Album artwork for PAINT by Paint
Album artwork for PAINT by Paint

Allah-Las Pedrum Siadatian sings and plays guitar as Paint on his first solo album. Working with producer Frank Maston, drummer Matthew Correia (fellow Allah-La), NIck Murray (as seen with Oh Sees and White Fence). A super laidback slacker drawl fronts the sweet pop that is PAINT. Guitars shimmer, quiver and gently warp. Spooky synths permeate, while brass washes tunes with an acid glow. Soft sounds reverberate and give a summer feeling that’s gonna haunt you the rest of your life.

Paint started by four-tracking his own strange, slow-growing ideas just after Allah-Las third album Calico Review (2016) - fed or led by a certain acid-bitter poetry (Gregory Corso and John Lennon) and the murky music of Kevin Ayers and Syd Barrett. Siadatian found a producer and partner-in-grime in adept cinematic psychedelicist Frank Maston, who instinctively understood these songs would fall apart if scrubbed too roughly in the studio. Now PAINT’s self-titled debut LP has a happily paradoxical finished-but-not-finished-off feel, like Lou Reed and R. Stevie Moore and Julian Cope and Richard Hell, but just the songs that never came out.

Like Daily Gazette: big-city-on-the-skids mid-tempo hot-summer punk blues cool like those Richard Hell / Tom Verlaine Neon Boys tapes. Like Splattered: a subway-sound Velvet Underground valentine. Like Silver Streaks: budget-studio 1970s expression-as-obsession from the California observed and preserved by demimonde private-press psychedelicists Damon or F.J. McMahon. Like Wash: a last-dance cosmic waltz that could’ve been a snippet of an Angelo Badalamenti soundtrack.

Anyway, this is PAINT, the substance and the action – it drips, it runs, it changes colors. In between: not the desert but the dirt, not the night but the dark, not the sun but the heat and not the sea but the deep, and always the heartbeat blood-rush feel-it! momentum that makes all rock ‘n’ roll rock and roll. Think of it this way: PAINT’s first album isn’t always clean, but it’s very very clear. Sometimes the mess is the message.

Paint

PAINT

Mexican Summer
Album artwork for PAINT by Paint
CD

£9.99

Housed in Gatefold Style Wallet.

Released 02/11/2018Catalogue Number

MEX2622

Learn more
Album artwork for PAINT by Paint
LP

£19.99

Includes Oversized Newsprint Insert.

Black
Includes download code
Released 02/11/2018Catalogue Number

MEX2621

Learn more
Paint

PAINT

Mexican Summer
Album artwork for PAINT by Paint
CD

£9.99

Housed in Gatefold Style Wallet.

Released 02/11/2018Catalogue Number

MEX2622

Learn more
Album artwork for PAINT by Paint
LP

£19.99

Includes Oversized Newsprint Insert.

Black
Includes download code
Released 02/11/2018Catalogue Number

MEX2621

Learn more

Allah-Las Pedrum Siadatian sings and plays guitar as Paint on his first solo album. Working with producer Frank Maston, drummer Matthew Correia (fellow Allah-La), NIck Murray (as seen with Oh Sees and White Fence). A super laidback slacker drawl fronts the sweet pop that is PAINT. Guitars shimmer, quiver and gently warp. Spooky synths permeate, while brass washes tunes with an acid glow. Soft sounds reverberate and give a summer feeling that’s gonna haunt you the rest of your life.

Paint started by four-tracking his own strange, slow-growing ideas just after Allah-Las third album Calico Review (2016) - fed or led by a certain acid-bitter poetry (Gregory Corso and John Lennon) and the murky music of Kevin Ayers and Syd Barrett. Siadatian found a producer and partner-in-grime in adept cinematic psychedelicist Frank Maston, who instinctively understood these songs would fall apart if scrubbed too roughly in the studio. Now PAINT’s self-titled debut LP has a happily paradoxical finished-but-not-finished-off feel, like Lou Reed and R. Stevie Moore and Julian Cope and Richard Hell, but just the songs that never came out.

Like Daily Gazette: big-city-on-the-skids mid-tempo hot-summer punk blues cool like those Richard Hell / Tom Verlaine Neon Boys tapes. Like Splattered: a subway-sound Velvet Underground valentine. Like Silver Streaks: budget-studio 1970s expression-as-obsession from the California observed and preserved by demimonde private-press psychedelicists Damon or F.J. McMahon. Like Wash: a last-dance cosmic waltz that could’ve been a snippet of an Angelo Badalamenti soundtrack.

Anyway, this is PAINT, the substance and the action – it drips, it runs, it changes colors. In between: not the desert but the dirt, not the night but the dark, not the sun but the heat and not the sea but the deep, and always the heartbeat blood-rush feel-it! momentum that makes all rock ‘n’ roll rock and roll. Think of it this way: PAINT’s first album isn’t always clean, but it’s very very clear. Sometimes the mess is the message.