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Wolf Eyes' John Olson and Nate Young doing "post-modern abstract blues" for De Stijl.
Nate Young's slouchy Jonathan-Richman on downers vocals are your guide through the madness, wreathed in no-fi synthesizer patterns, hypnotic two-line basslines and woodwinds (courtesy of one Inzane Johnny) in varying states of distress.
The band's crudely captivating interweaving of acoustic and electronic elements reminds us a little bit of The Shadow Ring, and the sparseness of the arrangements and foregrounding of bass gives it all a nicely dubbed-out feel - think Jandek meets Alan Vega meets Augustus Pablo meets early Cabs downtown.
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Wolf Eyes' John Olson and Nate Young doing "post-modern abstract blues" for De Stijl.
Nate Young's slouchy Jonathan-Richman on downers vocals are your guide through the madness, wreathed in no-fi synthesizer patterns, hypnotic two-line basslines and woodwinds (courtesy of one Inzane Johnny) in varying states of distress.
The band's crudely captivating interweaving of acoustic and electronic elements reminds us a little bit of The Shadow Ring, and the sparseness of the arrangements and foregrounding of bass gives it all a nicely dubbed-out feel - think Jandek meets Alan Vega meets Augustus Pablo meets early Cabs downtown.
Wolf Eyes' John Olson and Nate Young doing "post-modern abstract blues" for De Stijl.
Nate Young's slouchy Jonathan-Richman on downers vocals are your guide through the madness, wreathed in no-fi synthesizer patterns, hypnotic two-line basslines and woodwinds (courtesy of one Inzane Johnny) in varying states of distress.
The band's crudely captivating interweaving of acoustic and electronic elements reminds us a little bit of The Shadow Ring, and the sparseness of the arrangements and foregrounding of bass gives it all a nicely dubbed-out feel - think Jandek meets Alan Vega meets Augustus Pablo meets early Cabs downtown.
Wolf Eyes' John Olson and Nate Young doing "post-modern abstract blues" for De Stijl.
Nate Young's slouchy Jonathan-Richman on downers vocals are your guide through the madness, wreathed in no-fi synthesizer patterns, hypnotic two-line basslines and woodwinds (courtesy of one Inzane Johnny) in varying states of distress.
The band's crudely captivating interweaving of acoustic and electronic elements reminds us a little bit of The Shadow Ring, and the sparseness of the arrangements and foregrounding of bass gives it all a nicely dubbed-out feel - think Jandek meets Alan Vega meets Augustus Pablo meets early Cabs downtown.
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Wolf Eyes' John Olson and Nate Young doing "post-modern abstract blues" for De Stijl.
Nate Young's slouchy Jonathan-Richman on downers vocals are your guide through the madness, wreathed in no-fi synthesizer patterns, hypnotic two-line basslines and woodwinds (courtesy of one Inzane Johnny) in varying states of distress.
The band's crudely captivating interweaving of acoustic and electronic elements reminds us a little bit of The Shadow Ring, and the sparseness of the arrangements and foregrounding of bass gives it all a nicely dubbed-out feel - think Jandek meets Alan Vega meets Augustus Pablo meets early Cabs downtown.