3 Discoveries of Lukas Foote No. 3

Tonight I had an epiphany. It was as if an enormous, hazy cloud was lifted from my vision and my thoughts were clearer. I instantly felt the need to rush back to my Mac and beginning banging away at yet, another 3 Discoveries. Maybe it was the Hank Moody Blundstone’s I copped that inspired me, or it was taking a break from binge watching Seinfeld, but I finally found some time to type.

Lately, I haven’t been enthused on many musical releases, with the exception of a few-track EP’s. I’ve found myself recently searching through my Father’s old CD collection in hopes of finding old tunes, but new for me. That in it’s self has been pretty amusing. However, between rummaging through old classic Dad-Rock that our parents probably got high to in the 80’s, and the music that’s happening down in Atlanta, without further adieu- here are my 3 Discoveries of this week:

Hell or High Water by David Duchovny

David Duchovny: AKA Hank Moody/Fox Mulder/Denise Bryson/J.P Prewitt. Whether you may know him as an alcoholic novelista federal agent that battles extraterrestrialstransgendered FBI agent or a deranged hand model, you can now add musician to the list because Duchovny now has formed a rather trite Dad-Rock band. David Duchovny’s self-titled band is to release a début LP entitled “Hell or High Water” (a term that I have also heard from my newfie Father use about to participate in a pub-crawl). David Duchovny’s band, which is backed by the Berklee College of Music, could be described as Americana-Classic Rock with the vocal melody similar to one of a Kurt Vile. What I find really appeasing about David Duchovny’s band is that Duchovny isn’t trying to play rock star. And by that I mean David Duchovny admits that he isn’t really a “true musician”, but rather just a guy who can strum a couple chords. It’s pretty cool that he views his newly formed band as just another extension of his artistic creativity and nothing more or nothing less.

Below is the self-titled single of his new record due out this spring.

The L-Shaped Man by Ceremony

When I first heard the singles simultaneously released off The L-Shaped Man – The Separation + The Understanding I was very much intrigued. The simple, yet catchy guitar riff had me captivated. Then once Your Life in France was dropped, I begun to notice the pattern that I hoped the whole L-Shaped Man album would be. That pattern being simplistic drums, deep bass, repetitive guitar riffs and droning vocals. That sentence isn’t meant to be satirical; I honestly hoped the whole album would be similar to the two singles. The L-Shaped man came out May 15th on Matador Records and has been on repeat ever since on my Spotify. Despite the incredibly low Pitchfork Review of 3.3, I believe this album is a tentative release from the Rohnet Park band. What’s really interesting about Ceremony that I particularly like is how each album they release is completely different from the previous. If you take a look at where the band is at today since Violence Violence, its rather note worthy and needs to be acknowledged. I personally think where Ceremony’s new sound is at today is the best it’s ever been.

The Crucifixion of Rapper, Extraordinaire Slug Christ by Slug † Christ

This pick in rap this month is straight from the ATL, and apparently I’ve been sleeping on the rap scene in Atlanta, Georgia. Slug Christ is a white, redneck-looking Southern Georgian rapper. Solely based on appearance, you wouldn’t think so however. Slugga is part of the Atlanta based record label: Awful Records, from whom home such up and coming artists of 2015 like Father, Keith Spacebar and most notably ILoveMakkonnen. Slug Christs’ raps however aren’t for anyone. He has a unique homegrown style. He admits that his style of rap isn’t for most people so you either love it or hate it. Slug Christ’s raps could be described as a guy that takes too much xanax and has some deep-rooted depression issues. Slug’s latest release on May 5th titled: The Crucifixion of Rapper, Extraordinaire Slug Christ is a third follow up to his other mixtapes: IGLESIA: Olde Testament and I feel the Sadness in My Legs and The Happy in My Head. Slug Christ in Rapper, Extraordinaire is finally self-proclaimed “crucified”, where as the other two earlier releases were just preludes leading up to his crucifixion. As you can tell, Slug is a pretty eccentric and dramatic type of dude. But between the visuals that accompany him in his music videos and his original delivered rap flow, Slug Christ is one to convert to.

Text by Lukas Foote

Issue #6 of Discoveries

What’s In My Car? ~ Episode 1 ~ by Lukas Foote

What’s In My Car? are series of videos featuring different people talking about music they listen in a car.

First episode by Lukas Foote, a contributor at START-TRACK.

Albums (in order):

Born in the USA by Bruce Springsteen
Torches by Forster the People
Copperhead Road by Steve Earle
Sad Dreams by Lauren Hutchinson
Lucky Town by Bruce Springsteen

Shot by Ryan Longlade
Edited by Lukas Foote

3 Discoveries of Lukas Foote No. 2

As a contributor and avid music lover I try to shed light on various genres of music, especially when it comes to my personal write-ups on the ‘3 Discoveries’ section. My objective in these discoveries is to showcase different bands or artists from a vast amount of different genres, ranging anywhere from our familiarity of lo-fi pop to even trap or other forms of hip-hop. I discover a wide array of music daily, and each 3 Discoveries on my behalf will uphold a very versatile musical taste each contribution. I hope each and every reader may find some sort of attraction to the music on hand, even if it may appear outlandish.

Here are my are my 3 Discoveries this week…

Sad Sack by Milk Teeth

Milk Teeth are a 4-piece punk band from Bristol, UK. Although they self proclaim they are punk, you could call them even grunge in this day and age. Milk Teeth are pretty distinctive and could be compared to the likes of old-school Title Fight. Sad Sack was released this year back in April and has been playing aloud on my Spotify repetitively this past month. What makes Milk Teeth a force to be reckoned with is their prominent vocal chemistry between members Becky (Bass/Vox) and Josh (Guitar/Vox).  I strongly recommend throwing this on your aux cord this summer while driving around in your car.

Lush by Creepers

If you’re not familiar with Shiv Mehra, you may know him from being the guitarist of the black metal/post-shoegaze band Deafheaven. This 7-track EP released from his side project Creepers came out late October and is a really haunting and tentative release. Lush sounds ghostly and has an uncanny atmosphere all throughout the EP. I urge fans of bands like Grave Babies or Night Sins to give Creepers’ Lush a thorough listen to.

Derek Wise

This is perhaps my favourite pick in this section. Derek Wise is a dude straight from Toronto and his soundcloud is packed with a unusual, unique breed of rap/hip-hop unlike what I’ve ever heard before. Wise is an XO affiliate and his style could be described as a relaxed and effortless one, but remains on point with his rapping delivery. Derek Wise has an upcoming project out soon called Moms Basement, but in the mean time scroll through his soundcloud and listen to bangers of a track like my favourites- Kenzo, Lake, Rose Gold.

Text by Lukas Foote

Issue #4 of Discoveries

LUKAS FOOTE PRESENTING COLE MÉNDEZ OF GRANT ULYSSES

The last time I saw Cole Méndez – who goes under the moniker of Grant Ulysses – was at a birthday bonfire at his buddy’s house in their hometown of Orillia, Ontario. That night was filled with cheap beer, cheap cigarettes and good conversations. Much like how Orillian’s can produce great parties, they can also produce even better music. The first musician that comes to mind when I think of Orillia music is the man himself: Cole Méndez. Cole manages to capture such an unfathomable atmosphere and tone in his music that you be a fool not to pay attention to him. I recently got a chance to talk to Cole Méndez about his other musical projects, the deep meaning behind his moniker and about his song writing process. Enjoy!

Hello Cole, how are you today?

I’m pretty good man. Always pretty good. It’s been a while, we gotta get together this summer and make some shit.

This has to be asked: I always wondered where exactly the name Grant Ulysses came from?

Well, Ulysses S. Grant was the 18th President of the United States, and happened to be President during the American Civil War. He helped lead the Union Army in defeating the Confederacy. Honestly, it’s a name that’s kind of personal to me now – living as a mixed race kid in perpetually pale Northern Ontario and having to deal with confederate flag-waving redneck assholes. Plus it sounds cool, it’s easy enough to remember and spell – all the important stuff. 

gu1

Where did your Dream-Pop influence derive from? At the time I knew you, you were in a Pop Punk band. Those are two pretty different genres on the end of the spectrum. Did you always have a very versatile music taste?

Growing up I played classical piano, and my dad always had old blues and jazz stuff playing in the house – but then I would go to school with Get Rich or Die Tryin’ in my Walkman – so I grew accustomed to a lot of different stuff. I got into pop-punk and heavier stuff when I started high school. A lot of those genre DIY bands are friends with the new underground shoegaze/dream-pop crowd, and I started gravitating towards that sound and then going backwards in time to see what really influenced it and how it evolved.

It’s impressive to see you play/have a part in tons of other musical projects up there in Orillia. What other musical projects are you a part of and where do you find the time to be in them all?

I play piano in the Cole Mendez Trio, and we just play jazz at corporate gigs and restaurants and stuff. It’s a good time. It is where my real musical passion is – plus it pays better than the Dream-Pop stuff. Other than that I keep forming these bands with friends, a noisy-garage rock group called Obituary Names, the bluegrass band Wildwood Flower – we always manage to get a few practices in before everything falls apart. There’s a lot of talent around but it’s a hard time to try to be dedicated to one thing. That’s why I like solo projects.

gu2

You write, record, produce and play every instrument in this Grant Ulysses project. That’s admirable and talented. Have you ever thought of taking Grant Ulysses as a full band/what do you do if you play live?

I’ve been looking into getting a live band together for a while now. The main issue is what I said above, as well as me either forgetting how to play my own songs on guitar, or being so far away from where I was mentally when I wrote the old stuff that I don’t even want to touch it now. 

I recently saw in a tweet of yours that new Grant Ulysses material is on the way. What could listeners expect from this release compared to earlier work on the Twin Visions EP?

Yeah, I’m working on a new EP. I have a single already done, plus an unreleased cover of a pretty popular song that I might throw up on YouTube. This EP definitely has a fuller, richer sound – and that comes from more interesting chord progressions, as well as getting more electric piano and synthesizer sounds behind everything else.

Do you have a favourite song of yours?

Shadows is my favourite track on the old EP, but I never think about that. My unreleased single called “Treasure Chest” is what I’m really digging at the moment. Those and the old Obituary Names song Selfish still really resonate with me.

Your lyrics are very gloomy and melancholic; I mean that in a good way. Where do you get your lyrical inspiration?

This is a long answer. I get a distorted version of reality really. I’m constantly observing things (objects, emotions, ideas, behaviors, relationships) around me and writing them down – but in more abstract forms or maybe in their most distilled version. Each line starts out as an entire idea first; like I remember earlier today I was walking and saw this tiny apartment complex and started writing about being able to touch all of your possessions at the same time. Then I try to say that in as little words as possible, and that becomes a line. With that, structurally, I think of each line, as it’s own individual idea more than attempting to create good flow line to line. Each one is self-contained. I don’t know if that’s as evident in my earlier work as it is in the forthcoming material. In my songs I try to focus mostly on the melody and timbre of my voice, and the way it sits in the mix. I like to think of my voice as another instrument more than anything else.

Could you walk me through on your thought process and recording of my favourite track of yours, Apathy?

Yeah man. That song’s interesting because there’s no actual rhythm guitar part, only two different leads. I definitely remember starting with the intro bass line, just a cool riff I worked out messing around. The lead guitar parts in the verse are pretty repetitive, forming a bit of a chord structure but that just floats overtop of what the bass is doing. I usually write linearly, coming up with all the instrumentation for one part before moving onto another. But I think bass still came first as I started working on the chorus, it just kinda falls together. I’ll just loop sections and mess around until I find something that works, and then I’ll record it. There’s no bridge as well, I hate bridges. I don’t think any of my songs have one bridge on that EP. And oh, everything’s recorded in Logic Pro X.

What music have you been jamming to lately dude?

Hyperview [Title Fights new record] is absolutely killer. It’s a huge influence on the next EP for sure. Everything on Run For Cover is great, and I’m really digging what Turnover’s new stuff sounds like. I’ve always listened to a lot of DIIV and Mac DeMarco, and I know other stuff on Captured Tracks is great, but I haven’t listened to everything. I also really like the direction Ceremony is taking on their new LP The L-Shaped Man. That’s all new stuff though. Like I said, I got super into the original dreampop and shoegaze stuff. I started listening to a lot of MBV, Slowdive, Ride, Galaxie 500, Jesus and Mary Chain, the Stone Roses, the Sundays, Spacemen 3, the Pastels. Shit like that. I don’t necessarily draw inspiration from that but it’s good to have some context for what people today are doing.

Couldn’t agree more on that new Ceremony LP man. And finally, any bands or albums people should check out that we may not of heard?

Shoutout to my good friends in Shagwagon. Check out what they’ve been putting out. It’s that good DIY psychedelic bedroom pop shit.

Follow Cole on Twitter: @grantulysses
Twin Visions EP available for download here: 
grantulysses.bandcamp.com
Read a review on Twin Visions right here: 
start-track.com/review

Questions by Lukas Foote
Answers and photos by Cole Méndez

3 Discoveries of Lukas Foote

Creepin’ by Sad Actor

In case you were uhh.. ‘preoccupied’ and hazy on April 20th of this year, chances are you probably missed Philadelphia’s own: Sad Actor’s third release entitled Creepin’. Creepin’ is a fuzzy, grungy, emo-esque EP compiled with discontent and despair. This 2track EP is a great follow up from their previously (and my favourite) EP called Try To Remember that came out last November. I suggest ya’ll get in on that Philadelphian music scene; that city has released nothing but great bands and songs.

Outta Control by Acid†Priest

This stoner-rock n’ roll band hailing from Toronto, Canada has been filling my ear buds with intense emotion. It’s no secret this band absolutely rips. Their début EP Outta Control has drawn in some serious attention and not just within the Southern Ontario music scene. Alexisonfire/Gallows member Wade MacNeil -who now DJ’s a rock station in T.O- has even given the deserving band radio airtime. Also, in the words of Wade: “Congrats on finding a kick ass band name in 2015”.

Nightfall (Prod. Lederrick) by Wicca Phase Springs Eternal

If you weren’t aware of this newly founded project by ex- Tigers Jaw member Adam Mcllwee, now you do. Adam in Tigers Jaw was known for his scratchy guitar tones and personal style of his intriguing, droning, unique voice. It seems now he has now taken those abstract vocals to a new location, in the form of an electronica/trap project under the moniker Wicca Phase Springs Eternal. As Adam himself puts it, his music could be described as “Morrissey meets Chief Keef”. That’s a pretty interesting and badass hybrid if you ask me.
His forthcoming album called Abercrombie & Me is releasing soon and this is a single off of it called Nightfall I’ve been jamming to lately. I do recommend scrolling WPSE’s soundcloud and figuring out for yourself- what you should think of it.

Text by Lukas Foote

Issue #2 of Discoveries

Review ~ Molly Drag – Open Casket Hidden Meaning ~ by Lukas Foote

I have said it before, and I will type it again: Molly Drag will have you waving around in a sonic ocean of ambience, despair and heartbreak. The same thing could be said about the newly released Molly Drag song “Open Casket Hidden Meaning.”

Molly Drag - Open Casket Hidden Meaning

At the start of this track, the familiarity of the paulstretch effect is heard. The paulstretch effect was used quite a bit in the Molly Drag fulllength debut: Deeply Flawed. This effect has become a signature, or a characteristic trait for Michael Hansford. Hearing the paulstretch over some slow acoustic picking right off the intro of OPHM gives the song the nostalgic notion of another ambient, nebulous, slow-jam.

The lyrics are very bleak, unpromising, and full of depressing topics such as death (“My coffin thrown into the ground/fills the empty spaces here/I am the blood, you are the crown/She feels the bodies buried here.”), addiction and the bad trips you may conjure up while high (“Addiction always has its waste/but your hands were on my face/and you were suffocating me.”). I would not expect any different subject matters from a song inspired by a funeral.

Molly Drag’s Open Casket Hidden Meaning is part of a 15-track compilation by MD’s label Hellur Records entitled “I Still Call You My Friend”. It is currently available up on Bandcamp for the ideal hipster price of “Buy Now name your price” and includes other great tracks on it by label mates such as Claws & Organs and Sorority Noise.

Text by Lukas Foote
Photo by Molly Drag

Review ~ iris – Haunt Me ~ by Lukas Foote

If you’re looking for a band that’s a suiting fit to play aloud at your funeral, then look no further, because Toronto’s 4-piece Emo-Shoegaze band iris delivers a haunting and depressing soundtrack.

This 5-track EP entitled “Haunt Me” was released this passing Valentine’s Day and is consistently filled with a combination of strong bass lines, glistening reverb/chorus guitar tones, heavy crashes on drums and your typical washed out, trance-like vocals.

The lyrical content on Haunt Me is very minimalistic, by that I mean all the song lyrics are short, very somber and resemble short poems rather than traditional song lyrics. Nonetheless, iris leaves the listener to interoperate the undeniable synergetic chemistry between vocalists Danielle Clark and Brad Garcia’s lyrics. Such tracks like Ragdoll: “I’m ripping at the seams/That you helped me sew/Shove your kind words in my wounds/Try to save me so” showcase the depressing atmosphere that Haunt Me is built upon, and how the EP offers no sight of hope.

What I like about iris’ EP the most is the overall heaviness compacted into it. The intensity is conveyed throughout the EP in the form of piercing- hard-hitting drums and cymbals on behalf of Matt Tomasi and as well as rhythmic, crying bends from a combination of Scott Downes and Brad Garcia’s guitar work.

Every single track on Haunt Me gives off the utmost sense of despair and melancholy; these adjectives come so naturally when describing the final track on the EP “This isn’t goodbye…” The song starts outs with a solo guitarist slowly playing through the intro, what follows is a unsettling pause that communicated more emotion then what could have been vocalized. And just when you thought that the pause was going to last an eternity, the profound sounds of cymbal crashes and grave guitar chords reinvigorate the listener and keeps them captivated through the other half of the song, “This isn’t goodbye…” certainly delivers.

I would strongly recommend iris’ Haunt Me (and their Killers cover too) to anyone that has an underlying passion for multi-layered, dominant sounding shoegaze that resembles bands like Slowdive or Whirr.

Text by Lukas Foote
Photo by Iris

Review ~ Chips Calipso – I Walked Outside and Felt the Sun ~ by Lukas Foote

It’s been a full year since the ever so famous gapped tooth rockers album “Salad Days” by Mac Demarco has greeted the publics’ ears. You may ask yourself: “Where is this young, care free music being produced at?”. The secret is this kind of youthful “slacker” rock music is hiding down south, or down under, depending on how you look at it. It is in the form of a fellow by the name: Chips Calipso, hailing from Melbourne, Australia.

IWOAFTS EP COVER

I never quite understood the music coming from Australia but I did know that it was catchy and damn good. Chips Calipso’s “I Walked Outside and Felt the Sun” is consistently filled to the Olde English brim with weird intros that intrigue and captivate you immediately upon listen. Time after time throughout this EP you can hear the solid use of vocal and guitar effects. The EP takes you through a wide variety of genres ranging from indie dream pop to psychedelic garage rock in the matter of 30 minutes.

What I found really creative on “I Walked Outside…” was the vocals. This EP included your classic surf rock, reverbed, washed out vocals, but they had different tones of vocal reverberation on various tracks throughout. It was enjoyable to here a new vocal take on reverbed, melancholic vocals especially in this genre of surf rock/slacker. Such tracks as Dehiwala Junction you can hear some distant, echo-ey reverb to the vox and there were songs like The Pines 2009 which had a scratchy, smudged, gritty reverberation to it. Chips Calipso uses an array of vocal effects. Whether or not that was his intention on “I walked Outside…” I still found it to be ingenious, very imaginative as well as a great expansion to the tiny perimeter box that surf rock never seems to step out side of.

Chip Calipso’s “I Walked Outside and Felt the Sun” is compressed with quirkiness, originality and chaotic cohesiveness. If you are a fan of Demarco or Walter TV, I would strongly give “I Walked Outside and Felt the Sun” a thorough listen.

Text by Lukas Foote
Photo by Chips Calipso

Review ~ you bury me by PINE ~ by Lukas Foote

If you enjoy sweet, innocent vocal melodies and songs about heartbreak and cigarettes, then Ottawa’s Indie-Ambient-Emo band – PINE will suffice your needs.

PINE 2

PINE’s you bury me was produced, engineered, mixed and mastered by Cory Bergeron at Pebble Studios in Ottawa. The simplistic yet colourfully intriguing album artwork was done by Kyan De Vere. The EP’s title: you bury me is the English translation of the Arabic word “Ya’aburnee” which according to PINE’s Bandcamp means “A declaration of one’s hope that they’ll die before another person because of how difficult it would be to live without them” and that’s exactly what PINE’s debut EP is bursting at the seams with in the form of lyrical content on the issues of abandonment and wrenching heartbreak.

What I find really impressing about you bury me is how PINE can communicate such immense sadness all in just a sheer 15 minutes. Every song on this EP is packed with such dreamy reverbed guitar tones. The drumming is crisp yet steady while maintaining a heavier style. Not to mention the gentle female vocals to accompany the songs as well as the noteworthy tempo changes from drawn-out intros to rhythmic/clashing outro’s.

One of the most creative things I dug on “you bury me” was the second track off the record “Father//Layla”. The first verse of the song is directed at the Father from Layla’s (his Daughter) point of view. The second verse tells the story from the father’s perspective, which gives the song a new dimension that we don’t see in music nowadays I feel. It is a unique way to compile a song because it gives the listener emotional vibes that that resonates with us in a connective way that not many songs get across.

PINE’s you bury me will have you not only wet head-to-toe, drenched in a whirling pool of reverb, but also by the tears you will inevitably shed after listening to this huge of an EP.

Text by Lukas Foote
Photo by Pine

Review ~ Deeply Flawed by MOLLY DRAG ~ by Lukas Foote

Residing from the same small town as Molly Drag’s founder: Michael Hansford of Midland, Ontario- that has the population of 10,000 people all snuggled right into the shores Georgian Bay is where I was first introduced with Hansford’s musical projects. I was aware of Michael’s music since the other band he’s currently in: The Raspberry Heaven, was just a solo acoustic act, and if you wanted to travel further back into time of the Midland music scene, I would even bring up the first band I ever saw Michael perform in, which would of been the Post-Hardcore band: Demi Cassanova. Whom from what my 13-year-old mind can remember rocked the walls (literally) of Native Friendship Center’s in northern Ontario.

ghost

Molly Drag is Michael Hansford’s newest project however. An emo, experimental, shoegaze one. Majority of this LP was recorded in an apartment building in London, Ontario as well as a place known as Satans Cove also in London. Michael himself produced this LP alongside with Jake Jackman and was entirely mastered by David Newell.

To fully understand and grasp this LP I feel you need to know a bit about where it comes from. Deeply Flawed is derived from stories about Michael himself, stories of his friends/peers and his hometown of bittersweet Midland. A thing that I enjoyed about this LP were that the lyrics in it were not entirely about his own self-struggles and situations, but rather a combination of other stories he has heard through others. The lyrics contained depressing content and a lot to do with emotions, love, drugs and relationships. What I really dug in this LP was the spoken word segments in throughout the album too in such songs as “Upbringing” and “Sacrifices Speak”.

The really creative thing I found notable in Deeply Flawed was the track layout. The track layout of this LP was organized in my opinion to feel as if I were hearing a theatrical performance. The track “Sacrifices Speak” gave me the impression of the song being a reflection/a look back thus far on the record. It served as an intermission break if you would and I found this really artistic.

Another noteworthy thing I found in Deeply Flawed was not only the significant dynamics between the acoustic and electric guitars heard throughout, but also the synergy between Michael and every person featured in this album. Such tracks as “Deflowered” with Ryan Sweet or my personal favourite “Bleeding Out” with Emily Hathaway exemplify this.

Molly Drag’s Deeply Flawed will have you waving around in a sonic ocean of ambience. Rocking you back and forth with the feeling of despair, heartbreak and homesickness…in the greatest way imaginable.

You can buy cassettes and CDs via Hellur Records.

Read interview with Michael Hansford here.

Text by Lukas Foote
Photo by Molly Drag

Review ~ Twin Visions EP – Grant Ulysses by Lukas Foote

Ulysses S. Grant? That was the 18th President of the United States in 1869-1877. Grant Ulysses? That is Canadian-Orillia Teenager Cole Mendez’s solo project, written, recorded and produced from his bedroom.

Grant Ulysses has two music videos out entitled “Wealth” and my personal favourite track by him: “Selfish”. These two songs aren’t exactly happy, rather depressing actually but they are his two most alternative, catchy and up-beat songs. The Twin Visions EP that I’m reviewing however, is as Cole himself puts it “A more cohesive and fleshed out musical project”. This EP is unlike his previously released songs. I find this EP to be more Indie and Dream Pop with a haunting aspect throughout each of the four tracks. All songs sound hopeless with lonely lyrical content and amazing guitar tone to accompany the theme all throughout this EP.

Every song on Twin Visions had a catchy, quirky guitar intro to it, except on the track “Apathy” in which case had a groovy-ass bass intro to it. The guitar intro’s reminded me of a Peter Sagar from Homeshake like feel to them and it’s safe to say I dug it. The instruments, in particular guitar and bass are stimulating and the vocals on Twin

Visions are really lo-fi and daunting.

FAVOURITE TRACK: Apathy

FOR FANS OF: Night Sins, (early) Homeshake

Text by Lukas Foote