
Mojave 3 - Ask Me Tomorrow (2026 Remaster)
Long awaited reissues of all of their albums, remastered at Abbey Road.
Ask Me Tomorrow, Out Of Tune, Excuses For Travellers, Spoon and Rafter, Puzzles Like You
Released in October 1995, Ask Me Tomorrow could have easily been the fourth Slowdive album, sounding like an acoustic deconstruction of the groupâs early recordings, still dreamlike and ethereal but recontextualized by discernible lyrics and a country-folk aesthetic.
âWe put quite a lot of reverb on the vocals,â Neil recalls of the primitive recording style, âand because we were all in one room recording straight to tape, there was a lot of bleed, it made everything sound really reverby. It gave the mix this really cool, murky sound and sort of inadvertently bridges the gap to Slowdive a little.â
Channelling the sorrowful songwriting of Leonard Cohen, Nick Drake, Townes Van Zant, and Fairport Convention, as well as contemporaries like Mazzy Star, Tindersticks, and Cowboy Junkies, this tone is set by the transcendent opener âLove Songs on the Radio,â in which Rachelâs angelic vocals are suspended in air by slow, sleepwalking guitar and minimalist bass and drum flourishes.
âI sang that song sitting on a mattress in the kitchen of Neilâs flat,â Rachel recalls. âIt was exciting because I really enjoyed the songs, and it felt like this entirely new thing was forming with only me, Neil and Ian.â
âIt was a very easy record to make, very off the cuff,â Ian confirms. âThe atmosphere had been so toxic at the end of Slowdive, that it just felt so positive to be starting over with Rachel, Neil and myself, having a good time doing something completely different.â
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Description
Long awaited reissues of all of their albums, remastered at Abbey Road.
Ask Me Tomorrow, Out Of Tune, Excuses For Travellers, Spoon and Rafter, Puzzles Like You
Released in October 1995, Ask Me Tomorrow could have easily been the fourth Slowdive album, sounding like an acoustic deconstruction of the groupâs early recordings, still dreamlike and ethereal but recontextualized by discernible lyrics and a country-folk aesthetic.
âWe put quite a lot of reverb on the vocals,â Neil recalls of the primitive recording style, âand because we were all in one room recording straight to tape, there was a lot of bleed, it made everything sound really reverby. It gave the mix this really cool, murky sound and sort of inadvertently bridges the gap to Slowdive a little.â
Channelling the sorrowful songwriting of Leonard Cohen, Nick Drake, Townes Van Zant, and Fairport Convention, as well as contemporaries like Mazzy Star, Tindersticks, and Cowboy Junkies, this tone is set by the transcendent opener âLove Songs on the Radio,â in which Rachelâs angelic vocals are suspended in air by slow, sleepwalking guitar and minimalist bass and drum flourishes.
âI sang that song sitting on a mattress in the kitchen of Neilâs flat,â Rachel recalls. âIt was exciting because I really enjoyed the songs, and it felt like this entirely new thing was forming with only me, Neil and Ian.â
âIt was a very easy record to make, very off the cuff,â Ian confirms. âThe atmosphere had been so toxic at the end of Slowdive, that it just felt so positive to be starting over with Rachel, Neil and myself, having a good time doing something completely different.â






















