We've launched exclusive vinyl variants of two of Every Time I Die's albums: 2014's From Parts Unknown, and 2016's Low Teens. From Parts Unknown is pressed to "light blue with spring green splatter" vinyl and limited to 500 copies, and Low Teens is on "baby pink and black galaxy" vinyl and limited to 300 copies. Pre-order yours HERE while they last!

Here's more on From Parts Unknown from our Every Time I Die album guide:

Every Time I Die were constantly doing the unexpected, so it makes sense that they followed Ex Lives with an album that was not like Ex Lives at all. For From Parts Unknown, they welcomed back Hot Damn! bassist Steve Micciche (who would remain with them until the end), and -- crucially -- they hit the studio with producer Kurt Ballou of Converge. Converge's chaotic sound was of course a major influence on ETID since day one, and Kurt is known for producing some pretty abrasive shit, so it makes sense that the album with Kurt is also ETID's most straight-up heavy album since Hot Damn!. It kicks off with two of the most furious, bludgeoning songs ETID had released in years, one of which features throat-shredding growls by Sean Ingram of mathcore legends Coalesce. From there, FPU continues to offer up some of the fastest, angriest, most purely brutal music of ETID's career. Coming this late in the game, after ETID had progressed and matured so much, it resulted in a record that wasn't so much a return to form, but more of a revision of form. On the surface, it's the 2010s album that's most similar to Hot Damn!, but the more you dive into it, the more you see it's so much more than that.

For all of FPU's chaos, signs of the band's evolution poked their way through too. "Decayin' with the Boys" finds the middle ground between this album's hardcore fury and the more accessible side of the other post-Hot Damn! albums, and it remained a fan-fave live staple until the band's breakup. "Moor" the album's most experimental song, opening as a piano ballad and closing with nasty, detuned, subterranean riffage. "Old Light" recruits The Gaslight Anthem's Brian Fallon to inject a dose of melodic punk over a riff that kinda sounds like Blondie's "Will Anything Happen," and it still manages to be full of darkness. The album is a late-career triumph, one that went left when most would've expected them to go right, and still stands out as an ETID album like no other. It continued to establish ETID as an enduring band with more longevity than so many of their peers, and Keith himself screamed about on "Overstayer." "I should've drowned in the flood with the rest/I had the chance, but here I am."

And here's more on Low Teens:

From Parts Unknown was a cathartic detour from what Every Time I Die began with Ex Lives, but Low Teens put them right back on the same envelope-pushing path as their 2012 LP. It's quintessential Every Time I Die, with 13 songs that push the band in all sorts of directions, from their bluesiest licks (the intros of "Fear and Trembling" and "It Remembers") to their most furious hardcore ("Glitches," "Just as Real but Not as Brightly Lit") to their catchiest singalongs ("C++ [Love Will Get You Killed]," "Two Summers") to their most unpredictable and genre-defying moments ("Religion of Speed"). They pay tribute to their OG metalcore roots with guest barks on "Fear and Trembling" from Tim Singer of Deadguy, who were a clear influence on ETID since day one, and they also go in the exact opposite direction, embracing pop crossover with a guest appearance by Panic! the Disco's Brendon Urie, who sounds way more natural on an Every Time I Die song than you might've guessed he would. (Side note: Brendon should do more metalcore! He's good at it!) And throughout all of it, Keith -- who had published his first novel Scale a year prior -- continued to expand his lyricism, writing songs that were literary and poetic like "Fear and Trembling," as well as more personal songs that touched on his wife, newborn child, and his own struggles with alcohol, and more macro issues like the terrorist attack in Paris that inspired "Glitches." As on From Parts Unknown's "Overstayer," Low Teens also looks at what's going on internally when you're fronting a band and living in the public eye for this long. "I want to live in the year 2000/When I was dumb enough to truly believe," he sings on "Awful Lot," and on "The Coin Has A Say" he adds, "I can't go back to what I was/Metallica without the drugs."

As the band's second consecutive album with Hot Damn!-era bassist Steve Micciche, Low Teens found ETID continuing to cement what would become the "core four" of the band's lineup, and continuing to progress their chemistry too. The Jordan Buckley/Andy Williams riff machine is operating in full force, and Steve's basslines are a crucial part of that too. Also holding down the rhythm section with Steve is drummer Daniel Davison (previously of Norma Jean and Underoath), who was only in ETID for this album and whose busy, hard-hitting style was no small part of what made Low Teens such a force. Last and not even close to least was producer Will Putney (of Fit For An Autopsy and END). Will was on his way to becoming the go-to producer for the modern metalcore scene that took shape in the late 2010s, making him the perfect fit for a veteran band who had no interest in looking backwards. Low Teens was the band's first of two albums with Will, and their bond only strengthened over the years, which would soon leave a noticeable impact on ETID's towering swan song Radical.

Stream both albums below, pre-order the vinyl HERE, and read the album guide in full HERE.

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