Paradise builds on 2013's Imps of Perversion LP by venturing further outside of traditional notions of punk, and diving even deeper into outer sounds. Synthesizers, mechanized drum machines, and samplers play as critical a role on the record as the more familiar squall of Ivan Drip's buzzsaw guitar and Chris Bug's vocals. Any noise a band member could make that helped contribute to the record's atmosphere of unease was welcome; synth player Allegra Sauvage adds cello to two songs, and drummer/producer Andy Chugg plays trumpet on the title track. The songs lose none of their primal immediacy through the addition of these new sounds, but the instrumentation lends them a maximalist streak as well. The sessions for Paradise were held at the Population Control Center, and the result is the most collaborative Pop. 1280 release to date.
Barren train stations, Polish factories at night, and silent hotels where lonely travelers meet. These are the images and suggested narratives that pervade the spirit of Polish Night Music, the musical collaboration between American filmmaker David Lynch and Polish concert pianist and composer Marek Zebrowski.
Zebrowski and Lynch first met during the Camerimage Film Festival in Lodz, Poland and started to work together during the organic evolution of Lynch's Inland Empire. Originally, Zebrowski served as a translator for the shooting of several Lodz-based Polish scenes in Empire, but upon discovering their shared interest in musical experimentation and improvisation, Lynch invited Zebrowski to his Los Angeles studio to participate in a series of musical experiments. From these initial collaborations, inspired by their unique and distinct connections to Poland, emerged a tangible mood and distinctly modern texture that became Polish Night Music.
John Carpenter has inspired countless musicians since his earliest minimal, synth-based film scores. The themes to his features like Assault on Precinct 13, Halloween, and Escape from New York have remained instantly recognizable since he penned them nearly four decades ago. In February 2015, Sacred Bones released his first solo record of non-soundtrack music, Lost Themes, to overwhelming critical success. The Horror Master proved that not only could he perfectly score his own films - he could also score the movies in your mind.
Eight pivotal contemporary electronic artists were moved to reshape the original songs on Lost Themes in tribute to one the genre's great pioneers. Several of the remixes were released as part of the digital deluxe edition of the album, but Lost Themes Remixed marks the first time any of the tracks have been on vinyl.
For two years now, the psychedelic Destruction Unit has been keeping the world waiting for a new album. And it's not because they've grown up or gotten soft, rather because they've been in the streets and in your backyards, pushing the freek agenda and imminentizing the alien-eschaton. They've been up and down and all around this globe, battling the greedy club owners, show promoters and control pigs to bring the new American heavy underground through your back door. Now here we are, with the psychedelic Unit's second album for Sacred Bones, Negative Feedback Resistor.
Cut With The Cake Knife was recorded by Rose McDowall in 1988 and 1989 following the break up of her group Strawberry Switchblade. Produced with the aid of several musicians in several studios, the album features songs written for the fabled second Strawberry Switchblade album. More importantly, perhaps, it showcases the honest, direct and life-affirming songs of one of the greatest unsung songwriters of the modern pop era at a tumultuous time in her career.
After demoing for several weeks at home in Austin, the anarcho punk band Institute tracked and mixed Catharsis in just four days between Christmas and New Year's Eve 2014, in New York City with Ben Greenberg at Brooklyn's Gary’s Electric. "Cheerlessness" carves out the perfect trine foundation to aspect both the anthemic "Cheaptime Morals" and the much looser jam "Christian Right" (the latter featuring fellow Texan Andrew Savage of Parquet Courts). Issues of morality, sexuality and religion are all interwoven seamlessly throughout the 10 tracks as the band explores new sonic astral space.
Think big, girl, like a king; think kingsize. Jenny Hval's new record opens with a quote from the Danish poet Mette Moestrup, and continues towards the abyss. Apocalypse, girl is a hallucinatory narrative that exists somewhere between fiction and reality, a post-op fever dream, a colourful timelapse of death and rebirth, close-ups of impossible bodies - all told through the language of transgressive pop music.
Benjamin John Power's newest solo offering as Blanck Mass, Dumb Flesh, was written, produced and recorded in a number of different locations over the space of a year. It began life in Fuck Buttons' 'Space Mountain' studio, moved into a windowless attic space in Hatch End, North London, then was finished up at Ben's new home in Edinburgh. The geographical spread of the sessions is reflected in the shifting landscapes of the tracks and the ever-changing sound-palette used to realize Dumb Flesh as an expansive body of work.
As a work of art, Dumb Flesh is a comment on the flaws of the human form in its current evolutionary state. The frailty of the human body naturally became a resonant and inescapable part of the album's gestation. "We are at the mercy of our genetic heritage everyday. No matter how intelligent we are compared to other life forms, we're still made up of the same building blocks and things can go very wrong". In particular, the first single 'Dead Format' reflects upon this reality, whilst 'Atrophies' and 'Detritus' acknowledge the organic decay we will all inevitably succumb to.
The Holydrug Couple began in Santiago, Chile in 2008, a little over a half-decade after Ives and Manu met for the first time. The two young friends hadn't seen each other in a few years when Manu texted Ives to tell him that he bought a drum kit. They started jamming, and a week later, the band was formed. A flurry of songwriting activity followed, culminating in 2011's Ancient Land EP and 2013's Noctuary, both released on Sacred Bones. Moonlust boldly treads territory that those earlier psych-indebted recordings only hinted at, especially the dreamy French movie soundtracks of the '70s and '80s and the discography of Serge Gainsbourg.
Citing wildly diverse influences - Gary Glitter, Slade, uppers, (cartoonish) depression, Iggy Pop, '70s iron-on font, Sex Pistols, booze and Hawkwind -Cheena's unifying theme is defiantly one of late '70s/ early '80s New York glam and cow-punk. Eschewing the genre boundaries in which their other projects are so deeply entrenched, the band manages to channel a pre-internet spirit painfully nonexistent in this age of Tumblr fashion and Discogs record collectors.
Part 1's underground deathrock classic Funeral Parade is finally seeing a reissue after years of being out of print. This edition is a remastered 12" vinyl in a deluxe gatefold sleeve with accompanying horror zine I... Paraworm, packed with never-seen text and unpublished artworks from the pen of guitarist Mark Ferelli, all contemporaneous to the original 1982 release.
Föllakzoid began seven years ago as a trance experience between childhood friends Diego, Juan Pablo, and Domingo from Santiago, Chile. Heavily informed by the heritage of the ancient music of the Andes, the band has learned to integrate this influence with contemporary sounds of their times, creating a rich yet minimal atmosphere. III is a four-part minimal sound voyage in which you can hear Föllakzoid's musical language developing into something more upbeat, obscure, and sharp, yet even simpler in terms of elements.
Partir to Live (2012) is a non-narrative film experience in sensations, in ethical confusion, and in physical and psychic contusions, directed by Domingo Garcia-Huidobro of Föllakzoid. Dutch minimalist composer Jozef van Wissem's score for the film consists of appropriated 12-string electric guitar drone, black baroque lute mirror images, and minimal electronics. For the first time ever, Sacred Bones Records will release the DVD and soundtrack LP together in a limited one-time pressing of 1000 copies.
Since 2010, Elias Bender Rønnenfelt (Iceage, Vår) has used the Marching Church moniker to a variety of musical ends, both live and recorded. However, the project as it exists on This World Is Not Enough wasn't born until November 2013. With a live performance looming and no real idea what the set would be, Rønnenfelt found a new vision for the band while daydreaming at a gig at the venue where Marching Church was set to perform. "What I pictured was me in a comfortable armchair, adorned in a golden robe, leading a band while a girl kept pouring me champagne when I required it," Rønnenfelt explained. "This raised the question, 'What sort of music would go along with this picture?'"
This World Is Not Enough was influenced at first by obscure works like David Maranha's experimental drone-rock saga Antarctica, and eventually by soul bandleaders like James Brown and Sam Cooke. "The whole month of writing and rehearsing and the one week we had in the studio was truly an explosion of ideas," Rønnenfelt said. "The album works because of the band's incredible ability of breathing life into these, at times, very simple ideas and experiments."
Shadow of the Sun is the result of a few months of Moon Duo wrangling with a new and unsettling way of being. Working both in a dark basement in Portland, and above ground in sunny San Francisco, these new sounds and songs veered dramatically from groove to groove, revealing sonic textures the duo had not previously explored. The song "Night Beat", with it's woozy dance rhythm, is an attempt at finding joy and acceptance on this new, shifting ground, while "Wilding" plays off the familiar Moon Duo sound, taking refuge in a repetitive, grounding riff-scape. Elsewhere the band gives itself entirely up to the trip, cruising along on the fuzzed rhythms of "Slow Down Low" and "Free the Skull", crashing into the clenched-teeth herky-jerk of Zero, and floating down, down, down, on the narcotic mist of "In a Cloud".
John Carpenter has been responsible for much of the horror genre's most striking soundtrack work in the fifteen movies he's both directed and scored. The themes can instantly flood his fans' musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kung fu fighters, or a mirror holding the gateway to hell. The all-new music on Lost Themes asks Carpenter's acolytes to visualize their own nightmares.
As is Carpenter's style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Horror fans will be reminded of Carpenter's past works, as well as ancestors like Mike Oldfeld's Tubular Bells and Goblin's Suspiria.
"They're little moments of score from movies made in our imaginations," Carpenter says. "Now I hope it inspires people to create films that could be scored with this music."