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The two biggest constants throughout Xiu Xiu's catalog are honesty and evolution. This remains true with Dear God, I Hate Myself as it delivers a look at responsibility, fear, healing, and societal roles wrapped in rich gothic pop music.
Struck for circulation after 63 years in hock within the Lou-Mood Pictures vault, this previously unissued soundtrack traffics in the high-tone timbre and highball-sipping swoon of pop's post-war years.
This Singaporean five-piece explored the tolls of human indulgence through raw tonality and zippy jangle pop, poignantly celebrating the spirits of a natural world fast disappearing.
It proves to be a winning combination all around, with Brettin's warped pop sensibilities mingling nicely with the sonic exploration that the lads of Gizzard do so well.
Where GaGa excels, and why she crossed over, is how she doesn’t leave all this as a collection of hooks and rhythms, she shapes them into full-blown pop songs, taking the time to let the album breathe with chillout ballads and percolating new wave.