Tag: Still Corners Strange Pleasures

New Video: JOVM Mainstays Still Corners Share Dream-Like Visual for “Far Rider”

London-based dream pop act and JOVM mainstays Still Corners — vocalist and keyboardist Tessa Murray and multi-instrumentalist, producer and songwriter Greg Hughes — have managed to bounce between chilly and atmospheric pop and shimmering guitar-driven, desert noir through five full-length albums: 2012’s Creatures of an Hour, 2013’s Strange Pleasures, 2016’s Dead Blue, 2018’s Slow Air and 2020’s The Last Exit

The Last Exit continued where its immediate predecessor left off with 11 songs centered around shimmering and carefully crafted arrangements featuring organic instrumentation paired with Tessa Murray’s smoky crooning. Thematically, the album took the listener through a hypnotic and mesmerizing journey filled with dilapidated and long-abandoned towns, mysterious shapes appearing on the horizon and long trips that blur the lines between what’s there and not there. 

The album’s material was brought into further focus as a result of pandemic-related lockdowns and quarantines. “There’s always something at the end of the road and for us it was this album. Our plans were put on hold – an album set for release, tours, video shoots, travel,” Tessa Murray explained in press notes for The Last Exit. “We’d been touring nonstop for years, but we were forced to pause everything. We thought the album was finished but with the crisis found new inspiration and started writing again.” Three of the album’s songs — “Crying,” “Static,” and “‘Till We Meet Again” were written during this period and they reflect upon the profound impact of isolation and the human need for social contact and intimacy. 

Late last year, the JOVM mainstays released “Heavy Days,” a propulsive and uptempo bop featuring twinkling synth arpeggios, a chugging motorik groove, shimmering and reverb drenched guitars and a soaring hook paired with Murray’s smoky vocals. In many ways, “Heavy Days” could be seen as a synthesis of Dead Blue, Slow Air and The Last Exit.

Despite the literal weight of its title, “Heavy Days” may arguably be one of the more optimistic and sunnier songs of the duo’s growing catalog. “Sometimes it all feels like too much, there’s a lot to take in reading the news all the time,” Still Corners’ Tessa Murray said in press notes. “We wanted to write a reminder to put the phone down now and again and get out there and live life to the fullest while you can.”

The JOVM mainstays latest single “Far Rider” sees the duo returning to the sound of Slow Air and The Last Exit: shimmering and reverb-drenched guitar twang, a steady and propulsive rhythm and Murray’s imitably smoky vocals placed within an expansive and mind-bending song structure that’s roomy enough for a lengthy and hallucinogenic guitar solo and gently oscillating synths. At one point, Murray’s own vocal is sampled, distorted and layered into the mix to add to the dream-like vibe. Much like their last two albums, “Far Rider” evokes the lingering ghosts, regret and old memories conjured up on lonely drives meant to clear your head — or to redeem yourself.

“This song is about leaving, lost love and finding yourself somewhere on the journey, really it’s about redemption,” Still Corners Tessa Murray explains. I recently drove 6000 miles across the southwest to feel the sun on my face and think.  We used the dreamlike nature of the song to capture the landscape and a hypnotic feel to conjure up the long and lonely travel days.”

Primarily shot in the New Mexico desert during “Golden Hour,” the accompanying video for “Far Rider” follows a lone and weary traveler walking across the sandy dunes trying to forget a lost love or a escaping from a past that’s best forgotten forever. The dream-like nature of the song is emphasized with trippy effects.

“We filmed this video during a 6000 mile trip to New Mexico.  We did it all on a handheld camera.  Most of the time we would drive way out to a spot and have to wait until the light was right, the golden hour etc.,” Still Corners’ Tessa Murray explains. ”  One of the places we went to was White Sands and we spent ages sitting in a sand dune in the shade waiting for the light to change.  The sand is pure white gypsum so reflects the sun to such a degree it’s completely blinding.  The good thing is the sun takes a while to set so you have about 30 minutes of beautiful light.  We only had one problem, all the sand dunes look very similar, there’s really no landmarks so as it became dark we got completely lost on the way back to the car, it was a little scary but we made it.  We love how it turned out, it captures the vibe of the song perfectly.”

London-based dream pop act and JOVM mainstays Still Corners — vocalist and keyboardist Tessa Murray and multi-instrumentalist, producer and songwriter Greg Hughes — have managed to bounce between chilly and atmospheric pop and shimmering guitar-driven, desert noir through the release of five albums: 2012’s Creatures of an Hour, 2013’s Strange Pleasures, 2016’s Dead Blue, 2018’s Slow Air and 2020’s The Last Exit

The critically applauded The Last Exit continued where its immediate predecessor left off with 11 songs centered around shimmering and carefully crafted arrangements featuring organic instrumentation paired with Tessa Murray’s smoky crooning. Thematically, the album took the listener through a hypnotic and mesmerizing journey filled with dilapidated and long-abandoned towns, mysterious shapes appearing on the horizon and long trips that blur the lines between what’s there and not there. 

The album’s material was brought into further focus as a result of pandemic-related lockdowns and quarantines. “There’s always something at the end of the road and for us it was this album. Our plans were put on hold – an album set for release, tours, video shoots, travel,” Tessa Murray explained in press notes for the album. “We’d been touring nonstop for years, but we were forced to pause everything. We thought the album was finished but with the crisis found new inspiration and started writing again.” Three of the album’s songs — “Crying,” “Static,” and “‘Till We Meet Again” were written during this period and they reflect upon the profound impact of isolation and the human need for social contact and intimacy. 

Late last year, the JOVM mainstays released “Heavy Days,” a propulsive and uptempo bop featuring twinkling synth arpeggios, a chugging motorik groove, shimmering and reverb drenched guitars and a soaring hook paired with Murray’s smoky vocals. The end result twas a song that saw the duo retaining the beloved elements of their overall sound — but while seemingly drawing from 80s pop.

Despite the literal weight of it’s title “Heavy Days” may be the most optimistic and sunny song of the JOVM mainstays’ growing catalog. “Sometimes it all feels like too much, there’s a lot to take in reading the news all the time,” Still Corners’ Tessa Murray says in press notes. “We wanted to write a reminder to put the phone down now and again and get out there and live life to the fullest while you can.”

The JOVM mainstays start off the year with the expansive “Far Rider,” a track that sounds as though it could have been on both or either Slow Air or The Last Exit as its centered around shimmering, reverb-drenched guitars and a steady rhythm paired with Murray’s smoky crooning, which at one point are chopped up and distorted.

“This song is about leaving, lost love and finding yourself somewhere on the journey, really it’s about redemption,” Still Corners Tessa Murray explains. I recently drove 6000 miles across the southwest to feel the sun on my face and think.  We used the dreamlike nature of the song to capture the landscape and a hypnotic feel to conjure up the long and lonely travel days.”

Still Corners will be embarking on a lengthy tour throughout 2022 that includes a June 16, 2022 stop at Le Poisson Rouge. Check out the rest of the tour dates below.

European Tour Dates

2nd April – Athens, Greece @ Gagarin 205 Tickets

4th April – Lille, France @ L’Aeronef Tickets

5th April – Paris, France @ La Maroquinerie Tickets

6th April – Sint-Niklaas, Belgium @ De Casino Tickets

7th April – Amsterdam, Netherlands @ Q-Factory Tickets

8th April – Groningen, Netherlands @ Vera Tickets

10th April – Copenhagen, Denmark @ Hotel Cecil Tickets

11th April – Hamburg, Germany @ Grünspan Tickets

12th April – Köln, Germany @ Gebäude9 Tickets

13th April – Berlin, Germany @ Heimathafen Tickets

14th April – Leipzig, Germany @ UT Connwitz Tickets

15th April – Prague, Czech Republic @ Meetfactory Tickets

16th April – Vienna, Austria @ Flex Café Tickets

18th April – Zagreb, Croatia @ Boogaloo Tickets

19th April – Ljubljana, Slovenia @ Kino Šiška Tickets

20th April – Milan, Italy @ Magnolia Tickets

21st April – Bern, Switzerland @ Dachstock/Reitschule Tickets

22nd April – Metz, France @ La Chapelle des Trinitaires Tickets

25th April – Dublin, Ireland @ Pepper Canister Church Tickets

26th April – Glasgow, United Kingdom @ Stereo Tickets

27th April – Leeds, United Kingdom @ The Brudenell Social Club Tickets 

28th April –Manchester, United Kingdom @ YES Tickets

​29th April – London, United Kingdom @ EartH Theatre Tickets

US Tour Dates

18th May – Philadelphia, Pennsylvania @ Underground Arts Tickets

​19th May – Vienna, Virginia @ Jammin Java Tickets

​20th May – Durham, North Carolina @ Motorco Tickets

​21st May – Atlanta, Georgia @ Aisle 5 Tickets

​22nd May – Tampa, Florida @ Crowbar Tickets

​26th May – Dallas, Texas @ Deep Ellum Arts Co Tickets

​27th May – Austin, Texas @ The Parish Tickets

​30th May – Phoenix, Arizona @ Rebel Lounge Tickets

​31st May – San Diego, California @ Soda Bar Tickets

​1st June – Santa Ana, California @ The Observatory Tickets

​2nd June – Los Angeles, California @ Echoplex Tickets

​3rd June – San Francisco, California @ Great Northern Tickets

​5th June – Portland, Oregon @ Mississippi Studios Tickets

​6th June – Seattle, Washington @ The Crocodile Tickets

​8th June – Boise, Idaho @ Neurolux Tickets

​9th June – Salt Lake City, Utah @ Urban Lounge Tickets

​10th June – Fort Collins, Colorado @ The Coast Tickets

​11th June – Denver, Colorado @ Globe Hall Tickets

​14th June – Chicago, Illinois @ Lincoln Hall Tickets

​16th June – New York, New York @ LPR Tickets

​17th June – Hamden, Connecticut @ Space Ballroom Tickets

​18th June – Allston, Massachusetts @ Brighton Music Hall Tickets

​18th June – Allston, Massachusetts @ Brighton Music Hall Tickets

Lyric Video: JOVM Mainstays Still Corners Release a Hauntingly Gorgeous and Brooding New Single

London-based dream pop act and JOVM mainstays Still Corners — vocalist and keyboardist Tessa Murray and multi-instrumentalist, producer and songwriter Greg Hughes — have managed to bounce between chilly and atmospheric pop and shimmering guitar-driven, desert noir through the release of four albums: 2012’s Creature of an Hour, 2013’s Strange Pleasures, 2016’s Dead Blue and 2018’s Slow Air.

The London-based JOVM mainstays’ fifth album The Last Exit is slated for release next Friday through the duo’s Wrecking Light Records. Sonically, the album reportedly continues where its predecessor Slow Air left off — 11 songs centered around shimmering and carefully crafted arrangements of organic instrumentation paired with Tessa Murray’s smoky crooning. Thematically, the album takes the listener of a hypnotic and mesmerizing journey filled with dilapidated and long-abandoned towns, mysterious shapes on the horizon and long trips that blur the lines between what’s there and not there. “We found something out there in the desert – something in the vast landscapes that went on forever,” Greg Hughes says in press notes.

Unsurprisingly, the album’s material was brought into further focus as a result of pandemic-related lockdowns and quarantines. “There’s always something at the end of the road and for us it was this album. Our plans were put on hold – an album set for release, tours, video shoots, travel,” Tessa Murray explains. “We’d been touring nonstop for years, but we were forced to pause everything. We thought the album was finished but with the crisis found new inspiration and started writing again.” Three of the album’s songs — “Crying,” “Static,” and “‘Till We Meet Again” were written during this period and they reflect upon the profound impact of isolation and the human need for social contact and intimacy.

Last year, I wrote about two of the album’s previously released singles:

“The Last Exit,” a cinematic track that sounds like it could have been part of the Slow Air sessions while nodding at Ennio Morricone soundtracks as it evokes large and indifferent skies and dusty, two-lane blacktop baking in the sun.
“Crying,” which was written during pandemic-related shutdowns and quarantines and captures the uncertainty, boredom, loneliness, heartache and regrets of not having much to do or anyplace to go — and obsessively neurotic self-examination inspired by those endless, lonely hours. And while continuing in the vein of Slow Air, the track also nods at Strange Pleasures.

“White Sands,” The Last Exit’s third and latest single is a classic, ghost story of a phantom who roams the dunes and desert highways for eternity, frightening travelers and drifters, who pass her. The track is a fittingly cinematic track centered around glistening atmospherics, shimmering and reverb-drenched guitars, a rapid-fire beat paired with Murray’s wistful and achingly melancholy crooning. Much like the material on Slow Air, “White Sands” is a brooding yet breathtakingly gorgeous song that evokes long and silent drives through nothing much but your own thoughts and regrets.

The JOVM mainstays released a gorgeous and cinematic lyric video for “White Sands” shot in the desert, with Murray superimposed as a spectral vision just over the horizon. The visual also feature the song’s lyrics in English and translated in Spanish.

New Video: JOVM Mainstays Still Corners Release a Meditative Single and Visual

London-based dream pop act and JOVM mainstays Still Corners — vocalist and keyboardist Tessa Murray and multi-instrumentalist, producer and songwriter Greg Hughes — have sonically bounced between chilly and atmospheric synth pop and shimmering guitar-driven desert noir through four albums: 2012’s Creature of an Hour, 2013’s Strange Pleasures, 2016’s Dead Blue and 2018’s Slow Air.

Slated for a January 22, 2021 release through Wrecking Light Records, the London-based JOVM mainstays’ fifth album The Last Exit sonically continues where its predecessor Slow Air left off — 11 songs centered around shimmering and carefully crafted arrangements of organic instrumentation and Tessa Murray’s smoky crooning. Thematically, The Last Exit takes the listener on a hypnotic journey filled with dilapidated and abandoned towns, mysterious shapes on the horizon and long trips that blur the line between what’s there and not there. “We found something out there in the desert – something in the vast landscapes that went on forever,” Greg Hughes says in press notes.

The album was brought into further focus as a result of pandemic-related lockdowns and quarantines. “There’s always something at the end of the road and for us it was this album. Our plans were put on hold – an album set for release, tours, video shoots, travel,” Tessa Murray explains. “We’d been touring nonstop for years, but we were forced to pause everything. We thought the album was finished but with the crisis found new inspiration and started writing again.” Three of the album’s songs — “Crying,” “Static,” and “‘Till We Meet Again” were written during this period and they reflect upon the profound impact of isolation and the human need for social contact and intimacy.

Earlier this year, I wrote about the album’s first single, album title track “The Last Exit.” Centered around a cinematic arrangement that evokes large, indifferent skies and dusty, two-lane blacktop, the track sounded as though it could have been part of the Slow Air sessions while subtly leaning towards the direction of Ennio Morricone soundtrack. “Crying,” The Last Exit’s second and latest single, was written during pandemic-related shutdowns and quarantines. The song captures the uncertainty, boredom, loneliness, heartache and regrets of endless hours of not having anything to really do or anyplace to go — and the obsessively neurotic and anxious self-examination of those endless hours. Centered around twinkling keys, shimmering synth arpeggios, shimmering strummed guitar, haunting whistling, Murray’s plaintive and ethereal cooing and a soaring hook. “Crying” sounds like the duo seamlessly meshed the sounds of Strange Pleasures with Slow Air.

Split between footage of Still Corners’ Murray spending time playing cards, reading books and drinking tea, we see the inevitable cycling of the seasons and the immensity of our planet moving through the universe. And while things may be uncertain and frightening, there are a handful of immutable facts: change is inevitable, the season change, we change.

“The only constant in life is change, this song is about a breakup during a difficult time but it’s also about coping with a fast-moving, uncertain world. Our video shows the immense universe and inevitable change of the seasons. Everything is in flux and that’s the only thing that is certain,” Still Corners’ Tessa Murray says of the new single and accompanying video.

New Video: JOVM Mainstays Still Corners Release Eerie and Cinematic Visual for Shimmering “The Last Exit”

Through the release of 2012’s Creature of an Hour, 2013’s Strange Pleasures, 2016’s Dead Blue and 2018’s Slow Air, the London-based dream pop act and JOVM mainstays Still Corners — vocalist and keyboardist Tessa Murray and multi-instrumentalist, producer and songwriter Greg Hughes — have sonically bounced between chilly and atmospheric synth pop and shimmering guitar-driven desert noir.

Slated for a January 22, 2021 release through Wrecking Ball Records, the London-based JOVM mainstays’ fifth album The Last Exit sonically continues where its predecessor Slow Air left off — 11 songs centered around shimmering and carefully crafted arrangements of organic instrumentation and Tessa Murray’s smoky crooning. Thematically, The Last Exit takes the listener on a hypnotic journey filled with dilapidated and abandoned towns, mysterious shapes on the horizon and long trips that blur the line between what’s there and not there. “We found something out there in the desert – something in the vast landscapes that went on forever,” Greg Hughes says in press notes.

Interestingly, the album was brought into further focus as a result of pandemic-related lockdowns and quarantines. “There’s always something at the end of the road and for us it was this album. Our plans were put on hold – an album set for release, tours, video shoots, travel,” Tessa Murray explains. “We’d been touring nonstop for years, but we were forced to pause everything. We thought the album was finished but with the crisis found new inspiration and started writing again.” Three of the album’s songs — “Crying,” “Static,” and “‘Till We Meet Again” were written during this period and they reflect upon the profound impact of isolation and the human need for social contact and intimacy.

The Last Exit’s first single, album title track “The Last Exit” is centered around a cinematic arrangement that evokes large, indifferent skies, dusty two-laned blacktop — twinkling keys, subtle blasts of shimmering steel pedal and harmonica, jangling guitar and a galloping beat paired with Murray’s gorgeous vocals and a soaring hook. And while sounding as though it could have been part of the Slow Air sessions, “The Last Exit,” manages to find the duo subtly pushing their sound towards the direction of an Ennio Morricone soundtrack.

Thematically, the song makes a subtle nod to classic Delta Blues, as its exhausted narrator inexplicably feels compelled to inexplicably get in her car and hit the road — without any particular destination in mind. And while written as a sort of love letter to the lover, she’s left behind, the song can also be read as a slow-burning, journey into purgatory.

Directed by the band’s Greg Hughes. the recently released video for “The Last Exit” is the last portion of the duo’s Road Trilogy, following the videos for “The Trip” and “The Message.” Inspired by the 1975 film Picnic at Hanging Rock, the video begins with Murray abandoning her stalled car and being pulled into the mysterious rocks of Joshua Tree. “In a world where everyone thinks all the corners of the map are filled in we like to suggest there’s something beyond that, something eternal in the landscape and in our psyche,” Tessa Murray explains. “Maybe you don’t see it every day but it’s there and that’s what we are trying to connect to.”

New Audio: JOVM Mainstays Still Corners Returns with Two from Abbey Road Studios Live Sessions

With the release of their 2012’s Creatures of an Hour, 2013’s Strange Pleasures and 2016’s Dead Blue the London-based dream pop act Still Corners — vocalist and keyboardist Tessa Murray and multi-instrumentalist, producer and songwriter Greg Hughes — have developed a shimmering and atmospheric take on dream pop, centered around Murray’s smoky vocals. 

Last year, the London-based JOVM mainstays released their fourth album, the critically applauded Slow Air. Deriving its name from the sultry Texas summer days and nights that they spent writing and recording the album in Austin, TX, the album found the band making a return to early form, with the band leaning heavily towards arrangements centered around electric and acoustic guitar, live drumming and a minimal use of synthesizers. Some of this may have been inspired by the studio Hughes designed and built for the recording sessions — and by a minimalist approach in which they consciously ensured that they didn’t overthink, while using a variety of old and new microphones. 

While in the past there may have been countless takes and overdubs in an attempt to make things absolutely perfect, Murray and Hughes kept the inevitable mistakes to remind the listener of the material’s emotionality — and also to remind the lister that living, breathing, feeling humans made it. 

Additionally, the band recorded and mixed the album in three months, the fastest they’ve ever done, and as a result, the material possesses a previously unheard urgency while retaining the shimmering and moody atmospherics that they’ve long been known for — especially on album single “Black Lagoon.” After completing what may arguably be the biggest world tour, including a memorable stop at Elsewhere, as well as across North America, Europe and Asia, the duo wanted to document their live sound with a live stood recording. As the band’s Tessa Murray says in press notes. “Abbey Road was the first studio we thought of when deciding where to record. It’s a beautiful and iconic place that we’ve always dreamed of. The sound and experimentation that happened there makes up much of the fabric of recording history.””Vintage consoles lined the corridors as we made our way to the Studio 3. We Could feel the weight of walking into the same studio where Pink Floyd recorded Dark Side of the Moon,” Greg Hughes adds. “We used microphones used on many Beatles’ recordings.” 

During their Abbey Road session, the band recorded a live version of one of my favorite tracks off the album, Black Lagoon — and while being a slightly stripped down rendition, the Abbey Road rendition retains the song’s gorgeous melody and shimmering atmospherics, while possessing a road-tested looseness. “We played this for a session at KUTX in Austin and a lot of people mentioned they would like an official audio recording, so we decided to that as well,” Murray says in press notes. 

The other track the JOVM mainstays recorded found the duo tackling Richard and Linda Thompson’s “The Calvary Cross.” As the band’s Greg Hughes explains in press notes, Richard and Linda Thompson’s I Want to See the Bright Lights Tonight is a personal favorite of the duo — and they covered “The Calvary Cross” during their last tour. And while the original was more of a mid-tempo stomper reminiscent of Neil Young, the Still Corners version is a slow-burning and gorgeously atmospheric take, centered around shimmering country-like guitars and Murray’s smoky vocals.  

New Video: JOVM Mainstays Still Corners Release Brooding Visuals for Slow-Burning Torch Song “The Photograph”

Last month, I wrote about the  London-based duo and JOVM mainstays Still Corners, and as you may recall, with the release of their first three albums, Creatures of an Hour, 2013’s Strange Pleasures and 2016’s Dead Blue, the British duo comprised of vocalist Tessa Murray and multi-instrumentalist, producer and songwriter Greg Hughes, have developed a reputation for crafting incredibly atmospheric and moody dream pop/synth pop centered around Murray’s smoky vocals and shimmering atmospherics.

Slated for an August 17, 2018 release through the duo’s own Wrecking Light label, their fourth album Slow Air derives its name from the sultry summer days and nights they experienced during their time in Austin, TX, where they had written the album. Reportedly, the forthcoming Slow Air is a bit of a return to early form for Murray and Hughes, as the material learn towards arrangements that emphasize electric and acoustic guitars, live drumming and a minimal use of synthesizers. Recorded in a new studio designed by Hughes, the recorded sessions inspired a minimalist and fluid approach in which they used a variety of old and new microphones while making sure that they didn’t overthink the entire process as is the tendency of modern recording; in fact, they managed to keep the mistakes they recorded on the album, so as to remind the listener of the fact that living, breathing, feeling and imperfect humans made it,  while also making sure that the important thing was the material’s emotionality.

Murray and Hughes recorded and mixed the album in three months, the fastest they’ve ever done so far, and from album single “Black Lagoon,” the London-based duo managed to retain the shimmering and moody atmospherics they’ve long been known for but paired with an previously unheard urgency. As Tessa Murray says of the album in press notes, “we wanted to hear beautiful guitar and drums and an otherworldliness, something about indefinable, along with a classic songwriting 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.”

The album’s latest single “The Photograph,” is the slow-burning, atmospheric, synth-based torch song that to my ears immediately brings Prince to mind — his “Nothing Compares 2 U” in particular, as the song is about a long lost lover, who’s only left an old, slowly fading photograph behind as a reminder of what the song’s narrator once had. The video, which was directed by the duo continues a run of gorgeous and evocative visuals — in this case, black and white video which features Murray’s lone figure walking down a desolate highway eternally searching for something beyond the frame. The visuals manage to evoke the song’s spectral and yearning quality — with the understanding that most things in our lives are rendered as memories, but with a bit of fuzziness and distortion around the edges.

 

New Video: Still Corners Release Gorgeously Cinematic Visuals for Shimmering and Brooding New Single

Over the course of their first three albums, 2012’s Creatures of an Hour, 2013’s Strange Pleasures and 2016’s Dead Blue, the London-based duo Still Corners, comprised of vocalist Tessa Murray and multi-instrumentalist, producer and songwriter Greg Hughes, have developed a reputation for crafting incredibly atmospheric and moody dream pop/synth pop centered around Murray’s smoky vocals and shimmering atmospherics.

Deriving its name from the sultry Texas summer days and nights and slated for an August 17, 2018 release through their own Wrecking Light label, the duo’s fourth album Slow Air was written in Austin, TX, and the album reportedly finds the band making a decided return to early form, as the band leans heavily towards arrangements that emphasize both eclectic and acoustic guitars, live drumming and a minimal use of synthesizers. Recorded in a new studio designed by Hughes, the recorded sessions inspired a minimalist and fluid approach in which they used a variety of old and new microphones while making sure that they didn’t overthink the process; in fact, they’ve managed to keep the inevitable mistakes on the album to remind the listener of the material’s emotionality — and the fact that living, breathing, feeling humans made it. Interestingly, the band recorded and mixed the album in three months, the fastest they’ve ever done, and as you’ll hear on the “Black Lagoon,” the song possesses a previously unheard urgency while retaining the shimmering and moody atmospherics that they’ve been known for. As Tessa Murray says of the album in press notes, “we wanted to hear beautiful guitar and drums and an otherworldliness, something about indefinable, along with a classic songwriting 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.”

Directed and filmed by the members of Still Corners on a small handheld cinema camera, the recently released and stunningly cinematic video follows Murray and Hughes as they they travel across the deserts of Texas, Arizona and California to the ocean in a classic, white convertible Mustang.  And goddamn it, is it gorgeous.