Do Make Say Think: Do Make Say Think
Do Make Say Think self-recorded its self-titled debut album in Toronto in 1996-1997 and self-released the record on CD. It made its way to Constellation's stereo in spring 1998, just as the label was getting off the ground. Constellation re-released the album in more elaborate bespoke CD packaging in 1999 and Do Make Say Think became the label's fifth release.
This terrific debut remained one of the very few titles on Constellation that was never issued on vinyl, as the label's limited resources in the early years conspired against a 2xLP pressing at the time. This historical aberration is now being remedied by a lovely deluxe double 180-gram edition of the album, with the CD's unique window-cut artwork and packaging translated to glorious 12-inch dimensions.
One of the first groups to define a newly genre-blending aesthetics and collective/collaborative ethics of (post-) rock experimentation in the Toronto scene, Do Make Say Think has released a superb, dynamic and continually inventive series of instrumental rock albums since their auspicious debut.To commemorate the 15th anniversary of Constellation's 1998 release of the debut CD ? we couldn't be prouder to present Do Make Say Think on vinyl for the first time.
Sandro Perri: Spaced Out
The final set of remixes from Perri?s critically acclaimed impossible spaces album, following previous EPs on DFA AND Phonica. Featuring remixes by Larry Gus (DFA, Lefse), Le Révélateur (Root Strata) and Imugem Orihasam (FRAGIL).
While Sandro Perri's acclaimed and meticulously constructed album Impossible Spaces was a decidedly avant-rock affair conjured from guitar, bass, drums, synth and voice (with flourishes of woodwinds and brass), longtime fans of Perri will also be familiar with his deep roots in electronic music, chiefly via his Polmo Polpo project from the early 2000s. So it was natural for him to tap friends and peers for remixes of the Impossible Spaces material. This yielded an embarrassment of remix riches, spread across a series of three EPs, of which Spaced Out is the third and final installment (following 2012 releases on the DFA and Phonica labels).
We're thrilled to wrap up these Impossible Spaces remixes in a final installment; Spaced Out provides an intense, diverse and richly detailed 22-minute journey that wildly re-imagines the original album across three distinct pieces, each of which remains true to Perri's core aesthetics in uniquely additive fashion.
Land Of Kush: The Big Mango
Following several visits to the city over the years, Osama (Sam) Shalabi moved to Cairo in 2011, arriving at an apartment one block from Tahrir Square, in the midst of Egypt's 'Arab Spring'. Shalabi describes The Big Mango, his new and phenomenal work for his Land Of Kush big-band, as "a love letter to Cairo" framed by "the beautiful, surreal madness of the city?as joyous, horrific, historical events were unfolding".
The opening six minutes, a slowly brewing stew of free-improvised instrumentation, electronics, wordless vocalizations and oblique sexuality/sensuality, are an inimitable destabilizing strategy of Shalabi's that serves to introduce most of the instrumental voices and the montage of genres that will form the rest of the work, while also invoking the album's deeper conceptual preoccupations: gender, sexuality and the status of women as a culture unleashes seismic/revolutionary energies with the real possibility of attendant shifts in civil society and political structure.
In combination with the peaking intensity and electricity of Shalabi's compositional vision, The Big Mango coheres, sparkles and soars: a distillation of the sonic trajectory Land Of Kush has been charting for the past five years.
Matana Roberts: Coin Coin Chapter Two: Mississippi Moonchile
COIN COIN Chapter Two: Mississippi Moonchile is the much-anticipated new installment of Matana Roberts' unique and forward-looking project and it finds Roberts conjuring some of the most nuanced, thoughtful and substantial American liberation music of the 21st century.
Mississippi Moonchile was developed for an intimately woven New York jazz sextet and represents the next leap forward in Roberts' iconoclastic and complex project of memory and recuperation, where historical and contemporary musical tropes, fragmentary spoken and sung narratives, and Matana's cascading alto saxophone are supported by prodigiously talented players.
Chapter Two unfolds as a cohesive album-length piece, playing with notions of dignity, rarefaction and restraint. The six players are in a perpetual motion of coalescence and divergence, where melodic themes, occasional ostinato passages, and variously deployed literal voices serve to rally the overriding theme of individual narratives and personal expressions as struggles with, celebrations of and threads within collective history. The contortions of empowerment, pride, shame, suffering, eulogy, empathy, liberation and transcendence are Matana's raw material in the broadest and most specific senses; she has given this raw material another beautiful and compelling shape in the second chapter of the COIN COIN story.
When Esmerine surfaced with La Lechuza in 2011, the album signaled many things: the band's first new recordings in six years, an expanded line-up, and a song cycle inspired by and dedicated to the life and untimely death of a dear friend and fellow musician.
Esmerine's new album Dalmak emphatically confirms that the group has continued writing, exploring and collaborating. Bruce Cawdron (ex-Godspeed You! Black Emperor) and cellist Rebecca Foon (Silver Mt. Zion, Set Fire To Flames), brought in percussionist Jamie Thompson (Unicorns, Islands) and multi-instrumentalist Brian Sanderson as full-time members.
European tours in 2011-2012 brought Esmerine to Istanbul, and Dalmak is the fruit of that visit: the majority of the album was recorded in Istanbul, where the band's four Canadian musicians were joined by an equal number of Turkish guest players.
?Dalmak? is a Turkish verb with many connotations: to contemplate, to be absorbed in, to dive into, to bathe in, to rush into, to plummet. As album title, ?dalmak? refers in a literal sense to immersion in the culture and music of Istanbul but also appropriately evokes the range of music that emerged: a collection of songs that shift between meditative pulsing and enveloping restraint to headlong flights into rhythm and groove.
Sarah Neufeld: Hero Brother
Sarah Neufeld is a violinist and composer based in Montréal, Canada. Best known as a member of Arcade Fire, she is also a founding member of the acclaimed contemporary instrumental ensemble Bell Orchestre and has performed and recorded with many other groups, including The Luyas, Esmerine and Little Scream.
Neufeld began developing pieces for solo violin in a more formal and focused sense in 2011, though she has made improvisation and solo composition part of her process and practice since first picking up the instrument at a young age, counting Bartok, Reich, Bittova and Arthur Russell among her formative influences.
Hero Brother was recorded in Berlin by pianist and producer Nils Frahm, who captures Neufeld's performances in a number of locations with site-specific acoustics, including an abandoned geodesic dome, an underground parking garage, and the legendary Studio P4 orchestral recording hall at the broadcast complex of the former GDR. Frahm also plays on two of the album?s tracks.
The record as a whole unfolds as a transporting, coherent and engagingly idiosyncratic soundtrack of solo violin music, teeming with diverse timbres, techniques, ambiences and evocations.
Saltland: I Thought It Was Us But It Was All Of Us
Saltland is the new project led by Montreal-based cellist Rebecca Foon (Esmerine, ex-Silver Mt. Zion), joined by Jamie Thompson (Unicorns, Esmerine) on miniature percussion, programming and signal processing.
I Thought It Was Us But It Was All Of Us is a beautifully restrained debut album that telescopes the directness and delicacy of Foon's compositional and vocal styles into lush, twilight atmospheres aglow with luminescent tendrils and flickering particles. Foon sings of childhood innocence lost, of serene utopic reveries and downcast dystopic horizons, and the search for soft, stoic strength in a darkening world, in most cases propelled by Thompson's handmade percussion and understated programming/processing.
The album's ambience also owes much to the work of Mark Lawson, the award-winning producer (Arcade Fire) who collaborated closely with Foon to record and mix these songs. With contributions from Laurel Sprengelmeyer and Jess Robertson (Little Scream), Mishka Stein (Patrick Watson), Colin Stetson (Bon Iver), Sarah Neufeld and Richard Reed Parry (Arcade Fire) among others, Saltland offers up an unassumingly immersive debut album of searching songs that blend several core influences into a distinctively naturalistic sound. Saltland stakes out a unique space where minimalism, shoegaze, dream-pop, coldwave, chamber music, drone and ambient/electronic coexist and coalesce.
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.