The Goslings Grandeur Of Hair

  1. The Goslings Grandeur Of Hair Colors
  2. Goslings Grandeur Of Hair Rym

The Goslings were an American drone rock band from Florida, United States, with releases on labels such as Not Not Fun Records, Crucial Blast Records, and Archive Recordings. The core members of the band are Leslie Soren (vocals) and Max Soren (guitar) with a rotating roster of drummers which have included Brendan Grubb, Adel Souto, Rick Smith (also of Torche), Paul Leroy and Steve Carrera. The Goslings' sound is often characterized as 'lo-fi,' noisy, and heavy[1][2] but also beautiful and psychedelic.[3][4][5] The group self-records all of their own albums on cassette tape or reel-to-reel tape, are somewhat reclusive and do not tour.[6] They have had a number of releases since forming in 2002 but their signature album to date is considered to be 'Grandeur of Hair' (released on Archive Recordings, 2006 and re-pressed in 2009).

Watch the video for Croatan from The Goslings's Grandeur of Hair for free, and see the artwork, lyrics and similar artists. Watch the video for Croatan from The Goslings's Grandeur of Hair for free, and see the artwork, lyrics and similar artists. A new version of is available, to keep everything running smoothly, please reload the. Grandeur of Hair, an Album by The Goslings. Released in July 2006 on aRCHIVE (catalog no. Archive 23; CD). Genres: Noise Rock, Shoegaze, Noise. Featured peformers: Max Soren (guitar, akatext mixing roleid 1327.akatext), Leslie Soren (vocals, akatext lyrics roleid 1175.akatext, design), Fred Freeman (akatext mixing roleid 1327.akatext), James Plotkin (mastering), Chris Alpino (design.



  • Sister and Son / Death Garage, Rotting Chapel, 2010 (double cassette);
  • Heaven of Animals re-issue, [Archive Recordings], 2009;
  • Occasion, [Not Not Fun Records], 2008;
  • Grandeur of Hair [Archive Recordings], 2006;
  • Spaceheater / Perfect Interior Re-issue CD [Crucial Blast Records], 2006;
  • Between the Dead, Self-Released, 2005;
  • Heaven of Animals, XDEY Records, 2005


  • Spaceheater EP, Asaurus Records, 2004;
  • Perfect Interior EP, Asaurus Records, 2003.


  • 'Split 7' w/ Yellow Swans, [Not Not Fun Records], 2007;
  • Folklore of the Moon 3' CDR, [Hand/Eye], 2005;

Compilation appearances

  • You Already Have Too Many CDRS, Asaurus Records, 2005 - 3 Disc Label Comp. (contributed three tracks: 'Untitled', 'Compass Rose', 'Knocking On Heavens Door')
  • For Whom The Casio Tolls, Asaurus Records, 2004 - Label Comp. (contributed one track: 'Panopticon')
  • Watermelons Should Last Forever, Asaurus Records, 2003 - Label comp. (contributed one track: 'Herons')
  • Finally Something to Replace Bowling, Asaurus Records, 2002 - Label comp. (contributed one track: 'Green Figurine')
  • Il Programma Di Religione, Boyarm, 2005 - Label comp. (contributed one track: 'Gregory XVI (1831-1846)') [7]
  • Songs for the End of the World, 2002 - Label comp. (contributed one track: 'CMBR') [8]

The Goslings Grandeur Of Hair Colors

Side projects

  • Gorgon EP, Tin Cans and Twine, 2005
  • Oleta EP, Tin Cans and Twine, 2004 (feat. Max Soren)

External links

The Goslings Grandeur Of Hair

Notes and References

  1. Pitchfork article
  2. Dusted Magazine article
  3. Tiny Mix Tapes article
  4. Pop Matters article
  5. Stylus article
  6. Interview
  7. Web site: Various - Il Programma Di Religione. Discogs. en. 2018-02-17.
  8. Web site: Songs for the End of the World. mitchell. brian john. 2018-02-17.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article 'The Goslings (band)'.

Goslings Grandeur Of Hair Rym

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Rock ‘n’ roll hoochie coo. Someone lit The Goslings’ fuse. The firecracker of inspiration must’ve burst all over these crazies, because smoke is steaming from my speakers. The architects behind last year’s late entry for album of the year, Between the Dead, one-up themselves with Grandeur of Hair, one of the best rock albums of any year.

Helmed by the husband and wife duo of Leslie and Max Soren, The Goslings are a toxic array of passion, tradition, and experimentation. Over the course of one full-length album and three EPs, the band has drawn comparisons to Royal Trux, Sunn 0))), and The Melvins. Certainly, one can hear echoes of Twin Infinitives’ reverb-caked bizarro rock and the power chord, zen-drone ruminations of The Melvins and Sunn 0))). But if the Goslings prove anything with Grandeur of Hair, it’s that they encapsulate and tweak a larger tract of canonical art-rock territory.

An hour-long, eight-track behemoth, the album is a virtual trip through rock history. One could trace the band’s sound, a heady mix of shoegaze, psychedelica, drone, and noise, to a number of sources throughout the lineage of rock. However, these sources are not maliciously plagiarized. The band instead subconsciously absorbs the best sounds and aesthetics from post-White Light/White Heat rock and adjusts appropriately. Guitarist Max turns the dusty distortion waves found in “Sister Ray” up a notch until they bleed into each other upon crash and reform. Leslie’s earthly vocals bring to mind Christina Carter, but with the forked tongue of Lydia Lunch. At times, she delivers her vocals in snide howl and her voice deepens and resembles an amalgam of Marc Bolan and Tom Verlaine. The layers of guitars and screeches that pepper each song bury the vocals, creating a lo-fi version of My Bloody Valentine’s ethereal trance. One can even hear a bit of dub in the playful fuzz-crunk breakdown of “Croatan.” Best of all, the band adopts the spirit that saves rock from the occasional pits of sameness and mediocrity -- that of conceptual challenges and fresh sounds.

Of course, no great record is complete without invigorating original sounds, and the band conjures an abundance of blissful moments within their sonic textures. With “Own a Car”’s industrial percussion whirlwind outburst, the band invites you to a warm, yet restless attack of dense, dark, noisy psychedelia. As Max cranks out a guitar apex that sounds like a fog horn, Leslie wails like a gypsy with a haunting wordless reprise. The resulting cohesion has a dark passion that is simply unequivocal in modern music. It is at once brutal and beautiful, murky and concise, Satanic yet hopeful. Elsewhere, vocals scatter over a chopped drone line and minimal cymbal crashes in “Overnight,” creating the ultimate space for creepy sentiment. Never one to back down from a bad trip, the band uses the space to spurt out lines like, “I’m rising out the window” in a junkie slur, each vocal accentuation creating rhythms where the instruments leave a void. It's the moments of sonic glory -- be they ungodly cooing, droning white noise, horror movie-aping keyboard lines buried underneath layers of grime or warped guitar lines -- that make this album a spectacle to behold.

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