Name: Georgia Gothic
Brand: Mattiel

Bonus disc

Bonus disc: No

Catalogue number

HVNLP202PD

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Colour

Colour details

Discogs ID

[r22591649]

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Discs

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: Yes

Format detail

Picture Disc housed in Clear PVC Bag.

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Format Music GB

Limited edition

Release date

2022-06-10

Signed copies

Signed copies: No

Supplier GB

PIAS

Tax rate GB

UPC / Barcode

5400863070908

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1 / Extended format: Yes / LP / Rough Trade Exclusive: No / Signed copies: No

HVNLP202CD

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Extended format: No

Digisleeve with 8 Page Booklet.

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2022-03-18

5400863064976

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1 / CD / Extended format: No / Rough Trade Exclusive: No / Signed copies: No

HVNLP202C

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Red Hot

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Download code: Yes

With Printed Inner.

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5400863064969

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1 / Extended format: No / LP / Rough Trade Exclusive: No / Signed copies: No / red

Artist

Mattiel

Genre GB

Alternative / Modern

Label GB

Heavenly Recordings

Georgia Gothic, a magic third in Mattiel’s run of full-length albums, was shaped in the quiet seclusion of a woodland cabin in the north of the Atlanta duo’s mother-state. Cultivated by time spent together on the road touring the first two albums, it is this newfound sense of intimacy between Mattiel’s members that enabled the writing of Georgia Gothic not as two separate musicians, but rather as one creative entity. The album remained within the four walls of Brown and Swilley’s private world for much of its evolution — with recording taking place in a simple studio set up by the pair in the borrowed room of a dialysis centre, Swilley in the producer’s seat — until, nearing completion, it was transferred into the trusted hands of the Grammy-award-winning John Congleton (whose extensive list of credits includes artists as diverse as Angel Olsen, Earl Sweatshirt, Erykah Badu and Sleater Kinney) for mixing. Not only does the affinity between its creators translate into an electric synergy between Georgia Gothic’s words and music — the brine-shock of Brown’s taut lyricism cut against the bourbon-smoothness of Swilley’s instrumentation — but here too are the palpable spoils of experimentation, each party trustful enough of the other to trial and error their practices into new geometries.