* OUT OF STOCK - BETTER OBLIVION COMMUNITY CENTER CD REPRESS EXPECTED 2/18 *
Better Oblivion Community Center is a brand new band comprising the formidable talents of Phoebe Bridgers and Conor Oberst, two of the most lauded American songwriters of the past several years. Written and recorded in Los Angeles during the summer of 2018, their self-titled debut album will be released on Dead Oceans in early 2019.The pair first collaborated on Bridgers' 2017 single, "Would You Rather", taken from her acclaimed debut album Stranger In The Alps. They teamed up again for a recording of Oberst's "LAX" in the fall of 2018.
Co-produced by Bridgers, Oberst and long time Oberst/Bright Eyes collaborator Andy LeMaster, Better Oblivion Community Center features the work of several talented friends: Yeah Yeah Yeahs' guitarist Nick Zinner appears on two tracks (first single "Dylan Thomas" and "Dominoes") while Carla Azur (Autolux, Jack White) plays drums on half of the album. Dawes' rhythm section Wylie Gelber and Griffin Goldsmith appear on the other half. Songwriter Christian Lee Hutson contributes guitar and Anna Butterss provides bass. Bridgers and Oberst are currently putting together a live band to tour in March and April.
Following 2016's On the Legs of Love Purified and the recent "Divine Illusion" single, The Mirage pushes the band'sethereal sound into the murky depths of dub. Marking a sonic shift for the project, we find the duo trading in chaoticbursts of noise for understated minimalism that's still characteristically melancholic and potent with emotion.Labrador's drum production is as deft as ever with an expanded range of electronic samples and tape delay inducedpolyrhythms. Layered with Madden's persistently dubby bass, Labrador's sparse guitar and gliding soprano floatabove a labyrinth of hypnotic sequences. These dublaced dirges signify growth within the band, heard in theircommand of repetition, space, and effects to build a pervasive mood that's often utterly heartbreaking.The Mirage was conceived following major upheaval in the pair's lives, including the loss of Madden's brother and anumber of friends in Oakland’s Ghost Ship warehouse fire in 2016. Compounded with the dissolution of a marriage,and leaving San Francisco to relocate to Los Angeles, the album is an exploration of grief and the multifacetedheartbreak that follows such events. 'The Mirage' tells candid narratives of a heavy heart but does not wallow indespair.
"Good Fuck is the byproduct of collaborative conscious alignment. We jammed sometimes, usually late at night with a couple drinks in us, never bothering to record. And we'd tweak various setups while making lunch or getting ready for work. But mostly we talked about what it would be, defining the parameters. For months we talked and talked about it. We spent most nights DJ'ing for each other or checking out shows, identifying and refining what we were drawn to, where we found surprising cracks or overlaps. Then finally we packed the car and drove 13 hours to The Millay Colony in upstate New York: an artist's colony in The Berkshires, miles down a private road, next to 100,000 acres of national forest. And when we arrived, off-season and empty, we found it under four feet of snow. Our process was compressed into a single week in uninterrupted isolation, so we developed a working system to keep us moving and intuitive, trading tracks back and forth on a schedule.For the lyrics we agreed on 12 books we thought most relevant and came up with various systems to collapse and collage them into each other in different combinations. And packing up after the end of the week, we were stunned by the results Of course there were snags, technological and psychological. And of course we threw a good amount away. But what was left was not the result of trying to write songs, but the effortless evidence of what emerged when we got clear in our intentions and then just let it out."Tim Kinsella
Major Murphy follows up their debut long play 'No. 1' with a set of bedroom recordings archiving a time when Jacob Bullard was discovering his voice as a songwriter and the band was finding their footing within that space. Named after the house in Grand Rapids, MI that many of these songs were written and recorded in, the Lafayette EP chronicles a liminal space as the project transitioned from a stripped-down, solo project toward a three-piece rock band. The porches and walls of this house on Lafayette Avenue was a natural space for creativity and collaboration, a space where the band recorded early versions of Major Murphy standards that would eventually be taken into the studio to create their debut album. Listening to these tracks is almost like walking past the Lafayette house on a breezy Fall morning, hearing the songs spilling out the windows and down the street. Venture to peer through a window and you just might catch a glimpse of the magic.
Mazy Fly, the second full-length by the Bay Area artist SPELLLING, explores the tension between the thrill of exploring the unknown and the terror of imminent destruction. Chrystia Cabral spent the summer of 2018 in her Berkeley studio reflecting on the thresholds of human progress and longing for a new and better tomorrow. She was struck by the way the same technologies that have given humans the ability to achieve utopian dreams of discovery have also brought the world to the precipice of dystopic global devastation. Despite the darkness of this reality, Mazy Fly is defiantly optimistic. It is a celestial voyage into the unknown, piloted by Cabral.
Mazy Fly musically traverses the spaces between languid, honey-soaked vocals and distant angelic whispers, from thumping 808 club beats to crunching tape loops, and from silky, smooth R&B to whirling organ sonatas. Cabral became enamored by the idea of flight as a harbinger of both progress and apocalypse, and that was expressed in the textures and compositional techniques she utilized. Swarms, flocks, flies, angels, spaceships, flying saucers â€“ all are represented sonically by Cabral and her Juno-106 synthesizer.
"New York quartet Sunwatchers drew a line in the sand with their last album "II", a powerful statement of the band’s unique brand of spiritual, free-rock, gonzo attitude and a progressive socio-political worldview. "Illegal Moves" is their second album for Trouble In Mind. "Illegal Moves" is the band's most potent blend yet; a heady potion of free-jazz, psychedelia, punk & noise rock that is both tender and ferocious; the perfect soundtrack to smash capitalism and fix our broken system thru sonic catharsis and revolution. Songs like "Everybody Play" and "Beautiful Crystals" insinuate themselves into your brain with the rubbery synchronicity of bassist Peter Kerlin and drummer Jason Robira. Elsewhere "New Dad Blues" and "Greeneyed Pigmen (Get The Blade)" sting with a righteous fury beyond the piercing scree of guitarist Jim McHugh's electric phin or Jeff Tobias' saxophone skronks, and the band's cover of Alice Coltrane's "Ptah, the El Daoud" transforms her meditative elegy into a fiery protest march. The songs crackle with an energy informed by passionate disgust of the status quo realized on the album cover's illustration of the Kool-Aid Man battling the personifications of evil from across the world. A psychedelicized avatar for the general wrath and action that they believe in."