Tuesday 16 August 2016

Onelinedrawing - reVisitor


I've been a fan of Jonah Matranga for a long time. Like most, I started as a Far fan, was bowled over by New End Original and then started seeing him live on his frequent tours of the UK. He has written a huge number of truly incredible songs, and it's always such a great experience to see him play them live.

However, I've struggled with a lot of his solo albums - I eagerly bought copies of And, The Three Sketchys (1999-2005), a live album and the There's a Lot in Here cd/dvd from his online shop when I discovered it. The live songs are always incredible (the live album is from July 15th 2009 and I fully recommend checking it out if you can) and And has some good songs (Not About a Girl or a Place is a favourite) but I struggled with The Three Sketchys, which really slowed down my desire to dig out all of the solo/Onelinedrawing releases. I listened to the songs from The Volunteer on the dvd but few really made an impression (dvds perhaps aren't the best way to consume music - I can't have listened to those songs more than twice).

This album is then a bit of a strange one - here we have the album Visitor, originally released on Jade Tree in 2002 but rerecorded in 2012. I've not heard the original version of Visitor and I feel I really should at some point. Whilst I can't say much about how these songs compare to the originals, I can say that reVisitor is a pretty nice album. In an age where I don't get along too well with Jonah's recent outputs it's nice to hear some great songs played well. I knew a lot of these from concerts and live recordings - Bitte Ein Kuss, SmileYr Letter and Softbelly are all fan-favourites and ones I really look forward to hearing. These versions are very nice - simple and stripped back but very true to the Jonah I'm used to seeing. Yr Letter is particularly great and Softbelly is so reminiscent of the darker Far songs I love so much. There are also songs that I've never really heard but enjoyed here - Candle Song and Sixes. Perfect Pair and Why Are We Fighting have always landed on the pile of Jonah songs I don't care for much and that doesn't change here.

I picked up this picture disc one of the most recent times I saw Jonah, in the Windmill in Brixton for £7.50 (as well as his latest album, You and Me Are Two). I was excited to hear both, but knew I'd get more out of this one. It ticks a lot of my boxes for what I want from a Jonah album, so it's a winner in that respect.

Format: 12" picture disc
Tracks: 11
Cost: £7.50 new
Bought: gig
When: 23/07/14
Colour: Picture disc
Etching: none
mp3s: no



Monday 15 August 2016

Earthless - From the Ages


This album is incredible - such perfect psychedelic stoner rock jams. The whole thing is mesmerising. From the first few riffs on the first song I knew I'd made a good choice. You also know you're in for a treat when the first song is an entire side of vinyl. However, for Earthless that isn't enough, so the title track is a whole record long. There's a 5 minute song in the middle, which for this band is a fraction of a normal song. What's quite incredible is their ability to keep me enthralled whether it's a 5 minute song or a 30 minute song.

I got into Earthless quite late - I certainly wish I'd got into them properly much sooner. I first heard their name when I read a Pitchfork review of this album and saw that Mario Rubalcaba from Hot Snakes and RFTC played drums. That, along with the brief description of stoner rock got me interested and I checked out a song. I enjoyed it and made a mental note to check them out further. I forgot about this entirely until Primavera Sound last year when I saw their name on the line-up. I don't remember seeing it on the first few reads but was very pleased when I saw them on timetable on the day. I went to watch them on my own - I can't remember what everyone else was watching - and it was incredible. They played two songs in the their set, each one long, powerful and had me transfixed. Every now and again I'd realise how into the music I was, which would draw me out for a moment, only to be sucked right back in. The same thing happens with the album - I lose track of everything else going on around me and realised I'm headbanging very slowly to the music.

Nearly a year later, I found this in All Ages Records in Camden and very excitedly bought it. In fact, it was most of the reason I'd gone in there - we'd been in a few days earlier before going to see Gorilla Biscuits and I saw they had a copy of Rhythms From a Cosmic Sky; memories of how great the band were came flooding back to me. However, I didn't want to carry any records around with at the gig, so didn't buy it then. I was in London a few days later meeting up with a friend, so I made a special detour to All Ages. They'd sold the copy of Rhythms but had a copy of From the Ages instead. I was pleased to get any of their albums, so bought it along with a couple of other bits. Needless to say, I was even more pleased when the needle hit the record.

Format: Double 12", gatefold sleeve
Tracks: 5
Cost: £20 new
Bought: All Ages, Camden
When: 25/03/16
Colour: Red
Etching: none
mp3s: no




Sunday 14 August 2016

La Dispute - Somewhere at the Bottom of the River Between Vega and Altair


A short while ago I wrote about the latest La Dispute release, a record featuring songs from an acoustic show I attended in Kingston. The significance of that show was that it marked the first time I really got the band - I'd seen them live twice before but at that show I became a fan. Immediately afterwards I went to Banquet and bought this copy of their full-length album (along with a couple of other records). It was pure chance that I picked up this one over their other records, but I made a good choice as a starting point. As far as I can tell, this is the lavender 13th pressing. The etching on side D doesn't really come out in the photos below, but it's a drawing of two birds, some flowers and the word "somewhere...".

I do love an album with a strong opening track and Such Small Hands does exactly that, and it's mirrored in the closer Nobody, Not Even the Rain. I'm also a big fan of spoken/shouted vocals (something mewithoutYou are great at) and there are great examples of it here throughout the album - the sheer quantity of words sung on Said the King to the River, Bury Your Flames and the epic The Last Lost Continent is impressive. New Storms For Older Lovers has some huge breaks (particularly around the lines "always is valueless / I wish I'd never heard her speak a word") as does Sad Prayers For Guilty Bodies. Fall Down, Never Get Back Up Again offers a slight reprise from the from the fairly unrelenting anger, but it's still there, just simmering at a lower level.

All in all, it's an excellent album and one I go back to often. A lot of the ideas and themes were probably executed even better on Wildlife, but more on that another time. Somewhere at the Bottom... is an incredibly strong album and I'd thoroughly recommend it.

Format: Double 12", gatefold sleeve
Tracks: 13
Cost: £15 new
Bought: Banquet Records, Kingston
When: 24/05/14
Colour: Lavender
Etching: Etched D side
mp3s: no




Saturday 13 August 2016

Low - C'Mon


The other week week I discovered that the shop I used to live above in Oxford had been turned into a Fopp. Needless to say, I was pretty pleased - central Oxford has been without a music shop since HMV closed down and, whilst I try to do most my record shopping with independent record shops, it is nice to have somewhere to get cheap dvds (especially around family birthdays and Christmas). I still plan to take regular trips to Truck, but it's going to be hard to not spend too much money in Fopp - the convenience is one factor, but the surprisingly good selection of vinyl will be another (metal was a bit slim on the ground but the general rock section had some healthy back-catalogue stuff).

Since it was my first visit, I couldn't help buying a few records and one of the ones I picked up was C'Mon by Low for a very reasonable £10. In a lot of ways, this was the first Low album I really got. I think seeing them live around the time it came out helped - I've seen them live a bunch of times since and their set-list is often new-song heavy. I'll probably never hear as many of these songs played live as I did that first time, which is a shame but I'm very glad it happened.

Anyway, a couple of years ago I was occasionally contributing to a music website and one such contribution was a review of C'Mon by Low. I didn't have the vinyl at the time and since this blog is about my vinyl it was nice to have a chance to write about an album I only had on cd. The rest of this post is then what I had to say about C'Mon a couple of years ago:

I started listening to Low in a fairly round-about way. A couple of years ago I discovered the Daytrotter sessions online and spent hours pouring through the music on there. I listened to the session by Retribution Gospel Choir solely because I liked their name, and from there made the natural jump to Low as they share the same singer. Low's session really blew me away and immediately went into the top 3 of bands I'd discovered through Daytrotter (I wrote a crazed email to my friend Aled telling him how much I thought he'd love Low, only to discover he was already a huge fan). Anyway, I picked up a couple of their albums, but the problem with bands with huge back-catalogues is that the scatter-gun approach to buying them rarely works - I had no idea where to start and maybe didn't hear the best ones first. So, for a while they remained a band I quite enjoyed, up until I saw them play Jeff Mangum's All Tomorrow's Parties festival when I fell in love again. Turns out Low are truly amazing live.

After that I bought C'Mon (safely opting for the £5 CD rather than the nearly £20 LP) and it is far and away my favourite Low album. I may not be an expert on the band, and others may disagree, but if you're thinking about getting into Low, I'd say start here. The ten songs are undeniably Low in their minimalism and atmospheric feel, but for me there's a whole load more going on. Uplifting and painfully dark are there side by side and whilst my personal favourites are the darker songs (like Witches and $20) the others work to balance the mood out. My criticism of the other Low albums I have is that the songs are often brilliant build-ups that stop before they reach where I want them to go, but that's not the case here.

However, the true highlight of the album for me comes on track nine with the epic Nothing But Heart. If I wasn't here writing about the whole album I could probably write an entire piece about this one song. I recommend C'Mon as a whole, but I can't encourage you to listen to this song enough - it's been one of my favourite songs since I first heard it and a year later I still can't get enough of it. The brief intro never fails to remind me of Answering Machine by The Replacements (another incredible song. My old housemate Nicky once said of it that he was always waiting for the drums to appear but loved that they never did). But we just get a fleeting glimpse of this guitar before Alan's vocals take over with four lines of lyrics that carry us for the next 8 minutes; there's a hint of Mimi backing him up as we hear "I'm nothing but heart" over and over again, but it's the instruments that appear from nowhere and float hauntingly to the front of your mind that bring the song to life. The build-up is beautifully slow giving you time to appreciate each subtle change. The finest moment is how the wavering electric guitar somehow changes into Mimi's incredible and almost indistinguishable vocals that have come out of nowhere. The guitars and drums are streaming ahead but they're now sat on this cloud of floating vocals and before you know it the 8 minutes have passed, the song is over and I'm left back in the real world that Nothing But Heart dragged me away from.

The final song, Something's Turning Over, and it's gentle strum mostly serve to give me 3 minutes to re-adjust and get myself together before I have to change the CD. I usually need the whole 3 minutes.

Format: 12", picture sleeve
Tracks: 10
Cost: £10 new
Bought: Fopp Oxford
When: 01/08/16
Colour: Black
Etching: none
mp3s: Download code



Thursday 11 August 2016

Mono - The Last Dawn & Rays of Darkness


I've been a fan of Mono for a while now; like a lot of bands, I was introduced to them by the late and mostly-great All Tomorrow's Parties. I remember seeing them shredding away at their guitars at the Explosions in the Sky ATP and being impressed. I checked out a couple of their albums and have seen them live a bunch of times since. There's something more classically-influenced about their style of post-rock than a lot of instrumental post-rock bands. Or perhaps I've just been trained to think that way because the first album of theirs that I got was the live album they did with an orchestra.

At some point in 2014 the pre-order for their new double album The Last Dawn / Rays of Darkness came up and the package looked too incredible to miss. I had a couple of Mono albums on vinyl, which was easily going to turn into a collection so I figured I'd help it along the way. The main draw was that the pre-order was for both albums together, whereas they were otherwise to be sold separately (and I've only seen them separately since). Temporary Residence Records has released some great stuff over the years but I've always held off ordering from them because the shipping was brutally expensive. I ordered this one and the United Nations album at the same time, although I don't think it saved a great deal in shipping; both were still pretty pricey overall.

As you can see in the pictures, this is the US pressing where The Last Dawn is on clear vinyl with white smoke streaks and Rays of Darkness is on clear vinyl with black smoke streaks. Both look excellent and suit the themes of the albums brilliantly. The sleeve is also die-cut so you can see the picture sleeves inside. Each one is numbered (albeit on the sticker on the cellophane) and mine is 644/1000. The sleeve took a slight dent in the post, but looks mostly fine. The gatefold opens length-ways to show the full artwork, which looks great.

I've been listening to these two albums a lot since I got them - I go through phases of preferring one to the other though. The Last Dawn is lovely and ticks a lot of the same boxes as the live album. It's thematically the lighter of the two and when it does get going, it does so in a much calmer way - The Land Between Tides / GloryCyclone and Where We Begin all get pretty intense but in a fairly soothing way. It's pretty much impossible to talk about The Last Dawn without comparing it to Explosions in the Sky and Mono have never sounded so much like them as they do here. That's not a criticism mind you, I very much enjoy this version of Mono.

Whilst The Last Dawn tends to be my favourite when I'm in a very specific mood, Rays of Darkness is the one I cam go to more often and really enjoy. It's a much more instant and easily rewarding affair - perhaps in it's role as the darker, heavier album it ticks more of my boxes. At four songs, it's a bit of a stretch to call it an album, but that also works in it's favour; it's brevity makes it easier to get into. Recoil, Ignite is a huge song and sits somewhere between where Mono usually sit and early Mogwai - there are two points in that song where it just explodes in the way post-rock is supposed and its glorious. It's nearly double the length of the other songs but never feels like it. Surrender has a little less going for it but The Hand That Holds the Truth makes up for it very quickly - it's a great song and then catches me off-guard (every time) with vocals from the old singer from Envy. God knows what he's singing but it works perfectly. I'm a fan of Envy anyway, so to have the singer appear here is even better. The song keeps building while he growls over it and it's a very exciting thing to listen to.

Mono have not long announced their next album, which I've also pre-ordered. I'm looking forward to it greatly.

Format: Double 12", die-cut gatefold sleeve, picture sleeves, numbered (#644/1000)
Tracks: 10
Cost: £29 new
Bought: Temporary Residence Records
When: 29/10/14
Colour: Clear with white smoke and Clear with black smoke
Etching: none
mp3s: Download code





Saturday 6 August 2016

The Smashing Pumpkins - Mellon Collie and the Infinite Sadness


Mellon Collie and the Infinite Sadness is, in my opinion, one of the greatest albums ever written. As a teenager and into my early 20's it was my favourite album of all time; it's still firmly in the top 10 and would probably be even without the nostalgia and years of idolising this album. A vinyl copy was for a long time my holy grail of record collecting and four years after hearing the album for this first time, I bought this copy. This is from the first run of triple vinyl - exact numbers seem to vary, but this one is #635, which is fairly low. Let's rewind a bit.

When I was 15 I was introduced to the music of the Smashing Pumpkins in the form of the video for Tonight, Tonight; what a way to start. That song is so beautiful and the video that accompanies it is perfect. I can't imagine a world where I wouldn't have been bowled over by that at any age. 15, however, was the perfect age to discover Mellon Collie. As a teenager I convinced myself that the album was about this huge and eventful night out, the sort you only have when you're a teenager but always seem to have when you're a teenager - the structure of the album reinforces that idea - "dawn to dusk" and "twilight to starlight" and songs like Tonight, Tonight (looking forward as the day begins), In the Arms of Sleep (a perfect song for a love-struck teen) and rounding it off with Farewell and Goodnight. The video for 1979 surely was the visual version of such a night. What an incredible concept album to have and hold as a teenager.

The vinyl pressing takes that idea and really hammers it home in my opinion. The running order here is almost entirely different and takes the ideas above and lays them out for the story to evolve in such a better way. It was a large part in wanting to own the vinyl - to experience an album I already loved in a different way. The sides of the records are named after the parts of the day they represent:

Dawn is a very gentle affair, still starting with the brilliant opening duo of Mellon Collie and the Infinite Sadness and Tonight, Tonight (as an aside, I remember looking at the cd in my local MVC before buying a copy and wondering what song could possibly precede Tonight, Tonight; how do you go from anything to Tonight, Tonight? It all made sense once I discovered that it was an instrumental intro song). It then goes straight into Thirty-Three, a song that doesn't appear until the second disc on the cd. I like Thirty Three but it was always the weakest single in my mind; there were so many other songs that I would have thought a better fifth single. In the Arms of Sleep (a song I played endlessly as a teenager) is also moved far further forward - it works so much better in this position. To round it off, we also get the cd1 closer Take Me Down sung by James Iha. It's a great combination of five songs and all work perfectly as a dawn to the day of the record.

Tea Time blows away that gentle opening with Jellybelly and Bodies. This chapter is surely about the excitement building up. Porcelina of the Vast Oceans always sat strangely with me on the cd, but here, closing out the tea time section, it works. It's the album's longest song, but sounds heavier surrounded by the other songs here.

When you looks at the songs on Dusk you know you're in for a treat. I'll just get this out of the way first, and it's something of a controversial statement: Muzzle might just be my all-time favourite Smashing Pumpkins song. The first time I saw them live (in Shepherd's Bush Empire 2007) they played a 3-hour set and finished with Muzzle. There's something comforting in a band finishing with your favourite song (it's like you all agree it's the best) but when it's not one of the "big singles" it's a bit unexpected. I wasn't even sure they'd play it and it ended up getting the prime spot on the setlist. I was surprised and amazed. I've not seen them play it since, but I hold that memory close to my heart. (As another aside, a similar thing happened the first time I saw Faith No More and they finished with Just a Man.) I remember on the very first time I listened to Mellon Collie being caught by this song - the lyrics "Have you ever heard the words I'm singing in these songs / it's for the girl I loved all along" grabbing my ears by being so self-referential. I hadn't been paying enough attention. It was the perfect way to get me listening to the end and all things Billy "knew" and all the things the "world is". On later listens I was also taken by the start "I fear that I am ordinary, just like everyone", something that I really took to heart; for a long time that was my worst fear. When I die, I want Muzzle played at my funeral - it's a rather morbid thing to think about but I decided that as a teenager and I feel that changing my mind one day would be like betraying my younger self, and I liked that guy too much to do that.

But this side isn't just about Muzzle, because you also have the "other" big single from Mellon Collie, Bullet With Butterfly Wings. I'd also been treated to the excellent video to this song before getting the album - it's hard to imagine an album that can contain both the delicate Tonight, Tonight and the crazed-rock of Bullet With Butterfly Wings. There's also the long Thru the Eyes of Ruby (which has two truly incredible moments - just before the line "Your strength is my weakness, your weakness my hate" and the climax of "The night has come to hold us young" - and over 70 guitar tracks contributing to the fuzz), Galapogos (the odd-one-out until it reaches it's peak with "Too late to turn back now" - so many of the songs here have changes in the music that match perfectly to certain lyrics) and the blistering fuzzy grunge of Tales of a Scorched Earth. If tea time was the build up, dusk is the expected explosion; the planned highlights of a night that's only just begun.

Twilight is where the night starts to change from being just a regular night to one worthy of a concept album. 1979 is so entwined with the video that's hard to imagine it without picturing some kids driving around having a good time. The Pumpkins released some good songs after Mellon Collie, but I always wished more of them were about people rather than whatever strange ideas they were about. There is something much more relatable to a band singing about people and I like the idea of being able to relate to the Pumpkins. I always thought ending was very abrupt, but I've come to enjoy how unexpected it is. The love songs begin to come out in a way they hadn't before in the form of BeautifulCupid de Locke and By Starlight and the album begins to get a bit more surreal.

The night turns a bit more aggressive on Midnight with Where Boys Fear to Tread (which serves as the opener to the second half on the cd tracklisting), Zero, Fuck You (An Ode to No One), Love and X.Y.U - all some of the heaviest songs on the album. The lovey scenes from twilight are knocked away in an instant by fuzz and distortion and Jimmy Chamberlin smashing the drums in his usual way. The transition between Where Boys Fear to Tread and Zero is slightly off and the only time in the album where you feel like you're not listening to it in the way it was produced - the two are a great pair, but the moment it goes from one to the other is just wrong. It's one of those things I spent a lot of time thinking about when making mixtapes, so maybe it's just my over-critical ear. Zero is a huge song and probably better than Bullet in a lot of ways but was somehow over-shadowed by it as the "heavy single". The riff on Fuck You (An Ode to No One) is so fast it reminds you just how incredible these guys were. I love watching old live performances (and they've done a good job of supplying live dvds with the recent reissues) and when they're on form they're just mind-blowing. The moment when X.Y.U. explodes with the line "And into the eyes of the jackyl I say ka-boom" is so, so good (how can an album have so many great moments like that - the sort that make you stop and pay full attention? Just incredible).

Finally, we turn to Starlight to wrap things up. Farewell and Goodnight has to be the closer in the same way that Tonight, Tonight has to be the (proper) opener, but on the vinyl edition we're treated to an acoustic reprise of Tonight, Tonight called Tonite Reprise and a matching instrumental closer (matching to the actual first song) called Infinite Sadness creating a perfect book-ending to the album. Tonite Reprise appeared as a b-side to Tonight, Tonight and in the Aeroplane Flies High boxset but I'd never heard Infinite Sadness until I got to the end of the vinyl - the acoustic guitar and drums lift it above the pomp and grandeur of the opener. It's such a great way to close off a incredible album. Stumbleine and Lilly (My One and Only) also fit perfectly in this chapter, as the night wraps up and concludes. Farewell and Goodnight has a sound throughout that sounds like waves breaking on a beach, so it's easy to picture this incredible night ending on a beach somewhere with just the sound of the waves. The two extra songs provide that reflection to the start that we're missing on the cd and makes the whole experience even more enjoyable.

As I mentioned earlier, Mellon Collie was something of a holy grail for me. I'd seen it come up on eBay from time to time and watched it sell for anywhere between £75 and £125, depending on the condition. At this point I was a student living on £30-£40 a week after bills and rent, so it felt far away. Towards the end of my first year of university, I decided I'd start saving to buy a copy. It's a strange thing to say, but I'd been amazed by the idea that five small £2 coins were the same as a £10 note - I think I've always considered coins to be useless money and notes to be real money (and have always been very begrudging of the idea of breaking a note) - so the idea that a small stack of coins could be real money really struck me. I decided that I'd save every £2 coin that I got given in change and build up the pile until I had enough to afford Mellon Collie on vinyl. A part of it was also that as an adult the idea of saving is very different to how it was as a child. As a child I'd save whatever money I got to buy Lego and it was always really exciting to finally be able to buy it; I wanted that feeling again (and it was appropriate that it was for an album that defined my teenage years so much).

So I saved every £2 coin I received for about nine months. It wasn't too difficult and was quite an easy way to save - if I was on a night out and got £2 in change after buying drinks, then it wasn't too bad to not spend it. I don't remember finding I didn't have enough money for another drink, but it was a good incentive to not buy a dirty takeaway with my change on the way home. After that time I had 41 £2 coins. I'd been watching a few auctions on eBay of copies of Mellon Collie over a few weeks. I'd put in some bids on other copies but got outbid beyond my £2 coin collection. The selling prices were varying dramatically, but I got quite lucky with this one. A strategic last minute bid secured it as mine for £82 (including postage it was a bit more, but that's fine). I think the seller was in Ireland. I can't remember why it went for a more reasonable price than some others but I was very happy. The seller could have packaged it much better all considering, but it survived the journey and only has very minimal damage in general. The records themselves are in mint condition, as is the booklet (photographed below). I've only listened to the vinyl a few times in the 11 years I've owned it (I'm slightly scared to touch it) but they sound incredible, especially considering how thin the vinyl itself is.

To this day, this remains one of my most prized possessions. It's always nice to have albums you love on vinyl, but it's even better when that format gives you a better way of enjoying the album. It is still the most expensive record I've ever bought (by an increasingly small margin) but worth every penny.

Format: Triple 12", gatefold sleeve, 12-page booklet
Tracks: 30
Cost: £87.50 second hand
Bought: eBay
When: 12/03/05
Colour: Black
Etching: none
mp3s: no








Electric Wizard - Dopethrone


I was very pleased to finally get a copy of Dopethrone on vinyl recently. It's not hard to come by online (I'd never seen it in real life before), but for a long time the only one regularly available was on black vinyl - there had been so many represses on different colours it seemed a shame to settle on black. On a trip to Brighton I was very excited to see this pink vinyl copy in Resident records and quickly added it to the small pile of records I was buying. I'm guessing this is from the 2015 repress but I can't find any detail on how many are of this colour.

Dopethrone was my introduction to Electric Wizard. I'd known about the band for a while and think I'd just read that Dopethrone was their finest album. They were playing in Bristol soon and I figured I should actually listen to one of their albums first, so went into HMV and bought Dopethrone. That was 7 years ago and remains one of the best choices I ever made. At £13 it was expensive for a cd but the second I pressed play I knew I was in for a treat.

I'm quite picky when it comes to metal, but Electric Wizard are my perfect idea of metal - huge riffs, distortion, sludge, doom, listenable vocals (a lot of metal fails this one) and punishing drums. But they also have this blues edge that takes you right back to Black Sabbath. The intro to Funeralopolis has this incredible blues guitar played over fuzz and drums that never fails to put a smile on my face (nor, for that matter, does the huge outro or "Nuclear warheads ready to strike / The world is so fucked, let's end it tonight"). I'm a fan of the whole album, but side-A here is just perfect - Vinum Sabbathi and Funeralopolis are two of my favourite Electric Wizard songs. Barbarian follows the slow Weird Tales perfectly; after the drawn out outro Barabrian almost sounds like a punk song in it's speed and delivery. I, the Witchfinder and We Hate You on side-C also deserve a mention for being mind-blowingly good songs.

I gave a copy of the cd to my friend Hugh who was also coming to the show who described the band in a brilliantly succinct text message when he first listened to the album: "the second song is 2 weeks long. I feel like I'm stoned". I think the band would be happy with summary.

Format: Double 12", gatefold sleeve
Tracks: 9
Cost: £23 new
Bought: Resident Records, Brighton
When: 13/07/16
Colour: Pink marle
Etching: none
mp3s: no