Originally released by U2 in 1991.

Christa's version produced by Ben Shive in 2014.

CHRISTA WELLS // One (feat. Kaleb Jones)

Lost Lovers is Ine Hoem's second single from her debut album 'Angerville'. 

Lost Lovers (Single edit)

http://apple.co/1GcpdKp

we've been down this road
nothing new up there 
went so fast we broke out of control
broke beyond repair
the crash was me and you
a million cuts and fears
the story's old its old old old
how did we get here

don't waste my time
by calling me back into your broken promise
i know its a trap
don't waste my time
by calling me back 
i said what i needed to say
don't waste, don't waste my time

the devil that you know
seduced by cheap affairs
you love to lose control
when someone else is there
but you would never do
with make up and pretend
and i'd do anything to be that dumb again

don't waste my time
by calling me back into your broken promise
i know its a trap
don't waste my time
by calling me back 
i said what i needed to say
don't waste, don't waste my time

Don't Waste My Time

Perigee is an album about the moment the world comes too close.
A lunar-paced love story told in quiet weather, it follows two people through the night of a supermoon — from the shock of unexpected brightness to the slow return of distance.
Written in Petrichor’s signature atmosphere of rainlight (soundcloud.com/quantumme/sets/petrichor), wet streets, and soft memory, these tracks trace an orbit of intimacy: closeness, drift, tide, ache, release, return.
It’s an album for the nights when the city glows a little too brightly, for the gravity you feel without touching, and for the simple truth that some connections, like the moon, circle back whether you’re ready or not.
A gentle, cinematic meditation on distance, longing, and the cosmic pull between two people moving through the same sky.

THE DISTANCE BEGINS AGAIN

Jesse Maranger - Like a Song_(song365.cc).mp3

Enjoy this track from my VELVETEEN ep. Hear the whole album on iTunes/Spotify. Join my Patreon tribe for exclusive access to behind-the-scenes pics, vlogs, journals, livestreams, and more. xo CW 

*Note: I've replaced the original file (a home worktape) with this proper studio recording, so many of the comments visible below were made in reference to the demo. Because the song had already made its way onto a number of playlists, I didn't want to remove it but rather upgraded it for you kind folks. :)

Velveteen

CHRISTA WELLS // One Day

09 Angels Were Singing

05 Sleeping With a Stranger

Produced and Mixed by Calum MacColl
Mastered by George Shilling
Written and performed by Jake Morley

Copyright 2018 Sandwich Emporium Records

Ghostess (acoustic)

Ghostess (Acoustic)

EP OUT NOW: itunes.apple.com/au/album/texture…n-ep/id572417541

'BOTTLE' CLIP: www.youtube.com/watch?v=-YdgxhmrvqM

FACEBOOK: www.facebook.com/TextureLikeSun

LYRICS: blanktape.com.au/lyrics-bottle-texture-like-sun/

---

BLANK TAPE ANNOUNCE DEBUT RELEASE AS LABEL - Melbourne's Texture Like Sun have just completed their debut EP, and it's now time to launch with three special shows down the east coast w/ Patrick James. The EP is available digitally and physically through Blank Tape Music/MGM on the 2nd of November.

The self-titled EP was recorded across Darwin and Melbourne's Bounce County Studios, produced by award winning Pip Norman (Countbounce - TZU, Sparkadia, Ash Grunwald) and mixed by Dan Rejmer - a man who counts Bjork, Foals and Paul Kelly among his working credits. While the six piece’s sound couldn't be further away from anything they’ve done before, their cohesive approach remains apparent; evident through the effortless guild that bridges each of the songs on the EP.
The earthy vocals may draw ghostly parallels to Jeff Buckley and Scott Matthews, while there’s a certain zealousness that sees the band paint their folk and roots stylings through accounts of both brighter times and others of fragile refrain.
Compelling song writing doesn't need embellishment. Texture Like Sun may just seem to be another band dwelling on the human condition, but there’s a quality about the EP that descends well beyond just plaintive lyricism. Haunting track ʻBottleʼ is a moving account of addiction and loss in all its forms. The strength of this EP may be evident in its honest subject matter; the striking string section featured in ʻRubber Manʼ and the pacing melody of ʻOne Great Prizeʻ still salvages a sense of great warmth. Similarly, the slow, ruminative guitar of ʻWeekendʼ distils a dreamlike imprint of early mornings spent with the one you love.
There are releases that stay with you for a long time; songs which mirror our own stories, artists who mark themselves distinct - and others who, put more simply, are just quietly brilliant.

---

All tracks written, arranged & performed by Mark Pearl & Pip Norman

Produced by Countbounce (aka Pip Norman) at Bounce County Studios, Melbourne

‘Weekend’, ‘Ever Wanted More’, & ‘Rubber Man’ mixed by Countbounce @ Bounce County Studio. ‘Bottle’ & ‘That Evening’ mixed by Dan Rejmer @ Artillery Studios (London). ‘One Great Prize’ mixed by Dan Rejmer & Countbounce

Mastered by David Walker @ Stepford Audio Melbourne

Additional musicians: Drums: Rory McDougall, Violin: Elizabeth Welsh, Viola: Ceci Dowling, Cello: Lachlan Dent, keyboards: Dustin McLean, BV's on 'Bottle' and 'Weekend': Toph Morrey & Jemi White

Cover Photo: Cesar Rodrigues
Design: Gerardo Godinez

Thank You: 
Pip (Countbounce) an ocean of calm in a land of chaos. Thanks for sticking by it.
Cesar - well you single handedly brought this to completion. Thanks for being pushy and amazing.
The live band: Duzzy, Ceci, Silas, Alex - but of course…
Also in no particular order: Rory McDougall, Toph Morrey “Roll”, Nicky & Buckley, Tim Levinson, LW ydm, Dave Ellis @ Tooth And Claw, Jamie Bretman, David Walker, Dan Rejmer, Dave Rubin, Jemi White, Jane Tyrell, Simon Gorman, Keith Parsons, Ash Sambrooks @ Show Off Services, Carlo Santone, Bill Page @ Mushroom Music, Mark Bolton @ MGM, Rob G @ Select Music, Gerardo Godinez, Paul O’Donnell @ The Whiteboard Project, and the Blank Tape Music team - all part of it or an inspiration for it.
Special Thanks: Eden and Jonah - "my boys".
Bianca - my lover - your support has always been unwavering – love. My entire family… and of course Grandad who will always be a part of everything I ever do.

© 2012 Texture Like Sun

LABEL & MGMT
BLANK TAPE MUSIC
www.blanktape.com.au
cesar@blanktape.com.au

DISTRIBUTION
MGM
www.thegroovemerchants.com
mark@thegroovemerchants.com

PUBLISHING
MUSHROOM PUBLISHING
www@mushroommusic.com.au
billp@mushroommusic.com.au

Weekend

Barzin - Soft Summer Girls

Land of the Living Official Release- May 29th. 

There comes a time in every man’s life when he must question the principles of his culture, his community, and his ancestors. Some may ignore the questions, while others, particularly artists, wrestle with them until something new and lasting is formed from the struggle. Shortly written after the death of his father, Matthew Perryman Jones’ latest record, Land of the Living is a courageous personal Odyessey through life’s most troubled waters of love and loss, and communicates the process by which we grieve, and the fight to find restored hope.The writing process of Land of the Living was an intense wringing of words, emotions, and melody from the rags of Jones’ solitude, but are an account of his truth found in the pain.

His first full length album since 2008, Land of the Living was produced by Cason Cooley (Katie Herzig) and is set to be released on May 29th. The record could not have found a better birthplace than the elusive bohemian studio in Round Top, Texas, where it was recorded. The studio itself was made from a 1700’s Amish farmhouse, is surrounded by vast land and skies, and haunted by a woman the band came to call Sarah.  Matthew slept in a teepee outside the studio for the week the band recorded.  The short time span forced them to “trust our gut and bring our very best to the table.” 

For this record, Matthew decided to entrust the fate of his musings to the ones most likely to connect with it: his fans. In just thirty days Matthew’s “tribe” contributed $26,000 to fund the creation of the album. “Going into making this record supported by fans inspired me in a whole new way. It really awakened the sense of why I went into music in the first place-creating a meaningful connection with people through music.”

Inspiration also came in the form of the writings of Rumi, the letters of Vincent Van Gogh to his brother Theo (from which the title Land of the Living was taken), and Federico Garcia Lorca, who wrote about the idea of Duende—loosely translated as a heightened sense of emotion, expression, and authenticity in art, and particularly, in music.

In each song there is a sense of wandering in the desert and wrestling with the angels.  “Waking up the Dead” conveys the transition from mourning to once again feeling passionate about life. “I want to dance on fire and be born again” is Jones’ earnest mantra. Matthew mirrors the poetry of Leonard Cohen when he sings, “You stand in the water with your arms crossed, groaning hallelujah.”  In “Oh Theo,” he grasps Van Gogh’s artistic and spiritual struggle saying, “My heart was still unknown, I was drunk and full of sorrows. I was longing for a home with nowhere to go.” 

Perhaps the crux of the record’s struggle can be heard on “Cancion de la Noche”, or “Song of the Night.”  Echoes of Daniel Lanois’ mysticism float in the mournful guitars and full, round drums. He sings, “I was alone in the water, deep in the water, where did you go? Oh the light is in disguise, breaking slowly, pull me close and I will push you away.”

A response to “Cancion de la Noche”, is the song “The Angels Were Singing”, which delves into Jones’ grief over the recent loss of his father.  As if in a Flannery O’ Connor short story, he says, “I started running to feel more alive, to wake up my senses that slowly had died . . . each tear was a chorus, a sacred reprise, and I finally was grieving that long goodbye.”  

Is the pain we encounter in loss worth living and loving to the fullest?  In no way a trite answer to the question, the title and last track on Matthew Perryman Jones’ philosophical record gives us a resounding yes.  “You cannot love in moderation, you’re dancing with a dead man’s bones.  Lay your soul on the threshing floor. . . I am coming home.”  And as Rumi said, and Jones has shown us to be true through the journey of Land of the Living, “A thousand half-loves must be forsaken to take one whole heart home.”



05 Sleeping With a Stranger

smolderingwick

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