The songs from July 2022 that have grabbed our attention, touched our souls, and challenged our minds.

Songs of July 2022

Robin Kester: vocals, guitar, synths, spinet, wurlitzer, piano, vibraphonette, percussion
Marien Dorleijn: backing vocals, trumpet, synth, percussion
Michiel Stam: guitar
Thijs Visscher: bass guitar
Joep van Osch: drums, percussion, backing vocals
Sussanne Linssen: violin
Timo Jilesen: saxophone

Produced by Robin Kester & Marien Dorleijn
Additional production and mix by Ali Chant
Mastered by Joe Lambert

Cat 13

Robin Kester – Cat 13

Call It What It Is - Written by Tanya Batt 
Pre-order 'The Nightline' out Oct 14th here - https://bit.ly/TheNightlinePO
Produced by Tanya Batt 
Engineered & Mixed by Alex O'Gorman
Mastered by Isaac Barter

Tanya Batt - Vocals, Piano, Rhodes, Digital Synth
Lachlan O'Kane - Drums, Percussion
Brendan Tsui - Bass
Ross Beaton - Modular/Analog Synth 
Adam Dean - Lead Guitar

Lyrics
Everything hurts on the inside 
But there’s no point talking about it
There’s no point talking at all
Cause’ everytime I try to phone you
Nobody answers my call

Just call it what it is 
Just call it what it is 
Just call it what it is 
Just call it what it is 

Everything hurts on the outside 
But there’s no point talking about it
There’s no point talking at all
Cause’ everyone’s breathing different air to what I breathe
I feel like I’m not breathing at all 

Just call it what it is 
Just call it what it is 
Just call it what it is 
Just call it what it is 

I write down my feelings and I burn them
I wish I could show you how I feel
Seems I’m incapable in relaying what is real
Why can’t I talk about it 
Why can’t you talk about it
Why can’t we talk about it
Why can’t I talk about it
Why can’t you talk about it
Why can’t we talk about it  

Just call it what it is 
Just call it what it is 
Just call it what it is 
Just call it what it is

Call It What It Is

Right Angle

Right Angle (feat. O Mer)

Paper Moth Flame

Cherry Cola. 6-29-22. An ode to: Bonnie and Clyde.  Impulsiveness. Mojave. Ebb And Flow Of Fortune. A Tarantula Crawling Across The Highway. Immersion. Stuck On An Outside Timeline. Release.

Cherry Cola

MOSS

Thérèse

Written by Photocomfort
Produced by Photocomfort, Brian Hurlow and Max Kulicke
Recorded by Brian Hurlow and Max Kulicke
Drums recorded by Benny Grotto at Converse Rubber Tracks
Additional engineering by Sam Vanderhoop Lee
Mixed by Benny Grotto at Mad Oak Studios
Mastered by Ryan Schwabe
Album Art by Angela Deane

Vocals: Justine Bowe
Keys: Justine Bowe
Drums: Andy Fordyce
Bass: Charles McClung
Guitar: Max Kulicke

I thought there this actor 
who looked like me on TV
I started living through her actions 
But in reality, I wasn’t in the scene

So I didn’t really triumph
I didn't have that haircut, 
Never really found love

I know you'd totally break my windows
if you even knew where I lived 
I let the cops into your party 
but you didn't know I did   

I say hello to all my neighbors
Say, “how’s your wife and brand new baby?”
But in real life I keep walking
the dialogue never leaves my brain

Chorus
You don’t want to get in my head
you don’t want to get in my head
there’s no room for you in there anyway
I’m nothing more than a drawing of a girl you’d like

Verse 2
Well, I used to send you tunes didn't I
we were young Americans at the same time
until you joined Team Boredom 

And now you say hello to all your neighbors
Got your wife and newborn baby
But your mind is like a tv 
on full blast inside a safe

I don’t want to be your head
I don’t want to be your head
there’s no room for me in there anyway
I’m nothing more than a drawing of a girl you like
(in your head)
I’m never more than a supporting role in your life
(in your head)

Dance to the sound
Of my heart beating alone
To the drum of the TV, 
Of my breathing

I’d probably be a good housewife 
(Dance)
Your own stay-at-home vampire
(To the sound)
I bet I’d make a good housewife
(of my heart)
Another gross domestic vampire
(Beating alone)

Understudy

Gillian Jacobs Understudy

In The Rain

Nepenthe

McWay Falls Overlook

Early On

Horizon (Aldous Harding Cover)

http://smarturl.it/SemiAutomatic
===
I wrote the verse for this song a couple of years ago during a period of frustration. I had a record deal that wasn't working out, I felt isolated and wasn't feeling very inspired to write or compose much. That resulted in a lot of pent up anger. One night out of some type of manic state I started writing the text for this song. It pretty much came out with the music attached to it. The writing felt like praying, asking to be shown a way out. 

The chorus was written about a year later, It came from a more humorous place, trying to make sense of where my head was at at the time, but with a more light hearted approach. It's funny when songs work like that, when you need to be two different people to write a verse and a chorus.

Semi​-​Automatic

“Hey Mother” is the earliest song I wrote for the record, and therefore the one that’s most tied to the emotions that swirled around our previous album, Nepenthe.  With that collection of songs, I was trying to write very honestly from a place of emotional turmoil, but this song is about landing in a state of acceptance after all of that. The “mother” here is less a reference to my own mother than to a stubborn omniscient spirit to whom I’m trying to communicate some kind of self-reckoning. You might say she’s my conscience as I try to will myself to concede the end of a relationship.

http://smarturl.it/heymother

Hey Mother

A synapse fired in my brain when I wrote “Red Moon, Car Wreck,” triggering something from the first few years of my life: I was in the backseat of a car traveling home near the hospital where I was born, and as we drove I saw both an amber-shaded full moon and a car accident—images of comfort and chaos, respectively. This may not have even happened, or maybe it’s a composite of different sense memories, but whether or not it’s accurate is of course irrelevant. The constructive nature of memory is something that always inspires me when writing lyrics. 

The other context for this song is that I had been traveling quite a bit for my job when I wrote it, touching on all corners of the country, finding myself in quiet towns I’d never heard of before and not communicating with family and friends for long stretches. While I crave this isolation and independence, it also distances me from people, and “Red Moon, Car Wreck” attempts to connect who I’ve become with who I was as a child. Life is a series of comings and goings, but this song is about trying to stay in one place.

http://smarturl.it/RMCW

Red Moon Car Wreck

Once I Was You

Can't Get You Out of My Head (feat. Sabine Holler)

Skirting the sonic expectations of a history of music forged in garages and bedrooms, LA-based indie duo Mines Falls summons up dense and layered soundscapes that marry art-rock grooves with eerie downtempo. Anchored by Carson Lund’s resonant and melancholic baritone and Erik Lund’s inspired weaving of electronic and analog texture, the band’s music locates pockets of beauty in the anxious flow of the modern world.

MGMT: ron@tronmanagement.com
BAND: minesfallsband@gmail.com

We are not music snobs. We prefer music connoisseurs.

Right Angle (feat. O Mer)

Mines Falls

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