For one thing, the influences abound. Spencer, an Englishman, was born in Peru, also has Swedish roots, and now lives most of the time in France. I think he speaks at least four languages. Meanwhile, I’m still trying to learn French and stuttering through English half the time. As a result of his multi-cultural upbringing, Spencer’s album combines a lot of styles ranging from surf rock to torch songs, and he especially shows off his love of French music (Spencer calls the album “…a love letter to France”) from the 1960s through the 1980s by collaborating with famous French musicians on the record. The mix of influences and styles is one he pulls off with ease. I don’t know how he kept track of all of it, let alone made it sound effortless.
“Hail Caesar,” with guitar assists by French rock icons Gilles Tandy and Jean Felzine, launches the album with a wild surf guitar rocker before taking a turn down a dark cobblestone road in Angers, France for “Get Out into the Pigs” – which reminds me a lot of some of Julian Cope‘s work with Spencer’s vocal style and his rumination on things past that linger in his memory.
“Isn’t That What Jimi Said” is both a lovely look back on Spencer’s childhood days in Sweden (“Sometimes the breadth of my emotion’s not covered.”) and Jimi Hendrix‘s influence on him (and everyone else, really). As if Spencer wasn’t cool enough, the next thing you know he’s singing a duet, “When I Whisper in Your Ear,” with singer, actress, and former “Miss Tahiti,” Mareva Galenter. The two of them team up for a sultry, and somewhat spooky, song that even includes siren-like sounds from opera star Aurélie Ligerot.
The thick bass on “Jane Loves the Highway” will have you tearing away from the curb as you leave the bank in a hurry with a lovely lady in the back seat holding a heavy bag and a handgun. “Everything I ever did was bad,” he says on “Requiem,” making me wonder if he and Jane are to regret their roadtrip. It has a bit of a 1960s R&B girl group sound to it (particularly in the drum beat) that’s a nice touch. “Cult of Personality” is not a cover of Living Colour‘s classic hit (although it would be interesting to hear Spencer do this). It’s rather a song of hope (“There’s an angel passing over you.”) hidden among somber piano chords and lonely western guitars.
The uplifting messages, and his passion for so many different types of music, continue on “Broken By the Song,” with Spencer telling us, “You can be beautiful…There will come a day.” Things can always turn around and change. Sorrow, like joy, will pass away like everything else. “Waiting for Sorrow,” his first single from the album, features an intro from French pop icon Jacqueline Taïeb and has Spencer’s boldest vocals on the record. I mean, he absolutely belts the chorus and bounces it off the back of the concert hall to lodge deep in your chest, and the bright, jangling guitar riffs only help it settle there.
The title track has slithering snake-like guitar and percussion and Spencer’s witty lyrics (and David Vanian-like vocals) about his complicated relationship with an ex-lover, and perhaps even with England. The way the album fades out with sparkling synths on “Knew That One Day” is a neat way to send us out on a levitating note.
The album is multi-layered, like Spencer himself, and I suspect will reveal more of itself with multiple listens. Vous devriez l’entendre.
The Courettes (lead guitarist/singer Flavia Couri and drummer Martin Couri) are an explosive (husband and wife) rock duo from Denmark and Brazil who have been touring nonstop throughout Europe since 2015, bringing their perfect blend of garage rock, 60s Girl Groups, Wall of Sound, surf music and doo wop to the delight of any audience even remotely interested in rock ‘n’ roll. Now, the “hardest working band in showbiz” are thrilled to tour the USA for the first time. Expect excitement, danger, sweat, explosive performances, and most importantly, GREAT tunes!
To coincide with their first US shows, and as an introduction to the band, a special US/Canada-only compilation, Boom! Dynamite (An Introduction To The Fabulous Courettes), will be released May 12th.The duo has released four fantastic albums on the legendary label Damaged Goods Records, each one praised by magazines such as MOJO and Shindig!, most notably the Back In Mono album in 2021, a true milestone in their career and featured in countless Best Albums of 2021 lists.
This new compilation, released exclusively for the US, guides you through their albums from the very beginning, from the early raw power garage rock onto their present Spector/Levine Wall of Sound Gold Star sound, made using complex recording techniques at StarrSound Studios in Denmark with top producer Søren Christensen and mixing genius Seiki Sato from Japan.
From Here Are The Courettes, their debut album from 2015, you ́ll find ‘I’ve Been Walking’, ‘Push It Too Hard’ (a duet with Kim Kix of Powersolo), both raw and rocking, along with a 2021 re-recording of ‘The Boy I Love’, which heads deep down the ‘60s Girl Group alley. On We Are The Courettes, their second album, the duo began using overdubs in the studio. You can hear Flavia singing harmonies and playing piano and organ on the swinging tracks ‘Time is Ticking’ and ‘Strawberry Boy’. The album also contained the garage nerve of ‘Hoodoo Hop’ and ‘Voodoo Doll’, featuring legendary Brazilian Horror icon Coffin Joe on spells.
The brilliant Back in Mono album found the duo on top songwriting form andis represented on the compilation by ‘Hop The Twig’, ‘Want You! Like a Cigarette’, ‘Night Time (The Boy of Mine)’, ‘R.I.N.G.O’ and ‘Misfits & Freaks’. ‘Only Happy When You’re Gone’ is a hidden gem from Back in Mono (B-Sides & Outtakes), and the fantastic single ‘Christmas (I Can Hardly Wait)’ is included for the first time on an album.
The first pressing is on sunny orange vinyl and is limited to 1000 copies. The band hit the West Coast in May for select dates, as well as Gonerfest in the fall and will be announcing more US shows in the near future. The Courettes are pure dynamite! Turn up the volume and fuzz out! BOOM!
US DATES
May 8 The Sardine – San Pedro, CA *
May 9 Transplants Brewing Company – Lancaster, CA *
Viagra Boys‘ debut EP, Consistency of Energy, is a good blueprint of how you should come out of the gate with your new band: Bring all of the energy, all of the time.
The Swedish post / art-punk band love poking fun at “bro culture,” toxic masculinity, consumerism, fashion, perceptions of what is or isn’t beautiful, rich snobs, drug culture, pop culture, and more. Their name alone is a poke in the eye to dudes who willingly trade raging hard-ons now for chronic heart and blood pressure issues later.
The EP’s opening track, “Research Chemcials,” is a home run in their first at-bat. The heavy bass tone from Henrik Höckert builds and builds until the track breaks open like a freight train without breaks coming down a hill toward a bus of school kids stalled at a railroad crossing. In it, lead singer Sebastian Murphy both rails against and praises the drugs he’s taking (“Research chemicals got me bleeding from my ears. Research chemicals…They make ’em better every year.”). There are times in the track when you can’t tell if Oskar Carls‘ saxophone is broken or in proper working order, which means he’s either a master player or a madman (not unlike Captain Beefheart on saxophone), which means it’s great.
On “I Don’t Remember That,” Murphy tells a tale of him being so drunk and / or high, that he can’t remember, or refuses to admit, all the crazy stuff he’s done the last couple nights – despite multiple witnesses telling him he “peed on the carpet” and “broke your mother’s vase.” Meanwhile, Benjamin Vallé‘s guitar rips through the track like a power washer hose left unattended on full blast.
The perils of too much drug use continue on “Can’t Get It Up,” in which Murphy wants to have some sexy time with his lady friend, but is too burnt-out on snorted research chemicals to give it the ole college try. Tor Sjödén‘s drum beats are the sound of Murphy’s heart pounding from sexual excitement and performance anxiety (“I didn’t mean to ruin your night, girl. I truly do apologize, but since we’re lyin’ here doin’ nothin’, I might as well do another line.”).
The final track, “Liquids,” is about Murphy’s desire to have his lover give him a golden shower (as he admitted on stage when I saw them play it live in February 2023, “That’s a song about gettin’ peed on.”). Murphy is a slave to his desires and Höckert‘s thumping bass is both the throbbing in Murphy’s brain (“She makes me sick, my brain hurt. She’s got my weakness under her skirt.”) and Martin Ehrencron‘s subtle synths are the power of the woman he wants to dominate him (“She’s got me shaking down to my gizzard. She speaks just like some kind of lizard. She’s dressed in robes like some weird wizard. I fantasize until I get blisters. She ain’t no human, I ain’t no ape. I want her liquids all on my face.”).
It’s just four tracks, but they’re four tracks of raw power, and it was a great way for them to launch their assault on an unsuspecting world.
Mong Tong 夢東 is a Taiwanese psychedelic music band formed by brothers Hom Yu and Jiun Chi. The name “Mong Tong” is derived from the brothers’ childhood nickname, which can mean something totally different in different languages from Burmese, Cantonese to Chinese. Today they are announcing their new album ‘Tao Fire 道火‘ is set for release June 30th via Guruguru Brain and are sharing the first single from the record “Forest Show”.
Mong Tong’s music is heavily influenced by Southeast Asian culture, including its mythology and folklore, as well as 60s and 70s psychedelic music. Their sound is characterized by hypnotic rhythms, dreamy melodies, and otherworldly atmospheres.
Their latest album, “Tao Fire 道火”, not only continues the idea behind their previous work, “Indies 印”, but also incorporates more local elements such as gamelan music, phin guitar, tabla drums, and Taiwan sisomi.
While sampling more sounds from the street of Southeast Asia, including weddings, funerals, and traditional celebrations, Mong Tong again explores different folk sounds around Austronesia.
Different their last Guruguru Brain release “Mystery 秘神”, “Tao Fire 道火” will take us to a land that is both familiar and fresh. Feel the hot, the crowd, humidity, and ecstasy. This time, welcome to Mong Tong’s subtropical world.
Mong Tong has been described as part of a new wave of Taiwanese music that draws on the country’s rich cultural heritage while pushing boundaries and exploring new sonic territory. They have also been noted for their visually striking album artwork, music videos and special outfits. Overall, Mong Tong is a unique and exciting addition to the global psychedelic music scene, offering a fresh perspective and a fascinating blend of musical and cultural influences.
Strange Ranger announce their transcendent new album, Pure Music, out July 21st via Fire Talk, and present a captivating new single/video, “She’s On Fire.” Strange Ranger’s music occupies a space best described as uncanny; on Pure Music, the band indulges an obsession with Loveless, but they infiltrate any comparison to shoegaze with overtures to disco, house, and experimental pop. “She’s On Fire” is only a rock song until just after the midway point, when the drums throb, the snare skitters then snaps, and suddenly, you’re in a sweaty pit of swaying bodies dancing as Isaac Eiger (vocals, guitar) and Fiona Woodman (vocals, synth) harmonize, “I would have thought the rhythm of the club might lead me somewhere.” It’s one of the best songs in their discography, with an accompanying video that presents their vivid, cinematic aesthetic to match.
“When you’re young, it feels like life has a kind of arc to it and up ahead in the future, there’s some point where all your experiences converge and this fog of confusion will lift and you will have arrived,” says Eiger, speaking on the inspiration behind the band’s new single. “This is definitely not true and increasingly, music is the steadying hand I lean on when looking for meaning. It provides a spiritualism that feels absent from much of life and I want to be as close to that feeling as possible.”
Ever since Stranger Ranger hit the house show circuit many years ago, Eiger has returned to a Burial quote from one of his few recorded interviews: “Being on your own listening to headphones is not a million miles away from being in a club surrounded by people. Sometimes you get that feeling like a ghost touched your heart, like someone walks with you.” Though that Burial quote resonates, the songs that make up Pure Music have a pulse so strong they’re practically breathing; not touching your heart, but gripping it. Pure Music is easily the band’s most exciting and ambitious work to date.
Eiger, Woodman, Nathan Tucker and Fred Nixon recorded Pure Music at a cabin in upstate New York as a blizzard raged outside. The album elucidates the promise ofNo Light in Heaven, a mixtape that hinted the band was cocooned in a state of near total transformation. Pure Music emerged from the same sessions, and while No Light in Heaven resembles, in places, bygone iterations of Strange Ranger’s sound, Pure Music was made with so little concern for what anyone might expect of them, as if they were a band without history. It’s an album that feels out of this time, one that lives in a dimension running parallel to ours.
It’s been four years since Strange Ranger released the spirited Remembering the Rockets, and in the interim period, the band surveyed a range of electronic production techniques, determined to integrate them on Pure Music. That effort is apparent from the outset; opening track “Rain So Hard” is scaffolded upon layers of oceanic synths, the trill of a marimba, and a mournful guitar part that mirrors the lyrical content. Written while Eiger and Woodman were in the process of breaking up, “Rain So Hard” captures the romantic loneliness of a late subway ride home. Despite the breakup, Pure Music is Stranger Ranger’s most collaborative effort to date. “With a few exceptions, I can’t tell whose production ideas were whose, when I listen back to it,” says Nixon. “We were literally trapped in this cabin, manically working at all hours, and the energy was crazy, in a fun way.”
Pure Music embodies that manic state through interstitial interludes laced with YouTube samples that connect each track to the next so as to submerge the listener in its world, one that rewards catharsis. “Music makes us transcend the feeling of being alienated from or trapped by the world,” Woodman says. “I want the experience of listening to Pure Music to be euphoric.”
PURE MUSIC TRACKLIST 1.Rain So Hard 2. She’s On Fire 3. Dream 4. Way Out 5. Blue Shade 6. Blush 7. Wide Awake 8. Ask Me About My Love Life 9. Fantasy 10. Dazed in the Shallows
STRANGE RANGER TOUR DATES Sat. June 10 – Philadelphia, PA @ TBA w/ Blood & Zeke Ultra Sat. June 17 – Brooklyn, NY @ Heaven w/Chanel Beads
It was a cool night in Kalamazoo, and the music venue at Bell’s Brewery in Kalamazoo, Michigan, Bell’s Eccentric Café, was packed with fans of heavy psychedelic rock. Thankfully, both power trios performing that night were ready to blast out heavy sets of it.
First were Detroit’s Sisters of Your Sunshine Vapor, three lads I’ve known for a while and who never disappoint with their sets. They played a combination of stuff from their last couple albums and some new material from an album they just finished recording and will soon be mastering for release. The new material has industrial influences that mix well with their “Doors meet early Pink Floyd” sound and bring a new powerful energy to their music. Bassist Eric Oppitz (playing in a chair due to having a leg brace thanks to a hockey accident) told me they plan to tour for a couple months once the new album is finished.
Sisters of Your Sunshine Vapor
King Buffalo, all the way from Rochester, New York (and SOYSV) had just played the night before at a small venue in Whitestown, Indiana, and I overheard multiple people saying they’d followed both bands from there to Kalamazoo. King Buffalo were wrapping up their North American tour and didn’t skimp on anything just because it was their last show before heading to Europe. The crowd was enthusiastic for the entire set, with many singing along with every song they played.
The crowd was still buzzing after King Buffalo’s powerful set, feeling like they’d been levitating for the last hour. Venues in Europe are going to love their sets. Also, both bands don’t overprice their merchandise, so load up on their stuff whenever you see them.
UK-based quintet Squid present the new single, “Undergrowth,” from their sophomore album, O Monolith, out June 9th on Warp Records, the “Undergrowth”-inspired video game by Frank Force, and announce a North American Tour. Renowned for their unerring experimentation, Squid continue their idiosyncratic sonic journey with “Undergrowth,” where dubbed-out bass grooves under cinematic synth chops explode into bursts of guitar and frenetic brass. Through the radical meld of textures and tones, Squid drummer and vocalist Ollie Judgestill manages to create an earworm chorus, repeating “Ergonomic for the rest of my days, I’d rather melt melt melt melt melt melt away.” Themes of environmental peril, morality, and the natural world are all present on “Undergrowth” and further explored on the rest of O Monolith.
Judge explains, “I really got into animism, the idea that spirits can live in inanimate objects. I was watching Twin Peaks, and there was the episode where Josie Packard’s spirit goes into a chest of drawers. So ‘Undergrowth’ was written from the perspective of me being reincarnated as a bedside table in the afterlife, and how the thought of being reincarnated as an inanimate object would be dreadful. ‘This isn’t what I wanted/ So many options to be disappointed.’ Even though I’m in no way religious I don’t think anyone who isn’t religious is confident enough to not have had the fleeting thought of ‘Fuck, what if there is an afterlife? What if I’m going to Hell?’”
“Undergrowth” is accompanied by a visualizer directed by Squid’s Louis Borlase. In describing the story behind it, he says, “When we were writing O Monolith we rented a little studio in St Pauls and whichever way we’d walk home, the BRI Hospital chimney would always be standing there – jutting out in front of a disc of countryside beyond. Sometimes it feels like most folklore hides in the countryside’s nooks. At other times it comes in closer, lurking in the bins on the walk back from the shops.”
Additionally, today, the band unveil “Undergrowth,” the game! A bit like the bastardized love child of Super Mario and Space Invaders, with an English Folklore twist. Who’s gonna get the high score? Who’s gonna defeat the monolith? Creator Frank Force adds, “Imagine the game itself as an interactive music video where gameplay and animation is synched up to the music and changes as the song progresses, moving into different phases.”
Produced by long-time collaborator, Dan Carey, and mixed by John McEntire (of Tortoise), O Monolith teems with melodic epiphanies and is a musical evocation of environment, domesticity and self-made folklore. Like its predecessor, it is dense and tricksy – but also warmer, with a winding, questioning nature. Squid began work on O Monolith only two weeks after the release of Bright Green Field while the band were on tour in 2021. The songs continued to take shape in rehearsal rooms around Bristol, where the band were based at the time, eventually moving to Peter Gabriel’s Real World Studios in Wiltshire. This change in environment further pushed the development of the band’s sound from claustrophobic post-punk to something more free-flowing and spacious. Although originating in Brighton and now largely based in South London, every member of the band has a strong connection with the West Country, which only deepened during the recording process. One interpretation of O Monolith is a condensation of the environment into song. “There’s a running theme of the relation of people to the environment throughout,” says Borlase. “There are allusions to the world we became so immersed in, environmental emergency, the role of domesticity, and the displacement you feel when you’re away for a long time.”
“Undergrowth” follows lead single “Swing (In A Dream)” which was recently added to BBC 6 Music’s A-List. As FADER commented, “[‘Swing (In A Dream)’] suggests their new album O Monolith will retain all of the intensity and sense of adventure that made their 2021 debut Bright Green Field essential listening for post-punk fans.” Indeed, like its namesake, O Monolith is vast and strange; alive with endless possible interpretations of its inner mysteries.
Squid have long been praised for their expansive must-see live show, touring extensively in support of Bright Green Fieldin 2021 and 2022. Following the band’s biggest UK and EU shows yet in support of O Monolith this fall, Squid will return to North America in 2024. This run sees them playing many cities for the first time. Tickets are on sale now.
DEBAUCH-a-ReNO returns with a two-part festival in Reno, NV, from June 16th – June 18th, and in Virginia City, NV, at Piper’s Opera House on July 14th with performances by The Mummies, Wild Billy Childish, The Kids, The Zeros, and many more.
(Reno, NV) The fifth installment of northern Nevada’s trash rock n’ roll bash is back in its birthplace in The Biggest Little City In The World and split across two weekends, with DEBAUCH-a-ReNO 2023 marking another strong lineup of budget rock delights spanning the old-school genre pioneers with the new.
Weekend one’s shindig kicks off the evening of June 16th in midtown Reno, where the nighttime events will be held at Cypress Bar, and the daytime/afternoon events taking place in downtown Reno at Wingfield Park Amphitheatre on June 17th and 18th.
June 19th is the federal holiday of Juneteenth, a date to celebrate in itself with its significance marking the news of slavery’s abolition in the United States. It’s a three-day weekend for those from many States — and for those with righteous employers!
Anchoring the weekend’s performances are a slew of punk bands from the New and Old with highlight appearances, including Northern California’s budget rock titans, The Mummies, returning to the festival’s stage, notorious Belgians, The Kids, journeying from the EU capitol country back to the United States after a long absence, and one of San Diego’s earliest pioneers of the West Coast punk rock movement with The Zeros making their DEBAUCH debut alongside the guitar twang and dark humor of fellow San Diegans and self-proclaimed “Scariest Band In the World,” Deadbolt, among many, many more!
Along with We’re Loud, the two producing companies behind this festival are marking significant milestones in their history, with Slovenly Recordings turning 20 years old in 2022 and Sticker Guy! celebrating a pearl anniversary in 2023.The second weekend’s one-night stand soiree will occur south of Reno in the time-stamped silver mining town of Virginia City on July 14th and anchored by a man whose work crosses music, publishing, and painting AND whom Kurt Cobain, Jack White, Graham Coxon, and Kylie Minogue have paid tribute to in their own right with Wild Billy Childish & CTMF, making their exclusive US performance for 2023 at Piper’s Opera House (est. 1863) alongside Sacramento’s garage-mod screamers, Th’ Losin Streaks. A goodclosing lineup, right? Well, those two weren’t enough because we’ve got one of America’s more criminally underrated bands flying in from one sweatbox to another, with the gutter minimalist bump n’ grind of Subsonics making a rare and special appearance all the way from Atlanta.
DEBAUCH-a-ReNO 2023 TICKETING INFO, HOTEL INFO
In 2023, BUDGET ROCK is more important than ever, and the organizers are doing everything they can to make their events affordable to all. Here’s how!
TICKETS Passes are on sale now (full passes gain you access to both the Amphitheatre and Cypress events, while Park gets you in the Amphitheatre) and sold through Eventsmart. This means you’re clear from those non-sensical hidden surcharges and fees a company like Ticketmaster throws at you.
I made the chilly trip to Chicago once again, but this time to see a full night of doom metal at one of the best punk and metal clubs in town – Reggie’s. Four bands playing doom and stoner rock? I’m there.
First up were two local bands, the first being Unto the Earth, who played a solid doom and sludge set set with serious shredding (on one of the most metal-looking guitars I’ve seen in a while). They were clearly having a great time.
Unto the Earth
Next, from nearby DeKalb, Illinois, came Blunt, who set up their gear, tuned a bit, and then said, “Hello. We are Blunt.” and then proceeded to unload a thundering set of sludge metal.
Blunt
I admit, I was a little sleepy after Blunt’s set. This was not from their set. It had been a long day and a two-hour drive to Reggie’s from my house, so I was a little drowsy during the downtime after they were taking their gear from the stage. That ended when, all the way from Sweden, Firebreather came out and practically set the place on fire with their blast furnace-like set.
Firebreather
Closing out the night were The Well, from Austin, Texas, who are one of my favorite doom-psych bands out there. I’d last seen them at Levitation Austin last year, and they sounded even better here. Praise must be given to whomever was mixing the sound at Reggie’s that night, because he or she helped pull every note from The Well’s set to help melt our faces and minds. One of the highlights for me was hearing a new song they’re working on (tentatively called “Christmas” or “Christmas Lights”) after hearing it for the first time at Levitation. I could tell they’d been working the song for a while because it was tighter, creepier, and stronger. The whole set roared.
The Well
The Well and Firebreather are still touring together, so get to see this heavy double-bill while you can.
The title of Bodywash‘s new record, I Held the Shape While I Could, is a perfect summary of how it feels to be barely holding your life together and then finally, sometimes blissfully, being able to drop that façade when you’re alone and just cry your eyes out.
The record was made as both Rosie Long Decter and Chris Steward were coming out points in their lives that had resulted in dissatisfaction, alienation, boredom, and heartbreak. Opening track “In As Far” sets up a major theme of the album (breaking through ennui by being willing to face it head-on) with Steward’s synths that burst open like the sun through clouds. “Picture Of” has Decter reminiscing about a past lover and how sometimes the memory is better than the relationship truly was (“You were hard to believe, asking everything close. You were hard to prove. Something to see and not know.” / “I decide to lie and wait, picture of desire in a frame.”)
“Massif Central” is Steward’s buzzing shoegaze tale of losing his Canadian work status in 2020 due to a typographical error, thus leaving him alienated and unemployed just as we were all hearing the early warnings of the pandemic. “Bas Relief” is an instrumental, sounding like ocean waves and wind and some kind of early 1990s mall music tape that’s been left near a space heater.
Steward sings about trying to fit in as half-Japanese, half-British (“To feel half is not to feel whole.”) and Canadian. “Kind of Light” is about Decter trying to fit in after after the end of a relationship while others are enjoying love around her (“Pull back all the ways you count her gone. Spend a year living trying to hold yourself to a certain kind of light.”)
“One Day Clear” is almost a spoken word piece as Decter tells a lonely tale and Steward plays simple, hypnotic, looping synths behind her. “Sterilizer” is a tale full of bright shoegaze guitars while discussing the idea trying to make a relationship work, but knowing, in your heart, that, while it feels good now, it’s probably going to make both of you bitter in the long run (“We talk inside of swallowed pride, still I warm your sleep tonight.”).
“Dessents” floats right into the snappy, electro-thumping “Ascents” – which is a lovely song about Decter and Steward’s friendship forged even harder during their long drives to gigs while working out their relationship woes. The shimmering sound and wispy vocals on “Patina” (another song about moving past an ended relationship) remind one of some Besnard Lakes tracks, which isn’t surprising when you consider that Jace Lasek from The Besnard Lakes recorded and mixed the album.
Decter is at least in the process of healing by the time we get to “No Repair.” Her vocals are a bit melancholy, but her voice doesn’t seem to be carrying as much weight, and the instrumentation behind her helps rejuvenate her and us. Lyrics like “And sometimes when I’m quiet and alone, I need no repair. If this is as far as it goes, write it in handfuls of air. You were there.”
That’s a lovely lyric to end a lovely album.
Keep your mind open.
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