The Blanche Hudson Weekend release their second album, How Many Times Have You Let Me Die later this year. Ahead of its release, the band have just brought out the limited edition 7″, (Just like) Susan George.
The track’s sound matches the fuzzy, dark pop of their earlier material and is a noisier affair than their more stripped back debut album, You Always Loved Violence. With this homage to English actress Susan George best known for her controversial roles in Straw Dogs and Dirty Mary, Crazy Larry the indie due continue to show their love for off kiltr female film characters; Blanche Hudson being the name of Betty Davis’ character in Whatever Happened to Baby Jane?
The artwork for the 7″ wears the Susan George homage on its sleeve and the video features film footage of George, check it out below.
Dead Sound will keep you posted about the release date for How Many Times Have You Let Me Die?
A year in development and culminating with an awards ceremony at Film City Glasgow on June 19th, this new arts prize will celebrate, promote and reward the most outstanding albums released by Scottish artists in 2011. Being based in Glasgow myself it’s great to see an award which aims to recognise the diverse and thriving Scottish Music scene.
The winner will receive a prize of £20,000 – equal to the Mercury Prize – while the nine runners-up collect £1,000 each. Happy Particles and Muscles of Joy whose albums to date have only been available digitally and on vinyl respectively will both be awarded CD manufacturing with production costs covered in the short-term by the SAY award.
Dead Sound’s favourites from the top 20 longlist are Bills Wells & Aidan Moffat, FOUND, Mogwai, Jonny, Remember Remember and King Creosote & Jon Hopkins. I particularly like that the award mixes releases by established artists with newer acts recognising that the next great Scottish album could be made by someone no one had even heard of 12 months ago. I’ll be setting time aside to check out the albums on the longlist which I missed last year.
It’s been a long process getting the award off the ground and if late night emails are anything to go back, this has been largely down to the hardwork of Stewart Henderson, former member of The Delgados who now sits on the SMIA board alongside being director of the fantastic Glasgow record label, Chemikal Underground.
6th Borough Project-One Night in the Borough
Bill Wells & Aidan Moffat-Everything’s Getting Older
Bwani Junction-Fully Cocked
Chris Stout’s Brazilian Theory-Live in Concert
Conquering Animal Sound-Kammerspiel
FOUND-factorycraft
Fudge Fingas-Now About How
Happy Particles-Under Sleeping Waves
Jonny-Jonny
King Creosote & Jon Hopkins-Diamond Mine
Mogwai-Hardcore Will Never Die, But You Will
Mungo’s Hi-Fi-Forward Ever
Muscles of Joy-Muscles of Joy
Remember Remember-The Quickening
Richard Craig-Inward
Rustine-Glass Swords
Steve Mason & Dennis Bovell-Ghosts Outside
Tommy Smith-Karma
Twin Atlantic-Free
We Were Promised Jetpacks-In the Pit of the Stomach
On 14th May 2012 the public can vote for their favourite album from the longlist via the SAY award website and a specially designed app. The public’s choice will be guaranteed a slot on the top 10 shortlist which will be announced three days later.
Dead Sound loves a good prediction and if I was to head down to the bookies to bet on who makes the top 10 shortlist, in no particular order I would be going for…(in no particular order)
Shimmering Stars are an ethereal pop trio from Vancouver, Canada. The band was formed in 2010 by Rory McClure after he gained inspiration from watching vintage live footage of The Everly Brothers.
The influence of the Rock N Roll duo on The Shimmering Stars is heard on the group’s arching harmonies and lyrics focusing on the quest for love and adolescent uncertainty. But the band’s sound is haunting and reverb heavy rather than sugar sweet and they reflect 1950′s & 1960′s American pop through dark rather than rose-tinted glasses. Their songs echo this with their debut album Violent Hearts featuring the tracks Nervous Breakdown and Dancing to Music I Hate.
Shimmering Stars home-recorded debut album was released last year by the great Seattle based label Hardly Art, which is also home to The Beets, La Sera, Le Loup and Jacuzzi Boys. Download for free from the group’s bandcamp page , I’m Gonna Try and Sun’s Going Down two of my favourite tracks from Violent Hearts.
Walking down the street and i wanna kill everyone i see
how come i don’t like anyone that i meet?
and despite my antipathy i am longing to be someone better
In my heart is a violence that i cannot dispel
I’ve lost my mind I’m losing you it’s just as well (I’m Gonna Try)
Listen below to Not Growing Up, taken from a split 7″ the band released with His Clancyness and which I’ve been listening to on repeat over the last couple of weeks.
A few weeks ago Shimmering Stars brought out the Ghosts Past EP, the b-side of which features a cover of Hold on Magnolia by Songs: Ohia; 10% of the EP’s proceeds are being donated to Jason Molina to help support his current personal and financial troubles. Purchase Ghosts Past here.
Whether you love it or hate it, SXSW and the music portion of the annual Austin event is still attracting the bands and the fans which make it one of the biggest festivals around.
The corporate sponsorship at SXSW is undoubtedly huge but this isn’t exactly a new phenomenon in the world of music festivals and it’s unlikely to change anytime soon. Unless that is organisers can work out a way of holding a festival, covering expenses, paying artists and still making a profit without corporate backing and even more unlikely that they are motivated more by artistic integrity over capital gain to begin with.
If you make the choice to perform at SXSW you need to accept that it may not make you a huge amount of money, especially if you’re a lesser well known artist but it does offer opportunities to play in front of your biggest audience to date, secure media attention and put you on the radar of other festival organisers. As much as we’d like to presume otherwise, perhaps with the exception of ATP, many may market themselves as purveyors of underground indie music but running parallel to this they need to attract ticket buyers which means securing artists with enough hype to draw a crowd. SXSW with its placing on the calendar as the first music festival of the year is the perfect testing ground to find the bands who will safely pad out the bills of the later Spring & Summer festivals. It’s just been announced that following their great reviews at SXSW last week, Brooklyn group Beach Fossils have been added to the line-up of San Miguel Primavera Sound in June; their first European festival date.
As someone who doesn’t go in for sponsorship hence the lack of advertising on this blog, as a SXSW attendee you need to not let the corporate branding of SXSW overshadow the event itself. You may not buy in to what’s been sold ( Light beer for example is beyond me…?) but take advantage of the free drinks and food it brings which will help you to stretch your SXSW budget. Instead focus on the music, fun and sheer randomness that five days in Austin guarantees. Plus a lot of the best gigs are the unofficial events and indie label showcases although you’ll still need your music badge for the majority of gigs. The best of these was Mess with Texas the three day-party co-sponsored by FYF Fest and included near perfect gigs by Girls and Cults in a sweaty warehouse in downtown Austin. Madeline Follin of Cults also gets the all important Dead Sound “Best Dress Award.”
The scale of SXSW with over 2,000 artists playing across 90 stages in front of nearly 20,000 people can be over-whelming but I found that in picking your band battles it’s easy to catch live your must see artists without queuing for hours or meeting with disappointment. Well except for The Jesus & Mary Chain, but that’s a story for another day…
I managed to catch about 90% of the artists I originally set out to see as well as Bruce Springsteen’s keynote speech; however I wasn’t so lucky with my entry for The Boss’s intimate gig at The Moody Theater. The majority of the bands on my must see list were those who brought out material I’ve loved over the last 12months or but have yet to tour in Europe; SXSW offered me the chance to see how well these releases survived in a live setting.
The PA quality or lack thereof at many SXSW gigs can be frustrating but shouldn’t colour your judgement of a band’s usual live quality, with Yellow Ostrich being one such example. Their first gig on the eve of the proper music festivities in The Bat Bar started with sound issues that distracted from their opening track WHALE, disappointing given its one of the stand-out tracks on their debut album. But by their second song, the issues had been resolved and the trio powered through a play-list made up in equal part of tracks from The Mistress and their second album Strange Land, released just prior to SXSW. Highlights of the night included Mary and Marathon Runner with Yellow Ostrich reaching their stride just as their short set ended which definitely left you wanting more.
Despite being a fan of The Vivian Girls since their first album came out and loving Katy ‘Kickball’ Goodman’s side-projects La Sera and All Saints Day, seeing any of Goodman’s bands live had previously alluded me. But thanks to The Forcefield/Terrorbird show at Red 7 this was finally rectified. With La Sera Katy shines as both songwriter and front-woman. She also handled the blown amp during their set much more coolly than SXSW co-founder Roland Swenson dealt with Bruce Springsteen’s tardy appearance to give the most anticipated keynote in SXSW history. Track highlights included Never Come Around and Please Be My Third Eye. The latter is taken from the latest La Sera album Sees the Light which is available now on Hardly Art. Time clashes meant I missed Hardly Art’s showcase, a label you will see more of on Dead Sound over the next few weeks given their great artist roster including The Beets and Shimmering Stars.
Another record label signing a lot of interesting new talent is Captured Tracks. Widowspeak joined the label last year and gave a moody and captivating performance. They get extra props for guitarist Robert Earl Thomas wearing a Japanther t-shirt, a band who gave one of my favourite gigs in the same Red 7 venue last year.
Beach Fossils also on Captured Tracks were my number one band to see at SXSW but ironically due to other commitments I nearly missed them completely. During the Ground Control day party I managed to catch most of their lunchtime set and it did not disappoint. Dustin Payseur’s haunting vocals were just as enigmatic live as on their debut album and last year’s stunning EP, What a Pleasure. Beach Fossils definitely caught the attention of the audience with crowd goers unfamiliar with their music heard eagerly asking post gig, ‘What’s that band called? and are set to make even more of an impression post this year’s event than they did with their debut performance at SXSW in 2011.
I rarely agree with Pitchfork’s album ratings but last year they for once got it right when they awarded their “Best new album” to Youth Lagoon’s, The Year of Hibernation. Upon first listening to the album I was immediately struck by its juxtaposition of dreamy soundscapes with Trevor Powers eerie vocals and honest songwriting. In a live setting Powers at only 22 years old and on his first SXSW outing gave a confident live performance and effectively maintained on stage the ethereal quality of tracks like Montana and Cannons, not an easy feat in the overly busy setting.
It’s normal at SXSW to concentrate only on gigs which happen in the tourism heart of 6th Street but heading East from here introduces you to the Brooklyn of Austin, with arty, graffiti splattered walls, venue names like Shangri-La and signs such as “Let me guess, you bought those boots yesterday”, mocking the hipster fashion which has become synonymous with SXSW. It was in this area that I also experienced a little of Portland in the Lone Star state with the unofficial party by Octopus Entertainment showcasing 20+ bands from Stephen Malkmus’ city of residence.
Malkmus may not have been in attendance but ex Menomena member Brent Knopf more than made up for this playing tracks from his debut Ramona Falls album and soon to be released second LP. Seeing him play live for the first time brought home just how proficient and precise a musician he is, which had even more impact against the backdrop of SXSW where many of the bands either sound the same, look identical or rely on laptops rather than musical prowess to create something which truly impacts on the listener.
With the record label curated showcases ensuring you get your fill of emerging indie artists there’s also more mainstream artists to see at SXSW. Given my lack of interest in seeing either Jay-Z or Jack White…that left The Magnetic Fields. It may have been a bit too eager of me to show up 2.5 hours before their show time at The Moody Theatre but it was worth the wait to then be in the presence of Stephin Merrit, the most beautifully sarcastic songwriter in history. This sarcasm was lost on the crowd when Merritt asked “Don’t you just love it when people talk through your show”, a jibe at the unbelievably loud chatterboxes in the audience.
Merritt and long-term collaborator Claudia Gonson more than proved why they deserved 100% of the crowd’s attention with their own caustic banter and seemingly easy delivery of over 20 tracks. The set-list was a quick dip into and out of their vast discography including Smoke Signals from their debut album The Wayward Bus/Distant Plastic Trees, alongside Drive, on Driver from their 2008 album Distortion. Their most mammoth album 69 Love Songs was not forgotten with Reno Dakota, A Chicken With It’s Head Caught-off and Come Back From San Francisco making the cut. Merritt introduced the latter track by saying, “This song is about someone who went to San Francisco”; an explanation you wouldn’t think was necessary if the chat levels of the crowd at the beginning of the gig hadn’t suggested some of them weren’t perhaps the brightest of people. Your Girlfriend’s Face and Andrew in Drag were two of the songs to feature from new album, Love at the Bottom of the Sea, presumably their main reason for playing SXSW and not their love of an event which is surely ripe for Merritt’s mocking; 69 Hipster Songs?
Then there was Bruce…Bruce Springsteen that is, not the random man also called Bruce who tried to befriend me in the airport on the way home from Austin. Springsteen unless you’ve been living under a rock for the past week delivered a speech which like his song-writing was poignant, witty and carefully constructed. He shared with the audience his own musical journey and the bands who have and always will influence him.
He labelled Elvis Presley, “The first modern 20th century man”and described Bob Dylan as the songwriter who gave kids like himself the language they needed to express their discontent and isolation with 1960′s America. Springsteen showed his diverse taste in his love of Doo Wop, which represented “The sound of bras snapping across the U.S.A.” and called Roy Orbison,”The coolest uncool loser you’ve ever seen, sticking a knife deep into your teenage insecurities.”
Although it’s hard to imagine The Boss having any insecurities, humility was a common theme throughout his keynote. Alongside grabbing a guitar to sing part of We Gotta Get Out Of This Place, by The Animals and then laughing, “That’s every song I’ve ever written, Born To Run, Born In The U.S.A., all of ‘em!” He emphasised his point further, by playing The Animals, Don’t Let Me Be Misunderstood which led right into his own Badlands. “It’s the same song!” His speech was also filled with the utmost honesty, with Springsteen stating he went down the Elvis route rather than the Woody Guthrie route as he enjoys the luxuries of being a star.
Springsteen wasn’t there to only reminisce about why he fell in love with music but in a constantly changing and often uncertain music industry brought positive focus to how musicians can keep on rolling…
“So rumble, young musicians, rumble. Open your ears and open your hearts. Don’t take yourself too seriously, and take yourself as seriously as death itself. Don’t worry. Worry your ass off. Have unclad confidence, but doubt. It keeps you awake and alert. Believe you are the baddest ass in town — and you suck! It keeps you honest. Be able to keep two completely contradictory ideals alive and well inside of your heart and head at all times. If it doesn’t drive you crazy, it will make you strong.”
SXSW is undoubtedly getting bigger and may implode from its own success but in the interim as long as there’s still money for organisers to make and fans willing to pay to attend it will remain a very surreal yet great place to see promising indie newcomers, the over-hyped bands who will come and go and musical legends. If you are going to enter the SXSW world remember,
“Stay hard, stay hungry and stay alive. And when you walk on stage tonight to bring the noise, treat it like it’s all we have — and then remember it’s only rock ‘n’ roll.” (Bruce Springsteen)
Strawberry Whiplash is the out and out indie pop goodness of Glasgow songwriter and guitarist Lawrence ‘Laz’ McClusky and magnetic vocalist Sandra. The duo started collaborating in 2008 after discovering a shared love for Glasgow band The Bachelor Pad and took this as a sign to start creating music together. The result is addictive melodies that nod in equal part to C86 fuzz and Phil Spector produced pop.
Strawberry Whiplash released their first EP Who’s in Your Dreams in 2008 on Matinée Recordings and have stayed with the fittingly pop loving California label for subsequent releases, most recently the 7″ Stop, Look and Listen. Matinée Recordings will also bring out the debut Strawberry Whiplash album on 27 March 2012.
The duo seem to be floating slightly under the radar in the Glasgow music scene whilst at the same time having a unique and dedicated devotion to the indie pop genre and are doing this extremely well. I came across Strawberry Whiplash by happy accident and was keen to find out more about the band who make the perfect musical pick me up for any dreary Glasgow day.
DEAD SOUND. Laz, given that you are also a vocalist with Bubblegum Lemonade what’s the main thing you get out of this change in role with Strawberry Whiplash?
LAZ. It’s a thrill to write a song with another voice in mind. I’ll start by recording an acoustic demo with me singing, but when Sandra takes over it really comes alive.
DEAD SOUND. Your name is taken from a combination of the bands Strawberry Switchblade and Meat Whiplash, what is about those bands that you like you much you that wanted to pay tribute to them in this way?
LAZ. We reckon that Since Yesterday and Don’t Slip Up are two of the best Pop recordings ever made. Strawberry Switchblade and Meat Whiplash both took their names from aspects of Glasgow’s Postcard Records scene, we are buying into that tradition. SW could so easily have been called Orange Fire or Juice Engines, ha! Anyway, we have the sweet voice of Strawberry Switchblade and the nihilistic fuzz of Meat Whiplash.
DEAD SOUND. Your music particularly Sandra’s vocals has a sweet 1960′s pop girl group sound, is that that intentional?
LAZ. It’s mainly the 60s via the 80s. Sandra loves Blondie and The Primitives etc, and that’s got to influence her vocal style. I like to create a Phil Spector type wall of Pop, this requires double-tracking the lead vocal and adding a mass of reverb. I also love to double-track all of the guitars too.
DEAD SOUND. I think few Glasgow based bands are currently doing out and out indie pop music, would you agree? What is it that draws you to this genre?
LAZ. There’s lots of Indie and some Pop, but not a lot of actual Indie Pop. I suppose that it is good for a band to have a unique selling point. Indie Pop, for me, has a very strong sense of melody, I think that this a compensation for a lack of accomplished musicianship. Just a theory!
DEAD SOUND. Your music reminds me of groups like The Primitives and Talulah Gosh but are there any bands or experiences that continue to influence your music?
LAZ. I simply love a great song, whatever the genre. I’m also attracted to something with a bit of character or a quirky lyric. Maybe Leonard Cohen’s poetic soul, Brian Wilson’s sense of wonder, Jonathan Richman’s naivety, the sensation of Motown, the primitive beat of the Shop Assistants, Lou Reed constructing his wall of Pop, just for John Cale to rip it apart. I tend to start the song writing process with the songs title and everything develops from there. The title tends to be inspired by something that I’ve noticed in a book or newspaper or something that I have observed as I go about my daily life. On the new album, Everybody’s Texting is about people being pre-occupied with communicating over a virtual network and not engaging with those who are actually around them. I wrote Stop, Look And Listen as I was walking the kids to school one morning, we came up with an accompanying dance for it, there and then, too. Dining Out In Paris And London, which is about a trial separation, is a pun on the Orwell book, he’d be so proud of us, ha!
DEAD SOUND. Your material to date and that of Bubblegum Lemonade has been released on California label Matinee Recordings. How did that come about?
LAZ. Back in the late Noughties, BL then SW posted some MP3s on MySpace and, unwittingly, became part of the flourishing Indie Pop revival. Jimmy from Matinee Recordings set up a MySpace page just to contact us, and offered a contract principally on the strength of Who’s In Your Dreams? and Ten Years Younger. We were a bit shy at first, as we weren’t used to cool people contacting us and offering to put our records out. He was looking for his very own Mary Chain and Shop Assistants and we found our Alan McGee.
DEAD SOUND. Matinee are also releasing the first full-length Strawberry Whiplash record, Hits In The Car what can we expect from the album? When is it released?
LAZ. HITC should be out by the end of March 2012. The music has been the easy bit, but the CD cover has taken a while to put together. HITC is a kind of Progressive Anorak concept album. It’s a mix-tape of our favourite bands presented through a SW filter. It has the narrative curve of a relationship going through the various stages, from the first meeting, etc, to splitting up. From chat-up line to Dear John letter. So, it starts off bright in toneand gets progressively darker as the tracks roll on. The album has the usual influences; The Mary Chain, The Primitives, as well as Astrud Gilberto, MBV, Lush, Spacemen 3 and Mazzy Star.
Visit the Matinée Recordings website and treat yourself to the Stop, Look and Listen 7″ limited to 500 hand-numbered copies on transparent red vinyl and pre-order their debut album, Hits in the Car.
Beach Fossils released one of my favourite records of 2011 with What a Pleasure and from that one of the outstanding tracks of the year in Fall Right In, despite changing drummers a mammoth 12 times in the months leading up to its release. Founded by Dustin Payseur in 2009, the group’s sound is a perfect combination of jangly guitars, hazy melodies and Payseur’s haunting vocals.
The addictive quality of the Brooklyn based band’s music and its ability to give you goosebumps whilst at the same time transporting you to dreams of carefree days in the sun, has gained them a dedicated following. Yet they have still to attract a listener base as large as their New Jersey counterparts Real Estate; whose commercial appeal has increased dramatically since signing with Domino Records for their second album Days.
With their own sophomore LP due for release later this year, hopefully 2012 will see Beach Fossils reach a wider audience. In the interim, they have just brought out their latest 7″, which contains the beautiful tracks, Shallow and Lessons. Listen to the latter below and if you’ve yet to pick-up the 7″ or What a Pleasure, make amends and purchase both from the Captured Tracks store.
I’ve been listening to The Wake a lot recently and was pleased to find I’d missed Beach Fossils cover of their song Plastic Flowers which came out on Record Store Day 2011 as part of a series of Captured Tracks 7″ tributes to the Scottish post punk band. Check it out below and have a look at The Wake reissues the label have released.
Yellow Ostrich release their second album Strange Land on 6 March 2012 through Barsuk Records. The album follows quickly on the heels of the debut Yellow Ostrich long-player The Mistress, which was re-released by Barsuk last year.
Marathon Runner is the first single to be released from the album and although opening with the unmistakable looping vocals of founding member Alex Schaaf, on the rest of the track, the drums are more pounding, the bass more powerful and the guitars more over-driven (particularly around 3.33mins) than anything we’ve heard to date from the Brooklyn based trio. The now established band line-up of multi-instrumentalist Jon Natchez and drummer Michael Tapper has given Yellow Ostrich’s sound a harder edge whilst maintaining Schaaf’s unique vocals and heart-felt songwriting. The bedroom production of The Mistress singles is replaced on Marathon Runner with more powerfulness with Schaaf although once again self-producing joined by engineer Beau Sorenson (Death Cab for Cutie, Sparklehorse).
The album’s title of Strange Land obviously hints at uncertainty whether that be moving to a new place as Schaff did in leaving his native Wisconsin for Brooklyn or taking on a new musical project but it’s a theme which people will easily relate to, with Schaaf telling Barsuk that,
At some point you wonder if maybe the grass is greener, and then you go somewhere else and you realise it’s not that much greener — so what do you hope for now?
This contrast between the real and the imagined is instantly reflected in the opening lines of Marathon Runner, which you can listen to and download below.
When I was a boy of 17, I know it’s mean but I told my friend to give up her dream, she hated me but I knew the dreams were for the best of us and for the rest of us, I didn’t want to share with anyone.
The event is built around that much loved swap shop ethos but with Noel Edmonds replaced with musicians wanting to exchange an instrument they no longer play for something new they might make more use of.
Dust it Off! is organised by Jennifer Hamilton, a multi-instrumentalist with a variety of Glasgow bands including Wake the President, The Magick Circle and Julia & The Doogans; therefore only to familiar with accumulating unused instruments. Noticing friends in other bands tended to similarly hoard, the idea for Dust it Off! was born.
So many of my friends have flats/homes full of instruments, many of which they don’t use anymore, I thought – Wouldn’t it would be great if we had a place to go, to exchange or sell or even give away (in the case of instruments that aren’t worth much money), to see the instrument go to a good home rather than just sit and gather dust? It’s a free event because my primary goal is to promote creativity. There’s also a strong recycling aspect to the whole thing. In a time when a lot of people may be strapped for cash, I feel it’s better than we use the resources we have rather than buy/build whole new ones.
Dust it Off! takes place between 2pm-5pm with free entry and complementary cakes! You can also use the Dust it Off! Facebook page to advertise any unwanted instruments you might to find a good home for.
Moonface is the moniker used by Spencer Krug, for his solo and collaborative projects and given the slightly surreal quality they’ve had so far, it’s a fitting name choice.
In early 2010 the first Moonface EP was released on Jagjaguwar. It was called Dreamland EP: Marimba and Shit-Drums, and was followed up a year later with the equally descriptive Organ Music Not Vibraphone Like I’d Hoped.
Given Krug’s other prolific and diverse musical output (Sunset Rubdown, Frog Eyes, Swan Lake and Wolf Parade) he’s obviously not someone happy to rest on his musical lurals and Moonface is very much an experimental project combining long, repeated arpeggios with addictive lush drones.
On the third Moonface release, With Siinai: Heartbreaking Bravery Krug replaces his focus on a particular instrument for experimenting with another band, Finnish instrumental prog rock group Siinai. They provide the music and Krug provides the vocals and as the title suggests the stories of heartbreak. Given that Organ Music Not Vibraphone Like I’d Hoped was one of my favourite albums of 2011, I’ve high expectations for this next Moonface installment which Teary Eyes and Bloody Lips, the first track to be previewed from the album is already fulfilling with the opening line,
Teary Eyes and Bloody Lips make you look like Stevie Nicks, we never knew that being cruel was such a cool thing to do.
Listen to and download Teary Eyes and Bloody Lips below.
With Siinai: Heartbreaking Bravery Tracklist:
01. Heartbreaking Bravery
02. Yesterday’s Fire
03. Shitty City
04. Quickfire, I Tried
05. I’m Not the Phoenix Yet
06. 10,000 Scorpions
07. Faraway Lightning
08. Headed for the Door
09. Teary Eyes and Bloody Lips
10. Lay Your Cheek on Down
The album is released on 17 April 2012 once again through Jagjaguwar.
The Blanche Hudson Weekend release their second album, How Many Times Have You Let Me Die later this year. Ahead of its release, the band have just brought out the limited edition 7″, (Just like) Susan George.
