Beef Jerk's debut LP "Tragic" was self-released in a small run by the band in 2015 & has now been re-released for a deservedly wider audience by Trouble In Mind in 2016. The band often get lumped in with the Australian "dolewave" scene - a joke title referring to bands of the jangling pop variety whose lyrics often touch on the more mundane aspects of modern life in Australia. Beef Jerk's principal songwriters' Jack Lee & Mikey Branson certainly write tunes that seem to fit that mold, but upon further investigation & attention, reveal an intelligent, deeper & poetic understanding of working class culture in Australia. "Tragic" is re-released by Trouble In Mind with all-new artwork, and includes a download code.
Recorded in Joshua Tree, CA, "Command Your Weather" sees Big Business return to its original two-man lineup of Jared Warren and Coady Willis. It'sa haunting dream about the struggle for dominance of will over the power and unpredictability of nature. Or it's just a really great rock record, it depends on how weird you're willing to get. But you've never had so much fun being crushed in the cogs of the universe's great machine, that much is for sure! I mean, there's no law against having a couple cold beers while we all burn in the fire of time, am I right?!
Recorded by Dave Curran of UNSANE/PIGS/BIG BUSINESS' previous record fame. Founded in 2003 in Seattle, WA., Big Business has spent the last 13 years touring the world and making records. In 2006 Jared and Coady joined forces with the Melvins and moved to Los Angeles. Performing as members of the Melvins and staying autonomous as their own band, they have been there ever since.
Recorded at Copeland's old practice space in South Williamsburg, Black Bubblegum contains songs with more conventional sounds and songwriting than any of his previous releases. While there are similarities with Copeland's earlier work in the drum patterns, major scales and vocals, Black Bubblegum moves away from his trademark psychedelic dub towards strange and fantastical pop; imagine Arthur Russell going into the studio with the Ramones. Wanting to take a more "hands-on" approach to these recordings, Copeland exchanged sample-driven tech and hardware for keyboards, guitars and effect pedals, creating a new sound that is oddly easy to digest despite its rejection of melody in favour of discord and dissonance.
Eric Copeland has been sound clashing at full volume for over twenty years, first carving out a named for himself as one third of the legendary NY-via-Providence band Black Dice. A wildly prolific solo artist, Copeland has played shit houses, party palaces and seemingly everything in between all over the world.
A long time Brooklyn, resident, Eric recently relocated to where the L Train does not run - Palma de Mallorca, Spain. While maintaining a relatively humble and low key presence in a highly competitive musical world, he has releases a prolific amount of music every year through indie labels such as L.I.E.S., Escho (Iceage), PPM (No Age), Paw Tracks (Animal Collective) and DFA.
Where is this generation's "In Your Eyes"? Our "Come Talk To Me"? You know, that song to blast as we passionately raise the boombox high over our heads outside our beloved's window. It's been a while since we had one of those songs - something expansive and elegant; big-pop that feels personal and tender. Let us humbly offer the music of Sydney's Gordi - 22-year-old Sophie Payten. Her debut EP, Clever Disguise, gets at it both ways - massive and personal music that doesn't concede an inch of artistic vision.
First single, "Can We Work It Out" has the big, worldly drums of those aforementioned Peter Gabriel classics and a towering, multi-layered vocal chorus that will instantaneously sear itself into your memory. The soft gallop and airy melody of opener "Nothing's As It Seems" feels like bittersweet sunset of a four-day weekend on the water. Clever Disguise was created with producers Alex Somers (Sigur Ros) and Francois Tetaz (Gotye). And if it's merely an aperitif for what Gordi has coming up, we're in for a magnificent show.
'Centres' is the stunning new album from Vancouver-based vocalist / composer Ian William Craig, and his first release for FatCat (Max Richter, Hauschka, Dustin O'Halloran, Johann Johannsson, etc) following two critically lauded back to back albums for Recital Program. Ian William Craig is a trained operatic vocalist who combines his voice with analogue synthesizers, reel-to-reel machines, and faulty tape decks to create sublime cascades of unpredictable decay and beauty.
The songs were created manipulating tape loops through two or three decks at once to create strange deteriorating delays with different colors. Craig would then circuit-bend the bias to create odd kinds of distortion, or bend the sound back into itself so it feeds back in unpredictable ways. 'Centeres' is a stunning album that stands with a similarly unique sense of vision and integrity as the likes of William Basinski or Colin Stetson.
Matt Schneider's work under the Moon Bros. moniker is time-out-of-mind cooing folk played at painstakingly patient speeds - a decorous and underheard contribution to the ambient folk fray. Perhaps his recordings are projections of future scores to Cormac McCarthy adaptations; perhaps front porch Dust Bowl blues gospel. Either way, Schneider is a pointedly preeminent experimental guitarist in this day and age.
This iteration of Moon Bros. is a network of a few high-minded Chicago improvisers: Matthew Lux (Iron & Wine, Exploding Star Orchestra), Dan Bitney (Tortoise, Isotope 217), and Sam Wagster (Cairo Gang).
Omni - the band, not the hotel - are from the former home of the Braves: Atlanta. Playing lo-fi pop that channels the spectre of the late '70s and early '80s, Omni brings you back to an era where any sane person was reeling from the unfulfilled promise of the Space Age and Age of Aquarius bleeding into the looming threat of "Morning in America." Omni distills the buzz and grit that snakes through the best of Television, Devo, and Pylon into surprisingly danceable, hook-laden slabs of raw, angular, sonic bliss. It's still the summer of '78, and pushing the roots of rock & roll to its limits remains in vogue. "Deluxe" serves as a fresh reminder that rock music can work outside of blues rooted, formulaic progressions without playing it safe behind a wall of effects. Arty enough to impress record enthusiasts, yet melodically attractive enough to transcend to those who've never asked: "'Sister Midnight' or 'Red Money'?"
Somehow, condemned to the underworld/whateverworld, they sustained the light for millennia/millennials. Keeping their Ka-Ba intact and entire they always knew the Power and the Pleasure of the Sun God/Some Guy would grant (though they never fill out the forms) them so-called Eternal Creativity (i.e., QQreativity) if they could just complete the journey and Rise Above! Following their righteous path, they ignited Fiery Furnaces (FEE-ery Fur-Nace-es-EH) and stumbled the inner steps of the Sebadjoser pyramid to finally reach the Night Light!
The two ancient souls/old people from Under Earth had sublated their fate and became Children/Mature Students of the Upper Light - Hermopolis Magna became Matthew Friedberger and Waan'Ubyee Shemayet became Bob D'Amico. They are now proud makers of Joyful Noise (insert plug here) made possible by their Outlet to Eternity - the SAQQARA MASTABAS.
LA/Joshua Tree based Sugar Candy Mountain deliver carefully built psychedelic odes in the style of Jacco Gardner and Tame Impala. Their newest album 666 feels like something unearthed from a box of records found in your dad's garage, glowing wistfully with vintage inspired tones, rambling organs, fuzzed out guitars, shimmering keys and sprawling drums. Ash Reiter's woolly voice croons with the icy warmth of Francoise Hardy, while Will Halsey's tender Lennon-esque vocals uncoil with easy languor. Recorded with Jason Quever of Papercuts, the bands sophomore album sits comfortably between 60's Laurel Canyon bliss and more modern production of Dave Fridmann (Flaming Lips/Tame Impala). 666 is the band's ï¬rst record after deciding to retire Ash Reiter's eponymous solo project to focus solely on Sugar Candy Mountain. With this shift Ash became more heavily invested in writing for the project. On 666 the band moves away from the grandiose production of their previous album, Mystic Hits, on which some songs featured over two hundred instrument tracks. The majority of basic tracking was done on Jason Quever's 16 track Ampex tape machine through a Neve console, and completed at the bands home studio. Under Quever's guiding hand, production on 666 is signiï¬cantly simpliï¬ed, favoring featuring strong melodies over the wildly playful orchestrations of Mystic Hits. Quever is also signiï¬cantly featured on the record as a player, with his inï¬uence distinctly coloring the album.
Stateless is the second full-length album of genre-hopping post-everything experimentalists Tangents. In a delectable hybrid of styles, Stateless cuts up and weaves together rich instrumental passages from the multi-talented ensemble of musicians whose collective resume spans decent swathes of recent experimental music history: British electronic music producer Ollie Bown (Icarus, Not Applicable); Adrian Lim-Klumpes (Triosk, 3ofMillions) on piano, Rhodes, vibraphone and marimba; Peter Hollo (FourPlay String Quartet) on cello; and the duo Spartak (free improviser Evan Dorrian and singer/producer Shoeb Ahmad on drums and guitar respectively). Sparse metal-coated drum hits stumble over glistening reverse vibes, Saharanguitar licks, Fender feedback and washes of filtered piano. Moments of acoustic jazz surface, flowing into stoic upbeat anthems, drenched with multilayered patterns of glitched strings.
Wymond Miles was raised in the working-class small towns of the American West. On Call by Night, the singer's latest widescreen opus, Miles masterfully evokes that lost landscape, all while grappling with issues of fatherhood, privacy, PTSD, police brutality, and love. The album adds a critical new chapter to the Fresh & Onlys guitarist's story as an artist, and reasserts him as a major voice in contemporary songwriting.