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Durand Jones
Wait Til I Get Over
Durand Jones’s Wait ‘Til I Get Over is a memoir and a love letter. It is the story of Jones’s life, his growth and revelations, the wisdom of his hometown and the wisdom he could only gain once he left. In it, he writes through Hillaryville’s contradictions: the pristine beauty and the ragged roads; his teenage desire to leave and his adult desire to honor his tangled roots; the plantation history and the ups and downs of the Black community that made homes of this reparation town. “Hometowns have a way of keeping a part of you,” says Jones, “and if I’m making something young-me would be proud of, Hillaryville is a big part of that.” Jones finds something transformative in his memories there and the life he has led since, ultimately claiming and embracing his whole self.The result is vulnerable, personal, touching on Jones’s relationship to church life, to his mother, to his queerness, to his worth. “I wish I could tell my younger self ‘you don’t have to stick to the dreams people have for you,’” says Jones, “’you can dream bigger. You are more than capable, you are more than able. I think about some nerdy punk kid in the rural south who needs to hear that now.’” Wait ‘Til I Get Over does exactly that.
Dead Oceans
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Shame
Food for Worms
Indies exclusive LP includes a bonus 7".If Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album’s identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be “the Lamborghini of shame records.”It marks a sonic departure from anything they’ve done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of Merchandise, the sharp yet uncomplicated lyrics of Lou Reed and the more melodic works of 90s German band, Blumfeld.For the first time, the band are not delving inwards, but seeking to capture the world around them. “I don’t think you can be in your own head forever,” says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: “It’s weird, isn’t it? Popular music is always about love, heartbreak, or yourself. There isn’t much about your mates.” In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share.
Dead Oceans
7" | CD | LP
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Fenne Lily
Big Picture
The new album from the excellent indie-folk artist Fenne Lily.A gorgeous and gripping portrait of Fenne’s last two years, Big Picture was pieced together in an effort to self-soothe. Tracked live in co-producer Brad Cook’s North Carolina studio, the album delineates the phases of love and becomes a map of comfort vs claustrophobia.Though its creation took place amid personal and global turmoil, the ruminative yet candid Big Picture is Fenne’s most cohesive, resolute work to date, both lyrically and sonically. “This isn’t a sad album — it’s about as uplifting as my way of doing things will allow,” she says. “These songs explore worry and doubt and letting go, but those themes are framed brightly.” With confidence and quiet strength, each track provides an insight into Fenne’s ever-changing view of love and, ultimately, its redefinition — love as a process, not something to be lost and found.While the album was written alone in Fenne’s Bristol flat – a fact intentionally reflected in its compact sonic quality – Big Picture was transformed from a solitary venture into a unifying collaboration during the recording process when she was joined by her touring band, Melina Dutere of Jay Som (mixing), Christian Lee Hutson (guitar and co production), and Katy Kirby (vocals).Notably, these 10 songs are Fenne’s first and only to have been written over the course of a relationship; 2018’s On Hold and 2020’s BREACH both confront the pain of retrospection, saying goodbye to a love that’s gone. Big Picture does the exact opposite — rooted firmly in the present, it traces the narrative of two people trying their hardest not to implode, together.“This album is an observation of the way I think about love, the self-examination that comes with closeness and the responsibilities involved in being a big part of someone else’s small(er) world,” summarizes Fenne. “It was written in a place of relative emotional stability – stability that felt unstable because of its newness, but also because of the global context. 2020 was the year of letting go, but we’d all already let go of so much and nothing felt like mine anymore. Writing always did, though, so that’s what I chose to do.”
Dead Oceans
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Marlon Williams
Live at Auckland Town Hall
Live at Auckland Town Hall marks Marlon Williams’ first official live album and the follow-up to his critically acclaimed 2018 sophomore LP, Make Way for Love. Williams spent the bulk of 2018 touring across the world in support of Make Way for Love, sharing the stage with his second family, The Yarra Brothers. Last year also saw Williams’ silver screen debut with a small role and performance in Bradley Cooper’s Oscar-nominated A Star is Born. Finally, after the whirlwind, Williams returned home to New Zealand, performing two sold-out nights at the Auckland Town Hall as a fitting cap to the world tour.
Across the past several years on the road, the Marlon Williams live show has taken on an almost mystical status — not just for Williams’ extraordinary voice, but also for the hypnotic command he has over an audience, his seamless blending of genres, and the effortless, instinctive relationship he shares with his band.
Live at Auckland Town Hall captures an artist both early enough in his career to be humbled by the occasion, and developed enough to present a stunning catalogue of music and quality of performance. Live at Auckland Town Hall feels sure to enter the canon of great live albums in the years to come, a dazzling snapshot of Marlon Williams’ musical singularity.
Dead Oceans
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