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LP
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UTR 110C-LP
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180 gram, clear vinyl; edition of 300. Trash Kit are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals), and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping, and Bamboo. Although Trash Kit have their forebears in bands like Sleater-Kinney, The Ex, and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalized folk music as on their sincerity of vision. For Horizon, carefully crafted through years of playing out live, the band have chased down the distance between what they wanted the record to sound like and its realization. They've augmented these songs with choral arrangements, piano, saxophone, harp, viola, and cello. Horizon finds itself full of themes, especially the notion of looking to the future. "Coasting", which opens the album, is concerned with "the end of the world and also the afterlife" and was written after Aggs read The Parable of the Sower (1993) by the Afro futurist sci-fi writer Octavia Butler, a novel set in an apocalyptic California and featuring a protagonist in search of change and renewal. "Sunset" draws on similar themes of ending and salvation, and proves equally ruminative. "Dislocate" on the other hand is an upbeat sprint of spinning guitar and piano riffs showcasing both Rachels's overlapping vocal magnetism. "Horizon" is a sleeping giant of a title track, forever reaching out and intensifying throughout its lively five-minute lesson in reinforcement. "Every Second" was written in the aftershock of Trash Kit's tour with The Ex on their big convoy anniversary tour. "See Through" sounds pointed and surly, urging you to "transcend, break down" outdated categories and patterns of thought that only restrict. Partington's bassline plummets heavily to hammer this home, making it one of the most affecting songs from the album. Meanwhile "Get Out of Bed" deals with "being an overachiever and the struggle to overcome self-doubt, get motivated, never feeling like you've done enough" Aggs admits. A strong undercurrent throughout Horizon concerns itself with the freeing up of power to make your own definitions, in this case how you can decide what truly makes you feel like you've achieved something.
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CD
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UTR 110CD
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Trash Kit are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals), and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping, and Bamboo. Although Trash Kit have their forebears in bands like Sleater-Kinney, The Ex, and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalized folk music as on their sincerity of vision. For Horizon, carefully crafted through years of playing out live, the band have chased down the distance between what they wanted the record to sound like and its realization. They've augmented these songs with choral arrangements, piano, saxophone, harp, viola, and cello. Horizon finds itself full of themes, especially the notion of looking to the future. "Coasting", which opens the album, is concerned with "the end of the world and also the afterlife" and was written after Aggs read The Parable of the Sower (1993) by the Afro futurist sci-fi writer Octavia Butler, a novel set in an apocalyptic California and featuring a protagonist in search of change and renewal. "Sunset" draws on similar themes of ending and salvation, and proves equally ruminative. "Dislocate" on the other hand is an upbeat sprint of spinning guitar and piano riffs showcasing both Rachels's overlapping vocal magnetism. "Horizon" is a sleeping giant of a title track, forever reaching out and intensifying throughout its lively five-minute lesson in reinforcement. "Every Second" was written in the aftershock of Trash Kit's tour with The Ex on their big convoy anniversary tour. "See Through" sounds pointed and surly, urging you to "transcend, break down" outdated categories and patterns of thought that only restrict. Partington's bassline plummets heavily to hammer this home, making it one of the most affecting songs from the album. Meanwhile "Get Out of Bed" deals with "being an overachiever and the struggle to overcome self-doubt, get motivated, never feeling like you've done enough" Aggs admits. A strong undercurrent throughout Horizon concerns itself with the freeing up of power to make your own definitions, in this case how you can decide what truly makes you feel like you've achieved something.
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LP
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UTR 110LP
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LP version. 180 gram vinyl; Edition of 400. Trash Kit are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals), and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping, and Bamboo. Although Trash Kit have their forebears in bands like Sleater-Kinney, The Ex, and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalized folk music as on their sincerity of vision. For Horizon, carefully crafted through years of playing out live, the band have chased down the distance between what they wanted the record to sound like and its realization. They've augmented these songs with choral arrangements, piano, saxophone, harp, viola, and cello. Horizon finds itself full of themes, especially the notion of looking to the future. "Coasting", which opens the album, is concerned with "the end of the world and also the afterlife" and was written after Aggs read The Parable of the Sower (1993) by the Afro futurist sci-fi writer Octavia Butler, a novel set in an apocalyptic California and featuring a protagonist in search of change and renewal. "Sunset" draws on similar themes of ending and salvation, and proves equally ruminative. "Dislocate" on the other hand is an upbeat sprint of spinning guitar and piano riffs showcasing both Rachels's overlapping vocal magnetism. "Horizon" is a sleeping giant of a title track, forever reaching out and intensifying throughout its lively five-minute lesson in reinforcement. "Every Second" was written in the aftershock of Trash Kit's tour with The Ex on their big convoy anniversary tour. "See Through" sounds pointed and surly, urging you to "transcend, break down" outdated categories and patterns of thought that only restrict. Partington's bassline plummets heavily to hammer this home, making it one of the most affecting songs from the album. Meanwhile "Get Out of Bed" deals with "being an overachiever and the struggle to overcome self-doubt, get motivated, never feeling like you've done enough" Aggs admits. A strong undercurrent throughout Horizon concerns itself with the freeing up of power to make your own definitions, in this case how you can decide what truly makes you feel like you've achieved something.
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UTR 110YEL-LP
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LP version. 180 gram yellow vinyl; Edition of 300. Trash Kit are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals), and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping, and Bamboo. Although Trash Kit have their forebears in bands like Sleater-Kinney, The Ex, and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalized folk music as on their sincerity of vision. For Horizon, carefully crafted through years of playing out live, the band have chased down the distance between what they wanted the record to sound like and its realization. They've augmented these songs with choral arrangements, piano, saxophone, harp, viola, and cello. Horizon finds itself full of themes, especially the notion of looking to the future. "Coasting", which opens the album, is concerned with "the end of the world and also the afterlife" and was written after Aggs read The Parable of the Sower (1993) by the Afro futurist sci-fi writer Octavia Butler, a novel set in an apocalyptic California and featuring a protagonist in search of change and renewal. "Sunset" draws on similar themes of ending and salvation, and proves equally ruminative. "Dislocate" on the other hand is an upbeat sprint of spinning guitar and piano riffs showcasing both Rachels's overlapping vocal magnetism. "Horizon" is a sleeping giant of a title track, forever reaching out and intensifying throughout its lively five-minute lesson in reinforcement. "Every Second" was written in the aftershock of Trash Kit's tour with The Ex on their big convoy anniversary tour. "See Through" sounds pointed and surly, urging you to "transcend, break down" outdated categories and patterns of thought that only restrict. Partington's bassline plummets heavily to hammer this home, making it one of the most affecting songs from the album. Meanwhile "Get Out of Bed" deals with "being an overachiever and the struggle to overcome self-doubt, get motivated, never feeling like you've done enough" Aggs admits. A strong undercurrent throughout Horizon concerns itself with the freeing up of power to make your own definitions, in this case how you can decide what truly makes you feel like you've achieved something.
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CD
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UTR 061CD
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Trash Kit, formed in 2009 by Rachel Aggs, Rachel Horwood, and Ros Murray, have become the glowing core of London's DIY underground. Their music is primal yet thoughtful, affirming yet sincere, drawing on the potential of post-punk and the naturalism of an internal folk music. Although Trash Kit have their forebears in bands like X-Ray Spex, The Ex, and The Raincoats, their sound is very much their own take on facing forwards. Galloping polyrhythms, overlapping sung-spoke lyrics and wordless vocals, and entwining guitars are all drawn together into a taut unity, sounding willfully alive. Both Rachels tangle their vocals with each other while expressive drumbeats and restless guitar flurries provide the rhythmic drive. Aggs's guitar playing is as much informed by African fingerstyle patterns as the percussive attitude of various no wave shredders. Horwood approaches her drum-kit with an untamable freedom, pushing it into the realm of a vivid lead instrument. Trash Kit's music is full of pauses, woven silence, and punctuation too, and this is where Murray and her resonant, soulful bass work finds a perfect home. In 2010, Trash Kit released their self-titled debut album on Upset the Rhythm to critical applause. The Sunday Times called it "tumbling, spirited and joyously nimble," while The Quietus remarked, "female punk can sound like cocoons cracking open in full fierce sunlight." As a follow-up to their exuberant debut album, Confidence sticks with their beloved "play it all live" pluck. There's a minimal bent, a lyrical directness, an unadorned ethic that all evoke the sense that the song is being written at the same time as it's performed. Yet while the first album at times felt too fleeting, its succinct songs flashing by so fast, Confidence is startlingly more assured, allowing ideas to develop, and conclusions to be gathered. Tracks like "Hair," "Skin," and "Boredom" embrace dynamics like never before. Their clatter and chime are complemented with subtler passages of introspection and the occasional noisy breakdown, with snare and cymbals approaching roar. Ros is joined by her previous bandmate Verity Susman (of Electrelane) on a few tracks, including the adventurous "Shyness" and lead single "Medicine," lending some fluently inventive saxophone flourishes. It all adds to the heady sensation of free-falling through the album. A feeling that the horizon has become broader. Recorded at Sound Savers with Mark Jasper; mixed by Sherry Ostapovitch; mastered by Mikey Young (Total Control, etc.).
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LP
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UTR 061LP
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LP version. Trash Kit, formed in 2009 by Rachel Aggs, Rachel Horwood, and Ros Murray, have become the glowing core of London's DIY underground. Their music is primal yet thoughtful, affirming yet sincere, drawing on the potential of post-punk and the naturalism of an internal folk music. Although Trash Kit have their forebears in bands like X-Ray Spex, The Ex, and The Raincoats, their sound is very much their own take on facing forwards. Galloping polyrhythms, overlapping sung-spoke lyrics and wordless vocals, and entwining guitars are all drawn together into a taut unity, sounding willfully alive. Both Rachels tangle their vocals with each other while expressive drumbeats and restless guitar flurries provide the rhythmic drive. Aggs's guitar playing is as much informed by African fingerstyle patterns as the percussive attitude of various no wave shredders. Horwood approaches her drum-kit with an untamable freedom, pushing it into the realm of a vivid lead instrument. Trash Kit's music is full of pauses, woven silence, and punctuation too, and this is where Murray and her resonant, soulful bass work finds a perfect home. In 2010, Trash Kit released their self-titled debut album on Upset the Rhythm to critical applause. The Sunday Times called it "tumbling, spirited and joyously nimble," while The Quietus remarked, "female punk can sound like cocoons cracking open in full fierce sunlight." As a follow-up to their exuberant debut album, Confidence sticks with their beloved "play it all live" pluck. There's a minimal bent, a lyrical directness, an unadorned ethic that all evoke the sense that the song is being written at the same time as it's performed. Yet while the first album at times felt too fleeting, its succinct songs flashing by so fast, Confidence is startlingly more assured, allowing ideas to develop, and conclusions to be gathered. Tracks like "Hair," "Skin," and "Boredom" embrace dynamics like never before. Their clatter and chime are complemented with subtler passages of introspection and the occasional noisy breakdown, with snare and cymbals approaching roar. Ros is joined by her previous bandmate Verity Susman (of Electrelane) on a few tracks, including the adventurous "Shyness" and lead single "Medicine," lending some fluently inventive saxophone flourishes. It all adds to the heady sensation of free-falling through the album. A feeling that the horizon has become broader. Recorded at Sound Savers with Mark Jasper; mixed by Sherry Ostapovitch; mastered by Mikey Young (Total Control, etc.).
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