The Australian songwriter returns with her first album for 4AD, a ten-track set recorded in Melbourne that pairs jangle pop with questions of love and autonomy.
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The Australian songwriter returns with her first album for 4AD, a ten-track set recorded in Melbourne that pairs jangle pop with questions of love and autonomy.
This Friday’s releases share a clear sense of purpose. They do not fill time. They shape it. From raw garage-punk manifestos and playful art-punk anthems to polyrhythmic architectures, skeletal noise compressions, drone rituals, textured ambient explorations, warm analog reflections and cinematic memory metaphors, each one earns its duration through detail, tension and intention.
The September 11 releases pair remastered versions of two essential Pixies records with 7-inch singles that collect previously unreleased tracks from the band’s late-Eighties and early-Nineties sessions.
The experimental noise-rock band’s label debut contains ten tracks, no advance singles, and an international tour beginning days after release.
The single arrives days before the album, pairing Harding’s fragile alto with John Parish’s bare production and an undercurrent of unease.
The Baltimore synth-pop group will release their seventh studio album, produced by Steve Wright, in May via 4AD.
Rombo Music Discovery
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