TURNING - A concert film documentary captured during the critically acclaimed tour of Europe by Antony and the Johnsons and Charles Atlas during the fall of 2006, it explores the heart and experience of that series of performances. Through its synthesis of Antony's songs and unfurling video portraiture of the 13 beauties who performed on stage, TURNING creates an intimate and cinematic experience exploring themes of identity, transcendence and the revelation of essence.
Also included in the deluxe package is the full TURNING concert recorded live at The Barbican, London, Nov. 2006 and contains songs across the first three Antony and the Johnsons' full length albums along with bonus tracks never before released songs - "Whose are These" and "Tears Tears Tears". The classic lineup of Antony, Maxim Moston, Rob Moose, Julia Kent, Parker Kindred, Jeff Langston, and Thomas Bartlett can be heard on these recordings as Charles Atlas's projected portraits of the girls light up the stage from behind the band for the duration of the concert.
For the past eight years the duo of Rob Lowe and Michael Muller have nurtured and refined their creative partnership as the core members of the band Balmorhea. In 2007 they self-released their self-titled debut, an album which captures the duo's unique magic as it first blossomed. In 2014 Western Vinyl is reissuing the band's self-titled album, and making it available on vinyl for the first time.
In conjunction with the reissue, we're happy to present two new songs on a limited edition 7" record titled HEIR. With the songs created for the 7" (HEIR I and HEIR II), the band brings everything full circle, returning to the simple structures and melancholic tone that colored their first recordings. HEIR I starts things off slowly with a Wurlitzer's somber tremolo and some gently propulsive electric bass, soon joined by vibes and a soaring violin melody. HEIR II opens with a gorgeous ukulele melody, which is slowly engulfed in Kendall Clark's expressive drumming, eventually giving way to a frenetic wall of strings.
Original 1994 album remastered and repackaged in an expanded gatefold and pressed on 180 gram virgin vinyl.
"On a family vacation to Florida in the mid-'70s, Bubba cut his head on the bedside table in a motel room. I still remember it vividly and how I was haunted by the matter-of-fact line: 'you cut your head on the bedside table.' Its ten syllables sounded right, but the content is what really haunted me. It felt like the ultimate betrayal, the bedside table taking advantage of its proximity to a serenely sleeping body." - Matt Kadane
Original 1996 album remastered and pressed on 180 gram virgin vinyl.
"Beheaded was such a quiet record out of necessity. I was living in a small apartment. Some of the songs I did are really quiet with no drums because I couldn't think of anything to do, we couldn't practice, and I didn't want to wake up the neighbors. It's a definite case of environment affecting the creative process." - Matt Kadane
Original 1998 album remastered and pressed on 180 gram virgin vinyl.
"I met them in full flower, in the depths of their mania, pursuing contemplative music with the kind of intensity normally found in psychopaths. No detail was too small to sweat, no crack in the veneer not worth gluing and clamping. We built a common language, equal parts philosophy, rock music, and disdain for the dullness around us." - Steve Albini, on recording Transaction De Novo
The complete studio recordings of Dallas, Texas, slow-core pioneers. Every cymbal crash, guitar brush, and whisper, across five LPs or four compact discs. Deluxe box includes WhatFunLifeWas, Beheaded, Transaction De Novo, and an additional disc overflowing with singles, EPs, and outtakes, alongside a perfect bound book dissecting the quintet's nervous slouch through the '90s.
"I met them in full flower, in the depths of their mania, pursuing contemplative music with the kind of intensity normally found in psychopaths. No detail was too small to sweat, no crack in the veneer not worth gluing and clamping. We built a common language, equal parts philosophy, rock music, and disdain for the dullness around us." - Steve Albini
Celestial Shore's second album, Enter Ghost, is a directive, a confession, and a confrontation. It's the reflection of its makers - Sam Owens, Greg Albert, and Max Almario - and the followup to 10x, their 2013 debut. It's a rock record, and one with the power to time travel with its instruments intact: the electric guitar, the electric bass, and the drum kit.
This musical skeleton is sentient. It rattled and rolled us here only sixty years ago. We've danced with it. We've dissected it. Celestial Shore's rock, sometimes appended with words like "art" and "angular" (words that could describe all music), has actually wiggled every which way since birth. It starts and stops with both intention and abandon. Sometimes it's saying three things at once. Sometimes it's saying one. It sounds a lot like love.
Recorded in the band's Brooklyn hometown last winter and road-tested on tour with Deerhoof in the spring, Enter Ghost is out on Hometapes this Fall. It begs to scratch its name into every tree... in a forest planted by the Zombies, Hendrix, and the Pixies.
Oh, and "Gloria" isn't about a girl. It's about New York City.
Contact is the new duo of A.E. Paterra (aka Majeure) of famed sci-fi synth-rock group Zombi, and acclaimed British film composer, Paul Lawler. Exploring a similar orbit as Majeure and Zombi, multi-instrumentalist Lawler infuses heavy doses of melody and drama to give First Contact a sound and feel that blends late 70s Pink Floyd sprawl, the nostalgic wonder of early 80s science documentaries, and John Carpenter's 80s sci-fi action films. Equal parts fascinating and euphoric, Contact is two masters of their respective crafts finding common ground in zero gravity.
This vinyl-only release is strictly limited to 1,000 copies, and includes a free MP3 download coupon.
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.
Lord is the debut from Seattle-based punks FF, a trio comprised of Claire Nelson, Harley Thompson, and Michael Abeyta. For the entirety of their nascent existence they have existed on the fringes of the fertile enclave that is the Northwest DIY underground, materializing a singular vision of gloomy, ethereal punk anthems along the way. For sure, the touchstones are there ? My Bloody Valentine, The Wipers, Sonic Youth, the Flying Nun Records cabal ? but the collection of songs that compile Lord breakout from the suffocating box of 90's revivalism, and offer a profound alternative to an overwhelming culture of nostalgia.
Recorded over the bulk of 2013 with Seattle engineering wiz Dylan Wall (Weed, Craft Spells), Lord is a collection of songs that capture a band on the cusp of their potency. Lord will be released October 20, 2014 on Couple Skate.
As time has settled things, the fossils of Frontier Ruckus' first records remain, but a new rolling house has been built upon it by the band, as if pulled from show to show, tour stop to tour stop. Matthew Milia and company aren't stopping. There's some place to be. Now 6 years on from their first full length, lauds from NPR, Paste, Rolling Stone, and Daytrotter in the rear-view, and remnants of tours to Europe and each corner of these United States scattered in fanny-packs and hollow-body guitar cases, Sitcom Afterlife, set to arrive November 11th, 2014, speaks with a more compact and frontal approach. In these new songs Frontier Ruckus isn't retreading those two-lane highways they've came on, but leaning forward - there's a structured forward motion to this collection, a sense of urgency toward the present, and a brevity that speaks of immediate passion - not disregarding that lived-in past but also not forlornly dragging it behind this shiny-new Airstream trailer that is Sitcom Afterlife.
HOMESHAKE (always in all caps) is Peter Sajar's baby and in the Shower ishis first proper full length after releasing a couple of cassettes to "cool blog critical praise". In the Shower contains ten songs that are best described as slow, sexy, R'n'B influenced indie pop. The music and vocals really are rightfully steamy and the album art work is wonderful and serene. It's going to be an instant classic.
The third part of Jad Fair's "Artist In Residency" Box Set is a playfully abrasive collaboration with lo-fi legend R. Stevie Moore. "The Great American Songbook - Vol. 1" contains 19 haphazardly-joyous experimentations, most of which clock in under the 2 minute mark. Alternating between heady-bedroom-jazz and electro-noise-collages, half of the tracks sound like they could have been recorded by innocent kindergarteners, and the other half sound like they were recorded by demented madmen.
Enlisting the help of John Dieterich (Deerhoof) and Conrad Choucroun (NRBQ), Jad Fair & R. Stevie Moore seem endlessly willing to try new ideas, and avoid pigeonholing at every turn. And out of the myriad of ideas they throw at the wall, those that stick are superbly interesting. And a little creepy.
While not a household name outside of Norway, Jorn Aleskjaer has been writing and performing music for nearly 20 years. He's released four studio albums with the indie pop band The Loch Ness Mouse with two of those albums being nominated for "Pop Album of the Year" in Norway. Now, Jorn Aleskjaer finally debuts as a solo artist.
This record sounds like a long lost classic, the sort of record you might wish you could come across crate digging in a second hand record store in a remote town in the Norwegian countryside. The production perfectly channels that '70s AM radio pop hit sound and just flavors the melodies to the point that the songs sound so familiar, like they really are already hits in your memory. The musical scope stretches from Todd Rundgren-like pop-soul to Beach Boys harmony escapades, but at the center of the album are Jorn's raw and emotional, often Dennis Wilson-esque songs and performance, and the intention has been to capture this natural flow and rawness also in the studio.
Give the album a few plays and the melodies will be stuck in your head. Truly modern retro hits offered for new listeners to discover.
Kaitlyn Aurelia Smith's formative years were spent communing with nature on Orcas Island in the northwest region of Washington state, a place she describes as "one of the most magical and peaceful places I have ever been." Though she wouldn't begin experimenting with modular synthesis until many years later, her creative work continues to be infused with and inspired by the vitality and serenity of Orcas.
Smith left the island to attend Berklee College of Music, where she studied composition and sound engineering, initially focusing on her voice as her primary instrument, before switching to classical guitar and piano. She employed many of the skills she refined in college in her indie-folk band Ever Isles, but a fateful encounter with a neighbor who lent her a Buchla 100 synthesizer, had a profound effect on her. Mesmerized by the new sounds the Buchla offered, she explains "I got so distracted and enamored with the process of making sounds with it that I abandoned the next Ever Isles album."
Tranquil, playful, and full of life, the ten pieces on Tides were carefully designed to enhance one's environment. The album opens with a 14-minute piece that unfolds like the soundtrack to daybreak, as muted rhythms, shimmering swells, and fluttering tremolos slowly give way to an insistent, almost aboriginal pulse. As the album progresses, each song travels along a vibrant wave, with resonant drones, and brief melodic gestures that mirror patterns of the natural world, while keeping pace with the beat of a serene human heart. After experiencing the gently kinetic and undulating energy of Tides, it's not surprising to find out these pieces were originally created as an audio accompaniment to yoga classes.
A hugely exciting new talent, Katie Gately is a Brooklyn-born, LA-based artist with an academic background in film sound production and editing. Having only recently stepped out from her regular job as a sound designer in the film industry, Katie has crafted a set of brilliantly intricate and ambitious sound pieces that exist in a borderzone between electroacoustic composition, field recording and deconstructed pop bringing to mind the widescreen scope of Scott Walker or Julia Holter and the precise playful abstraction of Matmos and Holly Herndon.
Tlaotlon is the solo alias of Melbourne-based New Zealander Jeremy Coughbrough, who has released a clutch of records in the past few years on labels like Dungeon Taxis, Epic Sweep, Trensmat and 1080p. Messy, maximalist and psychedelic, Tlaotlon proffers a kind of squelchy, hyper-colourful, dislocated modern electronica that might find roots in older models like Phthalocyanine or Autechre but sharing commonalities with current producers like Patten, Sculpture, Dalglish, Astral Social Club and others.
Noctilucence is a new 12" recorded between in 2013 and 2014 between Los Angeles, California, and Cleveland, Ohio. The term "noctilucence" comes from "noctilucent clouds", the name given to clouds which, for some reason, emit a brilliant vibrance at night. On this recording we find our subject diving into the electric waters of the night sky, in long drives across the vast deserts of America. It's a recording about the discovery and understanding of the shadow, entrance to the realm not controlled by the light of day, or the logic of reason. It's about confronting nocturnal terrors and all of those things that go bump in the night. Understanding that the ancient archetypes which watch over us don't flinch, and stand firm across the spell of time. On Along The Way we sought the Macrobes for guidance, and on Noctilucence we see them taking real shape. Opening with a mantra to the perpetualregeneration of the spirit of love, crying out for new levels of confidence and consciousness to emerge from the human race, Noctilucence is a deep stare into the infinite eye of the shimmering night sky of the future, and all it holds in its gaze.
Completed in just two weeks between the sub-zero conditions of commuter town Cornwall, New York and the heart of Brooklyn, Wooden Aquarium marks the apex at which Mazes' music to date meets. While debut album A Thousand Heys was recorded on a boat and recent album Ores and Minerals was recorded across numerous takes in the back room of Dalston's Shacklewell Arms and Jack's bedroom, Wooden Aquarium has brought Cooper, drummer Neil Robinson and bassist Conan Roberts together in a studio again. Recorded completely live and laid down entirely onto beautifully thick two-inch tape, the trio also had company in enlisting the skills of Parquet Courts' producer Jonathan Schenke.
Akin to Field Music's articulate songwriting prowess and the punky guitar rhythms of The Feelies or Television, and see-sawing between extreme confidence and self doubt the record is packed with hypnotic lo-fi pop melodies and motorik rhythms bolstered by spiky hooks and Cooper's distinctively carefree vocals.
During this past year Brad Laner, Elizabeth Thompson and Jim Goodall eschewed the 90's nostalgia touring circuit trod by their peers and instead dug deep to bring you "Home Everywhere": A collection of new songs created with a gaze that is omni-directional. An answer to no other band, movement or genre (don't be lazy, you). An ambitious work that could be no one else but said three lifer music weirdies in full inspiration mode.
A thick green mist, a lush chill vibe; after 5 years and countless self-released tapes and CDs, Mega Bog -- the brainchild of songwriter Erin Birgy -- has complete her best work to date; a swirling pop cloud called Gone Banana. Influenced equally by the emotional psychedelia of Kevin Ayers and the pop whimsy of Steely Dan, Banana is a joyous declaration of artistic independence and purpose. Changing line-ups more than most people change clothes, Birgy is an enigmatic musician and a true weirdo.
Alternately a tender songwriting project, a blazin-hot jazz-rock combo, or an open forum for goofy one offs and fragile experimentations, Mega Bog is ultimately whatever Birgy wants it to be on a given day. For Banana, she gathered a loose group of Seattle's thriving experimental pop and improvised music scene. Sounding equal parts Ariel Pink and Prefab Sprout, they rip through 9 hazy burners with a sneaky tightness hidden behind layers of drizzle and reverb. Birgy's rich voice croons and bends around the shifting walls of sound, organizing and refocusing the swirl. An immersive listening experience for oddball pop addicts, peek into the life of a truly strange soul.
Announcing the new album from Serengeti - Chicago rapper and Sisyphus band-member (w/ Sufjan Stevens & Son Lux). Kenny Dennis III continues the saga of 'Geti's blue-collar character, featuring sizable contributions from Anders Holm of Workaholics.