Bleached: For The Feel
After spending the past year touring the US and abroad, the Clavin Sisters have settled back into their LA digs long enough to bestow upon us a few more nuggets of dirty, blissed out hits.
Bleached had this to say about the title track: "For The Feel is a song we originally wrote for our full length but it didn't sound right once recorded so we held off on putting it on the record. Finally when it came down to recording it again we were really inspired by the sound of The Kinks, we even used The Kinks amp. I'm really glad we waited to release this song because now it's perfect."
On the flipside, they've churned out two jukebox classics; "Poison Ivy" is inspired by The Rolling Stones' take on The Coasters (and Bleached's love of both) and a live show favorite, The Damned's "Born To Kill" finishes out the sweaty dance party to perfection.
Limited, of course, and yours for the taking.
David Lynch & Alan R. Splet: Eraserhead: Original Soundtrack Recording
It is with great pride that Sacred Bones Records announces its official, expanded, re-release of the soundtrack to David Lynch's landmark 1977 film, Eraserhead.
This edition includes: a 16 page booklet, a four panel fold out double sided poster, digital download. The bonus song "Pete's Boogie" is a newly discovered Peter Ivers recording taken from the original audio tapes and mixed by Lynch himself. It was previously only available on the long out of print limited edition LP.
Dream Boat: The Rose Explodes
The Rose Explodes is the lush and percussive sophomore album from Athens, GA psychedelic collective Dream Boat. The band began as a collaboration between Page Campbell and Dan Donahue. Two artists/musicians who were born on the same aquarian day. Together, they bridge several generations of Athens' psychedelic collectives and musical freak families. Page has performed in Hope for Agoldensummer, among other projects for over a decade. Dan, a longtime Elephant 6 collaborator, has penned lyrics for Bear in Heaven, Of Montreal, and Elf Power. With engineer/musician Suny Lyons, Page and Dan weave the sounds of many amazing players, such as Scott Spillane (Neutral Milk Hotel), John Fernandes (The Olivia Tremor Control, Circulatory System), Andrew Reiger (Elf Power), Claire Campbell (Hope for Agoldensummer), James Husband (Of Montreal), and Kris Deason (Dark Meat, Hot Fudge). On their new album, Dream Boat continues their exploration of heavenly soundscapes, wrapping them around a new, more vibrant intensity. The Rose Explodes is, like the name implies - soft and sensual on the surface, with a seething power just under the skin. With intimate, cosmic energy, themes of sexuality, love, loss, and being lost.
Glass Ghost: LYFE
Since the release of their debut album Idol Omen in 2009, Glass Ghost's founding members Eliot Krimsky and Michael Johnson have kept busy. In addition to playing dozens of shows, including a tour with White Rabbits, Johnson joined Dirty Projectors as their new drummer, Krimsky has been collaborating with Here We Go Magic on keys, and the duo welcomed two new members to the group, Tyler Wood on keyboards and percussion, and Aerial East on vocals. Like their debut, LYFE was produced by Tyler Wood, who also produced Joan As Policewoman's 2014 album The Classic. For the LYFE recording sessions, the group recruited many of their friends to contribute, including Joan Wasser of Joan As Policewoman, Nat Baldwin of Dirty Projectors, and Christopher Tignor of Slow Six and Wires Under Tension. Pushing their songs to new levels by working with Brooklyn's musical elite is nothing new for Glass Ghost. They worked with more than a dozen of their friends from Brooklyn's music community, including Sharon Van Etten (who in 2011 noted "Eliot Krimsky is one of my favorite writers."), Here We Go Magic's Luke Temple, and Matt Iwanusa of Caveman, for their debut which was described by the New Yorker as "elegant compositions of frosted indie pop," and by Time Out New York as "weird and mournful yet highly rhythmic."
Lia Ices: Ices
"Ices" is a celebration of flight, levity, and the conviction that you can leave earth. You take wing in an airplane, you go to real places when you dream, you have out-of-body experiences, you get high, you lose yourself in someone else.
When we started work on these songs, I was beginning a gradual move to California, constantly traveling back and forth from New York. I was experimenting. I was falling in love. Our studio in the Hudson Valley was full of electronics and computers and the sounds of future ships sailing through the vastness of space, and I sometimes forgot where I was. The first songs we wrote were called "flying 1", then "flying 2", and so on, which eventually evolved into songs on the album. Flight became a metaphor for the ignition of the imagination. The process created a lightness in me, a freedom and positive energy that I'd never before felt or explored.
This recording session became a two year music and spiritual retreat with my psychic twin brother, Eliot. A private journey during which we abandoned old habits and familiar sounds. We got really geeky and experimented in our studio. We obsessed over sympathetic magic, "Ancient Aliens", and the NBA. We allowed everything we loved to find its way in: Persian percussion, hip-hop beats, lo-fi, hi-fi, Pakistani pop, Link Wray, Jason Pierce, gospel, dub. We developed new systems; we worked with synthesis, software, and samples; we became producers. The Hudson Valley was home base, but I wanted to keep flying. I wrote songs in California, recorded vocals in Atlanta, and worked with Clams Casino in Brooklyn. For the first time, Lia Ices felt like an inclusive project with its own identity, not just a name.
"Ices" as a whole is devoted to these certainties. While we have evolved, we are still animals. We respond to planets, patterns, and cycles. We require the sounds of our origins. We live in the future but stay bound to the primitive and primordial. We will always want tribe, we will always want rhythm, we will always need music to guide us into our deepest sense of what it means to be human. So we hear sounds from all over the planet in this album. We devour so much music, and with this album we allowed ourselves to claim bits from all of it.
Melted Toys: Melted Toys
Melted Toys self-titled debut is out on Underwater Peoples August 5, 2014. Culminating three years after their acclaimed Washed & Dried EP first unveiled the group's distinct blend of hazy, plaintive pop and psychedelic electronica, the full-length reigns in squarely as the group's most definitive vision yet. It comes on as a sort of sanctuary-in-transit, inspired both by the shifting visions of dreams and global travel, so that each of the twelve passages flicker and flame with equal impression.
Moonface: City Wrecker
Following up the stunning Julia With Blue Jeans On, Spencer Krug delights us with five more majestic tunes, newly written and never before released.
Released physically on vinyl only, this EP is the perfect collectible for all Moonface audiophiles.
My Brightest Diamond: This Is My Hand
This Is My Hand is a journey beyond the composition of music. "I had this 'back-to-basics' moment of reading how humans were making sounds before we were using words," says Shara. The opening track on This Is My Hand, 'Pressure,' is an invitation. Within seconds of lowering the needle, listeners hear a sharp, drum-rolled call to attention, courtesy of the Detroit Party Marching Band. What follows is a Shara-choreographed whirlwind of horns, woodwinds, beats, xylophones and synths. The ensuing 'Before the Words' ("Before the verse there was the sound") and the title track are no less direct in exploring and defining the fundamentals of not just pop music, but, well, life. "This is my voice/ this is my heart / this is my choice," sings Shara. 'Apparition,' the final track, is a Tron-like electronic, slow-motion departure from the physical world. Produced by Shara herself and keyboardist Zac Rae, This Is My Hand is a bold chapter in the unfurling MBD story. Its exploration of music and its rhythmic urgency escort Shara's chamber-music aesthetic out of the chamber and back into the dance hall and rock bar.
This Will Destroy You: Another Language
Since 2004, This Will Destroy You has been forging some of the world's most brutal, dynamic, and precariously visceral instrumental rock. In addition to a vigorous tour schedule, their celebrated discography and critically renowned soundtrack work for feature films and documentaries have earned them a sizable and fervent international following. Another Language, TWDY's fourth full length LP, marks their euphonious return from a prolonged vacuous dark period that threatened to break both the band and the members themselves. Rather than be stifled by their experience TWDY were atomized and subsequently made anew, emerging with a revived energy and reinforced sense of solidarity. As a result, Another Language captures the band at its most potent, honed, and utterly powerful form yet, displaying an edified unity and graduated sense of song-writing, tonal complexity, and studio prowess.
Wallet CD printed on uncoated stock w/ copper foil and printed inner sleeve. 2xLP Gatefold jacket printed on uncoated stock w/ copper foil and printed inner sleeves. The 2xLP is available in a limited pressing of 3,000 copies on custom copper vinyl and includes a download card for MP3s.
TOPS: Picture You Staring
TOPS are a four-piece band from Montreal, equal parts girls and guys, delivering a raw punk take on AM studio pop. Their new record, PictureYou Staring, is a lush array of timelessly crafted songs. Singer Jane Penny gives a new voice to the silent girl at the edge of the circle, disillusioned but honest and unpretentious, a tone complemented by David Carriere's seamless guitar playing and the measured drumming of Riley Fleck. TOPS' subtle arrangements are delivered with a cool restraint that blend with the individuality and self-assured desire of their femalelead.
Picture You Staring gathers strength through intimacy. Self-written, recorded and produced at Arbutus Records' studio in Montreal over the course of a year, this album contains 12 impeccable examples of pop craftsmanship that will reward repeat listeners.
Vessel: Punish, Honey
‘Punish, Honey’ the follow up to Vessel’s critically acclaimed debut album ‘Order of Noise’ finds the always unpredictable Bristol based producer continuing to challenge himself and listeners alike. Wishing to move away from working with archetypal electronic sounds, with ‘Punish, Honey’ Vessel sought to create something that felt more organic even if the sounds themselves didn’t always feel inherently organic. That lessening interest in electronic sounds was concurrent with a burgeoning interest in natural sounds, in particular, how the physical body has a direct effect on the nature of the sound, whether it be harsh or pure, messy, violent, seductive, or strange. Using sheets of metal as percussion, sawing up bikes to make flutes and creating harmonic guitars all by his own hand, Vessel created his own set of crude instrumentation exclusively for this record. Combined with an interest in notions of national identity, Vessel asking himself the question ‘What does ‘Englishness’ in music really mean?’ ‘Punish, Honey’ is an uncompromising and dizzying experience. Traversing the queasy glam stomp pf ‘Red Sex’, the chugging, cinematic soundscapes of ‘Anima’ and the medieval industrial tones of ‘Euoi’, ‘Punish, Honey’ is the by-product of an artist striving to create his own unique lane.
Following the dissolution of his groundbreaking collage-pop duo, the Books, Zammuto rebounded with an eponymous debut album submerged in transitional anxiety and audio effects designed to intentionally obscure the very humanistic qualities that marked Nick Zammuto's best work in the Books. An enormous weight has been lifted from Nick Zammuto, and you can hear as much in the opening minutes of Anchor. The arrangements have more space, the songs are more dynamic, and the vocals are delivered with a confident intimacy that is almost alarmingly beautiful (the collaborations with the enchanting Daniela Gesundheit of Canadian indie-pop duo Snowblink are particularly transcendent). Written, performed, recorded, mixed, and mastered entirely at home in Zammuto's converted tractor garage recording studio (pictured on the front cover) using an expanding array of vintage analog outboard equipment, Anchor embodies the very DIY lifestyle and self-sufficient approach that has come to define all that is Zammuto. His is a rarified art made on its own terms ? far away from the insular feedback loop of trend cycles and commodied expectations. His home is his anchor, and Anchor is his home.