{"title":"All Products","description":"","products":[{"product_id":"tracing-the-lines-issue-1","title":"Tracing The Lines - Issue #1","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIssue #1 of Tracing The Lines is a creative exploration of International Anthem Recording Co. and the community that surrounds it.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e64-page 170x250mm newsprint zine, printed in CMYK on 55gsm stock, edited by David Brown and designed by Jeremiah Chiu, with contributions from Alejandro Ayala, André Baumecker, Andrea Falcone, Ayana Contreras, Azul Niño, Carlos Niño, Chris Kissel, Chuck Soo-Hoo, Damon Locks, Dave Vettraino, David Allen, David Brown, Drew Mitchell, Jeremiah Chiu, Kristie Kahns, Lindsey Stepney, Lori Mendoza, Marta Sofia Honer, Scott McNiece, Sulyiman, and Tom Skinner. Made in UK.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e*Ships from US, UK \u0026amp; EU*\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"International Anthem","offers":[{"title":"Default Title","offer_id":45115620589842,"sku":"IARCTL01","price":10.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/TTL1.jpg?v=1686627315"},{"product_id":"angel-bat-dawid-tha-brothahood-18x24-screenprint","title":"Angel Bat Dawid \u0026 Tha Brothahood - 18x24\" Screen Printed Poster","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDeluxe 18\" x 24\" black \u0026amp; gold over red screenprint poster designed by Raimund Wong in London, and printed by Elizabeth Kovach in Chicago.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e***LIMIT ONE POSTER PER CUSTOMER***\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e***SHIPPING NOTE*** Because the poster requires special packaging, no discounted shipping options are available for combined orders with LPs or CDs.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIncludes unlimited streaming of \u003c\/span\u003e\u003cem\u003e\u003ca href=\"https:\/\/intlanthem.bandcamp.com\/album\/live\"\u003eLIVE\u003cspan\u003e \u003c\/span\u003e\u003c\/a\u003e\u003c\/em\u003e\u003cspan\u003evia the free Bandcamp app, plus high-quality download in MP3, FLAC and more.\u003c\/span\u003e","brand":"International Anthem","offers":[{"title":"Default Title","offer_id":45116045689106,"sku":"IMRC0037","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/0025193775_10.jpg?v=1773692512"},{"product_id":"anteloper-public-records-18x24-poster","title":"Anteloper - Public Records 18x24\" Screen Printed Poster","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDeluxe 18\" x 24\" screenprinted poster designed by Goatmother Industrial celebrating the release show for Anteloper's Pink Dolphins with special guest HxH at Public Records in New York July 16, 2022.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e***SHIPPING NOTE*** Ships from US Only. Because the poster requires special packaging, no discounted shipping options are available for combined orders with LPs or CDs.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIncludes a digital download of \u003cstrong\u003eAnteolper - \u003cem\u003ePink Dolphins\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cstrong\u003e.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"International Anthem","offers":[{"title":"Default Title","offer_id":45116050506002,"sku":"789993992980","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/0030053506_10.jpg?v=1683859235"},{"product_id":"in-these-times-by-makaya-mccraven","title":"Makaya McCraven - In These Times","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eIn These Times is the new album by Chicago-based percussionist, composer, producer, and pillar of our label family, Makaya McCraven.\u003cbr\u003e\u003cbr\u003eAlthough this album is “new,\" the truth it’s something that's been in process for a very long time, since shortly after he released his International Anthem debut In The Moment in 2015. Dedicated followers may note he’s had 6 other releases in the meantime (including 2018’s widely-popular Universal Beings and 2020’s We’re New Again, his rework of Gil Scott-Heron’s final album for XL Recordings); but none of which have been as definitive an expression of his artistic ethos as In These Times. This is the album McCraven’s been trying to make since he started making records. And his patience, ambition, and persistence have yielded an appropriately career-defining body of work.\u003cbr\u003e\u003cbr\u003eAs epic and expansive as it is impressively potent and concise, the 11 song suite was created over 7+ years, as McCraven strived to design a highly personal but broadly communicable fusion of odd-meter original compositions from his working songbook with orchestral, large ensemble arrangements and the edit-heavy “organic beat music” that he’s honed over a growing body of production-craft.\u003cbr\u003e\u003cbr\u003eWith contributions from over a dozen musicians and\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ecreative partners from his tight-knit circle of collaborators – including Jeff Parker, Junius Paul, Brandee Younger, Joel Ross, and Marquis Hill – the music was recorded in 5 different studios and 4 live performance spaces while McCraven engaged in extensive post-production work from home. The pure fact that he was able to so eloquently condense and articulate the immense human scale of the work into 41 fleeting minutes of emotive and engaging sound is a monumental achievement. It’s an evolution and a milestone for McCraven, the producer; but moreover it’s the strongest and clearest statement we’ve yet to hear from McCraven, the composer.\u003cbr\u003e\u003cbr\u003eIn These Times is an almost unfathomable new peak for an already-soaring innovator who has been called \"one of the best arguments for jazz's vitality\" by The New York Times, as well as recently, and perhaps more aptly, a \"cultural synthesizer.\" While challenging and pushing himself into uncharted territories, McCraven quintessentially expresses his unique gifts for collapsing space and transcending borders – blending past, present, and future into elegant, poly-textural arrangements of jazz-rooted, post-genre 21st century folk music.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased September 23, 2022\u003cbr\u003e\u003cbr\u003eMakaya McCraven - drums, sampler, percussion, tambourine, baby sitar, synths, kalimba, handclaps, vibraphone, wurlitzer, organ\u003cbr\u003eJunius Paul - double bass, percussion, electric bass guitar, small instruments\u003cbr\u003eJeff Parker - guitar\u003cbr\u003eBrandee Younger - harp\u003cbr\u003eJoel Ross - vibraphone, marimba\u003cbr\u003eMarta Sofia Honer - viola\u003cbr\u003eLia Kohl - cello\u003cbr\u003eMacie Stewart - violin\u003cbr\u003eZara Zaharieva - violin\u003cbr\u003eGreg Ward - alto sax\u003cbr\u003eIrvin Pierce - tenor sax\u003cbr\u003eMarquis Hill - trumpet, flugelhorn\u003cbr\u003eGreg Spero - piano\u003cbr\u003eRob Clearfield - piano\u003cbr\u003eMatt Gold - guitar, percussion, baby sitar\u003cbr\u003eDe’Sean Jones - flute\u003cbr\u003e\u003cbr\u003eAll music composed by Makaya McCraven; except “Lullaby” composed by Makaya McCraven based off a song originally written by Péter Dabasi and Agnes Zsigmondi. All music published by Makaya McCraven Music (ASCAP) \u0026amp; International Anthem Publishing (ASCAP), administered by Domino Publishing Company USA (ASCAP).\u003cbr\u003e\u003cbr\u003e\"In These Times\" contains an excerpt of audio from the Studs Terkel Radio Archive, used with permission, courtesy of Chicago History Museum and WFMT.\u003cbr\u003e\u003cbr\u003eRecorded at Co-Prosperity Sphere Chicago; Symphony Center Chicago; JAMDEK Studios Chicago; Palisade Studios Chicago (fka Decade Music Studios); Shirk Studios Chicago; Makaya Music Studios; Walker Arts Center Minneapolis; Submerge Studios Detroit; Sholo Music Studios LA.\u003cbr\u003e\u003cbr\u003eProduced by Makaya McCraven.\u003cbr\u003eEngineered and Mixed by Dave Vettraino, David Allen, and Makaya McCraven, with recording assistance from Najee-Zaid Searcy.\u003cbr\u003eMastered by Dave Cooley at Elysian Mastering.\u003cbr\u003eExecutive Production by Scott McNiece.\u003cbr\u003e\u003cbr\u003eCover Image \u0026amp; Insert Photos by Sulyiman.\u003cbr\u003eArt Direction by Caroline Waxse.\u003cbr\u003eDesigned by Jake Simmonds.\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv id=\"license\" class=\"info license\"\u003e\n\u003cspan class=\"cc-icons commercial\"\u003e\u003c\/span\u003eall rights reserved\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0059 Classic Black vinyl LP","offer_id":45170704318738,"sku":"IARC0059LP","price":24.0,"currency_code":"USD","in_stock":true},{"title":"IARC0059 Cymbal Sheen color vinyl LP","offer_id":52108985237778,"sku":"IARC0059LPS","price":28.0,"currency_code":"USD","in_stock":false},{"title":"IARC0059 *Exclusive Warehouse Find* Ivory color vinyl LP","offer_id":52108985303314,"sku":"IARC0059LPI","price":20.0,"currency_code":"USD","in_stock":false},{"title":"IARC0059 CD - Compact Disc","offer_id":52108985270546,"sku":"IARC0059CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"IARC0059 Digital Download","offer_id":52121006473490,"sku":"IARC0059","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a3992958598_16.jpg?v=1773341821"},{"product_id":"to-cy-lee-instrumentals-vol-1-by-alabaster-deplume","title":"Alabaster DePlume - To Cy \u0026 Lee: Instrumentals Vol. 1","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eIn the words of Emma Warren:\u003cbr\u003e\u003cbr\u003eAlabaster DePlume is not doing things properly, and this makes him very happy.\u003cbr\u003e\u003cbr\u003eDePlume is a Manchester-born, London-based bandleader, composer, saxophonist, activist and orator. He’s a resident at the legendary London creative hub Total Refreshment Centre, a recording artist for the off-grid, Scottish Hebridean island label Lost Map, and now the latest arrival into Chicago-based International Anthem’s growing family of progressive musical explorationists. Whilst much of his music contains vocals – often whispered imperatives – this is a collection of instrumentals, drenched in feeling and recorded over four albums and eight earth years in cities across the UK.\u003cbr\u003e\u003cbr\u003eThe music of \"To Cy \u0026amp; Lee: Instrumentals Vol. 1\" contains naturally elegant orchestration wrapped around something visceral and primordial. Swirled inside the 11 pieces are shades of Japanese Min’yo folk, Celtic folk, the Ethio-jazz of saxophonist Getatchew Mekurya and hints of the pan-human ‘ancient music’ that sat underneath Arthur Russell’s melodies on First Thought, Best Thought. The music is filled with space, inspired, he says, by computer games and Japanese animation, particularly Joe Hisaishi’s\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003esoundtrack for Studio Ghibli’s Castle In The Sky.\u003cbr\u003e\u003cbr\u003eThe record combines new compositions alongside bygone instrumentals and understated lullabies that feel like they’ve been picked from between the cracks of civilisation. These songs were collected from albums \"Copernicus,\" \"The Jester,\" and \"Peach\" – under-the-radar records that preceded his critically acclaimed 2019 release The Corner of a Sphere. The new tunes feature Dan ‘Danalogue’ Leavers of The Comet Is Coming and Sarathy Korwar alongside a host of London’s finest musicians.\u003cbr\u003e\u003cbr\u003eTo Cy \u0026amp; Lee… has a suitably individual genesis. DePlume was working for Ordinary Lifestyles, a charity in North Manchester which supports people with disabilities to live in their own homes and to live fulfilling lives. Specifically, he was working with the titular Cy and Lee. His job was to get the guys socialising and he did this by making up songs with them. They’d make up melodies together, humming tunes in the house when they needed something calm, or when they were haring round the city in a battered car. DePlume would record these impromptu sessions in his phone, then go to the studio and use the material as starting points for songs.\u003cbr\u003e\u003cbr\u003eHe also ran music sessions for Cy, Lee and their friends. “People would focus on a central point, tuning in to one another. There are things we can’t put into words, which can be expressed with sound and music. These guys have fewer words than us, some of them have none. When we put some feelings into a music expression – that’s liberation.”\u003cbr\u003e\u003cbr\u003eIt’s a method he uses in live shows wherever possible, placing himself and the musicians in the round. The aim is to maximise the creative benefits that a community of players and listeners can bring to the music. It’s a collectivist and humanist approach to making music that sits underneath everything he does. This is music made for a reason, and those reasons include – to paraphrase some of the catchphrases he uses both on stage and in conversation – mixing people up, asking everyone to be as much themselves as they possibly can and the hardcore encouragement expressed in his most popular line, shouted back at him by audiences wherever he goes: “You’re doing very well!”\u003cbr\u003e\u003cbr\u003ePractically, he purposefully brings together players of different skill levels and different backgrounds so they have to interact differently, placing them in unusual situations in which to record. “I wanted to destroy the idea of correct so we were playing it different ways for fun. We had a very magical time playing the tunes”. This is activism expressed through gorgeous music that breaks down barriers by encouraging that most powerful emotion: connectedness.\u003cbr\u003e\u003cbr\u003eOne source of these gorgeous instrumentals is \"Peach,\" an album that later bestowed a name upon legendary monthly sessions he’d run once he’d moved to London. The music was recorded in the middle of the room at Antwerp Mansion, around a big dinner cooked for 60 people.\u003cbr\u003e\u003cbr\u003e“The dinner made the air vibrate in the way it did. We did it a certain way, for fun, getting people to shout out instructions – ‘make it like a hangover!’ ‘Make it like a barrel rolling down the ice!’ And we did it that way. You’ve got people eating and drinking around you and they might shout out anything. You can let go and respond.”\u003cbr\u003e\u003cbr\u003eThe two new pieces were recorded at London’s now-famous Total Refreshment Centre with Danalogue (on piano) Sarathy Korwar (drums), Chestnutt (of Snapped Ankles, on synth), Donna Thompson (voice) and James Howard (guitar). They had a day to record, and DePlume was in post-gig exhaustion. His saxophone was as battered as he was and was failing to play certain notes. “When something is broken or absent or missing, you go around it and that’s what makes it good,” he says. “Then it belongs to that moment. I want to make things that belong to the moment.”\u003cbr\u003e\u003cbr\u003eDePlume’s politics might be more evident in vocal songs from his live repertoire when he’s reshaping advertising slogans into a call to arms or encouraging activism on “I Was Gonna Fight Fascism,” but his commitment to the cause is as palpable through the instrumentals of Cy \u0026amp; Lee... This is music designed to respond to what Russian revolutionary poet Mayakovsky described as a “social command.”\u003cbr\u003e\u003cbr\u003e“I like the idea that we’re not just doing frivolous decoration. We’re doing work for society. I like to listen for what needs to be said.”\u003cbr\u003e\u003cbr\u003e“Years ago I played a bit of sax in other people’s gigs. I realised I was waiting for someone to give me permission to do my own thing. I noticed that no-one will ever give you permission to do your awesome shit, because they don’t know what it is. It’s impossible for them to give you permission. Who gave me permission to talk to you like this? I gave myself fucking permission.”\u003cbr\u003e\u003cbr\u003eAlabaster DePlume is not doing things properly. Hallelujah.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eReleased February 28, 2020\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0030 Classic Black Vinyl LP","offer_id":45171119816978,"sku":"IARC0030LP","price":24.0,"currency_code":"USD","in_stock":true},{"title":"IARC0030 - Winter Hibiscus Colored Vinyl LP","offer_id":52115723714834,"sku":"IA-TCLI-IWHC","price":27.0,"currency_code":"USD","in_stock":false},{"title":"IARC0030 - CD","offer_id":52115723747602,"sku":"IA-IARC0030CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"IARC0030 Digital Download","offer_id":52121291686162,"sku":"IARC0030","price":9.0,"currency_code":"USD","in_stock":true},{"title":"IARC0030 Test Pressing","offer_id":52115723780370,"sku":"IARC0030LP-1","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a3666438350_16.jpg?v=1773693977"},{"product_id":"gold-by-alabaster-deplume","title":"Alabaster DePlume - GOLD","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eThe lightning rod for Alabaster DePlume’s luminous follow up to the widely-acclaimed 2020 release To Cy \u0026amp; Lee: Instrumentals Vol. 1 was personal. “Someone was going through a thing,” says the Mancunian poet-performer. “I said, ‘go forward in the courage of your love’. And then I thought 'yeah, that's what I need to hear as well’.”\u003cbr\u003e\u003cbr\u003eGold is a sonorous double album that celebrates the communal act of making music and the relationships that can be explored when you purposefully avoid the standard way of doing things.\u003cbr\u003e\u003cbr\u003eIt contains filmic pieces that oscillate between the otherworldly and the trenchantly grounded, rendered maximally human through the recording process. There is laughter mid-track and studio chatter. There is the music of shouting and applause generated by a handful of people who were listening from the doorframe and the corridor. Complex vocal harmonies circle the songs like small birds and there’s an undercurrent of steely toughness, necessitated by the musician’s engagement with personal vulnerability and collective politics.\u003cbr\u003e\u003cbr\u003eIn late summer 2020 Alabaster DePlume (real name Gus Fairbairn) booked two weeks of sessions at the influential Total Refreshment Centre in London, recording to tape with Kristian Craig Robinson (aka Capitol K). He invited a different set of musicians\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eeach day, who would record the same tunes at the same speed so that DePlume – who produced the record – could cut them together later, like ingredients. “They didn’t have enough preparation to be able to hide behind this piece of material or skill,” he says. “They had to look up and respond to each other, and that’s what we've recorded.”\u003cbr\u003e\u003cbr\u003eThere were two rules that were essential to the process: that musicians wouldn’t be given enough time to rehearse and that they wouldn’t listen back to the music they recorded. “The method is part of the mission. It wasn’t like school. We had mayhem. We were having fun. That’s the story and the process – and I want to live that way,” he says.\u003cbr\u003e\u003cbr\u003eThe singer and percussionist Falle Nioke’s solo on “Again” is an example of the album’s unusual and liberating recording process. The tune was planned as an instrumental but Falle sang out spontaneously, and stilled the room with his arresting contribution. “He was just one voice in the choir but he suddenly sang lead because he felt it,” says DePlume. “It’s one example of what we were able to record,” he says, “because people felt genuinely personally welcome. Their own voices were made welcome. That is what this album is made of and it’s what the best things in our society are made of. We can either make people welcome or we can make them unwelcome; unseen.”\u003cbr\u003e\u003cbr\u003eAfter the recording, the artist made a map, because frankly he needed a map after recording more than 17 hours of music. The map dictated which bits of each session to pull into the orbit of the record and it was drawn on a long scroll of paper with lines drawn across it, each line representing one analog tape. The triangles, dots and colors – red for fire, pink for beauty and blue for breath – shaped what emerged. The map has since been requisitioned for a gallery exhibition, and a photograph appears on the Gold artwork.\u003cbr\u003e\u003cbr\u003eThe music that emerged ranges from sparse understated bangers “Fucking Let Them” and the hypnotic pulse of “Visitors XT8B – Oak” to skilfully soothing instrumentals which will feel familiar to the many people who found To Cy \u0026amp; Lee a pandemic panacea (including Bon Iver, who sampled that album’s top track, “Visit Croatia”).\u003cbr\u003e\u003cbr\u003eGold opens with the Portuguese-titled “A Gente Acaba” which itself opens with the hum of voices, rich and human. There are gentle strings, gently strummed. The saxophone leaves vibrating trails in the air. “The Sound of My Feet On This Earth Is A Song To Your Spirit” is beauty and breath, generating the kind of deep warmth and connection that requires no lyrical explanation.\u003cbr\u003e\u003cbr\u003eThere is circularity. One piece of music arrives and leaves repeatedly, and a phrase is repeated:\u003cbr\u003e\u003cbr\u003eI have all I need for the glory of being. I recognise you and celebrate. I am brazen, like a baby, like the stupid sun and I go forward in the courage of my love.\u003cbr\u003e\u003cbr\u003e“I’m Good At Not Crying” is a self-accusatory lullaby that lists out the things he excels at (not eating much, not being the bad guy) whilst plaintive and harmonically-rich singers spill and spiral around the low tones of his voice.\u003cbr\u003e\u003cbr\u003eOn “People What’s The Difference” he unpicks the selective deafness that surrounds the refugee crisis within a gentle punk-funk frame and towards the end, there’s a lament for the broken earth marked out with plucked strings and harmonies that dip in and out like sharp bells. Softness, in the hands of this Mancunian poet-performer, can be a weapon.\u003cbr\u003e\u003cbr\u003e“The reason for To Cy \u0026amp; Lee was to help people have peace,” he says. “The reason to make Gold is to give people courage and love by putting myself in a situation where I had to bring courage and love. It’s how I made it, it’s what it’s about. It’s what we need next.”\u003cbr\u003e\u003cbr\u003eThis is the sound of an artist attempting full transparency and maximum relationship. It is also the sound of an artist who has achieved the sound he hoped for. This is the sound of soft power. It’s golden.\u003cbr\u003e\u003cbr\u003eAlbum writeup by Emma Warren\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cstrong\u003eReleased April 1, 2022\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0050 Classic Black vinyl gatefold LP","offer_id":45171223527698,"sku":"IARC0050LP","price":32.0,"currency_code":"USD","in_stock":true},{"title":"IARC0050 - Limited Edition *Obsidian Vortex* color vinyl gatefold double LP","offer_id":52115723419922,"sku":"IARC0050LPS","price":39.0,"currency_code":"USD","in_stock":true},{"title":"IARC0050 - Compact Disc","offer_id":52115723452690,"sku":"IARC0050CD","price":15.0,"currency_code":"USD","in_stock":true},{"title":"IARC0050 Digital Download","offer_id":52120998314258,"sku":"IARC0050","price":9.0,"currency_code":"USD","in_stock":true},{"title":"IARC0050 Test Pressing","offer_id":52115723485458,"sku":"IARC0050LP-1","price":60.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a2964482710_16.jpg?v=1773457632"},{"product_id":"iarc-catalog-pocket-tee","title":"IARC Catalog Pocket Tee","description":"\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003eComfort Colors deluxe short sleeve ivory tee shirt with minimal IARC dome printed on the front-side breast pocket, and our full catalog of releases (to date) printed on the back side. Designed by Jeremiah Chiu, printed in Chicago.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eOther specs:\u003c\/div\u003e\n- 6.1 oz., 100% ring spun USA cotton\u003cbr\u003e- Preshrunk, soft-washed, garment-dyed fabric\u003cbr\u003e- Made with sustainably and fairly grown USA cotton and sewn with USA cotton thread\u003cbr\u003e- Twill taped shoulder-to-shoulder\u003cbr\u003e- Set-in sleeves\u003cbr\u003e- Double-needle stitched sleeves and bottom hem\u003cbr\u003e- Left-chest pocket\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003eSee our \u003ca href=\"https:\/\/shop.intlanthem.com\/pages\/faqs\"\u003eFAQs page\u003c\/a\u003e for sizing guide.\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e***Ships from Chicago only.   Orders fulfilled within 7 days***\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eAttention International Customers: VAT is not collected at checkout, customer is responsible for any VAT or duties upon delivery. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSizing Guide:\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/PocketTeesizeguide_480x480.png?v=1686708234\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"Small","offer_id":45377409777938,"sku":"IARC-PT-S","price":26.0,"currency_code":"USD","in_stock":false},{"title":"Medium","offer_id":45377409810706,"sku":"IARC-PT-M","price":26.0,"currency_code":"USD","in_stock":false},{"title":"Large","offer_id":45377409843474,"sku":"IARC-PT-L","price":26.0,"currency_code":"USD","in_stock":false},{"title":"Extra Large","offer_id":45377409876242,"sku":"IARC-PT-XL","price":26.0,"currency_code":"USD","in_stock":false},{"title":"2XL","offer_id":45377409909010,"sku":"IARC-PT-2XL","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/8.png?v=1686620929"},{"product_id":"iarc-catalog-tote","title":"IARC Catalog TOTE","description":"\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003eAn everyday tote bag for your essential items. Cream ink screenprinted seafoam green cotton bag with our full catalog of releases (to date) on one side, neo-IARC art on the other side. Designed by Jeremiah Chiu, printed in Chicago.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eOther specs:\u003c\/div\u003e\n\u003cdiv\u003e- Extra long 26\" cotton handles with reinforced stress point stitching\u003cbr\u003e- 5\" square bottom gusset\u003cbr\u003e- 14.75\" h 19.5\"w x 5\" (expanded width)\u003cbr\u003e- 14.75\" h x 14.75\" w x 5\" d (not expanded width)\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e***Ships from Chicago only.   Orders fulfilled within 7 days***\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eAttention International Customers: VAT is not collected at checkout, customer is responsible for any VAT or duties upon delivery. \u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"Default Title","offer_id":45377451458834,"sku":"IARC-TOTE","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/5.png?v=1686620985"},{"product_id":"iarc-sticker-pack","title":"IARC Sticker Pack","description":"\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003eSet of three classic dome logo stickers (circular, 3\" diameter) with colors chosen by King Hippo himself.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003eShips around July 15, 2023.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eShips from Chicago only.  Attention International Customers: VAT is not collected at checkout, customer is responsible for any VAT or duties upon delivery. \u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"Default Title","offer_id":45377463517458,"sku":"IARC-SP","price":5.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/10.png?v=1686621025"},{"product_id":"nfcr-tee","title":"New Future Radio City Tee","description":"\u003cp\u003eGarment-dyed heavyweight t-shirt made of 100% ring-spun cotton. \u003cbr\u003e\u003cbr\u003e• 100% ring-spun cotton\u003cbr\u003e• Fabric weight: 6.1 oz\/yd² (206.8 g\/m²)\u003cbr\u003e• Garment-dyed\u003cbr\u003e• Relaxed fit\u003cbr\u003e• 7\/8″ double-needle topstitched collar\u003cbr\u003e• Twill-taped neck and shoulders for extra durability\u003cbr\u003e• Double-needle armhole, sleeve, and bottom hems\u003c\/p\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003ci\u003e***This item is made per order therefore we cannot accept returns\/exchanges.  Please read the size guide below.  The T-shirts generally run a bit small so please take that into consideration.***\u003c\/i\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong class=\"size-guide-title\"\u003eSize guide\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"table-responsive dynamic\" data-unit-system=\"imperial\"\u003e\n\u003ctable cellpadding=\"5\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eWIDTH (inches)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eLENGTH (inches)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eSLEEVE CENTER BACK (inches)\u003c\/strong\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eS\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e18 ¼\u003c\/td\u003e\n\u003ctd\u003e26 ⅝\u003c\/td\u003e\n\u003ctd\u003e16 ¼\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eM\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e20 ¼\u003c\/td\u003e\n\u003ctd\u003e28\u003c\/td\u003e\n\u003ctd\u003e17 ¾\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eL\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e22\u003c\/td\u003e\n\u003ctd\u003e29 ⅜\u003c\/td\u003e\n\u003ctd\u003e19\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eXL\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e24\u003c\/td\u003e\n\u003ctd\u003e30 ¾\u003c\/td\u003e\n\u003ctd\u003e20 ½\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"table-responsive dynamic\" data-unit-system=\"metric\"\u003e\n\u003ctable cellpadding=\"5\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eWIDTH (cm)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eLENGTH (cm)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eSLEEVE CENTER BACK (cm)\u003c\/strong\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eS\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e46.4\u003c\/td\u003e\n\u003ctd\u003e67.6\u003c\/td\u003e\n\u003ctd\u003e41.3\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eM\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e51.4\u003c\/td\u003e\n\u003ctd\u003e71.1\u003c\/td\u003e\n\u003ctd\u003e45\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eL\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e55.9\u003c\/td\u003e\n\u003ctd\u003e74.6\u003c\/td\u003e\n\u003ctd\u003e48.3\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eXL\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e61\u003c\/td\u003e\n\u003ctd\u003e78.1\u003c\/td\u003e\n\u003ctd\u003e52\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"S","offer_id":45430928703762,"sku":"9950021_15114","price":29.0,"currency_code":"USD","in_stock":true},{"title":"M","offer_id":45430928736530,"sku":"9950021_15115","price":29.0,"currency_code":"USD","in_stock":true},{"title":"L","offer_id":45430928769298,"sku":"9950021_15116","price":29.0,"currency_code":"USD","in_stock":true},{"title":"XL","offer_id":45430928802066,"sku":"9950021_15117","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/mens-garment-dyed-heavyweight-t-shirt-black-front-6490c2eb3f2de.jpg?v=1687208693"},{"product_id":"nfcr-buttons","title":"New Future City Radio - Pin Buttons Set","description":"Top-quality 2.25\" pin buttons with a scratch and UV-resistant coating and a glossy finish.\u003cbr\u003e\n\u003cbr\u003e\n• They come in a set of 5 \u003cbr\u003e\n• Made of tinplate","brand":"International Anthem","offers":[{"title":"Default Title","offer_id":45430988407058,"sku":"7129544_16412","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/set-of-pin-buttons-white-2.25-front-2-6491050b139ec.jpg?v=1687225985"},{"product_id":"come-with-fierce-grace-by-alabaster-deplume","title":"Alabaster DePlume - Come With Fierce Grace","description":"\u003cp\u003eIn order to record the compositions in his critically-acclaimed 2022 release\u003cem\u003e GOLD\u003c\/em\u003e, Alabaster DePlume instilled a culture of creativity by leading his ensembles in spontaneous composition and development. To allow them to be present, he kept the musicians constantly creating across several weeks of sessions at London creative hub Total Refreshment Centre. This process resulted in an abundance of material, much more than he could fit onto the initial double LP.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAfter spending most of 2022 touring in support of\u003cem\u003e GOLD\u003c\/em\u003e, Alabaster spent much of early 2023 revisiting the additional material from those Total Refreshment Centre sessions – adding, subtracting, producing and arranging – resulting in an entirely new album, \u003cem\u003eCome With Fierce Grace\u003c\/em\u003e.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eCome With Fierce Grace\u003c\/em\u003e is an album made of authentic and unstipulated – yet welcomed – human interaction. It is for the most part an album of instrumentals, with exception of a few vocal features by Momoko Gill (aka MettaShiba), Falle Nioke, and Donna Thompson. However the instrumentals on this album are much more embryonic and unfiltered than the lush orchestrations heard on Alabaster’s breakout 2020 album \u003cem\u003eTo Cy \u0026amp; Lee: Instrumentals Vol. 1\u003c\/em\u003e. \u003cem\u003eCome With Fierce Grace\u003c\/em\u003e is perhaps the most raw and candid portrait of Alabaster’s creative compositional process we’ve yet to hear, as he’s captured vividly in the room with his collaborators – stretching, exploring, working to deepen and expand the emotions underlying his melodic and poetic frameworks.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRegarding the process, Alabaster cites a similarity to how elements in nature contribute to shared work and beauty without a collective motive – a bee’s own motives result in the delivery of pollen. As he says: “The great thing wants to happen, let us allow it to happen.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRegarding the origin of the album’s name: On his first trip to perform in the US in March 2022, Alabaster collected messages from individuals, as he asked them if there is anything they would like him to share with his audiences. One message (from a person who preferred to remain anonymous) asked Alabaster to encourage people to “come with fierce grace.”\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReleases September 8, 2023\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduced and arranged by\u003c\/strong\u003e Alabaster DePlume.\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded onto tape by\u003c\/strong\u003e Kristian Craig Robinson at Total Refreshment Centre, London.\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMixed by\u003c\/strong\u003e Dave Vettraino at International Anthem Studios, Chicago.\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMastered by\u003c\/strong\u003e David Allen.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAlbum Art by\u003c\/strong\u003e Raimund Wong.\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eInsert photo by\u003c\/strong\u003e Chris Almeida.\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLayout by\u003c\/strong\u003e Craig Hansen.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eComposed in the act of performance by and with:\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAlabaster DePlume \u003c\/strong\u003e– tenor sax, guitar, synths and voice\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eFalle Nioke \u003c\/strong\u003e– voice, percussion\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRozi Plain \u003c\/strong\u003e– guitar\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSarathy Korwar\u003c\/strong\u003e – drums, tabla\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTom Skinner\u003c\/strong\u003e – drums\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eKenichi Iwasa\u003c\/strong\u003e – percussion\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJames Howard\u003c\/strong\u003e – guitar\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTom Herbert\u003c\/strong\u003e – double bass\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eNatalie Pela\u003c\/strong\u003e – voice\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRosa Slade\u003c\/strong\u003e – voice\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eElly Condron\u003c\/strong\u003e – voice\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLuisa Gerstein\u003c\/strong\u003e – voice\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMatt Webb\u003c\/strong\u003e – double bass\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMichael Chestnutt\u003c\/strong\u003e – synths\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eUrsula Russell\u003c\/strong\u003e – drums\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eConrad Singh\u003c\/strong\u003e – guitar\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eHannah Miller\u003c\/strong\u003e – cello and voice\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDonna Thompson\u003c\/strong\u003e – voice\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMatthew Bourne\u003c\/strong\u003e – piano\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMomoko Gill\u003c\/strong\u003e – lead vocal\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRuth Goller\u003c\/strong\u003e – bass\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eAll rights reserved\u003c\/p\u003e","brand":"International Anthem","offers":[{"title":"IARC0070 Classic Black vinyl LP","offer_id":46274399207698,"sku":"IARC0070LP","price":24.0,"currency_code":"USD","in_stock":true},{"title":"IARC0070 Limited Edition *Greek Honey* Color vinyl LP","offer_id":52115723288850,"sku":"IARC0070LPI","price":29.0,"currency_code":"USD","in_stock":true},{"title":"IARC0070 Compact Disc","offer_id":52115723321618,"sku":"IARC0070CD","price":15.0,"currency_code":"USD","in_stock":true},{"title":"IARC0070 Digital Download","offer_id":52120998248722,"sku":"IARC0070","price":9.0,"currency_code":"USD","in_stock":true},{"title":"IARC0070 Test Pressing (Pallas)","offer_id":52115723354386,"sku":"IARC0070LP-2","price":50.0,"currency_code":"USD","in_stock":false},{"title":"IARC0070 Test Pressing (Smashed Plastic)","offer_id":52115723387154,"sku":"IARC0070LP-1","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a3957026135_10.jpg?v=1773448388"},{"product_id":"tracing-the-lines-issue-2","title":"Tracing The Lines - Issue #2","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIssue #2 of Tracing The Lines is a creative exploration of International Anthem and the community that surrounds it. 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tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eComposer, clarinetist, singer and educator Angel Bat Dawid announces the release of a new work, Requiem For Jazz. A 12-movement suite composed, arranged, and inspired in part by dialogue from Edward O. Bland’s 1959 film The Cry of Jazz, the album is a wide-ranging treatise on the African American story from one of its most astute narrators.\u003cbr\u003e\u003cbr\u003eItself an incisive critique of racial politics in the USA, The Cry of Jazz draws formal comparisons between the structure of jazz music and the African American experience - as one of freedom and restraint, of joy and suffering - that manifests in the triumph of spirit over the crushing prejudice of daily life.\u003cbr\u003e\u003cbr\u003eCutting together archive reels from Black neighborhoods in Chicago with live performance footage from Sun Ra and his Arkestra among others, the film remains a radical and prescient evocation of Black pride and its roots in the history of jazz, from spirituals to blues and beyond.\u003cbr\u003e\u003cbr\u003eAs South African writer Nombuso Mathibela captures in the album’s liner notes:\u003cbr\u003e\u003cbr\u003e[Music is our weapon of struggle]\u003cbr\u003ethat radiantly holds our positive aspiration\u003cspan class=\"bcTruncateMore\"\u003e, group pride and determination as Black people. Sonics! our beautiful fire that gave light to the world.\u003cbr\u003eAnd a world that gave us blues. The blues that gave us Black in jazz\u003cbr\u003e\u003cbr\u003eDrawing a through line to today’s vibrant avant-garde, Angel Bat Dawid’s Requiem For Jazz picks up the liberation work laid out by Bland’s film, taking the message of joy and suffering within the Black classical tradition into a contemporary setting.\u003cbr\u003e\u003cbr\u003eMusic from the project was originally premiered at the Hyde Park Jazz Festival in Chicago in 2019, where Angel conducted a multigenerational fifteen-piece instrumental ensemble of Black musicians from across Chicago’s creative community, alongside a four-person choir (featuring singers from Black Monument Ensemble) as well as dancers and visual artists.\u003cbr\u003e\u003cbr\u003eRecordings from the performance were then mixed and post-produced by Angel, who added interludes, vocals and additional sounds. As well as transcribing a piece from the film, Requiem For Jazz also alludes to The Cry of Jazz through contributions from the Sun Ra Arkestra’s Marshall Allen and Knoel Scott on the album’s final movement, which were recorded remotely at the historic Arkestral Institute of Sun Ra in Philadelphia in late 2020.\u003cbr\u003e\u003cbr\u003e“I want us to have this very wonderful conversation that Ed Bland started over 50 years ago and I want to continue the conversation; because this is a loving conversation that we need to have with each other” - Angel Bat Dawid, Feb 2023\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased March 24, 2023\u003cbr\u003e\u003cbr\u003eRequiem for Jazz Composed, Arranged, Conducted \u0026amp; Mixed by Angel Bat Dawid\u003cbr\u003e\u003cbr\u003eexcept “My Rhapsody,” from the 1959 Ed Bland film “The Cry of Jazz,” composed by Paul Severson \u0026amp; Norman Leist (Glenayre Publishing Co. BMI), arranged by Angel Bat Dawid.\u003cbr\u003e\u003cbr\u003eLyrics include extracts from “The Cry of Jazz” and the Roman Catholic Liturgical Requiem Missal.\u003cbr\u003e\u003cbr\u003eRequiem for Jazz Intros\/Interludes Composed, Produced, Mixed \u0026amp; Performed by Angel Bat Dawid\u003cbr\u003e\u003cbr\u003eRequiem for Jazz premiered Sept, 30th 2019 at the Reva \u0026amp; David Logan Center for the Arts in Chicago, IL. Commissioned for the 2019 Annual Hyde Park Jazz Festival.\u003cbr\u003e\u003cbr\u003eRecorded Live by Najee-Zaid Searcy \u0026amp; Dave Vettraino\u003cbr\u003e\u003cbr\u003eMastered by Najee-Zaid Searcy\u003cbr\u003e\u003cbr\u003eTha ArkeStarzz:\u003cbr\u003ePiano - Dr. Charles Joseph Smith\u003cbr\u003eContrabass - Jeremiah Hunt\u003cbr\u003ePercussion - Vincent Davis\u003cbr\u003eAuxiliary Instruments - Xristian Espinoza\u003cbr\u003eElectronics - Norman W. 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Halsted St. #222, Chicago IL 60608, orders@intlanthem.com\u003cbr\u003eEU Contact:\u003cbr\u003eSINDEN VENTURES LIMITED\u003cbr\u003eAddress: Markou Evgenikou 11, Mesa Geitonia 4002 Limassol Cyprus\u003cbr\u003eE-mail: gpsr@sindenventures.com\u003c\/p\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"Black \/ S","offer_id":50620976759058,"sku":"8036221_11546","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Black \/ M","offer_id":50620976791826,"sku":"8036221_11547","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Black \/ L","offer_id":50620976824594,"sku":"8036221_11548","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Black \/ XL","offer_id":50620976857362,"sku":"8036221_11549","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Black \/ 2XL","offer_id":50620976890130,"sku":"8036221_11550","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Charcoal \/ S","offer_id":50620976922898,"sku":"8036221_15831","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Charcoal \/ M","offer_id":50620976955666,"sku":"8036221_15832","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Charcoal \/ L","offer_id":50620976988434,"sku":"8036221_15833","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Charcoal \/ XL","offer_id":50620977021202,"sku":"8036221_15834","price":29.0,"currency_code":"USD","in_stock":true},{"title":"Charcoal \/ 2XL","offer_id":50620977053970,"sku":"8036221_15835","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/22_54309bcc-f625-4d70-b936-221e3094b6bc.png?v=1732579518"},{"product_id":"iarc-corduroy-cap","title":"IARC Corduroy Cap","description":"• 100% cotton corduroy\u003cbr\u003e\n• Embroidered logo on front and back\u003cbr\u003e\n• Unstructured, 6-panel, low-profile\u003cbr\u003e\n• Cotton twill sweatband and taping\u003cbr\u003e\n• 6 embroidered eyelets\u003cbr\u003e\n• Adjustable strap with a gold-colored metal buckle\u003cbr\u003e\n• Head circumference: 20″–22″ (50.8 cm–56 cm)\u003cbr\u003e\n\u003cbr\u003e\nThis product is made especially for you as soon as you place an order, which is why it takes us a bit longer to deliver it to you. Making products on demand instead of in bulk helps reduce overproduction, so thank you!\u003cbr\u003e\n\u003cbr\u003e\n--\u003cbr\u003e\nGPSR details:\u003cbr\u003e\nThis product is made for adults.\u003cbr\u003e\nMeets the flammability, lead, cadmium and phthalates level requirements.\u003cbr\u003e\n2 year warranty in EEA and UK, established by Directive 1999\/44\/EC.\u003cbr\u003e\nUS Contact: International Anthem, 3231 S. Halsted St. #222, Chicago IL 60608, orders@intlanthem.com\u003cbr\u003e\nEU Contact:\u003cbr\u003e\nSINDEN VENTURES LIMITED\u003cbr\u003e\nAddress: Markou Evgenikou 11, Mesa Geitonia 4002 Limassol Cyprus\u003cbr\u003e\nE-mail: gpsr@sindenventures.com\u003cp\u003e\u003cstrong class=\"size-guide-title\"\u003eSize guide\u003c\/strong\u003e\u003c\/p\u003e\u003cdiv class=\"table-responsive dynamic\" data-unit-system=\"imperial\"\u003e\u003ctable cellpadding=\"5\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eA (inches)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eB (inches)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eC (inches)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eD (inches)\u003c\/strong\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOne size\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e20 - 22\u003c\/td\u003e\n\u003ctd\u003e6\u003c\/td\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003ctd\u003e7\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/div\u003e\u003cdiv class=\"table-responsive dynamic\" data-unit-system=\"metric\"\u003e\u003ctable cellpadding=\"5\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eA (cm)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eB (cm)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eC (cm)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eD (cm)\u003c\/strong\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOne size\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e50.8-55.9\u003c\/td\u003e\n\u003ctd\u003e15.2\u003c\/td\u003e\n\u003ctd\u003e7.6\u003c\/td\u003e\n\u003ctd\u003e17.8\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"Burgundy","offer_id":50620978495762,"sku":"7623482_16419","price":33.0,"currency_code":"USD","in_stock":true},{"title":"Olive","offer_id":50620978462994,"sku":"7623482_16420","price":33.0,"currency_code":"USD","in_stock":true},{"title":"Black","offer_id":50620978430226,"sku":"7623482_16416","price":33.0,"currency_code":"USD","in_stock":false},{"title":"Navy","offer_id":51461586780434,"sku":"3945611_16417","price":33.0,"currency_code":"USD","in_stock":true},{"title":"Brown","offer_id":51461586813202,"sku":"3945611_16418","price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/25_539570b1-3588-4012-8abb-b973cc85a89e.png?v=1732579879"},{"product_id":"iarc-pom-beanie","title":"IARC Pom Beanie","description":"• 100% acrylic\u003cbr\u003e\n• 12″ (30.5 cm) knit\u003cbr\u003e\n• Fold-over 3″ (7.6 cm) cuff\u003cbr\u003e\n• Pom-pom on top\u003cbr\u003e\n• One size fits most\u003cbr\u003e\n\u003cbr\u003e\nThis product is made especially for you as soon as you place an order, which is why it takes us a bit longer to deliver it to you. Making products on demand instead of in bulk helps reduce overproduction, so thank you!\u003cbr\u003e\n\u003cbr\u003e\n--\u003cbr\u003e\nGPSR details:\u003cbr\u003e\nThis product is made for adults.\u003cbr\u003e\nMeets the phthalates and formaldehyde level requirements.\u003cbr\u003e\n2 year warranty in EEA and UK, established by Directive 1999\/44\/EC.\u003cbr\u003e\nUS Contact: International Anthem, 3231 S. Halsted St. #222, Chicago IL 60608, orders@intlanthem.com\u003cbr\u003e\nEU Contact:\u003cbr\u003e\nSINDEN VENTURES LIMITED\u003cbr\u003e\nAddress: Markou Evgenikou 11, Mesa Geitonia 4002 Limassol Cyprus\u003cbr\u003e\nE-mail: gpsr@sindenventures.com\u003cp\u003e\u003cstrong class=\"size-guide-title\"\u003eSize guide\u003c\/strong\u003e\u003c\/p\u003e\u003cdiv class=\"table-responsive dynamic\" data-unit-system=\"imperial\"\u003e\u003ctable cellpadding=\"5\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eA (inches)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eB (inches)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eC (inches)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eD (inches)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eE (inches)\u003c\/strong\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOne size\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e17 ¾-18 ⅞\u003c\/td\u003e\n\u003ctd\u003e9 ¼\u003c\/td\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003ctd\u003e8 ¼\u003c\/td\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/div\u003e\u003cdiv class=\"table-responsive dynamic\" data-unit-system=\"metric\"\u003e\u003ctable cellpadding=\"5\"\u003e\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eA (cm)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eB (cm)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eC (cm)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eD (cm)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eE (cm)\u003c\/strong\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eOne size\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e45-48\u003c\/td\u003e\n\u003ctd\u003e23.5\u003c\/td\u003e\n\u003ctd\u003e7.6\u003c\/td\u003e\n\u003ctd\u003e20.8\u003c\/td\u003e\n\u003ctd\u003e7.6\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"Dark Heather Grey\/ Black","offer_id":50620979773714,"sku":"8455866_4631","price":31.0,"currency_code":"USD","in_stock":true},{"title":"Dark Heather Grey\/ Red","offer_id":50620979740946,"sku":"8455866_4633","price":31.0,"currency_code":"USD","in_stock":true},{"title":"Royal\/ Heather Grey","offer_id":50620979708178,"sku":"8455866_8362","price":31.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/34_d9b58316-2483-4ee6-9901-eb97954a6d47.png?v=1732662106"},{"product_id":"vinyl-record-a-blade-because-a-blade-is-whole-by-alabaster-deplume","title":"Alabaster DePlume - A Blade Because A Blade Is Whole","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eAlbum Notes by Liz Pelly:\u003cbr\u003e\u003cbr\u003eAlabaster DePlume often asks a simple question: what do people need? In his work, at his shows, in his collaborations, the Mancunian singer-saxophonist and poet-philosopher poses this to the people around him. What are people looking for? In recent years, the same reply kept coming up: healing, healing, people need healing. But why, and what does it mean to heal, especially in a world where the very idea is often commodified and sold as a luxury? If people were coming to his music for something so mysterious, he ought to figure it out. Maybe he ought to try some healing himself.\u003cbr\u003e\u003cbr\u003e“For a long time, I've always tried to give responsibility for my value to someone else,” DePlume told me on a recent phone call. It seemed he’d become so caught up in the work of forging connections, and thinking about the effects of his work on others, that he’d lost a sense of himself. “I was working on that,” he explained.\u003cbr\u003e\u003cbr\u003eThis experiment in healing included slowing down, reading, reflecting, and even taking up the practice of jiu-jitsu. DePlume wrote poetry, too, including the book 'Looking for my value: prologue to a blade', seventy pages of verse rooted in its title’s great search, in finding strength of self within a community, alongside\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003emeditations on the paradox of the blade. “The blade, that divides, is whole,” he writes in the introduction. “Healing is the forming of a whole, and a whole is singular, more itself, as in more one, as in more alone.” A blade could be used to attack, to shave, to sever, but it could also be used to cut oneself loose—in the process of getting free.\u003cbr\u003e\u003cbr\u003e“What's the opposite of sleep? It’s trying to sleep,” he told me. “And so what's the opposite of looking for my value? It is knowing my value. It simply is there. My dignity is there. I don't need anyone else to know my dignity, or me, to know it. I know it first. I can't seek it from another. I stand for it.”\u003cbr\u003e\u003cbr\u003eSelections from the poetry book ultimately became the lyrics across half of the tracks on 'A Blade Because A Blade Is Whole', DePlume’s latest full-length work for the reliably great International Anthem label: eleven songs of agency and survival and presence; of confronting life’s pains rather than trying to avoid them; of banishing escapism. In sum, it documents his learning of the fact that dignity and self-determination are prerequisites for becoming whole, which is to say, for healing. If a blade were broken it would not serve its purpose; it must be unbroken, it must be whole, to be of use.\u003cbr\u003e\u003cbr\u003eIn the Alabaster DePlume songbook, the celestial ease of his instrumental tracks can sometimes feel like a trojan horse for a voice that is disarmingly honest about the heaviness of existence. Opener “Oh My Actual Days” is true to form in that sense, with DePlume’s tenor sax and Macie Stewart’s ghostly strings playing together like a slow march towards an inner reckoning, one that’s beautiful because it is true. The punchy and contemplative “Thank You My Pain” makes a rhythmic refrain from his titular lyric, inspired by the Vietnamese monk and peace activist Thích Nhất Hạnh, who urged the importance of listening to one’s own pain. “Hello my little pain, I know you are here,” Nhất Hạnh would say. “I am home to take care of you. I do not want to cover you up with consumption anymore.” While writing A Blade, DePlume “watched loads of him on YouTube.”\u003cbr\u003e\u003cbr\u003eThen there’s the gorgeous swell of “Invincibility,” an ode to self-respect that feels a bit like a choir of angels led by a trickster, a group contemplating: how do we live with the forces that seek to destroy us? The whole song feels like a heavy exhale, or like the feeling of reaching the surface after a long while underwater. “If I meet with my feelings, they cannot destroy me,” he told me. “When I allow myself to embody them, physically, then I live through that feeling and I meet with it and I make peace with it and I find that my feeling is me, and I welcome it. It is a sense that I cannot be destroyed by my feeling. I am invincible.”\u003cbr\u003e\u003cbr\u003e“Form a V” is the closest DePlume comes to a monologue, and also his song most indebted to his jiu-jitsu practice. “I’ve only been doing it for the past two or three years,” he told me. “But now I don’t know how you get by without it.” The song takes inspiration from a tradition where a whole dojo will stand in the shape of a V, facing just one lone individual, who is then attacked quickly and repeatedly by each of the others. “The title is a challenge to the world,” DePlume explained. “Go on, form a v—I am ready.”\u003cbr\u003e\u003cbr\u003eAcross the first half of the record, when the sax comes in short phrases, it feels like a highlighter over lines in DePlume’s poetry book. Other times, it plays out like an extension of his voice. “Playing the saxophone feels like singing,” he said. A transfixing run of instrumentals on the second half of the record includes “Prayer for My Sovereign Dignity,” an anthem for self-possession. “Believing in yourself feels ridiculous,” he says. “It's ridiculous, but that's what it takes. That's what's required. To stand for yourself is absurd. Let us do the absurd that is standing for ourselves. There is this prayer going on in the background—you can't quite tell what the words are, but it's basically, I'm praying for my sovereign dignity but I don't need to pray for it. It's not going to be given to me. I already have it.”\u003cbr\u003e\u003cbr\u003eWhere DePlume’s previous material was drawn from collective sessions, improvisation, and editing, A Blade was tightly composed, arranged and produced by DePlume himself. From there, he brought his compositions to a cast of players and co-arrangers, including Macie Stewart (strings), Donna Thompson (backing vocals), and Momoko Gill (strings and backing vocals), for sessions at the collective arts space Total Refreshment Centre, where he has long been involved.\u003cbr\u003e\u003cbr\u003eBorn Gus Fairbairn, DePlume is a man of many past lives. He played “rock band type music” as a teenager, and started playing improvised music around 2008. He is compelled by how improvising allows him to “put faith in others.” He taught himself the saxophone around the time that he became employed as a support worker assisting men with mental disabilities; he once called playing music with them “one of the best breakthroughs for me as an artist.” His debut as Alabaster DePlume came in May 2012, while he was still living in Manchester. He moved to London in 2015 and took up residency at Total Refreshment Centre, where he was encouraged to put on a monthly concert, leading to the series Peach, releasing a namesake album that year, too. His music, from the start, has been imbued with his politics and values; he was maybe arrested once during a protest with the environmental group Extinction Rebellion. His proper international breakthrough came in 2020 with 'To Cy \u0026amp; Lee: Instrumentals Vol. 1', after nearly a decade of steadily releasing records.\u003cbr\u003e\u003cbr\u003eOn a phone call in the fall of 2024, we barely speak about any of this though. For at least an hour, we mostly just speak about his recent trip to Palestine, and how could we not? DePlume had traveled to Bethlehem in the spring for a conference hosted by a local Lutheran pastor, before meeting up with musicians from a community arts space, the Wonder Cabinet, and the independent radio station, Radio Alhara. “Palestine is a place where people make records,” he says. “I want to normalize the dignity of that. It's not like, oh, I'm going to make a thing about Palestine. I am just there, and I'm making a thing.”\u003cbr\u003e\u003cbr\u003eAt the end of 2024, DePlume prefaced A Blade with a collection of recent works: the poetry book and a three-track EP partially recorded in Bethlehem, and in collaboration with Palestinian musicians. There’s “Honeycomb” and “Cremisan,” both recorded during his “Sounds of Places” residency at Wonder Cabinet; “Cremisan” documents the conclusion of a daylong performance presented by Wonder Cabinet and Radio alHara, June 1, 2024, described as “a cry from the Cremisan Valley (Bethlehem, Palestine) to Rafah (Gaza).” The EP’s final recording, “Gifts of Olive,” references the soul-wrenching poem “If I Must Die” by Refaat Alareer, professor of English literature at the Islamic University in Gaza, who was killed by an Israeli airstrike in 2023.\u003cbr\u003e\u003cbr\u003eTo suggest that dignity is a human right we are all entitled to is to say: by nature of being alive, every human life has worth. Contemplating the very concept of human dignity also raises the daily indignities that are so normalized in a world of suffering. The lack of access to clean water, air, housing, healthcare. Without the basic necessities of life, we cannot know dignity. And how can people know dignity if they are living under a constant state of military attack, if they are living as the target of a genocide?\u003cbr\u003e\u003cbr\u003e“The album was written before the genocide started, but I had Palestine on my mind all the time,” DePlume explains. “This question of dignity, sovereignty, and the work of healing. It has a relevance in what's being perpetrated there by the Israeli state, and taking responsibility for my place in that. I pay my taxes here in the United Kingdom—I am contributing to, as a white Englishman, the country that brought the Balfour Declaration, that brought the Sykes-Picot Agreement, that supports and enables the colonization and the settler-colonial project in Palestine. It is my issue, and I have a position where I can speak about it.”\u003cbr\u003e\u003cbr\u003e“Dignity” has roots in the Latin dignitatem: worthiness. And instilling the plain truth of every human life’s worth has been a recurring commitment in DePlume’s work. “They can’t use us on one another if we don’t forget we’re precious,” he sang in 2022, summing the emotional core of his 2022 album 'GOLD', concerns of shared humanity that play out into the new works as well.\u003cbr\u003e\u003cbr\u003e“We make stories in our lives,” DePlume says. “Oh, I need my story. Oh, something bad happened, and I need to heal upon that. Then I will be healed and all will be good, happily ever after. But no, it is work that needs doing all the time. We all are wounded in our many different ways. And there are degrees of healed, or wounded. Basically, we are either doing one thing or we're doing the other. How do I know I am not destroying myself? I only know that when I am working on healing.”\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased March 7, 2025\u003cbr\u003e\u003cbr\u003eAlabaster DePlume – voice, tenor and baritone sax, acoustic and electric guitar, bass, synths\u003cbr\u003eConrad Singh – electric guitar\u003cbr\u003eDonna Thompson – drums, voice, vocal arrangement for Invincibility\u003cbr\u003eHannah Miller – cello\u003cbr\u003eJohn Ellis – piano\u003cbr\u003eMacie Stewart – violin, string arrangements\u003cbr\u003eMikey Kenney – violin, voice\u003cbr\u003eMomoko Gill – voice, drums, string arrangement for Form a V\u003cbr\u003eRozi Plain – bass\u003cbr\u003eRuth Goller – bass, voice\u003cbr\u003e\u003cbr\u003eComposed and Produced by Alabaster DePlume, except Salty Road Dogs Victory Anthem, co-composed with Conrad Singh, Momoko Gill and Rozi Plain.\u003cbr\u003e\u003cbr\u003eRecorded to analogue tape at Total Refreshment Centre\u003cbr\u003eEngineered \u0026amp; recorded by Kristian Craig Robinson, except Invincibility, Kuzushi and Too True engineered \u0026amp; recorded by Alabaster DePlume\u003cbr\u003eStrings engineered by Dave Vettraino\u003cbr\u003eMixed by Dilip Harris\u003cbr\u003eMastered by David Allen\u003cbr\u003eArtwork by Rebecca Salvadori\u003cbr\u003ePortrait photo by Chris Almeida\u003cbr\u003eDesign \u0026amp; Layout by Aaron Lowell Denton\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv id=\"license\" class=\"info license\"\u003e\n\u003cspan class=\"cc-icons commercial\"\u003e\u003c\/span\u003eall rights reserved\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"license\" class=\"info license\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0090 Classic Black vinyl LP","offer_id":51044684333330,"sku":"IARC0090LP","price":24.0,"currency_code":"USD","in_stock":true},{"title":"IARC0090 Limited Edition ''That Was My Garden'' Color Vinyl LP","offer_id":52115723223314,"sku":"IARC0090LPI","price":27.0,"currency_code":"USD","in_stock":true},{"title":"IARC0090 CD - Compact disc","offer_id":52115723256082,"sku":"IARC0090CD","price":15.0,"currency_code":"USD","in_stock":true},{"title":"IARC0090 Digital Download","offer_id":52120998215954,"sku":"IARC0090","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a2823532332_10.jpg?v=1773342050"},{"product_id":"tracing-the-lines-issue-3","title":"Tracing The Lines - Issue #3","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIssue #3 of Tracing The Lines is a creative exploration of International Anthem and the community that surrounds it. This third annual installment explores the concept of Space as it relates to community and the world as a whole—spaces that humans inhabit, spaces where humans create, spaces where humans meet \u0026amp; live, etc.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e88-page 170x250mm newsprint zine, printed in CMYK on 55gsm stock, edited by David Brown and designed by Jeremiah Chiu, with contributions from:\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAaron Lowell Denton, Alejandro Ayala, Alexis Blondel, André Baumecker, Annelise Niño, Anna Butterss, Ariel Kalma, Asher Gamedze, Ayana Contreras, Carlos Niño, Chris Schlarb, Clémentine March, Cristina Marx, Craig Hansen, Damon Locks, Dave Vettraino, David Allen\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e, David Brown, David Haskell, Emma Warren, Felix Read, Frank Rosaly, Haize Hawke, Ibelisse Guardia Ferragutti, Jeremiah Chiu, Jenny Hofmeister, Keegan Steenkamp, Kory Gozjack, Lani Trock, Maaike Timmers, Maxime Libiszewski, Mayu Amano, Midori Aoyama, Naledi Kgosana, Pedro Velasco, Reza Khota, Robbie Jeffers, Ru Slayen, Ruth Goller, Ryan Julio, Scott McNiece, Stephanie Manriquez, Tasmin Kania, Thandi Gamedze, Thomas Vermynck, Tom Skinner, Tomin Perea-Chamblee, Zakia Sewell, Zwide Ndwandwe.\u003cbr\u003e\u003cbr\u003eMade in the UK.\u003cbr\u003e\u003cbr\u003e*Ships from US, UK \u0026amp; EU*\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"International Anthem","offers":[{"title":"Default Title","offer_id":51558922322194,"sku":"IARCTL03","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/0038363688_10.jpg?v=1755212615"},{"product_id":"vinyl-record-touch-by-tortoise","title":"Tortoise - Touch","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eThe songs on Touch, the first new Tortoise music in nine years, are dramas without words. They’re elaborately appointed and carefully mixed to enhance a familiar feeling — a distinctly cinematic uneasiness. Close your eyes and you might see cars swerving around unlit rural roads, or cityscapes at night with bells clanging in the distance, or some abandoned warehouse where spies chase each other between towering stacks of boxes.\u003cbr\u003e\u003cbr\u003eThe making of Touch is an entirely different kind of film — a heartwarming story of musicians adapting to life circumstances.\u003cbr\u003e\u003cbr\u003eTortoise operates as a collective; the five multi-instrumentalists make records by committee, seeking input on creative decisions large and small. All ideas are considered, and for most of the band’s influential three-decade run, the process has been straightforward: Each musician brings in songs or sketches, and as the group absorbs them, the players exchange ideas about the structure, instrumentation, different grooves or (more frequently, because they’re Tortoise) odd metric divisions that might stretch the initial conception of the song.\u003cbr\u003e\u003cbr\u003eThese discussions have always happened in real time, face to face. Until Touch. As guitarist and keyboardist Jeff Parker\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eexplains, over the last decade, the members of Tortoise scattered geographically, making the pre-production rehearsal sessions if not impossible, at least more complicated.\u003cbr\u003e\u003cbr\u003e“It’s the first record we’ve done where everything wasn’t based in Chicago,” says Parker. “Two of us are in Chicago. Two of us are here in Los Angeles and John [McEntire] is in Portland, OR. We recorded in several different places. But the strange thing is, in a way it’s kind of the most cohesive session that we’ve done.”\u003cbr\u003e\u003cbr\u003eMcEntire, who plays drums, percussion, and keyboards and serves as mixing engineer, had little doubt that the actual recording would be fine. His apprehension was about those more open-ended development sessions leading up to the recording, which, he says, have been known to yield moments of peak Tortoise inspiration. “We don't work remotely, unfortunately. We kind of all have to be in the room together. For me the trial-and-error stage is very important. I didn’t want to lose that.”\u003cbr\u003e\u003cbr\u003eThe percussionist and multi-instrumentalist John Herndon explains one reason why: The path to a “final” version of a Tortoise tune is not a straight line. “It becomes writing and arranging and editing and orchestrating and sort of getting things into a sonic space that feels good, all at the same time.”\u003cbr\u003e\u003cbr\u003eThere was consensus about that; each of the musicians has a story about songs being transformed by the collaborative dynamic. Percussionist and keyboardist Dan Bitney recalls a session when they were working on one of his tunes. He wasn’t happy with it and promised to come up with a countermelody. “Right away somebody just asked “Does it need a melody? Like, why does this need a melody? And I’m like, “Yeah!” That’s the kind of thinking that can open your eyes.”\u003cbr\u003e\u003cbr\u003eIn the initial planning for the new record, the band arrived at what seemed like a reasonable geographic compromise: They’d set up shop at studios in three different areas — Los Angeles, Portland, and Chicago. They scheduled sessions with sometimes months in between, so that everyone could sit with the material and refine it further. The plan: To shift some of the wild idea-chasing of those development sessions from group work to individual work, building on Tortoise’s deep and iconoclastic lexicon of sounds — and on the trust between musicians that’s accrued over decades of music-making.\u003cbr\u003e\u003cbr\u003e“It’s like, humans adapt,” Herndon says flatly. In order to keep making music as a group, he explains, everyone needed to be flexible then and remain so now. “If you’re used to doing something one way, and then it flips, well, you have to adapt to another way of working. I think that that's what we all were aspiring to do with this, endeavoring to kick in our adaptation skills.”\u003cbr\u003e\u003cbr\u003eStill, it wasn’t smooth sailing. “I’m going to be honest, I think that we had some doubts” after the first set of sessions, McEntire recalls. Noting that four years elapsed from the beginning of Touch to its completion, he adds that “it took a long, long time for the music to coalesce. There was some ‘what are we doing?’ questioning going on along the way.”\u003cbr\u003e\u003cbr\u003eDouglas McCombs, who plays guitar, bass, and the deep-voiced bass VI guitar that adds a noir luster to “Night Gang” and other Touch songs, believes that questioning would have happened regardless of the geographical challenges. “In the best circumstance, there’s a flow when we’re working on a tune. Everyone’s sparking ideas and inspired. It’s not work.” He adds, “In the worst moments, when we just absolutely don’t know what to do with something, it’s torturous.”\u003cbr\u003e\u003cbr\u003eHerdon points to the early versions of “Vexations,” which became the new album’s opening track, as one such slow-torture situation. “We were confounded as to figuring out an arrangement, and things were just stuck,” he recalls. During one of the long lulls between the studio sessions, Herndon says, he got an idea for the tune. “I asked John if I could have the stems [the individual track files] for the song, and then I kind of did a reworking in the garage. Re-did the drums completely and made a breakdown section in the middle. I sent it and was like, ‘I don't know if this is anything, but here.’ And those guys seemed really excited about it.”\u003cbr\u003e\u003cbr\u003eHerndon quickly adds that every Tortoise record has benefitted from similar experimentation. In fact, it’s the key thing, a defining characteristic: “Sometimes doing an edit will leave a space open for something else, and we’re all into that idea of, ‘What happens next?’ It’s this attitude of ‘Let’s make some music together and see what happens.’ We're all comfortable with the not knowing, with letting an idea go through many permutations.”\u003cbr\u003e\u003cbr\u003eAlong with that is the knowledge that this open-ended exploring can be time-consuming. And might possibly end in futility. McCombs says that though the band’s approach changed with Touch, the players still needed the mindset they’d used in those brainstorming rehearsals. “When I get frustrated or when we seem like we're stalling out a little bit, I just have to remember that patience is one of the things that makes this band work.”\u003cbr\u003e\u003cbr\u003eAsked to recall a moment that required patience, McCombs doesn’t hesitate. “It seems to happen a lot with the drummers,” McCombs says. “Somebody will be like, ‘Hey John [McEntire] why don’t you play this?’ And he’ll be like, ‘I don’t wanna play it cause I hear Herndon here.’ It’s like McEntire hears Herdon and Herndon hears Bitney… That happens a lot, and then they’ll come to a consensus. Sometimes half the song will be one drummer and half the song will be another drummer. That’s kind of the way it works.”\u003cbr\u003e\u003cbr\u003e**\u003cbr\u003e\u003cbr\u003eIt must be said: When things click into place, Tortoise is a rare force. Whether cranking out a foursquare rock backbeat or chopping time into polyrhythmic shards that defy counting (and logic), the band challenges accepted notions of what rock music can be, what moods it can evoke — that’s part of the reason the band is revered so widely, among musicians working in many genres.\u003cbr\u003e\u003cbr\u003eTortoise’s indescribable sonic arrays have grown more intense — and more influential — over time. Early works — the 1993 debut and the 1996 Millions Now Living Will Never Die, which opens with a twenty-one-minute suite — contrast the thick harmonic schemes of Krautrock with the similarly impenetrable densities of musique concrete, adding jarring spears of electric guitar as spice accents. The commercial breakthroughs that followed, TNT (1998) and Standards (2001) found Tortoise further expanding its toolkit: Rather than orient each piece around declarative single-line melodies, the musicians let the vast, lush, inviting scenes become a hypnotic wordless narrative, built from overlapping layers and interlocking rhythms.\u003cbr\u003e\u003cbr\u003eEach step in the discography underscores a truth about Tortoise: The questions about arrangement and orchestration are foundational, defining the scope of the canvas and the density of the band’s exactingly precise soundscapes. There can, as McCombs notes, be multiple drummers on a track, and their beats can be supported by acoustic percussion or random electronic blippage. Likewise, on any given track, there can be multiple mallet parts, sometimes sustaining gorgeous washes of color, at other times pounding out intricate Steve Reich-style interlocked grids of harmony. There can be multiple guitars, each with its own earthshaking effects profile. (Parker laughs when he says “I’m kind of like the straight man with the guitar sounds.”) There can be multiple synthesizers — darting squiggles of lead lines crashing into asymmetrical arpeggios, or bliss-toned drones hovering in the upper-middle register like a cloud in a landscape painting.\u003cbr\u003e\u003cbr\u003eAnd there can be noise, all kinds of it: While the working method of Touch meant Tortoise sacrificed some spontaneous sparks, it encouraged the musicians to explore the thickening textural possibilities of different flavors of noise (white, pink, etc). The band recently issued a set of remixes for the single “Oganesson.” The more austere, stripped-down interpretations offer telling insights about the deployment of noise as well as the track-by-track assembly process, the ways Tortoise uses open space, textural layers, and dissonances to create drama.\u003cbr\u003e\u003cbr\u003eMcEntire believes those little devices are essential to the sound. “Because we don't have a singer, we have to have a different vocabulary for creating interest. So we use all the little things, like dynamics, texture, orchestration.”\u003cbr\u003e\u003cbr\u003eGiven the intricacy of the music, McEntire explains, every little sound starts as a decision in the recording studio, and then, subsequently, becomes a logistical decision for live performance — after all, the many parts have to be executed by the five players.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased October 24, 2025\u003cbr\u003e\u003cbr\u003eAll music written and performed by Tortoise\u003cbr\u003e\u003cbr\u003eTortoise is Dan Bitney, John Herndon, Douglas McCombs, John McEntire, Jeff Parker\u003cbr\u003e\u003cbr\u003eViola on “Promenade à deux” - Marta Sofia Honer\u003cbr\u003eCello on “Promenade à deux” - Skip VonKuske\u003cbr\u003e\u003cbr\u003eField Recordings on “Works and Days” - Tucker Martine\u003cbr\u003e\u003cbr\u003eRecorded at Flora Recording and Playback, Portland OR; 64 Sound, Los Angeles CA; Electrical Audio, Chicago IL\u003cbr\u003e\u003cbr\u003eMixed at Soma Electronic Music Studios, Gladstone OR\u003cbr\u003eRecorded and Mixed by John McEntire\u003cbr\u003eMastered by Dave Cooley at Elysian Masters, Los Angeles CA\u003cbr\u003e\u003cbr\u003eScorpion Photography - Heather Cantrell\u003cbr\u003eScorpion Sculpture - Martin McEntire\u003cbr\u003eCollage Image - øjeRum\u003cbr\u003eLayout and Design - Jeremiah Chiu\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv id=\"license\" class=\"info license\"\u003e\n\u003cspan class=\"cc-icons commercial\"\u003e\u003c\/span\u003eall rights reserved\u003c\/div\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"info license\" id=\"license\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0099 Classic Black vinyl LP","offer_id":51667841384722,"sku":"IARC0099LP","price":27.0,"currency_code":"USD","in_stock":true},{"title":"IARC0099 Limited Edition *Axial Seamount* color vinyl LP","offer_id":52059179221266,"sku":"IARC0099LPI","price":30.0,"currency_code":"USD","in_stock":false},{"title":"IARC0099 CD - Compact Disc","offer_id":52059101856018,"sku":"IARC0099CD","price":15.0,"currency_code":"USD","in_stock":true},{"title":"IARC0099 Digital Download","offer_id":52108289442066,"sku":"IARC0099DD","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a2905449829_10.jpg?v=1773282196"},{"product_id":"vinyl-record-off-the-record-by-makaya-mccraven","title":"Makaya McCraven - Off the Record","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"preFade fadeIn\"\u003e\u003cem\u003e\u003cstrong\u003eOFF THE RECORD\u003c\/strong\u003e\u003c\/em\u003e compiles \u003cstrong\u003eMakaya McCraven's\u003c\/strong\u003e four EPs released October 2025 \u003cstrong\u003e(\u003cem\u003eTechno Logic, The People's Mixtape, Hidden Out!\u003c\/em\u003e, and\u003cem\u003e PopUp Shop\u003c\/em\u003e)\u003c\/strong\u003e into a single physical package.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"preFade fadeIn\"\u003eTogether, the four EPs (and \u003cem\u003eOff the Record\u003c\/em\u003e compilation) mark McCraven’s first recorded offerings since 2022’s \u003ca href=\"https:\/\/intlanthem.us9.list-manage.com\/track\/click?u=bdf63ba201aac3a40783dd64e\u0026amp;id=37bcdb2f61\u0026amp;e=902961715e\" target=\"_blank\"\u003e\u003cem\u003eIn These Times\u003c\/em\u003e\u003c\/a\u003e, and a return to the signature “organic beat music” approach that Makaya first debuted on his 2015 album \u003ca href=\"https:\/\/intlanthem.us9.list-manage.com\/track\/click?u=bdf63ba201aac3a40783dd64e\u0026amp;id=be5dec8dcb\u0026amp;e=902961715e\" target=\"_blank\"\u003e\u003cem\u003eIn The Moment\u003c\/em\u003e\u003c\/a\u003e and further developed on \u003ca href=\"https:\/\/intlanthem.us9.list-manage.com\/track\/click?u=bdf63ba201aac3a40783dd64e\u0026amp;id=88f5d8d9da\u0026amp;e=902961715e\" target=\"_blank\"\u003e\u003cem\u003eHighly Rare\u003c\/em\u003e\u003c\/a\u003e (2017), \u003ca href=\"https:\/\/intlanthem.us9.list-manage.com\/track\/click?u=bdf63ba201aac3a40783dd64e\u0026amp;id=68d03ba881\u0026amp;e=902961715e\" target=\"_blank\"\u003e\u003cem\u003eWhere We Come From\u003c\/em\u003e\u003c\/a\u003e (2018), and \u003ca href=\"https:\/\/intlanthem.us9.list-manage.com\/track\/click?u=bdf63ba201aac3a40783dd64e\u0026amp;id=90df120c73\u0026amp;e=902961715e\" target=\"_blank\"\u003e\u003cem\u003eUniversal Beings\u003c\/em\u003e\u003c\/a\u003e (2018).\u003c\/p\u003e\nOut October 17, 2025 \u003cmeta charset=\"utf-8\"\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"info license\" id=\"license\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0103 Classic Black vinyl 2xLP","offer_id":51667948241170,"sku":"IARC0103LP","price":34.0,"currency_code":"USD","in_stock":true},{"title":"IARC0103 Limited Edition White vinyl 2xLP","offer_id":52043718918418,"sku":"IARC0103LPI","price":39.0,"currency_code":"USD","in_stock":false},{"title":"IARC0103 Compact Disc 2xCD","offer_id":52043724783890,"sku":"IARC0103CD","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a1027861878_10.jpg?v=1773341895"},{"product_id":"vinyl-record-how-you-been-by-sml","title":"SML - How You Been","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eSML is the quintet of bassist Anna Butterss, synthesist Jeremiah Chiu, saxophonist Josh Johnson, percussionist Booker Stardrum, and guitarist Gregory Uhlmann. Their second album, How You Been, finds the supergroup of prolific composer\/producers pushing ever further into the hyperrealist, collectivist approach to music creation nascently explored on their debut Small Medium Large, which was lauded as “awe-inspiring” by Glide, “exuberant” by the Los Angeles Times, and “an exciting milestone” by Pitchfork.\u003cbr\u003e\u003cbr\u003eHow You Been represents a breakthrough in the musical language of the group. This new work was crafted via extensive post-production of recordings from a handful of shows in a similar fashion to their debut, but whereas Small Medium Large was constructed from analog tapes of the band’s very first (and very modest) shows at bygone Highland Park LA venue ETA, How You Been was built with a higher level of self-awareness and a far deeper pool of source material.\u003cbr\u003e\u003cbr\u003eBehind the thrust of the first album’s success, the band approached every performance in late 2024 and early 2025 as a generative opportunity to hone their sound and document their expansion across a new landscape of audiences, venues, and cities\u003cspan class=\"bcTruncateMore\"\u003e. Despite the premeditation driving their commitment to record every moment, the band started every show without musical direction, improvising intuitively, completely. Within every performance is an impressive display of the band’s total trust in one another and confidence in their own instincts.\u003cbr\u003e\u003cbr\u003eAs SML has evolved and spread out in space-time, their fluencies, both as an improvising unit in performance and as a production team in the studio, have sharpened. At inception the band inspired disparate but distinctive artist comparisons like Essential Logic, Oval, Herbie Hancock’s Sextant, and electric Miles Davis, as well as assorted genre touchpoints like Afrobeat, kosmiche, proto-techno and new-jazz. With How You Been their work manages to both collapse and explode such derivatives, displaying a new, high resolution version of SML, fully-flowered into a new strain of sound, bound to incite its own copycats in due time.\u003cbr\u003e\u003cbr\u003e“SML might signal a new iteration of jazz, or it might not be jazz at all, or it might not matter.” - Pitchfork\u003cbr\u003e\u003cbr\u003eIt’s important to note that SML’s sound wasn’t created in a vacuum. The band is part of an extensive community of creative musicians who collaborate in a multitude of ways, and that community has proven to be essential to a growing family tree of innovative, genre-expanding music. Los Angeles in the 2020s is a musical Petri dish in the same way that Cologne \u0026amp; Dusseldorf were for the birth of Krautrock; Canterbury for progressive rock in the late 60s; NYC for No Wave \u0026amp; the Downtown sound in the late 70s and 80s; Chicago for genreless, Tortoise-adjacent sounds in the 90s. The musicians of SML represent the core of a new school within the Los Angeles jazz and improvised music scene that seems to breed infinitely overlapping combinations, including Jeff Parker’s ETA IVtet and Expansion Trio, the Uhlmann Johnson Wilkes trio, Anna Butterss’s own band (as heard on 2024’s Mighty Vertebrate), and various other solo and ensemble projects encompassing every single member of the SML, respectively.\u003cbr\u003e\u003cbr\u003eOn How You Been the curatorial challenge of the capture-cut production employed by SML is met by the delightful happenstance of each member being a seasoned producer on their own merit. Accordingly, SML’s perspective on what is a moment to expand upon with the post-producer’s knife and glue is five-strong. Each member’s proclivities, penchants, and predelections get their chance to filter the always-evolving elements of the group concept.\u003cbr\u003e\u003cbr\u003e“Chicago Four” uses a live recording from treasured Chicago haunt The Empty Bottle as its foundation. It begins with interlocking synth and percussion loops before the entry of Uhlmann’s wobble-effected electric guitar melody and Butterss’s picked bass counterpoint. Stardrum’s swinging traps slide in, catching up to a couple of added percussion layers, before Johnson adds distorted chordal hits that sound like hard horn samples from a golden era Bomb Squad or Rakim beat. It all intertwines perfectly and makes an otherworldly vehicle for Johnson and Chiu’s cascading keyed melody, which soars above and between, complimenting either side of a hypnotically shifting, infectiously repeating modulation.\u003cbr\u003e\u003cbr\u003e“Brood Board SHROOM” is a temporary touchdown on an alien planet where rhythm moves in timeless, breath-like undulations, with repetitions cut from a very different cloth than the lock-step polyrhythmic grooves of “Chicago Four.” The track’s opening lines evoke the soft throbs of the beloved ambient works of Aphex Twin (or perhaps a Robitussen-drenched take on Steve Reich’s Different Trains), before frothy curtains of textured sound drape into the mix, overlaying like distant, minimalist symphonies in a gentle, synthetic recreation of free time — slackening and accelerating as each layer of tonal pulses hovers to front-and-center or retreats into the distance. It’s a gut feeling rather than an academic exercise, and it’s all in the service of forward motion. “Plankton” occupies a similar space albeit in bite-sized form, centering Buterss’s low end melodicism and high-string visitations surrounded by skittering tonal chatter from their bandmates.\u003cbr\u003e\u003cbr\u003eOf course, SML’s experiments with this kind of pulsating freedom are heavily balanced by muscular turns and body mechanics fit for the dancefloor. “Taking Out the Trash” is a perfect pace-setter for How You Been, a punchy nugget encapsulating the essence of SML. Chiu’s percussion synth establishes the groove before Stardrum and Butterss drop in on a heavy breakbeat. Uhlmann comes in with a searing, plucked staccato funk line on his guitar that would give Glenn Branca and Larry Coryell something to high five about. Things eventually trip into a total breakdown, with only the perc synth still looping. When the band explodes back in, the key has changed, and Johnson is letting loose on a wailing, distorted saxophone solo.\u003cbr\u003e\u003cbr\u003e“Is there a way to dim the lights a little more?” Chiu asks at the start of the album’s closer “Mouth Words.” Moments later SML takes us out with a mid-tempo 4\/4 groover dressed in swelling glissandos and punctuated by insistent, rapid-fire phrases from Johnson’s alto. As the final tune dissolves into a layer of arpeggiated chirps and sampled crowd sounds, Chiu’s voice is back again to say what we’re all thinking: “Very good. Thank you.”\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cspan\u003e\u003ca\u003e\u003c\/a\u003e\u003c\/span\u003eOut November 7, 2025\u003cbr\u003e\u003cbr\u003eSML is:\u003cbr\u003eAnna Butterss - Electric Bass\u003cbr\u003eJeremiah Chiu - Modular Synthesizer, Live-sampling, Percussion,Synthesizers\u003cbr\u003eJosh Johnson - Saxophone, Electronics,Synthesizers\u003cbr\u003eBooker Stardrum - Drums, Percussion\u003cbr\u003eGregory Uhlmann - Guitar, Effects, Sampler, Electronics\u003cbr\u003e\u003cbr\u003eEngineered and Recorded Live:\u003cbr\u003eZebulon, Los Angeles (July 8 \u0026amp; 9, 2024) by Bryce Gonzales\u003cbr\u003eThe High Low, Los Angeles (November 11, 2024) by Bryce Gonzales\u003cbr\u003ePublic Records, New York City (December 3, 2024) by Dave Vettraino\u003cbr\u003eEmpty Bottle, Chicago (March 3, 2025) by Dave Vettraino\u003cbr\u003eTractor Tavern, Seattle (March 20, 2025) by Dr. Jon\u003cbr\u003e\u003cbr\u003eComposed, compiled, edited, and overdubbed by SML (2025)\u003cbr\u003e\u003cbr\u003eProduced by SML\u003cbr\u003eMixed by Josh Johnson, SML, Bryce Gonzales, and Dave Vettraino\u003cbr\u003eSequence by SML and Scott McNiece\u003cbr\u003eMastered by David Allen\u003cbr\u003e\u003cbr\u003eCover art by Sonnenzimmer\u003cbr\u003ePhoto by David Haskell\u003cbr\u003eDesign by Jeremiah Chiu\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv id=\"license\" class=\"info license\"\u003e\n\u003cspan class=\"cc-icons commercial\"\u003e\u003c\/span\u003eAll rights reserved\u003c\/div\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0105 Classic Black vinyl LP","offer_id":51701149401362,"sku":"IARC0105LP","price":24.0,"currency_code":"USD","in_stock":true},{"title":"IARC0105 Limited Edition *Plankton* color vinyl LP","offer_id":52110661583122,"sku":"IARC0105LPI","price":29.0,"currency_code":"USD","in_stock":false},{"title":"IARC0105 CD - Compact disc","offer_id":52110661091602,"sku":"IARC0105CD","price":15.0,"currency_code":"USD","in_stock":false},{"title":"IARC0105 Digital Download","offer_id":52121009258770,"sku":"IARC0105","price":9.99,"currency_code":"USD","in_stock":true},{"title":"IARC0105 - How You Been - Test Pressing","offer_id":52121009291538,"sku":"IARC0105LP-TP","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/HowYouBeen-SML.jpg?v=1773341468"},{"product_id":"tracing-the-lines-issue-4","title":"Tracing The Lines - Issue #4","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIssue #4 of Tracing The Lines is a creative exploration of International Anthem and the community that surrounds it. This fourth annual installment (the \"IA11 Edition\") focuses the lens on a celebration of the label's eleventh year. The IA11 Issue, in turn, acts as the final piece of the celebration, looking back with one eye on the future.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e64-page 170x250mm newsprint zine, printed in CMYK on 70gsm stock, edited by David Brown and designed by Jeremiah Chiu, with contributions from: Aaron Lowell Denton, Abu-Bakaar Bacaicoa, Alabaster DePlume, Alejandro Ayala, Angel Bat Dawid, Charlie Boss, Chet Zenor, Dave Vettraino, David Allen, David Brown, Jennifer Lynn Christie, Jeremiah Chiu, Julia Dratel, Justin Vernon, Kari Skaflen, Lori Mendoza, Macie Stewart, Maren Celest, Mark Pallman, Martell Stepney, Nicole Mckenzie, Pascal Gambarte, Regina Martinez, Rob Mazurek, Sam Klickner, and Scott McNiece.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMade in the UK.\u003c\/span\u003e\u003c\/p\u003e","brand":"International Anthem","offers":[{"title":"Default Title","offer_id":51761729175826,"sku":"IARCTL04","price":11.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/IMG_5407.jpg?v=1764643426"},{"product_id":"alabaster-deplume-to-cy-lee-instrumentals-vol-1-ia11-edition","title":"Alabaster DePlume - To Cy \u0026 Lee: Instrumentals Vol. 1 (IA11 Edition)","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eTo Cy and Lee: Instrumentals Vol. 1 is a collection of Mancunian poet, singer, saxophonist and composer Alabaster DePlume’s simple and serenely intimate wordless adventures in melodic ennui. The collection properly introduced the world to a previously under-exposed, undeniably deep dimension of DePlume who, at the time of the its release, was most known to his followers for his music with words, his poetry, and his prowess as an impassioned orator. His performances (especially those that were part of his monthly Peach residency at Total Refreshment Centre in London) were becoming legendary for blurring the boundaries between secular sermon, theatrical monologue and song, as he turned audiences into experimental large ensembles and lead full-throated shout-alongs to tunes like “Is It Enough” and “Be Nice To People” (both from his 2019 Lost Map album The Corner of a Sphere). The instrumental pieces that quietly buffered the big vocal moments of his recorded catalog, to that point, had mostly lived, quietly, in those buffers.\u003cbr\u003e\u003cbr\u003eWe’re not really sure what inspired DePlume to gather all of his recorded instrumentals, add a couple new ones, and invite International Anthem to collaborate on the campaign (we had only recently been getting to know him a little deeper, after our\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003esecond trip to Total Refreshment Centre in the fall of 2018 when we recorded jaimie branch’s FLY or DIE II: bird dogs of paradise). But what we do know is, not long after To Cy \u0026amp; Lee’s February 2020 release and the subsequent arrival of a global pandemic, those recordings went very far, very fast, taking on a new life as stay-at-home hits — the quiet catharsis we didn’t know we needed in the face of rapidly unfolding confusion, fear, and isolation. As the people of the world found themselves inside their small rooms, they began to search for smaller, more intentional sounds to fill them. These instrumentals carried the healing qualities we were after then, and still seek now. As we cite on the obi strip, the music is an antidote with seemingly ancient sonic characteristics, and a unique ability to embrace the core of our very being.\u003cbr\u003e\u003cbr\u003eTo Cy \u0026amp; Lee was also the first document of an ongoing collaboration between DePlume and International Anthem, which has already yielded the albums GOLD (2022), Come With Fierce Grace (2023), and A Blade Because a Blade Is Whole (2025), in addition to sundry singles and EPs. The depth of partnership between DePlume and our crew that has developed since To Cy \u0026amp; Lee, coupled with the endlessly quenching spiritual comforts the album continues to provide, makes it an absolute essential of the International Anthem catalog and a proud choice for the final three of the IA11 series.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased November 13, 2025\u003cbr\u003e\u003cbr\u003eComposed by Alabaster DePlume.\u003cbr\u003e\u003cbr\u003ePerformed by Alabaster DePlume – vocal, tenor sax, guitar; Ríoghnach Connolly – voice, flute; Jess Connor – voice; Ellis Davies – electric guitar; John Ellis – pianette, clavinette, piano; Jessica Macdonald – cello; Hannah Miller – cello; Bi Roxby – voice; Paddy Steer – percussion, bass pedals; Leon Boydon – acoustic guitar; Daniel Inzani – piano; Beth Porter – cello; Lorenzo Prati – tenor sax; Dan Truen – drums; Will Calderbank – cello; Lorien Edwards – bass guitar; Philip Howley – drums, percussion; Mikey Kenney – violin; Pascal Makonese – m’bira; Kirsty McGee – bass flute; Tim Vincent Smith – violin; Rick Weedon – drums, percussion; Chestnutt – synth; Danalogue – piano, voice; James Howard – electric guitar; Sarathy Korwar – drums; Donna Thompson – voice.\u003cbr\u003e\u003cbr\u003eArranged by Alabaster DePlume, with Bi Roxby (track 3), Ellis Davies (track 11), and Danalogue (track 7).\u003cbr\u003e\u003cbr\u003eTracks 1, 3, 8 \u0026amp; 11 from \"Copernicus\" (2012) recorded at Limefield Studios and Madwaltz; produced \u0026amp; engineered by Paddy Steer and John Ellis; mixed by Paddy Steer.\u003cbr\u003e\u003cbr\u003eTrack 9 from \"The Jester\" (2013) recorded in Bristol; produced by Alabaster DePlume and Daniel Inzani with Mark Dressler; mixed \u0026amp; engineered by Mark Dressler.\u003cbr\u003e\u003cbr\u003eTracks 4, 5, 6 \u0026amp; 10 from \"Peach\" (2015) recorded at Limefield Studios, Madwaltz, Antwerp Mansion and Total Refreshment Centre; produced by Alabaster DePlume; engineered by Paddy Steer, John Ellis and Karl Sveinsson; mixed by Paddy Steer.\u003cbr\u003e\u003cbr\u003eTracks 2 \u0026amp; 7 (2019) recorded at Total Refreshment Centre; produced by Alabaster DePlume; mixed \u0026amp; engineered by Kristian Craig Robinson.\u003cbr\u003e\u003cbr\u003eTracks 12 \u0026amp; 13 (digital-only bonus tracks) produced, performed and recorded by Alabaster DePlume, circa 2013.\u003cbr\u003e\u003cbr\u003eAlbum Mastered by David Allen (based on original tape masters of \"Copernicus\" by George Atkins at 80 Hertz).\u003cbr\u003e\u003cbr\u003eCover Art, Design \u0026amp; Layout by Raimund Wong.\u003cbr\u003e\u003cbr\u003ePhotography by Christina Almeida.\u003cbr\u003e\u003cbr\u003eIA11 Design by Aaron Lowell Denton.\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv id=\"license\" class=\"info license\"\u003e\n\u003cspan class=\"cc-icons commercial\"\u003e\u003c\/span\u003eall rights reserved\u003c\/div\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0030 Classic Black vinyl LP (IA11 Edition)","offer_id":52109135577362,"sku":"IARC0030LP11","price":22.0,"currency_code":"USD","in_stock":true},{"title":"IARC0030 Digital Download","offer_id":52120998379794,"sku":"IARC0030","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a4093398098_10.jpg?v=1773343771"},{"product_id":"jeff-parker-eta-ivtet-the-way-out-of-easy","title":"Jeff Parker ETA IVtet - The Way Out of Easy","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eJanuary 2nd, 2023. Aside from being the second of a new year, it was a pretty ordinary night at ETA in Los Angeles, where guitarist Jeff Parker - alongside his ETA IVtet with saxophonist Josh Johnson, bassist Anna Butterss, and drummer Jay Bellerose - had been holding down a regular Monday gig since 2016. At the time, nobody knew it was the first gig of the last year that ETA would be open for business.\u003cbr\u003e\u003cbr\u003eOver seven years of holding down that residency, Parker’s ETA ensemble evolved from a band that played mostly standards into a group known for its transcendent, long-form (sometimes stretching out for 45 minutes or more) journeys into innovative, often uncharted territories of groove-oriented, painterly, polyrhythmic, minimalist and mantric improvised music.\u003cbr\u003e\u003cbr\u003eWith that musical growth, the crowds for Parker and his band at ETA grew across the years too. What started as a sparse gathering of weeknight drinkers, friends, family, and Chicago expats (coming to get a shot of nostalgia for the atmospheres Parker used to create at Rodan across the ‘00s and early ‘10s) grew into a Los Angeles nightlife staple with a packed house and a line down the block for every show.\u003cbr\u003e\u003cbr\u003eBy January 2023 interest in Parker’s music was\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003estronger than ever, coming off successes with the December 2021 International Anthem\/Nonesuch release of Forfolks – a collection of solo guitar works – and the October 2022 Eremite release of Mondays at the Enfield Tennis Academy, a double LP chronicling the ETA IVtet’s distinct, expansive approach to improvisation across four side-length tracks recorded and mixed live by engineer Bryce Gonzales.\u003cbr\u003e\u003cbr\u003eMondays introduced the world to the ETA IVtet’s signature sound with a gathering of unnamed recordings from dates between 2019 and 2021. Parker’s new ETA IVtet offering stays true to that formula in some ways – as he returns to Gonzales’s archive of analog captures to gather four long recordings totalling around 80 minutes – while zooming in on a more particular moment in his journey. The Way Out of Easy provides us a macro-lens view of the ever-refining, infinite organic essence of the ensemble as they stretch out across a single night of soundmaking on January 2nd, 2023.\u003cbr\u003e\u003cbr\u003eThe engineer Gonzales is well known for the high-end audio gear he builds as Highland Dynamics, and even designed a custom mixer to be able to record the ETA IVtet, specifically, while only taking up a single space at the bar. In his liner notes for The Way Out of Easy, he colors his process and approach: “There are many different ways to make recordings and they all have their place. But for this band, the most important thing to consider is: not doing anything to get in the way of what they are saying to each other.” He refers to the simple schematic he used for capturing these performances – “basically only 4 level controls for one microphone per player” – which allows us an incredibly pure, honest, transparent and transporting experience of the music as it unfolds and is created in real time.\u003cbr\u003e\u003cbr\u003eThe set begins with an extended take on Parker’s composition “Freakadelic” – a tune he originally recorded for his 2012 Delmark release Bright Light in Winter. The B-side piece “Late Autumn” finds Parker swaying in alliterative, arpeggiating cycles, using just a few plucked notes as he lays the compositional foundation. At first it almost sounds like an echo of the humble tunes he wrote alone with his guitar on Forfolks, but in this space his ensemble joins him to help build a beautifully multi-textured, gently-shifting four-dimensional construction out of a simple idea. On “Easy Way Out,” Butterss’s bobbing bass line leads, paddling the ensemble into a placid expanse of tender psychedelia while Bellerose dusts off the drums like an archaeologist unearthing ancient artifacts.\u003cbr\u003e\u003cbr\u003eIt had become customary for the IVtet to end their shows every week with a standard or a tune – a practice that Parker embraced for wanting to give the audience something warm and familiar to take home after a long night of taking them out on creative limbs. Some of Parker’s more common calls were “This Guy’s In Love With You” by Burt Bacharach, “1974 Blues” by Eddie Harris, or “Peace” by Horace Silver. In this set, the IVtet closes not with a familiar song, but a familiar sound in the form of a dub\/reggae groove (given the name “Chrome Dome” by Parker in post), developing spontaneously out of lyrical ad libs by Johnson on solo saxophone.\u003cbr\u003e\u003cbr\u003eIn early December of 2023, ETA co-owner Ryan Julio was forced to make a sudden announcement that the venue would permanently shutter at the end of the year. On December 23rd, Parker and the band played at ETA for the last time.\u003cbr\u003e\u003cbr\u003eOn July 22nd, 2024, the ETA IVtet gathered to perform together for the first time since then, playing for a sold-out crowd of several hundred listeners – a smiling Ryan Julio among them – at Zebulon in Los Angeles. Gonzales was there, recording with his compact analog setup just behind the band on stage. The space may be gone but its spirit lives and the music moves forward into new vessels.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0089 Classic Black Gatefold 2xLP","offer_id":52109135872274,"sku":"ROW IARC0089LP","price":34.0,"currency_code":"USD","in_stock":false},{"title":"IARC0089 Limited Edition 'Harvest Maroon' Gatefold 2xLP","offer_id":52110815691026,"sku":"ROW IARC0089LPI","price":39.0,"currency_code":"USD","in_stock":false},{"title":"IARC0089 CD - Compact disc","offer_id":52110816608530,"sku":"ROW IARC0089CD","price":17.0,"currency_code":"USD","in_stock":true},{"title":"IARC0089 Digital Download","offer_id":52121004474642,"sku":"IARC0089","price":11.11,"currency_code":"USD","in_stock":true},{"title":"IARC0089 Test Pressing","offer_id":52121004507410,"sku":"IARC0089LP-TP","price":75.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a2139666555_10.jpg?v=1773343513"},{"product_id":"makaya-mccraven-universal-beings-ia11-edition-1","title":"Makaya McCraven - Universal Beings (IA11 Edition)","description":"\u003cdiv id=\"customHeaderWrapper\"\u003e\n\u003cdiv class=\"band-navbar-wrapper flex\"\u003e\n\u003col id=\"band-navbar\"\u003e\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv data-tooltips='{\"tooltips\":[],\"dash_seen\":false}' class=\"trackView leftMiddleColumns has-art\"\u003e\n\u003cdiv class=\"leftColumn\" id=\"trackInfo\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eThe 2018 release of Universal Beings, in many ways, feels like the moment that the gates swung open for both Makaya McCraven and International Anthem. On one hand, it's a four-sided communal showcase of the inter-city exchange that had started to develop in the “new jazz” hubs, collecting group improvisations from New York, London, Chicago, and Los Angeles. On the other, it is an editing and post-production masterclass – the MVP of McCraven’s “organic beat music” concept – and a landmark moment where his cut-splice-reassembly chops shine as brightly as the players themselves.\u003cbr\u003e\u003cbr\u003eThe musicians on the album were a combined who’s-who and who’s-gonna-be-who of their respective scenes: Brandee Younger (harp), Joel Ross (vibraphone), Tomeka Reid (cello), Dezron Douglas (double bass), Shabaka Hutchings (tenor saxophone), Junius Paul (double bass), Nubya Garcia (tenor saxophone), Ashley Henry (Rhodes piano), Daniel Casimir (double bass), Josh Johnson (alto saxophone), Miguel Atwood-Ferguson (violin), Jeff Parker (guitar), Anna Butterss (double bass), and Carlos Niño (percussion). In our original press release, we called it “an inspiring display of the organic global inter-connectedness of the Black American music tradition in 2018.” In our off-the-record conversations at the time, we said ‘it’s like Dr\u003cspan class=\"bcTruncateMore\"\u003e. Dre’s The Chronic, but for jazz’.\u003cbr\u003e\u003cbr\u003eUniversal Beings earned rave reviews across the board. It was a consensus year-end favorite (as seen in NPR Music, WIRE Magazine, New York Times, Chicago Tribune, LA Times, Rolling Stone, Vice, Stereogum, the list goes on…) that cemented McCraven as a must-buy album producer and a must-see live performer, and brought enough energy to our “plucky Chicago indie label” that we were able to move out of a closet and into an actual office.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003eReleased December 4, 2025\u003cbr\u003e\u003cbr\u003eNew York Side:\u003cbr\u003e\u003cbr\u003eRecorded August 29th, 2017, at H0l0 in Ridgewood, Queens, New York.\u003cbr\u003e\u003cbr\u003eBrandee Younger – harp; Tomeka Reid – cello; Joel Ross – vibraphone; Dezron Douglas – double bass; Makaya McCraven – drums\u003cbr\u003e\u003cbr\u003eSpecial thanks: Joe Jeffers, Malik Abdul-Rahmaan, Alejandro Ayala, Elliot Ross and Hank Shocklee.\u003cbr\u003e\u003cbr\u003eChicago Side:\u003cbr\u003e\u003cbr\u003eRecorded September 2nd, 2017, at Co-Prosperity Sphere in Bridgeport, Chicago, Illinois.\u003cbr\u003e\u003cbr\u003eShabaka Hutchings – tenor saxophone;Tomeka Reid – cello; Junius Paul – double bass, percussion; Makaya McCraven – drums\u003cbr\u003e\u003cbr\u003eSpecial thanks: Andy Dane, Rachel Millar, David Passick, Alejandro Ayala, Angel Bat Dawid, Alexander Hawkins, Ingrid Laubrock, Neil Gainer, David Chavez, Ed Marszewski, Jamie Trecker and Shanna Van Volt.\u003cbr\u003e\u003cbr\u003eLondon Side:\u003cbr\u003e\u003cbr\u003eRecorded October 19th, 2017, at Total Refreshment Studios in Stoke Newington, London, UK.\u003cbr\u003e\u003cbr\u003eNubya Garcia – tenor saxophone; Ashley Henry – rhodes piano; Daniel Casimir – double bass; Makaya McCraven – drums\u003cbr\u003e\u003cbr\u003eSpecial thanks: Kristian ‘Capitol K’ Robinson, Alexis Blondel, Tina Edwards, Will Savery, Mark Pallman and David Burkhart.\u003cbr\u003e\u003cbr\u003eLos Angeles Side:\u003cbr\u003e\u003cbr\u003eRecorded January 30th, 2018, at Jeff Parker’s house in Altadena, California.\u003cbr\u003e\u003cbr\u003eJosh Johnson – alto saxophone; Miguel Atwood-Ferguson – violin; Jeff Parker – guitar; Anna Butterss – double bass; Carlos Niño – percussion; Makaya McCraven – drums\u003cbr\u003e\u003cbr\u003eSpecial thanks: Lee Ann Schmitt and Ezra Lou ParkerSchmitt.\u003cbr\u003e\u003cbr\u003eUNIVERSAL BEINGS\u003cbr\u003e\u003cbr\u003eRecorded \u0026amp; Mixed by David Allen \u0026amp; Dave Vettraino.\u003cbr\u003e\u003cbr\u003eCover Art by Damon Locks.\u003cbr\u003eDesign by Aaron Lowell Denton.\u003cbr\u003eInsert Cover Photo by Fabrice Bourgelle.\u003cbr\u003e\u003cbr\u003eProduced by Makaya McCraven.\u003cbr\u003eExecutive Production by Scott McNiece.\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"info license\" id=\"license\"\u003e\n\u003cspan class=\"cc-icons commercial\"\u003e\u003c\/span\u003eall rights reserved\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0022 Classic black vinyl 2xLP (IA11 edition)","offer_id":52110791704850,"sku":"IARC0022LP11","price":28.0,"currency_code":"USD","in_stock":true},{"title":"IARC0022 Digital Download","offer_id":52121006768402,"sku":null,"price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a3622200608_10.jpg?v=1773343168"},{"product_id":"gregory-uhlmann-extra-stars","title":"Gregory Uhlmann - Extra Stars","description":"\u003cdiv id=\"customHeaderWrapper\"\u003e\n\u003cdiv class=\"band-navbar-wrapper flex\"\u003e\n\u003col id=\"band-navbar\"\u003e\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"trackView leftMiddleColumns has-art\" data-tooltips='{\"tooltips\":[],\"dash_seen\":false}'\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eExtra Stars is a deeply beautiful expression of Gregory Uhlmann’s ever-evolving sound world, and comes at a pivotal juncture in the LA-based composer, producer, guitarist and multi-instrumentalist’s musical journey.\u003cbr\u003e\u003cbr\u003eFollowing a long run of supporting work with artists like Perfume Genius, Tasha, and Hand Habits, alongside an eponymous recorded output largely focused on his more singer-songwriter oriented music, Uhlmann has spent the better part of the last couple years trotting out album after album of groundbreaking instrumental modern music. From the sparse melodies and hushed ambient soundscapes of Small Day, to his much-lauded duo outing Doubles with Meg Duffy, to his perhaps lesser-known but no-less-brilliant duo record Water Map with Dustin Wong, to the lush chamber-jazz interplay of his trio recording with saxophonist Josh Johnson and bassist Sam Wilkes, to the two genre-breaking albums he released as a co-leader of synth-laced trance-jazz quintet SML (2024’s Small Medium Large and 2025’s How You Been), Uhlmann has subtly, if not quietly, established himself as an essential presence in some of the most progressive recordings of our time.\u003cbr\u003e\u003cbr\u003eExtra Stars encompasses all he’s learned through all\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ethe above. A radiant sidereal serenade, the album’s fourteen miniature infinities swirl serendipitous synthesis and measured, melody-rich song into a panoramic menagerie of sound. For a record that seldom incorporates percussion instruments, the music is distinctly rhythm-forward, while Uhlmann also leans heavily into swaths of pastoral beauty. Extra care was clearly poured into the kind of harmonic depth that’s often missing from vibe-only “ambient” music, making for a delightfully refreshing take on the electronic, processing-heavy 'quiet' sound.\u003cbr\u003e\u003cbr\u003eThe compositions and production techniques here reflect Uhlmann’s musicality perfectly, surely the result of him being as much a seasoned practitioner as he is an avid listener. If there is a middle ground between Cluster \u0026amp; Eno, Terry Riley’s Shri Camel, and Yo La Tengo’s There’s a Riot Going On, it’s somewhere nearby. Lofty comparisons aside, Extra Stars seems to look beyond reference or imitation. Even the album’s title indicates as much—inspired by a trip to California’s Ancient Bristlecone Pine Forest, where the reality of the night sky’s starry expanse stretches beyond the boundaries of belief.\u003cbr\u003e\u003cbr\u003eWe can feel Uhlmann’s gaze past the horizon line from the jump. Album opener “Pocket Snail” kicks off with a slow-ambling synth bass line before opening up into a richly processed, reverberating cacophony of beautiful sliding melodies. Eyes wide open, the small world of the pocket snail begins to burst with new color after a fresh injection of sunlight, but the tonality is more akin to something of a simple torch ballad. It’s an immense clash of big and small, and sets the stage nicely for the delightful vantage point shifting to come throughout the record.\u003cbr\u003e\u003cbr\u003e“Lucia” is named after a quaint lodge nestled amongst the cliffside drama of Big Sur, and the tune’s musical rendering of an intimate yet expansive perspective perfectly fits its namesake. The steady thump and chime of Uhlmann’s guitar repetitions sit atop a field recording of the distant, heavy-winded ocean crash of the Cabrillo Highway coast, held even steadier by harbor bell metallic clank percussion and a firm yet pillowy cluster of electric organ chords and mellotron-like leads. Enter saxophonist Alabaster DePlume, the track's lone feature, with his signature breathy reed work. Here DePlume’s vibrato-heavy tenor sax wandering adds a secret-among-friends intimacy to a sonic scene that could go for miles. DePlume hums low in multitrack as Uhlmann leads the steady pulse on, encountering syncopated harmonic pings, fluttering recorder flourishes, and the little bustling sounds of the rural Pacific shoreline. Earworms must live in the ocean air, because it’s tough to get any element of “Lucia” unstuck once it’s in, and the whole thing is all tied up in a bow in just under three and a half minutes. Equally playful and introspective, “Lucia” is the potential soundtrack to a close reading or a thousand yard stare. If Jim Henson dreamt Link’s Awakening this would be the sound he heard.\u003cbr\u003e\u003cbr\u003e“Burnt Toast” is an essential example of Uhlmann’s penchant for using the guitar to make non-guitar sounds. That’s not to say that what is occurring here is a simple act of processing. Rather, Uhlmann has a distinct and instantly recognizable ability to play the instrument itself in a way that lends to drastic and realtime tonal transformation. Clocking in at a lean 1:25, it’s a quick and lively skip through a blend of complimentary and warring syncopations—another hallmark of Uhlmann’s style—topped with synthetic glissandos and stereo-image warbles placed just so. What really makes it gel, though, is the harmonic simplicity that the transformative madness is serving. At the end of the day, the basic structure of “Burnt Toast” is an uncomplicated chord progression.\u003cbr\u003e\u003cbr\u003eThat essential simplicity, leaning into tonal expressions of quiet joy and deep longing, could be the most relevant throughline in Uhlmann’s work. On Extra Stars it’s likely best exemplified on “Days,” a serene 7+ minute track born in the nerve shattering confusion of 2020. “It was made in my old apartment and felt like a way of self soothing by playing the same chords over and over again,” says Uhlmann. The result is a wisping, languid, near free-time drift through a progression that manages to maintain its directness despite its slow-building reverberated accompaniment. Like a Harold Budd take on the somber fingerpicked elegance of Frantz Casseus, “Days” wanders through the speakers with an almost nostalgic air. A grandmotherly wall organ melody sings around dancing piano notes as chattering synthesis renders itself percussive amongst the steel string comfort of Uhlmann’s electric guitar. It’s the kind of recording that could go on forever and maybe, somewhere, it’s doing just that. On Extra Stars, though, it acts as a spiritual centerpiece, rejuvenating the listener as it fades out slowly, cleansing and leaving us ready for more.\u003cbr\u003e\u003cbr\u003e“Back Scratch” is collage-cut from a series of piano improvisations and post-composed with pitch-shifted percussion contributions from Uhlmann’s SML bandmate Booker Stardrum. Uneven loops syncopate in chance mode while the barrage of high-register notes conflate with Stardrum’s stickwork to cement a rhythm dense enough to nearly become a drone. The impulsive comparison to the intensely rhythmic zither dance of Laraaji would be understandable, but mostly inaccurate. “Back Scratch” is produced in a markedly raw, un-reverberated manner—and it’s precisely that stark wonkiness that separates it from something like Day Of Radiance and makes it more akin to a basement DIY crack at Reich’s Drumming. That said, its brevity and singularity among the wildly diverse Extra Stars tracklist means that it might be (just maybe) more actual fun to listen to than both of those records.\u003cbr\u003e\u003cbr\u003eThe guitarless moments on Extra Stars shine as brightly as those that highlight Uhlmann’s primary instrument, but even those departures display themselves distinctively, especially when he invites and directs a collaborator. The labcoat synth silliness and percussive b-ball bounce of “Dottie,” for instance, contrasts sharply from the unbridled beeswarm rhythm composite of “Worms Eye” despite the implementation of the same tools and techniques—likely due to the co-production presence of synthesist Jeremiah Chiu (another SML bandmate) on the latter. Regardless, there’s no mistaking an Uhlmann composition and there’s no mistaking when he’s at the helm. For instance, while Chiu’s presence can certainly be felt on “Voice Exchange,” its outlandish rhythm focused take on the pitch-shifted vocals of longtime Uhlmann collaborator Tasha couldn’t be further from the other Chiu co-productions on Extra Stars.\u003cbr\u003e\u003cbr\u003eThe ability to maintain a recognizable voice across vast stylistic shifts, while employing the talents of those who also possess singularly recognizable voices, is not something that is heard often and it’s Uhlmann’s ability to recognize what makes each collaborator unique that makes it work here. A great example is “Bristlecone,” which finds him directing the powerful low-end command of Anna Butterss’s bass and the multiphonic mystery of Josh Johnson’s processed alto. The composition and arrangement are supported at every turn by Uhlmann’s SML bandmates without the result ever wandering away from something we can hear as distinctly his. Like David Bowie, Joni Mitchell, or Miles Davis, Uhlmann uses collaboration to both support and transform. To reinforce and evolve. With Extra Stars he has delivered such a promising collection of instrumental concepts following an extended period of vast, high-level artistic output. There’s no doubt that it will continue to be a joy to experience that evolution in real time.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased March 6, 2026\u003cbr\u003e\u003cbr\u003eAll pieces composed by Gregory Uhlmann\u003cbr\u003e\u003cbr\u003eGregory Uhlmann - guitar, bass, synths, recorder, percussion, piano\u003cbr\u003eAlabaster Deplume - saxophone and voice on \"Lucia\"\u003cbr\u003eAnna Butterss - bass on \"Bristlecone\"\u003cbr\u003eJosh Johnson - saxophone and effects on \"Bristlecone\"\u003cbr\u003eJeremiah Chiu - synth and modular on \"Voice Exchange\"\u003cbr\u003eBooker Stardrum - percussion on \"Back Scratch\"\u003cbr\u003eVoice sample on \"Voice Exchange\" is Tasha Viets-Vanlear\u003cbr\u003e\u003cbr\u003eProduced by Gregory Uhlmann\u003cbr\u003eAdditional Production by Jeremiah Chiu on \"Worms Eye,\" \"Voice Exchange,\" and \"View Below\"\u003cbr\u003eMixed by Dave Vettraino\u003cbr\u003eMastered by David Allen\u003cbr\u003eAlbum art and layout by Bucky Boudreau\u003cbr\u003e\u003cbr\u003eSpecial thank you to my partner Sam Kaufman for feedback on every little detail\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv id=\"license\" class=\"info license\"\u003e\n\u003cspan class=\"cc-icons commercial\"\u003e\u003c\/span\u003eall rights reserved\u003c\/div\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0107 Classic Black LP","offer_id":52110841577746,"sku":"IARC0107LP","price":25.0,"currency_code":"USD","in_stock":false},{"title":"IARC0107 Limited Edition *Star Dust* Color LP","offer_id":52110849802514,"sku":"IARC0107LPI","price":29.0,"currency_code":"USD","in_stock":false},{"title":"IARC0107 CD - Compact disc","offer_id":52110851309842,"sku":"IARC0107CD","price":15.0,"currency_code":"USD","in_stock":true},{"title":"IARC0107 Digital Download","offer_id":52121001787666,"sku":"IARC0107","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a0100696238_10.jpg?v=1773344385"},{"product_id":"whitney-johnson-lia-kohl-macie-stewart-body-sound","title":"Whitney Johnson, Lia Kohl, Macie Stewart - BODY SOUND","description":"\u003cdiv id=\"customHeaderWrapper\"\u003e\n\u003cdiv class=\"band-navbar-wrapper flex\"\u003e\n\u003col id=\"band-navbar\"\u003e\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"trackView leftMiddleColumns has-art\" data-tooltips='{\"tooltips\":[],\"dash_seen\":false}'\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cstrong\u003eAbout:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eWhitney Johnson, Lia Kohl, and Macie Stewart are a trio who utilize string instruments, voices, and manual tape effect processing to craft compositions from alternately tranquil and disquieting improvised music. The three musicians are individually rooted in deep sound exploration, multi-disciplinary composition, and all manner of cross-genre collaboration. The musical ground covered by their solo practices is correspondingly expansive, and their individual recording and performance credits read as a veritable who’s who, ranging from DIY darlings to household names of experimental avant-garde, electronic, indie rock, and more.\u003cbr\u003e\u003cbr\u003eThe trio’s collective sound is based in improvisation—automatic, intuitive composition via their three voices and three string instruments (viola, cello, and violin, respectively). Their influences are vast—dispatched with more playful ease than a trio of string instruments is typically approached with, and just as likely to be found in the cloud-obscured mountains of Donegal, the low-rent cacophony of a midwestern basement, or the revelatory expanse of the Nurse With Wound list as in the storied halls of the academy. Touchstones and areas of interest aside, the main thing that Johnson, Kohl, and Stewart engage with in BODY SOUND is listening and\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ereacting.\u003cbr\u003e\u003cbr\u003e“Improvisation has a special capacity to facilitate a kind of sonic intimacy,” says Kohl. “We're making choices together in the moment. We're creating time together before thought enters the equation. It's an incredibly intimate and intuitive space to share, and feels like the heart center of this music and this practice.”\u003cbr\u003e\u003cbr\u003eThe trio’s approach to improvisation is very much embedded in and informed by their Chicago music community. The city’s ongoing improvised music tradition, which can envelop every genre imaginable, is one where a working musician’s ideas can evolve at a near-constant pace and where anything can be explored in the name of sound. And with sound, there’s always space to consider.\u003cbr\u003e\u003cbr\u003eWhere will the improvisation take place?\u003cbr\u003eHow will that space shape the sounds being made?\u003cbr\u003eHow will that sound resonate in the dim light of a small neighborhood bar?\u003cbr\u003eHow will it sound in the chromatic refractions of an ornate church?\u003cbr\u003eCan it feel different-yet-equally perfect?\u003cbr\u003e\u003cbr\u003eFor Whitney Johnson, Lia Kohl, and Macie Stewart the answer to the last question is yes, definitely.\u003cbr\u003e\u003cbr\u003eStewart: Our quest as a crew is to explore space and every iteration of what that can mean, be it physical space, emotional space, sonic space, etc. Space is an instrument.\u003cbr\u003e\u003cbr\u003eJohnson: It’s more than the acoustic properties of the recording spaces. Our bodies, emotions, and relationships show up in those spaces with affordances and limitations for the music each time. We are vibrating beings, sensitive and expressive, an amoeba of physical and psychic pressures with specific resonances in time and space.\u003cbr\u003e\u003cbr\u003eKohl: The space we’re in always feels like a collaborator in this trio more than in other contexts. I can always feel us all responding to where we are and the resonances that live there.”\u003cbr\u003e\u003cbr\u003eOn BODY SOUND, the trio worked with International Anthem engineer and album co-producer Dave Vettraino to translate the sonic specificities of three recording locations: International Anthem studios on Iron Street (Chicago), Shirk Studios (Chicago), and Boyd’s Jig and Reel (Knoxville, TN, as part of Big Ears Festival). Vettraino also brought a deep knowledge of tape manipulation and a willingness to experiment. “All it took was for one of us to say, ‘What if that was a loop?’, and he was already setting up the reel-to-reel,” says Johnson of the album’s post-production, which leaned heavily into their shared love of saturated tape sounds.\u003cbr\u003e\u003cbr\u003eThat trust, it seems, was already there. In addition to the communal criss-cross inherent in sharing their Chicago home base, the trio worked with Vettraino on Stewart’s 2025 solo effort When the Distance Is Blue. It was her debut on International Anthem but far from her first appearance in the label’s catalog as a player. Ditto for Kohl and Johnson, whose collaboration and friendship with the label goes back years. Taken as a whole, we could argue that this most recent collaboration, the tape-manipulated fried beauty documented on BODY SOUND, has been a long time coming.\u003cbr\u003e\u003cbr\u003eIn the context of this work, tape sound is much more than a mixing treatment or a production tactic. Here Johnson, Kohl, and Stewart are using variations on the medium to edit and reshape the pieces themselves, employing multiple analog tape machines to reimagine their improvised material into meticulously crafted compositions (“another layer of improvisation,” says Stewart). It’s all a response to the spaces they were originally engaged with, and the use of a highly physical medium like analog tape deepens the spatial engagement of the trio’s work to striking, playful, and organically psychedelic effect.\u003cbr\u003e\u003cbr\u003eThe resultant BODY SOUND is deep, melancholy, and triumphant, coming across like a kind of lost or amalgamated folk music. It’s certainly part of an ongoing creative continuum, even boasting track titles adapted from Yoko Ono’s classic book of text scores Grapefruit.\u003cbr\u003e\u003cbr\u003eThe album’s opener “dawn | pulse” puts a morning drone at the threshold of their sound world. This undulating slow roller is a free time drift of bowed tonal clusters respiring in long, melodic swells, and unfurling among wordless singing. Despite the time marker in the title, this piece feels suitable for any part of the day—the morning stretch skyward, the afternoon ambling respite, or the late-nite chillout. Both majorly serene and deceptively avant garde, “dawn | pulse” is a perfect entrée into BODY SOUND.\u003cbr\u003e\u003cbr\u003e“laundry | blood” begins with a near-waltz percussive tumble created by a tape loop of Kohl’s barrette-prepared cello. Its soft and eerie triplet propels a deep and snarling viola-cello-violin drone forward à la the doomiest moments of the Berlin School canon or the repetitive outsider glory of Tony Conrad \u0026amp; Faust's Outside the Dream Syndicate. It’s a darkly cinematic take on the ambient ideal for the scarcely visible slow-moving night train chug. You can almost see it roll by.\u003cbr\u003e\u003cbr\u003eSome moments feel intentionally disconnected from the performance, instead tied more closely to the concept of LP format listenership: the disintegrated melodic pumps and clomps of “chewing gum”, the body shaking radiator hiss come-apart of “snow | touch”, the otherworldly bass and sub-bass of “stone | piece”.\u003cbr\u003e\u003cbr\u003eAcross the album’s 11 tracks, each piece manages to keep a foot in both worlds. “burning | counting (sleeping)” begins abruptly with massive bursts of heavily-bowed sawtooth strings looping in real time, creating a near-synthetic feeling. Deep stutter-step freneticism, tape-manipulated and rendered into overlapping moments of dense psychedelia give way to an oncoming long-note tranquility—an improvised cacophony evoking some long dissipated storm-paced Irish folk drone more so than a New Music exercise or a study of Kronos \/ Reich.\u003cbr\u003e\u003cbr\u003eAnd that seems to be the story with all of the material within BODY SOUND. It’s music with inexplicably broad appeal while maintaining a sort of mysterious outsider quality. Johnson, Kohl, and Stewart have created a stunning album—an exquisitely textured, spatially vivid, wordlessly expressive, sonically multitudinous collection—that manages to decode a slew of high level concepts while clearly and directly speaking to the human impulse. BODY SOUND is right.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased March 20, 2026\u003cbr\u003e\u003cbr\u003eWhitney Johnson viola, voice\u003cbr\u003eLia Kohl cello, voice\u003cbr\u003eMacie Stewart violin, voice\u003cbr\u003e\u003cbr\u003eTascam 58, Revox A77, Sony TC 580, TEAC 6600, Portastudio 414mkII\u003cbr\u003e\u003cbr\u003eAll music by Whitney Johnson, Lia Kohl, and Macie Stewart\u003cbr\u003eProduced by Whitney Johnson, Lia Kohl, Macie Stewart, and Dave Vettraino\u003cbr\u003e\u003cbr\u003eEngineered by Dave Vettraino at IARC studios on Iron Street (Chicago), Big Ears Festival 2025 (Knoxville), and Shirk Studios (Chicago)\u003cbr\u003eMastered by David Allen\u003cbr\u003e\u003cbr\u003eArtwork courtesy of Jovencio de la Paz and Chris Sharp Gallery\u003cbr\u003eDesign \u0026amp; layout by Matilde Santiago\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv id=\"license\" class=\"info license\"\u003e\n\u003cspan class=\"cc-icons commercial\"\u003e\u003c\/span\u003eall rights reserved\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0108 Classic Black vinyl LP","offer_id":52110853865746,"sku":"IARC0108LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"IARC0108 Limited Edition Grapefruit color vinyl LP","offer_id":52110853898514,"sku":"IARC0108LPI","price":29.0,"currency_code":"USD","in_stock":false},{"title":"IARC0108 CD - Compact disc","offer_id":52110853931282,"sku":"IARC0108CD","price":15.0,"currency_code":"USD","in_stock":true},{"title":"IARC0108 Digital Download","offer_id":52121010209042,"sku":"IARC0108","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a1705246381_10.jpg?v=1773344791"},{"product_id":"ahleuchatistas-arrebato","title":"Ahleuchatistas - Arrebato","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eGuitar + Drum duo make mammoth melodic tectonic movements that raze and reshape conventional sonic terrains.\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased October 30, 2015\u003cbr\u003e\u003cbr\u003eRyan Oslance - drums\u003cbr\u003eShane Parish - guitar\u003cbr\u003e\u003cbr\u003eMusic by Parish\/Oslance\u003cbr\u003eRecorded by David Allen\u003cbr\u003eMastered by Shelly Steffens\u003cbr\u003e\u003cbr\u003eArtwork by Cody Sarabia\u003cbr\u003eLayout by Craig Hansen\u003c\/div\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0006 LP - Classic Black vinyl","offer_id":52115662635282,"sku":"arrebatoLP","price":18.0,"currency_code":"USD","in_stock":false},{"title":"IARC0006 CD - Compact disc","offer_id":52115662668050,"sku":"789397779828","price":8.0,"currency_code":"USD","in_stock":true},{"title":"IARC0006 Digital Download","offer_id":52120998183186,"sku":"IARC0006","price":6.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a2759159203_10.jpg?v=1773620677"},{"product_id":"angel-bat-dawid-hush-harbor-mixtape-vol-1-doxology","title":"Angel Bat Dawid - Hush Harbor Mixtape Vol. 1 Doxology","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eDedicated to Saint Escrava Anastacia.\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003eReleased June 19, 2021\u003cbr\u003e\u003cbr\u003eAll instruments, vocalz, and synths performed, produced, recorded, arranged \u0026amp; mixed By Angel Bat Dawid.\u003cbr\u003e\u003cbr\u003eMastered By Najee-Zaid Searcy.\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IMRC0044- Limited Edition Cassette","offer_id":52120908857618,"sku":"IA-IMRC0044","price":13.0,"currency_code":"USD","in_stock":false},{"title":"IMRC0044 Digital Download","offer_id":52121236144402,"sku":"IMRC0044","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a0746670099_10.jpg?v=1773692354"},{"product_id":"angel-bat-dawid-the-oracle","title":"Angel Bat Dawid - The Oracle","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eComposer, clarinetist, singer \u0026amp; spiritual jazz soothsayer Angel Bat Dawid descended on Chicago's jazz \u0026amp; improvised music scene just a few years ago. In very short time, the potency, prowess, spirit \u0026amp; charisma of her cosmic musical proselytizing has taken her from relatively unknown improviser to borderline ubiquitous performer in Chicago's avant-garde. On any given night you can find Angel adding aura to ensembles led by Ben LaMar Gay, or Damon Locks, or Jaimie Branch, or Matthew Lux, or even, on a Summer night in 2018, onstage doing a woodwind duo with Roscoe Mitchell. For her recorded debut on International Anthem, The Oracle, we've chosen to release a batch of tracks that Angel created entirely alone – performing, overdubbing \u0026amp; mixing all instruments \u0026amp; voices by her self – recorded using only her cell phone in various locations, from London UK to Cape Town RSA, but primarily from her residency in the attic of the historic Radcliffe Hunter mansion in Bronzeville, Southside, Chicago.\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003eReleased February 8, 2019\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IMRC0023 - Black Vinyl LP","offer_id":52120908988690,"sku":"IARC0023LP","price":24.0,"currency_code":"USD","in_stock":true},{"title":"IMRC0023 - Crystal Blue Colored Vinyl LP","offer_id":52120909021458,"sku":"oraclecrystalLP","price":27.0,"currency_code":"USD","in_stock":false},{"title":"IMRC0023 - CD","offer_id":52120909054226,"sku":"IARC0023CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"IARC0023 - Cassette","offer_id":52120909086994,"sku":"IA-TO-IC","price":11.0,"currency_code":"USD","in_stock":false},{"title":"IARC0023 Digital Download","offer_id":52120998478098,"sku":"IARC0023","price":8.0,"currency_code":"USD","in_stock":true},{"title":"IARC0023 Test Pressing","offer_id":52120909119762,"sku":"IARC0023LP-1","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a2808259986_10.jpg?v=1773691494"},{"product_id":"angel-bat-dawid-the-oracle-ia11-edition","title":"Angel Bat Dawid - The Oracle (IA11 Edition)","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eAngel Bat Dawid’s International Anthem debut The Oracle introduced her multifaceted voice to the world. The response to its modest, initial cassette\/digital release in January of 2019 was immediate, and immense. Within a month of its announcement, Dawid was being featured on magazine covers and receiving offers from international festivals; and her subsequent activity marked the beginning of an epic run of creative output (including her critically-lauded 2020 LIVE album with Tha Brothahood, the same year's EP Transition East, 2021's Hush Harbor Mixtape Vol. 1 Doxology, and the sprawling opus Requiem for Jazz, released in 2023) that continues through the present moment (hear: Journey to Nabta Playa, her recently-released collaboration with Naima Nefertari).\u003cbr\u003e\u003cbr\u003eThe collection of compositions on The Oracle present a deep blend of powerful and emotive songs alongside heavy and free improvisation. In true DIY fashion, with pure presence and a spirit of creative abandon, Dawid recorded and mixed the album using only her cell phone, entirely. \"Angel's fieldnote approach affirms that the everyday remains a legitimate site of creative production,\" says percussionist, collaborator, and IARC labelmate Asher Gamedze in his liner notes for the album's IA11\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eEdition.\u003cbr\u003e\u003cbr\u003eGamedze – the only other musician to appear on The Oracle besides Dawid, who constructed most of the album's tracks by layering, overdubbing, and arranging lo-fi symphonies of her own voice, wind instruments, percussions, and keyboards – waxes extensively about Dawid's significance in his notes, calling her \"a living exemplar and extension of the spacious sonic horizons opened by the likes of the AACM and their refusal of any limitations on their creative vision and the destruction of the demarcation between composer and improviser.\"\u003cbr\u003e\u003cbr\u003eRevisiting The Oracle, it's abundantly clear that it was Dawid’s artistic vision and compositional skill that pushed the scope of her explorations so far. It’s how, despite their sonic contrast, the layered delay-drenched clarinet improvisations of “Black Family” or “Impepho” sit nicely with the unadorned fly-on-the-wall majesty of “London” or the nearly sidelong freedom of “Capetown” (which documents her first-time meeting with Gamedze, at his home in South Africa). The laid-back minor key gospel-folk of Dawid’s vocal tunes tie The Oracle together and sit similarly comfortable within the sides of the record.\u003cbr\u003e\u003cbr\u003eGamedze gets to the essence when he writes: \"The album's profundity perhaps lies in its everydayness. Its beauty is in the worlds and work which are the music's root. What I do know is that it is a joy that this album exists. An instant classic with anthems ancient to the future. A totally idiosyncratic and grounded orientation to technology and production. A refusal of the lines between composition and improvisation. A multi-layered collage of history, struggle, organising and travel, both physical and metaphysical.\"\u003cbr\u003e\u003cbr\u003eThe IA11 Edition vinyl LP features our IARC 2025 obi strip, plus a new 8-page 11x11\" insert booklet with unpublished photos and new liner notes by Asher Gamedze.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003eReleased September 12, 2025\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IMRC0023 Classic Black vinyl LP (IA11 Edition)","offer_id":52120909152530,"sku":"IMRC0023LP11","price":22.0,"currency_code":"USD","in_stock":true},{"title":"IMRC0023 Digital Download","offer_id":52120998707474,"sku":"IMRC0023","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a1500295424_10.jpg?v=1773624379"},{"product_id":"angel-bat-dawid-transition-east","title":"Angel Bat Dawid - Transition East","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\"Transition East\" features two new pieces of music created by Angel Bat Dawid in response to Emma Warren's 2019 book \"Make Some Space\" – i.e. the book that chronicles the history of London DIY music institution Total Refreshment Centre.\u003cbr\u003e\u003cbr\u003eAngel Bat Dawid, who first met Emma Warren at Total Refreshment Centre in 2017, composed \u0026amp; recorded \"Transition East\" alone in her space on the Southside of Chicago, originally to be accompaniment for the audiobook version of \"Make Some Space.\" Angel conceptualized \u0026amp; named the song in commemoration of the storied Chicago community center that was a hub for the AACM and icons from the Black Arts Movement in the 1960s, and was recently revived by one of her mentors, Eliel Sherman Storey.\u003cbr\u003e\u003cbr\u003e\"No Space Fo Us\" was composed \u0026amp; recorded at a space in Salvador, Bahia, Brazil, where Angel travelled with a crew of Chicago artists (including IARC label mates Ben LaMar Gay \u0026amp; Damon Locks) on a collaborative mission organzied by Comfort Station, called Close to There (Perto de Lá). The track features Angel with Ben LaMar Gay and new Brazilian friends Edbrass Brasil, Romulo Alexis, Tadeu Mascarenhas, Nancy Viégas \u0026amp; Germano Estacio.\u003cbr\u003e\u003cbr\u003eInternational Anthem is proud to present these two\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ebeautiful pieces of music on deluxe 45rpm 7\" vinyl inside a picture sleeve designed by Jeremiah Chiu. Available as a standalone item or as part of the MAKE SOME SPACE FOR US bundle – alongside Emma Warren's \"Make Some Space\" paperback and a new \"foreward\" in the form of a screed written by Piotr Orlov (connecting the book \u0026amp; the music into the current context of our spaceless\/timeless struggle) printed on a 17\" x 22\" broadsheet (also designed by Jeremiah Chiu).\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003eReleased May 12, 2020\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IMRC0032 - 7'' vinyl","offer_id":52120909185298,"sku":"IA-IMRC0032","price":10.0,"currency_code":"USD","in_stock":false},{"title":"MAKE SOME SPACE FOR US vinyl\/book\/poster bundle","offer_id":52120909218066,"sku":"IA-TE-MSSF","price":30.0,"currency_code":"USD","in_stock":false},{"title":"IMRC0032 Digital Download","offer_id":52120998740242,"sku":"IMRC0032","price":3.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a1926209949_10.jpg?v=1773624269"},{"product_id":"angel-bat-dawid-tha-brothahood-live","title":"Angel Bat Dawid \u0026 Tha Brothahood - LIVE","description":"\u003cp\u003eLIVE was mostly recorded on November 1st, 2019, at Haus der Berliner Festspiele in Berlin, Germany, during the 2019 edition of JazzFest Berlin. For Angel Bat Dawid and her band Tha Brothahood – which includes Deacon Otis Cooke, Viktor Le Givens, Xristian Espinoza, Norman W. Long, Dr. Adam Zanolini, and Asher Simiso Gamedze – it was the first stop of their first European tour. \u003c\/p\u003e\n\u003cp\u003eForty-eight hours before the show, Angel and members of the band were on their way to the airport in Chicago when they received news that Viktor Le Givens had passed out on the street and subsequently woke up in a hospital with all his personal belongings missing. When they arrived in Berlin, the band’s manager Najee-Zaid Searcy reached out to the production staff of JazzFest Berlin to inform them of the situation. Their initial reply: “if you cannot find a substitute, we will have to reduce your fee.”\u003c\/p\u003e\n\u003cp\u003eOf the cold, insensitive response to Viktor’s unfortunate situation, Angel recalls: “It really put a whole damper on my spirit to have to deal with this a few hours before performing. How the fuck is this response ever acceptable anywhere?!”\u003c\/p\u003e\n\u003cp\u003eAngel continues: “I have issues in general about the way artists are treated because I see a difference in how tech folks treat women and artist of color… I’m calling it out. A lot of the racism and things I’m talking about are steeped in microaggressions and are so subtle and can go unnoticed. But all those things happen a lot and it was very evident at the festival… Yes I am hyper sensitive to any infraction I ever see, feel or observe when it comes to racism, and I no longer pass it off as an over sensitivity but an opportunity to blow the whistle on intellectual and structural racism that is still a rampant and ugly beast, especially in the European music world.”\u003c\/p\u003e\n\u003cp\u003eAngel and her band had a handful of experiences over their two days in Berlin that contributed to her feelings, including an interaction at The Ellington Hotel (a place that’s named \u0026amp; themed in homage to the famous Black American composer), where the band was staying. The moment was recorded by Angel’s bandmate and she chose to include an excerpt at the beginning of the album’s first track, where she shouts repeatedly: “ever since I’ve been here y’all have treated me like shit!”\u003c\/p\u003e\n\u003cp\u003eThe full story, from Angel: “The morning at the Duke Ellington Hotel was the result of a buildup of things… The insensitive way the festival dealt with Viktor… to mean stares walking down the street with my Brothers… A man came up to all of us and said he was frightened by our group. I went to another shop and they told me ‘don't go to East Berlin because they don’t like Blacks’... Berlin was leaving me feeling very isolated and angry. So the morning we were leaving this hotel, with its homage to Black musicians in every room… They had a piano in their bar area and I decided to play a tune, sing and praise, to leave on a good note. Deacon Otis was filming it as our way of just walking in love, no matter what. As I was singing someone on the staff runs up to me red face and angry saying ‘ma’am please don't do this in the lobby this is not allowed!’ And I just went the fux off. I had had enough of the reprimands... I just couldn't be my genuine Black self anywhere in Berlin without someone reprimanding me…”\u003c\/p\u003e\n\u003cp\u003eAnother sound that Angel chose to include in the album is an excerpt from a JazzFest Berlin panel discussion she participated in, which was moderated by writer Emma Warren – a friend of Angel’s – and recorded by Searcy. Angel’s powerful declamations from the panel stage are heard on the album’s last track “HELL,” through a dense layering of effects. “The discussion was led by Emma… so I was feeling very much myself and was going to tell the honest truth about how these festivals and music scenes still operate and support intellectual and structural racism, because they are never challenged,” Angel recalls.\u003c\/p\u003e\n\u003cp\u003eDespite, or perhaps in light of the difficulties Angel and her band faced, they performed a set at Berliner Festspiele that Angel considers to be one of their best ever. “The show was very deep, and really helped me to process all the rage, and uncomfortable things I was feeling... It made me think of all the artists of the past who endured way more than I ever will with this music industry. It was a very freeing and beautiful show… we played our ass off!!”\u003c\/p\u003e\n\u003cp\u003eHarlem, NY-based journalist Shannon J. Effinger, who had interviewed Angel for Pitchfork earlier in 2019, was in Berlin to cover the festival and witnessed Angel’s performance.  “I had no clue Shannon was there and I was so happy to see her... We had breakfast in the morning together and I was able to vent to her about my frustrations about being in Europe. She shared the same sentiments, because she too was experiencing all the subtle microaggressions that happen over there,” Angel says.\u003c\/p\u003e\n\u003cp\u003eShortly after Angel decided to make the Berlin recording into an album, in Summer 2020 she invited Effinger to write liner notes. In her notes for LIVE, Effinger touches on Angel’s mistreatment; but for the most part her attention is paid to the music that Angel \u0026amp; Tha Brothahood made during their performance. An excerpt: \"On Sun Ra’s “Enlightenment,” Dawid’s arpeggiated chords on keys brought us all to our own hush harbor meeting, a once haven for enslaved Blacks to gather in secret and release their hardships through shout and prayer. As Dawid, Cape Town drummer Asher Gamedze and Adam Zanolini on reeds build into a tense crescendo, it is their attempt, through music, to exorcise the generational pain that has plagued Blacks for far too long.\"\u003c\/p\u003e\n\u003cp\u003e“I feel Shannon really captured the moment I was feeling. The story of my unrest with the racist undertones of the music industry isn’t why I want this album out. I want this album out because the Brothahood kicked ass on the music. Because she was there at the actual show, her notes have the purest, most authentic and accurate take on the situation,” says Angel. \u003c\/p\u003e\n\u003cp\u003eAnother excerpt from Effinger's notes: \"From the unwavering strength of the “Black Family” as told through her clarinet, strong and resolute, to “We Are Starzz” which allowed the members of the Brothahood to dance and explore in their respective constellations over Zanolini’s walking bassline, Dawid strives to reconcile where Black life in America presently stands today—bestrided by a glorious yet troubled past, the disillusioned promise of our future, and a present that has never truly belonged to us.\"\u003c\/p\u003e\n\u003cp\u003eAngel Bat Dawid: “I hope that this album will uplift and raise awareness to the world that we are still not in a good place when it comes to the relationship between whites other races. Universities, festivals, organizations etc that were built over 50 years ago, even though they have changed outwardly, have not changed internally, and still uphold the principles of their founders, who were racists. We still got a long way to go. And music is a great place to start in repairing this age old, distorted reality.”\u003c\/p\u003e\n\u003cp\u003eOut October 31, 2020\u003c\/p\u003e","brand":"International Anthem","offers":[{"title":"IMRC0037 - BLACK vinyl gatefold double LP","offer_id":52120909250834,"sku":"IMRC0037LP","price":31.0,"currency_code":"USD","in_stock":true},{"title":"IMRC0037 - FIRE \u0026 BRIMSTONE color vinyl gatefold double LP","offer_id":52120909283602,"sku":"IA-L-IFBC","price":37.0,"currency_code":"USD","in_stock":true},{"title":"IMRC0037 - CD","offer_id":52120909316370,"sku":"IMRC0037CD","price":13.0,"currency_code":"USD","in_stock":true},{"title":"IMRC0037 Digital Download","offer_id":52120998773010,"sku":"IMRC0037","price":9.0,"currency_code":"USD","in_stock":true},{"title":"IMRC0037 Test Pressing","offer_id":52120909349138,"sku":"IMRC0037LP-1","price":60.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a0910541570_10.jpg?v=1773693569"},{"product_id":"anna-butterss-mighty-vertebrate","title":"Anna Butterss - Mighty Vertebrate","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e'Mighty Vertebrate' is the International Anthem leader debut from Adelaide, Australia-born bassist and composer Anna Butterss.\u003cbr\u003e\u003cbr\u003eButterss has steadily become a first-call for tour and studio work since moving to Los Angeles (after a stint in Bloomington, Indiana) in 2014. They’ve racked up credits with notables across the indie, jazz, and pop worlds alike – including Makaya McCraven, Phoebe Bridgers, Jason Isbell, Andrew Bird, and Daniel Villarreal – but their most notable contributions to the burgeoning West Coast creative music scene have been as a core member of both Jeff Parker’s ETA IVtet and rising proto-trance supergroup SML, who Pitchfork says “represents the thrilling next phase of a vibrant L.A. community.”\u003cbr\u003e\u003cbr\u003eTheir first solo album, 'Activities', was similarly hailed by Pitchfork as \"one of the most exciting, undersung jazz releases of 2022,\" but the improvise-edit-reconstruct method used on that record couldn’t be further from the foundation of 'Mighty Vertebrate', which began amid the very real challenge of threading solo work into the dense calendrical web of an in-demand collaborator.\u003cbr\u003e\u003cbr\u003e“I had just gotten off of a bunch of touring at the end of 2022 and just wanted to write music,” says Butterss. “The best way for me to do that, I’ve found, is to set myself a discrete and focused\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003etask.\"\u003cbr\u003e\u003cbr\u003e- I’m going to make a song where the bass doesn’t function in the role of a bass.\u003cbr\u003e- I’m going to work on this for an hour and then I’m going to stop.\u003cbr\u003e- I’m going to make a song that uses groups of three-bar phrasing.\u003cbr\u003e- I want to sample something and make it into a song.\u003cbr\u003e- I’m going to start with a drum machine.\u003cbr\u003e\u003cbr\u003e“Every song was like that,” they continue. “Then once I got started I just followed where my mind wanted to go. It was very structured.”\u003cbr\u003e\u003cbr\u003eThe music itself reflects that structure beautifully, with the material being tightly composed and melodically realized by Butterss well in advance of production concerns. They eventually migrated the operation to Chris Schlarb’s Long Beach hideaway BIG EGO to track a selection of full band material. With Schlarb at the controls they reconvene a group of trusted longtime collaborators to bring their compositions to fruition: Josh Johnson (sax), Gregory Uhlmann (guitar), and Ben Lumsdaine (drums, guitar, production).\u003cbr\u003e\u003cbr\u003e“I am definitely hearing this group when I’m writing the music or thinking of how it’s going to be played live,” Butterss notes. “I’m hearing these specific people. They’re going to understand what this is supposed to feel like. We’re not going to have to talk about it much. It’s just going to feel very natural, which it was.”\u003cbr\u003e\u003cbr\u003eThe results speak to the natural quality of those interactions, and their breadth and scope might have been difficult to achieve otherwise. From the Robbie-Shakespeare-in-groove-mode intro to the album opener “Bishop” to the spacious cinematic doom of “Seeing You”, there is a lot to wrangle into one cohesive concept. It’s the bedrock of the lineup which keeps the circle unbroken. Butterss’ deep rooted musical relationship with the album’s co-producer, multi-instrumentalist and IARC labelmate Ben Lumsdaine, is also an undeniable factor in the cohesion. The duo have played together since meeting as teens in music school, and worked closely with one another on every aspect of the ten tracks that make up 'Mighty Vertebrate'. That comfort level extends the confident and natural feeling of the sessions to post production, granting the internal arc of each piece the same tidy-yet-adventurous quality found in the compositions themselves.\u003cbr\u003e\u003cbr\u003eFor instance, “Dance Steve” opens with overlapping samples expanding, contracting, and quickly focusing into a rhythm blended with a lo-fi bedroom beat just before the sonic scope is widened with a tuff-and-crunchy guitar riff over a straight boom bap 808 rhythm. Synth repetitions chirp dizzily while chorused guitars soften the scene and the subtly dense percussive layers build and unbuild. The song’s halfway mark finds the listener cooling down as the melodies retreat and the rhythm settles into ambient-trance mode. It’s only a chance to catch a breath, it turns out, as the last third of the track is the big reveal. Enter Jeff Parker (the album’s lone featured guest) on electric guitar along with Lumsdaine in a deep-pocket tambourine-accompanied groove. All synths, samples, and guitars have brightened and been rendered percussive – a web of tiny pulsing rhythms – and Parker uses the moment to lay down a classic JP solo. Butterss steers the ship with a dubby bass groove threaded between the beats. It’s as if the shades have been thrown open to greet the sun, but most importantly it’s a complete story. A narrative arc in under five minutes.\u003cbr\u003e\u003cbr\u003eJeff Parker’s impact is hard to miss when discussing any forward-thinking, groove-oriented jazz and experimental music. Perhaps even more accurate in the case of 'Mighty Vertebrate' is the influence of Tortoise, the long running post-genre group of which Parker is a member. Butterss’ “Pokemans” echoes the band’s excellent 2001 album 'Standards' as much as it does Four Tet or any of Junichi Masuda’s 8-bit school bus classics; but this is more than just inspiration, influence, or some detached version of a musical continuum. Butterss has played with Jeff Parker for years; Tortoise’s John Herndon did the cover art for 'Mighty Vertebrate'; these artists exist within the same close-knit community. Here Butterss finds themself firmly in the protégé-to-peer pipeline.\u003cbr\u003e\u003cbr\u003eUltimately, each track on 'Mighty Vertebrate' could be excavated and studied or simply taken at face value. It’s a solid, mature, and endlessly fun glimpse into the world of an artist whose potential for growth is seemingly unlimited.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003eReleased October 4, 2024\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0086 Classic Black vinyl","offer_id":52120909414674,"sku":"IARC0086LP","price":24.0,"currency_code":"USD","in_stock":false},{"title":"IARC0086 Limited Edition ''Fossilized Chartreuse'' Color Vinyl","offer_id":52120909447442,"sku":"IARC0086LPI","price":29.0,"currency_code":"USD","in_stock":false},{"title":"IARC0086 CD","offer_id":52120909480210,"sku":"IARC0086CD","price":15.0,"currency_code":"USD","in_stock":true},{"title":"IARC0086 Digital Download","offer_id":52120998904082,"sku":"IARC0086","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a3475189898_10.jpg?v=1773624111"},{"product_id":"anteloper-kudu","title":"Anteloper - Kudu","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eANTELOPER is the electric brain child of JAIMIE BRANCH (fly or die, high life) and JASON NAZARY (little women, helado negro, bear in heaven). Branch and Nazary have been playing together as trumpeter and drummer for years, since meeting at the New England Conservatory of Music in 2002, but in this duo both musicians include synthesizers to push further into the spectral space ship ether. With deep rhythmic passages, telepathic improvisations and effortless melodic negotiations, Anteloper pushes forward, swinging its horns all the while.\u003cbr\u003e\u003cbr\u003eLiner Notes by Rob Mazurek:\u003cbr\u003eMaking audible what is silent, Branch and Nazary punch clouds into audible spacetime. Perspectives shift in weight and wander, sometimes distilled into perfect shots of mystic rum and sometimes left alone in an overgrown petrified aluminum forest, dripping and seething into utopian oblivion. Shifting sequences, sky ships arriving...Turn on the slow cruise and mess with slo deep sound for a time... let the frequency of who YOU are mingle with the mindfulness fullness that Anteloper IS. Multiple dimensions collide and caress like a wooly tiger, kissing suns and embracing the nothingness, cracking this nothingness into sheets of corrugated dreams. The Sometimes\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eis the Always is the Now is the Forever. Backwards, Forwards and Everywhere. Psychotronics in Plus in Minus. The constant sounds hovering just above the peach tree, glistening silver against the dark blue sky evaporate into the orange trunk and feeds us all. Spring is here, and all the stars seem to know. Slow moves to fast... Faster... It feeds itself in a constant tumble and tightrope stagger and roll... and now a handstand... and now the perfect hypnotic pose and shift and wait and hear. Look straight into the eyes. Don’t look away. Listen with eyes closed and don’t move. Simple lines fear nothing. Sound fears nothing. Ecstatic... Electric past, present and future outposts, never in one place only. They build themselves after long years of finding... Always shifting, always still, always in motion whether it happened or not... a moving stillness writhing in its own glorious invisible frame.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003eReleased April 20, 2018\u003cbr\u003e\n\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0018 Limousine Black vinyl LP","offer_id":52120909512978,"sku":"IARC0018LP","price":24.0,"currency_code":"USD","in_stock":false},{"title":"IARC0018 Melted Highlighter Color vinyl LP","offer_id":52120909545746,"sku":"IARC0018LPS","price":29.0,"currency_code":"USD","in_stock":true},{"title":"IARC0018 - Cassette","offer_id":52120909578514,"sku":"IA-K-IC","price":11.0,"currency_code":"USD","in_stock":false},{"title":"IARC0018 Digital Download","offer_id":52120998936850,"sku":"IARC0018","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a2913497311_10.jpg?v=1773623952"},{"product_id":"alabaster-deplume-cremisan-prologue-to-a-blade","title":"Alabaster DePlume - Cremisan: Prologue To A Blade","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eCremisan: Prologue To A Blade features three deeply personal and evocative new tracks, recorded in locations of profound importance. Each piece serves as a testament to the power of collaboration and the importance of place in shaping the artistic process.\u003cbr\u003e\u003cbr\u003eThe EP’s first two tracks, “Honeycomb” and “Cremisan,” were recorded in the experimental arts, music and architecture space The Wonder Cabinet in Bethlehem, Palestine, during DePlume’s ‘Sounds Of Places’ residency.\u003cbr\u003e\u003cbr\u003eThe opening track, the wintry and elegiac “Honeycomb,” is a somber duet recorded with pianist Sami El Enani.\u003cbr\u003e\u003cbr\u003e“Cremisan” — recorded in the final moments of a day-long non-stop performance put on by Radio alHara and Wonder Cabinet on June 1, 2024, that featured a robust array of local artists and musicians — finds DePlume’s wavering saxophone leads playing against featured artist Laith Albandak’s steadfast Qanoun in a call and response that gestures at both grief and resilience. The team planned and delivered this event as “a cry from the Cremisan Valley (Bethlehem, Palestine) to Rafah (Gaza),” and what you hear is its conclusion.\u003cbr\u003e\u003cbr\u003eThe EP concludes with “Gifts Of Olive,” a solemn melody that references Refaat Alareer’s poem “If I\u003cspan\u003e\u003cspan class=\"bcTruncateEllipsis\"\u003e...\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e  \u003ca\u003emore\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003ecredits\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased October 15, 2024\u003cbr\u003e\u003cbr\u003e“Honeycomb” written, arranged, and mixed by Angus Fairbairn\u003cbr\u003ePerformed by Alabaster DePlume and Sami El Enani\u003cbr\u003eEngineered by Angus Fairbairn\u003cbr\u003e\u003cbr\u003e“Cremisan” written and arranged by Angus Fairbairn and Laith Ziad Albandak\u003cbr\u003ePerformed by Alabaster DePlume and Laith Albandak\u003cbr\u003eEngineered by Radio Alhara\u003cbr\u003e\u003cbr\u003e“Gifts of Olive” written, arranged, and mixed by Angus Fairbairn\u003cbr\u003ePerformed by Alabaster DePlume\u003cbr\u003eEngineered by Angus Fairbairn\u003cbr\u003e\u003cbr\u003e“Honeycomb” recorded in the Wonder Cabinet, Bethlehem, Palestine\u003cbr\u003e“Cremisan” recorded live in the Cremisan Valley, Bethlehem, Palestine\u003cbr\u003e“Gifts of Olive” recorded at Total Refreshment Centre, Dalston, London\u003cbr\u003e\u003cbr\u003eMastered by David Allen\u003cbr\u003e\u003cbr\u003e“If I must die” from “Gifts of Olive” references the poet Refaat Alareer (1979-2023)\u003cbr\u003e\u003cbr\u003eSpecial thanks to Radio Alhara for equipment hire, and to Edward Said Conservatory and Jacob Baboun for saxophone hire\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARC0082 Digital Download","offer_id":52120998281490,"sku":"IARC0082","price":3.33,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a1184974657_10.jpg?v=1773621971"},{"product_id":"ibelisse-guardia-ferragutti-frank-rosaly-balada-para-la-corporatocracia-andy-moor-remix","title":"Ibelisse Guardia Ferragutti \u0026 Frank Rosaly - BALADA PARA LA CORPORATOCRACIA (Andy Moor Remix)","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eAndy Moor (of legendary Dutch anarcho-punk band The Ex) presents this fresh techno remix of Ibelisse Guardia Ferragutti \u0026amp; Frank Rosaly's \"BALADA PARA LA CORPORATOCRACIA,\" which was originally released on their 2024 duo debut MESTIZX (IARC0079).\u003cbr\u003e\u003cbr\u003eFerragutti \u0026amp; Rosaly say: \"Andy Moor has so much experience with communal music from around the globe, from gqom, dembow, UK grime, phonk or baile funk, but he’s also lived the life of a musical activist, which is apparent in everything he does. We’re delighted that he asked to remix one of our songs - we completely trust his musical impulses on stage, as a DJ, producer, and as a dear friend. We didn’t think BALADA PARA LA CORPORATOCRACIA could get any filthier, but he proved us wrong!\"\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003eReleased February 13, 2025\u003c\/div\u003e","brand":"International Anthem","offers":[{"title":"IARCS379 Digital Download","offer_id":52121002115346,"sku":"IARCS379","price":1.11,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/a3954716783_10.jpg?v=1773720289"},{"product_id":"ibelisse-guardia-ferragutti-frank-rosalys-mestizx-public-records-poster","title":"Ibelisse Guardia Ferragutti \u0026 Frank Rosaly's MESTIZX - Public Records Poster","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e12\" x 14” deluxe screenprinted poster, black ink printed on cream paper with silver-printed flat designed by Goatmother Industrial for Ibelisse Guardia Ferragutti \u0026amp; Frank Rosaly's MESTIZX show at Public Records on April 1, 2025\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e***SHIPPING NOTE*** Ships from US Only. Because the poster requires special packaging, no discounted shipping options are available for combined orders with LPs or CDs.\u003c\/span\u003e\u003c\/p\u003e","brand":"International Anthem","offers":[{"title":"Ibelisse Guardia Ferragutti \u0026 Frank Rosaly's MESTIZX - Public Records Poster","offer_id":52121002279186,"sku":"789993995530","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/0039018539_10.jpg?v=1773719986"},{"product_id":"in-the-round-triple-release-show-thalia-hall-poster","title":"In The Round Triple Release Show - Thalia Hall Poster","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDeluxe 18\" x 24\" screenprinted poster designed by Clay Hickson for the triple release show celebrating new records from Anteloper, Daniel Villarreal, and Jeremiah Chiu \u0026amp; Marta Sofia Honer. In The Round at Thalia Hall July 8, 2022.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e***SHIPPING NOTE*** Ships from US Only. Because the poster requires special packaging, no discounted shipping options are available for combined orders with LPs or CDs.\u003c\/span\u003e\u003c\/p\u003e","brand":"International Anthem","offers":[{"title":"In The Round Triple Release Show - Thalia Hall Poster","offer_id":52121002311954,"sku":"789993992966","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/0030053447_10.jpg?v=1773719887"},{"product_id":"international-anthem-ia11-lightweight-tote","title":"International Anthem - IA11 Lightweight Tote","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIA11 logo in shiny Gold ink on Navy Blue lightweight tote printed in Chicago.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e15.75 h x 15.25 w; approx. 240 cubic inches\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e***Ships from US only***\u003c\/span\u003e\u003c\/p\u003e","brand":"International Anthem","offers":[{"title":"IA11 Lightweight Tote","offer_id":52121002344722,"sku":"IA-ILT-1","price":15.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/0039503157_10.jpg?v=1773719822"},{"product_id":"jaimie-branch-fly-or-die-ii-chicago-release-show-poster","title":"Jaimie Branch - Fly or Die II - Chicago Release Show Poster","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eLimited Edition screen-printed 18\" (W) X 24\" (L) postered designed by Aaron Lowell Denton for jaimie branch's Fly or Die II: birddogs of paradise release show on December 20, 2020 at the Empty Bottle, Chicago, IL.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e***LIMIT ONE POSTER PER CUSTOMER***\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e***SHIPPING NOTE*** Because the poster requires special packaging, no discounted shipping options are available for combined orders with LPs or CDs.\u003c\/span\u003e\u003c\/p\u003e","brand":"International Anthem","offers":[{"title":"Jaimie Branch - Fly or Die II - Chicago Release Show Poster (Empty Bottle, December 2019)","offer_id":52121003229458,"sku":"789993992485","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/0020713982_10.jpg?v=1773954744"},{"product_id":"jeff-parker-public-records-poster","title":"Jeff Parker - Public Records Poster","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDeluxe 18\" x 24\" screenprinted poster designed by Goatmother Industrial for Jeff Parker's solo show at Public Records in New York April 15, 2022.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e***SHIPPING NOTE*** Ships from US Only. Because the poster requires special packaging, no discounted shipping options are available for combined orders with LPs or CDs.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIncludes unlimited streaming of \u003c\/span\u003e\u003cem\u003e\u003ca href=\"https:\/\/intlanthem.bandcamp.com\/album\/forfolks\"\u003eForfolks\u003cspan\u003e \u003c\/span\u003e\u003c\/a\u003e\u003c\/em\u003e\u003cspan\u003evia the free Bandcamp app, plus high-quality download in MP3, FLAC and more.\u003c\/span\u003e\u003c\/p\u003e","brand":"International Anthem","offers":[{"title":"Jeff Parker - Public Records Poster","offer_id":52121004179730,"sku":"789993993475","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0751\/6989\/0578\/files\/0031986434_10.jpg?v=1773956095"}],"url":"https:\/\/shop.intlanthem.com\/collections\/all-products.oembed?page=2","provider":"International Anthem","version":"1.0","type":"link"}