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Whether you're an avid music enthusiast or simply looking for your next favorite artist, Bayonet is sure to deliver an unforgettable musical experience.\u003c\/p\u003e","products":[{"product_id":"clash-the-truth-10th-anniversary-edition","title":"Clash the Truth (10th Anniversary Edition)","description":"\u003cp\u003e\u003cstrong\u003eBeach Fossils'\u003c\/strong\u003e sophomore album, \u003cem\u003eClash the Truth\u003c\/em\u003e, is a modern post-punk triumph that has left a lasting impression on the music scene it was born out of.\u003c\/p\u003e\n\n\u003cp\u003eAfter releasing their self-titled debut and the beloved EP, \u003cem\u003eWhat a Pleasure\u003c\/em\u003e, songwriter and composer Dustin Payseur began recording dissonant and introspective demos reflecting on his southern upbringing and young adulthood in New York.\u003c\/p\u003e\n\n\u003cp\u003eThe tracks that would eventually make up \u003cem\u003eClash the Truth\u003c\/em\u003e involved Payseur taking his songwriting in a new direction, employing jagged instrumentals, existential lyrics, and socially conscious subject matter.\u003c\/p\u003e\n\n\u003cp\u003eThe darker themes of \u003cem\u003eClash the Truth\u003c\/em\u003e still come out vibrant through bright guitar tones, locomotive drumming, and Payseur’s inventive home recording techniques.\u003c\/p\u003e\n\n\u003cp\u003eReferencing the sounds of Factory Records releases, New York’s no wave scene, and 90’s avant-pop, \u003cstrong\u003eBeach Fossils\u003c\/strong\u003e expanded their sound past the perimeters of bedroom dream pop.\u003c\/p\u003e","brand":"Bayonet","offers":[{"title":"Clear LP","offer_id":50401459667275,"sku":"2182358","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Beach_Fossils_-_Clash_the_Truth_10th_Anniversary_Editi_b60a9ee5_thumbnail_40.jpg?v=1726522631"},{"product_id":"kabutomushi-3","title":"Kabutomushi","description":"\u003cp\u003eRecommended if you like: Ichiko Aoba, Laufey, Frankie Cosmos, Faye Webster, American Football, Sidney Gish. “You can hear the improvisational jazz techniques at every melodic turn, as the undercurrent of heavy indie rock is unable to remain beneath the surface” Paste \/\/ 'Mei Semones’ sweetly evocative blend of jazz, bossa nova and math-y indie rock is not only a way for her to find solace in her favorite genres, but is an intuitive means of catharsis. “Blending everything that I like together and trying to make something new – that's what feels most natural to me,” says the 23-year-old Brooklyn-based singersongwriter and guitarist. “It’s what feels most true to who I am as an artist.” Plinking guitar tones and asymmetrical time signatures exemplify her forays into angular indie rock more now than ever before, especially on her debut Bayonet Records single “Wakare no Kotoba”—its wide-interval arpeggios in odd meters being some of the most technically difficult guitar work Mei has ever implemented in her songwriting. Translated to “parting words'' in English, the self-described “anti-love song” serves as a farewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei’s intricate guitar work. After releasing a slew of singles and an EP in 2022, coinciding with her move to New York City, Mei and her band have since gone on to collaborate with post-bossa balladeer John Roseboro and embark on their first-ever tour with the melodic rock outfit Raavi. 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Using images inspired by nature (like the sun, moonlight, hurricanes, and deep water), he expresses being overtaken by a force greater than himself, as the psychedelic production evokes a sense of being plunged into this vast landscape. 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The record was built out with a wide ranging group of collaborators, including inventive drumming from Andrew Stevens (Lomelda, Hovvdy), Alex Harwood, Richard Orofino, Babehoven’s Maya Bon, Hannah Pruzinsky (h.pruz, Sister.), and Chris Daley. It was an insulated and collaborative experience: all family dinners on the back porch, bonfires, feeling a full sense of joy, of friendship, of purity in the artistic self.\u003c\/p\u003e\u003cp\u003eCollaboration is an integral part of Bloomsday’s musical process. Garrison is malleable in the studio, their songwriting generous and spacious. But in listening to the record, there’s a sense that Garrison leaves room for the players, for the listener; for songs to find the shapes they’re meant to take. Garrison’s role as maestro is crucial, singular – it’s a collaborative, exploratory spirit harnessed by Garrison’s intuition, and by an honest commitment to carve out creative space for play, to delve into what’s known – or pushing past that, into unknown. “The ghosts of the past still come up and haunt me,” Garrison says, “but I sit in what I have and see it. All of these songs are about loved ones, about personal struggles with getting out of my head and being present.” Heart of the Artichoke was written from a healed, matured place – written in a moment of safety from chaos. 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For Tasha, the last few years have been propulsive, dynamic, bursting at the seams. They've included painful encounters with grief; a sudden break up; new flirtation; new hair; the glitter of world travel and not least, a role in Tony-nominated Broadway musical ‘Illinoise’ which adapts Sufjan Steven’s\u003ci\u003e Illinois \u003c\/i\u003efor the stage. If \u003ci\u003eTell Me What You Miss The Most \u003c\/i\u003e was an introspective meditation on love with a few moments of glancing toward what’s next, \u003ci\u003eAll this and So Much More\u003c\/i\u003e is Tasha turned outward, flourishing, telling us what it’s like to take life by the chin and look it in the eye.\u003c\/p\u003e\u003cp\u003eTake, for example “Eric Song.” This was the first song to be written on the album, penned while Tasha grappled with the sudden, tragic death of Eric Littman, the co-producer of her last album. Though the instrumentation is a familiar 3\/4 guitar strum, lulling us into a comforting waltz, Tasha’s voice is breathy with grief, adding depth and dimension to the hushed sound. “No, I’m not alone after all \/ You must be near \/ Facing this soaring sprawl,” she sings, transforming the experience of loss into a talisman of love and courage meant to help usher in a new self.\u003c\/p\u003e\u003cp\u003eSaid a different way, \u003ci\u003eAll This and So Much More\u003c\/i\u003e is a full-throated ode to all of the ups and downs of becoming. In the opening track, “Pretend,” when Tasha sings about “feelings outgrowing this little life,” we get the sense, both lyrically and sonically, of someone in the throes of growth. This is an album crafted with a big, ambitious sound (in part, thanks to the production of Gregory Uhlmann)—cinematic droning, orchestral woodwinds, dazzling arrays of jangling guitar, all lining up to capture a sweeping moment in Tasha’s life. 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A rich and mellow mix of piano, saxophone, upright bass and brushed drums explore the contours of familiar songs, soaring Payseur’s melancholic harmonies to new heights.\u003c\/p\u003e\u003cp\u003eRecommended if you like: Chet Baker, Norah Jones, Kamasi Washington, BADBADNOTGOOD, Wild Nothing, DIIV, Kevin Krauter\u003c\/p\u003e","brand":"Bayonet","offers":[{"title":"Blue | LP","offer_id":50502162350411,"sku":"1133131","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50502160089419,"sku":"1133129","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/4b80504c-17cb-4d5c-90f7-1cafa6077c70_thumbnail_4096.jpg?v=1727788929"},{"product_id":"place-to-land","title":"Place to Land","description":"\u003cp\u003e\u003ci\u003ePlace to Land\u003c\/i\u003e showcases Bloomsday's talent as writers, producers, and players. 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Like \u003ci\u003eZentropy\u003c\/i\u003e, Kline approached \u003ci\u003eNext Thing\u003c\/i\u003e by fleshing out several old home recordings, and by writing half of the album from scratch. \u003ci\u003eNext Thing \u003c\/i\u003eexplores new emotional and instrumental territory for Kline. 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Translated to \"parting words\" in English, the selfdescribed \"anti-love song\" serves as a farewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei's intricate guitar work. After releasing a slew of singles and an EP in 2022, coinciding with her move to New York City, Mei and her band have since gone on to collaborate with post-bossa balladeer John Roseboro and embark on their first-ever tour with the melodic rock outfit Raavi. 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The EP will be released by itself on CD \u0026amp; Tape formats and will be included in a vinyl pressing on the B-side of Semones' landmark EP, 'Kebutomushi\"! Plinking guitar tones and asymmetrical time signatures exemplify Semones' forays into angular indie rock more now than ever before. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei's intricate guitar work. 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This album embodies Mei’s deeper trust in her instincts and features musically impressive tracks that showcase her adventurous, vulnerable, and confident sound.\u003c\/p\u003e\n\u003cp\u003eMei’s newfound assertiveness is influenced by her experiences in the past year, which was transformative for the Mei Semones band. 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Let's hold hands online,\" Schmitt sings. \"Proud of You\" and itsY2K sample chops might make you think of Smash Mouth, and I mean really think of Smash Mouth - like, you might go back to \"All Star\" and marvel at the C-sharp diminished chord tilting the chorus askew.\u003c\/p\u003e\n\u003cp\u003eThese songs breach with the delight of new love and then they wallow in the disaster of love disintegrating, and they're so incredibly into it all, starving for it, reeling with every kind of intensity, until the edges between desire and pain start to fuzz. Grumpy plays into the idea of irresistible monstrosity. I’m drawn to ugliness laced with charm,\" Schmitt says. \"My whole songwriting ethos is about how ugly can I be, how much can I admit, how much can I perform the things that have been most painful in my life. The Grumpy character is a villain who wins over the listener with his acceptance of pain and sense of humor. He's creepy, brash, and, somehow, charming. He's got bravado and prowess. He’s inviting an audience to be entertained by his ugliness. And I think that’s what songwriting is: performing your pain for entertainment or catharsis. \"Piebald flings itself open into an invitation to really love the ugly stuff: not just accept it ,not just endure it, but wrap your arms all the way around and drink in the scent of its fur. \"Bird Parts\" opens the EP with the thesis, “My girl isn’t mine \/ I’m a bottom feeder \/ I can’t kiss her but she calls me when I really need her.” \"That’s Grumpy’s ethos in miniature,\" says Schmitt. \"It insists on dignity in the midst of humiliation, on connection despite rejection. It’s about remaining indispensable even when discarded. Piebald doesn’t ask for pity. It casts a spell and dares you to look away.\"\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;\"\u003eFrankie Cosmos, Frost Children, Water From Your Eyes, Sidney Gish, LUCY, Girlpool\u003c\/span\u003e.\u003c\/p\u003e","brand":"Bayonet","offers":[{"title":"CD","offer_id":52840958132555,"sku":"R7967-7215","price":11.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Grumpy-Piebald.jpg?v=1752158574"},{"product_id":"kurayami-get-used-to-it","title":"Kurayami\/Get used to it","description":"\u003cp\u003e\"Kurayami\" the newest single from Mei Semones features some of the mathiest riffs and one of the most bombastic musical climaxes of her career thus far. An exhilarating track to cap off a star-making year for Mei.\u003c\/p\u003e\n\u003cp\u003eMei on the new songs:\u003cbr\u003e\"Kurayami\" means \"darkness\" in Japanese, and this song is about growing up in Michigan and reminiscing on what it was like hanging out with my friends. Being a kid was really fun and I was happy, but I remember there was a point where we started to lose our innocence and I think this song is about that feeling. It's one of the more technically difficult songs I've written, and it took some practice to get to the point where I could sing and play it at the same time. There's lots of fun tempo changes, odd meters, wide interval arpeggios, and fast licks, and I think the band arrangement is really creative too.\u003c\/p\u003e\n\u003cp\u003eGet used to it: \"Get used to it\" is about the beauty in solitude and being alone, how to move on from something that was important in your life but still leave space for it, and my love for the guitar and music. It's the second song I wrote on my nylon string, and the changes and melody are somewhat inspired by Thelonious Monk. The instrumentation is more minimal than our other songs -- just me (guitar \u0026amp; vox), upright bass, and drums. We were going for a live jazz trio sound, so there's not really any layers or anything. It's just a straightforward recording of the 3 of us playing the tune, and I think that was the best way to capture the feeling behind the song.\u003c\/p\u003e","brand":"Bayonet","offers":[{"title":"7\" - Lotus Green","offer_id":53687570694475,"sku":"R1987-4499","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/MeiSemones-Kurayami.png?v=1761039124"},{"product_id":"dirt-buyer-iii","title":"Dirt Buyer III","description":"\u003cp\u003e\u003cem\u003eDirt Buyer III\u003c\/em\u003e begins with a song about sports. “Baseball\/ Is somethin’\/ I’ll never get, but I\/ Sleep on it\/ Wake up\/ And try again,” Joe Sutkowski coos over loping-then-roaring distorted guitar. But of course, anyone familiar with the emotional depths of Dirt Buyer’s music knows Sutkowski isn’t simply singing about America’s favourite pastime. “It’s about growing up with certain expectations and adhering to them for no reason other than doing what you’re told,” Sutkowski explains. “The song is about gaining autonomy and independence.” In its opening moments, \u003cem\u003eDirt Buyer III \u003c\/em\u003egoes back to origin stories, to disconnects hard-wired in childhood, to set up an album that, from there, is a visceral document of navigating the same trials in adulthood. When Dirt Buyer II arrived in 2023, it had already been sitting on the shelf for three years. By then, all the songs had been written for \u003cem\u003eDirt Buyer III,\u003c\/em\u003e pouring out of Sutkowski during a particularly tumultuous stretch of life. Where in the past he would write the amount of songs necessary for an album and head right into the studio, here he had amassed more than two dozen tracks. Mere weeks after II found its way into the world, Sutkowski was recording III. “I was so ready to do something else,” he explains. He was ready to put these years behind him.\u003c\/p\u003e\n\u003cp\u003eIn the same way there was a sonic leap from the homemade recordings of Dirt Buyer to the moderate studio polish of Dirt Buyer II, Sutkowski’s music has again undergone a logical but substantial evolution between albums. The bones are the same: ragged acoustic guitars, electric riffs chiming autumnally then caustic and overdriven, drums staggering forward with the same desperate pace with which Sutkowski passed through these years. Then, his voice above it all: plaintive, weaving, breaking at times and finding new power in others. Buoyed by the bulletproof structures of these songs and more muscular production, \u003cem\u003eDirt Buyer III\u003c\/em\u003e presents the fullest, most immersive version of Sutkowski’s sound yet. In October of 2023, Sutkowski joined his friends Hayden Ticehurst and Chris Cubeta at Brooklyn’s Studio G. He showed them all the demos, and together the trio culled it down to the “heaviest hitters of the bunch,” narrowing in on the 11 compositions featured on III. “We knew what the songs were going to be, and we tackled everything head on,” Sutkowski says. Still, they took their time getting everything just right, with recording, mixing, and finishing touches scattered across a year. As a result, Sutkowski has never been more proud of a Dirt Buyer album, adding: ““The finished product is the best representation of where I’m at now as a songwriter..”\u003c\/p\u003e","brand":"Bayonet","offers":[{"title":"LP - Black","offer_id":55923808665931,"sku":"R0047-1657","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/DirtBuyer-DirtBuyerIII.jpg?v=1763391836"},{"product_id":"next-thing-10th-anniversary-edition-rsd-2026-tr","title":"Next Thing (10th Anniversary Edition) - RSD 2026","description":"\u003cp\u003e\u003cstrong\u003eBuy in-store on Record Store Day (18\/04\/2026). This product is an RSD Exclusive title and is not available to pre-order.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemaining stock available online from:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eUS - 08:00 EST (19\/04\/2026)\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eEU - 14:00 CEST (19\/04\/2026)\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eUK - 20:00 BST (20\/04\/2026)\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eSome titles will sell out prior to online sale and some will only be available in specific regions. We are sorry for any inconvenience this may cause.\u003c\/strong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGreta Kline’s musical output as Frankie Cosmos exemplifies the generation of musicians born out of online self-releasing. Kline initially built a reputation with her prolific catalog of bedroom recordings and as a performer and advocate of New York’s All Ages DIY scene. The beauty in Kline’s writing does not lie within immense statements and large gestures, but instead can be found in her ability to examine situations and relationships with heartbreaking sincerity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 2014 Kline released her first studio album, \u003cem\u003eZentropy\u003c\/em\u003e. Within months of its release, \u003cem\u003eZentropy\u003c\/em\u003e became one of the most critically acclaimed independent albums of the year and was named New York Magazine’s #1 Pop album of 2014. In 2015 Kline signed to Bayonet Records, immediately releasing an EP where she experimented with writing in an electronic setting. The EP Fit Me In was well received and garnered a Best New Track from Pitchfork. Kline then began recording her next album appropriately titled, \u003cem\u003eNext Thing\u003c\/em\u003e. Like \u003cem\u003eZentropy\u003c\/em\u003e, Kline approached Next Thing by fleshing out several old home recordings, and by writing half of the album from scratch. Next Thing explores new emotional and instrumental territory for Kline.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn the 10 years since its release, Frankie Cosmos reached new heights, and the song “Fool” had a viral moment that assisted it in going Gold! This new edition of the album features three previously unheard demos just for vinyl lovers! Includes 3 demos of previously released tracks, including 2 that will be exclusive to this variant forever.\u003c\/p\u003e","brand":"Bayonet","offers":[{"title":"LP - Fools Gold","offer_id":56474832798027,"sku":"R3265-0321","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/QL7QclGn_r19Ta2ouGE9cP6smukreTl-ZelWGazcjgI-1920w.jpg?v=1770385365"},{"product_id":"mei-semones-kurage-plushie","title":"Mei Semones - Kurage Plushie","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eA new plushie in honor of Mei's new EP, \u003c\/span\u003e\u003cem\u003eKurage—\u003c\/em\u003e\u003cspan\u003efrom Plushie Love x Bayonet Records!\u003c\/span\u003e\u003c\/p\u003e","brand":"Bayonet","offers":[{"title":"Plushie","offer_id":56496103293259,"sku":"R3968-5792","price":38.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/mOiT5zRo.png?v=1775745591"},{"product_id":"a-sweet-passerby","title":"A Sweet Passerby","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eOn her sophomore album \u003cem\u003eA Sweet Passerby\u003c\/em\u003e, Orange County and LA-based artist Kelz traverses a bittersweet journey towards self-acceptance and peace, combining the charged energy of 90s\/Y2K pop with nostalgic synthscapes and whispered lyrics that sear the heart. Written over the past 4 years, the 11-track album is an introspective self-portrait about a functioning person on the surface whose internal state spins through a crisis of identity during deaths in the family, periods of depression, and reflections on simpler times.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eJust like the Southern California tide, the murmurous backdrop within \u003cem\u003eA Sweet Passerby\u003c\/em\u003e is deceptively peaceful. kelz finished writing the single “Sweet Escape” during the last week she spent with her late grandmother before her passing. Despite its vibrant dance beat, the track’s mellow chorus and freeform lyrics chase escapism through the turmoil of missing a beloved elder, while hoping she’s now in a better place. Nestled between twinkling melodies and sweetly plucked guitar, “Falling Behind” is similarly rife, lyrically, with self-paralysis and simmers in the loneliness of grief.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFrom the rupture of grief, comes the thrill of release. Earlier in the album, we’re first plunged into the summery energy of lead single “Just Us 2”, a dance-heavy single that sees kelz choose her own happiness for once, wrapped in uplifting drums and shimmery chords.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Breathe” continues the exploration of self-kindness, more steadfast in its sonic worldbuilding with a set of light vocals that slide into cruise control.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe album’s core emotional landscape is most prominently explored in final track “I’m Sorry” , which ends not with hope, but a realization that the answers don’t come all at once. 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