In their decade-plus together, the four-piece Julia Shapiro (guitar, vocals), Lydia Lund (guitar, vocals), Gretchen Grimm (drums, vocals), and Annie Truscott (bass, vocals)—have created a resonant body of work. Live Laugh Love is a natural continuation. Against the bizarre backdrop of the past few years, Chastity Belt remained a supportive space for the members to grow and experiment, drawing on the ingredients most essential to their process since the beginning: authenticity and levity. Recorded over three sessions in as many years (January 2020, November 2021 and 2022), the focus became more about enjoying their time together in the studio than making it feel like work. Their ease and familiarity with engineer Samur Khouja in LA, who also recorded their last album, made for a particularly enjoyable process. Once completed, they returned to renowned engineer Heba Kadry who mastered the album.

Album opener “Hollow” sets the tone with a gently driving rhythm while guitar layers stream like sun rays through an open car window. A warmth radiates through Shapiro’s voice, even while grappling with feeling lost and stuck. “The older I get,” Shapiro says of the lyrics, “the more I realize that I might just always feel this way, and it’s more about sitting with the feeling and accepting it, rather than trying to fight it.” That wisdom seems to anchor Live Laugh Love. Chastity Belt has never shied from navigating the spectrum of difficult emotions, and an existential thread weaves throughout the subject matter. And yet the songs feel more grounded than ever; there’s a sense of quiet confidence and self-assurance that comes with being less numb and more present. Facing discomfort takes more fortitude, after all.

Live Laugh Love finds the members in their prime as musicians. Their parts trace intricate patterns over one another, but there’s room to breathe between the layers. Everyone contributes to the writing, sometimes switching instruments, and for the first time, all four members sing a song. It’s never been more apparent that they are creative siblings, cut from the same belt. “We’ve been playing music with each other for over a decade,” says Shapiro, “so it really does feel like we’re all fluent in the same language, and a lot of it just happens naturally.”

“Laugh” seeks in the balm of friendship, aware of the anticipatory nostalgia that hits during a good time that you’re already missing before it’s gone; the heavier guitar tones on “Chemtrails” streak ominous chord progressions over Grimm’s precision timekeeping, lamenting memories that won’t fade easily. During a transitional time, Truscott came across a note in their phone that read, “it's not hard all day, just sometimes,” which inspired a poignant line in the chorus of “Kool-Aid,” their first song as lead vocalist on a Chastity Belt recording. Another standout, “I-90 Bridge” shines with a silvery melody that soars as Lund belts one of the most resounding moments on the album: “Tell your girlfriend she’s got nothing to fear/I’m set in my head/My body’s a different story.” The track “Blue” saunters nonchalantly with a wink; you can almost hear Shapiro’s smile as she sings “Faking it big time/So I can hit my stride/Man, it feels good to be alive,” channeling early Chastity Belt channeling early ’90s before channeling the late Elliott Smith in a spiral of distortion and insight: “Don’t get upset about it/It’s gonna pass/Tell all your friends about it/They’re gonna laugh.” “We have such a strong sense of each other’s musical inclinations” says Lund. “I think this allows for a lot of playfulness…we can kinda surprise each other, like a good punchline would.”

STAFF COMMENTS

Barry says: Jangling indie guitars float beautifully around airy vocal melodies, crafting a beautifully honed noise that lands somewhere between shoegaze, folk and art-rock. Brilliantly inventive throughout, but never shy a melody or two. Lovely stuff.

TRACK LISTING

Hollow
Funny
Clumsy
It’s Cool
Kool-Aid
Chemtrails
Blue
Tethered
1-90 Bridge
Laugh
Like That

Suicide Squeeze celebrates Chastity Belt with the latest in its split 7" single series–a pair of covers by Friends of the Band and tourmates Kurt Vile and Courtney Barnett. For this release, Kurt and Courtney each recorded a song from the band's third album, 2017's I Used to Spend So Much Time Alone, in their signature styles. Side K is Kurt's version of "This Time of Night," on which he lovingly recreates the anxious interplay of Julia Shapiro and Lydia Lund's guitars, stretching each note of the song's fraught vocal melody to its breaking point. Flip the record to Side C for Courtney's take on "Different Now," where she pulls the song from its Pacific Northwest haze, leaves it out to dry in the middle of the desert, and wrings something almost joyous from the original's ambiguity. 

When the grunge explosion of the early ‘90s elevated Seattle’s flannel-clad misfits out of the divey clubs of downtown and into the mainstream, a new generation of restless artists filled the void left in the Pacific Northwest’s underground music scene. The under-21 crowd making music in the wake of Nevermind seemed even less enamored with the slick production values, classic rock nods, and testosterone-fueled moshing culture that came with the Zeitgeist, favoring their own kind of Revolution Summer-style pivot away from the popular sounds of the era towards a more emotionally nuanced, melodic, and inclusive style of punk. The Puget Sound trio Lync perfectly captured the spirit of that era, blending the passionate chaos of the DC and San Diego scenes with the rough-hewn DIY pop sensibilities of Olympia’s thriving indie community into one unified sound. Though they were only a band for two years, they helped define the next era of the Northwest underground, inspiring countless other artists and instigating the creation of beloved records from the region. After being out of print for over a decade, the band’s sole LP These Are Not Fall Colors has been remastered and expanded into a 2xLP with the inclusion of “Can’t Tie Yet” a compilation track from the album’s recording session into a deluxe edition available courtesy of Suicide Squeeze Records.

Originally released on K Records in the summer of ’94 just a few months before the band called it quits, These Are Not Fall Colors is a boisterous collection of scrappy basement-show anthems played on duct-taped-together gear. Led by the off-kilter melodies of late singer/guitarist Sam Jayne and hammered into place by the driving bass of James Bertram and drum battery of David Schneider, the album’s eleven songs channel that undefinable sound of the early ‘90s before descriptors like “post-hardcore” and “emo” became pejorative terms. Sure, you get a sense of the more sophisticated mid-tempo punk approach on songs like “B” and “Silverspoon Glasses,” and maybe catch wind of wistful songwriting on “Pennies to Save” and “Cue Cards,” but Lync seemed to cull their ideas from whatever bits of inspiration they could find in the gray gloom and geographic isolation of western Washington, absorbing it all and churning it together into a style uniquely their

own.

Despite Lync’s short existence, modest aspirations, and DIY approach, their work had a ripple effect. Jayne would go on to make music under the moniker of Love As Laughter. Built to Spill’s Doug Martsch was so enamored by the album that he enlisted Bertram and Schneider to serve as his rhythm section on the There’s Nothing Wrong with Love tour. These Are Not Fall Colors engineer Phil Ek would go on to help record and produce records by Fleet Foxes, Band of Horses, and The Shins. Early bassist Isaac Brock and These Are Not Fall Colors album art contributor Jeremiah Green would go on to form Modest Mouse. Bertram and Green would also go on to form the revered indie rock group Red Stars Theory. At times it feels like you could pick any major Northwest indie rock group from the ‘90s and ‘00s and trace their DNA back to Lync.

TRACK LISTING

1. B
2. Perfect Shot
3. Silverspoon Glasses
4. Pennies To Save
5. Clay Fighter
6. Cue Cards
7. Angelfood Fodder & Vitamins
8. Heroes & Heroines
9. Turtle
10. Uberrima Fides
11. Can’t Tie Yet

Five of Cups opens with the title track, establishing the album’s auditory and thematic modus operandi from the get-go. Holy Wave’s lysergic textural palette is immediately apparent in the song’s woozy synth lead and anti-gravity guitar jangle, but the atypical chord progressions and vocal melody steers the music away from anodyne escapism into a pensive grappling between self-determination and defeatism. Holy Wave continue to ride the wistful and phantasmic train on “Bog Song,” where the members vacillate between swells of austere minor chords and layered electric orchestration. From there, the previously released digital single “Chaparral” plays with the band’s own sense of nostalgia, weaving references of their El Paso past into a tapestry of transcendental triumph.

Like so much classic album-oriented rock music, the real magic begins to unfold in the latter half of Five of Cups. On “The Darkest Timeline,” Holy Wave recruits their friends Lorena Quintanilla and Alberto Gonzalez from the Baja California, Mexico psych duo Lorelle Meets the Obsolete to add additional ethereal layers to their intoxicating after-mid[1]night grooves. “Nothing in the Dark” functions on a similar principle, using a steady propulsive drum pattern as the bedrock to tape-warbled synths, arpeggiated guitar chords, jet streams of fuzz, and serene vocals. Five of Cups’ ruminations on combating defeat and disappointment are directly confronted on album closer “Happier.” Once again straddling the melodic line between melancholy and breezy sophistication, Holy Wave examines the synthetic construct of happiness in our modern age and how so often the attainment of comfort lacks any true sense of joy. Yet this isn’t some nihilistic dirge. Rather, it translates as a buoyant reminder that the bandwidth of human experience inherently requires peaks and valleys, and that euphoria is often found in the search outside of the familiar.

STAFF COMMENTS

Liam says: New one from Holy Wave, 'Five Of Cups' is here to scratch that insatiable indie-psych itch with plenty of woozy synths and trippy guitar passages - top draw!

TRACK LISTING

1. Five Of Cups
2. Bog Song
3. Chaparral
4. Path Of Least Resistance
5. Nothing Is Real
6. Hypervigilance
7. The Darkest Timeline
8. Nothing In The Dark
9. Happier

Just like the title Suicide and Sunshine, Trophy Eyes’ fourth album is about contrast. About light and dark. About beauty and tragedy. About the full spectrum of life, as told through the eyes of frontman John Floreani. “It’s the human experience,” says Floreani. “What we experience and how we navigate it. The millions of tiny flashes of light that are memories and thoughts and feelings and smells, all those little moments make up a lifetime. They’re beautifully tragic because they don’t mean anything to anyone, and on the scale of everything in the universe don’t mean a damn thing. But it’s so beautiful that they happen in the first place.” 

Floreani’s willingness to dive so deeply into the most personal parts of his life is matched by the band’s desire to explore the very boundaries of the hardcore genre. Alongside Floreani’s impassioned vocals, drummer Blake Caruso’s insistent rhythms, Jeremy Winchester’s unflinching bass and the powerful guitars – handled by Floreani, producer Shane Edwards and former guitarist Andrew Hallett – the album is rich with anthemic hooks, dark modern pop (“My Inheritance”), electronic flourishes courtesy of co-producer Fletcher Matthews, and atmospheric, swirling synths (“Runaway Come Home” and “Sydney”).  

"When we did Chemical Miracle, our second full length, the logo for the album was a palm tree and a noose. That’s literally suicide and sunshine. It’s always been there on my mind. And I think I finally just phonetically set it out. That encompasses everything I’ve been trying to do my entire career.” 

TRACK LISTING

1. Sydney
2. Life In Slow Motion
3. People Like You
4. My Inheritance
5. Blue Eyed Boy
6. Runaway, Come
7. Home
8. Burden
9. Sean
10. What Hurts The Most
11. OMW
12. Kill
13. Sweet Soft Sound
14. Stay Here
15. Epilogue

“If there's one thing A Way of Life drives home more than any other, it's that Suicide never stopped being ahead of their time” Pitchfork.

Celebrating its 35th anniversary, Mute / BMG announce a special edition of A WAY OF LIFE, the third studio album by influential electronic-punk duo SUICIDE, to be released on 26th May.

Although the band barely received any credit during their career, Suicide are cited as one of the most inspirational bands of the 1970s, influencing the likes Soft Cell, Depeche Mode and The Jesus And Mary Chain, whilst garnering fans in Nick Cave, Jim Thirlwell, M.I.A., Spiritualized, Lydia Lunch, Bobby Gillespie and Savages to name a few.

Originally released in 1988, more than a decade after their iconic self-titled album, A Way of Life saw Alan Vega & Martin Rev once again team up with The Cars’ frontman Ric Ocasek to produce “nine creepily ingratiated industrial pop songs” (Pitchfork). This anniversary edition is available on Limited Edition Trans Blue Vinyl, CD as well as Digital and sees the album fully remastered by Denis Blackham (Skye Mastering). Featured on each format are bonus tracks ‘Heat Beat’ and a newly unearthed live cover of Bruce Springsteen’s ‘Born in the USA’. Three other previously unreleased recordings are featured exclusively on the CD & Digital versions.

TRACK LISTING

A1. Wild In Blue (88' Version - 2023 Remaster)
A2. Surrender (88' Version - 2023 Remaster)
A3. Jukebox Baby 96 (88' Version - 2023 Remaster)
A4. Rain Of Ruin (88' Version - 2023 Remaster)
A5. Sufferin' In Vain (88' Version - 2023 Remaster)
B1. Dominic Christ (88' Version - 2023 Remaster)
B2. Love So Lovely (88' Version - 2023 Remaster)
B3. Devastation (88' Version - 2023 Remaster)
B4. Heat Beat (88' Version - 2023 Remaster)
B5. Born In The USA (Single Edit - Live In Paris 1988)*
Previously Unreleased*

As Al Cisneros continues to move through the dub zone, a journey over a decade in length, his music and production continue to evolve and deepen.

The sinew of the bass strings sets the pocket with ever-focused raw and relentless drive, while the rhythm section lays out an elaborate series of movements to roll in perfect accord with its multisegmented melody.

As melodies of the ancient world emerge prayerfully from the mist above the fray, all is right in all of the worlds that we can hope to know.

On the ‘Akeldama’ version, the mixing desk becomes its own instrument.

TRACK LISTING

1. Suicide Of Judas
2. Akeldama

For the better part of a decade, LA’s scrappy rock n’ roll mystics Death Valley Girls have used their music as a means of tapping into a communal cosmic energy. On albums like Glow In The Dark (2016), Darkness Rains (2018), and Under the Spell of Joy (2020) the band challenged the soul-crushing banality of modern society and celebrated “true magical in­nite potential” through a collage of scorching proto-punk riffs, earworm melodies, far-out lyrics, and lysergic auxiliary instrumentation. But on their latest album Islands in the Sky, Death Valley Girls’ songwriting mastermind Bonnie Bloomgarden uses the band’s anthemic revelries as a guidebook to spiritual healing and a roadmap for future incarnations of the self. And while these may be the loftiest aims of Death Valley Girls to date, the resulting music is also by far their most infectious and celebratory.

“Death Valley Girls are a gift to the world.” - Iggy Pop

“Harnessing the allure of the occult and the power of self-help, the Los Angeles garage rockers break free from their roots and ascend to the realm of spiritual psych-jazz rockestra.” - Pitchfork

“(Death Valley Girls) taps out of traditional songwriting and tune into a new spiritual consciousness…” - Spin

“An insistent Banshees like boom and groove.” - MOJO

TRACK LISTING

1. California Mountain Shake
2. Magic Powers
3. Islands In The Sky
4. Sunday
5. What Are The Odds
6. Journey To Dog Star
7. Say It Too
8. Watch The Sky
9. When I'm Free
10. All That Is Not Of Me
11. It's All Really Kind Of Amazing

Carolina Faruolo (ex-Los Bitchos) and Danny Lee Blackwell (Night Beats) had been friends and mutual admirers of each other’s musical projects for years, though with Faruolo residing in the UK and Blackwell residing in Texas, their interactions were limited. Yet as was so often the case for many of us during the shelter-in-place stretches of 2020, geographic proximity wound up being a non-issue as our socializations became almost exclusively online endeavors. In this era of isolation and uncertainty, Faruolo and Blackwell invented their own private escape to Latin rhythms, colorful vistas, and smoky revelries under the project name of Abraxas. Combining their shared love of Wendy Renee, Los Destellos, doo-wop and R&B, they crafted their debut album Monte Carlo by bouncing ideas across the Atlantic.

“Planet Abraxas is a world filled with jungles, mist-covered rivers, panthers lurking in the night, desolate shopping malls, Neolithic citadels and sand-worn walls,” Blackwell says of the muse behind Monte Carlo. “The nights are usually dense with fog and the air is filled with the sounds of cicadas and faraway drumming.” This visual manifestation of their sound stands in stark contrast to the environment in which the songs were written. “I remember the feeling I got the first time Danny added vocals to one of my tracks,” Faruolo recalls. “I was sitting on my sofa in rainy Manchester in the middle of winter. I pressed play and the song just made my heart jump. It instantly felt special and, more importantly, it felt like a perfect portrait of both of us.”

Uruguayan-born Faruolo grew up with the tropical beats of cumbia and the psychedelic flavor of classic chicha artists, and it became her mission to infuse those sunny influences in her work as a UK musician. Blackwell’s work under the Night Beats handle involves the fusion of outlaw soul and R&B with a resourceful DIY spirit. Despite the apparent contrast in their styles, the two musicians bonded over their reverence for Selena and Sade, exemplars of the humid pulse and sultry spirit of their respective approaches. As Abraxas, their distinctive musical perspectives created a sound that encompassed the tropicalia of Os Mutantes, the scrappy songwriting of Cleaners From Venus, and the trippy production of Lee “Scratch” Perry, though the duo is quick to assert that they were finding their own distinctive voices rather than adhering to pre-existing stylistic codes and constraints. And indeed, Monte Carlo feels rooted in tradition but blossoms into its own unique timbres and vibrations.

Monte Carlo opens with “Sunrise State (of Mind),” where a hypnotic cumbia beat serves as the bedrock for cosmic guitar leads, hazy choral melodies, and Blackwell’s seductive vocals. From there, the album continues its steady Latin pulse on “Mañana,” a perfect soundtrack to feverish nights in dancehalls, sipping on caipirinhas and sharing cigarettes with strangers on the dancefloor. Across its twelve tracks, Monte Carlo unfurls a myriad of exotic influences, from the Eastern melodies and guitar trills on “Sultan,” through the dub-inflected stomp and scorching fuzz of “La Estampida,” and on to the Anatolian psych-funk of album closer “Göbekli Tepe.”

Blackwell recorded his contributions with the assistance of engineer Chris Maciel at his studio the 22nd Dimension in Pomona, California and Faruolo recorded her parts in Manchester, England at Brunswick Mill. While Abraxas conceived their material in bedrooms and studios six timezones apart, the music on Monte Carlo sounds like a live band in the throes of an ecstatic performance. And Abraxas plans to make the live incarnation of the band a reality when conditions allow for it. Until then, listeners can bask in the invented world of Abraxas and all its exotic and enticing splendor across the twelve tracks of Monte Carlo. Suicide Squeeze Records is proud to present Monte Carlo to the world later in 2022 on digital and vinyl formats.

TRACK LISTING

Side A
1. Sunrise State (Of Mind)
2. Mañana
3. Sultan
4. Monte Carlo
5. La Estampida
6. Hourglass
Side B
1. Prismatic
2. Yes
3. Golden
4. Fuji
5. Shapeshifter
6. Göbekli Tepe

Debut Solo Album From Julia Kugel (The Coathangers).

If you can’t trust yourself, who can you trust?

This is the crucial question at the core of Julia, Julia, the moniker for Julia Kugel, founding member of garage punk icons The Coathangers and the dream pop duo Soft Palms. On her first solo full-length album Derealization, Kugel shifts her focus from collaboration and band dynamics towards a singular artistic vision and private self-discovery. Steeped in the beguiling pop elements of her past work, Derealization is a meditative deep dive into the mind of a person struggling to understand a crumbling internal and external world. The album traverses a landscape of ethereal folk, atmospheric deconstructed pop, and dubbed-out country ballads, all centered around straight forward and direct lyrics. This juxtaposition of nebulousness and lucidity gives the album a sense of clarity emerging from the haze, an apt refection of Kugel's personal growth and journey toward self-acceptance.

Derealization is based on weaving the unreal, unsaid, and unknown into an undulating sonic fabric. Vocal layering and abstract instrumentation convey a blurred desperation to connect to an emotional and psychological focal point. Moody, dark, and sumptuous, the record is a flow chart of Julia Kugel coming into herself as an artist and songwriter. The album finds Julia playing almost all the instruments and taking her first stab at engineering at COMA, her and her husband's home recording studio in Long Beach, CA.

“You know how touring musicians often speak of whether home is real or tour is real? Well, it can lead you to lose grasp on ‘reality,’ especially when touring is taken away and you are left to wonder if anything was ever real, including yourself. Like you we're just playing a character,” Kugel says of her headspace leading up to the creation of Derealization. “Honestly, I kinda lost it, and through making this record I made peace with it and reconciled myself as a real person. I forgave myself and in turn forgave those around me. The song ‘Forgive Me’ is the apology I wanted to say and to hear. I wrote every song from that place and gained the confidence I was pretending to possess.”

This raw and personal approach to the lyrics is present throughout Derealization. On the opening track "I Want You," Kugel creates a woozy sense of space with reverb-soaked drums and spaghetti western guitars while she lists off her desires for a mysterious “you.” Is she actually listing off her desires for herself? For the people around her? As she repeats "do you feel it?" in the song’s chorus, it feels as if she’s conjuring a magical thread by which we are all connected, showing us how our desires are all the same. On "Fever In My Heart" the listener is treated to a lush, acoustic techno track detailing the exhilarating madness of an emotional breakdown. Simple truths percolate to the surface on "Words Don't Mean Much,” as if clearing away the murk of platitudes and empty gestures. The journey continues on the detached and conflicted "Do It Or Don't,” an alluring walk through the winding road of lonely choices.

The name for the project Julia, Julia is a look in the mirror, a refection of what is hidden and unanswered, of what is real and what is transient. The experience of living life not as you planned it but as it unfolded, and the mysterious, magical pain that creates meaning.

TRACK LISTING

1. I Want You
2. Forgive Me
3. Impromptu
4. Fever In My Heart
5. Words Don’t Mean Much
6. Do It Or Don't
7. No Hard Feelings
8. Big Talkin'
9. Paper Cutout
10. Where Did You Go
11. Corner Town

Honeybee Table At The Butterfly Feast is the first album from the elusive Baltimore’s band Teen Suicide in years. For over a decade, guitarist, vocalist and project runner Sam Ray has been sometimes quietly and sometimes very noisily setting standards in the indie scene by changing genres, live lineups and even band names, but the one constant has been an undeniable gift for songwriting.

Honeybee Table sits at an interesting point in the Teen Suicide timeline, following years of relative quiet following the releases a whole fucking lifetime of this (2018) and fucking bliss (2019), both released under the short-lived alias American Pleasure Club. Lockdown times saw a viral moment for the song “haunt me (x3)”, a cult-classic catalog track featured on the 2015 Run For Cover reissue of the band’s two beloved EPs dc snuff film and waste yrself. Now the band returns with what could be their next classic record, 16 songs that oscillate between noisy garage-rock, intimate acoustic songs and even blistering powerviolence in the vein of 2016’s ambitious double album it’s the big joyous celebration, let’s stir the honeypot. The album is as varied and captivating as the cover art of the record - a painting by Ray’s mother - and is held together by his unique artistic vision, captured not only in the genius of his songwriting but the power of lyrics that turn his lived experience of the past few years into harrowing poetry.

TRACK LISTING

Side A
1. You Were My Star
2. Death Wish
3. Get High, Breathe Underwater (#3)
4. Unwanted Houseguest
5. Groceries
6. I Will Always Be In Love With You (final)
7. New Strategies For Telemarketing Through Precognitive Dreams
8. Violence Violence
9. Coyote (2015-2021)

Side B
10. Every Time I Hear Your Name Called
11. You Cant Blame Me
12. It Was Probably Nothing But For A Moment There I Lost All Sense Of Feeling
13. All Of Us Steady Dying
14. Complaining In Dreams
15. How To Disappear In America Without A Trace
16. Another Life (bootleg) 

Suck My Shirt is the fourth studio album by the Atlanta-based all-female punk rock band The Coathangers. It was released in 2014. Mark Deming of AllMusic writes, 'their approach to songcraft has matured and tightened up quite a bit, and the departure of keyboard player Candice Jones has turned this group into a leaner and meaner three piece. "It's a balance between overthinking and just going for it," guitarist Crook Kid (Julia Kugel) says of their songwriting strategy. It's a duality immediately apparent with the album opener "Follow Me." It's a classic Coathangers tune with Stephanie Luke's raspy vocals belted out over their signature ragged garage-rock. . But the chorus opens into one of the most accessible hooks in the band's canon, just before segueing into the next verse with a squall of violent dissonant guitar.

TRACK LISTING

1. Follow Me
2 Shut Up
3. Springfield Cannonball
4. Merry Go Round
5. Love Em And Leave Em
6. Zombie
7. Smother
8. Dead Battery
9. Adderall
10. Derek's Song
11. I Wait
12. Drive

Over the course of their seven-year run back in the ‘00s, These Arms Are Snakes covered a lot of territory, both in terms of actual miles spent on the road and in terms of their creative bandwidth. Though the band was often mistaken for a typical non sequitur-named screamo out­t or another “animal” indie band, the Seattle group quickly de­ed expectations and garnered a reputation for subverting the popular underground sounds of time. The group cultivated a small but fervent fanbase across multiple continents with their signature combination of synth-infused noise rock, bad-trip psychedelia, ‑amboyant proto-metal boogie, and unhinged basement-show hardcore before imploding at the end of 2009.

And while These Arms Are Snakes’ full-length albums remain ­tting testaments to the band’s frantic urgency and stylistic ‑uidity, there is a treasure trove of deep cuts buried on b-sides and split releases that further reinforce their position as one of the weirdest and wildest acts of the decade. For the fi­rst time, those rarities and one-offs have been compiled into a cohesive overview of These Arms Are Snakes’ lifespan on the double LP Duct Tape & Shivering Crows.

STAFF COMMENTS

Barry says: The inimitable TAAS return for a final outing of lesser-publicised extras and b-sides. With every bit of the grinding groove of their earlier full-length LP's, this collection shows what an incendiary and unique musical force they were, and shows off some of the tragically overlooked gems from their oeuvre.

TRACK LISTING

1. Meet Your Mayor
2. Camera Shy
3. Trix
4. Energy Drink And The Long Walk Home
5. Heart Shaped Box
6. Washburn
7. Old Paradise
8. Payday Loans
9. Hook On This
10. Riding The Grape Dragon
11. Run It Through The Dog
12. Diggers Of Ditches Everywhere
13. The Blue Rose

It’s tough to keep up with garage rock’s wunderkind Ty Segall. Between his steady release schedule of LPs, raucous side projects like Fuzz and GØGGS, and collaborations with fellow songwriters Mikal Cronin and Tim Presley, it’s as if a season can’t pass without Segall dropping a new record. And that’s not even taking his cassettes, splits, and EPs into consideration. Fortunately, Segall’s bottomless well of creativity, production savvy, and boundless fascination with the various niches of the rock world makes every new release an occasion to celebrate. Suicide Squeeze Records is proud to offer the latest entry in Ty’s impressive canon with the Sentimental Goblin 7”. Side A features “Pan”, a fuzz-soaked proto-metal jam that links Beatles’ pioneering guitar dirge “I Want You (She’s So Heavy)” to later lurch classics by Sir Lord Baltimore and Pentagram. In true Segall fashion, he switches gears on side B and conjures the erudite pop appeal of T. Rex and Bowie with the lush glam rocker “Black Magick”. Suicide Squeeze Records is proud to release Sentimental Goblin to the world on March 17, 2017. 

Mute / BMG announce 'Surrender: A Collection' by influential electronic-punk duo Suicide.

This brand new, remastered collection spans Alan Vega & Marty Rev’s forty year career and serves as an introduction to their raw, eclectic and inspiring catalogue.

Although the band barely received any credit during their career, Suicide are cited as one of the most inspirational bands of the 1970s, influencing the likes Soft Cell, Depeche Mode and The Jesus And Mary Chain, whilst garnering fans in Nick Cave, Jim Thirlwell, M.I.A., Spiritualized, Lydia Lunch, Bobby Gillespie and Savages to name a few.

“SUICIDE MADE SOME OF THE COOLEST, MOST UNCOMPROMISING MUSIC EVER INFLICTED ON OUR SPECIES. THIS GATHERING OF SONGS IS NOT A “BEST OF” NOR IS IT A “DEFINITIVE” ALL-YOU-NEED-TO-KNOW COMPILATION. IT IS AN INTRODUCTION THAT WILL HOPEFULLY COMPEL YOU TO EXPLORE THE ALBUMS.” Henry Rollins, Surrender.

Presented as a limited edition double album, on 140g Blood Red Vinyl in an embossed outer and mirror board inner gatefold, this unique package also contains a set of brand new, extensive and extraordinary liner notes by long serving fan/collaborator and NYC stalwart Henry Rollins.

The tracklisting, collated by Marty Rev, Liz Lamere, and Henry Rollins, includes tracks from their classic debut album, Suicide (1977), to their final outing, American Supreme (2002). The LP also features two brand new, unheard tracks Girl (Unreleased Version) and Frankie Teardrop (First Version). The package has been full remastered by Denis Blackham at Skye Mastering.

TRACK LISTING

LP Tracklist:
A1. Dominic Christ (2022 – Remaster)
A2. Diamonds, Fur Coat, Champagne (2022 – Remaster)
A3. Harlem (2022 – Remaster)
A4. Rocket USA (2022 – Remaster)
B1. Cheree (2022 – Remaster)
B2. Dream Baby Dream (2022 – Remaster)
B3. Touch Me (2022 – Remaster)
B4. Ghost Rider (2022 – Remaster)
B5. Mr. Ray (2022 – Remaster)
C1. Surrender (2022 – Remaster)
C2. Why Be Blue? (2022 – Remaster)
C3. Wrong Decisions (2022 – Remaster)
C4. Dachau, Disney, Disco (2022 – Remaster)
D1. Radiation (2022 – Remaster)
D2. Girl (Unreleased Version) (2022 – Remaster)^
D3. Frankie Teardrop (First Version) (2022 – Remaster)*

CD Tracklist:
Dominic Christ (2022 – Remaster)
Diamonds, Fur Coat, Champagne (2022 – Remaster)
Harlem (2022 – Remaster)
Rocket USA (2022 – Remaster)
Cheree (2022 – Remaster)
Dream Baby Dream (2022 – Remaster)
Touch Me (2022 – Remaster)
Ghost Rider (2022 – Remaster)
Mr. Ray (2022 – Remaster)
Surrender (2022 – Remaster)
Why Be Blue? (2022 – Remaster)
Wrong Decisions (2022 – Remaster)
Dachau, Disney, Disco (2022 – Remaster)
Radiation (2022 – Remaster)
Frankie Teardrop (First Version) (2022 – Remaster)*

^Previously Unreleased, Vinyl Only.
*Previously Unreleased.

Is there a better pairing of kindred spirits than a split seven-inch single featuring Le Butcherettes and Death Valley Girls? We're hard pressed to think of one. Sure, the interaction is fleeting, but damn is it satisfying.

We've got Le Butcherettes on side A taking on one of Death Valley Girls' most cosmic numbers, the kaleidoscopic centerpiece off Under the Spell of Joy album, "The Universe." Le Butcherettes' fearless and charismatic mastermind Teri Gender Bender takes the tune into even trippier territories, replicating the original song's sonic tapestry of synth, sax, and guitars with layer upon layer of vocals. Only the sparse accompaniment of acoustic guitar and modest percussion keeps the song from being fully a capella. It's a perfect interpretation of Death Valley Girls' communal and choral aims.

On side B, Death Valley Girls offer up a new tune - the deliciously ecstatic "When I'm Free." Like every great Death Valley Girls song, it's a celebration of life bolstered by fiery rock n' roll riffage, spiritual organ, dizzying sax, and Bonnie Bloomgarden's defiant and triumphant vocals. Suicide Squeeze Records is proud to offer up this meeting of mystical minds on vinyl and digital platforms on February 11, 2022.

Farewell covers a lot of ground across the span of its 26 songs and two-hour run time. Yet every moment is a reminder of why Minus the Bear were such an experiential live band. They were always pushing forward, evolving their sound, and ­nding new ways to balance brainy musicianship, pop worship, meditative sentimentality, and adrenalized fervor into their own signature concoction. Further bolstered by the mix of Matt Bayles and master job by Ed Brooks at Resonant Mastering, the album sounds like a fully immersive live experience.

TRACK LISTING

1. Drilling - Live
2. Last Kiss - Live
3. Lemurs, Man, Lemurs - Live
4. Absinthe Party At The Fly Honey Warehouse - Live
5. Thanks For The Killer Game Of Crisco Twister - Live
6. Diamond Lightning - Live
7. My Time - Live
8. Summer Angel - Live
9. Cold Company - Live
10. Fair Enough - Live
11. The Fix - Live
12. Fine + 2 Its - Live
13. I’m Totally Not Down With Rob’s Alien - Live
14. This Ain’t A Sur­n’ Movie - Live
15. The Game Needed Me - Live
16. Invisible - Live
17. Monkey!!! Knife!!! Fight!!! - Live
18. White Mystery - Live
19. Spritz!!! Spritz!!! - Live
20. Knights - Live
21. Let’s Play Guitar In A Five Guitar Band - Live
22. Hey, Wanna Throw Up? - Live
23. Get Me Naked 2: Electric Boogaloo - Live
24. Into The Mirror - Live
25. Throwin’ Shapes - Live
26. Pachuca Sunrise - Live

Zorked (adj.) - what happens when you end up thunderbaked, as in extremely stoned or in any situation where you feel not sober. You can feel so tired you’re zorked. In fact, any state, so long as you’re a little out of it, quali­fies. And Julia Shapiro, of Chastity Belt, Childbirth, and Who Is She? much like everyone on this earth with a pulse was zorked on more than one occasion in 2020. In March, she packed up her things and traded Seattle’s late-winter gloom for the perennial sunshine and seemingly endless opportunity of Los Angeles only to be forced into near-total isolation. With nowhere to go and nothing to do, she began working on her second solo album, Zorked. On the resulting batch of songs, we’re given Julia’s vision of Los Angeles: a wasteland melting in slow-motion, a place to commune with ghosts and warped legacies.

Living within earshot of a man who spent his entire 2020 singing karaoke for over 10 hours a day, Julia could write, record, and play an album’s worth of instruments without fear of noise complaints. Her roommate Melina Duterte (Jay Som) transformed their house into a viable home studio, making it easy to fully realize the sound in her head, even at the height of a global lockdown. Taking things a step further, Melina agreed to co-produce the record, pushing Julia to make these new songs sound less like Perfect Version, her ­rst solo album, or like the songs she performs in Chastity Belt. At the peak of her uncertainty and discomfort, she jumped into the deep end in search of something new and found power in heavy sounds.

This is evident in the fi­rst few seconds of album opener “Death (XIII).” Taking newfound inspiration from the namesake Tarot card, drone metal, and shoegaze, Julia layers walls of guitars, bass chords, and programmed drums. “Come With Me,” the album’s lead single, takes inspiration from a mushroom trip gone bad. “Take me to awful places now,” she sings, envisioning heat death as her own eyes stare directly into the sun. On “Wrong Time,” shimmering guitars smolder and levitate, yet she fi­nds herself “stuck inside this hole I’ve dug.” That said, these songs aren’t unbearably sad, nor has Julia become any less of a merciless observer of human behavior. By album closer “Hall of Mirrors,” she’s come full circle. Over ­fingerpicked guitar, the sense of lost identity becomes all-encompassing.

It’s the sound of a life lived in servitude to digital screens and the psychic damage invisibly done along the way.

Though Julia Shapiro found herself in a near hermit-like existence, writing and recording almost all of the album’s instruments herself and struggling to navigate her place in a city and world rendered nearly comatose, she maintains a sense of humor about all of it. At the very least, “It’s funny to force people to have to say Zorked out loud. Any other title sounded pretentious.”

TRACK LISTING

1. Death (XIII)
2. Come With Me
3. Wrong Time
4. Someone
5. Reptile! Reptile!
6. Pure Bliss
7. Hellscape
8. Do Nothing About It
9. Zorked
10. Hall Of Mirrors

In their early years, Atlanta trio The Coathangers were very much of the classic punk ethos—the band was a live entity, and the records were a document of the charisma and chaos projected from stage. But after 12 years of relentlessly touring on a steady flow of EPs and LPs, The Coathangers finally took a moment to recalibrate before diving into the creation of their sixth studio album The Devil You Know. The band regrouped to make an album that captures all the vitality of their early years while honing their individual strengths into new communal achievements. It’s a record that takes their established takes on vitriolic punk, playful house-party anthems, and heartworn ballads and melds them into a new sound that retains all their former live show glories while revealing a new level of songwriting and nuance. “The writing process was done with an open heart,” says guitarist/vocalist Julia Kugel. “Everything that came before had to go away. And we started there, at ground zero.” With each album, you could hear the individual songwriters honing their style. But with The Devil You Know, it feels like we’re hearing the first Coathangers record written as a true unit.

TRACK LISTING

1. Bimbo
2. 5 Farms
3. Crimson Telephone
4. Hey Buddy
5. Step Back
6. Stranger Danger
7. F The NRA
8. Memories
9. Last Call
10. Stasher
11. Lithium

Where L.A. Witch's self-titled album oozed with vibe and atmosphere, with the whole mix draped in reverb, sonically placing the band in some distant realm, broadcast across some unknown chasm of time, Play With Fire comes crashing out of the gate with a bold, brash, in-your-face rocker “Fire Starter.” The authoritative opener is a deliberate mission statement.

“Play With Fire is a suggestion to make things happen,” says Sanchez. “Don’t fear mistakes or the future. Take a chance. Say and do what you really feel, even if nobody agrees with your ideas. These are feelings that have stopped me in the past. I want to inspire others to be freethinkers even if it causes a little burn.” And by that line of reasoning, “Fire Starter” becomes a call to action, an anthem against apathy. From there, the album segues into the similarly bodacious rocker “Motorcycle Boy” a feisty love song inspired by classic cinema outlaws like Mickey Rourke, Marlon Brando, and Steve McQueen. At track three, we hear L.A. Witch expand into new territories as “Dark Horse” unfurls a mixture of dustbowl folk, psychedelic breakdowns, and fire-and-brimstone organ lines. And from there, the band only gets more adventurous.

Play With Fire is a bold new journey that retains L.A. Witch’s siren-song mystique, nostalgic spirit, and contemporary cool. Despite the stylistic breadth of the record, there is a unifying timbre across the album’s nine tracks, as if the trio of young musicians is bound together as a collective of old souls tapping into the sounds of their previous youth.

TRACK LISTING

1. Fire Starter
2. Motorcycle Boy
3. Dark Horse
4. I Wanna Lose
5. Gen-Z
6. Sexorexia
7. Maybe The Weather
8. True Believers
9. Starred

“Mega model Staz Lindes’ buzzy four-piece is creating the L.A. DIY scene’s most richly layered punk sounds of the moment.” - i-D // “Their take no-prisoners fury and snarky sing-song choruses have quickly made them local favorites in the DIY and indie scene.” – Noisey // Los Angeles punk quartet The Paranoyds channel revelry and revulsion into their debut album Carnage Bargain - a raucous blend of garage rock grit, new wave swagger, horror film soundtrack campiness, and a myriad of other influences. The Paranoyds' beginnings can be traced back to a friendship forged between Staz Lindes and Laila Hashemi in their teens. With the additions of Lexi Funston and David Ruiz, the band found the personnel for their sonic balance of jubilant energy and foreboding undercurrents. Carnage Bargain captures this chemistry through guitar-and-keyboard, genre-mashing weirdness on "Laundry," the fever-dream kitsch of B-52s on "Ratboy," krautrock's motorik groove on "Hungry Sam", and Blondie on the sweet-and-salty highlight "Courtney." Title track "Carnage Bargain" is a perfect example of the band delivering scathing lyrical observations under the guise of a quirky pop hook. The notion of rejecting the status quo and creating your own destiny is evident on the lead single "Girlfriend Degree," which the band calls an ode to "being a badass woman who's taking time to make sure she's doing things for herself." The band may be paranoid, but they offer a solution to our modern ills through the act of being an inspiring, independent, and unflappable force. 

TRACK LISTING

1. Face First
2. Carnage Bargain
3. Girlfriend Degree
4. Egg Salad
5. Bear
6. Hungry Sam
7. Courtney
8. Laundry
9. Heather Doubtfire
10. Ratboy

By the Summer of 1969 the US hippie dream lay in tatters but the cultural influence exerted by New York City would echo loudly through the decades that followed and no louder than it did with the incendiary electronic NYC duo, Suicide, who came to notoriety nearly a decade later. If dismissive at first, the music press have gone through something of a dramatic U-turn in more recent years with many mainstream publications now regarding Suicide’s 1977 debut as a stone cold classic.

It sits at #39 in Pitchfork’s Top 100 Albums Of The 1970s; it placed at #441 in Rolling Stone’s 500 Greatest Albums Of All Time; and reached #236 in NME’s The 500 Greatest Albums Of All Time.

Four decades later, we are only just now counting the positive cost of their influence across genres such as techno, noise, electro clash, goth, synth pop, psych and industrial. However, a sense of their vital impact can be discerned from the number of cover versions of Suicide tracks there are delivered by the likes of Pearl Jam, Bruce Springsteen, Peaches and R.E.M. Elsewhere they have had been praised widely by Nick Cave, Jim Thirlwell and M.I.A. and count Jason Pierce (Spacemen 3/ Spiritualized), Lydia Lunch, Nik Void of Factory Floor and Savages as fans. This Art Of The Album edition of Suicide sees the record remastered and presented in its original form and packaging, with in-depth liner notes covering the context, craft, impact and legacy of the album.

STAFF COMMENTS

Darryl says: Still sounding as fresh as the day it was released back in 1977, this New York proto punk / industrial / avant-noise album finally gets the reissue it really deserves. “Remastered and presented in its original form and packaging, with in-depth liner notes covering the context, craft, impact and legacy of the album.”

With their new album Water, Los Angeles trio SadGirl taps into the romantic and nostalgic spirit of their native city while exuding a time-tested authenticity suggesting they’ve had a peek behind the curtain of the glitzy boulevards and relentless sunshine. It’s a collection of breezy pop songs captured with the timbre of old-time recording techniques. Songs like “Little Queenie” touch upon the yesteryear reverberations and longing of a Ken Boothe ballad. Similarly, a tormented love song like “Miss Me” transports the listener back to slow dances at a previous generation’s sock hop, only to be subverted by a chorus of “miss me with that bullshit.”

It’s as if guitarist/vocalist Misha Lindes, drummer David Ruiz, and bassist Dakota Peterson want to conjure an idealized past only to remind us of innocence lost. “If you want to learn about water, go to the desert.” It’s a piece of wisdom that made an impact on Lindes. “Here we are in Los Angeles, a desert, ping-ponging between drought and El Niño. This record is an attempt to share a small portion of my experience growing up and living here,” said Lindes. “It’s basically about the fluidity of water and its power and importance.” “L.A.’s SadGirl make slow and hazy pop perfect for your summer soundtrack” 

TRACK LISTING

1. The Ocean
2. Chlorine
3. Hazelnut Coffee
4. Miss Me
5. Breakfast For 2
6. Little Queenie
7. Mulholland
8. Strange Love
9. Avalon
10. Water

THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

“THE BAND THAT WILL ALWAYS SOUND LIKE THE FUTURE” - Dangerous Minds. The classic Suicide ‘Dream Baby Dream’ single (originally released 1979) is re-issued exclusively for Record Store Day 2019. Released on 12”

Suicide Invoice is Hot Snakes' second album, and was originally released in 2002. It was recorded at San Diego’s Drag Racist Studios in 2002 with engineer Ben Moore. The album exhibits Hot Snakes’ slightly larger palate in mood and dissonance. People enjoyed the shows and listening to the recorded music. But, strain from controversy and fame would reveal cracks in the seemingly impenetrable hide of Hot Snakes. A year after the album’s release, drummer Jason Kourkounis left to focus on other music.

TRACK LISTING

1. I Hate The Kids
2. Gar Forgets His Insulin
3. XOX
4. Who Died
5. Suicide Invoice
6. Paid In Cigarettes
7. LAX
8. Bye Nancy Boy
9. Paperwork
10. Why Does It Hurt
11. Unlisted
12. Ben Gurion

Guantanamo Baywatch’s new album ‘Desert Center’ opens with ‘Conquistador’, an instrumental track displaying enough fretboard savvy and fiery twang to make The Challengers proud. However, any notion that Guantanamo Baywatch are strictly adhering to one facet of rock ‘n’ roll’s classic era is dispelled by the soulful swagger and unabashed pop of ‘Neglect’.

It’s an inadvertent juxtaposition maintained through the entirety of ‘Desert Center’, with blazing instrumental nuggets like ‘The Scavenger’ alternating with the proto-grunge and golden oldies mash-up of a track like ‘Blame Myself’.

Like their 2015 album ‘Darling… It’s Too Late’, ‘Desert Center’ was primarily tracked in Atlanta at Living Room Recording with Justin McNeight and Ed Rawls, with Jason Powell doing the bulk of the guitar tracks on his own at Jungle Muscle Studios.

While Guantanamo Baywatch initially made a name for themselves with their early blown-out recordings, ‘Desert Center’ retains the raw aesthetics of a Hasil Adkins single but has the added heft and thump afforded by a modern studio. This balance is perhaps best captured on ‘Video’, where bassist Chevelle Wiseman drives the tune with a thick, throbbing riff while drummer Chris Scott ruthlessly pounds his kit with a crashing clarity guaranteed to please even the most snobby analogue audiophile.

TRACK LISTING

Conquistador
Neglect
The Scavenger
Mesa, AZ
Interlude #1
Witch Stomp
Blame Myself
Area 69
Video
Interlude #2
The Australian

‘Gift Of Life’, the first proper full length by VHS, follows in the footsteps of their previous EPs, with the band self-recording their amalgam of Lost Sounds’ trashy discontent, early Big Black’s trebly guitar stabs and ‘Only Theatre Of Pain’-era Christian Death’s black reverberations. These are brash and bitter territories to occupy but the band sees no other choice for their musical direction, citing the daily grind as the impetus behind their music.

The harsh reality of frontman Josh Hageman’s day-today existence working on the periphery of the medical field played a direct role in the overall theme of the album. Those fatalistic views and medical themes are on full display on ‘Wheelchair’, where a punk pulse underscores Hageman’s harrowing description of a life lived in chronic pain with drugs serving as the only escape.

The album continues on to ‘Hospital Room’, where wiry guitar leads and ominous chords provide the soundtrack to a scene of misery and tragedy within the sanitized walls of Western medicine.

Elsewhere, the themes of addiction and exposure take on more universal themes, such as on the culturegorging lament of ‘Binge Everything’ or the panopticon-paranoia of ‘Public Act’.

TRACK LISTING

Fully Realized
Wheelchair
Hospital Room
Public Act
Crooked Echo
Binge Everything
Art Decay
Constant Hiss

In 2013 MONEY released their debut album ‘The Shadow Of Heaven’, following a handful of concerts that felt more like communions in out-of-the-way venues, advertised by word-of-mouth only.

Two years on, the new MONEY album, ‘Suicide Songs’, takes you deeper into their sound and vision. It feels more advanced and yet simpler, more perfected and yet more open. It is, by turns, a tender, barren, cavernous, smouldering, despairing and inspirational piece of work.

Out of a renewed, richer palate of sound, a sense of greater self-belief has emerged. However, as its title suggests, ‘Suicide Songs’ doesn’t shirk from the emotional truths that birthed it. “I wanted the album to sound like it was ‘coming from death’ which is where these songs emerged,” Jamie explains. “Above all else, I’m just trying to project and portray a poetic truth. Suicide is about anonymity, to the point where you don’t exist, which I definitely feel in my songwriting and as a person. But rather than writing myself out of anonymity, I want to remain there, in this record at least.”

TRACK LISTING

I Am The Lord
I’m Not Here
You Look Like A Sad Painting On Both Sides Of The Sky
Night Came
Suicide Song
Hopeless World
I’ll Be The Night
All My Life
A Cocaine Christmas And An Alcoholic’s New Year

On ‘Visits’, Tammar pulls off a pretty incredible trick with each and every one of its post-punk anthems. They mine the classic sounds of paranoia, malaise and misanthropy (Joy Division, The Velvet Underground, The Fall and early 90s alt-rock) and fill it all with so much exuberance and joy of playing that each song becomes a triumph over anxiety and ennui.

TRACK LISTING

1. Heavy Tonight
2. Summer Fun
3. The Last Line
4. Deep Witness
5. Arrows Underwater
6. Yung Jun
7. Frost Meter

Another radical set of ska-core punk missiles from The Suicide Machines, back with their fifth album "A Match and Some Gasoline". It matches the intensity and creativity of their early work allied to a new confidence that takes the intensity a step further. It encompasses a bunch of new styles - hardcore, harder edged thrash, punk, reggae, ska all put into a blender.

This Seattle band features John Atkins (764-Hero) and Joe Plummer (Black Heart Procession) and are recommended if you like Quasi, the Replacements, 764-Hero and the Blues Explosion. They reach to stretch the elastic of modern indie-pop music while adding an appreciative nod to the SST-era of punk rock when Husker Du and the Minutemen were kings. Aggressive where it needs to be, loose when it should be, the Magicians second self-titled album matures and furthers what was started on 2001's "Girls" and shows that the band's got plenty more to offer.

The long anticipated full length release from this Boston hardcore band. A great mix of old school and new school with intelligent lyrics. This is a band with purpose. Features ex-members of Death By Stereo, The Hope Conspiracy, No Reply, and Adamantium.

More than any other Suicide Machine album before it, there's plenty of nose-thumbing old-school punk such as "The Killing Blow", "Scars" and "Honor Among Thieves". From Detroit they have an energized, highly intense sound. One track to look out for is their bonkers version of REM's hit "It's The End Of The World As We Know It".

Fantastic acoustic and lyrical single on Manchester's very own Uglyman records, think of I Am Kloot as possible reference point.