One of 2016's strangest, most hypnotic and charming albums of experimental synth-electronic music was volume 1 from Off World, about which Boomkat said "a stellar new project headed by Sandro Perri, one of the most singular producers in contemporary music; featuring some of the most inventive, spellbinding work in his catalogue. One of the most original and satisfying albums we've heard this year - can't wait to see what the next installments bring." This is the next installment, fittingly titled 2. Perri has been drip-feeding Constellation bundles of tracks culled from a fascinating bounty of private and previously unreleased tracks that has been accumulating for some time - a tickle trunk of enchantingly left-of-leftfield collaborative recordings rich in deconstructed melody and rhythm, pointillist and aleatory composition techniques, primarily employing a wide array of vintage synths and drum machines. Co-conspirators include producers Lorenz Peter (Processor), Drew Brown (Lower Dens, Beck) and Susumu Mukai (Zongamin), and instrumentalists Craig Dunsmuir (Glissandro 70, Kanada 70) and Eric Chenaux, among others. Off World is alien electronics played humanly, resulting in genuinely exploratory and peculiarly sui generis electronic music that sounds like it could have issued from any time in the past 40-50 years.
Celebrated Toronto-based composer, producer and songwriter Sandro Perri is one of Constellation's most long-standing and artistically diverse music-makers, known both for the pulsing, longform instrumental work released in the early 2000s as Polmo Polpo and the tropicalia-, jazz- and prog-influenced vocal music brilliantly showcased on 2011's Impossible Spaces.
Over the past couple of years Perri has been letting us in on a fascinating treasure chest of strange and enchanting collaborative recordings, which, now rounded up under the project name Off World, will begin to see release over the next few seasons. Chiefly a studio-based endeavour, the project traces its origins as far back as 2008 when Perri and fellow Torontonian Lorenz Peter began working together, now expanded to encompass collaborations with many other producers and musicians, including Drew Brown (Lower Dens, Blonde Redhead), Susumu Mukai (Zongamin), M J Silver (Mickey Moonlight), Craig Dunsmuir, Jesse Zubot and Eric Chenaux.
1 is alien electronics played humanly, with real-world accents throughout, rich in deconstructed melody, interplay between acoustic and electronic instrumentation, and pointillist and aleatory composition techniques. Off World resists easy categorization: not ambient "easy listening", not strictly "improvised", not "retro" - but eccentrically absorbing and soothingly mischievous as it charts its own sonic trails.
Peter Jefferies (percussions, piano, tapes etc.) and Jono Lonie (guitar, violin, percussions etc) collaborated to make this album in 1987, originally released on Flying Nun. Noise ambience, minimalism, piano-scapes, experimental moods, open forms... a homemade instrumental sound related with so many fields, seeking for free combinations among several elements and defending both antithesis and co-existence.
Unlike the production limitations that defined the sound of Diane Coffee's debut My Friend Fish (recording drums on an iPhone, using a detuned guitar in lieu of a bass, etc) Everybody's a Good Dog was recorded in proper studios with an assortment of guest appearances, horns, and a string ensemble, finally bringing to life Fleming's deep well of talent and ideas. The album covers a lot of ground from sweet acapella harmonies, to bursts of big brass and Motown swagger, to unhinged psychedelic mayhem.
The album's unstoppable grooves and melodies were written with live performance in mind. "I like performing more than recording. It's like throwing a mini party each night that goes really well," says Fleming. When you hear him pouring every bit of his two decades of experience as a performer into these songs, it's clear that Diane Coffee is not a side project, it's THE project Fleming has been working towards his whole life.
Ten road-weary tales from the wrong side of outlaw country. Jeff Cowell may have huffed the same narcotic air as Townes Van Zandt and David Allan Coe, but hunkered far from the Nashville city limits, nary a Cash or Paycheck would drunkenly slur through his tunes. Recorded in 1975, Lucky Strikes and Liquid Gold is an isolated, backwoods loner epic, top-loaded with odes to hitch-hiking and rambling the crumbling Michigan countryside of Cowell's hard-drinking youth. Previously available only out of the backs of borrowed cars, truck stops, campgrounds, and country-western bars between Algonac, Detroit, East Lansing, Cadillac, and Manistee, this LP now finds new life in similarly detached environs: the last remaining record stores.
Lord is the debut from Seattle-based punks FF, a trio comprised of Claire Nelson, Harley Thompson, and Michael Abeyta. For the entirety of their nascent existence they have existed on the fringes of the fertile enclave that is the Northwest DIY underground, materializing a singular vision of gloomy, ethereal punk anthems along the way. For sure, the touchstones are there â€“ My Bloody Valentine, The Wipers, Sonic Youth, the Flying Nun Records cabal â€“ but the collection of songs that compile Lord breakout from the suffocating box of 90’s revivalism, and offer a profound alternative to an overwhelming culture of nostalgia.
Recorded over the bulk of 2013 with Seattle engineering wiz Dylan Wall (Weed, Craft Spells), Lord is a collection of songs that capture a band on the cusp of their potency. Lord will be released October 20, 2014 on Couple Skate.
Joseph Campbell describes a shaman as "person, male or female, whoâ€¦has an overwhelming psychological experience that turns him totally inward. It's a kind of schizophrenic crack-up. The whole unconscious opens up, and the shaman falls into it." We'll never know the whole truth about what happened when (Foxyen drummer and former Disney child actor) Shaun Fleming moved from the West Coast suburbs to New York, but whatever it was fractured his psyche, opened it up, and gave birth to Diane Coffee.
In 2013, after joining the band Foxygen, Shaun Fleming left the green and golden fields of his hometown of Agoura Hills, CA to become the third roommate in a 700 square-foot, pre-war, closet-free Manhattan apartment. He was welcomed to The Big Apple by a nasty flu virus that drained the last bit of California sunshine out of the skinny, Macaulay Culken-looking 26-year-old's body. As he recovered, cabin fever supplanted the flu, and his relentless creative drive took over. Low on funds and bored out of his gourd, he spent the next two weeks alone in his bedroom writing and recording what would become the debut Diane Coffee LP My Friend Fish.
While the world waits for King Tuff to whip out another full-length dose of righteous tunes, they can find temporary satiation with the two-song Wild Desire 7” on Suicide Squeeze. Both the title track and B-side “Hole In My Head” revel in the sound of guitar jangle and unmitigated stokedness cranked into the red. The vinyl version is limited to 750 (250 coke bottle clear, 500 black vinyl) copies worldwide.
This album was inspired by the commercial work Effacer does in audio mastering. Effacer figured that different noise reduction processes and audio restoration tools that are usually used to remove clicks/noises from tracks could be used to exaggerate different effects in my music. He started taking a sound with reverb, then use the dry version of that same sound, minus the reverb, and use that as the noise print for the noise reduction algorithm. Thus by removing the source sound, a ghostly sound (reverb) would be left behind. Effacer came up with a formula for this to create further sounds and textures: (source sound + effect) - (source sound) = artifact of effect. By putting these sounds together into tracks, add several years, and these experiments resulted in an album.
Will Sheff of Okkervil River has long been recognized for his writing: acontributor to McSweeney’s, Sheff was nominated for a GRAMMY for his linernotes for Roky Erickson’s 2010 album “True Love Cast Out All Evil,” and TheNew York Times declared that “Sheff writes like a novelist.”
It is with great pleasure that Jagjaguwar presents "I Am Very Far: TheLyrics," a hard bound lyric book containing the full scope of Sheff's visionfor his latest and most refined album to date, Okkervil River's "I Am VeryFar." Meant to function as a distinct entrance point into the content of themusic, "I Am Very Far: The Lyrics" is set for release in advance of thealbum.
Functioning as much more than a complement to the albums themselves, Sheff'sprose weaves tales both subtle and dynamic, and enriches the content of hissongs. Including the lyrics for the single "Mermaid" and other songsrecorded during the "I Am Very Far" sessions, “I Am Very Far: The Lyrics” isa complete work in its own right.
NOW AVAILABLE ON LIMITED EDITION VINYL FORMAT WITH BONUS TRACKS! Systems Officer is the solo guise of Armistead Burwell Smith IV, the prolific multi- instrumentalist songwriter and founding member of Pinback and Three Mile Pilot. Written and recorded between breaks in the rigorous Pinback recording and touring schedule, Underslept is five years in the making, a concise collection of thoughtful, complex pop songs. Written, produced and performed by Smith in his home studio, Underslept features the same kind of intricate arrangements and layered vocal harmonies that have become a trademark of Pinback, with nods to the dramatic tone that marks the best Three Mile Pilot songs. Underslept gives Smith â€“ already one of rock’s most innovative and influential bass players â€“ the opportunity to place his often understated gifts as a singer and songwriter front and center, drawing influence from The Police, Peter Gabriel-era Genesis and The Beach Boys to craft thoughtful, progressive pop with spiky hooks and impressively high replay value.
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Law of the Least Effort is the name under which Casey Foubert records and performs his instrumental compositions. This collection of songs, "Music for Measurements", is an homage to 60's and 70's session bands like The Meters, Booker T and the MG's, The Funk Brothers, the JB's, and guitar players like Clarence White, Link Wray, JJ Cale and John McLaughlin. Casey Foubert is a freelance producer/engineer/sideman living in the Seattle area.
Stepping up to the plate to ensure that the 7" single doesn't go the way of the dodo bird are Will Sheff and Charles Bissell, who each covers a song written by the other. Sheff covers "Ex-Girl Collection" which Bissell wrote and performed with his band Wrens (from their album The Meadowlands). Bissell covers "It Ends With A Fall" which Sheff wrote and performed with his band Okkervil River (from their album Down The River Of Golden Dreams). The project was initially conceived to celebrate the two songwriters collaborating on the road in early 2008 when Bissell joined Okkervil River on tour as lead guitarist for a few months.
Had Brian Wilson owned a computer in 1967, he might have been able to make Smile on his own, thereby avoiding all the nonsense he had to endure from the other Boys of the band that led to the thirty-seven year wait before its completion.
Dave Fischoff's The Crawl is the product of a single creative mind.Armed with a rather large arsenal of obscure samples culled from his life as well as the entire Chicago Public Library sound collection, Dave went to work. Alone in a near downtown basement apartment (sometimes in his bedroom closet), his mind took a very long trip, delving into the under-explored territory where electronic music, hip hop, and orchestral pop meet. Taking cues from The Beach Boys and Burt Bacharach to The Postal Service and Public Enemy, Dave Fischoff has conceived, collected, cut and pasted, orchestrated and created a piece of work that is large and complex yet utterly personal and easily accessible.
Fold and Perish is Jeff Mueller's debut solo album. Recorded mainly in his temporary home in Philadelphia and with friends in Kentucky, Fold and Perish is a very intimate recording which strays from Mueller's other bands (Rodan, June of 44, Shipping News).
At first listen to his sophomore full-length THE OX AND THE RAINBOW, it may seem that Dave Fischoff has more in common with New Zealand's finest hard-to-peg songwriters such as the brothers Peter and Graeme Jefferies (and their This Kind Of Punishment and Cakekitchen projects), Alastair Galbraith and godfather of bruised soul Pip Proud, than any of his American brethren. Perhaps it's the insular loner vibe that radiates from the songs -- the overlapped vocals, the self-sequenced drum beats and background tape accompaniment. Or maybe it's just the way his voice hits the air like hot caramel in a vat of milk. Yes, his vocal delivery is quite kiwi. But on THE OX AND THE RAINBOW, the signature New Zealander tape hiss which was ever-present on Fischoff's debut WINSTON PARK is missing along with the Xpressway air of deep alienation. No, these eight new songs are sober realist portraits which rarely delve into the first person, but rather stake a significantly distant perspective from which Fischoff observes his subjects. The result is Kafka-esque in tone, but with a clinical dose of sentimentality. The songs on THE OX AND THE RAINBOW range from the spare and frail beauty of "We Break Up and Watch the Angels Swim", "The Doctor Yawns for Columbus Day" and the gorgeous atmospheric ballad "Geranium", songs which most closely resemble Fischoff's early material; to the pomp and circumstance of "Propaganda for a Comic Strip" which is an all-out Electric Company-styled Spector-sized pop tune; and the blind-siding "Blemish and a Bowl of Oranges" which perfectly subverts his Chan Marshall-like guitar playing under a bed of sequenced pulses and bells, making a claim for most outstanding song on the album. Indeed, for anyone who has witnessed one of Fischoff's arresting live performances, this record will stand as proof that it's on albums where musical artists are really given the space to open up and create lasting pieces of art. As with contemporary album-crafters such as Neutral Milk Hotel, Jeremy Enigk and East River Pipe, Fischoff relishes the opportunity, and with THE OX AND THE RAINBOW he has offered up a truly unique record that looms somewhere just south of Where The Fuck Did That Come From.
During recent years Dave Fischoff has explored various musical forms, retaining some and abandoning others. Besides the early bands he tried his hand at, the musical life of Mr. Fischoff has been in the solo realm. Coaxed on by friends and former bands mates Dave began to perform solo in the summer of 1994 in the Bloomington, Indiana area. Using only a guitar and Marshall stack Dave found himself jumping around basements and clubs. Feeling there was an integral element missing in his music, he began to employ pre-recorded sounds into his live show. With the new combination of tape letters, found sound, translucent electronics, guitar and voice, the music took on a new life. Dave used his lyrical imagery and story telling ability to enhance the deeply personal music. In November 1997 Dave recorded WINSTON PARK with friend and engineer Thom Hoff (American Analog Set). The album was recorded in Dave's living room over two weeks using a 1/4" Tascam 8-track and one Shure microphone.