"That's the most intense fear and feeling - when you go to a show and you're actually scared," says Oliver Ackermann, guitarist and frontman of Brooklyn trio A Place To Bury Strangers.
"Or you can palpably feel the danger in the music," adds bassit Dion Lunadon, "Like it's going to fall apart at any moment and the players doing it are so in the moment they don't give a shit about anything else. They're just going for it. It's a gutter kinda vibe; everything about it is icky and evil and dangerous."
The same could be said the band's fourth album, Transfixiation. Rather than fixate on the minute details like they may have done in the past, the group, rounded out by drummer Robi Gonzalez, trust their instincts and try to keep things as pure as possible. Music is much more exhilarating when it's unpredictable even on repeat plays, and this is very much an unpredictable record. Gonzalez makes his recording debut with the band here, and it's obvious that he's helped pushed the band's recordings closer to the level of their infamous live shows.
"The one thing we have in common is this fire when we're playing," adds Gonzalez. "I don't know; it's real intense."
Transfixiation on CD and limited edition two-color pink and blue LP
Limited edition 7" featuring two unreleased songs, Petty Empire b/w Get Away From Me
Limited edition poster on 11x17" gloss stock
Digital download code for the album (as a .zip file containing 320kbps mp3s), redeemable two weeks before release date on February 3, 2015
Like the wild goose that the Portland-based trio are named after, the members of Greylag have all undertaken amazing journeys, migrating as if by homing instinct from different parts of the US, to create a self-titled debut album that's the latest must-have slice of verdant, far-reaching Americana. Greylag is rich in melody, mood and detail with a range that mirrors the distance between their individual birthplaces, creating a personal twist on some timeless musical traditions, embracing electric and acoustic with a sound that's both subtle and forceful.
Meet Andrew Stonestreet (lead vocal, acoustic guitar, originally from West Virginia), Daniel Dixon (lead guitar and other stringed things, keyboards, from Northern California) and Brady Swan (drums, from Texas). The venerated Phil Ek (Band of Horses, Fleet Foxes, Modest Mouse, The Shins) produced the album at Seattle’s Avast! Studio, who clearly knows a sublime enterprising combination of roots and rock music when he hears it.
The name Greylag looks and sounds strong but has developed more meaning for the band - It's a wild goose, from which all domestic geese originate, so it's the first survivor, and it's still wild, and doing things its own way - the 'lag' part refers to it being the last bird to migrate. It sits back and watches. We love the connotation.
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.
The new Bishop Allen record, Lights Out, is here at last. Here's what went into it: ten years, three full-lengths, twelve EPs, thousands of shows, a move out of Brooklyn, a new home in the wooly wilds of Kingston, NY, time off to score the films Bully and Mutual Friends, as well as an Anderson Cooper 360 special, months of demos, drum tracking in a sweat-lodge attic studio during a July heat wave, a wet Fall arranging guitars, bass, and synths in a now-chilly attic studio, the coldest December on record spent mixing, a close call with a frozen pipe and flooded hard drives, and a photo found on a friend's refrigerator.
Bear In Heaven's new album is aptly titled Time is Over One Day Old. It's a record with a visceral relationship to time and its processes. Where invulnerability and ambition can support you as you grow, at some point they become dead weight, and being true to yourself means casting them off, starting anew. This plays out as a powerful analogy for the band across the arc of it's career. They've always made intriguing records, here especially. It's easy to see why musicians fall hard for this band. They entice and envelop you. Any Bear In Heaven song will most likely greet you with a provocative beat, textural synthesizers and unassuming but adeptly supportive bass and guitar, all exquisitely arranged and glistening. Jon Philpot's high, smooth, strong voice is so tightly wound into the music that it can be easy to overlook the lyrics, Bear In Heaven's capacious third dimension. Philpot is a center-seeking, contemplative writer who captures the fleeting thoughts that underscore our emotional lives, the interactions with the world that are both difficult to express and anathema in daily conversation. While all of this can be said of any Bear In Heaven album, each varies wildly in tone and approach. 2007's Red Bloom of the Boom is ambitious and experimental. Beast Rest Forth Mouth (2009) was a pivotal record that still feels important, seductive and intense. On their 2012 LP I Love You, It's Cool the structural and musical ideas are challenging, and masterfully developed. For Time is Over One Day Old, we witness the band once again turning their gaze inward and prioritizing their evocative abilities in line with or even slightly ahead of technical skills. It feels very much in the tradition of BRFM in that way. It's beautiful; it's moving. Here Philpot and Adam Wills are more deeply collaborative than ever. This album is darker at times, louder than their others; it feels personal and direct. "If I Were To Lie" places Wills' bass groove front and center, "Demon" is riveting and propulsive in spite of its dark pointed lyric, and "They Dream" dissolves into three and a half minutes of deeply satisfying ambient synth work in its second half. Wills has always been the bands anchor, providing rock solid, rhythmic bass lines and guitars that blur the boundaries of Philpot's synth. Though in moments such as the final track, "You Don't Need The World," Wills cuts through with an audacious, biting guitar hook. It's a great culmination of the album's sense of release. This album isn't about being dark, it's about releasing darkness and frustration. When bands age well, their vitality takes shape. They wear, but with intention. They trim excesses. Throughout this album you'll hear a band at peace with themselves. They've learned to cut back on that which is merely impressive and to concentrate on simply what is crucial. For Philpot this is about making something lasting. "A lot of shedding, getting rid of layers and preconceptions? breaking up with old ways of thinking, old ways of being, starting to look at this thing in a new way and finding something positive." The result is a record that will stay with you.
From the first bars of HEAL, the exhilarating melodic stomp of 'Goshen '97' puts you right into Tim Showalter's fervent teenage mindset. We find him in his family's basement den in Goshen, IN, feeling alienated but even at 15 years old, believing in the alchemy and power of music to heal your troubles. "The record is called HEAL, but it's not a soft, gentle healing, it's like scream therapy, a command, because I ripped out my subconscious, looked through it, and saw the worst parts. And that's how I got better." HEAL embodies that feeling of catharsis and rebirth, desperation and euphoria, confusion and clarity. It is deeply personal and unwittingly anthemic.
Showalter was on tour, walking home on a mild autumn night in Malmo, Sweden, when he first felt the weight of the personal crisis that would ignite him to write HEAL. "It was a culmination of pressure," Showalter recalls. "My marriage was suffering, I'd released a record I was disappointed in, I didn't like how I looked or acted?so I'd gone on tour, I was gone about two years! I didn't take time to think about failure, but I knew I was going deeper and deeper?I was thinking, I have this life, but it's not my life, I haven’t done it right?"
When Showalter returned, he wrote 30 songs in three weeks, a process that proved difficult, but cathartic and at times invigorating. Previous Strand Of Oaks records were more skeletal, raw examples of folk-rooted Americana with occasional rock and electronic currents, that have now come to the fore. HEAL is a bold new beginning, with a thrilling full-tilt sound that draws on Showalter's love of '70s, '80s and '90s rock and pop, with the singer and guitarist playing the intense valedictory confessor.
Crucial to HEAL's sound was the man who Showalter chose to mix the record, the stellar alt-rock icon John Congleton. Showalter also re-connected with Ben Vehorn, synth expert and studio engineer extraordinaire, and drummer Steve Clements, who provides HEAL's thunderous, sinewy drive. Songs such as 'Shut In', 'Plymouth' and 'Woke Up To The Light' have a classic construction and mood, recalling '70s power-pop/ballads and the yearning ache of Big Star's late, great Chris Bell. Many of the songs on HEAL reveal an electronic undercarriage and towering drums that push the album's wired dynamic to its stretching point, especially on 'For Me', which expertly bridges the album's twin decades of influences. And if 'Goshen '97' recalls the molten energy of Dinosaur Jr, that actually is J Mascis on lead guitar. Despite the initials, the album's smouldering 7-minute epic 'JM' is not a Mascis tribute, but to the late Jason Molina, about having his music as comfort no matter how bad things get.
Which brings us to another crisis, this time much more serious and immediate. HEAL was scheduled for mixing on Dec. 26, 2013. Driving on the freeway Christmas Day, Showalter and his wife were involved in a car accident with a semi-truck, and were fortunate to walk away with their lives. Showalter suffered a, "pretty severe," head trauma, "which affected me much more than I realized at the time." Fearing delays, Showalter didn't let Congelton know about it, so the mixing session went ahead. "Being on the verge of death, and my thoughts being so closely tied to that, changed the album's direction," Showalter claims. "Together, we pushed it toward a much more cathartic sound that forces the listener to where I was at that exact moment, somewhere between almost dying and being absolutely fearless."
HEAL is not just a saviour for its creator, but for anyone who needs reminding of music's ability to heal, or just thrill. Showalter is taking out a full band to play, and finally, the kid who wanted to be a rock star at 15 might get his chance. Finally, he and Strand Of Oaks have much to celebrate.
Take the 101 north out of Los Angeles, and you'll pass by Agoura Hills, where the core duo of the band Dub Thompson grew up. Whatever you see in that town won't readily prepare you for the music they wrote while there, but you're free to look.
"Most everyone who's in a group who's our age lives on the Internet," says guitarist Matt Pulos. "The kinds of things that have shaped our band aren't anchored to any one time or place."
Pulos and his bandmate, drummer Evan Laffer, are currently both 19 years old, and are putting that line of thought to the test; their musical influences travel from the Midwestern malaise of Big Black and Pere Ubu, to Kraut pioneers Can and Kraftwerk, while bowing to the British belligerence of The Fall and This Heat.
Recording the album while living with Foxygen's Jonathan Rado at his rented house in Bloomington, the band had its first taste of a heavy Indiana summer, and all the humidity and insect life that buzzes along with it. "We woke up every day, ate hard-boiled eggs and stood on a porch," says Pulos of the experience.
Their first collection of songs slyly unties the shoes of genre and convention, shapeshifts mischievously, and tramples on the promises delivered on the name itself.
There are only eight songs on this rangy debut.
Intense blasts of hook-filled noise rock ("Hayward!"), rocksteady marionette stomp ("No Time"), hypnotic bouts of doomy poetics ("Epicondyles"), outlandishly sexy groove rock ("Dograces"), and a number of other bite-sized forays into parts unknown are made manifest across 9 Songs.
The vibes are strong here. Pulos sings and plays like he's working out long-standing grudges, pulling the most sinewy tones from an acoustic guitar and ripping huge chunks of demon flesh out of his electric. Laffer matches him step for step on the drums, an exacting presence behind the kit who pushes even the band's more placid moments into bouts of tension. Together they succeed in animating their musical ideas to startling, almost unnatural life. Reverb units, keyboards, samples and processing gluing everything together, saturated in the August heat and worn in until they sound second nature, it's like somehow you've been listening to these songs forever.
Julianna Barwick's ethereal looping has the uncanny ability to adapt to the space in which she performs - be it a church, warehouse, museum - or Dogfish Head Craft Brewery's brew house. In late 2013 Dogfish Head Founder and President Sam Calagione celebrated the brewery's 18-month expansion by inviting Julianna to perform in the newly renovated space and collaborate on a unique brew. This June, Dogfish Head will release that special brew, Rosabi, a well-hopped Imperial Pale Ale (featuring a touch of red rice & wasabi), along with Julianna's "Rosabi" EP, which incorporates the symphony of sounds found in the brewing process. The 10-inch record will be released in a limited edition of 1,000, sold only in sealed cases of six 750ml bottles of the 8% ABV Rosabi, and as a digital EP via Dead Oceans on June 3rd.
On her first four records, Dienel projected her fears and fantasies onto imaginary characters, role play, and lush atmospherics. If Kairos was a work of atmosphere, then Baby sits at the opposite end of that spectrum. Baby is about song craft. It is forceful, rooted in the physicality of the voice, percussion and piano, and it is about getting straight to the point. It is the past three years of her life distilled into song: joy, heartbreak, frustration, longing, disappointment, anger, and loss accumulated, poured out and reborn in this new, unflinching release.
Playing with a wide variety of instruments and styles on Along the Way, McGuire presents his unique vision of modern psychedelia. Using electric and acoustic guitars, a Talkbox, drum machines, a mandolin and lots in between, McGuire conducts a sonic exploration of the inner self. “This story is an odyssey through the vast, unknown regions of the mind,” he explains in the liner notes,” The endless unfolding of psychological landscapes, leading to perpetual discoveries and expansions, in a genuinely emergent and infinite world of worlds.”
Muchacho de Lujo is the deluxe edition of one of 2013's most renowned albums, Muchacho, which garnered the coveted Best New Music (Pitchfork) tag as well as the adoration of The New York Times and Time Magazine. The bonus material is from an intimate pre-release live show, recorded at St. Pancras Church in London. The set, performed as a two-piece of guitar and piano, features standout tracks from across the Phosphorescent catalog including "Song For Zula," "Mrs. Juliette Low," "Wolves," and a cover of Waylon Jennings' "Storms Never Last."
Stitches, the new album from Califone, touches on all permutable definitions of the word- its episodes of discomfort and healing rendered with exquisite beauty and craftsmanship. The listener moves through a landscape of Old Testament blood and guts, spaghetti Western deserts and Southwestern horizons, zeroing in on emotions and images that cannot be glanced over.
In some regards, Stitches harks back to those earliest days of Califone, yet the ultimate outcome sounds like the work of an artist reborn. Rutili says. "Instead of writing from my balls and brain, this time I wrote from the nerves, skin, and heart."
Nepenthe (2013) was recorded in Reykjavik, Iceland, produced by Alex Somers (Sigur Rós, Jonsi, Alex & Jonsi) and includes string ensemble Amiina, guitarist Róbert Sturla Reynisson from M?ºm, and a choir of teenage girls. The music of Nepenthe was influenced by the unfamiliar surroundings of Iceland itself, with its vibrant music scene and stunningly alien landscapes with their lingering magic.
"[Nepenthe] deserves mention among the best and most artful ambient music being made today?” - Pitchfork, Best New Music
Darker Shores is a collection of songs that continues to reveal itself. Its path leads back to the vintage synthesizers used to create a unique journey into the human experience. Beyond the bleak and uncertain lies a solace and comfort that comes when songs achieve their highest possible potential. These songs represent both a definite ending and an undeniable new beginning. Hope you enjoy the journey.
The Darker Shores EP comes as a welcomed follow-up to last year's LP, Dark Shores. After long spells supporting both The Tallest Man On Earth and Phosphorescent, Strand of Oaks takes his newly informed sound to Europe for a headlining tour, plus London and Nijmegen dates with Damien Jurado and a stop at End of the Road Festival on September 1. Plan to see this powerful two-piece live.