{"title":"CD","description":null,"products":[{"product_id":"versing_10000","title":"10000","description":"\u003cp class=\"normal\"\u003eLike many important bands, Seattle quartet Versing got their start in college radio—Tacoma's KUPS. The group's main songwriter\/guitarist\/vocalist Daniel Salas served as alternative music director there, where he met guitarist Graham Baker, drummer Max Keyes, and bassist Kirby Lochner. Now Versing are poised to spread their coolly combustible brand of rock on those said airwaves...and beyond if the world knows what's good for it.\u003c\/p\u003e\u003cp class=\"normal\"\u003e\u003cspan\u003eBaker, Keyes, Lochner, and Salas have risen through Seattle's competitive rock ecosphere with nonchalant élan. They cheekily titled a previous album \u003ci\u003eNirvana\u003c\/i\u003e, but never mind the bleach: Versing isn't emulating Sub Pop's most famous artist. Rather, these four twentysomething aesthetes are forging an exciting sound that finds a golden mean between lustrous noise and ebullient melody.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"normal\"\u003eEmerging from a stint as a drummer in a stoner-metal band, Salas formed Versing as a vehicle to vent obliquely about his political and social views with irony and humor. Populated with strange characters, his songs often double as “critiques of centrism and conservatism, from a leftist perspective. That's a theme: committing to something or doing something that may be hard but is the better option. However, when I write politically, it's more allegorical and can be interpreted beyond the political realm. I find that more interesting to write about than my personal life.”\u003c\/p\u003e\u003cp class=\"normal\"\u003e\u003cspan\u003eThat being said, the pell-mell, ostinato-laced “Renew,” which Salas says is his most hopeful song, has a personal message. “It's about taking time to care for yourself—even when things are all weird and fucked up.” Meanwhile, the immersive, pummeling “Offering” evokes those twin pillars of 1988 rock: My Bloody Valentine's \u003ci\u003eIsn't Anything\u003c\/i\u003e and Pixies' \u003ci\u003eSurfer Rosa\u003c\/i\u003e. “I just really enjoy that droning line of guitar feedback,” Salas says. “We use a lot of feedback on our songs, but I think that's one of the more deliberately musical uses we've found for it. It's sort of a fantastical song about traveling through a mystical portal to stop an encroaching force of evil, and the feedback is like the whirring sound the portal makes.\"\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"normal\"\u003e\u003cspan\u003eAnother fantastical song, “Tethered,” is a low-key, \u003ci\u003eDaydream Nation\u003c\/i\u003e-esque anthem with plenty of dissonance and surging, distorted guitars, plus rhythms that drive piles. Salas explains that it's “about how people are tied together,” figuratively. “It's a reminder of the interconnectedness of humans, to people who make excuses for not doing the right thing” for the greater good of humanity.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"normal\"\u003e\u003cspan\u003eWith Versing, songwriting is obviously crucial, but much of the pleasure in \u003ci\u003e10000\u003c\/i\u003e comes from its guitar textures. They're swarming, yet also spiky and agile. The funny thing is, Salas writes most of Versing's songs on his unplugged Gibson guitar. “I like a more shambolic tone than something that sounds really clean and put together. I like there to be some screechiness to it—something that's not right.”\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"normal\"\u003eSalas cites earlier purveyors of abstract rock music Cocteau Twins and Wire as major inspirations. Much of the rock that followed in the wake of 9\/11, though, leaves him cold. “9\/11 messed up a lot of things culturally, including music,” he says. “It engendered a deep social conservatism and nationalism that meant the chaotic and unpracticed sounds previously common in rock music had to go, in favor of tighter playing, more simplistic subject matter, and super clean production.”\u003c\/p\u003e\u003cp class=\"normal\"\u003eGently chiding the Seattle music scene's self-seriousness while acknowledging Versing's playfulness and irony, Salas says, “There's a 'let's just fuck around and see what comes out,' aspect of what we do, which I think is uncommon for Seattle bands.”\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eVersing's freewheeling attitude has paradoxically resulted in \u003ci\u003e10000\u003c\/i\u003e, an engrossing album that's impossible to feel ambivalent about.\u003c\/span\u003e   \u003c\/p\u003e","brand":"Versing","offers":[{"title":"LP","offer_id":41479335805113,"sku":"731121","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":41479335837881,"sku":"731122","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":41479335870649,"sku":"731124","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":41479335903417,"sku":"731126","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/7180\/7417\/products\/versing-10000-cover-3000.jpg?v=1636151315"},{"product_id":"black-marble_a-different-arrangement","title":"A Different Arrangement","description":"\u003cp\u003eA departure from Weight’s calculated coldwave formalism, \u003ccite\u003eA Different Arrangement\u003c\/cite\u003e surveys a wide variety of sounds, from radiant, bouncing ebullience to layers of sentimental synth melodies and Stewart’s resonant, reverb-smeared baritone; at times so distinctly manipulated and sculpted as to be otherworldly. 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Make sure you've got a cassette player that works!**\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eA Love Sleeps Deep\u003c\/i\u003e\u003cspan\u003e’s bones rattle with all the seismic changes of the last five years since the release of The Moondoggies’ \u003ci\u003e\u003ca href=\"https:\/\/megamart.subpop.com\/releases\/the_moondoggies\/adios_im_a_ghost\"\u003eAdios I’m a Ghost\u003c\/a\u003e\u003c\/i\u003e. While the Washington band got lumped in early on with the woodsy folk-rock\/Americana movement that sprung up in the Pacific Northwest in the 2000s, the core Moondoggies sound has always been rock in the more classical sense–more Pink Floyd than Woody Guthrie. \u003ci\u003eA\u003c\/i\u003e \u003ci\u003eLove Sleeps Deep \u003c\/i\u003ecrystalizes that.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"The Moondoggies","offers":[{"title":"LP","offer_id":41479336722617,"sku":"731061","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":41479336755385,"sku":"731062","price":13.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":41479336788153,"sku":"731064","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":41479336820921,"sku":"731066","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/7180\/7417\/products\/moondoggies-alovesleepsdeep-cover-3600x3600.jpg?v=1636151325"},{"product_id":"gem-club_acid-and-everything","title":"Acid \u0026 Everything","description":"\u003cp\u003eAcid \u0026amp; Everything is a six-song EP and the first release from Gem Club. 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Recorded at Bear Creek Studios, Adios I’m a Ghost is The Moondoggies’ third full-length for Hardly Art.\u003c\/p\u003e","brand":"The Moondoggies","offers":[{"title":"LP","offer_id":41479337279673,"sku":"730711","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":41479337312441,"sku":"730712","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":41479337345209,"sku":"730716","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/7180\/7417\/products\/13684.jpg?v=1636151330"},{"product_id":"girl-friday_androgynous-mary","title":"Androgynous Mary","description":"\u003cp\u003eBurning deep in \u003ca href=\"https:\/\/megamart.subpop.com\/artists\/girl_friday\"\u003eGirl Friday's\u003c\/a\u003e music is an unquenchable will to survive. The LA-based band don't blunt the impact of the themes they work through in their ferocious, knotty rock songs, but they don't let the more harrowing aspects of being alive and young in the 21st century daunt them, either. Taking full advantage of the dystopian shades of post-punk and noise rock palettes on their arresting debut LP, Androgynous Mary, Girl Friday nevertheless suffuse their music with abundant optimism. The world is a hellscape, but the four of them are in it together.\u003c\/p\u003e\u003cp\u003eThe seeds of the band were first planted when guitarist Vera Ellen walked into a friend's house at UCLA and saw Libby Hsieh playing bass on the couch. Drawn by her unique playing style, Ellen introduced herself, and the two musicians immediately bonded. After a year of playing together, they decided to grow their collaboration into a full band. Drummer Virginia Pettis and guitarist Sierra Scott caught wind of the project from friends of friends, and quickly jumped on board. The fledgling group's chemistry was undeniable; writing and playing together felt generative and thrilling.\u003c\/p\u003e\u003cp\u003eWith bold, dramatic guitar lines and tightly wound vocal harmonies, Girl Friday negotiate the stress and alienation that comes with being sidelined from normative society on Androgynous Mary.  \"Does the average man feel like he's on the outside?\" goes the beginning of \"Public Bodies,\" a wistful jangle-pop gem that shudders open into a snarling punk coda. Taking cues from longtime boundary-pushers Sonic Youth, Girl Friday depart from traditional song structures, favoring the rush of jarring turns over the safety of well-defined pop taxonomy. Looking to queer provocateurs like Placebo, they cherish the frisson of incongruous musical elements soldered together: \"really dark, heavy things mashed up with quite beautiful things, whether that be a distorted guitar line and a sentimental vocal or vice versa,\" as Ellen puts it.\u003c\/p\u003e\u003cp\u003eThat duality dovetails with the thematic friction running through the album, the alternating despair and hope that intertwine in the fight to stay alive as any kind of unfairly disenfranchised person in the US. Written during a year of personal struggle for all four band members, Androgynous Mary reflects the solace they took in each other -- as a band, but also as a microcommunity and a chosen family. \"It feels so rejuvenating to be there for each other and protect each other,\" says Hsieh. Ellen adds, \"We've definitely been through a lot together, but we've come through it by sticking together and loving each other regardless.\"\u003c\/p\u003e\u003cp\u003eOn the record's final song, \"I Hope Jason Is Happy,\" Girl Friday sing in unison against a resolute drumbeat: \"My head is on your chest \/ In the end I'll be happy if you do your best \/ You've got to fight to keep your breath in this world.\" It's a testament to the power of their bond, and a gesture of solidarity with all those listening. Alone, we suffer under the weight of everything designed to keep us down. Together, we stand a fighting chance. 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Tongue-in-cheek shit-shooting and existential rumination feed into each other infinitely.\u003c\/span\u003e\u003c\/p\u003e\u003cp id=\"E150\"\u003e\u003cspan class=\"qowt-font2-Calibri\" id=\"E151\"\u003eTheirs is a long-term relationship, and that loop sustains them. That’s a creative thesis in and of itself, but isn’t that also just the mark of a true-blue friendship?\u003c\/span\u003e\u003c\/p\u003e\u003cp id=\"E160\"\u003e\u003cspan class=\"qowt-font2-Calibri\" id=\"E161\"\u003eThe band talks a lot about intention these days—how to be more present with each other. The four piece—Julia Shapiro (vocals, guitar, drums), Lydia Lund (vocals, guitar), Gretchen Grimm (drums, vocals, guitar) and Annie Truscott (bass)—is nine years deep in this, after all. It seems now, more than ever, that circuit is a movement of intentionality, one that creates a space inside which they can be themselves, among themselves. It’s a space where the euphoria of making music with your best friends is protected from the outside world’s churning expectations. It’s a kind of safe zone for the band to occupy as their best selves: a group of friends who love each other.\u003c\/span\u003e\u003c\/p\u003e\u003cp id=\"E170\"\u003e\u003cspan class=\"qowt-font2-Calibri\" id=\"E171\"\u003eTheir fourth record, \u003c\/span\u003e\u003cspan class=\"qowt-font2-Calibri\" id=\"E172\"\u003eChastity Belt\u003c\/span\u003e\u003cspan class=\"qowt-font2-Calibri\" id=\"E173\"\u003e, comes out of that safe space. After a restorative few months on hiatus in 2018, each member worked on solo material or toured with other bands. “So much of the break was reminding ourselves to stay present, and giving ourselves permission to stop without saying when were gonna meet up again,” says guitarist Lydia Lund. “It was so important to have that—not saying, ‘we’re gonna get back together at this point,’ but really just open it up so we could get back to our present connection.”\u003c\/span\u003e\u003c\/p\u003e\u003cp id=\"E182\"\u003e\u003cspan class=\"qowt-font2-Calibri\" id=\"E183\"\u003eTheir experience navigating adult life within the strange seasons of the music industry has Chastity Belt orienting themselves towards whatever gets them to feel the most present with each other, in any part of the band grind. With the luxury of spending several weeks in the studio with Jay Som’s Melina Duterte, Chastity Belt was able to experiment. The new self-titled album is the work of the band playing “old songs, and trying new things on top of it,” like adding more dynamic harmonies and violin, says bassist Annie Truscott. Lydia, Gretchen, and Julia all share lead vocals on different tracks on the album. The result is their most sonically developed and nuanced record yet; one that’s not only a product of, but a series of reflections on what it means to take what you need and to understand yourself better.\u003c\/span\u003e\u003c\/p\u003e\u003cp id=\"E192\"\u003e\u003cspan class=\"qowt-font2-Calibri\" id=\"E193\"\u003eMany of Chastity Belt’s signature dynamics, from the silly to the sincere, have read as feminist gestures: the Cool Slut DGAF-iness, the shrugging off of the “women in rock” press gargle, the fundamentally punk act of creating music on your own as a woman, and being lyrically forthright. 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In the song, Medford reflects on an interpersonal relationship that fell apart because of an inability to feel supreme comfort in sharing all the pieces of herself with someone. Nevertheless, a hopeful demeanor shines through on “Hiding” and in her writing across the album, with lyrics that embrace life’s hurdles and make them feel a little less scary.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eMuch of \u003ci\u003eCrush Crusher's\u003c\/i\u003e songs deal with Medford’s internalized pressure to become a caretaker in many of her close friends’ lives. As a defense mechanism for her own insecurities, Medford projects a sense of invincibility and benevolence to feel more deserving of the love received from others; we hear this on “Holographic Jesus” when she repeats the phrase “the sun built me to shade everybody,” characterizing the sacrifice and responsibility she feels in ways that could easily go unnoticed. “Holographic Jesus” ultimately represents a façade of strength that Medford has clung onto and, in true Taurus fashion, is stubborn to let go of.\u003c\/p\u003e\u003cp\u003eMusically, \u003ci\u003eCrush Crusher\u003c\/i\u003e is full of dissonant open chords and abnormal progressions, finding beauty in a level of conflict not seen on \u003ci\u003e\u003ca title=\"Link: https:\/\/www.hardlyart.com\/releases\/ian_sweet\/shapeshifter\" href=\"https:\/\/megamart.subpop.com\/releases\/ian_sweet\/shapeshifter\"\u003eShapeshifter\u003c\/a\u003e\u003c\/i\u003e. To help achieve this expansive-but-focused sound, Medford enlisted the help of someone who was just as ambitiously experimental in their approach, producer and engineer Gabe Wax (Deerhunter, The War on Drugs, Soccer Mommy). Medford and Wax set up shop at Rare Book Room studios in Greenpoint, Brooklyn, and completed the basic tracking with musicians Simon Hanes on bass and Max Almario on drums. “Coming into a space where some of my biggest inspirations like Bjork, Dirty Projectors, and Deerhunter had all once also recorded, I felt determined to push myself and test every boundary that I may have subconsciously created along the way. Gabe made me feel comfortable with attempting anything,” Medford says. By the end of the recording process, IAN SWEET wound up with an unconventional assortment of songs featuring disparate elements of psych- rock, trip-hop, and shoegaze that together forged a sound uniquely her own.\u003c\/p\u003e","brand":"IAN SWEET","offers":[{"title":"LP","offer_id":41479341244601,"sku":"731101","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":41479341277369,"sku":"731102","price":13.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":41479341310137,"sku":"731104","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":41479341342905,"sku":"731106","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/7180\/7417\/products\/iansweet-crushcrusher-cover-3600x3600.jpg?v=1636151371"},{"product_id":"grave-babies_crusher","title":"Crusher","description":"\u003cp\u003eGrave Babies are a band whose sound might suggest the need for drugs that stabilize mood, while also creating a desire for ones that enhance them. The center of Grave Babies’ sound is the sonic equivalent of thwarted desire – and on \u003ccite\u003eCrusher\u003c\/cite\u003e, their first LP for Hardly Art, Grave Babies take the harder approach: doing what they’ve always done, but doing it better. All LPs include a download code.\u003c\/p\u003e","brand":"Grave Babies","offers":[{"title":"LP","offer_id":41479341932729,"sku":"730671","price":14.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":41479341965497,"sku":"730672","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":41479341998265,"sku":"730676","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/7180\/7417\/products\/12667.jpg?v=1636151375"},{"product_id":"deep-time_deep-time","title":"Deep Time","description":"\u003cp\u003eAustin’s Jennifer Moore and Adam Jones are truly one-of-a-kind. For years you’ve known them as YellowFever, but now, know them as Deep Time. 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The band coined the phrase \"whoa-pop\" to describe their music and they say they're not mad at the term \"prog-punk.\" The album was recorded in guitarist TV Coahran's basement on an 8-track with Seattle garage-rock guru Kurt Bloch as engineer. No song sounds like another and yet the album sustains a dizzying, alluring vibe. \u003cem\u003eDie Alone\u003c\/em\u003e is the debut album from this Seattle four-piece.\u003cbr\u003e\u003c\/p\u003e","brand":"Gazebos","offers":[{"title":"LP","offer_id":41479344062649,"sku":"730921","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":41479344095417,"sku":"730922","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":41479344128185,"sku":"730924","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":41479344160953,"sku":"730926","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/7180\/7417\/products\/gazebos-diealone-cover-1500x1500-400.jpg?v=1636151385"},{"product_id":"k-holes_dismania","title":"Dismania","description":"\u003cp\u003eNY’s K-Holes have returned with \u003ccite\u003eDismania\u003c\/cite\u003e, the group’s second full-length and first for Hardly Art. \u003ccite\u003eDismania\u003c\/cite\u003e comes packed with the same kind of sinister, feverish punk skronk the New York quintet (featuring former members of Golden Triangle and the Black Lips) is known for. It’s a dark, brutal, menacing trip; the sound of escape with the sheen of redemption, fueled by the low, thundering beat of tribal divination. All LPs include a download code.\u003c\/p\u003e","brand":"K-Holes","offers":[{"title":"LP","offer_id":41479344357561,"sku":"730591","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":41479344390329,"sku":"730592","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":41479344423097,"sku":"730596","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/7180\/7417\/products\/11428.jpg?v=1636151388"},{"product_id":"the-moondoggies_dont-be-a-stranger","title":"Don't Be A Stranger","description":"\u003cp\u003eThere is a popular chapter of American mythology that pertains to The Highway. 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Golden Triangle is a band of three girls and three boys who play music that’s loud, spooky, and will make you aroused and ambitious when you experience it live. Their previous three EPs and cassette are all sold out and gone. Their forthcoming debut full length, \u003ccite\u003eDouble Jointer\u003c\/cite\u003e, is what is happening now. Recorded over a two week period at Key Club Recording Company with producer Chris Coady (Yeah Yeah Yeahs, Beach House, Blonde Redhead), \u003ccite\u003eDouble Jointer\u003c\/cite\u003e has the speed and catchiness of the current garage \/ weird-punk \/ lo-fi shit with some profoundly goth under-currents and some no-wave guitar over-currents. The instruments have that good\/bad blown out quality and the spectral lady singers are commanding and demanding, all knowing entities. Lead-off track “Cinco de Mayo” starts out with some slow, strummy surf-guitarmanship and gets faster and faster until the dam bursts and in come the siren vocals which sound like the band is howling derisive laughter at you. 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From pop ballads to doo woppers, bomp stompers and punk rippers, country clippers and some psych-o trippers, it’s all R’n’R and it’s all right there in the Clams’ hooded velvet trick bag. Ya feel lucky, punk?\u003c\/p\u003e","brand":"Shannon and the Clams","offers":[{"title":"LP","offer_id":41479345176761,"sku":"730691","price":23.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":41479345242297,"sku":"730692","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":41479345275065,"sku":"730696","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/7180\/7417\/products\/13003.jpg?v=1636151401"},{"product_id":"lost-animal_ex-tropical","title":"Ex Tropical","description":"\u003cp\u003eLost Animal’s music comes at you in layers: familiar, then mysterious; catchy, then saturated and atmospheric. Lost Animal finds Jarrod Quarrell (pictured on the cover there) using his keyboard to explore new sounds and evoke distant locations. \u003ccite\u003eEx Tropical\u003c\/cite\u003e is the debut LP from Lost Animal. 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Peter Richards (guitar) and England (bass) share equal songwriting and lead vocal duties on this record, a significant change from their previous album, 2017’s \u003ci\u003e\u003ca href=\"https:\/\/megamart.subpop.com\/releases\/dude_york\/sincerely\"\u003eSincerely\u003c\/a\u003e\u003c\/i\u003e, on which England fronted only two songs. The duality of their songwriting and vocals compliment each other emotionally and sonically, with Andrew Hall’s harmonies and driving drums providing their own unique character in each song. The collaboration is clear—each part is carefully crafted, with Richards’ guitar adding texture to the verses and then soaring into the particularly special kind of guitar solos that make you want to sing along.\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eA line of nostalgia runs through the record as the songs investigate the deep ties we have to the pop culture that defined our youth. “I grew up listening to all this pop-punk and alt-rock that was mostly male-fronted, but I want to fill that hole I saw by recreating it now for myself,” says England. “I’m trying to capture the feeling of the music I listened to when I fell in love with music.”\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe title track is a gleeful ode to new, unexpected love where all the details matter. “We used to like all the same shit\/do you think we’d be friends in 2006?” England sings. 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He didn’t grow up as attached to the radio-friendly emo music that defined the adolescence of the rest of the band, but when he got into the genre in the past few years decided he wanted to embrace it in his songwriting, which comes across in the heavy guitars and dramatic arrangements that shine on songs like “How it Goes.”\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003eUltimately, the relationship Dude York is really investigating and playing around with is their relationship to music. 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For this, their most ambitious release yet, La Luz consulted landscapes both physical and psychological.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\"\u003e\r\t\t\r\t\r\t\r\t\t\u003c\/p\u003e\u003cdiv class=\"page\"\u003e\r\t\t\t\u003cdiv class=\"layoutArea\"\u003e\r\t\t\t\t\u003cdiv class=\"column\"\u003e\r\t\t\t\t\t\u003cp\u003eReferences to dreams abound on \u003ci\u003eFloating Features\u003c\/i\u003e. “Loose Teeth” catalyzes nightmare fuel\rinto a propulsive, intentionally-disorienting collision of honeyed harmonies and Takeshi\rTerauchi-esque jetstreams of distorted surf guitar. “Mean Dream” unsurprisingly mines dream-\rstate imagery, and the lyrics and melody for “Walking Into the Sun” actually came to Cleveland\rduring a particularly-vivid night of deep sleep. 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