KING GOD’S GUILT “There is a field by my house that I’ve looked at my whole life and it reminds me of something but the way I feel about it now isn’t the way that I’ve always felt about it.”      King God’s music is an artifact of the bedroom. It’s apparent; the ever-present tape hiss, the looseness of the performance, a certain coziness somehow written into the music itself. It’s a comfortable quiet - inviting the warmth of certain sadness felt when you’re just awake enough to notice the shadows move along your ceiling. It is music best enjoyed while driving alone or with headphones on at night.      Guilt’s greatest achievement is its ability to maintain its mood over the course of fourteen songs. Tracks coast into one another without much ceremony and, although the instrumentation often changes, the focus remains consistently on double-tracked acoustic guitar and Pat Brier’s wistful melodies. Written and performed by Brier over the course of five months, Guilt is the kind of honest and introspective record that rewards repeated listening.      Comparisons to Elliott Smith’s self-titled album, Nick Drake’s Pink Moon, and Mount Eerie’s Dawn are all fitting but Guilt carves its own solitary mood that is intimately relatable. King God opens a doorway in the fourth wall inviting you into the same bedroom to ruminate on the gray areas of life for forty minutes.   Pre-order the tape now @ Bandcamp ! (you can stream it there too :) Love, Stereopepadoo
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KING GOD’S GUILT

“There is a field by my house that I’ve looked at my whole life and it reminds me of something but the way I feel about it now isn’t the way that I’ve always felt about it.”

     King God’s music is an artifact of the bedroom. It’s apparent; the ever-present tape hiss, the looseness of the performance, a certain coziness somehow written into the music itself. It’s a comfortable quiet - inviting the warmth of certain sadness felt when you’re just awake enough to notice the shadows move along your ceiling. It is music best enjoyed while driving alone or with headphones on at night.

     Guilt’s greatest achievement is its ability to maintain its mood over the course of fourteen songs. Tracks coast into one another without much ceremony and, although the instrumentation often changes, the focus remains consistently on double-tracked acoustic guitar and Pat Brier’s wistful melodies. Written and performed by Brier over the course of five months, Guilt is the kind of honest and introspective record that rewards repeated listening.

     Comparisons to Elliott Smith’s self-titled album, Nick Drake’s Pink Moon, and Mount Eerie’s Dawn are all fitting but Guilt carves its own solitary mood that is intimately relatable. King God opens a doorway in the fourth wall inviting you into the same bedroom to ruminate on the gray areas of life for forty minutes.

 

Pre-order the tape now @ Bandcamp ! (you can stream it there too :)

Love, Stereopepadoo

THREE MAN CANNON & LEE COREY OSWALD SPLIT 12”

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Three Man Cannon presents five songs, written and recorded in basements and bedrooms, offering gently introspective lyrics with engaging instrumental melodies that reference a vague midwestern sunset. Lee Corey Oswald’s side of the record contains six poetic responses to isolation and frustration by way of maxed out vocals and overdriven guitars alongside a range of front porch instruments.

Born

This is something I/we have been wanting to do for a long time. This will be the place where all music endeavors will be easily available. The idea is that this small little catalog will grow big. Big as oxen. Here’s a photo.