Songs: Ohia: Magnolia Electric Co. (10th Anniversary Deluxe Edition)
The 2xLP is temporarily out of stock and we expect to start shipping again the first or second week of January. Thank you for your patience.
The hallmark of Jason Molina's career, Magnolia Electric Co., is both a confluence of all he would create and a line in the sand to mark a shift in his songwriting approach. It was the last statement under his iconic Songs: Ohia moniker, and the moment before he began making new legends as Magnolia Electric Co. for the next 10 years. Now? here at the end of that decade ? with Molina gone, his work gathers more weight and meaning. This expanded 10-year anniversary edition of Magnolia Electric Co. features one never-before-released track plus many rarities. The full-band studio outtake of fan favorite "Whip Poor Will" is a sweet and spare version that ended up being played far differently on Magnolia Electric Co.'s final album Josephine (2009). Also included is the studio version of "The Big Game Is Every Night." Previously only available on the Japanese version of the album, this opus serves as Molina's thesis statement, its poetry weaving through the 20th Century, through art and sporting culture ? ultimately questioning what it means to be an American in the autumn of the American Era. The edition also gathers Molina's gutting demos for the record, including those two outtakes. Nearly each begins with audible sound of the RECORD button being pressed down on the tape player. They are so close and intimate, it's hard to look them right in the eyes. But you should.
Son Lux: Lanterns
Meditative but heaving with energy, Son Lux?s third full-length weaves disparate elements into songs both strange and welcoming. On the heals of being named NPR?s ?Best New Artist of the Year?, Son Lux has created an album that sits as comfortably next to the compositions of Stravinsky, John Adams, David Lang and Ben Frost, as it does to those of Jamie Lidell, Björk, Flying Lotus, and Radiohead.
YAMANTAKA // SONIC TITAN: UZU
It is safe to say there is no other band like YAMANTAKA // SONIC TITAN on the planet. In a world that is increasingly homogenized, a record like UZU is all the more important for demonstrating how disparate cultural perspectives can merge into something entirely new while retaining their individual sovereign character. This meeting of East and West is perhaps most visible in UZU?s lead single ?One?. As the first YAMANTAKA // SONIC TITAN song to extend the songwriting credits beyond the core duo, ?One? incorporates the indigenous upbringings of the extended group by leading off with a traditional Iroquois song. The introductory chant is a social song calling all people together, and is performed by people of the Mohawk tribe. From there, the band kicks into a driving guitar line and a vocal hook as sweet as any J-pop hit. Metal riffing, free-jazz cacophony, and meditative Eastern percussion patterns accentuate the song. The hybridization is evident throughout UZU--you can hear it in the operatic piano-and-vocal opener ?Atalanta? segueing into the dynamic prog of ?Whalesong?, the Eastern melodies seamlessly melding into the synth arpeggio and guitar dirge of ?Windflower?, the musical storytelling tradition of ?Seasickness Pt. 1? juxtaposing with the Heart-like classic rock gallop of ?Seasickness Pt. 2?, and the closing choir passage of ?Saturn?s Return? descending into Merzbow-esque white noise.
Ashley Eriksson: Colours
Ashley Eriksson (darling to many for her work with LAKE) has achieved a status few artists ever know: her song "Island Song" can be hummed by almost any teenager in the United States (a surprising discovery she made while teaching Portland's Rock Camp for Girls last summer). Used as the closing theme for Cartoon Network's cult sensation Adventure Time, "Island Song" has over a million views on Youtube and has generated dozens of cover videos, making Ashley Eriksson the equivalent of a "household name" to the youth of America. Now Ashley Eriksson has recorded Colours [KLP245], her inspired solo debut to be released on K this spring, and a collection of piano pieces, ballads and songs for her fans around the world.
YAMANTAKA // SONIC TITAN: YT//ST
YAMANTAKA // SONIC TITAN was founded in late 2007 by performance artists alaska B and Ruby Kato Attwood, born from the ashes of the late Lesbian Fight Club. Armed with mixed-race identities, mad illustration skills and a whole pile of home-brew junk electronics, alaska and Ruby wrote and performed the first mini ?Noh-Wave’ Opera, ?YAMANTAKA // SONIC TITAN I’ in April 2008. Aesthetically, they blend the poorly appropriated styles of Noh, Chinese Opera, Chinese, Japanese and First Nations Mythology, Black & White Television, Psychedelia & Rock Operatics into a sensory feast of nigh-monochromatic costuming, unique hand-built musical instruments and their own mangaesque cardboard ?NEVERFLAT’ style of 2.5D set design.
Son Lux: Black Waters
The May installment of the Joyful Noise 2013 Flexi Disc Series features an exclusive track from the incredible Son Lux. Son Lux’s debut recording, At War With Walls and Mazes (Anticon), earned him the title of "Best New Artist" by NPR's All Songs Considered. For his contribution to the Joyful Noise flexi disc series, Son Lux (aka Ryan Lott) offers the cryptic “Black Waters”. A cover song, originally written by 90-year old dulcimerist Jean Ritchie, “Black Waters” is a dark, meditative rendition of traditional Appalachian folk.
Colin Stetson: New History Warfare Vol. 3: To See More Light
Colin Stetson established himself as an intensely original solo composer and performer in 2011 with the release of the widely acclaimed New History Warfare Vol. 2: Judges, which ended up on countless year-end lists. Anyone who has seen Stetson in solo performance can attest to the stunning physicality of his circular-breathing technique and capacity to produce a seemingly impossible palate of multiple voicings simultaneously in real time.New History Warfare Vol. 3: To See More Light is the final installment in a trilogy of solo albums, again recorded live in single takes and again mixed by groundbreaking producer Ben Frost. Colin's membership in Bon Iver has also led to vocal contributions from Justin Vernon for this record, who appears on four songs, and whose voice constitutes the only overdubbing on the album.New History Warfare Vol. 3: To See More Light is the most cohesive and fully realized of Stetson's solo albums to date. It should reliably stand as the apotheosis of the New History Warfare trilogy, and certainly signals the full flourishing of Stetson's unique talents as both composer and performer, pressing his arsenal of virtuosic techniques into the service of vivid, impassioned and conceptually astute songcraft.
Denison Witmer: Denison Witmer
Denison Witmer is Denison Witmer, a culmination of a story that started at the birth of independent music in the early 2000s.He began his career in 1998 with Safe Away. Three albums, dozens of hard, long tours, and several years later, Denison released his most popular record Are You a Dreamer? in 2005. The industry changed quickly though - losing its focus on singer-songwriter folk music.Instead of bowing to the pressure to follow musical trends, Denison continued to refine his sound, becoming more confident in creating something subtle and sublime. His music grew up as he did; a couple of years ago, his dad passed away, and in 2012, he became a new dad. So, since Dreamer, there's been time, craft and perfection, and slow and quiet reflection and production. Now there?s Denison Witmer.Fans who liked Dreamer, Denison's best-selling record, will love Denison Witmer. They?ll appreciate that Sufjan Stevens, William Fitzsimmons, and Devin Greenwood (Norah Jones, Amos Lee) all appear on this record. They?ll love the way Denison has figured out what works. They?ll appreciate the attention to detail, in songwriting and in production.And for those new to Denison, they?re not not alone; there?s a whole generation of young songwriters in their early 20s that grew up listening to Denison. They?ve heard and respected a finely honed style that pulls from a tradition of folk singer-songwriters going back 40 years to Elliot Smith, Nick Drake, Carole King, Neil Young, and even Woody Guthrie. Artists only get once chance to self-title a record. Denison chose a good one.