The Feast of St. Perpetua
Newly signed to indie heavyweights Heist or Hit (Westside Cowboy, Herâs, Nature TV), Mleko ramp up the emotional velocity with their debut EP: 'The Feast of St. Perpetua'. Recorded at Low Four Studios by Samuel William Jones (Maruja, Robin Richards) every song carries the dissonance of beauty and violence, sincerity and sarcasm, collapse and uplift.
On âAs It Goesâ Whirledgeâs vocals splinter between detachment and despair, dragging the listener through the detritus of young adulthood, where direction is a rumour and hope has all the authenticity of a spam email. The tension-and-release continues with âGub Rockâ. The murky, semi-apocalyptic bass line drives the track onwards with an uncanny unease while Whirledge calmly orates: âas I tie myself to rocks and fill my pockets full of gravel.â From all the industrial sludge and drone-adjacent art-rock emerges âTomâs Tuneâ which, in a flagrant disregard for genre boundaries, bounces in on a bubble of plucked neo-folk guitar before attending its own MLEKO-sanctioned exorcism.
âI reverberate around in echo-chambers nowâ screams Whirledge, a line destined for tattoos and nihilistic t-shirts. âLego Sexâ âAs a young boy, Rory was caught with âLego sexâ written into his YouTube search history. At his 21st birthday, this story was told. After prompts from the band, Rory put pen to paper and âcreatedâ a suspiciously detailed legophilic character who did not grow out of this interest. The song was to be told from this perspective, detailing the anguish stemming from the unfuckable figurines and preference for plastic over flesh - an unwavering grinâ. Unfortunately, lines such as âcock blocked from my block cockâ didnât make the final cut. The song is not commentary. It is entirely separate, isolated from the unforgiving outside. Leave him to his lego sex. Just let him watch his lego sex. âDenouementâ brings the EP full circle, calling back to musical motifs established in âAs It Goesâ. Itâs here that the part pagan ritual, part art school thesis meltdown draws to a close. âThe children all weep for their denouement and these obscene, violent scenes, splitting the night like a silent dream.â utters Whirledge in the final line of this black mass.
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$13.20The Feast of St. Perpetua
Newly signed to indie heavyweights Heist or Hit (Westside Cowboy, Herâs, Nature TV), Mleko ramp up the emotional velocity with their debut EP: 'The Feast of St. Perpetua'. Recorded at Low Four Studios by Samuel William Jones (Maruja, Robin Richards) every song carries the dissonance of beauty and violence, sincerity and sarcasm, collapse and uplift.
On âAs It Goesâ Whirledgeâs vocals splinter between detachment and despair, dragging the listener through the detritus of young adulthood, where direction is a rumour and hope has all the authenticity of a spam email. The tension-and-release continues with âGub Rockâ. The murky, semi-apocalyptic bass line drives the track onwards with an uncanny unease while Whirledge calmly orates: âas I tie myself to rocks and fill my pockets full of gravel.â From all the industrial sludge and drone-adjacent art-rock emerges âTomâs Tuneâ which, in a flagrant disregard for genre boundaries, bounces in on a bubble of plucked neo-folk guitar before attending its own MLEKO-sanctioned exorcism.
âI reverberate around in echo-chambers nowâ screams Whirledge, a line destined for tattoos and nihilistic t-shirts. âLego Sexâ âAs a young boy, Rory was caught with âLego sexâ written into his YouTube search history. At his 21st birthday, this story was told. After prompts from the band, Rory put pen to paper and âcreatedâ a suspiciously detailed legophilic character who did not grow out of this interest. The song was to be told from this perspective, detailing the anguish stemming from the unfuckable figurines and preference for plastic over flesh - an unwavering grinâ. Unfortunately, lines such as âcock blocked from my block cockâ didnât make the final cut. The song is not commentary. It is entirely separate, isolated from the unforgiving outside. Leave him to his lego sex. Just let him watch his lego sex. âDenouementâ brings the EP full circle, calling back to musical motifs established in âAs It Goesâ. Itâs here that the part pagan ritual, part art school thesis meltdown draws to a close. âThe children all weep for their denouement and these obscene, violent scenes, splitting the night like a silent dream.â utters Whirledge in the final line of this black mass.
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Newly signed to indie heavyweights Heist or Hit (Westside Cowboy, Herâs, Nature TV), Mleko ramp up the emotional velocity with their debut EP: 'The Feast of St. Perpetua'. Recorded at Low Four Studios by Samuel William Jones (Maruja, Robin Richards) every song carries the dissonance of beauty and violence, sincerity and sarcasm, collapse and uplift.
On âAs It Goesâ Whirledgeâs vocals splinter between detachment and despair, dragging the listener through the detritus of young adulthood, where direction is a rumour and hope has all the authenticity of a spam email. The tension-and-release continues with âGub Rockâ. The murky, semi-apocalyptic bass line drives the track onwards with an uncanny unease while Whirledge calmly orates: âas I tie myself to rocks and fill my pockets full of gravel.â From all the industrial sludge and drone-adjacent art-rock emerges âTomâs Tuneâ which, in a flagrant disregard for genre boundaries, bounces in on a bubble of plucked neo-folk guitar before attending its own MLEKO-sanctioned exorcism.
âI reverberate around in echo-chambers nowâ screams Whirledge, a line destined for tattoos and nihilistic t-shirts. âLego Sexâ âAs a young boy, Rory was caught with âLego sexâ written into his YouTube search history. At his 21st birthday, this story was told. After prompts from the band, Rory put pen to paper and âcreatedâ a suspiciously detailed legophilic character who did not grow out of this interest. The song was to be told from this perspective, detailing the anguish stemming from the unfuckable figurines and preference for plastic over flesh - an unwavering grinâ. Unfortunately, lines such as âcock blocked from my block cockâ didnât make the final cut. The song is not commentary. It is entirely separate, isolated from the unforgiving outside. Leave him to his lego sex. Just let him watch his lego sex. âDenouementâ brings the EP full circle, calling back to musical motifs established in âAs It Goesâ. Itâs here that the part pagan ritual, part art school thesis meltdown draws to a close. âThe children all weep for their denouement and these obscene, violent scenes, splitting the night like a silent dream.â utters Whirledge in the final line of this black mass.
