Ground Zero Generals is the debut album from Nine 11 Thesaurus, a collective of five MCs from East Brooklyn, and sees them collaborating with Tim Dewit (Gang Gang Dance), Matt Mehlan (Skeletons) and Sam Hillmer (Zs). This is the second installment in Representing NYC’s ground-breaking series that began with The Fly Girlz’ Da Brats FRom Da Hood. Representing NYC are a youth development organization in Brooklyn that strives to bring young Hip Hop MCs to bigger audiences through collaborations with artists from Brooklyn’s underground music scene.
We are pleased to bring you the followup to Zs’ 2010 2xLP New Slaves, aptly titled New Slaves Part II: Essence Implosion! This record serves as a companion (or sequel) to New Slaves, their epic and acclaimed double album from earlier this year. It features remixes of material from that record by such luminaries as Genesis Breyer P-Orridge, JG Thirlwell (Foetus), Gabe Andruzzi (The Rapture), Cex, Ecstatic Sunshine and Excepter’s Zebrablood. Zs also insinuate themselves in to the mix contributing the track “MMW IV: Essence Implosion!,” a side long epic which uses the aforementioned remixes as a sound palette from which to compose. With this track, and release, Zs’ continue to embrace the studio as instrument, including not just the faculties of a studio in their process, but outside remixers and producers as well, demonstrating the ultimately collaborative nature of their approach to music.
Mini-LP from Highlife collects White Magic collaborator Sleepy Doug Shaw performing five spectacularly infectious tunes. Recorded in Trinidad and at London’s legendary Southern Studios, Shaw is backed by members of White Magic, Gang Dance and Ariel Pink’s Haunter Graffiti on a handful of these tracks. Having garnered pre-release praise in the (digital) pages of Pitchfork, Gorilla Vs Bear, Spin, NME & Hipster Run Off might qualify this as “highly anticipated” debut. LP edition includes the last track cut onto a 7-inch with a bonus track on the b-side to boot.
Nymph is a Brooklyn-based psychedelic-shred/avant-garde outfit whose tempestuously transcendent music has been penetrating the New York music scene with bared teeth. Nymph’s compositional palette encompasses an ebullient kaleidoscope of sound: imagine 13th Floor Elevators essaying a Rahsaan Roland Kirk jam and you begin to get the picture. Or maybe Steve Reich bonging out on pandit pran Nath and jamming with This Heat. The four-piece’s orgiastic din is composed and orchestrated by the nucleus of Matty McDermott (formerly of Coyote – Birdman Records) and Eri Shoji; and currently featuring the thundering harmonic prowess of bassist Nickle Emmet, with Jason Robira (Dark Meat) pounding the skins.
Ah, a new decade of experimental music is here and, no, it has nothing to do with making “weird” disco and throwing a Pro Tools filter over the top to make it sound like a cassette tape. Zs are ready to unload their first full-length for The Social Registry. It’s called New Slaves, and is the most physically visceral experimental LP we’ve heard in a minute. Hitting with a similar impact as Oughts giants like The Boredoms’ Vision Creation Newsun and Black Dice’s Beaches and Canyons , New Slaves is a true behemoth – epic, unapologetic, painfully and artfully composed, mind-boggling in complexity, original in sound and intent, while maintaining a minimalist, chugging funk groove throughout its precise post-capitalist haze. It is arguably the most defnitive statement from a band that have been challenging listeners for a decade, demonstrating, over the course of 70 minutes, just how versatile their sound can be.
Forming out of the musical insurgence that was the NoiseFest at White Columns Gallery in 1981; Interference coalesced around three key figures of New York’s downtown scene: Anne DeMaranis, David Linton and Michael Brown. DeMaranis had just parted ways with an early incarnation of Sonic Youth and co-curated the NoiseFest with Thurston Moore. Linton had headed to NYC a few years earlier with then school/band mate Lee Renaldo, eventually hooking up with Rhys Chatham for a three year stretch. Brown, then a twenty six year old PhD candidate at NYU, had recently broke rank with Rhys Chatham and drafted a wholly unconventional percussive approach to the fender bass. From their inception through their eventual fragmentation 30 months later, Interference charted their course across the stages available to them: CBGB’s, The Mudd Club, The Kitchen etc., ultimately swelling to a quartet with the addition of fellow Rhys Chatham veteran Joe Dizney. In 1982 they recorded this LP at Radio City. Originally slated for release on Josh Baer and Glen Branca’s legendary Neutral records, the record has remained unreleased, until now.
We are proud to present Gang Gang Dance’s second full length release entitled God’s Money. Recorded over the course of a year at Junkyard Audio Salvage the band utilized whatever means were available to them: drums of all shapes, sizes and circuits, various keyboards and synthesizers, midi-triggering guitar scenarios, vocals reconfigured via guitar effect pedal and even the occasional aluminum chair. Blending hypnotic rhythms into a highly structured compositional style or soaring in the lofty heights of practiced improvisation, this recording follows in the footsteps of their other output marking new ground for the band.
Sian Alice Group - a collective of UK musicians Sian Ahern, Rupert Clervaux and Ben Crook, amongst other collaborators - are back with their sophomore album, Troubled, Shaken Etc. The band hones in on a genre-busting combination of organic improvisation, process-driven experimentation and the focused strength earned from a year of extensive travelling and touring the world together. You get your minimalist trances, electronic experimentation, techno thump, jazz motifs and Eastern music tropes in a joyous and complete listening experience. It's a snapshot (or, more closely, a yearbook) from an eventful 2008 that is more raw, emotional and loud than anything they've released thus far.
The Social Registry is proud to break your bones with I.U.D. - Lizzi Bougatsos of Gang Gang Dance’s (vocals, percussion) new project. Teaming with Sadie Laska of Growing and Extreme Violence (the duo is known here as Mr. Egglesby and Lil’ Pickle - they have different names for each release), The Proper Sex is a downright brutal industrial clusterfuck that’s sure to fog the glasses of experimental music nerds and provide the catalyst for many a record store argument. Put The Boredoms, Einstürzende Neubauten, Meat Beat Manifesto, Tribe 8, Front 242 and some black metal tropes in a blender and then serve chilled at a party hosted by hyper-feminist vampires and you’re getting close to the sound on this one.
The record opens with “Daddy” – a dubbed out introduction that is immediately set aflame with clanged-out percussion, collaged loops and rapidfire 8-bit jet streams. “Glo Balls” mixes abrasive screaming with roaring guitars and inventive drum work. “Monk Hummer” is a pastiche of porn samples (harkening back to the band’s Dead Womb 7”) mixed with Himalayan chants – like Drum’s Not Dead-era Liars but more visceral and textured.
“911” opens Side B with a mid 90s Boredoms/Crash Worship style drum breakdown. Samples clog the mix and rapidly fly across the spectrum on top of punk-inspired percussion. “Mary Unmargaret” catapults this formula into a religious nightmare. Bells clash with heavy distortion and a phase-shifted trance creates a dizzying effect. “Girls Just Wanna (Time To Have Sex)” closes the record and already wins the “best song title of 2009” competition. Featuring some dark, chugging guitar work from Rites of Spring hero Mike Fellowes (Mighty Flashlight, Will Oldham), the track is a disconcerting tribal take on black metal.
Recorded at Vacation Island Studios by Matt Boyton AKA Professor Funkenstein, The Proper Sex is creepy, relentless and (most of all) extremely fascinating. It’s a varied listen that reflects its influences and cover art – which mimics Sparks – to a stunning effect. Like Gang Gang Dance, these rhythms are already cemented in a listener’s head. It’s just that this journey might be a descent into the inferno rather than up to the heavens.
A Fool For Everyone is Mike Bones’ second album and was recorded by Mitch Rackin at Seaside Lounge and mixed by Nicholas Vernhes at Rare Book Room. The record features a number of musicians including Matt Sweeney (Bonnie Prince Billy, Chavez, Zwan), Parker Kindred (Antony & The Johnsons), Ken Griffin (Favourite Sons), Brad Truax (Jah Division), members of Sian Alice Group (Rupert Clervaux, Ben Crook, Sasha Vine and Eben Bull) and Douglas Armour. It provides another ample demonstration of Mike Bones’ compositional range and depth as a songwriter, and stellar talents as a lyricist. With A Fool For Everyone he continues his journey to the top of the songwriter/guitar god heap.
Gang Gang Dance continue to push the musical envelope with Saint Dymphna, the first proper studio recorded follow up to the bands 2005 critically acclaimed break through album God’s Money. Tempering the finer elements of Pop, Dance, Ambient and Experimental music; Saint Dymphna is both the bands most challenging and forward thinking release to date.
All The Way, the debut full-length from Growing on The Social Registry, concludes a epic trip. Through six tracks Kevin Doria and Joe DeNardo complete the conceptual arc initiated on their 2006 album, Color Wheel. If we still bought into genres, we would say that this record finally achieves a perfect balance of noise and pop, yet what we can say is that you’ll potentially hum melodies long after your headphones are out. Recorded by Barry London at his Ocropolis Studio during the 2007-08 winter, All The Way sounds like some sort of frozen urban chaos taking place at a superclub on another planet.
And now for something different... Fulfilling the promise of his impeccable entry in our 7-inch series, The Social Club, The Social Registry is proud to announce The Light Of A Golden Day, The Arms Of The Night -- the debut LP from Los Angeles located Douglas Armour. This album finds the artist expertly blending tons of our favorite poptones from days past to create a hyper-literate pastiche that’s equal parts nostalgia and forward thinking. Echoing its title, the LP has a structure that plays off binary oppositions to create one of the most varied pop albums we’ve heard in a long time.
The Dusk Line EP is comprised of four songs recorded during work on Sian Alice Group’s debut album 59.59 in the summer of 2007. For this release they opted to work on a smaller scale, stripping their sound down to just layered grand piano and voice. Featuring contributions from just two members of the group, Rupert Clervaux and vocalist Sian Ahern, The Dusk Line is an exercise in restraint. It was recorded at London’s The Garden, utilizing layered piano parts all performed by Clervaux. Sian Alice Group have become known for their sweeping, orchestrated aesthetic, but The Dusk Line distills their sound to its core.
Copenhagen native of Indian descent Kid Kishore strikes a balance between old and new, blending the sounds of India with the electronic music that permeates Denmark. Self-described as anything from “Danish ghetto-tech” to “golden age Bollywood,” his beat-heavy sound is a scattershot mix of musical styles from all over the sonic landscape.
Having gone from hometown heroes to national fan favorites and critical darlings, the band has earned its reputation as top of the rock heap. Putting out raucously fun records. Liferz is a portrait of a band at the top of their game – somehow they have managed to get even more “awesomer”.
Lateral finds the band reflecting on their past two (may we add highly underrated) albums while gazing to the future with newfound rhythmic motifs and otherworldly heights to their sound sculptures. The textures are warm and inviting, tempting the listener to focus on stunning minimalist changes within Growing’s dense aural fog.
The Social Registry is pleased to announce the debut full-length album from London-based band, Sian Alice Group, 59.59. The band is already on the rise in its native England having opened a string of shows for Spiritualized and received a flurry of attention in the press. 59.59 is a fully realized and album that moves through traditional pop songwriting and instrumental composition while tempering it with studio improvisation. It is an epic record that showcases the talent and range and of this young group, taking in elements of various genres and making them their own. At a time when the musical landscape seems inundated with derivative retrogressive guitar bands, or acts reliant on sequenced beats and oscillator knobs, Sian Alice Group’s more classical inclinations show their willingness to tread their own path. 59.59 features guest appearances from Douglas Hart (Jesus & Mary Chain), John Coxon (Spiritualized, Spring Heel Jack) and Brian DeGraw (Gang Gang Dance).
The Metabolismus collective has been making music since the mid-1980’s, self- releasing most of their early material on cassette and vinyl Lps. The band comes from the town of Stuttgart, Germany and creates music that is rooted in the rich tradition of German experimental bands such as Can, Amon Duul, Popul Voh and Kraftwerk with touchstones in rock, folk and electronic music. With this release they are joined by Samara Lubelski and provide two beautiful tracks of arboreal shimmer with glimpses of soft 60s psychedelic sheen.
With Parallel Suns Samara Lubelski has flown to a higher orbit with her merger of the fuels of folk, psychedelia and pop. They combine into a potent mixture that gives her compositions a vibrancy that shimmers in the reflection of their power. The music streams down and ends up in your ear through dappled arrangements that are warm and bright while still having them shaded with darkness from both the lyrics and sound.
Mike Bones is New Jersey-born songwriter Mike Strallow, who lives and works in New York City. Of his pseudonym, Strallow offers: “Bones is a nickname a friend gave to me when I was a kid. Making records as Mike Bones removes my voice from the song, at least in my own mind and leaves a song’s meaning and intention ambiguous. I don’t have to show my cards.” Although Bones has been writing songs for years, worked as a guitar player for The Mighty Flashlight, Damon McMahon, and Lizzie Trulie, and is a member of cult favorites Soldiers of Fortune (a band featuring members of Oneida, Home, and Oakley Hall), The Sky Behind the Sea marks his debut solo recording.
Mick Barr’s guitar style is the sound of musical entropy. His compositions, nestled in that grey area somewhere between grindcore and classical, have the air of some sort of slow building chaos, seemingly spiraling out of control. But Barr, here in his solo incarnation Octis, maintains the poise of a classical composer. His style of heavily-distorted playing could commonly be deemed “shredding,” but the songs found on this installment of The Social Club are anything but mindless noodling. Backed by an avant-garde pedigree, with work in bands like Quix*o*tic, Orthrelm, and a duo with Zach Hill of Hella, Barr makes intelligent music for the metal-inclined
It’s no wonder that Lizzie Bougatsos and Sadie Laska sound great together. Hitting it off the first day of Art school, the two hung out for the first time at Laska’s weed-dealing older brother’s party, and the two have been close ever since. With her multi-instrumental and vocal work in the celebrated band Gang Gang Dance, Bougatsos found herself eager to focus more on drumming. She rang up Laska and the two set to work. The result - a blend of propulsive drumming and samples from all over the musical (and often non-musical) spectrum - is a visceral and moving experience.
RAWWAR is the first glimpse of exactly what the band have been up to over this prolific year. Clocking in at just over twenty minutes and sprawled across three tracks, the release plays like a Gang Gang Dance sampler of sorts; a taster for what is to come. RAWWAR opens with Nicoman: a live favorite from the last few years which has been refined in the studio.bombastic and dance-oriented it blends the bands affection for musical styles, propelling the listener through the four minutes of audible tribal chaos, while at the same time demonstrating GGD’s talent for pop melody. Oxygen Demo Riddim finds the band improvising and building musical ideas into a dreamy hypnotic instrumental interlude. The final, almost cinematic, track is a studio composition entitled The Earthquake That freesPrisoners which unfolds over ten minutes. This was painstakingly assembled in the studio and incorporates conversational dialog from their deceased band member Nathan maddox interwoven into the bands compositional structure.
Take a crafty pop music guitarist who knows how to come up with hooks and have them team up with a trained avant garde classical musician and you get the Velvet Underground. Move that same combo from the Lower East Side across the river to northwest Brooklyn and tack on 40 years and you get Christy & Emily.This duo present their version of this mixture of elements with their debut LP Gueen’s Head. An octet of pieces that explore modern classical techniques grafted with pop songs. This alchemy produces a string of highly catchy ascetic tunes combined with undercurrents of discordance and dissonance. Add to this lyrics that take from the history of pop and modernist mid-20th Century poetry.
Hailing from Los Angeles, California, Douglas Armour is our first proper signing to reside outside of New York City. He is a prolific songwriter and for this 7-inch Douglas provided us with two tracks, Prince of Wands and Away. Prince of Wands first left an impression on us,and an indelible one at that, when associates of the label began DJing the track. It is a damn near perfect pop song that has had people jumping up to the dancefloor upon first hearing.. Moving in a different direction with the kind of indie pop reverie that hasn’t been heard for a long time.
It captures a moment and represents a place of sorts. If you walk down Canal Street on any given night, odds are you will hear the sound of Messages coming from a fifth floor walkup. If you stopped, you would hear it go on for hours and it would be the sound of Tres Warren (of Psychic Ills) and Taketo Shimada mashing sine waves, bass loops, guitars, samplers and turntables into a storm in between bouts of playing techno and psychedelic improv records.
Cozy Endings captures the finest moments so far of a two year experiment between the psychedelic rock group Artanker Convoy and the art collective MUX. This CD/DVD set offers the seeker the rare opportunity to catch a glimpse of the aural and visual experience that have only been available to live audiences in limited locations. Artanker Convoy generates the sound: alien waves punctuated by sly rhythms that accommodate a crowd whether it is dancing, watching the visuals or relaxing. MUX brings to bear the combined visual acumen of choreographers, lighting specialists and video artists to create an ethereal landscape through which the band dissolves and dancers flow through.
At the heart of London-based Sian Alice Group are multi-instrumentalists Rupert Clervaux, Ben Crook and vocalist Sian Ahern. Rupert and Ben two old friends who have been active in the music scene for the better part of a decade. Rupert is an engineer and producer, presently working with Spring Heel Jack and Treader records, and has recently toured as a drummer with Women & Children. Ben Crook is an accomplished music video director who has for some time been working on a series of home recordings under the name 40,000 Ghosts (his debut 7-inch was just released on Of The Manor, Of The Manor). After contemplating working with each other on their own music for several years, the duo finally got together last fall to work with vocalist Sian Ahern. Out of this initial collaboration was born Sian Alice Group, a band that combine pop melodies, improvisation and Sian’s ethereal voice. In order to flesh out their sound for their debut live show in Copenhagen the they enlisted three more members: Andy Ingle (guitars), Sasha Vine (violin/piano/vocals) and Douglas Hart (electric bass). In April 2007 the band played their second ever show, hand-picked to open for Spiritualized in London.