New From Sydney: Phantastic Furniture + Georgia Mulligan + Morning TV

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I’ve been heaps busy with wrapping up at work and uni, so I’ve gotten pretty lazy on the Internet side of things. NO MORE! Here’s a few tunes from Shitney you should familiarise yourself with:

Phantastic Ferniture – Gap Year

A nation of kids have just finished high school – according to numbers I’ve just made up, 50% will go on a gap year to “find themselves”. They’ll head to Europe on their parents’ dollar, pick up a range of STD’s and get too drunk to remember any of it, except for the part where they got, like, SUPER HIGH in Amsterdam. Bro, you totally gotta go.

The only “Gap Year” worth actually taking is the one from Phantastic Ferniture – lush, delicate and enough heartbreak to make Vin Diesel well up with tears and start complaining about all the dust in the room, the hats go off to this song, and this band. There’s huge things for them next year, so make sure you buy ’em a beer in a vain attempt to hitch a ride on their coattails to fame.

Georgia Mulligan – White Lies

More incredibly beautiful stuff outta my hometown, “White Lies” stands out for Georgia Mulligan’s incredible voice, in much the same way that Die Hard stands out from action movies because of Bruce Willis’ ability to deliver one-liners perfectly.

Although she initially started off with a series of covers, “White Lies” shows Mulligan embarking into original territory with the kind of ease that makes you scream, “Jesus Christ, why didn’t you start doing this earlier”. It helps that “White Lies” is a total ear worm, but not the kind that you’ll be able to replicate yourself due to the fact that you’re tone deaf and your voice sounds like a pair of aardvarks rooting in a dustbin compared to Mulligan’s. To get the full satisfaction of this song, you’ll just have to keep hitting repeat.

Morning TV – Golden

The only time to bother with morning TV (the concept, not the band) is whilst waiting in dentist offices, or when you’re so drunk that you just NEED to see how big Richard Wilkins’ head actually is. Now, there’s another decent reason to look that shit up.

Morning TV are a brand new band, serving up some nice slices of dream-pop. Think Unknown Mortal Orchestra meeting the drowsy swoon of Craft Spells or Wild Nothing for a drink at some new, trendy bar that hasn’t been completely overrun with dickheads just yet. On the morning TV spectrum, “Golden” falls somewhere close to the joyful antics of Karl Stefanovic, as opposed to the disturbing chortles of Kochie.


New: Tiny Little Houses – Soon We Won’t Exist


G’day Merge Records. How you going? Been a while, hasn’t it? Laura, what’s up with you? Mac! Good to hear from ya, mate! Haha, yeah, last time I saw you, I’m pretty sure we were face down in the a pool of cranberry coloured vomit in New Orleans! And that fucking guy thought you were Michael Cera’s dad and wanted you to get an autograph for him? Classic!

Anyway guys, there’s this band from Melbourne…yeah, look, don’t hold it against them, we can’t all be from Sydney hahahaha. Anyway, they’re called Tiny Little Houses. You guys remember that golden era in the 90’s, when you were releasing all those alt-country tinged rock bands – Magnetic Fields, Neutral Milk Hotel, Lambchop? You remember those days? I sure do! Man, what a hoot! Albums packed with incredible song after incredible song, live shows that would take your breath away? Remember that time the editor from Pitchfork pulled out a knife and swore that he would cut off his arms if you gave him the premiere of that Neutral Milk track? Guys, this band will have the same Pitchfork editor selling his goddamn soul to get a piece of Tiny Little Houses.

Seriously…Mac…Laura…you guys…listen to this song. It’s the closest approximation to those salad days that I’ve heard in all my years. “Soon We Won’t Exist” it’s called (I think, don’t quote me on that). It’s so fucking beautiful! Soulful, meandering beauty planted on a cliff face for the whole goddamn world to see. You hearing me? It’s good…real good. Shit, I’m half-tempted to fly you guys out here just to check ’em out, but I’ve calculated that it would take me 35 and a half years of working this shitty cafe gig before I could buy you both a QANTAS flight. So maybe take a listen, and buy your own bloody ticket? Haha, take care legends!

Rye Rye

New Aus Music: Emma Russuck + Twin Caverns + Eleanor Dunlop

Sappy introduction warning!

Here’s some beautiful music that’s going to make your dreams that much sweeter. If these songs don’t make you want to work out of the back of a van, selling vegetables and safe sex kits to inner city children for free, then nothing will.

Emma Russuck-You Shouldn’t

Absolutely beautiful song. Really, you could be a unicorn that won first place in the beauty pageant, and you still wouldn’t be as amazing as this song. It’s a hurt, heart-tugging piece about sex, love and misfortune. This all seems pretty familiar territory, but the way Emma Russuck bends her lyrics into pure emotion, with the gorgeous guitar/piano accompaniment weaving in forlorn patterns amongst the heartbreak, it all seems like new ground.

Twin Caverns-Undiscover

This song is another beautiful track, and undeniably poignant. The way it trickles and haltingly flows, it’s like a swan gracefully landing in a lake. Amazing imagery, I know. There’s the spectacular beats x piano x luscious vocals x ambience thing going on, and to be perfectly blunt, its goddamn breathtaking.

Eleanor Dunlop-Rough Side of Town

The first thing that strikes about Eleanor Dunlop is that her voice is totally resonant of Cat Power. In fact, her entire atmosphere reminds of Cat Power’s trailing, whimsical and smart demeanour. The shuffling drums, nodding piano, and shivering percussion provides for a cold, sleepy reverbation throughout ‘Rough Side of Town’. But its her voice that really takes the song off. Similar to the way you find yourself careening to one side every time you do a mad, sick turn in Mario Kart, you find yourself leaning over every time Dunlop swells her voice to pirouetting heights.

Video(s): Scott & Charlene’s Wedding + Oscar Key Sung + Jon Hopkins + World’s End Press + Ariel Pink & Sky Ferreira + Kramies

Videos. Joke about MTV. Slight snicker, or at the very least, you breathe more air out of your nose than usual. With the introduction done, a small segue is used to seamlessly transition into the article, the reader satisfied by the author’s air of originality.

Scott & Charlene’s Wedding-Charlie’s In the Gutter

By now, you’d know Scott & Charlene’s Wedding as that super awesome dole-wave band that’s part Melbourne, part New York City. On ‘Charlie’s In the Gutter’, there’s that traditional slacker vibe of rejecting bullshit that Craig Dermody does so well, but there’s also a little more electricity in the guitar. Meanwhile, scenes from the life you wish you had flash by in the video.

Oscar Key Sung-All I Could Do

The rhythmic wizard that is Oscar Key Sung proves why he’s one of the most enchanting producers in Australia right now with ‘All I Could Do’.A little bit xxyyxx, a little bit Jon Hopkins, it swishes around on those little stilts of synth magic. But Key Sung’s own voice of melted chocolate and his compatriot on the ‘hmm’ sample make this song more delicious than an explosion at the cotton candy factory.

However, the video really takes centre stage here. Its like an exploration into African tribalism and unused Hollywood sets. Starting out with 80’s glitch leftovers and moving into a cloud-covered Coliseum, this video is both trippy and alluring.

Jon Hopkins-Collider

Speaking of Jon Hopkins, its Jon motherfuckin’ Hopkins. In the spiritual video sequel to The Prodigy’s ‘Smack My Bitch Up’, ‘Collider’ shows the dark underbelly to all that trancey stuff your kids are listening to. Look, there’s a party going on here, but its so violent and diluted by other forces, you wouldn’t know if you’d actually go there. The music just accelerates the unease, Hopkins’ signature shuffling minimalism that comes off screaming harder than any Bring Me The Horizon track.

World’s End Press-Drag Me Home

Aaaand, we’re back in Australia, by way of Melbournites World’s End Press. These cool fucking cats released their debut self-titled earlier this year, and although I haven’t had a chance to check out the entire thing, what I have heard has been pretty mindblowingly great. ‘Drag Me Home’ is that case closed. Like their contemporaries Jagwar Ma, World’s End Press fully embrace the style of Madchester  love, bringing the half-rave, half-cheesy love song format that made Happy Mondays so famous.

As is par for the course of a World’s End Press video clip, a whole bunch of interesting shit happens. There are scantily clad women, nerds, fingernails and unnaturally stretchy spines, all bathed in sleazy neon lights.

Ariel Pink & Sky Ferreira-My Molly

Man, this is a team-up that makes one question why the fuck it didn’t happen sooner. If Sky Ferreira wasn’t going out with the main dude from DIIV, she should have totally hooked up with Ariel Pink aka the greatest, weirdest musician this planet has right now (slightly above Dan Deacon)  because this energy is what the world needed after Sonic Youth stopped being cool weird, and got French weird.

The New York chic sheen that covers this track pokes through the grime, and the drug-fuelled, fuck-you charged ‘My Molly’ becomes a little jail cell for Pink and Ferreira to jump around in and do their best Courtney Love impersonations. The video is pretty akin to that description, lots of lazing around, staring into the camera seductively and acting like Runaways-era Joan Jett.

Kramies feat Jason Lytle-Sea Otter Cottage

And finally, ‘Sea Otter Cottage’. This one is a tad quieter and less vibrant than the previous entries, but no less amazing. Kramies bring the melancholy poetry hard and fast on their drooping miser ‘Sea Otter Cottage’. Every time you think the track’s about to fall, it is suddenly picked up by some new instrument, like macabre organ chords or vaudevillian guitar. Perhaps its the influence of Jason Lytle of Grandaddy fame that muddles and murkies their sound, but it comes off fantastically.

New: Owls of the Swamp-Ghostflake (feat. Ainslie Wills)

Despite this point of time being prime party-time music fuck yeah lets go wild is that cocaine i’ll have some cocaine oh it was salt my sinuses are burning…’Ghostflake’ is my way of consoling your schizophrenic ways with a soothing track that puts ‘Do You Realize??’ to shame. Owls of the Swamp seems like a real bluesy band name, but the music that unfolds is so rightly earthy and real. Listening to ‘Ghostflake’ wouldn’t usually be my idea of a great song, but it totally is, and when you’re listening to it, your mind will mellow and falter into a calm, quiet bed of luxury. Sound pretentious? I don’t give a fuck, when a song like this rocks up, you’ve gotta try and give it the same sort of description that something of this much pillow-biting beauty possesses.

Interview: Blitzen Trapper

sgfgI’m a massive fucking fan of Portland-based alt-country act Blitzen Trapper. Oh, and just to clarify, when I say ‘Alt-country’, I don’t mean Keith Urban talking about how much his mum sucks. I’m talking about bands like Deer Tick, Wilco, and Fruit Bats; bands that utilise a sort of country sound and style to go onto weirder, greater and definitely not racist things (suffice to say, this isn’t a country music blog). Anyway, Blitzen Trapper have just released their fantastic seventh record, logically entitled ‘VII’. You can read my review of it here. Anyway, the other day, I got to ring up Blitzen Trapper main man Eric Earley and listen to his drawl for a couple minutes. And goddamn was it a sexy drawl…

R: Hello…Hello is this Eric?

E: Uh, yeah, yeah it is, how you doing?

R: My name’s Ryan, it’s good to talk to you man, big fan of Blitzen Trapper.

E: Uh, yeah, yeah.

R: Are you in Portland right now? 

E: Uh, no, we’re in New York City right now.

R: What are you doing over in New York?

E: Well, were half-way through the first tour right now.

R: Congratulations, it’s a very fantastic album man…

E: Thanks very much, I appreciate that.

R: Now, this is the 7th record, which you’ve handily pointed out by calling it ‘VII’. Do you see any particular reason how the band have been able to stick around for so long and evolve a sound that seems quite niche, where there have been so many bands that have fallen off the face of the earth?

E: Uh, I don’t know man, I guess it’s the live music element, it’s all the touring, and playing live and stuff, and that’s…that’s sorta the important thing nowadays. I don’t know, I guess, I just keep writing songs… and I guess if I wasn’t writing as many songs, we wouldn’t be playing so much.

R: I read that you write the majority of the band’s music. How much would you say, approximately, you write? 

E: I write all of it.

R: All of it? Like, the lyrics, the instrument parts, all of it?

E: Yeah, all the chords, all of it…

R: Fuck, that’s awesome man.

E: (laughs)

R: Do you make a conscious effort to use a lot of instruments in Blitzen Trapper’s sound, to create a weirder vibe.

E: It depends on the song, I think. Y’know, some of the song’s are, like, simple, and other songs, I like to do a lot of different things. It just depends really.

R: Well, I feel that personally, just listening to ‘VII’, it’s got a lot more of a fun-loving Blitzen Trapper sound, more like ‘Wild Mountain Nation’ [Blitzen Trapper’s 2007 album] than ‘Furr’ [Blitzen Trapper’s breakout 2008 record]. Would that be correct?

E: Uh, yeah, maybe. I don’t know. We wanted it to be different to the last record [2011’s ‘American Goldwing’], there’s a lot more weird stuff kinda stuff. Yeah, it’s kinda more sounds from all over the place, as far as, different eras, different genres, stuff like that.

R: What would you say inspired this kind of more upbeat sound? In your guys lives, what was going on? Or did it just naturally occur like that?

E: Yeah, it was kind of just, y’know stuff I was into when we started writing…

R: What kind of stuff were you into?

E: Uhh, just a lot of groovy music, like hip-hop and country music basically…

R: I did hear a bit of hip-hop in the record…

E: Yeah, like old-school Wu-Tang, stuff like that. And I mean, there was a lot of the older folky stuff, y’know.

R: Cool man. Now, my personal favourite thing about Blitzen Trapper is the lyrics. What would be the process that goes into writing? I remember, the first song that I ever heard by you guys, which is still one of my favourite tracks, was ‘Black River Killer’ [from 2008’s ‘Furr’]. The thing that took me with that song was just the lyrics, and how dark they were. How do you get into the headspace?

E: I don’t know man, I think I just like telling a good story (laughs). I don’t know, I don’t really try. Most songs I write really fast, and the story just kinda comes, and I just sorta mould it I guess. Y’know, I mean, it’s like any story, a lot of it is based on real stuff for the most part, or real people or whatever. But I like to write stories, which I turn into songs.

R: Has it always been that way, just love to write stories as a kid? Did it seem as though being a musician was the natural progression of that?

E: Oh yeah, definetely. And my dad told a lot of crazy stories, so I grew up wanting to do the same thing.

R: With the lyrics, you write all of them?

E: Yeah, I wrote all of them.

R: The songs, they’re just very attractive, very old-school story-teller vibes. Have you always had that sort of atmosphere?

E: (Laughs) I don’t know, maybe.

R: Now, final question. The way I discovered you guys was through Sub Pop Records. However, I noticed that this latest album is coming out on Vagrant Records. Did the band and Sub Pop have a falling out?

E: No, we had a three record deal, and it came to the end of our contract, the deal was up, and, uh, we were just looking around for someone to put out the next record, and yeah, found them.

R: Yeah? And how come you went with Vagrant Records, as opposed to someone else? 

E:  They gave us a good offer, and they liked the stuff we put out previously. So…

R: Alright mad. Okay I lied, this is the final question: do you have any current plans to come to Australia to tour the record?

E: Hopefully yeah, I think we’ll be over there next year.

R: All right! Well, I’ll definetely be in the crowd for that.

E: (Laughs) Right on man, hahaha.

R: That’s all from me man, thanks for taking the time out to talk to me.

E: No worries. Take it easy.

‘VII’ is out now through Shock Records. Buy it here, it’s a fucking dope record.

New: Running Red Lights-Mulberry Love (free download)

Mmmm, this melts right into your mouth like a slice of warm chocolate cake on your birthday. If that sounds resoundingly fan-fucking-tastic, that’s because it is. ‘Mulberry Love’ is as cascadingly beautiful as the snow fall in Toronto (incidentally, that’s where Running Red Lights are from. Coincidence? I think not!). The song sheds any sort of pretension and simply shifts itself into a comfortable position from which it can sound awesome from. ‘Mulberry Love’ takes a little while to wake up, but once it’s shaken off the slumber and the vocals bumble in, it’s impossible to get enough of this song.

Album Review: The Paper Kites-States

ImageAhhhh yes, The Paper Kites, Australia’s premier folk-pop band. You can forget about your Mumford’s, your Edward Sharpe’s, and both the Monsters and Men can fuck off…Paper Kites are exactly what you need when you want a solid dosage of acoustic, bedridden pop. On their debut album ‘States’, the band prove that way beyond a doubt. When listening to this album, I feel like I’ve been transported to a land of oak and varnish, where the women don pigtails, and the men are coated in wispy, iron black hair. And best of all, this isn’t a bad thing.

First things first, the dual lead vocals of Sam Bentley and Christina Lacy are drop-dead gorgeous. Think of the hottest blonde bombshell of all time, Marilyn Monroe, then personify her into a voice-that’s these two people right here. It’s flowing and natural, a little bit old school, but still oozing intrigue and always seductive. The lack of urgency to their voices is completely refreshing, as most of the indie-folk bands these days can’t go two bars without sounding like they’re pleading for their genitals to be given back. The Paper Kites simply wrap themselves in the moment of their delivery, and act out a perfectly tranquil and lively ambience in the vocals. It is a pleasure to hear these two young musicians resonate and rub off one another in such a blossoming way. Listening to their voices intertwine is an experience within itself, the soft, luscious and, most importantly of all, naturalistic tones a major highlight and unique factor of The Paper Kites that can only be adored.

As for the songs themselves, well for the most part, they’re pretty excellent. Their opening tracks, ‘Malleable Beings’ and ‘St Clarity’ are just plain dream-like, floating on a folky breeze of excellence. Whilst some points in the album can wear the listener a little thin of patience, the re-invigorance of tracks such as ‘Young’ and ‘In Reverie’, with the underlying chorus energy provides a highlight for the album. Also, the quaint factor is upped to extraordinary high levels on most of the tracks, especially ‘Tin Lover’ and ‘Portrait 19’, a gentle softness smoothing over any crinkles the less exciting aspects might raise.

Overall, the pervading nature of a genuine and delicate craft is displayed with fantastic results on The Paper Kites debut album. ‘States’ is a gorgeous thing for the most part, each song resonating with a unique quality and substance that we’ve come to expect from the band. Without sounding like they’ve tried too hard, The Paper Kites have imagined something that barely anyone would be able to ignore with ease.

Album Review: Ty Segall-Sleeper


A word of warning: there is no way that I can write this without some element of bias. I love Ty Segall more than I love Star Wars, and I fucking love Star Wars. Ty Segall represents a shining hope in a music industry polluted with auto tune and lyrics about bitches. Ty Segall remedies this all with consistently amazing albums. He is one of my favourite modern artists for a reason. Ty Segall doesn’t just make brilliant music at a prolific rate; every album shows a new direction. You can bet your gallstone bladder that when there’s a new Ty Segall album on the horizon, it’s going to sound different to the last one. And it’s going to sound better than the Death Star blowing up. ‘Sleeper’ proves this beyond a reasonable doubt.

So, if ‘Melted’ was the garage rockers zeitgeist, ‘Goodbye Bread’ uncovered lo-fi at the archeologist dig, and ‘Twins’ was the 70’s pysch rockers pulverisation of the senses, what could ‘Sleeper’ be? Well, its a psychedelic-folk number that turns into the gift that just keeps giving. Don’t expect to hear much of the usual Ty Segall guitar romp though; besides the bombastic sliding ending of ‘The Man Man‘, the whole album is deeply immersed in the murky side of folk music. But, before, you get all up in arms, deriding Ty Segall as a blasphemous hippie pig, take a listen for yourself, and uncover the inner Byrds fan that’s been living inside of you this whole time. There was no way I could have made that sentence creepier.

From the beginning of the album, Ty Segall wraps you in his warm guitar embrace, warbled vocals and slackened guitar resonating with everyone who’s keen to open their mind to some amazing music. Opener ‘Sleeper’, is both epic and subdued at the same time; violins lament in the back of the mix, whilst formidable chords echo through the listeners mind-cells. Ty’s voice, dare I say it, actually sounds good, and after listening to his strung out vocals religiously for the past six or so albums, this comes as both a shock and a relief.  Meanwhile, on the Western Front (otherwise known as Third Track Land) ‘Crazy’ is the traditional Ty Segall track, with a chorus of ‘he’s here, he’s still here, though she’s crazy!’, something that would slide easily next to ‘The Drag’ or ‘Ceasar’ as a classic Ty track-only, this is done in a quiet but equally effective way as if Ty had shouted the whole thing over a warped squeal.

The album strikes a deadly balance between these two types of tracks, the heroic nonchalance of acoustic balladry and unleashed super happy fun times. After a John Wayne funeral scene track entitled ‘She Don’t Care’ that could make Johnny Cash shed a tear, and the Juarez-inspired ‘Come Outside’, Ty Segall follows up with a balls to the wall (or at least as balls to the wall as pysch-folk can get) mind melting and layered-vocal mess ‘6th Street’, and a poker-playing, heel-clicking, tobacco-swindling ‘Sweet CC’. The keeling nature of the album would see any less-experienced artist lose their shit in the balancing act, but Ty Segall has perfected it. He can switch moods at the flick of a switch, with 100% less cliche than that idiom warrants.

By the end of ‘Sleeper’, Ty Segall has taken the listener on a journey, without even realising it. After playing that opening track, a mere 36 minutes later, the listener will find themselves enraptured, not even realising how their emotions and thought processes have been subtly warped by the fantastic music they have listened to. This isn’t something to be scoffed at, no this is true musical genius on display. Like The Who and The Rolling Stones, Ty Segall has crafted a work of art, undeniable in its genius. ‘Sleeper’ is not just the next in Ty Segall’s musical triumphs; its a majestic odyssey of  the pysch-folk genre within itself, a mind blowing achievement beyond words.

‘Sleeper’ came out the other day on Drag City and Spunk Records, two of the best labels in the world. You should consider getting it if, you know, have any sort of human decency in the world, and your soul is not patrolled by Satan. Buy the record here for the price of two Tooheys longnecks. 

Album Review: Boy & Bear-Harlequin Dream


Boy & Bear are less a band and more an institution at this point. And that’s fucking impressive. ‘Harlequin Dream’ is only their second album for Beelzebub’s sake! And yet they are mammoths in the Australian music community, and right amongst the best of the folk-pop scene that has recently cultivated into a mainstream goldmine these past few years. But unlike their contemporaries (Mumford and Sons, Edward Sharpe etc. etc.) Boy & Bear are diverse and harrowing artists, who balance on the precipice of pop sensibility with folky earnest, something that Mr. Marcus Mumford seems to have forgotten a while ago. To draw on a metaphor from popular culture, Boy & Bear found themselves as Luke Skywalker at the end of Empire Strikes Back. They’re doing a laser sword battle above Cloud City, both a shining hope and in a state of total peril. However, instead of jumping off into the abyss Boy & Bear retaliated, killed the fuck out of Emperor Palpatine, and hung out with Darth Vader for the rest of eternity. (In this metaphor, Vader is Fleet Foxes). Anyway, if that hasn’t confused the fuck out of you, what I want to say is that Boy & Bear have adapted and succeeded whereas so many before them have failed.

‘Harlequin Dream’ starts with a flamboyantly joyous John Wayne cowboy riff in ‘Southern Sun’. If you’ve listened to Triple J at all within the last couple weeks, no doubt you’ve heard it. It’s the kind of successive jam that makes you hum and grind with little care, but it’s not overly captivating. Still, the chorus is a work of pop goodness, a see’s a definitive step up in terms of catchy song-writing. The next time shit gets pretty interesting is ‘Harlequin Dream’, which is nearly as perfect as they come. Dave Hosking’s vocals are wafty, husky and sincere. The stop-start rhythms perfectly combine with his voice and the chorus will guarantee many punters singing right back to the band in very off-key attempts at Hosking’s falsetto. However, and I hate to say this, but there’s a saxophone solo straight from a Kenny Rogers album on there at the end that really does more to annoy than accentuate. 

‘Harlequin Dream’ and ‘Southern Son’ will probably be the singles that fans and the radio froth over, but the real beauty of ‘Harlequin Dream’ is in the subtle tracks. There’s the super-banjo of ‘End of the Line’, the stunning and precise ‘Real Estate’, and the rollicking good times of ‘Arrow Flight’ gets front and centre and sways with gumtree fun. And of course, ‘Bridges’ is a breathtaking, tear-shedding epic that is totally grainy and clear at the same time. This song is like lounging in a hammock as meteors rain down everywhere, a once in a lifetime kinda thing. 

Although ‘Harlequin Dream’ is a fine album, full of pop exuberance and folk whimsy, it still chews at the back of my mind that maybe it’s a step down from their debut ‘Moonfire’. Whilst that record had start-to-finish flow, it takes a couple tracks for Boy & Bear to reach that momentum. However, it would be amiss not to relay that this is an album that has been lovingly crafted, a well thought-out process that belies the majority of Boy & Bear’s niche genre. Good stuff.

You can get ‘Harlequin Dream’ as of yesterday. The band play Enmore Theatre on Friday October 25. I’ll be there with my Dad, #folkpoplyf