Clear Pond Road continues the juxtaposition of dark and light –dark sunshine, as Hersh puts it– that characterizes Hersh’s legendary work with Throwing Muses and 50 Foot Wave but goes even further inward as it explores the intimacy and complexity that sits alongside Hersh’s fierce independence
'End of Everything' is the intrepid seventh album from Mega Bog, a nightmarish experimental pop ensemble led by Erin Elizabeth Birgy. 'End of Everything' was recorded with James Krivchenia (Big Thief) who co-produced the record with Birgy and played drums, bringing his rhythmic mastery and wild percussive spirit. Krivchenia also mixed the record and co-engineered it with Phil Hartunian. The album's fantastical textures and heavy polyphony owe a great deal to synthesizer maestro and pianist Aaron Otheim. Zach Burba, one of the founding members of Mega Bog, plays bass, while Will Segerstrom, Meg Duffy (Hand Habits), and Jackson Macintosh (Drugdealer, TOPS) contribute electric guitars.
Recognised as a purveyor of dreamier pop with folky leanings, this new album is a departure; a unique marriage of traditional stylings and very modern melodies; a breath-taking soundtrack which underpins her gorgeous vocal. Filled with personal tales of offspring and grandparents, the lovelorn and the lost, it’s the essence of re-imagined folk music, from the traditional intro and outro that act as bookends.
Following the release of Air Waves’ recent acclaimed album The Dance we reveal a brand new reworking of ‘Star Earring’ from electronic artist and record producer, Planningtorock. An expansive, perpetual remix that flawlessly transforms and transcends onto the dance floor. Planningtorock’s ‘Star Earring’ remix is an uplifting, electronic track that’s heady and hypnotic.
‘Mercy Of The Crane Folk’ is the beautifully accomplished second album from Athens GA’s Immaterial Possession. A theatrical soundscape littered with subconscious flashbacks, retro keyboard flurries, wandering Morricone-esque guitar and dreamy Sumac-like harmonies.
Recognised as a purveyor of dreamier pop with folky leanings, this new album is a departure; a unique marriage of traditional stylings and very modern melodies; a breath-taking soundtrack which underpins her gorgeous vocal.
Filled with personal tales of offspring and grandparents, the lovelorn and the lost, it’s the essence of re-imagined folk music, from the traditional intro and outro that act as bookends.
‘Mercy Of The Crane Folk’ is the beautifully accomplished second album from Athens GA’s Immaterial Possession. A theatrical soundscape littered with subconscious flashbacks, retro keyboard flurries, wandering Morricone-esque guitar and dreamy Sumac-like harmonies.
‘Mercy Of The Crane Folk’ is the beautifully accomplished second album from Athens GA’s Immaterial Possession. A theatrical soundscape littered with subconscious flashbacks, retro keyboard flurries, wandering Morricone-esque guitar and dreamy Sumac-like harmonies.
A heady collision of Raincoats-esque indie and ESG-paced rhythms fed through a kaleidoscopic pagan folk filter. The follow up to their critically acclaimed 2018 debut 'Yes I Jan', this release is a wordy slice of state-of-the-art social commentary wrapped in a perfectly-balanced soundscape that veers from funky minimalism to baroque dream pop