T h e M o o d I n d i c a t o r

Amsterdam - Melbourne - Sydney - Melbourne - Amsterdam. No updates soon. Back after X-ssy. Enjoy the archive. TMI

"GET YER YA-YA'S OUT!" - recorded in 1969 over two nights at Madison Square Garden - is the last official live document of the Rolling Stones in their swaggering Sixties prime; it's also one of the greatest live albums of all time.

Expectations were high for the band on its 1969 tour, the Stones' first in the U.S. in three years, and their first outing without guitarist Brian Jones, who had died that summer. They delivered in spades. Keith Richards and new guitarist Mick Taylor combined for angry workouts on Ya-Ya's' "Midnight Rambler" - the album's bluesy nine-minute masterpiece - and a stark, rubbery "Sympathy For The Devil." Mick Jagger and Richards pull apart Chuck Berry's "Little Queenie" into a raunchy romp, as if to prove they had fully mastered the rock form.

This three-disc remastered Ya-Ya's includes the original in all its gritty glory. Disc Two is a five-song EP from the same shows, with acoustic performances - "Prodigal Son" and "You Gotta Move" - from Richards (playing a resonator guitar) and Jagger. The third disc is an unexpected treat: blistering sets by openers B.B. King plus Ike and Tina Turner (doing an outrageously steamy take on Otis Redding's "I've Been Loving You Too Long").

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This was a great album released in 1985. For some reason this album has an alluring quality to it that beckons the listener to absorb it completely. I was thrilled when it was finally given the treatment it deserved. The remaster is glorious. There are instruments that I never heard on the orginial CD pressing. This expanded version of this undisputed classic Waterboys album includes a bonus disc of extra material chosen by Mike Scott from his own archives. Including seven previously unreleased tracks, one b-side never before available on CD and Scott's ansaphone message from 1985.

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Long-awaited 2009 release from New Zealand's premier Dubstyle kings, their follow up to the eight times platinum Based On A True Story. The band were formed in 2001 and have gone on to become a stunning live and studio band with their unique blend of Roots, Dub, Reggae, Jazz and Soul. They've won numerous awards in NZ and Australia as well as wowing European audiences many times over. Nine tracks including 'Big BW', 'Bondigga' and 'Pull The Catch'. Thx to BoBW for pressuring me of putting this post out now. This beauty was on the December release list..

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Traditional didgeridoo music here at The Mood Indicator. The music is rich, mind- expanding, and authentic. (none of your synthesized newage wallpaper.) Inlakesh music combines Australian aboriginal and Tibetan influences-- a great job. A perfect CD to take you on an inward journey! It's what I call a "gotta have" CD.

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David Hudson is one of australia best didgeridoo players. His Aboriginal ancestry has giving him a sense of magic in making contemporary aboriginal music. David Hudson's life reflects his love and belief in Aboriginal Culture. He comes from the Tjapukai/guguyalangi (People of the north east coast of Australia) His work is considered "contemporary" yet has a very definite traditional influence.

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Cold Chisel defined Aussie rock in the early to mid 80s, and have proven to be the cornerstone for most serious Australian rock acts since. This album gives you a good slice of their material, a bunch of sweaty raw ballads that bring a sense of pride to many a true blue bloke under 50 years of age. Jimmy Barnes went on to have a successful solo career in Australia, but the blending of him with Moss and Walker in this band was simply magic. This album's collection of songs holds up today as a living snapshot of Aussie pub life, and no australian bar is without a few of these tunes in their discbox. If you like glitchy, commercial rock then this band never was for you. But if you like the rawness of a sweaty live act that was not tied to one genre then this disc will end up having a fair bit of airplay for you. Essential.

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This is the Greatest Hits compilation album brought together by the band's producers sometime after the group disbanded and went their own ways. Some members retired and others like the lead singer started solo careers that just didn't go well. This is a 15 track CD and there are many great songs on this album that any old or new fan of Noiseworks should enjoy and treasure like 'No Lies', 'Take Me Back' and 'Love Somebody'. The last 3 tracks on this CD (song 13-15) 13 and 14 are remixes of 'RIP', 'Take You Higher' and the last track is the live version of 'Let It Be'. A superb album for anyone that like Midnight Oil or R.E.M should enjoy this rock band of the 80's.

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This CD contains "nineteen episodes from the adventures of the Triffids". It is hard to believe such intense music did not receive much comercial success outside of Scandinavia, Germany, UK, The Netherlands and the Triffids home country of Australia. If you are interested in guitar driven, moody, melodramatic rock with awesome vocals and a deep deep sound, get this CD. Or at least get it as the finest sample of 80s Aussie rock. (compared to: Nick Cave, Black-Eyed Susans, Freedy Johnston, old REM, The The, Tears for Fears, The Swans, maybe even The Smiths)

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Little River Band's greatest hits collects 12 of LRB's best known songs, and biggest radio hits. Hits like Reminiscing, The Other Guy, Lonesome Loser, Help is on It's Way, and Cool Change are all here, as well as some equally good, but lesser known songs. Little River Band's greatest hits does an excellent job of collecting all of the songs, that the casual fan will want. None of Little River Band's big hits is omitted. This is a great CD to add to your collection of classic rock.

Fans of LRB: This is the non remastered, 12 track version. It sounds better than the remastered version and contains the original vocal versions.

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This self-titled album was written, recorded and mixed in one week following the Black Lips rude expulsion from India. They flew directly into King Khan's legendary Moon Studios in Berlin where he and Mark Sultan were cooking up their own new album. It was both bands first major collaboration since a US tour 4 years earlier. This is a record of pure spirituals from six wise magicians. This isn t a tribute to a god , but a testimony to good taste - a church of the mind brimming with soul. How such demonic dudes can sound so angelic, we are yet to comprehend, but they somehow manage to bring the true spirit of gospel and make it as raw and beatific as the likes of the Velvet Underground. Exactly how two of the most respected and influential rock n roll bands of this decade would do it up.

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Pnau, one of Australia’s most respected and highly enjoyable dance teams, have finally returned to us. Welcome back to the fold, boys, after a long few years without you! Their latest self-titled effort is nothing short of their former album. Pnau shook the world up with the release of their 2001 album ‘Sambanova’, but after the release of 2003’s ‘Again’ things went a little quiet for the band. The silence was finally broken with last year’s self-titled release. From its twelve tracks came the festival-ruling single ‘Wild Strawberries’, a song that captures their new noisy electro sound quite effectively. Pnau are certainly back in a big way!

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'The Best Of Silverchair, Vol 1.' is a snapshot of the band's career during the 90's on the Epic label. Since leaving, they released the brilliant 'Diorama' through Atlantic and keep growing in leaps in bounds. This disc represents Silverchair in many various stages. From the early grunge-cliches of 'Tomorrow' to the more experimental 'Emotion Sickness,' there's something any modern rock fan can recognize and appreciate. All three albums ('Frogstomp,' 'Freakshow' & 'Neon Ballroom') are represented and every song they ever released to radio in the 90's is on here. If you already own the individual albums, there is still reason to buy this CD. We get plenty of b-sides and alternate versions of 'Freak' and 'Anthem For The Year 2000.' Although, the real standout is the acoustic version of 'Ana's Song,' which was necessary. If you are a completist or are new to Silverchair, you should pick this up.

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Throughout their 35 years of recording, AC/DC has had several tracks that have appeared in a myriad of places besides their official studio albums. From singles to soundtracks to promo samplers, their stray songs have been sought after by fans and highly collectible. Now, for the first time, Backtracks collects 12 of the band’s studio rarities and 15 live rarities and presents them in full remastered form to take their place along side the rest of the band’s canon (pun intended…). Includes the highly sought-after “Cold Hearted Man,” “Rock In Peace” and “Borrowed Time”. Also features “Big Gun” – never before on any AC/DC album!

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BONUS:
I came across a AC/DC greatest hits compilation wich i couldn't find in their back catalogue. What so special about this GH compilation is that it is devided in the Bon Scott era and his replacement Brian johnson. If you have more details about this compilation, drop in a line.

AC/DC remastered greatest hits (ft. Bon Scott) Download here
AC/DC remastered greatest hits (ft. Brian Johnson) Download here

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Just in case you might have assumed that Colin Hay's recording career ended back in the 80's with the demise of Men At Work, rest assured that you can check up on what he's been doing all these years, all in one handy little CD. "Man At Work" provides an excellent blend of re-recordings of his Men At Work classics, as well as his newest material, and everything in between.

The re-recordings of the classic Men At Work hits, such as "Be Good Johnny", "Overkill" (which was previously available only on the "Scrubs" TV soundtrack), and "It's A Mistake" are good, but they just don't have the magic of the original vintage recordings. Some of the highlights of his solo albums can also be found here, including "Waiting For My Real Life To Begin" and "Beautiful World" (one of my Colin Hay favorites). There are also three previously unreleased tracks for the Colin Hay completists, as well as an excellent, exotic new take on "Down Under", which must be heard to be appreciated.

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During their lengthy career, Australia's Midnight Oil recorded numerous energetic rock songs that did not become major singles. The original album versions of many of these tracks were produced more than 20 years ago. These songs were remarkable when played live, but they did not retain that energy on CD. Flat Chat offers remastered versions for 18 of Midnight Oil's most scorching anthems. The highlights include Only the Strong, Read About It, Cold Cold Change, Written in the Heart, and Hercules. The band's biggests hits are mostly absent, but novices should find a great collection of upbeat tracks. There's nothing completely new here, but it's still a worthwhile purchase. Check it out; you won't be disappointed!

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BONUS: Midnight Oil - Acoustic (1993): Download here

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2009 album from the Australian Alt-Rockers. Recorded in Byron Bay with friend and producer extraordinaire Nick Didia (Neil Young, Pearl Jam), Golden Rule is a departure from Powderfinger's signature sound - whilst still maintaining their knack for producing classic rock songs - unusual instrumentation, dramatic angular structures and dissonant strings nestle between harder riffs and experimental harmonies. Universal.

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G'day! As The Mood Indicator is preparing to leave the cold and wet Netherlands for a short return trip to Australia, i'm putting together a cool compilation of random Australian music. Because there are already many Aussie albums posted on this blog, i've created a special label so all visitors can browse through this special section. It contains music from today and from the past. Check out the 'Australian Moods' section here or click the label to get started.

In the days to come, until my departure in the 2nd week of December, i will cover a lot of new posts with bands and artists from Down Under. During my stay in Oz new postings will ofcourse be limited. If you are a blogger that covers Australian music aswell feel free to contact me to exchange links, highlight your favourite bands, add additional info or just to say G'day.

The Mood Indicator

Thanks Manu Katché

This big rock candy mountain of an album justifies some if by no means all of the poses and pretentious statements made by Manchester's natural-born rock & roll deities. A dramatic attempt to rekindle the flames of the original British Invasion, Morning Glory rolls 30 years of Britpop tradition into one irresistible (if achingly self-conscious) whole. "Wonderwall" can be read as a Beatles tribute, "Don't Look Back in Anger" feels like a Mott The Hoople anthem and "She's Electric" and "Morning Glory" are chewy pop confections.

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In a remarkable career that spans more than two decades, Seal has garnered countless accolades along with three Grammy Awards and has sold more than 15 million albums worldwide. Known for his one-of-a-kind soaring, husky baritone voice and classic songwriting, Seal has seen success across numerous genres of music. His emotional, romantic love songs, such as 'Prayer For the Dying,' the Grammy Award-winning 'Kiss From A Rose,' and 'Don't Cry' (all from 1994's Seal II), and 'Love's Divine' (from 2003's Seal IV), delighted fans and earned him critical acclaim. But Seal has also seen great success in the dance/pop music world beginning with his roots in Britain's house music/rave scene. Early in his career he scored two hits with legendary producer Trevor Horn, 1990's 'Killer' (with techno artist Adamski) and 1991's U.S. Top Ten single 'Crazy,' from his eponymous debut album - a genre-defying fusion of soul, pop, rock, R&B, and propulsive grooves that announced the arrival of an innovative new talent.

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Scotland's most potent musical export, those raucous, rocking Reid brothers have not missed a beat since 2001's Persevere heralded a return to the form of their 1988 hit-packed second album, Sunshine on Leith. Since then a succession of first-rate albums has secured Crag and Charlie's reputation as writers and performers par excellence.

Their latest opus, Notes & Rhymes, continues this high rolling odyssey. From the exuberant, anthemic title track via some fine coutry emoting on the Moe Bandy Classic, It Was Always So Easy To Find An Unhappy Woman, tender balladeering on Like A Flame and Shadows Fall to the fiery anti-war, anti-nationalist sloganeering of I Know (especially its tub-thumping, album-concluding reprise), the new album is simply irresistible.

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Pink Floyd were an English rock band who, in the late 1960s, earned recognition for their psychedelic and space rock music, and in the 1970s, as they evolved, for their progressive rock music. Pink Floyd's work is marked by the use of philosophical lyrics, sonic experimentation, innovative album cover art, and elaborate live shows. One of rock music's most critically acclaimed and commercially successful acts, the group has sold over 200 million albums worldwide, including 74.5 million certified units in the United States. This 2 cd set contains recordings of shows in the Nassau Coliseum, New York, August 1988, added with some perfomances from The Palais Versailles, Paris, June 1988. Excellent sound quality.

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The South African trio sounds like a cross between the dramatic nature of a Ken Burns Civil War drama score fused with the modern rock staples of a teenage vampire movie. But most accurately, on first listen, vocalist Stephen McKeller sound like a young Bono yanked straight out the Joshua Tree days. (And with quite an impressive vocal range.) The comparisons between other light rock bands are appropriate; the likes of Muse, Coldplay, U2, Radiohead, and Death Cab for Cutie are all prevalent in Civil Twilight’s sound. Unlike No Line on the Horizon and Viva La Vida, Civil Twilight's new self-titled album is worthy of the audience those bands have gathered over time.

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Cool Moods from Down under. Following on from his critically-lauded debut "The Submarine", Whitley returns with stellar follow up, "Go Forth, Find Mammoth". Written and produced by Whitley, and engineered in a ramshackle studio on the Victorian Coast, the new album pushes the talented songwriter to his limits. This well-realised follow-up picks up where his debut left off in it's warmth, beauty and intimacy, however it carries a much bolder aspiration. "Go Forth, Find Mammoth" is an engulfing journey filled with flourishes and triumphs. Multiple harmony vocals, strings, pump organ, pedal steel, horns and even a hammer and a bedroom door make up this album's truly rich and exciting sonic palette.

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Hard Believer was produced by John Porter (B.B. King, Elvis Costello, Buddy Guy, Keb Mo, The Smiths, Otis Rush, Billy Bragg, Roxy Music) and recorded in Castro's hometown of San Rafael, California. The album is anchored by Castro's soul-baring songs, filled with profound emotion and fueled by Castro's powerful vocals and propulsive rhythms. "If there's no groove there," Castro told Guitar Player, "I can't sink my teeth into it." On Hard Believer, there are plenty of satisfying grooves to bite down on. But what really drives the songs home is Castro's telepathic interaction with his band. The group operates as a single engine, firing on all cylinders, sometimes pushing the pedal to the floor, other times slowing things down for a simmering ballad.

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An exciting new duo, of unusual instrumentation, initiated by American master guitarist Ralph Towner. Towner s acoustic guitar concept has long since absorbed and abstracted influences from baroque music, contemporary composition, Brazilian music and jazz, above all the jazz of Bill Evans. In this programme of Towner originals and improvisations, the sole cover version is Blue In Green . the Bill Evans/Miles Davis tune from the classic Kind of Blue album an apt choice for Sardinia-born trumpeter Paolo Fresu, whose pure and elegant tone still carries echoes of early Miles. Towner s own pieces offer continually changing landscapes for Fresu s horn to grace, in a very poetic and lyrical set whose gradations of light and shade, of sound and shadows, are beautifully recorded.

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Taking a break from his day job fronting rock heavyweight Pearl Jam, Eddie Vedder immerses himself into the big-screen story of a young man who gives all his money to charity and hitchhikes to a new life--and his eventual death--in the wilds of Alaska. Prompted by the film's creator, Sean Penn, to contribute to the musical score, the Seattle musician tackled the entire project, playing every instrument on the soundtrack's nine original and two cover songs. Vedder contemplates the traveler "setting forth in the universe" in the opener "Setting Forth," then tracks in the remaining songs the realizations and disillusionments that follow. A wish comes true in banjo-plucked "No Ceiling" to "up and disappear," while affluence is questioned on the hard-rocking "Far Behind," with Vedder singing, "Empty pockets will/Allow a greater sense of wealth." No song in the album's first half exceeds two-and-a-half minutes, remedied by Vedder's pertinent five-minute stamp on the remake of Indio's "Hard Sun," complete with eerie backing vocals by Sleater-Kinney's Corin Tucker. The songwriter puts wealth on the hot seat in "Society," questioning, "If less is more/How you keepin' score?" The darkly sung folk song bookends the reticent declaration "Guaranteed," wonderfully delivered and quietly strummed, in which the prodigal Vedder wraps the journey in one line: "Leave it to me as I find a way to be/Consider me a satellite forever orbiting." (Thanks to Henk)

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EXTRA: Eddie Vedder - Acoustic songs [BOOTLEG] parts 1 & 2 & 3

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For a time, it seemed as if Sly Stone would change the world, and it's only because his music was so ambitious that we forget, sometimes, that he did just that. His integrated band played funk-based jams, but always with touches of soul, blues, rock, and lots and lots of pop, a synthesis that spoke to its time even as it predicted the future. Comprising some of the most accomplished and inspirational music ever created, this 20-song set contains all but the last of his hits as well as a few hard-edged album tracks. Until a proper box set is put together, this will have to do.

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English singer-songwriter David Gray recorded his fourth album, White Ladder, at home in 1998 and self-released it after three previous albums garnered critical acclaim and little else. Opening for the likes of Dave Matthews and Radiohead helped up his profile and led to Matthews choosing White Ladder as the U.S. debut for his new ATO label. It's not difficult to hear what attracted Matthews to Gray. There's a strong dose of romantic wanderlust to these tunes. "This Year's Love," with its somber piano notes, captures the drifter feel of earlier Gray work (such as the remarkable "A Gathering of Dust" from his debut)."Sail Away" is "Dock of the Bay" from another side of the shore. Gray clearly loves words, and the way he emphasizes them--spitting them out in contempt one minute, soulfully stretching a note out at other moments--lends his music drama. It's no wonder he's been compared to so heavy an improviser as Van Morrison. There's a spiritual connection there that this strong release makes only more obvious.

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The Decemberists' The Hazards Of Love, is the follow-up to the group's 2006 breakthrough, The Crane Wife, which NPR listeners voted their favorite album of the year. With their fifth full-length album, the Portland-based quintet of Colin Meloy, Chris Funk, Jenny Conlee, Nate Query and John Moen solidifies its standing as one of the most innovative creative forces in music today.

In an age when singles rule and the death of the album has been pronounced by many, The Decemberists have fashioned an anomaly: a record that demands to be listened to from start to finish and reveals more with each subsequent play. The 17-song suite, recorded with the band's longtime producer, Tucker Martine, is rooted in ancient language and imagery, yet entirely modern and accessible.

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There's something ultimate about London's The Big Pink. It's as though they've compressed everything that's great about post-war music into their sound. They're as accessible as a pop group, with almost folkishly warm melodies, the spiritual quality of soul and gospel, the rhythmic propulsion of rave, the white noise of punk, the glitchy textures of electronica, and the heavy drones of your favourite New York rock bands past and present.

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Those who enjoyed Talk Talk's Colour of Spring, Spirit of Eden and Laughing Stock should find much to love in this solo outing. Do not expect virtuosity. Coming into Mark Hollis with such an attitude will cause you to miss the point of this album. This is about emotion, and the very frailties that make us human. If you seek machine-like precision and processed-to-death sounds, look elsewhere. Mark Hollis is a much more *intimate* album than that. Imagine sitting in a circle of musicians, tucked safely away in a back room somewhere, playing without an audience, without pressure. On occasion, a chair squeaks or someone misses a note, or someone joins in just ahead or behind where they "should"...but that's *not* what matters. Instead, it is the private communion with each other, and with the music created between them, that matters. Unconstrained, slowly flowing along from one song to the next, it's rather like a beautiful, spontaneous practice session committed to tape. In today's world of grandeur and overprocessed everything, this is a value we've forgotten. Perhaps that's why Mark Hollis so stirs the heart.

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[review in dutch]

De muziek is onloskoppelbaar aan de teksten. Het samenspel tussen woord en muziek geven de specifieke klankkleur aan Gorki’s liedjes die moeilijk in een bepaald stijlhokje zijn te vatten.

Luc De Vos, is zeker geen klasse zanger. Zijn slepend en mompelende liedvorm met zijn podiumpresence zijn zeker ook verantwoordelijk voor het succes van Gorki. Luc, speelt graag de underdog, de timide persoonlijkheid. Vanuit deze optiek verkondigt hij zijn mening en opvattingen. Vele liedjes zitten dan ook vol moeilijke vragen, waar geen oplossingen voor komen.

Door zijn stijl zijn Gorki’s liedje goed herkenbaar. Door de inbreng van zijn gasten, artiesten en muzikanten, krijgt de luisteraar uniek klankmateriaal. Daarbij zingt Luc De Vos schijnbaar ook beter en klinkt zijn stem helderder.

“Het Beste van Gorki Live” is door de lied- en beeldkeuze een prachtige bloementuil vol mooie en typische nummers waarbij Luc De Vos, als boegbeeld van Gorki, een zeer goed overzicht over zijn stijl, presence en liedjes geeft.

Luc De Vos, is een persoonlijkheid die de Vlaamse rock- en popmuziek een nieuwe dimensie gaf en beter op de kaart zette.

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Extra: Gorki - Vooruitgang (2003)

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With the one-two punch of their mission statements "Jocko Homo" and "Mongoloid" from the early 70's, it's clear that Devo had it all figured out from the beginning. Theirs was a fight against the increasingly alienating modern world, a sort of "if you can't beat it, join it" idea. Devo would find more honest humanity by becoming less human. "Are we not men? We are Devo!" was their declaration, echoing the man-beast experiments in H.G. Wells's Island of Dr. Moreau. Devo were not just academic philosophers, or simple clowns. They could rock! Disjointed beats, Beefheart-worthy rhythms, and strange sounds combined with general outrageousness resulted in a great rock & roll band, and even a hit or two on the pop charts like 1980's "Whip It."

The first of the two CDs on the Rhino compilation Pioneers Who Got Scalped goes down like butter, every song a classic. Two or three more CDs could have easily been culled from these same fertile years between their debut album and 1981's New Traditionalists. The second CD starts to lose the plot a bit as the members of Devo started going in different directions, primarily Mark Mothersbaugh's developing interest in movie soundtracks and scoring. But it does still paint the picture of Devo and where they were during what Jerry Casale, Mothersbaugh's writing partner, refers to as "the enigmatic years."

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Over the last 40 years Canada's biggest rock band, Rush has been creating one platinum album after another. The trio, featuring members Geddy Lee (Lead Vocals, Bass), Alex Lifeson (Guitarist), Neil Peart (Drums) are renowned in their own right, but together have come to form one of the most succesfull rock bands of all time, ranked fourth in sales behind only The Beatles, Rolling Stones, and Aerosmith. Since the release of the band's self-titled album in March 1974, Rush has become well-known for the instrumental skills of its members, eclectic lyrics, and complex compositional style. After Rush's 8 year hiatus in 1997, the band reunited to create Snakes and Arrows in 2006, renewing interest around the world. Rush's latest offering Working Men, the live CD release, pulls selected live offerings from their vast collection.

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While the hype machine forever proclaims this or that new artist to be "unique," "original," or "a fresh new voice," most of the time what you hear is more of the same old, same old. Thus, it is a rare joy to hear a newcomer that actually qualifies as all of the above. Mindy Smith fits loosely in the alt-country genre but adds some distinctive touches that set her apart from the field. A residency in Nashville brings a welcome Music Row level of craftsmanship to the playing and production, while her singing and songwriting take the music to places where cliché has never been. A song like "Hurricane" has a hook Faith Hill would kill for, but tells a tale of rebirth that might prove a little raw for her emotional range. Like Julie Miller, Smith writes songs that deal with redemption and spiritual matters in a way that is powerful without being off-putting to the more secular among us. Likewise she can write about her stepmother's passing in terms general enough to make it a stirring ode to the loss of any love--and do it in a voice that could make a statue misty. Smith more than held her own on the Dolly Parton tribute, Just Because I'm a Woman, alongside the likes of Alison Krauss, Norah Jones, and Dolly herself. One Moment More proves that it was no fluke. This time believe the hype.

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2009 release from the Country/Pop icon. American Classic is Willie Nelson's return to the Great American Songbook, a crossover standards album by the man who invented the genre with his landmark, best-selling 1978 album Stardust, which has been certified five-times Platinum by the RIAA. Produced by Tommy LiPuma and featuring guest duet partners Norah Jones on the classic tale of seduction 'Baby It's Cold Outside' and Diana Krall on 'If I Had You.'

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Roofwalkers are back with a full length album featuring that song and a 9 other gems. Roofwalkers play a skeletal brand of moody pop, heavily influenced by the jangly sounds of New Zealand’s heyday. These guys somehow manage to propel a languid haze with a smooth driving repetition. We wanted to capture this feeling with the art for the CD package.

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