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Ethel Merman (7-inch Version)\u003cbr\u003e26. Quinn Beast (7-inch Version)\u003cbr\u003e27. Powerwalker (A Day in the Park)\u003cbr\u003e\u003c\/p\u003e","brand":"Archers of Loaf","offers":[{"title":"VINYL","offer_id":51283074253118,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0007\/0182\/files\/Icky-Metal.jpg?v=1738708232"},{"product_id":"reason-in-decline","title":"Reason in Decline","description":"\u003cp\u003eReason in Decline, \u003cstrong\u003eArchers of Loaf’s\u003c\/strong\u003e first studio album since the 1998 release of White Trash Heroes, is no nostalgic, low-impact reboot. When they emerged from North Carolina’s ’90s indie-punk incubator, the Archers’ hurtling, sly, gloriously dissonant roar was a mythologized touchstone of slacker-era refusal. But this new LP is an entirely different noise. In fact, it’s a startling revelation. Guitarists Eric Bachmann and Eric Johnson, once headstrong smartasses inciting a series of artful pileups on the band’s four studio albums and EP, are now a fluidly complementary, sonically advanced unit. Notably, Johnson’s signature trebly lines peal clearly above the din instead of struggling to be heard. Today, singer-songwriter Bachmann’s lyrics balance righteous wrath with a complex tangle of adult perspective. He still spits bile, but it’s less likely to concern scene politics, music trends, or shady record labels thwarting the dreams of a young rock band. Bachmann puts it bluntly: “What I really think about going back to the Archers and doing a new record is that the three other members of this band are awesome. It’s not about responding to the past or whatever our bullshit legacy is. I just wanted to work with these guys because I knew the chemistry we had and that we still have. 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The album became the band's best selling album to date and placed the band on the covers of most fanzines and at the top of college radio charts across the country. \"Harnessed in Slums\" and \"Greatest of All Time\" became anthems of the underground, and led to successful tours with the Flaming Lips and Weezer.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eALBUM DETAILS\u003c\/strong\u003e\u003cbr\u003e+ Black Vinyl\u003cbr\u003e+ Reimagined cover art by Jay Ryan with spot gloss details\u003cbr\u003e+ Gatefold jacket\u003cbr\u003e+ New liner notes by Eric T. Miller\u003cbr\u003e+ Includes album download + 16 digital bonus tracks\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSONGS\u003c\/strong\u003e\u003cbr\u003e1. Step into the Light\u003cbr\u003e2. Harnessed in Slums\u003cbr\u003e3. Nevermind the Enemy\u003cbr\u003e4. Greatest of All Time\u003cbr\u003e5. Underdogs of Nipomo\u003cbr\u003e6. Floating Friends\u003cbr\u003e7. Mark Price P.I.\u003cbr\u003e8. 1985\u003cbr\u003e9. 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Although the songs’ structures became much more complex and provided a wide range of color and emotion, none of the tracks seemed out of place on the album.\u003c\/p\u003e\n\u003cp\u003eIn Stephen Thompson’s liner notes for the Airports reissue, he says, “It’s music that exists because it must, with all the bile, beauty, and bluster of youth and all the disaffected paranoia of a perpetually worried mind. The album might not have fulfilled Archers of Loaf’s commercial potential at the time, but that makes an awful lot of sense. 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They again enlisted the help of Brian Paulson to record the album that became White Trash Heroes. On this album, the band added keyboards to several songs, as well as vocoder, and debuted the lead vocals of Matt Gentling on \"I.N.S.\" The track \"Banging on a Dead Drum\" found all the members swapping instruments and some of the worst cowbell ever attempted.The band pulled out all the stops to keep its members engaged, but unfortunately, it wasn’t enough and the band decided to make the fall tour of 1998 its final outing.\u003c\/p\u003e\n\u003cp\u003eIn the liner notes for Merge’s reissue of the Archers’ final album, Josh Modell says, “In hindsight, it’s easy to read White Trash Heroes as both the stormy end to a legendary band and as the beginning of something else: Bachmann’s next project, Crooked Fingers. Hints of what came two years later abound here, particularly on the keyboard undercarriage and restrained energy of ‘Dead Red Eyes’ and the epic, sequencer-assisted title track. 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