Tag Archives: post-punk

Things We Liked in 2023 (Tough Love Edition)

Continuing our avoidance of year-end lists to, instead, highlight our favorite 2023 releases from labels we like…

This column focuses on London’s Tough Love label, which put out much that wasn’t difficult to enjoy in 2023, including these (particular) favorites:

Rat Columns, Babydoll.  Yes, Virginia, the year 2023 saw the return of Rat Columns, the currently Perth-based musical project helmed by David West, with Babydoll – the band’s first output for 2 years.  The new long-player showcases Rat Columns’ languorous, jangly side familiar to those (like us) who drooled over 2019’s Candle Power, while also layering in tighter, more muscular tracks, all the while maintaining West’s ear for melody.  The shoegaze swoop of beguiling opener, ‘Cerulean Blue’, sets a high bar, reminiscent of early EPs MBV or a distorted Lemonheads.  Elsewhere, strings and heavily strummed acoustics add tints of psych to should be future classics like the achingly lovely ‘December’.  Just for kicks, the band sprinkles in some crystalline synthpop over the feedback rushes of ‘Bees Make Honey’.  Well worth the wait.

Highlights include:  ‘Cerulean Blue’; ‘December’; ‘Heavenly Assault’.

Empty Country, Empty Country II.  This album was my introduction to Empty Country, for me, having somehow missed their first album.  No matter – it’s been enjoyable making up for lost time, and II has quickly become a favorite.  Even for one not typically attracted to big, heart on sleeve (dare I say, at times even Springsteenian) rock, the sheer, wrought righteousness of this set could not be denied.  Fronted by Joseph D’Agostino (formerly of Cymbals Without Guitars), the band is an absolute powerhouse.  The middle trio of ‘David’, ‘Dustine’ (personal favorite) and ‘Syd’ are hair-raisingly good.  It’s a fantastic ride, both cozily familiar and novelly exciting, with strains of Bowie, Patty Smith, Television, The Replacements.  Who the fuck is Jeff, indeed. 

Highlights include:  ‘Dustine’; ‘Pearl’; ‘Bootsie’.

Cindy, Why Not Now?.  San Francisco’s Cindy has quietly been releasing some of the best lo-fi, jangley indie pop around these past few years, but may have reached a new apex with April’s Why Not Now?  A key word here (hear?) is quiet – though decidedly urban in character and phrase (check the description of the commuter – heels in hand, carrying a Victoria’s Secret bag – in the opening, title track), each song has a hushed, muted quality.  It’s like you’re with the band in the middle of city park – an unusually secluded space where you can sit and really listen, but that can’t keep out the buzz and hum from the madding crowds (‘Wednesday’’s fire truck and car alarms, off in the distance).  Velvet Underground comparisons seem perhaps overly obvious, but useful as a starting point, as is a band like The Clientele (particularly, their early output).  Brilliantly crafted and worthy of close attention.

Highlights include:  ‘Wednesday’; ‘A Trumpet on the Hillside’; ‘Et Surtout’.

Index for Working Musik, Dragging the Needlework for the Kids at Uphole.  I’m always here for it when a band comes from out of nowhere, taps me on the shoulder, and invites me in.  Enter Index for Working Musik, who kindly (and, surely, unknowingly) did just that with February’s excellent Dragging the Needlework for the Kids at Uphole.  If that title has you thinking lysergic moodscapes, hushed vocals, gently menacing guitar work and, here and there, jabs of inspired noise – well, you’re in luck.  Deftly languid, but never sleepy, it’s kind of like one of those cartoon scenes where the main character is drawn along a visual aroma wave, though what’s at the end of this particular trail may not be pie or a roast chicken.  Highly recommended.

Highlights include:  ‘Ambiguous Fauna’; ‘1871’; ‘Athletes of Exile’.

Tough Love links:  website; fbook; twitter (still don’t care); insta; bandcamp.

Things We Liked in 2023 (Trouble In Mind Edition)

Year end lists – we here at tgh find them both potentially daunting (did we forget something?! probably…) and, also, possibly reductive.  Instead, dear reader (whomever might be left), we attempt to put a bow ‘round the latest year that just was by focusing on albums and tracks we’ve enjoyed, in no particular order or classification.  We strive for narrative structure by focusing on labels we like and some of their 2023 highlights – as we proceed, to give you what you need…

Part the first shines a light on Chicago-based Trouble In Mind, which had a superior year filled with an array of fantastic releases.  Our highlights included:

The Serfs, Half Eaten by Dogs.  Released in October, the masterful third long-player from Cincinnati-based The Serfs is a churning, heady blend of icy synths and taught rhythms.  Slate grey dance music reminiscent, in parts, of artists like Fad Gadget, Cabaret Voltaire, early New Order, and Crystal Stilts, The Serfs’ melding of post-punk and ’80s industrial, flecked with drone and dub, is exhilarating and possibly their best set to date (be sure to familiarize yourself with the band’s earlier works, as well).  Music perfect for a club night in the basement of a decommissioned rectory.  We only wished we had grabbed a tee to win friends and influence people before they sold out!  

Highlights include:  ‘Beat Me Down’; ‘Spectral Analysis’; ‘ Cheap Chrome’.

Melenas, Ahora.  From Pamplona, Spain, Melenas released Ahora in September.  We’ve been smitten since first hearing them rave like a some kind of garage-y Lush on tracks like ‘3 Segundos’ and ‘No Puedo Pensar’ from 2020’s Dias Raros.  This year’s edition relies less on jangle, plugging the band’s enervating knack for gorgeous melody into analog synth and psychpop textures – and it’s stunningly beautiful.  From the swirling hooks of ‘K2’ to more introspective, swaying in place tracks like ‘Promesas’ (which sounds like a psych Ultravox and will have you blissfully singing ‘nah/na na na na’ over and over), Ahora is truly amazing and deserving of a place with fellow travelers like Broadcast, Molly Nilsson and Fatamorgana.

Highlights include: ‘Promesas’; ‘Dos Pasajeros’; ‘K2’.

En Attendant Ana, Principia.  Paris-based En Attendant Ana remain masters of taking 60’s folk and jangle and adding Gallic elements, jazzy skronk, and beautifully serpentine rhythmic interplay.  Released in February, Principia continues to evolve the band’s sound without sacrificing what makes them so great.  The opening, title, track sets a heady, jangle-psych tone, singer/songwriter Margaux Bouchaudon singing of being stuck with others in parallel lines that suppress interconnection.  Bouchaudon’s voice is perfect throughout, conveying feels without being over-emotive, a la Trish Keenan (RIP) or even Harriet Wheeler, with the rest of the band in fine form (the bass playing a particular pleasure).  On repeat.

Highlights include: ‘Principia’; ‘Same Old Story’; ‘Fools & Kings’.

Guardian Singles, Feed Me to the Doves.  Auckland-based Guardian Singles released Feed Me to the Doves in May.  From the straight ahead, Ramones-like bludgeon of ‘Chad and Stacey’ to the Hüsker Dü meets Mission of Burma fuzzed tenacity of ‘Com Trans’, Guardian Singles brings an intensity and emotion to their music that never feels forced or mawkish.  There’s an exhilarating tension maintained across the album’s 10 tracks that forces attention, culminating in the cathartic action/time/vision of ‘Ground Swell’.  Personal bonus points to the band for leading me to rediscover their eponymous debut, which is also excellent – many thanks!

Highlights include:  ‘Ground Swell’; ‘Manic Attraction’; ‘Nightmare Town’.

FACS, Still Life in Decay.  Chicago’s FACS released Still Life in Decay in April, and we’ve made repeated trips back to the aural well since.  Somehow sounding simultaneously gigantic and intimate, the album crackles in the juxtaposition between razorwire-taut instrumentation and the often dead-eyed vocals of singer/guitarist Brian Case.  The trio are an absolute force throughout, swooping off on tangents and then rejoining like swallows in the gloaming.  Not sure how to categorize – isn’t everything ‘post-punk’ nowadays? (I keed) – but the best tracks feel both crushing and uplifting in equal measure. Given humanity’s current state, these latter moments feel especially welcome.

Highlights include:  ‘Slogan’; ‘Class Spectre’; ‘New Flag’.

Check out Trouble In Mind’s compilation featuring 2023 releases here and find your own faves!

Trouble In Mind linksbandcamp; website; fbook; twitter (yes, I know – I just don’t care); insta; youtube; tiktok.

Check Out “Human Snake”, the Debut from P22

Image from P22 Bandcamp page.

P22, Human Snake (Post Present Medium)

P22 are a Los Angeles-based quartet comprising Sofia Arreguin, Nicole-Antonia Spagnola, Justin Tenney, and Taylor Thompson.  Named for a mountain lion that crossed the notorious 405 interstate to disappear into L.A.’s Griffith Park, the band’s debut full-length, Human Snake, was released in April and it’s fantastic.

While P22 could be generally classified as “punk”, it’s perhaps too restrictive and lazy a label to place on a group who make music that throws so many curves.  Yes, there’s plenty of straight up hardcore (of the west coast variety), but swaddled in a hairshirt of different textures and tempos – elements of free jazz, jangle, noise, no wave, and classical pop up, with a vocal delivery that feels as much driven by beat poetry as post-punk.  My (admittedly, older) ears kept going back to bands like Flipper, Saccharine Trust – ‘punk’ bands that weren’t interested in only playing something traditionally categorized as such.  ‘Intro’ is a good example, starting off sounding like Saint-Saens, before settling into a tense, ominous noir of loosely strummed guitar, then dissolving into some kind of beatnik marching band number and leaving on a deconstructed freakout. 

All these twists and turns keep you on your toes, but don’t feel as though they’re forcing the band’s art into artifice.  The band’s playing is incredibly tight, a fact that is sometimes missed due to the mesmerizing vocal performance, but shouldn’t be ignored (I particularly enjoyed the basslines throughout – particularly on highlight, ‘Shortly’).  Fun bonus:  I now know what a ‘terminarch’ is (the last member of a species or subspecies, in case you wondered); #themoreyouknow #edutainment.  Highly recommended.

Human Snake is available now, courtesy of Post Present Medium.

Weblabel bandcamp 

Highlights include:  ‘Human Snake, 1978’; ‘Shortly’; ‘Reprise for Steer’; ’Ending Chorus for the Terminarch’ 

Check Out “Less of Everything”, from Es

Es, Less of Everything (Upset the Rhythm)

Photo credit: Poppy Cockburn

Less of Everything is the debut full-length from Es, a London, UK-based four piece comprising vocals, bass, synth and drums.  It’s a sharp, gripping collection of goth-infused punk that deserves a wide audience.

Tauter in feel and execution than Object Relations, the band’s great 2016 EP, Es come flying out of the gates with opener, ‘Chemicals’.  A roiling, Banshee sounding rhythm and chunky bassline underpin vocalist Maria Cecilia Tedemalm’s lyrical quandary – “what have I acquired/to be getting/so tired” – a musing equally apt in these pandemic times as it is a statement of more general frustration and feeling of uncertainty.  Tedemalm sings of an existence where a necessary tough skin becomes “too thick” (‘Foundation’), a sense of “hanging by a thread/uncertainty/lies ahead” (‘Severed’), grasping at straws “with my mind” (‘Hidden Track’), but also a fightback, rising “fully formed” (‘Sesame’) – lines delivered with equal parts withering dismissiveness and rising indignation.  

While the band’s various parts and shapes sync to great affect throughout, a particular mention is needed for the amazing bass playing of Katy Cotterell and drumming of Tamsin M. Leach.  Being guitarless, Cotterell’s bass plays a dual role of holding down the fort and leading the melodic charge, while the heft and sway of Leach’s drum hones the album’s overall percussively trippy feel.  Musical signposts can be heard in the aforementioned Banshees, 17 Seconds-era The Cure, X-Mal Deutschland, Savages – the tension and drama across the nine tracks is palpable.  One personal favorite (if I have to pick), ‘Severed’, almost veers into pop territory before the synth turns ominous and pushes the track over the edge and down the rabbit hole.  A fantastic debut.

Less of Everything is out now, courtesy of Upset the Rhythm.

Webbandcamp twitt label insta

Highlights include:  ‘Sesame’; ‘Chemicals’; ‘Severed’; ‘Kingdom Come’

Check Out Gaffer’s Self-Titled Demo

Band photo credit: Kyle Biggins (sourced from Weirdo Wasteland)

Gaffer, S-T demo (Helta Skelta)

Gaffer are a new band out of Perth, Australia, featuring members of powerhouses like Cold Meat and Helta Skelta (the band).  Having just formed last year (I think), the band recently released its self-titled demo via Helta Skelta (the label), and it’s a riveting debut.

Each of the tape’s seven tracks sound as if it was recorded live, such is the intensity.  The set features raw, determined punk and post-punk sounds whose origins may sound from the mists of time but the tone of which remain sharply relevant.  Frustration, isolation, the feel of being under the yoke – an anxiety made palpable by the arrangements and playing, with song titles like ‘Animal’, ‘Skin of Your Teeth’, and ‘Stuck’ serving as signposts.  The demo has the diaristic feel of albums from early Black Flag (particularly, Damaged), The Mob, Flux of Pink Indians, or early Killing Joke.  The vocalist inhabits a kind of younger Willy Loman character, one being told he’s “got everything to live for” while simultaneously feeling like he’s moving through life “with a noose on”.  On ‘Skin of Your Teeth’ – one of many highlights – the not so quiet desperation finds form in lyrics like “can’t do this anymore/getting through by the skin of your teeth…/no real purpose/no real energy/no end product”.

Gaffer’s demo is available now, on cassette, from Helta Skelta.  Looking forward to hearing what the band does next.  In the meantime, you can check out the video of their first live gig here.

Weblabel

Highlights include:  ‘Animal’; ‘Skin of Your Teeth’; ‘No Pace’

Check Out the Self-Titled Debut from Minneapolis’ Green/Blue

[Photo by Matthew Jenkins (taken from Green/Blue Facebook page)]

Green/Blue, S-T (Slovenly)

A new band of old hands, Minneapolis (Janet voice)-based Green/Blue present a jagged kind of garage-pop on their self-titled debut. Initially a recording project featuring the guitar/vocal stylings of Jim Blaha (of The Blind Shake) – whose solo basement musings formed the bases for the album’s eleven tracks – and Annie Sparrows (of The Soviettes), the group is now a quartet, having added Danny Henry (drums, also of The Soviettes) and Hideo Takahashi (bass, of The Birthday Suits).

The album is a hodgepodge of familiar sounding styles, blended into something very immediate.  According to a press release, the tracks on Green/Blue were born partially from Blaha’s “newfound love of lo-fi pop jangle” (namechecking The Chills), but Green/Blue’s handling of the sound feels similar to the way The Misfits approached late-night 50’s croon or The Jesus and Mary Chain worked with girl-group, surf and other 60’s pop.  There’s certainly sugary tones to be found here, the band exhibiting a deft touch for catchy melodies – but the ear candy is often chased with cough syrup, Blaha’s whispery vocals and he and Sparrows’ dual scuzzed up axe attack providing more than a hint of menace to the romance alluded to in many of the lyrics.  Highlights ‘Proto Caves’ and ‘Way Down’ throw off a kind of haunted nostalgia, the former sounding like a roughneck Everly Brothers demo in spots – a leather-clad sock hop leading to a fogged up rear window.  It’s great how the band are able to infuse so much energy into the boogie chug of ‘That Face’, while the JAMC pyres blaze bright on the brilliant ‘Find a New World’.  Qué bella. 

Green/Blue is out now, courtesy of Slovenly Recordings.  The band also have really rad shirt designs (see here), so hopefully if we’re ever allowed out of our houses again and Green/Blue tour, I’ll snatch one up.

Highlights include:  ‘That Face’; ‘Proto Caves’; ‘At a Loss’; ‘Way Down’

Web: fbook label bandcamp insta

 

Music for Weird Times

Difficult to know what, when, how much to post these days. We find solace in music, and hope that you find some somewhere amongst these new lists. Curated over the past several, bewildering weeks, there’s a range of emotion on display, which seems appropriate.

We also now have a Spotify page, so click the button top left of the homepage if you’re into following. Thanks, and stay safe.

Check Out New Tracks from P.E., Vanity, White Flowers, and Activity

P.E., ‘Soft Dance’; ‘Hot Ticket’ (Wharf Cat)

P.E. is a new quintet comprised of former members of Pill and current members of Eaters. Two teasers from their forthcoming debut long-player, Person – namely, ‘Soft Dance’ and ‘Hot Ticket’ – have stoked much anticipation for the record here at tgh hq.

‘Soft Dance’ is a taut, deconstructed body mover. The bassline and sparse rhythm will have you grooving, but it feels almost detached from the rest of the arrangement – the lyric “the roots make shapes/interwoven – interwoven” sums it all up rather nicely. Veronica Torres’ vocals are reminiscent of Bjork in ‘oh so quiet’ before the storm’ mode, but here the storm doesn’t quite make it, just a plea to not “forget to have a good time”. ‘Hot Ticket’ rides in on a melody that begins like an interpolation ‘Born to Be Wild’ before heading off the highway to a basement club over a stuttering Kid A rhythm. Here, again, Torres’ slinky, commanding performance steals the show – her message requiring “strict compliance” to follow the groove exhilarating. Head over to the P.E. bandcamp page (link below) to also check a remix of ‘Hot Ticket’ from fellow travelers, Liars.

Person arrives March 6, courtesy of Wharf Cat.

Web: label bcamp 

Vanity, ‘Anticlimax’ (Feel It)

‘Anticlimax’ is lead track of the latest double a-side single from New York’s Vanity, an outfit which has previously layered elements of punk, glam and straight up rock across their releases like so many ‘suicide’ Slurpees. The new track sees the band flexing its muscles over a glorious slice of riffing power-pop.

The arpeggiated intro is a glorious rush sure to melt even the most frozen of hearts, but there’s more than enough salt to balance the sweetness. Rushing by in a tic under four minutes, ‘Anticlimax’ feels like a lost b-side from first album Cheap Trick, and finds Vanity (who now include former VEXX-er, Mike Liebman, on guitar) at the peak of their powers. Highly recommended. Released, together with ‘A Seat at the Table’ February 28, courtesy of Feel It.

Web: bcamp label

White Flowers, ‘Night Drive’ (Tough Love)

Back in 2017, White Flowers (née, Britain) seemed to blip, fully-formed, across our radar with the tracks ‘Day by Day’ and ‘Tried to Call’. We loved those tracks’ heady mixture of ethereal, Cocteau Twins’ style dream pop and rafters-raising psych reminiscent of early Doves. Fast forward, then to last month, which saw the release of ‘Night Drive’, the Preston, UK duo’s latest – produced by none other than Doves’ guitarist Jez Williams.

Part of a 12″ double-a side (with ‘Portra’) that was released on Valentine’s Day (hooray for the new music, since it appears their older material has been taken down) ‘Night Drive’ feels a step forward. Built on a similar musical foundation, the track’s multiple layers reveal themselves at a considered pace. There’s a directness in the composition that does nothing to blunt the pleasant buzz created by the combination of Katie Drew’s swooning vocals and a kaleidoscopic melody crafted by her and Joey Cobb. Great stuff – the double a-side is out now, courtesy of Tough Love.

Web: bcamp fbook twitt label  

Activity, ‘Calls Your Name’; ‘Earth Angel’ (Western Vinyl)

Activity are a new quartet featuring members of Russian Baths, Grooms, and Field Mouse. The band’s debut long-player, Unmask Whoever, is due soon and, based upon the evidence of teaser tracks, ‘Calls Your Name’ and ‘Earth Angel’, it’s going to be very good, indeed.

“Calls Your Name” (check the video, above) carries a hypnotic feel, woozy boy/girl vocals bringing to mind Tricky and Martina Topley-Bird’s work on Maxinquaye, et al. Vocalist Travis Johnson’s repeated invocation of a “lit’ral hell” where “houses spread and swell” is mirrored by the circular feel of the arrangement, underpinned by a sinuously insidious rhythm. “Earth Angel” (inspired by Laughing Stock-era Talk Talk, less so The Penguins’ doo-wop hit) has a bit more sprawl, but with a surface-level tension that adds menace to Johnson’s stated desire to “wanna fuck around” over a roiling, 90s industrial boil and even a bit of Hurting-era Tears for Fears. Both tracks manage to feel both insular and heady, and unsettlingly lovely.

I recently had the opportunity to re-watch Donnie Darko with my oldest (who – proud dad moment – loved it) and, if they ever decided to do a re-make, Activity should contribute to the soundtrack. Unmask Whoever is due March 27, courtesy of Western Vinyl – pre-order a copy here.

Web: label fbook twitt bcamp


More Catch Up: Cloth; The Mind; Thigh Master; Ben Woods

Cloth, Cloth (Last Night from Glasgow)

Cloth are a Glaswegian three-piece comprising twin guitarists Rachel and Paul Swinton (the former also providing vocals), as well as drummer Clare Gallacher (who, courtesy of a sample pad, also provides the ‘bass’). This past November, they put out one of our favorite records of 2019 in the form of their debut, self-titled, long-player. 

The breathy textures on offer throughout Cloth reward close listening, adding more than a dash of psych and soul to an undercurrent of trip hop and dream pop. The XX (the earlier, not overtly club-friendly stuff) is a good point of reference, but I also picked up hints of bands like The Wake, early Doves and a downtempo feel of groups like Sol Seppy as well. A rhythmic current runs through voice-guitar-drum-‘bass’, propelling arrangements which tend towards insular but can flash more broadscale (‘Demo Love’, notably, featuring a mixture of both). It’s a kind of musical chiaroscuro which, particularly during highlights such as ‘Tripp’, ‘Curiosity Door’, and ‘Sleep’, is mesmerizing. Fall, into your speakers’ embrace, and enjoy.

Cloth is out now, courtesy of Last Night from Glasgow.

Web: label fbook twitt

The Mind, Edge of the Planet (Drunken Sailor)

Featuring members of Homostupids (who we were not familiar with) and Pleasure Leftists (who we greatly enjoy), The Mind came together last year to make some kinda somethin’ on Edge of the Planet. And it was good. 

Bleary is the head that attempts to describe something made so intentionally difficult to describe, but here are a few muddled thoughts. ‘Blah Na Nothing’ and ‘Running on my Head’ sound like Joy Division on an extended acid trip. There’s a lot of tape hiss, 60s sci-fi flying saucer f/x, and heady, disorientating sonic explorations anchored, unexpectedly, by sweetly disembodied vocals. There’s elements of dub throughout and trippy ambient tones. Some Devo (‘Space is Binary’), and the guitar bend of ‘Baby Rats’ is disarmingly lovely. It’s all very whacked out in an intriguing and beguiling way. Go check it – you know you want to.

Out now, on Drunken Sailor.

Web: label

Thigh Master, Now for Example (Goner) 

Brisbane (via Melbourne) jangle champs Thigh Master has been developing into a favorite over the past few years here at tgh hq, and their latest long-player, Now for Example, sealed the deal.

Incorporating prior singles ‘BBC’, ‘Pity Run’, and ‘Exodus’ (already a fave), Now for Example is a brilliant example of high-functioning indie rock with more than a whiff of the Flying Nun brigade. Matthew Ford’s delivery veers between sweet and mischievous sneer, delivering bon mots such as “this conversation’s going/south/and you’re pride’s glued to your mouth” (‘Entity’). The band know their way around a hook, pulling off both the intricate (the guitar/rhythmic interplay of ‘BBC’) or straight ahead with equal aplomb, while still finding ways to sneak in an unexpected sound or two (the demented doo-wop backing in ‘Mould Lines’, the tubular synth on highlight ‘Prospect Patent’). Closer ‘The Ballad of the Caxton’ sounds like a more laconic take on the kind of closing time pisstake bands like The Specials used to fling about – and did I mention how much I love ‘Exodus’? Ok, fair do. Brilliance abounds.

Out now, courtesy of the lovely folks at Goner Records (distributed by the equally lovely Tenth Court in AU).

Web:  fbook insta bcamp label

Ben Woods, Put (Melted Ice Cream)

Ben Woods hails from Christchurch, NZ, and has played with/in local bands including Salad Boys. Woods released his debut solo record, Put, last fall and we’ve fallen for its surreal soundscapes incorporating elements of Spiritualized’s heart-crushing psych, slowcore, Velvet-y garage jangle and punk.

Including earlier singles ‘ROMANCY’ (which we wrote about here) and ‘Lozenge’, Put is stunning from beginning to end – both in the sense of being fantastic, but also more literally via the buzz emanating from the album’s nine tracks. Starting with the road-weary haze of ‘MARCHY’, it feels like a series of fractured lullabies, instruments and voice filtering in and out in all directions. There’s a haunted quality in the often muted production, focusing your ears on serpentine melodies that resolve at a deliberate pace. This sense of drain-circling makes the moments of relative clarity so arresting – notably, during ‘LOZENGE’, whose Buzzcocks’ worthy flounce feels like Ty Segall fronting a 60s girl group. ‘PRAISE’ encapsulates all of it beautifully, the track slowly slipping ‘neath the waves until, around the 2:30 mark, resurfacing with a gasp and riding to shore along a Bowie/Reed chug. Highly recommended.

Put is out now, courtesy of Melted Ice Cream.

Web: fbook label bcamp

New Year, New Decade, New Playlist

Here are some tracks we’ve enjoyed over the last several months (and that were on soundcloud)!