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Autofare is an explosive and catchy new EP that marks the debut release for production outfit/live band Jaded Lover as well as True Mother Records. From the opening chords and claps of “Agent Provocateur” to the nostalgic synth washes that close out “Synthony of the Night,” Autofare is an immaculately written and produced trip through indie-dance and electro-house with a healthy dose of “the French Touch sound” to boot. Four of the five instrumental tracks sounds like updated, fresh takes on Alan Braxe and Cassius while “Crack The Whip (Instrumental)” is somewhat of a departure, taking its cues from the melancholic guitar-led stylings of The Cure and Interpol. All of the tracks are wholly and delightfully pop with synth hooks that latch on for days, and they all sound great thanks to one Abbey Road Studios on mastering duties. Autofare is an incredibly strong first outing for both Jaded Lover and True Mother that’s speaks to a fruitful band/label relationship that’s set to aim for the stars together.
True Mother is proud to announce another EP from the production outfit with bonus live band, Jaded Lover. “DISCO!” basically does what it says on the tin: catchy dance music flecked  with an organic yet polished modern take on the aforementioned genre that’s destined for the dancefloor. The A-side, the eloquently titled “Bowels Of Disco,” is chock full of cosmic vocals, synth pads, and guitar looks that hook straight into your skull as you bop along to it. “Theme To Brian James” is sexy and playful while “The Summer, The” rounds out this release with epic, rushing euphoria set to something akin to a giddy metronome.
True Mother’s indie-flecked Jaded Lover production duo return with Ex-Post Dishes, a single that was vaguely inspired by Pulp’s infamous “Dishes.” Beyond the title though, the similarities to Mr. Cocker’s domestic musings end as New Wave guitar, synth, and drums mesh with the vocals to create the already hook-laden label’s catchiest tune yet. An obsession with avoiding reality and heartbreak through the city’s nightlife are touched on, seemingly upbeat at first yet turning desperate and melancholy by the last chorus. It’s a universal theme that we can all relate to. The instrumental version lacks the darkness of the original’s lyrical content and comes across as much more of a frivolous, yet meticulously produced, underground pop song. Mikey Dubs returns with his signature spaced-out dub aesthetic that turns Ex-Post Dishes on its head in a positively haunting way that’s heavy on the bass. Connie and Elon’s mix is orientated for the late-night hours of the club by pairing subdued ambiance with a driving tech-house beat. The perfect antidote for those who “can’t bear to stay in.”
After a string of successful singles, EPs, and live shows, Jaded Lover is finally dropping its eagerly anticipated debut LP on True Mother. The journey from production duo to live band has been a constantly evolving process for these guys; both sides of the spectrum have deeply influenced each other and the songwriting process through their different approaches. “Nite Moves” is a culmination of this set over twelve exciting tracks. Many of the group’s singles and live mainstays are compiled in here, including the disaffected uber-cool “Ex-Post Dishes” and the skittering electro of “Snake Of Fire.” “Crack The Whip” is a guitar-led melancholic number with an apocalyptic breakdown that showcases a darker side of Jaded Lover, and “White Pelt” carries the same torch as it brings “Nite Moves” to a somber, introspective close. “Danglethon” pairs a reverb-drenched, pining vocal with a dancey bassline as one of the album’s standout singles alongside the delightfully catchy-as-f* synth-pop of “Time Enough.” Not to be ignored, “Lunar Plexus” brings a touch of the new wave to the party. Meanwhile, a few more disco-flecked, whimsical instrumentals round things and all serve to help strengthen Jaded Lover’s finest and boldest statement yet.
Who here loves John Carpenter’s movies as well as True Mother darlings, Jaded Lover? If you answered “yes” to both then you’re going to love this duo of Carpenter covers from these producers. “The Thing Expands” is based on Carpenter’s “The Thing,” and adds an ominous kick drum while swapping out Ennio Morricone’s string arrangements for analogue synth squelch that’s as cosmic as it is foreboding. “Assault On Precinct 13 (Jaded Lover’s Ballad Of Little Kathy Version)” gives a similar treatment to the original theme from “Assault On Precinct 13,” and links the past with the present in a fine musical pairing.
Is there time enough? There certainly is for the latest single from Jaded Lover on True Mother Records. The production duo turn out their catchiest synthpop number to date with a series of hooks and licks that are sure to stick in your head long after the clock runs out on this track. Matt Wells delivers a deliciously disaffected, far-away vocal drenched in effects that questions the relevance of the proverbial tick-tock with blasé coolness. The instrumental version bring the various melodic intricacies within the song to the forefront as its simplistic, toe-tapping bass-line plays on. New York’s own Dave Rosario along with True Mother label-mates Connie, Mikey Dubs, and Potions form a mighty tetralogy of wildly different remixes to flesh things out. Dave Rosario brings smooth tech stylings to his “Shaved Hammer Special Mix”. Easy to draw and a killer on the dance floor, pull this baby out late in your set for sure fire dance destruction. Connie’s remix has a sparse sexiness and an off-kilter wonkiness in full effect, making it perfect for day parties and murky after-hours. Mikey Dubs stays true to his namesake as he draws heavily on space, delays, and Jamaican-influenced rhythms to craft a seriously chill version of “Time Enough” that’s as versatile as it is good. Potions goes for the jugular with an epic, cinematic number that clears most of the original’s motifs out of the way as well as completely re-vocalizing the track to sound completely different. So, what is time anyway?
While True Mother and Jaded Lover’s first release leaned heavily on electro-house instrumentals, both the label and band have chosen another, more serious aspect of their sound to highlight on their sophomore outing. “White Pelt” is a markedly somber single that features mystery vocalist Starlore and is backed by four distinctly different remixes from various members of the band. The main single White Pelt (Starlore Vocal Version) still sounds like a Jaded Lover production, but it picks up where “Crack The Whip” left off on their first release. Layers upon layers of synths ebb and flow throughout the track as Starlore provides a highly emotional vocal of a woman finding her inner strength amongst obstacles. ReSolute resident Connie Yin serves up another ambient remix – “Sunrise Mix” – that’s slightly more directed at the dancefloor while her second “Sunset Club Mix” is an upbeat, peak-time floor filler destined for some big rooms. Closing the single out is the arresting Amunet Shah psybient remix that heavily filters Starlore through her sparse and hypnotic journey. White Pelt is a statement from both band and label that they refuse to be pigeon-holed to one sound or style as well as a further exploration of their darker sides.
The Jaded Lover production duo are back, and this time they each apply the remix treatment to a catchy new ditty featuring Marc Nelson on vocals, who is the executive producer at The Alley Recording Company in Valparaiso, Indiana. The Little Lord Fauntletron mix serves up a modern, sparse new wave vibe with a hint of sadness throughout that culminates towards the end. The second mix, entitled We Built Her And She Left, takes its cues from a John Hughes/Pretty In Pink prom vibe with it’s 1980s synthpop bounciness.
Although many of you have heard Matt Wells’ artistry in the many musical projects that he’s involved with like Jaded Lover and Such Pretty Losers, the producer and True Mother owner is finally coming into his own with his self-titled solo project. Free from any previous collaborative confines, “Jazz Daleks” is Wells’ most left-field yet focused work to date. Unnerving noise and vocals mix with slightly bonkers instrumental arrangements and booming percussion in a cohesive way unique to his singular artistic vision. If he’s “… just f*cking around” like the lyrics to “A Big Day” go, then we hope he keeps doing it because it’s awesomely dark and weird.
True Mother’s next release comes from Potions, aka Chris Doria – one half of the initial production duo behind Jaded Lover. The At The Dunes EP consists of four original tracks, two vocal versions, and one additional remix. Samples of lonely maritime gales usher in the title track, which pits detuned pads against bass and guitar with a soft, seaside lilt. “Call Of The City” slightly picks up the pace and unfurls into an infectious, head-nodding and toe-tapping, synth-pop instrumental. Third track, the hilariously titled “Lawn Mowers At Night,” draws heavily on Potions’ sombre guitar tones over a bed of electronics while “A Familiar Friend” is a slow burner that layers up quite nicely. Such Pretty Losers, another group from the True Mother roost, lend their vocal stylings to “Lawnmowers At Night” and “Call Of The City” while staying true to Potions’ aesthetic. Finally Sean Malloy’s take on “A Familiar Friend” brings it firmly into the rock realm with fuzzed out bass and full drum-kit. The eclecticism at play on At The Dunes EP is daring and impressive, and raises the bar for the label as its most complex release to date.
The latest album dropping on True Mother comes from Potions, aka Chris Doria, who is also one half of the production duo behind label-mates Jaded Lover. Previously a minimal techno and IDM producer under past guises, Potions first cemented himself with last year’s strong “At The Dunes EP,” and “Mother” is a continuation of this under the more complex and mature setting of an LP.  Although mostly instrumental, plenty of standout tracks shine through on this release. There’s the glimmering fanfare of “Sun Vow,” popping slap-bass and melodic hooks of “It’s A Policy,” and the off-kilter whimsy of “Heart II” for starters. “When We Saw The Strange Lights” and “Everyone’s Girl” explore Potions’ deeper side with their sprawling pads while “Heart III” brings “Mother to an epic, detuned end.
The latest album dropping on True Mother comes from Potions, aka Chris Doria, who is also one half of the production duo behind label-mates Jaded Lover. Previously a minimal techno and IDM producer under past guises, Potions first cemented himself with last year’s strong “At The Dunes EP,” and “Mother” is a continuation of this under the more complex and mature setting of an LP.  Although mostly instrumental, plenty of standout tracks shine through on this release. There’s the glimmering fanfare of “Sun Vow,” popping slap-bass and melodic hooks of “It’s A Policy,” and the off-kilter whimsy of “Heart II” for starters. “When We Saw The Strange Lights” and “Everyone’s Girl” explore Potions’ deeper side with their sprawling pads while “Heart III” brings “Mother to an epic, detuned end.
Hot on the heels of a few EPs out on True Mother, the crazy kids behind Such Pretty Losers are back with a full-length album full of their trademark misfit mayhem. The trio start by compiling some of their favorite previously released tracks like the sexy, brooding “As Long As Moggy Can Dance” and “Our House That Never Was” with its epic builds and yearning vocal duets. New tracks like “The Assassination” explore a softer side to the group; the undulating piano and aching vocals move into heartstring-tugging territory much like on the more synth-based, haunting album closer, “The Time Between.” “Sapphire Blood,” and “Commanding Heights” pair bass and guitar against each other in soft counterpoint, with elements of The Cure, The Smiths, and New Order throughout. Fantastically written and even more meticulously arranged, “Death Pays Cash” traverses new wave, synth-pop, goth, post-punk, and beyond to become a sound that’s all its own. Not too shabby for a group of self-professed losers!
Such Pretty Losers, True Mother’s elusive trio of societal outcasts and trouble-starters, are back with Our House That Never Was. This EP contains two original songs backed by three remixes from members of the wider True Mother family. A slow, hazy build-up kicks off opening track, “Our House That Never Was,” and unfurls into woozy synthpop steeped in Such Pretty Loser’s quirky sound. Vocalists Morgan and Timothy take turns trading off lyrics on love and cosmic passion broken up only by a guitar interlude. “Means To An End” is the more somber of the two, putting sparse electronic toms and bass guitar at the forefront alongside heated, gut-wrenching singing from both Timothy and Morgan about the darker, lustful side of relationships. Two of the EP’s trio of remixes comes from Brooklyn’s Mikey Dubs, who has a host of releases forthcoming on True Mother as well as being the man on bass duties in the live band version of Jaded Lover.  He joins forces with the Jaded Lover production team on the South Stoney Mix of “Means To An End” on something that can only be described as New Wave Trap. Have a listen and see for yourself! Mikey Dubs’ Acid Bath remix of “Means To An End” is more reminiscent of the producer’s solo productions with elements of the deeper side of house and, honoring its namesake, a burbling acid line throughout. Las Vegas’s Euro Trash Collective rounds things off with their pumping remix of “Our House That Never Was” chock full of the cavernous, electro-house sound that can often be heard in afterhours hubs across Sin City.
Next up on True Mother is the Park At The Church EP from Such Pretty Losers, a mangy trio of aesthetic misfits who are hellbent on championing their self-proclaimed “classically trained electro-magic” sound unto to the masses. Not much else is known about them, but they consist of Matthew (of the Jaded Lover production duo,) Morgan, and Timothy, and serve up a stark departure from True Mother’s synth-heavy tendencies over three original tracks. “Park At The Church” features Morgan’s husky, haunting vocals over sparse toms and guitar. It has a strong Siouxsie and the Banshees feel to it wrapped up in a modern electronic production style. “As Long As Moggy Can Dance” is slightly more upbeat, but still relies heavily on moody guitar warblings and sees Timothy take the lead on an infectious, vibrato-drenched vocal. Post-punk and indie vibes reign supreme on “What About Her” as bass and guitar take center stage over a series of rock rhythms. The Cure instantly comes to mind on it as well as all the best bits from that brooding, gothy alt-rock period in the ’90s. On the remix front, True Mother brethren Potions imbues “As Long As Moggy Can Dance” with his lilting synth-pop touch. Svast & Drala, who are about to open up a premiere afterhours spot in Las Vegas (After), turns the EP’s title track into a dark and churning club burner best suited for the wee hours of the next morning.
Jaded Lover return with a pop off across the sheets paean to pornography. A sly, slick sing-a-long, “Watching Porno Feat. SaraJeanne” transmits a generous jerk of electro-static pop. The tight, laughing vocal from SaraJeanne lips the saucy sippy cup with glee. The backing track glistens with unabashed bravado, washing the dirty with a bright neon sunshine. The whole sordid affair is a giggling laugh along dong song. Irresistible. Touch it.  Jaded Lover’s end of summer single wiles away the boredom with a Double Remix Jack Pack! Jaded Lover’s EXTNDZ Mix brings the track forward with a throbbing retro bass that positions the vocal in a 70’s panelled rec room. A sweaty afternoon work out that expands from the gleeful tight single into a reach for the ceiling bum thumper. Dirty fun is always the most fun. Connie Y’s Werk It! Jerk It! Mix brings a more back hallway “you got caught and I’m telling” vibe. Staggered vocal samples and a climactic break rewind the tape with a dirtying the fresh sheets romp. Wet squelches shoot through a clear crisp slap and the track becomes a squealing mess of fun that spills out in the living room. Don’t just stand there. Invite your friends!
New York’s Autodrone releases its second album, “This Sea is Killing Me”, on True Mother Records. Produced by Autodrone and Boone McElroy at his Manhattan Desert Park Studios, the album is a darkly powerful, emotive mix of chaos and harmony, organs, noise and flowing riffs that come together as a compelling, bizarrely beautiful nervous breakdown that leaves its listeners underwater. Formed in NYC in the 00s, Autodrone draws upon their collective psychoses, heartbreak and morbid interests to meld together a sound that incises as much from post-punk and psych rock as it does shoegaze. Unlikely waves of redemption flow from cacophony in this album. Opening track “49:51” takes listeners down a confrontational, if not often painful, sonic rake through hell; only to be followed by “Corvus,” with its dense, almost baroque organ carrying you off on the namesake “Sea”, and flows through the entirety of the LP. “We sought to mine our psychedelic rock influences for the first time and truly reach back further in time than any of our previous recordings,” guitarist Jeremy Alisauskas said of the album. “We incorporated more vintage techniques and instruments from the 1960s and 70s in the studio.”
“The Stealing Thin” is a blissfully nostalgic shoegaze affair that leans on heavy doses of grating dissonance and walks an artful tightrope between Simple Minds and the ghost of Ian Curtis resurrected.  “During a walk just past dawn in a small Indiana town, I came across some magazines on display in a window,”  says Skulking Swamp’s Chris Blank. “On one there was a guy, with this enormous plastic grin on his face, and I didn’t like him because of it. But, I also wish that I had whatever he had. That thing that was making his fake plastic grin so aggravating to me, it was also very alluring.” The first single on TMR by Skulking Swamps, “The Stealing Thin” is a bit goth, a bit post-punk, yet packed with plenty of cold breezy vibes now decades past. “The Stealing Thin” also features a B-Side Remix by Potions.