Please note: $15.00 is the day of show price.
SLOW AIR is the fourth album by Still Corners, releasing on Wrecking Light on August 17, 2018. Evoking the atmospheric sounds Still Corners are known for, Slow Air continues the band’s journey with an album full of tension and brooding all the while wrapped in a reverb-laden dream.
Written in the hill country in Austin, Texas, Slow Air nods towards a classic sound with an emphasis on the guitar, both acoustic and electric, combined with the alluring and ghostly voice of Tessa Murray. The songs are rounded out with live drums and minimal synthesizers with all the mistakes kept in for maximum human feel and emotion.
“We wanted to hear beautiful guitar and drums and an otherworldliness, something almost indefinable along with a classic song writing vibe. We’re always trying to get the sound we hear inside of ourselves, so we moved fast to avoid our brains getting in the way too much. The name Slow Air evokes the feel of the album to me, steady, eerie and beautiful.” —Tessa Murray
The album title is derived from the sultry heat in Texas which causes everything and everyone to slow down. While writing Slow Air, Still Corners found inspiration in the change of leaving England for the States and traveling around the massive expanse that is North America from the deserts of Texas and Arizona to the beaches of California and mountainous regions of the northeast.
Recorded in a new studio designed by Greg Hughes in Austin, TX, Still Corners focused on a recording process that was as fluid and minimal as possible. Using a variety of microphones both old and new, the band recorded and mixed this new set of songs in three months. Keeping everything fresh and not over-thinking moved the album to the finish line faster than any album Still Corners had written and recorded before. Joe Laporta made the finishing touches at Sterling Sound in NYC.
“Black Lagoon”, the lead single/video from Slow Air has the band on a journey from the desert to the ocean in search of a lost eden. Filmed over a month in Texas, Arizona and California and shot on a small handheld cinema camera, the band travels across America in a white mustang convertible searching and reaching into the unknown. The band will be touring in North America and Europe this autumn.
FOXES IN FICTION
Toronto-native Warren Hildebrand began his Foxes in Fiction project in 2005, during his sophomore year of high school, as an outlet for his drug-induced, experimental sound collages. His debut album, Swung from the Branches, was released in 2010 on Hildebrand’s own label Orchid Tapes and then later released via Ghostly International’s sub-label Moodgadget Records.
During the downtime between his Alberto EP, a split 7” with Benoît Pioulard, and a slew of self-releases distributed for free from his website, Hildebrand began to focus heavily on Orchid Tapes, a hub for underground acts that fit within his vision and aesthetic. Since its origination in 2010, the label has released over forty titles through various mediums. In 2011, Hildebrand hunkered down in his Toronto apartment, writing and recording what would later become his second Foxes in Fiction full-length album entitled Ontario Gothic.
DJ JAKE RUDH
Former Radio K, REV 105, NPR alum and present host on 89.3 the Current, Jake’s been voted “best DJ” in the Twin Cities by the readers & critics of City Pages magazine ten years running (2003-2012) and one of Star Tribune’s “Artists of the Year” (2012). His long-running “Transmission” dance night has been a weekly staple on the Minneapolis scene bringing a mixture of mod, glam & punk to post-punk, new wave, synth & indie rock for over a decade.
“Where Jake Rudh goes, dance floors follow. The DJ brought his retro sounds (and love of TV’s Mad Men) to parties everywhere — museums, libraries, restaurants, neighborhood bars, rock clubs. He started the year off with a bang, celebrating 10 years of Transmission, his weekly New Wave dance night at tiny Clubhouse Jäger, by bringing it to First Avenue, where he blew the roof off that storied club. Gigs just blossomed from there, turning Rudh into a true tastemaker. Not surprisingly, the Current offered him a weekly radio slot. Now even more people can groove to his love of Britpop, post-punk and the ilk.” [Tom Horgen, Star Tribune, 2011]