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2018-10-26
Devon Church: We Are Inextricable

It can take years to find your voice. In the case of the Winnipeg born, Brooklyn based musician Devon Church, it took the dissolution of a decade long marriage and creative collaboration ( Exitmusic, a nightmare pop project co founded by Church's ex wife) to send him down the road of discovering his own singular, rough hewn yet elegant style. Exitmusic is known for haunting soundscapes and hair raising emotional climaxes. With his remarkably assured Felte debut, We Are Inextricable , Church applies his experience as a producer, multi instrumentalist and songwriter to an equally absorbing solo project - one that plunges his Cohenesque pop poetics into an ocean of drone, psychedelic minimalism, harmonic noise, and distortion tinged, angelic ambience. The result is a wellcrafted exploration of samsara and nirvana, heaven and earth, two states seemingly coexisting in the songs themselves. It's an entrancing listen. Sensuous, surrealist lyrics - touching on themes of romantic obsession, religious ambivalence, dysfunctional families, and the ineffable strangeness of human existence - are delivered in a ravaged, soulful baritone, approximating some chimeric offspring of two cigarettes at once Tom Waits, a tripped out David Bowie, and John Maus. Trance inducing, tape saturated echoes of minimalist and ambient composers like Terry Riley, Pauline Olivera, Steve Reich and Grouper fill the spaces left by post punkified chord structures, primitive drum machines, shakers, tambourines, and delirious, overdriven synthesizers.

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2018-09-21
Chasms: Part Time Punks

Chasms crafts ethereal, percussive dirges that are sparse in arrangement and potent with emotion. Comprised of producer, vocalist, and guitarist Jess Labrador and bassist Shannon Madden, the duo layers meditative guitars and electronic drum samples with Labrador’s entrancing soprano to create an otherworldly sound.

The band’s Part Time Punks session was recorded over the course of an afternoon in 2017 after recently relocating to Los Angeles from San Francisco. It features four songs from the duo’s 2016 debut LP ‘On the Legs of Love Purified’ released on Felte as well as the previously unheard ambient swell “Touched.”

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2018-09-14
Sextile: 3 EP

Since its inception in 2015, Sextile have gained a devout following thanks to the seductive energy of their live shows and nonstop touring. After numerous lineup changes, the now two-piece comprised of Brady Keehn and Melissa Scaduto have shifted toward a minimalist approach that's as heavy hitting as ever. Now favoring synths over guitars, they haven't thrown out the strings completely. '3' was recorded in Los Angeles at their home and practice space using a KORG MS10, a sequencer, a Fender Stratocaster, a LinnDrum, and various percussion instruments. Finding inspiration in futurist writer Luigi Russolo's "The Art of Noises," the pair employs a sonic palette that mirrors the chaos of the modern industrial era. Sextile excels at regulating noise, whether the source is a percussive clang, guitar stab, synth trill, or Keehn's militant vocals. Throughout '3,' bursts of abrupt discord punctuate thumping rhythms and hypnotic bass sequences. While the appropriately titled "Disco" is a clubworthy opener, "Spun" delivers the signature Sextile sound with rowdy, squealing guitars. '3' places the band's sound somewhere between DAF and Gang of Four, but it's that tinge of futurism and the observations of the current political climate that steer them right to the present. It's the explosive sound of now - it's punk that can hold down a dance floor.

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2018-05-25
Numb.er: Goodbye

Numb.er is the sonic brainchild of Los Angeles based photographer and visual artist Jeff Fribourg. With a background in graphic design, Fribourg imbues his work with a sense of architectural composition, layering angular guitar riffs and analog synths over throbbing drums and driving bass. Fribourg developed his love affair with synthesizers and his openminded approach to music as a founding member of LA psychkraut favorites Froth. However, it was only with the creation of Numb.er that he was able to fully explore his eclectic musical inclinations. Combining elements of punk, shoegaze and postpunk, the project never commits to a singular worldview, allowing Fribourg's vision to go anywhere without sounding ironic or forced. With the release of Goodbye, the band's first LP due in late May on felte, Numb.er offers a genredefying sonic document that finds them maximizing the creative potential of the studio while always remaining true to their dynamic and arresting live sound. Mixed and mastered by Mikey Young of Total Control, Numb.er takes a carefully orchestrated approach to chaos and adds Fribourg's own subtle knack for memorable hooks and soft, melodic passages.

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2018-04-20
Exitmusic: The Recognitions

While many couples can trace the real time rise and fall of their relationship back to social media feeds and harried phone calls, Aleksa Palladino and Devon Church have channeled the highs and lows of their storybook courtship into something else entirely: the explosive, discomforting confessionals of Exitmusic. The mercurial project started the year they got married (2004) and allbutimploded during their recent divorce, but not before the duo wrapped its most fully realized collection of beautifully damaged music yet titled The Recognitions. It wasn't easy, though, for the band has always had to balance its writing and recording sessions with Palladino's career as an actress in such acclaimed television shows as Halt and Catch Fire, The Sopranos, Boardwalk Empire, arthouse films like Storytelling and Before the Devil Knows You're Dead. "'Recognitions' has always meant the realization of painful truths for me," adds Palladino. "I thought releasing the record was the only way to let it all go - the final act, the last thing we made together. This album captures that change, the lapse of time in leaving one life to the next, which is what Exitmusic always represented." Aleksa is presently filming a role alongside Robert De Niro on Martin Scorsese's The Irishman while Devon Church is working on a solo record.

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2017-11-10
Autobahn: The Moral Crossing

A sliver of strings, a squeal of feedback, pulsing drums, sheets of steely guitar and sonorous bass, and a rough, declamatory voice - from these primary components, Leeds, UK quintet AUTOBAHN unfurl their second album, The Moral Crossing, which adds more finesse, dynamic color to the commitment and energy shown on their 2014 debut, Dissemble. To capture the new sonic details of the band, lead singer and principal songwriter Craig Johnson, guitarists Michael Pedel and Gavin Cobb, bassist Daniel Sleight and drummer Liam Hilton decided to give up their practice room that doubled as a hardcore/punk venue and build their own studio space (in Holbeck, Leeds' red light district) and record it themselves with Craig leading that charge. It took a year to finish from ripping out the existing contents to finishing the album which was then mixed by Ben Greenberg (Uniform, The Men). Johnson's lyrics on The Moral Crossing combine to form a whole: the theme of a birth, "but that person had no choice in the decision. And then it's about the different outcomes that could happen. Which could be glorious or torturous."

AUTOBAHN have checked their own moral compass, and chosen the hard way, but their music is infused with the joy of exorcising the darkness: to be there, and rise on through.

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2017-11-10
Odonis Odonis: No Pop

Since their blown-out 2011 debut Hollandaze, Toronto trio Odonis Odonis has continued to push their sound further into the depths of post-apocalyptic experimentation. Following 2016's foreboding Post Plague, No Pop is the band's starker, more dance-floor-friendly fourth LP. Executed with precision, every sonic component of No Pop commands attention. Stripping down instrumentation to a handful of synths and an electronic drum kit, the band worked quickly to write and record, bringing demos and improvised takes into the studio and completing the recording process over the course of three days. The result is a focused blend of hard-hitting industrial, techno, and noise - but each track on No Pop is never just one of those elements. Pulsing rhythms lay the ground for textural soundscapes masterfully woven together to create a palpable sense of doom that is thick and satisfying. Taking its name from the anti-commercial No Pop movement, which infers that there "is no expiration date on music nor is it limited by geographic or regional boundaries," No Pop is raw with emotion that's elevated by deft production. Each hypnotizing meditation captures an uncomfortably honest cynicism with a brush of humor, emphasized by sparse vocals that taunt the current dystopia of technology, human emptiness and the mundane. No Pop is the soundtrack of a sinking ship, and we're all happily aboard to go down with it.

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2017-09-22
Ritual Howls: Their Body

Ritual Howls are a unique brand of industrial rock with death jangle-like guitars. Collaboratively, Ritual Howls create a surreal, introspective gloom that could fuel a disco in hell, a soundtrack to your favorite nightmares and most grisly fantasies.

The trio consists of Detroit's Paul Bancell (vocals/guitars), Ben Saginaw (bass) and Chris Samuels (Synths, Samples, Drum Machines). They collect samples of the physical world and feed them with guitar, vox, bass, synth and drum machines to create an aura of darkness over a pop sensibility. Paul Bancell provides lyrics that Poe or Lovecraft would approve of while Chris Samuels and Ben Saginaw sculpt sounds that bring his macabre tales lurching into the world of the living.

The band's Their Body EP follows up their third album, Into The Water, released a little over a year ago on Felte. Ritual Howls' production sees the band dipping their toes into cleaner sonic territory than previously heard. Lead single "This Is Transcendence," may be their most "pop" song to date. And lyrically, it's lyrics are as straightforward as we've heard from Paul Bancell too.i "Perfume" could have the most terrifying opening synth line that will sear your ears instantly. "Blood Red Moon" is reminiscent of signature Ritual Howls with Bancell's guitar leading while drum machine rhythms keep the industrial feel intact and Saginaw's low end thickens the intensity throughout.

While we wait for another full-length, Ritual Howls continue to impress and build upon an eclectic sound that seems to have never-ending possibilities.

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2017-08-25
Gold Class: Drum

Drum is the bold second album from Gold Class. The follow-up to 2015 debut It’s You, Drum is a brasher, vivid widescreen account of a band hitting its stride while betraying the complex signs and scars of a life since lived.

Formed in 2014 by a union of workmates and friends from a Melbourne bar and creative-writing course, Gold Class' string of lean, explosive live shows culminated in It's You - distillation of the then-fledgling group's wiry punk, carried by Curley's booming baritone and themes of personal politics, sexuality and identity. Recorded at Melbourne's Head Gap studios and co-produced by Gareth Liddiard of The Drones, Drum sees Gold Class explore new territory in both songwriting and sonics. Liddiard was instructive in helping the band capture these new moods. "We wanted to take a risk," says Curley. "He was the one person everyone felt could do something interesting with the album." Drum distils the messy scope of life into a brave, sometimes brutal but beautiful new document. Whatever will come, the beat - at least - goes on.

(Insight on Drum by Adam Curley, singer/lyricist for Gold Class)

The week we started to write Drum, my relationship ended and I was left alone in a draughty old house, which belonged to a friend of a friend. In the house, I sat around with my notebook, the quiet hours cut with news from friends and the TV: the suicides of musicians and writers I'd known and queer kids I hadn't; the systematic abuse of vulnerable people, the constant mockery of anyone on the outs.

I knew what the purpose of the album would be when I wrote the repeated line in 'Get Yours': "There’s none left here and all I need." I wanted it to be a record of defiance, a resistance to the idea of scrambling for a place at a table that wasn't set for you. A sort of a love letter to anyone who not only can't meet the standard but doesn't want to. I wanted it to be a record of rage and ecstasy and endless nights and sex and dumb fun and ventures in solidarity. Not just an album of urgency and longing, but one of abandon and a reclaiming of a self beyond boundaries.

But I couldn't avoid what was immediately happening in my life, either, that the end of my relationship had uncovered a lot of the feelings of isolation I experienced growing up. And so it turned out that the album is also personal, and I think is in conversation with queer histories of silence and evasion and transgression, which I was revisiting through the writing of James Baldwin and Cocteau. Childhood imagery kept creeping into the lyrics. Maybe I was trying to come to some peace with the past and to stand up and find some agency in the present. I suppose it was the most defiant thing I could think to do: not to write as some act of catharsis but in an attempt simply to document and claim my existence; that I am here.

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2017-07-14
Sextile: Albeit Living

As a stable fixture in the Los Angeles underground, Sextile has been gaining a devout following since its creation in 2015. The four-piece creates a revolutionary sound — boldly throwing convention out the window to create an entirely original, genre-bending imprint that combines the raw energy of 70's punk with the intricate, sophisticated structural elements of 80’s post-punk and synthwave.

Sextile's first release, A Thousand Hands, had a signature sound that was a dark and primitive form of rock n' roll, a blend of surf punk, early industrial, and post-punk marked by heavy use of distorted guitar feedback and primal drum beats against a backdrop of violent energy.

Sextile is back with their sophomore LP, Albeit Living. The album is a testament to the band's growth in the songwriting department and effort spent fine-tuning their burgeoning compositional skills. Despite its more sophisticated sound, the album manages to match and even intensify the seductive energy of their live shows and debut album. The album is a strong statement that re-defines Sextile's sound, but the real impact the album has is the way it decisively breaks the rules and guidelines set out by conventional genres and strives to create something truly unique and genre-altering.

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2017-06-30
Au.Ra: Cultivations

We've all been there before: stuck in the wrong place at the right time. In Au.Ra's case, Tom Crandles and Tim Jenkins both walked to the wrong Sydney campus for a TAFE class on audio engineering. Once they realized no one else was going to show up-- and the fact that the right classroom was in another neighborhood--the future collaborators were forced to talk about their shared interests. As the conversation wore on, Crandles and Jenkins both realized they were at a crossroads musically. And since they seemed to be on the same page sonically, the potential for a new project felt particularly strong. Limitless even, so they started rehearsing to see where some improv sessions would lead. The duo didn't want to rush their first record, though. It took two years to wrap 2015's acclaimed Jane's Lament album, a prolonged creative process that paid off when several key outlets praised its heady hooks. The Guardian, for one, wrote, "After succumbing to the riptide pull of the opening track, 'Morning', you stay submerged, sound-bathing in layers of sublime guitar tones and effects that evoke a bevy of shoegaze legends like Slowdive, Ride, and Pale Saints. Two years in the making, the gradual build of Jane's Lament paid off in its drowsy unhurried air." Au.Ra took a similar approach with this year's Cultivations LP, embracing spontaneity on several vastly different songs (see: the intricate, slow-moving guitars of "Dreamwork" and the disjointed dance loops of "Blue Chip") and exploring the outer limits of experimental pop elsewhere. That goes for everything from the shimmering keys and steely percussion of "I Feel You" to the lush, melancholic melodies of "Set the Scene"-- tracks that take cues from King Tubby's dub-wise delays and murky synth-pop. Not to mention "Nowhere," a humid number that channels such richly woven reference points as the surreal '90s program Wild Palms and the artful duets of David Sylvian and Ryuichi Sakamoto. And to think it all started with showing up to the wrong class. Fate moves in mysterious ways indeed.

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2017-05-19
Houses of Heaven: Remnant

San Francisco's Houses of Heaven is the latest project of Keven Tecon, Adam Beck and Nick Ott. Mixing drum machines, analog synths, ambient guitars and live percussion the band blends their musical love of shoegaze, dub, krautrock and electronic music into their debut EP, Remnant.

The EP was recorded at Ruminator Studios by producer Monte Vallier (Weekend, Soft Moon, Wax Idols). Remnant will be released on felte records May 19th.

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2017-03-17
Public Memory: Veil Of Counsel

Public Memory is a concoction of damaged dubbed-out percussion, unfurling tape-delayed synths and sparse sampling - all strung together by producer Robert Toher's snarling tenor. This music is a kind of exotic crossroads between krautrock, trip hop and coldwave, with traces of Radiohead's Kid A drifting up through its floor.

Veil Of Counsel is the first formal release since the band's March 2016 debut, Wuthering Drum and July's standalone single, "Gate At The End" . With titles "Verdict," "Afterlife" and "Ecco", its three tracks seem to create a chronology that in themselves perhaps mark the end of the Wuthering Drum era, as the band anticipates a second album later in 2017. Effectively, each track showcases a singular world, one distinct from the next. Each are different vestiges of paths not explored during Wuthering Drum, or maybe each is foreshadowing what may be yet to come, though Veil Of Counsel does not feel like a mere construction from the scraps left on its predecessor's cutting-room floor. These are ardent, earnest songs, crafted in colours and rhythms tapped right from the band's source; a kind of alien emotion that walks the tightrope between one part romantic, nostalgic - the other introspective and dystopian.

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2017-02-17
PVT: New Spirit

PVT, known as Pivot to anyone in the know, are an act that's embraced technology at every turn - gritty, new, confronting - and their uncompromised songwriting and musical understanding have seen their first four albums released to global acclaim. After years of touring, the band wound up cast far and wide, residing each in a different continent. 2017 sees members Dave Miller along with brothers Richard & Laurence Pike return home to Australia with their fifth album, New Spirit.

This album contains that beautiful type of music written out of compulsion, a calling and an impulse to explore the new place that Australia has become -- a hotbed for political and cultural intolerance. The country has succumbed to divisive politics and irrational fear. Obvious fraud and immorality driven by a gutless media and an indifferent public.

PVT's uncompromising approach to musical self-determination has never been this sharp, and especially never this political. The sound of the record itself is that of a stark digital future, but under the surface there's nostalgia for a different time, another way of thinking, another life. PVT are exploring. Expanding on expectations. They carry with them the bravery and courage of the old explorer with the tolerance and understanding of the new. And they want you to join them.

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2016-12-02
Soviet Soviet: Endless

Italian trio Soviet Soviet take a broad view of the post-punk genre, ignoring timestamps and geographic restrictions to assemble a specimen uniquely theirs. Endless, Soviet Soviet's proper sophomore album, is the result of a very long, well thought out process marked by experimentation and innovation yet still tied to their instinctive style of interpreting and performing music. The band explains, "It started to take shape during soundchecks while on tour, as well as last year when we took a break from touring. It is certainly a continuum of Fate, which we could consider a starting point since every journey calls for us to identify a point from which to start or start over again. That is exactly what we are looking at." Endless is an intense story, one that is marked by purity and which talks of the past. It is an introspective, personal learning experience - a moment of reflection as well as a metamorphosis and a new beginning in life. It’s a tunnel - an experience through which to improve yourself and your surroundings. In many aspects, it's more complex than their previous work in terms of how the songs are arranged."

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2016-10-28
Chasms: On The Legs of Love Purified

Chasms is the San Francisco based project of Jess Labrador and Shannon Madden. The duo crafts percussive dirges that are at once beautiful and menacing. Labrador's haunting vocals and hypnotizing guitar work wade between rhythmic bass lines and bursts of Madden's stinging feedback, laid on a bed of pummeling drum programming. The band's affinity for industrial rhythms, swelling textures, precise minimalism, and chaotic eruptions of noise sounds as equally informed by shoegaze as drone and doom metal - to choose just one would be a disservice. On the Legs of Love Purified is the band's proper debut full-length album. Written over the course of several years, the album explores the healing force of love and the exorcism of pain that inescapably accompanies it. Light cannot exist without dark, bliss without suffering.

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2016-08-19
Ritual Howls: Into The Water

Ritual Howls are industrial rock meets cinematic country goth. Entering a vast nothingness of everything, exploring the unknown, baptizing, cleansing yourself, actually putting something or someone into water, like an act of murder, hiding something. "Look into the water at your Francis Bacon face. Are your lies that easy to erase?" Welcome to the trio's third album, Into The Water.

Detroit's Paul Bancell (vocals/guitars), Ben Saginaw (bass) and Chris Samuels (synths, samples, drum machines) are Ritual Howls. They collect samples of the physical world and feed them with guitar, vox, bass, synth and drum machines to create an aura of darkness over a pop sensibility. Paul Bancell provides lyrics that Poe or Lovecraft would approve of while Chris Samuels and Ben Saginaw provide sounds that bring his macabre tales lurching into the world of the living. Collaboratively, Ritual Howls create a surreal, introspective gloom that could fuel a disco in hell, a soundtrack to your favorite nightmares and most grisly fantasies.

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2016-07-08
Soviet Soviet: Nice

Italian trio Soviet Soviet take a broad view of the post-punk genre, ignoring timestamps and geographic restrictions to assemble a specimen uniquely theirs. Nice is a vinyl reissue compilation of two self-released CD EPs in 2009. In the same year, the trio Immediately followed up with the Summer, Jesus EP 12". That 12" went out of print shortly thereafter until now. This band's era contains a passing familiarity with post-punk's steely derivatives, but also French and Italian Cold Wave.

felte has also released Soviet Soviet's debut album Fate and this December the band's sophomore album, Endless, see the light of day.

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2016-07-08
Soviet Soviet: Summer, Jesus

Italian trio Soviet Soviet take a broad view of the post-punk genre, ignoring timestamps and geographic restrictions to assemble a specimen uniquely theirs. Nice is a vinyl reissue compilation of two self-released CD EPs in 2009. In the same year, the trio Immediately followed up with the Summer, Jesus EP 12". That 12" went out of print shortly thereafter until now. This band's era contains a passing familiarity with post-punk's steely derivatives, but also French and Italian Cold Wave.

felte has also released Soviet Soviet's debut album Fate and this December the band's sophomore album, Endless, see the light of day.

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2016-06-17
Odonis Odonis: Post Plague

Toronto underground staple Odonis Odonis broke out in 2011 with their scrappy, blown out debut, Hollandaze. The dynamic trio instantly began turning heads with their signature "industrial surf­gaze" sound. On their Polaris Prize nominated follow­ up, Hard Boiled Soft Boiled, Odonis Odonis masterfully crafted a sonically divergent record that pushed their sound into new territory.

Odonis Odonis' latest epic, Post Plague, delivers a powerful blend of industrial, electronic and Sci¬≠Fi. Odonis Odonis' post--apocalyptic anthems construct scenes of sci-¬≠fi horror and saturate them with industrial strength synth beats. Dean Tzenos’ vocals sit clear and upfront, delivered with a foreboding intensity accented by his synth motifs and soundscapes. Denholm Whale's carefully crafted bass figures / electronic percussions are strategically placed like demolition charges throughout the sonic foundations of each track that Jarod Gibson, like some futurist architect, constructs. On Post Plague, Odonis Odonis delivers the kind of hypnotic, pulsing destruction that you can't wipe away.

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2016-04-15
Ashley Shadow: Ashley Shadow

With the release of her eponymous debut album, Ashley Shadow has at long last taken center stage after a decade of valuable contributions to highly regarded, diverse musical acts. Though bestowed with a strong voice both lulling and bracing in its quality, Ashley spent the first five years of her musical career playing bass guitar for rock-noir outfit The Organ before recording and/or touring with Bonnie Prince Billy, Pink Mountaintops, The Cave Singers and Lightning Dust.

Her self-titled debut endeavors to find certainty amidst incessant change and ensures that her talent -- a secret long known around her home of Vancouver, British Columbia -- will be shared with the rest of the world's melody lovers. Enlisting the help of producer and multi-instrumentalist Josh Wells (Black Mountain), guitarists Ryan Beattie (Himalayan Bear) Peter Le Grand and Darcy Hancock, Ashley Shadow has asserted an independent stake in the musical community she has enriched for so long.

Prior to focusing on her own songwriting, Ashley has given much of her heart and energy to working with the marginalized, at risk population in Vancouver. When she stepped back to reflect on these experiences, songs were inspired by both relationships during that time and the unique emotional work and struggles she involved herself in.

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2016-03-18
Public Memory: Wuthering Drum

Public Memory is the solo project of Brooklyn's Robert Toher, recorded over the course of a year as he lived in Los Angeles temporarily. Previously of the group ERAAS, Robert places a greater emphasis on electronics in this new project. Rhythm is at the forefront, with the tone informed by stripped down, narcotic impressions of krautrock, hypnotic percussion, and subtly layered atmospherics. Spectral vocals meld with delicate piano against hip hop beats and a dub sensibility, conjuring clouded lights, foggy glass in empty buildings, urban wraiths.

To call it minimal would, on the surface, seem appropriate. Wuthering Drum does not need an abundance of flashes and frills to illustrate its point, nor does it need smoke and mirrors to mask a lack of vision. However, repeated listens yield layers of tonal variations, textural nuance, and tastefully placed overdubs.

There is a slightly religious or spiritual element at Wuthering Drum's core; a sense of being in an existential crisis, while simultaneously being uplifted, in the face of change. This is the search for redemption in a far away place, away from comfort; it is adjustment to an inner dissonance, rather than the washing over of past fears and regrets with sterile holy waters.

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2016-01-22
Gold Class: It's You

There are few voices of meaningful dissent left in rock music. Even fewer play with the savagery, subtlety and melody of Melbourne-based newcomers Gold Class. Gold Class formed quickly. Guitarist Evan James Purdey recruited fellow creative-writing students Mark Hewitt (drums) and Adam Curley (vocals) to elaborate on guitar ideas he’d recorded to a Dictaphone over the course of a summer. Jon Shub, who worked late-night bar shifts with Purdey and Curley and who builds and fixes guitars out of a workshop, made an instrument for himself and joined on bass.

Armed with only a handful of songs, Gold Class quickly drew heads to their live shows when they appeared mid-2014, just a couple of months after getting together. Characterised by attacking rhythms, bristling garage guitar lines and the deep vibrato of singer Adam Curley, the band were soon mixing art-space and basement gigs for their debut seven-inch, “Michael”. In the autumn of 2015, Gold Class recorded ten songs to tape. The result is the band’s debut album, It’s You. Political protest meets Australian kosmische; proud perversion rubs against lo-fi jangle, and outsider longings become rallying choruses as Gold Class play out the push-and-pull of their first album’s title.

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2015-10-30
Lushes: Service Industry

Brooklyn based duo Lushes have thought long and hard about the pros and cons of quitting their day jobs and they are confused. Don't you worry. They're not looking for an answer. They have an album for you, though - Service Industry - out October 16, 2015. The album is a rollercoaster through the maze of modern living. It was recorded and mixed by Sonic Youth's long time engineer Aaron Mullan at Echo Canyon, during a period of intense money, work and life stress. The record also includes some guest appearances from Zs front man Sam Hillmer, Justin Frye of PC Worship (Upright Bass on "You Only Have") and Jonathan Schenke (Parquet Courts' engineer and member of Eaters).

Service Industry extends the tensions begun with Lushes' debut album, What Am I Doing. In their first album, the themes of anxiety were often held back in pursuit of serene moments, brief escapes from our mundane lives. With Service Industry, Lushes give you something more raw, more guitar-and-drum driven, more primal.

The album throws a wrench in things. It stands as a map of a crisis, a bleak and gorgeous snapshot of our world, and a question: why continue living like we do?