PRIESTS - THE SEDUCTION OF KANSAS VINYL (LTD. ED. PINK)

LIMITED EDITION PINK VINYL

Release Date: 5th April 2019

The second album proper from Washington DC's post-punk prophets cements their importance in making majestic music that not only sounds great, but that stands as a statement and comments on the current plight of our political and societal situations. Priests stay true to their post-punk influences with an 80's lo-fi sheen across the record as angular guitars cut in and out of drums bashing and Katie Alice Greer's cool as ever vocal deliveries. Seductive!

FFO: Drahla, Protomartyr, Girl Band, Preoccupations

"What is at stake in the seduction of Kansas? Like a gavel or hammer, the question rattles across the second LP from Washington, D.C. rock iconoclasts Priests: Entering their eighth year as a band, Priests—drummer Daniele Daniele, vocalist Katie Alice Greer, and guitarist G.L. Jaguar—remain an inspired anomaly in modern music. A band on its own label—jolting the greater music world with early releases by Downtown Boys, Snail Mail, Sneaks, and Gauche—they are living proof that it is still possible to work on one’s own terms, to collectively cultivate one’s own world. Priests enlisted two primary collaborators in writing, arranging, and recordingThe Seduction of Kansas. After playing cello, mellotron, and lap steel on Nothing Feels Natural, multi-instrumentalist Janel Leppin (Mellow Diamond, Marissa Nadler) returned to breathe air into Priests’ demos, serving as primary bassist and a fourth songwriting collaborator on The Seduction of Kansas. The band also found a kindred spirit in producer John Congleton (Angel Olsen, St. Vincent), recording for two weeks at his Elmwood Studio in Dallas. It marked the band’s first time opening up their creative work to collaborate with someone outside of their DC-based community—a decidedly less hermetic approach. Priests found a third collaborator in bassist Alexandra Tyson, who has also joined the touring band. The songwriting process found the group once again analyzing the textures and scopes of albums as aggressive as they are introspective, like Massive Attack’s Mezzanine, Portishead’s Third, and Nine Inch Nails’ Downward Spiral."