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www(w): NATTEN

By on February 15, 2012 in NMB, VIDEO, WWW(W) / Q&A

NMB-favoriterna NATTEN har precis släppt en mörk men alldeles fantastisk video för Hatet, och jag passar i samband med det på att publicera den här mini-intervjun jag gjort med pyskonautdisko-orkestern för min nya Q&A-serie www(w). Mycket nöje – i dubbel bemärkelse.


1. Who is/are NATTEN?
NATTEN is an organic entity consisting of four gentlemen from southern Stockholm, each one bringing their own unique style of playing. Put together the parts turn into a whole that is both different and more than each individual.

2. What is/are NATTEN?
NATTEN is a state of mind that is achieved by howling trumpet, insane bass riffs, doomsday synthesisers and heavy beats. An experimental blend of acoustic and digital instruments brings about mesmerizing psykonautdisko. Melancholy and dance, sadness, pulse and pride.

3. Why NATTEN?
Once we started playing together it felt inevitable. Musically it worked and our sound felt different. After playing live and making people dance we were hooked. None of us had ever experienced that creating music could feel so natural and be so much fun. We love playing together.

4. Who and/or What inspires NATTEN? Why?
We are inspired by our dull daytime jobs, by subway travels to and from work, by the pace of everyday life. We are inspired by late night walks in the outskirts of Stockholm, by her nightlife and by her inhabitants. Our music is both a mental escape from that existance and a description of it.

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www(w): The Whendays

By on November 3, 2011 in NMB, VIDEO, WWW(W) / Q&A

Det har blivit dags för en ny funktion här på NMB. Låt mig presentera www(w) – en slags Q&A bestående av fyra standardiserade frågor vilka förhoppningsvis kommer resultera i fyra (eller fler) extremt icke-standardiserade svar från diverse nya personliga och aktuella favoriter. Först ut är Stockholmsduon The Whendays, som den 15 november släpper sin självbetitlade och alltigenom underbara debut-EP genom Cascine (om du missat dem tidigare kan du lyssna på senaste singeln Untru love II nedan). God läsning

1. Who is/are The Whendays?
The Whendays is Stockholm native Simon Reithner and San Francisco Bay Area son Serge G. Simon studies acting at the Stockholm Academy of Dramatic Arts and Serge is a Film School drop out that landed in Stockholm (via Berlin) in 2010 for a girl and film work. The Whendays seed was planted on a film set a year ago.

2. What is/are The Whendays?
The Whendays can be a flexible muscle that can activate at anytime of the day, particularly the morning hours when you’re walking home alone drunk and miserable, or ecstatic, depending on how the night went. Perhaps it’s the big hat from which the magician pulls the rabbit, or running with the bulls in Spain, or your first or last kiss. It’s the person in your dream with the blurry face. It’s actually the idea of making something happen with limited means when you’re not sleeping. It’s the guys that want to buy you a beer.

3. Why The Whendays?
Because it’s fun, and making music is an essential part of our lives, not to mention film and theatre. In fact, we’ve both been making some sort of music since we were kids, this is us trying to find new ways to express ourselves…… and have fun.

4. Who and/or What inspires The Whendays? Why?
Mood.

And this too:
YouTube Preview Image

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Q&A/mix: Southern Shores

By on June 17, 2011 in MIXES, NMB, WWW(W) / Q&A

Kanadas Southern Shores har sedan de slog igenom i december ifjol successivt kommit att bli mer eller mindre ensamma i toppen av det figurativa berget av NMB-favoriter, och den positionen befästs nu tack vare deras delikata debut-EP Atlantic, som släpps den 12 juli (första singeln Night is young kommer på måndag) genom en annan kär bekantskap, nämligen Cascine. Jag tog en prat med Ben och Jamie för att lära känna dem lite bättre, och fick också en somrig mix av duon.

Southern Shores – NMB MIX (48,6 mb)

Hello, Ben and Jamie! I’d like to start things off with a small introduction. How did the exotic pop duo Southern Shores come to be?
It was born out of a mutual desire to finally get serious about music creation. This existed in the two of us independently and coming together we realized we both were hungry enough for it to make something out of it. It’s easy to talk. For a long while all we did was talk about it until one day Jamie told me that although he was entirely committed to the idea, he never wanted to talk about it ever again. That’s when I knew he was serious and that’s when Southern Shores was born. We found the patience to push through a year of making music together where we couldn’t really finish songs or realize ideas; thankfully the creative process itself was pleasurable enough to keep us pushing forward and working harder.

Originally the idea was for a 4 or 5 piece outfit making icey dance music but somewhere along the lines we ceased to really find that concept compelling and things naturally began to shift towards a warmer pop sound. It just seemed to contain so many more compelling possibilities to saturate the music with color rather than to keep it intentionally stripped down and monochromatic.

You’re both from Halifax, Canada, but lived in Berlin for a brief period last year, and at around that time, you were discovered by Bad Panda followed by the ever lovely label Cascine. How much has your stay in Berlin got to do with your success so far? How come you moved there in the first place?
Our stay in Berlin has everything to do with our success so far simply because it allowed us to place making music at priority number one in our lives. That decision itself can feel a little intense in the sense that once you admit publicly and personally that you’re treating music seriously you open yourself up to the fear of failure. Thankfully living in such a dynamic and exciting city as Berlin was constant fuel for creativity.

We wrote Grande Comore within days of arriving in the city…the entire year previous hadn’t produced a spontaneous idea or work like that. It enforced the importance of the spark that comes from moving to a new city and of feeling completely unchained from the routine of your normal life. Our recording setup in Berlin was incredibly minimal which helped us learn to work with what resources were on hand. This winter in Halifax we made a whole little studio for ourselves in an attic which provided us with many more sonic tools; I think this broader palette is evident on the record.
Before moving to Berlin I (Jamie) had just quit my job and decided fairly quickly to move to Berlin and take over an apartment my friend had been renting. I pitched the idea of Ben joining me and continuing making music together and he was game.

Safe to say we miss that city very much.

Your sample-laden beach sounds is not too dissimilar from the ones made by my countrymen Air France, who’ve said in an interview that they “… use music as a way to escape”. I sense a lot of escapism in your soundscapes – and in your name – too. Like, your music is where you really want to be (not that Halifax doesn’t seem great)? You probably get that question a lot…
It’s not necessarily about anywhere specific but more a prayer that there’s still beautiful places left to explore out there, that there’s still adventures to be had, amazing things left to see and amazing people left to meet. I suppose you could call it escapism. It’s not so much born from a need to escape our reality it’s comes from more of an idea to explore possibilities and go places. It’s the desire to know that you can always pick up and leave.

What else influences and inspires you?
Travelling inspires us a hell of a lot, road trips or exploring new locales and seeing and experiencing new cultures and the infinite possibilities that come with these sort of excursions. We’re very inspired by beautiful films. Music new and old inspires daily and is constantly changing how we perceive what we’re creating, what we expect from ourselves and the textures of the music itself. I think we already think quite differently about what this project can be and where it’s going now than we did even a few months ago, and this ever-shifting nature of our music is something that’s become quite precious to us. Who would want to make the same song twice?

How do you approach creating songs? What comes first, the samples or the instrumentation?
The ideas always begin as instrumentals but once we begin experimenting with layering vocal samples is when the songs take on their character. We try to make them feel as organic and human as possible, and hopefully that shows through. It can be the most frustrating thing trying to work with samples when it just feels off no matter how hard you work at it, but it’s also the most gratifying feeling when you’re able to create an inexplicable harmony between vastly different sources. We have handfuls of ideas sitting around that never really got off their feet, we go back to them peridiocally and attempt to breathe new life into them, and sometimes it works. But you have to learn to leave ideas alone if they’re not playing ball with you.

For me personally, your debut EP Atlantic [due out on July 12 on said ever lovely label] is all about the joys of summer, and not having a care in the world.
For all the people out there who haven’t had the pleasure of hearing the EP yet, how would you describe it to them?
We’ve attempted to conjure a sound that’s lush and ambiguous. We tried to really keep it as wide open as possible in terms of the emotional terrain it explores, so hopefully It will bring forth different feelings for different people.

You have done some live shows in Halifax to date, what does your live setup look like? Do you have any plans on going on tour?
We’ve brought two amazing local musicians on board to play live with us, Paul Conrod on guitar/keys and Seamus Dalton on drums. Between the two of us we have another guitar as well as samples and drum pads. We knew there would be no point in playing live at all unless you could deliver more than simply playing the record back live, and that seems to be the challenge with electronic music of all sorts: how to bring this music to life on stage in an exciting and dynamic way while still staying true to the textures you worked so hard to create on record? We’re also working with an incredible visual artist on having projected moving images accompanying the music. We do plan on touring in some fashion for sure, just give us some time to make it worth your while :)

What have you been listening to lately?
While making the record we were listening to a lot of Cut Copy, James Blake and Studio. As the summer gets under way we’re definitely in love with the new Chad Valley, Ford and Lopatin and RnB heroes The Weeknd and Frank Ocean have been warming our ears.

Have you ever considered remixing other artists?
We’ve definitely considered remixing other artists, to us it’s important that remixing transform and re-contextualize the original material to make it worthwhile. Jamie had the idea of remixing a completely acoustic Lake Heartbeat song into something more rhythmic and dynamic and that idea really appeals to me; a remix should take the song in a fresh direction, or else what’s the point?

It’s hard to predict a crystal ball, but if you could choose for yourselves, what does the future have in store for Southern Shores?
We’d be more than happy if this project gave us the opportunity to travel to or live in interesting cities (Stockholm, Gothenburg or Malmö perhaps?), play our music really loud for people and push our music into deeper, richer directions…

Lastly, tell us about the mix you’ve made for NMB!
This is a pretty honest but small snapshot of everything that’s been blasting from our ipods and car speakers since January. Becoming involved with Cascine exposed us to some pretty great music and we really couldn’t help but include some of our faves. Also have to include the hot new jam from D’eon, formerly from Halifax and the first person to introduce me to Boards of Canada and other amazing electronic artists I now can’t live without. So happy he’s doing so well for himself, see him live if ever you get the chance :)

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Q&A/mix: Just a number 05272011

By on March 25, 2011 in MIXES, MP3, NMB, WWW(W) / Q&A

Få har väl undgått manin kring Just a number 05272011 och deras mystiska Skandinavien-ljudande electropop. Men vem, vilka eller vad ligger bakom det förbryllande namnet/datumet/numret? NMB försökte se genom dimman och fick förutom en del sköna svar dessutom en mix på köpet.

Just a number 05272011 – Mixtape for no modest bear

Your Soundcloud account tells us that you’re located on the Isle of Man. Your sound however is very Scandinavian and quite obviously reminiscent of, say, The Knife. This tickles my imagination to think that you are a man – or maybe two human beings – on an island of solitude, where creativity floats freely around you. And Isle of Man is just a metaphor. Am i way off? How much can you tell me about your essence?
We are more a family than a man and we’re located on an island. We’ve been feeling a bit isolated in regards to the music that otherwise dominates this place, so in a way our music is created in solitude.

What happens May 27th?
Sometimes it’s good with a cut-off date. We work better under pressure.

… and afterwards?
You have to brace yourself with patience. Our hands works, and we’re rusty in the joints, so it would be nice with a concert or two.

There is a lot of childish insecurity, pain and sorrow going on in your music. “The pain will be there tomorrow too, so what are you?” How personal are your lyrics?
I’m not sure how to answer this question. It’s hard to face all shit that happens around the globe without getting depressed, but on the other hand I don’t want to look away.
Sometimes you end up in a hole and it’s hard to look up. When down there it’s difficult to see the good in mankind. You have to make sure that you get up again and hold on to the hope. Otherwise you end up cold, cynical and grey. I’ve written this lyric to my brother. I’ve often felt like keeping his heart safe while he’s fighting to save the world.

Anonymous bands are pretty much standard these days, and so is the buzz surrounding them. Is this something that you were well aware of before sharing your music with the world? Or is there something else to this Just a number 05272011 mystery?
Yes, we are aware. We’re just a number in a long row of bands clouded in mystery.
Well, we never thought that it would generate such a buzz. So even though this procedure has been done before, it just proofs the effectiveness.
We also liked the notion that people would hear the music and create their own images before we fill it up with pictures and personalities.

Things have been going very fast since your two first songs were unveiled, and you mentioned in an email prior to this interview that things have “become a bit complicated on this side of the table”. Does this mean you are working with a label?
There are alot of incredible people that have helped getting our music on it’s way, thanks to all of them.

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Q&A: Pandit

By on August 30, 2010 in MP3, NMB, WWW(W) / Q&A

En ganska ny men ack så kär NMB-favorit är Pandit, eller Lance Smith som han egentligen heter. Två nya släpp är planerade från Texas-killen och jag beslöt mig för att ta reda på så mycket om möjligt om honom, och om massor av annat.

What’s the story behind your name, Pandit?
Pandit happens to be the name of my great grandfather who immigrated from India to the US in 1913. Unfortunately, I never had the opportunity to know him though for he passed long before I came along. Some really interesting facts for the reason why I picked that name was because of who he was and what he did in his lifetime. He was born into royalty in India, and was also close friends with Gandhi.

He decided to head to the states in the early 1900′s to sort of start a new life of his own, on his own. He succeeded very well here and I have always found that to be extremely respectable. It shows ton of charachter on his part, or for anyone for that matter who has done the same. The term “Pandit” also means “a scholar, a teacher, particularly one skilled in Sanskrit and Hindu law, religion, music or philosophy.” My great grandfather was very skilled in the art of music, so I felt we had that in connection to the reason why I decided to use his name for my art.

What got you in to the alternative side of music?
Probably because alternative music was all I was basically listening to when I started Pandit. Alternative also meaning mostly “indie”. I grew up listening to a ton of music my parents had raised me on from as early as I could remember, consisting of everything from The Beach Boys to Creedence Clearwater Revival to Jim Reeves. I was also a really huge Michael Jackson fan as a child. I think I’ve always been into pretty much any and everything and I truly believe that was a reason why I got into making alternative music. It always changes. I always keep changing. So it just naturally kind of “fit” for the reason why I got in to it.

You are indeed a man who likes to mix many different genres (your Robert Earl Keen cover vs. your chillwave album, for example), what inspires you to do this or that?
Again, I’ve always been into pretty much any and everything. I don’t really think there is a genre that I could say I dislike or don’t listen to. I’ve always been really interested in albums or just music in general that doesn’t keep to the same element or verse chorus verse format as most songs are produced. I dislike records that stay on that type of path and don’t ever edge off into something totally different and original than maybe the first part of the album may sound like. You’re going to find that my debut LP will be exactly that. I call it a “massive genre jump”. There are elements of the whole chillwave vibe going on in the record, but very little I feel. I try to stay focused on always changing when writing new material. If I find something I’m good at, I’ll keep that in mind but I don’t rely on that as my harness to keep doing the same thing in every song. I very much so respect albums that have a story behind the songs, or that may keep the same path the entire way throughout the album, but that’s just not me. I don’t work that way. Every song on this record will have tons of different elements ranging from chillwave to soul, from alternative country to just flat out ambient soundscapes. I hope everyone that ends up hearing it will find something they can relate to from it. I tried making an album that anyone can go to when feeling sad or happy or whatever, and get that feeling they need at that moment to help reassure them that everything is going to be fine. That’s what I inevitably want, anyways.

You have at least two upcoming releases planned if i’m not mistaken. Tell me about them! What kind of music should we expect?
The debut from Lefse will again be what I call this “massive genre jump”. Darren Williams of Star Slinger recently told me that my music is absolutely impossible to not enjoy. There’s something for everyone on it. And, I’m also working on a tiny EP that I’m intending to release this fall before the LP drops in January. Again, it’ll have that wide range of elements to it that I myself just cannot explain. A friend of mine actually told me that my music reminded her of “Moon Sprite”. Whatever that is.

What’s your recording process like? In what ways do you use your own vocals, instruments, computers etc?
I try to have a daily routine for recording. Even if it’s just 30 minutes, at least I attempted something. Breaks are good sometimes too, and I really push that a lot to anyone who may feel like their in a slump of some sort. I get that way at times, and I’ve found just taking a breather for a few days or whatever is your best bet. I record everything myself on my computer at home. I cannot tell you or even attempt go into detail of how many instruments I’ve accumulated over the years. Lets just say the count is around 30 or so. I normally start out with whatever instrument I have in hand at the time. I use only hardware when recording, except for a few plug in’s here and there. I kind of despise software though. Not in the idea that its difficult by any means, but in the sense that I enjoy using what I have at hand. I think there comes a point when you can have too much at hand. With all the software and what not that’s out now, it becomes almost over bearing to have to choose. I mean really, who actually needs 3,000 different synthesizers?

You’re just about to start touring. How will your live setup look like?
At this point it’ll be a one man show. For the longest time I despised one man shows, but after seeing Ernest of Washed Out a couple of months back in Houston, I found that it can be a real opportunity as well. The area I’m from is really limited when it comes to musicians. Either people aren’t that determined to play, or all they want to do is just shred. In the end, I think its very convenient to be able to rely solely on myself. If you’re late for a show or your shit breaks down, its your fault and no one elses. I like that type of stressful living. Maybe down the road I can hopefully find people who’d like to be apart of my project, but at this point in time, its just me. As far as what I’m going to be using on stage, I want to try and be as limited as I can with gear. I’m using a Roland SP-555 which I think will really be cool, plus a midi controller, two synths (Korg R3 and a Roland D-50), Fender Telecaster and an old 70′s Ovation Viper electric, Martin acoustic, my laptop, drum pads and more. Now that I think of it, I will have a lot of gear on stage. Shit.

What’s your favorite music right now?
Where to begin? I’ve been listening a lot to the new Sufjan Stevens song “I Walked“. I feel in that song alone I can really see a lot of the similarities that he and I have. The song in itself is just absolutely gorgeous, as is all Sufjan’s stuff is. The lyrics in “I Walked” though really tear me apart. It really hit home to me after hearing the line “And tell me, do you think of me now, As I think of you? For I could not shake the touch of your breath on my arm”. Such honest yet simplistic lyrics. I feel what he’s saying.

I’ve also been listening to a ton of Star Slinger too. Darren Williams is so incredible. He and I have a couple of songs that we are about to work on together which I’m so so stoked for. He also was kind enough to lay down some beats on a brand new track that will be on my debut LP. So excited.

Here is a list of everything I’ve also been listening to as of late:
Twin Shadow, Foxes in Fiction, Ghost Animal, The Smiths, Real Estate, Al Green, The Radio Dept., Porcelain Raft, the “There Will Be Blood” soundtrack which was written by Johnny Greenwood of Radiohead and just so much more.

Pandit – Scotch

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Q&A: Jaded Hipster Choir

By on June 12, 2010 in MP3, NMB, WWW(W) / Q&A

NMB har haft en sittning med Edmonton-killen Thomas som är hjärnan och hjärtat bakom Jaded Hipster Choir och som kommit att bli en favorit här den senaste tiden. Han är aktuell med ett album senare i sommar, vilket jag personligen ser mycket fram emot, så för att ta reda på mer om JHC:s dåtid, nutid och mycket annat slängde jag iväg lite frågor och fick utförligare svar än vad jag någonsin hade kunnat drömma om. Läs allt och kolla in lite mp3or nedan.

- I’ve been under the impression that Jaded Hipster Choir is you, Thomas, but also another person. What’s the story behind JHC?
For the longest time, and under alot of different monikers, it was always me, and probably always will be. I do write or arrange all of the songs, and I used to perform them all live. Recently, however, I managed to meet with a really talented vocalist who goes by the name of Franny Gurba, and while she isn’t a huge creative force in the song-writing process, she adds thousands of beautiful layers live. I usually end up writing the instrumental for a song, and then she writes the vocal lines and lyrics.

- Another thing I’ve catched up on is that you really do sing in choir. True or false?
Yes, this is true! I am a proud member of the Edmonton Youth Choir, and I’m a baritone, haha. Choir has been massively instrumental in learning about musical theory and styles, and in training my own voice as well. Singing alot of choral music also influenced how I treat my instruments in a song-writting setting. If you listen to most of my tracks, you’ll soon figure out I never use chords in my own songs, and rarely in covers. This half comes from the fact that I’m not that great of a musician, haha, and that I treat all my instruments like voices. Rarely in choral music will you see a composer ask the altos or the sopranos to sing more than two or three notes at a time, and due to technical limitations of some of my equipment (my pitch-shifter can’t handle more than one or two notes to harmonize with), I end up doing that too.

- Do you use your own vocals in any of your songs? If not, why not?
I used to have this big hatred towards my voice, mainly because I was like a really high alto or soprano voice for well beyond than when I was supposed to change. Which was great, because I could sing along to all my favourite songs, and do really crazy high shit. But in the past couple years, its dropped from an Alto 1 to a Bass 1 (1′s sing higher divisions when composers write in divisi, and 2′s sing lower), and I’ve had to learn to sing along on the radio an octave or two lower than the singer. Not to mention that baritone voices aren’t really heard as well as higher voices, just because lower voices need a shit-ton more resonance to reach the same volume than a shrill soprano. But Franny has this wonderful set of pipes, and our voices coalesce in a really weird and nice way. There are a lot of strange frequences that mingle really well together when we sing, so I’ll be singing a bit more on this album than previous ones. Usually I just sing on covers.

- The Canadian dream pop scene has been blowing up lately, with Memoryhouse and Teen Daze in the lead, closely followed by talented artists such as yourself. Why do you think that is? What’s in your drinking water?
Too much alcohol. LOL. No, I think it had a lot to do with the big re-emurgence of lo-fi 80′s AM Pop distilled into chillwave or glo-fi or whatever. I think really good artists take one element of a fad or phase or some genre, and shift or combine it with something radically different (see: GOBBLE GOBBLE, Owen Pallett, The xx, CocoRosie, Caribou, etc.) and I think thats how this new wave of dream-pop came about. I don’t really think I’m “dream-pop” so much as like classical music on shrooms at a rave.

- A while back you did a mix for NMB, with artists such as GOBBLE GOBBLE, Owen Pallet but also Robyn and Shakira. Many influences are of course normal, but what would you say is the big four?
I’ve recently learned that nothing is normal, but here are my top 5 (I couldn’t narrow it down!)
OWEN PALLETT // FINAL FANTASY (The first artist I ever really truly loved. And probably the last, too.)
GOBBLE GOBBLE (Hometown Heroes // CJ does stuff with music I’ve never even imagined was possible.)
KE$HA (There’s something to be said about someone so bold-face and shameless as Ke$ha. She can also write a banger like nobody else.)
AZEDA BOOTH (They created Flesh Tones which was one of the biggest influences in my style since I’ve heard it.)
BRAIDS (They write these incredibly complex and mind-melting jams, and their live shows is beyond comparison.)

- What is the place of computers in music, both live and in-studio?
In theory, computers are a god-send. Recording without a computer is pretty ridiculous (unless you don’t have one / love lo-fi), so think they are great in-studio. Live however, they are hands down the most crippling device someone can use. Unless you make up for it with a great live act (GOBBLE GOBBLE), or have natural stage presence (Baths), computers are the worst. No one wants to pay to support your tour if you are just checking your email for half an hour. I personally use a really convoluted looping system for live sets.

- Tell me about the album you’re releasing this summer!
It’s called PILL WEEKEND. My friend Breanne was just hanging out at the on-campus bar in Edmonton, but she didn’t really know anyone there, except for a classmate from Psychology. They caught eachothers eyes, and the girl asks if Breanne wants to sit and chill with her and her friends. She accepts, and they are hanging out and junk. Then the girl asks Breanne if she wants to go outside and smoke with them, and she accepts. As they’re chilling outside, one of the girls opens her bag, and its FULL of pill containers and shit, and they start popping up perscription pills infront of her, and saying “Pill Weekend” like some weird drug chant. The girl offers some to Breanne, but she’s like “uuhhhhhhh just kidding my bus kthnxbai” and flees.
And I was so inspired by that idea of youth being so overstimulated and oversaturated with pleasure that they’re seeking out the weirdest and dangerous shit to get them off. I was like “I’m making an album exactly like that.” So this album is going to be 8-10 tracks, featuring an all female-choir, synth jammers, clarinet/flute/trombone arrangements, instrumental jams, poetry by really old people, field recordings, the whole shebam. I want people to listen to this and be like “What the fuck am I listening to.” Like complete musical-oversaturation/explosion in a tasteful way.

- What’s next for JHC, besides the album?
I’m moving away from my parents house for the summer, to house-sit for my conductor, and he lives just off this nice cultural hotspot in Edmonton, so that’s pretty huge. I’m recording with Dylan from Kumon Plaza, I’m writing music almost everyday, and I’m also in talks to put out a 7″ with my good friend Amy from Bronze Leaf, and I’m doing some orchestral arrangement / touches to her side, and my side will probably feature an A-Side off Pill Weekend, and a collab track with Kumon Plaza.

- Your favorite music right now (besides your own)?
I think GOBBLE GOBBLE takes that cake. I saw them live, and by the time they played Lawn Knives, everyone was naked, and writhing around. It was essentially the best experience of my life. Not to mention Cecil has alot of new jammers that he hasn’t released into the public, AND ALL OF THEM ARE INCREDIBLE.

Jaded Hipster Choir – 2mbs
GOBBLE GOBBLE – Lawn knives

Mycket mer från Jaded Hipster Choir hittar du på Bandcamp

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