the eagle is a canary

NOTEEF

 7 months on from TP#4, Demdike return with the 5th instalment in their ongoing research and development series - a double-headed monster split between gnarly reductions on the A-side, and industrial strength edits on the flip. ‘Procrastination’ edges through Grimey detritus and gunshot snares within a vast open space perfectly primed for that Demdike slow build. ‘Past Majesty’ on the flip offers up a feral take on some kind of cyber-industrial insanity, somewhere between Ministry and Powell - with a denouement which should probably come with a public health warning attached to it. All we’re saying is - watch yr eardrums.

Past Majesty

An unedited, improvised stream of raw sonic produce, collected direct at the source. 

J. Domeyko | saxaphone
K.J. Callinan | percussive guitar

COLAB

Mary

Apology Accepted

Debut EP from Brisbane space-prophet, doomsayer and cosmic whistle-blower, Michael Watson.

Released February 2011.

Written, recorded and performed by Michael Watson.

Tribal Ffreakout II

The Haunted

Local

What is the Price of Human Triumph? (What Sacrifices Must be Made?)

We Could Maybe Get A Spaceship?

Watch the video for 'In the Beginning' here: https://youtu.be/vzmJrmj0azk

Cover Image by Peter James Anderson
Filmed and Edited by Adam James David Anderson
Performed by Julia R. Anderson
Produced by Alexander L'Estrange

In the Beginning (C) 2015.

https://www.facebook.com/juliarandersonmusic
https://www.triplejunearthed.com/artist/julia-r-anderson
https://twitter.com/j_r_a_music
https://soundcloud.com/julia-r-anderson

In The Beginning

Bending

I walked with you
down the mountain by the roses.
We left our mark where others wept to go
and we laughed at their misfortune.

In your hands I had a child's mind
all supple and ripe for moulding.
And we were bound with ropes white as tinsel.
Now I've got holes where they lay.

And we stripped down our bodies
'til there was nothing left at all
and the strings cut through us all.

You are made of gold, I am tin foil.
We tin foil wrapped in clay.
And on the day when our eyes are good as crow bait
They'll replace yours in the cold night sky

And we cut up our bodies, 
left the rest out to rot
and the strings hang over her cot.

If we could disintegrate even further
We'd be like the dead in the stars
I can just see the dirt through my fingers
We're fading fast.

And our non-souls mingle
by hands not our own
And the strings (mean we're not alone)

They'll all flock together
and see what we made
And they'll sing.

Strings

Ariel Pink - Time To Live

Following their 2016 album Calico Review, Allah-Las return with Covers #1, the first in a series of EPs exploring tunes near and new to the band. For the debut EP in the series, the band offers renditions of George Harrison’s “Fish On The Sand,” Kathy Heideman’s “The Earth Won’t Hold Me”, 90s LA cult band Further’s “JO Eleven”, and Television’s “Hard On Love,” an unreleased song from the band’s Marquee Moon recording sessions.

Allah-Las recorded Covers #1 at the Pump House in Topanga Canyon while working on material for their next full-length release. The selections are comprised of old faves and newly discovered tracks that became ubiquitous sounds in the studio between album takes. The EP will be released on Mexican Summer on Nov 3, 2017 as limited edition 10” encased in a high quality embossed jacket and through all digital formats.

Allah-Las - The Earth Won't Hold Me [Kathy Heideman] (vocal: Matthew Correia)

Imitation may be the sincerest form of flattery for the Wilde at heart, but for the Weyes mind it’s a natural note in the songbook of life. For the first recorded Weyes Blood music since her 2016 breakthrough album Front Row Seat To Earth, Natalie Mering shares A Certain Kind of Everybody, a double a-side 7" of cover songs close to her home but recognizable under any roof with a hearing heart at its hearth.  

Originally recorded on distant shores from where midnight cowboys roamed the same year of 1968, Soft Machine’s “A Certain Kind” was often confused as a Weyes Blood original when Mering introduced the Robert Wyatt penned fusion ballad to her live set. A recording residency at the famed Galeria ze dos Bois (ZDB) multidisciplinary space in Lisbon, Portugal enabled Mering and her touring band to track the soul-searching rendition of the song present on A Certain Kind of Everybody.

A Certain Kind of Everybody is a capsule of Mering’s care for those artists and songs that have helped define the Weyes Blood sound but also a discovery of a different kind — the words and melodies become Mering’s and ours through her intimate interpretation and commitment to seeking culture’s fringes for deeper meaning. 

Weyes Blood’s A Certain Kind of Everybody is available Thursday, September 7 on 7” and digital formats.

the eagle is a canary

art greasy