{"product_id":"youre-gonna-need-a-little-music-red-with-black-splatter-vinyl-dinked-edition-412","title":"You're Gonna Need A Little Music (Red with Black Splatter Vinyl Dinked Edition #412)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSince their beginning, breaking through as a smart, witty new force within the British guitar music\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003elandscape back in the dark days of the pandemic, Yard Act have been wrangling with the knotty\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ecomplexities of the human condition.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTheir Mercury Prize-nominated 2022 debut The Overload span wry, winking tales of capitalism\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eand the strive for success, wrapped in the sort of propulsive, serrated riffs that quickly saw them\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003elabelled as post-punk’s new darlings. With its Top Five-placing 2024 follow-up Where’s My\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eUtopia?, the band - vocalist James Smith, bassist Ryan Needham, guitarist Sam Shipstone and\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003edrummer Jay Russell - blasted both of those conceits apart, creating a musically-exploratory and\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ediverse record that worked to unpick and examine the very notion of ambition and fulfillment; of\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e‘what happens next’.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe journey of Smith’s lyrics across each of their albums, Shipstone muses, has always been\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003equite Faustian: “It’s someone who’s seeking a goal, and then makes a pact with the devil to get\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ethe goods they want, but when they get them they’re corrupted so they get the rewards but also\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ethis bitterness too.” “And how does Faust end?” questions Needham. “Oh, not well…”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIf this sounds like a macabre place to root the objectively excellent third album from one of the\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ecountry’s most celebrated bands of the last decade, then it’s also crucial to understanding Yard\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAct’s newest - and best - record yet, You’re Gonna Need A Little Music. Simultaneously the most\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003edynamic, collaborative, energised work they’ve laid to tape, but also containing some of the\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003edarkest, most cynical and truly questioning moments they’ve concocted too, it picks up their tale\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eand examines the findings more unsparingly than ever.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt feels appropriate that, in order to interrogate these existential subjects, the writing and recording\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eof You’re Gonna Need A Little Music involved the four musicians coming together and\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003estrengthening their own core unit more than ever. Weirdly, for a band so associated with\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eincendiary live shows and constant touring, their third LP marks the first time that the quartet have\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eever made an album together, as a live band in the same room. “The first two records were both\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003elaptop records essentially,” says Smith. The Overload was written alongside Needham before the\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eband had fully formed; its follow-up was carved out in snatches of time on tour buses and hotel\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003erooms, amongst a relentless schedule of “slinging [all our gear] in the rehearsal space, going back\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ehome, and then a week later piling it back into a van again.”\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIf their last record was created like a game of Exquisite Corpse, each member taking the track\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eand adding their part in turn (“I always thought that was a really over the top name for a piece of\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003efolded down paper…” Needham notes), then this time they laid down roots and gave themselves\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003etime. Russell kitted out their new studio in Leeds with everything they required to track the band\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003elive at the same time throughout the writing process, including an old piano passed down from\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSmith’s late aunt that would become integral to the process. For the first time in a long time, Yard\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAct were able to settle into an “uninterrupted five month period” of creativity, crafting “40 or 50\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003esongs” and allowing themselves to follow their ideas with no external pressure. “It felt like\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003efreedom,” says Smith. “It felt like everything I’d wanted from being in a band - to be able to make\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eenough money to be left alone.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe results speak for themselves. Recorded between Leeds and Glendale, Los Angeles with\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eproducer Justin Meldal-Johnsen (Nine Inch Nails, Beck, St. Vincent), You’re Gonna Need A Little\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMusic rings with the chemistry and energy of a band absolutely locked in. Each track has its own\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003edistinct character, whether in the ominous, guttural ferocity of ‘Redeemer’, the sleazy disco\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eodyssey of its title track, the fizzing indie smarts of ‘Cherophobe Rock’ or the loose, cerebral\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003emeditations of ‘Janey Said’. It stems from a time of experimentation and exploration - ask\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eShipstone about “The Code” and he’ll give you a technical explanation as to why these songs are\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eable to constantly veer into unexpected places whilst never undermining their melodic clout.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe sense is of a band hitting a purple patch, where all the efforts of the last half-decade come\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003etogether and create magic. “I think most bands’ best stuff comes around the 3rd or 4th album\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ewhere they really outgrow their influences and become their own thing,” muses Smith as\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNeedham chips in: “I keep saying, it’s like Blur. This is Parklife. The first album they were doing\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ethe genre-y thing; the second one was a kick against that but they didn’t really know what they\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ewere doing, and then they made Parklife, which was the perfect distillation of it all.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eYou’re Gonna Need A Little Music, however, is no whimsical walk through suburban England.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFrom the opening self-analytical sprawl of ‘Empty Pledges’ - a track that begins with juddering\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003edeep breaths at the top of a skyscraper and freefalls into a torrent of thoughts about purpose,\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003epride and the feeling of punching your way out of a prison of your own making - Yard Act’s third\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eseeks to work through some of the most complicated facets of life.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn some ways, and on purpose, it is a step away from Smith’s venerated vignettes and character\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003estudies; a move towards something more “impressionistic” and up for interpretation. “I felt like I’d\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003etaken it to its logical extreme on ‘Blackpool Illuminations’ [on the last record], and I didn’t want to\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003etread old ground,” he says. And yet the feeling still pours through, perhaps more than ever. There\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eis a journey, should you want to trace it, from the fictional Isle of Balamory to the fantasy\/ reality\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eof San Francisco Bay. Tread the path with him and you’ll keep running into Janey - a mirror to\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSmith’s own psyche; a person but, y’know, not exactly. “I think the album is about multiple realities\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eand how individualism has led us, in the modern world, to question if there even is a shared reality\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eanymore because everyone just believes what they want now, this is the price we've paid for\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003epursuing neoliberalism ultimately” Smith suggests.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe questions are deep, but the spirit of You’re Gonna Need A Little Music is boundless - not for\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003enothing does its title point to the power of art and creativity to rescue us from the mire. ‘Thrill of\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Chase’, with its snarled, frenetic climax as close to rap as Smith has ever reached, is filled\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ewith venom but you can also picture it giddily going off in the mosh pit. ‘Redeemer’ might have\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ethrown the kitchen sink - or at least its cookware - at the situation, with Meldal-Johnsen concocting\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ea brittle, metallic soundscape out of a day of rattling pots and pans, but the result is direct, visceral\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eand exciting.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt’s a balancing act that culminates, as all Yard Act albums do, with a final moment of optimism in\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e‘Over The Barrel’: a track that travels from rinky dink bar-room piano through a euphoric indie-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003erock chorus and out, finally, into that sought-after ocean. Perhaps it’s less certain than Smith has\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ebeen in the past. “‘Over The Barrel’ [as a saying] can have multiple meanings. The choice is yours.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBut,” says the frontman, “personally, I still have a bit of hope in me for how it all works out.” The\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003edestination might still be unknown, but the journey is unequivocally Yard Act’s finest yet. Maybe\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFaust didn’t have the ending all worked out after all.\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\" aria-level=\"1\"\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cspan\u003eRed with black splatter vinyl *\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\" aria-level=\"1\"\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cspan\u003eAlternative sleeve artwork *\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\" aria-level=\"1\"\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cspan\u003eMachine-numbered edition *\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\" aria-level=\"1\"\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cspan\u003eLimited pressing of 1,500 *\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e*EXCLUSIVE to Dinked Edition\u003c\/span\u003e\u003c\/p\u003e","brand":"HEIST OR HIT","offers":[{"title":"Default Title","offer_id":57477005934975,"sku":null,"price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0506\/4402\/5509\/files\/412_MAIN.jpg?v=1778145126","url":"https:\/\/bendingsound.co.uk\/products\/youre-gonna-need-a-little-music-red-with-black-splatter-vinyl-dinked-edition-412","provider":"Bending Sound","version":"1.0","type":"link"}