Now it's four years on. In that time, Parenthetical Girls have released two more critically-acclaimed full lengths (2006's Safe As Houses [Slender Means Society] and this year's Entanglements [Tomlab]), toured the US and Europe with the likes of Deerhoof, Xiu Xiu, Los Campesinos!, Evangelicals, and Casiotone For the Painfully Alone (whose album Etiquette, incidentally, features a rather lovely cover of (((GRRRLS)))' closing track "Love Connection"). We are pleased to finally present (((GRRRLS))) with the wide distribution that it deserves for the first time.
A Song For Ellie Greenwich is the first single from Entanglements—the third album by Parenthetical Girls—that is already available on CD & LP via Tomlab and Slender Means Society.
From Kraftwerk to Leonard Cohen, The Smiths to Suicide, and Pet Shop Boys to Smog, Chicago’s one-man musical army Owen Ashworth â€“ a.k.a Casiotone for the Painfully Alone - has been bracketed with all manner of illustrious names in the course of his eleven year career. But in collecting the 7-inch split-singles and compilation tracks he released from 2004-7 (all but two of them on CD for the first time), Advance Base Battery Life provides compelling evidence of the singular nature of this industrious film-school dropout’s talent.
Misha is multi-instrumentalist/writer/producer John Chao (lap steel, violin, guitar, accordion, others) with a small set of friends (Ronit Granot, Amy Vachal.)
Called "Band to Watch" by Stereogum, featured on MTV Iggy, and "Best New Track" by Pitchfork for debut Teardrop Sweetheart, All We Will Become is Misha's second album.
Written after the end of a long creative and romantic partnership, All We Will Become is a pop album about love in its incarnations, from start to end - of rapturously falling head over heels, of togetherness, of loss and grief, and bittersweet beauty that comes after.
Drawing upon the influences of Chao's upbringing - the celebratory and elegiac sounds of New Orleans in "Elater," 70's Bollywood of RD Burman in "You," classical coda in "In Reverse," Tx high school drum corps of "Optical," and lineage of songwriters like Neil Finn, juxtaposed with modern production - to create pop songs that look forward, yet are grounded in specific sense of place & tradition.
Like love, All We Will Become attempts to create something unexpected and unique from universal sensation, of familiar with the unfamiliar, like something long lost and newly discovered.
After last year’s extatic album “Night Life”, SF’s Erase Errata return with two new and exclusive recordings for this series. With “Clear Spot” they pay tribute with a genius cover version of one of their heroes, Captain Beefheart. The flipside brings you “Pass the Crimson”, a dynamic and cutting new song that follows EEÂ«s tradition - EllieÂ«s sliding bass, BiancaÂ«s tricky drums and vocalist JennyÂ«s staccato singing.
Blackbird’s Echo is the title of the fifth full length album by Cologne, Germany based Niobe, recorded and produced at Studio G by Tony Maimone (Pere Ubu, Home & Garden) in Brooklyn, New York with Aki Onda, Brooklyn, New York acting as guest producer and collaborations with David Grubbs, DJ Oliveâ€¦
Catgut Tape is the debut solo album by the British songwriter O.D. Davey, available on LP, CD and digitally from Tomlab Records.
Recorded by its author during his late teens and early adulthood in the polar British counties of Aberdeenshire and Essex, it is a collection of love songs set amidst the tragicomedy of youth and the landscapes that stage it. Born of necessity, its pallet of sound is simple but singular; a bitcrushed and baseless skeleton of wooden guitar, drum pad and plastic organ, all under a voice that tells stories, sometimes as one person, sometimes as another, but always with sincerity and humour.
There are few direct comparisons: the melodic playfulness of Micachu & The Shapes; the open romance of Thom Yorke; the harsh, dry narratives of English folk; the barbed hooks of a CITV advert break, its jingles made meaningful. There is a style at play within Catgut Tape that is hard to define perhaps because it is just a means to an end, the songs themselves smart enough to be sung a dozen ways.
As the voice and words within the duo KLAAR, Davey is already causing a stir within the depths of the electronic music scene. And, under one pseudonym or another, the makings of Catgut Tape have been gaining airtime on BBC Radio 1, BBC 6Music and London’s Resonance FM even before the album’s completion. Now, perfectly homed within the Tomlab roster, this melodically delicate and lyrically blunt collection of very British songs is the first introduction to the work of this unexpected and original new voice.
Come Into My House is the first release by Vancouver, Canada trio NO KIDS, which is comprised of three-quarters of the critically revered pop band P:ANO. Come Into My House achieves an unexpected cohesiveness despite the wide range of musical styles over its 12 tracks. Golden era Hollywood musicals, Jam & Lewis-inspired production techniques, the icy displacement of contemporary R’n’B, and the breadth of Arthur Russell’s, disco, pop, and avant garde compositional work are referenced and married together by novelistic narrative strains, a lush instrumental palette, and a cinematic atmosphere.
Portand, Oregon’s Parenthetical Girls have traded in their small-screen sincerity for a bold and blustering Technicolour â€“ a lush, longing and lusty celluloid schmaltz they call Entanglements. An orchestral song-cycle of grand sonic ambition, Entanglements is an eleven-song, linear narrative of ascendancy, adolescent sexuality, quantum mechanics, consent and other moral ambiguities! Borrowing string-swept sentimentality from the likes of Van Dyke Parks, Scott Walker, Jack Nitzsche, and Burt Bacharach, Entanglements draws colourful lines across the expanse between these orchestral pop antiquities and the more formidable strains of modern classical composers â€“ its hues distantly reminiscent of names like Krzystof Penderecki, Philip Glass, and Gavin Bryars.
An unpredictable and dramatic "big band song cycle about science and information", Everything/Everything is a new departure for Simon Bookish, being his first album for TOMLAB. Additionally, whilst previous Simon Bookish releases have been informed by the sounds of digital synthesizers, Everything/Everything does away with them entirely to focus on live instruments. Scored for an ensemble dominated by saxophones, brass, piano, harp and Farfisa organ, it features luminaries from both the jazz and experimental classical music scenes.
Whilst this is almost certainly his most pop-oriented release to date, Everything/Everything, as it's name suggests, finds room for moments of racing Philip Glass minimalism, lop-sided disco, expressionist cabaret, and even an eery ambient interlude. Lyrically, the album's concept is "the flood of information" in our modern age, taking in chemistry and ecology, language and art, sometimes surreal, sometimes humourous, sometimes provocative, a weird blur of fact and fiction, delivered in Bookish's distinctive English-eccentric vocal.
It's only natural that Simon Bookish would want to tackle this chaos of stuff, since 'Simon Bookish' is the pseudonym of London-based composer Leo Chadburn, whose diverse recent work has included everything from sound-art installations in Bregenz, Austria, improvisation and guest spots with Leafcutter John and Polar Bear's Seb Rochford, and computer music for contemporary dance at the Royal Opera House to an acclaimed appearance with the National Theatre as "The Singer" in Brecht's "Caucasian Chalk Circle".
Hearts Hearts explore emotional and moral ambiguities on Goods / Gods, taking aim at the ineffectiveness of the dichotomies and borderlines that define modern society in the process, preferring to "think in options" as HÃ¤mmerle puts it. The group sees the diagonal line of the slash symbol as representing an openness and flexibility in meaning; in similarity as much as difference. Produced by mastermind Peter Paul Aufreiter, the new album conjures a mix of anguish and ecstasy, whether it’s the funky falsetto of 'Sugar / Money', or digital monster ballad 'Do you often think about /'. Taking inspiration from the leftfield pop productions of Bon Iver, Jamie XX, and Son Lux, they skew addictive hooks into drippy song chambers, littering them with lucid samples and cybernetic production licks, conjoining contrasting elements with prisms of electronics and lush acoustic instrumentation.Lead single 'Phantom / Island' and instant motorik pop classic 'Goods / Gods' are most addictive and high-energy tracks yet from the quartet, blending groovier verses with increasingly majestic choruses. This is ultra-intelligent pop from a band that have found their true voice. Somewhere between happiness and sadness, energy and lethargy, electronica and rock - that's where you’ll find Hearts Hearts.