{"title":"Friends \u0026 Faves Shop: New Arrivals","description":"","products":[{"product_id":"texas-is-the-reason-do-you-know-who-you-are","title":"Texas Is The Reason - Do You Know Who You Are? (TX30 Special Edition)","description":"\u003cp\u003eThey came from some of the most popular, if not polarizing hardcore bands of the early '90s (Shelter, 108, Ressurection), but by the time \u003cstrong\u003eTexas Is The Reason\u003c\/strong\u003e formed in 1994, a new aesthetic crystallized almost instantly and reduced its members' previous efforts to history.\u003c\/p\u003e\n\u003cp\u003eIn April of 1996, the band reinforced that initial success with their first and only album, produced by Jawbox's J. Robbins and named after the last words that John Lennon was alleged to have heard: \"Do You Know Who You Are?\"\u003c\/p\u003e\n\u003cp\u003eThe original recording, produced by J. 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The year is 2018 and after suffering six grand mal seizures in a row, Karen’s brain is permanently damaged. Her language, once fiery and flowing, now finds itself stunted, and after spending seven weeks in the hospital, Kuehn becomes his mother’s legal guardian and caregiver. This hairpin bed, a sudden brake on a frozen road, turns his life into a slow motion movie––reality as passive consumer, dazed, fingers unable to grasp the sudden shift. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe doctors gave Karen a week to a year, but it wasn’t until January 2021 that she passed away, a gift of time that gave Kuehn a chance to get to know the person behind the parent. Those three years, marred by a roof-ripping hurricane, a pandemic and a life turned upside down, Kuehn found solace in the only way he knew how; he picked up any instrument within reach and began to piece together their story. \u003cem\u003eBlue Water\u003c\/em\u003e is the first album under his new moniker \u003cstrong\u003eGay Meat\u003c\/strong\u003e, and lovingly, gently says goodbye to a mom, piecing together the sepia patchwork of memories through a child’s eyes and asks which direction to walk without the foundation of family, no matter how small it was in the first place.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eKuehn’s musical exploration began as a teen, when he started emo three-piece Museum Mouth. 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Pain circling above rising synths and booming snares, mimicking the cacophony of feeling one thousand things at once. As with the swirling wide rooms of grief, there are also bright moments of beloved memories, like “The Powerball” where Kuehn describes the road trips he and his mom would take across state lines when he was a kid, in hopes that the lottery tickets purchased there would give them a whole new life. It was the only track written after Karen’s death, when Kuehn found himself driving to the state line alone, his spiralling bereavement as puppeteer. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe record was written alone, in rooms shadowed by anticipatory loss, but during the recording process with Brett Scott and Alex Thompson, Kuehn borrowed instruments from friends and old bandmates, and welcomed the likes of Jeff Rosenstock, Chris Farren, Sarah Tudzin (Illuminati Hotties) and Lamont Brown (Rnie) on backing vocals as well as Taylor Haag on drums. Like a tangible example of a support system after a loss, the foundation of \u003cem\u003eBlue Water\u003c\/em\u003e may be insular but the final result is reaching for help and receiving a chorus of support. “Vodka Sprite” for instance, details the disorientation caused by the disappearance of the person you would normally call on to help work through these huge feelings and not only that––they’re the reason you’re feeling them in the first place. Kuehn’s community showed up as the new navigators.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eArtist Jana Sojka tells us that “there are blues for every kind of leaving and every kind of return,” and it’s on Blue Water that Gay Meat lets the waves of grief envelope his chest while keeping the horizon in view, treading water until he’s ready to step foot on land again. Eclectic in its sonic space, the album details the overflowing, chaotic state of sorrow that ebbs and flows between the quiet and still nature of realization, synths and guitars and keys coalescing like the influx of every emotion. The final track––a sweet sing-songy recording from Karen after she learned to use her voice again––marks the departure of the reality Kuehn once knew while recognizing the familial stamp he can always return to. \u003cem\u003eBlue Water\u003c\/em\u003e is deeply, sincerely an album about grief but it’s also a call to the glittering resilience within each of us and the tiny moments that make up a life. 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It marks the British band’s first album in eight years, a reunion with their original label Run For Cover Records, and a return to making music with the unbridled passion and creative intuition that’s always animated their best material. Since forming in 2009, Basement have always been the same five friends -- vocalist Andrew Fisher, guitarists Alex Henery and Ronan Crix, bassist Duncan Stewart, and drummer James Fisher -- with the same alchemic bond. 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Title-track “WIRED” is the most urgent they’ve ever sounded, a surefire live staple propelled by needling guitars, a slugging drumbeat, and a skyscraping hook that finds Fisher’s voice in peak form. “Broken By Design” has the opposite temperament: dusky, delicate, bass-led, but still quintessentially Basement in its immediate catchiness and moody character. Nothing on \u003cem\u003eWIRED\u003c\/em\u003e sounds stagnant. Not one part feels undercooked. The band looked to a smorgasbord of adventurous heroes for inspiration (REM, Interpol, Smashing Pumpkins, to name a few) without ever sounding like they’re imitating any one band -- not even themselves. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003eThe record’s title condenses all of this into a single word. 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It’s also the theme that underpins her fourth album \u003ci\u003eThe Gem\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhen Julia Jacklin first moved to Melbourne from Sydney in 2017, she discovered a little bar on a back street in Collingwood, where bands pushed dining tables to the side and set up in a corner on the floor. She didn’t really know anyone in town too well, but she knew she wanted to make the city her home, and so she started hanging out there, forcing herself out of her comfort zone. The pub was aptly named The Gem.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFast forward eight years, and Jacklin, with three celebrated solo records under her belt – \u003ci\u003eDon’t Let the Kids Win \u003c\/i\u003e(2016), \u003ci\u003eCrushing\u003c\/i\u003e (2019) and \u003ci\u003ePRE PLEASURE\u003c\/i\u003e (2022) – was looking to make a fourth. She’d been touring flat-out for years, had come out of contract with her record label, was looking for a new manager. “For the first time since I started out, I had this big chunk of time without any industry expectations and no-one to ask me what was going on,” she remembers. “It was liberating and it was scary.” Jacklin wanted to do things intentionally this time around. She wanted to back herself. And she wanted to make the record at home in Melbourne: something she’d never done before.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eSo she called up her old drinking buddy Robert Muinos, owner of Rat Shack studios, which is located above her favourite old pub. For \u003ci\u003eThe Gem\u003c\/i\u003e sessions she was also joined by longtime friends Jacob Diamond on guitar, Mimi Gilbert on bass, and Jess Elwood (Alex Lahey, Angie McMahon) on drums. 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It feels like the song is playing in-utero: an embodied, tactile dance music that winks and nods to Jacklin’s previous records while pushing towards rebirth.\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e“When you get to this phase of being an artist, people have an idea of what you are and the kind of musician you are and the kind of things you write about and the kind of ways you write about them. And then it's pretty difficult to not let that inform your own sense of self. It can get really weird, where you’re like, \u003ci\u003eIs this what Julia Jacklin would do?\u003c\/i\u003e And you’re like, \u003ci\u003eWait – I’m Julia Jacklin\u003c\/i\u003e.”\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e‘God Sometimes,’ with its driving rhythm section and images of flipped tables, is about choosing not to be a passenger in your own life, while ‘If I Had the Hand of God’ asks if it’s possible to be a touring musician and a good person at the same time. 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