{"title":"Iceage","description":"","products":[{"product_id":"iceage-shake-the-feeling-outtakes-rarities-20152021-184923133103","title":"Iceage - Shake The Feeling: Outtakes \u0026 Rarities 2015-2021 Bordeaux Red Vinyl","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Shake The Feeling” is open to interpretation. The phrase can refer to the Rock ‘n’ Roll clarion call of “shaking of some action.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eOr\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eit can be taken as a callback to the even more primal urge to “shake what your mama gave you.” Ultimately, the phrase can be seen as an expression of existentialism; an acknowledgement of our consigned inability to be free of the human condition. It’s the latter interpretation, the usage that–while ostensibly romantic–implies something inescapable, that Iceage are using for the title of their new record. As with everything Iceage does, it’s a come-on delivered as a threat, a sexy invitation to get irretrievably lost.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhile not as anachronistic as a B-sides album, an outtakes compilation is something older, classic rock bands, like Deep Purple or Pavement have. Nobody saw this for Iceage. Hell, nobody saw Iceage surviving their first US tour, let alone living long enough as a band to have songs they actually left off of records. But Iceage haven’t just survived - they managed to get better, so much so that even their wretched castoffs shine in god’s light like golden teeth from a pirate’s sun bleached skull. Even as teens, the spirit was indeed in them, and it was a spirit of both epistemological violence and euphoric grace. When lead singer Elias Bender Rønnenfelt looked dead-eyed and stalwart, out across those crowds and sang the chorus of ‘Total Drench,’ he was speaking both truth and prophecy.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs with all of Iceage’s albums, whether it be the sensual daring-do of their dark-hardcore masterpiece debut, the Flying Nun-dappled “Oi!!!!” of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eYou’re Nothing\u003c\/em\u003e, the shift to cowpunk gothic romanticism on\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePlowing Into the Field of Love\u003c\/em\u003e, or the space truckin’ gospel-rock of their most recent albums, Elias Bender Rønnenfelt, Johan Suurballe Wieth, Jakob Tvilling Pless and Dan Kjær Nielsen make the impossible seem effortless.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eShake The Feeling: Outtakes \u0026amp; Rarities 2015-2021\u003c\/em\u003e, the band’s second full length for Mexican Summer, is a collection of non-LP cuts (or “misfit children,” as Elias describes them) from the seven years during which Iceage made\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePlowing Into the Field of Love\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003e(2014),\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBeyondless\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2018),\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eand Seek Shelter\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2021).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhy does any band leave a song off a record? Some, like ‘All The Junk On The Outskirts,’ were enjoyed by the band but “didn't fit the framework” of the album they were working on at the time (\u003cem data-mce-fragment=\"1\"\u003eBeyondless\u003c\/em\u003e). Others, like the compilation’s title track, may have seemed “lacking in intent” or too “happy go lucky” at the time of their recording but, in retrospect, are correctly seen as being the opposite of what ruled them out. The burly guitars of ‘Shake The Feeling’ are almost\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eentirely\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eintent; the lyrics, as carried by Elias’ breathless need and Dan’s tumbling dice drum fills, are only “happy go lucky” if your favorite part of going out at night is going home, texts unanswered, with your heart on. And finally, raucous, pre-post punk bruiser ‘I’m Ready To Make a Baby’ was indeed recorded but never included on an album due to the song’s initial impulse to (according to Elias) be “so dumb I have to act on it,” but “we couldn’t in our right mind put it on an album.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTrue to Iceage’s confounding instincts, the songs of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eShake The Feeling\u003c\/em\u003e, rather than being in chronological order, are presented in the order that makes most sense to them. The album begins with the aforementioned ‘All The Junk On The Outskirts,’ a track Iceage built around a drum machine (a process that, despite it being what Elias calls a “daunting breach of formula,” resulted in a slithering and serpentine bad boy of a song that they all quite liked). The album proceeds to jump forward and backwards in time, with tracks written in the four years between\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePlowing Into The Field of Love\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eand\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBeyondless\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ecolliding into tracks like ‘Order Meets Demand’ that were considered “slightly [too] epic to find a breathing space” on 2021’s Seek Shelter, as well as covers of two 1960s songs (‘I’ll Keep It With Mine’ by Bob Dylan and Abner Jay’s ‘My Mule’) given their own distinctive spin.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe album culminates with a pairing of ‘Lockdown Blues’ and ‘Shelter Song’. ‘Lockdown Blues,’ being the song released at the beginning of the COVID-19 pandemic, is certainly of its time (with even Elias calling it “a bit on-the-nose”) but also displays the desperate vigor of being “written one night, rehearsed on the second, and recorded on the third,” at a time when the band was unsure when they’d see each other again. The version of ‘Shelter Song’ that ends the album is an appropriately roots-signifying stripped down acoustic rendition of the track that–in full string and choir-drenched glory–opened\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e. “Johan is playing some pretty flute on it,” Elias says of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eShake The Feeling’s\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ecloser. “I didn’t know he could play the flute. He’s a surprising motherfucker, that Johan.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs to whether\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eShake The Feeling\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ehas a dominant theme, Elias says: “not really, and then somehow yes.” “No, but also yes” is as perfect an encapsulation of an Iceage-ian ethos as there could ever be. More than just about any other band from Europe working within American Rock ‘n’ Roll traditions, Iceage maintain their initial embracement of the no-but-yes, life-affirming negativity of punk and hardcore. Like Dante’s journey through Hell to get to heaven, Baudelaire’s bridging of the profane, and a million Irish poets in between, Iceage understands that “we are all in the gutter, but some of us are looking at the stars” was always a two-way street. Stars are admittedly lovely, but the gutter has some cool attributes as well.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eShake the Feeling\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis a collection of misfit toys, by and for misfit toys. Maybe Elias considers it more a document of the band at different points of the members’ young lives than a “piece of artwork.” Maybe he’s right and maybe the fact that the songs “seem like they can get along” is enough. Getting along was good enough for The Libertines and Chet Baker, so why not Iceage? But, conversely, maybe the songs on\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eShake the Feeling\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ework together as well as any band of outsiders, huddling alone together in the world’s dark. Maybe none of these tracks were the exact right fit for either the gutter or the stars, but like Iceage (or, for that matter, any human condition survivors when the spirit is in us), they slosh about in the moon-lit muck like they consider themselves wild and alive, and they can’t shake the feeling that they’re lucky and strange just to be anywhere at all.\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":47589449072941,"sku":"184923133103","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/ReleaseFormat-1080583-175167.jpg?v=1700164187"},{"product_id":"iceage-shake-the-feeling-outtakes-rarities-20152021-184923133127","title":"Iceage - Shake The Feeling: Outtakes \u0026 Rarities 2015-2021 CD","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Shake The Feeling” is open to interpretation. The phrase can refer to the Rock ‘n’ Roll clarion call of “shaking of some action.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eOr\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eit can be taken as a callback to the even more primal urge to “shake what your mama gave you.” Ultimately, the phrase can be seen as an expression of existentialism; an acknowledgement of our consigned inability to be free of the human condition. It’s the latter interpretation, the usage that–while ostensibly romantic–implies something inescapable, that Iceage are using for the title of their new record. As with everything Iceage does, it’s a come-on delivered as a threat, a sexy invitation to get irretrievably lost.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhile not as anachronistic as a B-sides album, an outtakes compilation is something older, classic rock bands, like Deep Purple or Pavement have. Nobody saw this for Iceage. Hell, nobody saw Iceage surviving their first US tour, let alone living long enough as a band to have songs they actually left off of records. But Iceage haven’t just survived - they managed to get better, so much so that even their wretched castoffs shine in god’s light like golden teeth from a pirate’s sun bleached skull. Even as teens, the spirit was indeed in them, and it was a spirit of both epistemological violence and euphoric grace. When lead singer Elias Bender Rønnenfelt looked dead-eyed and stalwart, out across those crowds and sang the chorus of ‘Total Drench,’ he was speaking both truth and prophecy.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs with all of Iceage’s albums, whether it be the sensual daring-do of their dark-hardcore masterpiece debut, the Flying Nun-dappled “Oi!!!!” of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eYou’re Nothing\u003c\/em\u003e, the shift to cowpunk gothic romanticism on\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePlowing Into the Field of Love\u003c\/em\u003e, or the space truckin’ gospel-rock of their most recent albums, Elias Bender Rønnenfelt, Johan Suurballe Wieth, Jakob Tvilling Pless and Dan Kjær Nielsen make the impossible seem effortless.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eShake The Feeling: Outtakes \u0026amp; Rarities 2015-2021\u003c\/em\u003e, the band’s second full length for Mexican Summer, is a collection of non-LP cuts (or “misfit children,” as Elias describes them) from the seven years during which Iceage made\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePlowing Into the Field of Love\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003e(2014),\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBeyondless\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2018),\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eand Seek Shelter\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2021).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhy does any band leave a song off a record? Some, like ‘All The Junk On The Outskirts,’ were enjoyed by the band but “didn't fit the framework” of the album they were working on at the time (\u003cem data-mce-fragment=\"1\"\u003eBeyondless\u003c\/em\u003e). Others, like the compilation’s title track, may have seemed “lacking in intent” or too “happy go lucky” at the time of their recording but, in retrospect, are correctly seen as being the opposite of what ruled them out. The burly guitars of ‘Shake The Feeling’ are almost\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eentirely\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eintent; the lyrics, as carried by Elias’ breathless need and Dan’s tumbling dice drum fills, are only “happy go lucky” if your favorite part of going out at night is going home, texts unanswered, with your heart on. And finally, raucous, pre-post punk bruiser ‘I’m Ready To Make a Baby’ was indeed recorded but never included on an album due to the song’s initial impulse to (according to Elias) be “so dumb I have to act on it,” but “we couldn’t in our right mind put it on an album.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTrue to Iceage’s confounding instincts, the songs of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eShake The Feeling\u003c\/em\u003e, rather than being in chronological order, are presented in the order that makes most sense to them. The album begins with the aforementioned ‘All The Junk On The Outskirts,’ a track Iceage built around a drum machine (a process that, despite it being what Elias calls a “daunting breach of formula,” resulted in a slithering and serpentine bad boy of a song that they all quite liked). The album proceeds to jump forward and backwards in time, with tracks written in the four years between\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePlowing Into The Field of Love\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eand\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBeyondless\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ecolliding into tracks like ‘Order Meets Demand’ that were considered “slightly [too] epic to find a breathing space” on 2021’s Seek Shelter, as well as covers of two 1960s songs (‘I’ll Keep It With Mine’ by Bob Dylan and Abner Jay’s ‘My Mule’) given their own distinctive spin.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe album culminates with a pairing of ‘Lockdown Blues’ and ‘Shelter Song’. ‘Lockdown Blues,’ being the song released at the beginning of the COVID-19 pandemic, is certainly of its time (with even Elias calling it “a bit on-the-nose”) but also displays the desperate vigor of being “written one night, rehearsed on the second, and recorded on the third,” at a time when the band was unsure when they’d see each other again. The version of ‘Shelter Song’ that ends the album is an appropriately roots-signifying stripped down acoustic rendition of the track that–in full string and choir-drenched glory–opened\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e. “Johan is playing some pretty flute on it,” Elias says of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eShake The Feeling’s\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ecloser. “I didn’t know he could play the flute. He’s a surprising motherfucker, that Johan.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs to whether\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eShake The Feeling\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ehas a dominant theme, Elias says: “not really, and then somehow yes.” “No, but also yes” is as perfect an encapsulation of an Iceage-ian ethos as there could ever be. More than just about any other band from Europe working within American Rock ‘n’ Roll traditions, Iceage maintain their initial embracement of the no-but-yes, life-affirming negativity of punk and hardcore. Like Dante’s journey through Hell to get to heaven, Baudelaire’s bridging of the profane, and a million Irish poets in between, Iceage understands that “we are all in the gutter, but some of us are looking at the stars” was always a two-way street. Stars are admittedly lovely, but the gutter has some cool attributes as well.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eShake the Feeling\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis a collection of misfit toys, by and for misfit toys. Maybe Elias considers it more a document of the band at different points of the members’ young lives than a “piece of artwork.” Maybe he’s right and maybe the fact that the songs “seem like they can get along” is enough. Getting along was good enough for The Libertines and Chet Baker, so why not Iceage? But, conversely, maybe the songs on\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eShake the Feeling\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ework together as well as any band of outsiders, huddling alone together in the world’s dark. Maybe none of these tracks were the exact right fit for either the gutter or the stars, but like Iceage (or, for that matter, any human condition survivors when the spirit is in us), they slosh about in the moon-lit muck like they consider themselves wild and alive, and they can’t shake the feeling that they’re lucky and strange just to be anywhere at all.\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":47589449171245,"sku":"184923133127","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/ReleaseFormat-1079422-175176.jpg?v=1700236660"},{"product_id":"iceage-shake-the-feeling-outtakes-rarities-20152021-184923133110","title":"Iceage - Shake The Feeling: Outtakes \u0026 Rarities 2015-2021 Standard Black Vinyl","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Shake The Feeling” is open to interpretation. The phrase can refer to the Rock ‘n’ Roll clarion call of “shaking of some action.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eOr\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eit can be taken as a callback to the even more primal urge to “shake what your mama gave you.” Ultimately, the phrase can be seen as an expression of existentialism; an acknowledgement of our consigned inability to be free of the human condition. It’s the latter interpretation, the usage that–while ostensibly romantic–implies something inescapable, that Iceage are using for the title of their new record. As with everything Iceage does, it’s a come-on delivered as a threat, a sexy invitation to get irretrievably lost.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhile not as anachronistic as a B-sides album, an outtakes compilation is something older, classic rock bands, like Deep Purple or Pavement have. Nobody saw this for Iceage. Hell, nobody saw Iceage surviving their first US tour, let alone living long enough as a band to have songs they actually left off of records. But Iceage haven’t just survived - they managed to get better, so much so that even their wretched castoffs shine in god’s light like golden teeth from a pirate’s sun bleached skull. Even as teens, the spirit was indeed in them, and it was a spirit of both epistemological violence and euphoric grace. When lead singer Elias Bender Rønnenfelt looked dead-eyed and stalwart, out across those crowds and sang the chorus of ‘Total Drench,’ he was speaking both truth and prophecy.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs with all of Iceage’s albums, whether it be the sensual daring-do of their dark-hardcore masterpiece debut, the Flying Nun-dappled “Oi!!!!” of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eYou’re Nothing\u003c\/em\u003e, the shift to cowpunk gothic romanticism on\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePlowing Into the Field of Love\u003c\/em\u003e, or the space truckin’ gospel-rock of their most recent albums, Elias Bender Rønnenfelt, Johan Suurballe Wieth, Jakob Tvilling Pless and Dan Kjær Nielsen make the impossible seem effortless.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eShake The Feeling: Outtakes \u0026amp; Rarities 2015-2021\u003c\/em\u003e, the band’s second full length for Mexican Summer, is a collection of non-LP cuts (or “misfit children,” as Elias describes them) from the seven years during which Iceage made\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePlowing Into the Field of Love\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003e(2014),\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBeyondless\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2018),\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eand Seek Shelter\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2021).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhy does any band leave a song off a record? Some, like ‘All The Junk On The Outskirts,’ were enjoyed by the band but “didn't fit the framework” of the album they were working on at the time (\u003cem data-mce-fragment=\"1\"\u003eBeyondless\u003c\/em\u003e). Others, like the compilation’s title track, may have seemed “lacking in intent” or too “happy go lucky” at the time of their recording but, in retrospect, are correctly seen as being the opposite of what ruled them out. The burly guitars of ‘Shake The Feeling’ are almost\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eentirely\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eintent; the lyrics, as carried by Elias’ breathless need and Dan’s tumbling dice drum fills, are only “happy go lucky” if your favorite part of going out at night is going home, texts unanswered, with your heart on. And finally, raucous, pre-post punk bruiser ‘I’m Ready To Make a Baby’ was indeed recorded but never included on an album due to the song’s initial impulse to (according to Elias) be “so dumb I have to act on it,” but “we couldn’t in our right mind put it on an album.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTrue to Iceage’s confounding instincts, the songs of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eShake The Feeling\u003c\/em\u003e, rather than being in chronological order, are presented in the order that makes most sense to them. The album begins with the aforementioned ‘All The Junk On The Outskirts,’ a track Iceage built around a drum machine (a process that, despite it being what Elias calls a “daunting breach of formula,” resulted in a slithering and serpentine bad boy of a song that they all quite liked). The album proceeds to jump forward and backwards in time, with tracks written in the four years between\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePlowing Into The Field of Love\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eand\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBeyondless\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ecolliding into tracks like ‘Order Meets Demand’ that were considered “slightly [too] epic to find a breathing space” on 2021’s Seek Shelter, as well as covers of two 1960s songs (‘I’ll Keep It With Mine’ by Bob Dylan and Abner Jay’s ‘My Mule’) given their own distinctive spin.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe album culminates with a pairing of ‘Lockdown Blues’ and ‘Shelter Song’. ‘Lockdown Blues,’ being the song released at the beginning of the COVID-19 pandemic, is certainly of its time (with even Elias calling it “a bit on-the-nose”) but also displays the desperate vigor of being “written one night, rehearsed on the second, and recorded on the third,” at a time when the band was unsure when they’d see each other again. The version of ‘Shelter Song’ that ends the album is an appropriately roots-signifying stripped down acoustic rendition of the track that–in full string and choir-drenched glory–opened\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e. “Johan is playing some pretty flute on it,” Elias says of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eShake The Feeling’s\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ecloser. “I didn’t know he could play the flute. He’s a surprising motherfucker, that Johan.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs to whether\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eShake The Feeling\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ehas a dominant theme, Elias says: “not really, and then somehow yes.” “No, but also yes” is as perfect an encapsulation of an Iceage-ian ethos as there could ever be. More than just about any other band from Europe working within American Rock ‘n’ Roll traditions, Iceage maintain their initial embracement of the no-but-yes, life-affirming negativity of punk and hardcore. Like Dante’s journey through Hell to get to heaven, Baudelaire’s bridging of the profane, and a million Irish poets in between, Iceage understands that “we are all in the gutter, but some of us are looking at the stars” was always a two-way street. Stars are admittedly lovely, but the gutter has some cool attributes as well.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eShake the Feeling\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis a collection of misfit toys, by and for misfit toys. Maybe Elias considers it more a document of the band at different points of the members’ young lives than a “piece of artwork.” Maybe he’s right and maybe the fact that the songs “seem like they can get along” is enough. Getting along was good enough for The Libertines and Chet Baker, so why not Iceage? But, conversely, maybe the songs on\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eShake the Feeling\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ework together as well as any band of outsiders, huddling alone together in the world’s dark. Maybe none of these tracks were the exact right fit for either the gutter or the stars, but like Iceage (or, for that matter, any human condition survivors when the spirit is in us), they slosh about in the moon-lit muck like they consider themselves wild and alive, and they can’t shake the feeling that they’re lucky and strange just to be anywhere at all.\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":47589449204013,"sku":"184923133110","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/ReleaseFormat-1079421-175172.jpg?v=1700236692"},{"product_id":"iceage-seek-shelter-184923129038","title":"Iceage - Seek Shelter Orange Vinyl","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA decade on from their first record, Iceage continue to harness their lives together through music. This journey, in music and life, has never progressed in a linear fashion.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e— Iceage’s fifth LP and first for Mexican Summer — is proof that their lives are still happening through their music, and that they remain determined to harness it. Enrolling Sonic Boom (Pete Kember of Spacemen 3) to produce,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003esees Iceage’s propulsive momentum pushing them in new, expansive, ecstatic directions. The sound of an emotional core unwound,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eradiates warmth and a profound desire for salvation in a world that’s spinning further and further out of control.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn an extraordinary and unexpected run following the release of their debut LP, Iceage went from the fertile hyperlocal Copenhagen scene to stages all over the world. Their recordings reflect their journey: 2012’s\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eYou’re Nothing\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ewas hard, fast and raw, a bold doubling-down on the aggression of youth in the first record as well as the weight of expectation.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePlowing Into the Field of Love\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2014) and\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBeyondless\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2018) saw a softening of the band’s hardest edges and the arrival of a certain world-weary vaudeville in the Iceage sound. The band’s past two records — all filtered twangy guitar riffs, sparse piano arrangements, and slinky, slow-moving rhythms — ventured into an intoxicated but knowing swirl, surveying the party at the end of the night. They’d seen it all, at least once, and their music rode the crest of that chaos.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e, the band’s first record made with an outside producer, is the place they have been called to next. The LP was recorded at Namouche, a dilapidated wood-paneled Lisbon radio studio of 1960s vintage where the band set up for 12 days. It is the longest time they have spent recording a record. Steady rain dripped through the ceiling; they had to arrange their equipment around puddles and slowly-filling buckets covered in cloth so that the sound of droplets wouldn’t reach the mics. Sonic Boom arranged garden lamps from a nearby party store for mood lighting in the high-ceiling space. A choir, the Lisboa Gospel Collective, joined the band for two tracks on the final day in the studio providing a new scale to Rønnenfelt’s incantations.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSinger and primary songwriter Elias Rønnenfelt casts their new producer as a sparring partner, another wayward mind to bounce ideas off of. “We wanted a partner that had some noise that we didn’t have, more a wizard than a producer. We thought he’d be that kind of wizard for us, and we were right — he came in with a truckload of strange equipment that we’d never seen before.” Kember, reflecting on the session and reaching for his highest praise, describes Iceage as “fucking show offs, like everyone who was ever great and emotional and honest.” “Writing a song is like trying to find a space where you can make something that’s been riled up and down through the years feel like it belongs to your present moment,” says Rønnenfelt. This record, written in a single week’s long session of isolation with journals from the past two years, is a summation of life through this period of time. “It becomes an amalgamation of ideas and impressions of things that you’ve been provoked by or had to live through. You end up with something that is a rough, blurry perspective of what that period of time was like, a mishmash of personal struggle that is shaded throughout by a world that seems more transparent in its inherently cruel ways.” Romance and desire, as described in “Love Kills Slowly” and the album closer “The Holding Hand,” are feelings that stretch torturously — a race without a finish line.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhat precisely makes an Iceage song is still a mysterious thing, and the band wishes to maintain this protean quality. “If there’s ever a point in our history when something in the songs starts to seem easy but doesn’t really excite us that much, we just discard that shit right away,” says Rønnenfelt. With\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e, they’ve managed to hold onto this core of total presence and constant risk while writing their most ambitious songs. Even Rønnenfelt was surprised with what they were able to create together. “When we started, I think we were just lashing out, completely blindfolded with no idea as to why and how we were doing anything. For\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e, we had a definite vision of how we wanted the album to be carved out, yet still the end result came as a surprise in terms of where we sonically were able to push our boundaries.\" He’s speaking of the new record and also of their entire existence as a band, a travelogue that has catapulted these four friends far past the horizons of punk. “Some of that we wanted to remain intact. We try to keep the mystery. If there's no sense of mystery in it for us, then it's not fun.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis a record that now exists at a moment of a collective unknown, when every beating heart wonders what will happens next.\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":47589449236781,"sku":"184923129038","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/ReleaseProduct-220931-169917.jpg?v=1700164089"},{"product_id":"iceage-seek-shelter-184923129021","title":"Iceage - Seek Shelter CD","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA decade on from their first record, Iceage continue to harness their lives together through music. This journey, in music and life, has never progressed in a linear fashion.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e— Iceage’s fifth LP and first for Mexican Summer — is proof that their lives are still happening through their music, and that they remain determined to harness it. Enrolling Sonic Boom (Pete Kember of Spacemen 3) to produce,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003esees Iceage’s propulsive momentum pushing them in new, expansive, ecstatic directions. The sound of an emotional core unwound,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eradiates warmth and a profound desire for salvation in a world that’s spinning further and further out of control.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn an extraordinary and unexpected run following the release of their debut LP, Iceage went from the fertile hyperlocal Copenhagen scene to stages all over the world. Their recordings reflect their journey: 2012’s\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eYou’re Nothing\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ewas hard, fast and raw, a bold doubling-down on the aggression of youth in the first record as well as the weight of expectation.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePlowing Into the Field of Love\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2014) and\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBeyondless\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2018) saw a softening of the band’s hardest edges and the arrival of a certain world-weary vaudeville in the Iceage sound. The band’s past two records — all filtered twangy guitar riffs, sparse piano arrangements, and slinky, slow-moving rhythms — ventured into an intoxicated but knowing swirl, surveying the party at the end of the night. They’d seen it all, at least once, and their music rode the crest of that chaos.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e, the band’s first record made with an outside producer, is the place they have been called to next. The LP was recorded at Namouche, a dilapidated wood-paneled Lisbon radio studio of 1960s vintage where the band set up for 12 days. It is the longest time they have spent recording a record. Steady rain dripped through the ceiling; they had to arrange their equipment around puddles and slowly-filling buckets covered in cloth so that the sound of droplets wouldn’t reach the mics. Sonic Boom arranged garden lamps from a nearby party store for mood lighting in the high-ceiling space. A choir, the Lisboa Gospel Collective, joined the band for two tracks on the final day in the studio providing a new scale to Rønnenfelt’s incantations.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSinger and primary songwriter Elias Rønnenfelt casts their new producer as a sparring partner, another wayward mind to bounce ideas off of. “We wanted a partner that had some noise that we didn’t have, more a wizard than a producer. We thought he’d be that kind of wizard for us, and we were right — he came in with a truckload of strange equipment that we’d never seen before.” Kember, reflecting on the session and reaching for his highest praise, describes Iceage as “fucking show offs, like everyone who was ever great and emotional and honest.” “Writing a song is like trying to find a space where you can make something that’s been riled up and down through the years feel like it belongs to your present moment,” says Rønnenfelt. This record, written in a single week’s long session of isolation with journals from the past two years, is a summation of life through this period of time. “It becomes an amalgamation of ideas and impressions of things that you’ve been provoked by or had to live through. You end up with something that is a rough, blurry perspective of what that period of time was like, a mishmash of personal struggle that is shaded throughout by a world that seems more transparent in its inherently cruel ways.” Romance and desire, as described in “Love Kills Slowly” and the album closer “The Holding Hand,” are feelings that stretch torturously — a race without a finish line.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhat precisely makes an Iceage song is still a mysterious thing, and the band wishes to maintain this protean quality. “If there’s ever a point in our history when something in the songs starts to seem easy but doesn’t really excite us that much, we just discard that shit right away,” says Rønnenfelt. With\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e, they’ve managed to hold onto this core of total presence and constant risk while writing their most ambitious songs. Even Rønnenfelt was surprised with what they were able to create together. “When we started, I think we were just lashing out, completely blindfolded with no idea as to why and how we were doing anything. For\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e, we had a definite vision of how we wanted the album to be carved out, yet still the end result came as a surprise in terms of where we sonically were able to push our boundaries.\" He’s speaking of the new record and also of their entire existence as a band, a travelogue that has catapulted these four friends far past the horizons of punk. “Some of that we wanted to remain intact. We try to keep the mystery. If there's no sense of mystery in it for us, then it's not fun.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis a record that now exists at a moment of a collective unknown, when every beating heart wonders what will happens next.\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003eA decade on from their first record, Iceage continue to harness their lives together through music. This journey, in music and life, has never progressed in a linear fashion.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSeek Shelter\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e— Iceage’s fifth LP and first for Mexican Summer — is proof that their lives are still happening through their music, and that they remain determined to harness it. Enrolling Sonic Boom (Pete Kember of Spacemen 3) to produce,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSeek Shelter\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003esees Iceage’s propulsive momentum pushing them in new, expansive, ecstatic directions. The sound of an emotional core unwound,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSeek Shelter\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eradiates warmth and a profound desire for salvation in a world that’s spinning further and further out of control.\u003c\/p\u003e\n\u003cp\u003eIn an extraordinary and unexpected run following the release of their debut LP, Iceage went from the fertile hyperlocal Copenhagen scene to stages all over the world. Their recordings reflect their journey: 2012’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eYou’re Nothing\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas hard, fast and raw, a bold doubling-down on the aggression of youth in the first record as well as the weight of expectation.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePlowing Into the Field of Love\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2014) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBeyondless\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2018) saw a softening of the band’s hardest edges and the arrival of a certain world-weary vaudeville in the Iceage sound. The band’s past two records — all filtered twangy guitar riffs, sparse piano arrangements, and slinky, slow-moving rhythms — ventured into an intoxicated but knowing swirl, surveying the party at the end of the night. They’d seen it all, at least once, and their music rode the crest of that chaos.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSeek Shelter\u003c\/em\u003e, the band’s first record made with an outside producer, is the place they have been called to next. The LP was recorded at Namouche, a dilapidated wood-paneled Lisbon radio studio of 1960s vintage where the band set up for 12 days. It is the longest time they have spent recording a record. Steady rain dripped through the ceiling; they had to arrange their equipment around puddles and slowly-filling buckets covered in cloth so that the sound of droplets wouldn’t reach the mics. Sonic Boom arranged garden lamps from a nearby party store for mood lighting in the high-ceiling space. A choir, the Lisboa Gospel Collective, joined the band for two tracks on the final day in the studio providing a new scale to Rønnenfelt’s incantations.\u003c\/p\u003e\n\u003cp\u003eSinger and primary songwriter Elias Rønnenfelt casts their new producer as a sparring partner, another wayward mind to bounce ideas off of. “We wanted a partner that had some noise that we didn’t have, more a wizard than a producer. We thought he’d be that kind of wizard for us, and we were right — he came in with a truckload of strange equipment that we’d never seen before.” Kember, reflecting on the session and reaching for his highest praise, describes Iceage as “fucking show offs, like everyone who was ever great and emotional and honest.” “Writing a song is like trying to find a space where you can make something that’s been riled up and down through the years feel like it belongs to your present moment,” says Rønnenfelt. This record, written in a single week’s long session of isolation with journals from the past two years, is a summation of life through this period of time. “It becomes an amalgamation of ideas and impressions of things that you’ve been provoked by or had to live through. You end up with something that is a rough, blurry perspective of what that period of time was like, a mishmash of personal struggle that is shaded throughout by a world that seems more transparent in its inherently cruel ways.” Romance and desire, as described in “Love Kills Slowly” and the album closer “The Holding Hand,” are feelings that stretch torturously — a race without a finish line.\u003c\/p\u003e\n\u003cp\u003eWhat precisely makes an Iceage song is still a mysterious thing, and the band wishes to maintain this protean quality. “If there’s ever a point in our history when something in the songs starts to seem easy but doesn’t really excite us that much, we just discard that shit right away,” says Rønnenfelt. With\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSeek Shelter\u003c\/em\u003e, they’ve managed to hold onto this core of total presence and constant risk while writing their most ambitious songs. Even Rønnenfelt was surprised with what they were able to create together. “When we started, I think we were just lashing out, completely blindfolded with no idea as to why and how we were doing anything. For\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSeek Shelter\u003c\/em\u003e, we had a definite vision of how we wanted the album to be carved out, yet still the end result came as a surprise in terms of where we sonically were able to push our boundaries.\" He’s speaking of the new record and also of their entire existence as a band, a travelogue that has catapulted these four friends far past the horizons of punk. “Some of that we wanted to remain intact. We try to keep the mystery. If there's no sense of mystery in it for us, then it's not fun.”\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSeek Shelter\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a record that now exists at a moment of a collective unknown, when every beating heart wonders what will happens next.\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":47589449269549,"sku":"184923129021","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/ReleaseProduct-218419-128502.jpg?v=1700164056"},{"product_id":"iceage-seek-shelter-184923129014","title":"Iceage - Seek Shelter Standard Black Vinyl","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA decade on from their first record, Iceage continue to harness their lives together through music. This journey, in music and life, has never progressed in a linear fashion.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e— Iceage’s fifth LP and first for Mexican Summer — is proof that their lives are still happening through their music, and that they remain determined to harness it. Enrolling Sonic Boom (Pete Kember of Spacemen 3) to produce,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003esees Iceage’s propulsive momentum pushing them in new, expansive, ecstatic directions. The sound of an emotional core unwound,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eradiates warmth and a profound desire for salvation in a world that’s spinning further and further out of control.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn an extraordinary and unexpected run following the release of their debut LP, Iceage went from the fertile hyperlocal Copenhagen scene to stages all over the world. Their recordings reflect their journey: 2012’s\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eYou’re Nothing\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ewas hard, fast and raw, a bold doubling-down on the aggression of youth in the first record as well as the weight of expectation.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ePlowing Into the Field of Love\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2014) and\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBeyondless\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(2018) saw a softening of the band’s hardest edges and the arrival of a certain world-weary vaudeville in the Iceage sound. The band’s past two records — all filtered twangy guitar riffs, sparse piano arrangements, and slinky, slow-moving rhythms — ventured into an intoxicated but knowing swirl, surveying the party at the end of the night. They’d seen it all, at least once, and their music rode the crest of that chaos.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e, the band’s first record made with an outside producer, is the place they have been called to next. The LP was recorded at Namouche, a dilapidated wood-paneled Lisbon radio studio of 1960s vintage where the band set up for 12 days. It is the longest time they have spent recording a record. Steady rain dripped through the ceiling; they had to arrange their equipment around puddles and slowly-filling buckets covered in cloth so that the sound of droplets wouldn’t reach the mics. Sonic Boom arranged garden lamps from a nearby party store for mood lighting in the high-ceiling space. A choir, the Lisboa Gospel Collective, joined the band for two tracks on the final day in the studio providing a new scale to Rønnenfelt’s incantations.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSinger and primary songwriter Elias Rønnenfelt casts their new producer as a sparring partner, another wayward mind to bounce ideas off of. “We wanted a partner that had some noise that we didn’t have, more a wizard than a producer. We thought he’d be that kind of wizard for us, and we were right — he came in with a truckload of strange equipment that we’d never seen before.” Kember, reflecting on the session and reaching for his highest praise, describes Iceage as “fucking show offs, like everyone who was ever great and emotional and honest.” “Writing a song is like trying to find a space where you can make something that’s been riled up and down through the years feel like it belongs to your present moment,” says Rønnenfelt. This record, written in a single week’s long session of isolation with journals from the past two years, is a summation of life through this period of time. “It becomes an amalgamation of ideas and impressions of things that you’ve been provoked by or had to live through. You end up with something that is a rough, blurry perspective of what that period of time was like, a mishmash of personal struggle that is shaded throughout by a world that seems more transparent in its inherently cruel ways.” Romance and desire, as described in “Love Kills Slowly” and the album closer “The Holding Hand,” are feelings that stretch torturously — a race without a finish line.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhat precisely makes an Iceage song is still a mysterious thing, and the band wishes to maintain this protean quality. “If there’s ever a point in our history when something in the songs starts to seem easy but doesn’t really excite us that much, we just discard that shit right away,” says Rønnenfelt. With\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e, they’ve managed to hold onto this core of total presence and constant risk while writing their most ambitious songs. Even Rønnenfelt was surprised with what they were able to create together. “When we started, I think we were just lashing out, completely blindfolded with no idea as to why and how we were doing anything. For\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e, we had a definite vision of how we wanted the album to be carved out, yet still the end result came as a surprise in terms of where we sonically were able to push our boundaries.\" He’s speaking of the new record and also of their entire existence as a band, a travelogue that has catapulted these four friends far past the horizons of punk. “Some of that we wanted to remain intact. We try to keep the mystery. If there's no sense of mystery in it for us, then it's not fun.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeek Shelter\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis a record that now exists at a moment of a collective unknown, when every beating heart wonders what will happens next.\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":47589449400621,"sku":"184923129014","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/ReleaseProduct-218419-128504.jpg?v=1700164115"},{"product_id":"iceage-for-love-of-grace-the-hereafter-black-lp-pre-order-ships-may-29-2026","title":"Iceage - For Love of Grace \u0026 the Hereafter - Black LP","description":"\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eFor Love of Grace \u0026amp; the Hereafter is the sixth studio album from beloved Danish quintet Iceage. Across the sprawling, twelve song arc of the album, a universe of love variously expands and contracts in an eternal tango, Elias Rønnenfelt’s lyrics burn with apocalyptic intimacy while the band masterfully maneuvers within their shape-shifting scenery of feral post-punk.\u003c\/span\u003e\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":51888771301677,"sku":"840526505289","price":28.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/MEX361_Iceage-ForLoveofGrace_Mockups_05.png?v=1772734773"},{"product_id":"iceage-for-love-of-grace-the-hereafter-cd-pre-order-ships-may-29-2026","title":"Iceage - For Love of Grace \u0026 the Hereafter - CD","description":"\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eFor Love of Grace \u0026amp; the Hereafter is the sixth studio album from beloved Danish quintet Iceage. Across the sprawling, twelve song arc of the album, a universe of love variously expands and contracts in an eternal tango, Elias Rønnenfelt’s lyrics burn with apocalyptic intimacy while the band masterfully maneuvers within their shape-shifting scenery of feral post-punk.\u003c\/span\u003e\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Default Title","offer_id":51888775299373,"sku":"840526505883","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0846\/5802\/8845\/files\/MEX361_Iceage-ForLoveofGrace_Mockups_03.png?v=1772735028"}],"url":"https:\/\/mexicansummer.myshopify.com\/collections\/iceage.oembed","provider":"Mexican Summer","version":"1.0","type":"link"}