Stop Sign

Minivan

Take What You Want

Once Is Never Enough

Old Mervs

Steady

Waiting

Feel It

Best I Know

Catalonia Dreams

Blood and Bone is a reckoning set to rhythm—an album built where the body meets myth, where memory scrapes against metal, and survival grows teeth. Its sonic palette threads drum-machine pulse through dust-bitten guitars, twang through circuitry, and flamenco flicker through industrial grit. Every track lives in the tension between ruin and insistence, between a world that shakes with fire, violence, wind, and destiny, and a narrator who keeps stepping forward anyway. The project treats rhythm not as a backdrop but as a heartbeat you can almost hear splitting, mending, and refusing collapse.

Across this landscape, the human form is battered, unmasked, hunted, resurrected, and set ablaze—but never surrendered. The music leans into acoustic grain, the sweat-salt of live strings, the grit of surf twang and outlaw twine, yet plants those textures in a scaffold of relentless electronic precision. What emerges is a bruised hymn to endurance: techno carved out of earth, alt-country scorched into myth, psychobilly swagger sharpened by war and weather. Blood and Bone doesn’t seek redemption so much as it chronicles the cost of staying alive when the elements, the mountains, the inner voices, and the gods all stare back—and demand a response.


Black and Burning Air

To Have and To Hold is not a biography, a lecture, or a historical reconstruction. It is an imagined world — one you step into to feel your way around an idea rather than to learn it.

The album takes place loosely in early-20th-century Cambridge, at the moment when Western thought was beginning to strain under its own certainty. Science had proved astonishingly powerful at breaking reality into parts, explaining mechanisms, and producing results — yet at the same time it was encountering problems it could no longer fully contain. Probability was replacing certainty. Events mattered as much as objects. Meaning no longer sat still.

Out of this tension emerged process philosophy: the idea that reality is not made of finished things, but of ongoing happenings — that love, time, marriage, and even truth itself are not states you reach, but activities you keep participating in.

The album imagines this moment through a human lens. A mathematician trying to complete a system of logic. A thinker insisting that nothing important is ever truly finished. Proofs accumulating. Years passing. A marriage understood first as a statement, then slowly revealed as a practice. Love appearing not as romance in the foreground, but as something quietly unfolding elsewhere — happening whether it is attended to or not.

Rather than explaining these ideas directly, the songs allow you to inhabit them. You hear bells ring. You feel evenings close in. You sense the weight of unfinished work and the relief of letting something continue without control. The philosophy is not taught; it is lived.

This is a soft documentary in sound — an audio quantum leap into a world. Its purpose is not accuracy, quotation, or instruction, but immersion. By the time the album ends, you may not be able to define process philosophy in a sentence — but you may feel why it arose, what problem it was answering, and why it still matters.

To Have and To Hold is an exploration of commitment not as possession, but as attention.
Of marriage not as a conclusion, but as renewal.
Of understanding not as something you arrive at — but something that keeps happening.

If you listen closely, nothing here ever quite resolves.
But something continues.

To Have

Weightless

The two-piece indie-rock outfit Old Mervs, from Kojonup, WA return with their first new single of 2023, 'Sweetheart' and the first glimpse at the band's next era. Taking cues from blissed-out Californian faves Sunroom to the classic indie feels of fellow Aussies DMA's,
'Sweetheart' was born out of a writing trip the band took in Denmark, WA.
With no pressure or deadlines hanging over their heads, the band put their minds to sculpting their next batch of music. 'Sweetheart' emerged from a few different song ideas that would then be stitched together alongside producer Dave Parkin at Black Bird Studios to create the final cut. Lyrically, it takes aim at those friends that constantly flake on plans, while also acknowledging that we all do that sometimes.
Tight, propulsive, and ever so fun, 'Sweetheart' feels like a classic Mervs cut, but powered by a new focus and intention. The first of much more to come, 'Sweetheart' is another home run from one of the country's fastest rising bands.
"This track came from a writing session we did on the south coast of
WA last summer." says vocalist/guitarist David House. "We wanted some more fast-paced singalong styled songs for our live set, so whilst writing we were trying to imagine how it would sit in a live show. It definitely feels like a very classic old Mervs sounding track and that's intentional. Crunchy guitars and big choruses are too much fun to be missing from our catalogue."

Waiting

Old Mervs

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