DI electronica and Chicago post-rock and the blurred sci-fi brass of Jon Hassell are all discernible. But mostly, Will's work seems to stem from a constant drift between long hours in his home studio, and time spent outside in the woods and hills around his home in Wales.\u003c\/p\u003e\n\u003cp\u003eListening to the album, lushness creeps in at the edges, tiny green shoots appear on what might at first appear to be bare soil. smallest things sheds the skin of Will's previous recordings, removing the electronics and the looping and layering of previous work, to create something almost entirely acoustic. But don't be fooled into imagining music that's folksy, pastoral or twee. Opening track 'I Could See the Smallest Things' is a statement of intent. Widely spaced guitar is underpinned by earthy cello and sleepwalking clarinet, making a gorgeous threadbare pattern, which recalls a Morton Feldman miniature or a Morandi still life.\u003c\/p\u003e\n\u003cp\u003eBeyond the skill involved and the years of self-taught music making that have gone into putting this record together, it is Will's close, careful attention and his talent for existing, observing and creating in the moment that make his work special. Memotone will perform at World of Echo’s annual birthday celebration on 8 Nov Expected Music, when they take over Walthamstow Trades Hall for an inter-genre, day-long investigation into some of the more outré manifestations of the contemporary worldwide underground.\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"LP - Black","offer_id":51957678211403,"sku":"R4263-9735","price":23.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/fd2c0fe2-b697-f6ca-81d8-55b91871018f.jpg?v=1749034586"},{"product_id":"unterhaltungen-mit-larven-und-uberresten","title":"Unterhaltungen mit Larven und Überresten","description":"\u003cp\u003eSome time ago, a few steps down from the place where I lived back then, there was this unkempt garden belonging to a smallish, rather bland-looking 1920s-era mansion. The garden was surrounded by a stone wall and one side of that wall had a huge crack running right through it. I've passed that spot every day on my way to work. The crack itself was shaped like a lightning striking through the stone or resembled something that would imply seismic activity even if no such thing is known to occur in these part. But its energetic radiance was undeniable to me. Often when I passed it, a rush of electricity flooded my thoughts and I would wonder – what microcosm, what kind of infinitesimal life, would rest inside there? It felt as if that crack could contain a whole reality of its own, different from mine, highly sensitive and yet perfectly encapsulated by the stupor of our mundane wanderings.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e Listening to Unterhaltungen mit Larven und Überresten (trans: Conversations With Larvae and Fossil Remains) brought back the memories of that wall, that energy, that phantasmal presence of something beyond physical perception. In a way, this record feels like a live transmission from the inside of that crack – or better, every crack, every narrow gap and interstice gouging the thin layers of a reality we all seem to share.\u003cbr\u003e\u003cbr\u003eNotorious for dwelling in these in-between spaces, Christian Schoppik's Läuten Der Seele project has long since stirred the anima within the hidden reverse of quotidian objects by looping and re-contextualising obscure and disparate sample sources. With the addition of Jota Solo, these often oneiric and impressionistic collages and story paintings now open up to a more expressive and direct colour scheme, quite literally as if Schoppik's sonic phantasmagorias have been ultimately given a real human voice to speak their mysteries. But whose voice is that?\u003cbr\u003e\u003cbr\u003eJota has a long-running history traversing Austria's outsider art scene under a myriad of different pseudonyms, most notably in the group Novŷ Svêt, a duo he shared with Frl. 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Instead, we're eavesdropping on a chance meeting of the two in what feels like the fragment of a shared dream, sublimating each other's spectral antics through spirals of noise and song, most of which is sung in German with that snide Austrian accent. Jota's presence is that of a restless, troubled feu follet, guiding - - or, as it were, misguiding - the listener with his signature parlando through the nostalgic terrain vague of Schoppik's multi-layered spools.\u003c\/p\u003e\n\u003cp\u003eIf you're already familiar with Läuten Der Seele’s detailed kaleidoscopic sound topographies you might find yourself entering an even more adventurous zone of madness and bittersweet melancholy here. Be not mistaken by the turmoil though – buried deep inside these vivid granular textures there is a rhizome of harmonies of an almost folkloristic quality: ghostlike echoes of Rashad Becker's Notional Species, lost in reveries of what life forms they have left behind or will soon emerge from them. Infinitely small, infinitely meaningful. \u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"LP - Black","offer_id":53274872643915,"sku":"R0506-7229","price":23.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/LA_uten_der_Seele_-_Unterhaltungen_mit_Larven_und_A_berresten.jpg?v=1756458218"},{"product_id":"music-for-desert-reboot","title":"Music For Desert Reboot","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eWorld of Echo unites with the confounding genius of TRii for a highly limited first time vinyl run of 2020's \u003cem\u003eMusic For Desert Reboot\u003c\/em\u003e tape, first released as TRj on the TRjj Musik label and then again as a second cassette by Mascarpone earlier this year. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"UTF-8\"\u003eAs with all the sounds produced within the TRjj\/TRii \/TRj\/TRi universe, strange illusion is part of the process, and this is certainly music that befits such smoke and mirror nomenclature, a kind of gamelan Werkbund re-programmed via the isolationist sounds of DIY home electronics conceived for a film that might or might not actually exist. Consider this time-dilation rug-pulling that's well in touch with its own mythology, so much so that it's hard to think of any obvious contemporaries, but if you've ever enjoyed the minimalist murk of Civlistijavel, the private quarters confessionals of Thomas Bush's first LP or any one of Guy Gormley's projects, you'll not got too far wrong here. Is further clarification required? That perhaps misses the point, though there is a track that features around two-thirds in entitled 'First Time Realizing the Clock Was Absent' that might function as a form of instruction to the listener. Namely, where does the time go? Music For Desert Reboot might not provide the answer, but it certainly knows how to ask the question.\u003cbr\u003e\u003cbr\u003eRe-mastered for vinyl by Jose Guerrero at La Plataforma Continental. 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Here, where the Great Dividing Range meets the Tasman Sea, Mollica worked quickly in the early part of 2025, utilising little more than a classical guitar and a 4-track tape recorder to execute her vision. The result is a truly beguiling Australian folk record.\u003c\/p\u003e\n\u003cp\u003eWith a voice that balances understated vulnerability with determined stoicism, Mollica describes everyday scenes, passing interactions and the moments that follow moments between people, all with an astonishing clarity of expression. Full moons are felt but remain unwitnessed, great loves lean into praxis or strain against it, and time is a character that watches quietly on all the while.\u003c\/p\u003e\n\u003cp\u003eThe spirit of folk song clairvoyants like Bridget St John, Anne Briggs and Maxine Funke may be sensed throughout, while Michael Hurley’s ‘Wildegeeses’ is given a faithful, though suitably idiosyncratic, re-reading. A tradition is being channeled here, though ultimately what you are hearing is the emergence of a distinct new voice.\u003c\/p\u003e\n\u003cp\u003e\"My songs often express the literal goings on in my life – the lyrics are raw and unbridled (and maybe a bit unhinged, too); but underneath this immediacy is a heavy hum that I think sounds like not knowing. How I wish to know!\"\u003c\/p\u003e\n\u003cp\u003eFor fans of \u003cspan style=\"caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51); font-family: Helvetica, Arial, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003eJessica Pratt, Judee Sill, Leonard Cohen, Michael Hurley, Sybille Baier\u003c\/span\u003e\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"LP - Black","offer_id":56248376557899,"sku":"R0760-5353","price":23.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/FieldCommanderAli-TheNextFromFieldCommander.jpg?v=1767803416"},{"product_id":"common-domestic-bird","title":"Common Domestic Bird","description":"\u003cp\u003eGuests is the home recording project of Jessica Higgins and Matthew Walkerdine. Vaguely named as such to avoid any problems with the poster if they pull out of a gig (which has only happened once, about a year and half before any songs were actually written to be fair) but also to capture a sense of reverse hospitality. That is, arriving at your door with a bottle of good wine (can’t turn up empty handed) or a fist full of savoury or sweet snacks (time of day dependant); oversharing at the afters (and then passing out on your couch); reading to your toddler while you make their lunch or put everything back where it was meant to go (only to get torn apart again). So, something about what happens when private worlds meet each other, making or having been made a space for. But at times, it’s a different kind of intimacy, a temporal or material one, like the feeling of crisp fresh sheets, and abundant and soft, body-part appropriate towels in a hotel in a city you’ve been to before and love to go back to.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eTheir debut record, \u003cem\u003eI wish I was special,\u003c\/em\u003e was variously described as “a collage of concrète experiments and outerzone pop gestures, music that sounds as if it’s been written from the depths of a dream”; “music for people who love music but also hate it too”; “something like chasing ghosts or befriending a wild animal”; “pulling apart nervous sensations with haphazard ease and requisite humour”; and “a melody of refusal, of being all-in (…) finding the exact right wrong sound to express the discontent”. Common Domestic Bird continues in this vein, layering synthesiser, keyboards and samples over rudimentary drum rhythms and field recordings, which are in turn sung or spoken with to create nine new songs.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eWritten and recorded between autumn 2024 and summer 2025 in Reading, Berkshire, the music has matured since its last outing, in a way, leaning less into collage and more toward structured composition and melodic depth, yet retains a healthy dose of indeterminacy and off-kilter rhythms for the forever-amateur. The songs on Common Domestic Bird hint at some “about”-ness through a series of discrete vignettes which sound a bit like architecture or end of year lists, gossip or over-thinking subjectivity, like disappearances and impressions, the support structure of the spine, letters and signs offs, things you could really do without and where they should go, hoping you’ll see something that isn’t there, pretences and performance. At times they feel kind of funny, others kind of sad or a bit angry and annoyed, a bit like you really.\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"LP - Black","offer_id":56486748356939,"sku":"R1930-7978","price":23.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Guests-CommonDomesticBird.jpg?v=1770635795"},{"product_id":"somewhere-good","title":"Somewhere Good","description":"\u003cp\u003eFormed in Bristol UK (where none of them are from yet all of whom are deeply engrained) in 2020, the Tara Clerkin Trio – as it somewhat democratically exists today, despite the singular authority implied by its name – consists of the titular Tara Clerkin, her partner Sunny Joe Paradisos, and Sunny’s brother, Patrick Benjamin. I’ll confess, I don’t know what their respective roles are within the operation and there’s only a very small part of me that cares to learn, as one of my favourite qualities in an objective listening experience is the mystery of who is playing what, which sounds are “authentic” versus synthesized, which chunks are performed “live” in a room together versus meticulously Frankenstein’ed from measure to measure, or how exactly the overall sound is so (seemingly) effortlessly achieved. Though, I suspect, if and when I do witness a live performance by this band at any point, my enjoyment of the music will not be lost in my better understanding of it.\u003c\/p\u003e\n\u003cp\u003eIn running their usual gauntlet of idiosyncratic (*an overused adjective for which here there is regrettably no sufficient alternative) approaches, Clerkin and co. colour in and outside of compositional lines over the course of 40+ celebratory minutes - never wallowing, despite inherently somber subject matters of self-defeat, disease, displacement, restlessness, gentrification - allowing their arrangements and improvisations ample space and time to situate, stretch out, breathe, cross-pollinate, and ultimately take deeper hold on the listener’s imagination – all while somehow sounding more like themselves than ever before.\u003c\/p\u003e\n\u003cp\u003eThere are elements of avant-pop, modern classical, kraut-folk, audio verité, dare I say indie rock (and not of the beer guzzling, masturbatory fuzz-flex variety but perhaps more like a Trish Keenan-fronted Faust, Adrian Sherwood at the mixing desk of If You’re Feeling Sinister, or – in expanding on our alternate reality – a world in which High Llamas cut a full-length for Warp Records with Andrew Weatherall on coffee duty).\u003c\/p\u003e\n\u003cp\u003eThe hazy, unmappable skyline-mirage of droning harmonium, upright bass, peculiarly accentuated wind instruments, acoustic guitar, hushed yet literally mighty keys combine to hypnotizing effect. The band may make underlying nods to jazz, sure, but it’s not appropriation, it’s that they have the actual chops to build it out. Beneath the janky samples and oddball percussive embellishment lies actually great drumming. Beyond the manipulated vocal witchery and woefully reflective plain-spoke moments are Tara’s subtly inspired melodies, sung with what might honestly be the glue to the whole crazy equation. A calming consistency throughout the otherwise unpredictably dynamic, boldly intuitive, uniquely British exploration of this (their own) universe in song. – Ryan Davis (Chicago, February 2026)\u003c\/p\u003e\n\u003cp\u003eFor fans of \u003cspan style=\"caret-color: rgb(51, 51, 51); color: rgb(51, 51, 51); font-family: Helvetica, Arial, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003eMovietone, Broadcast, Empress, DJ Shadow.\u003c\/span\u003e\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"LP - Black","offer_id":56702454497611,"sku":"R8753-0848","price":23.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":56702454530379,"sku":"R8753-8386","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/TaraClerkinTrio-Somewheregood_1.jpg?v=1773056567"},{"product_id":"driving-through-belgium","title":"Driving Through Belgium","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eDebut album from Anton Pearson, best known as guitarist in Squid, stepping into very different territory here -  think Basinski, The Caretaker, Fennesz.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" id=\"m_9094775074099232994gmail-docs-internal-guid-579c1f82-7fff-ede9-ceb7-38204b399dc5\"\u003eThere is a particular kind of strangeness that arrives on long drives across Europe. Flat light, service stations and fields stretching endlessly past the window. It might look mundane at first glance, but becomes faintly surreal when the tiredness of touring blurs the edges of everything.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThat feeling became the quiet engine behind Driving Through Belgium, the debut solo album from Anton Pearson, best known as one of the guitarists in respected post-punk outfit Squid. The title grew from a track that felt like the record’s centrepiece, which itself came from the recurring image of extensive periods on the road across the continent. It is a record shaped in the margins of touring, and finessed in the in-between hours.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAcross six pieces, Pearson leans into atmosphere, texture and space. It is ambient in spirit, adjacent to contemporary classical in feeling, but composed less with notes in mind than with sound itself. The compositions rarely began with harmony or melody, with Pearson instead responding to his environment and sounds in real time, placing trust in his instinct.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAlthough initial inspiration came from the road, the album was recorded in a studio he shares in Brighton, and marks his first fully solo project made in that setting. It gave him access to not only new tools and techniques, but a hitherto un-experienced freedom. Much of the process began experimentally, feeding instruments into unfamiliar chains, pitching loops into unexpected registers and playing with previously unused synthesizers simply to see what they might reveal. Many of the sounds were created out of pure curiosity, wanting to understand a piece of equipment or technology, and then following wherever it led.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe album was built with this experimentation at its core, as Pearson would layer then extract, processing stacks of sound until things blur and confuse. Guitars dissolve into drones, a Pianet Clavinet dances against muddier textures whilst a Korg PS-1000 occasionally cuts through with its glittering top end. On ‘Driving Past the Muscular Cows in Belgium’, a flat, still drone is pushed through valve amps until it growls and tightens with tension, before receding again. Even the trumpet, which Pearson freely admits he is not technically proficient at, is embraced in its naivety, its squeaks left intact rather than corrected. The twin ‘Tintinnabulation’ pieces frame the record with looping, pitched bell like tones, accidental discoveries that became structural anchors. Meanwhile, ‘Teeth to Cut the Grass’ deliberately introduces abrasion, some of the harshest textures on the record, a refusal to become passive background music.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003eThat embrace of imperfection is central. In contrast to the hyper-analytical precision of his band, Pearson was keen to honour first takes. If something felt good, it would stay. The end result is an album that favours looseness, instinct and the energy of creation itself. If Squid thrives on propulsion and tension, Anton Pearson finds his energy in suspension on Driving Through Belgium. It is curious rather than declarative, creating a space where experimentation feels playful again.\u003c\/span\u003e\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"LP - Black","offer_id":57163846680907,"sku":"R6890-7025","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/6c9462bd-d14f-fec4-20b0-1210b6413541.jpg?v=1777550830"},{"product_id":"eye-wander","title":"Eye Wander","description":"\u003cp\u003eWriting a bio for a secret band is a bit like cleaning a house that nobody is living in. It looks good on your resumé but do we really need it? Only ghosts do.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTalking about ghosts: there is AI for this kind of stuff, but unfortunately, even AI is too serious and will write a 'proper' bio because AI knows stuff. Name names. Name places. Name influences. Name tour dates. Name quotes by Oscar Wilde and\/or Noel Gallagher. And none of that is relevant to Ferries.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAfter the 2025 release of Ferries' quickly-vanishing first LP, Eye Flutter, not much changed for the band. They continued to exist by not existing. Et voila, a new record, Eye Wander, is now here. Although the medium is the same as the previous one (black gold), they've taken a next step in a smoky journey into a dubby and kraut-y world of creating songs and musical moments. Is 'avant garde pop' a genre? Or even 'dub kraut'? I know 'indie' certainly is, and I don't really agree with that either, and even a broken clock is right twice a day so what's the point anyway.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAnd so - Ferries made a new record called \u003cem\u003eEye Wander \u003c\/em\u003eand it is out on World of Echo. That's all you need to know for now. - Leon van Barneveld, Bergpolder.\u003c\/p\u003e\n\u003cp\u003eFor fans of  Can, Women and Gary Numan\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"LP - Black","offer_id":57313311424843,"sku":"R0787-0388","price":23.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a4036043198_10.jpg?v=1778774545"},{"product_id":"fully-nowhere-a-world-resources-archive","title":"Fully Nowhere: A World Resources Archive","description":"\u003cp\u003eWorld Of Echo is proud to announce the release of \u003cem\u003eFully Nowhere: a World Resources Archive\u003c\/em\u003e, compiling material drawn from limited lathe 7” singles and LPs released by the Aotearoa\/New Zealand label, World Resources, predominantly across the 1990s. Supplemented by previously unreleased archival recordings, and material drawn from recent sessions, it’s a revelatory listen, a judicious selection of drone, noise pop, fractured electronics and laminal improvisation from the small community of musicians surrounding the legendary Wellington free noise trio, Surface of the Earth, whose membership drove World Resources.\u003c\/p\u003e\n\u003cp\u003eIt’s music that hasn’t found its way into too many ears until now. The World Resources catalogue was both small in its number of releases, and miniscule in edition. The lathe-cuts they released, all made in a record cutting studio in the small Southern Alps town of Geraldine by DIY vinyl manufacturer Peter King, typically didn’t make their way beyond a tiny clutch of devoted collectors – if that. It took the re-release of Surface of the Earth’s 1995 double LP, firstly on CD by Bruce Russell’s Corpus Hermeticum, then again on Utech and finally on vinyl by Black Editions, to draw attention to the body of music made by the World Resources crew.\u003c\/p\u003e\n\u003cp\u003eAt which point, you may wonder – how to hear this music? The story of the resurrection of World Resources begins, in earnest, with the reappearance of Paul Toohey’s K-Group project in 2017. This, alongside the Black Editions reissue, a small World Resources retrospective exhibition in Hastings, and the subsequent release of contemporary material by Surface of the Earth, K-Group, and Donald Smith’s Destrifan, got things moving. Toohey played a few K-Group shows in Europe in 2019 and 2023, plus an instore at World Of Echo; then there was a Surface of the Earth tour of Europe in 2025.\u003c\/p\u003e\n\u003cp\u003eThe plan for \u003cem\u003eFully Nowhere\u003c\/em\u003e was hatched around that World Of Echo show in 2023. It has taken some time to come together, testament both to the attention to detail and deep patience that’s typical of everything World Resources. This is music, and art, that has never felt the need to hurry itself; Surface of the Earth’s recordings are known for their glacial pacing and organic development, three streams of guitar tone (and\/or electronics) slowly coaxed into juxtaposition.\u003c\/p\u003e\n\u003cp\u003eThe real marvel of \u003cem\u003eFully Nowhere\u003c\/em\u003e is the breadth of the undertaking and the openness of the music, even though each discrete World Resources release typically explores one space in some detail. It opens with the submerged, indistinct noise of one of Toohey’s solo projects, Gorgecop, the first 7” singles on the label. “They got reviewed by Nick Cain in [NZ fanzine] de\/create,” Toohey recalls. “He said they sounded ‘fully nowhere’.” Even this early, you can hear Toohey’s music developing – the first single is a scrum of battered loops; the second, far more enveloping. “It felt like a bit of a breakthrough, less tentative than earlier efforts, and a nod to the German stuff I liked.”\u003c\/p\u003e\n\u003cp\u003eFrom there, it’s a significant leap into different terrain with Lucky Stars, Donald Smith’s noise pop project. While a few Lucky Stars songs have leaked out during intervening years, via online compilations and the like, it’s a thrill to hear the hermetic melancholy of this music in a focused dose – you can draw some lines between these songs and the Xpressway aesthetic, Shrimper Records, and flying saucer attack, but it has its own, diffident drowsiness.\u003c\/p\u003e\n\u003cp\u003eThere are other projects present here, too: Tony McGurk, the third member of Surface of the Earth, contributes four solo recordings as Sewer; two tracks, “Hospital” and “Smell Of A Man’s Room,” were notionally released on World Resources, though as Toohey recalls, the edition of twenty singles “never made it out of his flat.” The two remaining tracks are more recent, one recorded at the Gaiety Theatre in Wairoa. There are also edits from two releases by New Zealand Guitar Orchestra, where members of Surface of the Earth and Dress (a post-Garbage \u0026amp; The Flowers outfit), along with friends, recorded two free noise albums, The Bad Shed and Skoda. Toohey’s second solo project, K-Group, contributes as well, along with a collaboration between K-Group and NZ home electronics pioneer Omit.\u003c\/p\u003e\n\u003cp\u003eFinally, of course, there is the ‘host’ outfit, Surface of the Earth, whose glorious, irradiated, geological drones still feel sublimely oneiric. Hearing this music fall into place, yet still feel wildly out of time, and somehow completely sui generis, it’s not hard to figure why their extant recorded material is held in such high regard. The material here spans decades, from a ‘single edit’ of “Shield”, recorded in the nineties, through to extractions from the trio’s Stepdown Gallery sessions at Hastings Art Centre, in 2024. It’s testament to Surface of the Earth’s intensity and surety of vision that the temporality here is as smudged and eternal as the music.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFully Nowhere\u003c\/em\u003e is arranged loosely chronologically and ends with a recent piece from Smith’s Destrifan project. In this way, the archive points onward and outward; this music is far from over, the archive lives and breathes. Listening over and over again to this music, in quiet thrall to its renegade spirit, its documentation of the visions of a tight-knit crew of unassuming artists from Wellington, I keep wondering: How did they do this, and how did they know to do it both so neatly, and yet so organically? \u003cem\u003eFully Nowhere\u003c\/em\u003e, now here, is a radiance of tone, a blossom of sound, a haze of days.\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"2LP - Black","offer_id":57557180776779,"sku":"R8270-6767","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Fully_Nowhere._A_World_Resources_Archive_2LP.jpg?v=1781181843"},{"product_id":"cloch-s-clai","title":"Cloch 's Claí","description":"\u003cp\u003eTrá Pháidín are a mutable collective of musicians who are geographically, culturally and mentally torn between Conamara Theas, Cathair Chorcaí, Ciarraí, Uíbh Fhailí, Sligeach and Port Láirge, active in one form or another since 2019. The music they make, which to date has mostly been self-released, is of an ambitious breadth, embracing traditional Irish absurdity, jazz, folk and krautrock influences, whilst remaining tantalisingly beyond any one specific understanding of either the world around them or even themselves. More defined however, is their overall conceptual approach, focusing upon original Gaelic music and what lies beyond simply “conas atá tú?”.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCloch ‘s Claí (\u003c\/em\u003etrans. Stone and Wall), their first record released by World of Echo, develops their established interests into more adventurous waters (and walls!) than ever. Based on the historical significance embedded into dry-stone walls, the album presents a satirical view of Éire’s relationship with her native tongue and the Gaeltacht (regions where Gaeilge - Irish Gaelic - remains the primary language). Constructed of ten tracks, each representative of a stone in a metaphorical stone-wall, \u003cem\u003eCloch ‘s Claí \u003c\/em\u003edraws from styles of improvisation in Irish traditional music, exploring avenues of ornamentation and accompaniment in the tradition. As such, the arrangement changes in every performance, a new stone-wall articulated each time - the recording on this album represents just one such arrangement in one such performance. Inspired by Myles na gCopaleen’s An Béal Bocht, the wall comes to embody a variety of themes scattered across the landscape and psyche of na Gaeltachtaí - tokenism, housing, gentry politics, ribbon developments and so on. The result is a music expressive of regional styles in traditional music, krautrock, free jazz, post-rock, minimalism and drone presented in a way that feels instinctively fluid and reflective of a hushed existentialism from the west of Ireland.\u003c\/p\u003e","brand":"World of Echo","offers":[{"title":"LP - Black","offer_id":57801855336779,"sku":"R2141-5186","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":58046563680587,"sku":"R2141-1785","price":13.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/TrA_PhA_idA_n-Cloch_sClaA.jpg?v=1783592783"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/collections\/test_7c5a407d_thumbnail_4096_38f3638b-184f-47f6-9bc8-6ac9d4460dda.jpg?v=1726339476","url":"https:\/\/shop.roughtrade.com\/collections\/world-of-echo.oembed","provider":"Rough Trade","version":"1.0","type":"link"}