The Fat Angel Sings

During the Spring/Summer tour of 1980, Frank Zappa played a set at his favorite NYC nightclub – the famous Mudd Club. Zappa adored the place and even wrote a song dedicated to it. The complete performance is included on two 45rpm 180g audiophile Coke Bottle Green vinyl LP’s and mastered by Bernie Grundman, 2022. Package features photography and memoir from George Alper, who worked for FZ and was at the event, along with liner notes from Arthur Barrow, Steve Vai & Vaultmeister Joe Travers and iron-on transfers.

Zappa ’80: Mudd Club/Munich, out March 3rd, boasts two complete shows from the guitar god’s short-lived five-piece line-up, gigs that followed a torrid 1979 that saw Zappa release both “Sheik Yerbouti” and his three-act “Joe’s Garage”.

The first show in the 3CD set showcases Zappa and company’s May 8th 1980 gig at New York City’s 240-capacity Mudd Club, a concert that he sandwiched between two arena-sized dates in Philadelphia and Long Island.

The shows are stocked with selections from Zappa’s then-new albums — like “Joe’s Garage,” Keep It Greasy,” “City of Tiny Lite” and more — plus selections from throughout his enormous catalogue and songs that would ultimately wind up on his 1981 LP “You Are What You Is”.

Ahead of the live set’s March 3rd release, check out “Outside Now” from the Mudd Club show:

Joining Zappa on the road for both gigs were singers Ike Willis and Ray White, bassist Arthur Barrow, keyboardist Tommy Mars, and drummer David Logeman, whose tenure in the band only lasted one year; Zappa ’80: Mudd Club is the first release to feature entire Logeman shows.

Only two of the tracks found on Zappa ’80: Mudd Club have previously been released, having been included on the live comps “You Can’t Do That on Stage Anymore“. The live albums also include an essay by Zappa Vault master Joe Travers, a track-by-track setlist breakdown by bassist Barrow and a remembrance by Steve Vai, who attended the Mudd Club gig and would soon after join Zappa’s band.

Guitar: Frank Zappa Guitar: Ike Willis Guitar: Ray White , Keyboards: Tommy Mars , Bass: Arthur Barrow Drums: David Logeman

The Mudd Club was a happening, underground venue in lower Manhattan best known for being a popular hangout for the counterculture and a bastion of new wave and punk which dominated NYC’s music and fashion scene. As Travers writes in the liners, “celebrities and musicians alike would frequent the ‘art bar cabaret’ during its heyday between 1979 and 1983, dancing, drinking and making the scene amongst the New York City denizens of the deep.” Zappa loved the small, seedy club and the punks, posers and hipsters that called it home, and so made it a priority to play there while on tour, scheduling a performance on May 8^th, 1980, at the tiny 240-capacity room, sandwiched between much larger arena dates in Cincinnati, Philadelphia and the Nassau Veterans Memorial Coliseum in Long Island where he played two shows in one night to more than 20,000 fans total.

Zappa and his five-piece band treated the sweaty, packed club to a thrilling 15-song, hour-long set filled with tracks from the recently released 1979 albums, the triple LP rock opera, Joe’s Garage (“Joe’s Garage,” “Keep It Greasy,” “Outside Now,” “Why Does It Hurt When I Pee?”), and Sheik Yerbuti (“Bobby Brown Goes Down,” “City Of Tiny Lites“), along with songs from across his prolific catalogue, including “I Ain’t Got No Heart” and “You Didn’t Try To Call Me” from 1966’s Freak Out!, and the title track from 1970’s “Chunga’s Revenge.” Additionally, the band played early versions of Zappa’s homage to the club, “Mudd Club,” “The Meek Shall Inherit Nothing,” and “You Are What You Is,” which would all be recorded after the tour and released the following year on “You Are What You Is”. The show was famously captured by an Austrian film crew DoRo (Rudi Dolezal and Hannes Rossacher) who included two songs – “Mudd Club” and “Chunga’s Revenge” – in their documentary, “Frank Zappa: New York and Elsewhere.”

Less than six months after the release of their debut record “90 In November”, Texas quintet Why Bonnie has returned with the single “Apple Tree.” Though “Apple Tree” coincides with the announcement of an upcoming North American tour, it’s hard to not get excited at what Why Bonnie might have on deck for us in 2023. Last year, the band employed sun-stained folk tunes with shoegaze and bedroom pop undertones that linger and dazzle. “Apple Tree” is a long drawl of a tune, as quiet pianos blend lushly with guitars whispering hints of blues.

“Apple Tree” cements Why Bonnie’s knack for pastoral sonics grounded by Howerton’s sharp poeticism. “Streetlights like angels smoking cigarettes on a winter’s night,” she waxes atop wistful guitar and percussion. “Apple Tree,” like much of “90 in November“, sees Howerton parsing out the complicated, mixed emotions associated with building a new home while attempting to make sense of the one she had left behind.

The song tells a story about the complicated emotions that come after moving to a new home. A place has been left behind, and vocalist Blair Howerton finds herself reckoning with how to make space for it in her ever-changing heart. “It’s a song about the parables we tell ourselves to make sense of things,” she noted in a statement. Howerton, much like on “90 In November” finds herself waxing poetic on “Apple Tree,” further solidifying her as one of indie rock’s most enigmatic, on-the-rise songwriters.

Song and Lyrics: Blair Howerton
Piano: Kendall Powell
Lead guitar: Sam Houdek
Bass: Chance Williams
Drums: Josh Mallett

Released January 10th, 2023

Nearly four years since their last release, Temples is set to release their fourth studio album, Exotico, on April 14th with ATO Records. The 16-track LP is produced by Sean Ono Lennon and mixed by Dave Fridmann. The British psychedelic rock band’s first single, “Gamma Rays,” is riddled with sun-drenched synths and stratospheric guitar riffs. James Bagshaw explains the dichotomy of beauty and danger in the song. “It sounds like a rejoiceful summer tune about soaking up the rays, but the truth is that soaking up the gamma rays will kill you.

“Gamma Rays” is the first single off Temples’ upcoming album “Exotico”, produced by Sean Ono Lennon.

Temples fourth full-length album takes place in an impossibly utopic island dreamed up by the four band members. With its resplendent collage of psychedelia, krautrock and time-bending dream-pop, “Exotico” brings that world to life in crystalline detail, all while exploring an entire spectrum of existential themes: impermanence, mortality, our connection with nature and the wild immensity of the mind.

M83 is making a return, and as usual, it’s grand, it’s cinematic, and deeply satisfying. “Fantasy“, which is set to drop on March 17th, features Anthony Gonzalez hearkening back to the guitar-aided shoegaze that characterized 2005’s “Before the Dawn Heals Us“, along with majestic synths, imagery of waterfalls, and a sense of awe. The passion of M83’s ninth studio album is clearly on display in lead single “Oceans Niagara,” which trades traditional vocal melodies for pure guitar power and a stunning wall of sound. M83 lovers, let’s go!

Buzzing synths and swirling guitar combine into a triumphant melody in “Oceans Niagara,” a song Gonzalez said was meant to create “this sense of friendship. Listening to that song, I imagine people running, driving fast, or riding spaceships together. It’s this sense of going forward, like a magic potion that you take to discover new worlds. Beyond Adventure!”

Anthony Gonzalez has readied his ninth album as M83. “Fantasy” arrives March 17th via Mute, and M83 will take the record on the road with a North American tour that begins in April. What’s more, first single “Oceans Niagara” is out now.

“Listening to that song, I imagine people running, driving fast, or riding spaceships together. It’s this sense of going forward, like a magic potion that you take to discover new worlds.” I have to agree with him on the “riding spaceships together” part. His brother Yann Gonzalez directed the video, which compliments the song’s trippy vibe.

“I wanted this record to be very impactful live,” M83 said of “Fantasy”. “The idea was to come back with something closer to the energy of [2005’s] “Before the Dawn Heals Us“. The combination of guitars and synths is always in my music, but it’s maybe more present on this new record than on the previous ones.”

That emphasis on guitar is sure to make M83’s upcoming tour especially interesting.

Alabama based visual artist and musician Lonnie Holley has a new album on the way. “Oh Me Oh My” due foor release in March on Jagjaguwar Records the album includes collaborations with including Sharon Van Etten, Bon Iver’s Justin Vernon, Moor Mother and Rokia Koné. But it’s R.E.M.’s Michael Stipe who lends his voice to the advanced single “Oh Me Oh My.” The song showcases Holley’s stream-of-consciousness lyrics, which constantly strive for goodness and understanding, over gorgeously layered droning instrumentation. “Humans please listen,”

‘Oh Me Oh My’ is also an achievement in the refinement of Holley’s impressionistic, stream-of-consciousness lyrics. During each session, Holley and Lee would discuss the essence of the songs and distill Holley’s words to their most immediate center. On the title track, which deals with mutual human understanding, Holley is as profound as ever in far fewer phrases: “The deeper we go, the more chances there are, for us to understand the oh-me’s and understand the oh-my’s.”

Acclaimed collaborators like Michael Stipe (“Oh Me, Oh My”), Sharon Van Etten (“None of Us Will Have But a Little While”), Moor Mother (“I Am Part of the Wonder,” “Earth Will Be There”), Justin Vernon of Bon Iver (“Kindness Will Follow Your Tears”) and Rokia Koné (“If We Get Lost They Will Find Us”) serve as choirs of angels and co-pilots, giving Lonnie’s message flight, and reaffirming him as a galvanizing, iconoclastic force across the music community.

Holley reflects, “My art and my music are always closely tied to what is happening around me, and the last few years have given me a lot to thoughtsmith about. When I listen back to these songs I can feel the times we were living through. I’m deeply appreciative of the collaborators, especially Jacknife, who helped the songs take shape and really inspired me to dig deeper within myself.”

For nearly 60 years, John Cale has been reimagining how his music is made, sounds, and even works. “Mercy”, Cale’s first full album in a decade, moves through true dark-night-of-the-soul electronic torment toward vulnerable love songs and hopeful considerations for the future with the help of some of music’s most curious young minds. Cale has always searched for new ways to explore old ideas of alienation, hurt, and joy; “Mercy” is the latest transfixing find of this unsatisfied mind.

On “Mercy“, his forthcoming studio album, John Cale has once again opened himself up to collaborate with younger indie artists, which this time around includes members of Animal Collective, Weyes Blood and Laurel Halo. Their efforts only make the latest single from this LP, “Noise of You,” stand out even more as the song is mainly Cale, on his own, laying his emotions bare for an unnamed lover. The billowing psych-synth backdrop feels like the fog surrounding Cale’s memories through which he tries to reach out for some solid details or moments to hold tightly to. What he finds is something equally as ephemeral and hard to grasp: the sounds that this person made padding across the floor or doing everyday things on the other side of the house or the timbre of their voice as they said farewell. 

John Cale – “Noise Of You” from the forthcoming album ‘Mercy’ out 20th Jan 2023 on Double Six / Domino Recordings

Frankie Cosmos releases their new record, “Inner World Peace” via Sub Pop Records. The album features the standout tracks  “F.O.O.F.”, “Aftershook,” “One Year Stand,” and “Empty Head.” It was co-produced by Frankie Cosmos, Nate Mendelsohn, and Katie Von Schleicher at Figure 8 Recording in Brooklyn, New York, mixed by Mendelsohn and Von Schleicher, and mastered by Josh Bonati at Bonati Mastering. The “Inner World Peace” album art also features illustrations from band member Lauren Martin.

Greta Kline spent a few years living with her family and writing a mere 100 songs, turning her empathy anywhere from the navel to the moon, rendering it all warm, close and reflexively humorous. In music, everyone loves a teen sensation, but Kline has never been more fascinating than now, a decade into being one of the most prolific songwriters of her generation. She’s lodged in my mind amongst authors, other observational alchemists like Rachel Cusk or Sheila Heti, but she’s funnier, which is a charm endemic to musicians.
 
Frankie Cosmos, a rare, dwindling democratic entity called a band, had been on pandemic hiatus with no idea if they’d continue. In the openness of that uncertainty they met up, planning to hang out and play music together for the first time in nearly 500 days. There, whittling down the multitude of music to work with, they created “Inner World Peace”, a collection of Greta’s songs changed and sculpted by their time together.

While Kline’s musical taste at the time was leaning toward aughts indie rock she’d loved as a teenager, keyboardist Lauren Martin and drummer Luke Pyenson cite “droning, meditation, repetition, clarity and intentionality,” as well as “‘70s folk and pop” as a reference for how they approached their parts. Bassist/guitarist Alex Bailey says that at the time he referred to it as their “ambient” or “psych” album. Somewhere between those textural elements and Kline’s penchant for concise pop, “Inner World Peace” finds its balance.
 
Instant centerpiece “One Year Stand” is a small snowglobe of intimacy recalling the softest moments of Yo La Tengo’s And Then Nothing Turned Itself Inside Out. Lifted by Martin’s drones on Hammond organ and synthesizer, it could be played on repeat in a loop. I like to think it’s obvious how Greta’s vocals were recorded: late at night as we all sat by in low light, transfixed as she sings “I’m not worried about the / rest of my life / because you are here today / I go back in time / I’m a cast iron.” The voices of Kline and Martin, who have sung together since middle school, blend seamlessly.

The first order of business upon setting up camp in Brooklyn’s Figure 8 studios was to project giant colorful slides the band had made for each track. Co-producing with Nate Mendelsohn, my Shitty Hits Recording partner, we aimed for FC’s aesthetic idiosyncrasies to shine.The mood board for “Magnetic Personality” has a neon green and black checkerboard, a screen capture of the game Street Fighter with “K.O.” in fat red letters, and a cover of Mad Magazine that says “Spy Vs. Spy! The Top Secret Files.” On tracks like “F.O.O.F.” (Freak Out On Friday), “Fragments” and “Aftershook,” the group are at their most psychedelic and playful, interjecting fuzz solos, bits of percussion, and other sonically adventurous ear candy.

An internal logic strengthens everything, and in their proggiest moments, Frankie Cosmos are simply a one-take band who don’t miss. When on “Inner World Peace” they sound wildly, freshly different, it may just be that they’re coming deeper into their own.
 
Throughout the album there are plays on the notion of feeling seen or invisible, as in “Magnetic Personality” when Kline sings “ask me how I am and I won’t really say,” or in “One Year Stand” when she says “maybe I’m asking myself.” Kline emphasizes that this was her first group of songs in years that weren’t written while on tour, but rather with ample time on her hands. She reflects on past selves in “Abigail” (“that version of myself I don’t want back”) and “Wayne” (“Like in first grade / How I went by Wayne / I always had / another name”). If we’re alone, what becomes of the things we see? As in “Fruit Stand,” Kline asks “If it’s raining and I can’t feel it, is it raining?”
 
“Inner World Peace” excels in passing on the emotions it holds. When in the towering “Empty Head” Kline sings of wanting to let thoughts slide away, her voice is buoyed on a bed of synths and harmonium as tranquility abounds. When her thoughts become hurried and full of desire, so does the band, and she leaps from word to word as if unable to contain them all. As a group, they carry it all deftly, and with constant regard for Kline’s point of view.
 
Says Greta, “To me, the album is about perception. It’s about the question of “who am I?” and whether or not the answer matters. It’s about quantum time, the possibilities of invisible worlds. The album is about finding myself floating in a new context. A teenager again, living with my parents. An adult, choosing to live with my family in an act of love. Time propelled us forward, aged us, and also froze. If you don’t leave the house, who are you to the world? Can you take the person you discover there out with you?”

“CACTI”, the follow-up to 2020’s self-titled debut, sees Billy Nomates reveal her vulnerabilities. Spanning heartache, self-sabotage and finding purpose, her unmasked lyricism is swiftly countered by a glowing treatment of synth-powered pop backed by a tight mix of motorik punk, folk and Americana. It’s at no point conflicting, but instead a tight-sounding dialogue of emotion. A natural sonic progression from her post-punk beginnings.

Recorded at her flat and Invada Studios, “CACTI” is a huge step up for the artist, who received widespread critical acclaim for her eponymous 2020 debut album, with heavy airplay across BBC Radio 6 Music and support from luminaries such as Iggy Pop, Florence Welsh and Steve Albini.

Though every bit as unrepentant as Billy Nomates’ debut, “CACTI” comes from a much more exposed place and sees Tor further develop her instinctive, inventive songwriting and production. Unafraid to wade into the traumas of the past two years and the eerie sense of apathy that lingers, alongside heartache and more political themes, the 12-track collection openly confronts uncomfortable truths, as Tor puts it, “70-80% of being bold is about being vulnerable as hell.”

Maries said: “Writing “CACTI” took just over a year. I wrote very intensely and then none at all. (This seems to be the way I work best). I picked up old drum machines, mapped out things in my kitchen with the same small micro keyboard I always use and then raided the cupboards and rooms at Invada Studios, to play and experiment with old synths, an upright piano, this weird organ thing. I hope everyone finds their own narrative in “CACTI”. I think it’s about surviving it all.”

‘CACTI’ features ‘blue bones’ and ‘balance is gone’ , both of which have been playlisted at BBC 6Music

released January 13th, 2023

songs and words written by tor maries

Third Man Records is excited to announce Vault Package #55, The White Stripes – “Elephant XX“, the 20th anniversary expanded accompaniment to the band’s seminal 2003 album. In addition to a new mono remix of the entire album on red and white LPs, this package includes a red glitter 7″ with Jack White’s original solo demos of “Elephant” fan favourite “Hypnotize,” a DVD with never-before-seen footage from the era, and a 28-page booklet of previously-unshared photos, all housed in a custom slipcase. 

Thework an artist creates on the precipice of their star turn, with attention solidly focused on them…well, those are the moments that become truly magical.  If ever a singularly magical moment exists in the history of The White Stripes, it is likely the release and ensuing hubbub behind their 2003 album “Elephant”. 

As explosive initial releases are ever-deserving of further examination and celebration, it should come as no surprise that the 55th installment of Third Man Records Vault subscription series is the twentieth anniversary collection “Elephant XX”. 

The centerpiece of this set is an all new, direct-from-the-original multitrack tapes MONO remix of the entire “Elephant” album. Mixed by Jack White and Bill Skibbe at Third Man Studio in Nashville, the work was executed on the same Calrec board used to complete the original stereo mix of “Elephant” at Toe Rag Studios in London back in 2002. 

As these particular tapes had not been spun in nearly twenty years, little surprises and treasures slowly began to reveal themselves at every turn. An extra four bars at the end of the canonical “Seven Nation Army”? Completely forgotten by all involved until now. A long lost lyric edited out of “Girl, You Have No Faith In Medicine”? Faithfully restored here. The snippets and snapshots of studio banter before and after takes? You bet we left it in. Revelations abound, truly gems to be discovered and dissected by die-hards and fairweather alike. 

The idea here isn’t to try and COMPLETELY REIMAGINE the “Elephant” album. We know how near and dear it is to all of the White Stripes fans out there. The goal is to harken back to other similar experiments (like our first-ever Vault package, “Icky Thump” mono) while shedding light on the nuance and craft contained both in the performance and the mix of this album. In homage to the original US pressing of the album, “Elephant” mono is pressed on opaque white and opaque red discs.  

Additionally, we’ve included Jack White’s original solo demo of “Hypnotize” in two markedly different mixes here. Recorded on 4-track reel-to-reel sometime in 1998 and “gifted” to the local Detroit garage band the Hentchmen as a song White felt was more in their style than his at the time. Come a few years later, with the Hentches having done nothing with the tune, Jack reclaimed it for he and Meg, and their frenetic take quickly became a long-standing fan favorite. 

Furthermore, the original, first take version of “You’ve Got Her In Your Pocket” done seemingly as a mic check, is paired here on the flipside of “Hypnotize”, complete with additional flourish and fingerpicking more so than what ended up on the final album version.  

All three of these aforementioned songs are shared together on a stunning 7-inch single pressed on glorious glitter red vinyl.

It wouldn’t be a twentieth anniversary collection without a DVD and here we’ve assembled a corker. “Elephant-Era Video Artifacts” is a simulacrum of the dubbed and traded VHS mixtape compilations that were pivotal to sharing of information and fuelling fandom long before YouTubers begged you to smash that subscribe button.  

The footage includes the exact album take of Jack and Meg and Holly Golightly singing their hearts out so jolly on “It’s True That We Love One Another” and a previously buried multi-camera Japanese live performance of a wild show kicked off with an impromptu cover of the Stooges “I Wanna Be Your Dog.” From the insightful, unseen interview with Jack and Meg (she talks a lot!) through beautiful 8mm film capture of the behind-the-scenes and making of “The Hardest Button To Button” music video, the collection here utilizes variety to convey the breadth and reach that The White Stripes covered in their dogged work supporting “Elephant”. 

Tying it all together is a 28-page 12″ x 12″ booklet chock-full of previously unshared photos from the “Elephant” album cover shoot, candid backstage pics and all sorts of handwritten lyrics, concert posters, proposed/abandoned tracklists, blood chits, shopping lists, scraps of paper with Támam Shud written on them….you know, the works.

Elena Tonra isn’t a keen swimmer, but oceans pervade “Stereo Mind Game”. It’s a matter of distance. Daughter’s third record, the band’s first studio album for seven years, grapples with what it means to be separated, from loved ones and too from yourself.

“Oh it will likely kill me / That I must live / Without you / Because I can’t swim,” Tonra sings, whisper-like, on “Isolation”. It’s a classic Daughter song that basks elegantly in deepest despair. Yet here there’s a sense of something beyond despair too. “I’ll compose myself / I’ll get over it,” Tonra continues. On “Stereo Mind Game”, Daughter tend to sorrow by fixing it in time. Doing so makes it more real, like the flower – dried, pressed and remembered – on the album’s cover.

Daughter – the trio comprising Tonra, Igor Haefeli and Remi Aguilella – formed in 2010. After releasing two studio albums, “If You Leave” (2013) and “Not to Disappear” (2016), and the video game soundtrack Music From Before the Storm (2017), they chose to take some time off. But not before jamming together in Los Angeles, in between a support tour with The National and their first headline shows in South America. It was here that a new album started to germinate.

Over the next couple of years – during which they worked on their own projects, including Tonra’s solo record as Ex:Re – Daughter met occasionally to write together in studios in London, Portland and in San Diego, where Haefeli lived for six months in 2019. The record’s central romantic figure is someone Tonra met out there when she visited from London. They shared a significant connection, but she knew the Atlantic lay between them.

It’s this that she sings about on “Be On Your Way”, a longing but resilient song about an enduring connection that is also undefinable. Where previous Daughter songs mourned old relationships, here Tonra is accepting of whatever the future brings. “A friend said to me recently: just because something ends, doesn’t mean that it wasn’t real,” she says. Haefeli likens the revelation to the pressed flower image: “It’s still there. It still exists. It grew that spring.”

Daughter began recording the album’s twelve songs in earnest in 2021. Haefeli, who lives in Bristol, met with Tonra at Middle Farm Studios in Devon. Aguilella, who is based in Portland, Oregon, recorded his drum parts in Bocce Studio in Vancouver, Washington. Haefeli produced a number of the songs, while Tonra produced “Junkmail”. They co-produced the rest.

The longing to close physical distances – a feeling that only grew during the pandemic – has seeped into many of these tracks. On “Wish I Could Cross the Sea” we hear voice notes from Tonra’s young niece and nephew, who live in Italy. “(Missed Calls)” features another voice note, in which a friend describes a dream. Fed through some modular effects, it becomes glitchy, and haunting. These messages, attempts at connection from loved ones you’re unable to see, “can pull you out of the well”, Tonra says – but only if you pick up the phone.

When you let others in, beauty can arise. Deep feeling comes from the bows of the 12 Ensemble, the London-based string orchestra, who play on many of the album’s tracks. Arranged by Haefeli and Tonra, and orchestrated by Josephine Stephenson, their parts were – fittingly – recorded at The Pool, a space in Bermondsey, south London, which is a former swimming spot. A brass quartet also brings a new sonic warmth to “Neptune” and “To Rage”.

And for the first time, Tonra’s is not a lone voice. On “Dandelion”, which glistens with Haefeli’s chime-like guitars and Aguilella’s rousing drums, Tonra plays call and response with herself. Haefeli leads some vocal lines on the exhilarating “Future Lover”, and on “Neptune”, a choir appears. These vocalists are the string players of the 12 Ensemble. “It’s one of my favourite moments of the record,” Tonra says, “when suddenly, the crowd joins. It’s a very lonely song. But even when I’ve felt the most alone, arms have reached out to me.”

In order to maintain relationships with others, we must first make peace with ourselves. “Party” recounts a significant moment: the night that made Tonra realise she wanted to give up alcohol. It’s a topic she has written about before, but she needed distance to see it clearly. Haefeli borrows her image: “This time you had climbed out of the well,” he says, “and were looking back down.” It’s the song she’s most proud of, and the one that lends its lyrics to the album title (“Some stereo mind game I play with myself”), which refers to the conflicting voices we all have in our heads.

While Daughter’s previous work found power in emotional honesty, “Stereo Mind Game”, welcomes opposing feelings. “It’s about not working in absolutes,” Haefeli says. After more than a decade spent depicting the darkest emotions, Daughter have made their most optimistic record yet.

Pre-orders of each vinyl format will include an exclusive 12×12″ art print, signed by Daughter, exclusive to the 4AD webstore while stocks last. Please note, the limited edition Eco-Mix Colour LP uses random colour granulate; each copy is unique and may not look like the digital image.

‘Be On Your Way’ is the first single from forthcoming album ‘Stereo Mind Game’, out 7th April via 4AD/Glassnote.