“They say it was a failed utopia / but it ain’t failed if you’re flexible.” So sings LA-based songwriter Dolly Creamer on latest single ‘Like Water’, two lines which could be said to serve as the mission statement of the song. With a loose, easygoing spirit, the track embraces this philosophy to create its own small world within the imperfect whole, leaning into the image of the title to stay attuned to the natural world and go with the flow of life. Sarah Harris, Sasha Massey, Joon Voigt, Riley Geare and Joel Crocco lend their talents to flesh out the sound, and Voigt also created a suitably lo-fi video to further bring the mood to life as part of their thunderwurld motion picture co. The result is an affirming reminder of the hope inherent within any community.

‘Like Water’ is out now and available from the usual places.

Erik Hall – A Folk Study (Laurie Spiegel)

Back in November we introduced Solo Three, the closing release in a trilogy of albums by Erik Hall on Western Vinyl which sees the Michigan-based composer and multi-instrumentalist reimagining contemporary classical pieces by passing them through the prism of his own unique minimalist sensibilities. Where predecessors Music for 18 Musicians and Canto Ostinato focused solely on the work of Steve Reich and Simeon ten Holt respectively, Solo Three casts a wider net, the release featuring reinterpretations of pieces by Glenn Branca, Charlemagne Palestine, Reich again and, as with the latest single, Laurie Spiegel. As though led by the title, Hall brings an added tempo and warmth to ‘A Folk Study’, favouring an acoustic palette to tease out the organic spirit of Spiegel’s original.

Hiding Places – Holy Roller

“I’m a holy roller / I move so much.” So sings Audrey Keelin of Hiding Places on single ‘Holy Roller’, invoking a phrase in the Holiness movement for those of the congregation so struck by the presence of God they dance and shake uncontrollably. Released to celebrate the Brooklyn-based outfit’s signing with Keeled Scales, the single embraces this sense of spontaneity in more ways than one, not only in how it explores the restless spirit of its creator but also in terms of its very construction. “’Holy Roller’ was a lesson for me, a song that happened with no planning, no ‘trying to write’, but a pure, detached channeling,” Keelin explains. “That metaphor made perfect sense to me after the fact, there is a voice in my heart that I have a complex relationship with that tells me to move around, be somewhat nomadic, not really settle down in one specific place. During that writing session, that bittersweet feeling of moving from my home state kept returning,”

Howling Bells – Chimera

Back in October we introduced Strange Life, the first new album from Sydney-born, London-based outfit Howling Bells for over a decade. “The album not only breaks the hiatus but reflects on it,” we described when talking of lead single ‘Heavy Lifting’, a testament to the effort and resilience required to persist within the music industry and develop a sense of confidence. Latest single ‘Chimera’ continues this meditation on making art, exploring the double-edged sword of ambition and how it can both cut you down and lift you towards higher achievements. “Chimera is a strange word. It means a few different and curious things; in this context, however, I’m using it to mean something of an absurd nature, unattainable, a fantasy. Such is the relationship we have with music at times,” lead Juanita Stein explains. “This song speaks to my experience as a musician, surviving the perpetual ups and downs of the game. But if you’re lucky enough, you have someone who can cut through the noise and help you realise that the fantasy is half the joy. That the longing is part of the journey and that our achievements along the way are deeply meaningful. At its core, ‘Chimera’ is a song about hope and relinquishing control.”

Strange Life will be released on the 13th February via Nude Records.

Ken Wohlrob – William

“A song is a stubborn thing. It’ll resist you with all its might. As you try to bend it and twist it, it will reject your strokes of genius, leaving you feeling like a damn fool for thinking they would work in the first place. A song will tell you, in no uncertain terms, what it wants to be.” So explains musician and composer Ken Wohlrob of new single ‘William’, a track which seemed to repel all attempts to develop it beyond its core guitar riff. You might know Wohlrob from acts like End of Hope, Swarm of Flies, Northern Heretic and Eternal Black, but his solo work offers space for something more meditative. And it was with that spirit he decided to drop the attempt to complicate the sound and let ‘William’ have its own way. “What I had was a single take of a repetitive guitar riff, played live through a reverse-echo feedback loop for eleven minutes,” he continues. “The feedback loop created oscillations and repetitions that took on a life of their own, extending past the riff, even re-absorbing it. There was a compelling journey in that single guitar line.”

No Singing – Care Takers

In recent years, Ben Godfrey has made a name with baroque, off-the-cuff recordings under the moniker Belaver, offering what we’ve called “a blend of deadpan humour and human heart which proves ideally suited to capturing the bleak and bizarre milieu to which it belongs.” Now Godfrey is back with new project No Singing, and there’s something of a stylistic change. Gone are the live arrangements and wry sensibilities in favour of something more considered, personal and nostalgic. Single ‘Care Takers’ introduces the sound, the tale of a character who intends to find a car and drive until the gas runs out. Only this yearning for forward motion is complicated by its very existence, both the lo-fi sound and Godfrey’s vocals betraying a sense of stasis. The stuck feeling of being young and lonely within a city which barely knows you exist, longing for any sense of speed which might allow an escape.

Sam Wenc – Limitless of Blue

Recording under the moniker Post Moves, Philadelphia-based composer, improviser and interdisciplinary artist Sam Wenc released fifteen albums across a variety of labels, establishing the sonic strand of his work as something intricate, finely crafted yet always surprising (just check out Cut Into Your Own Dimension or Heart Music). Wenc has decided to release latest album Language At An Angle under his own name, though it very much feels a continuation of an ongoing body of work. Inspired by and dedicated to pedal steel virtuoso Susan Alcorn who passed away earlier in the year, the record is a lesson in the possibilities of the instrument, one grounded in years of experience and deepened by an ongoing practice of sitting meditation, as well as a reminder of the raw power of art. Perhaps the only real way we can truly confront the unknowable and create meaning, this record suggests, is to continue the work of our forebears and never stop pushing the boundaries. Listen to lead track ‘Limitless of Blue’ now, and watch the video directed by Mikel Patrick Avery below:

Language At An Angle will be released via Lobby Art Editions on the 30th January and you can pre-order it now.

Sophie Gault – Is There Anyone Out There

We last wrote about Nashville-based songwriter Sophie Gault back in 2023 with the release of ‘Christmas in the Psych Ward‘ from album Baltic Street Hotel, a track which followed a lineage of Steve Earle, Lucinda Williams and Patty Griffin to delve, as we put it, “into highly personal experiences of bipolar disorder with a tone both steely and wry.” With new album UNHINGED set for release in January 2026 via Torrez Music Group, Gault has now returned with single ‘Is There Anyone Out There’, and the track is no less emotive or evocative. A version of the Gurf Morlix song of the same name, the track preserves the intimacy of the original while reaching towards something more connected and communal. Morlix’s album Kiss of the Diamondback came out in the heaviest days of the pandemic and its sound was very much informed by the isolation and solitude of the period, but Gault adds a certain layer of warmth to create a mood that’s still melancholic but a little more bittersweet.

Unhinged will be released via Torrez Music Group on the 23rd January and you can pre-save it now.

vireo – the great golden gloom

We’ve featured a couple of tracks from vireo‘s forthcoming album The Great Golden Gloom in recent weeks, firstly ‘catching minnows’ back in September and more recently ‘icanicanican‘. Both tracks highlighted the spirit of a project attuned, as we put it, “to the curative power of the environment and the small beauties therein, packed full of brightness and wonder as though written in honour of the joy of being alive.” With the record now out, Chris Beaulieu and co. have shared the title track as one final single. Serving as the conclusion of the album, the track is in many ways a culmination of its ideas and tones. One grounded in the richness of nature yet marked by a trademark sense of invention, its bright style is as earnest as anything vireo have put out to date, and perhaps more accomplished and assured. The sound of a band who have discovered both their musical style and view of the world and have taken great pleasure in committing it to tape.

Weirs – Lord Bateman (Live at Feast V)

“A hymn delivered not from the still air and stone of a cathedral but God’s own Earth,” was how we described ‘I Want to Die Easy‘ from Weirs‘ album Diamond Grove earlier in the year. “Where fellow contemporary traditionalists like Lankum and ØXN highlight the stark, foreboding tones of the genre to push towards the realm of folk horror, the Weirs sound is more in line with the work of Terrence Mallick. Songs heightened not by an emergent dread or the suggestion of the supernatural but rather an abundance of life itself. The humblest of details given the closest of attention and the latent beauty revealed.” To celebrate the album and kick off a new tour, Weirs have shared a live version of the epic ‘Lord Bateman’, complete with a video filmed at their album release show at the 5th annual Feast in Orange County, North Carolina. “Each year in the fall, friends and I host Feast, a harvest meal and music event that spans the first weekend of October,” explains lead Oliver Child-Lanning. “This year, to mark the release of Weirs’ new album Diamond Grove, we opened Saturday night by playing through ‘Lord Bateman’ from the album in its entirety, with shadow puppets by my sister Violet and other friends and family. Everyone gathered around the glowing puppet theater as we played and sang, accompanied by insects and the fall breeze.”

Diamond Grove is out now via Dear Life Records and you can get it from the Weirs Bandcamp page.

Where’s Beth – Overtime Waltz

Following on from 2024 album Bone Broth, a release we described as “a picture of domesticity in the weeks and days around marriage,” which “for all its tender fondness, still finds room for the peculiar and idiosyncratic details,” Sarabeth Weszely’s Where’s Beth has returned with a festive offering that uses the pressures of the period to highlight chronic struggles and loneliness. “I wrote ‘Overtime Waltz’ from a place of burnout,” Weszely explains, “working long hours in NYC, struggling to connect with loved ones even when we were physically together, and feeling a vague and relentless sense of grief.” Abbey Blackwell (Alvvways) contributes upright bass and harmonies while Steve Moore (Sufjan Stevens) adds Wurlitzer and synth, lifting the sound to its full, melancholic warmth.

Is the snow ever coming, will it always be rain?
Will the cold bring numbing to take away the pain?
I’m needing some kindness to show me the way

Watch the lyric video below:

‘Overtime Waltz’ is out now and available from Bandcamp.

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His new album Recall the Dream Breath, out via Moone Records and Lobby Art, might have been released under the slightly different moniker of Post Moves & The Sound Memory Ensemble, but it is still very much his project. Apart from a couple of notable cameos (more on which later), it’s essentially a solo record, the name more of a thematic choice rather than a practical one, as Wenc describes:

“I wanted a listener to perhaps get the feeling that there was a larger group at work. With the album title and name of the ensemble, both have an associated verb/action with them. Both concerning dreams and/or memories, I liked the idea of the music scoring these moments where we cue information culled from dreams/memories as a way of situating ourselves in our present state. The placelessness of memories and their role in us finding place in the present.”

Written almost entirely during pandemic-era lockdowns, Heart Music was a wonderfully dense, knotty affair, built around percussion in a deliberately disordered, thematically complex manner that gave little thought to live performance. But Recall the Dream Breath feels different from the outset. It is stripped back, decluttered, both in terms of the instruments used (pedal steel returns as the main player, along with bass and banjo) and the underlying atmosphere. Intuition and experimentation are still important, but here they are unshackled from the contextual intricacies of the previous record. The result is something freer, a widescreen meandering journey through dreams and memories as a means to better situate the listener in their present.

This is apparent from opener ‘Grief Fields’. Sparse lines of pedal steel are left to wander against a softly quiet backdrop like streaks of dawn cloud. But from the halfway point it begins to gather momentum, the slow beat of percussion heralding the arrival of additional instrumentation that rises in a dramatic crest. This eventually subsides, leaving behind a solitary banjo and a hushed sense of post-storm calm, and with the sense of having been through something and emerged on the other side.

Whereas Heart Music was created over a year and a half, Recall the Dream Breath was completed quickly, written and recorded in just two weeks in the spring of 2021. The first two tracks, roughly the record’s Side A, were composed in advance, a level of pre-planning that is new to Wenc’s creative process, while the rest were broadly improvised or written during recording. A genuine blend of construction and intuition which allowed him to arrive with a solid base to build upon, and therefore commit more freely to the directions which suggested themselves in the moment.

‘Lorraine’ sees this happen in real time, opening with a composed arrangement and slowly unfurling into improvisation. The sound is accompanied by a poem read by Kyle Field (of Little Wings), one of two central collaborations on the record which further the quasi-imaginary ensemble of the Post Moves & The Sound Memory name. “The oversight available on the high cliff’s crag as the wind must’ve blown a page free,” Field reads, “I am the clairvoyance which can truly at times be hard on a body, letting the web loose, shook with wild breeze on the thought pattern and a focus on no repeating words.” It’s the mood of the record put into words, where dreaminess meets physicality in a way only possible in memories—details, textures, feelings existing within an abstract space.

The soft pulse drone of ‘The Ladder’s Shadow’ appears foreboding at first but alters as the pedal steel drifts its way in, existing as some large or ancient thing beyond view, before Deerhoof’s John Dieterich joins on ‘Electric Pasture’ with guitars and effects that elevate the track to a soundscape fully worthy of its name. Closer ‘The Suicide Tree’ is perhaps the most cinematic piece on the record, the slow swell of ambient textures and bright specks of strings layered over field recordings of everyday life—children’s voices and the nameless ambience of not-silence that surrounds us always. The final third changes tack, switching to audio from an educational film about trees as the rich atmosphere dims to nothing, replaced with needling drones that buzz and whir like honeybees before clanking and sputtering to a discordant, almost disconcerting, finish.

Recall the Dream Breath is out now via Moone Records and Lobby Art. Het it now via Bandcamp.

Cover design by Danika Vandersteen

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Continuing the balance between improvised guitar and electronic soundscapes, 2020’s No Dignity in Haste continued this exploration of the old and new, presenting an ambiguity capable of pushing beyond simple labels and challenging the potential of “folk” as a musical genre. “An aural collage that combines experimental electronics with finger picked American Primitive,” we called it. Later that year, Wenc released Cut Into Your Own Dimension, a record which delved deeper into this style to conjure “something intangible, [a] synergy of glittering wonder and the sawing ache of something altogether more poignant.” An endlessly inventive combination of curiosity, wonderment and reflection which epitomised the Post Moves aesthetic.  A sound clearly rooted within time but somehow able to drift beyond it too.

This sense of transcendence sits at the centre of Heart Music, a brand new Post Moves double album released last week on Where To Now? Records. It is present both in the intention to move beyond traditional conceptions of folk music, and the meditative, almost spiritual form of deep listening such a style encourages. An invitation to sit with conflicts and inconsistencies in order to understand more fully. “Thematically, much of the music (to me) takes on a somewhat ceremonial feeling,” Wenc explains of the record, “and explores the trajectory of exploring intrapersonal contradictions and what it means to navigate a disharmonious public sphere.”

This is achieved, at least in part, by a change of focus. Where previous Post Moves releases have structured themselves around pedal steel, Wenc now places percussion at the heart of the sound. This allows brisk rhythms to replace the pedal steel’s slow meander and with it add a newfound plasticity. See for example, ‘Del Mero Corazón’, with its bed of banjo and Peruvian marimacho that sets a restless tone before morphing to include percussion and vibraphone, eventually becoming one of the most brisk and energetic pieces Post Moves has made to date.

A sense of perpetual movement on the record lends the potential for change, each track always on the cusp of some new direction, some new form. Wenc is keen to acknowledge this movement as something inherent inside us, from the tangible pulse referenced in the album’s title to more abstract patterns of thoughts and emotions. As he continues:

The title of the album, Heart Music, is in recognition of (jazz percussionist) Milford Graves’s exploration of the internal data, knowledge, and ultimately music that is present within our bodies. More so than on previous albums, I felt myself letting rhythm, intuition, and improvisation guide the work, often resulting in longer form pieces that allows myself (and hopefully the listener) to listen deeply, observing moments of tension and harmony tangled, dependent, and resolved by one another.

In the wrong hands, this mess of intertwined thoughts, themes and musical elements could sound anxious or disquieting, but there’s an elegance to Wenc’s work. While Heart Music presents moments of friction and novelty, in part a mirror of our disordered world, its challenge to the listener is always to take the time to ruminate on such details and arrive at some underlying truth. This is how the ceremonial tone Wenc alludes to establishes itself, the songs like rituals which allow access to the state of deep listening. Take the reverent air of ‘Desert Glyph Coffee Mug’, or the deliberate hush of ‘Going Straight to the Praying Mantis’, two pieces tonally quite different but cut from the same contemplative cloth.

Opener ‘Willka & Phaxsi’, a piece named after characters in the 2018 film Wiñaypacha (one of several nods to motion pictures across the record) shares a similar feeling. It’s a track that burns slowly, despite being the record’s shortest at nearly three minutes, interspersed with pockets of silence almost as rich as the instrumentation which surrounds them. The song comes complete with a video by Ximena Bedoya (who also created the cover art), which somehow expresses this sensation visually in near-abstract footage of a matchstick and flaring flame.

There are other departures from previous Post Moves releases across the record too. One major inclusion is poetry read by Anna Jeters (of Ancient Pools), constituting the closest thing to conventional vocals in the project’s history. Again, the addition of Jeters’s voice has real purpose, introducing what Wenc describes as “both parallel and perpendicular narratives” which push and pull the listener closer to that sense of deep listening.

The sentiment and intention behind Heart Music are perhaps best captured by lead single ‘Always For Pleasure’. What begins as a “typical” Post Moves track (built on pedal steel) soon becomes almost whimsical, caught on dream-like currents, before transforming just beyond the halfway mark. The shift isn’t strictly logical in a rational sense, but it feels right anyway, like following a path that doesn’t just bend but loops and repeats, a celebration of how music (like all great art) needn’t adhere to our oversimplified notions of movement in time and space. It’s a reminder that things are rarely truly linear, and that we, whether in a metaphysical sense or as assemblages of cells and biochemical reactions, are never static. Heart Music celebrates the process of making something new. Rhythm as a line to guide the listener in, movement as an agent of change.

Heart Music is out now via Where To Now? Records and you can order it from Bandcamp.

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Opening track ‘George Through the Window’ sets the tone, combining winding pedal steel with synthesizers that sparkle like a 90s science documentary. It captures something intangible, this synergy of glittering wonder and the sawing ache of something altogether more poignant. These twin forces of wonderment and reflection are the album’s key thematic motifs too, as Wenc meditates on the people who have touched his life in a variety of ways. “The album in general is centered around an acknowledgement of the impact and forces of figures both close and distant in my life,” Wenc says in a piece with Backseat Mafia. “My aim was to honor the composition of these people in shaping my existence (the album name acting as a directive to myself to investigate these forces further).”

From the jerkily robotic opening of ‘Karen’s Ride With Grace’ to the zen-like stillness at the centre of ‘Bob’s Peace in West Texas,’ Cut Into Your Own Dimension never settles in one place, experimenting with molding the constituent parts into new shapes. There’s an uneasy sense of surrealism on ‘Ira Arrives for Purim’, opening with screeched glitching and a clipped vocal sample, before cutting immediately to another garbled sample, this time supported by melancholic swells of subdued synths. The effect is one of a collaged dreamscape, a juxtaposition of harsh and oddly subdued of which David Lynch would be proud.

Cut Into Your Own Dimension is out now on Noumenal Loom and you can get it on cassette or digital via Bandcamp. 50% of the proceeds will be donated to Pa’lante, a restorative justice program based in Holyoke, MA working to build youth power and dismantle the school-to-prison pipeline.

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Taking composer and pedal steel guitarist Susan Alcorn as the ultimate inspiration, Wenc set out to make something interesting by himself. He was particularly inspired by Alcorn’s combination of composition and improvisation, what he describes as “a testament to the ability to craft your own orbit within music.”

The first result of this approach was the 2018 album Unison of Motion, a record we wrote about on its release, describing its “strangely meditative vibe that somehow gets to the heart of things, delving into moods and feelings that are otherwise incommunicable.”

This blend of old and new is something stands out on the record. The improvised guitar could come from any decade of the modern era, but the sonic landscapes (crated through synthesized and field recordings) are decidedly twenty-first century. “The thought wasn’t so much ‘how do I make this modern or contemporary,'” Wenc describes, “but more how can I apply a range of tools to reach deeper into how I want to explore sound?”

Wenc plays everything himself, including 6-string guitar, 12-string guitar and pedal steel. Indeed, some of the songs sit at the folk end of the spectrum, like ‘Cerulean’, which puts guitar front and centre with very minimal electronics. So too does closer ‘Cannibalism of Gold’, with its patient unfurling guitar segueing into a rich if ramshackle middle section, feeling warm and earthy and real.

Although, the traditions of his homeland are not the only thing that influences Wenc’s Post Moves creations. As well as citing the likes of Jack Rose, Bill Orcutt and Alvarius B, he also finds inspiration in Andean Huayno music. “Though the reference points in the guitar playing on No Dignity in Haste may sound quintessentially ‘American’,” he explains, “I thought a lot about the interaction of the stringed instruments in Huayno and it’s ability to create both a melancholic & joyous environment simultaneously.”

‘Axolotl’ is a good example of this juxtaposition, capturing the busy and warped geometry of Ben Zoeller’s cover art before slowing down abruptly around the halfway mark. At this point the song steps through a gateway into a Zen garden of misshapen guitar and a soothing field recording of water. ‘Abiquiú’ too explores uncharted patterns of guitar that spiral outward in propulsive eddies, just one example of many across the album where Wenc embraces an improvisational mindset to create “unencumbered by style, approach, instrumentation, and structure.” It’s a beguiling collection of songs, and one which offers as many questions as answers. Perhaps the most pressing of which being, where will Wenc’s experimentation take him next?

No Dignity in Haste is out now on Obsolete Staircases and you can get it via the Post Moves Bandcamp page.

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Featuring:

Petal – I’m Sorry
Wild Pink – The Seance On St. Augustine St
Big Thing – Spin
Bombshell Nightlight – Death Day
Mount Goldie – Summer
Elsa Lester – Pretty Bad, Man
Why Bonnie – Gold Rush
Devon Welsh – Vampires
Max García Conover – Another Travelling Man
Floating Room – Dog
Izaak Opatz – Bathing in the Ganges
Free Cake For Every Creature – Around You
Indigo De Souza – Home Team
Museum Food Court – bad song
Crisco Dreams – I Like Your Bed
You’re Sister – I Think About You
Russel the Leaf – Let ‘Em Run
Fresh – Daytime
Stevhen Peters – Phone Talk
Tender Age – Don’t Mind
Lord Youth – Do You Have Anything To Add?
Quiet Hollers – Addicted
Blue J – Hard to Know
Post Moves – The Arc of Life
Angus & Julia Stone – Nothing Else
Gia Margaret – Birthday
Sun June – Discotheque
Campdogzz – Souvenir
Field Report – Every Time

*(Due to various issues of availability and licensing, neither playlist has the complete quota of acts, but welcome to the modern age).

You can find all of the previous instalments of Bright Sparks here, and be sure to check back in a few weeks to see what makes the next edition.

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The unconventional use of pedal steel is the album’s central pillar. As Lobby Art describe, “[Post Moves] stretches the confines of the pedal steel guitar to suss out the more textural & tonal elements of the instrument; it’s restorative and transfixing, putting the work more in the camp of ambient than anything else.” Feeling a sense of dissatisfaction with the conventional uses of the instrumental, Post Moves do not give up or move on, instead expanding and repurposing to find unexplored areas with the pedal steel range, utilising imagination and ambition to pull new value from what we already have.

From opener ‘The Arc of Life’, it’s clear that Wenc isn’t satisfied with traditional song structures either, abandoning any sense of verse and chorus for something altogether more patient and evocative. The track sounds deep and textured, the background atmospherics laying a gauzy, film-grained foundation upon which pedal steel winds and floats. It’s a sound that wouldn’t be out of place on Lily Tapes and Discs, possessing that same strangely meditative vibe that somehow gets to the heart of things, delving into moods and feelings that are otherwise incommunicable.

The other touchstone is Lejsovka & Freund, with whom Post Moves share a deviation to the fusion of old and new, re-utilising traditional instruments in strange and inventive ways. Like on ‘The Country Yields the City’, its pedal steel as nostalgically American as buffalo, buttes and prairie grass, before the whole thing disintegrates into snowflake synths and digital feedback. Welcome to the 21st century it seems to say. Things are weird.

There’s a certain duality between nature and simulation at work on Unison of Motion, though one which is collapsing in the contemporary moment. Post Moves conjure that enduring sense of the vast American landscape, the sense of promise and nostalgia rolled into one, though this classic dream is shaped and distorted by technology to form a hyperreal present. In the words of Lobby Art, “Post Moves make Americana about an America that makes no sense; pastoral, shambling and strange.”

This is made clear on ‘Manco Capac 648’, the ambience conjuring time as a slow, grand thing, though synths emerge to disfigure this old comfort, impinging on the sentimental view. Similarly, ‘Chigagou’ glitters uneasily, a dusky arboreal soundscape of lightning bugs and long shadows that might be just rendered digitally, while ‘The Geography of Capital’ bristles with static, again the sweeping timelessness undercut by electronic undertones. There’s always been something mournful in such music, but Post Moves adds a layer of confusion and dread, as though the loss has bite beyond the passing of time.

Closer ‘What Happens to the People’ is as patient and strangely sad as a star-strewn sky, like standing in an abandoned lot at midnight and looking upwards as the breeze blows trash around your feet and the weeds whisper against chainlink fences, neon blinking from every angle and darkness seeping between the beat, the universe as near and as far as the lives that surround you, the distant purr of vehicles, the occasional laugh or yell.

Today we are very excited to share the whole album a little while before release. It is the type of record that rewards complete listens, so put on a pair of headphones and immerse yourself.

Cover photo by Ximena Bedoya

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