Creaking chamber folk/art-pop spirits from Sydney’s Matthew P. Hopkins and Mary MacDougall, chasing up a 7” as The Bowles for Kye with a real doozy landing somewhere between Flaming Tunes, Laila Sakini and Jane Arden & Jack Bond’s ‘Anti-Clock’ score
As Warm Currency Hopkins & McDougall effectively reprise the charmingly frayed sound of their 2012 EP as The Bowles, only sans Chris Schuler, who previously played with Hopkins in cult duo Vincent Over the Sink. Webbed with wheezing organ, keys, spindly guitars and field recordings, and riddled by MacDougall’s mix of spoken word and folksong, ‘Returns’ is a surefire companion for loner listeners who can’t get enough of Flaming Tunes or Laila Sakini slowburn elegance, sharing a modest nature and knack for eerily memorable atmosphere that stains the mind like the rising damp efflorescence of your bedsit.
While rough around the edges, Warm Currency’s songs are succinctly arranged with an elusive, fleeting daydream quality that quietly begs repeat immersion. The sepia folk snapshot of ‘Dark Green Sails’ could almost be a vignette from Jane Arden & Jack Bond’s ‘Anti-Clock’ soundtrack, and sets the tone for a time-slipping drift between their almost whispered duet on ‘Wash Nothing’, and the what sounds like Laila Sakini shrouded by Hopkins’Fog Studies’ on ‘Morning Schemes’. The barely-there keys and handheld-recorder haptics of ‘Copper Card’, ‘Coin Strike’ and ‘Garden Brawl’ give a whiff of Korea Undok Group, and the pared back organ glow and spoken word of ’Spider Credit’ is a beautifully tarnished pearl that lodges deep in the memory.
Lovers of bezonkkkked but blissfully depressive and lower case folk and art-pop would be silly to sleep on this one.
View more
Creaking chamber folk/art-pop spirits from Sydney’s Matthew P. Hopkins and Mary MacDougall, chasing up a 7” as The Bowles for Kye with a real doozy landing somewhere between Flaming Tunes, Laila Sakini and Jane Arden & Jack Bond’s ‘Anti-Clock’ score
As Warm Currency Hopkins & McDougall effectively reprise the charmingly frayed sound of their 2012 EP as The Bowles, only sans Chris Schuler, who previously played with Hopkins in cult duo Vincent Over the Sink. Webbed with wheezing organ, keys, spindly guitars and field recordings, and riddled by MacDougall’s mix of spoken word and folksong, ‘Returns’ is a surefire companion for loner listeners who can’t get enough of Flaming Tunes or Laila Sakini slowburn elegance, sharing a modest nature and knack for eerily memorable atmosphere that stains the mind like the rising damp efflorescence of your bedsit.
While rough around the edges, Warm Currency’s songs are succinctly arranged with an elusive, fleeting daydream quality that quietly begs repeat immersion. The sepia folk snapshot of ‘Dark Green Sails’ could almost be a vignette from Jane Arden & Jack Bond’s ‘Anti-Clock’ soundtrack, and sets the tone for a time-slipping drift between their almost whispered duet on ‘Wash Nothing’, and the what sounds like Laila Sakini shrouded by Hopkins’Fog Studies’ on ‘Morning Schemes’. The barely-there keys and handheld-recorder haptics of ‘Copper Card’, ‘Coin Strike’ and ‘Garden Brawl’ give a whiff of Korea Undok Group, and the pared back organ glow and spoken word of ’Spider Credit’ is a beautifully tarnished pearl that lodges deep in the memory.
Lovers of bezonkkkked but blissfully depressive and lower case folk and art-pop would be silly to sleep on this one.
Creaking chamber folk/art-pop spirits from Sydney’s Matthew P. Hopkins and Mary MacDougall, chasing up a 7” as The Bowles for Kye with a real doozy landing somewhere between Flaming Tunes, Laila Sakini and Jane Arden & Jack Bond’s ‘Anti-Clock’ score
As Warm Currency Hopkins & McDougall effectively reprise the charmingly frayed sound of their 2012 EP as The Bowles, only sans Chris Schuler, who previously played with Hopkins in cult duo Vincent Over the Sink. Webbed with wheezing organ, keys, spindly guitars and field recordings, and riddled by MacDougall’s mix of spoken word and folksong, ‘Returns’ is a surefire companion for loner listeners who can’t get enough of Flaming Tunes or Laila Sakini slowburn elegance, sharing a modest nature and knack for eerily memorable atmosphere that stains the mind like the rising damp efflorescence of your bedsit.
While rough around the edges, Warm Currency’s songs are succinctly arranged with an elusive, fleeting daydream quality that quietly begs repeat immersion. The sepia folk snapshot of ‘Dark Green Sails’ could almost be a vignette from Jane Arden & Jack Bond’s ‘Anti-Clock’ soundtrack, and sets the tone for a time-slipping drift between their almost whispered duet on ‘Wash Nothing’, and the what sounds like Laila Sakini shrouded by Hopkins’Fog Studies’ on ‘Morning Schemes’. The barely-there keys and handheld-recorder haptics of ‘Copper Card’, ‘Coin Strike’ and ‘Garden Brawl’ give a whiff of Korea Undok Group, and the pared back organ glow and spoken word of ’Spider Credit’ is a beautifully tarnished pearl that lodges deep in the memory.
Lovers of bezonkkkked but blissfully depressive and lower case folk and art-pop would be silly to sleep on this one.
Creaking chamber folk/art-pop spirits from Sydney’s Matthew P. Hopkins and Mary MacDougall, chasing up a 7” as The Bowles for Kye with a real doozy landing somewhere between Flaming Tunes, Laila Sakini and Jane Arden & Jack Bond’s ‘Anti-Clock’ score
As Warm Currency Hopkins & McDougall effectively reprise the charmingly frayed sound of their 2012 EP as The Bowles, only sans Chris Schuler, who previously played with Hopkins in cult duo Vincent Over the Sink. Webbed with wheezing organ, keys, spindly guitars and field recordings, and riddled by MacDougall’s mix of spoken word and folksong, ‘Returns’ is a surefire companion for loner listeners who can’t get enough of Flaming Tunes or Laila Sakini slowburn elegance, sharing a modest nature and knack for eerily memorable atmosphere that stains the mind like the rising damp efflorescence of your bedsit.
While rough around the edges, Warm Currency’s songs are succinctly arranged with an elusive, fleeting daydream quality that quietly begs repeat immersion. The sepia folk snapshot of ‘Dark Green Sails’ could almost be a vignette from Jane Arden & Jack Bond’s ‘Anti-Clock’ soundtrack, and sets the tone for a time-slipping drift between their almost whispered duet on ‘Wash Nothing’, and the what sounds like Laila Sakini shrouded by Hopkins’Fog Studies’ on ‘Morning Schemes’. The barely-there keys and handheld-recorder haptics of ‘Copper Card’, ‘Coin Strike’ and ‘Garden Brawl’ give a whiff of Korea Undok Group, and the pared back organ glow and spoken word of ’Spider Credit’ is a beautifully tarnished pearl that lodges deep in the memory.
Lovers of bezonkkkked but blissfully depressive and lower case folk and art-pop would be silly to sleep on this one.
Out of Stock
Creaking chamber folk/art-pop spirits from Sydney’s Matthew P. Hopkins and Mary MacDougall, chasing up a 7” as The Bowles for Kye with a real doozy landing somewhere between Flaming Tunes, Laila Sakini and Jane Arden & Jack Bond’s ‘Anti-Clock’ score
As Warm Currency Hopkins & McDougall effectively reprise the charmingly frayed sound of their 2012 EP as The Bowles, only sans Chris Schuler, who previously played with Hopkins in cult duo Vincent Over the Sink. Webbed with wheezing organ, keys, spindly guitars and field recordings, and riddled by MacDougall’s mix of spoken word and folksong, ‘Returns’ is a surefire companion for loner listeners who can’t get enough of Flaming Tunes or Laila Sakini slowburn elegance, sharing a modest nature and knack for eerily memorable atmosphere that stains the mind like the rising damp efflorescence of your bedsit.
While rough around the edges, Warm Currency’s songs are succinctly arranged with an elusive, fleeting daydream quality that quietly begs repeat immersion. The sepia folk snapshot of ‘Dark Green Sails’ could almost be a vignette from Jane Arden & Jack Bond’s ‘Anti-Clock’ soundtrack, and sets the tone for a time-slipping drift between their almost whispered duet on ‘Wash Nothing’, and the what sounds like Laila Sakini shrouded by Hopkins’Fog Studies’ on ‘Morning Schemes’. The barely-there keys and handheld-recorder haptics of ‘Copper Card’, ‘Coin Strike’ and ‘Garden Brawl’ give a whiff of Korea Undok Group, and the pared back organ glow and spoken word of ’Spider Credit’ is a beautifully tarnished pearl that lodges deep in the memory.
Lovers of bezonkkkked but blissfully depressive and lower case folk and art-pop would be silly to sleep on this one.