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CD
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THRILL 647CD
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$14.50
PREORDER
RELEASE DATE: 4/24/2026
"The North Carolina trio Setting brings together their substantial collective skills as musicians and their collaborative mindset to bear in their inventive and rich improvisations. Known for work in Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell, multi- instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Setting's self-titled album is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. Setting harnesses the euphoria of communal creation. 'This is one of the most joyous albums I've made with other musicians. It felt like we were all in the slipstream,' notes Fennelly. Bowles adds: 'Making this is maybe the easiest thing in my life; it's not struggle music. This collaboration feels like it's just coming out of the air, like it's breathing.' Fennelly's synth programming acts as a guiding light, bending pieces into dynamic arcs and imbuing them with swirling hues, while rhythmic push-and-pull between Westerlund and Bowles lends an elasticity to each track's warp and weft. Their working methods have found a kindred traveler in Adam McDaniel from Asheville's Drop of Sun Studios, whose engineering and production work forms an indispensable piece of the album's dynamism and luminescent fidelity. Across the five pieces, the trio make deft use of their seemingly infinite palettes to mold landscapes that appear familiar at first glance before glowing with vibrant new colors as the whole picture sets in. The eponymous album from Setting is the product of three intuitive players and deep listeners, artists who use those skills to create transformative music. The trio shirk any broader categorizations, as their unique dynamic pieces are alight with arrangements urgent and smoldering, patient and emotive."
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
|
|
THRILL 647LP
|
$25.00
PREORDER
RELEASE DATE: 4/24/2026
LP version. "The North Carolina trio Setting brings together their substantial collective skills as musicians and their collaborative mindset to bear in their inventive and rich improvisations. Known for work in Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell, multi- instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Setting's self-titled album is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. Setting harnesses the euphoria of communal creation. 'This is one of the most joyous albums I've made with other musicians. It felt like we were all in the slipstream,' notes Fennelly. Bowles adds: 'Making this is maybe the easiest thing in my life; it's not struggle music. This collaboration feels like it's just coming out of the air, like it's breathing.' Fennelly's synth programming acts as a guiding light, bending pieces into dynamic arcs and imbuing them with swirling hues, while rhythmic push-and-pull between Westerlund and Bowles lends an elasticity to each track's warp and weft. Their working methods have found a kindred traveler in Adam McDaniel from Asheville's Drop of Sun Studios, whose engineering and production work forms an indispensable piece of the album's dynamism and luminescent fidelity. Across the five pieces, the trio make deft use of their seemingly infinite palettes to mold landscapes that appear familiar at first glance before glowing with vibrant new colors as the whole picture sets in. The eponymous album from Setting is the product of three intuitive players and deep listeners, artists who use those skills to create transformative music. The trio shirk any broader categorizations, as their unique dynamic pieces are alight with arrangements urgent and smoldering, patient and emotive."
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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THRILL 658LP
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$27.00
PREORDER
RELEASE DATE: 4/24/2026
Gold vinyl version. "OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators' influence would be impossible to overstate. YoshimiO, OOIOO's founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt's Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. The Horizon Spirals/The Horizon Viral is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail. 'The Horizon Spirals,' composed of OOIOO's gamelan-infused sagas 'The Horizon' and 'Gamel Be Sure To Spiral' demonstrates the boundless scope of OOIOO's music. Opener 'The Horizon' draws inspiration from Sun Ra Arkestra's 'Horizon,' bursting from oscillations into a syncopated groove before stretching out into up-tempo hypnotisms lead by YoshimiO's trumpet. Lightning Bolt's 'The Horizon Viral' evokes the limitlessness of their improvisations and distills through more sophisticated home recording techniques. 'The Horizon Viral' reignites the flame of their storied home recordings, capturing the duo in full freeform, bolstered from bassist Brian Gibson's experiences composing and recording soundtracks for video games he co-designed, Thrasher and Thumper. The five pieces that make up their side were arranged as a single suite, meant to be played all together, with movements like 'Wavers' and 'Cloud Core' showcasing how relentless the duo's energy remains. Throughout, Gibson's ability to conjure riffs that feel timeless is as potent as drummer Brian Chippendale's ability to propel them until their instruments become inextricably enmeshed. The Horizon Spirals/The Horizon Viral is a celebration of indomitable creativity. In their endless pursuit of crafting pure, uninhibited, enchanting art, OOIOO and Lightning Bolt continue to make astonishingly powerful, invigorating music."
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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THRILL 658X-LP
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$27.00
PREORDER
RELEASE DATE: 4/24/2026
Silver vinyl version. "OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators' influence would be impossible to overstate. YoshimiO, OOIOO's founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt's Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. The Horizon Spirals/The Horizon Viral is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail. 'The Horizon Spirals,' composed of OOIOO's gamelan-infused sagas 'The Horizon' and 'Gamel Be Sure To Spiral' demonstrates the boundless scope of OOIOO's music. Opener 'The Horizon' draws inspiration from Sun Ra Arkestra's 'Horizon,' bursting from oscillations into a syncopated groove before stretching out into up-tempo hypnotisms lead by YoshimiO's trumpet. Lightning Bolt's 'The Horizon Viral' evokes the limitlessness of their improvisations and distills through more sophisticated home recording techniques. 'The Horizon Viral' reignites the flame of their storied home recordings, capturing the duo in full freeform, bolstered from bassist Brian Gibson's experiences composing and recording soundtracks for video games he co-designed, Thrasher and Thumper. The five pieces that make up their side were arranged as a single suite, meant to be played all together, with movements like 'Wavers' and 'Cloud Core' showcasing how relentless the duo's energy remains. Throughout, Gibson's ability to conjure riffs that feel timeless is as potent as drummer Brian Chippendale's ability to propel them until their instruments become inextricably enmeshed. The Horizon Spirals/The Horizon Viral is a celebration of indomitable creativity. In their endless pursuit of crafting pure, uninhibited, enchanting art, OOIOO and Lightning Bolt continue to make astonishingly powerful, invigorating music."
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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THRILL 647X-LP
|
$27.00
PREORDER
RELEASE DATE: 4/24/2026
LP version. Maroon color vinyl. "The North Carolina trio Setting brings together their substantial collective skills as musicians and their collaborative mindset to bear in their inventive and rich improvisations. Known for work in Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell, multi- instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Setting's self-titled album is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. Setting harnesses the euphoria of communal creation. 'This is one of the most joyous albums I've made with other musicians. It felt like we were all in the slipstream,' notes Fennelly. Bowles adds: 'Making this is maybe the easiest thing in my life; it's not struggle music. This collaboration feels like it's just coming out of the air, like it's breathing.' Fennelly's synth programming acts as a guiding light, bending pieces into dynamic arcs and imbuing them with swirling hues, while rhythmic push-and-pull between Westerlund and Bowles lends an elasticity to each track's warp and weft. Their working methods have found a kindred traveler in Adam McDaniel from Asheville's Drop of Sun Studios, whose engineering and production work forms an indispensable piece of the album's dynamism and luminescent fidelity. Across the five pieces, the trio make deft use of their seemingly infinite palettes to mold landscapes that appear familiar at first glance before glowing with vibrant new colors as the whole picture sets in. The eponymous album from Setting is the product of three intuitive players and deep listeners, artists who use those skills to create transformative music. The trio shirk any broader categorizations, as their unique dynamic pieces are alight with arrangements urgent and smoldering, patient and emotive."
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Artist |
Title |
Format |
Label |
Catalog # |
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CD
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THRILL 652CD
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$14.50
PREORDER
RELEASE DATE: 3/20/2026
"The compositions of Colleen, aka multi-instrumentalist Cécile Schott, are as richly varied as they are precise. Each of Colleen's albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott's music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one's life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album's sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue's PA sound itself and the venue's acoustics. Colleen's music translates snapshots of Schott's life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott's deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental. The tender 'Mis armas se habían caído al suelo' skitters sonar-like echoes across a warm pool of organ chords before giving in to a gentle wash of oceanic feedback. The bounce of 'Puertas de mi cuerpo' is transformed by every textural shift where the steady arpeggio of 'Antídoto' is broken apart by dizzying shifts in pulse. 'Aguas abiertas' (or, 'Open Waters') stands as the cinematic centerpiece to the album as each movement dives deeper beneath the surface and reflects the magic of discovering microcosms on every level one plunges further down. Title track 'Libres antes del final' harnesses the album's sense of urgency as the intensity swells and undulates into a climactic conclusion unlike any piece Schott has made before."
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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THRILL 648LP
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$25.00
PREORDER
RELEASE DATE: 3/20/2026
LP version. "more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice's own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze's skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. The title is an acknowledgement of the vernacular that shaped maurice's musical production. As Coltrane said, 'It all has to do with it.' maurice grew up playing fiddle in traditional folk and country tunes, and while playing on her album is entirely different, her reverence for the evolution of folk forms and her playing remain integral to those performances. Informing her production choices were maurice's well- chosen collaborators: Wendy Eisenberg on electric guitar, piano and voice, Henry Earnest on electric guitar, Alice Gerlach on cello, Jade Guterman on acoustic guitar, and Ryan Sawyer on drums. maurice explains how her collaborators helped sculpt the album's sound: 'There are ways Jade or Wendy choose to voice chords that are not how I'd play them in this context, but that's kind of the point. Their voices redefine what I'm making but also help me define my own.' sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice's dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs."
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Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
THRILL 652LP
|
$25.00
PREORDER
RELEASE DATE: 3/20/2026
LP version. "The compositions of Colleen, aka multi-instrumentalist Cécile Schott, are as richly varied as they are precise. Each of Colleen's albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott's music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one's life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album's sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue's PA sound itself and the venue's acoustics. Colleen's music translates snapshots of Schott's life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott's deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental. The tender 'Mis armas se habían caído al suelo' skitters sonar-like echoes across a warm pool of organ chords before giving in to a gentle wash of oceanic feedback. The bounce of 'Puertas de mi cuerpo' is transformed by every textural shift where the steady arpeggio of 'Antídoto' is broken apart by dizzying shifts in pulse. 'Aguas abiertas' (or, 'Open Waters') stands as the cinematic centerpiece to the album as each movement dives deeper beneath the surface and reflects the magic of discovering microcosms on every level one plunges further down. Title track 'Libres antes del final' harnesses the album's sense of urgency as the intensity swells and undulates into a climactic conclusion unlike any piece Schott has made before."
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|
Artist |
Title |
Format |
Label |
Catalog # |
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LP
|
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THRILL 652X-LP
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$27.00
PREORDER
RELEASE DATE: 3/20/2026
LP version. Cloud white color vinyl. "The compositions of Colleen, aka multi-instrumentalist Cécile Schott, are as richly varied as they are precise. Each of Colleen's albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott's music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one's life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album's sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue's PA sound itself and the venue's acoustics. Colleen's music translates snapshots of Schott's life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott's deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental. The tender 'Mis armas se habían caído al suelo' skitters sonar-like echoes across a warm pool of organ chords before giving in to a gentle wash of oceanic feedback. The bounce of 'Puertas de mi cuerpo' is transformed by every textural shift where the steady arpeggio of 'Antídoto' is broken apart by dizzying shifts in pulse. 'Aguas abiertas' (or, 'Open Waters') stands as the cinematic centerpiece to the album as each movement dives deeper beneath the surface and reflects the magic of discovering microcosms on every level one plunges further down. Title track 'Libres antes del final' harnesses the album's sense of urgency as the intensity swells and undulates into a climactic conclusion unlike any piece Schott has made before."
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Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
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THRILL 648X-LP
|
$27.00
PREORDER
RELEASE DATE: 3/20/2026
LP version. Opaque red color vinyl. "more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice's own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze's skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. The title is an acknowledgement of the vernacular that shaped maurice's musical production. As Coltrane said, 'It all has to do with it.' maurice grew up playing fiddle in traditional folk and country tunes, and while playing on her album is entirely different, her reverence for the evolution of folk forms and her playing remain integral to those performances. Informing her production choices were maurice's well- chosen collaborators: Wendy Eisenberg on electric guitar, piano and voice, Henry Earnest on electric guitar, Alice Gerlach on cello, Jade Guterman on acoustic guitar, and Ryan Sawyer on drums. maurice explains how her collaborators helped sculpt the album's sound: 'There are ways Jade or Wendy choose to voice chords that are not how I'd play them in this context, but that's kind of the point. Their voices redefine what I'm making but also help me define my own.' sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice's dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs."
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Artist |
Title |
Format |
Label |
Catalog # |
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CD
|
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THRILL 648CD
|
$14.50
PREORDER
RELEASE DATE: 3/20/2026
"more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice's own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze's skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. The title is an acknowledgement of the vernacular that shaped maurice's musical production. As Coltrane said, 'It all has to do with it.' maurice grew up playing fiddle in traditional folk and country tunes, and while playing on her album is entirely different, her reverence for the evolution of folk forms and her playing remain integral to those performances. Informing her production choices were maurice's well- chosen collaborators: Wendy Eisenberg on electric guitar, piano and voice, Henry Earnest on electric guitar, Alice Gerlach on cello, Jade Guterman on acoustic guitar, and Ryan Sawyer on drums. maurice explains how her collaborators helped sculpt the album's sound: 'There are ways Jade or Wendy choose to voice chords that are not how I'd play them in this context, but that's kind of the point. Their voices redefine what I'm making but also help me define my own.' sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice's dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs."
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Artist |
Title |
Format |
Label |
Catalog # |
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CD
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THRILL 646CD
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$14.50
PREORDER
RELEASE DATE: 2/20/2026
"Marielle V Jakobsons has cultivated a signature voice molded by minimalist, ambient and spiritual traditions. Her recordings, from her early work with Date Palms, to the ongoing work with Chuck Johnson in Saariselka, and most definitively with The Patterns Lost to Air, show Jakobsons to be an exceptionally skillful sound sculptor, a musician who knows the value of patience and control. An artist able to derive maximum impact from her chosen sound elements, the album's layout is shaped by three primary voices of violin, Fender Rhodes, and Moog Matriarch and was recorded in 2024 in the studio Jakobsons built in Oakland, California, its huge windows overlooking a backyard with olive and palm trees, nesting towhees and hummingbirds. The Patterns lost to Air was also born of personal change for Jakobsons brought on by the health effects of long COVID, as well as an intentional musical shift from drones to working with scores and written music as she leaned in on her classical training, and harmonic writing. It was more than an evolution, it was a need to redefine who and what she was, down to the molecular level, because she could no longer create music in the same way, which became a galvanizing motif for The Patterns Lost to Air. On The Patterns Lost to Air, each piece emerges from a place of necessary restriction, discovering how limitation itself can become a portal to new territories of sound and meaning. The pieces make use of loops and slowly shifting patterns that gracefully decay with time. Through sonic landscapes of Fender Rhodes piano, synthesizers, and strings, the album investigates the space between those patterns like threads of memory, each tone transfiguring and dissolving together. Imagining the forms and shapes that sound takes as its projected into a listening space, and how they are 'lost to air' as they morph and decay. This physicality of sound is a theme in her work in general, and this album is directly a conversation on that aspect."
"The minutest vibrations are as expressive as the most sweeping gesture" --Pitchfork
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Artist |
Title |
Format |
Label |
Catalog # |
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CD
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THRILL 643CD
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$14.50
PREORDER
RELEASE DATE: 2/20/2026
"The artistry of Midori Hirano lives in the resonance between sonic and visual worlds. Over her distinguished career the Berlin-based, Kyoto born composer, pianist, and synthesist has crafted a distinctive voice straddling the spheres of classical music and harmonies with abstraction and invention. In addition to works under her own name, Hirano has released dynamic experiments under her MimiCof moniker as well as composed for film, television, art exhibitions and architectural expos. Hirano has also been a prolific collaborator, working with CoH, Brueder Selke, Nils Mosh, Teodor Wolgers, Ben Lukas Boysen and Paul Emmerich, SPECIMENS, Mami Sakurai, Atsuko Hatano, and more, contributing to dozens of releases. Hirano is acclaimed for crafting emotive works that stimulate all the senses with impressionism, or painting with sound. OTONOMA is the culmination of her work synthesizing these elements and highlights her acumen as a practiced and intuitive artist. The album infuses Hirano's more classical sense of harmony on the piano with the endless textural possibilities of synthesizers. Like nebulas coalescing into galaxies, the pieces of OTONOMA emanate hues dense with subtle layers of color folded into gradients, arresting and radiant. In Japanese the word 'Oto' means 'sound' and 'Ma' refers to the 'space' or 'interval' between things. So, 'Otonoma' literally means 'the space between sounds.' In classical usage, 'Ma' can also mean 'room' which allows a different reading, 'a room of sounds.' 'Illuminance,' a foundational track on the album, has rich textures and a searching modular synth. 'Ame, Hikari' was initially composed for a photo exhibition of Japanese artist Rinko Kawauchi's work at Fotografiska Berlin and captures the rain (ame) and light (hikari) of Kawauchi's photos. The stately lone piano of 'Rainwalk' offers a minimalist, affecting snapshot of a moment in time while pieces like 'Aurora' take a more wide-eyed, macrocosmic view with fluttering electronics and a surging drone. Throughout OTONOMA, Hirano's compositions seep over their sonic borders and through the complex intersection of rhythm and tone are an affecting listen. The intersection between sound and space embodies the architecture of this beautiful impressionistic album. In the deft hands of its architect, Midori Hirano, the music is remarkable for its reflective and connective beauty, a sensational sensorial experience."
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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THRILL 646LP
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$25.00
PREORDER
RELEASE DATE: 2/20/2026
LP version. "Marielle V Jakobsons has cultivated a signature voice molded by minimalist, ambient and spiritual traditions. Her recordings, from her early work with Date Palms, to the ongoing work with Chuck Johnson in Saariselka, and most definitively with The Patterns Lost to Air, show Jakobsons to be an exceptionally skillful sound sculptor, a musician who knows the value of patience and control. An artist able to derive maximum impact from her chosen sound elements, the album's layout is shaped by three primary voices of violin, Fender Rhodes, and Moog Matriarch and was recorded in 2024 in the studio Jakobsons built in Oakland, California, its huge windows overlooking a backyard with olive and palm trees, nesting towhees and hummingbirds. The Patterns lost to Air was also born of personal change for Jakobsons brought on by the health effects of long COVID, as well as an intentional musical shift from drones to working with scores and written music as she leaned in on her classical training, and harmonic writing. It was more than an evolution, it was a need to redefine who and what she was, down to the molecular level, because she could no longer create music in the same way, which became a galvanizing motif for The Patterns Lost to Air. On The Patterns Lost to Air, each piece emerges from a place of necessary restriction, discovering how limitation itself can become a portal to new territories of sound and meaning. The pieces make use of loops and slowly shifting patterns that gracefully decay with time. Through sonic landscapes of Fender Rhodes piano, synthesizers, and strings, the album investigates the space between those patterns like threads of memory, each tone transfiguring and dissolving together. Imagining the forms and shapes that sound takes as its projected into a listening space, and how they are 'lost to air' as they morph and decay. This physicality of sound is a theme in her work in general, and this album is directly a conversation on that aspect."
"The minutest vibrations are as expressive as the most sweeping gesture" --Pitchfork
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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THRILL 643X-LP
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$27.00
PREORDER
RELEASE DATE: 2/20/2026
Pink color vinyl. "The artistry of Midori Hirano lives in the resonance between sonic and visual worlds. Over her distinguished career the Berlin-based, Kyoto born composer, pianist, and synthesist has crafted a distinctive voice straddling the spheres of classical music and harmonies with abstraction and invention. In addition to works under her own name, Hirano has released dynamic experiments under her MimiCof moniker as well as composed for film, television, art exhibitions and architectural expos. Hirano has also been a prolific collaborator, working with CoH, Brueder Selke, Nils Mosh, Teodor Wolgers, Ben Lukas Boysen and Paul Emmerich, SPECIMENS, Mami Sakurai, Atsuko Hatano, and more, contributing to dozens of releases. Hirano is acclaimed for crafting emotive works that stimulate all the senses with impressionism, or painting with sound. OTONOMA is the culmination of her work synthesizing these elements and highlights her acumen as a practiced and intuitive artist. The album infuses Hirano's more classical sense of harmony on the piano with the endless textural possibilities of synthesizers. Like nebulas coalescing into galaxies, the pieces of OTONOMA emanate hues dense with subtle layers of color folded into gradients, arresting and radiant. In Japanese the word 'Oto' means 'sound' and 'Ma' refers to the 'space' or 'interval' between things. So, 'Otonoma' literally means 'the space between sounds.' In classical usage, 'Ma' can also mean 'room' which allows a different reading, 'a room of sounds.' 'Illuminance,' a foundational track on the album, has rich textures and a searching modular synth. 'Ame, Hikari' was initially composed for a photo exhibition of Japanese artist Rinko Kawauchi's work at Fotografiska Berlin and captures the rain (ame) and light (hikari) of Kawauchi's photos. The stately lone piano of 'Rainwalk' offers a minimalist, affecting snapshot of a moment in time while pieces like 'Aurora' take a more wide-eyed, macrocosmic view with fluttering electronics and a surging drone. Throughout OTONOMA, Hirano's compositions seep over their sonic borders and through the complex intersection of rhythm and tone are an affecting listen. The intersection between sound and space embodies the architecture of this beautiful impressionistic album. In the deft hands of its architect, Midori Hirano, the music is remarkable for its reflective and connective beauty, a sensational sensorial experience."
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THRILL 646X-LP
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$27.00
PREORDER
RELEASE DATE: 2/20/2026
LP version. Opaque vinyl. "Marielle V Jakobsons has cultivated a signature voice molded by minimalist, ambient and spiritual traditions. Her recordings, from her early work with Date Palms, to the ongoing work with Chuck Johnson in Saariselka, and most definitively with The Patterns Lost to Air, show Jakobsons to be an exceptionally skillful sound sculptor, a musician who knows the value of patience and control. An artist able to derive maximum impact from her chosen sound elements, the album's layout is shaped by three primary voices of violin, Fender Rhodes, and Moog Matriarch and was recorded in 2024 in the studio Jakobsons built in Oakland, California, its huge windows overlooking a backyard with olive and palm trees, nesting towhees and hummingbirds. The Patterns lost to Air was also born of personal change for Jakobsons brought on by the health effects of long COVID, as well as an intentional musical shift from drones to working with scores and written music as she leaned in on her classical training, and harmonic writing. It was more than an evolution, it was a need to redefine who and what she was, down to the molecular level, because she could no longer create music in the same way, which became a galvanizing motif for The Patterns Lost to Air. On The Patterns Lost to Air, each piece emerges from a place of necessary restriction, discovering how limitation itself can become a portal to new territories of sound and meaning. The pieces make use of loops and slowly shifting patterns that gracefully decay with time. Through sonic landscapes of Fender Rhodes piano, synthesizers, and strings, the album investigates the space between those patterns like threads of memory, each tone transfiguring and dissolving together. Imagining the forms and shapes that sound takes as its projected into a listening space, and how they are 'lost to air' as they morph and decay. This physicality of sound is a theme in her work in general, and this album is directly a conversation on that aspect."
"The minutest vibrations are as expressive as the most sweeping gesture" --Pitchfork
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THRILL 025LP
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$25.00
PREORDER
RELEASE DATE: 1/30/2026
2026 repress. "Millions Now Living Will Never Die is the second full-length offering from Tortoise. The majority of the material was first conceived during an idyllic 10-day retreat in Northern Vermont, where the group were able to explore their ideas in a setting that fostered introspection and inspiration: the results are clearly evident in the washes of Klangfärben (tone color) and rhythm that permeate the album. The sounds and ideas contained therein can be viewed as a logical extension of those found their first (eponymous) LP on Thrill Jockey where the group outlined an agenda exploring texture, space, and mood. MNLWND, however, offers not only an expansion of those ideas but also the introduction of several new elements into the musical equation. New instrumental textures (marimbas and other mallet percussion on "Djed" (pronounced "jed"); conventional electric guitar on "Glass Museum"; analog synthesis/sequencing and found sound on "Dear Grandma and Grandpa") and structural ideas (the extended formal procedures of "Djed"; the non-narrative song "Along the Banks of Rivers") represent clear developments and redefinition's of the group's sound. Recording commenced immediately upon returning to Chicago, though due to a variety of reasons, the entire recording and mixing process became elongated. This less hurried approach to album making allowed the group to explore more of the possibilities inherent in the material; the 21-minute "Djed" is ample proof of this. The final version of the track went through approximately 15 different stages of mixing and editing. Like their debut, MNLWND was recorded and mixed by John McEntire (also at that time had produced material by Stereolab, Run On, The Sea and Cake, Trans Am, and Come). The majority of the album was recorded and mixed at Idful Music Corporation in Chicago, with the remainder being realized at the newly established SOMA Electronic Music Studios. MNLWND is the first studio recording to feature the talents of David Pajo, who joined to fill the position vacated by Bundy K. Brown in late 1994."
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THRILL 642X-LP
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LP version. Red color vinyl. "Barry Walker Jr. is a pedal steel player and guitarist whose roots in Americana, country and folk traditions influence his melding of minimalism, ambient and spiritual music. The Portland-based instrumentalist is also a member of the Rose City Band, known for his gorgeous phrasing and deft interplay with guitarist Ripley Johnson. On Paleo Sol, Walker demonstrates his singular voice as a pedal steel player and composer. Evoking the American western ranges and basins, the album embodies a longer, geologic view of time that patiently marvels at the ripples of change throughout lifetimes and ages. Walker is joined on Paleo Sol by drummer Rob Smith (Rhytion, Pigeons) and bassist and Mouth Painter bandmate Jason Willmon (Fruited Planes). Paleo Sol's tranquil landscapes glide, built on warm finger-picked guitar figures and pedal steel swells coupled with deft percussion and bass touches by Smith and Willmon respectively. The trio plays with exceptional fluidity either completing each other's' phrasing or working together to build momentum. Smith notes: 'The drums are not keeping time as much as evidencing its elasticity, mixing into the other instruments, changing phase states.' Every gesture on the album is rich with intention, moving with grace and playing with timbre and time. The pieces of Paleo Sol were composed during a monumental shift in Walker's own life, around the birth of his first child. Walker's compositions are guided by a serenity and gentleness that makes for a dreamy soundtrack. His acumen as a composer and instrumentalist are on full display on Paleo Sol. The album is a gorgeous reflection of Walker's own internal world as well as the detailed environment he's spent so much of his life exploring as a field geologist.
"In human reckoning, the essence of the solid earth is mostly still. Those engaged in deep time inquiry recognize the vigor of Earth's behavior, and quiescence is a small part of the action." --Barry Walker
"This is drift music, sustained by dusky drones and quiet fingerstyle. Everything's as gentle as a sunkissed stream. The pathways that once felt free and clear now sport an uneasy shade, yet the guitar picks on." --NPR Music
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THRILL 025X-LP
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2026 repress. Hi Melt Silver & Blue Vinyl version. "Millions Now Living Will Never Die is the second full-length offering from Tortoise. The majority of the material was first conceived during an idyllic 10-day retreat in Northern Vermont, where the group were able to explore their ideas in a setting that fostered introspection and inspiration: the results are clearly evident in the washes of Klangfärben (tone color) and rhythm that permeate the album. The sounds and ideas contained therein can be viewed as a logical extension of those found their first (eponymous) LP on Thrill Jockey where the group outlined an agenda exploring texture, space, and mood. MNLWND, however, offers not only an expansion of those ideas but also the introduction of several new elements into the musical equation. New instrumental textures (marimbas and other mallet percussion on "Djed" (pronounced "jed"); conventional electric guitar on "Glass Museum"; analog synthesis/sequencing and found sound on "Dear Grandma and Grandpa") and structural ideas (the extended formal procedures of "Djed"; the non-narrative song "Along the Banks of Rivers") represent clear developments and redefinition's of the group's sound. Recording commenced immediately upon returning to Chicago, though due to a variety of reasons, the entire recording and mixing process became elongated. This less hurried approach to album making allowed the group to explore more of the possibilities inherent in the material; the 21-minute "Djed" is ample proof of this. The final version of the track went through approximately 15 different stages of mixing and editing. Like their debut, MNLWND was recorded and mixed by John McEntire (also at that time had produced material by Stereolab, Run On, The Sea and Cake, Trans Am, and Come). The majority of the album was recorded and mixed at Idful Music Corporation in Chicago, with the remainder being realized at the newly established SOMA Electronic Music Studios. MNLWND is the first studio recording to feature the talents of David Pajo, who joined to fill the position vacated by Bundy K. Brown in late 1994."
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THRILL 644X-LP
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LP version. Yellow color vinyl. "The Soft Pink Truth (Drew Daniel also of Matmos) grafts chamber music and electronic music into a beguiling new hybrid pop album that evokes mid-20th century film soundtracks with nods to minimalism. Can Such Delightful Times Go On Forever? features artwork by Robert Beatty (Tame Impala, The Weeknd). The new album features a host of special guests: Bill Orcutt offers one of his most delicate performances committed to record. Other guests include strings arranger Ulas Kurugullu, harpists Neleta Ortiz and Cecilia Cuccolin, pianists Koye Berry and M.C. Schmidt, the Ebu String Quartet, as well as woodwinds played by Brandon Wilkins and Evelyn Frances and Zach Rowden of celebrated noise duo Tongue Depressor provides grinding double bass drones. Wedding emotional expression with canny references to the inherited history of recorded music, the chimes, organ and pizzicato strings on 'Phrygian Ganymede' recall Bernard Herrmann's scores for classic Alfred Hitchcock films, while galloping marimbas lend a sense of screwball comedy on 'L'Esprit de L'Escalier.' Can Such Delightful Times Go On Forever? is a singular album that speaks to the prowess of Drew Daniel as a composer and producer, deftly interlacing pop structure and classical timbre while interlacing subtle electronic sound design with gorgeous acoustics. Across the album Daniel embraces a spirit of drama and romanticism that blurs the boundaries between unconscious desire and everyday reality. The Soft Pink Truth has created a sound world of lavish fantasy that acts as a balm and counterpoint to the communal pains of modern life."
"Like that clubber throwing dancefloor etiquette out of the window, The Soft Pink Truth create thrills in their quest for something deeper." --The Quietus
"[Daniel] excoriates populism by making protest a deeply sensual act" --Uncut
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CD
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THRILL 644CD
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"The Soft Pink Truth (Drew Daniel also of Matmos) grafts chamber music and electronic music into a beguiling new hybrid pop album that evokes mid-20th century film soundtracks with nods to minimalism. Can Such Delightful Times Go On Forever? features artwork by Robert Beatty (Tame Impala, The Weeknd). The new album features a host of special guests: Bill Orcutt offers one of his most delicate performances committed to record. Other guests include strings arranger Ulas Kurugullu, harpists Neleta Ortiz and Cecilia Cuccolin, pianists Koye Berry and M.C. Schmidt, the Ebu String Quartet, as well as woodwinds played by Brandon Wilkins and Evelyn Frances and Zach Rowden of celebrated noise duo Tongue Depressor provides grinding double bass drones. Wedding emotional expression with canny references to the inherited history of recorded music, the chimes, organ and pizzicato strings on 'Phrygian Ganymede' recall Bernard Herrmann's scores for classic Alfred Hitchcock films, while galloping marimbas lend a sense of screwball comedy on 'L'Esprit de L'Escalier.' Can Such Delightful Times Go On Forever? is a singular album that speaks to the prowess of Drew Daniel as a composer and producer, deftly interlacing pop structure and classical timbre while interlacing subtle electronic sound design with gorgeous acoustics. Across the album Daniel embraces a spirit of drama and romanticism that blurs the boundaries between unconscious desire and everyday reality. The Soft Pink Truth has created a sound world of lavish fantasy that acts as a balm and counterpoint to the communal pains of modern life."
"Like that clubber throwing dancefloor etiquette out of the window, The Soft Pink Truth create thrills in their quest for something deeper." --The Quietus
"[Daniel] excoriates populism by making protest a deeply sensual act" --Uncut
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LP
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THRILL 642LP
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LP version. "Barry Walker Jr. is a pedal steel player and guitarist whose roots in Americana, country and folk traditions influence his melding of minimalism, ambient and spiritual music. The Portland-based instrumentalist is also a member of the Rose City Band, known for his gorgeous phrasing and deft interplay with guitarist Ripley Johnson. On Paleo Sol, Walker demonstrates his singular voice as a pedal steel player and composer. Evoking the American western ranges and basins, the album embodies a longer, geologic view of time that patiently marvels at the ripples of change throughout lifetimes and ages. Walker is joined on Paleo Sol by drummer Rob Smith (Rhytion, Pigeons) and bassist and Mouth Painter bandmate Jason Willmon (Fruited Planes). Paleo Sol's tranquil landscapes glide, built on warm finger-picked guitar figures and pedal steel swells coupled with deft percussion and bass touches by Smith and Willmon respectively. The trio plays with exceptional fluidity either completing each other's' phrasing or working together to build momentum. Smith notes: 'The drums are not keeping time as much as evidencing its elasticity, mixing into the other instruments, changing phase states.' Every gesture on the album is rich with intention, moving with grace and playing with timbre and time. The pieces of Paleo Sol were composed during a monumental shift in Walker's own life, around the birth of his first child. Walker's compositions are guided by a serenity and gentleness that makes for a dreamy soundtrack. His acumen as a composer and instrumentalist are on full display on Paleo Sol. The album is a gorgeous reflection of Walker's own internal world as well as the detailed environment he's spent so much of his life exploring as a field geologist.
"In human reckoning, the essence of the solid earth is mostly still. Those engaged in deep time inquiry recognize the vigor of Earth's behavior, and quiescence is a small part of the action." --Barry Walker
"This is drift music, sustained by dusky drones and quiet fingerstyle. Everything's as gentle as a sunkissed stream. The pathways that once felt free and clear now sport an uneasy shade, yet the guitar picks on." --NPR Music
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CD
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THRILL 642CD
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"Barry Walker Jr. is a pedal steel player and guitarist whose roots in Americana, country and folk traditions influence his melding of minimalism, ambient and spiritual music. The Portland-based instrumentalist is also a member of the Rose City Band, known for his gorgeous phrasing and deft interplay with guitarist Ripley Johnson. On Paleo Sol, Walker demonstrates his singular voice as a pedal steel player and composer. Evoking the American western ranges and basins, the album embodies a longer, geologic view of time that patiently marvels at the ripples of change throughout lifetimes and ages. Walker is joined on Paleo Sol by drummer Rob Smith (Rhytion, Pigeons) and bassist and Mouth Painter bandmate Jason Willmon (Fruited Planes). Paleo Sol's tranquil landscapes glide, built on warm finger-picked guitar figures and pedal steel swells coupled with deft percussion and bass touches by Smith and Willmon respectively. The trio plays with exceptional fluidity either completing each other's' phrasing or working together to build momentum. Smith notes: 'The drums are not keeping time as much as evidencing its elasticity, mixing into the other instruments, changing phase states.' Every gesture on the album is rich with intention, moving with grace and playing with timbre and time. The pieces of Paleo Sol were composed during a monumental shift in Walker's own life, around the birth of his first child. Walker's compositions are guided by a serenity and gentleness that makes for a dreamy soundtrack. His acumen as a composer and instrumentalist are on full display on Paleo Sol. The album is a gorgeous reflection of Walker's own internal world as well as the detailed environment he's spent so much of his life exploring as a field geologist.
"In human reckoning, the essence of the solid earth is mostly still. Those engaged in deep time inquiry recognize the vigor of Earth's behavior, and quiescence is a small part of the action." --Barry Walker
"This is drift music, sustained by dusky drones and quiet fingerstyle. Everything's as gentle as a sunkissed stream. The pathways that once felt free and clear now sport an uneasy shade, yet the guitar picks on." --NPR Music
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LP
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THRILL 644LP
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LP version. "The Soft Pink Truth (Drew Daniel also of Matmos) grafts chamber music and electronic music into a beguiling new hybrid pop album that evokes mid-20th century film soundtracks with nods to minimalism. Can Such Delightful Times Go On Forever? features artwork by Robert Beatty (Tame Impala, The Weeknd). The new album features a host of special guests: Bill Orcutt offers one of his most delicate performances committed to record. Other guests include strings arranger Ulas Kurugullu, harpists Neleta Ortiz and Cecilia Cuccolin, pianists Koye Berry and M.C. Schmidt, the Ebu String Quartet, as well as woodwinds played by Brandon Wilkins and Evelyn Frances and Zach Rowden of celebrated noise duo Tongue Depressor provides grinding double bass drones. Wedding emotional expression with canny references to the inherited history of recorded music, the chimes, organ and pizzicato strings on 'Phrygian Ganymede' recall Bernard Herrmann's scores for classic Alfred Hitchcock films, while galloping marimbas lend a sense of screwball comedy on 'L'Esprit de L'Escalier.' Can Such Delightful Times Go On Forever? is a singular album that speaks to the prowess of Drew Daniel as a composer and producer, deftly interlacing pop structure and classical timbre while interlacing subtle electronic sound design with gorgeous acoustics. Across the album Daniel embraces a spirit of drama and romanticism that blurs the boundaries between unconscious desire and everyday reality. The Soft Pink Truth has created a sound world of lavish fantasy that acts as a balm and counterpoint to the communal pains of modern life."
"Like that clubber throwing dancefloor etiquette out of the window, The Soft Pink Truth create thrills in their quest for something deeper." --The Quietus
"[Daniel] excoriates populism by making protest a deeply sensual act" --Uncut
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CD
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THRILL 637CD
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"claire rousay's music cascades from a well of documented experience, reflections of the past that compose the present. A prolific multi-instrumentalist, producer, and composer, rousay gracefully crafts boundaryless music. From her frequent and acclaimed collaborations with artists like M. Sage, more eaze, Gretchen Korsmo, Andrew Weathers, LEYA, and Alex Cunningham, to her film scoring like on The Bloody Lady. From her own compositions to her solo pop work, rousay's music is delicate yet powerful, carefully constructed with a casual intimacy. rousay collages a wealth of found sounds and field recordings with earthy strings, stately piano, and processed instrumentation, all of which trace the outlines of memories and distinct impressions and create a complex constellation of feeling. rousay's music has evolved from confessional to conversational and excavates the rich emotional essence of each passage. Her work as both archivist and adept arranger and orchestrator merge sublimely into deeply honest and engrossing music. On a little death, rousay's blend of pop sensibility and compositional acumen turn abstracted sounds into tangible feelings, its warm, glimmering glow coalescing sensually with the darkness. The process of composing a little death felt like a homecoming for rousay after the more pop-oriented song forms of 2024's sentiment. 'sentiment was a different way of working that helped refresh my music making habits and usual flow,' rousay notes. 'This record is a return to what I see as my core solo practice, a re-dedication to those methods of working which I've found most align with what I envision my music or sound to be.' Intended as a part of a trilogy along with a heavenly touch and a softer focus, the pieces on a little death sprout from a wellspring of tactile samples and granularly processed sounds. The use of sounds recorded from her life outside of the studio remains a throughline in her work. While the previous two albums used field recordings as the primary sound source or central figure in the compositions, here they act more as springboards, timbrally intertwining with live instruments like additional voices in a chamber ensemble."
"Pop at its most fragile, attenuated and surreal." --New York Times
"a fantastic tour de force -- a musical antidote to numbness." --Rolling Stone
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