Raw, dark, and full of piercing emotional depth, Collection, the 2nd album from New York trio Patio, — produced and mixed by Nate Amos (Water from Your Eyes, This Is Lorelei) and mastered by longtime collaborator Amar Lal — is a radiant collage of shifting identities, sensory illusions, and deconstructed disco grooves. More complex and purposeful than the fragile post-punk of 2019 debut Essentials, the album reflects transition, conceived to flow from “day” (contemplative opener “The Sun”) to “night” (dub-inspired closer “Inheritance”). New sonic influences like disco (Donna Summer, The Bee Gees) and 2000s New York indie (Yeah Yeah Yeahs, Interpol) evoke freedom and euphoric joy — maintaining the band’s signature minimalism, When the members of Patio contemplated the inspirations for their long-awaited second album, Collection, they came up with an eclectic mood board comprising videos and images. A 1977 David Bowie performance of "Heroes” on Top of the Pops. Laura Branigan belting “Gloria” beneath a sea of disco balls. Masterpieces in marble by Michelangelo and Bernini. Jude Law in The Young Pope. Portraits of iconic superstars: A dapper Bryan Ferry, a melancholy Carmela Soprano, Bianca Jagger serving side-eye, and Andy Warhol eating a cheeseburger. “Collection” is out in September on Fire Talk.

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Raw, dark, and full of piercing emotional depth, Collection, the 2nd album from New York trio Patio, — produced and mixed by Nate Amos (Water from Your Eyes, This Is Lorelei) and mastered by longtime collaborator Amar Lal — is a radiant collage of shifting identities, sensory illusions, and deconstructed disco grooves. More complex and purposeful than the fragile post-punk of 2019 debut Essentials, the album reflects transition, conceived to flow from “day” (contemplative opener “The Sun”) to “night” (dub-inspired closer “Inheritance”). New sonic influences like disco (Donna Summer, The Bee Gees) and 2000s New York indie (Yeah Yeah Yeahs, Interpol) evoke freedom and euphoric joy — maintaining the band’s signature minimalism, When the members of Patio contemplated the inspirations for their long-awaited second album, Collection, they came up with an eclectic mood board comprising videos and images. A 1977 David Bowie performance of "Heroes” on Top of the Pops. Laura Branigan belting “Gloria” beneath a sea of disco balls. Masterpieces in marble by Michelangelo and Bernini. Jude Law in The Young Pope. Portraits of iconic superstars: A dapper Bryan Ferry, a melancholy Carmela Soprano, Bianca Jagger serving side-eye, and Andy Warhol eating a cheeseburger. “Collection” is out in September on Fire Talk.

Raw, dark, and full of piercing emotional depth, Collection, the 2nd album from New York trio Patio, — produced and mixed by Nate Amos (Water from Your Eyes, This Is Lorelei) and mastered by longtime collaborator Amar Lal — is a radiant collage of shifting identities, sensory illusions, and deconstructed disco grooves. More complex and purposeful than the fragile post-punk of 2019 debut Essentials, the album reflects transition, conceived to flow from “day” (contemplative opener “The Sun”) to “night” (dub-inspired closer “Inheritance”). New sonic influences like disco (Donna Summer, The Bee Gees) and 2000s New York indie (Yeah Yeah Yeahs, Interpol) evoke freedom and euphoric joy — maintaining the band’s signature minimalism, When the members of Patio contemplated the inspirations for their long-awaited second album, Collection, they came up with an eclectic mood board comprising videos and images. A 1977 David Bowie performance of "Heroes” on Top of the Pops. Laura Branigan belting “Gloria” beneath a sea of disco balls. Masterpieces in marble by Michelangelo and Bernini. Jude Law in The Young Pope. Portraits of iconic superstars: A dapper Bryan Ferry, a melancholy Carmela Soprano, Bianca Jagger serving side-eye, and Andy Warhol eating a cheeseburger. “Collection” is out in September on Fire Talk.

Inspired by classic British post-punk, the songwriting of Cate LeBon, and the close-knit Brooklyn DIY community from which the band first sprouted, Patio now release their long-awaited debut full-length Essentials, a fundamental collection of new music for 2019. Building upon the delicacy of the band’s prior work, Essentials presents fuller sounds, heightened emotions, and grander thematic complexity. Its 10 tracks are dark and introspective, yet hopeful, and often humorous—from rambling spoken word meditations to sparkling melodies and soaring riffs. Melodramatic and grotesque expressions abound, as do soft, subtle moments of quiet self-examination. Mixed by Amar Lal (Big Ups, Ovlov) and mastered by Sarah Register (Protmartyr, US Girls) 

Recorded in caves, crypts, and shopping centers, Mandy, Indiana's debut album’ i've seen a way’ is everywhere at once: Their first recordings emerged around 2019, with a smattering of early singles released not long after, culminating in 2021’s critically acclaimed ‘…’ EP which saw the band draw early cosigns including a remix from Daniel Avery and support slots from Squid, and Gilla Band.  The latter’s Daniel Fox mixed several of the tracks on the album alongside Robin Stewart (Giant Swan) and the album was mastered by Heba Kedry (Ryuichi Sakamoto, Bjork).  Like Thomas Bangalter locked in This Heat's Cold Storage fridge studio with Special Interest for a weekend, keeping their setup minimal for maximum effect. Buried found sound samples, sprawling percussive experiments are arranged via oblique references to film soundtrack strategies and experimental video games.. "We take inspiration from films where the language of cinema is disrupted," explains Fair, who takes Julia Ducournau's narrative detournements as a key influence. "We want to alter textures, create clashes, and craft those moments when what you're expecting to happen never comes – by subverting expectations you keep an audience on its toes." Though ‘i’ve seen a way’ was  painstakingly crafted, where Mandy, Indiana thrives is the unexpected - and the resulting album sounds like nothing that has come before it.

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“I want nothing more than to be a loner,” Emily Kempf sings early on Flower of Devotion, the new album by Chicago trio Dehd. It’s a startling admission coming from a songwriter who, just a year ago on Dehd’s critically acclaimed Water, wrote eloquently about the joys and pains — more than anything, the necessity — of love, compassion, and companionship. But then, “admission” isn’t really the right word here, given the stridency of Kempf’s tone. “Loner” is a declaration.

The record ups the ante on Dehd’s sound & filters in just enough polish to bring out the shining and melancholy undertones in Jason Balla and Emily Kempf’s songwriting, even as it captures them at their most strident. Balla’s guitar lines at times flirt with ticklish cosmic country, while at others they reflect the dark marble sounds of Broadcast. Kempf, meanwhile, establishes herself as a singer of incredible expressive range, pinching into a high lonesome wail, letting loose a chirping “ooh!,” pushing her voice below its breaking point and letting it swing down there. When she and Balla bounce descending counter-melodies off one another over McGrady’s one-two thumps, or skitter off over a programmed drum pad, they sound like The B-52s shaking off heartache.

What makes Flower of Devotion so impressive is how its creation seems to have strengthened its creators, both as individuals and as a unit, even as they’ve stared down their own limitations. It’s also striking just how much fun they seem to be having in the process. “It’s okay to be lighthearted in the face of despair,” Kempf says. It’s a theme that runs through the album, from the opening back-and-forth build of “Desire” to the click-clacking chorus of “Haha,” which finds them deflating their own history. Flower of Devotion was recorded in April and August of 2019 in Chicago. It will be released on Fire Talk Records on July 17th 2020.

2nd Pressing
Glow in the Dark Vinyl - 300 Copies
Black in Bright Green Vinyl - 500 Copies
Black Vinyl - 500 Copies

1st Pressing
Neon Green Splatter Vinyl - 500 Copies
Black Vinyl - 500 Copies

* Additional color variants available via fine independent retailers everywhere.

What do you do when pain blots out joy? How do you learn to take care of yourself? What happens when the things you think are helping end up doing the most harm? 'Auto-Pain' is the Sophomore album from Deeper, a record that finds the band embracing open space, using synths to create shadows where bricks of guitars once would’ve blocked out the sun. The group — singer and guitarist Nic Gohl, bassist Drew McBride, and drummer Shiraz Bhatti — were all graduates of Chicago’s rich DIY scene who came together around their love of Wire, Devo, Gang of Four, and Television. While the new record is still within the Great Lakes post-punk tradition of their debut, the album isn’t as insular as its predecessor; it’s less interested in pile-driving and more willing to dwell in liminal spaces. Guitars enter the picture precisely, locked bass grooves propel things forward. Drummer Shiraz Bhatti, who is half-Pakistani and half-Native American, embraced the drumming patterns he’d heard growing up at pow-wows, channeling the anxieties of his heritage into his playing and keeping the group grounded when they switch into all-out percussive attack. The result is an album both more nuanced and catchy.

Auto-Pain represents the constant wave of depression felt by many in everyday life. Stemmed from Aldous Huxley’s ‘Brave New World’, Auto-Pain is a concept meant to be an inverse to soma, a pill in the book which makes everything numb. The idea of auto-pain is to epitomize the desire to return to a connection with thoughts and clarity, which comes at the expense of feeling everything simultaneously. The album artwork features the now-demolished Prentice Women’s Hospital in Chicago capturing the band’s rounded-off brutalism, and the album title appears in Urdu, a nod to drummer Shiraz Bhatti’s Pakistani heritage. The record was recorded and mixed by Chicago scene luminary Dave Vetraino (Lala Lala, Dehd) and mastered at Chicago Mastering by Greg Obis (Ne-Hi, Melkbelly).

• A portion of the proceeds from Auto-Pain will be donated to Hope For The Day an organization that actively works to break the silence surrounding mental health.

Deep in View is the debut album from former Ought members Tim Darcy (vocals, guitar) and Ben Stidworthy (bass) alongside Evan Cartwright (drums). Titled after philosopher Alan Watts’ anthology of the same name, the record is built on a foundation of elegant guitar grooves and knotty rhythms, offering commentary on modern life and technology through curious lyrical vignettes, where quotidian objects and scenes are never just as they seem. Deep In View is equally a product of introspective songwriting as it is a consideration of the abstract landmarks of an increasingly media-mediated society. It also presents the most concise and melodic songs Darcy and Stidworthy have written to date.. The album sounds streamlined and intentional, as the rhythms of the punchy and exuberant guitar parts, urgent basslines, and unexpected drum patterns all tangle with each other in an elegant dance. At the center of all these elements is Darcy, whose characteristically wry voice shifts from detached to decisive to distressed, throughout the album’s course. Both enigmatically dense in meaning but precisely intricate in sound, Deep in View is an album that sparks novel interpretations with every listen, like an art object that takes on new shape with each angle from which you hold it.

‘Fairy Rust’, the new album from Wombo contemplates the spaces in-between, a meeting of the physicality of the land with the fluidity of the imagination, to uncanny effect. Across twelve tracks, sharpened guitar work, distorted freakouts and downtempo musings weave together a tapestry of sound that’s both intoxicating and effortless, where one minute it’s all deadpan post-punk energy, and the next Stereolab on a mountain top. The music functions as their own localized language that feels uniquely out-of-body. Conceived over the course of the last two years, the record is steeped in its own time warp of escapism, and influenced by fairy tales like the Brothers Grimm and Hans Christian Anderson that blend surreal situations with the mundane. Flirting with prog, pop and effervescent post-punk, Wombo’s forward-thinking approach set them apart as one of the most exciting up-and-coming bands right now. MIxed by Dave Vettraino (Dehd, Deeper, Lala Lala) & Mastered by Jonathan Schenke (Parquet Courts, Snail Mail, Pottery).

‘Crispy Crunchy Nothing’ puts to rest any notion Madeline Link had about finding the end. Burnout, dead-end jobs, bike theft, stress dreams, heartbreak — PACKS move forward through them all one line, one lick, one beat at a time, equal parts Alex G’s whimsy and Helvetia’s thunderous dynamics. Sticking together songs written in Toronto, Ottawa and Mexico City (while Madeline completed a papier-mâché residency), Crispy Crunchy Nothing revisits the fuzzy alt-rock of 2021 debut Take the Cake and adds some folksy twang to the mix for an album that explores the tension between independence and isolation, between living life to the fullest and feeling like you’re wasting your time. Influenced by country-tinged contemporaries like Renee Reed and Angel Olsen and Madeline’s lockdown-era listening sessions with her dad, of albums by Hank Locklin and Hank Williams. Crispy Crunchy Nothing is heavy, and Madeline makes little effort to hide the depths of her feelings. But after the rain, flowers peek up from the soil. “Laughing Till I Cry,” a reject from a commercial,  recalls fond memories of spending time with her sister: “Sometimes, I feel like life is on my side.” And “Always Be a Kid,” jangling and swaying with the Nashville guitar in the foreground, keeps her chasing those smaller Matryoshka dolls, looking for companionship but settling for herself in the meantime. “So now, I feel alive,” she repeats, over and over again. And by the end, it sounds like she’s starting to believe it.