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This release bridged Jake Ewald from the first Slaughter Beach, Dog LP, the scrappy, noodly \"Welcome\" to fan favorite \"Birdie.\"  The .LPG version of this release (initially released as Motorcycle.JPG on a small-run 7\") includes SBD tracks \"Your Cat,\" \"104 Degrees,\" \"Building The Ark,\" as well as a cover of The Superweaks' (Lame-O Records) \"Glowing.\" The B-Side of the .LPG includes a 12 minute live version of 104 Degrees that is available exclusively on vinyl. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe vinyl art has beautiful spot-gloss on the photo of Jake's hands and the Ocean in Australia, taken by yours truly from a cocktail bar. We sat and talked about Patti Smith. 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Rows of slinky, hypnotic spirals, widening middle-out. They’ve never spun to more vibrant and dynamic impact than on their third album \u003ci\u003eModern Air\u003c\/i\u003e.\u003cbr\u003e\u003cbr\u003eLoosely from wherever-you’re-seeing-them-play-tonight-by-way-of-Brisbane-to-Montreal-and-New-York, Kate \u0026amp; Damon woke up from a six-year nap to make their best, broadest and most accomplished album, doubling-down on and clarifying their strongest strengths while casually developing and showcasing a career’s-worth of new ones.\u003cbr\u003e\u003cbr\u003eBefore their 6 year break, An Horse were 2 albums into their career and touring non-stop with the likes of Tegan and Sara, Death Cab for Cutie, Silversun Pickups, Nada Surf, Cage the Elephant, and Brand New when a series of distracting life events forced them into a hiatus of sorts. That hiatus led to an extended break from touring and recording that’s finally ending with their 2019 album \u003ci\u003eModern Air\u003c\/i\u003e, out May 3rd on Lame-O Records.\u003cbr\u003e\u003cbr\u003eThe songs on their new record manage to be both propulsive and loping, lean mission statements about negotiating modern living easter-egged with intelligence and humour, melodic and percussive ear candy, heart and teeth, hope and anger.\u003cbr\u003e\u003cbr\u003eThey sound like themselves, two-headed and singularly focused, a particularly effective evolutionary step in a long tradition of of guitar-based indie-rock, angular in spaces, jangly in others, sometimes both at the same time. They take a familiar vocabulary and teach it new words, one sugary harmony barbed-wired to unflinching insight at a time.\u003ci\u003eModern Air\u003c\/i\u003e is An Horse at their most realized, and it’s right on time. Some naps are worth taking.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe heart of An Horse’s magic is rubbery and elastic. Rows of slinky, hypnotic spirals, widening middle-out. They’ve never spun to more vibrant and dynamic impact than on their third album \u003ci\u003eModern Air\u003c\/i\u003e.\u003cbr\u003e\u003cbr\u003eLoosely from wherever-you’re-seeing-them-play-tonight-by-way-of-Brisbane-to-Montreal-and-New-York, Kate \u0026amp; Damon woke up from a six-year nap to make their best, broadest and most accomplished album, doubling-down on and clarifying their strongest strengths while casually developing and showcasing a career’s-worth of new ones.\u003cbr\u003e\u003cbr\u003eBefore their 6 year break, An Horse were 2 albums into their career and touring non-stop with the likes of Tegan and Sara, Death Cab for Cutie, Silversun Pickups, Nada Surf, Cage the Elephant, and Brand New when a series of distracting life events forced them into a hiatus of sorts. That hiatus led to an extended break from touring and recording that’s finally ending with their 2019 album \u003ci\u003eModern Air\u003c\/i\u003e, out May 3rd on Lame-O Records.\u003cbr\u003e\u003cbr\u003eThe songs on their new record manage to be both propulsive and loping, lean mission statements about negotiating modern living easter-egged with intelligence and humour, melodic and percussive ear candy, heart and teeth, hope and anger.\u003cbr\u003e\u003cbr\u003eThey sound like themselves, two-headed and singularly focused, a particularly effective evolutionary step in a long tradition of of guitar-based indie-rock, angular in spaces, jangly in others, sometimes both at the same time. They take a familiar vocabulary and teach it new words, one sugary harmony barbed-wired to unflinching insight at a time.\u003ci\u003eModern Air\u003c\/i\u003e is An Horse at their most realized, and it’s right on time. 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It’s one that incorporates pop music, indie-rock, folk, and just the faintest dash of punk in order to create something that’s accessible but still artistically rich. With\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan class=\"c4 c1\"\u003eSafe And Also No Fear\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"c2 c1\"\u003e\u003cem\u003e,\u003c\/em\u003e the band’s third album, Ewald has abandoned his usual practices in service of creating something that, try as one might, isn’t so easy to describe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"c0\"\u003e\u003cspan class=\"c1\"\u003eIn the wake of 2017’s\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan class=\"c4 c1\"\u003eBirdie\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"c1\"\u003e, an album awash in warm tones and bubbly pop hooks,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"c4 c1\"\u003eSafe And Also No Fear\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"c1\"\u003ecan’t help but feel like a turn toward darkness. It’s not one that’s instigated by the outside world—as inescapable as it may be—but instead the dramatic shifts of a person’s interior life. Where Ewald once offered tightly woven vignettes about characters that mirrored the people in his life,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan class=\"c4 c1\"\u003eSafe And Also No Fear\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"c2 c1\"\u003e finds him naked at the album’s center, questioning everything he knows about himself. Around him, bassist Ian Farmer, guitarist Nick Harris, and drummer Zack Robbins spin out songs that are dense, swirling amalgams of difficult questions and hard-earned realizations—the kind that can’t be expressed through the accepted structures of pop music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"c0\"\u003e\u003cspan class=\"c1\"\u003eThis isn’t to say there aren’t hooks, as songs like “Good Ones” and “One Day” have effervescent melodies anchoring them, but\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan class=\"c4 c1\"\u003eSafe And Also No Fear\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"c2 c1\"\u003e generally avoids taking the clear-cut path. As Ewald tells it, that’s a horrifying thing to put out into the world. After putting the finishing touches on the album, he sat down and listened back to the demos he’d first made, then the album itself, and realized it sounded unlike anything he’d ever done before. His creative impulses had changed over the years, and the result was a record that maybe his followers wouldn’t actually like.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"c0\"\u003e\u003cspan class=\"c1\"\u003eEwald seemingly addresses this anxiety during the album’s most ambitious track, the seven-minute long “Black Oak.” It’s fitting that midway through the longest song Ewald has ever written he offhandedly remarks, “Realizing this may put my career on the line.” It’s part of a larger narrative, but one that’s more textural and ambiguous than what the band has been known for. Is that lyric about Ewald and Slaughter Beach, Dog? We’ll maybe never know—and that’s the beauty of\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan class=\"c1 c4\"\u003eSafe And Also No Fear\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"c2 c1\"\u003e. It’s an album so profoundly singular, one that sees the band willing to wade out into deep waters without a life vest, that it encourages you to go out there with it. You hear the band fully embrace the unknown at the end of “Black Oak,” when the song explodes open and Ewald’s vocals are looped into a refrain that’s haunting and impossible to sing along with accurately. You can pick out phrases and hum a melody, but there’s no didactic meaning behind it. It’s there for you to find if you need it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"c0\"\u003e\u003cspan class=\"c4 c1\"\u003e\u003cem\u003eSafe And Also No Fear\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"c1\"\u003eis a bold gesture, not just because of the music contained therein, but because it required Ewald to interrogate his artistic tendencies, breaking himself of his habits in service of making something he never thought he could. That involved trusting his band, with whom Ewald collaborated for a full year of writing and recording. Unlike\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan class=\"c4 c1\"\u003eBirdie\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"c1\"\u003e, where Ewald played every instrument, with\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan class=\"c4 c1\"\u003eSafe And Also No Fear\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"c1\"\u003e everyone’s fingerprints are on it. Though the album is a product of Ewald committing to his vision, it’s also proof of the way that Farmer, Harris, and Robbins are able to expand Slaughter Beach, Dog’s sonic boundaries in subtle, evocative ways.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"c0\"\u003e\u003cspan\u003eThe result of that collaboration is \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"c4\"\u003eSafe And Also No Fear\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, an album that doesn’t leave easy clues as to its influences or intentions, instead offering up vague sketches of what it feels like to be a person who is constantly confused and anxious, yet completely committed to finding a way through it. It’s not simple, and Ewald’s never didactic, but the message begins to come through the more you revisit it. Every part of\u003cem\u003e \u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan class=\"c4\"\u003eSafe And Also No Fear \u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"c2\"\u003eis a risk, and that’s exactly what makes it so beautiful. It’s a record that sees a band fully committed to their art, in spite of what everyone else would advise. 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While taking a break from playing together in The Pooches, the twosome hunkered down and begin working in earnest on a batch of new songs exploring their shared passion for melody and brevity.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eForegoing a live drummer for the sound of an Alesis HR-16 drum machine, and employing a trusty Casiotone organ alongside guitars and synth, every note was recorded using just one SM58 microphone. Dozens of songs were assembled piecemeal at home over several months, with fourteen being dispatched across the pond to be mixed by Modern Baseball's Ian Farmer at The Metal Shop in Philadelphia.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe result is “Great Record”, an irresistible half-hour of jangling power pop with hooks for days, on which songs about plush toys and Greek tennis stars sit cosily alongside ambivalent meditations on DIY culture, art school posturing and the vagaries of modern queer existence. 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The record borrows its title from Koch’s personal poetry theme book: Safe Sins is a place of safety, acceptance, and progress. It is a record about isolation, loss, and dismantling shame and grief through self-analysis.\u003c\/p\u003e\n\u003cp\u003eKoch, formerly of beloved Philly trio Cayetana, has been working on the 10 songs that comprise Safe Sins for years. They existed first as poems before being brought to life at The Bunk in Henryville, Pennsylvania, where Koch (guitar, vocals) recorded with bandmates Matt Schimelfenig (guitar, bass, keyboard, vocals), Ian Farmer (bass), and Pat Conaboy (drums). Schimelfenig also produced and mixed the record.\u003c\/p\u003e\n\u003cp\u003eKoch explains that while Safe Sins tracks a narrative arc, it’s not exactly linear—it’s complex and tangled, treading a more realistic path to healing. “To me, it has this vibe of the stages that you go through when you’re grieving, but also how most people don’t go through one stage then onto the next one,” she says. “They have it over and over. Even in one day, you could experience all of those things and come up with some type of closure, then the next day feel differently. There’s not really ever a clean conclusion.”\u003c\/p\u003e\n\u003cp\u003eThe record’s opener gives way to a rush of guitars and both digital and analog drums on the spritely “When You Leave The Sun,” a strut in crisp morning sunlight: “On the bright days, I can see the light\/When the chemicals blend just right,” Koch calls brightly. It’s followed by lead single “A Pace Far Different,” a guitar-forward bop haunted by chiming keys and pleas for escape. Scattered throughout, between wiry guitar melodies, drum triggers, and cavernous synth patches, are small, insistent mantras: “We give ‘em credit, we don’t owe ‘em that much,” on “Even At Your Easel,” or the soothing nihilism of “Cosmic Joke,” as Koch declares, “Everything I lost, I never really had.”\u003c\/p\u003e\n\u003cp\u003eThe record builds to a close with “Parlor” and “Choose,” the first of which opens with light organ and drums, and finds Koch inventorying then stitching up the damage done by putting herself behind others: “I’ll gift myself my own respect\/Maybe someday time will intercept, and I’ll be able to grant my own success\/To be happy.” It’s followed by the clean-slate of “Choose,” which reframes power and self-determination over a slow-march of guitars. “Now I live in absence of or inside my least desirable traits\/I pick and choose,” Koch sings before resolving, “I could wield this magic for good\/Make it right, I know I could\/If I choose.”\u003c\/p\u003e\n\u003cp\u003eSafe Sins is defined equally by pain and hope, two opposing forces that define human existence. 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On the project’s earliest release, the 2014 compilation \u003ci\u003eButtery Sprouts \u0026amp; Other Songs\u003c\/i\u003e, these thoughts appeared as lo-fi\u003cb\u003e \u003c\/b\u003escraps of wit and\u003cb\u003e \u003c\/b\u003etenderness.\u003cb\u003e \u003c\/b\u003eBut by the time \u003ci\u003eA Partner to Lean On\u003c\/i\u003e, Trace Mountains’ debut full-length, arrived in 2018,\u003cb\u003e \u003c\/b\u003eBenton’s\u003cb\u003e \u003c\/b\u003eperceptive indie rock had matured\u003cb\u003e \u003c\/b\u003einto more existential meditations about identity, existence, and\u003cb\u003e \u003c\/b\u003efinding sense\u003cb\u003e \u003c\/b\u003ein an increasingly chaotic world.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn the two years since \u003ci\u003eA Partner to Lean On\u003c\/i\u003e, Benton’s life has undergone several large changes, namely the dissolution of LVL UP, the indie rock quartet he co-founded in college, and a move to Kingston, a small city in New York’s Hudson Valley. Composed during—but not directly inspired by—this transition, Trace Mountains’ second record, \u003ci\u003eLost in the Country\u003c\/i\u003e,\u003cb\u003e \u003c\/b\u003ereflects Benton’s need to\u003cb\u003e \u003c\/b\u003ereconnect\u003cb\u003e \u003c\/b\u003ewith his inner world.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePrompted by an urge to access a more authentic voice, \u003ci\u003eLost in the Country\u003c\/i\u003e finds Benton digging deeper into candid songwriting. “I wanted to open myself up and write lyrics that are a little bit more direct,” he explains. “I write a lot of songs that are about myself and a lot of songs that aren’t, but on this record, the focus is turned inward either way.” The result is Trace Mountains’ strongest and most assured record yet, 10 songs driven by a desire for introspection and self-discovery. The backdrop for this insularity is an expanse of wide blue skies, seas of trees, and winding roads, ideal locales for thoughts to blossom into greater reflections of the outer world. The slow-burning “Absurdity,” which Benton modestly says is about “hiking and standing in the country,” uses the sublimity of the wilderness to comment on technology’s inescapable presence. Similarly, the driving opener “Rock \u0026amp; Roll” transforms the premise of a “simple song about being a rocker” into a stream-of-consciousness, apocalyptic poem about delusions, regrets, and getting lost in your own limited perspective. This self-examination culminates with the record’s ambitious and anthemic title track. Channeling the cosmic sprawl of\u003cb\u003e \u003c\/b\u003ethe War on Drugs or Kurt Vile, Benton recalls a moment of deep loneliness and depression outside a concert venue in the Netherlands, and how an unexpected moment of compassion led to a moment of awakening.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDespite its frequently bucolic setting, \u003ci\u003eLost in the Country\u003c\/i\u003e’s underlying current is an urgent\u003cb\u003e \u003c\/b\u003ecommitment\u003cb\u003e \u003c\/b\u003eto Trace Mountains and “finding a creative process that requires me to be honest with myself.” “I know I sing to forget, I sing to hold my breath, to feel the thumping in my chest,” Benton sings on “Cooper’s Dream.”\u003cb\u003e \u003c\/b\u003e This line is “rooted in the importance of music in my life, it’s definitely a reflection on that and how I can keep it in my life, because if I’m not careful and I don’t nurture it, I could lose it.” The self-imposed pressure\u003cb\u003e \u003c\/b\u003ehas been empowering for Benton. “I really like having full control in making a record, deciding what songs are going to be on it, as well as shaping the vibe or narrative of the whole thing,” he says. “It brings a peace of mind knowing that I am responsible for just my voice.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhile Benton is Trace Mountains’ songwriter, he asserts that \u003ci\u003eLost in the Country\u003c\/i\u003e is by no means a solo effort. Collaboration is crucial to the project and Benton is quick to credit the contributions of his bandmates, which include Jim Hill (Slight Of), Greg Rutkin (LVL UP, Cende), Sean Henry and Susannah Cutler (Yours Are the Only Ears). “It’s definitely \u003ci\u003eour\u003c\/i\u003e record,” Benton says. “I couldn’t make this thing without them.” After beginning the recording process at Brooklyn’s Studio G with engineer Matt Labozza, Benton finished \u003ci\u003eLost in the Country\u003c\/i\u003e at his home studio in Kingston, where he also added contributions from Carmen Perry (Voice), Stew Cutler (Guitar, Lap Steel), Dan Goldberg (Synthesizer) and ARTHUR (Samples, “AB” by ARTHUR). 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