Recorded By Steve Albini

Celebrating Steve Albini, 22nd July 1962 to 7th May 2024.

I was hours behind everyone with the unwelcome news, only chancing upon it because I checked my phone just before I put my head down for the night. There was no doubt waking up this morning that I'd focus today's post on the merest hint of Steve's genius. He didn't like to be labelled as a producer, frequently credited as 'recorded by' but he was obviously so, so much more, which is clear from the transformative effect his presence in the studio has had on the hundreds of artists he has worked with. 

 

There are already many thousands of words out there paying tribute to his hugely important and influential career, his kindness and generosity, side-by-side with a no-bullshit attitude and a lifetime dedicated to music and being authentic, an overused term but you'll know what I mean when applied to Steve Albini.

 

Steve was only 61. Gone far too soon.

 

The limited time I've had to pull this selection together (I'm already at risk of being late for work but priorities, right?) means that there's so much more that I could say yet can't include in today's post. However, pop over to The Vinyl Villain as JC pulled a late shift last night to hold the presses and post an incredible Imaginary Compilation Album with superlative sleeve notes. I'm expecting more tributes to follow in this corner of the blogosphere, given how much Steve Albini has populated our respective record collections these past four decades.

At first, I was tempted to exclude all of the more obvious choices of artists, and whilst I managed to drop Nirvana, in all conscience I couldn't ignore The Wedding Present, PJ Harvey or Pixies, whose Surfer Rosa was the first time I'd heard an album recorded by Steve Albini.

I've also tried to include some more unusual song selections and possibly one or two artists that you may not have realised Steve worked with, such as Nina Nastasia and Anni Rossi. 

Cosmia by Joanna Newsom is a bit of a cheat: Steve 'just' recorded the vocals and harp, the other constituent parts worked on by Van Dyke Parks, Jim O'Rourke and Joanna; however, it sits beautifully between Low and Songs: Ohia and couldn't be left out.

 

The selection ends, as it probably should, with a song from PJ Harvey's 1993 album Rid Of Me. Man-Size was - and remains - a hugely important song, but the decision to include two versions on the album was a bold one. I've opted for Man-Size Sextet here as it demonstrated a different side to Polly's and Steve's work that I'd been familiar with up to that point.

 

Rest (and record) in power, Steve, you've left us with so much to treasure.

 

1) We Are The Snare: Spare Snare (2018)

2) Santa Ana Winds: The Wedding Present (2008)

3) Everything You Say Will Destroy You: The Auteurs (1996)

4) Bang On: The Breeders (2008)

5) Where Is My Mind?: Pixies (1988)

6) Quick, Before It Melts: Cinerama (2002)

7) Weight Of Water: Low (1999)

8) Cosmia: Joanna Newsom (2006)

9) Farewell Transmission: Songs: Ohia (2003)

10) Fuckingsong: Jarvis Cocker (2009)

11) Our Day Trip: Nina Nastasia (2006)

12) Leave Me Alone So I Can Rock Again: The Jon Spencer Blues Explosion (1999)

13) Ecology: Anni Rossi (2009)

14) Man-Size Sextet: PJ Harvey (1993)

1988: Surfer Rosa: 5

1993: Rid Of Me: 14

1996: After Murder Park: 3

1999: Acme-Plus: 12 

1999: Secret Name: 7

2002: Quick, Before It Melts EP: 6 

2003: The Magnolia Electric Co: 9 

2006: On Leaving: 11

2006: Ys: 8

2008: El Rey: 2

2008: Mountain Battles: 4

2009: Further Complications: 10

2009: Rockwell: 13

2018: 'Sounds' Recorded By Steve Albini: 1

Recorded By Steve Albini (50:52) (KF) (Mega)

México Via Stoke-On-Trent

One from last Friday's stuffed shopping bag is the México 24 EP, a 4-track split single by La Guardia De La Luz and Picotropico, each contributing a track and then remixing each other.

First up is the brilliantly-titled I First Learned About Shelley's Through A Magazine, nine and a half minutes of stomping beats, channeling an Altern 8 ravey synth break for reasons which become clear when you know a little of Shelley's back story.

Picotropico's equally brilliantly-titled Stoke-on-Trent Is Not In Mexico Remix ups the ante, adding extra circular synth riffs and bouncing bass lines.

 

Strangers by Picotropico is the shortest track on the EP at a mere five and a minutes, though it packs a lot in. Chimes, 70s cop show funk, chugging rhythms, the threat of it all falling apart yet holding it together.

La Guardia De La Luz stretches out and slow things down on his Pico Is Not A Stranger Anymore Remix, settling into a ten minute groove that is much more sedate but no less compelling. 

The latter title suggests that although Santiago Rionda (La Guardia De La Luz) and Francisco Azpiri (Picotropico) are veteran DJs and residents of México City, they didn't really know each other until UK label Paper Recordings suggested this collaboration. On the strength of this EP, I hope they are inspired to collaborate again in future.

 

I only had one other track by each of the artists in my collection prior to this, again courtesy of Paper Recordings and their excellent EP series, The Wild Army.

 

Trance Alemán De Los 90's by La Guardia De La Luz appeared on Volume 6 in 2022, another ten minutes albeit upping the tempo considerably.

 

Front Tears by Picotropico appeared the previous year on 2021's Volume 5, a throbbing, borderline menacing beast of a track, the title hinting at the Peter Gabriel sample that it's built upon. 

 

 

If you played the video at the top before reading on, you'll have heard that Picotropico revisited a solo outing by the other Genesis front person at the end of last year.

For the curious like me, further music by both artists is scattered across various releases and labels on Bandcamp. Likely about as close to México City as I'll get in this lifetime, but worth further exploration.

Flamingo Out Of Your Mind

Dan Snaith aka Caribou released his first new song in nearly three years at the beginning of April. 

 

Honey is a four-minute banger, closer to the club-friendly style of his other nom de plume Daphni than the unadulterated psychedelic Sixties stylings of Caribou. Yet, Dan has had no hesitation in giving the latter's music over to other artists for a radical makeover, including friend and sounding board Kieran Hebden aka Four Tet.

No surprise then to read that Kieran has had a hand in arranging this song with Dan. Honey is mixed by long time collaborator David Wrench, whose current project audiobooks with Evangeline Ling is no stranger to lure of the dancefloor either.

No sign of any remixes as yet, but Honey is accompanied by a mind-melting video. Avoid staring at blank walls after watching this, otherwise you'll be seeing flamingos for hours afterwards.

On the Bandcamp Friday just gone (and the last one until September), Dan was also offering his digital back catalogue as a name your price option so I took the opportunity to pick up the remix companions for the albums Swim (2010) and Suddenly (2020). I'd had a few tracks of each so it was a good chance to purchase the full collections. 

Two of the previously owned remixes included the above mentioned artists, so here's Never Come Back from Suddenly, reworked by Four Tet, and Odessa from Swim stripped down to a 'drumapella' by David Wrench. I'm looking forward to listening to the rest over the coming week.

 

 

 

 

Jazz Odyssey

Having missed an opportunity in Bristol in February, I had the good fortune and great privilege to see Fatoumata Diawara and her band in Cheltenham on Sunday.

Appearing on the bill of the Cheltenham Jazz Festival, Fatoumata was one of several artists that stretched the definition of jazz somewhat, although it's fair to say that she has smashed through many barriers to what a Malian musician should be and play, so why not?

It was a series of firsts: my first time seeing Fatoumata live in concert, my first time at the Cheltenham Jazz Festival and my first time at the Town Hall for any reason, let alone a gig. Much like the John Cale gig at the Subscription Rooms in Stroud last year, the stalls area was turned over to rows of folding chairs, but in a much grander surround.

It was looking half empty until the 2 minute call, when floods of people took their seats. I was amused by the two very bored looking kids in the above pre-show photo, no doubt dragged along by their hipster parents for a bit of enforced education. Suffice to say there were a fair few babies and children in the audience, with or without noise cancelling headsets, though they will have done little to reduce the average age in the room.

Another aspect of the Jazz Festival setting was that Fatoumata was playing at 2.00pm with a strict 3.15pm cut off, so roughly about half a hour less than the Bristol show the previous month (I know this because the latter has already been posted on YouTube). Not that it mattered of course: this was a full on, energetic set, Fatoumata and band ensuring that the audience got a full and fulfilling experience.

The band quietly took to the stage, dressed smartly and uniformly in shirts, black waistcoats and trousers, the occasional hat; guitar, bass, keyboards, drums. Nothing fancy, nothing distracting, the star of the show was still to come. As they settled into an extended intro to Tolon, from last year's London Ko album, Fatoumata arrived from stage left like a queen addressing her subjects. Albeit a queen with a guitar strapped on and ready to play.

The photos will not do her justice, but Fatoumata looked spectacular, matching yellow headress and flowing skirts, black leather bodice over a red PVC T-shirt, gold bracelets, black lips framing a stellar smile. She completely owned the stage before she had played a single chord or sung a single note.

I've relatively recently bought Fatoumata Diawara's albums, each with a slightly different musical flavour and focus. London Ko is a further exploration and expansion of her musical palette, and mostly co-produced with Damon Albarn. The set draws heavily from this album but in a live setting, the songs are stretched out considerably, with the electronic studio versions swapped out for funky with a capital F. Fatoumata's a mean guitar player too, at times seemingly channeling Hendrix. There are no rules here, it's all about feeling the music, on stage and in the audience.

About four songs in, Fatoumata addresses the audience. "I want to introduce the next song, Sété. I want to bring awareness about the barbaric practice of female genital mutilation that is still prevalent in many parts of Africa". She then goes on to talk about her personal experience of FGM, haemorrhaging on a table, surviving and using her platform to call to put an end to this barbaric practice and "give children the space they deserve as they represent our hope for a better future".

 

This is important as Fatoumata largely sings in Bambara, so to these untutored ears, Sété is otherwise an uplifting and beautifully sung song, with no idea of it's lyrical content. Fatoumata addresses the audience again later, with message about female inspirations, strength and empowerment. She has been told that women from Mali should not be fronting a band, writing their own songs or exploring other musical genres. Thank goodness Fatoumata ignored all of this and carried on. 

Acknowledging Nina Simone as major influence (cue round of applause), Fatoumata goes into a version of Feeling Good, that feels completely and utterly her own. It's an incredible few minutes and another striking example of her voice in full effect. Fatoumata manages to skip and dance around scales, seemingly effortlessly, but this is no Whitney or Mariah-style vocal gymnastics and a joy to hear.

Again, my hastily snatched photos do an injustice in capturing the occasional and minor costume changes. At one point, the headdress comes off to reveal another towering creation underneath.

Later on, Fatoumata returns to the stage wearing a mask. When that is removed, black headgear with a white streak running back from the forehead is in place. 

How any of it stays on is another minor miracle, given that Fatoumata is very active on stage, not least with three or four turns as a spinning top, with or without guitar. Fatoumata introduces the band midway through the set but let's be honest, she is a completely and utterly compelling stage presence, to the extent that you can easily forget that there's anyone else on stage with her. Having seen the Bristol gig on YouTube, I can also say that the absence of a large screen backdrop at Cheltenham was very welcome; logistics aside, it would have been superfluous.

And then it was all over. Fatoumata and band lined up, holding hands and taking a bow, before the mass exodus blinking into the mid-afternoon daylight. Was it all a dream? Happily not.

 

Sadly, Mrs. K wasn't able to join me as planned, so I'm hoping that we both get to see Fatoumata Diawara when she next returns to the South West...

 

I usually try to recreate the setlist whenever I can. I've not done it here for a few reasons:

1) As the set was mostly made up of the London Ko album, albeit in a different running order, I'd much rather you bought her album(s) from Bandcamp or the like;

2) To be honest, I quickly forgot what the exact setlist order was; and

3) Doing my own selection means that I can drop in more songs from Fatoumata's other albums.

So, here's a 12-song selection, the first two definitely mirroring Sunday's set, Sété placed at number 4, followed by an earlier song about FGM called Boloko. I found an Italian TV performance of Feeling Good from last month and I've also included a live version of set closer Anisou from 2019, nine and a half minutes of sheer joy.

 

1) Tolon (ft. Yemi Alade) (2023)

2) Somaw (ft. Angie Stone) (2023)

3) Mousso (2011)

4) Sété (2023)

5) Boloko (2011)

6) Save It (2022)

7) Bonya (2018)

8) Feeling Good (Live @ Propaganda Live, LA7 TV, Italy) (Cover of Nina Simone) (2024)

9) An Ka Bin (2022)

10) Kokoro (2018)

11) Nsera (ft. Damon Albarn) (2023)

12) Anisou (Live @ Afrikafestival, Hertme, Netherlands) (2019) 

 

Bonya (Respect) (51:04) (KF) (Mega)

 

If you're hungry for more and don't mind shaky handheld cams, then here's Fatoumata's full show at the Bristol Beacon on 6th February 2024, courtesy of jungleboy. Enjoy!

If Ever The Devil Was Born Without A Pair Of Horns, It Was You Jezebell, It Was You

Like buses, you wait for a Jezebell-related release for a while, then three come along at once. I'll cover the new music later but just over a week ago, I received the long awaited double vinyl edition of the superb Jezebellearic Beats Volume 1 compilation.

Bearing in mind that Jesse Fahnestock and Darren Bell released Jezebell's debut single Thrill Me in 2021, issuing a 'greatest hits' in August 2023 and labelling it 'Volume 1' may have seemed rather ambitious, cocky even. Yet, even with a digital edition packed with 20 tracks, the duo still had to leave out many mixes and versions that could easily have made the cut. It's really that good. 

Even more mind blowing is that the compilation, with a run time of over two hours, was - and still is - available as a 'name your price' purchase on Bandcamp.

I've hugely enjoyed all of the Jezebell music as it's emerged, whether under their own name, remixes for other artists or re-edits that in reality remake and remodel the source material into something so different that it's essentially a brand new song. So, when it was announced that a limited vinyl pressing of Jezebellearic Beats Volume 1 would be available, I didn't hesitate in ordering it.

Given the timing constraints of four sides of vinyl - only Side 3 nudges above the 25/26-minute mark - the track list and running order varies a fair bit from the digital edition, making for an equally rewarding and essential listening experience.

The digital edition opens with the full length widescreen version of Jezebelle Et Moi, their 3-part cover of Max Berlin's 1978 song. At nearly 12 minutes, it's swapped on the vinyl version for one of the variations, Le Funk Et Moi, with no less impact as a statement of intent. The following three songs match on both editions, including the (kind of) title tracks and re-titled re-edits of Tullio De Piscopo and Laurie Anderson. 

I should add at this point that though I purchased many of these songs at the time of their original release, the versions on Jezebellearic Beats Volume 1 have been given a re-master by Rich Lane.

For the remaining three sides, the ordering is mixed up more considerably, not least because the vinyl version contains 16 tracks compared with the digital edition's 20. So, track 5 on the latter - a superb re-edit of The Notorious B.I.G. - opens Side 4 of the former. "Bed Heads", Jezebell's contribution to Shelter Me: The Album in 2022, is track 17 on digital but closes the vinyl album in fine style.

At the time of posting, there are 9 copies of the one-time only vinyl pressing left on Bandcamp. If you miss out and haven't bought the digital edition yet, then what are you waiting for? The compilation cover by Rick Oliver is based on Dave Little's artwork for the seminal Balearic Beats: The Album Vol 1 collection and believe me, the music on this Jezebell compilation is every bit as good.

 

Side 1

1) Le Funk Et Moi (Remix) (Cover of 'Elle Et Moi' by Max Berlin's): Jezebell (2022)

2) Jezebellearic: Jezebell ft. Alfredo (2023)

3) Spring Calling aka Stop Bajon (Primavera) (Jezebell Edit): Tullio De Piscopo (2022)

4) Re-Birth aka Born Never Asked (Jezebell Edit): Laurie Anderson (2022)

Side 2

5) Pedestal (Jezebell's Dizzy Heights Dub): D:Ream (2022)

6) Thrill Me (Original Version): Jezebell (2021)

7) Hush Hush aka Too Shy (Jezebell Edit): Kajagoogoo (2022)

8) Hypnorise (Jezebell Edit): Herb Alpert (2022)

Side 3

9) Concurrence (Original Version): Jezebell (2021)

10) Swamp Shuffle: Jezebell (2023)

11) Jezeblue (Full Length Version): Jezebell (2023)

12) Red Shift (Jezebell's Inner Child Mix): MAN2.0 (2022)

Side 4

13) Vibrations aka Baby Let Me Kiss You (Jezebell's Hitachi Dub): The Notorious B.I.G. (2022)

14) Trading Places (3PM) (Remix): Jezebell (2023)

15) Burning Bush: Jezebell (2023)

16) "Bed Heads": Jezebell (2022)  

 

I've cobbled together a half-hour Dubhed Selection EP, selecting one song from each side of the vinyl edition, plus A Dangerous Side, the bonus digital track offered as an exclusive to those purchasing Jezebellearic Beats Volume 1 on vinyl. 

 

 

Jezebellearic Beats Volume 1 (Dubhed Selection EP) (32:11) (KF) (Mega)

....but that's not all, oh no. Paisley Dark Records recently released the third compilation album in the Shelter Me series, and made the other two (plus a bonus remix) available again for purchase via Bandcamp.

The Shelter Me compilations raise funds for housing and homeless charities, the latest compilation focusing on Crisis, which does incredible work across the UK. Even if it wasn't for a good cause, these albums are chock-full of great music that you should want to buy, regardless.

Jezebell contribute again to Shelter Me: In Crisis with the brilliantly titled Perfect Din, which has got me scratching my head trying to work out what samples they've expertly woven into 408 seconds of groovy sounds.

 

 

Jesse Fahnestock has also reunited with Emilia Harmony for another excursion on the version as Electric Blue Vision. Trance Stance was released last week, via the empathetically named Electric Wardrobe Records. The single version is described as "a hooky and seductive electronic slow-dive [which] hypnotically conjures up the story of dance-floor attraction with all the anticipation, posturing and human behavior that comes with it."

 

I think that pretty much nails it, but see what you think.

 

if you like that, just feel the quality of the three accompanying remixes. 

 

At a glance, The Time Machine Dropouts was an unfamiliar name, until I read that this a duo of Matt Gunn and legendary DJ Chad Jackson. An inter generational soundclash that provides breakbeats, funky guitar, Moroder-esque synths, shades of M's Pop Muzik and Emilia's vocals right up front. Great stuff.

San Francisco-based drummer Cole Odin is another name that's new to me. A lovely, syncopated synth-washed rinse with Emilia's treated vocals swirling in and out of your ears. Jesse himself brings things to a close with 10:40's sunshine skank reprise. All in all, another top notch release and perfect for what's proving to be a sun-kissed bank holiday weekend here at Casa K.

We Tried, But We Didn't Have Long

I haven't visited NPR's Tiny Desk Concert in a little while so I dropped by to find that Hot Chip played a 4-song 'greatest hits' set on Monday. And very good it was too.

 

0:00 Over And Over (2006)

05:46 Boy From School (2006)

11:00 Look At Where We Are (2012)

15:20 Ready For The Floor (2008)

 

As a bonus, here are the videos for each of the four original single releases, entertaining as always.

 

 

 

Disco Discount

Digging in the vaults for a trio of François Kevorkian remixes, all available on compilations and EPs via Bandcamp for a steal, in my opinion.

 

As with Les Disques Du Crépuscule yesterday, Harmless Records have made a ton of their top notch compilations available digitally for seven quid, including the excellent Disco Discharge series. Originally issued as 2CD sets between 2009 and 2012, there are 18 themed collections to choose from. 

 

My pick, fronted by a live performance from 1983, is François Kevorkian's 12" mix of Keep On by D-Train, which appears on the Disco Boogie collection, along with Average White Band, Sharon Redd, Skyy and Nick Straker Band. Great stuff.

 

Originally issued in France only as a single in 1993, Tout Est Bleu by Âme Strong got a wider release in 1997 with remixes by Attaboy, 16B (Omid Nourizadeh) and François Kevorkian. You can also find the latter on the Airtight In Session: Volume 1 compilation from 2009. 

 

In 2003, Zapology aka Delroy Clarke lent his vocals to Midnight Bustling by 3 Generations Walking, furnished with an epic remix by François Kevorkian. In 2009, New York-based Lion1 Records released the 12-track Believe EP/remix album, containing reworks of the title track, Her Song and four mixes of Midnight Bustling, including vocal and dub rinses by Monsieur K.

Les Disques Du Crépuscule En Sept Sélections Pour Sept, er, Quid

Legendary label Les Disques Du Crépuscule have been steadily making their back catalogue available for sale via Bandcamp, including several classic albums with bonus tracks at a bargain price of £7.00 for a digital download. Many are also available on shiny disc.

Too many to mention in one post really, so I've selected seven as a sampler, namely

 

Clinker (+ 4 bonus remixes): Julie Campbell / Stephen Mallinder / Benge (2021)

Sorry For Laughing: Josef K (1981) (this is the shelved version; The Only Fun In Town is also available) 

Rhythm Of Life + New York Remix mini-album: Paul Haig (1983/1984)

Nice Mover (+ 6 bonus remixes): Gina X Performance (1979)

Nue Au Soleil (Complètement: Ludus (2024) (compilation previously released as an 11-track vinyl in 1987 and a 28-track 2CD in 2017; the digital version contains all 18 tracks from CD1 and the 4-song John Peel session from CD2)

Fidelity (+ 2 bonus tracks): The Durutti Column (1996) (The New Fidelity was originally issued on a Portuguese compilation in 1992) 

Moving Soundtracks: Various Artists (1983) (this appears to be the 2008 rejigged reissue, originally 20 tracks, here minus 2 songs by Be Music and Alan Rankine; I picked The Pale Fountains for today's selection)

 

Seminal compilation From Brussels With Love, the debut release on Les Disques Du Crépuscule in 1980 and featured in the headline photo, is also available as a digital download. That'll cost you a tenner but for 28 tracks a bargain. 

 

 

 

 

 

 

 

 

 

 

 

 

Add To Basket

Having missed the last Bandcamp Friday and with a stack of albums on my list, here's a random selection of singles and remixes that will also be going in the basket this Friday, having grabbed my attention these past few weeks and months.

 

First in is Iraina Mancini. With influences described as "60s/70s, French pop, psychedelia, soul, garage, Ye-Ye Girls and vintage cinema" and backed by Pete Paphides, the odds were stacked that I would like Iraina's album Undo The Blue and I do. Sugar High was issued as a single and video last year, backed with a wonderful remix by Saint Etienne. The latter was re-released at the end of March with a brand new remix of the album's title track by Richard Norris and Erol Alkan, reunited as Beyond The Wizards Sleeve. I've gone for the Saint Etienne remix here, but really you can't do without both (or the album).

 

Toby Tobias resurrected his Casinoboy alias last year after several releases in the late 2000s. I'm not familiar with his previous music, but the 4-track EP he's released on Italian label Duca Bianco hits a sweet spot of Balearica, breakbeats and a 90s-style rap that just about treads the line between Stereo MCs and 2 Unlimited (!) Infectious.

 

A third London-based artist, albeit born in Italy and influenced by Jamaica, is a favourite of this blog, Daniele Gaudi, teaming up here with fellow Italian 3-piece Savana Funk for a 2-track single, Raha b/w Orewa. This is Afro-Cosmic-Disco that is brimming with funk and designed to get you moving. It succeeds.

 

 

Deep down to Australia now and Sydney-based duo Rachel Rutt and Ryan Grieve aka Heart People. I was only previously familiar with them from an Andrew Weatherall remix of their 2017 song Voices, which led me back to the source EP, Homecoming, and it's dub companion. In December 2023, the pair returned with the Adriatica EP. Musically, it reminds me of Mick Karn's solo music from the 1980s, but Rachel's voice adds an extra dimension, particularly on the title song.

 

My last pick is some Czech rap courtesy of Prague-based duo Mutanti Hledaj Východisko, which Google reliably informs me translates as Mutants Search For The Exit. Fotbal is taken from the album Puma, which is frankly an astonishing and bewildering mix of samples, sounds and styles. And the best album cover of the last twelve months, no question.

 

Spin Around The KItchen Banging Things

More from HANN, courtesy of Two Minutes To The News, the second single of 2024 and a precursor to debut album, Forever In A Glance, due in the summer.

 

This is the video for We Were Seventeen, which came out in January.

 

I jumped on board the HANN wagon in late 2022 and I really enjoy the mix of hummable tunes, slice of life narratives and ace one-liners, delivered in a wonderfully deadpan style.

I don't want to miss anything but I really need a wee

(Will She? Won't She, 2022)

Hannah Fitzpatrick avoids the current vogue for sprechsang, yet it's still like being with your mate down the pub, catching up on their latest (mis)adventures in love and life. 

Ooh Daddy's mad at me

Coz Daddy walked straight in

And caught me taking

Daddy's drugs

(Daddy's Drugs, 2021)

If you're new to HANN and have enjoyed the above, these and loads of other songs are available on Bandcamp and all are well worth checking out. 

 

I've no idea what the mix of brand new and previously released songs will be on the album, though I'm guessing Two Minutes To The News and We Were Seventeen will be shoo ins.

 

What I do know is that Forever In A Glance will be going straight into the shopping basket the first Bandcamp Friday after release and promises to be one of 2024's most fun releases. And goodness knows we need that in our lives right now.