|
|
viewing 1 To 12 of 12 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
DC 062LP
|
"Coconut Hotel hails from 1967, when it was recorded for International Artists in the wake of the international success of The Parable of Arable Land. Too far out for its day (!), Coconut Hotel was eventually issued on Drag City in 1995 and features the original Red Crayola at their most extremely experimental, while still retaining the air of whimsey ('One-Second Pieces') that permeates all their releases."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
DC 257LP
|
"Eight years later, and in another era entirely, a summing-up occurred with the compilation of short-play Krayola records, Singles. Spanning the years 1969 - 2004, Singles contains many Krayola klassics of the pre-punk, punk, post-punk, etc. eras once represented by labels like Texas Revolution, Rough Trade, Konkurrenz, and uh, Drag City. This comp was released on CD only ten years ago -- imagine that! Here it is for the first time on vinyl."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DC 369CD
|
2008 release. "Free form freak out is dead! Long live free form freak out! Sounds are building blocks, say The Red Krayola, again and, now, again. '60s The Red Krayola began recording because posterity asked for it. Today, they proffer their latest sensational object, Fingerpointing, an antic concept rendered classic, for The Parable of Arable Land is Fingerpainting is Fingerpointing; Fingerpointing is Fingerpainting is The Parable of Arable Land. Fingerpointing follows The Krayola's ur-formula, first elaborated in The Parable of Arable Land (1967), designed to immerse and entertain the listener and confound the FM DJs and anyone else's quest for the perfect segue in a narrative of counter-cultural meaningfulness. Where Fingerpainting reiterates the structure of The Parable, Fingerpointing recapitulates the same structure and the same material as Fingerpainting. It too is a parade of freak outs and songs alternately, and, like its progenitors, a dynamic synthesis that puts in play all that is at stake in the musical relation under the rubric of entertainment. Fingerpointing could have been made for International Artists -- the songs, like flies in amber, are versions of unreleased relics of the day modernity in its ruthless pursuit of its next moment signed away its carefree days of youth. The songs are by Frederick Barthleme, Steve Cunningham and Mayo Thompson. The freak outs are not 'authored' in the usual sense. All of the music was recorded at Treehouse Studio in Pasadena, CA at the same time as the recording of Fingerpainting. It features the performances of David Grubbs, George Hurley, Albert Oehlen, Stephen Prina, Elisa Randazzo, Mayo Thompson, Tom Watson and Sandy Yang. The mix is by Jim O'Rourke. We had to wait ten years for Fingerpainting to achieve its initial level of distributive awareness -- it had taken until 1999 for The Parable of Arable Land! Thanks to compression effects, now hear The Red Krayola elaborate the third material link. Listen and see."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DC 327CD
|
"Behold Red Gold, the new EP by The Red Krayola in which, following their formal Introduction, they pump out more dark matter from that deep pool of elemental, benchmark crude to lubricate the wheels of history, and rub in your hair. Red Gold features three instrumentals and three songs. 'Paris' conjures the city of lights, an arcade dance-floor at the end of night. 'I Was Bad' is a pure electric harpsichord blues in which fact is truth and truth is triumphant. A gigantic earhook drives 'Easy Street,' the karaoke version of 'Greasy Street'. Its heavy instrumental power fuels words. Come on, sing along. 'The Essence of Life' finds cause for grounds for compassion in the sameness of human function for most purposes. 'The Well' ponders collaboration, how darkness stands to common sense, and how therein hang tales. 'Bong Bong' exits on the street and meanders away. The Red Krayola are members in good standing of the entertainment establishment. They appeal to the broadest cross-section in the marketplace. They have worked and played for forty years inside the great, Billboard-tracked, musico-industrial complex."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DC 304CD
|
"The Red Krayola live to see another day. Having communed with their fans around the world in 2005 -- in Europe, Japan and the U.S. -- they were invigorated. Last summer they returned to one of their favorite haunts, the recording studio, for a session to capture the magic all at once. Today the result -- Introduction, 15 songs strong -- is here, and does just that. Introduction is an epic that presents The Red Krayola at their very best. Featuring the contributions of long-time members Stephen Prina, Tom Watson and John McEntire (who recorded and mixed the album at his Soma Recording Studio), Introduction introduces the accordion styles of Charlie Abel, whose slow flickering squeeze-box lines the album, and the elegant perfection of Noel Kupersmith's bass. The moods of Introduction are alternately contemplative, whimsical, aggressive, amorous, innocent and raw -- while always decorous in that special way popular music demands. Introduction is a new masterpiece from The Red Krayola -- a world of strengths, a compendium of knowledge, a record for today -- to be played for generations to come."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DC 190CD
|
"The Red Krayola want to contribute. Their new EP continues the tradition of music worthy of the serious attention of busy people. Life continues to travesty everything. Over time, The Red Krayola have expected the worst, yet hoped to be surprised. Some grim satisfaction in science carries on the blues. The Red Krayola weigh in, resulting in what we at Drag City refer to as 'entertainment.' Can blues record an analysis of the position? This is just one question, we understand, that needs no answer Everybody gets everything, right? As the world turns, Blues, Hollers and Hellos, yawns in the open spaces of an old guitar and drums core. Any sense of irony must be your blue hammer. But fall, if you will. Blues, Hollers and Hellos is packaged with a tanned, cool Southern perspective. It delivers its electrical message on a light breeze, leaving the listener plenty of room. To get comfortable, for those of you that worry ? this is a Red Krayola record. Graphic exterior giving lie to what lies within. Which is of course provocative and compelling. Blues, Hollers and Hellos is a six-track record of new music, listen to it. Is impeccable blues an oxymoron?"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DC 045CD
|
"Malefactor, Ade brings us to the third (and most recent) phase of Red Krayola history. It harks us back to the Germany of the late 1980s. The material on this release was written by Albert Oehlen and Mayo Thompson, with contributions from Werner Büttner, Andreas Dorau and Rüdiger Carl. These songs were laid down 'fast' over two days in Hamburg and finished in England where the then-Rough-Trade-executive Thompson was producing Primal Scream. The idea of things overlapping each other was raised to a principle in this period, and the strategies employed to realize this principle are still coming to fruition on the most recent Red Krayola release, Fingerpainting. We think."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DC 156CD
|
"Now we have The Red Krayola's state-of-the-states address 1999, presented to one and all in grand Red Krayola style, going all the way back to the days when they spelled it with a C instead of a K (c. 1967). Back then, the world was hearing it's first of this now legendary outfit. Having never tried to do anything the same twice, The Red Krayola, manage in a way not to again on Fingerpainting, although this time, in a way, they tried. Fingerpainting features unreleased songs from the distant days of 1966. The 90s Red Krayola shuffles these ancient pre-Arable Red Crayola songs with the sounds of neo-freakouts, live on the world's stage -- free, familiar, ugly, for a whole bunch of new generations. Fingerpainting features both the latter day Krayola and the original Red Crayola, from thirty years back, bringing it all full circle. And thus allowing another circle to be formed as soon as possible."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
DC 092CD
|
Live recordings of the original Red Crayola, from the Angry Arts Festival (6/29/67) and the Berkeley Folk Music Festival (6/67), including guest John Fahey on one track. In the style of Drag City's other archival resurrection, Coconut Hotel, this represents the The Red Crayola at their most way-out. "Despite penning a couple of classics of psychedelia on their first LP ('Hurricane Fighter Plane' and 'Transparent Radiation'), the band showed up at the Berkeley Folk Music Festival in the summer of 1967 with a markedly different approach to ensemble playing. Taking off from the concept of a 'free-form Freak Out', The Red Crayola leaned towards avant-garde approaches. Playing feedback-pieces, sound-as-music, time- and no-time pieces, compressions and motions, one-second pieces, music within music, unhearable music and so on. At the Berkeley Folk Music Festival they met John Fahey, master of the indexes and finger picked guitar. He sat in on their set there. Also included in this mind-melting collection of feedback drones, improvisation and unhearable music are recordings made in their Venice hotel room after their concert there. These pieces represent the 'unplugged' Crayola approach to their unconventional dictum, as well as their serious attitude towards this often lighthearted, intellectual-physical genre."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
DC 119EP
|
"Red Krayola mixes. By none other than Tranquility Bass QED, Schorsch Kamerun, and Wendy Gondeln. Yes! It's a record. The record is black, and when placed on a turntable, spins around at exactly 45 RPM. Science." --Hrvatski.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DC 098CD
|
"Throughout the 16 tracks on Hazel, the group vibe is in full effect...a relaxed, varied LP, the latest in form and content; language and music, art and culture; featuring as many of the above as possible on one record. Drawing on the collective mind that have participated in the 90s Krayola throughout the last 3 years (David Grubbs, Jim O'Rourke, John McEntire, Tom Watson, Stephan Prina, George Hurley) and adding a new voice (Mary Lass Stewart), Hazel realizes the musical socialism that Mayo Thompson and his various Red Krayolai have historically hunted for since the mid 1960s. Recalling the diversity of 1968's God Bless the Red Krayola and All Who Sail With It, Hazel also brings to mind the pop music of Kangaroo?(1981), and of course the slinky rhythms of most recent Krayola excursion Armour and Language (1995)."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DC 062CD
|
Archival album repressed for the first time in many years -- to coincide with Mayo Thompson's current cover feature on The Wire. Previously unreleased 2nd album from 1967! This consists of short tracks of quiet freakout sounds, with no discernible song structure whatsoever. A fabulous excursion into 60's experimental improv.
|
viewing 1 To 12 of 12 items
|
|