{"title":"Essential Psych, Kraut, Post-Punk and Rock ’n’ Roll","description":null,"products":[{"product_id":"the-black-angels-direction-to-see-a-ghost","title":"The Black Angels - Direction To See A Ghost","description":"\u003cdiv class=\"release-description-complete\"\u003e\n\u003cp\u003e\u003cstrong\u003eThe Black Angels’ classic sophomore album. Pressed at \u003cspan class=\"caps\"\u003eRTI. \u003c\/span\u003e\u003cspan class=\"caps\"\u003eTriple LP housed in a Stoughton tri-fold gatefold jacket. \u003c\/span\u003eSpecial color edition pressed on Metallic Silver Wax. Also available on Black Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e---------------\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Black Angels’ expansive 2008 second album and one of the key modern psych-rock records of the 2000s, stretching their dark garage-drone sound into longer, heavier, more hypnotic forms of ritual repetition, desert atmosphere, and haunted psychedelic intensity.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eStyle: Psychedelic rock, neo-psychedelia, drone rock, garage rock, acid rock, psych rock\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eReleased in 2008, Directions to See a Ghost is the album where The Black Angels expanded the world they had created on Passover into something deeper, longer, and more immersive. Their 2006 debut had introduced a band steeped in drone, garage rock, Vietnam-era paranoia, feedback, and occult atmosphere. Directions to See a Ghost takes that same foundation and pushes it outward, creating a record that feels less like a set of songs and more like a dark psychedelic environment: heavy, ritualistic, feverish, and deliberately consuming.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe Black Angels emerged from Austin, Texas, with a sound that treated psychedelia not as colourful nostalgia, but as threat, trance, and political unease. Their name, drawn from The Velvet Underground’s “The Black Angel’s Death Song,” signalled a connection to drone, repetition, and underground danger from the beginning. On Directions to See a Ghost, those qualities are intensified. The album is slower to reveal itself than Passover, but its power lies in that patience. It builds through accumulation: riffs repeat, organs swell, percussion locks into ritual patterns, and Alex Maas’ voice drifts through the haze like a warning.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe album’s title is perfect for the music. Directions to See a Ghost suggests a ritual, a map, or an instruction manual for entering a haunted state. The record often feels like it is guiding the listener toward something hidden rather than presenting itself directly. Its ghosts are musical, historical, political, and emotional: the ghosts of 1960s psychedelia, the ghosts of war, the ghosts of lost countercultures, and the ghosts that gather inside repetition and echo. The album does not chase clarity. It invites immersion.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eCompared with Passover, the production is thicker, more expansive, and more enveloping. The guitars are heavy with tremolo, fuzz, and drone; the organ and keyboards create a dense, spectral atmosphere; the drums often move with a slow, marching insistence; and the vocals are buried just enough to feel like part of the overall fog. The Black Angels understand that psychedelic music depends on space and pressure as much as melody. Here, sound becomes weather: dark, dusty, and full of electricity.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Bad Vibrations” opens the album with a title that reverses the peace-and-love clichés often attached to psychedelia. The mood is immediately tense and ominous, built around repetition, echo, and the sense of something unstable moving beneath the surface. It functions as a statement of intent: this is psychedelic rock as disturbance, not escape. The band are not offering a trip into brightness, but a descent into shadow.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Doves” and “Science Killer” deepen the record’s atmosphere of suspicion and dread. The latter is one of the album’s key tracks, with its insistent rhythm, dark vocal delivery, and sense of modern paranoia. The Black Angels often sound as if they are channelling the anxieties of one era through the equipment of another: 1960s-style psych and garage textures carrying twenty-first-century fear, war fatigue, and social unease. That tension gives the album much of its force.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Mission District” and “You on the Run” bring a more direct garage-psych charge, showing that the band’s extended, droning approach can still produce immediate hooks and forward movement. “You on the Run” in particular became one of the album’s standout tracks, with its urgent pulse and haunted vocal atmosphere capturing the band’s gift for making pursuit, paranoia, and desire feel like the same thing. The song is concise by the album’s standards, but it still carries the record’s thick, spectral weight.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe album’s longer pieces are central to its identity. Tracks such as “18 Years,” “Deer-Ree-Shee,” and “Never\/Ever” stretch the band’s sound into more patient and hypnotic forms. These songs are less concerned with conventional rock dynamics than with mood, trance, and endurance. Riffs circle, textures deepen, and small shifts become significant. The music asks the listener to give in to repetition rather than wait for obvious release. That is where much of the album’s psychedelic power lies.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“Deer-Ree-Shee” is especially important to the record’s sense of ritual. Its title and structure suggest incantation, and the music moves like a ceremony unfolding in slow motion. The Black Angels’ version of psychedelia is often spiritual in a dark, ambiguous sense. It does not offer easy transcendence. Instead, it suggests that altered states can reveal fear, memory, and buried violence as much as beauty.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAlex Maas’ vocal presence remains one of the band’s defining elements. His voice is distant, nasal, ghostly, and often heavily reverbed, giving the songs a sense of transmission rather than performance. He does not dominate the music in a traditional frontman role; he haunts it. The lyrics are full of war, death, ghosts, pursuit, love, danger, and psychic disturbance, but they often function as fragments inside the larger atmosphere. The voice becomes another instrument in the drone.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe guitars are equally crucial. Christian Bland and the band use fuzz, tremolo, feedback, and simple repeated figures to create a sound that is heavy without relying on metal’s density or classic rock’s soloing. The guitar is not primarily a vehicle for virtuosity; it is a tool for hypnosis. This connects The Black Angels to The Velvet Underground, Spacemen 3, The 13th Floor Elevators, The Jesus and Mary Chain, and the long history of minimal psychedelic rock where one chord, if held long enough, can become a world.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe rhythm section gives the album its physical weight. Many tracks move with a pounding, almost martial quality, reinforcing the group’s fascination with war imagery and ritual movement. Stephanie Bailey’s drumming is steady, forceful, and patient, giving the long songs a centre while allowing the atmosphere to expand. The result is music that feels both grounded and hallucinatory — a body moving through fog.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eIn the context of the late-2000s psych revival, Directions to See a Ghost was a major statement. It helped establish The Black Angels not simply as a promising modern psychedelic band, but as one of the movement’s central acts. Their role in Austin’s psych scene, and later their association with Levitation \/ Austin Psych Fest, helped shape a wider international network of bands, labels, festivals, and listeners interested in heavy drone, garage psych, and analogue darkness.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eIn The Black Angels’ discography, Directions to See a Ghost is the great expansion after the debut. Passover is more compact and immediate, while later albums such as Phosphene Dream and Indigo Meadow would bring sharper songwriting, brighter colours, and more varied production. But Directions to See a Ghost remains one of the band’s most immersive records: long, deep, shadowed, and completely committed to the trance.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe album’s artwork reinforces its haunted, ritualistic character. Its stark monochrome imagery and occult-psych visual language match the music’s sense of darkness, repetition, and altered perception. Like the best modern psych sleeves, it feels less like a simple cover image than an entry point into a wider atmosphere. The visual world and the sound world are tightly connected: black-and-white, distorted, symbolic, and mysterious.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor collectors, Directions to See a Ghost is essential. It is one of the key records of the 2000s neo-psychedelic revival, an important The Black Angels release, and a major title for anyone interested in drone rock, garage psych, modern acid rock, or the darker continuation of 1960s psychedelic traditions. Original Light in the Attic pressings, later vinyl editions, coloured variants, CD versions, and related singles all carry strong interest because the album captures the band at one of their most immersive and uncompromising moments.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eMore than a decade after its release, Directions to See a Ghost still sounds dense and powerful. “Bad Vibrations” still opens the record with ominous force. “You on the Run” still moves with haunted urgency. “Science Killer” still feels like modern paranoia filtered through vintage equipment. “Deer-Ree-Shee” still pulls the listener into ritual repetition. The album belongs to the 2000s psych revival, but its atmosphere feels older, darker, and more timeless than that label alone suggests.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eDirections to See a Ghost is The Black Angels at their most expansive and hypnotic: a record where drone, garage rock, war-haunted imagery, tremolo guitar, ghostly vocals, and ritual repetition become one immersive psychedelic world. From the opening unease of “Bad Vibrations” to the album’s deeper passages of echo, fog, and trance, it remains one of the essential modern psych albums — dark, heavy, immersive, haunted, and absolutely essential.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eKey highlights\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eArtist: The Black Angels\u003c\/p\u003e\n\u003cp\u003eTitle: Directions to See a Ghost\u003c\/p\u003e\n\u003cp\u003eOriginally released: 2008\u003c\/p\u003e\n\u003cp\u003eLabel: Light in the Attic\u003c\/p\u003e\n\u003cp\u003eProducer: The Black Angels\u003c\/p\u003e\n\u003cp\u003eKey tracks: “Bad Vibrations,” “Doves,” “Science Killer,” “Mission District,” “You on the Run,” “18 Years,” “Deer-Ree-Shee,” “Never\/Ever”\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Light In The Attic","offers":[{"title":"Metallic Silver LP","offer_id":55643930755457,"sku":"LITA033EX","price":41.99,"currency_code":"GBP","in_stock":true},{"title":"Black LP","offer_id":55643930788225,"sku":"LITA033","price":47.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0892\/6734\/products\/The_Black_Angels_Direction.jpg?v=1527228560"},{"product_id":"brian-jonestown-massacre-tepid-peppermint-wonderland-volume-1-2","title":"Brian Jonestown Massacre - Tepid Peppermint Wonderland Volume 1 \u0026 2","description":"\u003cp\u003e\u003cstrong\u003eEach volume on 180g Double Black LP on a gatefold sleeve. Remastered for vinyl. Release date is April 3rd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e---------------\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eVOLUME 1\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis 15 track compilation spans the years 1995 – 2004 featuring key tracks from all their albums as well and live recordings and many unreleased tracks. Volume 2 will be released in early 2014 . The album is seen as a classic Brian Jonestown Massacre release the CD was originally released in 1997 The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist\/singer Anton Newcombe. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase - the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eVOLUME 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis 22 track compilation spans the years 1995 – 2004 featuring key tracks from all their albums as well and live recordings and many unreleased tracks.BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase - the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.\u003c\/span\u003e\u003c\/p\u003e","brand":"A Records","offers":[{"title":"Volume 1","offer_id":55384956010881,"sku":"AUK026LP","price":25.49,"currency_code":"GBP","in_stock":true},{"title":"Volume 2","offer_id":55384956043649,"sku":"AUK027LP","price":25.49,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0892\/6734\/files\/BrianJonestownMassacre-TepidPeppermintWonderlandVolume1.jpg?v=1772615031"},{"product_id":"the-black-angels-passover-20-years-anniversary-edition","title":"The Black Angels - Passover (20 Years Anniversary Edition)","description":"\u003cp\u003e\u003cstrong\u003eThe debut masterpiece from The Black Angels - 20th Anniversary Edition. Housed in a special silver and gold foil gatefold jacket. Includes 1 of 4 randomly inserted 7\" flexi discs featuring a live track recorded at KEXP Seattle in 2006. Double LP pressed on White, Black \u0026amp; Gold Color Wax. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e-------------\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Black Angels’ dark and hypnotic 2006 debut album and one of the defining modern psych-rock records of the 2000s, fusing drone, garage rock, Vietnam-era paranoia, heavy repetition, feedback, and occult desert atmosphere into a powerful neo-psychedelic statement.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eStyle: Psychedelic rock, neo-psychedelia, garage rock, drone rock, psych rock, acid rock\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eReleased in 2006, Passover introduced The Black Angels as one of, if not the most important bands in the modern psychedelic revival. At a time when much indie rock was moving toward sharp post-punk revival, danceable guitar pop, or polished festival anthems, The Black Angels sounded older, darker, and more ritualistic. Their debut album is heavy with drone, repetition, tremolo guitar, marching rhythms, and a deep sense of dread, drawing from the spirit of 1960s psychedelia while turning it into something contemporary, political, and haunted.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe band emerged from Austin, Texas, a city with a long connection to psychedelic and underground music. Their name nods directly to The Velvet Underground’s “The Black Angel’s Death Song,” and that influence is audible in the album’s fascination with drone, menace, minimalism, and repetition. But Passover also draws from The 13th Floor Elevators, The Doors, Spacemen 3, The Brian Jonestown Massacre, early Pink Floyd, garage rock, blues, and the darker edges of 1960s counterculture. The result is not nostalgia, but a modern reconstruction of psychedelic rock as danger, trance, and protest.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe album’s title carries strong biblical and historical associations, suggesting escape, violence, sacrifice, and survival. Across the record, The Black Angels create a world marked by war, death, spiritual unease, and political suspicion. Released during the Iraq War era, Passover often feels as though it is channelling the ghosts of Vietnam-era America through a twenty-first-century lens. Helicopters, soldiers, blood, desert imagery, and apocalyptic language recur throughout the album, giving it a charged atmosphere that reaches beyond ordinary psych-rock mood.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eMusically, Passover is built on repetition and pressure. The songs often move through simple, insistent patterns rather than conventional rock development, creating a hypnotic effect. Guitars buzz, shimmer, and grind; organs and drones thicken the air; drums march or pound with ritual force; vocals echo as if carried through smoke. The album does not try to dazzle through speed or complexity. Its power comes from immersion. The listener is pulled into a dark, pulsing environment and kept there.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAlex Maas’ voice is central to the record’s identity. His vocals are distant, ghostly, and slightly buried, often sounding less like a frontman addressing an audience than a figure calling from inside the haze. There is a preacher-like quality to his delivery, but also something exhausted and spectral. He gives the album its sense of warning and possession, turning lyrics of war, death, love, and fear into incantations rather than straightforward narratives.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe opening track, “Young Men Dead,” immediately establishes the album’s force. Built around a heavy, stalking groove and a vocal that feels both accusatory and resigned, it became one of The Black Angels’ signature songs. The track captures the album’s anti-war mood and its ability to make repetition feel threatening rather than static. It sounds like a procession, a curse, and a battlefield transmission all at once.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“The First Vietnamese War” deepens the album’s political and historical atmosphere, connecting the band’s sound directly to American war memory and psychedelic-era trauma. “The Sniper at the Gates of Heaven” brings one of the record’s most striking titles, merging violence, religion, and cosmic imagery in a way that captures the band’s whole aesthetic. These songs turn psychedelic rock away from escapist colour and back toward paranoia, fear, and confrontation.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe album’s slower and more droning tracks are just as important. “Manipulation,” “Bloodhounds on My Trail,” and “Better Off Alone” create a sense of pursuit and psychological pressure, while “Black Grease” adds a more driving garage-rock edge. “Call to Arms” and “Empire” extend the album’s apocalyptic and militarised atmosphere, making the record feel like a long march through a damaged landscape. Even when individual songs are direct, the album’s sequencing creates a cumulative sense of dread.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eOne of the great strengths of Passover is how completely it commits to its world. The production is not clean or polite; it is thick, echoing, and immersive. The band sound as if they are playing in a bunker, desert church, or underground room lit by strobes and candles. This atmosphere is essential. The Black Angels understand that psychedelic music is not only about effects or vintage reference points. It is about creating a state of mind.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe guitar work is central to that state. Rather than using guitar as a conventional lead instrument, The Black Angels use it as drone, texture, rhythm, and weather. Riffs repeat until they become trance-like. Feedback and tremolo create movement inside the sound. The guitars often feel less like individual performances than part of a larger machine. This approach connects the band to the minimalist side of psychedelia, where small changes over time can become overwhelming.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe rhythm section gives the album its physical weight. Many tracks move with a heavy, martial pulse, reinforcing the record’s war imagery and ritual character. The drums are not flashy, but they are crucial: steady, pounding, and relentless. They give the album its sense of forward movement, even when the music feels thick and suspended. The result is rock music that feels both grounded and hallucinatory.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eIn the context of 2000s alternative music, Passover helped reassert psychedelic rock as something serious, heavy, and politically charged. It arrived before the later explosion of psych festivals, reissue culture, and global neo-psych networks had become fully visible, and it helped define the mood of a new generation of bands interested in drone, garage, repetition, and analogue darkness. The Black Angels would later become closely associated with Austin Psych Fest \/ Levitation, helping build a wider modern psych community.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eIn The Black Angels’ discography, Passover remains the foundational statement. Later albums such as Directions to See a Ghost, Phosphene Dream, and Indigo Meadow would expand the band’s sound in different directions, sometimes sharper, more melodic, or more colourful. But Passover is the purest expression of their early identity: dark, heavy, slow-burning, politically haunted, and completely committed to the drone.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe album’s artwork reinforces its stark, ominous character. Its black-and-white visual language, military and spiritual associations, and sense of rough underground design match the music’s atmosphere perfectly. The sleeve does not present psychedelia as bright or decorative. It presents it as severe, shadowed, and charged with danger. Like the album itself, it feels like an artefact from a hidden conflict.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFor collectors, Passover is indispensable. It is one of the key modern psychedelic rock debuts, a defining Light in the Attic release, and an essential title for anyone interested in neo-psychedelia, garage rock, drone rock, or the revival of dark, heavy psych in the 2000s. Original pressings, later vinyl reissues, coloured editions, and related singles all carry strong interest because the album has become a cornerstone of the modern psych catalogue.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eMore than a decade after its release, Passover still sounds powerful because it never tries to be fashionable. “Young Men Dead” still moves with grim authority. “The First Vietnamese War” still carries historical dread. “Black Grease” still burns with garage-rock force. “The Sniper at the Gates of Heaven” still feels like a violent hallucination. The album belongs to the 2000s, but it channels older ghosts in a way that keeps it unsettling and alive.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePassover is The Black Angels at their most primal and fully formed: a record where psychedelic rock, drone, garage grit, anti-war imagery, desert atmosphere, and ritual repetition become one dark, immersive world. From the opening march of “Young Men Dead” to the album’s deeper zones of echo and dread, it remains one of the essential modern psych albums — heavy, hypnotic, political, haunted, and absolutely essential.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eKey highlights\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eArtist: The Black Angels\u003c\/p\u003e\n\u003cp\u003eTitle: Passover\u003c\/p\u003e\n\u003cp\u003eOriginally released: 2006\u003c\/p\u003e\n\u003cp\u003eLabel: Light in the Attic\u003c\/p\u003e\n\u003cp\u003eProducer: The Black Angels\u003c\/p\u003e\n\u003cp\u003eKey tracks: “Young Men Dead,” “The First Vietnamese War,” “The Sniper at the Gates of Heaven,” “Black Grease,” “Manipulation,” “Bloodhounds on My Trail,” “Better Off Alone”\u003c\/p\u003e","brand":"Light In The Attic","offers":[{"title":"Default Title","offer_id":55563718033793,"sku":"LITA 018","price":39.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0892\/6734\/files\/rn-image_picker_lib_temp_aa5ad64d-0443-43cd-bb2f-67ab3b80983b.jpg?v=1776974531"}],"url":"https:\/\/fuzzclub.com\/collections\/essential-psych-kraut-post-punk-and-rock-n-roll.oembed","provider":"Fuzz Club","version":"1.0","type":"link"}