{"title":"shame","description":null,"products":[{"product_id":"drunk-tank-pink-deluxe-edition-shame","title":"Drunk Tank Pink (Deluxe Edition)","description":"\u003cp\u003e\u003cspan\u003eAfter the release of their acclaimed second studio album \u003c\/span\u003e\u003cem\u003eDrunk Tank Pink\u003c\/em\u003e\u003cspan\u003e (\"\u003c\/span\u003e\u003cem\u003eDrunk Tank Pink\u003c\/em\u003e\u003cspan\u003e confirms shame’s status as one of the most exciting bands at the forefront of British music.\" – NME), shame presents \u003c\/span\u003e\u003cem\u003eDrunk Tank Pink (Deluxe Edition)\u003c\/em\u003e\u003cspan\u003e, a double LP of the band’s second studio record accompanied by early demos. Available in the UK\/EU only.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThere are moments on \u003c\/span\u003e\u003cem\u003eDrunk Tank Pink\u003c\/em\u003e\u003cspan\u003e where you almost have to reach for the sleeve to check this is the same band who made 2018’s \u003c\/span\u003e\u003cem\u003eSongs Of Praise\u003c\/em\u003e\u003cspan\u003e. Such is the jump shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner’s blood and guts spirit, that wink and grin of devious charm, is still present, it’s just that it’s grown into something bigger, something deeper, more ambitious and unflinchingly honest.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTo understand this creative leap you need to first understand the journey shame undertook to get here. From their beginnings as wide-eyed teenagers taken under the decrepit wing of The Fat White Family to becoming the most celebrated new band in Britain and their subsequent crash back down to earth. Come in, and close the door behind you…\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Never get out of the boat”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eCap. Benjamin L. Willard\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt’s no exaggeration to say the members of shame have spent their entire adult life on the road. A wild-eyed tour of duty marked by glorious music and damaged psyches, when it eventually careered to a stop the band were parachuted back into home territory. Shell shocked, dislocated and grasping for some semblance of self.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eShame’s previous bases – the notorious den of iniquity that was The Queens Head pub, the musical petri dish of Brixton’s Windmill – were either gentrified into obsolescence or no longer viable as an HQ. Sometimes home just isn’t home anymore. Or at least it’s not the way you remember it.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTo cope, guitarist Sean Coyle-Smith barricaded himself in his bedroom. Barely leaving the house and instead obsessively deconstructing his very approach to playing and making music, he picked apart the threads of the music he was devouring (Talking Heads, Nigerian High Life, the dry funk of ESG, Talk Talk…) and created work infused with panic and crackling intensity.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“For this album I was so bored of playing guitar,” he recalls, “the thought of even playing it was mind-numbing. So I started to write and experiment in all these alternative tunings and not write or play in a conventional ‘rock’ way.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFrontman Charlie Steen, meanwhile, took a different tac and attempted to party his way out of psychosis. “When you’re exposed to all of that for the first time you think you’re fucking indestructible,” he notes. “After a few years you reach a point where you realise everyone need a bath and a good night’s sleep sometimes.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAn intense bout of waking fever-dreams convinced Steen that self medicating his demons wasn’t a very healthy plan of action and it was probably time to stop and take a look inward. Shame had always been about exposure – be that the rogues’ gallery of characters they drew inspiration from or the cornucopia of joy to be had from simply being in a band – this time, however, they were exposed to themselves.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“You become very aware of yourself and when all of the music stops, you’re left with the silence,” reflects Steen. “And that silence is a lot of what this record is about.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePass along the plant-strewn corridor leading into Steen and Coyle-Smith’s shared living space in South East London and hidden away to your left is a dank, brown curtain. Pull it back and open the door… welcome to the womb.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMore of a cupboard than a room (it used to house the washing machine until they lugged it outside and put a bed in) and painted floor to ceiling in the specific shade of pink used to calm down drunk tank inmates, the womb is where Steen cocooned himself away to reflect and write. Scraping and shaking lyrics out of himself that – through the prism of his own surrealistic dreams – addressed the psychological toll life in the band had taken on him. The disintegration of his relationship, the loss of a sense of self and the growing identity crisis both the band and an entire generation were feeling.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“The common theme when I was catching up with my mates was this identity crisis everyone was having,” reflects Steen. “No one knows what the fuck is going on.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“It didn’t matter that we’d just come back off tour thinking, 'How do we deal with reality?!?’” agrees Coyle-Smith. “I had mates that were working in a pub and they were also like, ‘How do I deal with reality?!?’ Everyone was going through it.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe genius of \u003c\/span\u003e\u003cem\u003eDrunk Tank Pink\u003c\/em\u003e\u003cspan\u003e is how these lyrical themes dovetail with the music. Opener \"Alphabet\" dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. \"Nigel Hitter\", meanwhile, turns the mundanity of routine into something spectacular via a disjointed jigsaw of syncopated rhythms and broken wristed punk funk.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBassist Josh Finerty had begun to record the band’s divergent ideas at home in South London which were then fleshed out in a writing trip in the Scottish highlands with electronic artist Makeness, before sessions in La Frette studios in France with Arctic Monkeys producer James Ford. The result is an enormous expansion of Shame’s sonic arsenal.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSongs spin off and lurch into unexpected directions throughout here, be it \"March Day\"’s escalating aural panic attack or the shapeshifting darkness of \"Snow Day\". There’s a Berlin era Bowie beauty to the lovelorn \"Human For A Minute\" while closer \"Station Wagon\" weaves from a downbeat mooch into a souring, soul-lifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that’s what it sounds like.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“No that’s about Elton John,” laughs Steen. “I read somewhere about him being so cracked out that he told his PA to move a cloud that was blocking the sun. I just thought that was the greatest, Shakespearean expression of ego. Humour is a massive part of this band. We’re not some French existential act where everything is actually sad. There’s light in it as well.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFrom the womb to the clouds (sort of), shame are currently very much in the pink.\u003c\/span\u003e\u003c\/p\u003e","brand":"shame","offers":[{"title":"2xLP Crystal Clear Vinyl","offer_id":44536167334051,"sku":"DOC204dlx","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/drunk-tank-pink-_deluxe-edition_---mock-up-web.jpg?v=1755106490"},{"product_id":"drunk-tank-pink-shirt-shame","title":"Drunk Tank Pink Shirt","description":"\u003cp\u003eExlusive shame t-shirt.\u003c\/p\u003e","brand":"Shame","offers":[{"title":"T-Shirt T-Shirt SM","offer_id":44536167399587,"sku":"DOC204-T01-USM","price":7.99,"currency_code":"USD","in_stock":true},{"title":"T-Shirt T-Shirt MD","offer_id":44716743098531,"sku":"DOC204-T01-UMD","price":7.99,"currency_code":"USD","in_stock":true},{"title":"T-Shirt T-Shirt LG","offer_id":44716743131299,"sku":"DOC204-T01-ULG","price":7.99,"currency_code":"USD","in_stock":true},{"title":"T-Shirt T-Shirt XL","offer_id":44716743196835,"sku":"DOC204-T01-UXL","price":7.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc204.shame.lp.tee.jpg?v=1715584904"},{"product_id":"drunk-tank-pink-tote-shame","title":"Drunk Tank Pink Tote","description":"\u003cp\u003eThere are moments on 'Drunk Tank Pink' where you almost have to reach for the sleeve to check this is the same band who made 2018’s 'Songs Of Praise'. Such is the jump shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner’s blood and guts spirit, that wink and grin of devious charm, is still present, it’s just that it’s grown into something bigger, something deeper, more ambitious and unflinchingly honest.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eTo understand this creative leap you need to first understand the journey shame undertook to get here. From their beginnings as wide-eyed teenagers taken under the decrepit wing of The Fat White Family to becoming the most celebrated new band in Britain and their subsequent crash back down to earth. Come in, and close the door behind you…\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e“Never get out of the boat”\u003c\/p\u003e\n\n\u003cp\u003e                        Cap. Benjamin L. Willard\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eIt’s no exaggeration to say the members of shame have spent their entire adult life on the road. A wild-eyed tour of duty marked by glorious music and damaged psyches, when it eventually careered to a stop the band were parachuted back into home territory. Shell shocked, dislocated and grasping for some semblance of self.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eShame’s previous bases – the notorious den of iniquity that was The Queens Head pub, the musical petri dish of Brixton’s Windmill – were either gentrified into obsolescence or no longer viable as an HQ. Sometimes home just isn’t home anymore. Or at least it’s not the way you remember it.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eTo cope, guitarist Sean Coyle-Smith barricaded himself in his bedroom. Barely leaving the house and instead obsessively deconstructing his very approach to playing and making music, he picked apart the threads of the music he was devouring (Talking Heads, Nigerian High Life, the dry funk of ESG, Talk Talk…) and created work infused with panic and crackling intensity.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e“For this album I was so bored of playing guitar,” he recalls, “the thought of even playing it was mind-numbing. So I started to write and experiment in all these alternative tunings and not write or play in a conventional ‘rock’ way.”\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eFrontman Charlie Steen, meanwhile, took a different tac and attempted to party his way out of psychosis.  “When you’re exposed to all of that for the first time you think you’re fucking indestructible,” he notes. “After a few years you reach a point where you realise everyone need a bath and a good night’s sleep sometimes.”\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eAn intense bout of waking fever-dreams convinced Steen that self medicating his demons wasn’t a very healthy plan of action and it was probably time to stop and take a look inward. Shame had always been about exposure – be that the rogues’ gallery of characters they drew inspiration from or the cornucopia of joy to be had from simply being in a band – this time, however, they were exposed to themselves.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e“You become very aware of yourself and when all of the music stops, you’re left with the silence,” reflects Steen. “And that silence is a lot of what this record is about.”\u003c\/p\u003e\n\n\u003cp\u003ePass along the plant-strewn corridor leading into Steen and Coyle-Smith’s  shared living space in South East London and hidden away to your left is a dank, brown curtain. Pull it back and open the door… welcome to the womb.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eMore of a cupboard than a room (it used to house the washing machine until they lugged it outside and put a bed in) and painted floor to ceiling in the specific shade of pink used to calm down drunk tank inmates, the womb is where Steen cocooned himself away to reflect and write. Scraping and shaking lyrics out of himself that – through the prism of his own surrealistic dreams – addressed the psychological toll life in the band had taken on him. The disintegration of his relationship, the loss of a sense of self and the growing identity crisis both the band and an entire generation were feeling.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e“The common theme when I was catching up with my mates was this identity crisis everyone was having,” reflects Steen. “No one knows what the fuck is going on.”\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e“It didn’t matter that we’d just come back off tour thinking, 'How do we deal with reality?!?’” agrees Coyle-Smith. “I had mates that were working in a pub and they were also like, ‘How do I deal with reality?!?’ Everyone was going through it.”\u003c\/p\u003e\n\n\u003cp\u003eThe genius of 'Drunk Tank Pink' is how these lyrical themes dovetail with the music. Opener \"Alphabet\" dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. \"Nigel Hitter\", meanwhile, turns the mundanity of routine into something spectacular via a disjointed jigsaw of syncopated rhythms and broken wristed punk funk.\u003c\/p\u003e\n\n\u003cp\u003eBassist Josh Finerty had begun to record the band’s divergent ideas at home in South London which were then fleshed out in a writing trip in the Scottish highlands with electronic artist Makeness, before sessions in La Frette studios in France with Arctic Monkeys producer James Ford. The result is an enormous expansion of Shame’s sonic arsenal.\u003c\/p\u003e\n\n\u003cp\u003eSongs spin off and lurch into unexpected directions throughout here, be it \"March Day\"’s escalating aural panic attack or the shapeshifting darkness of \"Snow Day\". There’s a Berlin era Bowie beauty to the lovelorn \"Human For A Minute\" while closer \"Station Wagon\" weaves from a downbeat mooch into a souring, soul-lifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that’s what it sounds like.\u003c\/p\u003e\n\n\u003cp\u003e“No that’s about Elton John,” laughs Steen. “I read somewhere about him being so cracked out that he told his PA to move a cloud that was blocking the sun. I just thought that was the greatest, Shakespearean expression of ego. Humour is a massive part of this band. We’re not some French existential act where everything is actually sad. There’s light in it as well.”\u003c\/p\u003e\n\n\u003cp\u003eFrom the womb to the clouds (sort of), shame are currently very much in the pink.\u003c\/p\u003e","brand":"Shame","offers":[{"title":"Tote","offer_id":44536167366819,"sku":"DOC204tote","price":14.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc204.shame.tote.jpg?v=1776690246"},{"product_id":"songs-of-praise-shame","title":"Songs of Praise","description":"\u003cp\u003eShame thrives on confrontation. Whether it be the seething intensity crackling throughout debut LP Songs of Praise or the adrenaline-pumping chaos that unfolds at Shame’s shows, it’s all fueled by feeling. NPR’s Bob Boilen noted, “Of the 70 bands I saw at this year’s SXSW, the band Shame seemed to mean what they played more than any other.\"\u003c\/p\u003e\n\n\u003cp\u003eComprised of vocalist Charlie Steen, guitarists Sean Coyle-Smith and Eddie Green, bassist John Finerty, and drummer Charlie Forbes, the London-based five-piece began as school boys. From the outset, Shame built the band up from a foundation of DIY ethos while citing The Fall and Wire among its biggest musical influences.\u003c\/p\u003e\n\n\u003cp\u003eUtilizing both the grit and sincerity of that musical background, Shame carved out a niche in the South London music scene and then barreled fearlessly into the angular, thrashing post-punk that would go on to make up Songs of Praise, their Dead Oceans debut. From “Gold Hole,” a tongue-in-cheek takedown of rock narcissism, to lead single “Concrete” detailing the overwhelming moment of realizing a relationship is doomed, to the frustrated “Tasteless” taking aim at the monotony of people droning through their day-to-day, Songs of Praise never pauses to catch its breath.\u003c\/p\u003e","brand":"Shame","offers":[{"title":"CD","offer_id":44536209277091,"sku":"DOC144cd","price":12.99,"currency_code":"USD","in_stock":false},{"title":"LP Sky Blue Vinyl","offer_id":44536209309859,"sku":"DOC144lp-C1","price":25.99,"currency_code":"USD","in_stock":false},{"title":"Cassette","offer_id":44536209342627,"sku":"DOC144cass","price":9.99,"currency_code":"USD","in_stock":true},{"title":"LP Black Vinyl","offer_id":44536209375395,"sku":"DOC144lp","price":23.99,"currency_code":"USD","in_stock":true},{"title":"Limited-Edition Picture Disc","offer_id":44727975575715,"sku":"DOC144PIC","price":25.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc144cd-380.jpg?v=1776689408"},{"product_id":"songs-of-praise-shame-reissue","title":"Songs of Praise (Society Exclusive)","description":"\u003cem\u003eShame, Songs of Praise Secretly Society Exclusive Re-issue on Gold Nugget Vinyl\u003c\/em\u003e\n\n\n\nShame thrives on confrontation. Whether it be the seething intensity crackling throughout debut LP Songs of Praise or the adrenaline-pumping chaos that unfolds at Shame’s shows, it’s all fueled by feeling. NPR’s Bob Boilen noted, “Of the 70 bands I saw at this year’s SXSW, the band Shame seemed to mean what they played more than any other.\"\n\n\n\nComprised of vocalist Charlie Steen, guitarists Sean Coyle-Smith and Eddie Green, bassist John Finerty, and drummer Charlie Forbes, the London-based five-piece began as school boys. From the outset, Shame built the band up from a foundation of DIY ethos while citing The Fall and Wire among its biggest musical influences.\n\n\n\nUtilizing both the grit and sincerity of that musical background, Shame carved out a niche in the South London music scene and then barreled fearlessly into the angular, thrashing post-punk that would go on to make up Songs of Praise, their Dead Oceans debut. From “Gold Hole,” a tongue-in-cheek takedown of rock narcissism, to lead single “Concrete” detailing the overwhelming moment of realizing a relationship is doomed, to the frustrated “Tasteless” taking aim at the monotony of people droning through their day-to-day, Songs of Praise never pauses to catch its breath.","brand":"Shame","offers":[{"title":"LP Gold Nugget Vinyl","offer_id":44536209440931,"sku":"DOC144lp-C5","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc144.shame.sop.ss.gold.mock_5B88_5D-e1f744d9467cb357114d96536417a307.jpg?v=1776689407"},{"product_id":"drunk-tank-pink-shame","title":"Drunk Tank Pink","description":"\u003cp\u003eThere are moments on 'Drunk Tank Pink' where you almost have to reach for the sleeve to check this is the same band who made 2018’s 'Songs Of Praise'. Such is the jump shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner’s blood and guts spirit, that wink and grin of devious charm, is still present, it’s just that it’s grown into something bigger, something deeper, more ambitious and unflinchingly honest.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eTo understand this creative leap you need to first understand the journey shame undertook to get here. From their beginnings as wide-eyed teenagers taken under the decrepit wing of The Fat White Family to becoming the most celebrated new band in Britain and their subsequent crash back down to earth. Come in, and close the door behind you…\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e“Never get out of the boat”\u003c\/p\u003e\n\n\u003cp\u003e                        Cap. Benjamin L. Willard\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eIt’s no exaggeration to say the members of shame have spent their entire adult life on the road. A wild-eyed tour of duty marked by glorious music and damaged psyches, when it eventually careered to a stop the band were parachuted back into home territory. Shell shocked, dislocated and grasping for some semblance of self.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eShame’s previous bases – the notorious den of iniquity that was The Queens Head pub, the musical petri dish of Brixton’s Windmill – were either gentrified into obsolescence or no longer viable as an HQ. Sometimes home just isn’t home anymore. Or at least it’s not the way you remember it.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eTo cope, guitarist Sean Coyle-Smith barricaded himself in his bedroom. Barely leaving the house and instead obsessively deconstructing his very approach to playing and making music, he picked apart the threads of the music he was devouring (Talking Heads, Nigerian High Life, the dry funk of ESG, Talk Talk…) and created work infused with panic and crackling intensity.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e“For this album I was so bored of playing guitar,” he recalls, “the thought of even playing it was mind-numbing. So I started to write and experiment in all these alternative tunings and not write or play in a conventional ‘rock’ way.”\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eFrontman Charlie Steen, meanwhile, took a different tac and attempted to party his way out of psychosis.  “When you’re exposed to all of that for the first time you think you’re fucking indestructible,” he notes. “After a few years you reach a point where you realise everyone need a bath and a good night’s sleep sometimes.”\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eAn intense bout of waking fever-dreams convinced Steen that self medicating his demons wasn’t a very healthy plan of action and it was probably time to stop and take a look inward. Shame had always been about exposure – be that the rogues’ gallery of characters they drew inspiration from or the cornucopia of joy to be had from simply being in a band – this time, however, they were exposed to themselves.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e“You become very aware of yourself and when all of the music stops, you’re left with the silence,” reflects Steen. “And that silence is a lot of what this record is about.”\u003c\/p\u003e\n\n\u003cp\u003ePass along the plant-strewn corridor leading into Steen and Coyle-Smith’s  shared living space in South East London and hidden away to your left is a dank, brown curtain. Pull it back and open the door… welcome to the womb.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eMore of a cupboard than a room (it used to house the washing machine until they lugged it outside and put a bed in) and painted floor to ceiling in the specific shade of pink used to calm down drunk tank inmates, the womb is where Steen cocooned himself away to reflect and write. Scraping and shaking lyrics out of himself that – through the prism of his own surrealistic dreams – addressed the psychological toll life in the band had taken on him. The disintegration of his relationship, the loss of a sense of self and the growing identity crisis both the band and an entire generation were feeling.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e“The common theme when I was catching up with my mates was this identity crisis everyone was having,” reflects Steen. “No one knows what the fuck is going on.”\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e“It didn’t matter that we’d just come back off tour thinking, 'How do we deal with reality?!?’” agrees Coyle-Smith. “I had mates that were working in a pub and they were also like, ‘How do I deal with reality?!?’ Everyone was going through it.”\u003c\/p\u003e\n\n\u003cp\u003eThe genius of 'Drunk Tank Pink' is how these lyrical themes dovetail with the music. Opener \"Alphabet\" dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. \"Nigel Hitter\", meanwhile, turns the mundanity of routine into something spectacular via a disjointed jigsaw of syncopated rhythms and broken wristed punk funk.\u003c\/p\u003e\n\n\u003cp\u003eBassist Josh Finerty had begun to record the band’s divergent ideas at home in South London which were then fleshed out in a writing trip in the Scottish highlands with electronic artist Makeness, before sessions in La Frette studios in France with Arctic Monkeys producer James Ford. The result is an enormous expansion of Shame’s sonic arsenal.\u003c\/p\u003e\n\n\u003cp\u003eSongs spin off and lurch into unexpected directions throughout here, be it \"March Day\"’s escalating aural panic attack or the shapeshifting darkness of \"Snow Day\". There’s a Berlin era Bowie beauty to the lovelorn \"Human For A Minute\" while closer \"Station Wagon\" weaves from a downbeat mooch into a souring, soul-lifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that’s what it sounds like.\u003c\/p\u003e\n\n\u003cp\u003e“No that’s about Elton John,” laughs Steen. “I read somewhere about him being so cracked out that he told his PA to move a cloud that was blocking the sun. I just thought that was the greatest, Shakespearean expression of ego. Humour is a massive part of this band. We’re not some French existential act where everything is actually sad. There’s light in it as well.”\u003c\/p\u003e\n\n\u003cp\u003eFrom the womb to the clouds (sort of), shame are currently very much in the pink.\u003c\/p\u003e","brand":"Shame","offers":[{"title":"CD","offer_id":44673907523747,"sku":"DOC204cd","price":14.99,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":44673907589283,"sku":"DOC204cass","price":12.99,"currency_code":"USD","in_stock":true},{"title":"LP Black LP","offer_id":44673907622051,"sku":"DOC204lp","price":24.99,"currency_code":"USD","in_stock":true},{"title":"LP Half Black \/ Half Blue","offer_id":44673907654819,"sku":"DOC204lp-C2","price":24.99,"currency_code":"USD","in_stock":true},{"title":"LP Galaxy Pink","offer_id":44673907687587,"sku":"DOC204lp-C3","price":22.99,"currency_code":"USD","in_stock":false},{"title":"LP Marble Blue Vinyl","offer_id":45975907139747,"sku":"DOC204lp-C4","price":24.99,"currency_code":"USD","in_stock":true},{"title":"LP Smoky Marble","offer_id":45975907172515,"sku":"DOC204lp-C5","price":24.99,"currency_code":"USD","in_stock":false},{"title":"LP Cloudy Clear Vinyl","offer_id":45975907205283,"sku":"DOC204lp-C6","price":24.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc204.shame.lp.pinkgalaxy.jpg?v=1776688988"},{"product_id":"shame-food-for-worms","title":"Food for Worms","description":"\u003cem\u003eLimited Edition Half Blue\/ Half Yellow Vinyl and Half Blue\/Half Yellow Vinyl + 7\" bundle comes with Signed Print, while supplies last.\u003c\/em\u003e\n\n\n\nshame were tourists in their own adolescence - and nothing was quite like the postcard. The freefall of their early twenties, in all its delight and disaster, was tangled up in being hailed one of post-punk’s greatest hopes. In 2018, they took their incendiary debut album Songs of Praise for a cross-continental joyride for almost 350 relentless nights. They tried to bite off more than they could chew, just to prove their teeth were sharp enough – but eventually, you’ve got to learn to spit it out. Then came the hangover. shame’s frontman, Charlie Steen, suffered a series of panic attacks which led to the tour’s cancellation. For the first time, since being plucked from the stage of The Windmill and catapulted into notoriety, shame were confronted with who they’d become on the other side of it. This era, of being forced to endure reality and the terror that comes with your own company, would form shame’s second album, 2021’s Drunk Tank Pink, the band’s reinvention.\n\n \n\nIf Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album’s identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be “the Lamborghini of shame records.”\n\n \n\nFor the first time, the band are not delving inwards, but seeking to capture the world around them. “I don’t think you can be in your own head forever,” says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: “It’s weird, isn’t it? Popular music is always about love, heartbreak, or yourself. There isn’t much about your mates.” In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share. \n\n\n\nThe title, Food for Worms, takes on different meanings when considered with the ten vignettes the band has painted for you across the record. That spirit of interpretation, to see yourself reflected within it, is conveyed through the cover art. Designed by acclaimed artist Marcel Dzama, whose style evokes dark fairy tales and surrealism, it’s suggestive of what’s left unsaid, what lies beneath the surface. \n\n\n\nOn the one hand, Food for Worms calls to mind a certain morbidity, but on the other, it’s a celebration of life; the way that, in the end, we need each other. It also strikes at the core of shame itself. Since the beginning, the band has been in the business of finding the light in uncomfortable contradictions: Steen always makes a point of taking his top off during performances as a way of tackling his body weight insecurities. Through sheer defiance, they play their vulnerabilities as strengths. \n\n\n\nReconnecting with that ethos is what hotwired the band into making the album after a false start during the pandemic. Without pressure or an end goal - just a long expanse of time - nothing would hold. Their management then presented them with a challenge: in just under three weeks, shame would play two shows at The Windmill where they would be expected to debut two sets of entirely new songs.\n\n \n\nThis opportunity meant that the band returned the same ideology which propelled them to these heights in the first place: the love of playing live, on their own terms, fed by their audience. Thus, Food for Worms careened and crashed into life faster than anything they’d created before: a weapons-grade cocktail that captured all the gristle, fragility and carnal physicality that earned shame their merits. \n\n\n\nIt was only right that shame would record the album entirely live for the first time. The band recorded Food for Worms while playing festivals all over Europe, invigorated by the strength of the reaction their new material was met with. That live energy, what it’s like to witness shame in their element, is captured perfectly on record - like lightning in a bottle. \n\n\n\nThey called upon renowned producer Flood (Nick Cave, U2, Foals) to execute their vision. Recording each track live meant a kind of surrender: here, the rough edges give the album its texture; the mistakes are more interesting than perfection. In a way, it harks back to the title itself and the way that with this record, the band are embracing frailty and by doing so, are tapping into a new source of bravery.\n\n\n\nIt also marks a sonic departure from anything they’ve done before. shame have abandoned their post-punk beginnings for far more eclectic influences, drawing from the tense atmospherics of Merchandise, the sharp yet uncomplicated lyrical observations of Lou Reed and the more melodic works of 90s German band, Blumfeld.\n\n\n\nIn the past, their music had been almost clinically assembled, with the vocals and the band existing as two distinct layers. But Food for Worms, there has never been such an immediate sense of togetherness - and more than that, it was fun. Everyone chipped in on vocals; they made the unifying choice to sing, rather than the solitude that comes with a shout. Roles were not so fiercely defined, with Steen taking command of the bass guitar for the anthemic “Adderall”, devising a simple progression that bassist Josh Finerty would never dream of, pushing the album into new, unexpected places.\n\n\n\n“Adderall” staggers, feeling the weight of its own bones, evoking a certain desperation that comes with dragging yourself through an internal fog. Steen explains: “‘Adderall’ is the observation of a person reliant on prescription drugs. These pills shift their mental and physical state and alter their behaviour; it’s about how this affects them and those around them. It’s a song of compassion, frustration and the acceptance of change. It’s partly coming to terms with the fact that sometimes your help and love can’t cure those around you but, as much as it causes exasperation, you still won’t ever stop trying to help.”\n\n\n\nThe album opens with “Fingers of Steel”, which is heralded with an airy piano section that plunges into nosebleed-inducing guitars like a mutant orchestra; it was completely transformed from its folk-indebted beginnings. It delves into the cyclical nature of friendship, which the title invites you to consider. “‘Fingers of Steel’ is about helping a mate and the frustrations that come with it,” shares Steen. “It’s coming to terms with the fact that people can’t be who you want them to be and sometimes there isn’t anything you can do to help, it’s their own thing they have to work out for themselves and you have to accept that.”\n\n\n\nBut it wouldn’t be shame if there wasn’t a bit of theatrical flair, signed off with a smirk. “Six Pack”, with its psychedelic wah-wah grooves and frenetic guitarwork, sees Steen act as your spirit guide into a room where, within those four walls, your wildest dreams come true: “Now you’ve got Pamela Anderson reading you a bedtime story \/ And every scratch card is a fucking winner!” he howls. The song is a product of lockdown-induced cabin fever, and the absurd places our mind can wander when we are confined. It’s an anthem for newfound freedom: “You’ve done time behind bars, and now you’re making time in front of them,” Steen sings, with a showman’s grandeur. It’s time to make up for everything you’ve lost or wasted - and shame wants it all. \n\n\n\nFood for Worms also sees Steen deliver one of his greatest vocal performances which came from learning to lean into the vulnerabilities his lyrics portray, rather than deflecting them. “Orchid”, opens with the easy amble of an acoustic guitar, a different sound for the band which required careful consideration for how his voice would adapt to it. His vocal teacher, Rebecca Phillips, encouraged him to approach it unflinchingly. He recalls her telling him: “Anything that you’re singing is obviously personal, but a very male tendency is to detach from it and think of the melody, instead of what you’re saying.” \n\n \n\nIt was this new technique that allowed shame to embrace the songs that dealt with a deeply personal subject: fear for a friend’s mental well-being. Steen’s voice paces with sleepless worry, guilt, frustration – and absolute tenderness. Closing track “All the People”, a great musical swell of brotherly love, haunts the mind the lingering words penned by guitarist Sean Coyle-Smith: “All the people that you’re gonna meet \/ Don’t you throw it all away \/ Because you can’t love yourself.” With that weight, there is a lightness to the song which captures the spirit of Food for Worms and all the thoughts that expression evokes, all that bittersweetness. And even if you can’t put those feelings into words, shame have found them for you.","brand":"Shame","offers":[{"title":"LP Half Blue\/ Half Yellow Vinyl","offer_id":44673910702243,"sku":"DOC324lp-C2","price":26.99,"currency_code":"USD","in_stock":false},{"title":"LP Black Vinyl LP","offer_id":44673910735011,"sku":"DOC324lp","price":23.99,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":44673910800547,"sku":"DOC324cd","price":11.99,"currency_code":"USD","in_stock":true},{"title":"Cassette Blue Cassette","offer_id":44673910866083,"sku":"DOC324cass","price":9.99,"currency_code":"USD","in_stock":true},{"title":"7\" Adderall b\/w Slimbo 7\"","offer_id":44673910898851,"sku":"DOC340lp","price":8.99,"currency_code":"USD","in_stock":true},{"title":"Bundle Half Blue\/Half Yellow LP + 7\"","offer_id":44673910767779,"sku":"DOC324xbnd-01","price":31.99,"currency_code":"USD","in_stock":false},{"title":"Bundle Black LP + 7\" Vinyl","offer_id":44673910833315,"sku":"DOC324xbnd-03","price":29.99,"currency_code":"USD","in_stock":false},{"title":"LP Half Red \u0026 Half Blue Vinyl","offer_id":44673910931619,"sku":"DOC324lp-C5","price":26.99,"currency_code":"USD","in_stock":true},{"title":"LP Transparent Purple Vinyl","offer_id":45975942365347,"sku":"DOC324lp-C1","price":26.99,"currency_code":"USD","in_stock":false},{"title":"LP Transparent Red Vinyl","offer_id":45975942398115,"sku":"DOC324lp-C3","price":26.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc324.shame.food.mock.c2.jpg?v=1776688987"},{"product_id":"cutthroat","title":"Cutthroat","description":"\u003cp\u003e\u003cspan\u003e“Cutthroat is a joyride. It’s for the inexperienced driver. The one who wants to go fast for no reason other than it’s fun.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cbr\u003eIt’s driven by hunger. Hunger for something better. For something you’ve been told you don’t deserve.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt’s primal. It’s raw. It’s unapologetic. It’s the person who turns up to the party uninvited.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e’Cause when you’ve been pushed down, there’s nowhere to go but up. When you ain’t got nothing, you ain’t got nothing to lose.”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- shame\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eCutthroat is shame at their blistering best. “It’s about the cowards, the cunts, the hypocrites,” says vocalist Charlie Steen. “Let’s face it, there’s a lot of them around right now.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAn unapologetic new album with Grammy winning producer John Congleton at the helm; it’s souped up and supercharged. It’s exactly where you want shame to be.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eStill in their twenties, the five childhood friends - Charlie Steen, guitarists Sean Coyle-Smith and Eddie Green, bassist Josh Finerty and drummer Charlie Forbes - have grown shame exponentially, with ambitious sonic ideas and the technical chops to execute them.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHaving proved themselves several times over with legendary live shows and three critically-acclaimed albums under their belts, shame went into Cutthroat ready to create a new Ground Zero.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“This is about who we are,” says Steen. “Our live shows aren’t performance art - they’re direct, confrontational and raw. That’s always been the root of us. We live in crazy times. But it’s not about ‘Poor me.’ It’s about ‘Fuck you’.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eCrucial to this incendiary new outlook was producer John Congleton (St. Vincent, Angel Olsen). From their initial meeting, Congleton’s no-bullshit approach became a guiding force to streamline the band’s ideas.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eStamped throughout with shame’s trademark sense of humour, the album takes on the big issues of today and gleefully toys with them. With Trump in the Whitehouse and shame holed up in Salvation Studios in Brighton, they cast a merciless eye on themes of conflict and corruption; hunger and desire; lust, envy and the omnipresent shadow of cowardice.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMusically, too, the record plays with visceral new ideas. Making electronic music on tour for fun, Coyle-Smith had previously seen the loops he was crafting as a separate entity to the things he wrote for shame. Then, he realised, maybe they didn’t have to be. “This time, anything could go if it sounded good and you got it right,” he says.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eCutthroat’s first single and title track takes this idea and runs with it into, quite possibly, the best song shame have ever laid to tape. It’s a ball of barely-contained attitude packed into three minutes of indie dancefloor hedonism. It also masterfully introduces the lyrical outlook of the record: one where cocksure arrogance and deep insecurity are two sides of the same coin.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I was reading a lot of Oscar Wilde plays where everything was about paradox,” Steen explains. “In ‘Cutthroat’, it’s that whole idea from Lady Windermere’s Fan, ‘Life’s far too important to be taken seriously’.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e‘Spartak’ rolls in on an Americana-flecked country lilt (“I was basically trying to write a Wilco song,” Coyle-Smith chuckles). This song holds one of the main themes of the record, criticising cliques and pack-mentality.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt sets its crosshairs on the social climbers; the people at the party always looking over your shoulder trying to find someone more important.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I guess this disdain towards cliques comes from how shit I was made to feel by the cool kids growing up.” Says Steen, “ I was a chubby teenager who liked the wrong type of music and wore the wrong type of clothes.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“It’s just another time I’d like to say fuck you to those people, and to anyone who makes someone feel shitty for not fitting in.” Steen says with a smile on his face.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAlbum highlight ‘Quiet Life’, the first spark in the Cutthroat writing process, is delivered via a snarling Rockabilly riff, influenced by the tone and attitude of such bands as The Gun Club and The Cramps.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“‘Quiet Life’ is about someone in a shitty relationship. It’s about the judgment they receive and the struggle that they have to go through, trying to understand the conflict they face, of wanting a better life… but being stuck.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e‘Lampião’ goes where shame have never gone before, as Steen sings in Portuguese about the polarising Brazilian bandit - a hero to some, a murderer to others.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“My girlfriend is Brazilian and I was in São Paulo with her parents,” Steen says. “Her mum told me about this famous bandit, Lampião, and his wife, Maria Bonita. They’re like Bonnie and Clyde over there, and just as famous.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“It seemed crazy to me how nobody in London seemed to know who they were, so I wanted to write this sort of folk-song about them, condensing their story. The song that I’m singing in the chorus was actually written by one of the bandits in Lampião’s crew, Volta Seca.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e‘After Party’ underpins Steen’s spitting delivery with unsettling, tremulous synths that then break into a wryly chirpy chorus before closer, ‘Axis of Evil’, sends shame into a whole new thrilling dimension. Channelling the prowling, lusty electronics of Depeche Mode, it’s like nothing the band have done before.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis cheeky self-awareness, too, is important. As much as shame want to burst the bubbles of bluster and ego, encouraging us to look in the mirror and ask ourselves, ‘He who casts the first stone…’, they also understand that, at its heart, life is often ridiculous.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“You never know when you’re gonna go, so make it count while you’re still here,” Steen shrugs. “Every good Catholic kid like myself might have fallen asleep every night with a crucified Jesus on their wall. Maybe that has something to do with it as well…”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe result is an album that revels in the idiosyncrasies of life, raising an eyebrow and asking the ugly questions that so often get tactfully brushed over.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I’m not here to answer the questions, I’m a 27-year-old idiot…” Steen caveats with a self-effacing chuckle. But the one answer that Cutthroat gives with a resounding flourish is that, right now, shame have never sounded better.\u003c\/span\u003e\u003c\/p\u003e","brand":"Shame","offers":[{"title":"LP Black Vinyl LP","offer_id":45952358351011,"sku":"DOC384lp","price":23.99,"currency_code":"USD","in_stock":true},{"title":"LP Joyride Vinyl","offer_id":45952358383779,"sku":"DOC384lp-C2","price":24.99,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":45952358416547,"sku":"DOC384cd","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc384.shame.cutthroat.mock.lp-c2-549fabaa1c7f0a2afa838799b790eaf9.webp?v=1776688568"},{"product_id":"songs-of-praise-revinyl","title":"Songs of Praise (ReVinyl)","description":"\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cstrong\u003eAvailable to pre-order now, releasing 5th June 2026. Please note that this will ship on or around release date.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\u003cstrong\u003eReVinyl color is chosen at random - pressed using 100% reclaimed vinyl material\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eShame thrives on confrontation. Whether it be the seething intensity crackling throughout debut LP Songs of Praise or the adrenaline-pumping chaos that unfolds at Shame’s shows, it’s all fueled by feeling. NPR’s Bob Boilen noted, “Of the 70 bands I saw at this year’s SXSW, the band Shame seemed to mean what they played more than any other.\"\u003c\/p\u003e\n\u003cp\u003eComprised of vocalist Charlie Steen, guitarists Sean Coyle-Smith and Eddie Green, bassist John Finerty, and drummer Charlie Forbes, the London-based five-piece began as school boys. From the outset, Shame built the band up from a foundation of DIY ethos while citing The Fall and Wire among its biggest musical influences.\u003c\/p\u003e\n\u003cp\u003eUtilizing both the grit and sincerity of that musical background, Shame carved out a niche in the South London music scene and then barreled fearlessly into the angular, thrashing post-punk that would go on to make up Songs of Praise, their Dead Oceans debut. From “Gold Hole,” a tongue-in-cheek takedown of rock narcissism, to lead single “Concrete” detailing the overwhelming moment of realizing a relationship is doomed, to the frustrated “Tasteless” taking aim at the monotony of people droning through their day-to-day, Songs of Praise never pauses to catch its breath.\u003c\/p\u003e","brand":"Shame","offers":[{"title":"LP","offer_id":47595457282211,"sku":"DOC144LP-C6","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0651\/6703\/2483\/files\/doc144.shame.songs.of.praise.revinyl.mock.jpg?v=1777412706"}],"url":"https:\/\/secretlystore.com\/collections\/shame.oembed","provider":"Secretly Store","version":"1.0","type":"link"}