“A song which shows how the age-old themes of work, loss and responsibility are as much a facet of contemporary folk as any other era.” That’s how we described ‘Platform No. 12 (Old Friends)‘ last summer, the first taste of David James Allen‘s forthcoming album Potpurri Jubilation. The Prince Edward County, Ontario-based songwriter and multi-instrumentalist “writes classic country songs,” as we continued, “full of aching longing, wistful reflection and undying hope, as well as a small cosmic twist,” and latest single ‘By Your Side’ further cements these sensibilities ahead of the album’s release later this year via Littleknown Records. “There’s something in the way that she loves me / that keeps me warm through the coolin’ of the night,” Allen sings in the opening lines, immediately pulling the listener into the warmth and fondness of the track. An ode to the safe harbour of a significant other, where calm might be found no matter how stormy the outside world might prove. Tune in and allow the pressures of work, money and self-doubt to dissolve, if only for a while.

Fugue State – We Are Lasting

The new collaborative project fronted by Northampton, MA-based composer, producer and engineer Dan Langa, Fugue State refuses the typical distinction between solo project and traditional ensemble. An outfit which treats collaboration as its own form of compositional methodology, Langa practising what the press release describes as “an obsessive cultivation of studio recordings with a rotating cast of musicians, transformed into spectral, unrecognizable forms.” Released to celebrate signing with Switch Hit Records, and featuring vocalist Maia Friedman (Dirty Projectors, Coco) and VSF fav Erika Dohi on piano, single ‘We Are Lasting’ provides our first glimpse into this new world. The style draws on Langa’s wealth of experience across music, film and multimedia, as well as the sensibilities of its collaborators, though also follows the direction the present moment suggested. “That improvisation became the foundation, and we slowly built everything on top of it,” as Langa describes. “This was the first track that really found its identity, and I often found comfort in it during the creative process—whether for inspiration or just a moment to breathe.”

Gia Margaret – Everyone Around Me Dancing

“A picture of solitude not as some lonely retreat but rather the path towards recognising the wider connection of things. That sweet dark warmth of the whole world.” That’s how we described Gia Margaret‘s 2023 album Romantic Piano, a collection of careful, considered compositions which held a kind of melancholic curiosity for its surroundings. Now Margaret is gearing up to release her much anticipated follow-up, an album titled Singing coming via Jagjaguwar this spring, and opening track and lead single ‘Everyone Around Me Dancing’ suggests a continuation of such themes. The record might be the first to properly feature vocals since 2018’s There’s Always Glimmer (the consequence of illness, as we covered when reviewing Mia Gargaret), but it is far from a simple reversion to a previous mode of working. Rather, Margaret considers every lesson learnt through the difficult process, the resonance of every person she has ever been. The vocals might have returned, but Singing understands something greater. The voice is only part of who we are. There are deeper ways of communicating.

Watch the video directed by Catherine LoMedico below:

Singing will be released on the 24th April via Jagjaguwar and you can pre-order it now.

Little Lungs – The Heat

Little Lungs is a Baltimore folk rock project led by songwriter Leena Rhodes. With Brendan Russell (bass), Eli Simms (drums), Ricky Schwarzenberg (guitar) and an assembly of other friends and collaborators in support, Rhodes creates soundscapes inherently intimate yet often sweeping too. Songs personal, compassionate and often affirming, driven by equal parts warmth and energy. Next month, Little Lungs will put out the full-length album The Heat, and Rhodes and co. have shared the title track to establish the mood and themes of the record. A typically emotive track build around Rhodes’s vocals and the braid of tenderness and strength they are able to evoke. “Face down against the bed frame / You woke to the fire alarm,” she sings, in an opening snapshot that captures the vulnerability on display throughout.

Mary Ocher – The Narrative (First Movement)

“Has roots in the early twentieth century, both in terms of the minimalist sensibilities and the overarching themes, but it is impossible to think of the intra-war period of the 1900s without hearing ominous echoes of the present day.” So we wrote of Mary Ocher‘s forthcoming album Weimar back in January. The challenging, politically-charged album was introduced by lead single ‘The Dance’ (what we called “a mournful dirge for that which is slipping through our fingers”). And now Ocher has shared taut, plaintive new single ‘The Narrative (First Movement)’. Though it is perhaps the video which will earn the most attention. The expressionist piece is by Boris Eldagsen, one of the first ‘reputable’ artists to explore the possibilities of AI who nevertheless carries a strictly critical approach to the nascent medium (back in 2023 Eldagsen refused the Sony World Photography Award after winning for an AI-generated image). Whether this self-awareness might justify the use of such artistically disheartening technology is still very much in question, and personally we’d query whether the video achieves anything which might be unobtainable via more organic means, but if nothing else it fits into Ocher’s overall project in its willingness to push into uncomfortable places and ask the audience to examine exactly how they feel.

Weimar will be released on 13th March and is available to preorder via Bandcamp.

Miserable chillers – Bikeman

“I’ll be the bike, man / the basket and the bell / the breath before I fell / Open skin up to the air / my mouth to taste the day.” So sings Miguel Gallego in the opening lines of ‘Bikeman’, the delightfully smooth and strange introduction to Miserable chillers‘ latest album, Innocent victims, coming soon via Baby Blue. The New York-based composer and artist has covered plenty of ground with the Miserable chillers project over the years, moving from devotional to danceable and back again, or else occupying both moods simultaneously. But the uniting spirit across all releases has been one of curiosity, a mood delivered in sleek, eighties-adjacent pop that allows Gallego to push into surreal territory without losing an anchor to real life. With its anthropomorphic bicycle, ‘Bikeman’ might be the perfect encapuslation of the Miserable chillers aesthetic, and one which whets appetites for the full release.

Natalie Jane Hill – Colors

Natalie Jane Hill‘s forthcoming record Hopeful Woman is one of our most eagerly anticipated releases of the first half of this year. A collections of ten modest but supremely assured songs that explore love in its many facets. Hot on the heels of ‘Never Left Me’ and ‘I Thought Love Meant’, Hill has unveiled a third track, ‘Colors’ another richly imagined but still down to earth rumination on romance. “Simply put, ‘Colors’ is a love song- specifically about the beginning period of falling in love with someone,” Hill describes. “But it’s also about having a better understanding on personal boundaries and not losing yourself entirely in the potential of something new. It’s being able to enjoy the colorfulness of it, while leaving space for the mystery, too.” The song has a fittingly Spring-like feel, tender like new green shoots and ripe with a glorious sense of possibility.

Old Man of the Woods – Edges of Pleasure

Taken from the album Tendrils, Old Man of the Woods‘ most recent single ‘Meditation’ was “a self-described  ‘breathy, minimal ritual'” as we wrote in 2025, “[a song] which performs its own form of transubstantiation, taking a desire which might otherwise appear absurd and changing it into something charged and devotional.” Miranda Elliott appears to have taken such a style to heart, because new album Cape Perpetua sees the Seattle-based artist embrace aesthetics both religious and ecological to push their ambient avant-pop into an increasingly sacred terrain. Elliott intends to release a track every week, building up to the full release in March, and opener and single ‘Edges of Pleasure’ highlights the meditative style. A song of swirling layers which draws on the choral accumulation of Gregorian chants to conjure something that’s at once otherworldly and fundamentally present.

Turner Cody – Recognize a Friend

In a present milieu where country songs are as likely to be about Disneyland and Pepsi as heartbreak and whiskey, St. Louis-based songwriter Turner Cody shows that the traditional and alt forms of the style can coexist. Out via Capitane Records, latest full-length Out for Blood has all the thematic concerns of the giants of the field, mining the American psyche to explore ideas of freedom and fate, individualism, sin and salvation in a way which would make Van Zandt proud. Yet, as songs like single ‘Recognize a Friend’ show, there’s a playfulness within his style too. An idiosyncrasy which, by way of Prine, allows Cody to sit as comfortably next to his alt-country contemporaries as the old masters. The narrative of the track is a familiar one. Ordinary man Billy finds himself gradually growing despondent as he drifts from youthful optimism into the doldrums of normal living. The personification of an entire demographic which finds itself slipping out of its countercultural pep.

Watch the video below, directed and shot by Cam Kennedy, with editing by Ben Chace, co-direction by Ben Chace and color grading by Thomas de Hemptinne:

Out For Blood is out now via Capitane Records and you can get it from Bandcamp.

The Yum Yum Tree – Shine

It has been nineteen years since Georgia-based indie rock outfit The Yum Yum Tree released their last album Paint By Numbers, a hiatus long enough to make even the most optimistic fans fear for the future of the project. After all, the band have other things to think about, not least lead Andy Gish who has spend over two decades as an ER nurse, as well as working in harm reduction. But good things come to those who wait, and this April will see The Yum Yum Tree return with brand new full-length Turn Down the Noise, an album which builds upon the foundations of its predecessor while proudly displaying the extra wisdom, self-awareness and emotional bravery which comes with near enough twenty years of living. Single ‘Shine’ embodies the spirit of the release, packing that nineties-flavoured indie rock punch while showing a newly unguarded, introspective personality. “Shine is about wanting something that doesn’t belong to you,” as Gish explains, “being able to sit with that and still wanting the best for them.” Watch the video directed by Katherine Lucas below:

Turn Down The Noise will be released on the 10th April and you can pre-order it from Bandcamp.

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Following a slew of singles, Royal Oakie Records have now released the debut Holy Matter album, Beauty Looking Back. Aptly named after a painting by 17th Century Japanese artist Hishikawa Moronobu, the album is unsurprisingly preoccupied with time and the impact of the past on the present moment, following the changing seasons of a life with equal doses of nostalgic longing and reassuring closure. “It seemed an appropriate title because this is a collection of backwards looks,” Kaiser explains. “A survey of emotions and moments, written between 2020 and 2023. I think a lot about the past, how a life is built up of all that came before it.”

Opener ‘Autumn’s Envy’ “occupies the liminal space between the real, emotional and spiritual,” as we described in a preview, “as though through loss and introspection, one can lead themselves towards uncanny places.” And the follow-up ‘Eve’s Hollywood’ is no less dreamy, drawing on the cinematic aspect of Kaiser’s parallel career to craft what we previously called “an immersive country-tinged dream pop croon worthy of a David Lynch set-piece.” But if that track was succinct, ‘Fallen Leaves’ pushes concision even further. A brief, ethereal snapshot of the most ephemeral of seasons, though one which lingers much like leaves persist upon the forest floor.

This willingness to offer compact, swift songs not only helps Holy Matter circumvent the more self-indulgent aspects of the dream pop genre, but also feels intrinsically linked to the themes and mood of the album. The songs cycle through as one might a collection of memories, each appearing fully formed and dissolving before we move onto the next. Be it the retro pop croon of tracks like ‘Wishing Well’ or ‘Prince Gloom’, or the hypnogogic and slightly surreal instrumental ‘Queen of Hearts’. ‘The Dove’ encapsulates the style perfectly, a brief yet elegant track which plays like something between a nursery rhyme and fable in all of its heightened longing. In my tower sewing / I can hear the doves’ song,” as Kaiser sings. “In their circle crowing / My love comes to me, anon.” Watch the video directed by Yun Chen below:

Final track, ‘Lore in Green and Blue’ was the first song Kaiser wrote for the record, a decision which on another record might seem like an odd one, but here seems perfectly fitting. Something of a companion piece to ‘Fallen Leaves’ it again looks back to a disconsolate period of anxiety and depression. She says it’s a song about “missing the green and blue hillsides of the Ozarks, thoughts on astrology, numbness and apathy, the whole kit and caboodle,” and this vulnerability is palpable. Both in the gentle, quiet folk of the majority and the swelling catharsis of the finale. “I wanted the last part to be a lot different and more bombastic,” Kaiser explains. “It’s like a final cry out. I wanted it to feel desperate and raw but also lead to something more resolved on the horizon.”

Beauty Looking Back is out now via Royal Oakie Records. Get it from the Holy Matter Bandcamp page. A physical release for those of us in the EU and UK will follow in early December.

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Now Holy Matter is back with brand new single, ‘Autumn’s Envy’. Again released via Royal Oakie, the song dials back some of the smoky atmosphere for a more spacious yet no less atmospheric sound. Brought to life with help from guests Kate Bollinger, Andy Kahn, Raphi Gottesman (Sonny and the Sunsets) and Josh Housh (Michael James Tapscott), the song plays less like a dancehall ballad than one delivered within the shadowed under canopy of the woods in fall. “I often get phrases stuck in my head and I kept thinking about the Pavement song title Summer Babe,” as Kaiser explains. “What happens to a Summer Babe in the fall?”

The result occupies the liminal space between the real, emotional and spiritual, as though through loss and introspection, one can lead themselves towards uncanny places. “‘Autumn’s Envy‘ is about experiencing someone drift away as the seasons of love are fickle and change, and the jealousy and insecurity that come along with knowing you are ‘out of season’ while watching someone move on,” Kaiser explains. “It’s about doubting yourself. About longing and calling out for someone, wanting them to open themselves to you completely and the comfort and relief that brings.”

Darling, won’t you call my name
So I am happier, again?
Cut off from the agony and the envy
of a Summer Babe in the Fall
(in the Fall, oh)

‘Autumn’s Envy’ is out now via Royal Oakie Records.

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But then, as though in keeping with Shady Bug’s signature unpredictability, things began to change. Both Anderson and O’Neill left the band, and Rainey took a break to experiment with solo project hennen. As we described previously, the project “sees Rainey work through feelings of heartbreak, isolation and self-sabotage using an iPhone and her distinctive brand of twee-tinged garage rock.” Recording as hennen broke open a new seam of creativity and encouraged Rainey to write full band arrangements alone for the first time. She then took these to practice, where Ripple and new members Chris Chartrand (bass) and Jack Mideke (drums) transformed them into complex warrens of sound and texture, but always with Rainey’s vocals front and centre. In other words, made them into Shady Bug songs.

When they were ready, the band took the new songs to Alex Molini (of Pile) at his studio in Nashville. Molini not only acted as producer but also provided keyboard segments that add an extra layer of complexity to the compositions. Take opener ‘zero expectations’ with its wiry guitar and steady galloping percussion, whipping up into a squally noise before the introduction of Rainey’s vocals, which land somewhere between impish and indifferent. It soon becomes apparent that this delivery masks more complex feelings, feigned apathy as a shield against worries, a kind of Schrödinger’s cat approach to unavoidable anxieties, where if you don’t acknowledge them they don’t exist.

“‘Zero Expectations’ has been a motto I tell myself to help go into situations with an open mind even though I am actually very worried,” Rainey explains. “The song playfully explores some of my anxieties, including climate change, capitalism, and trying to be noticed in the music industry.”

“I had zero expectations, zero and some were bad
Get over that notion, cuz every oceans filled with plastic
trash out on the sidewalk, but nobody seems to mind
Staring at the advertisements, but they
just want your money buy buy buy”

Such worries thread throughout the album, no matter how much the mood changes. ‘frog baby’ is altogether more sedate, at least outside of the stomping chorus. But again it’s wracked by uncertainty, and the continuation of the quiet-loud dynamic of ‘popsicle’ twists taut with an anxious tension which outlasts both the sunny rhythm and soaring chorus. ‘favor’ turns this frustration into a kind post-punk snarl, Rainey’s vocals those of a person fast approaching the end of their rope. “Always doing somebody a favor favor after favor,” she sings, “Step out of my body step out I don’t even know her / People pleasing couldn’t please me / please me much not much forever.”

But there is catharsis in airing such feelings, and as such the songs of What’s the Use? come to answer the titular question. To externalise that which has grown stale within you, moult the accumulated weight to emerge anew. The image is captured directly on closing track ‘Lizard’. It’s a beast of a finale, the longest, loudest thing Shady Bug have made to date. Taking full use of the stacks and amps in Pile HQ, the track builds to a crushing crescendo full of crashing percussion and squealing guitar (what the band describe as a “a nuts fuzz loud wildin’ out section.”)—a moment of pure, visceral noise.

“’Lizard’ was written while I was still in my relationship but I knew I needed to leave so I could grow, aka shed my old layer of lizard skin,” says Rainey. “It was really hard to leave the relationship because I knew I would regret either decision and be sad. Tossing and turning, not knowing how to go on. The Lizard Year is a reflection of wanting that growth so bad but having many doubts.” The song is a fitting conclusion both to the record and this period of the Shady Bug project, and one which leaves you wondering just what form they might take next.

What’s the Use? is out now via Exploding in Sound Records. Grab a cassette tape or download via Bandcamp.

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If you want an idea of what the album is like, then lead single ‘Retainer’ is a good place to start, a sub three minute snapshot of what Sinwat do so well. Zelikovsky’s vocals provide a softening, nostalgic edge to the otherwise downbeat atmosphere, which is built on sluggish strummed guitar and subtle percussion. The result is something like the ponderous heft of 90s/early 00s slowcore meets the bittersweet radiance of Hovvdy. Starting leaden and lethargic, the song builds patiently with admirable restraint, until finally descending into a blare of fuzzy guitar for a final moment of cathartic noise.

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Setili started the algae dust project as an exercise in improving her guitar playing and teaching herself to mix, working instinctively to build on ambiguous ideas that explore themes of “nostalgia, cyclical thought, and the importance of perspective.” Starting slow and subdued, ‘circular’ is a good introduction. “Well I’ve been walking circles in my mind,” Setili begins over gentle bedroom pop guitar. But it’s not long before the song sparks into something bigger, fellow Frankie Valet member Gram Tolish providing drums as the song crashes into life in its final third, transforming into something with considerable force.

This duality becomes a theme across the algae dust half of the album. Tracks that start soft and intimate find stormy peaks or refuse to settle into recognizable patterns, peaceful blue skies of songs like the patient instrumental ‘by the window’ sit next to grey rainclouds and agitated squalls of emotion, like ‘grasp’ with its constant percussion and whirring organ-like keys.

The hennen side sees Rainey work through feelings of heartbreak, isolation and self-sabotage using an iPhone and her distinctive brand of twee-tinged garage rock. It takes the Shady Bug formula (catchy hooks and knotted, unpredictable melodies) and strips things back, losing some of the sheer power of the full-band crescendo but gaining an intangible sense of the personal. There is perhaps more of a pop influence, which comes to the fore on tracks like closer ‘bothered’, sounding remarkably slick and streamlined with its electronics and yearning vocals.

There’s a definite sense these songs give Rainey space to experiment, allow her to venture into areas that perhaps wouldn’t fit Shady Bug. Tracks like ‘lizard’ shift between woozy bedroom pop and contemporary r&b, while ‘auto-pilot’ smothers strong vocal melodies in wobbly, underwater distortion. But that’s not to say there’s not a healthy dose of indie rock grit on display. ‘the hardest’ has a propulsive energy and satisfying rumble in its bones, while ‘zero expectations’ juxtaposes gentle vocals with blown-out distorted guitar. All in all it’s a consistently surprising and cohesive split, and one which feels right at home on the It Takes Time discography.

algae dust // hennen is out now and you can get it on cassette or download from the It Takes Time Records Bandcamp page.

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“Did you ever wonder why I stay broken?” Pearl asks at the beginning of opener ‘Say it Back’, a track which segues between gloomy introspection and blazingly fierce indie rock. There are hints of Oh Rose in Pearl’s raw-throated delivery, which confronts the record’s themes of addiction and toxic relationships with raging catharsis. “Rest in peace, you sleep easy now,” they howl from amidst the ruins left in the wake of a bad influence. “And I can’t clean the mess you leave for me.”

Follow-up ‘One Hit’ explores addiction more explicitly, beginning with denial (“keep that shit away from me”), but slowly slipping into acceptance. The atmosphere is slow and smoky, rising to an energetic spike in the middle before settling back down. Closer ‘Dairy Lottery Tobacco’ picks things up from inside this lull.

This time focusing on a toxic relationship, Pearl again pulls no punches with the direct opening line. “I know you’re no good, but I can only see the good you could be,” a seemingly small self-deception that can excuse so much suffering. The stark drumbeat and snaking guitar give way to what again begins as something almost dreamy, but as the frustration builds so do the noise levels, yelping vocals held aloft on crunchy guitar and cymbal-heavy percussion. As the sound gathers so too does the conviction and anger, Reggie Pearl riding the crest of righteous violence toward the death of those who exert their control.

REGICIDE is out now and available from the Reggie Pearl Bandcamp page.

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It’s the first actual record release on It Takes Time, and proves to be a watershed moment for both band and label. The blurb says the record “confronts both the clamour of youthful confusion and the stillness of nostalgia,” tracing the blueprint of their debut and taking it in completely new directions. “In other words,” the blurb goes on to describe, “it’s the sound of four friends growing together.”

While Stop apologizing was a record mostly written by Nelson and then brought to the group to flesh out, Waterfowl is a truly collaborative venture. It’s the sound of four people putting their heads and souls together to create something unique, a fact reflected in the eclecticism and unpredictability of the record. Take for instance the stripped-back opening of the pseudo-title track ‘Water foul’, just Setili’s vocals and subtle guitar and heaps of negative space, versus the song’s second half, which sees it transform into an emo-influenced rocker that wouldn’t look out of place on the last American Poetry Club record. This erratic nature is exacerbated as the song ricochets into the frenetic ‘Engulfed’, which barrels along at breakneck speed around deadpan vocals. It’s maybe the first straight-out rock song Frankie Valet have recorded, adding an as before unseen directness to their sound.

This proves to be another noticeable evolution for Frankie Valet. Compared to the nostalgic fuzz of Stop apologizing, Waterfowl‘s production is succinct and stripped-back, capturing the essence of their live show. Take the taut opening of ‘Our apartment’, the sparkly pop of ‘You found me out’ (which starts like a throwback pop tune, but slides into a rousing kick drum stomp), or the yell-along finale ‘Alright okay’, which feels like a definitive celebration of DIY community that’s over in barely over a minute.

But it’s the album’s mid-way point, ‘Soft Skin’, that feels like the most important moment. Setili once again takes vocal duties in a track that builds from a dreamy shuffle, stepping through a hidden doorway just before the minute mark in one of Frankie Valet’s signature tempo changes. It’s the song that that best illustrates both the past and present of Frankie Valet, and leaves us guessing as to their future direction.

Waterfowl is out now on It Takes Time Records. Get it via their Bandcamp or the Frankie Valet Bandcamp page.

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New album a little light of our own may well be the last by american poetry club, at least in its current form, as the band disperse after finishing college. But, despite the potential farewell album vibes, it seems like Weinstock and co. are intent on burning out as bright and pure as a sparkler, the songs infused with a collective energy that displays a real sense of community.

“If you think you are struggling alone just to be fine,” Weinstock sings in opener ‘in your own way, at your own pace, pulling through!’, “know that i am always right here next to you, I am always by your side.” It sets the tone for the album in more ways than one, direct and intense and at times painfully earnest, american poetry club go all out to say what they mean and mean what they say. Second track ‘as slow and vast as our love can take’ is equally short and direct, a ramshackle indie pop song that’s almost reminiscent of Emperor X. ‘summer of the century’ kicks up the tempo even further, a glorious pop punk singalong that ends with a plea to embrace and celebrate each other and ourselves as individuals.

what you feel is alright, don’t worry you burn bright
how you think is okay, please do this your own way

‘pro pic’ is the album’s standout moment, and in some ways feels like the song american poetry club have been buildings towards over these last few years. The balance between heart-on-sleeve emo and twee indie pop is just about perfect, as Weinstock and his friends sing (and sometimes yell) over shuffling drums and subtle horns. Thematically, it’s one of the more reflective songs on the album, our narrator reminded of a previously dear relationship/friendship by occasional glimpses of a social media profile picture.

‘hampton ave’ is the album’s most reserved moment, a quiet acoustic track that still maintains the purity of feeling of the other songs. It’s proof that american poetry club can do things stripped-back, and bodes well if Weinstock intends to play these songs solo if the band goes on hiatus.

Finale ‘snbm’ then takes everything that has come before, not just in this album but through the entire american poetry club catalogue, and distills it into just under three minutes. It begins hushed and spacious, just guitar and Weinstock’s voice, but grows into a swelling outro that based around a mantra for positivity and self-love. It’s a fitting end to both the album and american poetry club as a project.

no more low self-esteem
we’re gonna be all we dream
we are bursting at the seam
we are a brilliant sunbeam

a little light of our own is out now on It Takes Time Records and Feels So Reel Music, and available from the american poetry club Bandcamp page.

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The label say the album aims to explore “current issues like entitlement, the line between surreal and realism, and how to survive softly,” meaning that far from being throw-away observations, Kurlender’s easy pop jams and simply poetic diary-like lyrics have surprising depth.

The first single is the title track, a barely 60 second song that introduces the Marbling aesthetic perfectly. Subtle guitar and shuffling drums combine with Kurlender’s gentle vocals to make a short but very sweet pop song.

i had a dream about my wisdom teeth
and what you mean to me
you never came to my front door
i was just asleep…

Today we have the pleasure of unveiling a video for the song. Drawing inspiration from the breezy yet reflective tone of the track, the footage finds Kurlender out playing with friends yet pulled away by thoughts too, though the closing shots put peace to that. We think it was Chekhov who once said that if you introduce a cake onto a basketball court in the opening scene then the ball must bounce on said cake by the close of the video. Luckily, Marbling do not disappoint.

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