GEOGRAPHIC NORTH

Following a handful of personal and personnel changes before finally resurfacing in 2009 with a 7" for our You Can't Hide Your Love Forever series, a release that served as a catalyst for husband-and-wife team Aaron & Adrienne Snow to start working on a new batch of Landing songs along with longtime member Daron Gardner.

The group now returns with Landing, a rebirth of a band who's honed and perfected their sound for the last 13 years. Although the songs on Landing are rich with mystifying pop inclinations, the warm textures and hypnotic tones of past outtings are ever present, sure to effortlessly seep into the subconcious. Focused and concise, Landing's nine offerings take the Connecticut dream merchants' sound into the realms it was always destined to reach.

A monumental and welcomed return.

Preorders will ship the first week of June 2012.

“Based around Detroit, Windy & Carl have been producing elegant, transportational dream-pop drones since the early 1990s. This single catches them in a very song-focused mood, with strumming guitars, floating vocals and gently dodging electric leads on one side. The flip is collapsing towers of electric guitar tones. Gorgeous stuff.”
-The Wire

“The A-side features a reinvention of Dwight Yoakam's '90s country hit "A Thousand Miles from Nowhere." Weber's chilling rendition of Yoakam's lyrics, "I've got bruises on my memory/I've got tear stains on my hands," resonate on a deeper and more ethereal level than the original song's rustic ruminations… sprawling, haunting ambiance is what they do best, and juxtaposing it with such a heartfelt offering on the flip side only draws out the potent quality of both cuts. (4 out of 5 stars)”
-Creative Loafing

Debut LP from Geographic North co-founders Farzad and Farbod, released on Hoss Records.

“Could be easily compared to any Crime and the City Solution record or perhaps even the best of Einstürzende Neubauten.”
-De La Vie TV

“I imagine that if the legendary 1970s collaboration between Tony Conrad and Faust had concentrates on melodies and jams rather than drones, it might have turned out something like this.”
-Scribblers

“A well-imagined, consistent soundtrack to lurking 'round the bell tower at midnight, pacing the moors with Heathcliff, driving the Indy 500 smashed through on pharmaceutical-grade opium or hunting the last lion on earth blindfolded and with a dull spear.”
-Magnetic

“… marries a lush, woozy, electronic cunning with pure-pop sensibility, bridging the enveloping work of texture purist Christian Fennesz and the enigmatic, though self-moderating, songwriting acumen of Depeche Mode”
-Magnet Magazine

“beautiful mixture of dark 80's, synth pop, early techno, some 4AD influences”
-Small Town Romance

“…the artists they evoke are sufficiently diverse musically and vocally that Warm Ghost can touch on several similarly moody genres without sounding like an out-and-out tribute act to any one group (witness how the pro forma shoegaze feel of "Resignation Rights" gets undercut halfway through by Knife-ish synths).”
-Pitchfork

“10/10. …tom-heavy poundings to chanted vocals, swirling guitars come in between, but that's the meat to the sandwich really. It's easy to get your head caught up in it, but ends so quickly (especially for those nurtured on some long krautrock jams) that it's a bummer. You could really stand to hear that stretched out to a full LP side.”
-Foxy Digitalis

“'Stuff We Like.' Bharoocha started out making tribal/electronic/ambient anthems, and while the current iteration of Soft Circle remains true to that vision, their new sound has gone further into the direction of heavy beats and more solidified song structures.”
-Insound

“…paints a gentle, steady portrait, utilizing hushed vocals, marching snares and cloudy guitars, coming close to some of Yo La Tengo's quieter moments.” “…forgoes rhythm and vocals for a sweetly burning drone featuring heavy delay and some sounds in reverse. …it's exactly the type of piece that's transformative once you immerse yourself in it, and it's a prime of example of why I adore Landing.”
-Foxy Digitalis

“The slow tension buildup, sounding kind of classically influenced…it's really reminding me of Locrian or Godspeed you… like on the B-Side with 'Following Daylight'…those slow, shifting layers of sound fading in and out. Just a huge black wall, you can't see the ends or top, it's just closing in.”
-7 Inches

“Tense, expectant, on the verge of understanding, you submerge yourself in streams of long notes swathed in static, slow moving processions of sounds, each element disappearing just before you get a clear glimpse of it. The melancholic aura, the overtones, the fuzzy-edged mystery is reminiscent of William Basinski's Disintegration Loops, and like them, October Language is meant to evoke decay, but it could just as easily represent birth, with nearly endless possibilities unfolding from each shape-shifting note.”
-Dusted

“A-. …the debut release from the New Orleans duo Belong, is one of the most unabashedly emotional and cinematic ambient albums to come along for quite some time. It's a record with an immersive nature, capable of filling the furthest corners of the room with sound-sometimes, it can be overwhelming. At turns recalling the sputtering post-apocalyptic soundscapes found during the more ambient moments of M83's Before the Dawn Heals Us or a 21st century remake of My Bloody Valentine's Loveless as produced by Christian Fennesz, the album is a furious maelstrom blistering with emotional tension.”
-Stylus

“a scrappier, more depressive New Order only just updated for modern ears” “Wellington is a shining example of great downer pop”
-LA Weekly

“Sassy, high-grade synth-pop composed via the throbbing connects of the internet. New Zealander Nik Brinkman and American Alejandro Cohen draw a pair of prime time New Order-esque rabbits out of the hat, while doffing said headwear to the temple of Stephin Merritt's Future Bible Heroes. Wellington is the stronger of the two cuts, with bouncy key stabs, a catchy chorus and a string-driven refrain that'd make Hooky piss his leather kecks. Foreign Photograph is a little pedestrian in comparison, but still a fuck lot better than anything The Lightning Seeds have recorded since Pure.”
-Record Collector Magazine

…jagged blasts of electronic noise and feedback jostle with sparse, tense guitar figures that never coalesce or resolve, before breaking down into waves of delay. The atmosphere is threatening from start to finish, suggesting a sound environment that could explode into virtually anything, the music stalking the surface of the mint green marble vinyl on which this was pressed searching for any escape.”
-Foxy Digitalis

“…sounds like it could have come from the same performance, very drum heavy, a loping groove that sounds almost looped, as the drums are subtly effected and all around them swirl bits of feedback and blurred noise, very krautrocky, with that noisy backdrop surprisingly caustic at points, but just as often smoothed out into buzzing snarling dronescapes, still littered with jagged shards of feedback, and still hovering over that relentless rhythm.”
-Aquarius Records