Shoegaze – Page 11 – 7th Level Music

Wings of Desire encourage us to “Choose a Life” with their new single.

Following last single ‘Better Late Than Never’ (video here), a song about self-discovery, the ever intriguing Wings Of Desire share new single ‘Choose A Life’, plus announce their new EP Amun-Ra to be released Friday 13th August 2021 on WMD Recordings.

Filmed in 8mm pre-covid, the video for ‘Choose A Life’ is meant to feel freeing from responsibility and life in general. Somehow that feels even more poignant now.

One the track, the duo say: “Choose A Life is about our automated programming which convinced us that once we get ‘there’ we will be happy. That once we’ve acquired the material check list we will be fulfilled, but this is never the case. The song explores finding joy in the smaller moments of the everyday, the mundane, those micro expressions that we take for granted. And realising that you don’t have to bend the world to make your mark. That it’s better to just enjoy it.“

Watch the video for ‘Choose A Life’ HERE.

Amun-Ra which is released on 13th August, moves on from the observant nature of debut EP End Of An Age and into a more inwardly focused journey of self-discovery. It is named after the ancient Egyptian deity, the transcendental creator of the universe and the god of light. It represents unlimited and boundless freedom. It explores the trappings of time, ageing, and looks back with a nostalgic glow on past misdealings and successes. Amun-Ra leaves breadcrumbs for anyone growing up and asking the big existential questions on life, lighting the way for the disenfranchised.

Sonically the EP continues the exploration of 60s pop songwriting, noise rock, and euphoric atmospherics, and lifts it into new horizons. Produced by the band and mixed by kindred spirit Vincent Cacchione (Caged Animals). It will include both ‘Choose A Life’, and ‘Better Late Than Never’.

The new EP Amun-Ra is out 13th August 2021 via WMD Recordings

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[Thanks to Amy at Prescription Music PR.]

A Place to Bury Strangers unleash raucous new single, “I Might Have,” from upcoming EP.

A Place To Bury Strangers share new single/video “I Might Have” from their forthcoming Hologram EP out July 16th on founding member Oliver Ackermann’s label Dedstrange. Following lead single “End Of The Night,” “I Might Have” is a fuzz-soaked sonic disaster in the best possible way. Past reflections collide with the brutality of a disintegrating world, stories of personal trauma, acceptance, and human failings emerge from the rubble of noise and destitute motorik rhythms. This is A Place To Bury Strangers at its most honest and unfiltered. Hologram serves as an abstract mirror to the moment we live in and “I Might Have” smashes that mirror into a thousand pieces.

“‘I Might Have’ is about the insecurities of life and growing up and when you just have to turn around and say ‘F*ck it,’” says Ackermann. “Life sucks so we may as well have a good time.” The accompanying video visualizes this mentality as it shows the band raucously hanging out together in New York City.
Watch “I Might Have” Video

In 2003, A Place To Bury Strangers emerged on the scene out of Ackermann’s psychotropic vision. The band is known for their vicious live performances overloaded with all-consuming visuals, experimental sonic warfare, and treacherous stage antics. 2021 welcomes a lineup change; Ackermann is joined by new members John Fedowitz (bass) and Sandra Fedowitz (drums) of Ceremony East Coast, cementing the most sensational version of the band to date. John and Oliver were childhood friends who had played in the legendary underground shoegaze band Skywave, crafting futuristic punk music together. This next phase is a sonic return to the band’s most raw and unhinged endeavors, pushed even further into a new chaotically apocalyptic incarnation.

Watch “End Of The Night” VideoPre-order Hologram EP

A Place To Bury Strangers 2022 Tour Dates:
Wed. March 9 – Hamburg, DE @ Hafenklang
Thu. March 10 – Dresden, DE @ Beatpol
Fri. March 11 – Warsaw, PL @ Klub Poglos
Sat. March 12 – Prague, CZ @ Futurum
Sun. March 13 – Bratislava, SK @ Randal Club
Mon. March 14 – Budapest, HU @ Durer Kert
Wed. March 16 – Bucharest, RO @ Control Club
Thu. March 17 – Sofia, BG @ Mixtape5
Fri. March 18 – Thessaloniki, GR @ Eightball
Sat. March 19 – Athens, GR @ Temple
Mon. March 21 – Skopje, MK @ 25th of May Hall
Tue. March 22 – Belgrade, RS @ Club Drugstore
Thu. March 24 – Zagreb, HR @ MochvaraFri. March 25 – Bologna, IT @ Freakout Club
Sat. March 26 – Rome, IT @ Largo
Sun. March 27 – Milan, IT @ Legend Club
Tue. March 29 – Zurich, CH @ Bogen F
Wed. March 30 – Munich, DE @ BackstageThu. March 31 – Martigny, CH @ Caves Du Memoir
Fri. April 1 – Paris, FR @ La Trabendo
Sat. April 2 – London, UK @ Lafayette
Mon. April 4 – Antwerp, BE @ Kavka
Tue. April 5 – Munster, DE @ Gleis 22
Wed. April 6 – Amsterdam, NL @ Melkweg
Thu. April 7 – Groningen, NL @ Vera
Sat. April 9 – Stockholm, SE @ Hus 7
Sun. April 10 – Oslo, NO @ John Dee
Mon. April 11 – Copenhagen, DK @ Pumpehuset
Tue. April 12 – Berlin, DE @ Hole 44
Wed. April 13 – Cologne, DE @ MTC

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[Thanks to Patrick at Pitch Perfect PR.]

French post-metal legends Year of No Light announce 20th anniversary box set.

Bordeaux, France post-metal sextet Year of No Light announce their forthcoming fifth studio album Consolamentum today, sharing the first single “Réalgar” via all DSPs. Hear and share “Réalgar” via Bandcamp, Spotify and YouTube.

Consolamentum is the band’s first album on Pelagic Records. To celebrate joining the label and Year of No Lights‘s 20th anniversary, they will release a limited edition deluxe wooden box set of the band’s entire discography, titled Mnemophobia on July 2nd. The handmade, hand-silkscreened wooden box features 12 vinyl LPs in 6 gatefold sleeves, exclusive colored vinyl variants, a slipmat, metal pin, patch and poster. For more information, see HERE.

Year of No Light’s lengthy, sprawling compositions of towering walls of guitars and sombre synths irradiate a sense of dire solemnity and spiritual gravity, and couldn’t be a more fitting soundtrack for such grim medieval scenarios. But there is also the element of absolution, regeneration, elevation, transcendence in the face of death. Consolamentum is dense, rich and lush and yet somehow feels starved and deprived.
It comes as no surprise that ever since the beginning of their career, the band have had an obsession for the fall of man and salvation through darkness. The term “consolamentum” describes the sacrament, the initiation ritual of the Catharic Church, which thrived in Southern Europe in the 12th – 14th Century – a ritual that brought eternal austereness and immersion in the Holy Spirit.

“There’s a thread running through all of our albums”, says the band, collectively “an exploration of the sensitive world that obeys a certain telos, first fantasized (“Nord”) and reverberated (“Ausserwelt”), then declaimed as a warning (“Tocsin”). The deeper we dig, the more the motifs we have to unveil appear to us. Yes, it’s a bit gnostic. This album is invoked after the Tocsin, it’s the epiphany of the Fall.”

With debut album Nord (2006) and sophomore release Ausserwelt (2010), the band madethemselves a name in the European avant-metal scene. Extensive tours of Europe, North America and Russia in 2013 and 2014, including two appearances at Roadburn festival, Hellfest and a spectacular performance in a 17th Century fortress in the Carpathian mountains introduced them to a broader and quickly growing international audience.

With their seminal 3rd album Tocsin, released in 2013, Year Of No Light reached the peak of their career thus far – a logical decision that Consolamentum was made with the same team again: recorded and mixed by Cyrille Gachet at Cryogene in Begles / Bordeaux, mastered by Alan Douches at West West Side.

“We wanted this album to sound as organic and analog as possible”, comments the band. “All tracks were recorded live. The goal was to have the most natural, warm and clean takes possible, to give volume to the dynamics of the songs. We aimed to have a production with a singular personality.”

For the adept listener, Consolamentum seems to be venturing deeper into the dark and claustrophobic spheres explored on Tocsin – but the band doesn’t conceive of the evolution of their music in a linear way, as it would be apparent from looking at their discography.

“It’s more a matter of sonic devotion. Music against modern times. Year Of No Light” is above all a praxis. We wanted intensity, trance, climax and threat, all of them embedded in a bipolar and mournful ethos.”

Consolamentum is huge, poignant, frightening, sublime, smothering and cathartic – and, much like Decibel Magazine says of its predecessor, it’s “audacious, memorable and supremely confident.”

Consolamentum will be available on 2xLP, CD and digital on July 2nd, 2021 via Pelagic Records. Preorders are available HERE.

Keep your mind open.

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[Thanks to Dave at US / THEM Group.]

A Place to Bury Strangers announces new lineup, new tour, new EP, and new single.

Brooklyn’s A Place To Bury Strangers announces their new EP, Hologram, out July 16th on founding member Oliver Ackermann’s label Dedstrange, and presents a new single/video, “End Of The Night.” Hologram is the anticipated follow-up to 2018‘s Pinned and will be capped by a world tour in early 2022. In 2003, A Place To Bury Strangers emerged on the scene out of Ackermann’s psychotropic vision. Often cited as “the loudest band in New York,” A Place To Bury Strangers is known for their vicious live performances overloaded with all-consuming visuals, experimental sonic warfare, and treacherous stage antics. 2021 welcomes a lineup change. Ackermann is joined by new members John Fedowitz (bass) and Sandra Fedowitz (drums) of Ceremony East Coast, cementing the most sensational version of the band to date. John and Oliver were childhood friends who had played in the legendary underground shoegaze band Skywave, crafting futuristic punk music together. This next phase is a sonic return to the band’s most raw and unhinged endeavors, pushed even further into a new chaotically apocalyptic incarnation.

Lead single “End Of The Night” buzzes with percussion and murky noise and synth, as reflected in the disorienting self-directed video. Oliver Ackermann elborates: “‘End Of The Night’ is the first written in collaboration with either of the new band members. John sent me the drum track and challenged me to write a song over it. It sort of came about as a strange stream of consciousness and unknowingly became about the end of the former band and the beginning of the new one. Each layer of the song stripping away the dead skin from the old and regrowing layer and layer of distortion of the new band. It’s great to be working again with John Fedowitz. I feel like our songwriting styles shot off in different directions from our earlier band Skywave only to come back to the table with different experiences to create something special again.”

A Place To Bury Strangers will host a screening of the Dedstrange SXSW Showcase this Friday, April 23rd at 7PM Eastern Time via the label’s Facebook and YouTube. It’s the first performance featuring the band’s new lineup, and other artists performing include Holy F–k, Randy Randall (No Age), Paul Jacobs (Pottery), Data Animal and Jealous.

Watch “End Of The Night” Video

Pre-order Hologram EP

Hologram EP Tracklist
1. End Of The Night
2. I Might Have
3. Playing The Part
4. In My Hive
5. I Need You A Place To Bury Strangers 2022 Tour Dates:
Wed. March 9 – Hamburg, DE @ Hafenklang
Thu. March 10 – Dresden, DE @ Beatpol
Fri. March 11 – Warsaw, PL @ Klub Poglos
Sat. March 12 – Prague, CZ @ Futurum
Sun. March 13 – Bratislava, SK @ Randal Club
Mon. March 14 – Budapest, HU @ Durer Kert
Wed. March 16 – Bucharest, RO @ Control Club
Thu. March 17 – Sofia, BG @ Mixtape5Fri. March 18 – Thessaloniki, GR @ Eightball
Sat. March 19 – Athens, GR @ Temple
Mon. March 21 – Skopje, MK @ 25th of May Hall
Tue. March 22 – Belgrade, RS @ Club Drugstore
Thu. March 24 – Zagreb, HR @ Mochvara
Fri. March 25 – Bologna, IT @ Freakout Club
Sat. March 26 – Rome, IT @ Largo
Sun. March 27 – Milan, IT @ Legend Club
Tue. March 29 – Zurich, CH @ Bogen F
Wed. March 30 – Munich, DE @ Backstage
Thu. March 31 – Martigny, CH @ Caves Du Memoir
Fri. April 1 – Paris, FR @ La TrabendoSat. April 2 – London, UK @ Lafayette
Mon. April 4 – Antwerp, BE @ Kayka
Tue. April 5 – Munster, DE @ Gleis 22
Wed. April 6 – Amsterdam, NL @ Melkweg
Thu. April 7 – Groningen, NL @ Vera
Sat. April 9 – Stockholm, SE @ Hus 7
Sun. April 10 – Oslo, NO @ John Dee
Mon. April 11 – Copenhagen, DK @ Pumpehuset
Tue. April 12 – Berlin, DE @ Hole 44
Wed. April 13 – Cologne, DE @ MTC

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Review: Open Hand – Weirdo

Ten years in the making, Open Hand‘s newest album, Weirdo, has plenty of appropriately weird stuff, psychedelic fuzz, vintage synths, and seriously cool chops. The album opens with someone saying, “I’ve got a message for you, and you’re not going to like it.” Okay, Open Hand. You have my attention.

“The People’s Temple” has guitarist / vocalists Justin Isham encouraging us to leave because he’s feeling much better. It’s an interesting suggestion after a decade, and even more so as Isham sings that he’s considering running away from something (Stardom? A relationship? People in general?). It’s difficult to take him too seriously, however, because the opening track bumps and jams with funky keys by Kyle Hammond and damn funky drumming by Gil Sharone.

Mike Longworth‘s rapid bass chords open the danceable “It Takes Me,” which reminds me of the dance-funk stylings of !!!. Isham and Ryan Castanga‘s guitars shimmer on the fuzz-heavy “Again?”, showing off the band’s deftness at switching from dance-funk to shoegaze and doing both genres well. They go back to dance-funk on “Like I Do,” and Hammond gets another chance to strut his stuff with formidable synth bleeps, bloops, and beats.

“Return” (with guest drums from Mike Levine and guest vocals from Lisa Loeb) is a neat, spacey track, and “In My Way” gets us firmly back into shoegaze territory, reminding one of Hum and Failure cuts. Sharone puts down some of his fiercest beats on the track. Seriously, some of his fills will knock you back in your chair. Isham, Longworth, and Castanga crank up the fuzz on “I Think So,” and it mixes well with Sharone’s rocket fuel drums and Hammond’s sunshine synths.

“Loved,” with guest co-vocals from Brittany Snow, has a bit of a prog-rock feel to it that changes things up a bit. Bill Gaal takes over on bass on “Chances,” and proceeds to get his money’s worth by thudding us with glorious fuzz and low end as the rest of Open Hand unleash a track that Josh Homme would envy. “Draw the Line” ends the album with some space rock and, I think, samples from the weird John Carpenter horror film, The Prince of Darkness.

I don’t know why Open Hand took a decade off from releasing new material, but I’m glad they’re back in 2021. Everyone needs good music nowadays, and stuff as good as Weirdo is more than welcome.

Keep your mind open.

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Top 40 albums of 2016 – 2020: #’s 20 – 16

We’re halfway through the list, and the decision of what to include gets tougher with each post. This one includes two shoegaze surprises and a legend.

#20: Cosmonauts – A-OK! (2016)

I don’t remember where I first heard Cosmonauts, but I do remember being floored by the sound of this record. The sunny, southern California shoegaze riffs and power these lads put out was nothing short of stunning. The themes of boredom, lost love and youth, and growing tired of hipsters were deftly handled and backed with a trippy sound that’s not easy to make.

#19: Hum – Inlet (2020)

Easily the best surprise of 2020, these Chicagoland shoegaze giants dropped Inlet on an unsuspecting, but wildly grateful, public and immediately became the talk of the music industry – again. It proved that they never lost anything – chops, power, influence, mystery. Let’s hope they get to tour in 2021, because they deserve sell-out shows.

#18: All Them Witches – Sleeping Through the War (2017)

Speaking of power, All Them Witches are brimming with it, and this album was like chugging psychedelic tea mixed with Red Bull. At times blistering with fury and other times a bluesy, swampy mind trip, Sleeping Through the War deals with disconnection, celebrity worship, invasive technology, and, as always with ATW, mysticism.

#17: The Duke Spirit – Kin (2016)

Kin was another surprise release. It wasn’t a surprise that The Duke Spirit put out a new record. The surprise was that, instead of their heavy, sexy, blues-influenced rock, the band put out one of the best shoegaze records of 2016. They metamorphosed like a caterpillar and emerged into something new that somehow thrilled me more than they already had done.

#16: Gary Numan – Savage (Songs from a Broken World) (2017)

The legend I mentioned at the beginning of this post? It’s Gary Numan, and Savage (Songs from a Broken World) was a great return for him. This album brims with power as hard as the post-apocalyptic landscape portrayed on the cover and in the lyrics. Numan wasn’t messing around (nor does he ever) with this record, tackling climate change, fascism, mania, despair, and dread with massive synth riffs, knock-down drums, and pure force. I was lucky to catch him at the Chicago stop on this tour and it was one of the best shows I’d seen in a while.

Next up we have dance-punk, live doom metal, stunning psychedelic jams, an EP from a band that broke up just as they were becoming popular, and an improvised instrumental record.

Keep your mind open.

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Top 40 albums of 2016 – 2020: #’s 25 – 21

This latest batch of my top albums of the last five years includes a lot of excellent shoegaze and psych-rock. Which made the cut? Read on…

#25: Slowdive – (self-titled) (2017)

Slowdive returned with this gorgeous shoegaze record sounding like they never took a twenty-two-year pause. It’s lush, luxurious, and sometimes loud, and it reminded everyone how much they missed the band and how much everyone needed a warm hug.

#24: Moon Duo – Stars Are the Light (2019)

The cover of Stars Are the Light sums up the album pretty well – psychedelic disco from another planet. It was a welcome return for Moon Duo and a bit of a surprise direction for them, but one much needed and appreciated as we were about to get walloped with a pandemic. This record would become a respite from COVID blues whenever you needed it.

#23: A Place to Bury Strangers – Pinned (2018)

Pinned is the first APTBS album featuring Lia Braswell on drums and backing (and sometimes lead) vocals, and the energy she brings to the band is palpable from the outset. The band somehow gains even more power than they had before and takes on a new sound that bodes well for future endeavors.

#22: Frankie and the Witch Fingers – Monsters Eating People Eating Monsters… (2020)

This double album is chock full of epic riffs, psychedelic freak-outs, and jaw-dropping grooves. It sounds like they went into the studio and unloaded every frustration and desire they’ve had since 2016. It blends Stooges‘ power with Zappa jams, Thin Lizzy funk, and Oh Sees trips.

#21: Here Lies Man – You Will Know Nothing (2018)

I discovered Here Lies Man with this album after their label sent it to me with the question, “What if Black Sabbath played Afrobeat?” You have my attention. HLM‘s second record knocked me out of my shoes, and I immediately began telling everyone about them. The Afrobeat rhythms combined with fuzzy bass, synths, and guitars were intoxicating and thrilling. Add to that the band’s philosophy that every album is meant to be thought of as a film / story, and it’s a film you’ll want on 4K Blu-Ray to play through your giant home entertainment system to the annoyance (or love) of your neighbors.

As we reach the top 20 albums of the last five years, we’ll see more shoegaze and psychedelia and the return of a legend.

Keep your mind open.

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Top 35 albums of 2020: #’s 10 – 6

We’ve reached the top 10 (of nearly 80) albums I reviewed in 2020. Who made the cut? Read on…

#10: The Wants – Container

The only thing bad about this album is that The Wants didn’t get to extensively tour to promote it. Screw you, 2020. Container deserves to be heard by everyone, especially post-punk fans or anyone else who likes their rock with a slight goth edge. I was lucky enough to see them in February 2020 before the country and touring and venues shut down. I hope they’re able to get back to the road soon, because hearing this record live is even better.

#9: Pigs Pigs Pigs Pigs Pigs Pigs Pigs – Viscerals

This album is so heavy that it might break your turntable if you have it on vinyl. The Black Sabbath influences are evident, but Pigs X7 sound like they had fun while making an album to unleash their wrath upon Brexit, COVID-19, politicians across the pond, and jackasses in general.

#8: Frankie and the Witch Fingers – Monsters Eating People Eating Monsters…

I’d only heard a few tracks by Frankie and the Witch Fingers from earlier records before hearing their new album, Monsters Eating People Eating Monsters… Holy crap. This record floored me. It’s double-album-full of prime psychedelia, shoegaze, and garage rock jams. Let this album consume you.

#7: BRANDY – The Gift of Repetition

I don’t remember where I first heard BRANDY’s music, but I’m glad I did because this is the most fun punk record I heard all year. The repetition mentioned in the album’s title is used to great effect throughout the record with killer beats, riffs, and choruses.

#6: Hum – Inlet

The biggest surprise release of the year also turned out to be one of the best albums of the year. No one expected or even considered a new, full-length album by 1990s shoegaze legends Hum, but along came Inlet to knock off our socks and remind us that these guys can mop the floor with just about any other band out there.

Only five more to go! Who takes the title of best album of 2020? Come back tomorrow to find out.

Keep your mind open.

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Top 35 albums of 2020: #’s 20 – 16

We’re into the top 20 albums of 2020 (out of the nearly 80 new albums I reviewed last year). Who made the cut? Read on…

#20: Matt Karmil – STS371

This EDM record is full of throbbing bass, oil slick beats, and ambient / psychedelic synths. It works its way under your skin and moves your bones.

#19: Ultraflex – Visions of Ultraflex

Cover that looks like a 1980s New Age CD? Check. Synthwave keyboards that could fit right into a sci-fi film? Check. Sexy Replicant vocals? Check. Visions of Ultraflex manages to be both a neat synthwave album and one of the best make-out records of 2020 at the same time.

#18: Oh Sees – Metamorphosed

This album is “only” five tracks in length, and the first three are under two minutes each. The other two, however, make up for the rest of the album’s time length of over forty minutes. It’s a mix of punk rockers and prog-psych-krautrock jams that shows how deftly Oh Sees can move back and forth between styles.

#17: Holy Wave – Interloper

Holy Wave came back with a fine addition to their catalogue. Interloper blends psychedelia with some shoegaze and surf elements and is full of songs about not fitting in or being comfortable anywhere. That alone could sum up 2020.

#16: Oh Sees – Live at Big Sur

Yes, two Oh Sees albums in this list. Live at Big Sur was their second live-streamed show of 2020. They played at the Henry Miller Library and dove deep into their back catalogue to play stuff they hadn’t played live in years. The encore was a barrage of covers, many of them Black Flag tunes.

We’re over halfway through the list! Come back tomorrow for more!

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Moontype take the “Ferry” on their first single.

Laying down roots at Oberlin College before officially becoming a band in Chicago last year, it has not take Moontype long to start turning heads. Despite having no music online, the three piece (composed of singer/bassist Margaret McCarthy, guitarist Ben Cruz and drummer Emerson Hunton) began playing in their adoptive city in 2019 with only a pair of Bandcamp demos to their name and quickly started appearing on bills with buzzing acts like Strange Ranger, Horsejumper of Love and Paear. This led to them capturing the attention of the rising Chicago label Born Yesterday (helmed by Deeper‘s Kevin Fairbairn and the increasingly ubiquitous engineer Greg Obis), who have recently garnered an expanding national profile with releases from DIY circuit up and comers Landowner and Cafe Racer. Today, Moontype are announcing their signing to the label with their single “Ferry” which is premiering via The FADER.

WATCH: Moontype’s “Ferry” video on YouTube // FADER

The track, described by FADER as “a gauzy Midwest fantasy,” is an arresting example of Moontype’s sound, one that is startlingly fully-realized for a band who have yet to release their first album, and of a songwriter in McCarthy with a rare ability to communicate her perspective with a relatable clarity and a transporting depth. There are suggestions of the intimate songwriterly-ness of Tomberlin or Lomelda, blended with the sweeping, technically-minded indie of Built To Spill, and even hints of the downbeat grandeur of Mazzy Star in a track that sees McCarthy relate the alienating feeling of a gradually dissipating friendship. Immediately engaging and emotionally acute, it’s the kind of sure-handed first offering that provides a tantalizing suggestion of what’s to come from an extremely promising new band.

“‘Ferry’ is a song about the loss of friendship, not when it breaks apart quickly and devastatingly but when it slowly unravels and you watch it go,” McCarthy explains to FADER. “3 or 4 of my friendships made their way into this song. I think about a friend who was about to go on a two-year long tour, and I started to drift away from him months before he actually left – a trick the mind plays to make the break less painful. Your friend leaves and afterwards you’re left with these visceral memories – running around the city at night, drinking whiskey in the alley – and in memory form those experiences gain potency, like ‘ah that was really living, and what I have now is nothing.’ And that vivid memory stands in high contrast to the way their entire personhood is slowly fading from your mind, you forget how they walk, what kind of jokes they made. And then you’re left with only yourself and you realize that you’ve defined yourself through the relationships you’ve been in, and when those people go away you feel like an empty shell (no snail inside!) and that feeling is enough to make a person say ‘I wanna take the ferry to Michigan! Get me out of this place!’”

“Ferry” is available to purchase on Bandcamp.

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[Thanks to Tom at Hive Mind PR.]