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.
The Social Registry is pleased to announce the debut full-length album from London-based band, Sian Alice Group, 59.59. The band is already on the rise in its native England having opened a string of shows for Spiritualized and received a flurry of attention in the press. 59.59 is a fully realized and album that moves through traditional pop songwriting and instrumental composition while tempering it with studio improvisation. It is an epic record that showcases the talent and range and of this young group, taking in elements of various genres and making them their own. At a time when the musical landscape seems inundated with derivative retrogressive guitar bands, or acts reliant on sequenced beats and oscillator knobs, Sian Alice Group’s more classical inclinations show their willingness to tread their own path. 59.59 features guest appearances from Douglas Hart (Jesus & Mary Chain), John Coxon (Spiritualized, Spring Heel Jack) and Brian DeGraw (Gang Gang Dance).
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.
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.
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.
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.
The full length debut from incendiary ensemble which takes the band well beyond their astounding live dynamic of guitar theatrics and poly rhythmatic madness seamlessly blends non-traditional instrumentation and studio improvisation.
The Dusk Line EP is comprised of four songs recorded during work on Sian Alice Group’s debut album 59.59 in the summer of 2007. For this release they opted to work on a smaller scale, stripping their sound down to just layered grand piano and voice. Featuring contributions from just two members of the group, Rupert Clervaux and vocalist Sian Ahern, The Dusk Line is an exercise in restraint. It was recorded at London’s The Garden, utilizing layered piano parts all performed by Clervaux. Sian Alice Group have become known for their sweeping, orchestrated aesthetic, but The Dusk Line distills their sound to its core.
This material encapsulates the formative days of the band, who have since released their acclaimed full-length Dins. Already hard at work on their next album, Psychic Ills show no sign of slowing down, and this compilation gives people the chance to hear where things began. It has the first two releases, Mental Violence I and Mental Violence II. Both were only issued on vinyl in very scant numbers and disappeared in the blink of an eye, that is until now plus unreleased material.
The Social Registry are pleased to present the first of three limited edition twelve inch EPs from VietNam. Each of the three features a track from the band’s self-titled full-length (released on Kemado), along with tracks recorded recently at the band’s Freedom School Compound, a store-front apartment/studio that the band shares with producer Matt Boyton in Brooklyn, NY. These recordings capture the band cutting loose, writing and recording at their will, and form a perfect counterpoint to their professionally recorded full-length.
The debut EP from NYC process-oriented outfit Telepathe, a band whichfeatures former members of Wikkid & Blood Lines. Four chanty-chaotic yetperfectly structured compositions which bring to mind such outfits as Can,Amon Duul or perhaps even Gang Gang Dance.
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.
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.
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.
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.
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.
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.
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.
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”.
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.
We are pleased to bring you the followup to Zs’ 2010 2xLP New Slaves, aptly titled New Slaves Part II: Essence Implosion! This record serves as a companion (or sequel) to New Slaves, their epic and acclaimed double album from earlier this year. It features remixes of material from that record by such luminaries as Genesis Breyer P-Orridge, JG Thirlwell (Foetus), Gabe Andruzzi (The Rapture), Cex, Ecstatic Sunshine and Excepter’s Zebrablood. Zs also insinuate themselves in to the mix contributing the track “MMW IV: Essence Implosion!,” a side long epic which uses the aforementioned remixes as a sound palette from which to compose. With this track, and release, Zs’ continue to embrace the studio as instrument, including not just the faculties of a studio in their process, but outside remixers and producers as well, demonstrating the ultimately collaborative nature of their approach to music.
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.
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.
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.
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 Skinâ€¦the 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.
With Parallel Suns Samara Lubelski has flown to a higher orbit with her merger of the fuels of folk, psychedelia and pop. They combine into a potent mixture that gives her compositions a vibrancy that shimmers in the reflection of their power. The music streams down and ends up in your ear through dappled arrangements that are warm and bright while still having them shaded with darkness from both the lyrics and sound.
We are pleased to present Phantom Parade; TK Webb's second release to bear the TSR logo. Recorded at the Rare Book Room by veteran producer Nicolas Vernhes, this release is by far the strongest record TK Webb has made in the 13 years he has been playing music. At 28 years old, having been an in-demand guitar and harmonica player for years, touring all over the country both as solo player and side man and managing to average a show a week in NYC over the last 3 years, TK came to this record as a man determined and you can hear it in the music. The resulting work is an almost instant classic; versed in the American musical tradition with perfectly structured songs littered with imagery woven out of everyday experience.
“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.” â€“artrockerThe 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.
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.
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.