{"title":"11\/09\/26","description":"","products":[{"product_id":"green-lung-necropolitan","title":"Necropolitan","description":"\u003cp\u003eThe funeral bell is tolling, the ravens have left the tower - the long-awaited fourth album from London’s lords of the riff Green Lung is finally upon us. \u003cem\u003eNecropolitan \u003c\/em\u003eis also a grand celebration of the occult lore and heavy music scene of the band’s birthplace, the city of London.\u003c\/p\u003e\n\u003cp\u003eReleased: September 2026\u003cbr\u003eCat: 4065629764326\u003cbr\u003eLabel: Nuclear Blast\u003c\/p\u003e\n\u003ch3\u003eListen\u003c\/h3\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/ISrZImai8cQ?si=mRv4bP3bGA0A1GqQ\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003ch3\u003eTracklist\u003c\/h3\u003e\n\u003cdiv\u003e\n\u003cp\u003e 1. Open the Hellmouth\u003cbr\u003e 2. Dance to the Grave\u003cbr\u003e 3. Black Magick Radio\u003cbr\u003e 4. Necropolitan Line\u003cbr\u003e 5. Evil in this House\u003cbr\u003e 6. Together in Death\u003cbr\u003e 7. Ozymandias\u003cbr\u003e 8. Alostrael (Be My Babalon)\u003cbr\u003e 9. 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Here, her sampler-driven found-sound retro-futurist style came into full stride with hooks sourced from dusty vinyl, TV, radio, and street noise.\u003c\/p\u003e\n\u003cp\u003eA generation later,\u003cem\u003e Low Kick\u003c\/em\u003e remains an ebullient work of retro-futurist pop – layered breaks splitting turf with bluesy riffs, girl group grooves, and surrealist swagger. Way back then, The Wire called it “A dizzying array of elements and exuberance,” and we dare you to argue otherwise. “Solex’s Elisabeth Esselink takes you into her Dada-esqe, cut, paste, and fold sonic dance party,” writes Matador founder Chris Lombardi. “She reconstructs a million shards of sounds and styles into a kaleidoscopic musical masterpiece.”\u003c\/p\u003e\n\u003cp\u003eAs the compact disc was the dominant physical format of that era, Matador never got around to releasing \u003cem\u003eLow Kick\u003c\/em\u003e on wax. This is a situation we have chosen to remedy as the record strides toward its third decade, with a first-time vinyl pressing arriving on September 11th.\u003c\/p\u003e\n\u003cp\u003eReleased: September 2026\u003cbr\u003eCat: OLE499LP\u003cbr\u003eLabel: Matador Records\u003c\/p\u003e\n\u003ch3\u003eListen\u003c\/h3\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/83_R34O1vEs?si=BOy11GtyAdAP-8qW\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003ch3\u003eTracklist\u003c\/h3\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eA1. Low Kick And Hard Bop\u003cbr\u003eA2. Mere Imposters\u003cbr\u003eA3. Have You No Shame, Girl?\u003cbr\u003eA4. Not A Hoot!\u003cbr\u003eA5. Knee-High\u003cbr\u003eA6. Honey (Amsterdam Is Not L.A.)\u003cbr\u003eA7. Shoot Shoot!\u003cbr\u003eB1. Comely Row\u003cbr\u003eB2. Ease Up You Fundamentalists!\u003cbr\u003eB3. 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It is the band’s sixth full-length record, and the first to feature the band’s Max Grunhard as producer since 2019’s\u003cem\u003e Doko Mien\u003c\/em\u003e. Following their Hot Chip-produced breakthrough \u003cem\u003eElectricity \u003c\/em\u003e(2022) and the darker, clubbier inflection of the Ross Orton-produced \u003cem\u003ePull the Rope\u003c\/em\u003e (2024), \u003cem\u003eChopping Mountain\u003c\/em\u003e feels like it was pulled directly from the hearts and experiences of the Eno Williams and Grunhard-led band.\u003c\/p\u003e\n\u003cp\u003eWilliams, as always, is a siren — a once-in-a-generation frontwoman whose call, both to the dancefloor and for a better tomorrow, is impossible to resist. How she does it is a mystery. She is, of course, hardly alone at the foot of \u003cem\u003eChopping Mountain\u003c\/em\u003e. Ibibio Sound Machine — Grunhard (saxophone, keyboards), Alfred Bannerman (guitar), PK Ambrose (bass, keyboards),Joseph Amoako (drums), Afla Sackey (percussion), Scott Baylis (trumpet, keyboards), and Tony Hayden (trombone, synth) — are supernaturally tight, drawing on their roots and inspirations in highlife, disco, afrobeat, funk, post-punk, and electropop to build towering cathedrals of sound around her voice.\u003c\/p\u003e\n\u003cp\u003eContinuing on the path they first charted on \u003cem\u003ePull the Rope\u003c\/em\u003e, many of \u003cem\u003eChopping Mountain\u003c\/em\u003e’s songs started out in jam sessions, locking in on a groove or an instrument or a lyric. “Give Me Peace,” featuring Dele Sosimi of Fela Kuti’s Egypt 80, found its way to bliss once the chant-sung lyrics “Give me peace, give me freedom, give me love with a kiss” tumbled out of Williams’ consciousness. The dub-inflected, breakbeat heavy soul that stirs to life beneath them — an entirely new sound for a band that has mastered blending a seemingly endless array of sounds — came naturally. “It’s about finding calm in a world that is trying to tear us down,” Williams and Grunhard explain. “Once we established that direction, the song seemed to write itself.”\u003c\/p\u003e\n\u003cp\u003eThis is, at its core, the spirit of \u003cem\u003eChopping Mountain\u003c\/em\u003e. Against the backdrop of a dispiriting world, Ibibio Sound Machine remain hopeful, seekers of consciousness and connection. On tracks like “Concept of Love,” they are direct and earnest, sculpting an Afro-disco song around Williams’ repeated question of “What is your concept of love?” They have their theory (“When you love someone \/ Let them love you back”) but the song passes the idea from member to member — a thrilling guitar solo from Bannerman, Baylis’ horn stings, vocoders, and precision drumfills — in a way that creates, almost paradoxically, a space in which one can meditate on the answer or move through it. Exploring the concept further on “Love,” they deliver an ethereal slice of highlife.\u003c\/p\u003e\n\u003cp\u003eReleased: September 2026\u003cbr\u003eCat: \u003cspan data-olk-copy-source=\"MessageBody\"\u003eMRG886LP-C1\u003c\/span\u003e\u003cbr\u003eLabel: Merge\u003c\/p\u003e\n\u003ch3\u003eListen\u003c\/h3\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/xdJGyXzNq7k?si=g6RUFd33ecWazW4u\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003ch3\u003eTracklist\u003c\/h3\u003e\n\u003cp\u003eSIDE A\u003cbr\u003e1. Burning in Lagos\u003cbr\u003e2. Chopping Mountain\u003cbr\u003e3. When You Want to Dance\u003cbr\u003e4. Concept of Love\u003cbr\u003e\u003cbr\u003eSIDE B\u003cbr\u003e5. Return to Sender\u003cbr\u003e6. Menso\u003cbr\u003e7. Love\u003cbr\u003e8. Kukuru\u003cbr\u003e9. River Don’t Rush\u003cbr\u003e\u003cbr\u003eNOTE: CD includes the additional track “Give Me Peace [feat. 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Their third album in as many years, 1990 was a particularly fertile time for the band with Kim Deal also having success with The Breeders, who released their debut album \u003cem\u003ePod \u003c\/em\u003ejust a few months prior.\u003c\/p\u003e\n\u003cp\u003eFeaturing the singles ‘Allison’ (a tribute to jazz and blues pianist Mose Allison), ‘Dig For Fire’ and ‘Velouria’, plus the first cover to feature on one of their albums ‘Cecilia Ann’ (originally by The Surftones), \u003cem\u003eBossanova \u003c\/em\u003eshowed a less primal side to the band, with surf and space rock rising to the fore. 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