{"title":"Sacred Bones \/l\/","description":null,"products":[{"product_id":"aurora-blue-colored-vinyl","title":"Aurora (Blue) [Colored Vinyl]","description":"\u003cp\u003eLathe of Heaven return with their second full-length album Aurora, a boldexpansion of their sonic and thematic palette that unfolds like a series of vivid,emotional vignettes.Aurora is an iteration of Lathe of Heaven's sound previously unexplored, one thatoffers a delicate balance of their punk roots with captivating new-wave and 80spost-punk aesthetics, incorporating influences from mid 80s British and Finnishpost-punk, combined with subtle nuances from 90s and contemporary underground pop. Recorded with Ben Greenberg at Circular Ruin and masteredby Brad Boatright, the album sonically is inspired by The Cure's melodic rock,Musta Paraati's gothic post-punk synth and intense drumming, and A Flock ofSeagulls' art pop vocals and guitar riffs.Lyrically, Aurora doesn't shy away from heavy themes. Envisioned as a collectionof sci-fi short stories, it is deeply influenced and lyrically driven by themes ofanti-colonialism, diversity, and equality. These stories are inspired by Ursula K. leGuin, Octavia Butler, Greg Egan, and Peter Watts' novels, leading listeners tomythical, bold, and somewhat unnerving realities. The title track, \"Aurora,\" is setin a dystopian future where Earth is long abandoned due to nuclear fallout - it explores themes of loss, love, and devotion. \"Oblivion\" delves into the phenomenonof semantic satiation - say a word enough times and it begins to lose it's meaning.\"Exodus\" reimagines Theseus' Ship Paradox, narrating the experience of transferring consciousness into a new, perfect body. Elsewhere, \"Portrait of a ScorchedEarth\" stands as a direct act of resistance. One of the most emotionally raw songson the album, it breaks from the band's usual lyrical abstraction as an unflinchingreckoning with the horrors of modern warfare and displacement, rooted in thelived tragedy of Gaza.Lathe of Heaven hope Aurora elicits a vast spectrum of emotions, and inspiresdeeper reflection on the state of our reality and humanity. It is literary withoutbeing pretentious, political without preaching, and emotional without flinching.Every song holds a piece of a shattered mirror and what emerges is a prismatic,wounded beauty, staring back with a thousand faces. 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Producer Atom TM, who was not present for recording, was then asked to re-organize the four sequences of stems without any length, structural restrictions or guidelines. Those sequences ultimately became the four long tracks that appear on I. The result of this was a set of songs where neither the band's, nor the producer's, structural vision primarily shaped the metric or tonal space shifts, but where both were still subliminally present in each of the parts that form the structure and the frequency modulations that guide them. \"We invite you to join us in sharing the experience of being led by this non-rational, sonic artform and it's energy. 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Harmonies are piped in across the expanse of space, and lyrics capture conversations that seem to come from another room, repeat an accusation overheard, or speak as if in sleep of interpersonal struggles distilled down to one subconscious phrase. 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This progression is anchored by Spellling's familiar bewitching vocal style that emphasizes the theatrical and folkloric heart of her songwriting.The release of The Turning Wheel was delayed by over a year from it's intended release date in 2019, but the forced pause ended up serving as a blessing in disguise. Navigating the chaos of recording and producing the remaining instrumentalists - either remotely or through rigid socially distanced studio sessions - was immensely difficult, however the delays ultimately provided the opportunity for Spellling to dedicate more attention to her lyrics. The Turning Wheel demonstrates a distinct evolution of lyrical style, from the more incantatory and abbreviated approach of her previous work to a more expansive, narrative production.The Turning Wheel is a manifestation of this considerable effort, time, and collaborative energy and will surely become a classic for it's elegance. 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Gray clouds were starting to form and in the unlikely city of Hamburg, a brazen and haunting gang of five women formed Xmal Deutschland. As any true punk would, Xmal Deutschland’s members Caro May, Rita Simon, Manuela Rickers, Fiona Sangster and Anja Huwe, started the band despite any previous musical experience.\u003cbr\u003e\u003cbr\u003eThe “Schwarze Welt” seven-inch was released on the local punk label, ZickZack, in 1981 and introduced the band as an unsettling swarm of intensity. There’s an urgency in its repetitive dirge, a swirling mania that persists on the b-side with “Die Wolken” and “Großstadtindianer” whose crude synthesizer noises escalate in tension. Most of all, Huwe’s uniquely venomous German vocals quickly became embedded in the unbridled and burgeoning scene of glamorous gloom.\u003cbr\u003e\u003cbr\u003ePunk’s independence from the stiff grip of tradition allowed the band to find solace in anti-establishment art and music, far from the conventions of the past. With their peacocked hair and thick kohl-lined eyes, Xmal Deutschland’s music retained both a restlessness and delicacy, transcending any confines of the “Neue Deutsche Welle” movement (much like their colleagues and friends DAF and Einstürzende Neubauten) with the release of the “Incubus Succubus” single in 1982. It instantly became a post-punk classic. The guitar’s buzz ransacks through the melody as the ghoulish primitiveness of Huwe’s voice teases that maybe, just maybe, she is the nightmarish creature of which to be aware. The b-sides, “Zu Jung Zu Alt” and “Blut Ist Liebe,” keep strict militaristic dance beats as they teem in agitation.\u003cbr\u003e\u003cbr\u003eThat same year, the band performed in London as support for the Cocteau Twins; it was the platform they needed to ricochet into the arms of the ripped fishnet masses. Early Singles (1981-1982), is a map of the foundational movements of Xmal Deutschland, just seconds before takeoff. Bonus tracks on the compilation, “Kaellbermarsch” and a gritty live version of “Allein,” further accentuate their fusion of toughness with the quixotic decadence of atmospheric synthesizers.\u003cbr\u003e\u003cbr\u003eThe band’s pursuit of something greater is palpable with this release, a reflection of a time that introduced accessibility to new means of making music following the onset of punk.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSchwarze Welt\u003c\/li\u003e\n\u003cli\u003eDie Wolken\u003c\/li\u003e\n\u003cli\u003eGroßstadtindianer\u003c\/li\u003e\n\u003cli\u003eKälbermarsch\u003c\/li\u003e\n\u003cli\u003eIncubus Succubus\u003c\/li\u003e\n\u003cli\u003eZu Jung Zu Alt\u003c\/li\u003e\n\u003cli\u003eBlut Ist Liebe\u003c\/li\u003e\n\u003cli\u003eAllein\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 843563171035\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Sacred Bones\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 3.8.24\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Xmal Deutschland","offers":[{"title":"Default Title","offer_id":45455738470598,"sku":"64858","price":21.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4289818-3092277.jpg?v=1768500062"},{"product_id":"magus-cd","title":"Magus [CD]","description":"\u003cp\u003e\u003cspan\u003eThough often lumped in with New Orleans sludge bands like Eyehategod and Crowbar, Thou shares a more spiritual kinship with ’90s proto-grunge bands like Nirvana, Alice in Chains, and Soundgarden (all of whom they’ve covered extensively, both in the studio and onstage). The band’s aesthetic and political impulses reflect the obscure ’90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc. From 2004 through 2016, the band has released four full-length albums, six EPs (some bordering on full lengths), two collaboration records with The Body, and enough material spread out over splits to make up another four or five LPs. Sacred Bones Records is proud to present the new album, Magus, Thou’s first full-length since 2014’s Heathen. In the months leading into the new album, Thou will be releasing three drastically different EPs: The House Primordial on Raw Sugar, Inconsolable on Community Records, and Rhea Sylvia on Deathwish, Inc. Each record will focus on a particular sound—noisy drone, quiet acoustic, and melodic grunge—all of which is incorporated into the new LP, subsumed in the band’s more standard doom metal. While sonically, Magus may be a continuation of Heathen, thematically it stands as a stark rebuttal, a journey beyond the principles of pleasure and pain. It is more the culmination of these distinct EPs, which all orbit some internal black hole. 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Soon after, you could hear \u003c\/span\u003e\u003cstrong\u003eMort Garson\u003c\/strong\u003e\u003cspan\u003e and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more. Like a perennial that returns with each new spring, the \u003c\/span\u003e\u003cstrong\u003eMort Garson\u003c\/strong\u003e\u003cspan\u003earchives have brought to bear yet another awe-inspiring bloom. \u003c\/span\u003e\u003cem\u003eJourney to the Moon and Beyond \u003c\/em\u003e\u003cspan\u003efinds even more new facets to the man’s sound. There’s the soundtrack to the 1974 blaxploitation film \u003c\/span\u003e\u003cem\u003eBlack Eye \u003c\/em\u003e\u003cspan\u003e(starring \u003c\/span\u003e\u003cstrong\u003eFred Williamson\u003c\/strong\u003e\u003cspan\u003e) alongside some newly unearthed music for advertising. Just as regal is “Zoos of the World,” where Garson soundtracks the wild, preening, slum-bering animals from a 1970 National Geographic special of the same name. The mind reels at just what project would have yielded a scintillating title like “Western Dragon,” but these three selections were found on tapes in the archive with no further information.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe crown jewel of the set is no doubt Garson’s soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That’s one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive \u003c\/span\u003e\u003cstrong\u003eRod McKuen\u003c\/strong\u003e\u003cspan\u003e archive. So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. 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Now, on her tenthofficial full-length record, New Radiations, she returns with a raw, intimate,and breathtaking collection of eleven otherworldly songs.From the first note, Nadler's lush voice and intricate fingerpicking are frontand center. She layers Everly Brothers-style harmonies over dreamlike, lonesome soundscapes-fuzzed-out distortion, Hammond organ, and ominoussynthesizers-that elevate her warm vulnerability with texture and atmosphere. Each track unfolds like a vignette of a life lived, delivering emotionalweight that resonates with quiet intensity.Lyrically, she shape-shifts through time and space-inhabiting charactersin an airborne Cessna, a spaceship, a getaway car, and alternate dimensions.Her storytelling is cinematic in scope and deeply personal in impact and thecontrast between sweet, catchy melodies and dark, visceral lyrics runs deep.Whether singing from the first-person narrative or channeling these otherpeople, the album taps into the universality of love and loss with gravitas andempathy.Produced by Nadler herself and mixed by Randall Dunn (Earth, Sunn O)))),New Radiations features subtle arrangements from longtime collaboratorMilky Burgess-woozy slide guitar, hypnagogic synthesizers, and grittyriffs. Genre-bending yet quintessentially her own, this album freezes theworld's noise in a moment of beauty and solemnity. 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Like her previous albums, Devour comes with a strong concept that is exorcised throughout the five demolishing tracks on the album, using imagery and language of self-cannibalism as allegory for the self-destructive nature of humans. Each of the five songs echoes a stage of grief associated with this cyclical chamber of self-destruction and the chaos surrounding us that leads us to devour ourselves in an attempt to balance the agony. The album was recorded by Ben Greenberg (Uniform) and is the first Pharmakon album recorded live in studio. The A and B sides were each recorded as a continuous take with vocals from start to finish, marking a totally new process for the artist that allows the ferocity and immediacy of her live performance to resonate throughout. Devour also explores new sonic territory, with denser electronics, groovier hooks, and moments of her most unhinged vocal deliveries to date. As one of the premiere vanguards of modern industrial and power electronics, Chardiet continuously pushes the genres and everyone involved in them, and with the release of Devour, she has once again changed the game. Artist Statement: \"Devour\" uses self-cannibalization as allegory for the self-destructive nature of humans; on cellular, individual, societal and species-wide scales. In our cells, our minds, our politics and our species, humans are self-destructing. But this behavior does not happen in a vacuum. It is an instinctive inward response to a world of increasing outward violence, greed, and oppression. Turning these wounds toward ourselves can be seen as an attempt at \"balancing feedback\", within a never-ending positive feedback loop of cause and effect. 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The two young friends hadn t seen each other in a few years when Manu texted Ives to tell him that he bought a drum kit. They started jamming, and a week later, the band was formed. A flurry of songwriting activity followed, culminating in 2011 s Ancient Land EP and 2013 s Noctuary, both released on Sacred Bones. 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New Noise Magazine described some of the tracks saying \"They've got a Black Sabbath 'Sweet Leaf' cover that they've dirtied up to the point where it sounds like a High on Fire original, a blackend-sludge version of Born Against's 'Well Fed Fuck,' a bewitched version of Pearl Jam's 'Spin the Black Circle,' and an appropriately gross and desperate cover of Shellac's 'Prayer to God.' It's as good or better than their Nirvana album imho.\" And while the mentioned tracks will be on the vinyl version sans \"Sweet Leaf\" it will have a different track list from 2020's digital release including a cover of the Yeah Yeah Yeah's iconic track \"Maps\". 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Now, on her tenthofficial full-length record, New Radiations, she returns with a raw, intimate,and breathtaking collection of eleven otherworldly songs.From the first note, Nadler's lush voice and intricate fingerpicking are frontand center. She layers Everly Brothers-style harmonies over dreamlike, lonesome soundscapes-fuzzed-out distortion, Hammond organ, and ominoussynthesizers-that elevate her warm vulnerability with texture and atmosphere. Each track unfolds like a vignette of a life lived, delivering emotionalweight that resonates with quiet intensity.Lyrically, she shape-shifts through time and space-inhabiting charactersin an airborne Cessna, a spaceship, a getaway car, and alternate dimensions.Her storytelling is cinematic in scope and deeply personal in impact and thecontrast between sweet, catchy melodies and dark, visceral lyrics runs deep.Whether singing from the first-person narrative or channeling these otherpeople, the album taps into the universality of love and loss with gravitas andempathy.Produced by Nadler herself and mixed by Randall Dunn (Earth, Sunn O)))),New Radiations features subtle arrangements from longtime collaboratorMilky Burgess-woozy slide guitar, hypnagogic synthesizers, and grittyriffs. Genre-bending yet quintessentially her own, this album freezes theworld's noise in a moment of beauty and solemnity. 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Across eight tracks, filled with arpeggiated synth washes and the kind of lilting beats that might have drifted, loose and unmoored, from some forgotten mid-'90s trance single, The Practice of Love feels, first and foremost, compellingly humane. Given the horror and viscera of her previous album, 2016's Blood Bitch, The Practice of Love is almost subversive in it's gentleness-a deep dive into what it means to grow older, to question one's relationship to the earth and one's self, and to hold a magnifying glass over the notion of what intimacy can mean. As Hval describes it, the album charts it's own particular geography, a landscape in which multiple voices engage and disperse, and the question of connectedness-or lack thereof-hangs suspended in the architecture of every song. It is an album about \"seeing things from above-almost like looking straight down into the ground, all of these vibrant forest landscapes, the type of nature where you might find a porn magazine at a certain place in the woods and everyone would know where it was, but even that would just become rotting paper, eventually melting into the ground.\" Prompted by an urge to find a different kind of language to express what she was feeling, the songs on Love unfurl like an interior dialogue involving several voices. Friends and collaborators Vivian Wang, Laura Jean Englert, and Felicia Atkinson surface on various tracks, via contributed vocals or through bits of recorded conversation, which further posits the record itself as a kind of ongoing discourse. \"The last thing I wrote, which was my new book, had quite an angry voice,\" says Hval, \"The voice of an angry teenager, furious at the hierarchies. Perhaps this album rediscovers that same voice 20 years later. 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Or I'm talking about both, and you're not sure what's what. \"This is the kind of conversation you end up having about a record like this one, a sprawling psychedelic suite built from abrupt and disorienting detours and schizoid shifts of voice, it's manic energy forever pulling the tablecloth out from under classic pop orchestration. One minute you're squarely in the realm of biographical fact and a moment later you're having a discussion about lucid dreaming and how Jones once punched up a dream set on a soccer field by willing himself to experience it from the POV of the ball. But maybe that's just another story about grabbing the wheel of your own hallucination; maybe this pertains to the music after all. Some biographical facts: Caleb Landry Jones was born in Garland, Texas in 1989 and comes from a long line of fiddle players. Three, maybe four generations back, on his mother's side. His grandfather wrote jingles for commercials, his mother was a singer-songwriter who taught piano lessons in the house, and his father was a contractor who did a lot of work for the Dallas music-equipment retailer Brook Mays and knew a guy if you needed a bass or a banjo. But Jones is not sure if you can hear any of this in his music and he does not play the fiddle. What you can hear on this record are the marks left by conversion experiences, two in particular. First there's Jones' formative encounter with the Beatles' \"White Album,\" the Fabs record most obviously composed by four Beatles rowing in different directions, and the beginning of what Jones calls \"this British Invasion of my soul,\" which is still ongoing. Second, there's Syd Barrett, cracked vessel of Pink Floyd's most intergalactic ambitions, and the \"falling-down-the-stairs\" quality of his solo work in particular. \"I was dating a girl who was obsessed with him,\" Jones remembers, \"and the fact that I'd never heard him really pissed her off. So we went and got The Madcap Laughs and we listened to it and I could see why it pissed her off. \" \"John keeps knocking at the door, and so does Syd,\" Jones says of these songs. \"And I'm in there somewhere. And so are a few other people, I think. It would be really boring if it was just one guy. \" Jones has been writing and recording music since age 16, around the same time he started acting professionally. Played in a band called Robert Jones for a minute, lost his guitar player to higher education, moved into his own place, and broke up with somebody, at which point the songs really started coming hard and fast. \"I started playing guitar and playing more keys,\" he says, \"and then started writing record after record after record after record, because I didn't know what to do with myself. It was a good way of healing. And it felt like as soon as I started doing it, it felt like it needed to happen all the time. \" In the ensuing years he'd spend a lot of time carrying unrecorded songs around in his head like goldfish in a bag, waiting for a chance to record them in marathon sessions in his parents' barn. \"You gotta play the songs every day, or every two or three days, to keep 'em,\" he says. \"Otherwise I forget them. \" Sometimes the ideas fuse together, one chapter to the next; this is how songs grow into seven-plus-minute epics like the ones on The Mother Stone. His back catalog is around seven hundred songs deep- a whole discography of full albums, most of them unheard outside the barn, at least for now. Before long Jones' other job started to keep him away from the barn for longer stretches. You may have seen him playing the drums on television as a member of Landry Clarke's death-metal band on Friday Night Lights. You may have seen him in other things, too. But enough about acting, except for this: A few years ago Jones had a pivotal meeting with Jim Jarmusch, the movie director and musician. \"I was a big fan of his work,\" Jones says, \"and I know how I act with people that I'm big fans of their work. So instead of wanting to talk, I thought I'd write him a piece that would somehow let him know who I was. \" So Jones spent a few nights composing a new instrumental work for solo piano, and showed up ready to play it for the director at their meeting- which turned out to be at a diner somewhere in Canada, where the amenities did not include a piano, so they had a conversation instead. Jones did slip Jarmusch Microastro and Macroastro, two collections of songs from the barn, most of them four or five or maybe eight years old at that point. Jarmusch liked what he heard, told Jones he should talk to Sacred Bones founder Caleb Braaten, and before long Jones was making the record you're about to hear- whose opening track, \"Flag Day\/The Mother Stone\" incorporates that piano piece Jones wrote to explain himself to Jim Jarmusch. A few more germane facts: The Mother Stone was recorded at Valentine Recording Studios, where everyone from Bing Crosby to Frank Zappa once logged time, refurbished to time-capsule retro standards in 2015 by studio manager and Mother Stone producer Nic Jodoin. Jones brought his collection of battered Yamahas and Casios up from the barn and played them alongside vintage equipment from Jodoin's collection. Working in a real studio gave Jones a chance to slow his creative process down. They built the songs up from acoustic guitar, let them sit a while, circled back. Sometimes Jones and his girlfriend would decompress at the Shakey's down the street, home to a range of acceptable video-arcade options. \"They got that thing where you throw it in the clown's mouth,\" Jones says. \"That's fun. I like the look of those clowns. \" Maybe the clowns are the key. This isn't a concept album, it's a parade led by multiple unreliable narrators who rail against the universe and profess their love and vacate the stage before we can ask them a question. The circus comes to town, the circus leaves town. 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Cabral's lyrics for Portrait of MyHeart tackle love, intimacy, anxiety, and alienation, trading the allegorical approachof much of her previous work for something pointed into her human heart. Thealbum's thematic forthrightness is echoed in it's arrangements, making it thesharpest, most direct SPELLLING album to date. From the dark minimalism ofher earliest music to the lavishly orchestrated prog-pop of 2021's The TurningWheel to this newly energetic expression of her creative spirit, Cabral has provedagain and again that SPELLLING can be whatever she needs it to be.The title track, with it's propulsive drum groove and anthemic chorus of \"I don'tbelong here,\" is the most potent embodiment of the album's turn toward emotional directness. Once the main melody emerged, Cabral used the song as a toolto process her anxiety as a performer and opted for a tighter, more rock-orientedcomposition. 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The LA duo of Melissa Scaduto and Brady Keehn craft music with a lust forlife, drawing inspiration from no wave to hardstyle. Their latest album, yes, please,pushes their sound into bold new territory, fusing anarchic electro fire with rawpersonal recollections-and enough beefed-up bass to bust a speaker or two.yes, please. Is an album of contrasts: a vulnerable record that bares it's soul as muchas it revels in excess, showing just how far you can push your sound when youshake off your inhibitions. Together, the pair betray a confidence that never wavers,making a bold splash on the speedy intro with a rave siren cut from a '00s NewYork house party or sweaty Brooklyn warehouse. By the same token, the spirit ofelectroclash stalks the building, flashing it's ID on the cowbell-peppered thunderbolts of \"Freak Eyes\" and \"Rearrange\", and turning in a scuzzy dancefloor bombwith \"Women Respond to Bass\". High on endorphins, \"Push Ups\"-which featuresvocals from Jehnny Beth-is pure muscle music, fortified by hoover bass andfleshed out by synths that hammer as hard as lumps of hail on a glass roof.But behind the slogans, sass, and monster dance energy lies an intimacy that canonly be found from opening up about painful, life-altering events. \"Hospital\" and\"Soggy Newports\" reflect Scaduto's harrowing experience in a New York state-runfacility after a near-fatal accident. \"Resist\" tackles abortion rights, while \"PennyRose\" explores US education, AI, and future generations. Scaduto's elastic vocalsshine throughout, from the razor-sharp synths of \"S is For\" to the trance-popheights of \"Kids,\" featuring Izzy Glaudini from Automatic.yes, please. Is an action-packed dance record stuffed with wild, heady roof-raisersbut is in the same breath a testament to living, and never looking back. 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The LA duo of Melissa Scaduto and Brady Keehn craft music with a lust forlife, drawing inspiration from no wave to hardstyle. Their latest album, yes, please,pushes their sound into bold new territory, fusing anarchic electro fire with rawpersonal recollections-and enough beefed-up bass to bust a speaker or two.yes, please. Is an album of contrasts: a vulnerable record that bares it's soul as muchas it revels in excess, showing just how far you can push your sound when youshake off your inhibitions. Together, the pair betray a confidence that never wavers,making a bold splash on the speedy intro with a rave siren cut from a '00s NewYork house party or sweaty Brooklyn warehouse. By the same token, the spirit ofelectroclash stalks the building, flashing it's ID on the cowbell-peppered thunderbolts of \"Freak Eyes\" and \"Rearrange\", and turning in a scuzzy dancefloor bombwith \"Women Respond to Bass\". 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As one of the premiere vanguards of modern industrial and power electronics, Chardiet continuously pushes the genres and everyone involved in them, and with the release of Devour, she has once again changed the game. Artist Statement: \"Devour\" uses self-cannibalization as allegory for the self-destructive nature of humans; on cellular, individual, societal and species-wide scales. In our cells, our minds, our politics and our species, humans are self-destructing. But this behavior does not happen in a vacuum. It is an instinctive inward response to a world of increasing outward violence, greed, and oppression. Turning these wounds toward ourselves can be seen as an attempt at \"balancing feedback\", within a never-ending positive feedback loop of cause and effect. With this view, the blame is placed not within the individual, but with the world they must contend with, and a society that is designed to fail them - to keep them gnashing and wailing, inflicted with an all-devouring hunger that inevitably turns in on the self. Those that pit them against each other grin from the sidelines, bellies full. Those who see beyond the veil need to obscure the horrid sight by any means necessary, but respite is always brief - nothing can dampen the glare from behind the veil. This album is dedicated to all who were lost to their own demise, all who have been institutionalized; whether in prison, psychiatric facilities, or drug rehabilitation. It is for all those ostracized by and isolated from a totality which chews them up alive in a self-cannibalizing caste system. Here, where martyrs, slaves, and pharmakos are not eradicated, but simply called by another name. \"ABOUT THE SHALLOWNESS OF SANITY\"... 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No longer galvanising us with hooks, but with a songcraft unhin-dered by anxiety, the album presents a cohesion not seen in the project until now. Lyrically, the apprehension still hangs like tinsel. Often garish and celebratory, the droll mischief is this time more pointed, more personal, and far more self-aware. A thread of reflections upon the state of the world is artfully wound throughout the album, casting a quiet force upon the detachment of Norrvide's vocals. Lust for Youth have been one of love's most honest confrères, detailing the pangs of what is all too often a sullen process. On this occasion they look up. 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This album signifies a departure from the original rules andstructures established by Margaret Chardiet for Pharmakon, evolving into a new form. It retainsthe project's experimental roots in power electronics and noise while incorporating industrial andpunk influences.The album stems from a profound disgust with humanity's dysfunctional relationship with theenvironment and other life forms. It explores the loneliness resulting from this broken bond andchallenges us to acknowledge our personal and systemic responsibility.What peace can we make with privilege when the true cost of our comfort is not measured indollars but in death? How can we reconcile with death when we impose the same hierarchicalstructures on it that we do in life? Is life worth living in the isolation of this self-imposed speciesloneliness?Humans often measure worth by accumulation-money, assets, objects-mistaking this for powerand influence. Western heritage dictates a hierarchy, placing humans at the top, separate from thenatural world. This delusion turns bodies into objects, land into property, and people into expendable tools.If our value were instead determined by our contribution to the ecosystem, who could claim thata human is more valuable than a maggot? Maggots recycle death into life, breaking down matterand nourishing new growth. They transform into flies, pollinating plants and sustaining the Earth'sflora. In contrast, humans pollute rather than pollinate, with a select few profiting from exploitation at the expense of biodiversity and the well-being of many.In grappling with grief and loss on both personal and global scales, Margaret sought solace in theidea of rebirth through death, celebrating the beauty of regeneration through decay. However, shehad to confront the stark reality of the disconnection from the earth under oppressive systems.Pharmakon is here imagining a path where the final act is to give back what was received fromcreation, offering our lives and deaths to sustain existence.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWither and Warp\u003c\/li\u003e\n\u003cli\u003eMethanal Doll\u003c\/li\u003e\n\u003cli\u003eBuyer's Remorse\u003c\/li\u003e\n\u003cli\u003eSplendid Isolation\u003c\/li\u003e\n\u003cli\u003eOiled Animals\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 843563179185\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Sacred Bones\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.4.24\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Pharmakon","offers":[{"title":"Default Title","offer_id":45456408707270,"sku":"377589","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4364980-3222521.jpg?v=1768508538"},{"product_id":"lost-themes-cd","title":"Lost Themes [CD]","description":"\u003cp\u003eJohn Carpenter has been responsible for much of the horror genre's most striking soundtrack work in the fifteen movies he's both directed and scored. 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