Atwood Journal is worked up to share our Editor’s Picks column, written and curated by Editor-in-Chief Mitch Mosk. Each week, Mitch will share a set of songs, albums, and artists who’ve caught his ears, eyes, and coronary heart. There’s a lot unbelievable music on the market simply ready to be heard, and all it takes from us is an open thoughts and a willingness to pay attention. By our Editor’s Picks, we hope to shine a light-weight on our personal music discoveries and showcase a various array of latest and up to date releases.
This week’s Editor’s Picks options Armlock, S.G. Goodman, Nii, Night time Tapes, Home of Hurt, and snuggle!
observe EDITOR’S PICKS on Spotify
“I take a giant sip, pull my shoulders again, commerce the blue chip, we made a blood pact as a type of love…” There’s a quiet magic pulsing by Armlock’s “Strobe” – a form of understated depth that slowly envelops the senses, drawing you deep into the tune’s smooth, glistening glow. Hypnotic and hushed, uncooked and radiant, “Strobe” looks like a reminiscence – fleeting and but everlasting, flickering out and in of view like headlights on a late-night drive… or the hazy heat of somebody you’re keen on laughing on the opposite finish of the telephone. Dozens (upon dozens) of listens in, this monitor continues to maneuver and mystify me. It’s unvarnished, it’s aching, it’s immersive in essentially the most mild and real approach. In its softness lies one thing actually lovely… one thing that stirs the ears, the center, and the soul.
I take a giant sip
Pull my shoulders again
Commerce the blue chip
We made a blood pact
As a type of love…
It’s been a leashed yr
Stored it on the rails I really feel it shift gear
Breathe in and exhale
Isn’t it great…
As a result of
Launched on Might 1st through Run for Cowl Data, “Strobe” is the Melbourne, Australia-based indie rock duo’s first single since releasing their sophomore album Seashell Angel Fortunate Attraction in 2024, and it looks like each a continuation and a reintroduction – a small evolution, refined however intentional. Written whereas touring throughout Europe and the US, the tune grew to become a live-testing floor for brand spanking new concepts: An opportunity for Armlock – comprised of Simon Lam and Hamish Mitchell – to refine what they do greatest whereas pushing into new sonic territory. “We really feel it’s refining what we already do but additionally pushing it into barely totally different territory,” Armlock inform Atwood Journal. “We’re always making an attempt to give you a brand new feeling inside our songs, however making an attempt to current it in its most pure and easiest kind.”
“The guitar half was really impressed by some 2000s progressive home tracks. They approach they construction chord progressions is absolutely totally different to the way in which you’d often construction chords in a guitar band, so we needed to play off that concept. We hearken to lots of rap, and that influenced the vocal melody for positive – simply utilizing the identical few notes and letting the chords create the color. We really tried so many alternative layers within the manufacturing, however we discovered more often than not it will make the tune much less speedy or would distract from the lyrics. If we’re on the fence a couple of sound we simply do away with it, and we’re actually choosy, so it finally ends up so minimal.”
That minimalism provides “Strobe” its emotional energy. The tune’s climax – “That’s my pal on the telephone / We’ve been laughing all day / That’s my dad out the entrance / Suppose we kinda look the identical…” – is disarmingly private and deeply shifting, provided like a Polaroid from somebody’s life. “I assume it’s like taking somebody on a mini tour of my life,” Lam says. “Like driving round and pointing and saying ‘that is the shit that issues most to me.’ And none of it’s actually grand or something, but it surely’s all superior.”
That’s my pal on the telephone
We’ve been laughing all day
That’s my dad out the entrance
Suppose we kinda look the identical
She’s the one, primary
By no means needed me to alter
Take a lap, minimize the chicane
And we do all of it once more
Even the tune’s title hints at that pressure between outward shine and inward calm. “It was simply taken from one of many lyrics,” they word. “We like the way it nearly doesn’t swimsuit the tune, however alludes to a few of the underlying depth.”
Lam sees that line, “I’m a strobe, blinding eyes with the glow,” as a form of metaphor for all times on the highway: “The lyrics form of contact on the sensation of being off then on, shining however intermittently. Enjoying reveals on a tour form of looks like that – you give the very best model of your self for the set, you then change off once more till the subsequent one.”
I play it face down
It’s bought two and two
I skip the headcheck
Do what I gotta do
Simply go away it on the ground…
Infinite, it’s all driving on this
No scoping, warmth looking for, we will’t miss
I’m a strobe, blinding eyes with the glow
As a result of
That off-and-on rhythm echoes all through the tune – in its softly flickering guitars, its near-whispered vocals, and its meditative chorus. It’s a tune rooted in the true: In associates and fathers, in telephone calls and porch steps, within the individuals who floor us when the remainder of the world received’t cease spinning.
“We simply hope folks prefer it, makes them really feel good,” Armlock say. “Perhaps it reminds somebody of their very own family and friends. It’s a weirdly optimistic tune for us, however we expect we’re down for doing extra like this.”
Perhaps that’s what retains me coming again to “Strobe” – why I’ve listened to it so many instances, and nonetheless can’t fairly put my finger on what makes it hit so onerous. It’s not simply the heat or the softness, the ache or the glow; it’s the truth that this tune feels lived-in. It looks like a well-known smile; it looks like a hug. It feels actual. It feels prefer it means all the things to Armlock – and in that vulnerability, in that mild depth, it finally ends up that means all the things to me, too. It’s all the things abruptly.
That’s my pal on the telephone
We’ve been laughing all day
That’s my dad out the entrance
Suppose we kinda look the identical
She’s the one, primary
So watch out what you say
Take a lap, minimize the chicane
And we do all of it once more
“Satellite tv for pc”
by S.G. Goodman
“Look what it’s finished to you.” S.G. Goodman’s “Satellite tv for pc” is a smoldering fever dream – a smooth hypnosis that aches in all it says, and in all it leaves unsaid. Hauntingly lovely and breathtaking in its restraint, the monitor opens her upcoming album Planting by the Indicators with a slow-burning eruption. From the primary line – “Say it’s good, say it’s proper, hoping on a satellite tv for pc” – we’re locked in orbit, circling the anxieties of disconnection, distortion, and religion in false alerts.
Constructed on sparse guitars, a gradual, insistent drumbeat, and Goodman’s singular, trembling voice, “Satellite tv for pc” simmers with pressure, grit, and tenderness abruptly. The refrain, “Ooh ooh, look what it’s finished to you,” hits like a whisper and a wound – equal components reflection, reverie, and emotional reckoning. Her voice might sound mild, but it surely carries a crushing weight; a lament dressed as a lullaby.
Say it’s good, say it’s proper,
hoping on a satellite tv for pc
Kingdom come, kingdom come
It’s the identical for everybody,
it’s the identical for everybody
Ooh, look what it’s finished to you
Ooh, look what it’s finished to you
Look what it’s finished to you
For Goodman, this tune and its father or mother album converse to a deeper want – not simply to specific, however to protect. “Satellite tv for pc” isn’t merely the opener; it’s the doorway into a bigger dialog about reminiscence, that means, and the methods we chart our lives by forces better than ourselves. It units the tone for Planting by the Indicators as each a private and collective confrontation – a physique of labor rooted in outdated knowledge and made pressing by the disorientation of the current day.
“The entire premise behind the observe of Planting by the Indicators is that we will look to nature to know when could be the very best time to do one thing to get the very best outcomes,” the Kentucky-born and raised singer/songwriter shares. “I’m excited by how man is obstructing nature and its historic data, whereas the human situation stays the identical: that to outlive we have to be in concord with nature and one another.”
Within the jaw, within the jaw
That’s the place you may catch all of it
Say it’s true, say it’s proper
Hoping on a satellite tv for pc, hoping on a satellite tv for pc
Ooh, look what it’s finished to you
Ooh, look what it’s finished to you
Ooh, look what it’s finished to you
Look what it’s finished to you
That battle – between humanness and modernity, nature and know-how – pulses on the core of “Satellite tv for pc.” It’s a warning and a surprise, a meditation on what we’ve misplaced and what would possibly nonetheless be salvageable.
“Generally you must hold an outdated story going in order that others can see their place in it subsequent to yours,” Goodman explains. “When writing songs for this album, particulars and imagery from Planting by the Indicators would emerge in songs that I really feel painting common experiences by my explicit view. I do consider that from our earliest existence, people have been looking for methods to dwell life in the suitable approach, and we proceed to combat about it to this present day. I’m excited by how as a human race we’ll reconcile increasing technological development, knowledge pushed metrics, and the way we obtain info.”
She continues, “What occurs when as a society we glance to screens for steerage and never the pure world? I consider it’s main us additional away from our potential to acknowledge each what we might acquire and lose by ignoring nature’s messages. I begin my album with ‘Satellite tv for pc,’ the place I’m in dialog about these considerations.”
Moon is full, moon is true
Pulling in your shadowside
Born once more, pulled the tooth
Reduce the pores and skin down on the root
Reduce the pores and skin down on the root
Kingdom come, kingdom come
It’s the identical for everybody
Kingdom come, kingdom come
Speaking shit and having enjoyable
Kingdom come, kingdom come
It’s the identical for everybody
Ooh, look what it’s finished to you
Ooh, look what it’s finished to you
Ooh, look what it’s finished to you
That pressure – between progress and preservation, digital noise and pure readability – isn’t simply written into this tune’s lyrics; it lives within the sound. “Satellite tv for pc” looks like a transmission from the in-between: It’s Goodman reckoning, in actual time, with the widening hole between humanity and the earth that raised us. Her aching voice is looking out, nearly pleading, as she confronts a world that’s forgotten easy methods to hearken to something however its personal reflection. The end result isn’t just a haunting meditation on trendy disconnection, however a name to reattune – to ourselves, to at least one one other, and to the messages nonetheless echoing within the dust and the celebrities.
Dramatic and disquieting, “Satellite tv for pc” is the sound of making an attempt to remain grounded in an untethered world. Of reaching for one thing actual whereas alerts distort above our heads. It’s intimate, intense, and deeply private – and perhaps that’s why it lingers lengthy after the ultimate line. “Hoping on a satellite tv for pc,” S.G. Goodman repeats within the outro, her voice fading into static – into an uncomfortable catharsis.
Look what it’s finished to you. Look what it’s finished to all of us.
Planting by the Indicators is out June 20 through Goodman’s very personal Slough Water Data / Thirty Tigers.
Say it’s good, say it’s proper,
hoping on a satellite tv for pc
Say it’s good, say it’s proper,
hoping on a satellite tv for pc
Hoping on a satellite tv for pc
Hoping on a satellite tv for pc
Hoping on a satellite tv for pc
“Individuals Discuss to Individuals”
by Nii
“Stuck round identical to a stain… has my welcome been overstayed?” Nii opens “Individuals Discuss to Individuals” with a intestine punch, and from there, he doesn’t maintain again. A standout off the British singer/songwriter and guitarist’s sophomore EP Whiplash, the tune is upbeat, intimate, achingly emotional and relentlessly intense – a cathartic burst of social nervousness and self-awareness wrapped in driving guitars and dynamic rhythms. It’s propulsive and provocative, dancing between overthinking and oversharing, inside reckoning and uncooked launch.
Caught round identical to a stain
Has my welcome been overstayed
The temper falls like September rain
No I don′t wanna be useless to you
Oh don’t be so onerous on your self boy
You′re making this awkward
For everybody else
Bleeding all around the carpet
It seeps by the floorboards
I’ll assist you in your approach out of right here
“Funnily sufficient, the title got here earlier than anything,” Nii tells Atwood Journal. “I had a couple of strains about social nervousness, and we began slightly groove in [producer] Jack Segal’s dwelling studio. Once I offered the idea to him, we sat down on his balcony with two guitars and wrote the chord and lyrics collectively earlier than going again in to file the monitor.” The result’s a whirlwind of emotion: From its anxious heartbeat to its disarming pre-chorus – “Oh, don’t be so onerous on your self, boy / You’re making this awkward for everybody else” – “Individuals Discuss to Individuals” captures the chaos of making an attempt to attach whereas always second-guessing your self.
Inform me how I’m imagined to really feel
I misplaced my phrases so I′m blind
behind the steering wheel
Nicely final night time you had us laughing
Undecided if it was actual
Nicely these medication are like communion
The place nobody ever heals
“It’s about social nervousness and the way rather more alienating it turns into as I become older,” Nii explains. “Realising that this mountain that I assumed I had climbed in my youthful years has sprouted its ugly head once more. And it’s not so cute or endearing now as a ‘grown grownup’… I needed to specific how a lot it looks like a casualty for me, but when I disguise it nicely sufficient after a drink or two, associates can persuade me that I’ve no downside in any respect. That’s if I don’t find yourself oversharing as a wild overcorrection.”
Don′t be so onerous on your self boy
You’re making this awkward
For everybody else
Looks like nobody even seen
You had bother speaking
Gained′t you retain all of it to your self subsequent time
Individuals speak to folks
Recently I’ve been see-through
Hiding however I don′t meant to
No I don’t wanna be useless to you
This tune doesn’t disguise something. It twists his coronary heart and soul inside out: “No, I don’t need to be useless to you,” he confesses in a single breath, earlier than shedding himself in spirals of self-doubt the subsequent. And but, beneath the jagged edges, there’s a hopeful present – the form of honesty that opens doorways, if not for others, then not less than for oneself.
For Nii, this monitor captures a lot of the soul of his new EP. “Whiplash represents a wrestle between who I’m and who I need to be,” he shares. “All through the EP it looks like I’m unwillingly pressured to face who I really am, regardless of reaching for an individual or a substance that I believe will change me. That features these moments the place I’m reminded of how I felt rising up, being within the outdoors wanting in and wishing I had the phrases to specific it. I discovered these phrases with ‘Individuals Discuss to Individuals.’”
It’s a strong reminder to satisfy your self the place you might be – and perhaps supply slightly grace whilst you’re there. “I hope listeners that relate to it realise they’re not alone in how they really feel,” Nii says. “I believe most of us in some unspecified time in the future can relate to feeling out of step together with your social life, relationships and the way you specific your true self. And it’s higher to just accept the place you’re at and alter it relatively than masks it.”
“It’s not a topic I’ve efficiently grasped in my writing till now, so I’ve discovered it actually cathartic to put in writing. It looks like years of observations culminating into one tune and youthful me wanted to listen to it. So I’m fulfilled with the work itself however much more so figuring out there’s perhaps a model of youthful me on the market listening that may join.”
Must be simple now we’re older
So inform me little lies
Like all the things adjustments
whenever you least anticipate and
It’s all in your thoughts
I′ll chew on it whereas I′m sober
And spit it out at night time
Yeah folks speak to folks
However I stated an excessive amount of this time
Hailing from Leeds and now primarily based in London, Nii launched his debut single in simply April of final yr, carefully adopted by his debut EP Nothing Ready, an intimate introduction to his weak artwork and seductive artistry.
“I need folks to know my intention is all the time to be sincere, typically painfully so,” he says of these simply discovering him at this time. “Exhibiting flaws so I can join with others and we will sit within the messiness collectively. My music’s for the over-thinkers, and when you’ve ever felt an excessive amount of and stated too little, you would possibly discover a dwelling in these songs.”
A radiant reckoning 5 instances over, Whiplash is actually the proper embodiment of these sentiments. “For me, this EP is known as a whirlwind by self-discovery,” he confides. “It’s a bunch of falling down moments after getting forward of myself, maybe making an attempt to pursue someone else’s life. Within the wake of my final EP, there was all the things to achieve, so there are extra forthcoming themes and sounds in Whiplash. And with the emergency cease of ‘Demise Tune,’ I search to be extra candid in regards to the issues I can’t change in myself, different folks, and no matter is inevitable.”
Begin with “Individuals Discuss to Individuals,” however don’t cease there. Whiplash is a journey price taking.
“tv”
by Night time Tapes
Night Tapes’ “Tv” is pure intoxication – a sluggish, simmering spell that slips below the pores and skin and lingers within the bloodstream lengthy after the ultimate word fades. It’s brooding and melancholy, moody and shifting – dancey and haunting abruptly. Launched on Valentine’s Day because the second single off the London trio’s upcoming debut album portals//polarities (out September 26th through Nettwerk Music Group), the monitor pulses like a lucid dream: Lush and cinematic, full of sentimental shadows and fleeting gentle. Iiris Vesik’s vocals glide excessive and weightless above a mattress of swirling synths and nocturnal percussion, their texture as emotionally charged because the lyrics themselves.
I don’t need to turn into only a particular person
on my telephone in ambiance
wanna be the place the enjoyable is
you refine till you crystallise
everyone’s tv
something generally is a imaginative and prescient
everyone’s intermission
something may very well be a component
lately, yeah
I’ve had Night time Tapes’ 2024 EP assisted reminiscences on regular rotation for months, and “Tv” one way or the other looks like each a continuation and an ascension – a deepening of the band’s already immersive sound. There’s a refined ache baked into each second right here: That quiet feeling of being surrounded, however one way or the other nonetheless alone. Of looking for connection by countless digital home windows, and solely catching glimpses of reflection.
As Vesek shares, the tune was born of a kind of on a regular basis moments that slowly turns profound. “I used to be sitting within the park, wanting right into a portal in my palms and worrying in regards to the world,” she tells Atwood Journal. “Once I seemed up, I might see that there have been plenty of folks within the park who, like me, had come to benefit from the park. All over the place I seemed – they had been within the portals of their palms. Some had been diving headfirst, some stored good posture, and I assumed to myself that not less than singing with good method requires good posture, so hopefully once I’m 80, my physique would nonetheless be considerably straight up once I’m going someplace.”
“I additionally thought that this isn’t how parks are supposed to work. So I wrote down the primary sentence of this tune into the helpful portal in my palms to make use of it later.”
I simply wanna be the place the enjoyable is
you may’t return
you understand an excessive amount of now
you may’t return
ahead, ahead
go on
you may’t return
you understand an excessive amount of now
you may’t return
ahead, ahead
go on
It’s that collision of internal and outer worlds – the seen and invisible, the tangible and the transcendent – that provides “Tv” its weight. Night time Tapes, which started as housemates Max Doohan, Sam Richards, and Iiris Vesik jamming collectively in London, craft music that lives within the liminal areas. Their sound blends tactile textures with metaphysical themes, creating one thing that feels emotionally speedy and cosmically distant abruptly.
been refracting gentle by a prism
each single lie has been a jail
life lived on the sting
life lived on the border
treading waters finish
I don’t miss it
I don’t miss it
I don’t miss it
hanging by a thread
That rings very true on “Tv,” because the trio confront questions of notion and actuality. “Herman Hesse has stated, ‘There isn’t a actuality besides the one contained inside us. That’s the reason so many individuals dwell such an unreal life. They take the photographs outdoors of them for actuality and by no means enable the world inside to claim itself,’” Vesek provides. “So I adopted his recommendation, closed my eyes, and shaped a special portal that took me to my physique as a way to get into my internal world…”
“Tv” pulses in that sacred house between actuality and reflection. It’s a portal of its personal – one which doesn’t disconnect you from the current, however as an alternative pulls you deeper into it. One which reminds you easy methods to really feel, easy methods to breathe, easy methods to be.
Plug in. Drop out. Drift off. Let it take you someplace quieter.
portals//polarities arrives this fall.
you may’t return
you understand an excessive amount of now
you may’t return
ahead, ahead
go on
you may’t return
you understand an excessive amount of now
you may’t return
ahead, ahead
go on
“Cannot Combat the Feeling”
by Home of Hurt
“Can’t Combat the Feeling” is pure, unadulterated post-punk exhilaration – a searing, shadowy rush of sound and emotionally charged sensation that aches as a lot because it intoxicates. It’s darkish and dramatic in all the very best methods: Brooding and propulsive, haunting and hedonistic. From the Boston-based trio Home of Hurt – Michael Rocheford, Cooper Leardi, and Tyler Kershaw – this tune is the primary launch since their acclaimed 2023 album Playground, and it arrives like a shot to the system.
Transferring on to what?
It’s onerous to need to
Earlier than might cease
It’s all I received’t do
Asleep in the identical room
Simply to cover the lies that I’m dreaming
The mirrors grew to become you
Reflecting the sounds, so deceptive
Can’t combat the sensation
You don’t get me anymore
With every night time revealing
That we’ve closed one other door
This monitor seems like contemporary air at 10:30pm – that electrical pause earlier than the night time begins. It’s anticipation and ache wrapped into one; that good, fleeting second when something feels potential, at the same time as one thing necessary slips by your fingers. The lyrics minimize deep – “Can’t combat the sensation / You don’t get me anymore / With every night time revealing / That we’ve closed one other door” – and but the music refuses to wallow. It lifts, swells, and surges ahead, making a cathartic form of chaos: A celebration within the midst of collapse.
“Lyrically, the tune was impressed by actual occasions and in addition desires,” frontman Michael Rocheford shares. “At first, I used to be making an attempt to convey the readability I felt when a private relationship was falling aside. The tune developed as that mess performed out, and took on a extra uneasy and regretful standpoint. I additionally integrated a dream which concerned reluctantly leaping off a cliff.”
Pulling eyes large shut
The face we minimize by
Seeing what you need
When nothing might maintain true
We might waste the day
With pretend composure
Yeah, we don’t see it fairly the identical
So embrace the closure
That dream logic bleeds into the monitor’s surreal, cinematic edges – the place reflection and distortion blur collectively, and emotion overrides all the things else. The verses teem with dread and longing (“the mirrors grew to become you / reflecting the sounds, so deceptive”), however the refrain erupts like a scream in a silent room – plain, speedy, and absolutely felt.
Can’t combat the sensation
You don’t get me anymore
With every night time revealing
That we’ve closed one other door
Can’t combat the sensation
You don’t get me anymore
With every night time revealing
That we’ve closed one other door
With “Can’t Combat the Feeling,” Home of Hurt proceed their regular evolution whereas staying true to their core: a sound that’s modern, fashionable, and unrelentingly human. It is a tune you progress to as a lot as you are feeling it. It’s nightlife and nightmare, heartbreak and launch. Don’t combat the sensation – simply give up to it.
It’s taken maintain once more
Assuming eyes, as soon as main
Pacing by the sting
Opening arms name to me
I can’t see it, however everybody is aware of
I can’t see it, however everybody is aware of
Everybody is aware of
Everybody is aware of
Snuggle’s “Mud” is dreamy, tender, and above all else, spellbinding.
An intoxicating different reverie filled with uncooked, heavy, understated feeling, the Copenhagen duo’s newest single is delicate and devastating abruptly. There’s a quiet energy in its softness – this sense that emotion is seeping by the stillness, the gentleness, the breaths, the void. snuggle show that you simply don’t must scream or shout to let all of it out.
Constructed on dream-pop guitar textures and a hypnotic breakbeat groove, “Mud” fuses visceral emotion with a woozy, slow-motion ambiance. Andrea Thuesen’s voice drifts like smoke by Vilhelm Unusual’s lo-fi manufacturing, spinning a surreal imaginative and prescient of affection and loss on the finish of the world. “Burning cities, cicadas silent / All the pieces is dying,” she sings, her tone breathy and serene even because the imagery collapses round her. It’s a tune that confronts heaviness by floating above it, discovering magnificence in oblivion.
Salt trails on my pores and skin,
your fingers following them
Diving into your eyes, ocean deep,
sand grains in my tooth
I’m grinding
Burning pine bushes, cicadas singing
the mountainside is altering
Orange flames are consuming the stays
of the day
“The tune began as a very totally different, actually melancholic country-style riff and have become what it’s now,” snuggle inform Atwood Journal. “It’s nearly just like the chords and funky drums didn’t need to observe the place the lyrics had been going. We had been desirous about how the world feels extra misplaced than ever in our lifetime and, on the identical time, being near somebody you’re keen on and desirous to be there eternally – that double-sided, unusual feeling.”
They describe “Mud” as their “love tune for an apocalypse,” a phrase that captures the emotional core of the monitor completely. “Sunburnt pores and skin, melting ice cream, and chaos buzzing at the back of everybody’s thoughts,” the duo clarify. “We love songs that really feel like they belong in a sure second in time, whether or not it’s the listener’s second or our personal – it’s one thing we steer in direction of. The ‘finish of the world’ half refers back to the lyrics: Cicadas which can be silent, all that.”
Orange peel below my nails,
the candy juice touches my lips
Your lips on my neck
Candy phrases stated below your breath
We’re respiratory nonetheless
Ashes within the windowsill
Impressed by Bowery Electrical’s album Beat – particularly its use of tape loops and breakbeats – “Mud” leans right into a dreamlike hypnosis that feels each historic and futuristic. “The best way they use tape loops and breakbeats to construct these tremendous hypnotic tracks is so cool,” the band share. “Extremely advocate when you haven’t checked it out.”
And whereas the tune could also be constructed on contradiction – quiet chaos, smooth collapse, heavenliness amidst despair – that’s precisely what provides it its glow. “If the world’s ending, we would as nicely exit with a great soundtrack,” they are saying. “However actually, we simply hope folks join with it in no matter approach is smart to them – and that the world doesn’t finish!”
An intimate different whisper, “Mud” lingers like an odd reminiscence of one thing you haven’t lived but. snuggle actually do say it greatest themselves: “It is a love tune for an apocalypse… Miss David Lynch.”
Ash trails in your pores and skin,
my fingers following them
The wall paint is melting,
these 4 partitions and all they comprise
Gone, is gone
Burning cities, cicadas silent
All the pieces is dying
Mud, what’s left of us
Ashes
Ashes to ashes
Ashes to ashes
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