The 35 minute debut from this NYC's most underrated quartet; imagine a band that can somehow fuse the spirit of the jefferson airplane with the deafening blasts of the dead C. Recorded in 1998 by onetime-Honeymoon Killer Jerry Teel and made in an edition of 500.
The Social Registry 12” series continues with this groove infected barnstormer from Artankers Convoy. This four track EP is sure to get feet moving and hips swiveling with their catchy and irresistible flow (people who have tried resisting have ended up with severe muscle cramps). The six piece convoy continue to come up with new songs that demand being put onto vinyl making it a golden opportunity to start your own dance party wherever you want. Organic Grooves remixes one of the pieces shooting AT into an even higher orbit.But this EP is not only for the floorcutting set. It is layered with a multitude of different influences that set this group apart from the typical club ravers, they compose pieces that allow them to really stretch out. You can sit back and just enjoy this, but your body might have different ideas.
Welcome to the world of Artanker Convoy. This six combines a range ofmusical influences to create an infectious sound groove, which is aspleasing rhythmically as it is sonically intriguing. The material on thisrecord stems from endless test sessions conducted at a house deep in the“Other Cradle Of Civilization” (BKLYN, NYC) where even intrigued passersbyon the street would often try to poke in their curiously bobbing heads.Mature Fantasy is a culmination of their efforts: an LP that can be enjoyedin any indulgent situation.
Cozy Endings captures the finest moments so far of a two year experiment between the psychedelic rock group Artanker Convoy and the art collective MUX. This CD/DVD set offers the seeker the rare opportunity to catch a glimpse of the aural and visual experience that have only been available to live audiences in limited locations. Artanker Convoy generates the sound: alien waves punctuated by sly rhythms that accommodate a crowd whether it is dancing, watching the visuals or relaxing. MUX brings to bear the combined visual acumen of choreographers, lighting specialists and video artists to create an ethereal landscape through which the band dissolves and dancers flow through.
Having gone from hometown heroes to national fan favorites and critical darlings, the band has earned its reputation as top of the rock heap. Putting out raucously fun records. Liferz is a portrait of a band at the top of their game â somehow they have managed to get even more “awesomer”.
We would like to be the first to welcome you back to the world of fun rock and roll. From a chance meeting over used vinyl comes the origins of trio known to the public as Blood On The Wall. A band started by music lovers for themselves to enjoy has instead transformed into a group that gets the whole room a rockin’. They have imbibed at the levee of indie music that makes those who feel its warmth get down and start tinkering with a flood of ideas. Attitude free intelligent songs written with rhythms you can dance to and melodies you can sing along toâŠall yours guilt free.Whilst many a band these days has been trying to figure out how to put their leather pants on two legs at a time or how to get that ‘I just got of bed’ haircut looking just right; members of Blood On the Wall have been up late, drunk as hell, talking about music, writing songs and playing their asses off. The effect this band has on the uninitiated is amazing. There has been dancing; and we mean real dancing, where all people can do is just wear this giant grin on their face and start moving; it’s an amazing thing to see.When you hear Blood On The Wall’s songs you can be sure you will not hear esoteric noodlings, instead they will power you up with their excitement and energy carried through. Their eponymous debut is a whirlwind of guitar crunchiness, dub motions and odd hooks that will get caught in your head like a recurring memory. This album will be played over and over again and not get tired. It is a party that rages from dusk to dawn with all the lunacy and intimate moments that make you talk about the craziness for years afterwards and share those special moments with friends.
Blood On The Wall is the sound of a couch being tossed from the second story to thunderous applause. The feeling that one gets when you havefinished off the last of the tequila and it’s on to the beer. That tinge of sadness late into the evening right before the dawn is about to break andthe regrets and hopes of your life merge with first chirps of the birds starting their day. This three piece consisting of Courtney and Brad Shanks,yes they are really brother and sister, with Miggy Littleton hitting the skins are attuned to the mysteries of music. And how it can catalyze onesmood from from a stupor to where you can’t stop your feet and your hair is flaying in rhythm to the beat. Rock with heart that takes no prisoners.BOTW will sweep you away on a sonic cyclone and you won’t be missing Kansas after you are swept along with them.Blood On The Wall’s second record is, as the name might suggest, Awesomer. Recorded under the watchful eye of producer Nicholas Vernhes (FieryFurnaces, Black Dice, Silver Jews) the three have settled more into their own skin as they run from their heaviest song to date “Stoner Jam”, out ofthe pop anthem “Mary Susan” and into the quick shredding of “Hey Hey” to end in your arms with “Going To Heaven.” all the while they stickto the hooks and the playful dynamic that has made them the rock enchanters of the NYC music scene.Based out of NYC Blood On The Wall has been hard at work for about four years now. The sibling song writing brain trust of Brad & Courtney arerounded out by Miggy who was in Ida, White Magic, The Shit and who has played with numerous other artists on tour and in the studio. A chancemeeting on a corner in Williamsburg that evolved with their shared love for old vinyl and then bore fruit as a single, which found no shortage oflovers. In 2004 they released their self titled debut to much acclaim and went on the road with Enon, Black Dice & Fiery Furnaces in the states,played some legendary shows in Brooklyn, toured Norway, and left a pile of cans, bottles, kick-ass memories all along the way. Once Awesomerhits expect that trail to grow prodigiously.
Take a crafty pop music guitarist who knows how to come up with hooks and have them team up with a trained avant garde classical musician and you get the Velvet Underground. Move that same combo from the Lower East Side across the river to northwest Brooklyn and tack on 40 years and you get Christy & Emily.This duo present their version of this mixture of elements with their debut LP Gueen’s Head. An octet of pieces that explore modern classical techniques grafted with pop songs. This alchemy produces a string of highly catchy ascetic tunes combined with undercurrents of discordance and dissonance. Add to this lyrics that take from the history of pop and modernist mid-20th Century poetry.
Hailing from Los Angeles, California, Douglas Armour is our first proper signing to reside outside of New York City. He is a prolific songwriter and for this 7-inch Douglas provided us with two tracks, Prince of Wands and Away. Prince of Wands first left an impression on us,and an indelible one at that, when associates of the label began DJing the track. It is a damn near perfect pop song that has had people jumping up to the dancefloor upon first hearing.. Moving in a different direction with the kind of indie pop reverie that hasn’t been heard for a long time.
And now for something different... Fulfilling the promise of his impeccable entry in our 7-inch series, The Social Club, The Social Registry is proud to announce The Light Of A Golden Day, The Arms Of The Night -- the debut LP from Los Angeles located Douglas Armour. This album finds the artist expertly blending tons of our favorite poptones from days past to create a hyper-literate pastiche that’s equal parts nostalgia and forward thinking. Echoing its title, the LP has a structure that plays off binary oppositions to create one of the most varied pop albums we’ve heard in a long time.
“Still nothing could prepare for the total overhaul espoused in the group's confidence, agility and creativity. Piano Blooms surges with a focused tension and rhythmic stride of a group who're coming into their own as songwriters as well as feedback laden rockers.” âartrockerThe Electro-Putas are finally ready to unleash the spatial sound groove attack from their modern era with this the second release in the The Social Registry’s 12” series. Think krautrock in the realm of Can with dashes of no wave, free rock, and just plain freakiness. This is the antidote to all of those bands who are “pushing the envelope” with all the force of baby sloth. These three songs will put the frizz back in your hair and have you checking your smoke for flakes of something else besides tobacky. Joe, Jaiko and Akio combine their love of psychdelia, full force blasts, and ramblings along the noise path on this Limited Edition chunk of vinyl. This is for the people who swing their hips in more than just one direction. Sure to be playing on your turntable until the needle gives out or your mind does.This releases is the second in our ongoing 12” series and, as always, is limited to 600 copies.
The third installment from NYC's noise-mavens Electroputas is upon us and itis a heavy affair. Hand woven to thick analog tape over six months at theJunkyard Studio compound with Sean Maffucci of Icewater Scandal behind theboard, this record opens up the stride of this criminally under exposedoutfit. The sprawling results at times brings to mind such notableluminaries as Can, Chrome, Lightning Bolt or the more musical ramblings ofCiccone Youth. With this record the trio has managed to take theirunrelenting live sound into a wholly new direction.
Gang Gang Dance continue to push the musical envelope with Saint Dymphna, the first proper studio recorded follow up to the bands 2005 critically acclaimed break through album God’s Money. Tempering the finer elements of Pop, Dance, Ambient and Experimental music; Saint Dymphna is both the bands most challenging and forward thinking release to date.
In advance of Gang Gang Dance’s upcoming studio full-length The Social Registry are proud to present the band’s first ever DVD release, Retina Riddim. This film was made by Gang Gang Dance member, and visual artist, Brian DeGraw. Retina Riddim is by no means a tour film, documentary, live video, or anything as remotely stringent. Included on the DVD is a fan film, GGDbyOP, shot and edited on the road by Oliver Payne, a friend of the band’s. As an added bonus Retina Riddim also contains an audio CD cut together by Degraw specifically for this release, and a fold-out poster designed by Mr. DeGraw. Retina Riddim is both a document of Gang Gang Dance’s progress over the past few years, and a look forward to the direction they are moving in.
RAWWAR is the first glimpse of exactly what the band have been up to over this prolific year. Clocking in at just over twenty minutes and sprawled across three tracks, the release plays like a Gang Gang Dance sampler of sorts; a taster for what is to come. RAWWAR opens with Nicoman: a live favorite from the last few years which has been refined in the studio.bombastic and dance-oriented it blends the bands affection for musical styles, propelling the listener through the four minutes of audible tribal chaos, while at the same time demonstrating GGD’s talent for pop melody. Oxygen Demo Riddim finds the band improvising and building musical ideas into a dreamy hypnotic instrumental interlude. The final, almost cinematic, track is a studio composition entitled The Earthquake That freesPrisoners which unfolds over ten minutes. This was painstakingly assembled in the studio and incorporates conversational dialog from their deceased band member Nathan maddox interwoven into the bands compositional structure.
Gang Gang Dance is a musical vehicle without brakes, constantly innovatingand dropping material out the rear. Hillelah documents a period in whichGang Gang moved from city streets to multilane highways and down back roads. These four tracks are culled from live sets and practice sessions to giveyou just a taste of what was happening during this period between GGDrecording sessions. Plus this enhanced CD puts one into their world with twovery diverse performances.
We are proud to present Gang Gang Dance’s second full length releaseentitled God’s Money. Recorded over the course of a year at Junkyard AudioSalvage the band utilized whatever means were available to them: drums ofall shapes, sizes and circuits, various keyboards and synthesizers,midi-triggering guitar scenarios, vocals reconfigured via guitar effectpedal and even the occasional aluminum chair. Blending hypnotic rhythms intoa highly structured compositional style or soaring in the lofty heights ofpracticed improvisation, this recording follows in the footsteps of theirother output marking new ground for the band.
Lateral finds the band reflecting on their past two (may we add highly underrated) albums while gazing to the future with newfound rhythmic motifs and otherworldly heights to their sound sculptures. The textures are warm and inviting, tempting the listener to focus on stunning minimalist changes within Growing’s dense aural fog.
All The Way, the debut full-length from Growing on The Social Registry, concludes a epic trip. Through six tracks Kevin Doria and Joe DeNardo complete the conceptual arc initiated on their 2006 album, Color Wheel. If we still bought into genres, we would say that this record finally achieves a perfect balance of noise and pop, yet what we can say is that you’ll potentially hum melodies long after your headphones are out. Recorded by Barry London at his Ocropolis Studio during the 2007-08 winter, All The Way sounds like some sort of frozen urban chaos taking place at a superclub on another planet.
Hall Of Fame is a trio out of NYC comprised of Samara Lubelski, Dan Brown & Theo Angel. Paradise Now is their fourth full length album since their inception in 1995. Though hinted at on their previous Siltbreeze effort; this record is not a departure from their trademark psychedelic excursions but an evolution from their bedroom recordings, allowing their sound to be captured in a more fully realized dynamic staging. Recorded over a year at the famed Rare Book Room in Brooklyn where Samara moonlights as an engineer allowed the trio to take their compositions further into the ether. Carefully sculpting not only the inherent energies of the compositions but also drawing every audible element into the fold whether it be a slow drawn violin scrap, fluttering percussion or the slow echo of a vintage Ampeg Amplifier. This record exemplifies the kind of precision and subtle craftsmanship that exemplifies the honing of their abilities and the furthering of their artistic vision. Members of Hall Of Fame have collaborated with the likes of, The Sonora Pine, Jackie O-Motherfucker, Tower Recordings, Tara Jane O’Neil, Thalia Zedek, David Grubbs, Tony Conrad, Metabolismus, Sal;mon SkinâŠthe list goes on and on. In addition to their work as Hall Of Fame the three have independently released solo efforts (percussion excursions, violin experimentations, prepared guitar explorations, sound manipulations and song efforts), ventured into experimental film, studio production, documentary film and just about every other creative foray most you could imagine.
Mini-LP from Highlife collects White Magic collaborator Sleepy Doug Shaw performing five spectacularly infectious tunes. Recorded in Trinidad and at London’s legendary Southern Studios, Shaw is backed by members of White Magic, Gang Dance and Ariel Pink’s Haunter Graffiti on a handful of these tracks. Having garnered pre-release praise in the (digital) pages of Pitchfork, Gorilla Vs Bear, Spin, NME & Hipster Run Off might qualify this as “highly anticipated” debut. LP edition includes the last track cut onto a 7-inch with a bonus track on the b-side to boot.
Gathering moss is not for Icewater Scandal; they are constantly percolating with ideas. They take what they have accomplished before redefining it and then heading for new horizons. Their first album travels over new territory from their debut EP released under the AM Radio moniker. Though still filtered through their concept of taking 60’s experimental music a la the Dream Syndicate et al, and merging that with the elan of 80’s indie rock; No Handle is at times more muscular and other times more cerebral, without losing any flair. Part of this can be attributed to their producer Lee Ranaldo of Sonic Youth. Recorded and mixed at SY’s studio, Echo Canyon, there has been great care in getting the sound just right. Recorded, mixed and mastered all on analog equipment was a decision that allowed no ones and zeros to come between what was played and how the band wanted it heard. This foursome go from the almost jaunty Muddy Blue to the ambient heaviness of Shiny Gold to the catchy groove of Banana Ssplat without showing any seams. They are willing to let their intuition lead them, no looking over shoulders. It is a confidence that is bourn by the music. No Handle is sure to also carry you along with it.
Forming out of the musical insurgence that was the NoiseFest at White Columns Gallery in 1981; Interference coalesced around three key figures of New York’s downtown scene: Anne DeMaranis, David Linton and Michael Brown. DeMaranis had just parted ways with an early incarnation of Sonic Youth and co-curated the NoiseFest with Thurston Moore. Linton had headed to NYC a few years earlier with then school/band mate Lee Renaldo, eventually hooking up with Rhys Chatham for a three year stretch. Brown, then a twenty six year old PhD candidate at NYU, had recently broke rank with Rhys Chatham and drafted a wholly unconventional percussive approach to the fender bass. From their inception through their eventual fragmentation 30 months later, Interference charted their course across the stages available to them: CBGB’s, The Mudd Club, The Kitchen etc., ultimately swelling to a quartet with the addition of fellow Rhys Chatham veteran Joe Dizney. In 1982 they recorded this LP at Radio City. Originally slated for release on Josh Baer and Glen Branca’s legendary Neutral records, the record has remained unreleased, until now.
It’s no wonder that Lizzie Bougatsos and Sadie Laska sound great together. Hitting it off the first day of Art school, the two hung out for the first time at Laska’s weed-dealing older brother’s party, and the two have been close ever since. With her multi-instrumental and vocal work in the celebrated band Gang Gang Dance, Bougatsos found herself eager to focus more on drumming. She rang up Laska and the two set to work. The result - a blend of propulsive drumming and samples from all over the musical (and often non-musical) spectrum - is a visceral and moving experience.
The Social Registry is proud to break your bones with I.U.D. - Lizzi Bougatsos of Gang Gang Dance’s (vocals, percussion) new project. Teaming with Sadie Laska of Growing and Extreme Violence (the duo is known here as Mr. Egglesby and Lil’ Pickle - they have different names for each release), The Proper Sex is a downright brutal industrial clusterfuck that’s sure to fog the glasses of experimental music nerds and provide the catalyst for many a record store argument. Put The Boredoms, EinstuÌrzende Neubauten, Meat Beat Manifesto, Tribe 8, Front 242 and some black metal tropes in a blender and then serve chilled at a party hosted by hyper-feminist vampires and you’re getting close to the sound on this one.
The record opens with “Daddy” â a dubbed out introduction that is immediately set aflame with clanged-out percussion, collaged loops and rapidfire 8-bit jet streams. “Glo Balls” mixes abrasive screaming with roaring guitars and inventive drum work. “Monk Hummer” is a pastiche of porn samples (harkening back to the band’s Dead Womb 7”) mixed with Himalayan chants â like Drum’s Not Dead-era Liars but more visceral and textured.
“911” opens Side B with a mid 90s Boredoms/Crash Worship style drum breakdown. Samples clog the mix and rapidly fly across the spectrum on top of punk-inspired percussion. “Mary Unmargaret” catapults this formula into a religious nightmare. Bells clash with heavy distortion and a phase-shifted trance creates a dizzying effect. “Girls Just Wanna (Time To Have Sex)” closes the record and already wins the “best song title of 2009” competition. Featuring some dark, chugging guitar work from Rites of Spring hero Mike Fellowes (Mighty Flashlight, Will Oldham), the track is a disconcerting tribal take on black metal.
Recorded at Vacation Island Studios by Matt Boyton AKA Professor Funkenstein, The Proper Sex is creepy, relentless and (most of all) extremely fascinating. It’s a varied listen that reflects its influences and cover art â which mimics Sparks â to a stunning effect. Like Gang Gang Dance, these rhythms are already cemented in a listener’s head. It’s just that this journey might be a descent into the inferno rather than up to the heavens.
Copenhagen native of Indian descent Kid Kishore strikes a balance between old and new, blending the sounds of India with the electronic music that permeates Denmark. Self-described as anything from “Danish ghetto-tech” to “golden age Bollywood,” his beat-heavy sound is a scattershot mix of musical styles from all over the sonic landscape.
It captures a moment and represents a place of sorts. If you walk down Canal Street on any given night, odds are you will hear the sound of Messages coming from a fifth floor walkup. If you stopped, you would hear it go on for hours and it would be the sound of Tres Warren (of Psychic Ills) and Taketo Shimada mashing sine waves, bass loops, guitars, samplers and turntables into a storm in between bouts of playing techno and psychedelic improv records.
The Metabolismus collective has been making music since the mid-1980’s, self- releasing most of their early material on cassette and vinyl Lps. The band comes from the town of Stuttgart, Germany and creates music that is rooted in the rich tradition of German experimental bands such as Can, Amon Duul, Popul Voh and Kraftwerk with touchstones in rock, folk and electronic music. With this release they are joined by Samara Lubelski and provide two beautiful tracks of arboreal shimmer with glimpses of soft 60s psychedelic sheen.
Mike Bones is New Jersey-born songwriter Mike Strallow, who lives and works in New York City. Of his pseudonym, Strallow offers: “Bones is a nickname a friend gave to me when I was a kid. Making records as Mike Bones removes my voice from the song, at least in my own mind and leaves a song’s meaning and intention ambiguous. I don’t have to show my cards.” Although Bones has been writing songs for years, worked as a guitar player for The Mighty Flashlight, Damon McMahon, and Lizzie Trulie, and is a member of cult favorites Soldiers of Fortune (a band featuring members of Oneida, Home, and Oakley Hall), The Sky Behind the Sea marks his debut solo recording.
A Fool For Everyone is Mike Bones’ second album and was recorded by Mitch Rackin at Seaside Lounge and mixed by Nicholas Vernhes at Rare Book Room. The record features a number of musicians including Matt Sweeney (Bonnie Prince Billy, Chavez, Zwan), Parker Kindred (Antony & The Johnsons), Ken Griffin (Favourite Sons), Brad Truax (Jah Division), members of Sian Alice Group (Rupert Clervaux, Ben Crook, Sasha Vine and Eben Bull) and Douglas Armour. It provides another ample demonstration of Mike Bones’ compositional range and depth as a songwriter, and stellar talents as a lyricist. With A Fool For Everyone he continues his journey to the top of the songwriter/guitar god heap.
Ground Zero Generals is the debut album from Nine 11 Thesaurus, a collective of five MCs from East Brooklyn, and sees them collaborating with Tim Dewit (Gang Gang Dance), Matt Mehlan (Skeletons) and Sam Hillmer (Zs). This is the second installment in Representing NYC’s ground-breaking series that began with The Fly Girlz’ Da Brats FRom Da Hood. Representing NYC are a youth development organization in Brooklyn that strives to bring young Hip Hop MCs to bigger audiences through collaborations with artists from Brooklyn’s underground music scene.
Nymph is a Brooklyn-based psychedelic-shred/avant-garde outfit whose tempestuously transcendent music has been penetrating the New York music scene with bared teeth. Nymph’s compositional palette encompasses an ebullient kaleidoscope of sound: imagine 13th Floor Elevators essaying a Rahsaan Roland Kirk jam and you begin to get the picture. Or maybe Steve Reich bonging out on pandit pran Nath and jamming with This Heat. The four-piece’s orgiastic din is composed and orchestrated by the nucleus of Matty McDermott (formerly of Coyote â Birdman Records) and Eri Shoji; and currently featuring the thundering harmonic prowess of bassist Nickle Emmet, with Jason Robira (Dark Meat) pounding the skins.
Mick Barr’s guitar style is the sound of musical entropy. His compositions, nestled in that grey area somewhere between grindcore and classical, have the air of some sort of slow building chaos, seemingly spiraling out of control. But Barr, here in his solo incarnation Octis, maintains the poise of a classical composer. His style of heavily-distorted playing could commonly be deemed “shredding,” but the songs found on this installment of The Social Club are anything but mindless noodling. Backed by an avant-garde pedigree, with work in bands like Quix*o*tic, Orthrelm, and a duo with Zach Hill of Hella, Barr makes intelligent music for the metal-inclined