Beloved Exile is the new studio full-length by Steve Moore, his first non-soundtrack album in over five years, and hisfirst for Temporary Residence Ltd. A prevalent figure of the modern synth era, Moore cofounded the influential synthprogduo, Zombi, and has scored more than a dozen feature films and TV shows, including The Guest, Crunch Time,and Mayhem. Composed and produced by Steve Moore in his home studio in upstate New York, Beloved Exile is acollaboration with internationally-renowned Tunisian singer-songwriter Emel Mathlouthi, visionary harpist MaryLattimore, and veteran percussionist Jeff Gretz. Drawing influences from vintage ambient synth libraries, NewAge/spiritual music, and menacing horror film canon, Beloved Exile proves to be simultaneously exquisite anddeceptively unsettling. It is appropriate, then, that a literary treasure like John Darnielle (The Mountain Goats),would provide the song and album titles - his masterful mind most fitting to put moniker to this mercurial triumph
We The Animals is the award-winning new film from Jeremiah Zagar (In A Dream). Based on the best-selling novelby Justin Torres, We The Animals is Zagar's first narrative feature. It reunites Zagar with Nick Zammuto, therenowned composer and co-founder of beloved collage-pop pioneers, the Books. Inspired by the film's setting inrural upstate New York - and influenced by the early ambient electronic music that galvanized the Books twodecades ago - Zammuto pairs that earthen, wooded isolation with dynamic pulses of customized electronics andsparse, crystalline layers of melodic soft synths. The juxtaposition is arresting, and gives the soundtrack a unique heftbefitting of its subject matter - and betraying of its minimal instrumentation. Beautifully edited and sequenced to actas both a companion to the film and a standalone album, We The Animals: An Original Motion Picture Soundtrack isas subtle as it is startling, and succeeds in making even the heaviest emotions feel momentarily weightless.
On Time Out of Time is a suite of works originally commissioned for the 2017 installations 'ER=EPR' and 'Orbihedron'by artists Evelina Domnitch and Dmitry Gelfand (in collaboration with Jean-Marc Chomaz and LIGO) for theexhibition, 'Limits of Knowing' at Martin-Gropius-Bau, Berlin by curator, Isabel de Sena. These works utilize, amongother things, exclusive source recordings from the interferometers of LIGO (Laser Interferometer Gravitational-WaveObservatory) capturing the sounds of the merging of two distant massive black holes, 1.3 billion years ago. The CDand Digital formats feature two tracks: The 40-minute title track, "On Time Out of Time," as well as"4(E+D)4(ER+EPR)", a live track recorded during the aforementioned installation. The vinyl LP format features twoexclusive mixes of the title track: "On Time Out of Time" on the a-side; and "On Time Out of Time (The Lovers)" onthe b-side, made especially for the vinyl format.
Bruno Bavota is a young Italian composer and multi-instrumentalist with seemingly boundless potential, and anextraordinary gift for marrying the intellectual and emotional into earnest and profoundly effective songs. Thoughfavorably compared in his early career to another Italian composer, the legendary Ludovico Einaudi, Bavota hasfound himself increasingly pursuing ways to distort and disturb traditional arrangements and melodies in pursuit of amore distinct resonance. Armed with a plethora of outboard effects pedals and processors, Bavota manually manipulates his songs in real time as he performs - often with his bare hands engaged in a seesaw battle ofconstruction against obstruction. It infuses a genuine sense of tension and forward momentum that makes his workextraordinarily poignant. Recorded live in one afternoon at a friend's studio in Bavota's hometown of Naples, Italy,RE_CORDIS documents many of Bavota's most recognizable and accomplished works as they stand at this momentin time - ever-evolving musical life-forms that change shape while maintaining their distinctive skeletons. It alsointroduces his newest work, "The night of," a tense, escalating race of loops punctuated by a series of dramatic chordstrikes. The recording is charmingly informal, leaving the sounds of Bavota's physical movements - the shuffling offeet, the triggering of effects pedals, the creaking of stools - present in the mix to mingle with the music. As anexhibition of Bavota's skills as a composer and performer, it's impressive; as a glimpse of what's to come, it's anepiphany.
The conflict and correlation between dark and light is a universal theme with a historically rich history. Musically,perhaps no band in the 21st Century has mined that relationship more consistently or effectively than Japan's MONO.Across 10 albums in 20 years, MONO have convincingly reflected the quietest and most chaotic parts of life throughtheir music. Their ever-expanding instrumental palette - which began in earnest in 1999 with the traditional guitarbass-drums rock band setup - has evolved to include as many as 30 orchestral instruments. Now, on Nowhere NowHere, the band add electronics to their repertoire - partially inspired by guitarist/composer Takaakira 'Taka' Goto'srecent collaboration with John McEntire, the beguiling Behind the Shadow Drops. Nowhere Now Here also seesMONO's first-ever lineup change, adding new drummer Dahm Majuri Cipolla (The Phantom Family Halo) to the coretrio of Goto, Tamaki, and Yoda. Tamaki also makes her vocal debut here, singing into the shadows of vintage Nicoon the poetically hazy "Breathe."
For over 20 years, British sound artist, Janek Schaefer, has earned significant international acclaim & awards fortransforming the power of half-forgotten memories into otherworldly works, that are often as ambiguous as they areevocative. Previous collaborators include Charlemagne Palestine, Philip Jeck, Stephan Mathieu, and a work-inprogresswith William Basinski. Schaefer's compositions primarily occupy and inhabit the spaces between sadnessand joy, and relish in the unpredictability of emotional gravity. It is this transience that makes his new album, WhatLight There Is Tells Us Nothing, so resonant. In 2014, with Robert Wyatt's blessing, Schaefer was commissioned bythe Sounds New Festival in Canterbury, England to compose a new, original piece of music created entirely fromelements of Wyatt's Cuckooland album. The composition was crafted using Schaefer's custom two tone-arm 'Twin'turntable with effects pedals and digital collage. Originally presented at the festival as an immersive, multi-channelradio installation, his cloud of sound is a sublime meditation on the profundity of Wyatt’s work, and its transportingidiosyncrasies. Schaefer presents that piece as the title track of this new full-length opus, which is complimented withseven original compositions that not only exist in the same wondrous space, but echo its playfully poignantresonance, well after the album has ended...
For over half a decade, William Basinski and Lawrence English have been in regular contact with one another.During that time their paths have crossed repeatedly in various cities; Zagreb, Los Angeles, Hobart and more, in avariety situations. It was from these chance encounters - and the strange familiar of lives lived in transit - that theirfirst collaboration, Selva Oscura, was seeded. Each of the extended pieces on this record maps an acoustictopography that draws on the concept of drifting into the strange familiar. The works each dwell in an ever shifting, yetfundamentally constant state of unfolding. As one sound fades away, another is revealed in its place, creating asense of an eternal reveal. Selva Oscura was recorded in Brisbane and Los Angeles simultaneously. Thecompositions were each created through a process of iteration and rearrangement that inverted the micro and macrocharacteristics of the raw sonic materials. Dynamics and density were chiseled with restraint and at other timesintensely reductionist approaches to create a limitlessly deep, but open sound field - as rich as the suggested placefrom which its title is drawn.
Acclaimed UK out-rock trio, Beak>, return with their first album in six years. The aptly-titled >>> will be released onSeptember 21, 2018 on Temporary Residence Ltd./Invada Records. Written over the last year and, for the most part,written and recorded live at Invada Studios, the band continue to forge their own path through their own genre ofoddness.">>> definitely sounds like a step forward. The production and feel of the first two albums were like listening throughfrosted glass; a band playing behind a curtain. Now we are hearing Beak> in sharp focus, but without forfeiting whatthe band see as its 'wrongness'. This could be the result of having played bigger stages and festivals - somethingthat was never part of the plan - or perhaps it is just a reaction to the infinite cut & paste fuzz pedal kraut bands onthe planet." - Redg Weeks, Invada Label Manager
Metaphonics: The Complete Field Works Recordings is a sprawling anthology of site-responsive music, imagery, and original text, spanning 7 vinyl LPs and a hardbound book. Inspired by Stuart Hyatt's audio field recordings, musicians from around the world have contributed complex sonic narratives under the Field Works banner. Each album begins with Hyatt's samples and soundscapes from a particular time and location, weaving them into musical phrases and ultimately into song cycles intended to give the listener a heightened and more nuanced sense of place. The Field Works musicians are: Stuart Hyatt, Dan Deacon, Juana Molina, The Field, Pantha du Prince, Eluvium, Dntel, Kaitlyn Aurelia Smith, Gazelle Twin, Visible Cloaks, The Album Leaf, Loscil, Matmos, Rafiq Bhatia, Paul de Jong, Julien Marchal, Mary Lattimore, Lali Puna, Lusine, B. Fleischmann, William Tyler, Nick Zammuto, Lullatone, Benoit Pioulard, Luke Abbott, Marcus Fischer, Rafael Anton Irisarri, Greg Davis, Player Piano, Prototokyo, Daring Ear, Enrique Ramirez, and Forrest Lewinger. An edition of 225, this very limited boxed set comes hand-assembled in custom packaging, and includes high-quality audio download codes for the entire 7xLP set.
To celebrate the addition of Bristol's preeminent out-rock trio, Beak>, to the Temporary Residence family, we arereissuing their eponymous debut album on audiophile-quality double vinyl. Remastered for vinyl by Josh Bonati, andpackaged in a heavyweight old-style tip-on gatefold jacket, Beak> includes the original album in its entirety, as well asa vinyl-only bonus track not available on the CD or Digital formats. Formed in 2009 after jamming together at anINVADA Records New Year's Eve party, the members of Beak> (Geoff Barrow, William Fuller, and Matt Williams)agreed to meet again in the studio to see what happened. The three met at the studio and prepared a very simplerecording set up (8 mics). Very little was said between them before the engineer pushed RECORD, and the bandbegan playing. That very first recording became "Blackwell", the first song on their eponymous debut album. Beak>'sdebut album was originally released in November of 2009. The music was recorded live in one room with nooverdubs or repair, only using edits to create arrangements. All tracks were written over a twelve-day session inBristol, England.
To celebrate the addition of Bristol's preeminent out-rock trio, Beak>, to the Temporary Residence family, we arereissuing their acclaimed second album, >>, on audiophile-quality double vinyl. Remastered for vinyl by Josh Bonati,and packaged in a heavyweight foil-stamped jacket, >> includes the original album in its entirety, as well as vinyl-onlybonus tracks not available on the CD or Digital formats. Who would have thought after that historic day in 2009 whenBeak> played their first notes together in the studio that it would lead them to touring the globe, appearing as one ofthe first live bands to ever perform on Boiler Room, performing countless times at ATP, and actually selling actualrecords to actual peopleâ€¦(yes, that actually happened). Naturally, when it came time to record a new album, spiritswere extremely high, chests were pumped, and expectations were great. The recordings went incredibly well, CD'swere burned, and everyone left the studio full of optimism... A few days later, the band reconvened to listen to thetracks, and it was almost immediately obvious to everyone involved that these tracks were utter shite. Yesâ€¦gonewere the subtleties and distant echoes of old, only to be replaced by what can best be described as "ProgressiveWank Rock" for men in leather trench coats. It was truly awfulâ€¦and they knew it. Touring had made them utterlycrap. After many tears and a good amount of soul searching, the band returned to the studio. Initially scared to playanother note, together they slowly but surely began to playâ€¦and the engineer pushed RECORDâ€¦and that became>>.
After an eventful year of touring throughout their native Australia - including runs with labelmates MONO and likemindedpioneers Tortoise - and featuring alongside the work of artist David Hockney at the National Gallery ofVictoria, post-everything quintet Tangents return with another album, and another stylistic detour. New Bodiescontinues Tangents' rummage through countless varieties of electronics, rock, dub, noise, and free improv jazz thatdefines the group's acclaimed aesthetic. The spacious dub of a plucked cello gives way to a minimalist breakbeattableau resting over rhythmic prepared piano; a staid electronic groove is gradually absorbed into washes of frenziedimprov; staccato synths are woven into tumbling avant-rock; and shimmering free drums phase over static loops ofpiano, guitar and cello. To quote FACT Magazine, "The quintet are so comfortable working with jazz, folk music, postrockand electronic music that it comfortably hangs in a space between them all." On New Bodies, that descriptionrings more intuitive and authentic than ever.
DECAYED: Ten Years of Cities, Wounds, Lightness, and Pain perfectly charts Young Widows' evolution from inspired post-hardcore trio to peerless entity crafting profound combinations of post-punk, noise rock, heavy psych, and gothic folk. The fifteen tracks in this collection originally appeared on stand-alone singles, b-side, splits with likeminded artists (including Bonnie 'Prince' Billy, Pelican, Melt-Banana, and MY DISCO), and rare compilations. Four of them have never been released until now. Of the many impressive aspects of Young Widows' decade-plus run as a band perhaps most remarkable is the quality and breadth of music they made that didn't appear on their albums. Every song here is a standout track from the evolving eras of the band, and as with all things Young Widows, DECAYED pays respect to the past while planting roots for the future.
An ethereal and meditative soundtrack album from pianist and composer Rachel Grimes (Rachel's, King's Daughters & Sons), The Doctor from India features piano, violin, harp, saxophone, and strings interspersed with ambient sound design. Created for a new documentary film by Jeremy Frindel, this score provides a thematically unified sound scape to support the inspiring story of Dr. Vasant Lad, a holistic health pioneer whose approach centers around the ancient practice of Ayurveda.
You Fucken Sucker is the new album by Paul de Jong, cofounder of beloved collage-pop eccentrics, the Books. Presented in the exact sequence in which it was conceived, You Fucken Sucker charts a grueling and complicated time span in de Jong's life. Over the course of its 14 tracks - which range in length from 15 seconds to nearly 10 minutes - we hear complex tapestries of acoustic and electronic instrumentation submit to waves of unhinged screaming; found-sound assemblage seamlessly incorporating subtle R&B rhythms; Freudian funk; lo-fi prog-metal; and vast synth patch orchestration adding unexpected textures and tension to the whole spectacular mess. Like much of Paul de Jong's work, You Fucken Sucker is a genre unto itself, overflowing with innovative exploration of sounds and senses. Unlike his previous work, it is an unvarnished exposition of anger, frustration, misery and confusion. Perhaps most vitally, it is an opportunity for the rest of us to experience the kind of communal emotional purge more typical of his roots; pre-Internet basement punk rock shows - unafraid of being afraid.
A decade ago, Zombi cofounder A.E. Paterra conceived his solo endeavor, Majeure. Released in 2009, the debut album, Timespan, took the term "full-length" quite literally - its 40-minute runtime filled by three epic, side-long journeys through time and space. It merged the sinister soundtracks of Vangelis and John Carpenter, the stately minimalism of Cluster and Ashra, and the relentless drive of Tangerine Dream and Jean-Michel Jarre, delivering inspired sci-fi disco-prog of the highest caliber. Originally released on 2xCD and 2xLP, Timespan quickly sold out on both formats and has been out-of-print for nearly a decade since. To celebrate its forthcoming 10th anniversary, the album is given an entirely new mix and master for this special-edition reissue, Timespan Redux. Mixed from the original master files by A.E. Paterra, and remastered by James Plotkin, Timespan Redux improves upon the original in virtually every way. The vinyl format of Timespan Redux is pressed onto 100% virgin vinyl for premium sound quality, and is available on limited-edition colored vinyl (clear w/ transparent blue streaks) while supplies last.
Sometime in 2001 - sandwiched between the release of Ghost Tropic and its follow-up, the cryptic classic, Didn't ItRain - Songs: Ohia recorded an EP for Temporary Residence's distance-themed subscription series, Travels InConstants. The untitled EP consisted of a single 18-minute song - performed live by Jason Molina in his living room,recorded directly to 4-track cassette as the sounds of a typical Chicago night bled through the air. Built solely from anacoustic guitar and Molina's familiar melancholy croon, it's a hauntingly intimate track. Molina once remarked that itwas "probably too out there" for a proper Songs: Ohia album, which is perhaps why is felt right at home in thiscontext. Scarcely available in its original CD-only edition of 1,000 copies, Travels In Constants has finally beenremastered and reissued for vinyl and digital formats. Completing this reissue is "Howler," another unusually lengthySongs: Ohia track that, like Travels In Constants, was recorded and released in 2001 in an edition of only 1,000.These tracks are amongst the most abstractly beautiful and alarmingly delicate music that Molina ever committed totape. It's an honor to finally make it properly available for the world.
This is the new Four Tet album on gatefold double vinyl format.
After more than ten years apart, multi-instrumentalist songwriters Marty Anderson (Dilute, Okay) and Kenseth Thibideau (Tarentel, Sleeping People) have reconnected to resurrect Howard Hello. Originally founded to craft music inspired by the American Zeitgeist, Election Year finds Howard Hello returning to familiar themes: The dichotomies of reality and illusion; organic and synthetic; sincerity and irony; faith and fact. These themes, however familiar, are perhaps no more confusing and confounding than right now in present-day United States (hence the album's title). Musically Anderson and Thibideau use music as an analogy, fusing abstract and traditional instrumental textures with angelic, distorted layers of vocal accompaniment. Their collaborative connection is extraordinary and rare, symbiotic craftsmen of profound meditations that are as fascinatingly weird as they are irrefutably wonderful.
When Watter first appeared fully formed in 2014 as a trio featuring founding members of Grails and Slint, most assumed the mercurial group would vanish into the ether just like the foggy echoes of sound they crafted on their debut album, This World. Instead, they toured the US with their longtime friends in Om, and returned home to begin work on an ambitious new recording studio, from which their new album, History of the Future was born. As with their first album, the songs on History of the Future evolved from many long days and nights of improvisation, experimentation, and collaboration. In many ways, the guests - which include, among others, Britt Walford (Slint), Dominic Cipolla (Phantom Family Halo, Torres), Rachel Grimes (Rachel's), Bundy K. Brown (Tortoise), and Todd Cook (Shipping News, The For Carnation) - and the gear were as vital to the creative process as the core duo of Riles and multi-instrumentalist Tyler Trotter. It is this exploratory nature that breathes life into Watter, and turns ephemeral into eternal.
Lasso Yo is the third full-length from Canon Blue, the alter ego of Nashville producer-songwriter, Daniel James. It's been over a half-decade since Canon Blue’s previous album, the Efterklang and Amiina-augmented orchestral pop opus, Rumspringa. Six years can feel like a lifetime, and James knows that all too well, and he tells the whole story on Lasso Yo. Conceived during increasingly long periods of isolation caused by increasingly intense bouts of anxiety and depression, Lasso Yo weaves those difficult personal struggles into a lyrically earnest and musically rich collection of songs. Produced, performed, and recorded by James at Taylor York's (Paramore) house, and mixed by John McEntire (Broken Social Scene, Yo La Tengo, The Sea and Cake), this is not only Canon Blue's most personal record, but also his most profound. For what was undoubtedly a challenging, cathartic record to make, Lasso Yo achieves a kind of weightlessness that betrays the heavy load it carries. It's this dichotomy that gives the album a curious magic, an unlikely transcendence spawned by an uncomfortable confrontation between James' past and present, and the new shape it gives his future.