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Chloe Gallardo


    Defamator is the long-time-coming debut project of 24-year-old Chloe Gallardo. It tells a story of betrayal in love and friendship and the painful reality of overcoming love lost and former heartbreak. Drawing influences from artists such as Broadcast, Grouper & My Bloody Valentine Gallardo adds her own haunting, folk-style vocals and hyper-specific lyrics to create a sonic unique to her. A style that she describes in her words as “dark shoegaze bedroom indie pop”.

    Album opener “Bloodline” epitomises this bittersweet modus operandi. 15 seconds into its dainty acoustic strum , Gallardo adamantly sulks “I’m fucked up” - the salvo of a lyric about feeling like a family disappointment. As the track lifts up into a cascading gaze-pop rush, recalling the likes of Bachelor and Snail Mail, we’re blessed with a pristine elegance that belies the song’s raging core. “I have always written music this way.”, she says of this fundamental contradiction. “It’s funny because I try so hard to write darker-sounding songs and they always come out way too pretty. So, I’ve resorted to writing the most gut-wrenching and intense lyrics to compensate.”

    Written mostly during peak-pandemic times in Gallardo’s bedroom - (“you can hear how scared and alone I was.”) - the songs that made their way onto Defamator arose from a concerted period of healing. Drawing from the teachings of therapy, the songwriting process gave her the means to channel some deeply entrenched emotional scars.

    This venting of anger is implicit throughout the record. The album’s title - Gallardo’s own neologism - uses the concepts of “defamation” and “defamatory speech” to innovate a kind of pejorative accusation. As a result, it is like we are actively listening to Gallardo forcefully take command of her past. Of the title track she explains: “The song Defamator is about someone who spoke untruthful things about me in order to manipulate me and the way people perceived me and I felt that was an underlying theme in most of the album.”

    Recorded at Jazzcat Studios in Long Beach California with Jonny Bell (Hanni El Khatib, Adult Books, etc.) Defamator marks Gallardo’s first time in a “legitimate recording studio”. And it shows. Bell’s production is vital moving part here. There’s more stripped back affairs - ‘There Will Be Blood”; ”The Way’ - songs which gently seethe and purr like Grouper’s spectral dream-pop; Gallardo’s fluttering folk-ish voice gloriously pushed to forefront.


    1) Bloodline
    2) God Is Dead
    3) There W`ill Be Blood
    4) Defamator
    5) (Untitled)
    6) New Jersey
    7) To See You Go
    8) The Way
    9) Last Dance
    10) New Jersey (Reprise) 

    Harvey Rushmore & The Octopus


      Cannot recommend this LP more for fans of Moon Duo, Spacemen 3 and Black Angels.

      Following a much needed hiatus Harvey Rushmore & The Octopus release their third studio album, a heady mix of garage, psych and Krautrock.

      ‘Freedomspacecake’ is the band’s 46 minute dystopian and fuzz-soaked answer to a world tripping over one disaster to the next with the sting of the thrilling ride.

      The members of the band have known each other for over 15 years - Massimo Tondini and Jakob Läser, were former members of the band Navel – and as with fellow veterans of psych rock such as The Heads and Wooden Shjips they plough a tantalising locked groove.


      1. Plastiq
      2. Speedmaster
      3. The Wiper
      4. Bakerman
      5. Rainbow Machine
      6. Trip In The Mountain
      7. Spacegarage In Your Head
      8. Harvey Stardust
      9. Freedomspacecake

      Adult Books

      Grecian Urn

        Adult Books is the brainchild of Los Angeles-based writer and multi-instrumentalist Nick Winfrey. With the help of childhood friends Sina Salessi (drums) and Alex Galindo (guitar/synth), Winfrey crafts lyric-driven dark pop gems that recall the hook-heavy guitar work of Johnny Marr, the just-below-the-collar angst of Mission of Burma, and the doomsday bellow of early Echo and the Bunnymen.

        After a well-received string of bedroom demos and cassettes, Adult Books released their first full-length album, Running from the Blows , in 2016, trading in their previous home-recorded sounds for a cleaned-up act that allowed Winfrey’s pop savvy and understated lyrical wit to shine through. Two years of heavy touring followed, after which Winfrey found himself both burned out and uninspired by the business of music.

        Following a much-needed hiatus, Adult Books is finally ready to share their sophomore LP, Grecian Urn . Recorded with Jonny Bell (Crystal Antlers) and mastered by Dave Cooley (Animal Collective, J Dilla) , Grecian Urn was crafted over the course of nearly two years; however, the seeds of the album were sown more than a decade earlier. When sitting down to write Grecian Urn , Winfrey revisited old demos, forgotten voice memos and unfinished fragments of songs to create something wholly new.

        The end result is a self-assured and intensely personal album that places Winfrey’s evocative images and economic storytelling approach front and center. A loose concept album of sorts, Grecian Urn draws on classical Mediterranean imagery and mythos as a means of exploring Winfrey’s past traumas and struggles with chronic anxiety.


        1) Innocence
        2) Receiver
        3) Grecian Urb
        4) Holiday
        5) Florence
        6) 100 Dreams
        7) Apologies
        8) Cassy
        9) Adriatics
        10) Sparrows On The Razor Wire


        People’s History Of Gauche

          A People's History of Gauche, a collective catharsis of anger, frustration, and trauma through creativity. Jason P Barnett, Adrienne CN Berry, Mary Jane Regalado, Pearie Sol, and Daniele Yandel find their agency and joy through creating and performing music together in 36 minutes of groove-filled power punk. When asked about the genesis of the title of their Merge debut, Daniele cited this definition: A people's history, or history from below, is an account of events from the perspective of common people rather than leaders, the story of mass movements and of outsiders. It's a fitting title for an album that tackles such heavy topics as anxiety, capitalism and colonialization, and healing ancestral traumas, as well as dismantling and dissecting patriarchy, creating beauty in the face of oppressive forces, and resisting exploitation. These are vital songs manifested in a celebratory manner, created quickly through the group's self-proclaimed "Gauche magic." Recorded with Austin Brown (Parquet Courts) and Robert Szmurlo in Brooklyn, NY, and with Jonah Takagi (Ex Hex) in DC, A People’s History of Gauche marks the first time the band worked with people outside of their ranks, resulting in a fuller sound that boasts more intricate instrumentation.

          From the very first line of album opener “Flash”—“Light’s supposed to show the way, not over-expose it”—Gauche are here to compel us to dance while singing along about society’s universal struggles. Gauche undoubtedly make art, but their guiding tenet is craft. "When I say that, I mean in the sense that Art with a capital A is thought of as something rarefied, something outside the context of everyday life, outside of everyone's grasp or potential," expounds Daniele. "That sense of craft, of something you return to every day and is valuable because it is something you share in common with all people, is how I think of music. Well, good music at least." Gauche bring us music and movement and struggle and light, and now it is our job to dance! 


          1. Flash, Cycles,
          2. Pay Day,
          3. Surveilled Society,
          4. Copper Woman,
          5. Running. 
          6. Boom Hazard,
          7. Dirty Jacket,
          8. History,
          9. Rent (v.),
          10. Rectangle..

          (7” Flexi Track Is “Conspiracy Theories”). 

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