Thursday, February 27, 2014

Singles: City Reign, The Pains of Being Pure at Heart, SoftSpot, Bulbul, The Skull Defekts

City Reign: "See What It's Worth" (via Car Boot Records/YouTube)

The Pains of Being Pure at Heart: "Simple and Sure" (via Force Field PR/Soundcloud)

SoftSpot: "King Porus" (via Force Field PR/Noisey/Soundcloud)

Bulbul: "Fire" (via Rarely Unable & Earsplit PR/Soundcloud)

The Skull Defekts: "Awaking Dream (feat. Daniel Higgs of Lungfish)" (via Thrill Jockey Records/Vimeo)
The Skull Defekts - Awaking Dream from Thrill Jockey Records on Vimeo.

Letters From A Tapehead

No Ripcord: Damaged Bug

Damaged Bug
Hubba Bubba
Castle Face Records
Released: 2.25.14

Letters From A Tapehead

Wednesday, February 26, 2014

Paco de Lucía (1947-2014)

The immensely talented and highly regarded flamenco guitarist, Paco de Lucía, passed away due to a heart attack at the age of 66. A comprehensive obituary and profile can be found here via BBC.

Although I'd never completely acquainted myself with his catalogue, de Lucía's performance with Al Di Meola and John McLaughlin in Fridday Night in San Francisco has been a constant in my life, those acoustic guitars either amiably strummed or intricately plucked throughout its entirety.  The whole album plays like a conversation between friends, serious when it needs to be but prone to bouts of humor and joy.  It's an album I adore, so central to the good in my life that it's what I reach for when a vacation destination is on the horizon or when contentment and warmth has filled my evenings. 

R.I.P., Paco de Lucía.

Letters From A Tapehead

Monday, February 24, 2014

Daughter of a Tapehead: Warpaint

Rough Trade
Released: 1.20.14

*Not sure I agree that my entire gender loses completely in life, but I am quite a fan of the new Warpaint LP.

Letters From A Tapehead

Sunday, February 23, 2014

Shopping For Records: Sun Ra, Lee "Scratch" Perry, DEVO, Julian Cope, Nina Hagen Band

Yesterday felt like the first sunny day to grace my small corner of the world in weeks.  So, my mood greatly improved by warm air and the radiating glow of sorely missed sunshine, I took a drive over to Siren Records and dropped a hefty sum on the following:

Siren Records
Doylestown, PA

Sun Ra and His Solar-Myth Arkestra
The Solar-Myth Approach Vol. 1 & 2
BYG Actuel
Originally released: 1972
Reissued: 2014(?)

Continuing with my Sun Ra streak, I found both volumes of The Solar-Myth Approach, which had been originally released in 1972 by the French label, BYG Actuel.  I'd intended on leaving the store with at least one Sun Ra album, following the planned raid on all those El Saturn reissues I'd discussed per my last visit to Siren.  Unfortunately, their inventory had been picked over pretty well, but these two albums caught my eye and it seemed foolish to buy an incomplete set.  I haven't listened to them yet, but they're 180gram pressings, nice gatefold packages with what I'm guessing are reproduced imagery and liner notes.  They were $15 apiece, which I thought reasonable.


As usual, I couldn't find much info on the releases themselves, nor could I find details about the actual reissue (release date, mastering, label discography...etc.).  If anyone happens to have some details on the albums, I'd love to know more. 

Scratch and Friends
Chapter 1: The Upsetters
Abraham/Clocktower Records
Originally released: 1981
Reissued: 2013/2014(?)

This is a dub compilation featuring production work and performances from Lee "Scratch" Perry, THE UPSETTER.  This was about $13 and had apparently been released as a three-album 10" last year.  My Sunday morning was spent listening to this, its bass throbs and calm loops easing me into the day. 

Lately, I've been attempting to add more dub and roots reggae into my collection.  The miniscule amount of Lee Perry's work I own is as far as I've ventured, so any suggestions are more than welcome.  I'm thinking of exploring some of King Tubby's output next. 

Hardcore Vol. 2
Superior Viaduct
Released: 2013

This pre-Warner Bros. collection of music from the art weirdos known as DEVO, Hardcore Vol. 2 details the band's recorded output from 1974-1977 on two LPs.  The little I've heard of this album so far is as abstract, raw and amusing as the album's cover image.   

I have an embarrassing lack of DEVO in my collection, so once I found this, I immediately pulled this into the stack of albums I was amassing.  I also didn't think $25 for a two-album set of rarities was difficult to swallow.

Julian Cope (Vs. Trouble Funk)
World Shut Your Mouth 12" Single
Island Records
Released: 1986

This was $1.99 and I thought it sounded interesting.

Nina Hagen Band
Released: 1979

A curiosity that I finally decided to explore for a mere $2.99, Nina Hagen Band's Unbehagen is where I'm starting.  Dance punk and dub with squealing German lyricism, it's not too far removed from the punk and reggae musings of The Pop Group, though there are times when the band invests itself in pure guitar-driven vitriol.


Letters From A Tapehead

Friday, February 21, 2014

"Gotta Read the Labels:" Godmode

Hey, everyone.  We're talking labels today. 

In 2012, I reviewed the Fatherland EP by Mr. Dream and Weird Wild World by Sleepies, both of which were released by the Godmode label.  Specializing in post-punk and some of the more avant variations of R&B and EDM I've heard, Godmode, which is owned and run by former Pitchfork editor and current Mr. Dream drummer Nick Sylvester and Capitol Records A&R rep Talya Elitzer, recently released a new cassette compilation called, Common Interests Were Not Enough To Keep Us Together.

Featuring new music from the label (plus a couple new tracks from Mr. Dream and Sleepies which were a plus for me), the comp provides a varied selection of sounds that range from club (Shamir) to vocal (Soft Lit) to experimental (Yvette), which ultimately affirms Godmode's place as a home for both very inviting to likely alienating performers.

You can check out the comp here:

Letters From A Tapehead

Thursday, February 20, 2014

Singles: Alterbeast, Ought, Small Black, Pink Mountaintops, The Afghan Whigs, Dum Dum Girls

Alterbeast: "Vile Remnants" (via Earsplit PR/Decibel Magazine/Soundcloud)

Ought: "The Weather Song" (via Rarely Unable/Soundcloud)

Small Black: "Lines of Latitude (feat. Frankie Rose)" (via Jagjaguwar, Gorilla Vs. Bear/Soundcloud)

Pink Mountaintops: "Ambulance City" (via Jagjaguwar/Noisey/YouTube)

The Afghan Whigs: "Algiers" (via Sub Pop/YouTube)

Dum Dum Girls: "Too True To Be Good" (via Sub Pop/V Magazine/YouTube)

Letters From A Tapehead

Tuesday, February 18, 2014

Kid Millions: RSD 4.19 & Man Forever

Today, I received a couple of notices regarding some upcoming Kid Millions projects: The first is a collaborative effort with J. Spaceman (Jason Pierce of Spiritualized) that's being released on Record Store Day and the other is a new album from KM percussion project, Man Forever.

The first announcement comes courtesy of Northern Spy Records.

Hopefully we make Record Store Day fun. It's fun for us, for sure. We treat it as a chance to do something unique and of-the-moment — last year it was the Thurston Moore & Loren Connors collaboration (check out Bill Meyer's review and a video). This year we're presenting the first US performance by J. Spaceman and Kid Millions, two musicians for which we share a deep love and admiration. It's a heady record, part spaced-out drone vibes with Kid's drums bubbling under the surface and part hallucinatory jamming, free and ecstatic.

This release is limited to 3000 copies - it's a 12" LP with a bonus 7", both in printed sleeves. A download card comes with each record.

Forever Man news was provided by Thrill Jockey Records.


Man Forever is an exploratory percussion project helmed by John Colpitts (aka Kid Millions), one of New York’s most versatile and critically lauded collaborators and a founding member of experimental rock group Oneida. Since its inception in 2010, Man Forever has hosted an impressive list of guest performers, but few have been as specially qualified to perform Colpitts’ technically challenging meditative workouts as So Percussion, the United States’ premiere contemporary percussion ensemble.

So Percussion has commissioned and premiered new compositions by Steve Reich and their interpretations of John Cage have revolutionised the legendary composer’s cannon. Following a collaborative performance at the Metropolitan Museum of Art in New York in June of 2013, So and Colpitts entered the studio together to record Ryonen (out 7th April in Europe), the two pieces that combine the former’s precision and ingenuity with the latter’s restless punk spirit. While previous Man Forever records were inspired by blissful, overwhelming confusion, Ryonen derives its power from its clarity and immediacy. 

Watching Man Forever from Thrill Jockey Records on Vimeo.

Colpitts continues to be one of the most sought-after drummers in New York. Throughout 2013 he toured as a member of Spiritualized, performed in duos with Greg Fox and Jim Sauter, recorded a record with Akron/Family, released an album with People of the North on Thrill Jockey Records and performed with Rhys Chatham as a member of Oneida.

Ryonen CD version in a 4-panel mini-LP style gatefold jacket. LP version pressed on virgin vinyl with a download coupon. Pre-order from HERE

Letters From A Tapehead

Odonis Odonis: "Ring Of Fire"

Toronto buzz grinders Odonis Odonis released a cover of the famous Johnny Cash tune, "Ring of Fire."  If you're at all familiar with the levels of noise that the members of Odonis Odonis normally explore, you may think that they dial it down to suitably honor the Man in Black.  Such is not the case as they attempt to inject the song with all the discordance they can generate.  You can give it a listen below.

The link was provided by Force Field PR.

Letters From A Tapehead

Sunday, February 16, 2014

RSD 4.19: Deerhoof/Marc Ribot split 7"

We're a little more than two months away from this year's Record Store Day and today I received my first item on this year's wishlist: Deerhoof and Marc Ribot's Ceramic Dog will be issuing a split 7" via Northern Spy Records.

I'm hoping to have a stream to post at a later date. In the meantime, I have cover art and a small blurb courtesy of Northern Spy.

"Long live Marc Ribot." - Greg Saunier
"Long live Deerhoof!" - Marc Ribot

A split 7" deserves a split write-up. So, I asked Deerhoof's Greg Saunier and Ceramic Dog's Marc Ribot to write something about this record. Turns out there's some mutual respect here. I guess it'd be weird if there wasn't.

The Deerhoof track originally appeared as "Qui Dorm, Només Somia" on
Deerhoof vs Evil. On this 7", Marc Ribot's guitar serves as the harmony in place of Satomi's vocals. It's RAD. And the Ceramic Dog tune is one of their heaviest.

This is a Record Store Day vinyl release and will only be available at fine music retailers.

Letters From A Tapehead

Thursday, February 13, 2014

Wednesday, February 12, 2014

Singles: Megafauna, Woods, Tacocat, The Shrine, Telepathy, Qui

Megafauna: "Haunted Factory" (via Us-Them Group/Noisey/Soundcloud)

Woods: "Moving to the Left" (via Force Field PR/Pitchfork/Soundcloud)

Tacocat: "Crimson Wave" (via Hardly Art/Noisey/YouTube)

The Shrine: "Nothing Forever" (via Tee Pee Records/Noisey/Soundcloud)

Telepathy: "Cystine Knot" (via Devouter Records/Soundcloud)

Qui: "Awkward Human Interest" (via Us-Them Group/YouTube)

Letters From A Tapehead

Monday, February 10, 2014

Shopping For Records: Beatles & Slint — Thoughts on Anniversaries and Box Sets

Do you remember the moment the natural course of your mind had suddenly been disrupted by a piece of music?  For many, it was February 9th, 1964 as a well-known television show host introduced the most important band in the world to the thousands of enthusiastic American youth.  Two such youths were my Mom and Dad, and their love of this band would be passed to me.  

Growing up a fairly introverted suburban kid interested in sci-fi, superheroes and art, my more vivid memories as a child involved a radio, an album, a cassette or a music video.  Before I understood that my head was being completely undone and rebuilt by much of what I'd listened to as I grew up, I'd become attached to my Dad's record collection, which was a long set of LPs that seemed to span the length of our third floor bedroom.

I spent a lot of time up there, mostly listening to Beatles LPs while slowly being changed.

My very beat up U.S. editions of A Hard Days Night and Beatles '65.
My wife bought these for me a couple years ago at a yard sale.

As you get older, you find out that you are a part of a generation and that, in order to define yourself and your involvement in it, it becomes important that you learn your music.  This is the point in my life when I felt current, relevant—like my experiences (as mundane as they may have been) meant something.  I mattered somehow.  In light of my personal growth, it was essential for me to completely dismiss the past and The Beatles were a part of that.  In the face of everything my parents' generation stood for, and the relative ease with which they would both lambaste and/or casually shrug at much of what I was into musically, I felt trivialized.  The fact that twenty or thirty years' worth of musical evolution, (proto punk and glam, metal, the punk explosion, new wave, indie rock and hardcore, post-punk, hip hop), could be ignored because The Beatles had already happened, and this was something no subsequent generation could either improve upon or ever hope to erase from the annals of pop music history, continues to infuriate me.  The Clash had sung that "phony Beatlemania had bitten the dust" and that should've wiped the slate clean.

The Beatles, though, still mean so much.  They're still an undeniably strong presence in my life.  But, they're so heavily incorporated into the fabric of music as it's understood today, it's almost more dignified that they disappear so that other music be allowed to matter.

Beatles 8-Tracks: A Hard Day's Night, Yesterday and Today and Revolver, (the U.S. version of
Revolver does not feature the track, "Dr. Robert.")  These were given to me as a Christmas gift.

I can say this because 09.09.09 happened: the complete overhaul of The Beatles' discography in both mono and stereo.  This was to be the definitive representation of their work, technologically and audibly exact.  I reviewed the entire set for No Ripcord that year, analyzing the band's progression, how they'd cultivated a new era of musical understanding within the frame of rock n' roll and youth culture.  And once this was out, we should've been finally ready to move on.   

Now, I'm speaking twenty or more years after being a musical demographic as my "music" now qualifies as "classic."  So, over the last couple years or so, I, and those also of my so-called generation, have become the targeted marketplace for reissues, documentaries and box sets.  I am officially where the boomers were when I was misunderstood, finding my era's worth repackaged and sold to me in expanded sets meant to entice and settle my nostalgic entanglements with my "wonder years."  Still, hearing about an expanded version of Slint's Spiderland sparked some excitement.  Hearing about The Beatles' U.S. Albums box set did not.

Spiderland was released by Touch and Go Records in 1991, the same year that Nirvana broke out with Nevermind.  Slint seemed a blip in terms of the actuality of the band's career, (which spanned two albums and one tour), but Spiderland is considered essential to the direction underground rock n' roll would take as more and more record labels started to notice its existence and impact.  Many deem Spiderland superior to Nirvana's landmark album, the credit assigned it having diminished as time has passed and much of the era's lesser-known works having gained some overdue acclaim.  With an arbitrarily conceived 23rd anniversary coming up, Touch and Go is issuing a pretty extensive version of the album, (you can check out the details here.)

As an independent release issued by an independent label (which is still mostly defunct), it's likely that Spiderland's resurfacing will be treated with a certain level of respect and care, ultimately a concern with any true labor of love, (a commonality amongst those who endeavor to issue art for art's sake).  It's almost safe to say, even two months prior to its official date of release, that fans of Spiderland will be happy with the treatment of Slint's material.

With the U.S. Albums, however, I feel as though the regurgitation of an inferior product following the U.K. remasters is in poor taste.

Capitol Records, once the heads at the label had realized that they needed to market the fuck out of what would be their highest-selling acquisition, created their own series of Beatles releases through haphazard assembly.  Less the creative progression of a band than the successful marketing of a complete lack of understanding and blatant disregard for art as it stood within the context of its time, this is what is being sold to commemorate that night in February that meant so much to those lucky enough to witness it; stripped of its meaning but churned out for a hungry populace.*

As far as Spiderland, it serves as a recipient of generous hindsight; an album that should've meant more following the final step in the mainstreaming of underground and indie rock subculture. It remains a cornerstone, reputable and authentic in that no major labels were involved in its genesis. It hit when it was supposed to, but found little purchase with those of us still under the spell of Nevermind. While Nirvana opened doors for me, (and I will always be grateful that they allowed me to find my generational identity and dispel the myth that boomers had some unshakable claim on rock n' roll), they were often not opened quick enough. Other times, Nirvana had inadvertently opened the wrong doors, their influence manifest as a run of "Alternative" bands brought to our attention through major label indifference—a flood of imitators more than happy to don the crown of "next Nirvana."  Thinking about that whole time now, I feel as though I was subjected to the same critical lack of understanding that led to the careless disassembling of a creative and monumental progression only known to be associated with the most important band in popular music.  See how damaging it can be to devalue your young and those precious things that are supposed to enrich their lives?

Letters From A Tapehead

*A great article featured in the The Independent by writer, Andy Gill, details this. 

Friday, February 07, 2014

Bohren & Der Club Of Gore: "Ganz Liese Kommt Die Nacht"

We're still very early in 2014, but my wishlist seems to grow and grow as the days elapse.  High on that list is the upcoming new album from Bohren & Der Club Of Gore, Piano Nights.  Their albums tend to be very rich and remarkably cold brand of jazz, slow and beautiful in the same way that nighttime can be.  The band's 2002 release, Black Earth, was all I listened to for well over a month when I picked up a copy.  Really good winter album. 

A video for the track, "Ganz Liese Kommt Die Nacht," has surfaced.  Give it a look and then peruse all the info which was provided by Rarely Unable.  Piano Nights will be available on February 11th on Ipecac Recordings. 



The sublime slowness which has propelled Bohren & Der Club of Gore for over 20 years is in good health. Returning with the suggestively titled Piano Nights, Bohren have not departed from their approach, yet in its title, much is revealed about the content. In to their sound has subtly crept the presence of a giant, and the name of the album shows nothing but exemplary respect for the instrument which governs here – the piano.

Inadvertently born out of Christopher Clöser’s boredom before a concert in Moscow, Piano Nights started as an idea when he tinkered with a grand piano, and resonated with the sheer depth and enormity of the instrument. Proving to be too noble, too powerful, what you hear on this album is not a grand piano, instead, they chose to utilise the sound of a Yahama electric – more ambiguous, less lofty and most significantly, not quite so serious. Energy is instantaneously channeled into sonic space through the interplay of piano, organ and vibraphone, governed solely by the Bohren laws which dictate the intense appreciation of slowness. The band has worked meticulously on this sonic space, uncovering some new and interesting aspects within their familiar aesthetic, and within themselves as musicians.

The four musicians, who consider Piano Nights to be their best album since Black Earth, are at pains to stress than the album title is not satirical, but a standard, a framework they set themselves. Considering their intermediary 2011 release Beileid, with its standout cover of Warlock’s ‘Catch my Heart’ (complete with vocals from antihero extraordinaire, Mike Patton), the routes open to Bohren were multiple and myriad. In this context, Piano Nights actually appears to be something of a return to their roots, albeit based on complex arrangements and a broader palette of sound. Packing in the sounds of mellotron, vibraphone, organ, saxophone, bass, drum, spirit choir – Bohren actively resist and refute the trappings of the word ambient, their instinctive musicianship creating the most slender of jazz; understated in its virtuosity, ambiguous in its transparency. Every minutiae, every fleck of colour, every spark and snap of percussion has the meticulous knowledge and unlimited patience of Der Club of Gore behind it – yet, unfathomable and beyond calculation, Bohren’s music is something which is best enjoyed and accepted. Sidestepping the pitfalls of routine and familiarity, Piano Nights poses the question of what to do when the acoustic information being relayed to you is outside of the parameters in which you can process? The answer, is to trust yourself, and let it wash over you – give it time, plenty of time, and you will see.

Letters From A Tapehead

Wednesday, February 05, 2014

Singles: El Ten Eleven, Lauren Bousfield, Yellow Ostrich, Blood Red Shoes, Odonis Odonis, D. Charles Speer & The Helix

El Ten Eleven: "Nova Scotia" (via Force Field PR/Soundcloud)

Lauren Bousfield: "Cracknight" (via Kinsman and Meng PR/Vimeo
  Lauren Bousfield - Cracknight from Lauren Bousfield on Vimeo.

Yellow Ostrich: "Any Wonder" (via Force Field PR/Esquire/Soundcloud)

Blood Red Shoes: "Wretch (feat. Eoin Loveless and Ian Clement)" (via [PIAS]/Soundcloud)

Odonis Odonis: "New Obsession" (via Force Field PR/Stereogum/YouTube)

D. Charles Speer & The Helix: "Wallwalker" (via Thrill Jockey Records/Soundcloud)

Letters From A Tapehead

Pink Mountaintops: "North Hollywood Microwaves"

And today's "what the fuck" moment goes to the new Pink Mountaintops single, "North Hollywood Microwaves." The side project of Black Mountain mastermind, Stephen McBean, Pink Mountaintops will have a new album out called Get Back on April 29th.  I reviewed the band's last album, Outside Love, for No Ripcord in 2009.

So, the song...

... it's kind of erratic and No Wave-ish in a James Chance manner of speaking.  And, then there is the rapid onslaught of vulgarities conceived and spoken by Giant Drag's Annie Hardy, who talks about man juice like it's the soup du jour in a foodie blog.  The press release has stated with what would seem a very convincing tone that this is "quite possibly the filthiest song in the Jagjaguwar catalog." 

Listen for yourself and I would recommend headphones.

The song, tour dates and other Pink Mountaintops info comes to you courtesy of Jagjaguwar. 

Pink Mountaintops Returns With Get Back LP
Stream "North Hollywood Microwaves"
On Tour With Band of Horses

Steve McBean, best known for Vancouver collective Black Mountain, has resurrected Pink Mountaintops in his new home base of Los Angeles, and the results are an exploration and celebration of what rock'n'roll can be. Get Back is inspired by "Alleys, curbs, walls, and cigarette-stained gig flyers. An island on the Pacific coast. Fake British towns. Slayer posters. The beauty of youth. It's about listening to 'Driver's Seat' and 'Guns of Brixton' and hotboxing The Duster."
Get Back features quite possibly the filthiest song in the Jagjaguwar catalog. "North Hollywood Microwaves" is a catchy, chugging anthem with screaming sax solos and rapping by Annie Hardy (Giant Drag), known for her black humor and David Lee Roth-level stage presence.

Get weird, have fun, and stream the song at Stereogum.
Get Back will be released on April 29th (28th in Europe) and is now available for pre-order.

Los Angeles brought its finest talent into the Pink Mountaintops orbit, so in addition to Annie Hardy and the great J Mascis,
Get Back features Rob Barbato (Darker My Love, The Fall, Cass McCombs), Steve Kille (Dead Meadow), Daniel Allaire (Brian Jonestown Massacre), and Gregg Foreman (Cat Power, Delta 72).

Randal Dunn (SunnO))), Earth
, SunCity Girls, Boris) mixed Get Back at Avast! Studios (Bikini Kill, Mudhoney, Christ On A Crutch, Soundgarden) in Seattle. Howie Weinburg (Nirvana, Beastie Boys, Danzig, Ramones, Slayer) mastered it in Laurel Canyon.

Pink Mountaintops will tour starting next week with Band of Horses and will end the dates with Melissa Nadler in LA and SF. More unannounced tour dates and festival appearances are on the way. Full dates are listed below!
Get Back - April 29th (28th in Europe), 2014
1. Ambulance City
2. The Second Summer of Love
3. Through All The Worry
4. Wheels
5. Sell Your Soul
6. North Hollywood Microwaves
7. Sixteen
8. New Teenage Mutilation
9. Shakedown

10. The Last Dance

02/11/14 Los Angeles, CA - Wilshire Ebell w/ Band of Horses TICKETS
02/12/14 Los Angeles, CA - Immanuel Presbyterian Church w/ Band of Horses TICKETS
02/14/14 San Francisco, CA - Palace of Fine Arts Theatre w/ Band of Horses TICKETS
02/16/14 Seattle, WA - Moore Theatre w/ Band of Horses TICKETS
02/17/14 Vancouver, BC - The Vogue Theatre w/ Band of Horses TICKETS
02/19/14 Chicago, IL - Vic Theatre w/ Band of Horses TICKETS
02/21/14 Los Angeles, CA - The Church on York w/ Marissa Nadler TICKETS
02/23/14 San Diego , CA - Soda Bar w/ Marissa Nadler TICKETS

06/06/14 Ghent, BE - Dok
06/07/14 Eindoven, NL - Eindoven Psychlab
06/08/14 Beverungen, DE - Orange Blossom Special
06/09/14 Hamburg, DE - Knust
06/10/14 Berlin, DE - Privatclub
06/11/14 Schorndorf, DE - Manufaktur
06/13/14 Luzern, CH - B-Sides Festival
06/18/14 London, UK - Corsica Studios
06/20/14 Charleroi, BE - Fete De La Musique Festival
06/21/14 Hilvarenbeek, NL - Best Kept Secret Festival

Stream "North Hollywood Microwaves" at SoundCloud and YouTube
Pink Mountaintops Press Alcove
Pink Mountaintops at Jagjaguwar
Pink Mountaintops Official Site
Pink Mountaintops Tumblr
Pink Mountaintops Facebook

Letters From A Tapehead

New Selections — Emma Ruth Rundle, Tropical Fuck Storm, Primitive Man, Private Life, Uniform, Erika Wennerstrom, Djrum, Windhand

Starting August off with some new singles. Emma Ruth Rundle:  " Darkhorse " (via Rarely Unable /  Sargent House  / YouTub...