Name: A Better Treatment / Everyone Gets In
Brand: Spice

Bonus disc

Bonus disc: No

Catalogue number

DAIS172LPC2

{"blocks": [{"data": {"text": "DAIS172LPC2"}, "type": "paragraph"}]}

Colour

Yellow

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: Yes

Format detail

Format Music GB

Limited edition

Release date

2021-11-19

Signed copies

Signed copies: No

Supplier GB

Tax rate GB

Standard:20

UPC / Barcode

0011586671782

{"blocks": [{"data": {"text": "0011586671782"}, "type": "paragraph"}]}

Total Cap

1 / 7" / Extended format: Yes / Rough Trade Exclusive: No / Signed copies: No / yellow

Artist

Spice

Genre GB

Alternative / Modern

Label GB

Dais

Dais Records is an independent American record label founded by Gibby Miller and Ryan Martin in 2007. Based in Los Angeles, California and New York, New York, Dais Records operates as a genre-agnostic label with a focus on experimental and avant-garde music. The label represents both emerging and established active artists while also curating rare and out of print material for reissue projects. Dais Records exclusively distributes its releases through Secretly Distribution.

An all female pop group formed in 1994 in London, England. The group consisted of Melanie Brown ("Scary Spice"), Melanie Jayne Chisholm ("Sporty Spice"), Emma Bunton ("Baby Spice"), Geri Halliwell ("Ginger Spice"), and Victoria Beckham, née Adams ("Posh Spice").
Spice was a highly successful British girl group that dominated the music scene in the late 90s. Known for their catchy pop tunes and energetic performances, they quickly became global icons.
Their unique personas and individual styles made them relatable to fans worldwide. From Scary's boldness to Sporty's athleticism, Baby's innocence to Ginger's fiery personality, and Posh's elegance - each member brought something special to the group.

Spice singer Ross Farrar speaks of the band’s ambition to forge a sort of aesthetic patois: a mode of expression as strikingly regional as it is recognizable. Last year’s self-titled debut, released in the depths of the pandemic, fully achieved this goal, distilling decades of North Bay punk and post-hardcore into an urgent, artful set of emotive unrest. Their latest single, A Better Treatment b/w Everyone Gets In, further refines the group’s singular mix of weathered melody and abrasive poetics, equal parts bracing, bruised, and cryptic. 

“A Better Treatment” began as a song about a friend who died but through the turmoil of collaboration transformed into something more macroscopic and opaque, blurring the boundary between hopeful and defeated (“I thought loving someone would cure my self-hatred”). Bass and drums build against walls of guitar while the violin threads its own melancholy within the noise; Farrar is blunt about the intention: “The violin is an instrument of death you know.” 

“Everyone Gets In” is both poppier and more pained, an anthem for angst aging into the reverie of regret: “We lose our strength / along the way / we lose each other / the funeral sways.” The tempo sways too, gradually slowing to an anxious crawl before finally revving back into a storm of shimmering guitar and splashing drums, fighting against the dying of the light. It’s music of raw truths and rejected pedestals, storied but unswerving, a revolt against the great regress: “and my / my time is spent / adoring seasons / that I / I never should’ve.”

A Better Treatment / Everyone Gets In

Music GB