Bobbi Humphrey: Jazz Musician.

Bobbi Humphrey is a comparatively rare phenomenon in that she's one of the few women ever to record for Blue Note records: the label synonymous with, and celebrated for, the hard bop style that originated in the 1950's and which was popularised by musicians such as Horace Silver, Art Blakey and Miles Davis.

All men. All middle aged men.

It must have been a tough gig - literally and metaphorically - for the 21 year old Bobbi.

The flute playing on these 1970's Blue Note releases is as tight and accomplished as any contemporary male instrumentalists - so much so that artists as creatively distinctive and industry renowned as Stevie Wonder and Duke Ellington wanted her to perform and to excel on their records.

And play and excel she did, paving the way for other, similarly talented female musicians and singers to be successful in their own rights often under their own terms.

Bobbi Humphrey's third LP for Blue Note is her best.  'Blacks and Blues,' is a gorgeous record - evocative and irreverently funky, not unlike the records being made by the more celebrated George Benson at CTI and label mate and trumpeter extraordinaire, Donald Byrd.  

A great and underrated musician, still recording and performing today, look out for Bobbi Humphrey.  

Boy, can she play.

It's Kanye's world, we just live in it.

 

I usually wait until mid-December before beginning posting poorly constructed opinions and biased reviews of the year's best records, movies, books etc. This allows me sufficient opportunity to arrogate obscure albums, independently released movies and stand-up comedy 'discoveries,' reviewed by other people, as my own.  

Completely my own.  

Absolutely me.

- Here's a record by someone I like -

Following on from the splendidly splendid 2012 release 'Gigantic Vol 1,' Jamil 'Small Professor' Marshall finds himself collaborating with Detroit's Byron 'Guilty' Simpson - Stones Throw Records' alumnus and J Dilla favourite (the reader of this blog will be familiar with how much we love and adore STR and its roster...)  Although not as on fire as the former record it's a sweet release reminiscent of the earlier sonic finery of MF Doom, King Geedorah and Madvillain (war and peace be eternally upon them.)

Kanye West.

DJ Rashad's phenomenally phenomenal 'Double Cup' signals a new high for both the Hyperdub record label and for the still pretty new electronic sub-genre of footwork.  It's an old fashioned record in a way but it has power, precision and a panther-like poise which marks it out as one of the records of the year.  I don't want this whole piece to focus either entirely or exclusively on Electronica or Hip-Hop but, in truth, as in 2012, they have been the dominant, the speediest and the most evocative genres of 2013.

Of course, we don't like genres so fuck that shit.

 

More past and future noiseniks?, more new/reissued records by these c****: Julia Holter, Tim Hecker, Big Inner, William Onyeabor, Omar Souleyman, Drexciya (again), David Bowie, Josephine Foster, Felix Kubin (and Karl Bartos!) Parquet Courts, King Khan and the Shrines, Daughn Gibson, Elvis Presley, Sonny Smith.  

Grouper 'Living Room'

The Urinals 'I'm a Bug'

Patty Griffin 'Go wherever you want to go'

And The Fall.

'Live at the Witch Trials,' was reissued...(we know...)

Although not covering any new ground Savages' 'Silence Yourself,' was that increasingly rare thing - a bloody good pop record with tunes.  Haim, Bleached and Iceage - remember them from their marvellous 2010 release, 'New Brigade' (copyright 'Down with the kids' kids) delivered an excess of really nice and good but both lacked crucial hormones when it mattered.  Savages, by contrast, had the bat, the ball and the court all to themselves. 

  

'Disco-vered' by Brain Eno busking in a New York park in 1979, Edward Larry Gordon is still an unknown.  You hear so much of what he was doing in so much of what so many others are striving to do today - the new Boards of Canada/Oneohtrix Point Never albums are basically homages to the L.  The collected 'Celestial Music 1978-2011' is a monumental work full of beautiful, timeless vistas of sound.  It is hugely influential and hugely important - a catalysing force for so much of what we know today as electronica or electronic music.  Available from All Saints Records. Ask Santa for one.

More records: the mighty Dot Wiggin Band, Yo La Tengo, Amor de Dias, Deafheaven, Fat White Family, Glenn Jones, Happy Jawbone Family Band, Locust, reissues from The Mountain Goats, Sid Hemphill, Goodiepal, Karen Dalton, the entire output of the Light in the Attic label, Bear Family's incredible 'Street Corner Symphonies - A History of Doo Wop, Wolf Eyes, Henry Flynt, Jack White's increasingly increasing Revenant label, Warp's BOC vinyl represses....

Laurel Halo 'Chance of Rain'

Palmer Rockey 'Feelings of Love'

William Tyler 'Cadillac Desert'

Speaking of Warp...

And, finally, more speaking, we will always be more speaking, about the maverick, the madness, the fragile and the strong, the sometimes silliness, the never, never, never boring or dull, the one, the only, Kanye West - the overarching genius of our time delivers the album of the year easy-queasy-peasy.  Forget all about Tyler and Lamar and all the best of the rest and the rest.  KW is the realest of deals, super arrogant, super talented, flawed tae fuck and (f)lawless.  He's our flavour of the year.  What beautiful music he mistakes.  

Until when...

For John.

 

Elvis and Stax: a match made in Heaven.

For many Elvis fans, the 1973 June and December Stax Sessions represent a high watermark in his illustrious recording career.  The set contains myriad versions of all six of the singles the label issued from 1973-1975: and there's not anything approaching a dud amongst them.  

Personal favourites include his marvellous rendition of Chuck Berry's 'Promised land,' a stalwart of his live shows at the time, and 'There's a Honky Tonk Angel (who will take me back in,) co-written by countrypolitin troubadour Troy Seals and covered by the likes of Mr Conway Twitty as well as the Elv.

The recordings exude a passion and intensity that was missing from much of Elvis's output of the time - even the country, and countrified versions of many of the songs are electrifying: you can tell that Elvis, freed from the considerable shackles of an increasingly constricting and hierarchical RCA label, and his ensemble cast of musicians, flown in for the sessions, were enjoying every God damn minute of every God damn minute.....

What, more than anything, that emerges from these fun packed, gloriously musical sessions, is a totally fearless Elvis - more than ever before willing to embrace different musics and musical idioms with a ferocity that both the 1968 performances and the American Sound Studio Sessions a year later alluded to, an Elvis Presley, shorn of the malign influences that deadlocked and stifled his talent for nigh on ten years, reborn.

Buy it now.

We All Hail West Texas (We All Hail...)

John Darnielle has been recording music for over 20 years - and nobody ever told him.  Gloriously lo-fi, Darnielle's music has much in common with fellow long-term barbists Bob Pollard and Mark Davies in that it gloriously grates against much of today's over-produced hype-shite.

Merge Records have recently reissued The Mountain Goats magnificent 'All Hail West Texas,' surely 2002's 18th best LP.  Full of songs about love and death, hospitalisation and the fatalistic attractions of hot metal music, it's an album to hold to your heart and, secretly, to your pants.  

And, to not, to never, let go..

Touring - Glasgow at The Arches on the 10th of October.  You should go.

Marcia, my dear...

 

When I worked in music shops - many years ago - it was not uncommon practice to source some records and tapes from 'non-traditional suppliers:' in some cases, literally, off the back of a tatty, smelly van that had almost certainly, like much of the stock they carried, recently failed its MOT.  Many an hour was spent gently idling in these vehicles - pouring over some long deleted Magma LP, caressing the spines of remaindered Jetstar compilation albums and fingering the holes of some long forgotten cut-out.

Sex was always an option...

On one such occasion however, I found, to my surprise and no small astonishment, an album that has, even to this day, continued to beguile and bewitch.  Six copies of the album, to be exact.  I took them all - at a dealer price of less than £3 - and boxed them up, tenderly, lovingly, placing them next to an oddly juxtaposed admixture of Psychedelia, Easy-Listening and Jazz records (it was that kind of a shop.)

I never did sell any of the albums - well, reader, I sold one.  But I'll certainly never forget the feelings of exhilaration and transcendent joy when I took 'Sweet Bitter Love' home, placed the needle over track one, side one and listened to Marcia Griffiths sing.

Glasgow Film Festival 14-24 February

The Glasgow Film Festival has been going for nearly 10 years now - almost - and it's showing no signs of getting wearisome. This year's festival has a number of delights to tease, torment and tantalise including, for this moviegoer, a retrospective of the movies of James Cagney, the sweetly sado-masochistic showing of Spielberg's 'Jaws' at the Tall Ship and a welcome showing of Mario Bava's marvellous 'Black Sabbath;' newly restored and all the more sexy and scary for it. 

 

The veritable and venerable Monorail film club have chosen 'Big Star: Nothing Can Hurt Me,' as one of their picks of the festival. For those of you unfamiliar with one of Memphis' finest, this is a fabulous introduction - including interviews with both Andy Hummell and Jody Stephens. It promises to be something special.  

A highlight for this writer, is the showing of Carl Theodor Dreyer's 'The Passion of Joan of Arc,' at Glasgow Cathedral.  Dreyer's film is one of the most evocative ever made, and has stood, more than any of its contemporaries, the screen test of time.  With a live musical and vocal accompaniment, it promises to be a crowning highlight of the festival.

So, whether it's David Hayman playing the parts (sic) of Sawney, Jake Schreier's wryly delivered comedy of human and robotic manners, 'Robot & Frank,' or Billy Wilder's supremely gothic melodrama, 'Sunset Boulevard,' there's something for just about everyone in this year's festival.  

You really should go.

To finish, two trailers for films I really want to see...

Shaky, rattle and roll...

Michael Barratt, otherwise, and far more famously known as, Shakin' Stevens will be the grand old age of 65 next year.  

Most people will remember Shaky as an incredibly charismatic performer - his string of 11 top 5 chart hits in the 1980's bearing eloquent testimony to his abilities to entertain and beguile.  What many forget/do not know is, prior to 1981, and his first UK number one record, Shaky had been a performing and recording artist for 13 years - gigging up and down the country and abroad with The Sunsets - to considerable acclaim.

The Sunsets were, as contemporary articles agree, one of the great live bands, attracting the attention of NME hacks, John Peel - who attempted to sign them to his own Dandelion record label and, finally, and certainly most importantly for Stevens himself, Freya Miller who signed him to Epic Records.

The rest was history....

Thanks Michael and thanks to the mighty Shakin' Stevens and The Sunsets - one of the great British exponents, along with Billy Fury, Johnny Kidd and Bob Fish, of rrreal Rock and Roll...

Lastly, and entirely in keeping with Michael's music, Everyone here at Twat Bubble would like to wish you all a Merry Christmas and a Happy New Year!

It's the end of the year as we know it...

I usually wait until mid-December before beginning posting poorly constructed opinions and biased reviews of the year's best records, movies, books etc. This allows me sufficient opportunity to arrogate obscure albums, independently released movies and stand-up comedy 'discoveries,' reviewed by other people, as my own.  

Completely my own.  

Absolutely me.

- Here's a record by someone I like -



Kendrick Lamar's official debut album is, for many people, this year's great Hip-Hop record.  In a year where the music has enjoyed considerable and renewed commercial and artistic success - many contend that it's been the best year for breaks and beats since the early 1990's - Lamar's 'good kid, m.A.A.d city' sets a considerable benchmark.  

Following sexily, uncomfortably closely, great new albums by Odd Future, Action Bronson, Apollo Brown, De La Soul, Fushawn, JR and PH7, Prince Paul, Gangrene...

Two albums, however, for this writer, stand up and out.   






Small Professor's 'Gigantic, Vol 1' and Oddisee's 'People hear what they see.'  

Both are genre redefining examples of the new music: containing nods to an illustrious musical past - whether Soul, Funk, Rap or ? - whilst spitting and shitting, however respectfully, on their memory.  



If you like your music loud and Canadian then Metz may be for you.  Recalling the mighty Nation of Ulysses and, to these ears, Bob and Grant at their howling best, they know how to chill out the rolling rock in you.  Bone-cruising stuff.

More past and future noiseniks, more new records by these c****.  Batsauce, Chuck Prophet, Dan Deacon, Bill Fay, Bobby Womack, Dexy's, The Flowers of Hell, Josephine Foster, Mac Demarco, Mission of Burma, Holly Golightly and the Brokeoffs, Momus, Orbital, Tindersticks, The Wave Pictures, The One Ensemble, Laurel Halo, Bob Mould...Momus.       

Momus?






If 2012 saw anything, it saw a return to 'floaty dreamscapes' - a bit shoegazey but where you could see your reflection in your uppers.  Both Tennis and Taken by Trees are fine examples.

It's been a great, great, great year for noise, noise, noise.  

Australia's Royal Headache delivered a fast and furioso set, harking back to torn and ripped ears/jeans of yesteryear.  Arto Lindsay, Marc Ribot and Mike Ladd resurfaced on Anarchist Republic of Bzzz's marvellous eponymous album. 

More noise?  Records from Dean Blunt, Japandroids, Dope Body, Agent Side Grinder, Dead Rat Orchestra, Godspeed (in a magnificent return to form), remixed albums from Bjork and Mogwai and their various collaborati, Gonjasufi, El Ten Eleven, Mark Eitzel, The Fall, Iris Dement, La Sera, Astra, The Pheromoans, Death Grips, Kid Koala, Spider Bags, Dinosaur Feathers, This Many Boyfriends.  The Fall.

The Fall?



In an astonishing year for reissues, no album was more revered than William Basinski's 'Disintegration Loops.'  An awe inducing piece of work, it paved, and continues to pave the way, for much of what is happening in new electronic music today.  

You must have it.  

What else? Drexciya's phenomenal output collated in the 2 volume 'Journey's of the Deep Sea Dweller,' David Sylvian's 'A Victim of Stars,' the recent slew of Karen Dalton re-issues, more new King Tubby releases - especially those on VP records, the welcome remastered version of Lynch/Splet's, 'Eraserhead,' Oliveros's 12 CD box set (not forgetting the collected Deep Listening Band material reissued recently on Ltd edition vinyl), Virgin's Roxy Music Complete Studio Recordings and, of course, reissues of classic albums by Massive Attack, MBV, Ken Higney, The Heads, The Human League, Swans, Tortoise... and, of course, undoubtedly the best and most important, this...



So, 2012 rears and allows its ugly head to fall.  If you like any of these records why not buy them.  In your local record shop.  NOT HMV.  Y'hear?

To finish - Gerry Love's/Lightships homage to love - the beautiful 'Electric Cables.'  

Being beautiful is not impossible.

Now where did I leave that NEW SCOTT WALKER ALBUM!!!

                                            

Slashed, not burned...

 

Although officially released by Slash records in 1983, Violent Femmes actually recorded their eponymous debut in 1982 - which affords us legitimate ample opportunity to shout about it, get all dove-eyed about it and near demi-deify it in this, the 30th anniversary of its release.

It was a bit of an odd record even way back then - coming as it did in an era of lovingly upholstered long coats and perma-dried ice, the debut single from madonna and an era and genre defying record by some guy who used to sing/dance with his brothers in a band.

With so much going-on and being begun, a freshmen album from some mid-North West musical miscreants was hardly likely to register highly if at all on pop/rock's increasingly ephemeral Richter scale.  But, hugely, surprisingly, it did.  The record found its audience: the same long-coated sophomores looking for a new bible of the beats finding it in the new age kerfuffle-skiffle-punk of this mightiest of trios from Wisconsin.

The record has not dated one inch of one iota.  2 tracks to follow - one live, and one not so.  

Break your heart all over again.

Under the radar...what radar?

It's been 41 years since Bill Fay recaptured our hearts with his second album 'Time of the Last Persecution.' Bill has often suffered at the biting hands of critics: lazy journalism often saw him dismissed as a Nick Drake clone here or a Graham Nash clone there...

These barbs were unfounded and grossly unfair, contributing to his star shining dimly, if at all, throughout the already drifting towards excess 1970's.

2012 sees a new record by Bill Fay, 'Life is People' - on Dead Oceans records.

The voice has changed over the years, becoming more sonorous yet, softer, imbuing the meticulously crafted songs and their choreographed arrangements with a timeless, haunting quality.

And, after 40 years of waiting and waiting, that's more than enough.

The Wonderful Kitty Wells...

Kitty Wells was a true Country music original.  A recording artist for over 40 years, she began her performing career as early as the 1930's performing as part of The Deason Sisters.  The 1940's saw her join the already established Tennessee Hillbillies and then, on Jack Anglin's return from the Army, with her husband Johnnie Wright and Anglin, singing and playing guitar as part of their Johnnie and Jack duo.

Recording initially for RCA; who found her in your face determinedly 'unfeminine' fierceness difficult to market, her greatest success came when she signed for Decca Records.  Paul Cohen, A & R man for the Stateside arm of the company, was looking for an answer song to Hank Thompson's 'The Wild Side of Life;' a song which to this day still rankles many with its thinly veiled sexism.  It certainly inspired Ms Wells: her recording of Jay Miller's 'It Wasn't God Who Made Honky Tonk Angels,' set her on the road to stardom, establishing her as the nascent queen of Country Music.

It really was no contest.  And, for many, it stayed that way.

Kitty Wells was that rarest of rare things - a quiet revolutionary.  Kind, sympathetic and willing to do whatever she could to help young musicians, especially young women musicians, gain a foothold in a precarious often combative industry, she will be remembered for this, for her unequalled generosity of spirit and, most of all, for her voice - which never failed to inspire and uplift.

Guitar? Wolf? Guitar Wolf!

The wonderful world of Guitar Wolf rears its decreasingly ug-ly head at the venerable Glasgow institution that is Mono on the 4th of June (perilously close to my birthday, hipsters...).

The kindly folks at Mono explain 'Guitar Wolf live at Mono - 4th of June 2012!!!'

If you like your squall with a capital Yee-Ha, then GW are for you.  Bring your parents too.  If you're a parent yourself - nae luck - your kids are probably near the front practising their stage misdemeanour, trying on their school teachers make-up and planning partial world domination with a collective flick of an uncultivated wrist...

One more reason to believe...

Karen Dalton, whose magnificent album '1966,' has very recently been issued on Delmore Recordings is a true original.  Her unique voice, her idiosyncratic interpretations of compositions by the likes of Tim Hardin and Fred Neil, and her own inflected and infected songs, marks her as an artist of the first degree.

So why do so few people know about her?  It's difficult and surprisingly easy to guess.  Dalton's life was one marked by personal and artistic struggle - often, with the music playing second fiddle (awful pun intended) to her personal demons - her recording career was sporadic, with only two albums released in her lifetime.  

'1966' is a marvellous record.  Essentially a rehearsal tape, it includes full-throated, open-armed renditions of songs old and new - and criminally undiscovered - by an artist at the peak of her considerable powers.  

Black and Blue Velvet

Many writers, musicians and film-makers, of a certain age, or as they get older, are often content to produce work that reinforces the views that their already audience has of them. It's an easy way out, and it pays the bills.

David Lynch and Tom Waits are near contemporaries of one another. They each have a rich legacy of work - both commercially and highly critically accalaimed, complex and startlingly involving, which asks, which demands, that you stop whatever unremarkably inconsequential thing it is that you're doing and begin to listen.

Both David and Tom - my very good friends - have released brand new albums.

In Lynch's case, it's really his first full album of songs (in collaboration with engineer and sonic fraudster, Dean Hurley), and it's a fun packed and packaged ride into doom, murder and voyeuristic despair.

Which, of course, makes it a typical David Lynch joint; the inescapable nuances, jarring juxtapositions and bloody-minded 'awkwardness,' seamlessly and searingly equating with his very best film work.

It's marvellous and you must have it.





Tom - one of my very, very good friends - has, in 'Bad As Me,' produced his best album in over a decade, one of his finest in truth.

Waits has often been accused of overrehearsing his rebelliousness and ootsiderishness - and of making music that sounds as though it was propagandised by a poorly paid impersonator; the snarls, grunts and grimaces, mere affectation.

Here though, Waits has returned to the bruised blues for his inspiration - and it has paid off. Big time (ahem).





So, two more albums to get over excited about. Who'd a thunk it?

The first night of the fair...

Of course, everyone has their favourite...

Today is the release date of the definitive collection of the recordings of The Smiths - from Rhino records.

Rhino make a more than compelling case for the swift purchase of this colossal box-set; undoubtedly it will be a huge success, will quickly sell-out, leaving hundreds of Smiths' completists crying into their luke-warm milk - no doubt allowing some unwell meaning, enterprising young capitalists the opportunity to extort these devotees with alarming alacrity...

Never mind.

The music is all that should ever matter, the format not.

I remember, when I was a clear broth of a boy, poorly limbed, eccentrically excessive - a box-bedroom rebel (Copyright, The South bank Show/Ray Galton and Alan Simpson). The Smiths very quickly became all the music I ever wanted/needed to have.

Here was a big galoot, with flowers in his hands and up his arse, surrounded by more vaguely dangerous boys from the South. I loved them - it was my music, nobody elses, written for me and only for me; I digested it with unreluctant abandon, wiggling my own culpable arse.

It will be John Peel's anniversary tomorrow. Without him, we would probably never have heard The Smiths or the legions of other bands his shows championed. I heard them on his show, head tucked dutifully under the blankets, breathlessly waiting to hear the next wondrous track from these most 'handsome,' of devils.

Thanks John and thanks to The Smiths.

Let's Get Lost...

This year has been something of a red letter one for fans of Emeralds' near the front man Mark McGuire.

Following on from last year's marvellous 'Does it look like I'm here;' which fans of this site will know was nominated for a Hairy, Mark McGuire's new record is a thing of shabbily glittering beauty - part Frippertronics, part dirty Durutti Column - drone with amplesome attitude.

This attitude conveys itself perfectly in the music, and in its darkly twisted inherent beauty.

Available now from the wonderful Editions Mego label.

'Get Lost'
'A Young Person's Guide'

Rock Hard...

Def Jam has been the defining record label in Hip hop music for over 27 years.

Much has happened in that time - including, as early as 1988, the departure of co-founder Rick Rubin to set up Def American leaving Run DMC impresario, Lyor Cohen in charge.

The label is synonyomous with many of the great names in rap music. Everyone will have their own favourites - whether dancing to LL Cool J, marvelling at the lipchronicity of Beastie Boys or being moved to anger or action by the turntabling terrorism of the, then, nascent Public Enemy.

The definitive history of Def Jam is packed with anecdotes and recollections from the main players in the story of a record label that, quite literally, from LL to Jay-Z, revolutionised our musical listening...







This blog entry has chosen to focus on the early years of Def Jam. This is not to
detract from the work that followed - marvellous, genre-defying and creating
records from artists as diverse as Redman, Method Man, Warren G, Jay-Z, Rihanna and....

Return to server...

Marcus Gray has been writing about The Clash for an awful long time - since 1997 in fact, when the publication of his seminal, 'Last gang in town,' recalibrated the myth and the method for a newer, less tousled generation.

In 'Route 19 Revisited: The Clash and London Calling' Gray has revised the 2009 version of his book, further contextualising, for today's stridently, politically apathetic ageneration, the importance of music and art in changing our inner and outer lives.

Opinionated, political, polemical - much like the record it so unequivocally champions, Gray's book is a marvellous read for fans of music and its heralded abilities to inspire and uplift.

When the night has come, and the land is dark...

Nicholas Ashford, along with his wife, Valerie Simpson, wrote a string of hit records that defined the soul musical landscape of the 1960's, '70's and '80's.

That landscape was no more epitomised than in perhaps, the greatest, certainly the most joyous, performance of one of their songs - Marvin Gaye and Tammi Terrell's magisterial 1967 hit, 'Ain't no mountain high enough,' undoubtedly one of the great pop moments of that halcyon decade.

Everyone will have their own favourites - whether as a writer or as a performer, Ashford set the benchmark for effortlessly crafted, instantly memorable music. A particular favourite is Aretha's marvellous 1964 recording of 'Cry like a baby,' sweet, pure soul music, expertly and sympathetically created, that brought out the very best in the very best.








It is difficult to imagine a world without the songs of Jerry Leiber and Mike Stoller. They are unquestionably one of the great songwriting teams in musical history - able to break our hearts and, in a vital second, rescue us from our too private despair with the marriage of their unassailably beautiful words and music.

And marriage it most certainly was - Leiber's sharper than sharp lyrics dovetailing perfectly with Stoller's insistent staccato rhythms and similarly hectic counterpoint. Their groove was infectious and it caught the ears and lungs and legs of young America, who listened to and danced to and sang their music, venerating the bands who so fastidiously recorded and performed it.

For this writer, Jerry Leiber co-wrote two of the greatest songs of the Rock and Roll era.

And, courtesy of Youtube, we get to hear those songs, their songs, one more time.

For all time.





For Nicholas Ashford and Jerry Leiber.

A million more reasons...

It's been six years since Idaho last released a record. Long years.

In that time, musical fashions have changed, some artists have come and gone. Yet Idaho, and their strangely sculpted musical landscapes, remain.

Just.

Their new record, 'You Were A Dick,' is available, both to listen to and to buy, from bandcamp.

Do your ears and, perhaps, your torn heart a favour and listen to one of the most beautiful bands around...