A Place to Hide, by The Left Outsides

A Place to Hide

by The Left Outsides

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Mark Welsh I so 💚 A LPlace to Hide on the only proper format, Sounds a magical nite/show I only wish I could have been there! An utter gem! 😍🎵 of perfection!

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Compact Disc (CD) + Digital Album
Released by Cardinal Fuzz (UK) and Feeding Tube (USA) 2020.

Much needed vinylization of an amazing live set, previously issued as a CDR in an edition of 100 by the fine Borley Rectory label. Finally, for the good of all mankind, the music from this great night, opening for Robyn Hitchcock at London’s Betsey Trotwood in October 2018, is turntable ready.

A Place to Hide begins with the album’s one new original tune “My Reflection Once Was Me.” The song brims with harmonium-iced vocals that cannot fail to bring a certain German-born chanteuse to mind. Built over a lovely droning base, and slow, martial pulsing, the song answers a rarely asked question — what might it have sounded like if Tim Buckley had written a tune for Nico to do on Chelsea Girl? I think you’ll be damn happy with this reply.

About half the album is made up of songs from their then-newly-released masterpiece, All That Remains (FTR 404). But the way they attack those tunes here has an additional shroud of moodiness drawn over it, adding a whole ‘nother layer of dark richness. This is not always the tone the band shoots for in a live setting, but it’s a truly otherworldly treat when they do. Because they really nail it, with a feel that makes me recall early work by the legendary Opal.

The same is true on the two cover tunes. The traditional “Young Girl Cut Down in Her Prime” (done so memorably by Shirley & Dolly Collins on Love Death & the Lady) is a tune the duo previously recorded for the Ptolemaic Terrascope’s great 2016 comp LP, Paper Leaves. But precious few copies of that one managed to get into the right hands. And this version is perfect — stark, haunting, electric. The other cover is a revelatory take on “Splash 1,” from The Psychedelic Sounds of the 13th Floor Elevators. The Left Outsides gently lift up one of the most beautiful songs the Elevators ever did, turning it into something even more charmed and wistful than the original.

And that’s it. A truly beautiful album from start to finish. And a great place to start exploring the band’s sound if you’ve not done so yet. Don’t be afraid to play catch up. There’s plenty more to come.

–Byron Coley, 2020

Includes unlimited streaming of A Place to Hide via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ... more

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Full Digital Discography

12

releases

Get all 12 The Left Outsides releases available on Bandcamp and save 30%.

Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Alison Cotton Live at Cafe Oto, London - 27 October 2021, The Girl I Left Behind Me, Are You Sure I Was There?, Only Darkness Now, A Place to Hide, Behind the Spider Web Gate, All Is Quiet At The Ancient Theatre, All That Remains, and 4 more. , and , .

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Limited edition CDR with full-colour booklet
Compact Disc (CD) + Digital Album
Limited edition CDR in printed card slipcase and 12-page, full-colour A5 booklet in sealable clear bag

THE LEFT OUTSIDES – 'A PLACE TO HIDE'

Released by Borley Rectory borleyrectory.bandcamp.com

credits
released August 2, 2019

Recorded by Joao Pedro Sousa
Mastered by Anthony Ryan at RedRedPaw Mastering
Album design by Luke Drozd (lukedrozd.com)

All songs written and performed by The Left Outsides except:
'Splash 1' written by Roky Erickson/Clementine Hall
'Young Girl Cut Down In Her Prime', traditional, arranged by The Left Outsides

Includes unlimited streaming of A Place to Hide via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ... more

Sold Out
Full Pressing Heavy Black Vinyl. Presented in a 350gsm Card Outer Sleeve.
Record/Vinyl + Digital Album
Limited to 497 copies worldwide. Here are 90 band copies for sale. Released by Cardinal Fuzz (UK) and Feeding Tube (USA). For USA sales, visit feedingtuberecords.com/releases/a-place-to-hide/ for the most competitive shipping prices.

Much needed vinylization of an amazing live set, previously issued as a CDR in an edition of 100 by the fine Borley Rectory label. Finally, for the good of all mankind, the music from this great night, opening for Robyn Hitchcock at London’s Betsey Trotwood in October 2018, is turntable ready.

A Place to Hide begins with the album’s one new original tune “My Reflection Once Was Me.” The song brims with harmonium-iced vocals that cannot fail to bring a certain German-born chanteuse to mind. Built over a lovely droning base, and slow, martial pulsing, the song answers a rarely asked question — what might it have sounded like if Tim Buckley had written a tune for Nico to do on Chelsea Girl? I think you’ll be damn happy with this reply.

About half the album is made up of songs from their then-newly-released masterpiece, All That Remains (FTR 404). But the way they attack those tunes here has an additional shroud of moodiness drawn over it, adding a whole ‘nother layer of dark richness. This is not always the tone the band shoots for in a live setting, but it’s a truly otherworldly treat when they do. Because they really nail it, with a feel that makes me recall early work by the legendary Opal.

The same is true on the two cover tunes. The traditional “Young Girl Cut Down in Her Prime” (done so memorably by Shirley & Dolly Collins on Love Death & the Lady) is a tune the duo previously recorded for the Ptolemaic Terrascope’s great 2016 comp LP, Paper Leaves. But precious few copies of that one managed to get into the right hands. And this version is perfect — stark, haunting, electric. The other cover is a revelatory take on “Splash 1,” from The Psychedelic Sounds of the 13th Floor Elevators. The Left Outsides gently lift up one of the most beautiful songs the Elevators ever did, turning it into something even more charmed and wistful than the original.

And that’s it. A truly beautiful album from start to finish. And a great place to start exploring the band’s sound if you’ve not done so yet. Don’t be afraid to play catch up. There’s plenty more to come.

–Byron Coley, 2020

Includes unlimited streaming of A Place to Hide via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ... more

Sold Out

	1.	My Reflection Once Was Me 05:02
	2.	Young Girl Cut Down In Her Prime 07:55
	3.	All That Remains 05:53
	4.	Down to The Waterside 05:22
	5.	Naming Shadows Was Your Existence 03:46
	6.	Splash #1 06:18

about

THE LEFT OUTSIDES – 'A PLACE TO HIDE'

Feeding Tube / Cardinal Fuzz

Much needed vinylization of an amazing live set, previously issued as a CDR in an edition of 100 by the fine Borley Rectory label. Finally, for the good of all mankind, the music from this great night, opening for Robyn Hitchcock at London's Betsey Trotwood in October 2018, is turntable ready.

A Place to Hide begins with the album's one new original tune “My Reflection Once Was Me.” The song brims with harmonium-iced vocals that cannot fail to bring a certain German-born chanteuse to mind. Built over a lovely droning base, and slow, martial pulsing, the song answers a rarely asked question -- what might it have sounded like if Tim Buckley had written a tune for Nico to do on Chelsea Girl? I think you'll be damn happy with this reply.

About half the the album is made up of songs from their then-newly-released masterpiece, All That Remains (FTR 404). But the way they attack those tunes here has an additional shroud of moodiness drawn over it, adding a whole 'nother layer of dark richness. This is not always the tone the band shoots for in a live setting, but it's a truly otherworldly treat when they do. Because they really nail it, with a feel that makes me recall early work by the legendary Opal.

The same is true on the two cover tunes. The traditional “Young Girl Cut Down in Her Prime” (done so memorably by Shirley & Dolly Collins on Love Death & the Lady) is a tune the duo previously recorded for the Ptolemaic Terrascope's great 2016 comp LP, Paper Leaves. But precious few copies of that one managed to get into the right hands. And this version is perfect -- stark, haunting, electric. The other cover is a revelatory take on “Splash 1,” from The Psychedelic Sounds of the 13th Floor Elevators. The Left Outsides gently lift up one of the most beautiful songs the Elevators ever did, turning it into something even more charmed and wistful than the original.

And that's it. A truly beautiful album from start to finish. And a great place to start exploring the band's sound if you've not done so yet. Don't be afraid to play catch up. There's plenty more to come. 

--Byron Coley
 

credits

released February 6, 2020

Originally released as a limited limited edition CDR on the Borley Rectory Label, August 2, 2019

Recorded by Joao Pedro Sousa at the Betsey Trotwood, London on 16th October 2019

Mastered for vinyl and digital by Dean Honer

Album design by Luke Drozd (lukedrozd.com)

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about

The Left Outsides London, UK

The Left Outsides are: Mark Nicholas and Alison Cotton, a wife and husband duo based in London, England whose atmospheric, hypnotic songs echo Nico's icy European folk, pastoral psychedelia and chilly English fields at dawn.

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