<< THANK YOU SO MUCH 4 pickin' me up <3>>

"Candy Walls", Out Now.

7": http://sacredbonesrecords.com/releases/sbr053/
iTunes: https://itunes.apple.com/us/album/candy-walls-trinity-single/id427583989


Trust - Candy Walls

When asked to describe the circumstances that influenced her beautifully fraught new work, Berlin-based musician Annika Henderson—better known simply as Anika—quickly articulates a set of feelings and unpredictable circumstances that are familiar to anyone who tried to make art—or simply tried to live through—the recent global pandemic. “It’s a moment caught in time,” she says of Change, her much-anticipated new record. Given that it has been 11 years since the release of her last solo album, 2010 cult-favorite Anika, the artist suddenly found herself with a lot to say. “This album had been planned for a little while and the circumstances of its inception were quite different to what had been expected. This colored the album quite significantly. The lyrics were all written there on the spot. It’s a vomit of emotions, anxieties, empowerment, and of thoughts like—How can this go on? How can we go on?”

Having worked collaboratively in the past with the likes of BEAK> and Mexico City’s Exploded View, Change was ultimately the product of necessity. “After recording the initial ideas alone at Klangbild studios in Berlin, a few months later and by some stroke of luck, Mr. Martin Thulin of Exploded View, managed to make his way over from Mexico, to co-produce the album with me and play some live drums and bass,” recalls Anika. “Between Reality Baitz and Impression Recordings in Berlin, we managed to get the album together.

The intimacy of its creation and a palpable sense of global anxiety are seemingly baked into the DNA of Change. Spread across nine tracks, the central feeling of the record is one of heightened frustration buoyed by guarded optimism. The songs offer skittering, austere electronic backdrops reminiscent of classic Broadcast records or High Scores-era Boards of Canada, playing them against Anika’s remarkable voice—Nico-esque, beautifully plaintive, and—in regards to the record’s subject matter—totally resolute. Incantatory tracks like “Naysayer” and “Never Coming Back” are both, as Anika explains them, both a call to arms and a warning. “Never Coming Back” was written after reading Rachel Carson’s Silent Spring,” she explains. “I was living in the old East countryside outside of Berlin, where there seemed to be no shortage of birds. Apparently their numbers have dropped significantly, but it is one of these changes that we never really stop and notice. We take things for granted, until it’s too late. With all this other noise going on, care for the environment has quickly been moved to the back-burner. So long as we get what we want NOW and on demand, who cares about whether we are taking care of the future?”

Finger Pies

"Overheated", Out now.

7": http://www.sacredbonesrecords.com/products/sbr111-prolife-overheated
iTunes: https://itunes.apple.com/us/album/overheated-gold-leaves-single/id791735249?ign-mpt=uo%3D4

Prolife - Overheated

ANTENA - Camino del sol

GOLD-ZEBRA-Love-French-Better

@akeanders

A song about movement, memory, and the weight of place.

Ake Anders - Mineral King

Premiered on Libération : http://next.liberation.fr/musique/2018/02/02/le-son-du-jour-240-marmonne-comme-delage_1626975

Debut album to be released on march 2, 2018 on Field Mates Records
Red Vinyl, limited edition (150 copies)

Pre-order:  https://fieldmatesrecords.bandcamp.com/album/d-lage-loverboy-beatface

Délage - Loverboy Creation

Debut album to be released on march 2, 2018 on Field Mates Records
Red Vinyl, limited edition (150 copies)

Pre-order : https://fieldmatesrecords.bandcamp.com/album/d-lage-loverboy-beatface

Délage - Call Me Today

'Traveler' is taken from The Green Child's self-titled debut album out January 12th through Upset The Rhythm.

Available to pre-order here now:
upsettherhythm.bigcartel.com/

Artist: The Green Child
Title: The Green Child

Label: Upset The Rhythm
Catalogue Number: UTR102
Release Date: Friday 12 January

Track listing:
01. Traveler
02. Her Majesty II
03. Bertha
04. New Years Eve
05. 46 Timelines
06. Walking Distance
07. Marie Elene
08. Destroyer

The Green Child is the long distance musical collaboration of Mikey Young and Raven Mahon, who met in 2013 when their bands, Total Control and Grass Widow played a show in Oakland, California. They started writing songs together in Australia in 2014 and the project has been on a slow burn since. Their self-titled debut album is the culmination of few years of putting ideas together internationally and periodically recording in Mikey's home studio. Some of the lyrical content and the band's name was inspired by Herbert Read's 1935 utopian, communist, sci-fi novel called The Green Child.

With such a choice name, it’s no surprise that The Green Child draw their sound from an illusory past as much as they stalk into pastures new. Broadly retro-futuristic in scope, verdant acres of lushly evocative synthesizers and blippy drum machines underpin most of their upbeat yet decidedly uncanny songs. Raven’s calmly scenic and measured vocal flits like a will-o’-the-wisp throughout the tracks, proffering a guiding hand as she walks us through the often eerie, electronic concoctions.

‘Traveler’ opens the album all redolent, beat-minded and labyrinthine. Twisting melody lines swirl and envelop like a sandstorm, whilst Raven coolly projects on a “solitary man” lost to “green oblivion”. Similarly, ‘Her Majesty II’ glistens with its playful yet plaintive vocal and iridescent arpeggios, whilst ‘Bertha’ slows things down with tumbling chimes and stately use of space.

The Green Child are adept at atmosphere, their songs are refined from gently unfolding ideas that never fail to realise and build to their potential. Tracks like ‘Walking Distance’ (featuring Al Montfort on saxophone) and ‘New Years Eve’ are exercises in evolved composition with ideas budding off and blossoming into truly resonant dimensions. The band’s cover of ‘Marie Elene’ (by Keith Pearson) and closing track ‘Destroyer’ are further crowning achievements, both pieces subtly handled with poise and ample melancholic grandeur. The Green Child fix their sights on the heights they want to reach within their songs and much like the project itself don’t want to rush to the finish line. When it becomes more about the unfurling journey, why not take the time to enjoy the trip and burn slower?

‘The Green Child’ is due for release on January 12th through Upset The Rhythm on 180g black vinyl, accompanied by some spirited sleeve design by James Vinciguerra.

Prolife - Overheated

Sacred Bones Records

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