Today, Mild High Club releases his new album Going Going Gone via Stones Throw. The album marks his first body of work since his 2017 collaborative album with King Gizzard and the Lizard Wizard Sketches from Brunswick East, and includes previously-released singles “A New High,” featuring Winter, “Dionysian State” and “Me Myself and Dollar Hell.”
Despite being recorded over the course of the past five years, Alex’s latest record is incredibly apt for today’s wildly unpredictable and trying times, as he set out to capture the emotions and thoughts that color his worldview. The music is just as bold, with Alex finding the musical concoction that would fit the message, a journey through jazz, Brazilian folk, psychedelic rock and electronic music.
“I can’t not write about it” says Alex Brettin, “bartender and resident selector” of the metaphysical listening lounge he calls the Mild High Club. New album Going Going Gone’s musings on what Brettin calls our “Dionysian State” feel especially apt for the present moment.
The new album follows his debut Timeline (2015), which examined the social media age, and second album Skiptracing (2016) which questioned his identity as an artist, as well as 2017’s Sketches from Brunswick East with King Gizzard and the Lizard Wizard. After putting out three records in three years, he sought to hone his craft over the five-year process that would yield this new record.
Going Going Gone is Mild High Club’s most explicitly political body of work to date. Its instrumental tracks are named for a ‘kluge’, i.e. a quick-and-dirty workaround — “Band-Aids on the world’s wounds” — while songs such as “Me Myself and Dollar Hell”, “Dionysian State” and “Waving” approach themes including corporate greed, the nightmare of American individualism and the climate apocalypse with trenchant humor. Elsewhere, there’s hope: “I Don’t Mind the Wait” expresses the joy of transience, a theme that takes on new resonance in the light of the pandemic, while ‘Taste Tomorrow’ imagines a sci-fi future of equity and harmony – but not without reminding us how far we have to go.
Drawing on philosophers, thinkers, and writers as well as musicians on this record, Brettin looked to the likes of Adam Curtis, Nietzsche and Thomas Pynchon for inspiration, and broadened his sound palette to include influences from Brazilian folk and avant-garde, AOR and psychedelic rock from the 1970s. To achieve Going Going Gone’s sound, Brettin worked with Grammy Award-winning producer Vicky ‘Farewell’ Nguyen, who also co-wrote several songs. The record was mixed by Eric Lau under lockdown in Xiamen, China, and mastered by Matt Colton in London. The result is an ambitious, complex record that speaks directly to an accelerated, unpredictable, and confusing time.
Upcoming Live Dates:
9/19 – Los Angeles, CA @ The Belasco – SOLD OUT
9/24 – New York, NY @ Webster Hall