{"title":"Albums of the Year 2021","description":"","products":[{"product_id":"sour","title":"Sour","description":"\u003cb\u003eOlivia Rodrigo\u003c\/b\u003e knows her references. \u003ci\u003eSour\u003c\/i\u003e is the epitome of 'I'm 18 and I'm angry' while still being beautifully constructed with nods to 2000's media like \u003cb\u003eParamore\u003c\/b\u003e and \u003ci\u003eJennifer's Body\u003c\/i\u003e.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDulcie, Rough Trade West\u003c\/b\u003e","brand":"Geffen","offers":[{"title":"LP - Black","offer_id":56473765347659,"sku":"1123480","price":32.99,"currency_code":"GBP","in_stock":true},{"title":"Purple | LP","offer_id":56474868384075,"sku":"1125269","price":27.99,"currency_code":"GBP","in_stock":false},{"title":"Pink | LP","offer_id":56474868416843,"sku":"1156206","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"Clear LP","offer_id":56474868449611,"sku":"2170115","price":29.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":56474868482379,"sku":"1120253","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/SOUR_f4f353ba_thumbnail_4096.jpg?v=1726257765"},{"product_id":"into-the-blue-1","title":"Into the Blue","description":"\u003cp\u003eWelsh trio with a predilection for delivering stadium-sized riffs with shoegazey vistas and dreamy post-punk riffage, The Joy Formidable return with their stunning new album\u003ci\u003e Into The Blue.\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eTaking a cue from bands like Yeah Yeah Yeahs, My Bloody Valentine, and Arcade Fire, the trio have continued to push their expansive sound on previous studio albums, from the breakthrough debut The Big Roar (2011), through to the last studio album \u003ci\u003eAAARTH\u003c\/i\u003e (2018), whilst always maintaining the hook-driven indie rock foundation laid down on their debut EP \u003ci\u003eA Balloon Called Moaning\u003c\/i\u003e (2009). \u003c\/p\u003e\u003cp\u003e\u003ci\u003eInto the Blue\u003c\/i\u003e is about opening your eyes to beauty and love again. 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Alex and Andy’s paths crossed once again in 2017 at Youth’s Space Mountain festival in southern Spain, where both were playing separately before deciding to work together again. The album became a long distance work with audio files, ideas and inspirations flying back and forth between England and Germany via email, telephone and the airwaves of WNBC radio. Mixed by Andy in Germany, the album made its final journey across the channel for mastering and compiling in England under Alex’s guiding hand. An original deep space mission, \u003ci\u003eThe Heavens\u003c\/i\u003e imbues 30 years of experience, skill and insight. “Organic in feel and clearly referencing our shared roots, \u003ci\u003eThe Heavens\u003c\/i\u003e is an immersive journey of ambient electronica which not only references a source, but the distance travelled from that point of origin to something new,” says Andy. 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A graduate of the School of the Art Institute of Chicago with an MFA in Literary Art from Brown University, much of Hayter’s work is centralized around abuse. A survivor of domestic abuse for much of her life, her music seeks to explore survivor hood of abuse through the vantage point of rage and despair in leu of common approaches she views as \"enforced patriarchal models of civilized femininity\". 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Lyrically, Hayter’s distinctive ability to weave the allegorical with personal trauma is further refined here, as intimate lamentations on abandonment and loneliness are carefully braided with references to Pennsylvanian Dutch lore, Mennonite treatises, calls to repent written on barns in Amish Country, and illuminated manuscripts from ascetic religious sects in Ephrata.\u003ci\u003eSinner Get Ready\u003c\/i\u003e was created with Hayter's primary collaborator, producer, and engineer Seth Manchester at Machines With Magnets in Rhode Island, with additional arrangements and performances from multi-instrumentalist and composer Ryan Seaton, and banjo-playing from J. Mamana. 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The way Mia can nod to her influences, be they of the iconic 60’s girl group, characters from a John Waters film, or cutting edge fashion from today, while simultaneously spinning a beautiful and original story in her songs, is absolutely thrilling. This is the kind of record that makes you not only excited to see what you can do with an artist in a post-pandemic future, but also how you can build their career in the present circumstances. We cannot wait for you to hear this record in its entirety!\u003c\/p\u003e\u003cp\u003eProduced by Sarah Tudzin of Illuminati Hotties and co-produced by Berrin herself, it’s a record that plays out like an exorcism in front of your bathroom mirror - confronting the dark we’ve had planted within us and then ripping it out, all while watching every second of it. It’s vulnerable yet triumphant, deliciously irreverent \u0026amp; inviting yet sneering in the faces of those that had once tried to define her. First single “Lux” was unanimously praised by press including Stereogum who called it “a serrated blast of noise in which Berrin takes someone to task with glee” and The Fader who said “come for the scrappy punk reimagining of The Virgin Suicides, stay for Pom Pom Squad's galvanizing treatise on feminine awakening in a world that would rather keep your eyes shut.”\u003c\/p\u003e\u003cp\u003eMia Berrin spent her childhood trying to find where she fit right in the world, looking to the pop culture icons on TV in hopes of finding an image she connected to. She connected with the films of John Waters and David Lynch, loved the dark campiness found in Heathers, was in awe of the power of women like Courtney Love and Kathleen Hanna. 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That’s in addition to making up half of acclaimed, primarily instrumental space-country duo “Steelism.” Clearly he’s had little trouble fitting in since moving from his native London to Music City by way of Detroit eight years ago, even if it’s mostly meant blending into the background. “I guess I’ve always hidden behind [the instrument],” he deadpans. “I’m always the guy who looks like he’s studying for a test in the background.”\u003c\/p\u003e\u003cp\u003eNow, with a debut solo album, \u003ci\u003eSpencer Cullum’s Coin Collection\u003c\/i\u003e, paying homage to the ’60s and ‘70s psych-pop, folk and proto prog heroes of his homeland, this Nashville sideman’s stepping out from the shadows into the spotlight. Along with a supporting cast of fellow Music City stage and studio aces like guitarist Sean Thompson and multi-instrumentalist Luke Reynolds, as well as singing and writing partners like Caitlin Rose, Andrew Combs, Erin Rae, Annie Williams and James “Skyway Man” Wallace — he’s bringing a bit of Britain to Tennessee.\u003c\/p\u003e\u003cp\u003e“I wanted to write a very quintessential English folk record, but with really good Nashville players.” Cullum says of Canterbury Scene conjuring Coin Collection. Cuts like glass-lake-placid album opener “Jack of Fools”, “Seaside” and the dreamlike “The Dusty Floor,” recall the prime work of the influences he name-checks: Kevin Ayers, Robert Wyatt, Fairport Convention and Sandy Denny. Beyond that, the album manifests his love for psych-prog ground-breakers the Soft Machine (“Tombre En Morceaux”), digs deep into cerebral ambient inspirations like Robert Fripp and Brian Eno (“My Protector”) and krautrock icons NEU! 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If 2019’s\u003ci\u003e No Treasure but Hope\u003c\/i\u003e saw the band rediscovering themselves as a unit, the follow-up reconfigures that unit so that everything familiar about Tindersticks sounds fresh again. \u003ci\u003eDistractions\u003c\/i\u003e is an album of subtle realignments and connections from a restless, intuitive band: rich in texture and atmosphere, it lives between its open spaces and details, always finding new ways to connect with a song. \u003c\/p\u003e\u003cp\u003eIf it’s an album that resists easy summation, at least one thing is clear: though it isn’t untouched by the lockdown, \u003ci\u003eDistractions\u003c\/i\u003e is not ‘a lockdown album’. As Staples says, “I think the confinement provided an opportunity for something that was already happening. 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Trees planted in neat rows. A well-ordered monoculture with access roads and heavy machinery. The smell of greenwashed money in the air. There’s no sign of the ancient woodland they emerged from on debut album, \u003cem\u003eCome Play The Trees\u003c\/em\u003e. And it’s far cry from the gentrified East London they found themselves hawking on \u003cem\u003eStunning Luxury\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eAll is not well in the face of progress. Welcome to the \u003cem\u003eForest Of Your Problems\u003c\/em\u003e. Even among the famously close-knit woodwose community there are factions forming. Meet \u003cstrong\u003eThe Businessman\u003c\/strong\u003e, \u003cstrong\u003eThe Cornucopian\u003c\/strong\u003e, \u003cstrong\u003eThe Nemophile\u003c\/strong\u003e, and \u003cstrong\u003eThe Protester\u003c\/strong\u003e. Each with their own motivations and belief systems. 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