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viewing 1 To 25 of 39 items
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CD
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CF 137CD
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$15.00
PREORDER
RELEASE DATE: 5/28/2021
"The same crew as the boundary pulsing improvisation record Bent Arcana has made a trajectory shift and picked up Ben Boye along the path. The aptly-named Moon-Drenched is the second installment from these sessions and keeps a heavy-lidded late night perspective on things as it eases from the somewhat familiar liminal twilight of skittering hues of black-blue and snaking street groove, to fizzing off into the ether in pursuit of lunar prism beams heretofore unseen. The more rhythmically dialed bits here have a lysergic halo of strangeness to them, and the wispy bits between are spun of iridescent gossamer. It sounds like a frizzled message from a future just filthy with guitar hoots echoing off of neon-splattered high rises, oil-slicked waterways and skittering digital beasts. For Castle Face's money this is the strangest slice of this last bunch of John Dwyer and his crew's improvisations."
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LP
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CF 137LP
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$16.00
PREORDER
RELEASE DATE: 5/28/2021
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CD
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CF 131CD
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$15.00
PREORDER
RELEASE DATE: 5/14/2021
"Los Angeles' Grave Flowers Bongo Band's sophomore album Strength Of Spring is an inverted pyramid balanced on the headstock of an acoustic guitar, a rainbow painted in campfire smoke, an endless staircase circling into the clouds. That acoustic guitar, perfectly captured here by Ty Segall's excellently sere and close mic'd production, plays skeleton to these conjurors' woolly grooves, and singer Gabe Flores' thousand-yard moan keeps the listener guessing as to exactly where this wildebeest is headed. He pinions these far out tunes, which burst generously with shit-hot guitar leads, Stoogeseque sax squalls, and a gaggle of great eight-armed drum fills, with a flinty wrist-flicking heartbeat as the band turns from whimsy to nimble riffery on a dime, following that pied-piper six-string jangling down many lovely rabbit-holes of melody and exploration. It's obvious these guys play together a lot (the lineup shares two members with acclaimed space rockers Hoover III to boot) and the telepathy on display here is synapse-snappy. Coursing throughout is that note-pad filling, lighter raising, undefinable black magic that feels so rare these days."
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LP
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CF 131LP
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$18.00
PREORDER
RELEASE DATE: 5/14/2021
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CD
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CF 135CD
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$15.00
PREORDER
RELEASE DATE: 4/16/2021
"Walk the dog. Exercise. Make art. 'The mind is happy when the body is.' Things I can potentially fill my days with if I am stuck at home for months on end... Then, one day, I hear a frenetic, free drummer playing in his garage a few blocks from me. And I think 'interesting'. I stand outside his garage staring at the wall, like a fool, for a minute, then decide to leave a note on the car parked there. This is how I ended up meeting and working with Ted Byrnes. He wasn't creeped out, and he ended up sending me a pile of truly spontaneous drums recordings from the carport to work with. I decided to have every musician come in one at a time and just take a wild pass at their track over the drums. None of these people had ever met or played together. I was the connecting thread. I scratched the surface initially with electric bass, saxophone, guitars, cuica, synthesizers, flute and effects, but soon realized I would need heavy hitters to make this place habitable. Greg Coates, upright bass expressionist extraordinaire, hacked through the dense weeds, vines and frayed cabling. He lays the map out and makes breathing room. Space to swing a cat. Tom Dolas (keys), my often foil, came in and began tip-toeing through the rubble and refuse. Dotting the layout with flecks of light, flights of fancy and potential tangential trajectories. Then the finisher, Brad Caulkins on horns. As always, Brad came in like grace itself, scanned the floor for food, and huffed and puffed and blew the house down. He takes a bruiser situation and lends it some warmth and hospitality, old school. "After I spent a bit of time mixing and editing this down to a palatable offering I couldn't help but think about human consumption. ...Endless Garbage seemed a fitting title. A cacophonous and glorious sketch of ourselves. For fans of Albert Ayler, ECM records, Gong, improvisation, sustainability and consumption." --John Dwyer
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LP
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CF 135LP
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LP version. "Walk the dog. Exercise. Make art. 'The mind is happy when the body is.' Things I can potentially fill my days with if I am stuck at home for months on end... Then, one day, I hear a frenetic, free drummer playing in his garage a few blocks from me. And I think 'interesting'. I stand outside his garage staring at the wall, like a fool, for a minute, then decide to leave a note on the car parked there. This is how I ended up meeting and working with Ted Byrnes. He wasn't creeped out, and he ended up sending me a pile of truly spontaneous drums recordings from the carport to work with. I decided to have every musician come in one at a time and just take a wild pass at their track over the drums. None of these people had ever met or played together. I was the connecting thread. I scratched the surface initially with electric bass, saxophone, guitars, cuica, synthesizers, flute and effects, but soon realized I would need heavy hitters to make this place habitable. Greg Coates, upright bass expressionist extraordinaire, hacked through the dense weeds, vines and frayed cabling. He lays the map out and makes breathing room. Space to swing a cat. Tom Dolas (keys), my often foil, came in and began tip-toeing through the rubble and refuse. Dotting the layout with flecks of light, flights of fancy and potential tangential trajectories. Then the finisher, Brad Caulkins on horns. As always, Brad came in like grace itself, scanned the floor for food, and huffed and puffed and blew the house down. He takes a bruiser situation and lends it some warmth and hospitality, old school. "After I spent a bit of time mixing and editing this down to a palatable offering I couldn't help but think about human consumption. ...Endless Garbage seemed a fitting title. A cacophonous and glorious sketch of ourselves. For fans of Albert Ayler, ECM records, Gong, improvisation, sustainability and consumption." --John Dwyer
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CD
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CF 128CD
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"A weird trip of a band... the second this was playing I was immediately hooked. I initially dove in because their name was attached to Mikey Young for mastering (I have a rule with Mikey... if he had his hands on it, it's probably worth a listen). This band exceeds in all my trials. Esoteric nature, but oddly poppy and ready to prick up any ears out there. Deconstructed, but full of hooks. If I were a lazy man, and I am, I would say its for fans of PiL, but they transcend that pigeon-hole. Wonderful production lends its self to this unique LP. It seems as if the room expands and contracts throughout songs. Pulling away, then blocking your field of vision entirely. Wasteland funk. Dub from the depths. Punk from the pit. Even the instrumentation is worth mentioning: saxophone, drums (and cut-up drums), guitar, synthesizer, vocals (poetry) and general fuckery all combine to make this a very interesting and worthwhile escape from the average. And thank the Gods for that right now. Inspired and desired by the active mind. A job well done by EXEK, and there's new stuff brewing too... For fans of BEAK>, Phantom Band, PIL and general Jah Wobbleness, Magazine, short-wave radio, ESG and underground Kraut." --John Dwyer
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LP
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CF 128LP
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$18.00
PREORDER
RELEASE DATE: 4/2/2021
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LP + 7"
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CF 133LP
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"I've had the pleasure of being a [The] Fall fan since I was a teen. I was lucky enough to have some guidance from my local record shop stoner-lords. They turned me on to many of my heroes, but once I heard my first slanted and barky Fall song, I was part of the army for life. The word prolific gets tossed around a lot. It almost seems like a slag-off in the press, as if they wish the artist would produce less so they wouldn't have to do their self-imposed job of judging releases for the rabble. The Fall is subjected to this lazy word often. Yet I can honestly say that I am so thankful for any nugget of Fall that lands at my feet and in my brain. Live Fall performances are always a pleasure because they seem to take what already made the Fall great and push it even a bit more into the rough and bloody uncharted wasteland that is drug scorched proto-punk and heady political poetry. So, it is with great pleasure that we introduce this Fall bootleg soundboard recording to you. Recorded during one of the many strong points in the bands vast and mighty history. They really burn bright here and bring every ounce of what you expect from this formidable force. We have reached out to every surviving member of the band, the sound person, the bootlegger who recorded it and the photographer and received their blessings and help piecing it all together. Castle Face will be donating 50% of our profits to Centrepoint, which helps the homeless in the Manchester area get back on their feet, so the local and deserving Fall fans get a little, and give a little back, too. Nothing but the hits here folks and as raw as you dig it. This one really is exceptional in terms of live sound for The Fall. All the stars were aligned over St. Helens that eve. And it wouldn't be complete with a bit of Fall fan saltiness so, fuck you too, Jason." --John Dwyer
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CD
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CF 136CD
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"Influenced by a life split between Lima, London, and Twentynine Palms, Peru-born M. Caye Castagnetto's Leap Second is an intriguingly personal and hard to classify debut album. The album is a thick collage of samples Caye recorded with different artists and musicians, including Beatrice Dillon and the late Aileen Bryant, that spans five years in the making. There is something in Leap Second that tracks the speed of bodies, how they approach and retreat. The ten tracks are speedy and languid, thick ruffles, and dirges. In parts it feels like one's stumbled upon a forgotten incredible '70s folk record but that feeling gets broken quickly by clever sleights of hand. Caye's balladry is angular, time is elastic. Each song is a fresh cape. How dandies really mean it, so masc- that it's fay, how the only moment is this one and it's just passed, etcetera."
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LP
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CF 136LP
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LP version. "Influenced by a life split between Lima, London, and Twentynine Palms, Peru-born M. Caye Castagnetto's Leap Second is an intriguingly personal and hard to classify debut album. The album is a thick collage of samples Caye recorded with different artists and musicians, including Beatrice Dillon and the late Aileen Bryant, that spans five years in the making. There is something in Leap Second that tracks the speed of bodies, how they approach and retreat. The ten tracks are speedy and languid, thick ruffles, and dirges. In parts it feels like one's stumbled upon a forgotten incredible '70s folk record but that feeling gets broken quickly by clever sleights of hand. Caye's balladry is angular, time is elastic. Each song is a fresh cape. How dandies really mean it, so masc- that it's fay, how the only moment is this one and it's just passed, etcetera."
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CD
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CF 132CD
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"In the swirling and undulant warm mud of jettisoned reels of magnetic tape, blurps up the fog of reinvention. Every night I would parley with my pilots and run and rerun the recordings. Right up until the moment sleep slips its veil over eyes and ears and you drift back without a sound. Protean Threat dream haze becomes Panther Rotate in the other dimension. A companion LP of remixes, field recordings, and sonic experiments using all sounds generated by the him and crackle of the desert farm. A second version of our Protean Threat if you will, but barely conspicuous in its relation. Forward, never straight! Sunrise, sunset. Two lives connected by a cosmic thread, One for your feet and one for your head. For fans of Thee Oh Sees, Oh Sees, OCS, The Oh Sees, Osees... etc etc etcetcetc... be well." --John Dwyer
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LP
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CF 132LP
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LP version. "In the swirling and undulant warm mud of jettisoned reels of magnetic tape, blurps up the fog of reinvention. Every night I would parley with my pilots and run and rerun the recordings. Right up until the moment sleep slips its veil over eyes and ears and you drift back without a sound. Protean Threat dream haze becomes Panther Rotate in the other dimension. A companion LP of remixes, field recordings, and sonic experiments using all sounds generated by the him and crackle of the desert farm. A second version of our Protean Threat if you will, but barely conspicuous in its relation. Forward, never straight! Sunrise, sunset. Two lives connected by a cosmic thread, One for your feet and one for your head. For fans of Thee Oh Sees, Oh Sees, OCS, The Oh Sees, Osees... etc etc etcetcetc... be well." --John Dwyer
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CD
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CF 125CD
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"Introducing Population II -- blazing through the stratosphere, boiling up from beneath the sea, hanging in the air like smoke... These elemental tunes drift and fluctuate, at one with the air, over extreme heat. Population II has beamed out of Quebec with a mind-melting debut [À La Ô Terre] of hard psych, freckled with punk sentiment. Both old school and timeless, these young humans rip. They are impressive in their live actions and this album captures this raw energy on wax. Produced by Manu from the great band Chocolat, a very high bar has been set, indeed. Fluid, tough, and over-saturated, this album is bound to please fans of the label and new-comers alike. Reminiscent of Amon Düül, early Pink Floyd, Kollektiv, Laurence Vanay, Les Olivensteins, early Kraftwerk, even a touch of the Kinks." --John Dwyer
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LP
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CF 125LP
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LP version. "Introducing Population II -- blazing through the stratosphere, boiling up from beneath the sea, hanging in the air like smoke... These elemental tunes drift and fluctuate, at one with the air, over extreme heat. Population II has beamed out of Quebec with a mind-melting debut [À La Ô Terre] of hard psych, freckled with punk sentiment. Both old school and timeless, these young humans rip. They are impressive in their live actions and this album captures this raw energy on wax. Produced by Manu from the great band Chocolat, a very high bar has been set, indeed. Fluid, tough, and over-saturated, this album is bound to please fans of the label and new-comers alike. Reminiscent of Amon Düül, early Pink Floyd, Kollektiv, Laurence Vanay, Les Olivensteins, early Kraftwerk, even a touch of the Kinks." --John Dwyer
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CD
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CF 129CD
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"Witness the ever-changing, ever-mutating threat that is reality. Perception is under duress; sensibility is bending everyday under the barrage of nonsense. One must make note of whom one is and what one has become: look into the mirror of the planet-killers -- psychic cannibals infiltrate and contaminate once familiar and seemingly secure territories... formidable foes indeed! What powers these beasts? What fuels discord and hatred? The behemoth of a 'civil' society? What are the weapons at one's disposal? Generosity is the aegis against greed, empathy is the armor to deflect apathy, love is the club to abate hate... the fog is lifting and humans are opening their eyes. And so Castle Face offers this field recording, the Osees Protean Threat, from the pits as a quick booster between protein pills and recycled sweat beverage anthems to assist the listener to not worship at the altar of violence and greed, to not offer oneself up for free, to stand up and be vigilant! Truth will not be found in the speeches and photo ops of the overlords -- stand strong and together under the gaze of the oppressors. Stand vigilant, united with those who don't have the same privileges. Demand respect and a peaceful life for all. This recording is at the apogee of scuzz-punk anthem amulets for the ears and heart, a battery for one's core. Be strong. Be human. Be love."
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LP
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CF 129LP
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LP version. "Witness the ever-changing, ever-mutating threat that is reality. Perception is under duress; sensibility is bending everyday under the barrage of nonsense. One must make note of whom one is and what one has become: look into the mirror of the planet-killers -- psychic cannibals infiltrate and contaminate once familiar and seemingly secure territories... formidable foes indeed! What powers these beasts? What fuels discord and hatred? The behemoth of a 'civil' society? What are the weapons at one's disposal? Generosity is the aegis against greed, empathy is the armor to deflect apathy, love is the club to abate hate... the fog is lifting and humans are opening their eyes. And so Castle Face offers this field recording, the Osees Protean Threat, from the pits as a quick booster between protein pills and recycled sweat beverage anthems to assist the listener to not worship at the altar of violence and greed, to not offer oneself up for free, to stand up and be vigilant! Truth will not be found in the speeches and photo ops of the overlords -- stand strong and together under the gaze of the oppressors. Stand vigilant, united with those who don't have the same privileges. Demand respect and a peaceful life for all. This recording is at the apogee of scuzz-punk anthem amulets for the ears and heart, a battery for one's core. Be strong. Be human. Be love."
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CD
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CF 130CD
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"This is the first interstellar transmission from five days of electrified and improvised sessions recorded at Stu-Stu- Studio, edited down to forty minutes for your earballs. Bent Arcana is the inceptive chapter in what I hope to be several releases showcasing these types of off-the-cuff musical compositions. So you can try your fry on and turn off. This one is very much on the ECM/'70s hard fusion/prog-kraut tip. It is a many pronged weapon, swung by the spontaneous sentinel." --John Dwyer
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CF 130LP
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LP version. "This is the first interstellar transmission from five days of electrified and improvised sessions recorded at Stu-Stu- Studio, edited down to forty minutes for your earballs. Bent Arcana is the inceptive chapter in what I hope to be several releases showcasing these types of off-the-cuff musical compositions. So you can try your fry on and turn off. This one is very much on the ECM/'70s hard fusion/prog-kraut tip. It is a many pronged weapon, swung by the spontaneous sentinel." --John Dwyer
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LP
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CF 123LP
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2020 colored vinyl repress (half swirl/half blue/magenta). "I first heard Michael Yonkers via the Microminature Love reissue (Sub Pop) and was immediately hooked. I started collecting any piece of his legend that I could... some true, some likely not. He had hand-built all of his gear. He had broken his back. He was part of experimental surgery that left him in lifelong pain. He was a dancer. He was still kicking around making some of the oddest and most contrary-to-contemporary-popular-norms type of music. (A man after my own heart) And then I heard Goodby Sunball, recorded and released in 1974, the year I was born. I had and have a very deep connection with this set of songs. I wasn't sure why, but when I finally met Michael, I understood. He was kind and seemingly a pretty regular guy. But he was also a weirdo. A rare bird, waving the true freak music flag, and it didn't matter what kind of music he made, I loved it all. So, this record was recorded as a way to reboot and reconnect with some songs that have heavily inspired me over the years. It was hard to pick from his vast catalog, so I just sort of jumped in, with Tom Dolas, Nick Murray, and Brigid Dawson as my band (along with a bevy of others along the way) and these are the tunes that stuck to the wall. I will forever be grateful to Mr Yonkers for bringing me a little joy with his music and inspiring weirdos everywhere." --John Dwyer, Feb 2020
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CD
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CF 119CD
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"Tip-top of Castle Face's osmosis list is the first quiver of tunes from Brigid Dawson and her newly minted Mothers Network: wise warnings dyed in dark hues, knotted and hard-won torch songs from the edge of a turbulent sea, bittersweet balladry spun in defense against evils familiar and unknown. Lovely though it may seem from a distance, the striation of loss quicksilvered throughout provides weighty balance to her contralto lilt. Those familiar with her harmonic counterpoint from her time in Thee Oh Sees or in OCS know she can belt as well as lullaby but there's a fresh and smolderingly heavy swing in her step on display here that Castle Face mightily digs. Ballet Of Apes tapestries together sessions that read like a who's who from outside the label's castle walls -- in Australia with Mikey Young (Total Control/Eddy Current Suppression Ring), in San Francisco with Mike Donovan (ex-Sic Alps), Shayde Sartin (ex-Fresh & Onlys/lifetime ringer) and Mike Shoun (ex-Oh Sees/Peacers), and in Brooklyn with instrumental heavy-weights Sunwatchers -- and the results are spellbinding. At the focal point of this maelstrom, the lady, as if illumed by candlelight, intones, pleads, consoles -- white magic perhaps, but it carries with it the anodized tang of blood."
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LP
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CF 119LP
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LP version. "Tip-top of Castle Face's osmosis list is the first quiver of tunes from Brigid Dawson and her newly minted Mothers Network: wise warnings dyed in dark hues, knotted and hard-won torch songs from the edge of a turbulent sea, bittersweet balladry spun in defense against evils familiar and unknown. Lovely though it may seem from a distance, the striation of loss quicksilvered throughout provides weighty balance to her contralto lilt. Those familiar with her harmonic counterpoint from her time in Thee Oh Sees or in OCS know she can belt as well as lullaby but there's a fresh and smolderingly heavy swing in her step on display here that Castle Face mightily digs. Ballet Of Apes tapestries together sessions that read like a who's who from outside the label's castle walls -- in Australia with Mikey Young (Total Control/Eddy Current Suppression Ring), in San Francisco with Mike Donovan (ex-Sic Alps), Shayde Sartin (ex-Fresh & Onlys/lifetime ringer) and Mike Shoun (ex-Oh Sees/Peacers), and in Brooklyn with instrumental heavy-weights Sunwatchers -- and the results are spellbinding. At the focal point of this maelstrom, the lady, as if illumed by candlelight, intones, pleads, consoles -- white magic perhaps, but it carries with it the anodized tang of blood."
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CD
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CF 121CD
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"When L.A. Takedown hovers over one's ear hairs for the first time, so much is communicated without a word -- there are patient, capable hands at the wheel as one phantoms through a neon Los Angeles of the mind, a Los Angeles that only three harmonized electric guitars can conjure, with a sunset so infinitely variegated in color that only synthetic washes of synth could serve as a fainting couch. Studio magic dust seems to drip off these android dreams projected against the wall -- in person it defies logic that such a sound is coming from humans, but, watching their hands, it's unmistakable -- these are calm warriors sallying forth these sweeping, swooning epics, crowned with triumphant tripartite thunderbolts of wail. For a few fleeting moments, things seem right with the world; a hero has prevailed, the race was won by a hair, the unmanned drones levitate and strafe the coast, rending the coral sky with a psychic boom, shaking loose a few palm fronds and setting off some car alarms but otherwise leaving the sprawl unchanged and teeming. While produced and performed by Aaron M. Olson, Our Feeling Of Natural High was engineered and mixed to glossy perfection by Jason Quever and it benefits greatly from the seamless contributions of John Herndon, Jason Quever, Marcus Savino, Miles Wintner, Mose Wintner, Nicholas Krgovich and The Musical Tracing Ensemble. We're even treated to a city-hum lullaby to humanity as a nightcap, with Nedelle Torrisi and Yellow Magic Orchestra's Yukihiro Takahashi on vocals, truly a mint on the pillow of this fantastic soundscape. For fans of Michael Rother, Top Gun, later Tangerine Dream, convertibles and long walks on the beach."
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LP
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CF 121LP
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LP version. "When L.A. Takedown hovers over one's ear hairs for the first time, so much is communicated without a word -- there are patient, capable hands at the wheel as one phantoms through a neon Los Angeles of the mind, a Los Angeles that only three harmonized electric guitars can conjure, with a sunset so infinitely variegated in color that only synthetic washes of synth could serve as a fainting couch. Studio magic dust seems to drip off these android dreams projected against the wall -- in person it defies logic that such a sound is coming from humans, but, watching their hands, it's unmistakable -- these are calm warriors sallying forth these sweeping, swooning epics, crowned with triumphant tripartite thunderbolts of wail. For a few fleeting moments, things seem right with the world; a hero has prevailed, the race was won by a hair, the unmanned drones levitate and strafe the coast, rending the coral sky with a psychic boom, shaking loose a few palm fronds and setting off some car alarms but otherwise leaving the sprawl unchanged and teeming. While produced and performed by Aaron M. Olson, Our Feeling Of Natural High was engineered and mixed to glossy perfection by Jason Quever and it benefits greatly from the seamless contributions of John Herndon, Jason Quever, Marcus Savino, Miles Wintner, Mose Wintner, Nicholas Krgovich and The Musical Tracing Ensemble. We're even treated to a city-hum lullaby to humanity as a nightcap, with Nedelle Torrisi and Yellow Magic Orchestra's Yukihiro Takahashi on vocals, truly a mint on the pillow of this fantastic soundscape. For fans of Michael Rother, Top Gun, later Tangerine Dream, convertibles and long walks on the beach."
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CD
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CF 117CD
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"The path is finally revealed by a splash of light, and it is dazzling. You cover your eye-bones with a claw and can make out a reflection of the perfect being -- there is a whiff of you in there. There is a bit of everyone in there. There are cars and bells and birds and fruits and water and night skies and laughter and heavy woe... motioning for you to dive in. All things are in this ethos swirling in its core. This album is the armored nucleus of sound and vision; it carries you along on its lumbering back, it tosses you through space and pulls you down a hole... a trip indeed! Mikey Young (Total Control, Eddy Current Suppression Ring) can do no wrong in our eyes and he has held the door open for you again (a gentleman, as always). Listen up, the higher power music hour has cracked their mighty knuckles and laid down some deep trips for you to view the city swaying and swarming like a field of grass flecked with insect transport."
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