Mae Shults
This sounds like so many things I love but also still so unique in its approach and its layering of those influences into something new. Any album that provides me with emotional catharsis is going to rank high for me and this certainly does that.
Includes high-quality download in MP3, FLAC and more. Paying supporters also get unlimited streaming via the free Bandcamp app.
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Compact Disc (CD) + Digital Album
First pressing. Homemade limited edition of 50, hand-numbered with four possible variations of affixed photograph on front, chosen entirely at random. Released in a 4-panel cardboard gatefold wallet. Contains a sheet of liner notes, a short story and digital download code inside. Also available to purchase at shows until supply depleted.
[36 remaining]
Includes unlimited streaming of Deluge
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
ships out within 28 days
edition of 50
$10AUDor more
T-Shirt/Apparel
M/L sizes available here or at our shows until sold out.
[𝘱𝘳𝘦𝘴𝘦𝘯𝘵, 𝘵𝘩𝘰𝘶𝘨𝘩 𝘯𝘰𝘵 𝘩𝘪𝘥𝘥𝘦𝘯:]
sighing • losing out • a breathless swimming • you couldn’t reach out your arms • just to hold me as long as you can
[𝘩𝘪𝘥𝘥𝘦𝘯, 𝘵𝘩𝘰𝘶𝘨𝘩 𝘯𝘰𝘵 𝘱𝘳𝘦𝘴𝘦𝘯𝘵:]
its arteries have formed a pattern –̲–̲–̲–̲–̲–̲ our secrets are written in blood& bruises
𝙱𝚕𝚊𝚌𝚔 𝚖𝚎𝚝𝚊𝚕 𝚒𝚜 𝚘𝚟𝚎𝚛𝚙𝚘𝚠𝚎𝚛𝚒𝚗𝚐 𝚖𝚞𝚜𝚒𝚌 𝚏𝚘𝚛 𝚜𝚖𝚊𝚕𝚕 𝚜𝚙𝚊𝚌𝚎𝚜. 𝚃𝚑𝚒𝚜 𝚙𝚊𝚛𝚝 𝚒𝚜 𝚙𝚛𝚘𝚋𝚊𝚋𝚕𝚢 𝚠𝚑𝚎𝚛𝚎 𝚖𝚢 𝚒𝚗𝚍𝚒𝚐𝚗𝚊𝚗𝚝 𝚘𝚋𝚜𝚎𝚜𝚜𝚒𝚘𝚗 𝚠𝚒𝚝𝚑 𝚍𝚎𝚜𝚌𝚛𝚒𝚋𝚒𝚗𝚐 𝙰𝚜𝚑𝚋𝚎𝚕 𝚝𝚑𝚞𝚜𝚕𝚢 𝚏𝚊𝚕𝚕𝚜 𝚘𝚟𝚎𝚛, 𝚊𝚜 𝚝𝚑𝚎 𝚠𝚊𝚢 𝚝𝚑𝚎𝚢 𝚎𝚡𝚙𝚊𝚗𝚍 𝚊𝚗𝚍 𝚏𝚒𝚕𝚕 𝚠𝚑𝚊𝚝𝚎𝚟𝚎𝚛 𝚙𝚎𝚛𝚏𝚘𝚛𝚖𝚊𝚗𝚌𝚎 𝚜𝚙𝚊𝚌𝚎 𝚝𝚑𝚎𝚢'𝚛𝚎 𝚒𝚗 𝚜𝚑𝚘𝚠𝚜 𝚊 𝚗𝚎𝚎𝚍 𝚝𝚘 𝚜𝚑𝚊𝚛𝚎 𝚝𝚑𝚎 𝚙𝚑𝚢𝚜𝚒𝚌𝚊𝚕𝚒𝚝𝚢 𝚘𝚏 𝚝𝚑𝚎𝚒𝚛 𝚜𝚘𝚞𝚗𝚍. 𝙱𝚞𝚝... 𝚗𝚘, 𝙸'𝚕𝚕 𝚜𝚝𝚒𝚌𝚔 𝚝𝚘 𝚖𝚢 𝚛𝚒𝚐𝚒𝚍𝚒𝚝𝚢 𝚏𝚘𝚛 𝚊 𝚋𝚒𝚝 𝚕𝚘𝚗𝚐𝚎𝚛, 𝚋𝚎𝚌𝚊𝚞𝚜𝚎 𝚑𝚎𝚛𝚎-𝚒𝚗 𝚕𝚒𝚎𝚜 𝚊𝚗𝚘𝚝𝚑𝚎𝚛 𝚠𝚘𝚗𝚍𝚎𝚛𝚏𝚞𝚕 𝚌𝚘𝚗𝚝𝚛𝚊𝚍𝚒𝚌𝚝𝚒𝚘𝚗 𝚒𝚗 𝚋𝚕𝚊𝚌𝚔 𝚖𝚎𝚝𝚊𝚕: 𝚒𝚝 𝚒𝚜 𝚋𝚘𝚝𝚑 𝚏𝚛𝚘𝚣𝚎𝚗 𝚊𝚗𝚍 𝚟𝚒𝚘𝚕𝚎𝚗𝚝, 𝚞𝚗𝚝𝚎𝚝𝚑𝚎𝚛𝚎𝚍 𝚊𝚗𝚍 𝚜𝚑𝚊𝚌𝚔𝚕𝚎𝚍, 𝚘𝚙𝚙𝚛𝚎𝚜𝚜𝚎𝚍 𝚊𝚗𝚍 𝚕𝚒𝚋𝚎𝚛𝚊𝚝𝚎𝚍. 𝙰𝚜𝚑𝚋𝚎𝚕 𝚏𝚒𝚕𝚕 𝚜𝚘 𝚖𝚊𝚗𝚢 𝚙𝚘𝚒𝚗𝚝𝚜 𝚒𝚗 𝚝𝚑𝚒𝚜 𝚖𝚞𝚜𝚒𝚌𝚊𝚕 𝚕𝚎𝚡𝚒𝚌𝚘𝚗, 𝚜𝚘𝚖𝚎𝚑𝚘𝚠 𝚛𝚎𝚌𝚘𝚐𝚗𝚒𝚣𝚒𝚗𝚐 𝚝𝚑𝚎 𝚜𝚙𝚎𝚌𝚝𝚛𝚞𝚖 𝚠𝚒𝚝𝚑𝚒𝚗 𝚝𝚑𝚎 𝚏𝚘𝚛𝚖 𝚊𝚝 𝚝𝚑𝚎 𝚜𝚊𝚖𝚎 𝚝𝚒𝚖𝚎 𝚊𝚜 𝚋𝚎𝚒𝚗𝚐 𝚝𝚘𝚛𝚗 𝚊𝚙𝚊𝚛𝚝 𝚋𝚢 𝚝𝚑𝚎 𝚋𝚒𝚗𝚊𝚛𝚢 𝚘𝚙𝚙𝚘𝚜𝚒𝚝𝚒𝚘𝚗𝚜 𝚝𝚑𝚊𝚝 𝚔𝚎𝚎𝚙 𝚝𝚑𝚎 𝚜𝚝𝚢𝚕𝚎 𝚊 𝚕𝚒𝚟𝚒𝚗𝚐, 𝚋𝚛𝚎𝚊𝚝𝚑𝚒𝚗𝚐, 𝚍𝚢𝚒𝚗𝚐, 𝚊𝚗𝚍 𝚛𝚎𝚜𝚞𝚛𝚛𝚎𝚌𝚝𝚒𝚗𝚐 𝚝𝚑𝚒𝚗𝚐."
–̲–̲–̲–̲–̲–̲
The band was born out of a shared idea that noise and music should not only complement each other but to use noise as another instrument itself. They take inspiration from heavy music, harsh noise and industrial sounds, as well as free-improvisation; disparate influences range from black metal, Japanese hardcore and grindcore acts like ENDON, Swarrrrm, Stubborn Father, to jazz avant-garde greats Marc Ribot, Patty Waters, Diamanda Galas and tempo-shifts which invoke a Codeine-seque melancholic atmosphere.
credits
released January 18, 2020
ashbel
Khoa Anh Phạm • Lulu Collard • Jarvis Halfpenny
–̲–̲–̲–̲–̲–̲
Produced by Khoa, Lulu and Christopher Sprake
Recorded on Occupied Land at Bakehouse Studios on Oct 4, 2019
Mixed and mastered on Dec 21, 2019 + Jan 1, 2020
lastmatchrecordings.com
Bass guitar performed by Tree Fu
Art direction + packaging by Khoa and Lulu
Sigil by Jarvis
Insert short essay kindest courtesy of John Alexander Stevens
Inlay short story kindest courtesy of Scarlett Viney
–̲–̲–̲–̲–̲–̲
Special Thanks to, in no particular order: Diploid, John Alexander Stevens, Xandra Metcalfe, Scarlett Viney, Darcy Hytt, Llewelyn Crist, Dominic Lewis, Dan Lewis, George McNab, Bambi Hamson, Rei Kingsland, Samuel Edvardsson, Joel Morrison, Jed Hyndman, Coward Punch, Adore, AMBUR, The World at a Glance, NoLA, Special Award Records, Reduction Group, Bakehouse Studios, and to everyone who believed in our clouded vision
“...𝘸𝘦 𝘫𝘶𝘴𝘵 𝘸𝘢𝘯𝘵𝘦𝘥 𝘵𝘰 𝘵𝘩𝘢𝘯𝘬 𝘺𝘰𝘶 𝘧𝘰𝘳 𝘴𝘵𝘢𝘺𝘪𝘯𝘨.”
An astonishing and brilliant album. A burst of creativity and pain. Contains possibly the best harsh noise that has ever been recorded. IDK just listen to it and be amazed. William Kowalsky