Vinyl Records London are on cloud nine, we are now spinning in a brand new copy in Red Vinyl from Mattiel Georgia Gothicrsquo, a magic third in Mattielrsquos run of fulllength albums, was shaped in the quiet seclusion of a woodland cabin in the north of the Atlanta duorsquos motherstate ldquoSome faraway place that just Jonah and I could go where there would be no distractions, nothing else going on, and we could turn everything off and only focus on writing songs,rdquo reflects Brown.Where 2017rsquos selftitled debut and its 2019 followup Satis Factory were written with what Swilley refers to as a ldquohandsoffrdquo approach he arranging the music and Brown the lyrics and vocals, the two working largely separately the making of lsquoGeorgia Gothicrsquo was, for the first time, a truly collaborative undertaking. ldquoThis was the first time we made a point to just be together and work out ideas in the same room. That was the initial intention… it was about learning what each other wanted to accomplish on a sonic level, and then just trying different things out,rdquo Swilley continues. ldquoEverything happened backwards. Normally, yoursquod have friends that make a band… with us, we started making music from the jump, and then became homies.rdquoCultivated by time spent together on the road touring the first two albums, it is thisnbspnewfound sense of intimacy between Mattielrsquos members that enabled the writing ofnbsplsquoGeorgia Gothicrsquo not as two separate musicians, but rather as one creative entity. Thenbspalbum remained within the four walls of Brown and Swilleyrsquos private world for much of itsnbspevolution with recording taking place in a simple studio set up by the pair in thenbspborrowed room of a dialysis centre, Swilley in the producerrsquos seat until, nearingnbspcompletion, it was transferred into the trusted hands of the Grammy awardwinning JohnnbspCongleton whose extensive list of credits includes artists as diverse as Angel Olsen, EarlnbspSweatshirt, Erykah Badu and Sleater Kinney for mixing.Not only does the affinity between its creators translate into an electric synergy betweennbsplsquoGeorgia Gothicrsquos words and music the brineshock of Brownrsquos taut lyricism cut againstnbspthe bourbonsmoothness of Swilleyrsquos instrumentation but here too are the palpablenbspspoils of experimentation, each party trustful enough of the other to trial and error theirnbsppractices into new geometries. Swilley puts this wide palate, in part, down to the placenbspthey call home. ldquoI definitely feel like being from Georgia allows us to have a certain way ofnbspapproaching music.rdquo Brown chimes in ldquoWe havenrsquot really highlighted where wersquore from innbspthe past two records, even though those were also written in Georgia. Therersquos so muchnbspgreat art and great music thatrsquos come from Georgia, from all different types of genres andnbspall over the state but take R.E.M. and OutKast therersquos this weirdness that I canrsquot reallynbspput my finger on.rdquo Swilley concurs ldquoItrsquos the same with the B52s, the Black Lips… itnbspdoesnrsquot feel like L.A., it doesnrsquot feel like New York, it feels like another planet. Wersquore notnbspreally in a lsquoscenersquo here in the same way. You have to make your own sound, create yournbspown identity.rdquo