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FEELIT 148LP
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$26.00
PREORDER
RELEASE DATE: 11/14/2025
"With its twirling surrealist melodies, bricolage song structure, and adroit rhythmic changes, Leipzig's Maraudeur have made an album suffused with the spontaneity of an art school party that somehow by the end of the night evolved into making a record. The trilling laughs and clinking glasses are transformed into bright synth lines and guitar riffs that are at times wiry and then, sometimes with little warning, hard and angular. Underneath this is the roiling chatter of Devo-funk infused bass and skittish bap-bap-boom drums. Shouty, echo-y vocals, covering a range of topics -- some deadly serious, others less so -- cap the 4am anything-can-happen-so-what-will-happen-next feel to the entire record. The comparisons to Kleenex/LiLiLPUT are perhaps inevitable, but the band wears this influence lightly as they have on their past releases, picking up with ease where their predecessors left off and always exploring where to go next. This is music that is energetic, that embraces discovery, that is disquieting in the best ways -- this is music to stave off the boredom endemic in our post-everything society." --Ben Michaelis
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FEELIT 156LP
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$25.00
PREORDER
RELEASE DATE: 11/7/2025
"Lucky Number, the third album from Memphis trio Optic Sink, finds the band both refining and expanding their hypnotic mix of post-punk and dance music, resulting in a sharp and moving exploration of surfaces, shadows, and self-delusion. Natalie Hoffmann (NOTS) has come into her full power as a lyricist. Her work on earlier records (see Modelesque and Glass Blocks) shows her talent for exploring the hidden shallows of modern life, but here the funhouse mirrors are balanced by painful longing and drops of truth that leak through the cracks. The music reflects this -- under Bauermeister's driving grooves and the songs' tight arrangements lurk hidden complexities, thanks in part to Keith Cooper's exceptional, angular work on guitar and bass. Few bands can match the hard beauty of Depeche Mode, New Order, and A Certain Ratio -- Optic Sink manages to do more than that, adding their own sad, cutting wisdom. Produced and recorded by Caufield Schnug of Sweeping Promises, Lucky Number is out on Feel It Records." --Dan Hornsby
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FEELIT 154LP
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"Vse po Kolu, Znovu (All in a circle, again) is the fourth studio album by Morwan, marking the culmination of years of creative exploration. The collection features eight tracks recorded between 2023 and 2024, except for the title track, 'Vse po Kolu, Znovu,' which was written back in 2020. The new album delivers a heavier, more aggressive sound, representing a noticeable departure from the band's earlier works. Genre-wise, it drifts from post-punk to avant-gard rock and even shoegaze. Combined with deeper and more personal lyrics, this makes it Alex AShTAUI's most emotional and honest work to date. Vse po Kolu, Znovu is a story about fears tearing you apart from within and conflicts that give you no peace. It's about the endless cycle of existence, pulling you into the vortex of inevitable dread. It tells of the moment when control over yourself slips away, and you become a helpless observer, forced to watch your life crumble before your very eyes. It's about the rejection of oneself, about the desperate desire to escape your own essence and return to the beginning, just to feel something real once again."
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FEELIT 152CD
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"After some turbulent late teen years in her former pop punk band, Mixtapes, Maura Weaver needed a break. Months became years and the songs still weren't coming. It wasn't until being thrust into personal heartache in 2020 that she began to write songs again and the result was her 2023 solo debut I Was Due For A Heartbreak. Weaver's sophomore effort Strange Devotion continues in a similar vein. Written and recorded at an allegedly haunted Northern Kentucky studio with longtime collaborator John Hoffman, Weaver's melody-driven and thought-provoking lyrics are as present as ever. A confidence flows through the ten distinct tracks suffused with intentional and delicate storytelling while presenting a sonic palette that spans the Feelies, Teenage Fanclub, Liz Phair, and even the Cars. Emotionally, this second LP mines from a deeper place for Weaver. Her determination and power as a songwriter are nowhere clearer than in the haunting 'Museum Glass,' a song that reckons with her experience of being stalked and assaulted early in her career. The song reminds listeners how quickly our spirit can be taken but also how much power we gain from its reclamation, from an act of resurrection, from moving on even when it seems impossible. The song is a perfect iteration of the record's most powerful theme: rebuilding and reclaiming the ability to take ownership of one's art and indeed one's life. On Strange Devotion Maura Weaver has done what some would deem impossible: she has created an indie-pop gem that feels both intimate and grand at the same time. Listening to this record is like sitting in your bedroom with your best friend who is whispering in your ear about the secrets of the universe, the mysteries of life, and a few jokes. The record is a fearless document of personal growth, a statement of emotional solidarity, and an affirmation. It is the marriage of undeniably catchy hooks and an emotional profundity that is increasingly rare these days."
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FEELIT 152LP
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LP version. "After some turbulent late teen years in her former pop punk band, Mixtapes, Maura Weaver needed a break. Months became years and the songs still weren't coming. It wasn't until being thrust into personal heartache in 2020 that she began to write songs again and the result was her 2023 solo debut I Was Due For A Heartbreak. Weaver's sophomore effort Strange Devotion continues in a similar vein. Written and recorded at an allegedly haunted Northern Kentucky studio with longtime collaborator John Hoffman, Weaver's melody-driven and thought-provoking lyrics are as present as ever. A confidence flows through the ten distinct tracks suffused with intentional and delicate storytelling while presenting a sonic palette that spans the Feelies, Teenage Fanclub, Liz Phair, and even the Cars. Emotionally, this second LP mines from a deeper place for Weaver. Her determination and power as a songwriter are nowhere clearer than in the haunting 'Museum Glass,' a song that reckons with her experience of being stalked and assaulted early in her career. The song reminds listeners how quickly our spirit can be taken but also how much power we gain from its reclamation, from an act of resurrection, from moving on even when it seems impossible. The song is a perfect iteration of the record's most powerful theme: rebuilding and reclaiming the ability to take ownership of one's art and indeed one's life. On Strange Devotion Maura Weaver has done what some would deem impossible: she has created an indie-pop gem that feels both intimate and grand at the same time. Listening to this record is like sitting in your bedroom with your best friend who is whispering in your ear about the secrets of the universe, the mysteries of life, and a few jokes. The record is a fearless document of personal growth, a statement of emotional solidarity, and an affirmation. It is the marriage of undeniably catchy hooks and an emotional profundity that is increasingly rare these days."
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FEELIT 135X-LP
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Back in print on brand new opaque red vinyl with new cover art. "Artificial Go is a four-piece hailing from the DIY post-punk scene of Cincinnati, Ohio. Local labels Feel It and Future Shock have teamed up to co-release Artificial Go's debut album, Hopscotch Fever. Consisting of eight tight tracks, this debut is just that: an introduction. A little bit mercurial, a little bit iconic. Artificial Go is operating out of their own genre -- not quite post-punk, not quite pop. Hopscotch Fever seems to have been recorded just outside of the collective-genre-periphery to form some sort of extraterrestrial kind of music. With angular guitar breaks, bouncing rhythms, and jolting vocals, Artificial Go is truly here on their own terms." --Jacob Mouser
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FEELIT 149LP
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"Like a roar, or a belch, in the face of late-stage capitalism Cincinnati's Primitive Impulse comes blasting through your speakers with thirteen tracks of head-pounding drums, face-shredding guitars, and guttural indictments of the consumer capitalist hellscape the world currently languishes in. This is not polished, well packaged festival hardcore/punk -- it's the kind that will pull a switchblade on you, take your wallet, and give your money to the poor. Timely like a well-timed gut punch in a street fight, the boys in PI line up the asshole parade of the opening track and knock them down one by one over the next 18 minutes. No quarter asked, none given. In the face of despair, as the world burns around us, Piss It Away is the defiant 'fuck you' that we all need right now." --Ben Michaelis
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FEELIT 138LP
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"Fragments of the past intersect with a dynamic sonic vision on Hallways of Grey, the second full length from Corker. Expanding upon the dense, rhythmic post-punk of their 2023 debut -- the Cincinnati group have not only tightened the screws on their repertoire, they've upped the ante significantly. Decamping from drab studio confines to the expanses of an Indiana farm, Hallways of Grey finds the collective style and creativity of Corker flourishing. While the delivery and dark-to-light balance might echo shades of what Adrian Borland patented decades ago, Corker add their own color (more than just grey, mind you) in a convincing manner across the album. Lead cuts, 'Distant Dawn' and 'Vital Fall' showcase the range and dexterity that Ohio seems to inherently cultivate, but tracks like 'Forever Silent' (featuring Angie Willcutt from Artificial Go and ROD) and the finale, 'No Necessities,' are like a death trip from the cosmos down to the factory floor. It's a focused frenzy towards the finish line, a rush of calculated execution, a mad dash run with style."
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FEELIT 131LP
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"Freak Genes have recorded a new album. It is called Delirk. That word is derived from delirium. It is a warped kind of industrial music. It is for fans of this kind of music, and it was made by Charlie Murphy and Andrew Anderson, with mixing and mastering from Mikey Young. It is their sixth album. Previous Freak Genes albums include Hologram, Power Station, III, Qwak Qwak, and Playtime. The album will comes in both grooved vinyl and audio bitstream formats."
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FEELIT 132LP
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"Quatro Muchachos is the third Man-Eaters entry in an ongoing tale of crushingly primal punk rock that asks only one question of its listeners, will you raise your lighter to their rock? Inhale, hold, and release. Get ready for a lifelong addiction to the purest rock on the streets. Firing on all conceivable cylinders on this junior effort, the album works as a veritable best of for the band. The purest, and most refined Eaters effort to date. Bringing to mind the best elements of hot steel and acid-era Nervous Eaters, The Album by Eater, tinges of A Minute to Pray a Second to Die Flesh Eaters, and the '70s psychedelic progressive Welsh group Man. Yet, neither nervous, children, or fans of prog rock, Man-Eaters third installment sways distinctly on a playing field of its own. Hailed the world over for their bombastic and crystal-clear sound and image, unforgettable, and sometimes forgettable live performances, and immortal hymns. Punk rock legends Man-Eaters have changed the lives of rockers for more than four years plus. With powerful storytelling, their music and concerts bring to life universal themes like friendship, loyalty, and integrity. Man-Eaters unite people of all ages and backgrounds in a worldwide community, providing them with motivation and inspiration to achieve their dreams, overcome, and conquer any obstacles in their path, and to write their own history. With unfaltering courage, always true to themselves, Man-Eaters have endured and inspire victory to all who come to know them. They give their fans what they love them for; massive, powerful soundtrack of their lives, songs that celebrate the audacity of the individual and the spirit of the community. Deeply embedded into the inner core of the hardest of rock, dwells these quatro muchachos, unaffected by the modern world, hard at work erecting, and orchestrating the foundations of rock pillars that this entire world rests upon. The boys are back, and god dammit they've done it again."
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FEELIT 135LP
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"Artificial Go is a new four-piece hailing from the DIY post-punk scene of Cincinnati, Ohio. Local labels Feel It and Future Shock have teamed up to co-release Artificial Go's debut album, Hopscotch Fever. Consisting of eight tight tracks, this debut is just that: an introduction. A little bit mercurial, a little bit iconic. Artificial Go is operating out of their own genre -- not quite post-punk, not quite pop. Hopscotch Fever seems to have been recorded just outside of the collective-genre-periphery to form some sort of extraterrestrial kind of music. With angular guitar breaks, bouncing rhythms, and jolting vocals, Artificial Go is truly here on their own terms." --Jacob Mouser
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FEELIT 137LP
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"My mates went on holiday to the Isles for this one. Galactic romantic entropy three sheets to the Wind. Saxy glimmers, broken sunbeams, oil dancing in a puddle of water in a parking lot somewhere in St. Louis or Birmingham. And just as first-wave yankee punk was decidedly solipsistic, the Poms folded in a more civic bent to explain the zeitgeist of generational disaffection. Is 'Scared To Care' about spikey punks whose apartments are littered with Amazon boxes? Is 'Biggest Sale of The Year' an indictment of late-stage capitalism? Is 'The Milkman' an effective populist who wants you to sink so that he can swim? Is this record more political than those dystopian hardcore records you sold when a nice girl opened your eyes once? Merely conjecture. It's an album dripping with clandestine musical intelligence, artisanal song-writing, great voices. The illegitimate son of Dinosaurs' bassist isn't in the mix this time, but I can assure you his spirit is there -- I can almost hear the glass of side mirrors cascading to Richmond Ave on a drunken bike ride 15 years before Josh Allen and Conway The Machine made The City That Always Sleeps cool! What is soul? Soul is finding your own catalytic converter at the thrift store. Soul is trying out for the Harlem Globetrotters on your 37th birthday and it not going so well. Soul is wearing those attractive bygone eras on your sleeve without hesitation or embarrassment. Pentatonic rock didn't exactly bubble from a serious bog, and when adults who partake become artistically conservative, grow egos in a Petri dish somewhere in the well-adjusted hyper-capitalist cityslicker life they've created because they can seemingly play Vibrators riffs better than the actual kids, everything is lost! Class know this, resisting that spiritual deficit of our collective moment with the voice of honest men trying to have fun in this fuckin' wacky world, unafraid to rhyme words like 'narcissist' and 'anarchist.' I mean, how many songs wouldn't have a pinky toe to pirouette on if 'school' and 'fool' didn't rhyme?! Now get your ass to Class." --Brandon Gaffney
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FEELIT 139LP
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"The first full-length release from Cleveland's Disintegration brings their intricate circuitry of nocturnal synthwave and noise-saturated post-punk to a new plateau. Sharper, leaner, and more involved than the material on their first EP, Shiver in a Weak Light is a huge step forward in terms of production, atmosphere, and overall construction, with singer/synthesist Haley Himiko turning in stellar vocal performances, guitarist/vocalist Noah Anthony and bassist Christopher Brown moving in lockstep, and new drummer David MacCluskie adding clatter and thump to the gridded framework the band architects and then dismantles on every song. The album roves between shadowy dream sequences and slow-motion shatter, drawing a dark and futuristic sound that's sometimes familiar, sometimes confounding, but always captivating. Listening closely to the web of sounds on 'In Your Diary' reveals a series of unlikely turns and transitions; like the brittle guitar line that arrives out of nowhere to lace up a propulsive chorus, the nearly subliminal hits of percussion that move throughout the stereo field, and a song structure that jumps between its parts in unexpected ways, always landing on a new hook. 'Hideaway' connects its fragmented sections in a perfect balance of dissonant chaos and shout-along melodies. Live bass and guitar parts are processed until they sound more like alien synth programming, with choppy rhythms bouncing like sequenced ones and zeroes. Each repeated listen to Shiver in a Weak Light unlocks a new room of sounds and ideas that may have gone unnoticed the time before. It's an album that beckons the listener to trek ever deeper into its network of neon hallways and interconnected underground tunnels, exploring a world where it's always night and time moves differently."
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FEELIT 130CD
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"Like some mutated phantom lurking in the shadows, Cincinnati based new-wave punks Louse emerge into light with their debut LP Passions Like Tar -- a heady and sullen collection of post-punk hits. Louse have been crafting hypnotic, dense gothy anthems since forming in 2021, and continue to do so with Passions like Tar. Since their conception, the group consistently deliver '80s era-correct, modulated, guitar-driven punk that is informed by bands like Killing Joke, Bauhaus, and Christian Death, but delivered with their uniquely colored angular riffs and fevered, anguished vocals. Fret not, because you can expect more of their beautifully warped vision executed on Passions Like Tar. Passions Like Tar is a collection of intense, evocative songs that traverse a sunless landscape roving between dancy hits like 'Thieves' to more spatial, gloomy tracks like 'A Potter's Field.' The songs are stylistically linked by the band's lush guitar and synth arrangements, epically crooned dismal lyrics, and tightly wound primitive drum parts that pulse and prod like amphetamine fueled detonations. The song-structures skew from linear and driving to thoughtfully plotted ballads with an intentionally executed scope. Despite the record's diverse palate, these songs collectively create a cohesive, original, and warped vision of a cryptic yet accessible post-punk dystopia. The band has clearly rallied to create a visceral yet thoughtful record that will gel with seasoned goths and new punks in exploration alike. Louse's Passions like Tar is another glorious reason to shuffle this wild and beautiful mortal coil, dancing into oblivion." --Sims Hardin
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FEELIT 130LP
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LP version. "Like some mutated phantom lurking in the shadows, Cincinnati based new-wave punks Louse emerge into light with their debut LP Passions Like Tar -- a heady and sullen collection of post-punk hits. Louse have been crafting hypnotic, dense gothy anthems since forming in 2021, and continue to do so with Passions like Tar. Since their conception, the group consistently deliver '80s era-correct, modulated, guitar-driven punk that is informed by bands like Killing Joke, Bauhaus, and Christian Death, but delivered with their uniquely colored angular riffs and fevered, anguished vocals. Fret not, because you can expect more of their beautifully warped vision executed on Passions Like Tar. Passions Like Tar is a collection of intense, evocative songs that traverse a sunless landscape roving between dancy hits like 'Thieves' to more spatial, gloomy tracks like 'A Potter's Field.' The songs are stylistically linked by the band's lush guitar and synth arrangements, epically crooned dismal lyrics, and tightly wound primitive drum parts that pulse and prod like amphetamine fueled detonations. The song-structures skew from linear and driving to thoughtfully plotted ballads with an intentionally executed scope. Despite the record's diverse palate, these songs collectively create a cohesive, original, and warped vision of a cryptic yet accessible post-punk dystopia. The band has clearly rallied to create a visceral yet thoughtful record that will gel with seasoned goths and new punks in exploration alike. Louse's Passions like Tar is another glorious reason to shuffle this wild and beautiful mortal coil, dancing into oblivion." --Sims Hardin
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FEELIT 127LP
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"Marcel Wave write eulogies for tragic actresses, ancient riverbeds and concrete obscenity. Their inaugural sonic instalment Something Looming is part trades club symphony, part itchy serenade, and part wistful lament. As their heady concoction of 'Meades meets Pat-E-Smith meets Kirklees Borough Council' gets prepped to be formally baptized on a dank stage near you, Upset the Rhythm and Feel It Records have dutifully stepped in to deliver its songbook to the masses on both sides of the pond. Formed when Lindsay Corstorphine and Christopher Murphy of Sauna Youth and brethren Oliver and Patrick Fisher of Cold Pumas were summoned by northern ink-slinger Maike Hale-Jones, Marcel Wave's debut offering is a walk through a smoke-filled pub with yellowing wallpaper and all eyes on you. It's a chronicle of the death of the docklands, the decline of industry, of the high street, of civic pride, of civilizations, of hopes and dreams. As Hale-Jones delivers the bad news in her low, West Yorkshire brogue, Corstorphine adds the bells and whistles via the frantic pulsations of a wheezing Hohner organ in tandem with Fisher O's rasping guitar. MW are completed by the throbbing basslines of Murphy and Fisher P's fervent rhythms. There's a sense of foreboding in Hale-Jones' lyrics which sit at the quintet's core -- elegiac, sardonic and piquant in equal measure. A mixture of narrative epilogues and inward paeans, her words weave tales across a broad thematic church. A snaking, existential dread also runs through the album, stated more obliquely in the otherwise poppier interludes of the title track 'Something Looming' and album opener 'Bent Out of Shape', and present too on the comparatively ramshackle 'Discount Centre', where Hale-Jones reports 'On a mini bus on the outskirts of Enfield, I'm losing all of my spark'. On the album closing weeper 'Linoleum Floor', it is laid barer still -- a keyboard-led reflection on the deflating nights out of early-twenties. Marcel Wave invites the listener to dance to society's decline, and then to later weep into its lukewarm pint."
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FEELIT 128LP
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"The Drin forge further into their own captivating world of sound on their fourth album, Elude the Torch. Since 2021, the Cincinnati group has released one strikingly original album per year, crawling closer to the aether with a driving, reverberated rhythm. The Drin's current sextet lineup is at a new height -- loose, yet focused and commanding. Deep layers of saxophone, synthesizer, percussion, strings and opaque environments stir with flickering emotion across Elude the Torch, while D McCartney's nebulous verbiage and grim auguries paint landscapes within the rock 'n roll murk."
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FEELIT 109LP
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"Poontang Twang, Cosmo J., David Kossoff, and Nigel Partridge make up the band Cosmo Jimmy. This foursome hails from a town that has a beaver for the town mascot named Seymour Of Hamilton. The album was recorded at Songgram studios in early 1987, produced by Tommy Marolda (The TOMS, Richie Sambora, Smithereens). Members of Cosmo Jimmy played the local Jersey circuit when they decided to record their song 'Batteries Not Included' for a movie soundtrack project, but the movie was never released. The song became a single for the new Scorpio Records label. The 12-track album was then green lighted to be recorded with song influences ranging from XTC to the Rolling Stones. Using analog recording equipment including Tascam 16 track DBX recorder, Tascam 24 track mixing board, Hammond B-3, Magnatone and Vox guitar amps, Yamaha Baby Grand Piano, Gibson and Fender guitars and bass, Hohner Harmonica, Vibraphone and Ludwig Drums, the album was recorded within a two-week period. Under That Dress was scheduled for release on Scorpio Records - and despite making it all the way to test pressings, the album never saw the light of day. 36 years later, Feel It Records (responsible for recent reissues of Marolda's late-70's recordings as the TOMS) is proud to issue the Cosmo Jimmy album for the first time ever."
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FEELIT 118LP
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"Singularity. A quality that rarely reveals itself in the overloaded data and screen glow of the twenty-twenties. From deep in the heart of Texas, the trio known as Wet Dip are that jarring, lightning strike of sound like nothing before them. Sisters Sylvia and Erica Rodriguez grew up in the arid, isolated Panhandle region of Texas before making their way to Austin and forming Wet Dip with Daniel Doyle. After meeting Caufield Schnug and Lira Mondal of Sweeping Promises during their time in Austin, Wet Dip made plans to venture up to the Sweeps' new home studio in Lawrence, Kansas to record Smell Of Money, their debut album. These nine tracks scream something new. The stark honesty of Sylvia's lyrics and vocal delivery, alternating between English and Spanish, is something to behold. Underneath that, Wet Dip treat us to a no-wave ride into the future. No one else sounds like this. You'd even be hard pressed to notice the renditions of the Pixies Silver and Gloria Trevi's Pelo Suelto in the context of how Wet Dip operates. They reimagine the bland canvas of contemporary Austin into something new, exciting, and jarring. And that's the beauty of Wet Dip, because they do it seamlessly and with a belief in themselves that's not only something to be celebrated, but all their own."
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FEELIT 104LP
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"The artist works in a museum and that museum is rock and roll. In a world of meme punk rockabilly grandads, it's the classicists that really have something to say. Straight lines, hooks, and a clear path to your heart. They might not be dbeat heart throbs, but no one else can give you that feeling that you can hold on to a moment like you are driving too fast down Route 60 and it's never going to end. In 20 years when you skulk the dark alleyways of wherever punk's red fern grows, they won't be talking about Dwight Twilley, the Looks, or the Nerves, they will be looking for a little CLASS." --Tobi Vail and Hayes Waring
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FEELIT 115LP
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"Oh boy, now we're cooking. Now we're in the court of Sugar Tradition. Only a city like their hometown of Detroit could foster such a refined appreciation of rock'n'roll, R&B, and garage punk -- and Sugar Tradition clearly have it. The trio, consisting of Antonio Keka (guitar/vocals), Kevin Irwin (drums), and Arlo Betley (bass) are a complete force of nature live -- contemporaries of the Stools, Toeheads, and 208. They're also fresh off a tour supporting none other than the Detroit Cobras. Sugar Tradition have managed to capture that raw, driving Motor City sound in damn near perfect form on More Sugar, their vinyl debut on Feel It Records. 'Rockin' Baby' kicks things into gear, anchored by a driving piano line that plays off a pounding rhythm section, allowing Keka's guitar and vocals to rule the high end of the mix. There's some tasteful harmonica and tambourine peppered throughout, but it's the raw, fuzzed-out sonics heard best on 'Don't Leave Me' that may just steal the show. Oh yeah, did we mention the roaring rendition of Chuck Berry's 'Come On?' It's all recorded live, too. A stupendous fourteen minutes at 45 RPM. Sugar Tradition are one of the brightest sets of young heads on the face of planet rock'n'roll right now, and More Sugar proves that to a tee."
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FEELIT 094LP
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"A band famous for their unfussy, monolithic anthems, Sweeping Promises elegantly ravage us again with another future classic. They return as a fist of velvet rose petals roaring inside a compact wrecking ball. Gone is the Boston brutalist ambience of their subterranean concrete laboratory and the revelatory single mic recording technique. In its place, a retired and resplendent nude painting studio in Lawrence, Kansas, bathed in light with high ceilings and hardwood floors. Guided once again by their surrounding architecture, a reverb-rich space remains the defining element at the heart of their highly stylized sound. A watery ghost from the golden age of art-punk now wields sharper knives and more microphones. If the mood of HFAWO was hungry, GLICFY is RAVENOUS. In 2023, appetite is addressed in new ways: Power struggles are aired in 'Eraser,' restraints are broken in 'You Shatter,' anguished exclamations sting in 'Good Living Is Coming for You.' The taboo subject of aging is (s)heroically dragged out into the open. Every line is delivered with such joyous, soaring layers that each punch lands like a chef's kiss. Sweeping Promises are Lira Mondal and Caufield Schnug. A chance meeting in Arkansas led to a decade of playing in an eclectic assortment of projects together. Their relentless practice made perfect. Bass playing Lira is an emotive bolt of thunderous energy with the iconic blast of a girl group rolled into one robust throat. Caufield is an intentional guitar player and drummer. No note or hit is extraneous. Together they are meticulous sound engineers, using space as a key ingredient to their distinct sound. Controlling every aspect of their craft, from the first note they write together, all the way through to the final mastering process, each record is an unspoiled fingerprint unique to their dynamic chemistry. Written before the pandemic, Hunger for a Way Out was released on Feel It Records in the summer of 2020. These songs drip with the anxious urgency of a commanding live performance yet their gauzy production transports us like the fading memory of a favorite song. This distorted sense of time resonated with thousands of quarantined listeners who turned the album into a life-saving floatation device and most beloved album of the year. This is when Feel It Records joined forces to divide/unite and conquer; beginning with the 2021 single 'Pain Without a Touch' and now carrying through to Good Living Is Coming For You. The pandemic went on to trigger an absurd chain of events for Sweeping Promises. Under financial strain, Mondal and Schnug uprooted their lives. They surrendered their studio in Cambridge to take refuge with family in Texas. They completed over 50 demos between their Austin bathroom and a Marfa abode, but feeling unsatisfied, they sought another fresh start. When a disused church in Ohio proved too difficult to rehab, they ultimately found lasting inspiration in Kansas. With their home and studio all under one roof, life is music and music is life. Good Living Is Coming For You ultimately reflects being thrust into a severely unpredictable world. A capsized boat isn't entirely bad. In fact, it can be the necessary push toward finding solid ground." --Tracy Wilson (Courtesy Desk)
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