Archive for the ‘CLASSIC ALBUMS’ Category

JIMI HENDRIX EXPERIENCE – ” Live In Maui “

Posted: September 10, 2020 in CLASSIC ALBUMS, MUSIC
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Experience Hendrix and Legacy Recordings have announced a brand-new collection that celebrates The Jimi Hendrix Experience’s near-mythic performances on Maui, Hawaii in 1970. Live In Maui brings together audio and video with a new feature-length documentary called Music, Money, Madness: Jimi Hendrix In Maui. The collection will be available in 2-CD/Blu-ray and 3-LP/Blu-ray configurations, all due on November 20th.

Hendrix’s performances on Maui in 1970 caught him at another pivotal point in his too-short career. Following the success of Electric Ladyland, he alternated between playing arenas and festivals with his revamped Experience alongside bandmates Billy Cox (bass) and Mitch Mitchell (drums), and overseeing the creation of his state-of-the-art Greenwich Village studio, Electric Lady Studios. In need of additional financing to complete building the studio, manager Michael Jeffery convinced Warner Bros. to advance Hendrix $500,000.00. The studio would also finance a film to be shot in Maui: Rainbow Bridge. Warner would then receive the soundtrack rights to the exclusive Hendrix music in the movie.

The impressionistic film, directed by Chuck Wein, would explore themes of enlightenment, with the titular rainbow bridge connecting the enlightened and unenlightened worlds. It wasn’t much of a concert movie, though, as only 17 minutes of footage were included from the free show Hendrix held on a Maui cattle ranch on July 30th, 1970 (one day before a Honolulu arena performance). Even those weren’t “pure” as Mitch Mitchell had to re-record his parts at the recently-opened Electric Lady to make the footage useable. Sadly, Jimi Hendrix was gone before the film was ever completed. He died in London on September 18th, 1970. Upon the film’s release in 1971, fans were confused by it as well as the meticulously overdubbed soundtrack album which premiered Hendrix studio material but didn’t actually include any music from the film or the two Maui sets.

Director John McDermott’s new documentary film chronicles the Jimi Hendrix Experience’s visit to Maui and the story of the film by incorporating period footage with new interviews with Chuck Wein, Billy Cox, Eddie Kramer, and others key figures. It’s presented in both editions of Experience Hendrix/Legacy’s release on Blu-ray, and the discs will also feature all of the existing 16mm colour footage from the two afternoon sets captured on July 30th, 1970 mixed in stereo and 5.1 surround.

The accompanying 2-CD set features Hendrix, Billy Cox, and Mitch Mitchell’s restored Maui sets, newly mixed by Eddie Kramer and mastered by Bernie Grundman. “Voodoo Child (Slight Return)” has been released as a preview single for the box. “Jimi loved adventure and there was certainly no shortage of it during his time in Hawaii, a place he also loved,” comments Janie Hendrix in the press release. “The back story of Rainbow Bridge and these recordings paint a picture of Jimi’s uncanny ability to turn the bizarre into something amazing! We’re excited about this release because it gives the world a closer look at Jimi’s genius.”

“Live in Maui” due on November 20th.

U2 – ” All That You Can’t Leave Behind ” 20th Anniversary Box Set

Posted: September 10, 2020 in CLASSIC ALBUMS, MUSIC
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U2 will celebrate the 20th anniversary of All That You Can’t Leave Behind on October 20th with the release of a super deluxe edition of the album. It will be available both as single disc remaster of the original LP and a 51-track Super Deluxe box set packed with B-sides, outtakes, remixes and a complete show taped at a Boston stop on the 2001 Elevation tour.

All That You Can’t Leave Behind brought U2 back to the center of the music universe after their 1997 LP Pop underwhelmed at record stores. (They faced large sections of empty seats during some shows on the American leg of the PopMart tour.) It was the album that put the band back on the charts and heralded something of a return to form after some experimental excursions in the mid-to-late ’90s. The Daniel Lanois and Brian Eno-produced album won seven Grammy Awards including Best Rock Album, Song of the Year (“Beautiful Day”) and, for the only time in history, two consecutive Record of the Year nods (“Beautiful Day” in 2001 and “Walk On” in 2002). “Beautiful, Day,” “Elevation,” “Stuck in a Moment That You Can’t Get Out Of” and “Walk On” all became sizable worldwide hits, all reaching the Top 5 in the U.K. (with the first three going straight to No. 1 in their native Ireland), and All That You Can’t Leave Behind remains one of their biggest-selling albums.

Hit singles like “Beautiful Day,” “Stuck in a Moment You Can’t Get Out Of” and “Elevation” helped All That You Can’t Leave Behind sell by the millions and rack up seven Grammy Awards, including Song of the Year and Record of the Year. “This is our night,” Bono said at the ceremony. “It is a very unusual emotion I am feeling. I think it is called humility.”

The Super Deluxe edition of the album will come with a 32-page hardback book, previously unseen photos by Anton Corbijn, B-sides like “Summer Rain” and “Always,” 11 remixes, 19 songs taped at their 2001 Boston concert and outtakes from the sessions, including “Levitate,” “Love You Like Mad” and “Flower Child” along with “Stateless” from the soundtrack to the Million Dollar Hotel. There’s also an acoustic version of “Stuck in a Moment You Can’t Get Out Of,” which they’re promoting with a new lyric video.

U2 wrapped up the international leg of their Joshua Tree tour on December 19th, 2019 with a show at DY Patil Stadium in Mumbai, India. Since then, they have focused a lot of their energy on the new SiriusXM station U2 X-Radio. They are also working on their followup to 2018’s Songs of Experience.

The set also includes a disc of B-sides and session material, and a further disc of hard-to-find or unreleased remixes. Among these bonus tracks are “Levitate,” Flower Child,” and “Love You Like Mad,” three tracks that make their wide-release physical media debut here. Prior to this set, they were only available on an iTunes-exclusive bonus album or a fan club-only CD pressing of that collections. The new 20th Anniversary box set will also feature the soundtrack stray cut “Stateless,” and a wealth of non-album tracks, including the Johnny Cash cover “Don’t Take Your Guns To Town.”

The 11-LP super deluxe set contains all the material from the 5-CD, presented in eight sleeves: one for the remastered album, another for the B-Sides and Demos disc, and a further one for the 19-track Boston set. The remixes will be spread across 5 discs, each in its own sleeve.

“We did some recording last year that got us some really great starting points and complete songs,” bassist Adam Clayton told Rolling Stone in July. “There’s an album ready to go, we’re just not quite sure when we want to press that button. When I say ready to go, I mean ready to be completed. Let’s put it that way.”

As we’ve come to expect from U2, the design of the box promises to be impressive.

BRUCE SPRINGSTEEN – ” Letter To You “

Posted: September 10, 2020 in CLASSIC ALBUMS, MUSIC
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Almost nothing is known about Bruce Springsteen’s follow up to 2019’s Western Stars, including any timeframe for its release, but he’s indicated that it’s a collection of rock songs recorded with the E Street Band. Last year, he told Martin Scorsese that the songs came to him after a long period where he found himself unable to write for a rock band. “It just came out of almost nowhere,” he said. “And it was good. I had about two weeks of those little daily visitations [of songs], and it was so nice. It makes you so happy. You go, ‘Fuck, I’m not fucked, all right?’”

Bruce Springsteen will release Letter to You, a new rock album recorded live in his New Jersey home studio with the members of the E Street Band, The title track is also the first single and is available now.

“I love the emotional nature of Letter To You,” he said in a statement. “And I love the sound of the E Street Band playing completely live in the studio, in a way we’ve never done before, and with no overdubs. We made the album in only five days, and it turned out to be one of the greatest recording experiences I’ve ever had.”

In addition to nine new songs, the album also includes fresh recordings of three songs that predate Springsteen’s 1973 debut album, Greetings From Asbury Park, N.J.: “Janey Needs A Shooter,” “If I Was the Priest” and “Song for Orphans.” Assuming Springsteen keeps the lyrics from the early bootlegged versions, “If I Was the Priest” (covered by Hollies singer Allan Clarke in the Seventies) is a sacrilegious fantasy (“If Jesus was the sheriff and I was the priest/If my lady was an heiress and my mama was a thief”), while “Song for Orphans” is a Dylan-esque tale of “aimless quest-less renegade brats who live their lives in songs,” and “Janey” is a slightly twisted love song.

Springsteen wrote at least some of Letters to You last spring, judging from comments he made in a public conversation with Martin Scorsese last year.  “I couldn’t write anything for the band,” he said. “And I said, ‘Well, of course … you’ll never be able to do that again!’ And it’s a trick every time you do it, you know? But it’s a trick that, because of that fact that you can’t explain, cannot be self-consciously duplicated. It has to come to you in inspiration. And then about a month or so ago, I wrote almost an album’s worth of material for the band. And it came out of just… I mean, I know where it came from, but at the same time, it just came out of almost nowhere. And it was good, you know. I had about two weeks of those little daily visitations, and it was so nice. It makes you so happy.

Release date: on October 23rd

bruce springsteen letter to you album cover

PSYCHEDELIC PORN CRUMPETS – ” And Now for the Whatchamacallit “

Posted: September 10, 2020 in CLASSIC ALBUMS, MUSIC
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Their new record, “And Now For The Whatchamacallit”, is sitting at the very top of the Australian vinyl charts, and for good reason. They scratch an itch in Aussie music that strikes a rare balance between immediacy and complexity the sheer momentum of their riff-based psych-rock nearly outruns its own anxious underbelly.

Since the advent of language, all things have needed to be called something—especially rock bands. To break out of the psych-rock hotbed of Perth, Australia, a truly absurd moniker was chosen: Psychedelic Porn Crumpets. What does it mean? We have no idea and neither do the fellas in the band. However, like their music, it’s undeniably memorable. Hailing from the same pub and club scene that spawned psych-pop superstars Tame Impala and cult favourites Pond, the Crumpets’ brand of psychedelic rock is decidedly more over-the-top than the fare their compatriots put out. The Crumpets make brash, exuberant music that takes the intrigue and textures of classic psych and injects it with an unhinged, restless energy that feels like peaking on LSD while riding a rollercoaster.

At the core of the Crumpets’ sonic universe is an unabashed love of cartoonishly large and colourful guitars. With their third LP, And Now for the Whatchamacallit, Psychedelic Porn Crumpets have created a loose concept album which applies the aesthetic of a 1930s carnival to the turbulent circus that is touring life for a young band. Tracked chiefly in frontman/principal songwriter/guitarist Jack McEwan’s bedroom studio (with some overdubs done at Perth’s Tone City Studios), And Now for the Whatchamacallit is indeed a guitar carnival that revels in dazzling multi-layered harmonies, chunky, fuzz-laden riffing, and delicate ambient passages that’ve been tweaked, warped, or pitch-shifted in interesting ways. Finished with a dash of ’70s glam pomp and a hearty dose of indie-pop melody, the album ticks a lot of hallowed guitar-rock boxes while forging unique territory.

And yet, lead singer Jack McEwan is anything but world-weary. Gleefully sipping a schooner on a Monday morning with the rest of his exhausted band behind him, he seems as stoked as a man could be. With occasional interjections from bright-eyed keyboard player Chris Young, we chat about escapism, how Perth shaped their music, and the way song writing fills the void.

Beyond being a compelling listen, the Crumpets’ latest release is a fine example of how good a guitar-focused album can be without access to expensive gear, or much reliance on tube amps or even high-end modelling rigs. The Crumpets’ musical identity is a by product of Perth’s isolation, where bands are decidedly less overwhelmed by an influx of outside art and additionally forced to use whatever tools they have at their disposal in a place where American-made and/or vintage gear is difficult to come by.

A big fan of the “work with what you’ve got” philosophy, McEwan tracked almost all of his guitar parts in Ableton through DI and employed clever production techniques (like eschewing amp sims altogether for an extremely hot compressor) to get his guitar sounds, which are rarely sterile, despite often sounding like anything but a guitar. While McEwan’s guitars live almost exclusively in the digital realm, lead guitarist Luke Parish is a fan of vintage gear and has hunted down and imported some gems, including a ’60s Sears Silvertone amp and a ’68 Fender Deluxe Reverb, which he used to add organic warmth to McEwan’s digital guitar pastiche. The pair complement each other exceptionally well as guitarists despite having vastly different backgrounds as musicians: McEwan is a converted bass player and Parish came up playing in jazz bands and then followed the typical blues-rock heroes of yesteryear.

With McEwan and Parish riding in the back of a tour van, traversing a Welsh highway. The duo discussed the band’s writing process, unique home-recording techniques, the travails of sourcing decent gear in an isolated locale, and what makes Australia such a fertile place for rock ’n’ roll.

They are certainly channelling some of King Gizzard magic . With its slashing garage rock riff and driving bassline, it starts out like something out of the Gizz’s Nonagon Infinity, particularly with its hushed vocals. This docks it a few points for originality. However, the song’s distinguishes itself a more melodic cerebral second half.

THIS IS THE KIT – ” Coming To Get You Nowhere “

Posted: September 10, 2020 in CLASSIC ALBUMS, MUSIC
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This Is The Kit is the musical project of Kate Stables and whoever joins her. You thought you didn’t like the banjo but you were wrong pal. Listen as Kate rips forward with her hypnotic twang pattern and a voice of rare, unaffected beauty. Since 2008’s debut album Krülle Bol, This Is The Kit (lead by Kate Stables) have unpicked emotional knots and woven remarkable stories, but even by their high standards, “Off Off On” is a beautifully clear distillation of Stables’ song-writing gifts.

By the end of 2018, the band had finished touring their last album, the talismanic Moonshine Freeze – leading to Kate’s Ivor Novello nomination, but when it came to Stables’ natural impulse to start the next record, her efforts were diverted by an invitation to join The National on the road for multiple tours and TV appearances – a continuation of the role she took on their album I Am Easy To Find. “It was so brilliant when I was writing to be away from my songs and the responsibility of being in charge of a band or a project – I think it really helped my writing and my getting through whatever I needed to get through.”

Richly illuminating and acutely sensitive to the pulses and currents of life, Off Off On shows This Is The Kit overflowing with ideas. In difficult times, it’s a record that feels like a lifeline, moving against the tide, standing against the storm.

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From the forthcoming album ‘Off Off On’ which will be released by Rough Trade Records on October 23rd.10.2020. This is the fifth album by the band and is the follow up to 2017 critically acclaimed album ‘Moonshine Freeze’. The album will be available on LP / CD / MP3.
Released September 10th, 2020
Rough Trade Records Ltd

 

JONATHAN BREE – ” After The Curtains Close “

Posted: September 9, 2020 in CLASSIC ALBUMS, MUSIC
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Enigmatic Kiwi songwriter Jonathan Bree is enjoying the support of an international audience as a solo artist, following his time as a leader of New Zealand indie pop band The Brunettes. A true maverick behind a mask, his dedication to anonymity combined with his distinct monotone style marks him out as a true innovator. The phrase “a mystery wrapped in an enigma” comes to mind when considering both the music and visage of New Zealand-based performer, Jonathan Bree. The songwriter and front man, who rose to popularity with the 2017 track, “You’re So Cool” which features Bree in a very blank, very interesting mask-costume, twists a hole in your psyche and won’t leave. His songs are like coffee in the morning with a touch of both sugar and cream. They’re smooth and warm with a kiss of the bittersweet. In the end, though, Bree’s songs energize in their own inimitable manner. We caught up with the musician, who released his latest record, “After the Curtains Close”, in July, to talk about when he first donned the mask that has become so permanent a part of his aesthetic, how he first fell in love with music, how he landed on his baritone croon and much more.

“I like that the mask means people can make their own connection. There’s an element of personal projection—people can see or feel what they want to.”

Following on from the huge popularity of debut album ‘The Primrose Path’, Bree’s fanbase has continued to swell with successive titles ‘A Little Night Music’ and ‘Sleepwalking’. This year, he returns with his finest record yet; ‘After The Curtains Close’ which is his own unique take on a breakup record.

Bree first embarked on his solo career with the release of debut album ‘The Primrose Path’ in 2013. Combining post-modern irony with a retro 60’s style, his signature sound was accompanied with a striking live image employing the use of an amorphous spandex mask obscuring his face but drawing greater attention to the music.

Huge success came in 2017 with the release of hit single ‘You’re So Cool’ which has amassed over 13 million views on YouTube alone!

It’s been two years since his last LP, but now Bree is back with one of the year’s most intriguing albums – ‘After The Curtains Close’. Featuring the singles ‘Heavenly Vision’, ‘In The Sunshine’ and ‘Kiss My Lips’ which sees him team up with Princess Chelsea; ‘After The Curtains Close’ is already regarded as the essential record of 2020.

Jonathan Bree will be heading to the UK in Spring next year to promote his latest LP ‘After The Curtains Close’ with dates in May.

Tickets are on sale with Gigantic and already selling fast!

RATBOYS – ” Audiotree Far Out Session “

Posted: September 8, 2020 in CLASSIC ALBUMS, MUSIC
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Upheaval and change are themes spread throughout the songs on “Printer’s Devil”, the latest Ratboys LP, released February 28th, 2020 via Topshelf Records. But all the while, singer-songwriter Julia Steiner embraces moments of uncertainty as a necessary part of growing. Steiner recalls a David Byrne lyric, “I’m lost, but I’m not afraid” as inspiration for the transformative outlook, considering the line a personal mantra while writing Ratboys’ third full-length record. “There’s definitely a lot of uncertainty about what’s next, but I like to think that, in the midst of creating a lot of vulnerability for ourselves, we’re confident and becoming more self-assured.” Steiner wrote the record with guitarist Dave Sagan while she was experiencing a dramatic shift in her own foundations, demoing out songs in her Louisville, Kentucky childhood home, which had just been sold and emptied out. “Demoing there was almost too intense,” Steiner says. “I kept writing in my journal that it feels like we shouldn’t be there. I don’t know if that feeling made its way directly into the lyrics, but to me the songs will always be connected to that sense of home and time passing.” With years of touring under their belts, Steiner and Sagan have welcomed a newly consistent four-piece line up, after years of shuffling through drummers.

The band’s comfortable core — which sees Steiner and Sagan backed by drummer Marcus Nuccio and bassist Sean Neumann — is tangible across Printer’s Devil. What started as an acoustic duo has finally transformed into a full-scale indie-rock band with a clear identity. The rhythm section brings the band not only consistency, but a jolt in line with Steiner and Sagan’s growing sonic aspirations: Printer’s Devil was recorded live at Decade Music Studios in Chicago and was produced by the band and engineer Erik Rasmussen. Big-chorus power pop songs like “Alien with a Sleep Mask On” and “Anj” sound massive and larger than life, while the band’s dynamics beautifully thread together intimate folk songs like “A Vision” and devastating alt-country tracks like “Listening,” showcasing a rare range that invites listeners to imagine the band blowing out a 2,000-cap room or playing quietly next to you in the living room.

Building off their previous albums—AOID (2015) and GN (2017), which feature bright, youthful Americana narratives centered around soft vocal cadences and fluid, melodic lead guitars—Ratboys captures the bombastic, electrified fun of their live show in a bottle on Printer’s Devil and showcases their growing chemistry as a tight-knit group. Through all the change that fueled the record, Ratboys’ latest album Printer’s Devil finds a band that’s truly grown into itself and is just getting started.

Recorded on Wednesday, July 1st in Chicago, IL.

RATBOYS – ” Figure “

Posted: September 8, 2020 in CLASSIC ALBUMS, MUSIC
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When Ratboys’ Julia Steiner wrote “Figure,” she did so from a place of pain.

“I wrote ‘Figure’ in the middle of the night in my bedroom a few years ago,” she tells NPR Music, “and for me the song was a way to air all of my disparate frustrations and fears in one place.”

But “Figure,” from the Chicago-based band’s GL EP, doesn’t really sound like a melancholy tune. True to much of the band’s self-proclaimed “post-country” sound, it’s punchy and playful — which, Steiner says, came from the suggestion of her bandmate Dave Sagan and friend-of-the-band Sean Eldon, and helped transform the feel of the song.

And while Steiner says she meant for the lyrics to be “vague and strange,” they’re evocatively poignant, too. “Is it the point of a story / To draw a picture in flame?” she sings over buoyant percussion and dynamic guitars, “I grew a heart in molting / Pleasure got beat down by shame.”

The reinvention took another turn when Steiner’s friend, artist Bayley White, crafted song’s video. “Bayley had been doing some research on claymation videos and was hoping to try her hand at one,” Steiner explains — so she sent her “Figure” and asked White to use the song to tell whatever type of visual story she wanted.

The resulting video follows the lyrics on a literal level, pairing spirited whimsy with bittersweet absurdity. Steiner says White peppered the video with “little touches” that felt deeply personal: “[Wilco’s] A Ghost is Born album art on the wall (my favourite record), the Coraline-esque portal that appears on the wall (my favorite movie), my Steelers hat, etc. all of these things made me smile so wide.”

Now, Steiner says, the song has landed in a place that feels pretty far from where it started. “It still has that original angst and grit, but it has become something so much more than that,” she says. “It’s heavy, but it’s also fun. And fun is hope.”

GL is out via Topshelf Records

WHY BONNIE – ” Voice Box ” EP

Posted: September 7, 2020 in CLASSIC ALBUMS, MUSIC
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Occasionally when a hip new band starts to get considerable buzz there’s usually one single in particular tied to the hype. For Austin-based indie rock group Why Bonnie, that song just might be the blistering “Athlete,” a recently released single from their “Voice Box” EP. It’s truly an attention-grabber, full of fortified feedback fuzz, screeching guitars and the unmistakable power of frontwoman Blair Howerton’s soft yet deep voice. It begins with scratchy violin strings straight out of a horror flick before the band pokes at the idea of athletic prowess “‘Athlete’ is the most ‘rock and roll’ track on the EP so we wanted to make a video that embodied that, but also felt like casual, day-in-the-life footage,” the band said in a statement.

“Kind of like watching a home movie that you found in a box in your parents’ attic, but instead of you as a three-year old on the soccer field, you’re a grown adult with about the same skill level.” “Athlete” isn’t the only star single, though: The Voice Box title track is just as attractive, but a bit closer to the dream-pop side of things. Any band who can squeeze this much beautiful noise into such a small amount of output is one to keep your eyes on.

The Austin group add:  “The video was directed by Alex  inker and is essentially just a true field day filmed on VHS. ‘Athlete’ is the most ‘rock and roll’ track on the EP so we wanted to make a video that embodied that, but also felt like casual, day-in-the-life footage.”

“Kind of like watching a home movie that you found in a box in your parents’ attic, but instead of you as a three-year old on the soccer field, you’re a grown adult with about the same skill level.”

Loosely focused on Austin, Texas, the project match skittering indie pop to some early 90s alt-rock influences. Pitting the dream-like sheen of Mazzy Star or The Cranberries against grainy, DIY production, their song writing matches a sense of classicism to a supremely personal approach.

“Voice Box” by Why Bonnie off of ‘Voice Box’, It came out April 10th, 2020 on Fat Possum Records.

PHOSPHENE – ” Lotus Eaters “

Posted: September 7, 2020 in CLASSIC ALBUMS, MUSIC
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A shoegazey, indie rock band residing in Portland, OR. new album “Lotus Eaters” is out now! Formed back in 2008, Phosphene are a Portland based band, built around the duo of vocalist and guitarist Rachel Frankel and drummer Matt Hemmerich. The band released their self-titled debut album back in 2014, followed by an EP, Breaker in 2016. Four years on the band have just released their brand-new album, Lotus Eaters. 

The songs that comprise Lotus Eaters were written during a period of mass transition and upheaval. The writing and recording process of this album took place preceding and following the 2016 election, when extremism and bigotry prevailed across the United States and world at large.

The title Lotus Eaters is loosely derived from Greek mythology, which describes a person in a peaceful but apathetic haze from continually eating lotus fruit. A similar, escapist notion was pervasive across the U.S., and it certainly impacted each of us personally. It took a great deal of focus and fortitude to resist that inertia and move forward as a band. Song writing has always been joyful and cathartic for each of us in different aspects: a distraction from anxiety, an outlet for depression, or a unique way to express our introverted selves in a way that feels most genuine and heartfelt—and that catharsis is what carried us through.

Once we picked ourselves back up and creatively honed in, our most potent and ruminative songs began to take form. As a band, we found ourselves writing music that oscillated between dark, magnetic propulsions to dreamy, blissed-out reveries. During this period of time, Rachel was also writing and illustrating She Can Really Lay It Down, a musical anthology celebrating fifty influential women musicians from the past century, which was recently released in the fall of 2019. Some key heroines in the book such as Kim Gordon, Neko Case, and Janet Weiss absolutely made their influence known within several songs on Lotus Eaters, particularly “Incinerate” and “Incandescent Plumes.”

Although we’ve tinkered with our sound before, we really started to revamp our style and framework in more experimental ways on Lotus Eaters. From incorporating spoken word poetry and dismantling song structures to constantly swapping instruments, a newfound growth and confidence was evident in this collection of music. Lotus Eaters emanates a fervour that we want to resonate with each listener. And as turbulent as these times can be, we hope this album can be a source of comfort and inspiration for those seeking.

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25% of proceeds from every album sale will go towards Black United Fund of Oregon and National Bail Fund Network. This is a permanent pledge.

Released July 7th, 2020
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