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."
Amen Dunes' Love took close to a year and a half, 16 musicians, and five different studios to complete. It was a song cycle that required broad experimentation before it was clear what was essential underneath the surface. In that process, much of the sound that might have made it onto the album was lost. There was just too much to say for one record. Cowboy Worship is an attempt to give life to some of the music that didn't make it past the scalpel.
For their third full-length for Sacred Bones, Cult of Youth have delved deeper into their style of punk-influenced psychedelic neofolk and created a self-described "post-industrial Pet Sounds." Using acoustic and electronic instruments, found sounds and an extensive tribal rhythm section, Cult of Youth have put it all out on the table and left us with their magnum opus.
Dream Police is an American musical production by Nick Chiericozzi and Mark Perro. The project began in 2010 as a reservoir for ideas which had overflowed from The Men's drain pipe. In that same year, a two-song cassette single was self-released, with a follow-up live document in 2011. Most recently, the duo has conceived an LP with longtime sonic partner, Kyle Keays-Hagerman from late 2013 through early 2014. Although the production began using the most conservative rock and roll devices, it slowly plumed into a cloud of future primitive psychedelia bursting with glimmering electronics and cinematic, vibrato storytelling. Dream Police are brutal, erotic and overlit.
Institute stands at the center of a thriving punk scene in Austin, Texas, and Sacred Bones Records proud to be releasing their Salt EP. We fell in love with this band as soon as we heard those early anarcho punk influenced demos, and then saw a blistering set from them in their hometown earlier this year. The Salt EP is as sharp as the band's earlier work but suggests longer, more experimental forms and a more incisive lyrical perspective, dealing with topics from existentialism to Brown's experience as a closeted youth.
Four days before New York noise musician Margaret Chardiet was supposed leave for her first European tour as Pharmakon, she had a medical emergency which resulted in a major surgery. Unable to leave her bed, Chardiet occupied herself by writing the lyrics and music that would become Bestial Burden, the second Pharmakon LP for Sacred Bones Records. The record is a harrowing collection of deeply personal industrial noise tracks, each one brimming with struggle and weighted with the intensity of Chardiet's internal conflict.
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.
Moon Duo's Live in Ravenna was recorded in the summer of 2013 and is available as a limited, one-time vinyl pressing. "Ravenna was memorable for a number of reasons, the most prominent being the really very intense heat, and the setting - Hanabi has an outdoor stage on the beach, the Adriatic Sea only meters away," the band's Sanae Yamada explains. "The show that night, and the recording of it, sort of encapsulates everything that was happening at the time - the heat wave, the journey, and the shift in the energy and composition of the band."
To put it bluntly, Lust For Youth's International is unrecognizable as a Lust For Youth record on first listen. Hannes Norrvide's previous solo albums under the Lust for Youth moniker have been described as "dark, cold, atonal, tormented, lonely, and lower than lo-fi." The approach on International has shifted dramatically. Norrvide's work has always had pop sensibilities buried deep in the reverb, but the hooks are front and center on International, and there is nothing lo-fi about it. International is Norrvide's magnum opus, and with Fisher's production and Rahbek's co-writing skills, the potential this band has always shown has been fully realized, it is a buoyant synth-pop masterpiece on par with early Depeche Mode.
While the previous Amen Dunes records had all been largely improvisational first-take affairs, recorded in a matter of weeks at most, the forthcoming full-length, Love, is the product of close to a year and a half of continuous work. Damon McMahon (aka Amen Dunes) chose to hold the main recording sessions in Montreal with Dave Bryant and Efrim Menuck of Godspeed You! Black Emperor. In addition to recording the sessions that McMahon produced, members of Godspeed also played on several of the songs, along with Colin Stetson on saxophone and Elias Bender-Ronnenfelt of Iceage, who duets with McMahon on two tracks. The result is definitively the most substantial Amen Dunes record to date. These are elemental songs about time, love and memory, as much about the listener as they are about the writer: pure, open, and beautiful.
The Men's new LP for Sacred Bones is the tongue-in-cheek-but-still-auspiciously-titled Tomorrow's Hits. This is their first album recorded in a high-end studio and, appropriately, the result is their most high fidelity album to date. That being said, it is still an incredibly straightforward record. Tomorrow's Hits is a concise collection of songs that nonetheless expands the band's ever-evolving musical palette. It's an album full of genre-bending risks, but it reinforces the overarching theme that has come to define its makers: The Men are a great rock band.
Marissa Nadler wastes no time in cutting close to the bone on July, her latest album and first for her new North American label, Sacred Bones. “Drive” opens the record with one of her most devastating lines, addressing a quandary we have all grappled with at some point: “If you ain’t made it now/ You’re never gonna make it.” July is the kind of release that reminds you why NPR counts Nadler's songwriting as so “revered among an assortment of tastemakers.” This is a singular achievement for the artist, a record she couldn’t have made earlier in her career because, as every songwriter knows, she didn’t just write these songs: She lived them.