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During their encounters, the pair bonded over the musical output of the early 70s, specifically the intersection of electronic music and boundary-pushing experimentalism found in Krautrock that gave rise to classic acts like Can, Faust, Tangerine Dream, Neu! and more. In this spirit, if not also musically, is where the soul of the \u003cstrong\u003eJEGONG\u003c\/strong\u003e project lies– melodic, genre-pushing, fascinating and honoring the past while looking toward the future.\u003c\/p\u003e\r\n\u003cp\u003eThe classic Krautrock movement may provide the bedrock for all that is \u003cstrong\u003eJEGONG\u003c\/strong\u003e, but the project is far from a “worship” band. Instead of aping core elements of the movement, the duo used the style as a launch pad to move into uncharted realms– thereby conjuring the original, truly bold spirit of the style. The result is a record without inhibition– delving deep into psychedelia, ambient, repetition, post-rock and even elements of dystopian sci-fi soundtracks like Blade Runner and Metropolis during the LP’s 70+ minute runtime. \"\u003cem\u003eWith JeGong we don't want to copy the Krautrock style,\u003c\/em\u003e” reiterates Mäder. “\u003cem\u003eWe see our project more as a creative playground to celebrate the playful and experimental approach from earlier Krautrock using organic sounds and textures from analogue sounds to explore mood.\u003c\/em\u003e”\u003c\/p\u003e\r\n\u003cp\u003eCreated in the tail end of 2019, the LP was an exercise in social distancing with Reto Mäder recording all of the instrumentation at Hinterzimmer in Bern, Switzerland and Dahm Majuri Cipolla adding in the drums at BC Studio in NYC with Martin Bisi (Swans, Sonic Youth), where it was also partially mixed. With additional mixing and mastering taking place in Finland with Jaakko Viitalähde (Oranssi Pazuzu, Dark Buddha Rising), the wholly remote record presented a challenge in creating a collaborative effort while separated by half a world at every turn. “\u003cem\u003eIt was pretty interesting doing the tracks separated by many many miles between Switzerland and the U.S.,\u003c\/em\u003e” recalls Cipolla. “\u003cem\u003eFor this particular collection of songs Reto would send me these ideas and I would come up with rhythmic patterns to fit. 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Disoriented, hands follow the walls to find what could be the ceiling, fingers digging into the rock to find something– anything– loose to help point toward a direction out. Suddenly, a rock frees itself and after clearing away some dirt, a pin of blinding light shines through the enveloping darkness. Clearing away soil and rock with more and more vigor, hope and salvation is just a short way from here.\u003c\/p\u003e\r\n\u003cp\u003eThis is \u003cstrong\u003ePG.LOST\u003c\/strong\u003e’s Oscillate– the band’s latest LP packed to the gills with pure drama and catharsis. Their fifth overall and first effort since 2016’s much lauded Versus, Oscillate leans on an instrumental approach and while their keen understanding of tension\/release may warrant comparison to the likes of MONO, Explosions in the Sky and Godspeed You! Black Emperor, \u003cstrong\u003ePG.LOST\u003c\/strong\u003e is unafraid to move into exciting new directions. 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But there is more to their sound than that: „the wavering drone synths that are effortlessly merged with a raw hard- core-driven darkness define the subtle idiosycratic nuances of LLNN's very unsubtle, painfully overwhelming sound“ (The Sludgelord).\u003c\/p\u003e\r\n\u003cp\u003eAfter European tours with Bison, performances at festivals like Roskilde, Roadburn and Arctangent and a split EP with WOVOKA, LLNN returned with sophomore album „Deads“ in 2018, an album that felt more compact, yet more complex and organic all at the same time. The band further explored the coalescence of the guitar \u0026amp; bass - axis with keys player Ketil G. Sejersen's synth layers – a direction that is now further pursued on Unmaker. In fact, LLNN’s contemporary heaviness is not just “dense, suffocating tracks that build and crash“ or „buried vocals coming from under thick guitars and pounding drums” (Decibel): it’s also the very dominant synths that evoke the feel and vibe of dystopian, post-apocalyptic sci-fi movies, inspired by composers like Brad Fiedel, Vangalis, John Carpenter and Stanley Kubrick as much as by Sci-Fi \/ horror games like Silent Hill, Dead Space, Halo \u0026amp; Limbo.\u003c\/p\u003e\r\n\u003cp\u003e\"\u003cem\u003eAs huge fans of classic sci-fi scores and video games we’re fascinated by how cinematic sound design can evoke certain emotions and let our imagination unfold into abstract storytelling\u003c\/em\u003e“, says Sejersen.\u003c\/p\u003e\r\n\u003cp\u003eA recently released short film gives insight into the creation process and sound design on the new record, showcasing the process from the original sound recording to the final result, a production that took place at a blacksmith using various industrial machines. \"A big part of the sound design in LLNN is initially created by field recordings, and afterwards by modulating the raw audio files in post-production“, says Sejersen. A circular metal saw was recorded and modulated — and by layering these sounds over other estranged and heavily treated recordings of industrial tools, LLNN create their sometimes eery, sometimes harsh but always thematically coherent synth-soundscapes.\u003c\/p\u003e\r\n\u003cp\u003eThese sounds – essentially manipulations of the real world – orchestrate and exemplify the album's central theme: Unmaker is a tale about how technology, in combination with certain power structures, is transforming humanity, essentially affecting human values, and becoming an end in itself. A tale about how progress becomes regress, depending on the angle of the observer and the standards of appraisal.\u003c\/p\u003e\r\n\u003cp\u003eIt doesn't come as a suprise that ever since their inception, LLNN have triggered the interest of movie soundtrack composers-- like the award-winning Peter Albrechtsen, known for his work on movies like „Dunkirk”, “Antichrist” or “The Girl With The Dragon Tattoo”:\u003c\/p\u003e\r\n\u003cp\u003e”\u003cem\u003eAs a sound designer for movies, I love when music feels like a sonic adventure“, says Albrechtsen. „I’m obsessed with music that explores what sound can do to our body, to our mind, to our imagination. LLNN 's new album is one of the most overwhelmingly intense records I’ve heard in quite a while and the way it blends abstract ambient sounds, shattering rhythms and extreme noise is both hypnotic and powerful. The sense of sonic detail is staggering and for each spin I hear new elements, echoes, textures and my mind gets new visual associations. Sometimes it feels like the soundtracks of Apocalypse Now and Eraserhead has been melted together and blasted through a ferocious guitar amp - these songs have both a sense of impending doom and an extraordinary combination of raw energy and gritty beauty.\u003c\/em\u003e“\u003c\/p\u003e\r\n\u003cp\u003eUnmaker will be released in 5 different vinyl colour variants. \u003cstrong\u003eAll coloured variants come with a 2nd LP featuring only the synth sounds, titled Sonic Fragments from Unmaker.\u003c\/strong\u003e These fragments on their own, exposed and without the rest of the band, constitute an unrhythmical parallel universe to the album, and allow an interesting peak into the band's dark cosmos.\u003c\/p\u003e","brand":"LLNN","offers":[{"title":"Black","offer_id":44089083756822,"sku":"468984","price":30.0,"currency_code":"USD","in_stock":true},{"title":"Interloper Edition","offer_id":43863389995286,"sku":"468985","price":36.0,"currency_code":"USD","in_stock":false},{"title":"Unmade Edition","offer_id":44089083789590,"sku":"468986","price":36.0,"currency_code":"USD","in_stock":false},{"title":"Single Colour Edition","offer_id":43863390028054,"sku":"468987","price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0690\/8939\/4966\/products\/b103fb3213036d5928b9595095281604.jpg?v=1670560511"},{"product_id":"wang-wen-100-000-whys-2x12","title":"Wang Wen \"100,000 Whys\" 2x12\"","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Wang Wen","offers":[{"title":"Black","offer_id":43863392813334,"sku":"469358","price":30.0,"currency_code":"USD","in_stock":true},{"title":"Ghost Edition","offer_id":43863392846102,"sku":"469359","price":37.0,"currency_code":"USD","in_stock":true},{"title":"Single Colour Edition","offer_id":43863392878870,"sku":"469360","price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0690\/8939\/4966\/products\/9e6246b4f7f15faa45fc468be6234db7.jpg?v=1670560937"},{"product_id":"shy-low-snake-behind-the-sun-2x12","title":"Shy, Low \"Snake Behind the Sun\" 2x12\"","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003eDue to this item being an import, the ship date has been set to allow for potential delays. 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'Of Valleys and Mountains' reaches into the heart of the land and reveals its deep mysteries, at times in the pristine beauty of tremolo picked guitars, at times in the sedation of ethereal soundscapes, but most of all in in the massive riffs and huge choruses that pierce right through the mountain forest haze.\u003c\/p\u003e\n\u003cp\u003eWith over 14 years of experience under their belt PULL DOWN THE SUN prove to have learned from the best – and they’ve learned their lessons well. Of Valleys and Mountains is more than just a collection of good songs. 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The result is a record that sees the band increase the dynamics of their compositions while incorporating an even wider spectrum of sounds. “We wanted to make a pivot with this new record, slow things down and experiment with different sounds,” continues Rich, pointing to further influences ranging from Radiohead to Neurosis. Indeed the choppy bass lines of album closer ‘Cloak-Noir Bloom’ do hearken back to quintessential experimental rock opus ‘Airbag’, while only moments later the same track breathes the explosive atmosphere of the seminal post-metal act from Oakland, California.\u003c\/p\u003e\r\n\u003cp\u003eTruthfully, these three musicians sound nothing like a three-piece, but rather like an army, the way they march through their songs. The big, fat murky bass sound of Drew Rauch forms a solid counterbalance to the majestic guitar wizardry of his brother Luke, who channels the spirits of classic guitar heroes like Zakk Wylde and Billy Gibbons. 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Gone are the hour-long sonic journeys that marked the first trilogy and enter fifteen dynamic compositions that make up a troubling journey through dark landscapes and harrowing visions.\u003c\/p\u003e\n\u003cp\u003eDriven by a moody bass drum thumping away at mid-tempo, album opener “An Nihilist” acts as a manifesto, beckoning the listener to join the band in their continued philosophical explorations. Complemented by the ambient vocals of Finnish electro-pop singer Ringa Manner (Ruusut, The Hearing) and a great number of samples, End Cut sees ENPHIN expand their sonic palette once more to an unprecedented variety, marking a shift in musical direction not unlike bands like Ulver or Boris pulled off in the past. However, instead of wholeheartedly going in a different direction, ENPHIN use End Cut to expand their sound in a great multitude of directions, further exploring elements of industrial, synthwave, goth rock and techno.\u003c\/p\u003e\n\u003cp\u003eIn expanding their vision and contracting their sound, ENPHIN have lifted their artistry to a whole new dimension, making the name change all the more fitting and appropriate. As with their previous albums, the interpretation of the listener is central to the experience of the music of ENPHIN. Like an esoteric eucharist, End Cut requires partaking to reveal its mystery. Listening to End Cut without the knowledge that it pertains to Jungian-Alchemy, is like an “obscurum per obscuribus” — explanation of the unfamiliar through something even more unfamiliar — a phrase that Jung himself describes in his analogy of alchemy, Christian dogma, and psychological symbolism.\u003c\/p\u003e\n\u003cp\u003eThe undiscerning listener will find the album to be a wild and compelling sonic trip— but for those who are familiar with the band’s previous records, End Cut will cut even deeper and reveal itself as a journey beyond the physical, beyond the meta, beyond death, towards an unknown gloomy place painted in the dark colours of the album’s closing tracks Nothing, Sang Unity, and Endling. 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After three years of pandemic-induced inertia, the four gentlemen from Paris return with their new record Rupture which sees them turn the page to a new chapter in their considerable career. Being recorded in a live-setting, Rupture concerns the band’s feelings about the drastic environmental changes that can be perceived all over the world. Casting their eco-angst into nine soaring and explorative tracks, LOST IN KIEV channel a sound that’s raw and pristine, reaching an emotive power beyond anything they have done before.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSince the Paris Agreement of 2015, climate change has been a frm topic on the international political agenda, and one closely followed by the media. 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The recognisable infuence of VANGELIS and JEAN-MICHEL JARRE is still written all over this record, but in this live setting the synth lines of «Squaring the Circle» and «But You Don’t Care» come way up close, almost as if you’re there in the room with the band.\u003c\/p\u003e\n\u003cp\u003eWhat sets \u003cstrong\u003eLOST IN KIEV\u003c\/strong\u003e apart from their peers is not only the perfection of their produced sound but also their composition and musicianship—on Rupture their experience oozes through the cracks. The confusion and dread are tangible in the lead guitar playing, the artful use of noise and distortion keeps you listening closely. While this album was still recorded with previous drummer Yoann Vermeulen, his successor Jérémie Legrand proved during the band's recent tour with MASERATI that he fts in seamlessly with his efortless and elegant playing. Each song is marked by a delicate balance between repetition and the introduction of new ideas, while every part feels appropriate and none of the musical ideas ever overstays their welcome. Even «Prison of Mind», almost a straight up melodic rock banger featuring Loïc Rossetti from THE OCEAN, amazes with its concise composition and creative use of vocal counterpoint during the song’s fnale.\u003c\/p\u003e\n\u003cp\u003eWith Rupture, \u003cstrong\u003eLOST IN KIEV\u003c\/strong\u003e have delivered another tour de force that surpasses their previous outings in many ways. Every song is pure melancholic ecstasy and rapture, while it also sees the band tread new ground. Going through various layers of dynamic composition, these nine tracks easily suck you into the band’s much needed narrative in which they lay bare their concerns and their anxieties. 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A journey marked by explosive riffs, soaring vocals and intricate yet catchy compositions. An impressive album which cements PSYCHONAUT's standing as aspirants to the throne of the contemporary European progressive \/ post metal community.\u003c\/p\u003e\r\n\u003cp\u003e“\u003cem\u003eWe distance ourselves from a system that is based on the idea that humanity is fundamentally bad and needs protection from itself in the form of a hierarchy,\u003c\/em\u003e” continues De Graef about PSYCHONAUT’s latest album. “\u003cem\u003eBy no longer subscribing to the notion that we are all separate beings in a separate world that is dead and pointless, we embrace the vision of a new civilisation that is rooted in the idea that we are part of a living, sacred universe.\u003c\/em\u003e” Likening our present state of separation to “an island on oceans grown, designed to bear unpredictable wrath,” the band accompanies their denunciation by punishing riffs and heavily syncopated rhythms, grabbing you by your guts and taking you on a turbulent journey.\u003c\/p\u003e\r\n\u003cp\u003eViolate Consensus Reality engages the senses in a way that is quite rare for concept albums, it is raw and brutal, unlike the lofty concept albums of yore with their endlessly repeating motifs and needlessly complex song structures. It stands in a long tradition of activism in music, but it also deconstructs this tradition by taking its loud and admonishing tone and providing it with a thoughtful base rooted in philosophy and spirituality.\u003c\/p\u003e\r\n\u003cp\u003eConsidering their noble goal of envisioning a brighter world, \u003cstrong\u003ePSYCHONAUT\u003c\/strong\u003e have chosen a seemingly peculiar album title, yet somehow it perfectly captures the nature of the record. It’s all found in the word viol- ate, which is always a negative word, e.g. a violation of rights, a person getting violated, etc. It’s never positive and certainly in the light of recent events—the #metoo-movement, the Covid-pandemic, the overturning of Roe vs. Wade by the US Supreme Court—an especially powerful image. On the contrary, the word consensus is generally considered a positive notion, but on Violate Consensus Reality it is the central idea against which the band declaim.\u003c\/p\u003e\r\n\u003cp\u003eThis subversiveness is characteristic of the mindset needed to approach the music of PSYCHONAUT. Violate Consensus is not for the faint hearted, concept-wise but also music-wise as it contains some of the most gnarly riffs and technical playing on any PSYCHONAUT record to date. Violate Consensus Reality constitutes a wild ride from the breakneck paced riffing of «A Pacifist’s Guide To Violence», through the undulating neo-classical piano passages of «Hope» to the glorious finale of «Towards the Edge». The mantric title track opens with the angelic voice of Stefanie Mannaerts (Brutus) and slowly builds up to erupt in an explosive sermon delivered by Colin H. van Eeckhout (Amenra, CHVE, Absent in Body), the appearance of both gifted musicians affirming PSYCHONAUT’s stature in the Belgian metal scene and beyond\u003c\/p\u003e\r\n\u003cp\u003e“No man is an island entire of itself; every man is a piece of the continent, a part of the main,” so famously wrote the reverend John Donne in his Devotions. A rare moment of extroversion in a work that is otherwise marked by introspection, and a most powerful psychological analysis that still inspires today. Resounding through the ages, Donne’s most direct and honest recognition of human interconnectedness still resonates in the bowels of Violate Consensus Reality, creating a powerful discourse on the intersection of the individual and the collective. PSYCHONAUT deliver once more, a transformative experience, serving renewal through riffs and exhilaration through thoughtful music with a heartfelt message.\u003c\/p\u003e\r\n\u003cp\u003ePsychonaut have played big Belgian open air festivals like Alcatraz, Rock Herk or Boomtown Festival and boutique festivals like Soulcrusher, Roadburn Redux or A Colossal Weekend. The band has supported bands like Amenra or Brutus and they just concluded a European tour with Pelagic label mates The Ocean and PG.Lost. They have a bright future ahead of them, and tickets for their album release show at the 800 capacity AB venue in Brussels are selling fast. 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Once more, the band revels in a superbly curated selection of poets reading excerpts of their own work — most notably César Vallejo, Jean Cocteau and Anne Sexton. «Tauca Pt. 1 – Another» shakes your hand like an old friend while album opener «Nowhere» hearkens back to «A Distant Dark Source Pt. 1» with its eerie high guitar leads.\u003c\/p\u003e\n\u003cp\u003eSheol sees the band sounding warmer and brighter than anywhere else in their storied discography, and the arrival of new drummer Pierre Rettien and bass player Charles Villanueva adds a fresh touch the classic HYPNO5E sound. The sweeping finales of «Lands of Haze» and «The Dreamer and His Dream» as well as the pastoral qualities of the quiet finger-picked parts on «Bone Dust» and «Lava From The Sky» hearken back to the old prog rock records of the seventies, albeit with an updated sonic palette and modern production parameters. 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Disjointed fragments of time collide. Two sides, one of logic and one of chaos, seeking unity and balance through an expression of freedom. This is i Häxa. \u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eA sonic culture clash that envelopes organic alt-folk storytelling, harsh industrial electronica and a dream-like ambience that conjures the golden age of the UK’s pioneering trip hop scene, Parts One to Three evolve in symbiotic unison with their visual pairings made in collaboration with filmmaker Daniel Broadley. The eerie folk-distortion of Part One’s ‘\u003c\/span\u003e\u003cstrong\u003eUnderworld\u003c\/strong\u003e\u003cspan\u003e’ and ‘\u003c\/span\u003e\u003cstrong\u003eLast At The Table\u003c\/strong\u003e\u003cspan\u003e’ soundtrack a nameless, wraith-like woman as she journeys through an ever-shifting fever dream before Part Two’s ‘\u003c\/span\u003e\u003cstrong\u003eThe Well\u003c\/strong\u003e\u003cspan\u003e’ introduces a more intimate and tender dynamic palette as i Häxa emerge as a physical entity in their own right, captured as myth made manifest in a breathtaking live performance. In jarring contrast Part Three is visceral and menacing, with bone-shaking basslines on tracks like ‘\u003c\/span\u003e\u003cstrong\u003eDryland\u003c\/strong\u003e\u003cspan\u003e’ and ‘\u003c\/span\u003e\u003cstrong\u003eDestroy Everything\u003c\/strong\u003e\u003cspan\u003e’ interrupted without warning by abrupt, high-gain percussion as Need-Menear’s spellbinding voice and cryptic lyrics float effortlessly above the maelstrom.\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003ePart Four is an awe-inspiring and unsettling amalgamation of what came before as plaintive piano refrains collide with shimmering drum and bass grooves, all interspersed with rich string arrangements and truly apocalyptic synthesiser soundscapes. ‘\u003c\/span\u003e\u003cstrong\u003eVessel\u003c\/strong\u003e\u003cspan\u003e’, Part Four’s opening piece, is pulsating synth suspense and eerie effected spoken word as Need-Menear’s already otherworldly vocal delivery is played forwards and backwards, akin to a tape-looped ghost in the machine. ‘\u003c\/span\u003e\u003cstrong\u003eBlue Angel\u003c\/strong\u003e\u003cspan\u003e’ immediately bursts into life with a fluttering, syncopated breakbeat that channels the likes of Goldie, Massive Attack and Björk as Need-Menear’s presence also gathers momentum before receding back into a deep droning menace that would make i Häxa labelmate and dark ambient pioneer \u003c\/span\u003e\u003cstrong\u003eLustmord\u003c\/strong\u003e\u003cspan\u003e proud. ‘\u003c\/span\u003e\u003cstrong\u003eInfernum\u003c\/strong\u003e\u003cspan\u003e’, a twisting, cyclic callback to Part One’s ‘\u003c\/span\u003e\u003cstrong\u003eInferno\u003c\/strong\u003e\u003cspan\u003e’, is as incendiary as its name suggests. The breakbeat from ‘Blue Angel’ returns with a vengeance; this time bitcrushed, compressed and relentless, conjuring the chaos of IDM icons like Squarepusher and Aphex Twin, but paired with a plaintive string motif that adds a distinctive human melancholy to the machine-like madness. Not just the final piece of Part Four but the closing chapter of the entire i Häxa saga, ‘\u003c\/span\u003e\u003cstrong\u003eCircle\u003c\/strong\u003e\u003cspan\u003e’ is a work of staggering intimacy and emotional candour. The sparse piano, string and vocals arrangements that make up ‘Circle’ are somehow more powerful than the barrage of breakbeats and basslines that precede it and, whilst in this direction the dynamic shift might appear abrupt, ‘Circle’ crucially echoes the latent alt-folk ambience of ‘Underworld’, the very first track of i Häxa’s Part One. As such, ‘Circle’ begins the project’s epic arc again, with Need-Menear’s last words “I see a light, I see an end \/ And a start, I see it all” serving lyrically and literally as the project’s open and close. \u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eWhilst the album is composed of four distinct movements, each consisting of four distinct tracks themselves; pulling them apart into easily digestible, standalone singles isn’t an easy feat and, as is now clear from the project’s sprawling cyclic nature, was never the intention. In an age of fast fun and instant gratification, the ties that bind these works together are intended to transcend tracklisting. True to its shifting, ephemeral nature, ‘i Häxa’ will be released in two formats: a Double LP in a gatefold sleeve and a deluxe box set housing all four Parts as individual EPs with screen prints on each b-side as well as a bonus LP entitled ‘\u003c\/span\u003e\u003cstrong\u003eFishnets\/Oceans\u003c\/strong\u003e\u003cspan\u003e’ featuring three vinyl-exclusive tracks as well as a 36-page photobook documenting the making of Part One’s mesmerising short film.\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eWith aural, visual and lyrical themes freely intertwining, i Häxa is something to be consumed whole; just as it will, in time, consume you. Charting an existential journey to the very depths of what makes us who we are, with every dark corner illuminated in glitched out, discordant glory; i Häxa is a project years in the making t\u003c\/span\u003e\u003cspan\u003ehat draws simultaneously from rituals for old gods and the modern day deification of data. i Häxa is both heartwarming and horrifying; i Häxa is ancient history and hyper-real; i Häxa is everybody and no one at all; i Häxa is for you and for me; i Häxa is here and it is happening now.\u003c\/span\u003e\u003c\/p\u003e","brand":"i Häxa","offers":[{"title":"Sapling Edition","offer_id":51709306470678,"sku":"608327","price":38.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0690\/8939\/4966\/files\/edd5b55c309ecd3a0e7e85e8634c0444.jpg?v=1786646419"}],"url":"https:\/\/pelagic.indiemerch.com\/collections\/2x12.oembed","provider":"Pelagic Records","version":"1.0","type":"link"}