Lost Echo's


Limited edition white / gold splatter 7" out September 2021. Pre-order here

Postcards are great because there’s no place for a return address, especially when yours is constantly changing. Still, Ghost Woman fans and claimants alike will be comforted knowing that mailboxes in Alberta, Arizona and other localities do get checked from time to time. GW lead Evan Uschenko grew up cashing guitar player cheques at the gas station after the banks had closed. That same shrewdness is palpable in the music, where lean punk rock melds with union man melodies into what taste like premium cocktails - drawing comparisons to contemporaries like Kurt Vile, the Black Lips, and Steve Buscemi.

Lost Echo’s EP takes its curiously spelled title from a religious tract claiming to reveal the true secrets of the Superstition Mountains, a volcanically eroded wilderness area of Arizona that is rumoured to be the location of a lost gold mine. Some Apache people believe the mountains contain a portal to hell due to winds blowing outward that cause severe dust storms throughout the state.
Ghost Woman’s Evan Uschenko stumbled across ‘Lost Echo’s’ while based in Arizona, sitting out the pandemic, helping his mechanic brother at his Hot Rod shop and waiting to get back on the road to promote his debut EP. He decided to use the title to pay tribute to his current location and the rich history held within the land.
Having grown up in the small town of Three Hills, Alberta, Uschenko cut his teeth as a multi-instrumentalist and part of fellow Canadian Michael Rault’s band – touring with the likes of King Gizzard & The Lizard Wizard. Retreating from the road and hiding out in prairies of southern Alberta, Uschenko booked two months in an abandoned farmhouse, converted into a studio, and in a fog of smoke and whiskey recorded songs as quickly as he could write them.
And of the music –  “Dead And Gone” shudders to life with Uschenko snarling its opening lines: “I can’t remember your face / And you don’t seem to mind.” In under two minutes, the song barrels forward with machine gun snare rolls and blown-out guitar riffs from the school of Link Wray. “Demons” sounds just as tightly coiled, distilling his heartache like Lee Hazelwood with the brattiness of the Black Lips and Jay Reatard’s love of lo-fi hooks.
The EP is tied up by the atmospheric ‘It Might Be Dress Day’ – a loose instrumental built around a dust-blown central riff with the easy menace of a Spaghetti Western as retold by the Stooges.

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