{"title":"Featured Items","description":null,"products":[{"product_id":"crippling-alcoholism-camgirl-2xlp","title":"Crippling Alcoholism \"Camgirl\" 2xLP","description":"\u003cp\u003ePleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.\u003c\/p\u003e\n\u003cp\u003eCamgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.\u003c\/p\u003e\n\u003cp\u003eReleased on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.\u003c\/p\u003e\n\u003cp\u003eOriginally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrack Listing :\u003c\/strong\u003e\u003cbr\u003e1. Mr. Sentimental\u003cbr\u003e2. Saran Wrapped Cash\u003cbr\u003e3. LADIES' NIGHT (feat. Luxury Skin)\u003cbr\u003e4. Pay Pigs\u003cbr\u003e5. bedrot\u003cbr\u003e6. MONET\u003cbr\u003e7. Pretty in Pink (feat. Luxury Skin)\u003cbr\u003e8. Pliers (feat. Luxury Skin)\u003cbr\u003e9. screentime\u003cbr\u003e10. I Have a Key to Your House\u003cbr\u003e11. CAMGIRL\u003cbr\u003e12. Sweet Talk (feat. Ameokama)\u003cbr\u003e13. TARAVISTA (feat. Luxury Skin)\u003cbr\u003e14. Mary Kate \u0026amp; Ashley\u003cbr\u003e15. despair (feat. Latter)\u003c\/p\u003e","brand":"The Flenser","offers":[{"title":"Purple Smoke","offer_id":53085044211976,"sku":null,"price":39.0,"currency_code":"EUR","in_stock":false},{"title":"Hot Pink","offer_id":53085179969800,"sku":null,"price":39.0,"currency_code":"EUR","in_stock":true},{"title":"Black","offer_id":53085180002568,"sku":null,"price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0980\/6299\/1624\/files\/1500pxcopy.jpg?v=1767663540"},{"product_id":"yellow-eyes-confusion-gate-2xlp","title":"Yellow Eyes \"Confusion Gate\" 2xLP","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\u003cspan\u003eYellow Eyes present their seventh full-length album, Confusion Gate, blood relative of 2023’s Master’s Murmur.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eAn uncanny figure stands on the crest of a mountain, beckoning with a milk-white hand.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eSuffused with unease, we climb, mysteriously unable to stop. There must be somewhere to\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003ehide, out of his gaze. A place to rest…\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eA second presence lurks. Seemingly unbound by terrestrial constraints, the “widow” creeps\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003edown at night to explore the Earth, yearning for “familiar light.”\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eLost is the traveler on the slope, at the whim of the unknown hour.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eIn their 15th year, Yellow Eyes push their distinctive style of Black Metal a step further. Prominently displayed is their signature capacity for contrast: colorful, unpredictable melody with violent power, dissonance with anthemic beauty, harshness with warmth, impulsivity with patience. But this album, the band’s longest yet, is full of secrets. Confusion Gate, though a singular release that stands entirely on its own, toys with the listener by quoting abstractly from its sister album Master’s Murmur, transfiguring cryptic industrial folk into howling Black Metal. Unexpectedly veering into a rephrased melody or lyric, or presenting a familiar idea upside down, Confusion Gate hides its deceptions in plain sight.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eCompositional and textural experiments abound. A new emphasis on folkloric simplicity and visceral sadness, as well as ethereal ornamentations of synth and medieval instruments, serve as staging grounds for some of Yellow Eyes's most haunting material to date.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eWill Skarstad's impassioned vocal performance is tarnished, doomed, and older, giving threat to the mythos of his brother Sam’s lyrics.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eGuided by a chorus of voices, from the whispered false comforts of the wraith “widow” to the utterances of the master himself at the entrance of the gate, Yellow Eyes trace an epic journey from the “pine-filth” of the lowlands to the eerie meadow at the mountain’s summit.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eThe third presence that stalks Confusion Gate is also its most sinister— time itself. 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Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.\u003cbr\u003e\u003cbr\u003e“We’ve forgotten we are wild, so we suffer”\u003cbr\u003e\u003cbr\u003eOn every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”\u003cbr\u003e\u003cbr\u003eThe album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.\u003cbr\u003e\u003cbr\u003e“We exist in isolation, so we suffer”\u003cbr\u003e\u003cbr\u003eNeurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.\u003cbr\u003e\u003cbr\u003eFITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.\u003cbr\u003e\u003cbr\u003e“I cannot think of a more appropriate environment for us to return to the stage,” comments Steve Von Till who also serves on the board of Firekeeper Alliance. “Last year’s Fire in the Mountains festival was the most profound music event I have ever been a part of. The weekend took on a healing, cathartic ceremonial nature that is difficult to put into words. Using emotionally heavy music to build community and collectively stare darkness in the eye is something we have always believed in, but using it to directly address the heartbreaking reality of suicide, grief, loss and trauma is taking it to another level.”\u003cbr\u003e\u003cbr\u003e“The dissonance is deafening.”\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTrack Listing :\u003c\/b\u003e\u003cbr\u003e1. We Are Torn Wide Open\u003cbr\u003e2. Mirror Deep\u003cbr\u003e3. First Red Rays\u003cbr\u003e4. Blind\u003cbr\u003e5. Seething and Scattered\u003cbr\u003e6. Untethered\u003cbr\u003e7. In the Waiting Hours\u003cbr\u003e8. 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No one knows where it’s coming from. They call it\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Hum\u003c\/em\u003e.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eConverge have taken this mysterious real-world phenomenon and reimagined it as a physical manifestation of human suffering. I read on the phenomona while researching my own tinnitus. Then an idea struck. “What if the Hum is the culmination of all the pain in the world, creating an audible signal across the universe?” vocalist and lyricist Jacob Bannon posits. “Something noticeable to others operating on a similar emotional plane.”\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cem\u003eHum of Hurt\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003efollows\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLove Is Not Enough\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eas Converge’s second full-length release of 2026. Like its predecessor, the album offers a bleak yet empathetic assessment of the human condition and its ongoing deterioration. With this album, the songs are more raw and exposed. “When we came together to write, we ended up with a wealth of material,” Bannon says. “As work progressed we realized we had created two separate albums, and treated them as such.”\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cem\u003eHum of Hurt\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis distinct from\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLove Is Not Enough\u003c\/em\u003e, but just as volatile and potent. “It’s not a sequel,” Bannon explains. “The unifying musical idea early on was, ‘Let’s make a noise rock album.’ But we never really did. The first one wasn’t. This one touches on that spirit, but it’s much more dynamic than that descriptor. To me, it leans more into being an emotional hardcore album, while\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLove Is Not Enough\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efeels more metal leaning album. In the end, we simply gave creative birth to another Converge record with its own unique identity and character.”\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eOpener “Slip the Noose” erupts with a furious cannonade from drummer Ben Koller before launching into a short, grinding frenzy that would feel at home on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eJane Doe\u003c\/em\u003e. “Doom in Bloom” is raw and bloody, as guitarist Kurt Ballou’s spiky riffs scrape against Nate Newton’s bass and Koller’s drums. You can practically hear Bannon’s throat tearing apart in every scream. “It’s dark and pointed right at you,” he says. “Lyrically, I’m exploring how my own middle-aged introspection doesn’t always bring a brighter light. I see my own trappings reflected in those around me. Here I am imploring them to slip the noose to see another day.”\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e“Dream Debris” is a gripping, doomy epic born from a single bass note that builds to a booming crescendo. “It has a lot of twists and turns, yet starts off incredibly simple. The slow build was driven by Nate’s vision and bass tone,” Bannon says. “We kept asking ourselves ‘Does it need anything else?’ In the end, it didn’t. It was just so heavy, encapsulating everything we wanted in the song.” \u003cbr\u003e\u003cbr\u003eThe menacing track “Detonator” delivers a powerful line that will linger: There’s nothing to win if there’s no one to lose. “I go on a bit of a rant here,” Bannon says. “The idea is that when passion withers, the broken and beaten often remain in discomfort. The song ends with the line, ‘Don't be blown apart by your mistakes,’ which sums up the stark mentality on this one.”\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eThe title track stands as one of the most propulsive and emotional songs on their career. Thematically, Bannon examines the price of the lives we pursue. “I’ve given 35 years of my life to creating art and music,” he says. “I appreciate the creative home and support this community has given, yet rarely is space left for anything else. These lyrics are me looking in a mirror, recognizing that I am not the man I want to be. I need change, and still have work to do.”\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eThe album also features a new rendition of “I Won’t Let You Go,” originally recorded for the 2020 video game Cyberpunk 2077. “When we recorded the first version, Ben tracked drums in California and we assembled it here,” Bannon explains. “It was good, but we knew we could do better. This version has everything the previous one was missing. It now feels right.”\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cem\u003eHum of Hurt\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas recorded and mixed by Kurt Ballou at God City in Salem, Massachusetts, with engineering assistance from Zach Weeks. Bannon and renowned UK artist Thomas Hooper collaborated on the album artwork.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e“For the cover, I had a vision of an EKG signal fusing with some kind of volatile seismography. This amalgamation represents the conditions that would theoretically create a ‘Hum.’ Specifically the heart skips beats before dissolving into static. The signal is then interrupted by a seismic event at the center point of the cover. In conversation, I shared some of these ideas with artist Thomas Hooper, who offered to illustrate them using scientific diagrams as a source of inspiration. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eI then spent months creating a mixed media piece for the interior,” Bannon says. “The figures represent the five elements of our planet, or ‘Pancha Bhuta’: Prithvi (Earth), Ap (Water), Agni (Fire), Vayu (Air), and Akasha (Aether). I present them in the throws of chaos, as if the elements themselves are entangled in the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHum of Hurt\u003c\/em\u003e.”\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eTrack Listing \u003c\/strong\u003e\u003cstrong\u003e:\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e01. Slip The Noose\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e02. Doom In Bloom\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e03. It Only Gets Worse\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e04. Detonator\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e05. I Won't Let You Go\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e06. It's Not Up To Us\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e07. Dream Debris\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e08. It Used To Matter\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e09. Hum Of Hurt\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e10. 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Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.\u003c\/p\u003e\n\u003cp\u003eWhereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse.\u003c\/p\u003e\n\u003cp\u003eAs with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground.\u003c\/p\u003e\n\u003cp\u003eThe album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ‘26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided world.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrack Listing :\u003c\/strong\u003e\u003cbr\u003e1. Creature\u003cbr\u003e2. Deep Blue\u003cbr\u003e3. Same Rules\u003cbr\u003e4. PEN I S MALL\u003cbr\u003e5. Shrine\u003cbr\u003e6. Intruder\u003cbr\u003e7. Christabel ‘26\u003cbr\u003e8. Influence\u003cbr\u003e9. Family Funeral\u003cbr\u003e10. 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Your will? Your conscious mind? Your choice to remain open, alert, present? Or is it something just beyond your grasp: an obscure automatic process, quietly carrying you forward until it doesn't?\u003c\/p\u003e\n\u003cp\u003eThese are the questions that haunt Wellness Plan, the second full-length album by Genital Shame, the solo project of musician Erin Dawson. Her music exists in a dissociative fog where terror, resignation, and determination become nearly impossible to separate. On Wellness Plan, Dawson widens that world, folding black metal and noise together with fragile moments of stillness.\u003c\/p\u003e\n\u003cp\u003eDawson's approach is informed by a background in music education and classical guitar, which she brings to her own strange iteration of experimental music rooted in black metal. Wellness Plan is harmonically dense, with riffs and melodies folding into one another in unexpected ways. 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Replace What I'm After\u003cbr\u003e2. Down Titration Strategies\u003cbr\u003e3. Spiced Loam\u003cbr\u003e4. I Want to Die Before You\u003cbr\u003e5. Suicide Wellness Plan\u003cbr\u003e6. Nucleus Accumbens Atrophy\u003cbr\u003e7. Punished by Rewards\u003cbr\u003e8. Górecki Peace\u003cbr\u003e9. Gratitude Meditation\u003cbr\u003e10. 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Over the fifteen years since its release, Giles Corey's debut has accumulated a massive cult following, with listeners often describing their relationship with the album in the language of ritual or religious experience.\u003c\/p\u003e\n\u003cp\u003eThat devotion is no accident. Built largely from acoustic instrumentation, the record nevertheless feels crushing, like something unseen is pressing against every song. Guitar and piano are buried beneath ghostly choirs, heavy organ, field recordings, and sudden walls of sound, creating something that feels far larger than the sounds that make it up. Like the themes that run through the album, it possesses an uncanny quality that is difficult to explain, as though the music itself is carrying voices from somewhere just beyond reach. Songs emerge from near silence and build toward enormous cathartic outbursts, with Barrett's voice at the center of arrangements that seem constantly on the verge of swallowing him whole.\u003c\/p\u003e\n\u003cp\u003eIntegral to Giles Corey is a 150-page book, available with select versions of this edition or separately from The Flenser . Moving between personal accounts of depression and suicide and the story of cult leader and afterlife theorist Robert Voor, the book expands the world of the album beyond the music itself. Voor also appears throughout Barrett’s work, connecting Giles Corey to the lore surrounding Have a Nice Life’s Deathconsciousness and Barrett’s larger body of work.\u003c\/p\u003e\n\u003cp\u003eThis new edition of Giles Corey has been remastered by Richard Chowenhill of Agriculture and includes “A Landless Earth,” a bonus track never before officially released.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrack Listing :\u003c\/strong\u003e\u003cbr\u003e1. The Haunting Presence - Remastered 2026\u003cbr\u003e2. Blackest Bile - Remastered 2026\u003cbr\u003e3. Grave Filled With Books - Remastered 2026\u003cbr\u003e4. Empty Churches - Remastered 2026\u003cbr\u003e5. I'm Going To Do It - Remastered 2026\u003cbr\u003e6. Spectral Bride - Remastered 2026\u003cbr\u003e7. No One Is Ever Going To Want Me - Remastered 2026\u003cbr\u003e8. Sleeping Heart - Remastered 2026\u003cbr\u003e9. Buried Above Ground - Remastered 2026\u003cbr\u003e10. 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Facing the opaque, complex, and hard-to-grasp world that surrounds us, our riffs have never been that rough, and our lyrics have never been that clear.\u003c\/p\u003e\n\u003cp\u003eHowever, we're conscious that what sounds normal to us may seem fucked up to others. As usual, we didn't bother fixing our weirdness — why would we? Our oddity barely equals the absurdity of the world we hear about in the news. Everything we believed in seems optional, everything we thought was sound is questioned. So while writing this album, when confronted with choices, we always opted for the simplest way and the boldest moves. This is our way to heal from chaos, add clarity to the equation, and loudly fight for calm.\u003c\/p\u003e\n\u003cp\u003eBeing on tour all year long, we didn't have time to waste, and the general context didn't seem to call for that. Our heads and our bodies were full of new energies and experiences, shared with the many human beings we met during the last couple of years on the road. We've learned so much recently, we couldn't wait.\u003c\/p\u003e\n\u003cp\u003eWe wrote fast songs, and we recorded them quickly. This was made possible by two important factors:\u003c\/p\u003e\n\u003cp\u003eUnified Vision: We were all on the same page and knew where we wanted to bring this record. We didn't argue about anything — maybe because we didn't have the time, maybe because we didn't need to.\u003c\/p\u003e\n\u003cp\u003eFunctional Studio Headquarters: An old warehouse in our hometown was packed with all the gear we've collected through 20 years of touring and trying things out. We only needed to pick things from the shelves, plug them in, and crank them to the maximum. Everything was already in our hands. We got to integrate acoustic instruments, large and unusual rooms, and old, dusty gear — the whole thrift store.\u003c\/p\u003e\n\u003cp\u003eWe hired Scott Evans for recording (La Dispute, Thrice, Neurosis), Tom Dalgety for mixing (Ghost, Tiger Cub, Pixies), and Robin Schmidt for mastering (The Hives, Yungblud) — the exact same team that worked with us on Odd Love. We knew what we wanted, and we already trusted them to achieve it. They captured and translated with remarkable transparency and punch the urgency and rawness we were looking for in these performances. Ben Chisholm (Chelsea Wolfe, The Armed) honored us by contributing additional production and overdubs, making sure we explored the full potential of every song.\u003c\/p\u003e\n\u003cp\u003eThis is the first album we wrote with a bass player involved from the very beginning of the songwriting process. Kevin Galland's thick sound and sharp ears allowed us to explore something we had never really dared before: a classic four-piece lineup. Sometimes it takes a long journey and countless detours to naturally come back to the simplest ideas.\u003c\/p\u003e\n\u003cp\u003eWe're thankful for this new opportunity, and deeply honored and humbled by everything that's happening to us. We are a group of lucky humans sitting on a big pile of privileges. To grow older together and keep this band alive is all we ask for. We try our best to make it meaningful by turning it into an honest reflection of the world around us. We see a sad world losing hope, and we choose to respond with electricity and sweat. We want to keep sharing that energy, so that not everything we love gets destroyed.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrack Listing :\u003c\/strong\u003e\u003cbr\u003e1. Everything We Love, We Destroy\u003cbr\u003e2. Peace Trader\u003cbr\u003e3. Replication Crisis\u003cbr\u003e4. 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Featuring new artwork by photographer Dylan Hausthor, the long-awaited reissue breathes new life into an essential early collaboration between two acclaimed Bay Area metal bands.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eFormed in 2006, Bosse-de-Nage first encountered Deafheaven at one of the latter’s earliest shows, held at a now-defunct art gallery in San Francisco’s Mission District. Deafheaven’s demo had just begun making a splash online. “Their performance was amazing; it was clear right away that they were a force to be reckoned with,” Bosse-de-Nage recalls. At a time before blackgaze and post-black metal had fully cohered into recognizable movements, the bands recognized something familiar in one another. They began playing shows together and formed a friendship that has endured ever since.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eThe exact genesis of Split has been lost to time. Arriving just over a year after Deafheaven’s 2011 debut Roads to Judah, neither band can remember who first proposed the collaboration, only that the idea made immediate sense. Deafheaven contributed a cover of Mogwai’s “Punk Rock \/ Cody,” while Bosse-de-Nage contributed the original “A Mimesis of Purpose,” which marked their first collaboration with Astrid J. 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Longtime Deafheaven collaborator Jack Shirley of Atomic Garden remixed “Punk Rock \/ Cody,” while Richard Chowenhill of Agriculture remixed Bosse-de-Nage’s “A Mimesis of Purpose,” bringing new clarity and dimension to both recordings.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eFourteen years later, Split remains a document of two bands encountering one another at a formative moment, recognizing something in each other before either knew where their music would lead. Newly remixed, remastered, and reimagined, the 2026 edition returns that moment to the present.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eTrack Listing : \u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e1. 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