I have fired off a few album reviews and thought I would tidy up my inbox with a few short shout-outs regarding singles, videos and other odds and ends.
First up, we have an outfit called The Dead South. This four-piece band fancies themselves as outlaws that defy classification. Not bluegrass. Not traditional country and western and not punk. They have a video out ahead of their EP releases in March 2022. Yes, releases, there will be two EP’s. The Dead South live close to me, only 800 kilometres.
Next up, we have a band that aligns closer to psychedelic rock than bluegrass, The Kundalini Genie. I covered a single by them earlier this year, and I am happy to share a video of them as a warm-up to their album, which drops on November 12, 2021. https://youtu.be/uQBjSw98hOQ
Another video that is being released ahead of the album, this time from an electronica act called Spray. SPRAY, RICARDO AUTOBAHN and JENNY McLAREN are Lancashire-based electronic / synthpop duo. Manchester’s ANALOGUE TRASH label will drop their ‘Ambiguous Poems About Death’ LPon November 26, but today we can enjoy‘Hammered In An Airport.’
London synthpop artist RODNEY CROMWELL presents his new‘Memory Box’single about perceptions of reality and the certainty of our memories. Rodney Cromwell is the nom de plume of ADAM CRESSWELL. The full length is due in early 2022; no set date yet, darn Covid, eh.
‘The Gift’ from SHRINARI, previews their debut LP (out November 24). Their music has a strong spiritual component, carrying a message of hope, unity and connection. ‘The Gift’ https://youtu.be/ykCjGRiYq3g
Last but not least is an album from a band that I am quite familiar with having seen them live and owning their discography. The band is are from Toronto, Ontario and go by the name of BadBadNotGood, the album is Talk Memory. Here is a video from this new album, I hope you enjoy them as much as I have. I look forward to seeing them playing live in about two months.
Let’s get the introductions out of the way before we go any further, shall we? Astral Swans is Matthew Swann.
Now that we have the formalities over and done with, we can get to the impetus for this bit of idiosyncratic musical journalism. Astral Swans have released their self-titled album, Astral Swans. I listened to this recording a couple of times while I puttered about, and then I sat myself down today and engaged with the album. I read the lyrics as I listened with intent. I was intent upon writing what my ears and eyes beheld.
Track one, the ice breaker song, is Spiral. This song gets the album off on a good start. Spiral is a radio-friendly song with lyrics that are open to some interpretation but what jumped out at me was the coda, as we read it below.
“Oh, I’ll tell you what I’ve learned after a while
Sometimes at the bottom of a spiral
It’s just one more spiral.”
Is this all there is? A spirals all the way down? Or, as Sturgill Simpson put it, turtles all the way down. There is a humorous anecdote about this that Genius gives in an expanded treatise. I also really like the line, “Quieter than silent night.” That is magical. Quieter than silent night. Except when my band played the song Silent Night, it got a little bit louder. I digress, back to Astral Swans.
These brilliant lyrics come delivered to us wrapped in silk and crushed velvet. Matthew Swann has a gentle voice by and large that is perfect for the delicate weaving of his songs. Many guest artists contributed to this recording, and each piece has a slightly different flavour than its predecessors.
I won’t expand on every song; you can open them to your interpretation and see where it takes you. I will add a few comments, though, as I relisten to Astral Swans. Track two is Flood which features Julie Doiron. My ears thought they heard a catchy lyric on my early listens to this song. When I read through the lyrics while I listened to it again, I discovered a line that I misheard. I thought I heard them sing, “maybe you and I, candy lovers.” A sweet sentiment to a person that you love. Candy lovers. Maybe you and I are sweet on each other, and we are candy lovers. I had a good laugh when I read that the lyric is actually, “Maybe you and I can be lovers.” It still brings a smile to my face and I have to work hard to hear the actual words. I enjoyed the rest of this song as well as the sweet lyrics.
Blackhole Town appeals to the universal agreement that winning the lottery would be nice, so we can move out of whatever town we are currently living in. I like where I live, but a lottery win would be nice to fix up the house as it slowly gets old around us. This yearning for something better than what we have is a thread that runs through a good chunk of Astra Swans. It is also a state that most humans exist in, wanting more than what we have. Instead of being content with what we have.
I love the title of track five, “Sympathy For The Stupid.” ‘Nuff said.
Self-deprecation shows up in track six, Bird Songs.
“I didn’t deserve you anyway.”
“You’re better without me anyway.”
March 28/20, featuring Silvering, is a bitter pill about a failed relationship.
“Loved my neighbour as myself
So I hate both of us, I guess.”
The track Beautiful Things Happen injects a ray of hope into what could otherwise be a doleful bit of music. “Beautiful things will happen.” I hear an affirmation that things “will” get better. And then the album closes out with misery of “More Nothing Than Something” and “I Was Awake For Awhile.” These are not bad songs. It’s just that they have some sombre lyrical content amid music that is mellow while still engaging the listener. I’ll close with a blurb from the album’s bio flyer.
This self-titled record is Swann’s most upbeat, catchy & immediate album to date. Each song operates as an absurdist short story filled with Swann’s wry observations of the sad beauty of mundane moments. The songs range from affirmations of joy amidst dread, composed in the streets of Shimokitazawa Tokyo and featuring Shibuya Jpop artist Minami Taga (Wind in a Mindless Universe), to ballads of disoriented musings on uncertainty and addiction (Spiral). Songs about birds heckling the anxious and heartbroken in Vondel Park Amsterdam (Bird Songs), to a cover of the Cat Power classic, Cross Bones Style sung as a duet with Julie Doiron (Eric’s Trip, Mt. Eerie). The album closer Awake For a While is a mysterious police interview gone gospel and features the gorgeous vocals of Swann’s childhood friend Carol Sweet.
Astral Swans (ST) was produced and engineered by Paul Chirka (Calgary Philharmonic Orchestra) and Brock Geiger (Reuben and the Dark), with Swann functioning as a third producer. It is rich and spacious, with a diverse array of sounds ranging from delicate string arrangements, atmospheric synth freakouts, deconstructive guitar solos, and pristine harmonies. All the while, seated atop all the instrumental beauty and chaos floats Swann’s haunting voice, which warbles and swoons. Astral Swans ST brings with it an arts commune of fantastic collaborators. Guest performers include: Julie Doiron (Eric’s Trip, Mt. eerie), Cassia Hardy (Wares), L.T. Leif, Scott Munro (Preoccupations, Chad VanGaalen), Shalom Toy (SilverRing), Laura Hickli (36?) Minami Taga (Mako Puri, MakoMinaming), Swann’s childhood friend Carol Sweet, Jim Bryson (Kathleen Edwards, Weakerthans) and more. Each guest adds their own unique addition to the sound, bringing their own bit of the world back into Swann’s solipsistic compositions. The album was released on October 8th worldwide.
OK, I’m back after that short pause. I give this album 7.5 out of 10. It’s a good bit of music but it has a few detractions that hold it back and I suppose it’s just not where my head space is existing today. Not a bad album all in all though.
I want to introduce you to an artist who has had his music swirling in my brain for the last two days. His name is Ward White, and he is a storyteller and a damn fine one at that. Ward is also an accomplished multi-instrumentalist. On top of that, Ward has a fine singing voice that is used to significant effect, climbing from baritone to tenor as he accompanies himself on songs. Ward White has a personal recording studio, and It takes talent to use all that electronica. Ward White is a well-spoken young man. Take, for example, his talk with Mark Mothersbaugh (yes, the Devo guy) on the LaunchLeft podcast hosted by Rain and Summer Phoenix (yes, they’re from that Phoenix family). https://www.youtube.com/watch?v=_y4X-eJRhSc
See, Ward White is an excellent conversationalist. Finally, well, finally, for this list. I am sure Ward has other attributes that are not listed here. Finally, Ward White has released a new album, The Tender Age, that today hits all your favourite streaming platforms. Physical copies are also available from Bandcamp.
Dang, that is one hell of a preamble. I almost hit the word count of some whole blogs that I’ve done. Never mind, let’s have another listen to The Tender Age, and I’ll let my mind wander over the keyboard as we do so.
The album opener is Dirty Clouds. It comes busting out with some mighty fine guitar chops from Ward and some nice Wurlitzer, courtesy of Grammy-nominee Tyler Chester. I fell in love with this song the first twenty times I heard it. Every one of the twenty times was a revelation of just how good this is. There is a fantastic groove going on here, and then the lyrics land on top—the storyteller kicks in now. Ward White spins a 4:00 minute vignette of dirty deeds done under cover of Dirty Clouds. This song is a short story in four parts, three of those refrains lamenting how difficult it is to accomplish various tasks “with all these dirty clouds obscuring Venus and Mars.” Hearing the refrain makes me wonder if Ward White dabbles in astronomy in the evening hours. I do, and this past summer was a perfect time to see Venus and Mars. They would have been challenging to navigate due to their closeness to each other and their low position in the evening sky, but I empathize with the dirty cloud refrain. Dirty Clouds are the bane of astronomy and the frequent companion of dirty deeds.
Drummer Mark Stepro (Wallflowers, Butch Walker) lays down some chops for the narrator of Easy Meat. It seems to be a narrative about battling against the urge to sin, with the narrator promising, “It was just a thought I had, I would never really act on it.” Ward White tells us that, “It’s not what I would consider a particularly sympathetic character, but his equivocations fascinate me. It brings to mind one of my all-time favorites, Randy Newman’s In Germany Before the War.” I didn’t remember the song, so I dug out the album and listened to that song and enjoyed becoming reacquainted with an old friend from the past.
Let’s Don’t Die At the Stoplight came out of a harrowing experience with the songwriter caught in the crossfire of an attempted murder while waiting for the light to change. “It was in Atlanta in the middle of the afternoon; I looked right in his eyes while he emptied the gun. When it was over, we just drove back to the hotel and ordered Indian food. The lyrics question the motive, but also my reaction, which ran the gamut from abject fear to ambivalence.” That would have scared the crap out of me. Driving through Mississippi in 2009, we witnessed two people trying to kill each other with their cars. That harrowing experience didn’t have any gunfire, so I can only imagine the emotions of being caught in the middle of a gunfight.
I like to learn something new every day. I learned today that Chet Baker had dentures. On the track Dentures, Tyler Chester lays down some sweet grand piano and Hammond, but the track left me wondering where the horn section was. The main character, after all, is a trumpet player who struggles to play, first with dentures and then in heaven. No trumpet on a song about Chet Baker, another one of life’s mysteries.
An LAPD cop with dubious connections rankles his partner with a surprise spiritual conversion in the title track, The Tender Age. “I haven’t decided if it’s supposed to be taken literally,” says White, “In fact, it might all be a dream. Metaphor, or otherwise, it’s about the transient nature of identity… or something.” In one of my previous identities, I was a preacher, and The Tender Age brought a smile to my day hearing Saul and Paul referenced in this manner. Well played, Ward, well played.
Biblical characters and narratives pop up several times in The Tender Age. There are numerous references to both the old and new testaments in the song, Wasn’t It Here. I am curious if the baritone deficiencies are self-deprecating.
We venture into the oral orifice a bit later in the song Karate Dentist. Karate Dentist is preceded by Heavy Lifting and followed by the album closer Monrovia. I sense, and I could be wrong, but I think Ward White references himself and the struggle that music can often be. There is the beautiful snippet, “Can’t you wrangle poetry from something more substantial than phonetics? Mangle some old greeting card, or plagiarize a rival’s perfect line?” That is from the closer Monrovia, a lovely song with shimmering guitar reverb and a plaintive refrain on the struggle to be authentic while telling stories.
The Tender Age was written and produced by White, who also provided all vocals, guitars, and bass. I told you he was talented. The Tender Age reunites Ward White with three long-time musical collaborators; drummer Mark Stepro, keyboardist Tyler Chester, and engineer/mixer John Spiker. “I’m always thrilled to reconvene with these guys, especially given their schedules; Tyler, who is as gifted a bassist as he is a keyboardist, produced and co-wrote Madison Cunningham’s Grammy-nominated debut album Who Are You Now. I was able to grab Mark just as he wrapped up tracking drums on The Wallflowers’ Exit Wounds, and John is always busy as bassist, engineer, and producer for Tenacious D” (as seen and heard in The D’s viral YouTube cover of Time Warp for Rock The Vote.)
Recorded in various Los Angeles locations, including White’s home studio, The Tender Age was mixed by Grammy-winner John Spiker (Tenacious D, Beck, Steve Earle) and mastered by Grammy-nominee, Joe Lambert.
There is a video for the lead song, Dirty Clouds, but I’m not much of a video watcher for starters, and I just wasn’t impressed with this one.
I see this video as a missed opportunity to visualize the story. Picture a dark train yard, a person trying to balance on the rails crossing between cars with lots of fog to give a punctuation mark to Dirty Clouds. Then I imagine a scene from a Humphrey Bogart movie, a vintage radio and a shady character reading a tabloid with the headline “Dirty Clouds” or “The Tender Age.” Cut to a cop in a smoke-filled police station calling someone as they try to make it through the bars and pan up to a dirty cloud obscuring Venus and Mars.
Alas, Ward White didn’t ask for my input before making the video, and for a good reason. He did not consult me because I am not a video producer. However, I am an observationist. I watch that which others make. I listen to the music that others have crafted. I observe and then write those observations down. Thank you for reading my comments on the album, The Tender Age, by Ward White. I think this is a well-made recording that deserves every one of the ten stars I am giving it.
There’s nothing worth reading on this page except the links to this amazing new recording:
AnthonyOKS – In The Garden (EP)
I lost count of how many times I listened to this. I can’t write anything to describe it with grace and accuracy, you just have to hear it for yourself. I am going to sip on a coffee and listen to it again while you do the same, hopefully.
AnthonyOKS – In The Garden (EP)
PRONUNCIATION: Anthony Oh-Kay-Ess ANTHONY OKS ONLINE: INSTAGRAM: @anthonyoks TWITTER: @AnthonyOKSmusic FACEBOOK: @AnthonyOKSMusic WEBSITE: anthonyoks.ca PUBLICITY CONTACT: Trevor Murphy | firstname.lastname@example.org
Post-punk outfit Creux Lies have announced that they will release their second full-length album, ‘Goodbye Divine,’ via Freakwave, a Berlin-based label part of the Schubert Music Europe group. Nearly a year in the making, fans can expect both arrivals and departures from what they may be expecting, as the band offers a complete range of emotions throughout this collection. The previously released the monster single Misunderstanding to glowing reviews.
Hailing from Sacramento, California, Creux Lies has many parts. Ean Clevenger is on vocal duty and programming. Barry Crider plays guitars as well and contributes his vocal talent. Pounding out the bass lines, we have Kyle Vorst. Last but not least, David Wright conjures magic on synth and drum programming.
Know far and wide for their reverb to the max guitar work, inventive synth constructs, and layers of high-octane vocals, Creux Lies have paid their respects to the dark power-pop/punk of the 80s and 90s and have emerged with a sound that pays its respects to the past while charging into the future.
“Misunderstanding emerged from part of this strange writing session/coping moment during the world shut down, awakened with this “whoa-oh, oh-oh” in my head from a dream and went to the computer just after dawn. As with many tracks on this latest album, my tentative register was landing a bit lower from trying to sing it out in the early morning hours. So, the profound moody thing resonated, and the song unfolded around my fingers on the synths,” says Ean Clevenger.
“The Creux added some great additions during production and elevated this song to what it is today. Ironically, the lyrics and message behind the track illuminate a moment of clarity when the misunderstanding of a perspective actually reveals itself as absolute authenticity.”
Irish underground music icons DAVID LONG and SHANE O’NEILL present their new video for ‘Albert The Painter’, a beautiful song based on Hermann Hesse‘s short story ‘The Painter’ about a refugee who prefers to walk the roads alone, gaining inspiration for his creations. In this video, the film footage (now colourised), filmed in Ireland at the turn of last century, blend’s with Hesse’s own artwork.
The duo’s debut album‘Moll & Zeis’, includes 11 gorgeous offerings from these legacy artists. Having fronted successful 1980’s post-punk / indie rock bands INTO PARADISE and BLUE IN HEAVEN, it’s great to see them still creating genuinely invigorating new music. With such a legacy behind them and having put out both this stunning long-player and 2 gorgeous EPs shortly before that (my absolute favourite releases of 2021) – all eyes (and ears) should be on these first-rate artists.
Big Stir Records is thrilled to announce the October 15 release of DOSE, the new album from THE BROTHERS STEVE, on CD and all digital platforms. Featuring the new single and focus track “Next Aquarius”, the record is up for pre-order everywhere including www.bigstirrecords.com and www.bigstirrecords.bandcamp.com now.
The keenly- awaited follow up to the LA quintet’s acclaimed 2019 debut #1, DOSE ofers up 10 new songs which take the band’s invigorating punk-pop sound in exciting new directions, folding in elements of psychedelia, glam rock, and even fourishes of chamber pop while retaining all of the energy and charisma that made THE BROTHERS STEVE such an instant favorite on the global pop scene.Bristling with the trippy energy its title suggests, the new set was written and recorded by frontmen and singer-guitarists OS TYLER and JEFF WHALEN and is fueled by the chemistry of the live band: drummer COULTER (aka author S.W. Lauden) and bassist JEFF SOLOMON (Whalen’s longtime bandmates from the beloved LA pop-rock combo TSAR) and guitarist DYLAN CHAMPION.
Tracked and mixed at a secret LA recording studio, DOSE simultaneously captures the band’s irresistible live energy while pushing their gleeful aesthetic into fascinating new territory.It’s an album of twists and turns and surprises, delights and deception: lead track “Get On Up” opens with an almost lullaby-like acapella harmony passage before exploding into a boisterous, supercharged call to arms for creatures of the night. The closing “Better Get Ready To Go” is cut from the same glam-anthemic cloth, taking unbridled joy in exhorting the listener to “get it on, squeaky Kong,” and “Just put Geppetto to the meadow and let’s get out of here,” it’s emblematic of a record that revels unironically in the fundamental absurdity of rock and roll. “We’re saying things that may seem to make no sense at all, but we’re sincerely convinced of them!” enthuses Whalen.
Playful surrealism and quirky character sketches give the record its shape. Take the Zombies-infected “Mrs. Rosenbaum” (she’s defnitely dead, and maybe a witch), the bubblegum sweetness of “Sugarfoot” (nominally inspired by the frontman of The Ohio Players, of all bands), and the exhilarating boogie “Wizard of Love” (he makes you feel like you’re the passionate one). “It’s heady like a bolt from above” goes one line, and so is much of DOSE, including the driving, post-punky celebration of “Electro-Love” and the ridiculously catchy single “Next Aquarius”: it’s equal parts psychedelic shimmer, punk-rock sneer and pure pop perfection.There’s mystery in the grooves, too, and that’s where the new record adds texture to the winning formula of #1. The urgent “Grifth Observatory” has all the charge of the best tracks on the debut, overlaid with a layer of old Hollywood intrigue (it’s inspired by the Barbara Streisand A Star Is Born among other infuences, Whalen discloses). There’s the fascinating “She Will Wait,” wherein Tyler and Whalen tell two sides of the tale at the same time, with tender interlocking counterpart harmonies; the “she” of the title may or may not be time itself.Perhaps most evocative of all is the soaring “Love Of Kings” with its impassioned fairy tale imagery… although Tyler specifes that the narrative takes place 122 years in the future. “There’s a collective mythology here, maybe a sort of future-retro-neo-noir thing” says Tyler, “but it’s fundamentally about sonic delight, a luxurious soundscape.” Whalen adds that the songs “evoke like an MF… like a T-Rex song, the imagery might mean diferent things to diferent people, but you can tell how excited we are about making the listener feel it along with us.”Ultimately it’s the hooks, harmonies and instrumental interplay that make DOSE such an intoxicating experience. There’s a leap forward in sophistication and nuance, but the album is just as much of a giddy ride as #1 and just as likely to top year-end “Best Album” lists and indie radio charts worldwide. DOSE is in fact just what the doctor ordered for a world awash in pandemic-era bedroom recordings: a real band fring at the height of their considerable powers, charting new ground and having palpable fun doing it. THE BROTHERS STEVE made a promise with their debut: “We Got The Hits.” Here are ten more of them. https://orcd.co/thebrotherssteve-dose BIG STIR RECORDS2140 N. Hollywood Way #6607, Burbank CA 91505 email@example.com firstname.lastname@example.org
I have the privilege of having a forward copy of the new album from Jonny Woolnough, Mayurqa. I, fortunately, was asked if I would like the opportunity to write a post about the new single from the title track Mayurqa. I immediately dived into the whole album and subsequently got it way over my head.
The request was for the title track, only, not for the whole album. The album will be available on November 19th 2021. That gives me over a month to properly listen to this eloquent and enchanting musical missive.
So, back to Mayurqa and what I think about it as a single. It’s good. Have a listen below and come back on November 19th to check out the entire musical journey of the album Mayurqa by Jonny Woolnough. Here’s a teaser; it is racing to the top of the WeatheredMusic charts well ahead of its debut.
Ponderous and carrying the world’s weight lumbering keyboards are carried aloft by a whispering wind blowing words across the stage that the ballerina is dancing on. A swirling maelstrom soon pours forth with anguished vocals and music that still thunders under the world’s weight but with momentum on its side now. That, my friends, is a great show opener. Sea Howl is the name of the song. The name of the album that gorgeous track came from is Horses In TheAbattoir. The creative force behind this tour de force is the duo of Sean-Patrick Nolan and Shawn Tucker, a pair of Canucks from the center of the known universe, Toronto, Ontario, Canada.
The next song on the playlist is Mouth Poisons; “The core sketch of this song was written late at night at a very good friend’s place in Frankfurt, Germany. ‘Mouth Poisons’ is an extremely personal song, and lyrically I set myself up as the main target.” It carries an air of ‘come see what’s going inside of me that wants to burn down everything in sight. Definitely my favourite single we have ever released to date,” says Shawn Tucker.
‘Mouth Poisons‘ was initially supposed to be a fast, angular punk track, and it remained in this form for several months until Shawn wrote the bass guitar part and completely changed the way I heard the song. His melodic bass line brought out a sadness and vulnerability in the track that I didn’t know was there. All of a sudden this frantic punk song sounded more like The Smiths or New Order, so I completely rewrote my synth part to tease out those elements even more. The break before the outro is one of my favourite parts on the album,” Sean-Patrick Nolan tells us.
Mouth Poisons has some very pointed lyrics, and I found them poking me several times. I felt there is a fear in what lies ahead of us and a sense of loss in the lines,
“I tried to hide these awful thoughts
Of all the time we haven’t got”
And then the song turns to anger and a feeling of dejectedness and futility.
“Life’s a lie, and now it’s said.
Making dimes until we’re dead
I will be forever young.”
In the song Oh Ballerina, the protagonist has a bleak view and keeps trying to run away. I have tried this method of problem-solving. “The only problem with running away is that no matter where I run, I am still there.” I attribute that quote to a friend of mine, so no matter where I run, a little bit of Andrew is always with me. Thanks, bro
And now, thanks to TRAITRS, a bit of them will always be with me through their music. Thanks, Sean-Patrick Nolan and Shawn Tucker. This album started strong and kept that momentum going for the full forty-four minutes of playing these 11 songs.
On November 19, the full-length ‘Horses In The Abattoir’ will be released via Freakwave, a Berlin-based label part of the Schubert Music Europe group, with distribution by The Orchard.
The Persian Leaps present their new album Drone Etiquette, released via Land Ski Records. Firmly established on a magnetic alternative rock foundation, the latest musical output continues The Persian Leaps‘ tradition of producing power-pop earworms with midwestern charm and an inherent element of 90s’ college rock’.
Hailing from St.Paul, Minneapolis, The Persian Leaps have gone through various lineups but have always revolved around the principal songwriter, vocalist and guitarist, Drew Forsberg. “The title Drone Etiquette came from an article about the dos and don’ts of flying remote-controlled drones. However, “drone etiquette” could also describe the rules that we mindless worker drones follow in our daily lives. The cover art, which was inspired by Soviet propaganda posters, evokes our enthusiastic lockstep march towards a meaningless existence.”
“This EP was an especially difficult one to record and finish. Because of the pandemic, I was forced to abandon a lot of the comfortable processes I’ve used for years. The friends I collaborate with for recording and performances weren’t available in person because of health issues, so I tried a new approach. This time around, I recorded at a different studio and performed all the parts on the EP myself. I also got directly involved in editing the tracks for the first time, which took longer. Ultimately, though, I’m very happy with how the songs turned out. The EP doesn’t address the pandemic at all, but it’s very much a by-product of lockdown and what we all endured,” says Drew Forsberg.
The band name The Persian Leaps came to Forsberg in college while daydreaming during Greek Archaeology class. Writing solo music under that name for years, he finally assembled a band in 2012, releasing an EP every autumn until 2017. NME Magazinedescribed their debut Praise Elephants EP (2013) as “celestial guitar jangle.” Their music has been widely praised, from their sophomore Drive Drive Delay EP in 2014 to their fifth Bicycle Face EP. Delivering one perfect power pop cocktail after another, they eventually released their 18-track Pop That Goes Crunch anthology in 2018.
The year 2018 saw The Persian Leaps return to their roots as a studio project, releasing Electrical Living in 2019 and the Smiling Lessons EP in 2020 in collaboration with Jon Hunt, a musician and graphic designer. He did the cover artwork for most of the band’s releases to date. During the 2020-2021 pandemic, Forsberg recorded the Drone Etiquette EP as a solo effort, primarily due to lockdown limitations.
On October 1, Land Ski Music (BMI) is pleased to announce the release of Drone Etiquette on CD and online platforms, including Apple Music, Spotify and Bandcamp.