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viewing 1 To 23 of 23 items
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LP
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BORNBAD 013LP
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2026 repress. Since the success of the first volume in 2002, WIZZZ! has been considered the benchmark compilation of French '60s alternative pop. It launched an unprecedented craze for this rare breed of disc, featuring exceptionally danceable rhythms, twisted sounds from another world and demented lyrics, coupled with an underlying sense of mockery. It focuses on the creativity of these French artists who dared to break with the boring commercial conventions of their era. If your notion of French '60s music is based on innocuous hits from the likes of Adamo and Sheila, this new collection of rare and unreleased tracks, unearthed from the obscure depths of made-in-France pop, will astonish you with the brilliance and daring of a few of their deranged cousins, who passed completely unnoticed in the epoch of Gainsbourg. WIZZZ! 2 rediscovers and revitalizes these underground geniuses and freaks. Their audacity and inventiveness refutes those who sneer about the alleged inferiority of French pop. Includes a 36-page booklet.
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BORNBAD 037LP
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2026 restock. Best-ever French '60s compilation, originally released in 2001 and finally reissued. All the tracks here have become classic. This compilation LP deals with the groovy side of French pop from the mid-'60s to the early '70s. Crazy lyrics about sex, drugs and other typical topics. Sung and performed by obscure artists such as Charlotte Leslie, Christie Laume, Les Fleurs De Pavot, Danyel Gerard, Richard De Bordeaux, Christine Pilzer, William Sheller, Les Papyvores, L'oeil and others.
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LP
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CNT 103LP
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"ER Jurken's songwriting, as evidenced by his acclaimed first album I Stand Corrected, is inclined to wander through the past century or so of American music with a uniquely insouciant flair. On his debut, Ed (as his friends call him) did most of the playing himself, underscoring a deeply personal song-cycle of rise, fall and redemption -- a bare-bones production that ran the gamut from whoa to woe and back again! To Be Continued, his sophomore release, finds his baroque folk-pop fantasias literally on the rocks -- because this time around, Ed's got a power trio of players from Chicago's Junegrass to help him crank it up and out of the park. Once up in the air, his heavenly high tenor and vocal choir melodies further extrude the twisted psyche that underscores Ed & Co's easy riding rock 'n roll. Spelled in spots by Paul Von Mertens' extraordinary string and horn arrangements, the songs of To Be Continued aggressively transcend and defy the stings of everyday misfortune. When the new tunes finally surfaced, requesting and requiring different styles, more conventional song structures and most of all, a shot of rock and roll, Ed was there for the changes. Happy to be crafting his singular new songs in distinctly new musical textures, Ed ensconced himself once again at The Loft, with Mark Greenberg and Rian Murphy assisting the production. To back his vocals, guitar and keyboards, he brought Ben Brazil, Grant Engstrom and Jack Schemenauer in on bass, guitar, drums and percussion. The stalwart rock and roll they generate is further elevated by an old pal of Ed's from way back, Jonathan Kult, who played additional piano. Strings and horns under the direction of arranger/reedist Paul Von Mertens lift several tracks ever closer to the heavens. The combined tumult of all and sundry form an excellent vessel for the surreal melodrama of To Be Continued. As fluently as Ed's songwriting passes through eras of American pop, the songs themselves ramble easily through passageways of existence, finding equal measures of illumination, disillusion and affirmation at every turn. ER Jurken's To Be Continued is a second grand entry in the canon of outside/ inside rock and roll records by an emerging master of the form, an exquisite and timeless musical expression that meets the desperation of the modern world on the beach, with a disarmingly allusive, tuneful and surprising spirit."
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Cassette
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DC 969CS
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"For his third new album release for Drag City, Tashi Dorji turns to the electric guitar. After the furious acoustic improvisations that drove the previous two -- Stateless and we will be wherever the fires are lit -- it's easy to imagine an album of his electric guitar improvisations as an encompassingly incendiary essay. Especially when titled low clouds hang, this land is on fire. After all, this is a man capable of tearing up the place with the tactile musical violence of Bill Orcutt and Derek Bailey! And yet, this knowledge serves to set up a greater shock: the album's disarmingly gentle musical drift. When asked why he turned the knob down from 11 for this album, Tashi says simply, 'To find the silence.' As ever with Tashi, this is a political statement. Even the search for silence takes intention and happens for a reason. In this time of such institutional inhumanity, what is there to feel but exhaustion? When seeing the faces of the deprived, what is there to feel other than hopelessness? In the face of such grief, what words are there to say? So, Tashi got a couple amps, moved from the shed where he'd done his first two DC titles, set up in a room in the family home with high ceilings and dialed in the reverb. Once the sound was in the space, reflecting in a manner that he felt congenial with his mood, he taped it. It's a striking signal, meditative and melancholy, with a delicacy comparable to the lineage of Loren Connors or Bill Frisell, the songs at times developed with the deliberate exposition of themes in raga's alap form. It's a sound that lives within silence. Once he'd laid down the sound, Tashi went back and listened to the composition of each piece. Then the words came easily. They're the titles of these songs, they provide the narrative -- or a prism, to allow us to gaze unblinking upon the awesome rot of empire. The cover art for low clouds hang, this land is on fire includes this found verse, sourced from an old anarchist 'zine."
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DC 969LP
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LP version. "For his third new album release for Drag City, Tashi Dorji turns to the electric guitar. After the furious acoustic improvisations that drove the previous two -- Stateless and we will be wherever the fires are lit -- it's easy to imagine an album of his electric guitar improvisations as an encompassingly incendiary essay. Especially when titled low clouds hang, this land is on fire. After all, this is a man capable of tearing up the place with the tactile musical violence of Bill Orcutt and Derek Bailey! And yet, this knowledge serves to set up a greater shock: the album's disarmingly gentle musical drift. When asked why he turned the knob down from 11 for this album, Tashi says simply, 'To find the silence.' As ever with Tashi, this is a political statement. Even the search for silence takes intention and happens for a reason. In this time of such institutional inhumanity, what is there to feel but exhaustion? When seeing the faces of the deprived, what is there to feel other than hopelessness? In the face of such grief, what words are there to say? So, Tashi got a couple amps, moved from the shed where he'd done his first two DC titles, set up in a room in the family home with high ceilings and dialed in the reverb. Once the sound was in the space, reflecting in a manner that he felt congenial with his mood, he taped it. It's a striking signal, meditative and melancholy, with a delicacy comparable to the lineage of Loren Connors or Bill Frisell, the songs at times developed with the deliberate exposition of themes in raga's alap form. It's a sound that lives within silence. Once he'd laid down the sound, Tashi went back and listened to the composition of each piece. Then the words came easily. They're the titles of these songs, they provide the narrative -- or a prism, to allow us to gaze unblinking upon the awesome rot of empire. The cover art for low clouds hang, this land is on fire includes this found verse, sourced from an old anarchist 'zine."
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2LP
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DC 970LP
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"Geologist is the nom-de-théâtre of Brian Weitz, whose pursuits have been an active part of the music underground since he was 15, playing and working in alignment with an organic ensemble of friends that would one day choose to call what they were doing Animal Collective. Can I Get a Pack of Camel Lights? migrates from that tradition, containing a number of surprise affects of its own. It is the first step into a rippling songscape in which his hurdy gurdy gives and takes multiple forms, an epic electro-acoustic textile of many colors cut from the life and times of Brian Weitz. It's an inspired ride through his phases and stages, with traditional sounds, ritual moods, avant, prog-jazz, kraut, post-punk and minimalist vibes merging in electronic infinity. Can I Get a Pack of Camel Lights?, lit like a constellation, threads impulses and happenings across space, cherry picking from his psychic archive: the vibe of an energizing drive from Tucson into the desert, taken repeatedly in the early aughts; an incendiary live witness one night in the clubs in 1998; the unending thrill of the mind-meld in eternal recurrence. Geologist uses the drone and chanter strings, whose possibilities blew open the walls for him back then, to highlight these moments in the kaleidoscopic flow of memory. As he set the controls to account for a multitude of directions on this long-promised journey, Brian took inspiration from late-dawning solo eras of players like Bill Orcutt and Susan Alcorn. Then, hurdy gurdy in hand, Geologist realized structures, improvisations and rhythm tracks at home before seeking other energies at Asheville's Drop of Sun Studio. At the session, Adam McDaniel helped a lot -- he drafted drummers Emma Garau, Alianna Kalaba (FACS, Cat Power) and Ryan Oslance (The Dead Tongues, Indigo De Souza), Sham's Shane McCord on clarinets and Mikey Powers on cello. Through vagaries of fate, Brian got Adam Lion to play vibraphone in a few places, Dave 'Avey Tare' Portner for a couple bass tracks, and his son, Merrick Weitz, on acoustic guitar for 'Government Job.' Izzy Barber painted the front cover and gatefold, capturing that Tucson magic, and Bob Nastanovich lettered the back cover, supplying additional pieces of time and space to the puzzle. Through the mystery and science of record making, Geologist refracts beatifically through his back pages throughout Can I Get a Pack of Camel Lights?"
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LP
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FP 039D-LP
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"Nearly five years after the release of Sci-Fi Sky, Lebanon Hanover has produced your favorite soundtrack for a visit in a psychiatry clinic: Asylum Lullabies. This is the evolution of an even colder, more caustic sound by a band that has dominated the Post Punk landscape for over a decade. Asylum Lullabies is a very heavy album about dealing with mental health struggles, a breakup and ongoing wars and the current horror in the world ultimately leaving one consumed with dread, fear and a constant feeling of being crushed. Everything falls apart at the same time."
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LP
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FP 041A-LP
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Magenta color vinyl version. "Qual, the solo project of William Maybelline (Lebanon Hanover, General Dynamics), presents the project's fourth LP Love Zone through Fabrika Records. Since Qual's 2015 debut release Sable, the project has been exploring dark and gloomy soundscapes of minimal synth, old school EBM, industrial electronics recorded on analog equipment. With technoid hammers and torture tech beats Love Zone opens as a continuum of Qual's previous exploration of digital decay, A.I aftermath, our increasing addiction to the dopamine fix of the screen, and a pill for every ill. The rhythm and raw vocals of 'Come With Me' touch on the industrial tribalism of Sleep Chamber. 'For a Moment of Happiness' closes the A side with a slower, more mournful track than Qual fans might expect, displaying the multifaceted talents of the artist. The B-side brings two more hard hitting tracks about rancid decay: 'Death and Destruction' and 'Beyond This Madness'. The title track 'Love Zone' is abrasive eroticism. 'Scrolling Your Brains Outs' closes the album with classic Qual: hard driven gloom that hits where it hurts. Love Zone was made purely with hardware only. The album was mixed by Owen Pratt of Uncanny Valley, whose previous clients include Post Malone, Alice Cooper, Arcade Fire, Ryuchi Sakamoto, and Lana Del Rey. Pratt's full organic approach meshes with Maybeline's overall vision for this album."
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LP
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FP 041B-LP
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"Qual, the solo project of William Maybelline (Lebanon Hanover, General Dynamics), presents the project's fourth LP Love Zone through Fabrika Records. Since Qual's 2015 debut release Sable, the project has been exploring dark and gloomy soundscapes of minimal synth, old school EBM, industrial electronics recorded on analog equipment. With technoid hammers and torture tech beats Love Zone opens as a continuum of Qual's previous exploration of digital decay, A.I aftermath, our increasing addiction to the dopamine fix of the screen, and a pill for every ill. The rhythm and raw vocals of 'Come With Me' touch on the industrial tribalism of Sleep Chamber. 'For a Moment of Happiness' closes the A side with a slower, more mournful track than Qual fans might expect, displaying the multifaceted talents of the artist. The B-side brings two more hard hitting tracks about rancid decay: 'Death and Destruction' and 'Beyond This Madness'. The title track 'Love Zone' is abrasive eroticism. 'Scrolling Your Brains Outs' closes the album with classic Qual: hard driven gloom that hits where it hurts. Love Zone was made purely with hardware only. The album was mixed by Owen Pratt of Uncanny Valley, whose previous clients include Post Malone, Alice Cooper, Arcade Fire, Ryuchi Sakamoto, and Lana Del Rey. Pratt's full organic approach meshes with Maybeline's overall vision for this album."
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LP
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MOV 2347PUR-LP
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"Desmond Dekker recorded some of his best-known songs together with his backing group the Aces (consisting of Wilson James and Easton Barrington Howard). Their debut album 007 Shanty Town includes their single of the same name, which made him Jamaican music's first outer national superstar, reaching the 14th place in the UK charts. You'll hear how the Ska music from the mid-'60s is developing to the Rocksteady sound. This was 'Ska' or 'Blue Beat,' and the lyrics come from the Calypso-Mento method of telling about current events in music. So, in a groovy way, Desmond, James and Barry (the Aces) have given a report of love, politics, nagging women, the celebration of the Fifth anniversary of Independence, and gang warfare. This is where it all started before Desmond became the international star. Even before Bob Marley and Jimmy Cliff Jamaica already had their own international superstar, Desmond Dekker was his name. 007 Shanty Town is available as a limited edition of 750 individually numbered copies on purple colored vinyl."
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LP
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MOV 2353WHI-LP
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"Basket of Light is the most progressive release by the British folk-rock group Pentangle. Traditional English folk songs are reinterpreted with a mix of jazz, pop, and rock influences. The album opener 'Light Flight' has become their signature song, which was also the theme song from BBC1's first color drama series Take Three Girls. With Basket Of Light, Pentangle proved they could release a progressive, groundbreaking work without keyboards, much studio trickery, or even electric instruments. The original Pentangle was active in the late 1960s and early 1970s. During the recordings of Basket Of Light, line-up included Bert Jansch, John Renbourn, Terry Cox, Danny Thompson and Jacqui McShee. Basket Of Light is available as a limited edition of 750 individually numbered copies on white vinyl, housed in a gatefold sleeve."
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LP
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MOV 378COL-LP
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"Bill Withers was a modest, gentle, and yet towering musical figure responsible for some of the most important, universally known soul hits ever written. It's no wonder that 'Just the Two of Us' and 'Ain't No Sunshine' won him two Grammy awards and undoubtedly played a huge role in getting him inducted into both the Songwriters and Rock and Roll Hall of fame. Just As I Am is Withers' debut album and is by all measures a brilliant first outing. The record features twelve tunes of which most are Bill's own compositions, each song a reflection of his unique introspective, folky take on soul music. By far the most famous song on the album is the smash hit 'Ain't No Sunshine,' originally released as a B-side to the tune 'Harlem' in 1971. It turned Withers into a worldwide soul icon, so much so that the song won him a Grammy for Best R&B Song in 1972. Considering the other single on the album is 'Grandma's Hands,' it's not hard to understand why it's ranked #304 on Rolling Stone's list of 500 Greatest Albums of All Time. This edition includes a booklet featuring a reflective essay on Bill Withers written by writer, poet and civil rights activist Kevin Powell. Just As I Am is available as a limited edition of 7500 individually numbered copies on translucent yellow colored vinyl."
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12"
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OP 092EP
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Another fine slab of dub techno from Surface Access.
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LP
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PEACE 022LP
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2026 restock. Cosas Raras is the new album from Argentina's cumbia hero Rolando Bruno. On Cosas Raras, Bruno and his band Grupo Arévalo romp through twelve tracks of their signature "cumbia trash" sound -- a rough and ready mix of Peruvian-inspired cumbia, punk, and other vintage throwback musical and visual inspirations from pop culture (like UFOs, street food and horror movies), all spun together into a wild mashup. Cosas Raras is the group's third album, and finds them traveling even farther afield -- exploring Arabic and flamenco influences, Afro disco, Japanese pop, Latin American baladas, and even Dominican merengue. This last genre serves as inspiration for the album's lead single, "Merentrash," a fun and very danceable "merenrap' tune with a retro Miami club vibe. In the vein of contemporary experimental underground tropical artists like Chicha Libre, Meridian Brothers, Frente Cumbiero, Acid Coco, Money Chicha, Xixa, and C.A.M.P.O.S., Rolando Bruno Y Su Grupo Arévalo are an important part of the scene, but are not yet as well known in the U.S. at the moment. Cosas Raras is set to change this unwarranted obscurity with its infectious rhythms, psychedelic guitar flourishes and memorable melodies. Multi-instrumentalist and graphic designer Rolando Bruno was born and raised in Buenos Aires and lived three years in Spain, before returning home to pursue his unique musical sound and accompanying visual style. His current musical project (psychedelic cumbia and other tropical sounds) was conceived in 2005. In 2015 Bruno expanded his approach, putting together a live band and reintroducing himself as Rolando Bruno Y El Grupo Arévalo. His backing band is a "supergroup' of sorts, composed of underground musicians from Buenos Aires, including members of Les Mentettes, Alfonso El Pintor, Los Alamos, and Pecera.
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CP 4507HLP
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2026 restock. Exact replica exact repro; 180 Gram Vinyl. "Singer/guitarist Steve Morgen and company originally hailed from Long Island, New York. Signed by ABC's short-lived Probe subsidiary, their 1969 debut Morgen teamed them with producer Murray Shiffrin. After this superb debut, the entire band quite simply disappeared. If you're into heavy psych guitar, then this is for you. While Morgen had a competent, if limited voice, he was a truly amazing guitarist with the likes of Nick Saloman of Bevis Frond becoming a staunch advocate of Morgen's status as a 'psychedelic guitar hero.' Tracks such as 'Eternity In Between,' 'Welcome To the Void,' 'Of Dreams' and 'Beggin' Your Pardon' (Miss Joan) were simply drenched with fuzz and feedback guitar. Underpinned by Maiman's powerhouse drumming (easily compared with Led Zepplin's John Bonham) and suitably trippy lyrics and you're looking at a pseudo-classic slice of psychedelia."
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LP
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SRR 001LP
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2026 limited restock. "Originally intended as the band's debut album and later shelved after Mike Browning left the band, Abominations of Desolation is the stuff of legend among death metal enthusiasts. Recorded in 1986, it is a stepping stone in the genre's history and contains early and raw versions of many soon to be classics in the band's repertoire, with Browning's brutal delivery giving the songs a very different personality than that of later versions. Absolutely essential for anyone interested in extreme metal."
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LP
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SN 023LP
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"January, 2016. The times: scary. Tomorrow: kiss it goodbye. This was the headspace for Emotional Mugger's necksnapping sketch when it dropped that very month those ten fateful years ago. Off the back of 2014's expansive Manipulator and the months of touring that followed, Ty was down to party with whatever extreme, flipped-script scene came welling up through him. Emotional Mugger, its forked tongue stuffed in deep cheek, landed the jump, putting the 'sick' back into 'satiric,' featuring eleven of the most rancid and monstrous cuts in the Segall catalog -- sequenced, as ever, with an almost mystic third eye/ ear predilection for the immaculate distribution of album gravity. Ty'd played most of the parts on the album, excepting some key drop-ins from close associates, including Wand's Cory Hanson and Evan Burrows, The Cairo Gang's Emmett Kelly, Mikal Cronin and King Tuff himself, Kyle Thomas. The vibes were so right with this crew, he dubbed them The Muggers, stretched a rubber baby mask over his head (with extra space sliced out for his mouth to scream through), and they all hit the road a few weeks in front of the album, rolling over the US through the end of March, then heading to Europe for some more. That's when "LIVE" "AT" "THE" "BBC" happened. They were cutting thru the UK, four shows in five days -- just enough time for a Mark Riley session for the BBC! Fifty shows into it, The Muggers were in full-on road mode, their fiveheaded monstrosity fully backing Ty -- who for perhaps the only time in all his years of touring -- carried only a mic, to focus all his energy on singing. Here, he leads the charge, his pipes deeply tanned, but otherwise unfettered from their nightly regimen. Hammering out a nineteen-minute slice of their regular show, he and The Muggers' free spirits can be heard in every single moment, with special weirdness coming whenever Cory, Emmett, Mikal and Kyle all chip in on backing vocals. It sounds, a decade hence, like the Black Flag version that never was."
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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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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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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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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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2LP
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WRWTFWW 121LP
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WRWTFWW Records presents a super limited vinyl release of Christine Aufderhaar and City of Prague Philharmonic Orchestra's original soundtrack for the critically acclaimed, multiple award-winning 2022 animated-documentary film Aurora's Sunrise. The release comes as a 45rpm double LP in a heavyweight sleeve with inside out print. Aurora's Sunrise is directed by Inna Sahakyan, and tells the extraordinary true story of Aurora Mardiganian, a survivor of the Armenian genocide who later became an actress in the United States. The film combines animated storytelling, archival footage, interviews, and rediscovered scenes from the 1919 silent film, and one of Hollywood's first blockbusters, Auction of Souls, in which Aurora starred. Aurora's Sunrise was Armenia's official submission for the 95th Academy Awards for best international feature film. It has won over 20 international prizes. The composer, Christine Aufderhaar, is an accomplished German composer based in Berlin and Los Angeles, with over 20 years of experience and more than 50 films to her name. Her background spans classical, jazz, film scoring, and contemporary orchestral work, and she has been the recipient of numerous awards for her work. The soundtrack performed by the City of Prague Philharmonic Orchestra is deeply emotional, blending intimate melodies and majestic orchestral work, and weaving together themes of memory, survival, loss, and hope. A perfect fit for collectors of film scores, contemporary classical music, and limited vinyl releases.
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YAZ 1020HLP
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2026 restock. "Charley (a.k.a. Charlie) Patton was the most powerful blues recording artist of all time, considered by many to be the single most important figure in the history of traditional blues. He was a profound shaper and a giant figure in early Mississippi Delta music. The combined power of his vocal and guitar dynamics is unparalleled and he was the Delta's first blues celebrity." This reissue reproduces the front and back cover of Yazoo's original 1970 release. Pressed on 180 gram vinyl.
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