The amniotic grit of ‘Tough Cunt’ is one of Louis Johnstone aka The Hers’ (aka Wanda Group) most curious early releases, originally transmitted back in 2012 on a small-run tape release and now given new life on the excellent Death Is Not The End label for the first time on vinyl. Committed during his golden early phase that also generated ‘Piss Fell Out Like Sunlight’ and ‘My Grandad Never Died On A Boat In Russia And His Brother Not On Land In North Africa’, the 13 tracks of ‘Tough Cunt’ convey an uneasy, solitary state of mind held in atmospheric suspense between layers of peeling, lo-fi field recordings, tape loops and live, playthru performance mulched in a hypnagogic flux.
Like a slippery cyborgian cousin to Graham Lambkin and The Caretaker, or even Gas and Jan Jelinek, Louis operates on the liminal edge of familiarity with a rough grasp of (de)composition applied to arrangements that appear to drift in and out of consciousness, connoting the effect of a memory blipping from daily sensory overload and struggling to fill in the cracks with warm flushes of skull-scraped endorphins.
It’s pretty hard to argue with Louis’ techniques of seduction. From the Gas-like swell and the crepuscular creep of the first parts, he gets right under the skin and stays there, pulling into the golden glow of ‘Super 32’, keening to the stately drift of ’92 Inside an Escort’ and getting it right on the nose with his transition from the olfactory synaesthesic timbre of ‘Everyone Gets Everything he Wants’ into heavy Lynchian clag on ‘You Will Not Remove Shit’ in a way that beggars the question; why the fuck has he not been commissioned for a film soundtrack by now?
Stunning.
View more
The amniotic grit of ‘Tough Cunt’ is one of Louis Johnstone aka The Hers’ (aka Wanda Group) most curious early releases, originally transmitted back in 2012 on a small-run tape release and now given new life on the excellent Death Is Not The End label for the first time on vinyl. Committed during his golden early phase that also generated ‘Piss Fell Out Like Sunlight’ and ‘My Grandad Never Died On A Boat In Russia And His Brother Not On Land In North Africa’, the 13 tracks of ‘Tough Cunt’ convey an uneasy, solitary state of mind held in atmospheric suspense between layers of peeling, lo-fi field recordings, tape loops and live, playthru performance mulched in a hypnagogic flux.
Like a slippery cyborgian cousin to Graham Lambkin and The Caretaker, or even Gas and Jan Jelinek, Louis operates on the liminal edge of familiarity with a rough grasp of (de)composition applied to arrangements that appear to drift in and out of consciousness, connoting the effect of a memory blipping from daily sensory overload and struggling to fill in the cracks with warm flushes of skull-scraped endorphins.
It’s pretty hard to argue with Louis’ techniques of seduction. From the Gas-like swell and the crepuscular creep of the first parts, he gets right under the skin and stays there, pulling into the golden glow of ‘Super 32’, keening to the stately drift of ’92 Inside an Escort’ and getting it right on the nose with his transition from the olfactory synaesthesic timbre of ‘Everyone Gets Everything he Wants’ into heavy Lynchian clag on ‘You Will Not Remove Shit’ in a way that beggars the question; why the fuck has he not been commissioned for a film soundtrack by now?
Stunning.
The amniotic grit of ‘Tough Cunt’ is one of Louis Johnstone aka The Hers’ (aka Wanda Group) most curious early releases, originally transmitted back in 2012 on a small-run tape release and now given new life on the excellent Death Is Not The End label for the first time on vinyl. Committed during his golden early phase that also generated ‘Piss Fell Out Like Sunlight’ and ‘My Grandad Never Died On A Boat In Russia And His Brother Not On Land In North Africa’, the 13 tracks of ‘Tough Cunt’ convey an uneasy, solitary state of mind held in atmospheric suspense between layers of peeling, lo-fi field recordings, tape loops and live, playthru performance mulched in a hypnagogic flux.
Like a slippery cyborgian cousin to Graham Lambkin and The Caretaker, or even Gas and Jan Jelinek, Louis operates on the liminal edge of familiarity with a rough grasp of (de)composition applied to arrangements that appear to drift in and out of consciousness, connoting the effect of a memory blipping from daily sensory overload and struggling to fill in the cracks with warm flushes of skull-scraped endorphins.
It’s pretty hard to argue with Louis’ techniques of seduction. From the Gas-like swell and the crepuscular creep of the first parts, he gets right under the skin and stays there, pulling into the golden glow of ‘Super 32’, keening to the stately drift of ’92 Inside an Escort’ and getting it right on the nose with his transition from the olfactory synaesthesic timbre of ‘Everyone Gets Everything he Wants’ into heavy Lynchian clag on ‘You Will Not Remove Shit’ in a way that beggars the question; why the fuck has he not been commissioned for a film soundtrack by now?
Stunning.
The amniotic grit of ‘Tough Cunt’ is one of Louis Johnstone aka The Hers’ (aka Wanda Group) most curious early releases, originally transmitted back in 2012 on a small-run tape release and now given new life on the excellent Death Is Not The End label for the first time on vinyl. Committed during his golden early phase that also generated ‘Piss Fell Out Like Sunlight’ and ‘My Grandad Never Died On A Boat In Russia And His Brother Not On Land In North Africa’, the 13 tracks of ‘Tough Cunt’ convey an uneasy, solitary state of mind held in atmospheric suspense between layers of peeling, lo-fi field recordings, tape loops and live, playthru performance mulched in a hypnagogic flux.
Like a slippery cyborgian cousin to Graham Lambkin and The Caretaker, or even Gas and Jan Jelinek, Louis operates on the liminal edge of familiarity with a rough grasp of (de)composition applied to arrangements that appear to drift in and out of consciousness, connoting the effect of a memory blipping from daily sensory overload and struggling to fill in the cracks with warm flushes of skull-scraped endorphins.
It’s pretty hard to argue with Louis’ techniques of seduction. From the Gas-like swell and the crepuscular creep of the first parts, he gets right under the skin and stays there, pulling into the golden glow of ‘Super 32’, keening to the stately drift of ’92 Inside an Escort’ and getting it right on the nose with his transition from the olfactory synaesthesic timbre of ‘Everyone Gets Everything he Wants’ into heavy Lynchian clag on ‘You Will Not Remove Shit’ in a way that beggars the question; why the fuck has he not been commissioned for a film soundtrack by now?
Stunning.
Out of Stock
The amniotic grit of ‘Tough Cunt’ is one of Louis Johnstone aka The Hers’ (aka Wanda Group) most curious early releases, originally transmitted back in 2012 on a small-run tape release and now given new life on the excellent Death Is Not The End label for the first time on vinyl. Committed during his golden early phase that also generated ‘Piss Fell Out Like Sunlight’ and ‘My Grandad Never Died On A Boat In Russia And His Brother Not On Land In North Africa’, the 13 tracks of ‘Tough Cunt’ convey an uneasy, solitary state of mind held in atmospheric suspense between layers of peeling, lo-fi field recordings, tape loops and live, playthru performance mulched in a hypnagogic flux.
Like a slippery cyborgian cousin to Graham Lambkin and The Caretaker, or even Gas and Jan Jelinek, Louis operates on the liminal edge of familiarity with a rough grasp of (de)composition applied to arrangements that appear to drift in and out of consciousness, connoting the effect of a memory blipping from daily sensory overload and struggling to fill in the cracks with warm flushes of skull-scraped endorphins.
It’s pretty hard to argue with Louis’ techniques of seduction. From the Gas-like swell and the crepuscular creep of the first parts, he gets right under the skin and stays there, pulling into the golden glow of ‘Super 32’, keening to the stately drift of ’92 Inside an Escort’ and getting it right on the nose with his transition from the olfactory synaesthesic timbre of ‘Everyone Gets Everything he Wants’ into heavy Lynchian clag on ‘You Will Not Remove Shit’ in a way that beggars the question; why the fuck has he not been commissioned for a film soundtrack by now?
Stunning.