The Fat Angel Sings

Two years after dropping his fifth LP “I Love the New Sky”, chameleonic English singer-songwriter Tim Burgess is back with another addictive collection of songs. But this time, he’s widened his scope further than ever, and “Typical Music” is an ambitious, monstrous, 22-track document of storytelling. Throughout its near-hour-and-a-half runtime, Burgess ruminates on parenthood, romance, and personal metamorphosis. 

On “I Love the New Sky”, Burgess took shelter in the optimistic, penning upbeat, celebratory tunes that pay homage to his heroes, like The Cure and Comme D’Habitude, and takes pleasure in parading as captivating baroque pop. “Typical Music” builds on that world, throwing nods to the moxie of David Bowie, Dexys Midnight Runners, and Genesis while maintaining Burgess’ typical acoustic grit in the process. The product is a rich, dynamic album, brimming with saxophones, synthesizers, and spoken-word. “Typical Music“ out today, Burgess spent some time walking us through the record track by track, providing insight on the songs’ inspirations and giving praise to the musicians who helped him perform them. 

1. “Here Comes The Weekend” 

It’s about a boy missing a girl that he is trying to connect with. The day-to-day struggles of 4G. A modern-day allegory of an age-old story.

2. “Curiosity” 

This was written on a campsite in Norfolk on an acoustic guitar. I was very pleased to be able to squeeze the word “reciprocity” into the song and my improvised French “Definit, pert être, laissez-faire, raison d’être” makes up the chorus.

3. “Time That We Call Time”

Pearl Charles sings this song with me. It’s about all of the nonsense that is going on in the world and how it needs to come to an end. There’s no obvious solution in there, so kind of like real life.

4. “Flamingo” 

This was written about my relationships with my dad and my nine-year-old son. I like the line “maybe it’s too late to adjust my fate, decided pre-incarnate.” Quelle Chris likes this song (he said that the beat is dope) and Andy Votel has done a killer remix. 

5. “Revenge Through Art” 

Written about falling in love outside a football stadium. The song is really about the anger you feel after a breakup and when you make the best art because of conflict.  We wanted it to sound like Miami Sound Machine. Not sure we succeeded, but I love it anyway.

6. “Kinetic Connection” 

I love Sam Gendel’s saxophone playing on this song. I wrote the song after watching the Aretha documentary Amazing Grace. It’s a song about insecurities coming to the surface. It’s also a song about the power of connection. 

7. “Typical Music” 

It’s the title track of the album, so I imagine this is the song we thought had all the answers. It’s surf, punk, psych, and a song that you could really enjoy on the bus heading to work dreaming of a brighter world. 

8. “Take Me With You” 

I played this to my friend Sharon Horgan and she said it sounded like Christmas. This is a song for everyone who wishes it was Christmas every day. 

9. “After This” 

One of my favorites on the album, it’s really romantic and optimistic, and it mentions Kevin from Dexys Midnight Runners. I love the different sections, and, just when you think it’s finished, there is another section. A bit like (I wish) Genesis’ “Can-Utility and the Coastliners.”

10. “The Centre Of Me [Is a Symphony of You]” 

It’s a love song, of course. I really like my wonky acoustic guitar playing and Helen O’Hara’s beautiful violin playing. Also, the speed-up at the end was really fun to do. 

11. “When I See You” 

Another love song written for the (uncredited) girl/woman who provides the backing vocals at the end of the track. The spoken word took me ages to get right—worth it though, I hope. 

2. “Magic Rising”  

Another love song. I was thinking of Norma Tanega and Paul McCartney. I love the lyrics and the laughing. It’s a massive song. I am so proud of the performances.

13. “Tender Hooks” 

I wanted Uffie to guest on this and sent her the song, but it never worked out. It’s not that she didn’t like it. She loved it, but it wasn’t to be. It was a dream about taking the bus to Hackney and locking someone out of the house. Those things actually happened. And the bit about having a shave. 

14. “L.O.S.T. / Would You Take a Look At My Hand Please”

It’s a plea to a friend to make themselves visible. It’s a big world and as the Feargal Sharkey song goes, “A good heart is hard to find.” The “would you take a look at my hand please” section of the song is instrumental, and the name came from a friend of mine taking a chunk out of their hand and needing stitches.

5. “A Bloody Nose” 

It’s a song about lucky escapes: one story, in particular, is about the Charlatans’ first trip to Arizona in 1991. 

16. “In May” 

I wrote this song In 2014 about my little boy (originally called “The Littlest B”). He was a year old and is nine now. It’s the oldest song on the album and very close to my heart. Beautiful mix by Dave Fridmann. Also, ace strings arranged by Daniel O’Sullivan (who produced the album) and played by Echo Collective. 

17. “Slacker (Than I’ve Ever Been)” 

I love the Bowie-style synth and the chord changes.

18. “View From Above” 

I feel like I walk the tightrope a lot of the time and this song is my thoughts on that. My favourite lyrics on the album and Dan’s idea for instrumentation and arrangement really make it stand up for me as one of the best songs I’ve ever been involved in. 

19. “A Quarter To Eight” 

Another amazing production and arrangement by Daniel O’Sullivan. I like mentioning Roddy Frame and Father Thames. Sandra Marvin sings backing vocals. 

20. “Sooner Than Yesterday” 

Goth, monochrome surf? A bit like Joe Meek or Kim Fowley, like catching a wave in the rain in North Wales. 

21. “Sure Enough” 

If I was going through some kind of transformation during the making of this 22-track behemoth (which I was), this is the song that sums it all up. The last song written for the record. 

22. “What’s Meant For You, Won’t Pass By You” 

This song tells you where I am right now, this minute. I am through the other side. I still have questions, mind. Brilliant performances from Thighpaulsandra and Nitin Sawhney.

“Stumpwork”, the follow-up to 2021’s “New Long Leg”. The South London-based group’s first studio album, recorded in just two weeks with producer John Parish at the iconic Rockfield Studios, became a huge critical and commercial success reaching #4 in the UK Album Charts and featuring in best-of-2021 polls across the board. Buoyed by its success, Nick Buxton (drums), Tom Dowse (guitar), Lewis Maynard (bass) and Florence Shaw (vocals) returned to rural Wales in late 2021, partnering once more with Parish and engineer Joe Jones. Working from a position of trust in the same studio and with the same team, imposter syndrome and anxiety was replaced by a fresh freedom and openness to explore beyond an already rangy sonic palette, a newfound confidence in their creative vision. A longer period in the studio afforded the time to experiment, improvise, play, sharpen their table tennis skills.

“Stumpwork” was inspired by a plethora of events, concepts, and political debacles, be they represented in the icy mess of ambient elements reflecting a certain existential despair, or the surprising warmth in celebrating the lives of loved ones lost through the previous year. Surrealist lyrics are as ever at the forefront – but there is a sensitivity now to the themes of family, money, politics, self-deprecation, and sensuality. Furious alt-rock anthems combine across the record with jangle pop and ambient noise, demonstrating the wealth of influences the band feed off and their deep musicality. With the pressure of their debut album behind them, Dry Cleaning have crafted an ambitious and deeply rewarding new work that marks them out as one of the most intelligent and exciting acts to come out of the UK.

The album and single artwork were conceived and created by multi-disciplinary artists Rottingdean Bazaar and photographer Annie Collinge. James Theseus Buck and Luke Brooks of Rottingdean Bazaar first worked with Dry Cleaning directing the official video for ‘Scratchcard Lanyard’ and as their creative partnership with the band continues to flourish, they have fashioned a brilliantly unique visual identity for “Stumpwork”.

So hyped about this new album … Dry Cleaning is the Smiths of our time. That’s the greatest compliment I could bestow upon this special band.

Francis Lung has a new EP, it consists of six songs/stories, three of which are a trilogy set in my hometown of Manchester, and three of which are standalone tales.
To me they’re dark yet light, sad but funny, messy yet measured. i can’t wait for you to hear them and hope they transport you someplace nice in your mind. 

There are a ltd amount of menus from the infamous ‘Midland Hotel’ restaurant up on Bandcamp, containing all the lyrics from the “Short Stories2 EP. They come with a full high quality download of the “Short Stories” EP, 

Finally, i’m real happy to say i’m on tour with The Dears next month across the Netherlands, Belgium, France and the UK, 

One evening in early summer 2020, Jackie Cohen found herself sitting alone at the side of a pool at a stranger’s home in a small town on the East Coast, an oil lamp flickering at her side. Befitting the shimmering water at her feet, Cohen found herself reflecting. “I was in the middle of this horrible personal crisis, and for the first time in my life I just asked the universe for a sign, some signal that everything was going to be okay,” Cohen says. At that very moment, a large white moth bolted across her eye-line and directly into the open flame of the oil lamp. “He just dive-bombed, self-immolated,” Cohen says, still in chuckling disbelief years later. “That was my message.” From that point forward, Cohen decided the only way forward was to succumb to the crisis, to relax into it instead of fighting, to find beauty even in the flame—an approach that fuels her sublime new album, “Pratfall”, due September 23rd via Earth Libraries.

Prior to that transformative poolside evening, Cohen had spent a year touring in support of her sophomore release, Zagg, a record dotted through with poetic witticisms and daubed in strings and horns—a gritty pocket of the sun-stained California mystic continuum somewhere between Nilsson Schmilsson and Have One on Me. While she’d been writing songs for the eventual follow-up on the road, it took that winged messenger to crack open the new world Cohen aimed to explore. Before the moth, Cohen had been focused on Meryl Streep, a master of the pratfall. “When you see it, you gasp and hold your breath because it’s so violent that you worry it’s real. You want to look away but you can’t, not until she gets up,” Cohen says. “And when she does finally jump up and say ‘tah-da,’ you’re so relieved that it was all just a bit that you burst out laughing.” Cohen knew her album would embody that anxious, unbelievable, uncomfortable interim where the pain of the fall and the magic of the rise each hold equal potential yet to be realized.

On “Pratfall”, Cohen renders both extremes of that range of experience in warm, inviting indie pop. A prime example comes in lead single “Moonstruck”, a Fleetwood Mac-esque wash of acoustics, thundering tom-toms, and sepia piano. “I’ve had some trouble sticking my landing/ So if you need someone to understand you, I understand,” she breathes, before the song churns through pained urges. “Get the knife,” she repeats, spinning electric guitar surrounding the listener like the eye of the storm. Like the Ten of Swords in a tarot deck, pinned down by a plethora of blades, Cohen found herself stuck in a present of sharp edges, a moment left behind before the lessons and rebirth.

“People so desperately want to gloss over these in-between moments because they’re mortal and uncomfortable, full of uncertainty and helplessness,” Cohen says. “But we have to sit with the ruins, be shredded apart for a second as we gather and take stock of what remains.”

Because of the record’s pandemic origins, Cohen was only aided in studio by two collaborators: her husband, producer Jonathan Rado, and engineer Rias Reed. “We were a tight pod,” she laughs. The three musicians holed up at Sonora Recorders in Los Angeles, tapping into the studio’s vaulted ceilings and haunted feeling to amplify Cohen’s widescreen song writing. “Elliott Smith recorded some stuff there,” she says, “and it always seemed like there was a ghost banging around in there, turning lights on and off.”

In addition to its pedigree, Sonora Recorders was also just a 30-minute drive from the San Fernando Valley where Cohen and Rado had grown up. Paying tribute to that upbringing, “The Valley” acts as the record’s second single, a slice of golden Americana and the most autobiographical song in Cohen’s catalogue. Surrounded by sterling strings and propulsive percussion, Cohen’s vocals have never sounded more focused. “Don’t you know/ No I know you know/ You never leave the valley,” she soars, that certainty at once a promise and a threat, as the six-minute epic unravels.

In addition to studio hauntings and their childhood glowing in the rearview, Cohen and Rado steeped themselves in films from the past few decades while recording . “There was always a movie playing,” Rado recalls. “We got stuck on Vanilla Sky and Eternal Sunshine for a long time, and they’re both about changing memories, with a lot of movement backwards and forwards.”

Third single “Ghost Story” recaptures that self-immolating moth in its self-destruction—as well as Cohen’s perseverance in finding a way to rise up out of her own personal ashes.

A tale of hidden flasks, raw elbows, bondage bars, and fraud, the track shows Cohen’s innate ability to parse perfectly sketched short stories in undeniable indie pop glory. “He tells me I’m the best ghost story he’s ever had,” she calls, before the song explodes into a fireworks show of cymbals and needling guitar.

“I didn’t want to write a dirge inspired by the darkest moments of my life, I wanted a cathartic moment, to experience the emotion and build from it,” Cohen says. “This record is a climax where everything becomes explosive and you can just close your eyes, give in, and dance it off.” 

Released September 22nd, 2022 “Pratfall” out now via Earth Libraries

written by Jackie Cohen
produced by Jonathan Rado

“demo’s” is a new and ongoing project by Du Blonde where, alongside her regular albums, she will drop tracks unintended for professional release. These will include demos, unreleased tracks, instrumentals, experiments and more.

The idea for “demo’s” came about after a period of illness in which Du Blonde found herself becoming too much of a perfectionist to complete projects. In order to get back to the place of fun and spontaneity she had experienced at the beginning of her career, she decided releasing unfinished tracks, recorded, mixed and mastered in a matter of days, would bring her relationship with creating music back to a more grounded and light hearted place.

I’ve just released a new edition to demo’s. This is a track I wrote last night called ‘On The Upswing’. More of a true demo than “Live Wire” was, just a simple iPhone recording. Nowadays I tend to demo straight into Logic, hence the multiple instrumental arrangements on Live Wire (that software makes layering easy), but the new house I’ve moved into isn’t set up for recording yet so my acoustic travel guitar and my phone were all I had. I’m planning to do some more like this as it’s much more akin to the way I used to track new songs.

All tracks are written, recorded, engineered, mixed and mastered by Du Blonde, with occasional help from Fred St-Gelais.

released May 20th, 2022

Written, recorded, engineered, mixed and mastered by Du Blonde

Hand Habits aka Meg Duffy shares two new tracks “Greatest Weapon” and “Under the Water” with the latter featuring long time pal Amelia Meath on lead vocals.

Psychic Hotline, the record label formed by Sylvan Esso, has a stellar single series in the works. They’ve already shared original tracks from Ethan Gruska with Bon Iver, Uwade, Flock of Dimes, Anjimile, and Bartees Strange with FINOM (f.k.a. OHMME) and Eric Slick.

Meg Duffy’s Hand Habits project shared a new set of singles titled “Greatest Weapon” and “Under the Water,” the latter featuring Sylvan Esso’s own Amelia Meath on lead vocals.

“Greatest Weapon” is a propulsive tune that combines a web of banjo plucks with Duffy’s echoey vocals. The song was crafted with Ethan Gruska and recorded in his home studio in Los Angeles, featuring Sylvan Esso’s Meath and Nick Sanborn on background vocals. According to Duffy, it’s about “coming to grips with the dance of time.”

In addition to taking lead vocals on the second single, Meath also penned “Under the Water.” She explained, “I wrote it all in one go. Learning how to hold my head underwater when I was a kid was a moment of independence that I hadn’t been expecting—all of the sudden I was able to be completely alone in the pool, even when I was surrounded by people.”

Hand Habits available now on Psychic Hotline.

Young Jesus is the moniker for the shapeshifting art-rock project John Rossiter founded around that time. Over the course of five albums, the project has had a revolving door of members helping to bring Rossiter’s heady lyrics and experimental compositions to life through the disparate and often convoluted languages of Midwest emo, post-punk, slowcore, prog, and alt-country before the inception of “Shepherd Head”, a new stripped-back solo record pairing Rossiter’s familiar existential, self-reflective, and theological themes with minimal, ambiance-heavy instrumentals.

Yet even these stripped-back compositions are so full of unique sounds and left turns that it never quite feels like a proper solo record (those guest verses from Tomberlin and Arswain don’t seem to help in that department either). While the lack of backing band in theory might leave room for Rossiter’s poetic lyrics to flourish, it feels harder than ever to focus on his falsetto—which ranges here from resembling Robin Pecknold to James Blake, depending on its accompaniment—as a whirlwind of fascinating sounds is constantly swirling around behind it.

With the record dropping today via Saddle Creek, Rossiter took the time to break down each track’s literary influence, citing authors ranging from bell hooks, to the Catholic theologian Meister Eckhart, to a personal friend whose poetry appears on the record.

After the release of 2020’s “Welcome to Conceptual Beach”, the band had drifted apart after too much time on the road, and Rossiter became restless. After the tragic death of a close friend, Rossiter felt a need for change. “I can be kind of perfectionist and a pretty intense band member,” says Rossiter. “I drove the band really hard for a while, and I don’t think I realized how hard I was doing that. Everyone was just burnt out on me and on each other. And I think I had wanted to reflect on that more, why I did push so hard and why I could be so demanding and stubborn.”

For the new album, Rossiter opted for something completely different. He opened up the songwriting process, relying on collaboration and improvisation. Instead of the band’s usual method of months-long rehearsal before cranking out an album live in the studio in less than a week, Rossiter decided to take his time, recording the entire record over a series of years using only his MacBook, GarageBand, and an SM57 microphone. He used found sounds, recording random people on the street, experimenting with white noise, piecing together scraps of songs from voice memos.

The result is a record completely unlike anything in Young Jesus’ discography. Rossiter’s voice is deep and lovely, conjuring a sense of melancholy and grandeur, but never with bitterness or despair. The disparate elements—the found sounds, the friend cameos, Rossiter’s disciplined songwriting—come together in thrilling and sometimes shocking ways. There’s a joy to the music, the wild hope and possibility that arises after tragedy, a feeling of revelation.

1. “Rose Eater” | All About Love by bell hooks

I was deep in a theory space—lots of niche terminology and academic language. I really wanted to learn the “truth” about the world and I thought because these books were hard to read, they held the “truth.” But it was always such a struggle reading those books, and very difficult to emotionally connect. 

Then we read All About Love and I felt angry. I was angry because it was accessible, emotional, and honest. To me, I wanted knowledge to be a scarce resource that you had to work very hard to attain. But this book showed me that the best thinkers take inaccessible, complex ideas and make them accessible. This book really changed how I think about reading. 

2. “Ocean” | Selections From His Essential Writings by Meister Eckhart

I feel like Meister Eckhart’s writings fit alongside Heraclitus, Tao te Ching, and Rilke. Prayers and sermons that are interested in the mystery of god, not the dogma. I like spiritual writing that creates a deep inner call. Eventually, through contemplation, it folds outward into the world. I used to want to be a monk, but I’m more invested in engaging with the world these days.

3. “Johno” | Ocean of Sound by David Toop

I got very excited about house music and jungle when I read this book. Really opened my ears to music that I hadn’t understood before. The writing is poetic, nonlinear. Stories weave in and out of the genuine love of music. There’s a sense of openness and adventure. Some of the sounds on “Johno” were greatly influenced by the music Toop writes about: Mr Fingers, Phuture, Psyche/BFC, Cybotron. Love reading books about music and listening to the tunes.

4. “Shepherd Head” | The White Stones by JH Prynne

To me, this is the best poetry book about feeling in love—to be in love with the world, to let it break your heart. It’s incredibly full, elegant, urgent. Thank you to Connie for showing me this!

5. “Gold Line Awe” | Jamie Renee Williams

Jamie wrote and read the poem that is featured on “Gold Line Awe.” Such a great writer. Order her zine emer.jent and read her writing along with a lot of great local writers and poets here in LA.

6. “Satsuma” | Belomor by Nicolas Rothwell

No one makes me feel the connection between melancholy and beauty like Nicolas Rothwell. It’s almost as if we live for pain so that it might paint the rest of our lives with different colors. His books speak to my soul. Wandering, questioning, a deep sense of how spirit is tied to place and how stories/art weave their way into the ground, the air become the ground, become the air. I always recommended these books to people when I worked at the bookstore and no one ever bought ’em.

7. “Believer” | Gnostic Gospels by Elaine Pagels

When I read this I started to think the Christianity I was raised with is kinda bullshit. The Gnostic Gospels represent alternative visions of the Bible. Some of them feel like questions, riddles, places for contemplation. It opened me up to my own interpretations of Christianity. I’m somewhere in the middle now, rather than complete acceptance or complete denial.

The thing about so many dominant ideas is that there do exist many alternatives. It takes a bit of digging because the world we’re in is deeply invested in the books and ideas that support it. So finding my own versions, my own spaces of belief and possibility, has been very important to me. It allows me to cling to the beautiful histories that they don’t often teach in school or church.

8. “A Lake” | Heavy by Kiese Laymon

Beautifully written. Very brave. I’m not sure what the future holds, but this book seemed to offer a way forward, an example.

Shepherd Head is an album of healing, of acceptance of weakness, of love, and of hope. It’s the sound of an artist stretching himself, going to new places and facing the pain and fear of life. Gathering together the sounds of the world, from the chatter of friends to footsteps of strangers, and building something new out of it. Something singular and unique. Something beautiful. 

released September 16th, 2022

About a month ago, Oslo-based fuzz-punk troupe Spielbergs dropped their aggressively upbeat sophomore album “Vestli“, a record that opens with an energetic sendup to Japandroids’ yearning noise-pop and mostly maintains that energy throughout its remaining eleven tracks. The Album Is About Being Trapped In Everyday Life’ – Spielbergs Get Reflective About Their Hometown On Second Album ‘Vestli’ ‘Everyone has the place that they grew up. We have the good and we have the bad and that’s what has shaped us into the people that we are today. That’s what the name “Vestli” is all about.’

It might not be a particularly original idea, but it’s one that’s almost universally accepted all over the world and when it’s combined with the fuzzed out punk rock power pop anthems of Spielbergs, it explains why the anticipation was palpable for their recently released sophomore album. “Vestli” is a suburb of Oslo, where two members of the band – guitarist/vocalist Mads and bassist Statil – grew up and shared their formative years.

‘There’s nothing to see there, just a pub and a mall’, Mads tells me. ‘A commuter town with lots of big buildings and not much going on. A great place to grow up when you were kids because there’s a lot of peace and quiet where you can run around and play, but not so great when you’re a teenager. Just a lot of drugs and smoking weed. That was it really.’

Sounds like pretty much every small town that every one of us grew up in right? But that’s what creates the magic behind the music when you listen to bands like Spielbergs. You get the idea that you could see ‘Vestli’ occupying the same place in the listener’s mind as the lore of other such bands, like the way that The Menzingers or The Wonder Years write so many songs about Philadelphia and The Gaslight Anthem pen their tales about New Jersey and New York.

Spielberg’s first album ‘This Is Not The End’ may have been well received, but when ‘Go!’ dropped during the pandemic the hype was immediately doubled.

Needless to say, it’s the stuff of unforgettable live shows—a sound that’s best consumed by having it blasted at you from an irresponsible proximity from the house speakers.

The band currently are touring Europe and the UK, the rest of us have at least gotten to see them rip through a few songs in the studio, with live videos from a late-March 2022 session at Oslo’s Studio Paradiso surfacing this month.

Previous tracks “When They Come for Me” and “Get Lost,” and now they’re sharing a third and final dispatch from the studio session with a performance of the album opener “The New Year’s Resolution,” a rousing, noisy take on anthemic pop-punk through to its final moments wallowing in a wash of feedback.

Spielbergs are Mads Baklien: Vocals and Guitar Stien Nettum Brennskag: Bass and Backing Vocals Christian Løvhaug: Drums and Backing Vocals Additional Instrumentation from , Ole Torstein Honig: Synths Kristopher: Guitar and Backing Vocals

The latest new Spielbergs album ‘Vestli’ released via Big Scary Monsters (worldwide) and Fysisk Format (Scandinavia).

Before Jon Brion had a hand in scoring “Lady Bird”, “Punch-Drunk Love”, and “Eternal Sunshine of the Spotless Mind“, he made an album in 2001 that very few ever got to hear. “Meaningless“, released in limited format on his own label 21 years ago, is returning for the first time digitally and on vinyl through Jealous Butcher Records. “Meaningless” is a mystical auteur’s vision before his apex. It’s a grounded yet unabashedly eager record that unlocks new sonic quirks with every choral turn without overextending itself.

In the two decades since recording “Meaningless”, Brion has enjoyed making moves behind the scenes, collaborating on projects with Fiona Apple and Kanye West, and finishing the late Mac Miller’s posthumous Circles. This unearthed work, long vaulted and rarely heard, showcases Brion’s distinctive artistry, which combines a magnetic blueprint of charming, rambling vocals with timeless Wall of Sound-style arrangements. The songs on “Meaningless” are a strong diversion from his scoring work. Instead of well-placed instrumentals, he’s crafted his own songbook and emphasizes his own still-growing legacy.

The latest single unearthed from “Meaningless”, “I Believe She’s Lying,” is one of pure, joyful Y2K rock and roll, written in collaboration with revered singer/songwriter Aimee Mann. With a romantic buoyancy and machine gun percussion, the track fits easily into any genre category in 2022 while still feeling immensely tethered to the era it was first built in. That’s a testament of Brion’s skill and genius, that he can make pop cuts so everlasting. 

“I just don’t think we as creatures have the RAM to understand the physical universe, and anything beyond that, that’s beyond us,” Brion said of “Meaningless” existentialist landscape. “Maybe we get to know, maybe we don’t, either way, I’m OK with it.”

“Meaningless” Out October 21st through Jealous Butcher Records.