Footprints
Very attractive Kiwi obscurities unearthed by ever reliable Antipodean archivists Left Ear Records - a must-grip for fans of Broadcast, Vazz, Stroom, thee eeriest hauntological pop and post-punk delicacies
Plucked form the annals of Auckland’s underground circa 1986, the two songs on ‘Footprints’ are indelible marks made by the short-lived duo of Scottish-born musician Mark Airlie and keyoboardist/vocalist Keri Ansley, aka Poetical License, at renowned studio, The Lab. It’s love at first listen for us, especially the A-side’s slow burn dream sequence of twinkling glockenspiel and gauzy bassline gilded with Keri’s plaintive yet strongly accented delivery, glinting with a certain gallic charm and also comparable to the gothic appeal of Glasgow’s Vazz, particularly in that late switch up. 3 minutes of chthonic pop perfection here. The gothic drive is found more pronounced on the B-side’s ‘Room 101’, again recalling Vazz, and also The Danse Society in its spidery bassline and drums, with Airlie and Ansley sharing the mic.
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Very attractive Kiwi obscurities unearthed by ever reliable Antipodean archivists Left Ear Records - a must-grip for fans of Broadcast, Vazz, Stroom, thee eeriest hauntological pop and post-punk delicacies
Plucked form the annals of Auckland’s underground circa 1986, the two songs on ‘Footprints’ are indelible marks made by the short-lived duo of Scottish-born musician Mark Airlie and keyoboardist/vocalist Keri Ansley, aka Poetical License, at renowned studio, The Lab. It’s love at first listen for us, especially the A-side’s slow burn dream sequence of twinkling glockenspiel and gauzy bassline gilded with Keri’s plaintive yet strongly accented delivery, glinting with a certain gallic charm and also comparable to the gothic appeal of Glasgow’s Vazz, particularly in that late switch up. 3 minutes of chthonic pop perfection here. The gothic drive is found more pronounced on the B-side’s ‘Room 101’, again recalling Vazz, and also The Danse Society in its spidery bassline and drums, with Airlie and Ansley sharing the mic.
Very attractive Kiwi obscurities unearthed by ever reliable Antipodean archivists Left Ear Records - a must-grip for fans of Broadcast, Vazz, Stroom, thee eeriest hauntological pop and post-punk delicacies
Plucked form the annals of Auckland’s underground circa 1986, the two songs on ‘Footprints’ are indelible marks made by the short-lived duo of Scottish-born musician Mark Airlie and keyoboardist/vocalist Keri Ansley, aka Poetical License, at renowned studio, The Lab. It’s love at first listen for us, especially the A-side’s slow burn dream sequence of twinkling glockenspiel and gauzy bassline gilded with Keri’s plaintive yet strongly accented delivery, glinting with a certain gallic charm and also comparable to the gothic appeal of Glasgow’s Vazz, particularly in that late switch up. 3 minutes of chthonic pop perfection here. The gothic drive is found more pronounced on the B-side’s ‘Room 101’, again recalling Vazz, and also The Danse Society in its spidery bassline and drums, with Airlie and Ansley sharing the mic.
Very attractive Kiwi obscurities unearthed by ever reliable Antipodean archivists Left Ear Records - a must-grip for fans of Broadcast, Vazz, Stroom, thee eeriest hauntological pop and post-punk delicacies
Plucked form the annals of Auckland’s underground circa 1986, the two songs on ‘Footprints’ are indelible marks made by the short-lived duo of Scottish-born musician Mark Airlie and keyoboardist/vocalist Keri Ansley, aka Poetical License, at renowned studio, The Lab. It’s love at first listen for us, especially the A-side’s slow burn dream sequence of twinkling glockenspiel and gauzy bassline gilded with Keri’s plaintive yet strongly accented delivery, glinting with a certain gallic charm and also comparable to the gothic appeal of Glasgow’s Vazz, particularly in that late switch up. 3 minutes of chthonic pop perfection here. The gothic drive is found more pronounced on the B-side’s ‘Room 101’, again recalling Vazz, and also The Danse Society in its spidery bassline and drums, with Airlie and Ansley sharing the mic.
Limited edition re-issue.
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Very attractive Kiwi obscurities unearthed by ever reliable Antipodean archivists Left Ear Records - a must-grip for fans of Broadcast, Vazz, Stroom, thee eeriest hauntological pop and post-punk delicacies
Plucked form the annals of Auckland’s underground circa 1986, the two songs on ‘Footprints’ are indelible marks made by the short-lived duo of Scottish-born musician Mark Airlie and keyoboardist/vocalist Keri Ansley, aka Poetical License, at renowned studio, The Lab. It’s love at first listen for us, especially the A-side’s slow burn dream sequence of twinkling glockenspiel and gauzy bassline gilded with Keri’s plaintive yet strongly accented delivery, glinting with a certain gallic charm and also comparable to the gothic appeal of Glasgow’s Vazz, particularly in that late switch up. 3 minutes of chthonic pop perfection here. The gothic drive is found more pronounced on the B-side’s ‘Room 101’, again recalling Vazz, and also The Danse Society in its spidery bassline and drums, with Airlie and Ansley sharing the mic.