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Blind Girls’ tempestuous performances have earned them a dedicated following in their home country, further expanded by tours in Japan, Canada and the United States. While performing the unrelenting material of The Weight of Everything over two years around the world, Blind Girls quietly administered higher doses of melody in new work, giving more time and care to doleful passages of solitary guitar strumming that appeared in past songs. These songs, to be released through Persistent Vision, make up Blind Girls’ new album, An Exit Exists.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBlind Girls have a distinct way of making entire works sound like a single composition, both live and on record, championing the punk tradition of playing with as few breaks as possible, if any. 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The band was intent on harnessing the familiarity built with the two for An Exit Exists, and as listeners are pulled through the record, it’s clear that they have once again overseen Blind Girls achieving new heights of sonic extremity, now stitched together by passages of deeply emotional musicality.\u003cbr\u003e\u003cbr\u003eThe emotion in the heavily incorporated melodies, not to mention the face-ripping breakdowns and thrashing blast beats, of An Exit Exists are the complement to its conceptual theme addressing abuse. Brouwer explains, “An Exit Exists was written during and retrospectively on two separate instances dealing with abuse from those I loved. 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This heavenly forest with its vibrant flowers, rays of sun and woodland creatures feels comically opposed to anything Cave has ever represented—but perhaps that’s the point. This pastel fairy tale sets the scene for \u003ci\u003eGhosteen\u003c\/i\u003e, his most minimalist, supernatural work to date, in which he slips between realms of fantasy and reality as a means to accept life and death, his past and future.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn his very first post on The Red Hand Files—the website Cave uses to receive and respond to fan letters—he spoke of rebuilding his relationship with songwriting, which had been damaged while enduring the grief that followed his son Arthur’s death in 2015. He wrote, “I found with some practise the imagination could propel itself beyond the personal into a state of wonder. 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There are no wild murder ballads or raucous, bluesy love songs. Though often melancholy, it doesn’t possess the absolute devastation and loneliness of 2016’s \u003ci\u003eSkeleton Tree\u003c\/i\u003e. Rather, these vignettes and symbolic myths are tranquil and gentle, much like the instrumentation behind them. With little more than synths and piano behind Cave’s vocals, \u003ci\u003eGhosteen\u003c\/i\u003e might feel uneventful at times, but the calmness seems to help his imagination run free. On “Bright Horses”, he sings of “Horses broken free from the fields\/They are horses of love, their manes full of fire.” But then he pulls back the curtain and admits, “We’re all so sick and tired of seeing things as they are\/Horses are just horses and their manes aren’t full of fire\/The fields are just fields, and there ain’t no lord… This world is plain to see, it don’t mean we can’t believe in something.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThrough these dreamlike, surreal stories, Cave is finding his path to peace. And he’s learned that he isn’t alone on his journey. 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The album birthed a sound which became a template for thousands of new subgenres, heralding a new approach to guitar music and studio production. Not only was it a new type of music, it paved the way for a new type of journalism; inciting comparisons to elemental phenomenon, tapping into how the music affected the psyche. Shields and Butcher frequently sang in a similar vocal range that allowed their voices to blend together. This had the effect of making their gender indistinguishable, to the point where their voices could be used as another melodic layer to complement the vertigo-inducing sounds made by Shields’ guitars. 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The record channels an unflinching rawness, combining abrasive guitar textures, drum-machine propulsion, and sardonic vocal delivery to deliver a sonic onslaught that bridges punk, industrial, and post-hardcore sensibilities. The band is unafraid of confrontational themes, using bleak imagery and dark humor to interrogate power, perversion, and violence. At a lean runtime, the pacing remains relentless: there’s no fat, no filler, just an unrelenting drive from start to finish. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn context, this album stands as a fitting swan song: the members had already decided to disband by the time it was recorded. It crystallizes Big Black’s aesthetic in its purest form, stripping away excess and playing to its strengths—minimalist aggression, razor-edged tone, and narrative extremity. Tracks like “Colombian Necktie” and their cover of Kraftwerk’s “The Model” are emblematic of the way Big Black subverts both brutality and pop. 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It manages to find a perfect fit for the experimental colours of earlier Laughing Clowns releases within a set of disciplined song-forms. A classic of Australian post-punk featuring the original recording of 'Eternally Yours.'\" - John Encarnacao, author, Ed Kuepper's Honey Steel's Gold for 33 1\/3.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Amongst the band's very finest works. 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The result is a truly beguiling Australian folk record.\u003c\/span\u003e\u003c\/p\u003e","brand":"Swoon","offers":[{"title":"Default Title","offer_id":51180729663524,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0788\/4986\/7812\/files\/fieldcommanderalithenextfromfieldcommander.jpg?v=1785208333"},{"product_id":"trappist-afterland-kindred-hymnal-walk-to-paradise-garden-part-2","title":"Trappist Afterland - Kindred Hymnal \/ Walk to Paradise Garden (Part 2)","description":"\u003cp\u003e\u003cspan\u003eAdam Geoffrey Cole and his band Trappist Afterland make Folk music using voices, various acoustic stringed instruments, tabla, percussion ,harmonium and Tanpura drones.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAll songs written by Adam Geoffrey Cole.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAdam sings \u0026amp; plays - 12 string and 6 string Guitars, electric guitar, Cittern, Dulcitar, Hurdy Gurdy, harmonium, kazoo, Oud, Synth effects, piano \u0026amp; Daf.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRecorded and mixed by Bowen Shakaliss @ Stranded recording studios, Bellambi.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eProduced by Adam \u0026amp; Bowen.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMastered by Gregg @ Hermetech mastering.\u003c\/span\u003e\u003c\/p\u003e","brand":"Swoon","offers":[{"title":"Default Title","offer_id":51180772556836,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0788\/4986\/7812\/files\/trappistafterlandkindredhymnalcover.jpg?v=1785208925"},{"product_id":"low-life-from-squats-to-lots-the-agony-and-xtc-of-low-life","title":"Low Life - From Squats to Lots: The Agony and XTC of Low Life","description":"\u003cp\u003eUSED\u003c\/p\u003e\n\u003cp\u003eSleeve: NM\u003c\/p\u003e\n\u003cp\u003eMedia: NM\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSome records hit one with an instant impression of timeless brilliance, and Low Life's Dogging is one of those records, what the wise call \"an instant classic\". From Squats To Lots: The Agony And The XTC Of Low Life is more like their second album Downer Edn (read Edition), a little more withdrawn, a little more textured. Complex. Rich. Which is to say: one's going to need some time with it. Iggy Pop's Bowie-produced studio rock masterpieces The Idiot and Lust For Life are important reference points to this third album. Here comes success! Bowie later referred to this period of his life as profoundly nihilistic. But Iggy looked at it as the period of his life that saved him from an early grave. This confrontation is Low life lore. Sip it, and sense the recurring brilliance of Mitch Tolman's lyrics, exploring the usual territory of gutter life, lad life, punk life, low life. The dirge. Disgust and shame in white Australia. Council housing, bills piled to the neck, substance abuse and rehabilitation, the fallen lads and lasses who stood too close to the flame, loss and loneliness, from squats to lots. Un-Australian gutter symphony. Think, like, if Poison Idea were given the kind of studio time and budget as Happy Mondays. One wouldn't play this to a teenager. It's not for children. 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