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The final track, \"OOO\", is a bold experiment inspired by krautrock; \"Mold\" is a beautiful slowcore piece, and \"Paint A Picture\", which opens the album, is a modern pop track, both catchy and direct. \"Clipping\", the album's title, refers to the art of pruning, of removing dead wood to obtain a tree with a perfect shape and abundant flowers: a faithful description of the album and the songs that adorn its elegant branches. \"Clipping\" was recorded in 2025 at Studio Claudio by Alexis Fugain and Margaux Bouchaudon. In an isolated rural setting, conducive to immersion, the band spent seven days in the studio - significantly more time than on their previous albums - which allowed them to pay particular attention to the recording process, especially the vocals and arrangements. 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It all started in Oregon, where their first albums, such as March Chant and Beehive Mind, shimmered with the intimate melancholy of Beyond the Implode and the psychedelic magic of Garbage and the Flowers. But while these influences are still present, A Blue Dot is completely new. A move to Cambridge, Massachusetts, and a change in the band's lineup transformed a gentle melancholy into unbridled rock energy. The new lineup (guitarist Luke Einsiedler, bassist Elijah Bodish, and drummer Greg Witz) condensed The Spatulas' sound into a powerful, melancholic sonic explosion. Here, we find the glorious post-New Zealand pop of Barbara Manning's SF Seals, as well as the dense swirl of Rain Parade. Brilliantly recorded at Suddenly Studio by Emily Robb, mixed by Evan Mersky, and mastered with perfect cohesion by Sarah Register, the whole thing sounds powerful and assured. Since the album's recording concluded, Miranda and Elijah have moved to Indiana where a new lineup has emerged. But the good news is that this band hasn't said its last word and, hopefully, this merciless world will still exist long enough to witness an East Coast tour in the summer of 2026. Might as well have at least one thing to look forward to!","brand":"The Spatulas","offers":[{"title":"Default Title","offer_id":56870311166296,"sku":null,"price":20260515.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0898\/4943\/0360\/files\/0784300942320.jpg?v=1775682457"},{"product_id":"nina-nastasia_on-leaving-vinyle-transparent_2026_mdl","title":"On Leaving - Vinyle Transparent","description":"The enchanting and magnificent album On Leaving by Nina Nastasia has finally arrived, fully realized and long-awaited, revealing the talented New York singer-songwriter at the peak of her art. 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Beauty Land picks up where we left off three years ago, exploring the depths of grief, love, and addiction, but its intense and serene clarity reveals Mendez at the peak of his craft. Some passages of Beauty Land evoke a lucid dream, battered characters making their way through a world that is both caricatured and distorted. None of the fourteen tracks exceed three minutes, but they tell stories that span lifetimes. Death looms over the album, whether it appears as a memory or a threat. Everything feels precarious. There is a fragility in the construction of these songs: the way the funereal organ resonates like morphine on \"Looking Out Your Window,\" the heartbreaking simplicity of \"Frog,\" with its slowed-down keyboard and stripped-down chorus. Beauty Land sometimes feels like an unbearable solitude. 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On these two streets, you hear cumbia echoing from the shops, punk rehearsals in a garage, old hits drifting from a neighbor's yard: a true sensory explosion that follows you home, all these genres blending in your head. This comes as no surprise to longtime fans of Quiñones. He has established himself as a major performer of his generation, dedicating his career to offering his unique vision of the Chicano soul repertoire. But before Thee Sinseers, before the lush orchestrations and flawless harmonies that became his trademark, Quiñones cut his teeth backing various Jamaican ska and dancehall groups on tour in Southern California. He describes those years as his reggae school, where he got yelled at by every Jamaican artist putting out a record. 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A muse for Quentin Tarantino for her roles in Lady Snowblood and Stray Cat Rock, she is also a renowned singer, as proven by *Otoko Onna Kokoro No Aika*, released in 1974. A mix of Japanese pop and groove, with sumptuous and atmospheric orchestrations, the album notably includes a cover of \"Tokyo Nagare Mono\", the theme from Seijun Suzuki's cult film *Tokyo Drifter* (1966). This reissue features remastered audio, original artwork with OBI, plus a 4-page booklet with new liner notes by Hashim Kotaro Bharoocha, who interviewed Meiko Kaji for the occasion. While her previous albums often featured tracks from her films, *Otoko Onna Kokoro No Aika* offers an elegant reinterpretation of classic *kayōkyoku* (Japanese popular songs) and *enka*, often described as the \"Japanese blues\". Kaji approached this album with an actress's sensibility, treating each cover as a dramatic role. 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Always paying homage to genre pioneers such as Clan of Xymox, The Sound, and Pink Turns Blue, 'When It Rains' paves the way for new sonic horizons for The Spoiled, exploring broader emotional territories while preserving the atmospheric depth and introspective tone that have become its signature.","brand":"The Spoiled","offers":[{"title":"Default Title","offer_id":57010420973912,"sku":null,"price":20260529.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0898\/4943\/0360\/files\/5056321698797.jpg?v=1775764499"},{"product_id":"tomasz-stanko_balladyna_1900_uni","title":"Balladyna","description":"A major document of European jazz from the 1970s, Balladyna has left a lasting mark on several generations of improvisers. For his ECM debut, Polish trumpeter Tomasz Stanko surrounded himself with Edward Vesala (drums), Tomasz Szukalski (saxophone) and Dave Holland (double bass). 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The Landfill is something else entirely: a mountain that dominates the landscape dear to Johnson. Over his 25-year career under the name Fruit Bats, Eric D. Johnson's work is the result of patience and constant refinement. His songs come to life on albums that embrace long periods of his life and memories. The recording of Baby Man changed the game: the artist forbade himself from referring to the tracks he was working on before the album's recording, using the stream-of-consciousness technique, creating a striking testament to Johnson's talent as a singer-songwriter. Baby Man, and the particular attention paid to his voice and instrument, freed something in Johnson while writing a new album with a full band, and a few weeks later, he was back in the studio, this time with his group: David Dawda (bass), Josh Mease (guitars, synthesizer), Frank LoCrasto (piano, synthesizer), and Kosta Galanopoulos (drums). 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