{"title":"World Of Echo","description":"","products":[{"product_id":"two-wishes","title":"Two Wishes","description":"\u003cp\u003eEast London record shop World of Echo debuts on the other side of the counter with a reissue of Two Wishes, the solitary 12\" by Anglo-German collective, Mutabor!. Seemingly lost to time, Mutabor! were first brought to World of Echo's attention when drummer\/singer, Gary Asquith, played at the shop's first birthday celebrations while promoting one of his other bands, Rema Rema. And so the story goes...\u003c\/p\u003e\n\n\u003cp\u003eMutabor! emerged wraith-like from the monochromatic grit of Berlin's art punk underground late in 1981 when Asquith left London to set up temporary residence in the city following a chance meeting with Malaria's Bettina Koster backstage at a Birthday Party gig at the Lyceum earlier that year. Beguiled by the possibilities of collaboration, musical and otherwise, he was soon to make his own contributions to what was an already fecund scene. Partnering with Koster, and Gudrun Gut and Manon Duursma also of Malaria!, Mutabor! were publicly birthed via an impromptu performance at punk rock polestar the Risiko. Asquith found himself playing percussion in what would be a first, while the rest of the band ossified in front of him in typically idealistic post-punk democracy. Little documentation of the performance survives beyond that which exists in the memories of those playing - that itself shaky enough - though there was clearly sufficient encouragement for them to commit to a recording session.\u003c\/p\u003e\n\n\u003cp\u003eLater that winter, the four booked time at Music Lab, the studio operated by Harris Johns, for what would ultimately be their only studio visit. Two songs were laid to tape, and soon after a photoshoot was to take place at Koster's flat, resulting in a handful of images that, along with the music, comprise the sum total evidence of the band's existence. 1001 Nights and Treats both found their way to Peter Kent, a co-founder of 4AD who had recently left the label with the ambition of starting his own imprint. Entitled Two Wishes, the two track 12\" was to be the first and only release on Loaded. It seems that Mutabor! were to represent a series of firsts and lasts, a trend that continues now as they open the World of Echo imprint. \u003c\/p\u003e\n\n\u003cp\u003eIt's fitting to think of Mutabor! in these prescient terms given how they sounded. Berlin at that time shared a spiritual axis with New York, the conceptual \u0026amp; aesthetic discordance of no wave and a nascent off-beat dance culture underpinning much of the respective creative activity. There are shared signifiers, but even in that context, Two Wishes sounds oddly out of step, moving to its own unusual rhythm. 1001 Nights stutters along on a tribal beat that seems to run independent of skronking sax, spidery guitar lines and deadpan vocal incantations, the ghosts of two songs meeting in some kind of incompatible voodoo union. On the reverse, Treats slows down and dims the lights further, as Asquith sardonically recites desirous threats as an increasingly malevolent sax and guitar grinds behind him. No surprise the darkness within the music given the parent bands and the backdrop of a crepuscular early 80s Berlin, though there remains a complex compositional element to these songs that suggests a broader spectrum of emotion - desire, romance, and ultimately, infinite possibility.\u003c\/p\u003e\n\n\u003cp\u003eRecut and mastered, Two Wishes is now presented with the original front cover artwork alongside additional imagery, including a 16 page booklet, all culled from Asquith's own archive. A brief bolt of energy at a crucial juncture in music history, Mutabor!'s story is emblematic of the mutli-verse of post-punk and the creativity its ideology necessitated.\u003c\/p\u003e","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":37641072312502,"sku":"WOE001","price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/products\/unnamed-18_1.png?v=1606751773"},{"product_id":"in-spring","title":"In Spring","description":"\u003cstrong\u003e2024 Repress\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eIn spring,\u003cbr data-mce-fragment=\"1\"\u003eAgain.\u003cbr data-mce-fragment=\"1\"\u003eBut it's true this time.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIf the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTheir geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"Done before,\u003cbr data-mce-fragment=\"1\"\u003eAnd I'll do it again\"\u003cbr data-mce-fragment=\"1\"\u003eRinging in my head\u003cbr data-mce-fragment=\"1\"\u003eWhile I try\u003cbr data-mce-fragment=\"1\"\u003eTo feel","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":40687670329526,"sku":"WOE004","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/products\/unnamed-2_3d07bcc3-3a78-4f30-8cce-3cec0154328c.jpg?v=1633095102"},{"product_id":"a-tension-of-opposites-vol-1-2","title":"A Tension of Opposites: Vol. 1 \u0026 2","description":"Recorded during the first few periods of lockdown and originally released as a cassette midway through 2021, O Yuki Conjugate's A Tension of Opposites Vol. 1 \u0026amp; 2 is now to be released as a limited edition, double-disc gatefold LP via World of Echo on 1st April. The enforced conditions of its creation represented a new way of working for O Yuki Conjugate founders, Andrew Hulme and Roger Horberry, a pioneering duo who have worked as close collaborators on multiple projects for almost four decades now. As such, their writing is for the first time divided in two and recognised as distinct, Horberry contributing the shorter eleven tracks that make up Vol. 1 (subtitle: At Variance), and Andrew Hulme the longer four that constitute Vol. 2 (Into the Pleasure Garden). It's fascinating to hear their approaches separated. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAt Variance is defined by its mostly short-form approach, characterised by an airless ambience that recalls the late 20th Century modern minimalism of Thomas Koner, Markus Popp and the Mille Plateux universe, while in other parts, an element of the grander aspects of Eno circa Discreet Music, though retaining a characteristically gritty feel. Into the Pleasure Garden provides a notable contrast, forgoing the lightness of the preceding eleven tracks and embracing what might be understood as some of the more 'classic' elements of the OYC sound: their storm cloud-forming, heavy weather, post-industrial, fourth-world dystopia. Together and apart, OYC celebrate their 40th birthday this year, but remarkably, even under challenging circumstances, their music still retains an almost mystical power.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFuture releases in the series are planned for later in the year and will continue with this approach, charting the outer reaches of the individual members musical inclinations. In the meantime, it might be worth giving some thought to start considering this pair an institution of sorts, or at least their own cottage industry.","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":42578812829955,"sku":"WOE005","price":28.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/products\/unnamed-4_5e6f2da9-48ba-496e-aa85-f966f25f21f3.jpg?v=1647378086"},{"product_id":"thorn-valley","title":"Thorn Valley","description":"“Let me fly you home. We can talk on the way”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThorn Valley is a 20 song assemblage of various transmissions from the ever diffuse and widening DIY underground, released to mark the four year anniversary of World of Echo. The river ever bends, the valley ever deepens. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAvailable as a gatefold double LP pressed in an edition of 500. Artwork by Matthew Walkerdine","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":43528530985219,"sku":"WOE008","price":27.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/products\/unnamed_3cdd9862-8bdf-4f89-b283-b666d6033962.jpg?v=1668637936"},{"product_id":"ertrunken-im-seichtesten-gewasser","title":"Ertrunken im seichtesten Gewässer","description":"Somewhere in the Lower-Franconian vineyards lies a hidden and mostly unknown canyon, a place that often returns to the thoughts and dreams of Läuten der Seele’s Christian Schoppik. Though a much rarer occurrence now as a consequence of environmental change, chance encounters upon the area in the past would sometimes reveal small ponds amongst the reeds, teeming with life and populated by colonies of newts and the now endangered yellow bellied toad. The transience of the water and the wildlife it hosts, dependent on season or climate, lends the area an almost fantastical, dream-like quality. Was it ever even there at all? A secret place that may or may not be present holds vast appeal to some enquiring minds… Ertrunken Im Seichtesten Gewässer, the third Läuten der Seele album in two years, is inspired directly by these experiences. Translating as ‘drowned in the shallowest stretch of water’, a title as pregnant with dread as it is wonder, the themes present speak both to personal memories and a wider understanding of place and time, and how we might interpret our own position within an ever-changing, sometimes disappearing world.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThose familiar with Schoppik’s work, both as Läuten der Seele and with Brannten Schnüre, will find present many of his signature tropes - the way deeply layered collages render abstracted visions of the past alive in the present - though what is always significant about his approach is not so much aesthetic as the wider concepts it attempts to express and emote. Indeed, emotional response is key to the Läuten der Seele sound, how overlapping notions of nostalgia, memory and identity calibrate experience and understanding of who we are and the world around us, whether it’s a world that’s gone or another imagined into being. If you observe the artwork closely enough, you may find a clue as to the canyon’s location, though such specifics are besides the point. The music itself infers a wider sense of the impermanence that characterises hidden worlds, wherever they might be or whoever they might belong to.\u003cbr data-mce-fragment=\"1\"\u003e","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":44043290837251,"sku":"WOE009","price":30.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/files\/a0323050331_10.jpg?v=1688123658"},{"product_id":"selected-songs-1997-2003","title":"Selected Songs 1997-2003","description":"Selected Songs 1997-2003 compiles some of the finest moments in the recording history of Hydroplane, the Melbourne-based indie-pop three-piece that operated alongside The Cat’s Miaow through the second half of the nineties. It’s the third release in what feels, now, like a loosely planned series by World Of Echo, documenting the music made by this group of friends in Melbourne sharehouses (The Cat’s Miaow’s Songs ’94-’98, 2022), or in the case of The Shapiros (Gone By Fall, 2023), while traversing the International Pop Underground.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHydroplane would be familiar to anyone already following these breadcrumb trails – Andrew Withycombe, Bart Cummings and Kerrie Bolton were the group’s core, all members of The Cat’s Miaow. With Cat’s Miaow drummer Cameron Smith itinerant, having moved to London, the trio used this opportunity to expand their music. It’s a subtle, but important shift. If The Cat’s Miaow was about the perfect, minimalist, two-minute pop song, Hydroplane’s music was far more open-ended, embracing the loops and drones, sampled house-y shuffle beats, the burbling of a Roland Jupiter-4 synth, all of which the trio joined, effortlessly, to their endless capacity for moving, elegant melodicism.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThey may have only planned to release one seven-inch single, but the sound Hydroplane created was so bewitching, so compelling, that the project’s lifespan ran for around half a decade, and they ended up releasing three albums, including a self-titled debut recently reissued by Efficient Space, and seven singles. There are all kinds of compelling things happening in the music compiled here – the hazy repetition of the gentler side of Krautrock is in here, somewhere, which also suggests Stereolab at their most intimate and disarmed; the gently drifting guitars, gauzy and oneiric, set the songs adrift and floating, each one lost in its own imagined, distracted world. Songs like “The Love You Bring” set indistinct tonal floats across dance rhythms, in a way not quite heard since My Bloody Valentine’s “Instrumental” – but with the added gift of Bolton’s gorgeous voice.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis loose coalition with dance music, and the quiet experimentalism at the heart of Hydroplane, also gestures towards peers like Hood, Acetate Zero and Other People’s Children, and releases on renegade labels like Wurlitzer Jukebox and Enraptured. Like those groups and labels, The Cat’s Miaow were reconciling independent pop music’s past – sweet melody and melancholy, chiming and droning guitars – with the futures promised by DIY electronics and nascent digitalia, the interface of indie and IDM that led to some of the underground’s most blissful, texturally swoonsome music. All that is here, but also, the poise of the melodies is pure Cat’s Miaow, though, with Bolton’s voice sailing, pacifically, over some of the most pared-down, gorgeous music made during their decade.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIt was a time, too, when such music could make waves – “We Crossed The Atlantic”, one of their early singles, was picked up by John Peel, who played it repeatedly on his legendary radio show, the song reaching #13 on his 1997 Festive 50. That the song itself was a cover of a tune by 1960s Australian beatnik-pop-poet Pip Proud felt even more perfect – a group of outsiders paying tribute to another outsider, played on the radio one of the few broadcasters brave and human enough to take a chance on this music. But it was a time where everything was up for grabs, and genres were flowing into each other: folk songs went drone; indie re-discovered noise; ambient pop floated, again, out onto the dancefloor. And while they may have been sequestered away in Melbourne, Australia, Hydroplane felt core to that scene, a quietly driving force.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCompiling material from across their brief but mercurial career, this double album perfectly captures the magic and mystery of Hydroplane’s dreamlike, perfect pop songs. \u003cbr data-mce-fragment=\"1\"\u003e","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":44178963169539,"sku":"WOE011","price":34.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/files\/a0860136673_10.jpg?v=1692797112"},{"product_id":"on-the-turning-ground","title":"On The Turning Ground","description":"Not far off two years from the day, Bristol's Tara Clerkin Trio return to World of Echo and the EP format for a five song collection of quixotic, emotional redolence. But do not mistake their absence for inertia. If their musical output has been a little sparse during those in-between years, limited to a few solo ventures and an astonishing ten minute long piece as a trio, their time has otherwise been richly spent: continuous writing and recording, extensive live performances across Europe and Japan, a cultivation of local and more far-flung artistic connections (musical and otherwise), and a monthly NTS show that, through the voice of others, speaks most obviously to their own unorthodox interests. It's the conflux of that winding activity that leads indirectly to On The Turning Ground, 26 minutes of probing, thoughtful composition that draws from no one specific source.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTheir inspirations might be centreless, but the trio still possess a very obvious anchor in the form of their hometown. Bristol stands as a city of multitudes, heterogenous and vibrant in such a way as to allow it to renew and remake time and again. Tara Clerkin Trio drink from that same well, duly reflecting a rich musical heritage built on fwd-facing electronic subcultures and experimental urges. As such, On The Turning Ground finds them subject to their own subtle internal evolution, the pervasive sense that you've caught them mid-bloom, on their way to becoming but never anything but themselves.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe two instrumental pieces that bookend the EP stand as a perfect case in point, displaying an increasing mastery of compositional space. Pensive and restrained, 'Brigstow' and 'Once Around' both emanate an interstitial quality that's not so much after- as in-between-hours, miniature dub-folk symphonies held together by the kind of tacit understanding that remains the preserve of only the closest of family units. If those two tracks are shaped by a sense of shifting temporality, then the three vocal-led pieces that comprise the record's core feel like a gentle ossifying of aesthetic into something approaching their own unique form of avant-pop. 'Pop' is, of course, a broadly subjective concept, but there's no avoiding the overt sparkling melodicism of songs like 'Marble Walls' and 'The Turning Ground', undeniable re-directions of that late 90s impulse to bend pop sensibilities into off-centre terrain, to render the familiar new again. This is what Tara Clerkin Trio do, gently pulling the ground from under your feet, turning you to face something you'd not quite seen before. To view the world as they do: sideways, sometimes, all of the time.","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":44322073608451,"sku":"WOE013","price":20.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/files\/unnamed-2_1edd491d-e881-4a2e-a050-9cd10b4eef32.jpg?v=1698159159"},{"product_id":"movietone","title":"Movietone","description":"World Of Echo are proud to announce the long-awaited reissue, on 17th February, of the self-titled debut album by Bristol’s Movietone. Originally released in 1995 by Planet Records and reissued on CD in 2003 by The Pastels’ Geographic Music imprint, this is the first time Movietone has been reissued on vinyl. An expanded double-LP edition, it includes the extra tracks from the 2003 CD (their first two singles, and an unreleased demo of “Chance Is Her Opera”), and adds three more unearthed gems: demos of “Alkaline Eye” and “She Smiled Mandarine Like”, and an early take of “Late July”, recorded in a garden by Dave Pearce (Flying Saucer Attack) in 1993. Taken together, this is the definitive collection of music from the first phase of one of Bristol’s most remarkable groups.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMovietone was the cumulation of a series of events, explorations, and discoveries, starting at secondary school – the group’s core membership of Kate Wright, Rachel Brook, Matt Elliott and Matt Jones met at Cotham School in Bristol. As for many other groups, their early years were all about experimenting, and finding ways to ‘make do’, a DIY sensibility that would inform Movietone through their decade-long lifespan. From formative rehearsals in a shed in the garden of Brook’s family home, to recording early material to four-track in Redland Library, and on into the Whitehouse and Mr Grin’s studio sessions for their debut album, Movietone’s music fell together in a creatively unpredictable, yet conceptually rigorous manner.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBy the time they released Movietone, they’d found a home with Bristol’s Planet, run by author Richard King and James Webster, who had both released their first two singles, “She Smiled Mandarine Like” and “Mono Valley”. There was other music happening around them in Bristol, too, from the Jones brothers’ avant-rock outfit Crescent (who were Movietone’s closest conspirators), through Elliott’s jungle\/electronica project Third Eye Foundation, and Brook and Elliott’s membership of Flying Saucer Attack. A closely knit community, Movietone are the centre of this nestling architecture of groups.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe vision in the music, mostly, belongs to Wright, but Movietone ran in democratic creative consort. Listening back to Movietone, you can hear this democracy in action through the wildness of the music, which is balanced by the poetics of Wright’s lyrics and melodies. Full of half-captured memories and entangled abstractions, there’s an elliptical, ruminative quality to much of the writing here that shows the deep influence of the Beat Generation writers, along with a twilight environment captured in the songs that’s pure third-album Velvets, Galaxie 500, early Tindersticks, Codeine. Unpredictable interventions – the crashing glass in “Mono Valley”, the sudden explosions of “Orange Zero” – point towards the noise blowouts of My Bloody Valentine, the unpredictability of Sonic Youth; Wright’s understated vocal cadence suggest a deep, embodied understanding of John Cage’s Indeterminacy.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMovietone would go on to make three fantastic albums for Domino – Night \u0026amp; Day (1997), The Blossom Filled Streets (2000) and The Sand \u0026amp; The Stars (2003) – and their Peel Sessions were released early in 2022 by Textile. Still held in high regard by artists like Steven R. Smith, and The Pastels, whose Stephen McRobbie once described them as “one of the great unknown English groups,” it’s an absolute thrill to listen to Movietone anew – still inspired, still seductive, still magic, still mysterious.","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":44690876694787,"sku":"WOE007","price":22.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/files\/unnamed_1_94b4be01-fe65-4b36-b5aa-84140f8d058a.jpg?v=1707222434"},{"product_id":"i-wish-i-was-special-1","title":"“I wish I was special”","description":"Guests are Jessica Higgins and Matthew Walkerdine of Glasgow, UK, both formerly of the bands Vital Idles and Mordwaffe. They have been closely tied with DIY music, art and publishing for over a decade. Using (amateur) electronics, singing, speaking and field recording they make songs which blend the rhythms of popular music and contemporary approaches to collage, sampling, improvisation and repetition. As inspired by film and art as they are the legacies of twee underground and avant garde experimentalism, their loose, domestically twinged compositions explore feelings, atmospheres and moments which are hard to articulate and the quite literal notion of being a “guest”. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“I wish I was special” is their debut record, and with it a chance taken to explore terrain not previously covered by their other groups. The ideology of DIY practice appears integral to these eleven compositions, side-stepping virtuosity in favour of instinct and impression, unafraid to press unknown buttons and walk head first into mistake, finding inspiration where convention might not otherwise allow one to tread. The results are confoundingly fresh, sharp-of-mind, and unusually intimate. There’s an obvious intelligence at play here, and no little humour of course, but crucially there’s also a sense of the personal, a first-thought\/best-thought (auto)didacticism that celebrates shared understanding and implicit trust. What, ultimately, we might view as the fearlessness in radically being yourself around another. It’s an approach that draws some comparison with the private musings of Flaming Tunes, Idea Fire Company’s domestic electronics, or perhaps even Annea Lockwood’s framing of emotional connection within avant garde structures. More so, Guests represent a compelling continuation of DIY post-punk experimentation that values intuition over prowess, and with it guides the listener into unexpected spaces that somehow comfort as much as they challenge.","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":44972945015043,"sku":"WOE014","price":20.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/files\/unnamed-2_20f9ad46-5f22-4e7a-861e-cdbb15d47ae9.jpg?v=1711804774"},{"product_id":"usage-efficiency-variance-platform-domain-1","title":"Usage\/Efficiency\/Variance\/Platform\/Domain","description":"\u003cp\u003eUEVPD - Usage\/Efficiency\/Variance\/Platform\/Domain - is the solo project of Dominic Goodman, a former member of Mosquitoes and currently one half of Komare.\u003c\/p\u003e\n\u003cp\u003eThe self-titled UEVPD debut LP, released on 22nd November via World of Echo, consists of eight sequentially numbered electro-acoustic tracks made over approximately five years, living recordings that have morphed in shape over time, each systematically stripped back to their elemental form before being deemed complete. From the outset, Goodman purposefully deployed a relatively limited array of equipment and adopted a determinedly minimalist approach to composition, a practice in restraint that privileges detail and nuance. Field recordings, made using a combination of dynamic, condenser, contact and electret microphones, geophones and hydrophones, were allied to a basic modular\/analogue synth setup, allowing for little in the way of excess or indulgence. \u003c\/p\u003e\n\u003cp\u003eThe results are markedly defiant, displaying an expert exercise in control and restraint that lets in little light but plays a great service to space and time. This is patient, claustrophobic sound design that bears out the value in attentive listening, a meditation on the acceptance of passing time, change, growth, death and regeneration. As such, listeners might connect associative lines with the likes of Pan Sonic and Mika Vianio’s solo work, Emptyset and Civilistjavel (who’s Tomas Bodén shows up on mastering duties here), though this remains distinctively Goodman’s vision, a continuation of his interests shown in Mosquitoes and Komare that further pushes out into the murky unknown. \u003c\/p\u003e\n\u003cp\u003eUEVPD is released on vinyl in an edition of 250, each in hand printed, die cut sleeves. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":54800990699893,"sku":"WOE015","price":19.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/files\/unnamed-3_a9df9546-b46d-4e4a-91f7-ffb04cc59cd7.jpg?v=1729082484"},{"product_id":"smallest-things","title":"smallest things","description":"\u003cp\u003eMEMOTONE, aka Will Yates, has announced details of a new 12-track album, smallest things.\u003c\/p\u003e\n\u003cp\u003eThe album launches today with first track, ‘Time Is Away Theme’, a live favourite that is finally available on album. Watch the video HERE Talking about the release, Will has said, “Staring at a square inch of neglected concrete, I recognise the beauty of existence. Quietly hysterical. While humanitarian catastrophes bubble across the planet, the tides remain in constant and disinterested motion. Your money is worth less than the dusty moss that powders this pavement.\u003c\/p\u003e\n\u003cp\u003eIt's certainly not worth a life. We are the smallest things, along with everything else.\" Will Yates has made music as Memotone since 2007. He operates in the tradition of what Robert Fripp has called 'a small, independent, mobile, and intelligent unit.' If you book him, he will come. When he arrives, he will have everything he needs to make his complex, engaging music: a clarinet, a guitar, synths, samplers and pedals, quickly unpacked in the corner of a club, gallery or village hall. Starting small, he will build layer upon layer of melody, accompanying himself and cutting across himself, creating a music that avoids cliche and moves beyond easy description. His recordings have followed the same trajectory. Moving quickly, he has released fifteen or so albums across various labels (including Trilogy Tapes, Discrepant, Soda Gong). Taken together, these recordings are the sound of a skilled, inventive composer pushing at the edges of what he wants to listen to himself. It is possible to hear a variety ofinfluences in his music: folk and jazz forms, the textural inventiveness of British DI electronica and Chicago post-rock and the blurred sci-fi brass of Jon Hassell are all discernible. But mostly, Will's work seems to stem from a constant drift between long hours in his home studio, and time spent outside in the woods and hills around his home in Wales.\u003c\/p\u003e\n\u003cp\u003eListening to the album, lushness creeps in at the edges, tiny green shoots appear on what might at first appear to be bare soil. smallest things sheds the skin of Will's previous recordings, removing the electronics and the looping and layering of previous work, to create something almost entirely acoustic. But don't be fooled into imagining music that's folksy, pastoral or twee. Opening track 'I Could See the Smallest Things' is a statement of intent. Widely spaced guitar is underpinned by earthy cello and sleepwalking clarinet, making a gorgeous threadbare pattern, which recalls a Morton Feldman miniature or a Morandi still life.\u003c\/p\u003e\n\u003cp\u003eBeyond the skill involved and the years of self-taught music making that have gone into putting this record together, it is Will's close, careful attention and his talent for existing, observing and creating in the moment that make his work special. Memotone will perform at World of Echo’s annual birthday celebration on 8 Nov Expected Music, when they take over Walthamstow Trades Hall for an inter-genre, day-long investigation into some of the more outré manifestations of the contemporary worldwide underground.\u003c\/p\u003e","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":55686955401589,"sku":"WOE022","price":23.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/files\/unnamed_8a9a73e2-5a21-43ce-87b1-ff3ad4302d7c.jpg?v=1753700408"},{"product_id":"paradise-1","title":"Paradise","description":"\u003cp\u003eWorld Of Echo announces the reissue of two remastered albums by Japanese guitarist and songwriter Naoki Zushi, 1988’s Paradise, and 2005’s III. Two classics of Japanese psychedelia, both Paradise and III were originally released on Org Records, the imprint of Shinji Shibayama of acid-folk group Nagisa Ni Te, with whom Zushi has guested on second guitar for decades. Both intimate and expansive, rich with revelatory songwriting and blasted, sky-scouring guitar, these reissues return these albums to print for the first time since the 2000s. It’s the first time III has been officially released on vinyl, with an extra, previously unreleased track, “Under The June Moonlight.”\u003c\/p\u003e\n\u003cp\u003eRecorded in Kyoto’s Townhouse Studios in mid 1987 and released in limited-to-500 vinyl pressing in 1988, Paradise emerged from a scene in Kansai, Japan that was embracing the idiosyncracies of 1970s singer-songwriters, the soaring solos of early seventies psychedelia, and the DIY impulse of 1980s post-punk. While Zushi’s musical history stretched back to the early eighties – he was a founding member of Jojo Hiroshige’s noise outfit Hijokaidan – he found his feet with groups like Hallelujahs, whose dream-pop collection Niku O Kuraite Chikai Wo Tateyo was recently reissued by Black Editions, and Idiot O’Clock.\u003c\/p\u003e\n\u003cp\u003eParadise appeared two years after that Hallelujahs album and share much the same membership – Zushi’s backing band on several of the songs includes Shibayama on drums and Ken-Ichi Takayama (aka Idiot) on electric guitar, though just as often, Zushi plays all the instruments himself. The coordinates here are wide-reaching – you can hear the volume and intensity of Neil Young \u0026amp; Crazy Horse (on “Hallelujah: Left Side” and “Paradise: Midday”), the slow-motion magic of Galaxie 500, the idiosyncratic spirit of The Only Ones, all mixed up with tender guitar miniatures and stumbling garage-psych-pop moves.\u003c\/p\u003e\n\u003cp\u003eSeven years later, after the transitional album Phenomenal Luciferin, Zushi released III. Perhaps his masterpiece, it’s already been bootlegged on vinyl, but this reissue is the real deal. The album was recorded at Studio Nemu over seven years, and sees Zushi backed by Shibayama (bass) and Masako Takeda (drums), his erstwhile bandmates in Nagisa Ni Te. By this stage, Zushi had started to really stretch out, and many of the songs on III swoon languorously, taking their sweet time to say what they need to say. It’s rich with lovely, melancholy songs, in a similar realm to bandmates Nagisa Ni Te, of course, but you can also hear traces of everything from Syd Barrett’s The Madcap Laughs, through seventies private press loner folk, to the slow-burn meanderings of the likes of early Low or Damon \u0026amp; Naomi.\u003c\/p\u003e\n\u003cp\u003eWhen interviewed by Shibayama in the mid-nineties, Zushi said of Paradise, “it was a sort of collection of songs that had meant something to me up to that point… it was my paradise. I wanted to create paradise.” That’s something Zushi achieves on both of these albums – visionary Japanese psychedelia, en route to paradise. - Jon Dale\u003c\/p\u003e","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":55863000596853,"sku":"WOE020","price":22.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/files\/unnamed_bc953e5d-396a-4824-b949-743e92d9662e.jpg?v=1756462861"},{"product_id":"iii-1","title":"III","description":"\u003cp\u003eWorld Of Echo announces the reissue of two remastered albums by Japanese guitarist and songwriter Naoki Zushi, 1988’s Paradise, and 2005’s III. Two classics of Japanese psychedelia, both Paradise and III were originally released on Org Records, the imprint of Shinji Shibayama of acid-folk group Nagisa Ni Te, with whom Zushi has guested on second guitar for decades. Both intimate and expansive, rich with revelatory songwriting and blasted, sky-scouring guitar, these reissues return these albums to print for the first time since the 2000s. It’s the first time III has been officially released on vinyl, with an extra, previously unreleased track, “Under The June Moonlight.”\u003c\/p\u003e\n\u003cp\u003eRecorded in Kyoto’s Townhouse Studios in mid 1987 and released in limited-to-500 vinyl pressing in 1988, Paradise emerged from a scene in Kansai, Japan that was embracing the idiosyncracies of 1970s singer-songwriters, the soaring solos of early seventies psychedelia, and the DIY impulse of 1980s post-punk. While Zushi’s musical history stretched back to the early eighties – he was a founding member of Jojo Hiroshige’s noise outfit Hijokaidan – he found his feet with groups like Hallelujahs, whose dream-pop collection Niku O Kuraite Chikai Wo Tateyo was recently reissued by Black Editions, and Idiot O’Clock.\u003c\/p\u003e\n\u003cp\u003eParadise appeared two years after that Hallelujahs album and share much the same membership – Zushi’s backing band on several of the songs includes Shibayama on drums and Ken-Ichi Takayama (aka Idiot) on electric guitar, though just as often, Zushi plays all the instruments himself. The coordinates here are wide-reaching – you can hear the volume and intensity of Neil Young \u0026amp; Crazy Horse (on “Hallelujah: Left Side” and “Paradise: Midday”), the slow-motion magic of Galaxie 500, the idiosyncratic spirit of The Only Ones, all mixed up with tender guitar miniatures and stumbling garage-psych-pop moves.\u003c\/p\u003e\n\u003cp\u003eSeven years later, after the transitional album Phenomenal Luciferin, Zushi released III. Perhaps his masterpiece, it’s already been bootlegged on vinyl, but this reissue is the real deal. The album was recorded at Studio Nemu over seven years, and sees Zushi backed by Shibayama (bass) and Masako Takeda (drums), his erstwhile bandmates in Nagisa Ni Te. By this stage, Zushi had started to really stretch out, and many of the songs on III swoon languorously, taking their sweet time to say what they need to say. It’s rich with lovely, melancholy songs, in a similar realm to bandmates Nagisa Ni Te, of course, but you can also hear traces of everything from Syd Barrett’s The Madcap Laughs, through seventies private press loner folk, to the slow-burn meanderings of the likes of early Low or Damon \u0026amp; Naomi.\u003c\/p\u003e\n\u003cp\u003eWhen interviewed by Shibayama in the mid-nineties, Zushi said of Paradise, “it was a sort of collection of songs that had meant something to me up to that point… it was my paradise. I wanted to create paradise.” That’s something Zushi achieves on both of these albums – visionary Japanese psychedelia, en route to paradise. - Jon Dale\u003c\/p\u003e","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":55863001186677,"sku":"WOE021","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/files\/unnamed21.jpg?v=1756462909"},{"product_id":"baghali","title":"Baghali","description":"\u003cp\u003eOperating on the fringes of pure improv, organised chaos, minimal composition, lo-fi electronics and Italian spaghetti westerns, wide-eyed and with a healthy dose of DIY aesthetics lies the world of Jaan. It’s a poetic \u0026amp; cosmic universe, exploring “discreet music” whilst wandering on the edges of the Cat People soundtrack \u0026amp; Brian Eno’s more experimental output, in which you might yourself find floating, wandering or in the middle of a market place.\u003c\/p\u003e\n\u003cp\u003eJaan is a collective of one, a deliberately anonymous activistic unit with strong ties to the international art scene. Purposefully bypassing the know-it-all of the the internet \u0026amp; embracing the bygone mystery of dusty old archives and deep-dive searching, remarkably little is known about this project. Jaan is lead by veteran experimental sonic alchemist Jaan; they operate between Greenland, the Middle East and Europe, with frequent associates Lisqa, Mashid \u0026amp; Schneorr N. acting as local hubs for collaboration  and exploration.\u003c\/p\u003e\n\u003cp\u003eThe purpose of this wilful obscurity: full focus on the actual music, whether live events or on recordings. Which brings us to Baghali, their first for World of Echo. It’s a deeply personal album, much like slowly browsing old family albums filled with vaguely remembered tales, some still very much present, some faded, leaving but a ghost-like reflection of what once was. Baghali was compiled over the course of a year on the road, trapped in snow storms, waiting for cancelled flights and stuck rides. It’s made up of snippets of diary, quick recordings on road sides, abandoned buildings, garden ruins, vast desert and focussed studio sessions, following a collage-like aesthetic and steeped in an exploration of non-lineair storytelling. There’s broken memories, a sense of displacement and an occasional yearning for what can’t be again, clouded in fever and unrest, but there is also hope, wonderment and bright colours seeping through the cracks in the wall. Jaan weaves home-made instruments, old tape loops, broken synths, beat-up reeds, dusty beat boxes and the occasional doom guitar squall into a tapestry of fractured sound, with tracks following their own inherent logic rather than following formats. Sounds crash in and out, field recordings placing the listener firmly in an environment then throwing several perspectives at once onto them, with individual elements - a wandering clarinet, a lone mandoline, a beat out of place yet perfectly in place - slowly walking in and out \u0026amp; doing their thing.\u003c\/p\u003e\n\u003cp\u003eThe whole album is alive, breathes, takes a wrong turn, gets lost, somehow finds its way again - effortless and with a unique sense of space and flow.\u003c\/p\u003e\n\u003cp\u003eBaghali is released digitally and on vinyl in an edition of 300 \u003c\/p\u003e","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":56114643992949,"sku":"WOE017","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/files\/unnamed_1ab9818f-411f-4b81-9b1e-af3d0aa03506.jpg?v=1760737098"},{"product_id":"music-for-desert-reboot","title":"Music For Desert Reboot","description":"\u003cp\u003eWorld of Echo unites with the confounding genius of TRii for a highly limited first time vinyl run of 2020's Music For Desert Reboot tape, first released as TRj on the TRjj Musik label and then again as a second cassette by Mascarpone earlier this year. \u003c\/p\u003e\n\u003cp\u003eAs with all the sounds produced within the TRjj\/TRii \/TRj\/TRi universe, strange illusion is part of the process, and this is certainly music that befits such smoke and mirror nomenclature, a kind of gamelan Werkbund re-programmed via the isolationist sounds of DIY home electronics conceived for a film that might or might not actually exist. Consider this time-dilation rug-pulling that's well in touch with its own mythology, so much so that it's hard to think of any obvious contemporaries, but if you've ever enjoyed the minimalist murk of Civlistijavel, the private quarters confessionals of Thomas Bush's first LP or any one of Guy Gormley's projects, you'll not got too far wrong here. Is further clarification required? That perhaps misses the point, though there is a track that features around two-thirds in entitled 'First Time Realizing the Clock Was Absent' that might function as a form of instruction to the listener. Namely, where does the time go? Music For Desert Reboot might not provide the answer, but it certainly knows how to ask the question.\u003c\/p\u003e\n\u003cp\u003eRe-mastered for vinyl by Jose Guerrero at La Plataforma Continental. Edition of 150, with hand-numbered, stickered sleeves. \u003c\/p\u003e","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":56114644124021,"sku":"WOE023","price":27.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/files\/unnamed_d46e3e82-2998-4225-ab8e-6e208ef17f47.jpg?v=1760737364"},{"product_id":"somewhere-good","title":"Somewhere Good","description":"\u003cp\u003eIf – in some parallel universe (or perhaps a not-so-distant-future version of the one we’re already sentenced to living in) – the evil overloads of artificial intelligence were actually successful in their attempts to create convincingly enjoyable “original music,” more specifically tasked with wholly encapsulating my own personal tastes by data-chugging some cocktail of – oh, I don’t know – the posters on my wall, the records in my “most listened to” pile, the mixtapes I made for others, intensive physical scans of my auditory cortex, amygdala, hippocampus, heart strings, whatever else they have splayed out on their autopsy table with the intention of generating one all-encompassing “perfect band” based on the fruitful sum of their findings – that band, for me, would be (or would at least sound exactly like) the Tara Clerkin Trio. It is, quite simply, without exception, the music I wish to hear.\u003c\/p\u003e\n\u003cp\u003eFormed in Bristol UK (where none of them are from yet all of whom are deeply engrained) in 2020, the Tara Clerkin Trio – as it somewhat democratically exists today, despite the singular authority implied by its name – consists of the titular Tara Clerkin, her partner Sunny Joe Paradisos, and Sunny’s brother, Patrick Benjamin. I’ll confess, I don’t know what their respective roles are within the operation and there’s only a very small part of me that cares to learn, as one of my favorite qualities in an objective listening experience is the mystery of who is playing what, which sounds are “authentic” versus synthesized, which chunks are performed “live” in a room together versus meticulously Frankenstein’ed from measure to measure, or how exactly the overall sound is so (seemingly) effortlessly achieved. Though, I suspect, if and when I do witness a live performance by this band at any point, my enjoyment of the music will not be lost in my better understanding of it.\u003c\/p\u003e\n\u003cp\u003eWith two extraordinary mini-albums – In Spring (2021) and On The Turning Ground (2023) – making a splash on London’s formidable World of Echo label in wake of their self-titled 2020 debut, this upcoming Somewhere Good LP is, in many ways, the band’s most realised work. In running their usual gauntlet of idiosyncratic (*an overused adjective for which here there is regrettably no sufficient alternative) approaches, Clerkin \u0026amp; co. colour in and outside of compositional lines over the course of 40+ celebratory minutes - never wallowing, despite inherently somber subject matters of self-defeat, disease, displacement, restlessness, gentrification - allowing their arrangements and improvisations ample space and time to situate, stretch out, breathe, cross-pollinate, and ultimately take deeper hold on the listener’s imagination – all while somehow sounding more like themselves than ever before.\u003c\/p\u003e\n\u003cp\u003eOf course, there are traceable influences herein, if one felt that such comparisons were necessary to properly examine and enjoy this music (they aren’t)… Being the big dumb American from the small boring town that I am, cornfed on ‘90s alternative radio with the enchantingly exotic sounds of Maxinquaye and Mezzanine emanating from my chunky tube television, I can’t help but to make a blatantly obvious reference to a “Bristol sound”, ie the whole trip-hop trip, the pastoral crooning over the suggestive urban grime of cracked electro\/piano treatments, the digitally-yet-primitively reconstructed James Bond soundtrack string-beats, etc.. But the Tara Clerkin Trio is so infinitely much more than that. There are elements of avant-pop, modern classical, kraut-folk, audio verité, dare I say indie rock (and not of the beer guzzling, masturbatory fuzz-flex variety but perhaps more like a Trish Keenan-fronted Faust, Adrian Sherwood at the mixing desk of If You’re Feeling Sinister, or – in expanding on our alternate reality – a world in which High Llamas cut a full-length for Warp Records with Andrew Weatherall on coffee duty).\u003c\/p\u003e\n\u003cp\u003eThe hazy, unmappable skyline-mirage of droning harmonium, upright bass, peculiarly accentuated wind instruments, acoustic guitar, hushed yet literally mighty keys combine to hypnotizing effect. The band may make underlying nods to jazz, sure, but it’s not appropriation, it’s that they have the actual chops to build it out. Beneath the janky samples and oddball percussive embellishment lies actually great drumming. Beyond the manipulated vocal witchery and woefully reflective plain-spoke moments are Tara’s subtly inspired melodies, sung with what might honestly be the glue to the whole crazy equation. A calming consistency throughout the otherwise unpredictably dynamic, boldly intuitive, uniquely British exploration of this (their own) universe in song.  – Ryan Davis (Chicago, February 2026)\u003c\/p\u003e","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":56900606165365,"sku":"WOE027","price":22.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/files\/unnamed_bbcb3966-8964-4635-a3d9-1d286b3ce07e.jpg?v=1773445906"},{"product_id":"common-domestic-bird","title":"Common Domestic Bird","description":"\u003cp\u003eGuests is the home recording project of Jessica Higgins and Matthew Walkerdine. Vaguely named as such to avoid any problems with the poster if they pull out of a gig (which has only happened once, about a year and half before any songs were actually written to be fair) but also to capture a sense of reverse hospitality. That is, arriving at your door with a bottle of good wine (can’t turn up empty handed) or a fist full of savoury or sweet snacks (time of day dependant); oversharing at the afters (and then passing out on your couch); reading to your toddler while you make their lunch or put everything back where it was meant to go (only to get torn apart again). So, something about what happens when private worlds meet each other, making or having been made a space for. But at times, it’s a different kind of intimacy, a temporal or material one, like the feeling of crisp fresh sheets, and abundant and soft, body-part appropriate towels in a hotel in a city you’ve been to before and love to go back to.\u003c\/p\u003e\n\u003cp\u003eTheir debut record, “I wish I was special”, was variously described as “a collage of concrète experiments and outerzone pop gestures, music that sounds as if it’s been written from the depths of a dream”; “music for people who love music but also hate it too”; “something like chasing ghosts or befriending a wild animal”; “pulling apart nervous sensations with haphazard ease and requisite humour”; and “a melody of refusal, of being all-in (…) finding the exact right WRONG sound to express the discontent”. Common Domestic Bird continues in this vein, layering synthesiser, keyboards and samples over rudimentary drum rhythms and field recordings, which are in turn sung or spoken with to create nine new songs. \u003c\/p\u003e\n\u003cp\u003eWritten and recorded between autumn 2024 and summer 2025 in Reading, Berkshire, the music has matured since its last outing, in a way, leaning less into collage and more toward structured composition and melodic depth, yet retains a healthy dose of indeterminacy and off-kilter rhythms for the forever-amateur. The songs on Common Domestic Bird hint at some “about”-ness through a series of discrete vignettes which sound a bit like architecture or end of year lists, gossip or over-thinking subjectivity, like disappearances and impressions, the support structure of the spine, letters and signs offs, things you could really do without and where they should go, hoping you’ll see something that isn’t there, pretences and performance. At times they feel kind of funny, others kind of sad or a bit angry and annoyed, a bit like you really.\u003c\/p\u003e","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":57080857133429,"sku":"WOE026","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/files\/guest.jpg?v=1776459838"}],"url":"https:\/\/rubadub.co.uk\/collections\/world-of-echo.oembed","provider":"Rubadub","version":"1.0","type":"link"}