{"title":"Spacebomb","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eSpacebomb is a music label based in Richmond, VA. With a focus on quality and creativity, Spacebomb has become a leading force in the music industry. Founded by Matthew E. White in 2012, the label quickly gained recognition for its unique sound and innovative approach to production.\u003c\/p\u003e\n\n\u003cp\u003eAt Spacebomb, we believe that great music should be accessible to everyone. That's why we work with a diverse roster of talented artists who push boundaries and defy genres. From *Natalie Prass* to *Bedouine*, our artists are known for their captivating performances and thought-provoking lyrics.\u003c\/p\u003e\n\n\u003cp\u003eOur state-of-the-art recording studio allows us to capture the essence of each artist's vision while maintaining the highest level of production quality. Whether it's folk, soul, or indie rock, you can expect nothing less than excellence from every release under the Spacebomb label.\u003c\/p\u003e","products":[{"product_id":"high-school","title":"High School","description":"\u003cp\u003eProduced by Heidecker, Drew Erickson, Eric D. Johnson and Mac DeMarco, \u003ci\u003eHigh School\u003c\/i\u003e sees Heidecker emerging as an increasingly playful and poignant story teller, infusing childhood tales with new gravity. \u003c\/p\u003e\u003cp\u003eAfter initial and fruitful sessions with Jonathan Rado, Heidecker started recording tunes with DeMarco and Erickson, who had also worked on 2020’s collaboration with Weyes Blood, Fear of Death. At DeMarco’s studio, they added drum machines and synths and sidewinding solos to Heidecker’s big strummed chords. Johnson (Bonny Light Horseman, Fruit Bats) helped Heidecker finesse the tunes even more, making the music as rich as the feelings. Kurt Vile contributed to one song, as well. Through all those sessions, it slowly became clear: Heidecker was writing not only about the adventures and misadventures of life as a Pennsylvania teen in the early ’90s, but also how it felt to lose a juvenile sense of mystery and possibility as an adult. He was writing about high school and, really, the way it helped shape everything else.\u003c\/p\u003e\u003cp\u003eBack at Pennsylvania’s Allentown Central Catholic High School, Heidecker dreamed of making it with one of his many rock bands — Time and Other Things, Shaggy’s Beltbuckle, and (incredibly) The Pulsating Libidos. Two years shy of his graduating class’ 30th anniversary, Heidecker admits he had little of substance to say when he was 17, like all but the rarest of precocious minds. In college, though, he found the friends with whom he built his comedy career, largely apart from music and without much thought for his time back at Central Catholic. He was focused on his future. It is fitting, then, that as Heidecker has become such a delightful singer-songwriter and collaborator, he returns to the first scene of his time as a musician. Maybe he’s right — he didn’t have anything to say or sing about life back then. But across the earnest and amusing High School, he finds plenty to say about those weird and wonderful and ordinary times.\u003c\/p\u003e","brand":"Spacebomb","offers":[{"title":"Red LP","offer_id":50402629124427,"sku":"1151977","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50402628993355,"sku":"1151975","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/0c286d56-93ca-4855-a2cd-098f73168594_thumbnail_4096.jpg?v=1726553449"},{"product_id":"broken-mirror-a-selfie-reflection","title":"Broken Mirror: A Selfie Reflection","description":"\u003cp\u003e\u003ci\u003eBroken Mirror: A Selfie Reflection\u003c\/i\u003e is a timely callout to the power of collaboration, of kindred spirits connecting in crowded rooms. More important, though, is this collision of two profoundly Southern artists, meeting to shed expectations of generation and genre, scene and situation and exchange truth, wisdom, and energy. The real world is more complicated than a pretty digital picture, bowdlerized of blemishes. As \u003ci\u003eBroken Mirror: A Selfie Reflection\u003c\/i\u003e reminds us, it can be more revelatory and transformative, too. For fans of On the Corner, Gil Scott-Heron, Can and \u003ci\u003eBitches Brew.\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eThese racks are balls of energized contemplation, Holley crooning grievances and observations above surrealist grooves so irrepressible and heavy that the words strike with the force of gospel. Holley strolls into “I Cried Space Dust” as if he’s wandered into the On the Corner sessions and offered unsolicited insights on true transcendence. “I’m Not Tripping” is an anthem of self-worth and self-enjoyment for a society mired in self-doubt, the words breaking like light beams through clouds of atomized drums and synths. And Holley begins the title track as a character mindlessly staring into a cell phone, captivated by his own image like Narcissus at water’s edge. Holley ponders the egotism of projection over dizzying keyboards and guitars so jagged they conjure fractured glass. By song’s end, he’s mocking this infrastructure of pandering for likes, jeering us all above a savage bassline that dares you to differ.\u003c\/p\u003e\u003cp\u003eHolley and White may seem like unlikely collaborators, divided as they are by decades and disciplines. Holley, 70, first earned attention as a sculptor far removed from the fiefdom of fine art, using society’s detritus to create curious bricolages that ferried deep narratives of ancestral pride, enduring pain, and eternal hope. His music privately stowed on stacks of cassettes before he released his staggering 2012 debut, Just Before Music, at the age of 62 aired those ideas over extemporaneous pieces for prismatic keyboards. But on \u003ci\u003eBig Inner \u003c\/i\u003eand \u003ci\u003eFresh Blood\u003c\/i\u003e, White, now 38, came into acclaim as one of his generation’s most meticulous songwriters and arrangers. 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Howard Ivans reveals himself anew, bringing us inside his personal relationship to R\u0026amp;B with two brilliant flashes of chromatic-eyed soul.\u003c\/p\u003e","brand":"Spacebomb","offers":[{"title":"7\"","offer_id":50451647005003,"sku":"370012","price":8.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/5581e7e1-5adb-4748-b0ec-92177102d848_thumbnail_4096.jpg?v=1727132814"},{"product_id":"known-about-town-library-music-compendium-one","title":"Known About Town: Library Music Compendium One","description":"\u003cp\u003e\u003ci\u003eThis is a Record Store Day 2019 item. It will be available to purchase from our stores from 8am 13th April. Remaining stock will be available to purchase from this page at 00.01 20th April.\u003cbr\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eMatthew E White is known for his releases under his own name but the house band, based in the Spacebomb studios in Richmond, Virginia have been the musical engine, providing either full band support or arrangements behind releases from artists such as Natalie Prass, Slow Club, Foxygen, The Waterboys, Bedouine, Amber Arcades, Andy Jenkins and have even made musical contributions to the hit podcast S-Town. This release is a collection of the Spacebomb House Band Library music which has been released on cassette every quarter of 2018, with additional new unheard material all never before made available on vinyl. The Spacebomb House Band Library Music is a place for these four incredibly talented musicians to let loose, experiment and push production ideas and boundaries.\u003c\/p\u003e","brand":"Spacebomb","offers":[{"title":"Clear | 12\"","offer_id":50452395295051,"sku":"1058634","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/03bf5bf0-fcf2-40f4-a207-92d122565413_thumbnail_4096.jpg?v=1727151088"},{"product_id":"for-my-mama-and-anyone-who-look-like-her","title":"For My Mama And Anyone Who Look Like Her","description":"\u003cp\u003eDebut album on Spacebomb featuring Micah James, Alfred., and Deau Eyes. For fans of Black Milk, Kendrick Lamar, Kamasi Washington, Mos Def, Blood Orange, Milo, Pharcyde, Blackalicious, and Anderson Paak.\u003c\/p\u003e\u003cp\u003eRichmond, Virginia-based artist McKinley Dixon has always used his music as a tool for healing, exploring, and unpacking the Black experience in order to create stories for others like him. \u003ci\u003eFor My Mama And Anyone Who Look Like Her\u003c\/i\u003e, Dixon’s debut album on Spacebomb, is the culmination of a journey where heartbreak and introspection challenged him to adapt new ways of communicating physically and mentally, as well as across time and space.\u003c\/p\u003e\u003cp\u003eThe language accessibility aspect of this project draws right back to communication and connecting,” Dixon explains. “I think about the messaging, and how this can be a way for another Black person, someone who looks like me, to listen to this and process the past. Everything I've learned about communication for this album culminates with this bigger question about time. Is time linear when you’re still healing and processing? Westerners look at time travel as something to conquer or control—it's a colonizer mindset. That’s ignoring how time travel can be done through stories and non-verbal communication, and doesn't acknowledge how close indigenous people are to the land and the connections groups have because they’ve existed somewhere for so long. Storytelling is time travel, it's taking the listener to that place. Quick time travel. Magic.”\u003c\/p\u003e\u003cp\u003eNever relying solely on beats, Dixon taps into a hybrid of jazz and rap, pulling in an array of piercing strings, soulful horns, percussion, and angelic vocalists throughout the album—plus features by Micah James, Lord Jah-Monte Ogbon, Pink Siifu, and more. Jazz instrumentals add a level of uncertainty, with the sounds and shifts evoking a lot of emotion and vulnerability. 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The resulting album is a psychedelic children's song-cycle for adults that reveals the composer's fascination with collage, improvisation, humor, and the convergence of atonal and popular melodies. Welcome to a unique universe of sound, a wild world of childhood imagination and grown-up musical vision-a sparkling and strange landscape inhabited by a remarkable figureVinyl is a typical Spacebomb release - download, signed letter of authenticity.\u003c\/p\u003e","brand":"Spacebomb","offers":[{"title":"CD","offer_id":50457573228875,"sku":"384054","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/1e17b464-4b46-4c31-bb6a-646b72ce3f63_thumbnail_4096.jpg?v=1727206537"},{"product_id":"natalie-prass","title":"Natalie Prass","description":"\u003cp\u003eRepress of Natalie Prass’s 2015 critically acclaimed UK top 50 and US top 10 Billboard Heatseekers debut LP, on turquoise blue vinyl. 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A record of chamber pieces under his own namefeaturing a set of preludes and fugues for string quintet and pieces for chamber string orchestra and piano. Pollard's work has been a vital component of productions by a growing list of rock and pop artists in the know, Natalie Prass, The Waterboys, Foxygen, Helado Negro, Matthew E. White and Bedouine, and expanded to projects outside of that context, recently contributing to the score of S-Town, the groundbreaking longform podcast. The music of his mind is of such quality-agile and prescient, conceptual yet emotional, with an absorbing sense of beauty. Though he might not try to bring down the heavens, they swing low just the same. Pollard moves through the potentialities of sound with surety, finding his own line on the thrill of sound.\u003c\/p\u003e","brand":"Spacebomb","offers":[{"title":"CD","offer_id":50497997177163,"sku":"1046818","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/11fd62ba-2179-43ab-bc6c-aba33be08f53_thumbnail_4096.jpg?v=1727736226"},{"product_id":"bird-songs-of-a-killjoy","title":"Bird Songs of a Killjoy","description":"\u003cp\u003eWhen you listen to the love songs of LA-based Bedouine, you will be reminded of Karen Dalton’s world-wise voice or the breathy seduction of Minnie Riperton's vocals, the easy cool of French ye-ye singers, and the poetry of Joan Baez. Her folk is nomadic, wandering across time and space, and on the likes of new song \u003ci\u003eDizzy\u003c\/i\u003e meander into danceable jams. On first discovery you may ask whether they're dated to 2019, or whether you've uncovered some forgotten classic. It makes sense that singer-songwriter Azniv Korkejian's arrival – both musically and personally – on her second record has been influenced by her own wanderlust, displacement, and curiosity. \u003c\/p\u003e\u003cp\u003eThe music is the farthest from curmudgeonly or depressive as could be. It's a soundtrack to Spring blossom, to warm air on skin, to the concept of possibility. Amazingly, despite the successes since her debut release, \u003ci\u003eBird Songs of a Killjoy\u003c\/i\u003e rejects any pressures to be some kind of grand evolution from before. When her self-titled debut came out in the summer of 2017, Azniv was entirely unknown, and wasn't necessarily looking to change that. The album she wrote in her free time while dealing with some emotional trauma and locking herself away in her house, was an exercise in diarizing, in expression without expectations. 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