WOMB
ONE IS ALWAYS HEADING SOMEWHERE
CLEAR VINYL/DIGITALLY
01. One Is Always Heading Somewhere / 02. Only You / 03. Slip / 04. Angels / 05. Unto / 06. Georgie’s Song / 07. Just Like Waves / 08. Interlude #2 / 09. Erosion / 10. Take (ft. Ben Woods) / 11. Sometimes / 12. O.I.A.H.S.
Label: FLYING NUN
Purchase/Listen ‘One Is Always Heading Somewhere‘ HERE
Whilst forming in Te Whanganui-a-Tara, Aotearoa, music has always been central to the siblings’ relationship. In the flat cornfield suburbs of the American midwest, Georgette would share Limewire mp3s between the three. Before then their three older siblings would show them music when they lived in a Eucalyptus forest near Daylesford, Australia. After moving to Te Whanganui-a-Tara, Aotearoa in their teenage years, the three grew alongside the music community they found there.
Since their inception, Womb have released their first self-titled Womb EP (Sonorous Circle, 2015), their debut album Like Splitting the Head from the Body (Arcade Recordings and Sonorous Circle, 2018), a second EP, Holding a Flame (Flying Nun Records, 2021), and their sophomore album, Dreaming of the Future Again (Flying Nun Records, 2022).
Womb have toured many times nationally around Aotearoa New Zealand, as well as taking their sound abroad to Hobart’s Hobienalle in 2019, and touring mainland China in 2019 with friend and booking manager Kristen Ng / Kiwese / Kaishandao. They have shared stages with various artist including Marlon Williams, The Phoenix Foundation, The Bats, Alok Vaid- Menon and Georgia Gets By (Broods).
Cello, Haz, and Georgette are all Cancer risings.
CLIPPING.
DEAD CHANNEL SKY
CD / LTD 2LP
- Intro / 02. Dominator / 03. Change the Channel / 04. Run It / 05. Go / 06. Simple Degradation (Plucks 1-13) (with Bitpanic) / 07. Code / 08. Dodger / 09. Malleus (with Nels Cline) / 10. Scams (ft. Tia Nomore) / 11. Keep Pushing / 12. “From Bright Bodies” (Interlude) / 13. Mood Organ / 14. Polaroids / 15. Simple Degradation (Plucks 14-18) (with Bitpanic) / 16. Madcap / 17. Mirrorshades pt. 2 (ft. Cartel Madras) / 18. “And You Called” (Interlude) / 19. Welcome Home Warrior (ft. Aesop Rock) / 20. Ask What Happened
Label: SUB POP
On Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum & bass, big beat—the detritus of a different timeline, the survivors of armed audio warfare.
Clipping are no strangers to sci-fi: two of their records were nominated for Hugo Awards (one of science fiction’s top literary prizes), and a novella spun-off from their music was nominated for a third. On Dead Channel Sky, Clipping’s co-conspirators include everyone from the guitarist Nels Cline, to their labelmates Cartel Madras, rapper/actor Tia Nomore, and wordsmith Aesop Rock. Diggs is known for intricate lyrics and rapid-fire rapping, and the tracks that Snipes and Hutson build in the background are no less complex. All of the above serves to give us a glimpse of an adjacent possible present, where hip-hop and cyberpunk are one culture. Binary stars are often perceived as one object when viewed with the naked eye. Like those twin sun systems, it’ll take some special equipment and some discerning attention to pull the stars apart on this record.
CIRCUIT DES YEUX
HALO ON THE INSIDE
CD / LP
[CD] 01. Megaloner / 02. Canopy of Eden / 03. Skeleton Key / 04. Anthem of Me / 05. Cosmic Joke / 06. Cathexis / 07. Truth / 08. Organ Bed / 09. It Takes My Pain Away
[LP] A1. Megaloner / A2. Canopy of Eden / A3. Skeleton Key / A4. Anthem of Me / A5. Cosmic Joke / B1. Cathexis / B2. Truth / B3. Organ Bed / B4. It Takes My Pain Away
Label: MATADOR
Halo on the Inside is the product of metamorphosis. It is the butterfly and the beast – a rhapsodic, hedonistic, dance floor-adjacent, pagan-friendly, horns-adorning wall of sound and emotion. Halo on the Inside finds Circuit des Yeux renewed, recombinant, and thrillingly alien.
Bringing Halo to fruition involved numerous changes in Haley Fohr’s typical methods of operation. She worked at night in her basement studio from 9 p.m. to 5 a.m. turned herself loose on unfamiliar tools, winding her way through pedals and synthesizers, finding “play and melody through software malfunction and feedback.” The process was adjourned in a trip to Minneapolis to complete the record with producer Andrew Broder (Bon Iver, Moor Mother, Lambchop).
The centre of Halo remains Fohr’s voice. It is a powerful, seemingly supernatural instrument — a four-octave span that can span gentle melodic hooks, animalistic bleats, and elemental wails. Here, Fohr makes use of its full range in maximalist compositions that swerve fearlessly between genres and styles.
TIM HECKER
SHARDS
CD / LP
- Heaven Will Come / 02. Morning (Piano Version) / 03. Monotone 3 / 04. Icesynth / 05. Sars Requiem / 06. Joyride Alternate / 07. Sunset Key Melt
Label: KRANKY
“Tim Hecker has become one of the most pre-eminent and nuanced electronic producers of his generation.” – New York Times
“It’s somewhere between a replenishing bath and an out-of-body experience.” – All Music
Shards is a collection of pieces originally written for various film and TV soundtracks Tim Hecker has scored over the last half decade. These compositions were originally written for scoring projects including Infinity Pool, The North Water, Luzifer, and La Tour.
Q LAZZARUS
GOODBYE HORSES 12”
12″
A1. Goodbye Horses (Extended Mix) / A2. Goodbye Horses (Instrumental Mix) / B1. Hellfire / B2. Summertime / B3. Goodbye Horses (Acapella)
Label: DARK ENTRIES
At long last, Q Lazzarus says hello to Dark Entries. Q Lazzarus is the moniker of Diane Luckey, born in New Jersey in 1960. While living in the East Village in New York City in the 1980s, Diane met songwriter Bill Garvey at a party and they recorded “Goodbye Horses” in his home studio. As the story goes, Luckey met Hollywood director Jonathan Demme when she picked him up in her taxi during a snowstorm in 1986. Demme was wowed by her demo tape, which was playing in the cab, and they ended up hanging out at a restaurant for hours talking about life and music. “He liked it so much, I gave him the tape I was listening to, he said he would call me for one of his movies, but I didn’t really take it seriously.” said Luckey. Demme would have the song “Goodbye Horses” first appear in his offbeat comedy Married to the Mob, and then again more memorably in Silence of the Lambs when Buffalo Bill changes into women’s clothing while drowning out his intended victim’s pleas with loud music. Despite the exposure, both Luckey and Garvey languished in relative obscurity. “Goodbye Horses” is the definition of a cult classic, an ethereal tearjerker driven by Garvey’s lush synth work and Luckey’s unmistakably powerful voice. Garvey says, “the song is about transcendence over those who see the world as only earthly and finite.”
Over 15 years of effort have gone into the making of this release. All five songs on this record were previously unreleased and are sourced from original master tapes. The extended version of “Goodbye Horses” was newly mixed from the original stems by Alberto Hernandez at Fantasy Studios. Instrumental and acapella versions of the song are included, which are also available for the first time. Side B opens with “Hellfire,” a brooding number about the New York BDSM nightclub of the same name, showcasing the range and force of Luckey’s voice. “Summertime” follows, with a sauntering synth-reggae spin on the 1937 George Gershwin number. Both B-side tracks are also new mixdowns and edits from the original stems. Each copy includes an insert with liner notes, archival interviews with Q, lyrics and photos. It is an opportune moment to reflect on the underrecognized artists we have lost and the undeniable brilliance of both Diane Luckey and William Garvey.
FUCKED UP
DISABUSE B/W SELF-DRIVING MAN 7″
7″
- Disabuse / B. Self-Driving Man
Label: SUB POP
Sub Pop proudly teams up with long-running Canadian punk icons Fucked Up for a limited-edition 7” single featuring two brand new, exclusive songs.
“Disabuse” and “Self Driving Man” are unlikely light-speed cuts of pure hardcore from Fucked Up. These tracks bleed off the record, having been born from the indelible stamp of Poison Idea’s 1990 anti-oppression anthem “Discontent” and Japanese punk legends Paintbox’s “The Door.” Sitting at the chaotic crossroads of punk, hardcore, and grunge, the two songs have found the most fitting home possible: a Sub Pop single.
“Disabuse” is a song Damian wrote for his daughter, who experienced bullying and intimidation, while “Self Driving Man” wrestles the out of control automation of our world onto the pavement and into the abyss of faceless progress. The 7” comes on translucent emerald vinyl, and includes a lyric sheet.
