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W. H. Lung – Every Inch of Earth Pulsates [IMPORT Clear Vinyl] – New LPMancunian synth pop outfit W. H. Lung decided to try something new on their third album Every Inch of Earth Pulsates, in order to capture the energy, spirit and dynamism of their live shows. Something that has become paramount to the group in recent years as they have undeniably blossomed into one of the most joyous and arresting live bands in the country. Every Inch of Earth Pulsates by W. H. Lung They relocated to Sheffield to work for the first
Mancunian synth pop outfit W.H.Lung decided to try something new on their third album Every Inch of Earth Pulsates, in order to capture the energy, spirit and dynamism of their live shows. Something that has become paramount to the group in recent years as they have undeniably blossomed into one of the most joyous and arresting live bands in the country.
They relocated to Sheffield to work for the first time with Ross Orton (MIA, Arctic Monkeys, Working Men’s Club), who was able to harness this side of the band to remarkable effect. “Ross is the Sheffield Steve Albini,” says singer Joseph Evans. “He’s the king of not overthinking it and trusting the process of the art of recording songs. He was always there to stop us fucking around with cerebral stuff and get it down.” guitarist Tom Sharkett echoes this too: “He was the exact producer we needed without us even realising. His productions and mixes are bombastic, lively and in your face. He brought a real dose of magic to the songs we’d written." While this 2024 album, which follows Incidental Music (2019) and Vanities (2021), is rooted in a sense of capturing a moment and a sparky liveness, that’s not to say it’s a raw or ragged record. It is still a meticulously composed, delicately layered and pristinely produced piece of work that, in true W.H. Lung style, runs the gauntlet from dance to pop to indie while still capturing that distinctly unique quality that is unquestionably their own. It’s a significant leap forward, expanding on their solid foundations while also breaking new ground.
They relocated to Sheffield to work for the first time with Ross Orton (MIA, Arctic Monkeys, Working Men’s Club), who was able to harness this side of the band to remarkable effect. “Ross is the Sheffield Steve Albini,” says singer Joseph Evans. “He’s the king of not overthinking it and trusting the process of the art of recording songs. He was always there to stop us fucking around with cerebral stuff and get it down.” guitarist Tom Sharkett echoes this too: “He was the exact producer we needed without us even realising. His productions and mixes are bombastic, lively and in your face. He brought a real dose of magic to the songs we’d written." While this 2024 album, which follows Incidental Music (2019) and Vanities (2021), is rooted in a sense of capturing a moment and a sparky liveness, that’s not to say it’s a raw or ragged record. It is still a meticulously composed, delicately layered and pristinely produced piece of work that, in true W.H. Lung style, runs the gauntlet from dance to pop to indie while still capturing that distinctly unique quality that is unquestionably their own. It’s a significant leap forward, expanding on their solid foundations while also breaking new ground.
“A huge thing for this record was to make it feel as close to our live show as possible,” says Tom Sharkett of W.H. Lung’s latest album. “We didn’t want it to sound live but we wanted to capture the excitement of the live performances.”
This is something that has become paramount to the group in recent years as they have undeniably blossomed into one of the most joyous and arresting live bands in the country. “The reason I’m in a band is to play live music,” says singer Joe Evans. “For me, music is live music. That’s what it’s for, to be played with people.”
The five-piece band, also featuring Chris Mulligan, Hannah Peace, and Alex Mercer-Main, decided to try something new on their third album after two incredibly successful collaborations with previous producer Matt Peel. In order to capture the energy, spirit and dynamism of their live shows, they relocated to Sheffield to work with Ross Orton (MIA, Arctic Monkeys, Working Men’s Club) who was able to harness this side of the band to remarkable effect. “Ross is the Sheffield Steve Albini,” says Evans. “He’s the king of not overthinking it and trusting the process of the art of recording songs. He was always there to stop us fucking around with cerebral stuff and get it down.” Sharkett echoes this too: “He was the exact producer we needed without us even realising. His productions and mixes are bombastic, lively and in your face and that’s exactly what we wanted.”
However, while this album is rooted in a sense of capturing a moment and a sparky liveness, that’s not to say it’s a raw or ragged record. It is still a meticulously composed, delicately layered and pristinely produced piece of work that, in true W.H. Lung style, runs the gauntlet from dance to pop to indie while still capturing that distinctly unique quality that is unquestionably their own. “It was a really big thing for me to realise what made us sound like us on this record,” says Sharkett. “I think the album sounds a lot more confident and self assured because of it. Some songs sound just so much like Lung and I’m really proud of that. I’m not sure we’ve done that as consistently across the other records.”
While the band have drilled deeper into finding their own singular identity, it’s not a record resting on its laurels. It’s a significant leap forward, expanding on their solid foundations while also breaking new ground. “The big difference with this record is its directness in every sense,” says Sharkett. “The songwriting is more upfront. Previously we’d focused a lot on vibe and production as opposed to just writing songs. The overall mission here was to revert to a classic songwriting structure and for the production to come afterwards.”
And so what you have on this record are deeply considered and well-crafted songs, then recorded with blistering intensity in the moment, and then given a touch of experimentation afterwards. Then throw in Orton’s contributions to the band and it’s proven to be a real winning formula. “He brought a real dose of magic to the songs we’d written,” says Sharkett. “And brought an extra bit of wonk and quirkiness each time.”
Such quirkiness is apparent from the opening ‘Lilac Sky’ which very briefly samples a learn to speak Spanish 12” before whirring atmospherics, hypnotic bass, and shimmering synths began to propel the song for launch. “I like it when there’s really clear punctuation at the start of a record,” says Sharkett. “It’s almost like a statement of intent and I wanted something like that, where if people knew the tune they could identify it within the first second.”
It’s also the perfect album opener in more than one way, setting the tone for an album rooted in exploration. “I went out onto Hampstead Heath one day when it was dusk and the sky was mad and I’d just taken some mushrooms,” recalls Evans. “I was thinking: just remember this, this is how things really are. So maybe this track acts like an invocation or a calling for the rest of the album. It’s about listening closely, paying attention, and being overwhelmed with an open heart.”
On ‘Bliss Bliss’ the band almost veer into anthemic indie territory, with its rousing chorus, euphoric lashes of synths and a vocal delivery that is festival headline worthy. “I sang it like I was singing a song I’d forgotten from when I was a teenager,” says Evans of his impassioned performance. It was a fresh approach for the band. “I thought the guitars felt too college rock at first but I just went with it,” says Sharkett. “It’s a completely different style of guitar playing for me and something much more traditional in the indie world but I was enjoying that.”
In many ways this was another foundational song for the LP. “This was the first instance of us writing more traditional songs for the album,” says Sharkett. “It kind of embodies our balance between being a live conventional guitar band and the shiny, synthy side of Lung to me. It feels like the perfect culmination of our experience as a band so far.”
The band’s ability to write more traditional and conventional songs is clearly a skill they’ve taken to with ease, at times there’s an almost Springsteen-like quality – but if he'd ever had an ecstasy period – to tracks such as ‘Thinner Wine’ and ‘Bloom and Fade’. While ‘How to Walk’ was constructed with one thing only in mind: that it would absolutely slay on stage. “I can’t wait to play this live,” says Evans. “We wanted a song to represent our live set, a new big one, and this is it.” Once again it leans towards the anthemic, with its driving, propulsive charge complete with incandescent synths and vocal melodies so irresistible you can already hear them being sung in unison by a crowd.
It’s an incredibly difficult feat to pull off a record that is more rooted in traditional songcraft while also capturing the power of a live performance, as well as pushing sonics into experimental new directions while working with a brand new collaborator. But here the band has managed to do just that.
And the album’s closing song ‘I Will Set Fire To The House’ is a perfect example of such a thing. It’s a song that feels immaculately constructed but also very much alive and of the moment as its radiating synths engulf from the off, and Evans’ vocal is silky but powerful and in perfect symbiosis with Peace’s. It’s a song that captures the endless joys of music playing long into the night. “It may be a bit of a bloody bombastic way to end an album saying ‘and we’ll dance into the sunrise’,” says Evans. “But fuck it.”
This is something that has become paramount to the group in recent years as they have undeniably blossomed into one of the most joyous and arresting live bands in the country. “The reason I’m in a band is to play live music,” says singer Joe Evans. “For me, music is live music. That’s what it’s for, to be played with people.”
The five-piece band, also featuring Chris Mulligan, Hannah Peace, and Alex Mercer-Main, decided to try something new on their third album after two incredibly successful collaborations with previous producer Matt Peel. In order to capture the energy, spirit and dynamism of their live shows, they relocated to Sheffield to work with Ross Orton (MIA, Arctic Monkeys, Working Men’s Club) who was able to harness this side of the band to remarkable effect. “Ross is the Sheffield Steve Albini,” says Evans. “He’s the king of not overthinking it and trusting the process of the art of recording songs. He was always there to stop us fucking around with cerebral stuff and get it down.” Sharkett echoes this too: “He was the exact producer we needed without us even realising. His productions and mixes are bombastic, lively and in your face and that’s exactly what we wanted.”
However, while this album is rooted in a sense of capturing a moment and a sparky liveness, that’s not to say it’s a raw or ragged record. It is still a meticulously composed, delicately layered and pristinely produced piece of work that, in true W.H. Lung style, runs the gauntlet from dance to pop to indie while still capturing that distinctly unique quality that is unquestionably their own. “It was a really big thing for me to realise what made us sound like us on this record,” says Sharkett. “I think the album sounds a lot more confident and self assured because of it. Some songs sound just so much like Lung and I’m really proud of that. I’m not sure we’ve done that as consistently across the other records.”
While the band have drilled deeper into finding their own singular identity, it’s not a record resting on its laurels. It’s a significant leap forward, expanding on their solid foundations while also breaking new ground. “The big difference with this record is its directness in every sense,” says Sharkett. “The songwriting is more upfront. Previously we’d focused a lot on vibe and production as opposed to just writing songs. The overall mission here was to revert to a classic songwriting structure and for the production to come afterwards.”
And so what you have on this record are deeply considered and well-crafted songs, then recorded with blistering intensity in the moment, and then given a touch of experimentation afterwards. Then throw in Orton’s contributions to the band and it’s proven to be a real winning formula. “He brought a real dose of magic to the songs we’d written,” says Sharkett. “And brought an extra bit of wonk and quirkiness each time.”
Such quirkiness is apparent from the opening ‘Lilac Sky’ which very briefly samples a learn to speak Spanish 12” before whirring atmospherics, hypnotic bass, and shimmering synths began to propel the song for launch. “I like it when there’s really clear punctuation at the start of a record,” says Sharkett. “It’s almost like a statement of intent and I wanted something like that, where if people knew the tune they could identify it within the first second.”
It’s also the perfect album opener in more than one way, setting the tone for an album rooted in exploration. “I went out onto Hampstead Heath one day when it was dusk and the sky was mad and I’d just taken some mushrooms,” recalls Evans. “I was thinking: just remember this, this is how things really are. So maybe this track acts like an invocation or a calling for the rest of the album. It’s about listening closely, paying attention, and being overwhelmed with an open heart.”
On ‘Bliss Bliss’ the band almost veer into anthemic indie territory, with its rousing chorus, euphoric lashes of synths and a vocal delivery that is festival headline worthy. “I sang it like I was singing a song I’d forgotten from when I was a teenager,” says Evans of his impassioned performance. It was a fresh approach for the band. “I thought the guitars felt too college rock at first but I just went with it,” says Sharkett. “It’s a completely different style of guitar playing for me and something much more traditional in the indie world but I was enjoying that.”
In many ways this was another foundational song for the LP. “This was the first instance of us writing more traditional songs for the album,” says Sharkett. “It kind of embodies our balance between being a live conventional guitar band and the shiny, synthy side of Lung to me. It feels like the perfect culmination of our experience as a band so far.”
The band’s ability to write more traditional and conventional songs is clearly a skill they’ve taken to with ease, at times there’s an almost Springsteen-like quality – but if he'd ever had an ecstasy period – to tracks such as ‘Thinner Wine’ and ‘Bloom and Fade’. While ‘How to Walk’ was constructed with one thing only in mind: that it would absolutely slay on stage. “I can’t wait to play this live,” says Evans. “We wanted a song to represent our live set, a new big one, and this is it.” Once again it leans towards the anthemic, with its driving, propulsive charge complete with incandescent synths and vocal melodies so irresistible you can already hear them being sung in unison by a crowd.
It’s an incredibly difficult feat to pull off a record that is more rooted in traditional songcraft while also capturing the power of a live performance, as well as pushing sonics into experimental new directions while working with a brand new collaborator. But here the band has managed to do just that.
And the album’s closing song ‘I Will Set Fire To The House’ is a perfect example of such a thing. It’s a song that feels immaculately constructed but also very much alive and of the moment as its radiating synths engulf from the off, and Evans’ vocal is silky but powerful and in perfect symbiosis with Peace’s. It’s a song that captures the endless joys of music playing long into the night. “It may be a bit of a bloody bombastic way to end an album saying ‘and we’ll dance into the sunrise’,” says Evans. “But fuck it.”
released October 18, 2024
Words by Joseph Evans, Music by Tom Sharkett
Produced by Ross Orton
Mastered by Dick Beetham
Performed by W. H. Lung
Artwork by DR ME.
W. H. Lung is Joseph Evans, Tom Sharkett, Alex Mercer Main, Chris Mulligan and Hannah Peace.
Words by Joseph Evans, Music by Tom Sharkett
Produced by Ross Orton
Mastered by Dick Beetham
Performed by W. H. Lung
Artwork by DR ME.
W. H. Lung is Joseph Evans, Tom Sharkett, Alex Mercer Main, Chris Mulligan and Hannah Peace.
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★★★★★ 5
Works as designed
Style: Standard Filter
Works as designed. No issues or defects.
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Reviewed in the United States on June 2, 2026
★★★★★ 4
works well for camping
Style: Standard Filter
I’ve used this filter on my camper for years without issues, so I installed one in my outdoor kitchen at home. It was connected to a hose bib and left under constant pressure, feeding a small electric water heater for a sink.
That turned out to be a mistake. Overnight, the top of the filter housing cracked and leaked water throughout the cabinet. No idea how long it was spraying.
This filter works fine for intermittent use (like camping), but it does not appear to be designed for continuous pressure. I would not recommend installing it in a permanent, always-pressurized setup.
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Reviewed in the United States on April 14, 2026
★★★★★ 5
Perfect, fits, nice to just have them sent to us.
Style: Standard Filter
Fits the bill. Clean water is so important and we enjoy the ease of having these sent right to us as we don’t live close to physical stores. They’re easy to install and the price is right!
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Reviewed in the United States on May 23, 2026
★★★★★ 5
Easy to install
Style: Standard Filter
Works great in RV
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Reviewed in the United States on May 24, 2026
★★★★★ 5
Nice hose filter for filling hot tubs
Style: Standard Filter
I bought this for filling up my hot tub. It does the trick. Straight tap water was difficult to balance the ph and keep it stable. When I fill the hot tub using the filter, the water is more balanced and easier to maintain. I used it for two 390gal refills before I noticed it was getting slower, so ordered another one. I haven’t used it for drinking water so can’t comment on the taste. It does seem to help with hardness though.
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Reviewed in the United States on May 3, 2026