407:"They'll Kill You", the following track, "details the failures that twenty-something Australian emigrants encounter when they try and escape reality by positing a greater one beyond that country’s borders. The cracking of illusion is painted in the way the chord progression yields and opens to a seasick lurch down the scale in the bridge, sliding like the point in an argument where things start getting thrown, and sinking towards the inevitable conclusion: "this birdhouse migrates too"" and has been described as "devastating". The narrator on this track, in comparison to the "lost cause" of the previous track, is "going down fighting" and the song "tap into the big, ugly emotions that have felled – and fuelled –most of us, like grief, disempowerment and regret." "A Moat You Can Stand In" harks back to the band's earlier, noisy style and "lays the boot into
2741:. I'd never heard anything quite like it, especially with it being just one man and his guitar by a crackling fire. When I first heard this song on the radio, albeit a radio edit, I was gob-smacked – chills all over my body. Eerily haunting verses that crash head-on into an earth shattering, apocalyptic cacophony as Gareth bellows, "Well ain't that just the way things are?" You get the full course a whole three times before it trails out with Liddiard's iconic screeching guitar tone. As much as a rockstar as he is a poet, Liddiard's vocals are jarring and definitely not pretty, but that's exactly why I love it.
404:"begins as a tragic story of youth until, in a deft and devastating transition, everyone on earth is lassoed into complicity." The second track "How To See Through Fog", the sole single released from the album, contains a "particularly arresting" piano melody. The song is "about anti-conformity or, at least, an existential ideal of self-determination", whose narrator is "revealed as insecure and indecisive."
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253:) and the last appearance of drummer Mike Noga. Recorded by the band themselves inside a "demountable classroom from the '60s", the music on the album is more dynamic, darker and "expansive" in comparison to previous albums, while Liddiard's poetic lyrics were regarded as being more "universal" and humorous in exploring topics such as
322:
The album was recorded inside a disused, "demountable" classroom from the 1960s that
Liddiard had renovated for "ten grand" (it would subsequently be converted into a kitchen). He said: "It’s big, 11 by nine metres, hardwood floor, the ceiling’s about 3.5m tall and there’s windows down both sides – a
372:
writes that his "piano and keyboard work seems not so much to add startlingly new elements to the band's songs but to allow them to develop their artier ambitions" going on to write that "additional textural detail allows the songs to rely less on bludgeoning loud/soft contrasts than in the past."
327:
and threw a
Persian rug or two in there and it ended up sounding really good. It was a big open space and we all went in there with the amps, or sometimes set them up outside under the house, or in a bedroom nearby. We would all sit in the room with cans around the drums, and most of the singing is
1149:
stands as a significant moment in
Australian rock music, not only for its refusal to play by the rules of songwriting as dictated by the heavy-handed issues-based Australian songwriting tradition but for the stark, beautiful and often menacing way it frames and comments upon a culturally specific
460:
shot into space as part of the controversial
Russian space trials of the '50s" and has been described as "the most haunting tune on the album. Its curious use of piano, sudden orchestral boost and harmonizing female choir result in full-on cinematic grandeur that's fairly distant from the group's
403:
The opening title track "alludes to rising seas and overpopulation" and features "a melancholic verse" that "crescendoes into an explosive refrain later totally downcast in the bridge" and has been called their "heaviest song – lyrically and musically" since the aforementioned "Jezebel". The song
489:
magazine writes that the song "link increasing technological isolation to the loss of letter writing, detachment from politics to celebrity stardom, failed dreams to a failing society, learning nothing from catastrophe to the valorisation of war and humanity’s ultimate failure." The article also
298:' top 20. Its reception outside Australia, despite being scant, was highly positive in nature and it would go on to be praised by writers and critics in the years following its release. The album received a number of award nominations, and its tracks have been covered by the likes of
379:
writes that the record comes "with more dread-filled hopelessness than an entire tent of doomed Arctic explorers, while somehow remaining more elliptical and brutal than anything else they’ve released, moving with a mixture of reckless uncertainty and whiplash dynamism that makes
31:
516:
The album's cover features a photograph of a
Hawaiian lava flow entering the water. The shot is taken down the 'tube' of a breaking wave, by photographer CJ Kale, who was roughly 20 feet (6 metres) from the point that the lava was entering the water.
388:
writes that while the band's previous releases were "entrenched in the surrounding landscape and its people", on this album they "branch out and move to more universal themes" despite retaining their "strong sense of place". Andrew McMillen of
779:, Nick Reid praised the album's lyricism & called it "a force to be reckoned with." "While polemicists of the left and right continue to fire the occasional shot in the simmering Australian history wars," notes Patrick Emery writing for
328:
live so it’s feeding into the drum mics and vice versa, otherwise it’s all isolated". The sessions marked the first time that the band engineered their own sessions in a "group effort". Liddiard compared their use of
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The final track "Why Write A Letter That You'll Never Send" has been described as "fiery", building from "a gentle acoustic intro to its halfway point" before "erupting into a rant about everything from the
828:, "put out great records in 2013. (Of course they did.)" He went on to write: "The Drones, in particular, consistently find new ways of being the Drones. Frontman Gareth Liddiard’s newfound fondness for
1110:
called
Liddiard "the greatest lyricist currently working in the idiom of guitar music (uncontestable)", calling the album "vitally relevant" and "one of the best rock albums of this nascent decade".
319:. It would also be the last appearance of Mike Noga on a Drones album, who would go on to focus more on his solo career, being replaced by original Drones drummer Chris Strybosch the following year.
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called it one of their five favorite albums of the year, with Gavin Miller lamenting the fact that it went "under a lot of peoples' radar as they outstrip about 99% of rock bands at the moment."
1150:
moment. Most remarkably, it achieves this through language that speaks to globally applicable themes. In diffusing its culturally specific moment in order to highlight broader ideas,
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wrote that the album "showcases The Drones at their creative peak. All eight tracks are meticulously structured, providing an excellent backdrop for
Liddiard's dazzling poetry."
2991:
2652:
1842:
533:' imminent financial collapse as the reason behind their decision to self-release the album. The "Official Film Clip" for the title track, made in collaboration with
366:. The album was considered to be more "expansive" than previous Drones albums, with many pointing out the contributions of new member Steve Hesketh. Chad Parkhill of
808:, praised the album as The Drone's best in years, and called "Why Write a Letter You'll Never Send" the band's "most beautiful composition" to date. Italian website
430:" mine workers" and has been described as "equal parts disturbing and funny". Liddiard's vocal delivery on the track's chorus has been described as "unhinged a la
415:
and other demagogues doing their best to destabilise the current (Australian) government", also described as being "hilarious" in its "skewering" of these topics.
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One notable review that the album received from a non-Australian - US-based YouTube critic
Anthony Fantano (2013) - was complimentary without being effusive
2109:
336:", saying: "You mimic. As long as the noise you’re making reflects what’s currently a noise that’s naturally out there, then I think it’s a valid noise".
2794:
2056:
2573:"News: Tropical Fuck Storm @ Cobalt Studios | NARC. | Reliably Informed | Music and Creative Arts News for Newcastle and the North East"
814:
noted the band's consistency with the release of the album, and praised its more textured & dynamic music. In a year-end round-up, Darren Levin of
313:
is the first Drones album to feature Steve
Hesketh on keyboards, who would go on to become a permanent member, appearing in the band's follow-up album
2700:
1176:. The Russian band La Lettre a Camus covered "Why Write a Letter You'll Never Send" under the title "The Letter I'll Never Send" on their 2014 EP
1912:
288:, for the stark, beautiful and often menacing way it frames and comments upon a culturally specific moment." It ended up topping over a hundred
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1974:
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listed the title track of the album as a favourite, recalling that it had given him "chills" the first time he'd heard it on the radio.
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2542:
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2616:
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magazine included it on their list of the 100 best albums to have been released between 2010 and 2014. In 2016, Andrew
Harrison of
775:
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wrote that it "captures a singular band in scintillating form, delivering yet another astounding collection of songs." Writing for
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1128:
ranked it 12th on their list of "25 Essential Albums from the Australian Underground". Later that year, Spanish music magazine
456:", "sums up life’s intransigence and how little we can influence any of it." The following track "Laika" details "the story of
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The album received acclaim from a variety of sources both within and outside its native country. Over 100 writers from
249:, released in March 2013. The album marked the first appearance of Steve Hesketh on keyboards (hence making the band a
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lot of glass and shiny surfaces. We renovated that up we bought a bunch of cheap and nasty velvet curtains off
2154:
485:". The song "has plenty of zingers, but the structure of the song reveals that they're equally self-directed".
444:". "The Grey Leader" "eviscerates the hypocrisy of Australia's conservative politicians". In an interview with
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included the album on their list of the 101 best international albums of the decade, and called it the band's
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537:, was released through the band's official channel (now Tropical Fuck Storm Records) on 4 September 2013.
2431:
On the Drones' latest release, the band is working with some of their longest and most emotive songs yet.
792:
The album has also received highly positive reviews from several international sources upon its release.
2528:
1684:
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reviewed the album positively, saying that it contained "some of longest and most emotive songs yet."
789:"remains devoid of ideological pretence, and rich in its portrayal of the inherent flaws of humanity."
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in general. The song "How to See Through Fog" was released as the album's only single in early 2013.
76:
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1982:
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418:"Nine Eyes", the following track, features semi-autobiographical lyrics that finds "Liddiard using
284:. It received rave reviews from the Australian press, and has been called "a significant moment in
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to another level, as did the addition of pianist Steve Hesketh to their lineup." US music critic
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419:
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I became familiar with Gareth Liddiard and The Drones after a friend handed me his solo record
802:
wrote that the band "never sounded quite this good". Jorge Salas, writing for Spanish magazine
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website ranked the album first in their lists of the "20 Best Australian Albums of 2013".
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1843:"TheVine – The Drones: "I'm not addicted to love" – Life & pop culture, untangled"
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called it "a dark horse for one of the best albums of the past five years." In 2019,
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wrote that the album "had a more filmic, widescreen feel and was not unlike some of
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critics' year-end lists, among many others, also becoming their first to enter the
238:
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362:'s scores", whilst the "rawness" of the music earned comparisons to that of early
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usual aesthetics, if never less commanding." Liddiard described the song as "an
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writes that the album contains "cracks of beauty and humour amid the darkness".
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in the song's lyrics. The song has been musically compared to the works of
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often feels less like a rock album and more like a demented film score".
478:
462:
93:
71:
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2009:
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was also nominated at the 2013 ARIA awards for Rock Album of the Year.
849:
250:
1760:"Rolling Stone album review: The Drones – 'I See Seaweed', March 2013"
1154:
posits that Australian music can be political without being parochial.
1333:
1816:
525:
Self-released on 1 March 2013, the album was co-distributed through
2890:
Wait Long by the River and the Bodies of Your Enemies Will Float By
2719:"Get in the Van: Ocean Grove // A Selection of Oddworld Favourites"
1124:
called the album a "genuine album of the decade contender", whilst
2617:"Los 101 mejores discos internacionales de la década de los 2010s"
1360:
1350:
1069:
457:
427:
38:
2483:"Best music of the year: Daft Punk, Lorde and the class of 2013"
422:
to observe the socioeconomic damage wrought on his home town of
324:
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wrote that the band, alongside "Aussie rock stalwarts" such as
448:
magazine, Liddiard revealed that he had written the song with
135:
2779:
280:
Released independently, the album was co-distributed through
2191:
Stratton, Jon; Dale, Jon; Mitchell, Tony (9 January 2020).
1502:
Stratton, Jon; Dale, Jon; Mitchell, Tony (9 January 2020).
1320:
All personnel information is from the album's liner notes.
1158:
The song "How to See Through Fog" was used in the telefilm
2458:"Staff's Top 50 Albums of 2013: 50 – 31 « Staff Blog"
1581:
852:
which is determined by national alternative radio station
2653:"Our Favourite Musicians' Five Favourite Albums of 2013"
2529:"Stereo Embers' 100 Best Albums of the Decade So Far..."
2250:. Australian Broadcasting Corporation. 10 September 2013
2116:. Faster Louder Pty Ltd. 3 December 2013. Archived from
2194:
An Anthology of Australian Albums: Critical Engagements
1630:
There's the rawness too of the early PJ Harvey records
1506:
An Anthology of Australian Albums: Critical Engagements
1140:
An Anthology of Australian Albums: Critical Engagements
759:
was received enthusiastically by the Australian press.
2591:"25 ESSENTIAL ALBUMS FROM THE AUSTRALIAN UNDERGROUND"
1754:
1752:
1750:
1748:
1746:
1744:
2754:"australian-charts.com – The Drones – I See Seaweed"
1385:
Gareth Liddiard & Burke Reid – recording, mixing
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2992:
Live at the Annandale Hotel 18th, 19th October 2007
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1172:covered "A Moat You Can Stand In" live during the
1947:"The Drones – I See Seaweed (Waterfront Records)"
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1677:
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2004:Tropical Fuck Storm Records (4 September 2013).
384:" feel like breakfast cereal". Chris Gridler of
2006:"The Drones – I See Seaweed Official Film Clip"
2543:"Album Review: The Drones – Feelin Kinda Free"
1725:
1723:
1721:
1600:"The Drones: Feelin Kinda Free – album review"
1564:"The Quietus | Reviews | The Drones"
676:
147:Gareth Liddiard, Burke Reid & John Roberto
2795:
1708:"DeLorean: The Drones – I See Seaweed (2013)"
8:
2248:"The Drones – I See Seaweed | J Awards 2013"
1656:"The Drones – I See Seaweed (album review )"
724:
614:
576:
1861:"The Drones and the anatomy of a long song"
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2788:
2780:
2197:. Bloomsbury Publishing USA. p. 134.
2174:"Australian music in 2013: a vintage year"
1396:
1142:(published in 2020), Adam Trainer writes:
876:
785:, "The Drones' sociological narrative" on
549:
29:
20:
2501:"YEAR IN REVIEW: TOP 10+2 ALBUMS OF 2013"
2353:"Flavorwire's 25 Favorite Albums of 2013"
2326:"The Very Best Australian Albums Of 2013"
2223:"The Drones – I See Seaweed ALBUM REVIEW"
469:, in a philosophical, biological sense."
2292:
2290:
1198:
1138:. In an essay on the album collected in
1090:Year in Review: Top 10+2 Albums of 2013
958:Flavorwire’s 25 Favorite Albums of 2013
904:The Very Best Australian Albums of 2013
2775:"Official Film Clip" of "I See Seaweed"
2367:"The 10 best Australian albums of 2013"
2299:"The 20 Best Australian Albums of 2013"
2104:
2102:
1911:Kale, CJ; Selway, Nick (4 April 2011).
1429:
1301:
848:In 2013, the album was nominated for a
2435:
1969:
1967:
1940:
1938:
1782:
1780:
1778:
1776:
1295:"Why Write a Letter You'll Never Send"
976:The 10 best Australian albums of 2013
2412:Fantano, Anthony (23 December 2013).
1878:
1876:
1874:
1302:
555:
7:
1685:"The Quietus – Reviews – The Drones"
1497:
1495:
1493:
1491:
1441:
1439:
1437:
1435:
1433:
3078:The Drones (Australian band) albums
2153:Emery, Patrick (28 February 2013).
1451:Audiotechnology.audiotechnology.com
678:
18:2013 studio album by The Drones
2324:Brad Esposito (30 December 2013).
2221:Fantano, Anthony (27 March 2013).
2172:Levin, Darren (12 December 2013).
1845:. 17 December 2013. Archived from
1012:Best International Albums of 2013
994:20 Best Australian Albums of 2013
454:Nothing will ever change your mind
14:
1731:"The Drones : I See Seaweed"
726:
616:
578:
2305:. Street Press Australia Pty Ltd
1883:Silvio Pizzica (20 March 2013).
1104:The year following its release,
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332:on the album to the "sound of a
1613:Simon Sweetman (4 June 2013).
1202:
452:in mind. The song's refrain, "
1:
2140:"Album Review: I See Seaweed"
1510:. Bloomsbury Publishing USA.
2110:"FL's Top 50 Albums of 2013"
2057:"The Drones – I See Seaweed"
2055:Doug Wallen (4 March 2013).
1945:Jorge Salas (7 April 2013).
1803:"The Drones / I See Seaweed"
1801:Bell, Steve (5 March 2013).
1788:"The Drones – I See Seaweed"
1375:Amanda Roff – backing vocals
2387:"Especial lo mejor de 2013"
2089:"EG's weekly album reviews"
1615:"The Drones: I See Seaweed"
830:Russian classical composers
826:Nick Cave and the Bad Seeds
498:'s "To Captive Owl" and to
3099:
2442:: CS1 maint: url-status (
1447:"THE SOUND OF A CAR CRASH"
1193:All tracks are written by
529:. Liddiard cited signs of
2817:
2487:The Sydney Morning Herald
2159:The Sydney Morning Herald
2093:The Sydney Morning Herald
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1251:"A Moat You Can Stand In"
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1174:APRA Music Awards of 2014
1056:The Sydney Morning Herald
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226:
218:Released: 1 February 2013
209:
194:
159:
28:
2701:"LLAC* – Исчезнувшие IV"
2683:"2014 APRA Music Awards"
1885:"Drones – I See Seaweed"
1388:John Roberto – mastering
1372:– guitar, backing vocals
1229:"How to See Through Fog"
1064:Best music of the year:
215:"How to See Through Fog"
2964:Compilation/live albums
2414:"Top-50 Albums of 2013"
2042:"CD Review: The Drones"
1975:"Lost Albums 2000–2015"
1161:The Outlaw Michael Howe
671:Rolling Stone Australia
490:identifies elements of
3033:The Drones discography
1539:"Home | The Vine"
1156:
1072:and the class of 2013
1046:Top 50 Albums of 2013
1030:Top 50 Albums of 2013
940:Top 50 Albums of 2013
922:Lost Albums 2000–2015
3083:ATP Recordings albums
2972:The Miller's Daughter
2758:australian-charts.com
1144:
782:Sydney Morning Herald
719:Sydney Morning Herald
481:, even wily a dig at
286:Australian rock music
263:conservative politics
2621:Hipersónica Magazine
1917:Lava Light Galleries
1849:on 17 December 2013.
1476:. Waterfront Records
551:Professional ratings
535:Amiel Courtin-Wilson
501:Ode on a Grecian Urn
3038:Tropical Fuck Storm
2839:Christian Strybosch
2489:. 19 December 2013.
2375:. 17 December 2013.
2355:. 11 December 2013.
2120:on 13 November 2014
2095:. 28 February 2013.
1410:Australian Albums (
552:
165:A Thousand Mistakes
2880:Here Come the Lies
2725:. 27 February 2020
2623:. 21 November 2019
2509:. 18 December 2013
2393:. 21 December 2013
1923:on 9 February 2019
1240:"They'll Kill You"
832:took the drama on
550:
527:Waterfront Records
420:Google Street view
282:Waterfront Records
3060:
3059:
3018:
2997:
2987:
2982:Live in Spaceland
2977:
2956:
2935:
2930:Feelin Kinda Free
2925:
2915:
2905:
2895:
2885:
2858:Brendon Humphries
2663:on 30 August 2018
2274:Ariaawards.com.au
2204:978-1-5013-3987-5
1913:"First Lava Tube"
1453:. 15 January 2014
1421:
1420:
1342:Fiona Kitschin –
1312:
1311:
1273:"The Grey Leader"
1180:. Dale Tanner of
1170:Kirin J. Callinan
1097:
1096:
754:
753:
441:Heart Of Darkness
316:Feelin Kinda Free
300:Kirin J. Callinan
230:
229:
190:
189:
182:Feelin Kinda Free
80:
3090:
3026:Related articles
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2142:. 29 March 2013.
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2127:
2125:
2106:
2097:
2096:
2085:
2079:
2078:
2076:
2074:
2069:on 29 March 2013
2065:. Archived from
2052:
2046:
2045:
2038:
2032:
2031:
2020:
2014:
2013:
2001:
1995:
1994:
1992:
1990:
1985:on 16 April 2016
1981:. Archived from
1971:
1962:
1961:
1959:
1957:
1942:
1933:
1932:
1930:
1928:
1919:. Archived from
1908:
1902:
1901:
1899:
1897:
1880:
1869:
1868:
1857:
1851:
1850:
1839:
1833:
1832:
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1813:
1807:
1806:
1798:
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1791:
1784:
1771:
1770:
1768:
1766:
1756:
1739:
1738:
1727:
1716:
1715:
1704:
1693:
1692:
1681:
1664:
1663:
1660:Sputnikmusic.com
1652:
1633:
1632:
1627:
1625:
1610:
1604:
1603:
1596:
1590:
1589:
1578:
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1549:
1535:
1529:
1528:
1526:
1524:
1499:
1486:
1485:
1483:
1481:
1469:
1463:
1462:
1460:
1458:
1443:
1397:
1359:Steve Hesketh –
1346:, backing vocals
1305:
1204:
1199:
1117:Drowned in Sound
914:Drowned in Sound
877:
750:
749:
748:
744:
743:
739:
738:
734:
733:
729:
728:
702:
701:
700:
696:
695:
691:
690:
686:
685:
681:
680:
640:
639:
638:
634:
633:
629:
628:
624:
623:
619:
618:
602:
601:
600:
596:
595:
591:
590:
586:
585:
581:
580:
553:
494:, references to
465:for the lack of
373:Alex Griffin of
219:
216:
161:
160:
124:
123:
119:
74:
33:
21:
3098:
3097:
3093:
3092:
3091:
3089:
3088:
3087:
3063:
3062:
3061:
3056:
3044:Strange Tourist
3021:
3000:
2959:
2951:Shark Fin Blues
2938:
2867:
2823:Gareth Liddiard
2813:
2808:
2771:
2766:
2765:
2752:
2751:
2747:
2728:
2726:
2717:
2716:
2712:
2699:
2698:
2694:
2681:
2680:
2676:
2666:
2664:
2651:
2650:
2646:
2640:
2636:
2626:
2624:
2615:
2614:
2610:
2600:
2598:
2597:. 10 April 2019
2589:
2588:
2584:
2571:
2570:
2566:
2556:
2554:
2553:on 21 July 2019
2541:
2540:
2536:
2531:20 August 2014.
2527:
2526:
2522:
2512:
2510:
2499:
2498:
2494:
2481:
2480:
2476:
2466:
2464:
2456:
2455:
2451:
2434:
2424:
2422:
2411:
2410:
2406:
2396:
2394:
2385:
2384:
2380:
2365:
2364:
2360:
2351:
2350:
2346:
2336:
2334:
2323:
2322:
2318:
2308:
2306:
2303:TheMusic.com.au
2296:
2295:
2288:
2278:
2276:
2268:
2267:
2263:
2253:
2251:
2246:
2245:
2241:
2231:
2229:
2220:
2219:
2215:
2205:
2190:
2189:
2185:
2178:Theguardian.com
2171:
2170:
2166:
2155:"I See Seaweed"
2152:
2151:
2147:
2138:
2137:
2133:
2123:
2121:
2108:
2107:
2100:
2087:
2086:
2082:
2072:
2070:
2054:
2053:
2049:
2044:. 7 March 2013.
2040:
2039:
2035:
2024:"I See Seaweed"
2022:
2021:
2017:
2003:
2002:
1998:
1988:
1986:
1973:
1972:
1965:
1955:
1953:
1944:
1943:
1936:
1926:
1924:
1910:
1909:
1905:
1895:
1893:
1882:
1881:
1872:
1859:
1858:
1854:
1841:
1840:
1836:
1826:
1824:
1823:. 16 April 2013
1815:
1814:
1810:
1800:
1799:
1795:
1790:. 8 March 2013.
1786:
1785:
1774:
1764:
1762:
1758:
1757:
1742:
1729:
1728:
1719:
1706:
1705:
1696:
1683:
1682:
1667:
1654:
1653:
1636:
1623:
1621:
1619:offthetracks.nz
1612:
1611:
1607:
1602:. 5 March 2016.
1598:
1597:
1593:
1580:
1579:
1575:
1562:
1561:
1557:
1547:
1545:
1537:
1536:
1532:
1522:
1520:
1518:
1501:
1500:
1489:
1479:
1477:
1474:"I See Seaweed"
1471:
1470:
1466:
1456:
1454:
1445:
1444:
1431:
1426:
1404:
1395:
1330:Gareth Liddiard
1318:
1313:
1303:
1218:"I See Seaweed"
1195:Gareth Liddiard
1190:
1166:Ghosting Season
1135:Daydream Nation
1102:
1022:The Needle Drop
866:
846:
838:Anthony Fantano
771:Andrew McMillen
746:
741:
736:
731:
698:
693:
688:
683:
636:
631:
626:
621:
598:
593:
588:
583:
548:
543:
523:
514:
401:
351:Louder Than War
347:
342:
308:
275:human condition
222:
217:
214:
213:
185:
176:
167:
121:
117:
116:
108:
46:
19:
12:
11:
5:
3096:
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3086:
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3080:
3075:
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3055:
3054:
3047:
3040:
3035:
3029:
3027:
3023:
3022:
3020:
3019:
3008:
3006:
3005:Extended plays
3002:
3001:
2999:
2998:
2988:
2978:
2967:
2965:
2961:
2960:
2958:
2957:
2946:
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2862:
2859:
2856:
2853:
2849:
2848:
2841:
2836:
2834:Fiona Kitschin
2831:
2826:
2818:
2815:
2814:
2809:
2807:
2806:
2799:
2792:
2784:
2778:
2777:
2770:
2769:External links
2767:
2764:
2763:
2745:
2710:
2692:
2674:
2657:DrownedInSound
2644:
2634:
2608:
2582:
2564:
2547:DrownedInSound
2534:
2520:
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2378:
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2164:
2145:
2131:
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2033:
2015:
1996:
1979:DrownedInSound
1963:
1934:
1903:
1870:
1852:
1834:
1808:
1793:
1772:
1740:
1717:
1712:Tiny Mix Tapes
1694:
1665:
1634:
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1591:
1573:
1555:
1543:Thevine.com.au
1530:
1516:
1487:
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1401:
1394:
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1377:
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1373:
1367:
1357:
1355:backing vocals
1347:
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1212:
1211:
1208:
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1191:
1189:
1186:
1178:Исчезнувшие IV
1107:Tiny Mix Tapes
1101:
1098:
1095:
1094:
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1088:
1085:
1077:
1076:
1073:
1062:
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674:
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612:
604:
603:
574:
566:
565:
562:
558:
557:
547:
544:
542:
539:
531:ATP Recordings
522:
519:
513:
510:
426:by "cashed-up
400:
397:
376:Tiny Mix Tapes
346:
343:
341:
338:
307:
304:
271:existentialism
255:climate change
228:
227:
224:
223:
221:
220:
210:
207:
206:
204:I See Seaweed
196:
195:
192:
191:
188:
187:
178:
169:
157:
156:
149:
148:
145:
139:
138:
134:Self-released/
132:
126:
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110:
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90:
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81:
68:
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35:
34:
26:
25:
17:
13:
10:
9:
6:
4:
3:
2:
3095:
3084:
3081:
3079:
3076:
3074:
3071:
3070:
3068:
3053:
3052:
3048:
3046:
3045:
3041:
3039:
3036:
3034:
3031:
3030:
3028:
3024:
3015:
3014:
3010:
3009:
3007:
3003:
2994:
2993:
2989:
2984:
2983:
2979:
2974:
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2966:
2962:
2952:
2948:
2947:
2945:
2941:
2932:
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2927:
2922:
2921:
2920:I See Seaweed
2917:
2912:
2911:
2907:
2902:
2901:
2897:
2892:
2891:
2887:
2882:
2881:
2877:
2876:
2874:
2872:Studio albums
2870:
2864:Steve Hesketh
2863:
2860:
2857:
2854:
2851:
2850:
2847:
2846:
2842:
2840:
2837:
2835:
2832:
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2820:
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2805:
2800:
2798:
2793:
2791:
2786:
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2782:
2776:
2773:
2772:
2768:
2759:
2755:
2749:
2746:
2742:
2740:
2739:
2738:Grand Tourist
2724:
2720:
2714:
2711:
2706:
2702:
2696:
2693:
2688:
2684:
2678:
2675:
2662:
2658:
2654:
2648:
2645:
2642:
2638:
2635:
2622:
2618:
2612:
2609:
2596:
2592:
2586:
2583:
2578:
2574:
2568:
2565:
2552:
2548:
2544:
2538:
2535:
2530:
2524:
2521:
2508:
2507:
2502:
2496:
2493:
2488:
2484:
2478:
2475:
2463:
2459:
2453:
2450:
2445:
2439:
2432:
2421:
2420:
2415:
2408:
2405:
2392:
2391:Muzikalia.com
2388:
2382:
2379:
2374:
2373:
2368:
2362:
2359:
2354:
2348:
2345:
2333:
2332:
2327:
2320:
2317:
2304:
2300:
2293:
2291:
2287:
2275:
2271:
2265:
2262:
2249:
2243:
2240:
2228:
2224:
2217:
2214:
2210:
2206:
2200:
2196:
2195:
2187:
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2179:
2175:
2168:
2165:
2160:
2156:
2149:
2146:
2141:
2135:
2132:
2119:
2115:
2114:Faster Louder
2111:
2105:
2103:
2099:
2094:
2090:
2084:
2081:
2068:
2064:
2063:
2058:
2051:
2048:
2043:
2037:
2034:
2029:
2028:The Big Issue
2025:
2019:
2016:
2011:
2007:
2000:
1997:
1984:
1980:
1976:
1970:
1968:
1964:
1952:
1951:Muzikalia.com
1948:
1941:
1939:
1935:
1922:
1918:
1914:
1907:
1904:
1892:
1891:
1886:
1879:
1877:
1875:
1871:
1866:
1862:
1856:
1853:
1848:
1844:
1838:
1835:
1822:
1821:Beat Magazine
1818:
1812:
1809:
1804:
1797:
1794:
1789:
1783:
1781:
1779:
1777:
1773:
1761:
1755:
1753:
1751:
1749:
1747:
1745:
1741:
1736:
1735:Beat Magazine
1732:
1726:
1724:
1722:
1718:
1713:
1709:
1703:
1701:
1699:
1695:
1690:
1686:
1680:
1678:
1676:
1674:
1672:
1670:
1666:
1661:
1657:
1651:
1649:
1647:
1645:
1643:
1641:
1639:
1635:
1631:
1620:
1616:
1609:
1606:
1601:
1595:
1592:
1587:
1583:
1577:
1574:
1569:
1565:
1559:
1556:
1544:
1540:
1534:
1531:
1519:
1517:9781501339882
1513:
1509:
1508:
1505:
1498:
1496:
1494:
1492:
1488:
1475:
1468:
1465:
1452:
1448:
1442:
1440:
1438:
1436:
1434:
1430:
1423:
1416:
1413:
1408:
1400:Chart (2013)
1398:
1392:
1387:
1384:
1383:
1382:
1381:
1374:
1371:
1368:
1366:
1362:
1358:
1356:
1352:
1348:
1345:
1341:
1339:
1335:
1331:
1328:
1327:
1326:
1325:
1321:
1315:
1307:
1304:Total length:
1297:
1294:
1290:
1286:
1283:
1279:
1275:
1272:
1268:
1264:
1261:
1257:
1253:
1250:
1246:
1242:
1239:
1235:
1231:
1228:
1224:
1220:
1217:
1213:
1200:
1197:
1196:
1188:Track listing
1187:
1185:
1183:
1179:
1175:
1171:
1167:
1163:
1162:
1155:
1153:
1152:I See Seaweed
1148:
1147:I See Seaweed
1143:
1141:
1137:
1136:
1131:
1127:
1123:
1122:NARC Magazine
1119:
1118:
1113:
1112:Stereo Embers
1109:
1108:
1099:
1092:
1089:
1086:
1084:
1083:
1079:
1078:
1074:
1071:
1067:
1063:
1060:
1058:
1057:
1053:
1052:
1048:
1045:
1042:
1040:
1037:
1036:
1032:
1029:
1026:
1024:
1023:
1019:
1018:
1014:
1011:
1008:
1006:
1005:
1001:
1000:
996:
993:
990:
988:
987:
983:
982:
978:
975:
972:
970:
969:
965:
964:
960:
957:
954:
952:
951:
947:
946:
942:
939:
936:
934:
933:
929:
928:
924:
921:
918:
916:
915:
911:
910:
906:
903:
900:
898:
897:
893:
892:
888:
885:
882:
879:
878:
875:
873:
872:
863:
861:
859:
858:I See Seaweed
855:
851:
843:
841:
839:
835:
834:I See Seaweed
831:
827:
823:
819:
818:
813:
812:
807:
806:
801:
800:
795:
790:
788:
787:I See Seaweed
784:
783:
778:
777:
772:
768:
767:I See Seaweed
764:
763:
758:
757:I See Seaweed
723:
721:
720:
716:
715:
711:
709:
706:
705:
675:
673:
672:
668:
667:
663:
661:
660:
656:
655:
651:
649:
648:
644:
643:
613:
611:
610:
606:
605:
575:
573:
572:
571:The Big Issue
568:
567:
559:
556:Review scores
554:
545:
540:
538:
536:
532:
528:
520:
518:
511:
509:
507:
503:
502:
497:
493:
488:
484:
480:
476:
470:
468:
464:
459:
455:
451:
447:
443:
442:
437:
433:
429:
425:
421:
416:
414:
410:
405:
398:
396:
394:
393:
392:Rolling Stone
387:
383:
378:
377:
371:
370:
365:
361:
357:
353:
352:
344:
339:
337:
335:
331:
326:
320:
318:
317:
312:
311:I See Seaweed
305:
303:
301:
297:
293:
292:
287:
283:
278:
276:
272:
268:
267:socioeconomic
264:
260:
256:
252:
248:
244:
240:
237:is the fifth
236:
235:
234:I See Seaweed
225:
212:
211:
208:
205:
201:
197:
193:
184:
183:
179:
175:
174:
173:I See Seaweed
170:
166:
163:
162:
158:
154:
150:
146:
144:
140:
137:
133:
131:
127:
115:
111:
105:
102:
100:
97:
95:
92:
91:
89:
87:
83:
78:
73:
70:Home studio,
69:
65:
61:
57:
53:
49:
45:
40:
36:
32:
27:
24:I See Seaweed
22:
16:
3049:
3042:
3011:
2990:
2980:
2970:
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