Yungblud 'Idols' Capitol clear vinyl w/blood fill UK 1st + insert 2025

	£		84
	$		111

Yungblud 'Idols' Capitol Records 00602478276255  UK 1st press Clear vinyl, LP with blood fill. First press of the Blood filled vinyl - exclusive to Bad World. The record has real blood from Yungblud singer Dominic encased in the vinyl. The LP was issued with a fold-out 12"x12" insert with photos and lyrics and was released in June 2025. This LP is new and has never been played, so it is in mint condition. It is unsealed because that is how it was sent out by Bad World. Matrix / Runout (Side A runout): BW018 A1 -33- GILDA@POV Matrix / Runout (Side B runout): BW018 B. GILDA@POV
'Idols' is the fourth studio album by British musician Yungblud. It was released on 20 June 2025 through Locomotion Recordings and Capitol Records. It was preceded by the singles "Hello Heaven, Hello", "Lovesick Lullaby", and "Zombie". It was nominated for the Grammy Award for Best Rock Album at the 68th Annual Grammy Awards.
Idols was created over the course of four years in Leeds, a deliberate choice to work close to where Yungblud grew up, and has been called his most ambitious work yet. Yungblud referred to it as "a project with no limitations".
Harrison referred to the project as "a love letter to self-reclamation... to rock music... [and] to life; in all its fucking madness". Instead of focusing on singles, the creation process for Idols revolved around "feeling and world-building". He intended to challenge the ideas of "identity" by trying to strengthen one's self-worth and looking inward for answers about identity before looking at other people. Another theme he explores on the album is his own masculinity, a thought that he considers "a crazy thing to say in 2025". It marks a shift in his career, drawing influence from Britpop as well as a variety of artists, including Oasis, the Verve, Primal Scream, My Chemical Romance, David Bowie and Madonna.
Erazer Review by Amy Butters 20 June 2025 "Yungblud’s Idols is a bold, beautifully messy first chapter in a two-part story. It’s not afraid to get loud, soft, strange or vulnerable, and that’s exactly what makes it so compelling. The album’s emotional depth easily earns it a spot among his most memorable work. We already had a taste of what was coming with tracks like Lovesick Lullaby, Hello Heaven Hello, and Zombie. But Idols, the fourth studio album by Yungblud, doesn’t just meet expectations, it smashes them wide open. Clocking in at just under 48 minutes across 12 tracks, Idols is raw, cinematic, genre-defying, and emotionally unfiltered. This first instalment (the second half’s release date is still under wraps) feels like the most honest version of Dominic Harrison we’ve heard yet- and that’s saying something. The striking album cover, photographed by Tom Pallant, is the first clue: Idols isn’t here to play it safe. Yungblud has always challenged norms and refused to be boxed in, but here we see a different kind of confidence-less bravado, more vulnerability. He’s still raging, still theatrical, but there’s growth. This is a maturing artist, unafraid to show bruises alongside bravado. From the glam-rock shimmer of the title track Idols-which echoes the influence of his hero David Bowie-to the explosive power of Ghosts and Fire, the album is a genre blender that never feels confused. Britpop, punk, glam, indie, orchestral flourishes all here. Yungblud’s refusal to stay in one sonic lane doesn’t feel chaotic; it feels authentic. Why should he choose? Why should any of us? Change (track 6) is a gut-punch. A gospel-tinged orchestral cry for help with soaring violins, a cinematic electric guitar solo and the devastatingly relatable lyric: “I wish you’d stay in my life.” It’s arguably one of the most vulnerable tracks Dom has recorded, and the abrupt ending gives you a moment to process what you just heard.  Ghosts was 100% made for the stage. Its layered claps, orchestration and explosive guitar solo make you feel the electric atmosphere just through your earphones. This is going to be incredible to experience live. A standout moment for sure.  Similarly, Fire is all momentum and adrenaline. I hope there are enough pyrotechnicians clearing their schedules.  War taps into that dramatic rock-ballad energy we all secretly crave. It’s the kind of song you blast while walking home in the rain, pretending you’re in your own music video. (Don’t lie, we’ve all done it!) And then there’s Supermoon – a slow, beautiful closer that brings the curtain down with Bowie and Queen written all over it. Gentle but grand, it ties everything together with a lingering sense of melancholy and hope. It’s gentle, theatrical and a perfect closer – like the credits rolling on a beautiful, action-filled Blockbuster movie. Lyrically, Idols is rich with themes of identity, masculinity, love, grief and self-reflection. It’s an emotionally open record, often stripped of ego and heavy on honesty. This is Dom being real, not just rebellious. His description of the album as a project with “no limitations” rings true in every way: musically, lyrically and emotionally.
If this is just part one, we can’t wait to see where part two takes us".