Keuning

06 No One Is Calling You A Liar

05 Bad Instincts

02 Ends Of The Earth

The two latest reissues to spin off from our acclaimed Imaginational Anthem Volume 8: The Private Press feature the solo guitar compositions of Russell Potter, recorded in the last waning days of the initial American Primitive explosion.

A then obsessed teenaged devotee of John Fahey, Robbie Basho, and Leo Kottke at a time when Punk and New Wave were ascendant, Potter harnessed a similar DIY ethos to his own ends by starting his own label & self-publishing his first record, 'A Stone's Throw', while a freshman enrolled at Goddard College in Vermont in 1979. Assembled at the legendary Boddie Records in Potter's hometown of Cleveland, Ohio, and sprinkled liberally with references to his heroes, from the initial record label name of Fonytone (which more than a little recalls Fahey's earliest record label, Fonotone), to the arcane song titles and references to obscure rags.

Even as he looks to his elders, Potter's debut release nimbly evinces a complete mastery of his form and is all the more remarkable for one of such tender years, as only the chutzpah of youth can account for such moves as successfully grafting one of your own composition to one of John Fahey's, as he does here. There's a very immediate, lovely, and real homespun quality to Potter's chiming twelve-string compositions that puts it in the realm of those classic records that seem to simply exist outside of time.

Shortly after 'A Stones Throw', Potter produced & released a 45rpm single by an Ohio bluegrass band featuring the cult singer songwriter Bob Frank performing a cover of Devo's 'Mongoloid', before moving on to his second (and sadly final) album the following year, 'Neither Here Nor There'. Following an independent study with a Goddard College ethnomusicologist, Potter's compositions and performance only deepened on his second release - the recording quality steps up a little but loses none of the immediacy, the playing gets more exuberantly virtuosic -but then more reflective too, particularly on the tunes that are influenced by the gorgeous traditional Irish slow airs. He's still tipping his hat to Fahey occasionally as well, this time with an audacious electric guitar setting of the classic "Dance of the Inhabitant of the Palace of King Philip XIV of Spain."

Though these albums landed at a time when American Primitive guitar music's 1960s & 1970s heyday was in the rear view mirror, they absolutely look ahead to the genre's eventual 21st Century resurrection, anticipating both in form & content many of the same concerns you find in the great contemporary work of the last two decades by Jack Rose, Glenn Jones, Daniel Bachman, et al., and as such provide about as fine a stepping stone between these two eras as you're likely to find.

Neither Here Nor There

Eirigh Suas A Stoirin

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Flipping Raw Styles - Instrumental

My Phrases Songs Do Not Make Sense

The Elevator Only Goes to Tuesday

🎸🚖 Ever been the fool with the keys and the tank on empty? That’s me — the unofficial chauffeur of every lost romance and midnight meltdown.

“Free Private Taxi” is indie rock with headlights on full beam: jangly guitars, sarcastic hooks, and the eternal story of the guy who always says yes when he should scream no. It’s for the backseat philosophers, the half-drunk drama queens, and the hand-waving friends who never chip in for gas.

Think late-night road movie, but shot on your parents’ old camcorder — messy, funny, and painfully relatable.

If you’ve ever been the ride, not the rider — this song’s your anthem.

🎶 Honk. Laugh. Ride. Crash. Sarcasm’s the only tip I get.

Lyrics:

I’m the rolling clown with the fuel I buy,
The king of favors, don’t ask me why.
Door unlocked, engine humming,
You text “pick me up” — and here I’m coming.

No GPS, I know your scheme,
Psychic Uber of your dream.
Wave of a hand, no coins, no cash,
Just me burning tires in a midnight dash.

Free private taxi, this is me —
Take you where you wanna be.
If early morning or dark night —
I pick you up with headlight bright. 

Backseat full of half-drunk friends,
I drive in circles, story never ends.
Thank-you note? Ha, never seen,
Just a wave goodbye from the drama queen.

I’m the chauffeur of lost romance,
Your midnight ride, your cheap last chance.
Every handshake, short and cold,
Costs me gas and my soul’s sold.

Free private taxi, this is me —
Take you where you wanna be.
If early morning or dark night —
I pick you up with headlight bright. 

Trigger words: honk, laugh, ride, crash,
Burning rubber, empty dash.
Punchline life on four cheap wheels,
Sarcasm’s the only tip I feel.

Free private taxi, this is me —
Take you where you wanna be.
If early morning or dark night —
I pick you up with headlight bright.
Free private taxi, always free —
The biggest fool you’ll ever see.

Take You Where You Wanna Be

There (Revisited)

Lyrics:
Where do we go from here love?
We are circling around the unexplored
Yeah where do we go from here now?
I never believed there’d be an end

But suddenly usual is no guarantee
The rhythm changed
But somehow, we got stuck in repeat 
Somehow, we got stuck in repeat
Somehow, we got stuck in repeat

Now how should I go any further?
‘Cause I can’t seem to fall out of love

Gravity draws me back into history
Our song has changed
But somehow, I am stuck in repeat
Somehow, I am stuck in repeat 
Somehow, I am stuck in repeat

But you don’t understand
Grieving ain’t avoidable
The album doesn’t end
By starting something new
You’re always on delay
But don’t think that you’re fortunate
The shadow of the day
Won’t always hide

Music by Roos Meijer & Javièr den Leeuw
Lyrics by Roos Meijer
Drums by Quinten de Jongh
Bass by Javièr den Leeuw
Keys, guitars, percussion & backing vocals by Anne Lieke Heusinkveld
Guitar & vocals by Roos Meijer
Guitar by Sam van Hoogstraten
Production by Anne Lieke Heusinkveld
Mix by Anne Lieke Heusinkveld & Jesse Koch
Master by Wessel Oltheten
Artwork by Michiel Mutsaerts

Where Do We Go

vocals + guitars + bloops: arthur 
synths + pans + melodies in 13: adam
drums + samples + pith: laurence
bass + vocals + microwave: Ed

recording, production, mixing: arthur robijns
mastering: adam holmes & arthur robijns

all copyright pushpin + cobblerbob ltd.

Garden Cities of Tomorrow

Don't Call Me Calm

Echodrone's newest album, Resurgence, available on Dome A Records March 5th, 2021.

Jaded

‘She Moves in Phases' by Belle Tower from 'Tend To' out now
Buy/Stream: https://smarturl.it/yaevw8

Music video by Olivia Du Vergier
Single Art by Erica Hart

Follow Belle Tower:
Facebook: https://www.facebook.com/belletowermusic
Twitter: https://twitter.com/btowermusic
Instagram: https://www.instagram.com/belletowermusic
Tiktok: https://www.tiktok.com/@belletowermusic
Spotify: https://open.spotify.com/artist/5OlvRai2KwQsnKZOipno7Z
Apple: https://itunes.apple.com/us/artist/belle-tower/1477498044
Website: https://www.belletowermusic.com/

Recorded in the Winona Forever basement in Montreal, QC
Produced by Ben Roberston 
Mixed by Oliver Hollingshead
Mastered by Suite Sound Labs

Vocals, acoustic guitar: Isabella Harned
Bass, acoustic guitar, electric guitar, synth: Ben Robertson
Drums, acoustic guitar: Scott Boudreau
Cello: Audreanne Filion

06 No One Is Calling You A Liar

Keuning

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