Album de la Semaine : The Underground Youth - Haunted

The Underground Youth
Haunted

Interview de The Underground Youth, par Romain Rathert de It's Psychedelic Baby

Can you talk a little bit about how the band started as a one-man recording project?  Where did the initial idea come from and just how did it begin?  When was that?

I’d been writing rough amateurish poetry since the age of sixteen or seventeen.  When I heard Bob Dylan for the first time I realised that I didn’t need any more than a few guitar chords to turn these into songs.  In 2008 I started recording songs in my bedroom with some basic recording equipment; I guess it’s all grown from that.

You recruited band members for live performances in preparation for your tour in 2012 after signing with Fuzz Club Records, how did you go about choosing members or did you already have people in mind? 

I didn’t have anyone in mind from the start, it all just kind of fell into place.  I met our guitarist Tom through a mutual friend.  I’ve never felt more comfortable playing around another guitarist.  Our drummer Olya is my wife, so her entry into the live band was a little more natural.

Was the transition to a full band difficult for you or was it kind of a natural evolutionary process?

It started out easy but then got difficult.  I guess to call it an evolutionary process is the best way to describe it.  While it progresses it changes.  As a live band we will change in time, there’s room for more people and more instruments, it will never feel complete.  I like that about it.

What’s the band’s lineup?

Right now we just use a guitar, a bass and two drums which Olya plays standing up.  Sometimes we just play with two guitars.  It’s a stripped back sound, especially in the psychedelic scene where you can find other bands utilizing four or five guitarists.

Are any of you in any other bands?  Have you released any material with any other bands?  If so can you tell us about it?

Olya and I recorded an EP under the name Noise Exposure.  It was sort of a side project where she had more creative input.  Tom is constantly writing and recording under different names.  I’m not sure which one he’s using right now.

How and when did you all meet?

I guess it was 2011 I first met Tom.  He’s from Liverpool but we met up in Manchester.  We spent an evening drinking wine and discussing music, we’re very different people but we have a connection that really works.  As I said before, Olya is my wife, that’s all you need to know.

Where are you originally from?

I’m from a town in North-West England, Blackpool.  Olya is from Siberia and Tom is from Liverpool.

Where is the band located now?  How would you describe the local music scene there?

Manchester.  For me Manchester’s musical history is better than anywhere but unfortunately, there isn’t much excitement around any new “scene” right now, at least not for what we’re doing.  I think it is growing but in its’ current state there isn’t much to write about.

Are you very involved with the local scene?

No.  We’ve played a small handful of shows in Manchester for a small handful of people.

Has it played a large role in the history or evolution of The Underground Youth?

I would say no but it’s hard to have perspective on that from my position.  It’s been said that The Underground Youth “sound very Manchester”, which is probably just a way of saying we’re obviously influenced by Joy Division.

What does the name The Underground Youth mean or refer to?

One of the early poems I wrote, around the age of eighteen or nineteen, was called Underground Youth.  There’s actually a horribly rough recording of it on my first album of songs Morally Barren.  I just decided to name the project after that song.

Who are some of you major influences?  What about the band as a whole rather than as an individual?

I am hugely inspired by the work of Anton Newcombe and The Brian Jonestown Massacre but the sounds of other psychedelic groups are obvious in the music as well.  Olya’s drumming style is lifted from early Jesus and Mary Chain but she’s also one of the biggest Spacemen 3 fans there is.  My writing is inspired by Bob Dylan and Nick Cave, and there are flashes of post-punk in there while Tom brings a garage blues influence to the live show.

Can you describe The Underground Youth’s sound to our readers that might not have heard you before?

Something between psychedelic rock and post-punk.  It’s haunting and dark but with flashes of a melancholic lightness.  A word that often comes up is cinematic, I’m a huge fan of cinema and my music is hugely influenced by film. 

Can you talk about the songwriting process when you were still a one-man band?  How has The Underground Youth’s songwriting process changed since the addition of the live band?

The songwriting process is, and always has been the same, although a live band is now representing the music and I take this into account when recording.  The songs are all my own creation, for me writing alone is much freer.  The freedom of writing and recording alone is waking up in the middle of the night and creating something from nothing.  The danger is working your way into a corner with no one to bounce ideas off.  But my process is very much at my own pace.  With the right inspiration I can record a whole album in a week or two. 

You self-released five albums before signing with Fuzz Club records and reissuing the Delirium 12” and The Low Slow Needle 10”.  Can you tell us a little bit about the recording of those early albums as a one man project?  Where were they recorded?  Did you record the material yourself?  What kind of equipment was used?

Everything, including the new album, is recorded at home.  I do everything myself on my own cheap and simple equipment in my home.  Over the years I have improved the recording and production of my music, but essentially the equipment and process I go through is the same.  It’s only recently that I started entertaining the idea of working with someone else in the recording process.  There’s a chance the next album I record will feature someone else in a production role, but I definitely prefer to have control.

What were the names of those initial five albums?  How were those albums originally released?

Morally Barren and Voltage were released in 2009, Mademoiselle and Sadovaya in 2010 and then Delirium and the Low Slow Needle EP in 2011.  Back then I would just make copies of the albums on CD myself and send them out to people who got in touch online.  Eventually I uploaded everything online and made it available for anyone to download.  Through the following I built up with those albums I was approached by someone who was “thinking of setting up a record label”.  From there everything happened really fast for both the band and the label.

You compiled some of the tracks from those albums into the Delirium and Low Slow Needle releases, how much of the material from those early releases were compiled to make those two albums or are they straight reissues of the original albums?  Are there any plans to release the rest of that early material in physical or digital formats?

Delirium and Low Slow Needle were released on vinyl exactly as they were originally recorded.  The idea is to work our way through the back catalogue and release the early material on vinyl.

You also recently released a 7” through Fuzz Club Records, Morning Sun.  Are these tracks culled from that pool of older recordings or were they done for this release more recently?

Morning Sun and the B-side Art House Revisited were songs from the album I recorded in 2010 titled, Sadovaya.

You also released a split with a band I’ve been into for a long time at this point, Little Daggers.  How did you get hooked up with them?  Where did the track Juliette come from, was it recorded specifically for that release?

Jacob from Lil Daggers got in touch with me about arranging some shows together if they were ever to come over to Europe but our conversation ended up with us making a split 7” together.  I wanted to record a new track for it, so I wrote and recorded Juliette, which is also on our new album.

You have an upcoming album scheduled for release in the next few months.  I know the band was involved with recording for the first time, was it strange or difficult for anyone going into the studio this time?

August 2nd.  As I mentioned earlier the songs are all my creation.  I had my friend Daria, who lent her vocals to the Low Slow Needle EP, sing again on this record and Tom recorded guitars on a number of tracks.  There’s also a song that came from a bass part that Olya created.  I really do work best on my own, sat at home recording.  It’s much more effective for me than all the pressures that come with studio recording.

Can you tell us a little bit about recording the new album?  What can our readers expect?  Did you try anything radically different with songwriting or recording on this album?  Where was it recorded and who recorded it?  What kind of equipment was used?  What’s the name of the album going to be?

The album has a different feel to it for sure.  It’s my most mature work and has a much wider array of influences.  It’s a really dark and raw record.  We live in an apartment overlooking the outskirts of Manchester’s City Centre so I recorded the album looking out onto this.  I think some of the atmosphere was soaked up by the recording.  There are also some of the most fragile tracks I’ve ever recorded.  I think it’s the best of everything I’ve done rolled into one record.  The album is called The Perfect Enemy For God.

Other than the upcoming full-length do you have any other releases planned for this year?

I have a few new songs that I’ve been working on.  I might end up building them into an album or an EP but it’s too early to say, we’ll see how the new album is received before deciding on what to do next.  We had the idea of re-recording some of the older tracks, compiling a best-of and recording it in a studio with an established producer.  We’ll just have to wait and see.

With the insane recent postal increases here in the states where is the best place for US readers to purchase copies of your music?  What about international and overseas readers?

Fuzz Club Records ship worldwide and I know they try and keep the shipping costs as low as possible.  We have records in a number of independent record stores around the world.  I’d suggest people contact Fuzz Club and ask for more information.

What do you have planned as far as touring goes for the rest of the year?

We’ve got a few shows in Europe around the release date of the new album.  The release party on August 2nd will be in Berlin.  Following that we have a tour of Russia, some dates in the UK and another European tour that’s currently being booked for October/November.

Do you have any funny or interesting stories from live shows that you’d like to share with our readers?

Well we have the usual band horror stories of terrible shows, guitars breaking, drums being knocked over; a monitor once fell on me during a gig.  I love that rawness of a live show though, I don’t go and watch a band play live to listen to an exact recreation of a record I have at home.  I want to see a raw and passionate representation of the music, snapped guitar strings and onstage disagreements included.

Where’s the best place for our readers to keep up on the latest news from The Underground Youth like upcoming album releases and shows at?

The best way is to follow our Facebook page.  I update news on there regularly.  We also have a Twitter account or you can sign up to a newsletter and find other updates on the Fuzz Club Records website.

I must admit to loving my digital albums.  Having the ability to take music wherever I want is really cool, but I just can’t shake my obsession with physically released product.  Having an album to hold in your hands, artwork to look at and liner notes to read all make the listening experience more complete; at least to me.  Do you have any such connection to physical releases?

Absolutely, I couldn’t agree more.  Having a digital copy of an album is great for the ease of listening to it anywhere, but for me you can’t beat listening to an album on vinyl.  For the obvious joys such as soaking up the artwork and the quality of sound, but I think appreciating a record from start to finish is so much easier when listening to vinyl.  With no easy way of skipping a track it’s much easier to appreciate a record as a piece of art.  I understand that this isn’t the most common approach to buying/listening to music, with that in mind all our records come with a digital download included.

While digital music might be undermining decades of infrastructure in the music industry and causing a lot of turmoil it’s also exposing a lot of bands that I otherwise would never have had the pleasure of discovering.  What’s your opinion on digital music and distribution as an artist during these turbulent times?

For me the simple fact is that without the option of creating digital files that could be sent to all corners of the world via the Internet, no one would have ever heard my music.  I certainly would never have been approached to create a physical release.  It’s great for musicians and fans alike that music is so accessible.  I hate most things about the commercial music industry so I try not to think about it too much. 

I try to keep up on as much music from around the world as is humanly possible, so I ask everyone I talk to this question.  Who should I be listening to from your local scene or area that I might not have heard of before? 

As I mentioned earlier Manchester isn’t really the home of a “scene” for us right now but the European psych scene is exploding with great bands!  If you check out The Reverb Conspiracy compilation record it’s full of hidden gems.  My favorite band didn’t get featured on that record though, The Blue Angel Lounge, I can’t speak highly enough of them.

Is there anything that I missed or you’d just like to talk about?

I can’t think of anything, thanks.  Let’s hope we can get over to the States soon to play some shows.

Line Up :

Craig

Olya

Frankie

Max

Label :

Fuzz Club Records

Tracklist :

01 – Collapsing Into Night
02 – Haunted
03 – Dreaming with Maya Deren
04 – Self Inflicted
05 – Drown In Me
06 – The Girl Behind
07 – Slave
08 – Deep Inside of Me
09 – Returning To Shadow

Album de la Semaine : Low - Ones & Sixes

Low
Ones & Sixes

Interview de Low, par Cole Rachel de Stereogum

STEREOGUM: I guess a good place to start in talking about this new record is to ask how you got Jeff Tweedy to produce it for you. How did that come to be?

SPARHAWK: Well, I don’t know. We’ve known Jeff I guess six or seven years now, mostly via our even longer-ago friendship with Nels Cline, who now plays in Wilco but we knew back from his days playing in the Geraldine Fibbers.

STEREOGUM: Oh yeah?

SPARHAWK: I don’t know … we toured with him and Carla Bozulich and so when he joined Wilco we, I guess he more or less put us on their radar and we did a few shows with them, some tours, and it went well, and Jeff’s a very nice guy. He and I have gone jogging together and stuff like that over the years and … yeah, he’s a nice guy. We get along and there was always this sort of this vague invitation there — always every time at the end of a tour, “Hey man, we’ll see you guys later. Hope it goes well.” Or, “Hey man, you should come to our studio sometime when you’re in Chicago. You guys can record there, do something cool.” You know, that kind of talk, which, you never know if it ever comes together unless you actually do it, you know? So I don’t know, we stopped in I guess earlier last year on our way through town and Jeff was there working on some tracks with Mavis Staples. We got to tour the studio and it seemed like Jeff was, I don’t know, he seemed to kind of be in the right frame of mind for producing, so I guess I just kind of asked him if he’d be interested in thinking about it and give us a call. So, yeah. Sorry I’m rambling. It was pretty simple. We asked. He said OK.

STEREOGUM: How did he function with you guys as a producer? I mean, I know the role of producer-band can be so wildly different from band to band and person to person.

SPARHAWK: Yeah it’s always very different. Different people, different experiences, different hands-on or hands-off ways of working. I mean, we’ve kind of worked with a lot of different people and choosing the producer who we’re working with while recording is sort of an important part of the process … and it’s something that I think we thrive under. It’s inspiring working with different people. It kind of gives us maybe some subconscious confidence to do new things while knowing that there’s someone that we trust who’s going to be those second vital set of ears. I really value that. We’ve counted on that through the years. With Jeff it was interesting. I mean, first of all. they have that studio really dialed in. They know how to get a good sound there right away and that was really helpful cause a lot of times the first day or two in the studio is sometimes spent kind of feeling like, “Oh crap, are we going to get anything to sound decent here?” You know? Trying to find the right combination of mics and preamps and instruments and get the right vibe — it can be a struggle sometimes just to get started and that can really stifle your creativity or confidence and really sap all the energy. You’re going in like, “I’m ready to put this down!” and then you spend all this time fumbling around. With Jeff it was nice because right away we were able to just go and the sounds were good. Jeff spent a little time with me trying different guitars — he has a huge collection and he knows his stuff really well — and we ended up kind of settling on one or two options that seemed to really just be the perfect thing for the sounds that we were trying to get. I think getting good takes — its helpful to have someone there to say, “That was good.” Or, “Why don’t you try a couple more?” and you can actually trust their judgment. I don’t know, it’s nice to be able to just concentrate on doing a good take without having to be the one who goes back and listens to all of them over and over and then second guessing everything. Specifically with vocals … I think it was pretty vital. It became even more special and specific with doing vocal takes because he’s a singer as well. So … yeah. Essentially that was his part. I mean, there were maybe two or three little scatterings of things that he played that were, that you could say were, “I have an idea for this.” Or, “How about this bell part on this song?” and that kind of thing, but the rest of it was just — I don’t know, just kind of helping us get good sounds and pushing us along. Kind of navigating us and pushing us through the process of getting the best. The best it could be.

STEREOGUM: When you guys record do you tend to always go into the studio with all of the songs totally done or are songs often fleshed out when you get there.

SPARHAWK: It varies. For this one, we really had it down. We had demoed the songs and we went in just with these eleven songs and it was like, “Okay these are the songs for the record. Record them.” You know, in the past perhaps we would do fourteen to fifteen songs and pick eleven or twelve of them. But, yeah, it varies … and there’s always some messing around. When we were doing C’mon, I think, the luxury of being able to record two or three blocks away from our house kind of opened the door to, “Let’s just go try these and see what happens.” There was sort-of a luxury, it was almost sort of just a step above recording in your own house … and we had the luxury of time. But with this one we went in with a very specific goal.

STEREOGUM: How long were you guys recording with Jeff?

SPARHAWK: The first session was five days and that was essentially where we tracked everything. And then about a month and a half later we came back and worked for another five days — tweaking one or two things on the first day and then mixing the rest of the time. So it was actually pretty quick.

STEREOGUM: Yeah that’s pretty expedient.

SPARHAWK: Yeah, well. I mean we’re coming from indie rock nineties, you know? DIY, Hüsker Dü, this is due in twenty-four hours kind of stuff, you know? Lots of the time it was out of necessity because it’s all we could afford. Sub Pop obviously, they give us an advance to pay for the record and stuff, but in the end we booked a certain amount of days because that’s all we could afford! And that was fine because that’s all the time that Jeff had anyway.

STEREOGUM: Well, it’s a beautiful sounding record. A lot more minimal in it’s approach than the last couple of Low records.

SPARHAWK: Yeah, I’m really happy with it. I don’t know … making records is always a little bit of a mystical thing, but for some reason this one felt like … well, there were definitely many moments where it felt like we were being carried. I felt like there were moments where we were sort of reaching beyond what we can actually do and it was sort of weird, but I guess its what we get for trying to be nice. Sometimes you get carried along by a force bigger than yourself … you tap into something at the time right time.

STEREOGUM: I mean, particularly with Drums and Guns and in the last record too, there was an exploration of different kinds of sonics that hadn’t necessarily been there in previous records. In comparison, this record feels very restrained. It’s a lot more reminiscent of the minimal nature of your early records.

SPARHAWK: Yeah. Well I think having the piano on so many of the songs really added to that. Basically it’s just piano and acoustic guitar for about half of the tunes.

I remember that it was something I was sort of conscious of at the time and being like, “Well, we seem to be gravitating towards these instruments and they seem to be finding a completeness with each of these songs. Do I need to stop here?” You go, “Wait a minute, this is too safe. Is this too simple?” You don’t want to be … well, I don’t want to say predictable, but you wonder, “Is this using old sounds? Are we being retroist here? What’s going on here??” Those are the questions that plague you when you are making a record. I essentially tried not to think about it too much or let it color what was going on because it felt like what was going on was true and the right thing. I don’t know, I think at some point after hearing the way some of the songs were developing I sort of realized that, “Well, sure these are the same instruments everybody’s been making music with forever and that has its own pit-falls, but it seems right.” To me that was the risk that we were taking on this record. I guess that my hope is that people don’t hear it as some retroist thing or view it as a step backwards … because to me it was its own unique and new challenge. How do we make these very traditional instruments make something new? It turns out it wasn’t that hard.

STEREOGUM: A lot of people were drawn to your band in the early days because of the austere, minimal quality of what you were doing. There was almost a severe quality to those records; you were working within a very strict set of limitations. But I understand how that must get old. You eventually want to stretch your legs and explore other kinds of sounds.

SPARHAWK: Oh sure.

STEREOGUM: After repeated listens, I think this record really manages nicely to do both things — you have a very expansive sonic palette happening, but it’s also very simple. I could see how this record would please fans of the last couple of albums but also really appeal to people who obsessively love the first few Low albums.

SPARHAWK: Yeah? I don’t know … maybe. I wonder about that sometimes. I mean, it’s hard because I don’t really see it. My experience with the process of making the music is unfortunately different than what the listener experiences when they hear it … to me I just see us constantly trying to refine and re-try to say the same things. It just happens the way it happens. That’s just what’s in front of us at the time.

STEREOGUM: This record marks a couple of important milestones. Not only is this your tenth album, it also marks twenty years of the band, right?

SPARHAWK: Yeah, in the spring. I guess essentially when the record comes out it will be about the same time we first started playing … about 20 years ago.

STEREOGUM: Does that kind of blow your mind when you think about it? Does it seem like it’s been twenty years? Does it seem longer?

SPARHAWK: Yeah. I mean, I don’t know. (laughs) I guess that’s been on my mind for a while. Oh wow … twenty years. I’ve been kind of pondering it for a while. You start comparing to other bands in history and stuff and you realize, “Wow, twenty years is a long time!” A lot of stuff happens in twenty years, you know? I keep thinking of things like … like if someone in high school came and saw us now—twenty years in–it’d be like if I went and saw Jefferson Airplane when I was in high school. Which, I guess now would be Jefferson Starship? Starship? So yeah, it would be like going to see Starship when I was in high school. So that’s weird. You know, the same band that did “White Rabbit” but twenty years later is doing “We Built This City” or whatever. I hope we aren’t at that stage in our career yet. I think for anybody at this age obviously you go, “Well, I don’t feel this old. I’m the same idiot I was when I was nineteen.” It’s sort of true and, as boring as it sounds, it simply is what it is. Though, I have to say that it is also sort of reassuring and it gives you a little bit of humility and you start to appreciate the other things in your life that you notice have been around that long as well. You know, that kind of thing. So the short answer is … it’s kind of weird.

STEREOGUM: To have this very personal project — and what is ostensibly often very quiet, personal music — become your career and your life’s work … that’s pretty amazing. It’s a feat.

SPARHAWK: Yeah … it’s very rare and weird.

STEREOGUM: It’s a milestone not a lot of bands reach. Especially not contemporary bands.

SPARHAWK: No, it’s true. I mean, we owe a lot of that to the fact that Mim and I are married, you know?

STEREOGUM: It makes it harder to break up the band … or, depending on the dynamic, makes it more amazing that the band didn’t break up.

SPARHAWK: Yes, It’s hard to break up the band when you’re married and you’re essentially the main characters in the ongoing narrative. We’ve been lucky. It’s never anything we expected, that’s for sure. It’s been fun, it’s been interesting and I really … I don’t know, I wish everybody could try it.

STEREOGUM: I talked to Mimi when the last record came out. I remember us talking about how, when you do this for a living, the making of music just becomes the rhythm or your life. You know: touring, not touring, practicing, recording ….

SPARHAWK: Making a record, yep. It becomes your life cycle in a weird way.

STEREOGUM: I assume that over this next year you will resume that rhythm by being on tour most of the time?

SPARHAWK: Well, we have a bunch of stuff already planned for the spring and some of the summer. And I don’t know, I guess it just depends … but I’m sure we’ll do some more shows in the fall. We’ll go to Europe; we’ll do a few tours in the U.S. and things like that. I’m looking forward to it. We’re going to try and bring the kids with us this summer, which will be fun. They keep complaining that they never get a vacation.

STEREOGUM: They complain until they actually get to go on tour, which is like the weirdest kind of vacation. How old are the kids now?

SPARHAWK: Twelve and eight.

STEREOGUM: Wow. That’s so crazy. I still have my wall of records and CDs in my office — and I was just looking at my copy of I Could Live In Hope — which I bought at a record store in Oklahoma City that no longer exists. It still has the price sticker that came from that record store and it has traveled with me from college to grad school to Kansas to a variety of apartments around New York. And you guys were one of the first bands I interviewed when I was just starting out as a journalist — around the time of Secret Name, I guess — and I remember us having a conversation about what is was like to take your baby on tour. So it’s crazy now to think about your children being that old. This is making ME feel old now.

SPARHAWK: That’s life, it just kind of cruises along and you’re doing your thing and before you know it all this stuff has happened — it’s very, very weird.

STEREOGUM: Will you do anything special to commemorate the twenty years? Play a special show or something?

SPARHAWK: I don’t know … we’ve got a couple of shows. There’s a show in Minneapolis we’re doing that’s kind of special. Some guys are going to kind of back us up. A string ensemble background kind of thing. It’s sort of a little show that celebrates it, I guess. I don’t know … I guess maybe we should have a big party or something?

STEREOGUM: Yes, you should.

SPARHAWK: I don’t know. We’d just have to do it in Duluth here. Something simple.

STEREOGUM: Thinking back to when you very first started the band … when you look at those early records and consider those songs … does it feel like a different band that made those records? Do you have a funny relationship to that material now?

SPARHAWK: No, no. It’s very weird, it’s like this timeless window that you look through and, you know, everything is just all present in the moment. I don’t really see it as something disconnected because of time. It’s kind of hard to illustrate that. We still play old songs live and when we play them — as far as I can tell — it feels like the same way we played them when we first started playing those songs. So, it’s sort of hard to tell in many ways … they still feel the same. So it’s sort of … yeah I don’t know, maybe it’s all in my mind but it feels — it always feels like we’re the same band, just kind of like, “Well, and here’s how we’ve always played this song, and here’s how we’ve always played this NEW song. And if we were to play this song years ago it would have sounded just like this too.” So, it’s kind of hard to see where there’s a line or there’s a distance or anything like that. It … I don’t know. New stuff, new material. You know, you write new things and you make new records but you still have the same problems.

STEREOGUM: I don’t know that I’ve had the new record long enough to unpack what I feel like the larger themes of the album are with any kind of authority, but I think it’s interesting whenever you can sort of look back at your body of work and see how you’re sort of coming at these same ideas from a lot of different angles. I think it’s cool. I think most people with long careers making art — regardless if it’s music or writing or visual art, whatever — you kind of have this certain set of problems I guess that you kind of tend to pick at over and over in your career. It just becomes about finding new ways to pick at it.

SPARHAWK: You always pick at it. Or maybe you’ve figured out this much, and now there’s a NEW problem to figure out. It’s true. And I think most artists probably would describe it that way. I mean, you still feel like you’re the same person, you maybe notice that you refine a few things and you’re better and this or that. A little bit of experience gives you some confidence sometimes. In those times when you’re questioning your abilities sometimes you’re able to remember that, “Oh yeah, it takes work and doesn’t always feel right at first.” Or, “Be patient.” If it feels like nothing is working, eventually it will and that’s kind of all you really learn with time. A little bit of patience with your own process. Being able to trust that if you keep at it, it will show its face.

Line Up :

Alan Sparhawk
Mimi Parker
Steve Garrington

Label :

Sub Pop

Tracklist :

01 – Gentle
02 – No Comprende
03 – Spanish Translation
04 – Congregation
05 – No End
06 – Into You
07 – What Part of Me
08 – The Innocents
09 – Kid in the Corner
10 – Lies
11 – Landslide
12 – DJ