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).

Valentine Caulfield and Scott Fair (guitar/production) met a couple of years ago when their respective previous bands shared a bill in Manchester. Caulfield was drawn to Fair’s aspirations to write beyond genre, while Fair was instantly taken with the singer’s magnetic stage presence and harsh, visceral vocals delivered in her native French. The pair also enlisted Liam Stewart (percussion), a touring musician who’s powerhouse rhythmic presence compliments the pair’s vision—emphasizing raw energy and emotion over meticulous composition to create a singular cathartic experience.

The songs on ‘…’ EP were recorded in a variety of spaces, from rehearsal rooms and home studios to cavernous industrial mills. You can hear it in the recordings: the clattering footsteps, muffled piano and chatter at the end of “Bottle Episode” were taken from the hall outside of one of their recording spaces. Other sounds like a buzzing fluorescent light and the rhythm of a passing train also found their way into the mix. Mandy, Indiana’s influences are fluid and their lyrics are left intentionally open to interpretation, but the group acknowledge cinematic references alongside musical touchstones. The band’s self-made music videos, influenced by the macabre film-making of Gaspar Noe and Leos Carax, see them carefully stitching together found-footage montages. Every image feels intentional, providing a visual chaos that matches the music’s unpredictability. Mandy, Indiana’s debut EP documents where they’ve been, where they are now, and where they’re going.

Drifter, the first album in a decade from San Francisco shoegazers Young Prisms is a record that finds steadiness in the embrace of uncertainty. Forming in 2009, with release of a self-titled EP on esteemed indie tastemaker Mexican Summer followed by two full lengths (2011’s Friends For Now and 2012’s In Between) on Kanine Records. Coming of age during a time where the band’s blend of introspective shoegaze and gauze-laden guitar earned them tours with bands like the Radio Dept, Dum Dum Girls, A Place to Bury Strangers and Moon Duo, Young Prisms never quite reached the same heights of commercial success afforded to some of their peers. At its core, Drifter is about the human experience and finding a balance between the thrills and intensity of wanting - another person, a better life - and the quiet rewards of finding peace in domesticity, whatever shape that may take. As the band explains, the central chorus of the lead single “I believe in you, honeydew” changes meaning as you realize that you can’t fix things, but you can figure out how to believe in yourself.” In many ways, Drifter feels like a homecoming - throughout the flux of growing older and not necessarily growing up in the ways you expected, the band has found their footing with the time afforded when you finally take the pressure off. It’s a record that could have only been made with real passage of time, through the world-weary vantage point of a group of friends that can’t stop coming back to each other. "Drifter gave my inner demons permission to surface and form into something less despondent. I tend to draw inspiration from my more crippling moments, but as we’ve matured I've found happiness in practicality and maybe there’s a source in that, too." Recorded from June 2020 through February 2021 and produced by Shaun Durkan (Weekend, Soft Kill), Drifter, mastered by Heba Kadry (Slowdive, Bjork, Japanese Breakfast).

1st Pressing
400 Copies on Violet Haze Vinyl
400 Copies on Black Vinyl
*Additional 400 Units on Bright Blue Indie Exclusive Vinyl Available only at Independent Record Stores