Geography IV/V
Two EPs, one record. Unlock it on the map or pre-order each part below.
Both will be out on 28 NOVEMBER on Bandcamp. For $potify, you got to wait till 2026 – because they’re fuckers:
- [https://en.wikipedia.org/wiki/Criticism_of_Spotify]
- [https://www.theguardian.com/music/2025/jul/31/spotify-musicians-david-bridie-ntwnfb]
- [https://indiemusiccenter.com/news/why-we-think-spotify-is-the-worst-place-for-indie-artists-1754]
- [https://www.latimes.com/entertainment-arts/music/story/2025-07-31/spotifys-ceo-owns-an-ai-weapons-company-some-musicians-say-its-time-to-leave]
The only good thing about Daniel Ek is that he is bald. Like Bald Chewbacca – but Bald Chewbacca has style and dignity at least.
Can’t rule out a Bald Chewbacca release about Daniel Ek and how he should wear a wig instead.
Geography IV
- Wrocław — 06:33
- Warschauer Strasse (Berlin) — 05:02
- Valencia — 04:40
- Detroit (Cyber Séance) — 07:28
- Lviv — 03:42
Geography V
- Ghent — 04:09
- Porto (feat. Joana Carvalhas) — 05:37
- Bergen — 04:00
- Manchester — 04:13
- Niš — 06:07
Release Notes
Geography, pt. IV & V are cartography you can hear. As the obvious evolution to Bald Chewbacca’s Geography pt. I & III (released in 2019), they treat cities like instruments: tramlines as tape, sirens as harmony, warehouses as reverb. The idea of two EPs is a metaphor of two-way streets — you can go one direction or the other, but the street is the same. You can also see it as an album, who are we to stop you from doing that? But if you do that, then look at the map — because, yes, the map is the album.
What are the differences between pt. IV and pt. V? Well, think of IV as the necessary evil — the one that brings you from Poland to Berghain, all the way to the White House and back. V is instead the salty air for your lungs — the heavy beats from Belgium, the Portuguese violin, a homage to Oasis because they deserve it, and an unnecessary journey to the Balkans to end it all. Both share BC’s pulse: detuned choirs, radio grit, blown-out drums, and a bassline that refuses to behave.
How to listen: Loud speakers preferably, but also bassy headphones. The cities are all necessary. Do not skip any cities: you do not skip on emotions.
Release Notes — by City
Wrocław — 06:33
Floodlights, bridges, winter water and Keith Richards. Steel drones lean forward; kick like slow oars. A surge that never fully resolves.
Warschauer Strasse (Berlin) — 05:02
Platform ghosts and U-Bahn motors. Hi-hats argue with the timetable; bassline keeps missing the train on purpose. Berghain is a wet dream.
Valencia — 04:40
Heat shimmer over concrete. Seafront phasing, shortwave chatter in the wind; a melody sun-bleached to bones.
Detroit (Cyber Séance) — 07:28
Reverse-time ritual in an empty plant. Sirens, sparks, Donald, Kanye and a loop that refuses to die; chrome-cold euphoria.
Lviv — 03:42
Quiet courage at night crossings. Lantern synths, restrained drums; melody held like breath between borders.
Ghent — 04:09
Canal echo and cobble swing. A clipped groove that smiles with its teeth; bass walks, drums swagger. “Let’s go,” to quote Keith.
Porto (feat. Joana Carvalhas) — 05:37
Violin rules over a broken club system. Wine-stain harmonics, granite reverb, rocks become sounds.
Bergen — 04:00
Wet air and fog bass. Norwegian woods at the edge of the key; kicks feel like rain on aluminium roofs.
Manchester — 04:13
Rain on brick. Liam and Noel shredded into synth; drums tighten like a late-night tramline.
Niš — 06:07
Border midnight. Diesel halos in 5/4, brass shadows, one last Serbian cigarette before the bridge—tempo breathing heavy.