Scout Niblett’s new EP kicks off with her unique rendition of live favourite “Uptown Top Ranking” (originally a hit on the UK pop charts in 1978 by reggae group Althea & Donna). As usual, she infuses the song with her own signature sense of passion & play, and carrying it all is her incredible voice which Venus magazine described as “a full-bodied caterwaul that could rival Gillian Welch, Neko Case, and even Johnny Cash.” The second song “Dare” is perhaps her most assured step toward pop music, motioning toward the table at the party where Peter Gabriel and Kate Bush are lost in conversation.
It’s been said before, and we don't mind repeating it - Scout Niblett is the sort of visionary that is on her own artistic path. She's one of those rare individuals who is unencumbered by the paths forged by those who foraged through the wilds before her. Her new album is I Am, the much anticipated follow-up to this Nottingham, England-native's debut Sweet Heart Fever (2001). On this dynamic full-length, Scout Niblett (nÈe Emma Louise Niblett) sashays from the three-piece rock songs to solo acoustic ukulele songs to what have become - since her I Conjure Series EP and many tours in the past two years - her signature drum-and-vocal songs. It's her confident vocals and voice as a songwriter which act as the linch-pin throughout the album (as captured to tape by Steve Albini at his Electrical Audio Studio), making the transitions between these styles seamless yet giving the album the pulse of an exquisite corpse, but with one author. Bringing to mind the youthful exuberance of early Noise Addict and Daniel Johnston, and the poetic wisdom of PJ Harvey, Niblett is a true free spirit who creates her own universe in song. Late into the album resides "Drummer Boy", an epic journey which boasts the most gargantuan minimalist guitars to ever be caught to tape. Landing somewhere between Bleach-era Nirvana for its rock and Sonic Youth for its artfulness. The song ends in her shredding her voice amidst a brief calm, which is followed by calamity. Her band features Chris Saligoe (Racebannon, Rapider Than Horsepower) on second guitar and Pete Schreiner (the Panoply Academy, Songs: Ohia, Turn Pale) on drums.
On the follow-up to her much-lauded debut Sweet Heart Fever, Scout Niblett has pretty much wiped the slate clean. A collection of songs that are minimal in their structure and arrangement, but complex in their passion of execution, I Conjure Series is a raw and bold excursion into the poetic universe of a vagabond of the new world. Comprised of seven songs on which she performs all the instruments (four are drums & vocals songs, two are guitar and vocals songs, and one is vocals-only) this mini-album was recorded live in Glasgow, Scotland at Chem19 Studios, just a train ride from Ms. Niblett's hometown of Nottingham, England. A new drummer, Scout Niblett comes from the Half Japanese school of music-making, one which heralds the amateur's capacity for imaginative experience. The result is a record that sounds like it takes as much from Elizabeth Cotten as it does Huggy Bear. I Conjure Series is a playful record, but also a very serious one. Songs are dressed innocently, but bear heavy emotional tidings. Her second full-length is being recorded by Steve Albini in Chicago, IL and is slated for an early 2003 release.
The beguiling Scout Niblett of Nottingham, England, is a somebody who is worth getting to know. First off, she's going to be around for some time; she's not the sort of lass who dips a toe in the water only to opt not to take a swim. Her debut album SWEET HEART FEVER is the first fruit of the artistic partnership with the inventive drummer Kristian Goddard, and is a pretty incredible & grand unveiling of her talent for the songcraft. Bringing to mind the harrowing intensity of PJ Harvey's debut DRY, Scout Niblett's first is an album whose exterior calm is betrayed by a fantastic inner storm -- the likes of which the legions of card-carrying members of the Trans-global Network of Damaged Souls love to immerse themselves in, if only to feel a little more potent & vital for a forty-minute stretch. SWEET HEART FEVER is just such an album that will keep those souls self-medicated. Indeed, the dreamlike landscape on which the fourteen songs are presented has a meandering stream of consciousness feel to it, with conventionally structured songs underscored by a few visceral song fragments that have an unresolved yet wholly intuitive feel to them. On "Miss My Lion", for example, Scout Niblett sings,When we get home / it'll be like a party. / He's learned to move / real slowly. See how we move / sunlit and playful. / We have it all / but I miss my lion. He's already there / waiting to greet me.For someone who can rock as hard as Scout Niblett (her live show is full of Sonic Youth-like discordant freak-outs), it must be said that it came as a bit of a surprise when she went and recorded the slow, moody and menacing SWEET HEART FEVER at Chem19 Studios in Glasgow, Scotland. Sure as hell, she'll turn heads of anyone who's ever raced across a bedroom floor to flip sides of a Sandy Denny & Fairport Convention, Van Morrison, Laura Nyro or even Liz Phair record.
Release date: 09/17/01
Secretly Canadian Logo printed on American Apparel Tri-Blend (50% Polyester / 25% Ring-Spun Cotton / 25% Rayon) T-shirts.25% Rayon) T-shirts.
Didn't It Rain is Jason Molina's first perfect record. Recorded live in a single room, with no overdubs and musicians creating their parts on the fly, the overall approach to the recording was nothing new for Molina. But something in the air and execution of Didn't It Rain clearly sets it apart from his existing body of work. His albums had always been full of space, but never had Molina sculpted the space as masterfully as he does on Didn't It Rain.
Almost 20 years after Jason Molina’s voice first rang out from Ohio, in this brave new world of streaming, the discussion surrounding the resurgence of vinyl rarely includes the 7”. The original and re-imagined underground aural morsels once housed in the format are now buried in digital EPs and embeddable media. The tangible, wax-fabricated evidence of a self-producing culture of creativity has given way to this modern age. But it is our hope that Molina’s unabashed utterances and refusal of trend are honored across the 18 sides of this collection—a thoughtfully resurrected series of tokens to a great artist gone too soon, to hear and to hold, and to live on in those who were there and those who wish they would have been. Gathered within 'Journey On: Collected Singles' are the charming, haunting and — much like the totality of the Songs: Ohia catalogue — elegantly disparate moments lost in the void of limited pressings and merch tables at last-minute shows that Molina often booked mid-tour from payphones across the country. Throughout the band’s storied course Molina’s creative prolificacy often outran the pace and resources of pre-laptop production, which is why the 7” record became an integral component to the dynamism of Songs: Ohia.
We know “Freedom Pt. 2” and “Soul” as the Nor Cease Thou Never Now 7” on Palace Records that, in 1996, breathed life into Songs: Ohia as we know it. Those two tracks cleared the course for the impassioned, front-and-center quaver we’d invite into our headphones over — depending how you count them — seven proper studio LPs, three EPs, and numerous singles and tour-only releases during the life of Songs: Ohia. “Cabwaylingo,” the captivating acoustic opener of the 1997 self-titled “Black Album," memorable in its flourishes of brushed drums, meandering banjo and of course, that voice, is resurrected here as “Vanquisher,” a haunting 1998 reimagining in which Molina convinces us that there are “fewer greater former ghosts” over gentle electric guitar lines as clear as his hushed-yet-confident oration. The beloved “Lioness” reappears with the addition of Molina collaborator and comrade Jennie Benford of Jim & Jennie And The Pinetops, lending a powerfully somber layer to “the look of the lioness to her man across the Nile."
These are but a few of the gems mined from the caverns of the Songs: Ohia singles spanning the six years until Molina’s hushed formation of the Magnolia Electric Co. It’s here we relive his generous and honest performances, his humor and his heart. These aren’t the maudlin ramblings so often pegged in the press, but the triumphant tales spun from the mind of an ordinary Midwestern man as goofy as he was fervent, who was able to execute an extraordinary body of work in a short amount of time.
Custom 7" turntable adaptor with the iconic Songs: Ohia crossbow logo lazer-etched in wood. Previously included in the now out-of-print boxset 'Journey on: Collected Singles.' Available as a stand-alone item while supplies last.
The hallmark of Jason Molina's career, Magnolia Electric Co., is both a confluence of all he would create and a line in the sand to mark a shift in his songwriting approach. It was the last statement under his iconic Songs: Ohia moniker, and the moment before he began making new legends as Magnolia Electric Co. for the next 10 years. Now— here at the end of that decade — with Molina gone, his work gathers more weight and meaning. This expanded 10-year anniversary edition of Magnolia Electric Co. features one never-before-released track plus many rarities. The full-band studio outtake of fan favorite "Whip Poor Will" is a sweet and spare version that ended up being played far differently on Magnolia Electric Co.'s final album Josephine (2009). Also included is the studio version of "The Big Game Is Every Night." Previously only available on the Japanese version of the album, this opus serves as Molina's thesis statement, its poetry weaving through the 20th Century, through art and sporting culture — ultimately questioning what it means to be an American in the autumn of the American Era. The edition also gathers Molina's gutting demos for the record, including those two outtakes. Nearly each begins with audible sound of the RECORD button being pressed down on the tape player. They are so close and intimate, it's hard to look them right in the eyes. But you should.
Secretly Canadian is proud to announce the 15th Anniversary reissue of a Songs: Ohia classic, the Hecla & Griper EP, now appearing for the first time on vinyl with previously unreleased bonus material.
After spending the summer of 1997 on the road, Jason Molina and Co. headed into Bloomington, Ind. studio The Grotto with producer Dan Burton and layed down these eight songs. Odes to the love of loss and reggae friends. If you have ever found the other pillow empty in the morning, this is what you need to dry your tears. It also features a Conway Twitty cover.
This vinyl reissue contains two previously unreleased Songs: Ohia tracks ("Debts" and "Pilot & Friend") and alternative versions of two songs that would later appear on Songs: Ohia's Impala ("Hearts Newly Arrived (Hecla Session)" and "One of Those Uncertain Hands (Hecla Session).
NOW AVAILABLE: Secretly Canadian is excited to release this long-unavailable, sought-after release.
The Ghost is a dark affair.
As a matter of content, its themes are bleak, on the verge of total blackness. Loneliness, alienation, desperation, and dark, anxious nights. As a matter of atmosphere, the album is even darker. Surface noise has never been so important to a record’s mood and tone. Yes, it sounds like it was recorded on a highway, but this is a dark fucking highway at a lonely, desperate hour and the only set of keys you have are those to the car that won’t take you any closer to home. It’s dead and you’re scared and totally alone. It’s just such an occasion that Jason Molina sings and plays of in a roundabout way on The Ghost. Recorded in one day direct to Jason’s boom box with the tiny little microphone, this brand new batch of songs was written in a very short period in the early months of 1999. For Jason, fidelity was never an issue, in fact it was a tool. The boom box’s inefficient battery-powered motor is just as integral to the recording as the vocal and guitar performance that occurred that February afternoon in Jason’s room on his day off of work. This recording may be noisy but it is not a demo. It was originally made available in limited quantities—to be sold on the Songs: Ohia tour of the East Coast with Drunkin the Spring of 1999 and the European tour in the early Summer 1999, however Secretly Canadian recently discovered enough parts of this release to resurrect it one more time.
Never has a Songs: Ohia album's process been so integral to its overall feel as is the case with DIDN'T IT RAIN, the band's sixth proper full-length. The album, like the working class South Philadelphia neighborhood in which it was birthed, has a real used goods kinda feel to it. Engineer Edan Cohen employed what some may consider "old-fashioned" recording techniques -- the entire album was recorded live with no overdubs, the full band playing in one room with the players always within arms' reach of one another; singers Jason Molina, Jennie Benford and Jim Krewson (the latter two of Jim & Jennie And The Pinetops) sharing microphones singing live together, sometimes sitting in chairs, sometimes standing. The result is a sound which resembles the warmth and personality of the classic Muscle Shoals Sound recordings of the early- to mid-70s: Willie Nelson's PHASES & STAGES, the Rolling Stones' "Wild Horses", and others by Aretha Franklin, Boz Scaggs, Bob Seger, Lynyrd Skynyrd and Wilson Pickett.
Inspired by the Mahalia Jackson song of the same name, the title track is a beautiful song about the shifting tides of life and the old cycle of "a lot of shit going down before shit clears up". It's a damn fine place to start an album that seems in no hurry whatsoever to make a universal statement, instead perfectly content to walk its own path toward resolution. And damn if Songs: Ohia principal songwriter Jason Molina hasn't gone and created a record that is even more intensely personal and healing than any of his previous works. Neil Young had his AFTER THE GOLDRUSH, this is Molina's DIDN'T IT RAIN. Indeed, this is the album with which Molina really leaves his mark as a serious songwriter and artist. On 1999's genre-bending Ghost Tropic full-length, Songs: Ohia made it clear that it could make a cohesive album that took its listener on a journey from front to back. Its dislocated feel set a haunting tone, and its largely instrumental and drone-like quality was the process of the Ohia eluding itself and its own tendencies, searching for the underside of its roots freshly yanked. With DIDN'T IT RAIN, Molina & Co. return to the beauty of the song form and offer up a startlingly soulful and introspective song cycle in which Molina -- accepting a comfortable degree of anonymity amongst the other players -- meditates on what it means to feel rooted again (in the city of Chicago, where he's called home for the past three years), sounding more sturdy at his core than ever.
The sound movement on GHOST TROPIC will seem sudden to some; without warning. To others, it'll seem a very logical step in a very foreign direction. On its fifth proper full-length, Songs: Ohia has stepped outside the box and has delivered its most subtle record of fantastic depth to date. Indeed this is the most cohesive and "album-like" Songs: Ohia has ever been. The eight songs on the record sprawl out into one another, telling one long sonic tale, allowing very little room for chapter breaks or piss stops. In this regard, Lou Reed's moody classic BERLIN comes to mind as a worthy fore-bearer. But it's the strange ethnic flavor in which GHOST TROPIC is steeped that makes it stand apart from its predecessors, albums which were all received as crossing guards for the Great American lost highway. Surely this album will leave those expecting such fare scratching their heads. Blending the electro-acoustic minimalism of the David Bowie and Brian Eno Trilogy with the percussive worldliness of Tom Waits' SWORDFISHTROMBONES, the group seems to hop the globe from a British Isles folk rock influence to an Ennio Morricone-like Spaghetti Western feel to the faintest echoes of the Chinese Classical ringing like a death murmur in the distance. And the songs, they build in a slow, unconscious manner, pulsing with an intensity, but never betraying their most simple core with too much instrumentation or calculated progression. Yea! GHOST TROPIC is the first album which reveals Songs: Ohia's own Tropicalia Blues in full bloom.
But what has brought Songs: Ohia to this critical juncture? Perhaps it is purely circumstance -- that four men were brought together to play as bedfellows for a week on the great plains of Nebraska. Acted out and recorded at the Dead Space Recording Studio in the state's capital of Lincoln, GHOST TROPIC was performed by principle Songs: Ohia songwriter, singer and guitarist Jason Molina; Appendix Out principle and Ohia alumnus (having played on THE LIONESS) Alasdair Roberts of Glasgow, Scotland; Lullaby For The Working Class drummer and new Ohia recruit Shane Aspegren; and engineer Mike Mogis of Lullaby For The Working Class and Bright Eyes.
Opening with an epic and ending with a little spartan ode, THE LIONESS is songwriter Jason Molina's fourth and most dynamic and empassioned full-length album to date. Recorded at Chem19 Studio in Glasgow, Scotland, with his Glaswegian friends Aidan Moffat and David Gow of Arab Strap, and Alasdair Roberts of Appendix Out, as well as with Songs: Ohia veterans Geof Comings and Jonathan Cargill, it is, on its exterior, a much darker affair than each of its predecessors. Perhaps it was the Scottish weather and company which gave it such a feel, for at the core of THE LIONESS, there is a warmth and tenderness unmatched by previous Songs: Ohia recordings. Indeed, this is a dark and sultry record, but not a melancholy one. While the last Songs: Ohia album AXXESS & ACE was an album which revealed many of the painful truths about love through its loss, this is an album about the beauty of love as seen from its rich foundational and experiential stages.
Songs: Ohia is Jason Molina. On Axxess & Ace he is assisted by Geof Comings (Party Girls), Michael Krassner (the Lofty Pillars, Boxhead Ensemble, Edith Frost Band), Joe Ferguson (Pinetop Seven), Dave Pavkovic (Boxhead Ensemble), Julie Liu (Rex) and Edith Frost. It was recorded by Krassner at his Truckstop Studios in Chicago. What resulted was the most full-sounding Songs: Ohia record to date. Liu's aching violin playing with Molina's desperate vocals transport the songs to great depths.
"There is no bullshit on this record. It's a love song record, so I wrote as directly to the point as I could. There is nothing snarling or cynical anywhere on the record. It is not invented stuff either. It's a desperate record, it's a jealous record, it's an imperfect record. It is also as incomplete as a man. This record wasn't made to rid me of any doubts or to heal me. The end result should show a man, anxious to learn, anxious to share, anxious to curtail all that is selfish. A note about the record as physical fact: it was done almost entirely live and first take. None of us were paid and the musicians all heard these songs for the first time on the day we made the record. Needless to say we could never have predicted the range and the urgency of this record's atmosphere. We are all very proud of this new Songs: Ohia record Axxess & Ace."
The fabled second Songs: Ohia full-length, originally released in 1998 on cd by Happy Go Lucky and lp by Secretly Canadian, will enjoy a re-release by Secretly Canadian this August. The new version of the cd will have expanded artwork and will be widely available around the globe. Still available on LP as well.
Lorain, Ohio; it's a tough place to grow up. You either escape or you don't. Given the industry that exists (or existed) there - the steel mill, Ford plant, and shipyard - the mix of people is like none other. One thing is for sure though, it's blue collar through and through. What's this have to do with a new release from Songs: Ohia? Well, Jason - main Songs man, like myself, grew up in this god-forsaken hole of a city and as much as you can leave the city, it never leaves you.IMPALA offers further testament to the songwriting talents of Jason Molina. The 13 tracks contained herein offer a glimpse into the soul of a man burdened with trying to exorcise the demons of life, loss, and subsistence. This isn't something one can fake. It comes from growing up with the knowledge that the factories your parents worked in are not an option for you and that your only real option is to try and get out (easier said than done).
Paired down to only Jason and Geof Comings for this release, the tracks on IMPALA are simultaneously the sparsest and most textured yet to be released by the band. Consider this to be the most honest and strongest release yet from Songs: Ohia. Our suggestion; Head to the local Knight's of Columbus, grab a seat at the bar, order a Genesee, and drink away your pay check to this one. That's what they're doing in Lorain.
On the eve of the release of the first release by the Jason Molina-fronted Magnolia Electric Co. (a double-live album which will be available in stores in January 2005), Secretly Canadian is proud to make three classic Songs: Ohia albums available to the public on vinyl for the first time in years. The self-titled debut full-length (1996, Secretly Canadian) is a classic, standing as a beacon shining through the storm for what we call today, in 2004, "new folkies". Out of print on vinyl since mid-1998 (originally released in two pressings of 500), it will come in a stunning triple-gatefold jacket which includes expanded artwork as well as the bonus song which is not on the CD version but was on the vinyl editions. Also being repressed are Songs: Ohia's third album Axxess & Ace (out of print since its release in March 1999) and fourth album The Lioness (2000, Secretly Canadian) — the latter being widely regarded as one of Molina's finest albums.
Whether it's someone searching or someone who doesn't want to be found, we can't help but be drawn to the drifters. Steven A. Clark is that next stranger to roll into town, a restless artist recasting R&B. He's a straight-talker in a genre filled with wish-fulfillment, whimsy and cliched beats; think the Outlaw Josey Wales raised on N.E.R.D. and 808s & Heartbreak.
A lone wolf in a world of ego and fantasy-driven R&B, Steven A. Clark makes music from a place that is personal yet universal, mining his own experiences with love and heartbreak to create songs that are inherently relatable. Raised in the '80s and '90s - a time when artists like Michael Jackson, Sade and Seal were shattering music's racial boundaries with their distinctive sounds and global appeal - Clark makes music for that same utopia, but with a distinct, contemporary twist.
"My music is real because it has to be, it's about my life because it has to be," Clark says of his approach. "I don't see any other way."
Born in Little Rock, Arkansas, Steven A. Clark grew up in Fayetteville, North Carolina, a military town best known as the home of the Army's Fort Bragg. Naturally introverted - he was named "Most Quiet" in his high-school yearbook - Clark found his outlet while studying at North Carolina's High Point University; music took hold of his focus.
Sensing that his artistic opportunities in small-town Carolina were limited, Clark chased his ambitions to Miami and began to explore and challenge his boundaries. The creative result of this period was an EP called Stripes. While Clark was gaining musical footing, he found himself on a personal precipice, falling in and out of love. He channeled the emotions from that relationship and subsequent breakup into his next release, Fornication Under Consent of the King. Behind the playful, suggestive title was an even more mature and coherent effort, bonded by Clark's own ethereal production and frank, inward-looking lyrics.
After some time in the studio and much soul searching, Clark is stepping back out with LATE a 3 song EP for Secretly Canadian. As with previous releases, Clark wrote all of the music and self-produced the majority of it, bringing in composer Sam Hyken to add string arrangements to songs such as "Lonely Roller" and "Just Ride." Dancing in the spaces between a young Peter Gabriel's transparent, generous vision for musical pop art, and Anthony Hamilton's classically tinged R&B, LATE is just the beginning for Clark, a prelude to his fresh, captivating perspective.
"I'm growing as a musician but in the way I live my life, I'm still kind of wondering and searching," Clark says of the new project. "I still feel like I have to share this part of my life... These records are a personal story of true love for the first time, and not being ready for it, and not wanting it. They embody how I feel about love, and my approach to life and making music."
Images du Futur builds upon the intensity of Suuns' 2010 debut, but often does so through new textures and subtler dynamic maneuvering. Album standout "Edie's Dream" begins with a single bass line repeated from which layers build & rise — first drums, then a wash of white noise; echoes of guitar, then chanted vocals. The song's clever shifts are jazz-touched and delicate, almost subliminal. It all makes for a stark, skeletal boogie — more an astral projection than a song. "Edie's Dream" exemplifies the restraint of which Suuns is capable and works to make the unhinged moments all the more devastating.
Lauded by Pitchfork and NME — the former saying "few bands this young are operating on quite this scale, and fewer still have the brass-- and the patience-- to pull off a big, glitzy, complex record like Zeroes QC," and the latter declaring them 2011's Best New Band — Suuns have deepened their approach, using minimalist techniques to create maximalist works. Produced once again by Jace Lasek from Besnard Lakes, Images blasts out of the gate with "Powers of Ten," laying out a sort of manifesto for the record in the very first lines: "Got it together/I read in the paper/all of theses strangers/stranger and stranger.../No, no, no, no, how you try and remember/how all of these pieces/all fit together." Shemie says of the process, "As a band we were trying to look at our music from further and further away, seeing more details in the picture as we expanded the landscape."
With a couple weeks off this summer in Montreal, we thought we'd take a crack at a few new songs. Stark and futuristic, these are extended jams that may or may not materialize as condensed versions of themselves on records to come. Open air textures, repetition and exploration were the name of the game for us on this one, and the finished product is a refined mining of the ideas that came out. "Bambi" is a creepy story of love lost and found, while "Red Song" is just that: a song about color.
Montreal’s Suuns possess a rare trait in rock music: restraint. They use it like an instrument, which makes their debut full-length Zeroes QC as unsettling as it is wonderfully exasperating. It’s immediately apparent in album opener “Armed for Peace,” a track that starts off like a robot breaking down in a hot desert; the song’s mechanic beat plods like iron-shoed footsteps as the melody of a wheezing synth mirrors the crackling sound of old transistors and circuitry being cooked in the sun. It’s deceptively lulling, the tension almost unnoticeably wrenching up and up until the track unexpectedly opens into a barrage of nose-diving guitar riffs and crashing drums – yet the band still stays locked on the song’s linear, forward-motion direction.
Zeroes QC is a warm yet dark, propulsive collusion of pop, post-punk and experimental rock – one that allows the group to musically shapeshift without losing any of the sense of tension and unease that runs throughout the record. During tracks like “Gaze,” tightly wound guitars and bass ring and buzz atop Liam’s metronomic, powerhouse drumming, with Ben’s cool, detached vocals acting as a nervy counterweight as he delivers falsely assuring lines like, “Don’t you be yourself, you are someone else.” Often his close-miced sing/speak is as metronomic as it is melodic; in “Arena” Ben’s rhythmic “What-choo, what-choo”’s are reminiscent of Suicide’s Alan Vega as he leads the band’s death disco groove into a bloodbath of razor-sharp guitars, while his icy, hushed delivery in “Sweet Nothing” is almost as motorik as the song itself. Most impressive, though, is how Suuns effortlessly sculpt memorable pop songs from experimental building blocks, frequently using noise and space as actual hooks. All of this amounts to a great first album – one that is as timeless as it is thrillingly modern.
Back in November of 2012 Suuns and close friend Radwan Ghazi Moumneh of Jerusalem In My Heart spent a week in a Montreal studio creating a collaborative album pulling in their two distinct sounds into one set of fluid and trippy recordings. These songs were not heard live until over a year later at Pop Montreal in 2013 which jump started both sides' efforts to finish this truly unique record.
More than two years later now we are proud to present the final product, a self-titled collaborative album from Suuns and Jerusalem In My Heart out April 14th.