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AAA Music | 14 August 2022

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| On 13, May 2011

Crystal Stilts burst out of Brooklyn’s storied post-punk indie scene in 2008 with a string of releases that culminated in their fantastic debut album Alight Of Night. Deftly combining the spooked 60s Texas psych of 13th Floor Elevators and Red Crayola, the gothic blues/punk howl of Gun Club, the dark, experimental DIYism of early Flying Nun/Xpressway groups and a dash of classic 60s pop by way of early Mary Chain b-sides. Now the release of second album In Love With Oblivion on Fortuna POP! sets the bar even higher as they reach dizzying, fuzzy heights as first class purveyors of haunting, atmospheric post-punk pop.
“Weirdly life-affirming and very fun, Crystal Stilts are moody-sounding fuckers who make fabulous stripped-down, C86-like garage-pop.” (Pitchfork)

THE 1990s
Born from the ashes of cult monkeys Yummy Fur and V-Twin, the Glasgow glam indie rock trio 1990s comprises Jackie McKeown (guitars, vocals), Michael McGaughrin (drums, vocals) and Dino Bardot (bass, vocals). Infused with the spirit of Modern Lovers, Alex Chilton and Lou Reed they quickly became the de-facto soundtrack to every trashy party you can’t remember being at. Debut album Cookies elicited endless critical praise and this was followed by the more technicolor, wide-screen Kicks album, both with ex-Suede guitarist Bernard Butler at the producer’s desk. Since then the group have been holed-up recording their as yet un-named third album with a new single (My Baby’s) Double Espresso on US label What’s Your Rupture out soon.
“The soundtrack to the best party ever.“ (NME)

Building dreamy noir-pop love songs like Alfred Hitchcock built suspense, Sub Pop’s latest signings Still Corners create a kaleidoscope world around them, full of wintry melody, swirling organ, and big drums. Inspired by French film and sixties sound production and influenced by a range of artists from Serge Gainsbourg to Ennio Morricone as well as contemporaries the Cocteau Twins, Broadcast, and Camera Obscura, Still Corners continue to delight audiences across London.
“Sounding like the missing tracks from Broadcast’s The Noise Made By People they couldn’t possibly be more breezy and dreamy even if they were blowing on clothing line in outer space” (Skatterbrain)