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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. <a href="https: whlung. bandcamp. com album every inch of earth pulsates">Every Inch of Earth
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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4.8 ★★★★★
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Product Reviews
★★★★★ 4
Pants run small
Size: 3X-Large, Color: Purple
Jacket fit .. but pants did not. Nice suit though.
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Reviewed in the United States on May 28, 2025
★★★★★ 5
Fits like a glove, looks like a million!
Size: Small, Color: Purple
Bought this as a gift for him and very impressed. Looks like a million dollars, fit true to size, looks tailored not cheap. Fabric is quality, stitching is done well and the pants have a nice hidden elastic extender that helps if he goes up or down a few pounds. Very impressed!
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Reviewed in the United States on May 14, 2026
★★★★★ 5
It was the perfect suit for our big day!
Size: X-Small, Color: Purple, Size: X-Small, Color: Purple
Purple size xs. He's 5'9" 145-150lbs. Very impressed with this suit. The color and pattern is awesome. The fit was good. I would say this suit runs large. Usually he wears a Medium in everything but ordered an XS and it fit very well. The pants were long we had to get those hemmed. There was a few stray strings by the end of the night in areas of the suit. But overall good quality. And for a great price.
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Reviewed in the United States on August 13, 2025
★★★★★ 3
We were excited and I wanted to like it but...
Size: X-Small, Color: Black, Size: X-Small, Color: Black
We ordered this for Prom and it was supposed to be a size small, which was available for Prime ordering, but had to settle for xsmall. The pants, fortunately fit well and just need to be hemmed, the vest is great and the jacket is snug. My son has broad shoulders and I was hesitant to buy the xsmall, but it does fit just right. The only thing he would need to do is unbutton the jacket while he is dancing and maybe take it off while seated and eating dinner before prom. The material is surprisingly nice and has weight to it. I was relieved it isn't flimsy. The overall look on my son is smooth and we love the pattern and the material has shine to it. I was not happy that right out of the package, the button to the jacket could potentially fall off during because it doesn't look securely sewed in. The side of the right side of the jacket has thread already coming apart. And I found a little snag in a different location. I'm really not happy about that. I posted photos so you can see what I mean. We were excited about this suit, but it's going back. The company needs to do better with quality control.
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Reviewed in the United States on May 2, 2023
★★★★★ 5
Very Nice Fit!
Size: X-Large, Color: Black
Excellent quality and perfect fit! I used thr recommended size chart and it was just right. The design pattern in the suit gives it a very nice look. I'd order from Kudoro again!
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Reviewed in the United States on January 18, 2026
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