{"title":"Experimental (New)","description":"","products":[{"product_id":"fn519-high-dependency-unit-metamathics-2011","title":"High Dependency Unit - Metamathics (CD)","description":"\u003cp\u003eFN519 High Dependency Unit - Metamathics (2011)\u003c\/p\u003e\n\u003cp\u003e\"No band whips up a swirl of sonic bedlam like\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eHDU\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eand in their 13-year history they have always had a fragile and tranquil side to them. On fifth album\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cstrong\u003eMetamathics\u003c\/strong\u003e\u003c\/em\u003e, these two distinct sides come together from the start as the raw guitar spikes and bass dirge of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eStupormodel\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003egives way to the stunning poise of second track Grace.\u003c\/p\u003e\n\u003cp\u003eThe New Zealand trio, made up of drummer\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eDino Karlis\u003c\/strong\u003e, singer\/guitarist\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eTristan Dingemans\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eand bass player\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eNeil Phillips\u003c\/strong\u003e, took a break following 2001's\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cstrong\u003eFireworks\u003c\/strong\u003e\u003c\/em\u003e. In 2006 they resurfaced with soaring beauty Tunguska.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eStupormodel\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eappeared on last year's split seven-inch with\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eDie!Die!Die!\u003c\/strong\u003e, and both tracks are highlights on.\u003c\/p\u003e\n\u003cp\u003eAt only nine songs it might seem lazy, but bear in mind\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe National Grid\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eclocks in at 13 beautiful, brittle and sprawling minutes. That track, with its eerie saxophone squeals, is more like sound exploration than a song and it's something they've touched on in past recordings but never as intently as this.\u003c\/p\u003e\n\u003cp\u003eThen with\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eIrma Vep\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewe're propelled into a mangled groove with psychedelic helicopters hovering around, and to finish its back to tranquility for Wish We Were Here. 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The keyboard, bass and drums trio don't have a guitar player, but their overwhelming sound and energy creates an atmosphere akin to a traditional loud power trio – except their music is anything but traditional. They create darkly hypnotic and frenetic music that's both rhythmically complex and sinister. If that paints any sort of aural picture, it comes as no surprise that \"Gillian,\" their homage to X-Files star Gillian Anderson, was roundly endorsed by the ex-punk actress herself on social media before the band had even played shows outside of their home country or received any support from larger press outlets.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" class=\"lang-en\"\u003e\u003cstrong\u003ePeter Ruddell \u003c\/strong\u003e(26, keyboards\/vocals), \u003cstrong\u003eAmanda Cheng \u003c\/strong\u003e(26, bass\/vocals) and \u003cstrong\u003eTom Leggett\u003c\/strong\u003e (22, drums) met studying Jazz Performance at the University of Auckland, and started Wax Chattels a few years later after they'd lived in Japan, Ireland, gone to Law School and\/or performed in various other projects. Though Peter plays heavily treated keyboards in the band, he's a multi-instrumentalist that focused on sax in school. His influences range from old horror movies to the more outrageous side of live performance styles in Tokyo's music and art scene. \"We want to play shows that make people feel uncomfortable. The goal is to leave the audience feeling slightly altered, like they have experienced, not just heard or seen something.\" This is evident in the self-recorded \"Stay Disappointed,\" the band's self-recorded debut single where Peter takes the lead.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"lang-en\"\u003eFrom novels to tweets, bassist Amanda is drawn to art and writing that addresses adversity. She's influenced by recurring themes of various difficulties she has experienced in her own life, challenges she feels are overly ubiquitous in the narratives of young women of color. Her post-punk informed bass lines provide the backbone for most of the band's tracks, though when she takes the lead on \"It,\" she's unrestrained. A song about \"really fucking wanting to fuck,” \"It\" expresses that it's important to not only have more visible women in the arts – especially in genres of traditionally \"dude music\" – but also to explicitly address female sexual desires. She finds these themes are usually shrouded in subtler terms, well-dressed metaphors and cute euphemisms. Perhaps, if people hear or see these statements more, female sexuality and\/or libido could become a less shameful, \"behind close doors only\" thing. \"Slut shaming is real, prevalent, and wrong.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"lang-en\"\u003eInitially, Peter and Amanda started \u003cstrong\u003eWax Chattels\u003c\/strong\u003e by writing tracks with a drum machine before realizing the band would be more exciting with a live drummer. Tom was playing and continues to play in a feminist punk band as well as various jazz acts in Auckland. And, the one thing Tom hates the most in this world? Being stuck in traffic. By living in the city, he has an endless supply of anger to take out on the drums, which influences \u003cstrong\u003eWax Chattels’\u003c\/strong\u003e punishing aesthetic. His minimal kit propels the band like a freight train. When asked why he paired his kit down to what it is, Tom said: \"I saw a pianist play with only ten working keys and still sound great... I started following drummers such as Mark Guiliana, Paul Motian and Deantoni Parks, who all play minimal kits, and it always put me in awe when I heard how unrestricted they were by their set up. Also, less drums = less pack down.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"lang-en\"\u003eComposing together, the band worked up their material for a year prior to recording. “We tracked the songs as a live band to capture the energy of the live show, restricting ourselves to instruments which we play live and keeping all production to a minimum to focus on the band sound itself.\" The band \"come from\" and \"go to\" different places on stage and in their heads when they write, record and perform, largely because they aren't the kind of band with homogeneous interests outside of music. Live, they are not to be missed. While they do come across as a \"rock\" band, it's coming from so many places so quickly that you're kind of left wondering where you're going. The opening of the one-chord tour de force “Concrete” begins in a downright frightening and jarring place and turns into an almost Krautrock-via-Suicide crescendo. It was after a particularly insane live performance that they were signed by both Captured Tracks and Flying Nun Records on the spot.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"lang-en\"\u003eWax Chattels recalls the other side of Kiwi underground rock history, one that's a bit less sunny and jangly and one that demands your attention.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"lang-en\"\u003eTrack List: \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" class=\"lang-en\"\u003e\u003cspan\u003e1. Concrete \/ 2. Stay Disappointed \/ 3. It \/ 4. Gillian \/ 5. In My Mouth \/ 6. Shrinkage \/ 7. Career \/ 8. NRG \/ 9. Parallel Lines \/ 10. 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Established at the end of the decade in response to The Nun's growing affiliations with major music labels, Xpressway - a relatively short-lived operation formed together with \u003cstrong\u003eBruce Russell\u003c\/strong\u003e (\u003cstrong\u003eThe Dead C\u003c\/strong\u003e) and \u003cstrong\u003ePeter Jefferies\u003c\/strong\u003e - proved to be crucial in exposing the trio's activities to the rest of the world, forging relationships with US-based labels \u003cstrong\u003eSiltbreeze\u003c\/strong\u003e,\u003cstrong\u003e Drag City\u003c\/strong\u003e and Ajax while releasing seminal sides by the likes of \u003cstrong\u003eSandra Bell\u003c\/strong\u003e, \u003cstrong\u003eScorched Earth Policy\u003c\/strong\u003e, T\u003cstrong\u003ehis Kind Of Punishment\u003c\/strong\u003e and \u003cstrong\u003eThe Terminal\u003c\/strong\u003es. It was during this time that Galbraith honed-in on his intimate, intricate style of songwriting detailed on \u003cem\u003e\u003cstrong\u003eMorse\u003c\/strong\u003e\u003c\/em\u003e (Siltbreeze, 1993), \u003cem\u003e\u003cstrong\u003eTalisman\u003c\/strong\u003e\u003c\/em\u003e (Next Best Way, 1995) and the first Seconds tape (1994).\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eGathered from source material recorded during a fertile period of touring and collaboration and re-imagined as a brand new work, Seconds Mark III elucidates Galbraith's hushed yet commanding presence felt on \u003cem\u003e\u003cstrong\u003eMirrorwork\u003c\/strong\u003e\u003c\/em\u003e (Emperor Jones, 1998),\u003cem\u003e\u003cstrong\u003e Cry\u003c\/strong\u003e\u003c\/em\u003e (2000) and \u003cem\u003e\u003cstrong\u003eOrb\u003c\/strong\u003e \u003c\/em\u003e(Next Best Way, 2000), culminating in Mass (Siltbreeze, 2010) - his last solo album. Despite being rooted in psychedelic traditions of narcotic time-dilation, Galbraith's dealings are distinctively out of time, out of tune; dismantling and eschewing notions of song and structure for small, affecting gestures and fragmentary glimpses. The result is a world of fragile, quietly enveloping sound and poetry that embraces fleetingness and intimacy and undulates between hope and pain.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA1. Pendulum\u003cbr\u003eA2. Dark March\u003cbr\u003eA3. O Lucky Man\u003cbr\u003eA4. Pull My Daisy\u003cbr\u003eA5. Beehive\u003cbr\u003eA6. On Paul's Imp\u003cbr\u003eA7. Hardly\u003cbr\u003eA8. Cemetary Raga\u003cbr\u003eA9. Plattform\u003cbr\u003eA10. Black Flame\u003cbr\u003eA11. Putty\u003cbr\u003eA12. One Two\u003cbr\u003eA13. Nocturnal\u003cbr\u003eB1. Swordfish\u003cbr\u003eB2. Cars\u003cbr\u003eB3. I'm Brave I'm Scared\u003cbr\u003eB4. Hooks 'N Lines\u003cbr\u003eB5. Original Putty\u003cbr\u003eB6. Ooh Everything, Every Little\u003cbr\u003eB7. Sugar Mommy Part 1\u003cbr\u003eB8. Sugar Mommy Part 2\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date: \u003cmeta charset=\"utf-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e1 May 2020\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/i5AzCU8JROI\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Alastair Galbraith","offers":[{"title":"Vinyl LP","offer_id":39462104989847,"sku":"ACOLOUR028","price":65.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/products\/AlastairGalbraith.jpg?v=1721976692"},{"product_id":"aphex-twin-i-care-because-you-do-1995","title":"Aphex Twin - I Care Because You Do (Vinyl)","description":"\u003cp\u003e \u003cem\u003e\u003cstrong\u003e…I Care Because You Do\u003c\/strong\u003e\u003c\/em\u003e is the third full-length album by Richard D. James, under the pseudonym of\u003cstrong\u003e Aphex Twin.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"cropable\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cp\u003eOriginally released in 1995 The album is quite different from his past acid house, ambient, and general tecno pursuits. It features lengthy drum machine loops layered with analogue synthesises, with occasional string pieces. This album marks the end of James' first analogue era, his next decade of albums being composed on computers until Analord.\u003c\/p\u003e\n\u003cp\u003eThe album was included in Q Magazine's top 20 list of the loudest albums of all time.\u003c\/p\u003e\n\u003cp\u003eNow re-released on 180g 2LP format with MP3 download codes.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"track-listing\"\u003e\n\u003ch3\u003eTrack Listing:\u003c\/h3\u003e\n\u003ch5\u003eSIDE A:\u003c\/h5\u003e\n\u003col\u003e\n\u003cli\u003eAcrid Avid Jam Shred\u003c\/li\u003e\n\u003cli\u003eThe Waxen Pith\u003c\/li\u003e\n\u003cli\u003eWax The Nip\u003c\/li\u003e\n\u003cli\u003eIcct Hedral (Edit)\u003c\/li\u003e\n\u003cli\u003eVentolin (Video Version)\u003c\/li\u003e\n\u003cli\u003eCome On You Slags!\u003c\/li\u003e\n\u003cli\u003eStart As You Mean To Go On\u003c\/li\u003e\n\u003cli\u003eWet Tip Hen Ax\u003c\/li\u003e\n\u003cli\u003eMookid\u003c\/li\u003e\n\u003cli\u003eAlberto Balsalm\u003c\/li\u003e\n\u003cli\u003eCow Cud Is A Twin\u003c\/li\u003e\n\u003cli\u003eNext Heap With\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003c\/div\u003e\n\u003col data-mce-fragment=\"1\"\u003e\u003c\/ol\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/div\u003e","brand":"Aphex Twin","offers":[{"title":"Vinyl 2LP","offer_id":39504409559191,"sku":"WARPLP30","price":69.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/products\/AphexTwinIcareBecauseYouDo.jpg?v=1722311780"},{"product_id":"roy-montgomery-that-best-forgotten-work","title":"Roy Montgomery - That Best Forgotten Work (Vinyl)","description":"\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eColoured Orange Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRoy Montgomery, a pioneer of the NZ underground, believes there is always new sonic terrain to investigate. His latest series of albums for Grapefruit marks forty years of rigorous exploration in which he's managed to navigate disparate genres, scenes, and atmospheres, always at the forefront of experimental independent music. To commemorate, Grapefruit will be releasing four new Montgomery albums in 2021. The first instalment, Island Of Lost Souls, arrived to great acclaim in January. The second and latest album, His Best Forgotten Work, features Montgomery's rare, brooding vocals across nine gorgeous tracks recorded from his home in Christchurch, New Zealand.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThat Best Forgotten Work follows the intense, all-instrumental Island Of Lost Souls. It departs in spirit with darkly buoyant variations on popular songs, including two highly anticipated covers of legendary songs by The Carpenters (\"Superstar\") and Tim Buckley (\"Song To The Siren\"). Montgomery shows the listener that these influences aren't such strange bedfellows after all; one need only listen closely.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhere some might be inclined to relax and lean into their legacy at this stage in a sprawling career, Montgomery's new music continues to seek and challenge. His compositions are beautiful as well as disconcerting, and often speak to precarity and dread. That Best Forgotten Work is a title with tongue planted firmly in cheek, alluding to the artist's position of enjoying a peculiar bit of fame in relative obscurity. But listening to his dry wit and rich voice, one will find it isn't easily forgotten.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e* Second of pioneering NZ underground artist's four releases for 2021\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e* Features his rare, dark brooding vocals doing variations on popular songs, including covers of The Carpenters and Tim Buckley\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e* Follows this year's earlier, critically acclaimed album Island Of Lost Souls\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e01. Fluked\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e02. Pranged\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e03. Superstar\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e04. Sylvia and Schopenhauer\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e05. Refluked\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e06. Pretty\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e07. 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Water the Earth\u003c\/em\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"David Long","offers":[{"title":"Vinyl LP","offer_id":42400423477492,"sku":"RATLP124","price":24.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0450\/3165\/3527\/products\/10594484-1.jpg?v=1721957114"},{"product_id":"black-midi-schlagenheim","title":"Black Midi – Schlagenheim (Vinyl)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"col col-md-7 col-lg-6 col-lg-offset-1 product-description\" data-mce-fragment=\"1\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe album produced by \u003cstrong data-mce-fragment=\"1\"\u003eDan Carey\u003c\/strong\u003e is scratchy, intense and discordant. 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For the sublime \u003cem\u003e“Audiotransport,\u003c\/em\u003e” guitars shimmer up the sides and weave through one another, reconciling the inner voices of doubt and worry into a meditation on the beauty of existence. 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The album has been recorded by \u003cstrong\u003eManuel Göttsching\u003c\/strong\u003e in its entirety, with additional help from producer \u003cstrong\u003eDieter Diercks, Harald Grosskopf, \u003c\/strong\u003eand of course \u003cstrong\u003eRosemarie \"Rosi\" Müller\u003c\/strong\u003e. \u003cstrong\u003eStarring Rosi \u003c\/strong\u003eis an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eStarring Rosi \u003c\/strong\u003estands out in\u003cstrong\u003e Ash Ra Tempel's \u003c\/strong\u003ediscography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics. 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New to the studio was American producer\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eJohn Congleton,\u003c\/strong\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eknown for his work with\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eExplosions In The Sky\u003c\/strong\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e,\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eSigur Rós, John Grant\u003c\/strong\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eand pretty much everyone in between.\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eCongleton's\u003c\/strong\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003ework can be heard on the album's three singles. 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