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If it happens - a big if - it does so naturally, and perhaps nobody knows that better than Band of Horses, whose landmark debut Everything All The Time still, after twenty years, feels as vital and, dare we say, transcendent as when it came out in 2006.\u003c\/p\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eGuitarist\/vocalist Ben Bridwell formed Band of Horses in Seattle in 2004, after the end of his nearly ten-year run in northwest melancholic darlings Carissa’s Wierd. Carissa’s Wierd trafficked in beautiful orchestral pop, whose songs told unflinching stories of heartbreak and loss, leavened with defeatist humor. Band of Horses rose from the ashes of that well-loved band, buoyed by Bridwell’s warm, reverb-heavy vocals, and woodsy, dreamy songs oozing with tension, longing and hope. Armed with a fresh Sub Pop deal and a smashing batch of songs, the band recorded their debut full-length, Everything All the Time, with producer Phil Ek at Seattle’s Avast studios.\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eAt times raggedly epic (“The Great Salt Lake”) and delicately pensive (“St. Augustine,” “Monsters”), Everything All The Time is an album painted gorgeously in fragile highs and lows. That’s part of the genius in Band of Horses: they craft intelligent, classic movements within their songs, perfectly balancing desperation and hope, calmness and mania, love and fear. And of course there’s the massive single, “The Funeral,” which became a defining song of the era, and continues to inspire new generations of fans and artists alike. On top of tons of film and TV placements, the song was sampled by Kid Cudi, and transformed into a 2025 dance edit by acclaimed producer\/multi-instrumentalist Gryffin.\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eNow, on the occasion of the 20th birthday of the album, Sub Pop and Band of Horses present the definitive snapshot of the band circa Everything All The Time. For this anniversary release, the album has been fully remastered, with the artwork refreshed and expanded into a gatefold jacket with liner notes by Phil Ek. And the album is accompanied by an additional LP of bonus tracks, including the 2005 tour EP, a trove of previously unreleased studio and live tracks, and rarities like “The End’s Not Near” (as featured on The O.C.) and a demo version of “The Funeral.”\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cdiv\u003e1.The First Song\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e2.Wicked Gil\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e3.Our Swords\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e4.The Funeral\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e5.Part One\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e6.The Great Salt Lake\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e7.Weed Party\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e8.I Go to the Barn Because I Like The Barn\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e9.Mons\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e\n\u003ca href=\"http:\/\/10.st\/\" target=\"_blank\" rel=\"noopener\"\u003e10.St\u003c\/a\u003e. 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Which is most likely still a bedroom in Caldicott frequented by a greyhound called Ted (listen out - he shows up in one of the songs).\u003c\/p\u003e\u003cp\u003eEver self-effacing, songwriters Sam (guitar, vocals) and Tilly (bass, vocals) go as far as to claim that they’ve been sitting around “doing nothing at all” during the song “It’s Our Manager David.” That’s clearly a lie. \u003cem\u003eEvery Single Muscle\u003c\/em\u003e gets off to a full-throttle, chugging start with “Miss Wales 2012,” referencing a competition both Tilly and Sam have actually won. It’s the first of many sub-two-minute tracks on the album, setting the tone for The Bug Club’s punkiest offering yet and recalling both the short, sharp snaps of their very first singles and the grunt of recent releases. So packed is the album with wall-to-wall riffs and lyrical hooks rammed into tight confines that Sam actually asks permission to squeeze in a solo during second track “A Good Day For Dying.” He’s given two seconds.\u003c\/p\u003e\u003cp\u003eHappily, Sam asks again later on and is granted more. Across eighteen tunes there’s enough classic Sam\/Tilly guitar interplay to satisfy even the most vociferous Bug Club club member and firmly refute the band’s own claim that they are only “just about technically proficient on our instruments.” This record’s an exercise in efficient maximalism - the musical equivalent of your dad packing the car for a holiday. Bring what you like; space is tight but they’ll get it in there somehow.\u003c\/p\u003e\u003cp\u003eOn to the words: While Very Human Features did an excellent job of pointing at everyday things and highlighting their absurdity, on \u003cem\u003eEvery Single Muscle\u003c\/em\u003e The Bug Club look more closely at themselves. Not so much in an introspective way, though. More in a way an alien might probe a captive specimen on an intergalactic gurney. Horror movies get their “body” subgenre, now garage rock albums get theirs. Self-interested in an entirely new sense of the term, the human form and condition is prodded and inspected from every angle over the course of the album. We get a sense of surreal detachment from the self that sets up the ever-present ennui-laden humour; the last song sees Sam announce he’s “bored of being human.\" The Bug Club seem almost suspicious of the concept of being a person - as if they’ve woken up in a costume they didn’t want to put on and cannot take off.\u003c\/p\u003e\u003cp\u003eIs three the magic number? Probably not. 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Tracks such as “All I Want Is You” sit alongside more expansive arrangements, reflecting the stylistic shifts of the late ’70s.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eFor collectors and catalogue completists, this remastered edition offers the strongest presentation of a divisive but historically significant entry in the ELP discography.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis is a repress title presented in a 4 panel 1CD digisleeve with a booklet.\u003cbr\u003e \u003cbr\u003eTRACKLIST:\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eCD1\u003cbr\u003e1. All I Want Is You (2017 Remaster)   \u003cbr\u003e2. Love Beach (2017 Remaster)   \u003cbr\u003e3. Taste of My Love (2017 Remaster)   \u003cbr\u003e4. The Gambler (2017 Remaster)   \u003cbr\u003e5. For You (2017 Remaster)   \u003cbr\u003e6. Canario (2017 Remaster)   \u003cbr\u003e7. Memoirs of an Officer and a Gentleman: A. Prologue \/ The Education of a Gentleman, B. Love At First Sight, C. Letters from the Front, D. 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Alongside the core record, a second disc compiles alternate takes, early versions and previously unreleased studio material, offering a detailed look at the sessions behind one of ELP’s most focused releases. For collectors and long-time listeners, this edition provides the definitive expanded version of a key progressive rock title.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis is a repress title presented in a 6 panel 2CD digisleeve with a booklet.\u003cbr\u003e \u003cbr\u003eTRACKLIST:\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eCD1\u003cbr\u003e1. The Endless Enigma, Pt. 1 (2015 Remaster)\u003cbr\u003e2. Fugue (2015 Remaster)   \u003cbr\u003e3. The Endless Enigma, Pt. 2 (2015 Remaster)   \u003cbr\u003e4. From the Beginning (2015 Remaster)   \u003cbr\u003e5. The Sheriff (2015 Remaster)   \u003cbr\u003e6. Hoedown (2015 Remaster)   \u003cbr\u003e7. Trilogy (2015 Remaster)   \u003cbr\u003e8. Living Sin (2015 Remaster)   \u003cbr\u003e9. 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It's also the sound of the growth that comes after falling apart, of acknowledging pain without letting it destroy you. \"I see the tower existing on your emotional horizon,\" Ben Gibbard states. \"You don't always have to look at what's inside it, but it's a reminder that it happened. You know it's there. You have to face it.\" The band is set to hit the road in the US this summer, kicking off on July 10 and includes a two-night run at The Greek in Los Angeles. This comes on the heels of a historic, sold- out global tour marking the 20th anniversary of the album Transatlanticism , and the release of their universally acclaimed, 2022's Asphalt Meadow. 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Castle Rat launched a record-breaking Kickstarter to fund their second album, fully funding the campaign in just 37 minutes. The month-long fundraiser went on to be the most successful metal Kickstarter in over a decade, closing out at $139k. Just days after the campaign, the band entered the studio to record their second album with producer Randall Dunn (Sunn O, Wolves in the Throne Room, Björk). 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On her mission to expand and defend “The Realm” from those who seek to destroy it, The Rat Queen is joined by “The Count” (Franco Vittore), on lead guitar and backing vocals; “The Plague Doctor” (Charley Ruddell), on bass; and “The All-Seeing Druid” (Josh Strmic) on drums. 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On her mission to expand and defend “The Realm” from those who seek to destroy it, The Rat Queen is joined by “The Count” (Franco Vittore), on lead guitar and backing vocals; “The Plague Doctor” (Charley Ruddell), on bass; and “The All-Seeing Druid” (Josh Strmic) on drums. Together they face the relentless wrath of their archnemesis: Death, Herself – “The Rat Reaperess.”\u003c\/p\u003e\u003cp style=\"text-align: left;\"\u003eAlong their journey, Castle Rat have played in support of Monolord (SE), Acid King (CA), Green Lung (UK), and appeared at Festivals including Desertfest NYC, RPM Fest and Hopsmoker, among others. \u003c\/p\u003e\u003cp style=\"text-align: left;\"\u003eSince the band’s pre-plagued inception in October 2019, Castle Rat have released their debut album, “Into The Realm” with King Volume Records in April 2024, which has racked up over one million Spotify streams and held the post as the #1 Best-Selling Hard Rock\/Alt Rock Album on Bandcamp upon its release.\u003c\/p\u003e\u003cp style=\"text-align: left;\"\u003eThe band has cultivated a fiercely loyal following by curating a riveting, interactive, lore-laden live performance, complete with a choreographed battle scene, recruiting fans who crave swords \u0026amp; sorcery; stoner \u0026amp; doom; battle-babes \u0026amp; beasts; Frazette \u0026amp; Sabbath.\u003c\/p\u003e\u003cp style=\"text-align: left;\"\u003e2025 began with an explosive start. 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