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viewing 1 To 8 of 8 items
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LP
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HEAVY 020LP
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Collection of upbeat and funky Mocky tracks. Following up 2021's orchestral album opus Overtones For The Omniverse (HEAVY 011LP), Mocky has been releasing a number of upbeat and uplifting instrumental tracks and now collects them as Goosebumps Per Minute Vol. 1 on vinyl. Putting his vocals and songwriting to the side for this project, Mocky employs harps, horns, and '70s analog synths to provide a funky soundtrack that spreads a little of that California sunshine in the listeners direction. Built around Mocky's signature basslines and ensemble vocal arrangements that include his son Telly and his daughter Lulu, all recorded to his vintage Ampex tape machine, Mocky did away with the normal metronomic BPM calculations in modern production and instead measured his music in "GPM" (the tempo at which music transmits Goosebumps) -- and on top of a multitude of summery bass, drums, and strings perfection, Vicky Farewell drops a blistering Rhodes solo on "Flutter" and Carlos Niño lends a percussive hand on the sublime "Iridescence". Todd M. Simon handles the horn duties, and Liza Wallace infuses the dance tracks with live harp which recalls the floating approach of Alice Coltrane. Titles like "Refractions", "Wavelengths", or "Conduction" are hinting at a scientific approach to creating the conditions for "Goosebumps Per Minute" -- his own calculus for the timing of how and when to hit and strum the things in his studio to make it raw and funky. The songs were also inspired by his time hanging out at the Goldline bar in LA's Highland Park. "Throughout the pandemic it was the one place I could go and sit outside and hear incredible music as I listened to my friend DJ Phonecalls playing from the Goldline's vinyl collection. He would be dropping these uplifting funk and disco cuts -- and at the end of the night I would go home to my studio and make a track and upload it to my Bandcamp and the streaming services immediately -- It reminded me of my time in Tokyo's vinyl bars so 'Goosebumps Per Minute' owes a lot to that inspiring culture as well." Includes download code; edition of 600.
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LP
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HEAVY 011LP
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Following up his score for the Japanese Netflix anime series Carole & Tuesday, Mocky returns to album mode with his new orchestral opus Overtones For The Omniverse. Just days before the first Covid lockdowns, Mocky brought a 16-person orchestra comprising of his usual who's who of underground talent into LA's Barefoot Studios (and into the same room where Stevie Wonder recorded Songs in the Key of Life) to record a pile of scores he had come up with during his previous year's sabbatical in Portugal. The result is a stunning orchestral album recorded in 36 hours in one or two takes straight off the written page. Shunning the "possible perfection" of today's recording techniques, Mocky looked back as a way to find an alternate future. The album runs the gamut from Steve Reich infused minimalism overlaid with Dorothy Ashby style harp runs ("Overtures") to atonal analog synth sounds over Martin Denny style percussion ("Bora!"). There's a classic Mocky crooning number that gives a Jim Henson-esque take on the state of "Humans" and the album as a whole captures Mocky's skill of bringing together the joyful energy of a unique cast of LA collaborators. Featuring: Randal Fisher - flute; Vicky Farewell - piano, vocals; Harry Foster - bass, vibraphone, tubular bells, vocals; Joey Dosik - organ and glockenspiel, vocals; Guilermo E. Brown aka Pw - percussion, vocals; Jhan Lee Aponte (TossTones) - percussion, vocals, timpani; Paul Cartwright - violin; Molly Rogers - viola; Gabe Noel - cello, contrabass; Liza Wallace - harp; Coco O. - vocals. Produced by Mocky, Justin Stanley and Renaud Letang. Mixed by Renaud Letang at Ferber Studios Paris. Mastered by Emilie Daelemans. Cover artwork by Rand Sevilla. Photo by Vice Cooler. Includes download code.
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LP + 7"
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HEAVY 008LP
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Heavy Sheet present a reissue of Mocky's Saskamodie, originally released on CD in 2009. In 2009, Mocky made a radical decision: after having become one of the cult figures of the leftfield Berlin electronic music scene of the early 2000s, Mocky retired his sampler and travelled to Paris to embark on an all acoustic journey with the producer Renaud Letang in the vintage Studio Ferber, previously inhabited by the likes of Nina Simone and Serge Gainsbourg. Named after a song he made up when he was seven, using imaginary words, Saskamodie was an instant new future/retro classic: a return to pure musical expression by a cutting-edge artist who was no longer bound by the electronic music scene. Saskamodie was a brave step into unchartered waters, the sound of a musician exploring where his talent can take him with rare confidence and authority. At different points you could hear a vintage soundtrack suite, a debonair jazz record (minus the solos) or a golden era '60s soul ballad recording... yet, as if all these charming stylistic sorties weren't loveable enough, cut Saskamodie through the middle and you'll find that sweet, inescapably infectious melody is the lifeblood trickling through its core. Mocky is listed as playing drums, bass, Rhodes, piano, guitar, percussion, bells, recorder, vocals, whistle, organ. and toys as well as writing string arrangements. Taylor Savvy, Gonzales, Jamie Lidell, and Feist contribute additional instrumental and backing vocal performances that make this record sound more like a live performance than a studio creation. Saskamodie has definitely stood the test of time and Mocky still successfully follows the path he started with this recording -- be it on his series of digital Moxtapes, his album Key Change (HEAVY 003CD/LP, 2015), his recent "recorded-in-one-day" jazz album A Day At United (HEAVY 007CD/LP, 2018), his score for the Japanese Netflix anime Carole & Tuesday or his writing and production work for the likes of Feist or Kelela. Originally only released as CD/digital download, this ten-year anniversary, limited edition vinyl edition brings Saskamodie to its original form, re-mastered for deluxe 180 gram vinyl and accompanied by an exclusive bonus 7" with a new single edit of the album's hit "Birds Of A Feather", a solo piano version of "Guiding Light" by Chilly Gonzales, the cover version of "Birds Of A Feather" by LA's underground funk sensation Vulfpeck, and a remix featuring Wu Tang's GZA.
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CD
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HEAVY 007CD
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A Day At United, the name practically says it all. An album recorded in a single day, no rehearsals, no second takes. Just Mocky with friends, instruments, and some songs sketched in the week previous. Oh yeah, and a recording studio. United Recording, in fact. The legendary independent studio, financed by Sinatra among others is a refuge for artists seeking more control, or maybe "less interference". A Day At United is not an album about control, it's about putting certain conditions in place, then letting go, letting the magic happen. In an age of computer-led precision, this is an album about the struggle for imperfection. "I've always been inspired by the story of Miles Davis recording Kind Of Blue (1959)," says Mocky, "going into the studio with John Coltrane and Bill Evans, and making an album in real-time." Not that Mocky, who led the session from his drum kit, compares himself to the jazz greats; he doesn't even call himself a jazz musician. If this is his "jazz" album, it's because of the process that yielded it. The process began with a recording date, and to ensure a "classic" quality on the record, Mocky got together with producer Justin Stanley (Prince, Leonhard Cohen) who ended up recording and co-producing the album. "When everyone was in position, the charts in front them, the sticks in my hand, it was the first time I actually considered what I was about to do on drums. It was free-styling. Hearing the songs as they were being recorded, in complete real-time." Looking back on the origin of the album, Mocky sees it as an extension of his free-flowing Mocky and Friends nights. Picture a revolving cast of collaborators and co-creators, convening on the rooftop of the Ace Hotel in downtown LA, making music in the moment. "I wanted to attain a level of intention that was different from anything I had done on an album before," Mocky says. "Rather than playing all the instruments, I just drummed and let the ideas filter through this group of artists in real-time. If you multi-track or edit, the intention becomes a conceptual thing, considered and refined. At United, it was about this creative urgency. For me, it was waking up one day and, at the end of it, having an album done."
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LP
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HEAVY 007LP
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LP version; includes download. A Day At United, the name practically says it all. An album recorded in a single day, no rehearsals, no second takes. Just Mocky with friends, instruments, and some songs sketched in the week previous. Oh yeah, and a recording studio. United Recording, in fact. The legendary independent studio, financed by Sinatra among others is a refuge for artists seeking more control, or maybe "less interference". A Day At United is not an album about control, it's about putting certain conditions in place, then letting go, letting the magic happen. In an age of computer-led precision, this is an album about the struggle for imperfection. "I've always been inspired by the story of Miles Davis recording Kind Of Blue (1959)," says Mocky, "going into the studio with John Coltrane and Bill Evans, and making an album in real-time." Not that Mocky, who led the session from his drum kit, compares himself to the jazz greats; he doesn't even call himself a jazz musician. If this is his "jazz" album, it's because of the process that yielded it. The process began with a recording date, and to ensure a "classic" quality on the record, Mocky got together with producer Justin Stanley (Prince, Leonhard Cohen) who ended up recording and co-producing the album. "When everyone was in position, the charts in front them, the sticks in my hand, it was the first time I actually considered what I was about to do on drums. It was free-styling. Hearing the songs as they were being recorded, in complete real-time." Looking back on the origin of the album, Mocky sees it as an extension of his free-flowing Mocky and Friends nights. Picture a revolving cast of collaborators and co-creators, convening on the rooftop of the Ace Hotel in downtown LA, making music in the moment. "I wanted to attain a level of intention that was different from anything I had done on an album before," Mocky says. "Rather than playing all the instruments, I just drummed and let the ideas filter through this group of artists in real-time. If you multi-track or edit, the intention becomes a conceptual thing, considered and refined. At United, it was about this creative urgency. For me, it was waking up one day and, at the end of it, having an album done."
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LP
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HEAVY 006LP
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Compilation of so far digital only/unreleased or Japan-only tracks by the Canadian producer Mocky, who co-produced/co-wrote Feist's Pleasure (2017), Joey Dosik's Inside Voice (2018), and Kelela's Take Me Apart (2017). Featuring guests Jamie Lidell, Chilly Gonzales, Joey Dosik, Pegasus Warning, and Moses Sumney. For the first time on vinyl at album length this is Mocky's collection of the best of Japan-only/unreleased gems and favorites from his so far digital-only mixtape-series The Moxtapes, Vol. I-IV. The A side delves deep into his songwriting/lyrical side and features some of his most intense and touching songs thus far like "The Fortress" (featuring Chilly Gonzales on piano), "Problematic" (which casts Mocky's crooning in a glitched-out new light), and "Exception To The Rule", a radiant track that features breakout artists Joey Dosik on keyboards and Moses Sumney on background vocals. The B side showcases Mocky's off the grid soulful groove compositions like "You Can't Rush The Funk", "How It Goes", or "Keep Feelin This" featuring Jamie Lidell, bringing back memories of their classic work together on Lidell's Multiply (2005). "A sun kissed celebration of music in its most inspired state." --Saint Heron on The Moxtape Vol. III "Precisely the clap-happy, sun-kissed poolside score you've been waiting for to usher in these warmer months." --OK Player on "Keep Feelin This" "A timeless collection that is necessary in the age of trap beats." --Huffington Post on Living Time (The Moxtape Vol. II) Includes download code.
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LP
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HEAVY 003LP
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Repressed; LP version. Includes two bonus tracks and download code. Performer, producer, songwriter, composer, and multi-instrumentalist Dominic "Mocky" Salole rose to prominence in the Berlin electronic scene of the mid-2000s, releasing three acclaimed solo albums, co-writing and producing classics like Jamie Lidell's Multiply (2005) and Feist's The Reminder (2007), and making waves on stage with close collaborators (and fellow Canadians) Peaches, Feist, and Chilly Gonzales. A critical favorite, his 2009 album Saskamodie was described by Pitchfork as "an exceptionally musical album -- there's no other word for it -- that could fail to seduce only the hardest of hearing, or the hardest of hearts." Key Change documents Mocky's move from the musical community of Berlin to that of LA, and reflects the city's underground jazz and psychedelic scene. "Frank Sinatra was the first techno artist," declared Mocky in a 2015 interview on PRI's The World. As Sinatra was one of the first singers to use microphone technology to bring more intimacy to his sound, Mocky uses software and laptop-recording to bring the listener within close range of his music. Mocky is a radical multitracker -- he plays most of the instruments on Key Change himself -- but he strictly avoids presets and uses no samples. As Mocky said in a 2015 interview in Wired, "The most modern thing I can do in 2015 is make music with my bare hands." Key Change is also a testament to Mocky's musical family: the wondrously lush "When Paulie Gets Mad" features frequent Flying Lotus collaborator Miguel Atwood-Ferguson on strings; the infectious "Living in the Snow" features a Feist cameo on drums; Moses Sumney and Joey Dosik, two singers for whom Mocky has written and produced and who have been making a mark on the LA scene, turn in a smoother-than-smooth vocal performance on "Tomorrow Maker"; and longtime collaborator Chilly Gonzales sits in on piano and Rhodes on "Head in the Clouds." Mocky draws on the past and the future to give us back the present as only someone with deep roots in electronic music can. If "machines have become the arbiters of emotion," as Mocky claims, then Key Change offers another way. Deeply familiar yet utterly new, dreamy and ethereal yet earthy and grounded, this is the music of paradox. It resists classification, as many a music journalist has discovered. It lives on its own terms. You can talk about it all you want. But in the end, you just have to listen.
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CD
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HEAVY 003CD
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Performer, producer, songwriter, composer, and multi-instrumentalist Dominic "Mocky" Salole rose to prominence in the Berlin electronic scene of the mid-2000s, releasing three acclaimed solo albums, co-writing and producing classics like Jamie Lidell's Multiply (2005) and Feist's The Reminder (2007), and making waves on stage with close collaborators (and fellow Canadians) Peaches, Feist, and Chilly Gonzales. A critical favorite, his 2009 album Saskamodie was described by Pitchfork as "an exceptionally musical album -- there's no other word for it -- that could fail to seduce only the hardest of hearing, or the hardest of hearts." Key Change documents Mocky's move from the musical community of Berlin to that of LA, and reflects the city's underground jazz and psychedelic scene. "Frank Sinatra was the first techno artist," declared Mocky in a 2015 interview on PRI's The World. As Sinatra was one of the first singers to use microphone technology to bring more intimacy to his sound, Mocky uses software and laptop-recording to bring the listener within close range of his music. Mocky is a radical multitracker -- he plays most of the instruments on Key Change himself -- but he strictly avoids presets and uses no samples. As Mocky said in a 2015 interview in Wired, "The most modern thing I can do in 2015 is make music with my bare hands." Key Change is also a testament to Mocky's musical family: the wondrously lush "When Paulie Gets Mad" features frequent Flying Lotus collaborator Miguel Atwood-Ferguson on strings; the infectious "Living in the Snow" features a Feist cameo on drums; Moses Sumney and Joey Dosik, two singers for whom Mocky has written and produced and who have been making a mark on the LA scene, turn in a smoother-than-smooth vocal performance on "Tomorrow Maker"; and longtime collaborator Chilly Gonzales sits in on piano and Rhodes on "Head in the Clouds." Mocky draws on the past and the future to give us back the present as only someone with deep roots in electronic music can. If "machines have become the arbiters of emotion," as Mocky claims, then Key Change offers another way. Deeply familiar yet utterly new, dreamy and ethereal yet earthy and grounded, this is the music of paradox. It resists classification, as many a music journalist has discovered. It lives on its own terms. You can talk about it all you want. But in the end, you just have to listen.
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