Metal Used Vinyl 27 Items

Red Transparent vinyl

Cover with beginning of seam split on top spine.

Evergreen / Brown / Yellow Tri-Color Merge w/ Mustard Splatter vinyl.

Cyan / Black Marbled [Transparent] vinyl. Still in shrink, but opened, with hype sticker

Limited edition.

Blue Splatter vinyl

Blue [Aqua]
vinyl

Copy close to NM

Vinyl close to NM. Original inner sleeve with seam splits

signed by all 3 members.

Third press with black streaks, Gatefold Cover,

Cover with bumped corner. Copy closer to NM

Crystal Clear, Red & Blue Marbled vinyl

Vinyl with a couple of light scuffs. Cover with light creasing around the edges

Cover with slightly bumped corner, closer to NM.

Vinyl closer to NM

Clear With Neon Orange And Black Smoke vinyl. With inserts and 7"

Vinyl with a couple of light scuffs, closer to VG+. Cover with sticker

Picture disc

Stemming out of an offer from Roadburn Festival organizer Walter Hoeijmakers, mutual acquaintances, and a shared love of each other's output, May Our Chambers Be Full is the first recorded document of collaboration between Emma Ruth Rundle and Thou. While their solo material seems on its face to be quite disparate, both groups have spent their respective careers lurking at the outer boundaries of the heavy metal scene, the artists having more in common with DIY punk and its spiritual successor, grunge. May Our Chambers Be Full straddles a similar, very fine line both musically and thematically. While Emma Ruth Rundle's standard fare is a blend of post-rock-infused folk music, and Thou is typically known for its downtuned, doomy sludge, the conjoining of the two artists has created a record more in the vein of the early '90s Seattle sound and later '90s episodes of Alternative Nation, while still retaining much of the artists' core identities. Likewise, the lyrical content of the album is a marriage of mental trauma, existential crises, and the ecstatic tradition of the expressionist dance movement. "Excessive sorrow laughs. Excessive joy weeps." Melodic, melancholic, heavy, visceral. The visual art accompanying this work was created in collaboration with preeminent New Orleans photographer Craig Mulcahy. The faceless, genderless models are meant to emphasize this pervasive state of ambiguity and emotional vacillation, the images falling somewhere between modern high fashion and classical Renaissance.