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Hatred. Endless war. We doomscroll as our rights are stripped away. Bombings. Kidnappings. Mass shootings. The nightly news is a litany of brutality. Assassination. Subjugation. Deportation. We argue with each other while the rich get richer and cruelty is normalized. These are just a few of the reasons why the title of The Casualties’ new album is Detonate.\u003c\/p\u003e\r\n\u003cp\u003eDetonate is the second chapter in a new epoch for The Casualties. 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While sonatas of Tapray have been recorded on a modern piano, there is no recording of them on the harpsichord; all the more significant because Tapray stands as a pivotal figure in the history of French keyboard music, positioned at the crossroads between the harpsichord and the fortepiano.Born in 1738, Jean-François Tapray worked in Paris, Besançon, and elsewhere as an organist, until ill health forced his retirement in 1786. However, he continued to compose, at least until the turn of the century, and died in 1822. From 1773 onwards, he had embraced the new technology of the fortepiano and published a Keyboard Method (Op. 25) for the instrument. All the same, he continued to write specifically for the harpsichord too, such as a Symphony Op. 12 for harpsichord and orchestra, from 1780. Thus his works, such as the sonatas presented here, reflect both the culmination and the last flowering of the harpsichord tradition in France.The Variations on Les Sauvages is often cited as one of the last great virtuoso works for the harpsichord in France. Tapray's piece is both a transcription and a reworking of a famous air by Rameau, taken from his opéra-ballet Les Indes galantes (1735). The four variations embrace a diverse array of styles, from the cascades of the modern galant style to the unstable rhythms of the French Baroque, and finally a synthesis of both German and Italian style in the last variation.In this sense, the Variations do not so much look back on the Baroque era as absorb it's style within a rapidly evolving culture. The sonatas, likewise, capture a galant aesthetic with their alternation between spirited Allegro movements, graceful airs, and highly stylized dances. For this recording, Fernando de Luca has chosen a harpsichord modelled after a Blanchet instrument of 1754, facilitating a precise articulation, expressive touch, and dynamic responsiveness well-suited to Tapray's music.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSauvages avec des variations (thème de Rameau) pour le Clavecin\u003c\/li\u003e\n\u003cli\u003eSix Sonates pour le Clavecin ou le Forte-Piano Op.17~Sonata No.1 in B-flat. I. Allegro Moderato\u003c\/li\u003e\n\u003cli\u003eSix Sonates pour le Clavecin ou le Forte-Piano Op.17~Sonata No.1 in B-flat. II. Allegro Assai\u003c\/li\u003e\n\u003cli\u003eSix Sonates pour le Clavecin ou le Forte-Piano Op.17~Sonata No. 2 in G: I. Allegro\u003c\/li\u003e\n\u003cli\u003eSix Sonates pour le Clavecin ou le Forte-Piano Op.17~Sonata No. 2 in G: II. Minuetto I-II\u003c\/li\u003e\n\u003cli\u003eSix Sonates pour le Clavecin ou le Forte-Piano Op.17~Sonata No. 3 in C: I. Allegro\u003c\/li\u003e\n\u003cli\u003eSix Sonates pour le Clavecin ou le Forte-Piano Op.17~Sonata No. 3 in C: II. [Ad libitum] – Allegro assai\u003c\/li\u003e\n\u003cli\u003eSix Sonates pour le Clavecin ou le Forte-Piano Op.17~Sonata No. 4 in F: I. Aria gratioso\u003c\/li\u003e\n\u003cli\u003eSix Sonates pour le Clavecin ou le Forte-Piano Op.17~Sonata No. 4 in F: II. [Ad libitum]\u003c\/li\u003e\n\u003cli\u003eSix Sonates pour le Clavecin ou le Forte-Piano Op.17~Sonata No. 4 in F: III. Allegro Moderato\u003c\/li\u003e\n\u003cli\u003eSix Sonates pour le Clavecin ou le Forte-Piano Op.17~Sonata No. 5 in C: I. Allegro\u003c\/li\u003e\n\u003cli\u003eSix Sonates pour le Clavecin ou le Forte-Piano Op.17~Sonata No. 5 in C: II. [Ad libitum]\u003c\/li\u003e\n\u003cli\u003eSix Sonates pour le Clavecin ou le Forte-Piano Op.17~Sonata No. 5 in C: III. Allegretto\u003c\/li\u003e\n\u003cli\u003eSix Sonates pour le Clavecin ou le Forte-Piano Op.17~Sonata No. 6 in D: I. Aria Grasioso\u003c\/li\u003e\n\u003cli\u003eSix Sonates pour le Clavecin ou le Forte-Piano Op.17~Sonata No. 6 in D: II. 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Primate is a 2025 horror film directed by Johannes Roberts, a brutal throwback creature feature that turns a tropical getaway into a blood-soaked nightmare. When Ben, an adopted chimpanzee, is bitten by a rabid animal, his behavior shifts violently and the vacation spirals into chaos. The film has been hailed as a gory, old-school animal-attack shocker and an all-killer adrenaline rush. Composer Adrian Johnston delivers an immersive, synth-driven score that pulses with dread and momentum. The electronic score channels the spirit of classic 1980s horror scores while carving out it's own sharp, modern identity. Fans and critics alike have drawn comparisons to John Carpenter's Halloween III and Christine, praising the score's intensity, atmosphere, and punch. Waxwork Records is thrilled to release PRIMATE Original Motion Picture Score as a deluxe LP, pressed on \"Pool Water \u0026amp; Gore\" splatter vinyl, housed in a heavyweight jacket with matte satin coating, printed inner sleeves, and a 12\" x 12\" art print.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePrimate Theme - Main Title\u003c\/li\u003e\n\u003cli\u003eHome to Hawaii\u003c\/li\u003e\n\u003cli\u003eBen Miss Lucy\u003c\/li\u003e\n\u003cli\u003eThe Pool\u003c\/li\u003e\n\u003cli\u003eYou Scared Me Ben\u003c\/li\u003e\n\u003cli\u003eTie Him Up\u003c\/li\u003e\n\u003cli\u003eWhat's Wrong Ben\u003c\/li\u003e\n\u003cli\u003eFirst Bite\u003c\/li\u003e\n\u003cli\u003eOver the Edge\u003c\/li\u003e\n\u003cli\u003eIt's Not Ben Anymore\u003c\/li\u003e\n\u003cli\u003eBad Lucy\u003c\/li\u003e\n\u003cli\u003eTug of War\u003c\/li\u003e\n\u003cli\u003eHot Guys Plane\u003c\/li\u003e\n\u003cli\u003eRun Hannah\u003c\/li\u003e\n\u003cli\u003eCar Kill\u003c\/li\u003e\n\u003cli\u003eShard of Glass\u003c\/li\u003e\n\u003cli\u003eSisters Fight Back\u003c\/li\u003e\n\u003cli\u003eFinal Showdown\u003c\/li\u003e\n\u003cli\u003eBack from the Dead\u003c\/li\u003e\n\u003cli\u003eEnd Credits\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 850078789365\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Waxwork Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.3.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e LP\u003c\/p\u003e\n\u003c\/div\u003e","brand":"02- Alliance","offers":[{"title":"Default Title","offer_id":44250880835719,"sku":"850078789365","price":46.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0361\/2200\/1543\/files\/4495040-3531909.jpg?v=1774386512"},{"product_id":"gran-duo-italiano-longo-chamber-music-for-violin-viola-piano-cd-preorder-ships-may-1-2026","title":"Gran Duo Italiano - Longo: Chamber Music For Violin\/Viola \u0026 Piano CD","description":"\u003cp\u003eAlessandro Longo (1864-1945) was an influential Italian composer, pianist, and musicologist whose legacy is often linked to his scholarly editions of Domenico Scarlatti's keyboard works. Yet his own compositions reveal a refined musical voice shaped by late-Romantic lyricism, classical balance, and Italian melodic elegance. Central to Longo's style is a clear, singing melodic line, often entrusted to the violin while the piano provides a harmonically rich and supportive texture. His works frequently employ a warm tonal language, with occasional excursions into modal or chromatic inflections that reflect the broader European trends of his time. Rather than pursuing virtuosic display for it's own sake, Longo typically emphasizes expressive nuance and poised interaction between the two instruments. Among his most representative compositions for this ensemble are his character pieces and salon-style works, which combine lyrical charm with formal clarity. These include graceful miniatures such as the Romanza, shaped by a cantabile violin line and elegantly crafted accompaniment. In these pieces, Longo demonstrates his gift for shaping compact musical forms that evoke atmosphere and emotional depth without excess. His more expansive works-such as the larger-scale multi-movement suites-display a broader architectural sense, often organizing thematic materials through subtle variation and motivic development. Played by the Gran Duo Italiano, Mauro Tortorelli (violin) and Angela Meluso (piano), whose previous recordings for Brilliant Classics (Saint-Saëns, Milhaud, Castelnuovo-Tedesco, Scalero, Santoliquido, Caetani, Fano) were highly praised in the international press. \"Tortorelli is equally impressive on viola and on violin... On both instruments he spins a flawless, silky line with perfect intonation.\" (Fanfare, May 2017 - Milhaud). \"This release is not just for violinists and lovers of violin music; it's for everyone. Urgently recommended.\" (Fanfare, July 2021 - Scalero), \"Sympathetic performance... employing many idiomatic (at least to the period) expressive devices.\" (Fanfare, May 2015 - Saint-Saëns)\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSuite Op. 33 for violin and piano~Preludio. Moderato\u003c\/li\u003e\n\u003cli\u003eSuite Op. 33 for violin and piano~Intermezzo. Andante mosso, Allegro deciso, Tempo I\u003c\/li\u003e\n\u003cli\u003eSuite Op. 33 for violin and piano~Finale. Allegro\u003c\/li\u003e\n\u003cli\u003eSuite Op. 22 for violin and piano~Berceuse. Andante con moto\u003c\/li\u003e\n\u003cli\u003eSuite Op. 22 for violin and piano~Canzonetta. Allegretto\u003c\/li\u003e\n\u003cli\u003eSuite Op. 22 for violin and piano~Tempo di gavotta. Allegro deciso\u003c\/li\u003e\n\u003cli\u003eSuite Op. 53 for viola and piano~Preludio. Moderato\u003c\/li\u003e\n\u003cli\u003eSuite Op. 53 for viola and piano~Romanza. Andante mosso\u003c\/li\u003e\n\u003cli\u003eSuite Op. 53 for viola and piano~Finale. Allegro appassionato\u003c\/li\u003e\n\u003cli\u003eSuite Op. 44 for cello and piano~Romanza. 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While impressionism was gaining ground through Debussy and Ravel, some composers remained faithful to the ideals of structural clarity and expressive depth inherited from the Romantic tradition. Among these figures were Albéric Magnard and Louis Vierne, two artists whose sonatas for cello and piano, both composed in 1910, stand as monuments of French chamber music and offer contrasting yet complementary visions of their era. Albéric Magnard, born in Paris in 1865, was a pupil of Dubois, Guiraud, Massenet, and D'Indy at the Paris Conservatoire, and he frequented the circle of César Franck. In 1896 he became a teacher at Paris's Schola Cantorum. Then, from 1904, he settled in the countryside on his estate at Manoir des Fontaines in Baron (Oise), where he died in 1914, shot by German troops while attempting to defend the property. His last chamber work, the Sonata for Cello and Piano Op.?20, is among his most significant compositions. Composed between 1908 and 1910, it is structured in four movements like all his chamber works, betraying his devotion to German contemporaries and in opposition to French impressionism. Louis Vierne (1870-1937), having been taught by César Franck and Widor, became a famous organist. His most important post was that of Notre Dame in Paris, where he was celebrated for his improvisations. As a composer, he indulged in the post-Wagnerian language of his era: highly complicated counterpoint, dense, chromatic harmonies, and an exalted, spiritual atmosphere characterise his works. Vierne's Sonata for Cello and Piano in B minor Op.?27, composed in 1910, offers a fascinating counterpoint to Magnard's work. While Magnard emphasizes formal clarity, Vierne indulges in lyrical expansiveness and harmonic daring. This is the 4th instalment of the \"French Cello Sonatas,\" played by Marina Tarasova and Ivan Sokolov. Their earlier issues have won uniform enthusiastic critical acclaim. The Boëllmann and Widor sonatas merit the very best performances they can possibly have, and in the hands of Marina Tarasova and Ivan Sokolov, they receive them. Tarasova's full-throated, richly coloured cello tone sings with glorious voice, while Sokolov's piano serves as continuo in an elaborate counterpoint for and against the cello, always in perfect harmonization.\" (Fanfare)\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSonata for Cello and Piano in a Op. 20-I. Sans Lenteur\u003c\/li\u003e\n\u003cli\u003eSonata for Cello and Piano in a Op. 20-II. Sans Faiblir\u003c\/li\u003e\n\u003cli\u003eSonata for Cello and Piano in a Op. 20-III. Funèbre\u003c\/li\u003e\n\u003cli\u003eSonata for Cello and Piano in a Op. 20-IV. 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His reputation as a keyboard virtuoso was widespread; Johann Mattheson extolled his organ playing as even superior to Handel's.As for his own music, it's principal surviving remnants are these two collections of sonatas dating from 1716 and 1720. They were conceived for oboe or violin with continuo; the musicians of Cappella Musicale Enrico Stuart have taken a fairly liberal approach, by sharing the melody part in the different sonatas between violin, flute, and oboe, which are supported by a rich continuo group of bassoon, cello, and harpsichord or organ. Not the least attractive aspect of this solution is it's variety across the sequence of 24 sonatas.The influence of Arcangelo Corelli-the Roman violinist-composer whose Op. 5 sonatas (published in 1700) shaped much of 18th-century chamber style across Europe-is evident in Babell's approach. Babell's sonata structure-especially the slow-fast alternation, proportions of movements, and rhythmic gesture-bears the stamp of this Corellian model, though with English lightness and a flair for ornamentation. 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This release brings together three landmark chamber works by Arnold Schoenberg, Hanns Eisler, and Paul Hindemith, composers who each responded in radically different ways to a period of intense artistic, political, and social upheaval.At the heart of the programme lies Schoenberg's Kammersymphonie, Op. 9, heard here in Anton Webern's refined chamber arrangement-a masterpiece that condenses symphonic thinking into a single, highly concentrated movement and marks a decisive step toward musical modernism. Eisler's Vierzehn Arten den Regen zu beschreiben, Op. 70, conceived originally for experimental cinema, offers fourteen sharply etched miniatures of striking expressive power, balancing lyricism, irony, and political awareness.Completing the disc, Hindemith's Quartet for clarinet, violin, cello, and piano reveals a contrasting aesthetic: rigorously constructed, communicative, and rooted in an expanded sense of tonality. Recorded at the Auditorio Manuel de Falla in Granada, this album combines intellectual depth with exceptional sonic clarity and interpretative authority. 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Written during World War II and dedicated to the memory of his close friend Ivan Sollertinsky, the trio confronts themes of death, grief, and suffering. It's four movements range from haunting stillness to violent intensity. The final movement is particularly striking, incorporating Jewish musical elements that suggest both mourning and bitter irony, possibly alluding to the atrocities of the Holocaust.Also included are the 7 Romances on Poems by Alexander Blok, a vocal cycle for soprano, violin, cello, and piano in which each piece explores a different instrumental combination - from duos to the full ensemble. In these Romances, music becomes inward speech - whispered, often suspended over silence. Blok's poems, filled with dreamlike visions and disturbing symbols, become the very fabric of the composition: each word, each image, finds it's sonic counterpart in a language of subtle timbres, controlled dissonance, and unresolved tension. 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Est-Il Vrai Que Mon CÅ“ur Soit en Votre Puissance\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte II. Scène 6. Demeurez Arélhuse, Alphée, Éloignez-Vous\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte II. Scène 7. Ritournelle - J'ai Peine À Concevoir D'où Vient Le Trouble Extrême\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte II. Scène 8. Les Beaux Jours Et la Paix\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte II. Premier Air. Que Notre Vie Doit Faire Envie - Belles Fleurs, Charmant Ombrage\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte II. Second Air. Quand Un CÅ“ur Est Trop Sensible - Que Notre Vie Doit Faire Envie\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte II. Second Air. Nous Reverrons Bientôt CÉRÈS en Ces Beaux Lieux\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte II. Scène 9. Infernales Divinités, Secondez Mon Amour\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte II. Scène 9. Reprise Du Premier Air Pour Entracte\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte III. Scène 1. Proserpine, Répondez-Nous\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte III. Scène 2. N'aurais-Je Point Innocemment\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte III. Scène 3. CÉRÈS Revient! Ah Quelle Peine!\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte III. Scène 4. Prélude - Je Vais Revoir Ma Fille, Elle Est Dans Ces Campagnes \/ Ritournelle. J'a\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte III. Scène 5. Ma Fille N'est Pas Avec Vous?\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte III. Scène 6. Je Ressens Vos Douleurs, Et J'en Suis Trop Atteinte\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte III. Scène 7. Ritournelle - Ô Malheureuse Mère!\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte III. Scène 7. Ritournelle - Après Un SÃŒ Sensible Outrage\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte III. Scène 8. Air\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte III. Scène 8. Que Tout Se Ressente de la Fureur Que Je Sens\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte III. Scène 8. Reprise de L'air Pour Entracte\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte IV. Scène 1. Air de Flûtes\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte IV. Scène 1. Loin D'ici, Loin de Nous\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte IV. Scène 2. Prélude - Ma Chère Liberté Que Vous Aviez D'attraits\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte IV. Scène 2. Aimez Qui Vous Aime\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte IV. Scène 3. Est-Ce Une Illusion Dont Le Charme M'abuse\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte IV. Scène 4. Prélude - Venez-Vous Contre Moi Défendre Un Téméraire?\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte IV. Scène 5. Que L'on Suspende Ici Les Tourments Éternels\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte IV. Premier Air\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte IV. Second Air. C'est Assez de Regrets - Reprise Du Second Air\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte IV. Dans Les Enfers Tout Rit, Tout Chante\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte IV. Reprise Du Premier Air Pour Entracte\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte V. Scène 1. Prélude - Vous Qui Reconnaissez Ma Puissance Suprême\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte V. Scène 2. Déserts Écartés, Sombres Lieux\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte V. Scène 3. Prélude - Quels Abîmes Se Sont Ouverts\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte V. Scène 4. Ne M'apprendrez-Vous Point Où Ma Fille Peut Être?\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte V. Scène 5. Ritournelle - Tous Les Dieux Sont D'accord\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte V. Scène 6. Prélude\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte V. Scène 6. CÉRÈS, Que de Vos Pleurs Le Triste Cours Finisse - Que L'on Enchaîne Pour Jamais\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte V. Scène 6. Premier Air\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte V. Scène 6. Second Air\u003c\/li\u003e\n\u003cli\u003eProserpine, Opera, LWV 58-Acte V. Scène 6. Que L'on Enchaîne Pour Jamais\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 3760385430782\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Chateau Versailles\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.31.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"02- Alliance","offers":[{"title":"Default Title","offer_id":44250919927943,"sku":"3760385430782","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0361\/2200\/1543\/files\/4498126-3541603.jpg?v=1774387107"}],"url":"https:\/\/www.vinyljunkies.net\/collections\/july-2026-releases.oembed?page=26","provider":"Vinyl Junkies Record Shack","version":"1.0","type":"link"}