“A Little Touch of Schleicher in the Night” is Brooklyn singer/songwriter Katie von Schleicher’s first full-length album since 2020, and it’s punctuated, psychedelic and beautiful at every turn. Her melancholic, angelic singing is just as spectral as ever here, though a song like “Every Step Is an Ocean” breaks her out of her comfort zone a bit—as she conjures avant-pop and electronica in confident and sublime ways. Elsewhere, von Schleicher delivers piercing ballads (“Texas” and “Jeanine”) and collaborates with LadyLamb to make groovy, folk-inspired bliss (“Elixir”).
“A Little Touch of Schleicher in the Night” is magnetic and unavoidable, boasting the bravado of a musician at an immaculate apex. Album standout “Overjoyed” is one of the best songs von Schleicher has ever written, as it soars on a delightful, buoyant instrumentation that flirts with the gray area between twang-pop and Laurel Canyon folk rock.
Produced by Katie von Schleicher and Sam Griffin Owens (Sam Evian) – “A Little Touch of Schleicher in the Night” was recorded with a bunch of poker buddies the two accumulated during the pandemic. Lyrically wry and classically lush with strings and horns, it’s a songwriter album that nuzzles up to the Arthur Russell and Kirsty MacColl LPs in one’s record collection. In narrowing the gap between her personality and her songwriting, von Schleicher has made her most untroubled album.
“A Little Touch of Schleicher in the Night”, out October 20th on Sipsman.
Neil Young has announced a new album titled“Before and After”. The 13-track LP will arrive on December 8th and will feature solo acoustic re-recordings of songs from throughout Young’s catalogue. There’s also one previously unreleased track, “If You Got Love.”
Set to arrive on December 8th via Reprise Records, the album will see Young structure the trac-klist so that the songs blend together and create one continuous flow from beginning to end.
“The feeling is captured, not in pieces, but as a whole piece — designed to be listened to that way,” said Young of the new album. “This music presentation defies shuffling, digital organisation, separation. Only for listening. That says it all.” “Songs from my life, recently recorded, create a music montage with no beginnings or endings,” Young said in a statement posted to the album’s preorder page.
Neil Young’s new release called ‘Before & After’, out now via Reprise. But instead of writing and recording a batch of new material, the singer-songwriter took a cue from the Taylor Swift playbook, re-recording select songs from throughout his career. ‘Before & After’ is described as “a trip into his music history,” with Neil having picked some of his own favourite songs from his catalogue to re-visit. It’ll mostly be solo acoustic re-recordings, sequenced so its 13 songs blend seamlessly together from front to back.
“The feeling is captured, not in pieces, but as a whole piece — designed to be listened to that way,” Neil said in a statement. “This music presentation defies shuffling, digital organization, separation. Only for listening. That says it all.”
Tracks in the album include his earliest Buffalo Springfield appearance, ‘Burned’, and his more recent track ‘Don’t Forget Love’, taken from 2021’s ‘Barn’. The previously unreleased song titled ‘If You Got Love’ is featured too.
Neil Young recently broke his four-year touring hiatus. Over the summer, he embarked on a solo acoustic tour of the West Coast in which he performed songs he had never played live before.
“I don’t want to come back and do the same songs again,” Young said at the time . “I’ll feel like I was on some sort of carnival ride. I’d rather be doing these other songs I haven’t done. … I won’t have to compare how I’m doing ‘Heart of Gold’ to [how I played it in] 1970, 1980, 1990, 2000, 2010, 2020.”
“It’s over. The old days are gone,” he said in a message posted to his Neil Young Archives website. “Artists have to worry about ripped-off fans blaming them for Ticketmaster add-ons and scalpers.”
So far, no further tour dates have been announced, and Young has emphasized that performing live in today’s industry is strenuous for both artists and concertgoers. “Before And After’ was produced by the singer-songwriter, alongside Lou Adler. Young took on the role of mixing the album too with the help of Niko Bolas – recognised as The Volume Dealers.
Neil Young teamed with legendary producer Lou Adler (The Mamas and The Papas, Carole King’s Tapestry, The Rocky Horror Picture Show) for an album unlike any other he’s recorded. “Before and After” features Young revisiting some of the lesser-known gems in his discography, arranging them into a 48-minute suite meant to played continuously. The sequence is career-spanning, from his first Buffalo Springfield appearance “Burned” through “Don’t Forget Love” from 2021’s “Barn”. One previously unreleased song, “If You Got Love,” debuts. The album will be available in four formats: vinyl LP; clear vinyl LP (available only from independent record stores and Young’s Greedy Hand online store),
Neil Young recently posted a New Year’s thank-you message on his official website to those who helped him out in various aspects of his life and career in 2023. Nested in the note was a news tidbit that should excite fans—the folk-rock legend will be mounting a new tour in 2024.
In addition, Young expressed his gratitude for producer Lou Adler for co-producing his latest studio album, “Before and After”, with me. He added, I love that album. “It feels good to me.”
Before and After was released this past December 8. The album is a collection of newly recorded stripped-down acoustic renditions of 13 songs from throughout Young’s 50-plus-year career. The album boasts a mix of deep cuts and better-known tunes.
On Thanksgiving, a couple weeks prior to the release of “Before and After”, Neil Young premiered a new video dubbed “Stand for Peace.” The clip featured him performing a solo instrumental version of “The Star-Spangled Banner” reminiscent of the one Jimi Hendrix played at Woodstock in 1969.
2023 also saw Young return to the stage after a three-year hiatus. His Coastal Tour 2023 featured 15 concerts, running from a June 30 performance in Los Angeles through a July 24 show in Stateline, Nevada.
Young also performed at Stephen Stills’ Light Up the Blues to Benefit Autism charity show on April 22 in L.A., and at the 2023 Farm Aid concert on September 23 in Noblesville, Indiana.
For her third album, “Bobbie”, Dutch singer-songwriter Pip Blom decided to rip it up and start again. After making her name as one of the brightest indie rock singers around through two albums – 2019 debut “Boat” and 2021 follow-up “Welcome Break” – and a lauded live show honed over gruelling years of touring, the new album sees her take a delightful left turn into thumping, carefree synth pop.
While admitting to the cliché of a guitar-orientated band “grabbing the synths” for album three, this new direction had a real and genuine draw for Blom and foremost in her mind was cult 2010s English pop band Micachu and the Shapes. For their previous albums,
Blom wrote songs on the guitar, hoping that the studio process would then allow her to live out her pop dreams through final flourishes added during the recording process. “But we were always then running out of time,” she remembers, “and they ended up as just guitar-y albums.” For “Bobbie”, work with synthesisers and computers began from the very beginning, and she recruited producer Dave McCracken in a co-writer role to make sure the vision was fully realised.
To immerse herself in this new way of working, Blom worked on the album in separate, intensive bursts of creativity, based around a series of non-stop five-day studio jaunts in her native Netherlands. The songs were then sent to McCraken – whose credits include Jay-Z and Kanye West – to gain a little more “clarity” and be trimmed into the tight, punchy pop hits that make up the new album
Pip Blom shared ‘Get Back’, the track taken from their forthcoming third album, “Bobbie”, which is out this month! The single follows high profile collaborations with Alex Kapranos of Franz Ferdinand on ‘This Is Love?’ and Dutch indie act Personal Trainer on ‘Kiss Me By The Candlelight.’
Talking about the track, Pip said: “One of the things I am most happy with on this album is the vocal sound. My voice sounds warm and intimate, but also punchy and fierce at other times. During the recording of the vocals in the chorus, we laughed a lot because it turned out to be quite difficult to say “Get Back” so many times in a row. I love how “Get Back” is both a rock song but still sounds very produced. A recurring phenomenon on “Bobbie” is the vocals with a lot of autotune, which can also be heard in the bridge of this song. “Get Back” may be one of the loudest songs on the album, yet Claudius managed to give it an even bigger lift in volume and intensity in the last chorus.
This 12-track collection features collaborations with Personal Trainer and Alex Kapranos.
Wednesday premiere a feature video for Rat Bastards of Haw Creek, a documentary directed by Zach Romeo showcasing their quiet, rural lives in the mountains of Western North Carolina and how that existence stands in contrast with the raucous, kinetic energy of their captivating live shows and the rapid pace of their newfound success.
Wednesday’s breakthrough album “Rat Saw God” was released earlier this year to unanimous critical praise. It has been named one of the best albums of the year so far by Rolling Stone, Pitchfork, Vulture, SPIN, Stereogum, Paste, Consequence, Nylon, The AV Club and Brooklyn Vegan among others, making it one of the best reviewed albums of the year so far.
Across the album’s ten tracks the band builds a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, with distorted pedal steel and Karly Hartzman’s voice and observational lyrics slicing through the din.
Dwight Twilley, one of the musicians who pioneered the rock subgenre known as power pop, died on Wednesday. He was 72 years of age. His death was confirmed by the Church Studio in Tulsa, Okla., where Twilley recorded many of his best-known songs, including his signature hit, “I’m on Fire.” The Facebook announcement read, “He peacefully departed this world, surrounded by the love of his life, Jan, and close friends … Dwight’s musical prowess touched countless lives, leaving an indelible mark on the hearts of many. We are profoundly thankful for the enduring musical legacy he has bestowed upon us all.”
According to his hometown newspaper Tulsa World, Twilley suffered a stroke Saturday while driving and crashed his vehicle into a tree. He died at a hospital four days later. He was a lifelong disciple of the Beatles who also harboured an enduring love for Elvis Presley, Twilley devoted his career to hooks, harmonies and ringing guitars, a combination designed to evoke the platonic ideal of a hit pop single. Twilley achieved one of those with “I’m on Fire,” the debut single from the Dwight Twilley Band, a group he co-led with his old friend Phil Seymour, which shot into the Top 20 upon its release in 1975.
With its accompanying album “Sincerely” garnering positive reviews, including a rave from Rolling Stone, the Dwight Twilley Band seemed poised to follow a similar trajectory to Tom Petty and the Heartbreakers, label mates at Leon Russell’s Shelter Records and kindred spirits who also updated the jangle of 1960s garage rock for the slicker 1970s. But sucked into the vortex of the collapse of Shelter Records, the band couldn’t capitalize on “I’m on Fire,” leading to internal tensions that ultimately led Seymour to leave Twilley behind.
On his own, Twilley did earn a second chart hit in 1984 with the insistent “Girls,” but he ultimately embraced his role as a cult act. In Tulsa, he opened his own studio and launched his own record label, spending the last half of his life releasing collections of bright, effervescent tunes that adhered to the artistic standards he initially essayed with “Sincerely.” Occasionally, one of his old songs surfaced in unexpected places — “Looking for the Magic” sounded effectively ominous in the 2011 horror film “You’re Next” — but Twilley largely played to a cult audience who shared his passion for immaculately crafted pop-rock.
Born in Tulsa on June 6th, 1951, Dwight Twilley displayed an affection for the arts before witnessing the Beatles play on “The Ed Sullivan Show” in 1964, but that particular performance inspired him to form a group called the Intruders when he was in middle school. The Beatles were also the catalyst for his introduction to Seymour. The pair both attended a matinee of “A Hard Day’s Night” in 1967, a screening intended for children. Twilley remembered, “If you brought a kid with you, you got in for free. I brought my little brother, and Phil brought somebody. So, it’s like, here’s this line of little tiny toddlers and there’s only two people that are tall enough to pass through the turnstile.” Once the film was finished, the pair headed over to Twilley’s house, where they immediately started writing and recording songs together.
Initially, Twilley and Seymour called themselves Oister, splitting the lead vocal duties on originals written by Twilley. Working in Twilley’s garage and Seymour’s bedroom, they finished an album, pressing acetates of “Oister Presents Swirling Clouds,” but they soon felt limited in Tulsa. Lacking the funds to move to either coast, the pair headed to Memphis in 1969, walking through the doors of Sun Records without realizing it was the label that gave Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins their starts. Jerry Phillips, the son of Sun founder Sam Phillips, pointed the duo in the direction of Ray Harris, one of its old signings who was then one of the owners of Hi Records. Harris introduced Twilley and Seymour to rockabilly, igniting a love of Presley within Twilley that helped give his pop a leaner, harder-edged sound.
Returning to Tulsa, the pair brought guitarist Bill Pitcock IV into the fold. Late in 1974, Oister headed to Los Angeles where the band wound up signing with Shelter, the imprint run by Russell and Denny Cordell that was based in Tulsa. Shelter insisted the group change its name to the Dwight Twilley Band, a move that suggested Seymour was a hired hand, then brought the band members back to Tulsa, setting them up at the label’s studio in a renovated church. The band promptly cut “I’m on Fire,” a song that blended their love of Beatles harmony with a rockabilly swagger.
Released early in 1975, “I’m on Fire” climbed its way onto the Billboard singles chart, but the Dwight Twilley Band wasn’t able to ride this momentum because of the implosion of Shelter after a falling out between Russell and Cordell. Cordell told Twilley to keep recording, so the group amassed a surplus of material for its debut album, “Sincerely,” which appeared a year after “I’m on Fire.”
“Sincerely” arrived too late to capitalize on “I’m on Fire,” so the group rushed out a second album, “Twilley Don’t Mind,” in 1977. At that point, there was a nascent roots-rock revival coalescing around the Dwight Twilley Band and Petty and the Heartbreakers.Twilley and Seymour both sang on Petty’s eponymous 1976 debut, with Petty returning the favor by playing guitar on “Looking for the Magic” on “Twilley Don’t Mind.” Where the Heartbreakers wound up weathering Shelter’s collapse, the DwightTwilley Band split months after the release of its second album.
Twilley soldiered on as a solo act, hiring producer Noah Shark, who helmed Petty’s “You’re Gonna Get It” LP, for “Twilley,” a well-crafted 1979 album that steered the singer-songwriter toward the middle of the road. It took three more years for Twilley to release “Scuba Divers,” a record that didn’t attract much radio attention, but a vocal assist from Petty on “Girls” helped in 1984, as did a video that nodded to the locker-room fantasies of the hit teenage comedy “Porky’s.”
“Girls” gave Twilley his final hit single, peaking at No. 16, the same position “I’m on Fire” reached a decade earlier. After “Wild Dogs” in 1986, he left major labels behind, but Twilley wasn’t forgotten. His ballad “Why You Wanna Break My Heart” appeared as Tia Carrere’s show-stopping moment in “Wayne’s World” in 1992. He had his catalogue reissued during the CD boom of the 1990s, including “The Great Lost Twilley Album,” a collection filled with material Twilley and Seymour recorded in the mid-1970s.
Toward the end of the 1990s, Twilley started releasing home recordings he made over the years. He’d punctuate collections of rarities with records concentrating on a particular theme — he put out a Beatles tribute album in 2009 — and he compiled highlights of these efforts on “The Best of Dwight Twilley: The Tulsa Years, 1999-2016, Vol. 1,” a collection released digitally in 2023.
Ducks Ltd. return with urgent, shimmering new single “The Main Thing” featuring backing vocals from Dehd’s Jason Balla.
“The Main Thing” sees Ducks Ltd. embark on their most collaborative effort to date. Featuring Ratboys’Julia Steiner on backing vocals alongside Dehd’s Jason Balla and Moontype’s Margaret McCarthy, the track is propulsive, jangly and as hook-laden as any in the band’s catalogue. Written by singer Tom McGreevy, it concerns growing apart from a person whose views you once shared, and may be the first jangle-pop single to make reference to both professional baseball and ritual magick.
Lead guitar, drum programming: Evan Lewis Lead vocals, rhythm guitar, keys, bass: Tom Mcgreevy Drums: Marcus Nuccio Background vocals: Jason Balla, Margaret McCarthy, Julia Steiner
released October 19th, 2023
“The Main Thing” is out now on Carpark Records / Royal Mountain Records.
The last time the Rolling Stones released a proper studio album, Mick Jagger and Keith Richards were still a year or two away from retirement age, celebrated expanded reissues of “Exile on Main St”. and “Sticky Fingers” weren’t even being discussed and, most significantly, original drummer Charlie Watts was still alive. “A Bigger Bang” arrived in 2005 with a revitalized band linking their gloried past to a new future, and the Stones built on its momentum with several tours, repackaging of their classic records and enough nostalgia to remind everybody that they used to be the greatest band around.
Their 2016 album “Blue & Lonesome” managed a glance back even further, all the way to their original dues-paying club days, with a set of blues covers first made famous by their earliest heroes. It’s the best they sounded on record in decades. “Hackney Diamonds”, Will be only their second album of original material this century, finds the Rolling Stones at a curious stage in their long career: with both nothing and, for the first time in decades, something to prove.
And they step up for the occasion, delivering their most committed set of songs and performances in years. Starting strong with the first single release “Angry” – a blender whirl of classic Stones signposts – and continuing through to the LP-closing acoustic “Rolling Stone Blues,” “Hackney Diamonds” is the rare occurrence of a veteran band embracing its legacy with new determination. The Rolling Stones aren’t doing anything new here, but there’s a surprising amount of vitality to almost everything they do.
Producer Andrew Watt – who has worked with Ozzy Osbourne, Iggy Pop and Eddie Vedder in recent years – never gets in the way of the songs, while still infusing tracks with nods to the band’s storied past. There’s Sticky Fingers-like sax in “Get Close,” a snarling, punk-inspired “Some Girls“-era vocal from Mick Jagger in “Bite My Head Off” and “Dreamy Skies,” a “Beggars Banquet” throwback featuring Keith Richards on acoustic slide.
“Hackney Diamonds” sounds like a half-century’s worth of classic Stones music distilled into 50 exhilarating minutes.
The album comes with a bigger guest list than usual: Elton John, Paul McCartney, StevieWonder and original Stones bassist Bill Wyman show up in some capacity throughout. The late Charlie Watts appears on a couple of tracks that were started before his 2021 death. Steve Jordan, the Stones’ touring drummer and Richards‘ long time solo sideman, ably fills in for the rest.
But it’s the songs that will immediately grab you. Even the ballads are uniformly solid: “Depending on You” and “Driving Me Too Hard” absorb country influences; “Sweet Sounds of Heaven” builds over seven and a half minutes, recalling a “Let It Bleed” castoff with Lady Gaga channelling a Merry Clayton. Maybe it’s the renewal of their fighting spirit, or perhaps they realize that because it took nearly two decades to get here, this could be their last album. Whatever the reason, Hackney Diamonds finds the Rolling Stones sublimely reclaiming a crown as the greatest Rock n Roll Band in the world ever.
Driving the album forward & new processes, “It’s completely different. We used to live in the same flat. I didn’t play much guitar; Keith did. Sometimes he would give me ideas for lyrics and I sang all the top lines. Because we lived together we would come up with all this stuff, then carry around a reel-to-reel tape recorder when we were on tour.”
“These days, I know I can sit down at the piano in my house and come up with something. Might be “Sweet Sounds of Heaven“. Might stand there with a distorted guitar and come up with “Bite My Head Off”. It is magic, in a way, because you sit down with nothing and ten minutes later you have something.”
The album has a legendary cast of featured artists including Elton, Paul McCartney, Lady Gaga & Stevie Wonder “I was sitting there singing when I saw a woman sitting at my feet and went, ‘Oh, it’s Lady Gaga’. Turns out she was recording next door. I gave her some headphones, she did a few oohs and aahs, and I said, ‘Why don’t you sing the words?’”
“I was kind of surprised Paul wanted to play on “Bite My Head Off” actually. I wrote so many punk songs for the Stones and I could never get away with them, but Paul is a very open-minded person — musically speaking.”
New sounds & working with producer Andrew Watt“Andy’s a pop producer who loves rock’n’roll. I’m not trying to make the Rolling Stones not sound like the Rolling Stones — that would be really stupid, especially after not putting out an album for so long — but the temptation a lot of producers have is to remake their favourite Stones album. I had to say to Andy, ‘We’re not making “Sticky Fingers” Mark II here. A few references are OK. Loads of references are not OK.’”
“Tangk” is the righteous and vibrant fifth album from madcap truth-seekers, IDLES. Pronounced “tank” with a whiff of the “g” – an onomatopoeic reference to the lashing way the band imagined their guitars sounding that has since grown into a sigil for living in love – the record is the band’s most ambitious and striking work yet. Where IDLES were once set on taking the world’s piss, squaring off with strong jaws against the perennially entitled, and exercising personal trauma in real time, they have arrived in this new act to offer the fruits of such perseverance: love, joy, and indeed gratitude for the mere opportunity of existence.
A radical sense of defiant empowerment radiates from “Tangk”, co-produced by Nigel Godrich, Kenny Beats, and IDLES guitarist Mark Bowen. Despite his reputation as an incendiary post-punk sparkplug, frontman Joe Talbot sings almost all the feelings inside these 10 songs with hard-earned soul, offering each lusty vow or solidarity plea as a bona fide pop song—that is, a thing for everyone to pass around and share, communal anthems intended for overcoming our grievance.
“Tangk” is a love album—open to anyone who requires something to shout out loud in order to fend off any encroaching sense of the void, now or forever.
“Tangk” will be released on 16th February 2024 via Partisan Records.
It’s been a long time coming but I’m over the moon to announce that my new album ‘Big Sigh’ will be out on the 12th of January. It’s been a labour of love and I can’t wait to share it with you all, but in the meantime… wrap your ears around another track from the record – Hanging, and get your diaries out for the spring Uk/EU tour. “Big Sigh” is the “hardest record” Marika has ever made. As the title suggest, it is a relief of sorts – of sadness, of stress and lust, but mostly relief.
“Big Sigh” brings together the best of Marika’s previous works as an indie musician and adds a new layer of epic sounds and full-bodied production. “Big Sigh” is the “hardest record” Marika has ever made. As the title suggest, it is a relief of sorts – of sadness, of stress and lust, but mostly relief.
Co-produced with Sam Petts Davies (Frank Ocean, Radiohead, Red Hot Chilli Peppers) & Charlie Andrew (Alt J, Wolf Alice, London Grammar). Lyrically there’s always romance alongside grief, with elements of vulnerability and feeling trapped.
Limited Indies Exclusive Green Vinyl+Limited Edition Print, Released: 12/01/2024
Maple Glider is Naarm/Melbourne-based singer-songwriter Tori Zietsch.
A superb return for Tori Zietsch, bringing the woozy off-kilter Americana sound we loved from her 2021 debut and broadening the horizons into a widescreen, majestic display. It’s both hugely cinematic and unfalteringly relatable, a triumph of every sort. Lovely,
On her sophomore album “I Get Into Trouble”, Tori takes her songwriting to another level while she delves into her Christian childhood, exploring topics such as her relationship to her body, consent and shame, as well as the death of relationships, both romantic and familial. Heartbreaking at times, the songs ultimately paint a hopeful picture, shining a light on new life, new love, and the desire to find peace and connection with these experiences.
Ultimately, “I Get Into Trouble” is the sound of alchemized pain. In each song, Zietsch transmutes tribulation and confusion into clarity and deep insight. She combines the infectious folk-pop hooks of her debut with a sense of scape and scope.
“I Get Into Trouble” follows Maple Glider’s acclaimed 2021 debut “To Enjoy is the Only Thing”, a deeply personal project which earned her a performance on NPR’s Tiny Desk, as well as praise from Pitchfork (hypnotic), Paper (sublime), Stereogum (some voices in indie just hit home) and Rolling Stone (“one of the most accomplished debut albums in recent years.”).
From mid-2021, the recording process for “I Get Into Trouble” stretched out for over a year, with studio access limited by Melbourne’s strict lockdown schedule. The new freedoms of 2022 brought a mixed bag of awkwardness, excitement, anxiety, deadlines, celebrations and exhaustion. Zietsch found solace in nature, and in the friendship of her touring band. Many of the songs on the new album were initially rejected as too angry, or too difficult to process.
But it’s also hopeful – there is new life, new love, and the desire to re-connect and find peace with it all. The majority of songs are performed on acoustic guitar – the exceptions being the slinky ‘Two Years’ and lockdown lullaby ‘Scream’.
The first single ‘Don’t Kiss Me’ was released in May ‘23. Written as a counterattack on unwanted sexual attention and the objectifying gaze, it had already become an emotional peak of the live show. In MapleGlider’s typical wry fashion, the accompanying video offset the lyrics’ heaviness as a lo-fi comedy-horror, featuring a laser-eyed porcelain witch doll. Whether it’s acerbic recriminations or devastatingly loving entreaties, Zietsch’s lyricism gets into the nooks and crannies of relationships.
The back-to-back pairing of ‘You At The Top Of The Driveway’ into ‘You’re Gonna Be A Daddy’ holds so much tenderness – the story continuing from the heart-breaking ‘Mama It’s Christmas’ from the first LP. ‘Driveway’ holds snapshots of childhood memories, à la Woolf or Proust, and ‘Daddy’ compares the now-contrasting lives, forging paths taking them further and further away from their former intimacy. The video for “Daddy” is gratuitously full of colourful costumes and a fabulous giant unicorn affectionately nicknamed “Stubz”.
The album title “I Get Into Trouble” is taken from the bible story “Dinah Gets Into Trouble”, where a young woman is victim blamed for being sexually assaulted. ‘Dinah’, the most sonically pop tune we’ve heard from Maple Glider, outlines the double standards within Zietsch’s own experience growing up in Christianity; and the accusations levelled at “non-believers” whilst the church itself was not a safe space (see the colourfully kitsch video featuring a pink dildo as preacher’s microphone here).
Says Zietsch “I want to channel the frustration and anger I’ve felt about all of these things over the past 15 years outside of religion in a playful, fun, and cheeky way. It feels like the only way to digest it at this point.”
Using the same team as her debut, “I Get Into Trouble” was recorded with multi-instrumentalist, mixer and producer Tom Iansek (Big Scary, #1 Dads, Lisa Mitchell, The Paper Kites), and drummer Jim Rindfleish (Mildlife). All tracking was done at BellBird studio in Collingwood.
The Fat Angel Sings 