Weird week for a record shop when you sell more posters than records. It is a good poster, mind (i am of course talking about Matthew Walkerdine's iconic The All print - see below). Might change our name to Athena.
On the subject of which, anyone interested in a topless photo of me holding a newborn baby? L'Enfant 2.0. I'm not doing that Tennis Girl one, though. DM for OnlyFans link...
Anyway, let's not dwell on that image too much longer. Swallow back the sick in your throat, buy a Fall poster and see what this week has to offer below.
"To their children they sing, stop mithering"
So many have asked, so we must finally oblige:
'The All' poster
Designed by Matthew Walkerdine - WOE is Me version
A2 // 170gsm paper stock
Edition of 50
Special Interest - The Passion of...
Night School, 2020
Now the vinyl has finally arrived, let's revisit this: Special Interest's show in February at the Waiting Room was the last gig i bought a ticket for in 2020. I didn't actually end up going due to obvious concerns regarding C-19, which given what we know now might have been one of the more sensible decisions i've made and especially so when you consider that Special Interest make the kind of music soaked in bodily fluids. More so, this is music of the body, both aesthetically and ideologically. On a purely sonic level, Special Interest are a child of the Great American Punk Underground, the spirit of hardcore evolved through the various transgressions made by Wax Trax and Hospital. Power (structure) electronic(s) body music, if you like! Vitally, as on their equally essential debut, Special Interest speak of the black queer experience in compelling, uncompromising ways, cruically couching their dissidence (and dissonance) in the language of both resistance and inclusion - there's a war to fight but we can dance together along the way. Album centre point "All Tomorrow's Carry" is Special Interest at this apotheosis, "are we going out tonight?" the call-to-arms chorus as they describe a city collapsing under the poison of gentrification and social cleansing. There's a beautiful truth in the simultaneous expression of anger and pleasure, reminding us they're not mutually exclusive ideals. Which is to say, this is a record that raises the bar for everyone else. An important record, even.
First proper (don't count lathe cuts that are impossible to find...) new Joanne Robertson since the collaboration with Dean Blunt back in 2017 (has it really been that long?), and with it another striking affirmation of the spiritual connection between Glasgow and the American North West (Olympia, Seattle et al). Beautifull ungarnered, delicately-composed, fallen angel-voiced confessionals with its troubles all up on its sleeve. The influence of early Chan Marshall is sort of unavoidable, which is A-OK with me, and you can throw Mary Lou Lord, Kristin Hersh and Hope Sandoval in that mix and colour me more than pleased. Post-grunge dream folk that's all kinds of maudlin and blue is always welcome when its done this well. At 26 minutes long, it's almost over before its started, like some brief open window into the world of a sad-eyed soul. As good as this kind of thing gets right now.
These arrived too late to make last week's mail out, but be assured they'd have been right near the top if they hadn't. And now here they are. Basically, simply, the best stuff out there right now. Keen listeners will recognise the second track on #001, Wonkadonk, from the CS + Kreme Inner World mix, and honestly, it's all uphill from there. Can't find a bad moment across these six tracks/50+ mins of dub deep, bass-heavy smoky concoctions that have had the walls shaking here all morning. 001 and 002 have been out a few months+ already, so it's especially thrilling to hear GT peaking on 003, particularly on RA Sun on the 'yang' side (see what they've done there?), which begins with rib cage pressing sub-bass before morphing into a polyrhythmic monster. Very nicely presented, too - tape-sealed, hand-numbered etc. Do not sleep. I'm right about this one.