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viewing 1 To 4 of 4 items
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LP
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SOS 004LP
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Old friends Julian Bates and Alex Gray -- working together as Mighty Truth for the first time since 1995's From The City To The Sea -- filled a car with old analogue synths, kids' noise toys, and collected field recordings, took a road trip down to hole up in an old water mill in southwest England's bird-twittery, bee-loud Quantock hills. Things got cinematic: unequal measures of early Weather Report, Wim Wenders, and Serge Gainsbourg kept them wonderfully lost in their imagined world. Back in London with guest singers Allonymous (Paris via Chicago) and Wayne Paul (London), they completed the album and decided to just call it Mighty Truth. With an aim to present the live show at moonlight pop-up cinema venues, Mighty Truth are here for the next chapter in their epic saga. Julian Bates and Alex Gray first met through their shared obsession with classic cars. At the time, Julian's band Nightrains was signed to ACE Records in the UK whilst Alex worked first as a session keyboardist for the likes of Edwyn Collins, Billy Mackenzie, and Busta "Cherry" Jones, and later as a mixer and remixer working with S'express producer Pascal Gabriel, Malcolm McLaren, and soul DJ legend Dr Bob Jones. Working together in the studio for the first time producing Vanessa Freeman, Alex and Julian decided to embark on a drop-tempo jazz trip project they named Mighty Truth. Pressing of 200 copies on clear vinyl. RIYL: Zero 7, Plaid, Hot Chip, Weather Report, Isolee, Baby Fox.
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LP
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SOS 002LP
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LP version. Just like it says on the tin, Renegade Connection is a collaboration between Gary Asquith (Renegade Soundwave, Rema Rema) and Lee Curtis (Lee Curtis Connection). A must for fans of RSW, On-U Sound, Nightmares on Wax and heavy sounds of dub. Politicians, Protesters & Thieves is an album of reggae-influenced, dense, digital dub full of topical themes echoed through Asquith's signature voice -- a concise, acerbic singing style that sounds urgent and sharp. The A side contains the originals while the B side features dubs and versions. For their first release since 2015's "I'll Surrender" 7", the duo sharpened their sound to a gleaming knife's edge: not much more than Asquith's quietly intense croon (often barely more than a whisper), driving reggae bass and piercing dub echoes. After getting his start in post-punk pioneers Rema-Rema, whose first EP marked the debut of the iconic 4AD label, Gary Asquith started Renegade Soundwave in 1986. Lee Curtis was a member of '90s duo Flavornaughts, Brazilian working with Amon Tobin and others in the Ninja Tune axis.
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SOS 001CD
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Alt-rock icon Josephine Wiggs is best known as bassist in The Breeders, rising to superstardom in the '90s and continuing to draw crowds and critical acclaim in the wake of their 2018 album All Nerve. But over the years, Wiggs has released several of her own albums, all of which delightfully defy genre. Her new solo record, We Fall, is both a departure and a distillation of an enduring personal aesthetic: moody and spare but also melodic, at once contemporary and nostalgic. Some influences are clear: We Fall is reminiscent of the experimentalism of Brian Eno's Another Green World (1975) and recalls the delicate, languid minimalism of Harold Budd. The album's classical inflections, sharpened by a dialog with electronic elements, evoke Alva Noto and Ryuichi Sakamoto. This is an album of juxtapositions: minimalist at moments, richly layered in others; ambient while also sharply focused; melancholy yet resolute. There's something both dreamy and scientific about We Fall. Wiggs, an enthusiastic amateur mycologist, has an impressive collection of mushrooms she's photographed in her travels. We Fall could be the soundtrack to what can't be captured in a single photo -- the growth and decay of miraculous creatures that a less astute and sensitive eye might overlook entirely. Composed, performed, and recorded by Wiggs, with drums and electronics by her longtime friend and collaborator Jon Mattock (Spacemen 3, Spiritualized), We Fall is a lyrical, bucolic album with an undercurrent of disquiet. Think of a wintertime walk in the woods as dusk falls too soon. True to the classic album form, the ten almost entirely instrumental tracks on We Fall form a compelling whole: a crystalline meditation on paths not taken and words unspoken, an elegy for moments lost and last embraces.
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SOS 001LP
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Repressed; LP version. Alt-rock icon Josephine Wiggs is best known as bassist in The Breeders, rising to superstardom in the '90s and continuing to draw crowds and critical acclaim in the wake of their 2018 album All Nerve. But over the years, Wiggs has released several of her own albums, all of which delightfully defy genre. Her new solo record, We Fall, is both a departure and a distillation of an enduring personal aesthetic: moody and spare but also melodic, at once contemporary and nostalgic. Some influences are clear: We Fall is reminiscent of the experimentalism of Brian Eno's Another Green World (1975) and recalls the delicate, languid minimalism of Harold Budd. The album's classical inflections, sharpened by a dialog with electronic elements, evoke Alva Noto and Ryuichi Sakamoto. This is an album of juxtapositions: minimalist at moments, richly layered in others; ambient while also sharply focused; melancholy yet resolute. There's something both dreamy and scientific about We Fall. Wiggs, an enthusiastic amateur mycologist, has an impressive collection of mushrooms she's photographed in her travels. We Fall could be the soundtrack to what can't be captured in a single photo -- the growth and decay of miraculous creatures that a less astute and sensitive eye might overlook entirely. Composed, performed, and recorded by Wiggs, with drums and electronics by her longtime friend and collaborator Jon Mattock (Spacemen 3, Spiritualized), We Fall is a lyrical, bucolic album with an undercurrent of disquiet. Think of a wintertime walk in the woods as dusk falls too soon. True to the classic album form, the ten almost entirely instrumental tracks on We Fall form a compelling whole: a crystalline meditation on paths not taken and words unspoken, an elegy for moments lost and last embraces.
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