Beginning in 1982, the conceptual audiovisual troupe labeled Psychic TV set out on a multimedia journey filled with subversion, liberation and rebellion. While the members' previous works took root in the counterculture zeitgeist of late '70s UK punk and conceptual art, it was no longer a question of how to rebel against authority, but rather how to carefully subvert it through collective infiltration. Parallel to Psychic TV, its members formed the anti-cult faction Thee Temple of Psychick Youth, further propagating the Psychic TV message and vision.
While the ensuing years saw Psychic TV's major label infection and record breaking live album release binge, it wasn't until 1988 that the band started to ready itself for a chart-friendly pop endeavor in the form of "Allegory & Self". This would be the band's most notable and successful endeavor but tragically, it would be the final songwriting collaboration between P-Orridge and Fergusson. "Allegory and Self" was a perfect storm of catchy pop melody along with subversive counter-culture reference and occult leanings, packaged in a perfect bundle of underground hits.
Shortly before Christmas 1984, the core songwriters, Genesis P-Orridge and Alex Fergusson, of underground arts collective Psychic TV quietly released a limited edition record containing sketches and ideas for songs. Some songs would become later fully-realized arrangements, some abandoned and others were just covered in praise of their creator. The record, in recognition of its seasonal release, was simply titled "A Pagan Day" and would capture the intimate songwriting sessions that were prevalent during crucial time in the band's career.
In classic Psychic TV fashion, rumors and myths surround the album's creation. Most have suggested that it was recorded in a single session over a cup of coffee on a lone 4-track cassette recorder above an old YMCA building in London, though later revealed that the recordings were from various sessions over the course of a couple years prior to the record’s release. After quickly pressing the songs to vinyl, the record was originally only available through Rough Trade for a few hours on December 23, 1984 and pressed on picture discs, which adorned a photo of P-Orridge's first born, Caresse, in exactly 999 copies.
SQÃœRL is: Carter Logan and Jim Jarmusch.
An enthusiastically marginal rock band from New York City who like big drums & distorted guitars, cassette recorders, loops, feedback, sad country songs, molten stoner core, chopped & screwed hip-hop, and imaginary movie scores.
SQÃœRL began in 2009 when Jim Jarmusch and his producer Carter Logan teamed with producer/engineer Shane Stoneback to record some original music for the film THE LIMITS OF CONTROL. Echoing the varied Spanish landscapes captured in the film, the three emerged with a set of slow-motion psychedelic rock instrumentals (releasing them as Bad Rabbit). Following these scoring sessions Jim, Shane, and Carter continued to record new originals while also exploring the back-alleys of American country, noise, and psychedelia. SQÃœRL released a series of 3 EPs of these songs, recorded over a 3 year period by Shane at Treefort Recording in Brooklyn, NY.
In 2012, Jim collaborated with baroque lutist Jozef Van Wissem and released an LP on Sacred Bones entitled The Mystery of Heaven. In 2013 they began to compose and perform the score for the film ONLY LOVERS LEFT ALIVE with Van Nuisance. Bridging ancient and modern sounds, the score serves as a reflection of the distinct textures of Detroit and Tangier. The film and soundtrack, the latter which also features Zola Jesus, were released worldwide in 2014, and quickly earned the group the Cannes Soundtrack Award.
Written and recorded for the highly anticipated return of David Lynch's cult television classic Twin Peaks, "Snake Eyes" effectively harkens a time when noir R&B was the de-facto soundtrack to hard liquor violence. The instrumental trio Trouble includes Lynch's son Riley Lynch on guitar, longtime music supervisor for Lynch, Dean Hurley on drums and Alex Zhang Hungtai (Dirty Beaches, Last Lizard) on tenor saxophone. The B-side to the single consists of the bonus "Mother’s Gone;" a menacing companion track also recorded during the band's only Twin Peaks recording session. There may never be any more music from Trouble, but this 45 serves as physical evidence of the group's continued existence in a parallel cinematic universe, grinding out late night Roadhouse gigs in the fictitious town of Twin Peaks, Washington.
Eraserhead rests firmly at the top of that canon of American underground culture for which there is no genre. A staple of the dark underbelly of popular cinema that was originally only viewable at arthouse screenings or on the Midnight Movie circuit, Eraserhead is a truly unadulterated offering; and much of its sensation lies beyond the purely visual realm. The stark, dusty black and white images put forth are caked with and submerged in a dense jungle of industrial hums, buzzes, screeches and screams. Eraserhead is a narrative made up of two intertwined veins: one of bleak and beautiful pictures elegantly painted in gray and black, and one of blankets of sublime, enveloping noise and static, the tinkering of Fats Waller organ rolls echoing in the background.To lay in the dark and listen to this dizzying succession of blissful noise is a different way to get "lost" than in the visuals of the film itself. It's no stretch to consider this soundtrack an experimental, early industrial masterpiece. Eraserhead's individual passion and personal tone shines through even in the thickest moments of fierce static, an audio undertaking that took David Lynch and sound designer Alan Splet years to perfect. Eraserhead's most famous piece of music is undoubtedly Peter Ivers' unforgettable, oft-covered haunting ballad "In Heaven," and the most exciting attribute of this edition of the soundtrack is no doubt its expansion, and it’s present here, along with "Pete’s Boogie," an Ivers recording previously only available on the long out-of-print limited edition LP of this soundtrack.
The Men yes, "The", are a four-piece post punk outfit from Brooklyn, NY. Their catalog which began in 2008 with a hand-dubbed self- released demo cassette has grown to include two LP’s- We Are the Men and Immaculada- two more tapes, and a 7". The buzz in their hometown has grown so fervent that the Village Voice debuted this album's first single, "Bataille," a full six months before the record was scheduled to street. Named for the famed French pornographic writer the track review expounds it, "rides a pug-ugly joy-punk riff into almost krautrock oblivion--complete with gorgeous voice cracks and face-mooshing distortion."Having three songwriters in the band allows them to pull from innumerable post punk sources, referencing drone, metal, shoegaze, and even Suicide lyrics on Leave Home. Recording to tape for the first time here, using elements of distortion, feedback, pop hooks, and a couple of beautifully destructive instrumental passages, The Men have been described by Mishka as, "more composers than musicians." They have breathed new life into the genre of hardcore and created a seminal album that is truly for punks of all ages.
Föllakzoid began in Santiago, Chile from what they describe as the result of "a product of a trance experience between friends, sort of a soul abduction in which they’ve been living since 2008." The band is made up of multi-faceted artists: Juan Pablo (bass, vocals) is a producer of the Sangre Fresca Music Festival in Santiago, Diego (drums) is a photographer, Alfredo (synth) is an architect and Domingo (guitar) is also a filmmaker who just premiered his first long length movie "Partir to Live". They believe that there is some sort of gravitational force that makes South America able to dialogue directly with other places, times and dimensions. They have all known each other from childhood in Santiago. This album shows the band growing an enormous amount as songwriters, focusing on more developed songs and structures. Throughout these five songs, Föllakzoid craft one of the finest kraut-rock record in years.
Since their first demo in 2013, the Austin expats in Institute have edged their raw anarcho punk blitz into something much more expansive and nuanced. 2014’s Salt EP marked the beginning of the band’s working relationship with Sacred Bones, and it explored longer, more experimental song forms. Catharsis, the band’s debut full-length, was another huge push forward, with a slightly cleaner production and some krautrock influence creeping in around the edges. Subordination sees them push themselves further out of genre, incorporating hard rock and glam and writing some of the most diverse material of their career.
Moon Duo is the solo alter-ego of Wooden Shjips guitarist and singer Ripley Johnson. Under the Moon Duo moniker Johnson creates expansive Krautrock influenced tapestries of warm cascading fuzz and controlled feedback, organ, and accenting keyboard. This four song 12-inch is the second release and incorporates a much more concise, composed and driving sound than before. Johnson expands on ideas only hinted at on the Sick Thirst 12-inch (which is already long gone) adding a driving drum machine beat behind the thick walls of layered sound. Don’t sleep on this one.Information on bonus tracks:"Bopper’s Hat" originally released on a split-7" with Bitchin Bajas on Permanent Records. "Run Around" originally released on Menagerie #2 on Blackest Rainbow Records. "Dead West Pt. II" originally released on Raven Sings the Blues Vol. 2.
Sacred Bones Records is proud to present Hazed Dream, the new long-player from fellow New Yorkers, Psychic Ills. Since their formation in 2003 as a home-recording experiment, the Ills have evolved into a live band, in their element playing the extended jam. Musically, it also marks a departure from some of the band’s more recent sonic explorations. The raga rumbles and synthesizer space-outs aren’t gone all together; the singular blasted musical perspective of the Ills remains.
Ironically referred to by Timeout NY as "Thurston Moore & the E Street Band," The Men have never been a band to play by categorical punk subgenre rules. Instead, over the last three years, this band has dabbled in everything from hardcore punk to psych to shoegaze to black metal; and they have done all of it effortlessly, and for the most part, flawlessly. Totally removed from the current climate of a.d.d-youtube-blog-hyped generation of musicians under 21, The Men stand out from the pack as both scene elders and actual record collectors. What makes this band so unique is their ability to synthesize their influences rather than just regurgitate them.
Following the Yin (feminine, darkness, night, earth) represented on Occult Architecture Vol. 1, Vol. 2 presents the Yang. Yang means "the bright side of the hill" and is associated with the male, sun, light and the spirit of heaven, and as such Vol. 2 explores the light and airy elements of Moon Duo's complex psyche.
"In production we referred to Vol. 1 as the fuzz dungeon, and Vol. 2 as the crystal palace," guitarist Ripley Johnson explains. "The darkness of Vol. 1 gave birth to the light of Vol 2. We had to have both elements in order to complete the cycle. We're releasing them separately to allow them their own space, and to ensure clarity of vision. To that end we also mixed Vol. 2 separately, in the height of Portland summer, focusing on its sonic qualities of lightness, air, and sun. Listeners can ultimately use the two volumes individually or together, depending on circumstance or the desired effect."
Bestial Burden, the previous album by Margaret Chardiet's Pharmakon project, focused on the disconnect between mind and body, looking at the human as an isolated consciousness stuck inside of a rotting vessel. For Contact, she wanted to look at the other side of the spectrum - the moments when our mind can come outside of and transcend our bodies.
In trance states, music and the body are used to transcend the physical form and make contact with some outside force. Chardiet decided to structure the compositions of each side of Contact after the stages of trance: preparation, onset, climax, and resolution.
ARTIST'S STATEMENT:Man is a rabid dog, straining at its leash of mortality with bared teeth. Snarling and clawing over each other, we aim to reach a higher ground to claim as our own. There are those who will attempt to exert power over others to attain it. They will sniff you out; lay claim over your body, your actions, your thoughts, your time. (How starkly human, so desperate for the sense of vantage over all versions of its own reflection!) Their aims are empty, because their power is a construct they created and gave back to themselves. They too are small and inconsequential. All people are only human and humans are only animals. The nature of existence and our sentience is chance, owing nothing to anything. Humankind is of no special significance to the universe. (Despite all our scrambling rejections, we cannot transcend all of our instincts - just animals, lost in a confused dream, where mankind is real and at the center of everything). We are each nothing but a single, short-lived cell in a vast organism which itself will one day die. If we accept that the only true claim sentience gives us is our tiny sliver of time, it opens us to revel in it, to make CONTACT. When we pick up on transmissions between the private rooms inside our heads and the flesh of our vessels, when thought escapes its isolation and is seen, heard and understood. When our mind uses the body in order to transcend and escape it! The moments of connection/communion/CONTACT, when the veil is for a brief but glorious moment lifted, and we are free. Empathy! EMPATHY, NOW!
As humans, we are aware of our inner beast and should therefore be able to control it. We understand our hard-wired primal urges and why they exist in an evolutional sense. We understand the relationship between mind and body. Highly evolved and intelligent, we should be able to recognize these genetic hangovers and control them as a means to act positively and move forward as a compassionate species. Unfortunately, this is not the case. Recent global events have proven this. The human race is consuming itself.
World Eater, the new album by Benjamin John Power's Blanck Mass project, is a reaction to this. There is an underlying violence and anger throughout the record, even though some of these tracks are the closest Power has ever come to writing, in his words, "actual love songs."
Meaning all things magick and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo's fourth album - a psychedelic opus in two separate volumes released in 2017 - is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light.
Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang.
In Chinese, Yin means "the shady side of the hill" and is associated with the feminine, darkness, night, earth. Following this logic, Vol. 1 embraces and embodies Moon Duo’s darker qualities - released appropriately on February 3, in the heart of winter in the Northern Hemisphere.
Wake in Fright, the second full-length by the New York City duo Uniform, is a harrowing exploration of self-medication, painted in the colors of war. Following the Ghosthouse 12", whose A-side Pitchfork called "their most relentless track yet," vocalist Michael Berdan and guitarist/producer Ben Greenberg return with a new batch of even more punishing tracks that incorporate elements of industrial music, thrash metal, harsh noise, and power electronics.
After the collapse of the Soviet Union, Ukraine's social and political institutions faced massive change, including an increasingly corrupt government and crippled infrastructure. A number of the nation's youth wound up homeless and addicted to a lethal cocktail of injected cold medicine and alcohol. Steve Hoover's documentary Almost Holy follows a pastor named Gennadiy Mokhnenko, who saves street kids, at times by forcible abduction, and brings them to his Pilgrim Republic rehabilitation center - the largest organization of its kind in the former Soviet Union. The film's depiction of a country in the grip of poverty, addiction, and warfare is made even more powerful by its captivating electronic score by award-winning composer Atticus Ross, his brother Leopold Ross, and Bobby Krlic (The Haxan Cloak).
Exploded View is a new collaborative project helmed by the UK-born, Berlin-based political-journalist-turned-musician Anika (Invada Records / Stones Throw). After playing a string of 2014 solo shows in Mexico with a backing lineup composed of local producers Martin Thulin, Hugo Quezada and Amon Melgarejo, Anika and her new bandmates discovered a chemistry that they simply had to capture on tape.
The Men are Rich Samis, Kevin Faulkner, Nick Chiericozzi and Mark Perro. We created Devil Music in our practice space over a weekend in January.
We wanted to give ourselves something enjoyable to listen to with this record... Something that had our personality in it, not just another record to get reviewed, to get into festivals, to get on tv, to participate in some sort of endless, winless game. This isn't a campaign.
Jordan Lovelace (mem. of Pampers) engineered and recorded Devil Music. Jonathan Schenke (mem. of Eaters and engineer of 100's of records) mastered the sessions on a Neve console in New York. These fine gentlemen knew we were after a raw four track sound. They used our strokes on the tape to get us where we wanted to go. Every record sounds a bit different than you think it will.
Some newer things came along for the ride like cassette cut ups, damaged vocal cords from years of yelling, a saxophone and of course the ten new songs. Some old ideas are still in the mix: the tracks were all done live, including the vocals, the packaging/artwork was designed and produced by us.
Uniform formed in New York City in 2013 when old friends Ben Greenberg (ex-The Men, Hubble, and the producer/engineer responsible for much of the Sacred Bones catalog) and Michael Berdan (ex-Drunkdriver, York Factory Complaint) reconnected and realized that they had evolved to a similar place musically. Wanting as intimate an experience as possible, they decided to keep the project a two-man show, eschewing a live rhythm section for programmed drums and low-end synths, augmented with Greenberg playing guitar and Berdan handling vocals. The collaboration quickly yielded a raw 12", followed by a full-length, Perfect World. The Ghosthouse 12" is the first Uniform release on Sacred Bones Records, and it will be followed by a full-length in early 2017.
Ghosthouse shares a basic configuration with the previous Uniform releases, but the tools have evolved far beyond their initial drum machine and bass synth setup. These songs have grown from a broader palette of sounds - shots, explosions, implosions, impacts, ricochets, collapse; the sounds of conflict, war, and destruction that we witness every day. The result is the most sonically confrontational Uniform material to date, and Berdan's lyrics, largely inspired by his lifelong battle with insomnia and depression, match them for relentlessness.
After the initial blast of punk rock bands made their impression on the youth of the late 1970s, subgenres quickly emerged. Some preferred the faster, louder aggression of hardcore, others the angular danceability of post-punk, some the raw and more personal home-made sound of DIY, and so on. Looking back among and between these genres we now recognize various blends of punk, post-punk, goth rock, industrial, and DIY as "deathrock." In 2014, Sacred Bones Records launched the series Killed By Deathrock to document an entire scene of bands that haven't yet received proper recognition. This is the second volume of that series.
Marching Church, the onetime solo project and now bona fide big band formed by singer Elias Bender RÃ¸nnenfelt, has followed its leader's muse everywhere from their early days of 4-track lo-fi tapes, to Sam Cooke-tinged soul on This World is Not Enough, to outrÃ© free jazz on their most recent Coming Down 12". For Telling It Like It Is, RÃ¸nnenfelt and his bandmates have foregone much of their past proclivity for wild stylistic swings in favor of thematically unified, complicated, but fundamentally cohesive song arrangements; the studio itself at times acting as an auxiliary band member. The result is the most focused vision of Marching Church yet, but one that has lost none of its swagger, and none of its power to enthrall.
Norwegian artist and writer Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013's Innocence Is Kinky and 2015'sâ€¯Apocalypse, girl, Hval'sâ€¯debut for Sacred Bones, she has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements which incorporate elements of poetry, prose writing, performance art, and film. Hval has eloquently brought to light issues of both male and female gaze, which for years had been swept under the rug and/or denied all together.
"This is my most fictional and most personal album. It's also the first album where I've started reconnecting with the goth and metal scene I started out playing in many years ago, by remembering the drony qualities of Norwegian Black Metal. It's an album of vampires, lunar cycles, sticky choruses, and the smell of warm leaves and winter." â€“ Jenny Hval