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Not to downplay her nod to disorientation induced by double catastrophe — global pandemic plus climate emergency’s colliding eco- traumas resonate all too eerily. “What would be your last gesture?” she asks. But just as Vesuvius remains active, \u003ci\u003ePompeii\u003c\/i\u003e reaches past the current crises to tap into what Le Bon calls “an economy of time warp” where life roils, bubbles, wrinkles, melts, hardens, and reconfigures unpredictably, like lava—or sound, rather. Like she says in the opener, “Dirt on the Bed,” Sound doesn’t go away \/ In habitual silence \/ It reinvents the surface \/ Of everything you touch. \u003c\/p\u003e\u003cp\u003e\u003ci\u003ePompeii\u003c\/i\u003e is sonically minimal in parts, and its lyrics jog between self-reflection and direct address. Vulnerability, although “obscured,” challenges Le Bon’s tendencies towards irony. Written primarily on bass and composed entirely alone in an “uninterrupted vacuum,” Le Bon plays every instrument (except drums and saxophones) and recorded the album largely by herself with long-term collaborator and co-producer Samur Khouja in Cardiff, Wales. Enforced time and space pushed boundaries, leading to an even more extreme version of Le Bon's studio process – as exits were sealed, she granted herself “permission to annihilate identity.” “Assumptions were destroyed, and nothing was rejected” as her punk assessments of existence emerged. \u003c\/p\u003e\u003cp\u003eEnter Le Bon’s signature aesthetic paradox: songs built for Now miraculously germinate from her interests in antiquity, philosophy, architecture, and divinity’s modalities. Unhinged opulence rests in sonic deconstruction that finds coherence in pop structures, and her narrativity favors slippage away from meaning. In “Remembering Me,” she sings: In the classical rewrite \/ I wore the heat like \/ A hundred birthday cakes \/ Under one sun. Reconstituted meltdowns, eloquently expressed. This mirrors what she says about the creative process: “as a changeable element, it’s sometimes the only point of control... a \u003c\/p\u003e\u003cp\u003ecircuit breaker.” She’s for sure enlightened, or at least more highly evolved than the rest of us. Hear the last stanza on the album closer, “Wheel”: I do not think that you love yourself \/ I’d take you back to school \/ And teach you right \/ How to want a life \/ But, it takes more time than you’d tender. Reprimanding herself or a loved one, no matter: it’s an end note about learning how to love, which takes a lifetime and is more urgent than ever. \u003c\/p\u003e\u003cp\u003eTo leverage visionary control, Le Bon invented twisted types of discipline into her absurdist decision making. Primary goals in this project were to mimic the “religious” sensibility in one of Tim Presley’s paintings, which hung on the studio wall as a meditative image and was reproduced as a portrait of Le Bon for Pompeii’s cover. Fist across the heart, stalwart and saintly: how to make “music that sounds like a painting?” Cate asked herself. Enter piles of Pompeii’s signature synths made on favourites such as the Yamaha DX7, amongst others; basslines inspired by 1980s Japanese city pop, designed to bring joyfulness and abandonment; vocal arrangements that add memorable depth to the melodic fabric of each song; long-term collaborator Stella Mozgawa’s “jazz-thinking” percussion patched in from quarantined Australia; and Khouja’s encouraging presence. \u003c\/p\u003e\u003cp\u003eThe songs of Pompeii feel suspended in time, both of the moment and instant but reactionary and Dada-esque in their insistence to be playful, satirical, and surreal. From the spirited, strutting bass fretwork of “Moderation”, to the sax-swagger of “Running Away”; a tale exquisite in nature but ultimately doomed (The fountain that empties the world \/ Too beautiful to hold), escapism lives as a foil to the outside world. 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Take for instance the way album opener 'Dark Flow', whose lilting guitar notes and stately drum rolls drifts with floaty falsettos straight into the tightly wound, breathy lead single 'Pathos y Lagrimas', replete with glossy guitars and an air of sexy mystery. Or the way in which 'Promise Me' switches from peppy, Sarah Records jangle into dreamy girl-group heartbreak in under a minute. Moving from the loose, lo-fi quality of their debut EP 'Sweater Weather Forever' in 2011, 'VPI Harmony' was recorded, mixed and mastered in-studio at Gary's Electric in Brooklyn. The upgrade has done wonders for enhancing the band's sound, and helping to fully realize and emulate their seemingly encyclopedic knowledge of pop production. 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Released in on spray painted CD-Rs, Static Crash's legend somehow grew even as the group fell apart. In 2005 the album was reissued on cassette, and six years later, North Carolina label Hot Releases offered to press up 'Static Crash' on vinyl in an edition, which quickly sold out. Copies finally made it out to music writers, many of whom connected with the music on the very first spin. Off to the Internet they fled, trying to find more information on this group. 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The Goth \/ ethereal duo of vocalist Renee Mendoza and producer \/ guitarist Alex Chesney had built a long, strange and mostly undocumented legacy prior to that release, and 'Never Really Been Into It' extends the tale back even further: ten songs, sketched out in the late '90s, most of which were never completed and remained unheard until now. Rescued from a shoebox of ephemera from the band's earliest days, when Mendoza and guitarist Alex Chesney drifted out of high school and into the uncertainties of early adulthood, these songs were the product of a band whose members had nothing but time and ambition, influence and desire to transcend their humble beginnings. 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Or low, depending on how you like to see things. Using a friend's reel to reel tape player, Cantu employed electric guitar, modular synthesizer, drum machine and concrete sounds from his surroundings at the Headlands, recorded while walking to the studio, cooking in the kitchen, talking with friends, the ocean, films he was watching, driving in a car. Everything was record stereo to tape. The result is gorgeous, haunting and sprawling. 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On his debut EP 'Making Love' (Mexican Summer, 2013) he managed to touch on the new- pop of Orange Juice, the playful idiosyncrasies of Prefab Sprout, with a freewheeling sensibility present in much of the Stiff Records catalog. Above all, 'Making Love' displayed some truly sophisticated songwriting that belied its occasionally haphazard bedroom production and casual delivery. On 'Waxing Romantic', Travis has stepped up the production in a big way, graduating from the bedroom to a full studio environment. Recorded at Gary's Electric in Brooklyn and produced by Jorge Elbrecht the new environment has allowed for Travis' songs to be taken to new, fully-realized heights. The move to the studio also feels very in keeping with the sonic inspiration Travis had for the album, which came in part from memories of rifling through his parents' soft-rock LPs: think Gerry Rafferty, Al Stewart, Christopher Cross, The Eagles. With their warm drums and smooth, clean studio sound informing Travis' sonic palette, it makes sense that Gary's Electric became the venue for the album recording.LP Virgin Vinyl Limited to 1500 copies with Download.\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Black | LP","offer_id":50471002472779,"sku":"383736","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/5fd7eb05-2319-407a-a929-f1ad15b5e1fb_thumbnail_4096.jpg?v=1727387559"},{"product_id":"early-risers","title":"Early Risers","description":"\u003cp\u003eSoldiers of Fortune bill themselves as an 'anti-band,' but despite an aversion to touring or frequent releases, they now release a full-length album for Mexican Summer. 'Early Risers' features a number of notable contributors. Soldiers of Fortune were assembled way back in 2004 by Brad Truax, a touring bassist with Interpol and Spiritualized. The core lineup on Early Risers includes Kid Millions (Man Forever, Oneida), Barry London (Oneida), Matt Sweeney (Chavez, Zwan, Skunk), Jesper Eklow (Endless Boogie), Mike Bones and Papa Crazee (Oakley Hall, formerly of Oneida). Contributing vocalists include Stephen Malkmus, Cass McCombs, Ethan Miller (Howlin' Rain, Comets on Fire), Dan Melchior and more. The album rocks hard with groove, soul and a real edge. 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The outcome - the juxtaposition of unrest and calm, beauty and chaos, truth and fantasy, in the throes of dimed amps and hair-whipping guitar goddess rock music - is as unwavering as ever. But where 'Wait To Pleasure' (2013) balanced textural differences with the freewheeling novelty of the studio environment, 'More Faithful' documents a much more rigorous creative process and performance, one in which the group pushed themselves to new peaks of intensity. All of the record's 11 songs, in whole or in part, jump at the listener with atypical tunings and key changes, tension from odd time signatures and an upfront rhythmic presence, and the force demonstrated in their live show. Listen to More Faithful then listen to it again. There is no question that it's the most forward, throttling record No Joy has made to date, taking their set of influences to the wall in a brazen display of beauty-laced power. At times it's heavier than anything they've done yet, and also their fastest, riffs shooting upward in discord and drifting down in angelic harmonies. Shoegaze and ethereal and alternative rock revivals be damned; 'More Faithful' pushes No Joy to the breaking point. They've leveled up.LP - High quality virgin vinyl. Flood UV gloss jacket with custom inner sleeve. Includes download card. 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She's made a big record, loaded with samples and synth triggers, the result of long nights grinding it out at the Brooklyn studio Gary's Electric, on her own and with Weekend's Shaun Durkan, and producer Jorge Elbrecht (Violens, Lansing-Dreiden). With 'Cranekiss' her sonic palette has exploded with maniacal abandon, pressed into service of a post-adolescent love letter to all the music that she and her collaborators hold dear, drawing influences from the feelings that fell out of her. Lyrically, this is Tamaryn's most personal collection of songs to date, and Elbrecht has placed her voice front and center across the entire record. 'Cranekiss' explores dark rock, dance pop, and glistening melancholy with a uniformly commanding presence across it all, in stormy, unsettled brushstrokes that apply pressure behind Tamaryn's words. 'Cranekiss' represents a long journey, and a new phase - a blood-red kaleidoscope of desire and late night abandon, a bold step forward.\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"CD","offer_id":50471106183499,"sku":"389059","price":8.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/1c576931-c474-4694-b57a-3155e451a9bc_thumbnail_4096.jpg?v=1727391331"},{"product_id":"convenience-1","title":"Convenience","description":"\u003cp\u003e'Convenience' skids like a garbage truck with no brakes, barreling through passages of guitar chording bent at the wrong angles and ring-modded riffs aligning with Benjamin Jaffe's expressive sax before splitting apart into chaos. Veronica Torres assumes double-duty between vocals and bass, while Jon Campolo plays three instruments in the live setting and Andrew Spaulding four, including circuit-bent noise rigs of their own invention. Veronica's words are delivered with the speed and frenzy of someone with their life on the line, but she's also able to slow things down in a gesture of dominance, confidence, and trust. This band is wise enough to know that safety is fleeting, so they take their digs when and where they can. Given Pill's backgrounds, their music advances a notion of what the punk spirit of NYC might be: the capture and distillation of the energy and friction that comes from living amongst so many people in such a confined space. The idea seeds in free jazz and improvisation; reached adolescence in galleries and loft spaces in the '70s; found politics in squats and independent spaces; and it grows stronger the more these several sensibilities are practiced ands stewed. Call them No wave, post-punk, noise; they are immune, content to head off in a direction of their own design.\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"LP","offer_id":50471142588747,"sku":"403175","price":14.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50471144980811,"sku":"403174","price":9.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/8b49f66d-1c0f-416b-bda7-2164e2fdf3cf_thumbnail_4096.jpg?v=1727392979"},{"product_id":"hiding-in-plain-sight","title":"Hiding in Plain Sight","description":"\u003cp\u003eThe third and most seasoned Drugdealer album, \u003ci\u003eHiding In Plain Sight\u003c\/i\u003e, almost didn't happen at all. Frustrated and insecure with his own singing voice prior to the pandemic, Drugdealer founder and primary songwriter Michael Collins was nearly ready to throw in the towel. While attending Mexican Summer's annual Marfa Myths festival, a chance encounter with artist and composer Annette Peacock changed his outlook. Collins says, \"I told her my plight, then I played her a song, and she told me I wasn't singing high enough for my speaking voice. When I returned to LA, I started coming up with new progressions, which I'd modulate up three half steps. It forced me to find a new way to sing.\"\u003cbr\u003e\u003cbr\u003eTaking inspiration from a canon of gruff but soulful rock vocalists like Phil Lynott, Nick Lowe, or even Van Morrison, Collins looks back on his nocturnal meanderings through LA's warrens of bars and clubs. He’s right up front in the mix, detailing a search for love in all the wrong places. AM Gold, down-hard love songs, cosmic country and Rhodes-driven grooves result in the most joyful and fully-realized Drugdealer album to date. Hiding In Plain Sight is the sound of Michael Collins and Drugdealer getting their groove back with guests including Tim Presley, Kate Bollinger, Bambina, Sasha Winn, Sean Nicholas Savage, Video Age, and John Carroll Kirby.\u003c\/p\u003e","brand":"Mexican Summer","offers":[{"title":"Black | LP","offer_id":50471158022475,"sku":"1165437","price":24.99,"currency_code":"GBP","in_stock":false},{"title":"Red | LP","offer_id":50471158645067,"sku":"1165440","price":21.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50471158907211,"sku":"1165439","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/6274e776-4ef3-49dc-8265-61b4193bc66b_thumbnail_4096.jpg?v=1727393563"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/collections\/test_817b3035_thumbnail_4096_aa37dabe-a0e0-41bb-9666-9a54bbcf8768.jpg?v=1726146214","url":"https:\/\/shop.roughtrade.com\/collections\/mexican-summer.oembed","provider":"Rough Trade","version":"1.0","type":"link"}