{"title":"Fat Possum","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eFounded in Mississippi in 1991, Fat Possum began by spotlighting raw blues legends like R.L. Burnside and Junior Kimbrough. Over time, it expanded into garage rock and indie with The Black Keys, Wavves, and Soccer Mommy, building a legacy of championing outsider voices and uncompromising sounds.\u003c\/p\u003e","products":[{"product_id":"personal-best","title":"Personal Best","description":"\u003cp\u003e\u003ci\u003ePersonal Best\u003c\/i\u003e, the third album from Chichester’s Traams and their first in seven years, represents a band rebuilt from the ground up. 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Blue makes the most of everywhere the band have been. And through all of this the stakes have changed, but the sensitivity and craft with which the band takes risks has bloomed. Discarding some of the moodiness found in their previous recordings, Blue tells us what was always natural to Communions. It's about love, and taking chances, it's about trying something, and it still doesn't matter if there's apprehension?it's better when you're too busy to notice. The youthful confusions and exaggerated sentiments are there, though this time it's captured with a newfound maturity. It's a change in perspective presented in pop.  'Come On, I'm Waiting' rallies us with a rhythm that punches and a lyric that doesn't start with introductions, peaking into an anthemic call. The following track, 'Today,' is peppered with a wistfully mournful guitar that propels the song along, washing over Rehof's wry cry of intent. The band stalks new territory with a distinctive edge on 'Midnight Child.' Their effortless way with melody is wound tight into what feels like an aching glance across a dance floor. On 'Don't Hold Anything Back,' we soar on a blissed-out, hyper-real summer day. 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The feeling of the gospel standard that inspired the title – “through many dangers, toils and snares I have already come” – hangs like a shadow over the whole record, and J Spaceman’s heart and soul lies very close to the microphone.Absolute nihilism bleeds through the opening song “This Little Life of Mine”: “This little life of mine \/ I’m gonna let it slide \/ I’m gonna let it burn \/ I’m getting sick of trying.” In “The Ballad of Richie Lee”, a lament to the late Acetone singer, we have maybe the most brutally sad moment of the entire Spiritualized catalog: “He’s got his name on a rock again \/ And this time it’s the last”.\u003c\/p\u003e\u003cp\u003eThen, out of the blackest nights of the soul, beautiful hymns appear, odes to falling in love and staying in love. 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Even if the songs themselves weren’t quite as refined as they would become, virtually all of the elements are in place: the poetry, the stark melodies, the restless wanderlust, the inherent melancholy and impenetrable darkness; all of which this would inhabit his lyrics and delivery for the rest of his too-short life. The songs on \u003ci\u003eIn the Beginning\u003c\/i\u003e were recorded in his first Nashville recording sessions in 1966, pre-dating the release of \u003ci\u003eFor the Sake of the Song\u003c\/i\u003e by two years. Eight of these ten songs was recorded with Van Zandt playing solo on his guitar. All of them are quite revealing, not just for the obvious lyric and melody reasons, but for his guitar playing abilities; he was a considerable flatpicking talent and picked up his idol's, fellow Houstonian Lightin’ Hopkins', trademark stutter shuffle as well. The blues are as present Van Zandt's tunes as folk and country were. 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