Name: Chastity Belt
Brand: Chastity Belt

Tax rate EU

Default:19

Supplier EU

375 Media

Total Cap

Format detail

Colour details

Discogs ID

Limited edition

Colour

Format Music EU

Extended format

Extended format: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Signed copies

Signed copies: No

Download code

Download code: No

Bonus disc

Bonus disc: No

Release date

2019-09-20

Format multiplier

Catalogue number

134479

UPC / Barcode

98787311716

134480

98787311723

Artist

Chastity Belt

Label EU

Hardly Art

Genre EU

Indie Pop / Shoegaze

Chastity Belt is an indie rock band formed in Walla Walla, Washington, USA. The band consists of Julia Shapiro on guitar and vocals, Lydia Lund on guitar, Annie Truscott on bass, and Gretchen Grimm on drums. Currently based in Seattle, Washington and Los Angeles, California.
Their music has gained popularity for its unique blend of indie rock sound with introspective lyrics. Chastity Belt's songs explore themes of self-discovery, relationships, and personal growth.
With their captivating live performances and critically acclaimed albums such as "Time to Go Home" and "I Used to Spend So Much Time Alone," Chastity Belt has established themselves as a prominent figure in the indie rock scene.

Hardly Art is an independent record label based in Seattle, WA. Founded in early 2007 by Sub Pop Records, Hardly Art is run by three full-time employees and is distributed by the Alternative Distribution Alliance (ADA) and Sub Pop.

With a focus on discovering and promoting emerging artists, Hardly Art has established itself as a prominent player in the music industry. The label prides itself on its commitment to supporting artists who push boundaries and defy genres.

From indie rock to punk, pop to experimental sounds, Hardly Art's diverse roster showcases the best of underground talent. With a catalog that spans across various genres, there's something for every music lover on this innovative label.

Newest Listed Items

Chastity Belt talks a lot about intention these days—how to be more present with each other. The four piece—Julia Shapiro (vocals, guitar, drums), Lydia Lund (vocals, guitar), Gretchen Grimm (drums, vocals, guitar) and Annie Truscott (bass)—is nine years deep in this, after all. It seems now, more than ever, that circuit is a movement of intentionality, one that creates a space inside which they can be themselves, among themselves. It’s a space where the euphoria of making music with your best friends is protected from the outside world’s churning expectations. It’s a kind of safe zone for the band to occupy as their best selves: a group of friends who love each other.Their fourth record, Chastity Belt, comes out of that safe space. After a restorative few months on hiatus in 2018, each member worked on solo material or toured with other bands. “So much of the break was reminding ourselves to stay present, and giving ourselves permission to stop without saying when were gonna meet up again,” says guitarist Lydia Lund. “It was so important to have that—not saying, ‘we’re gonna get back together at this point,’ but really just open it up so we could get back to our present connection.”Their experience navigating adult life within the strange seasons of the music industry has Chastity Belt orienting themselves towards whatever gets them to feel the most present with each other, in any part of the band grind. With the luxury of spending several weeks in the studio with Jay Som’s Melina Duterte, Chastity Belt was able to experiment. The new self-titled album is the work of the band playing “old songs, and trying new things on top of it,” like adding more dynamic harmonies and violin, says bassist Annie Truscott. Lydia, Gretchen, and Julia all share lead vocals on different tracks on the album. The result is their most sonically developed and nuanced record yet; one that’s not only a product of, but a series of reflections on what it means to take what you need and to understand yourself better.Many of Chastity Belt’s signature dynamics, from the silly to the sincere, have read as feminist gestures: the Cool Slut DGAF-iness, the shrugging off of the “women in rock” press gargle, the fundamentally punk act of creating music on your own as a woman, and being lyrically forthright. What the making of Chastity Belt reveals is that the band has tapped into a deeper tradition of women making art on their terms: the act of self-preservation in favor of the long game. In favour of each other. In this cultural moment, taking space like this to prioritize the love over the product seems progressive. Chastity Belt’s intentions have resulted in an album deeply expressive of four people’s commitment to what they love most: making music with each other.

Music EU