[greenlight]

Originally Posted by Severian

I’m warming to the new Spiritualized.
It does sound different with loops and samples instead of orchestras. Different vibe to the samey-but-that’s-OK-cuz-Spiritualized songs.

Digging’ it.

New Spiritualized AND new LOW are on seemingly new levels.

What’s a guy gotta do to get the Flaming Lips to find a new level? I miss when I cared about everything that band said or did.

new LOW record sounds like they would collaborate with William Basinsky or smth.

[Severian]

Originally Posted by greenlight

new LOW record sounds like they would collaborate with William Basinsky or smth.

Hey, you’re right.

Very interesting turn for a band 25 years into their career. Daring, experiments, overall pretty fookin sweet.

[The Soup Nazi]

Originally Posted by greenlight

just heard a new track called Evensong from Sarah Davachi's Gave In Rest. amazing. renaissance in full swing.

Beat me to it. Eh, what the hell, I'll post my post anyway. Out now: Sarah Davachi, Gave In Rest.

 

https://badabingrecords.bandcamp.com/album/gave-in-rest

Sarah Davachi has quickly risen in prominence since her first release five years ago, and Gave In Rest represents her highest artistic achievement. By infusing her compositional style within a predilection for medieval and Renaissance music, Davachi unearths a new realm of musical reverence, creating works both contemplative and beatific, eerie yet essentially human. Gave In Rest is a modern reading of early music, reforming sacred and secular sentiments to fit her purview and provide an exciting new way to hear the sounds that exist around us.

Between January and September of 2017, Sarah Davachi lived in flux; storing her belongings in Vancouver, she spent the summer in Europe, occasionally performing in churches and lapidariums and seeking respite from her transitional state while surrounded by such storied history.

"I've always been a pretty solitary person, but that summer I discovered quiet moments to be increasingly valuable," says Davachi. "I became engaged in private practices of rest and rumination, almost to the point of ritual." Though not religious, she sought ecclesiastic environments, sitting for hours in muted spaces and listened to how church instruments augmented them – their pipe organs, their bells, their choral voices – and resolved to "tap into that way of listening."

Davachi went deeper into studying early music over that summer, considering how Renaissance musicians experimented with new instruments, forms, and texture. Her reflections led her to the duality of stillness and rest, and upon entering Montréal's hotel2tango with Howard Bilerman, she adapted her modern style to standard approaches of a recording studio's function. She composed the majority of the record alone at the piano to find specific harmonic colors and movements, then brought in an ensemble of musicians to interact and extrapolate organically with those tones.

Gave In Rest opens and ends at its most unornamented moments: the first track, "Auster", being played entirely on a recorder and then, "slowed down and opened up so you can hear the innards of the sound," and the final track, "Waking", one long take of Davachi on a Hammond organ. The latter is a solitary departure of concrete simplicity and is allegorical in its inclusion at Gave In Rest's end, with harmonic structures of a Baroque style materializing and wavering in long, textural passages of consonance and dissonance. The overdubbed, chant-like singing on "Evensong" was treated through an EMT 140 plate reverb, the very same unit Stevie Nicks used for "Rhiannon".

Completed after this period of suspension in her life, Davachi finished Gave In Rest while establishing herself in Los Angeles. Her new home is a radical departure from her previous Northern surroundings, with its vast reach, otherworldly terrain, and bizarre, isolating nature; "It is easy to remain anonymous in Los Angeles," says Davachi. Gave In Rest was mixed over a period of two months while she adjusted to this new lifestyle.

Davachi has mined a bottomless landscape where listeners can witness music's participation in their solitudes. Gave In Rest lends a voice to her personal exploration with a firm, intuitive stance.

https://sarahdavachi.com/index.html

[The Soup Nazi]

Numero Group is just too cool for school. Out now: Various Artists, Basement Beehive: The Girl Group Underground. Guaranteed to be in Johnny Marr's collection already, methinks.

 

https://basementbeehive.bandcamp.com...up-underground

Who do we become when we live our dreams? It's all here—the high hairdos, the dreams and schemes, the tender camp, the wedding bell fantasias and chaste tragedies. Sister acts, studio receptionists, classmates, angelic voices of the 1960s; some legendary, many hidden in the basement of expired rainbows. Gathered on this deluxe double CD are 56 (28 on the 2LP) foiled escape attempts, now free to soar in girl group heaven.

http://www.numerogroup.com/products/...up-underground

[The Soup Nazi]

Out now: Marc Ribot, Songs Of Resistance 1942—2018.

 

https://marcribot.bandcamp.com/album...ance-1942-2018

"Every movement which has ever won anything has had songs," says accomplished New York City guitarist Marc Ribot. For his new political album Songs of Resistance 1942—2018 – with a September 14 release date on ANTI- Records - Ribot set out to assemble a set of songs that spoke to this political moment with appropriate ambition, passion, and fury.

The eleven songs on the record include a few original compositions as well as traditional songs that are drawn from World War II anti-Fascist Italian partisans, the U.S. civil rights movement and Mexican protest ballads. It also features a wide range of guest vocalists, including Tom Waits, Steve Earle, Meshell Ndegeocello, Justin Vivian Bond, Fay Victor, Sam Amidon, and Ohene Cornelius, Tift Merritt, Domenica Fossati, Syd Straw.

At a time of such overwhelming social turmoil, finding a focus for this kind of project is challenging. Nevertheless, Ribot's purpose remained clear. "There’s a lot of contradiction in doing any kind of political music," he says, "how to act against something without becoming it, without resembling what you detest. Sometimes it is hard to figure out what to do, and I imagine we'll make mistakes, and hopefully, learn from them. But I knew this from the moment Donald Trump was elected: I'm not going to play downtown scene Furtwangler to any orange-comb-over dictator wannabe. No way."

Portions of the album's proceeds will be donated to The Indivisible Project, an organization that helps individuals resist the Trump agenda via grassroots movements in their local communities. More info on The Indivisible Project can be found at www.indivisible.org.

http://marcribot.com/

[greenlight]

new album by William Fowler Collins is coming out on Sige records in October. yes! finally new solo stuff after two records of collaborations with Aaron B. Turner and James Jackson Toth. this guy is dark, dark, dark minimalism in its finest.

William Fowler Collins: Field Music

The subtle complexities of Field Music address the primal nature
of rhythm in connection with the body and the building blocks of
energy, matter, and consciousness. Fans of Eliane Radigue,
Christophe Heemann, and Demdike Stare would be well served to
investigate Field Music.

https://sigerecords.merchtable.com/m...music-vinyl-lp

[ilduclo]

Justin Bond is fucking hilarious. I gotta get that Ribot

[_tunic_]

another album in which Frédéric D. Oberland is involved with will be released on November 18:


https://gizehrecords.bandcamp.com/album/kami

KAMI 神 is the fourth opus of FOUDRE! - a telluric drone quartet composed of Frédéric D. Oberland (Oiseaux-Tempête, Le Réveil des Tropiques, The Rustle Of The Stars, FareWell Poetry), Romain Barbot (Saåad), Grégory Buffier (Saåad, Autrenoir) and Paul Régimbeau (Mondkopf, Autrenoir, Extreme Precautions) who meet punctually for sessions of ritual improvisation where they invoke noise and drone and the deities of chaos.

++++++++++++++++++++++++++++++++++++++++++++++++

PRE-ORDER LTD EDITION LP HERE ->
Beer coloured vinyl - edition of 300

SUBSCRIBE to the Gizeh email list for the latest news, exclusive offers, pre-orders and tour dates -> bit.ly/2DYsIcE

++++++++++++++++++++++++++++++++++++++++++++++++

Improvised and recorded live at Le Rex de Toulouse supporting the 10th anniversary of French doom metal band Monarch!, KAMI神 extends the cosmogony and the sound of the band by taking excursions into the invisible and ambiguous side of nature. In this orgiastic and surprising mix of sonic textures and rhythms, you may hear strange phenomena, summoning of animistic spirits, shamanic calls, siren yellings and growls. The original chemigram artwork was created by French artist Fanny Béguély by painting with chemicals on light-sensitive paper.

Following the sold-out EARTH soundtrack (GZH71, 2015), KAMI 神 delivers an immersive soundscape for abstract clubbers, where kosmiche electronic, power ambient and industrial punk music are freely invited to commune. This pagan ceremonial is an ode to the ever-changing vortex of life - a sonic dream machine for the occurring now.
credits

releases November 18, 2018

Frédéric D. Oberland: electro-baglama, analog synths
Paul Régimbeau: analog synths, drum machine, vocals
Romain Barbot: modular system
Grégory Buffier: acoustic laptop, analog synths, electric guitar

Recorded live at Le Rex de Toulouse by Nash Caralp & Alex Massiot on the 14th of October 2017

Edited and mixed by FOUDRE! at Magnum Diva, Paris

Mastered by James Plotkin

Original chemigram artwork by Fanny Béguély
Live photographs by Anaïs Grü
Graphic design by Romain Barbot

[Severian]

New Noname album is very, very good in kind of a ... hmm... I don’t really know how to put it, but it’s in line with some of the most impressive Black-with-a-captivated-B hip-hop albums in the last several years (think of Kendrick’s jazzier stuff and Solange’s “A Sest at the Table” as points of comparison).
Casually rapped, almost spoken-word rhymes laid down over truly jazzy, spacious beats. Strong new female voice in music, much needed in the rap game.

[demonrail666]

Originally Posted by The Soup Nazi

Numero Group is just too cool for school. Out now: Various Artists, Basement Beehive: The Girl Group Underground. Guaranteed to be in Johnny Marr's collection already, methinks.

 

https://basementbeehive.bandcamp.com...up-underground



http://www.numerogroup.com/products/...up-underground

I want this so badly

[evollove]

Originally Posted by Severian

Strong new female voice in music, much needed in the rap game.

She's been around. Keep up. Do you even like music?

[evollove]

 

[Severian]

Originally Posted by evollove

She's been around. Keep up. Do you even like music?

Hey fuck you..

“She’s been around.” Yep. One previous album in 2016 that was significantly less developed than this. Totally makes my saying her album is good and much-needed an irrelevant statement. What, are you trolling? Still a new voice. Disagree? Psshhhhh

Do you even like not being a dick for no reason?
Just kidding though, right? That’s cool that’s cool.
Or not. I don’t know.
FOAD

[The Soup Nazi]

Out November 2: Bob Dylan, The Bootleg Series Vol. 14: More Blood, More Tracks.

 

The Wait Is Over

The latest chapter in the highly acclaimed Bootleg Series presents the pivotal studio recordings made by Bob Dylan during six extraordinary sessions in 1974 that resulted in the artist's 1975 masterpiece, Blood On The Tracks.

More Blood, More Tracks will be available as a strictly limited deluxe CD set and as a 1CD / 2LP configuration.

The 6CD full-length deluxe version includes the complete New York sessions in chronological order including outtakes, false starts and studio banter. The album's producers have worked from the best sources available, in most cases utilizing the original multi-track session tapes.

Also included is a hardcover photo book featuring a complete reproduction of one of Dylan's legendary handwritten 57 page notebooks, where you can follow the lyrical development of the songs that would eventually comprise Blood On The Tracks.

The deluxe box set is a limited edition. After it sells out, no additional copies will be made.

https://bobdylan.lnk.to/mbmt-dlx!bdnl20180920

The 1CD / 2LP configuration of More Blood, More Tracks assembles 10 of the most emotionally resonant alternate takes of each of the 10 songs appearing the original Blood On The Tracks plus a previously unreleased version of "Up to Me."

https://bobdylan.lnk.to/mbmt-cdlp!20180920

Unless you're cool with the 1CD version (I'm not), prepare to bleed indeed...

[Severian]

Originally Posted by The Soup Nazi

Out November 2: Bob Dylan, The Bootleg Series Vol. 14: More Blood, More Tracks.

 

Unless you're cool with the 1CD version (I'm not), prepare to bleed indeed...

Holy shit!

This 6xCD shit is exorbitant and borderline gratuitous — who the fuck can afford that for every new Dylan archive project? And everyone’s doing it. Fuck it. I refuse on principle.
Still ... awesome stuff!

[The Soup Nazi]

I'm not crazy about the front artwork and the title. Blood On The Tracks has such a striking cover that suits the content perfectly, while this box set uses a decent but rather common pic of Bob in concert. And More Blood, More Tracks sounds like it was borrowed straight from a tacky boot — they do know BOTT features some of Dylan's best lyrics ever, don't they?

In any case, look, I don't know what in all that is F I'm gonna do, maybe rob a liquor store (storekeepers don't keep shotguns under the counter here, you know), but I am fucking getting this thing.

[The Soup Nazi]

Out November 9: J Mascis, Elastic Days.

 

https://www.subpop.com/releases/j_mascis/elastic_days

https://jmascis.bandcamp.com/album/elastic-days

Near the end of Reagan's first term, the Western Massachusetts Hardcore scene coughed up an insanely shaped chunk called Dinosaur. Comprised of WMHC vets, the trio was a miasmic tornado of guitar noise, bad attitude and near-subliminal pop-based-shape-shifting. Through their existence, Dinosaur (amended to Dinosaur Jr. for legal reasons) defined a very specific, very aggressive set of oblique song-based responses to what was going on. Their one constant was the scalp-fryingly loud guitar and deeply buried vocals of J Mascis.

A couple of years before they ended their reign, J cut a solo album called Martin + Me. Recorded live and acoustic, the record allowed the bones of J's songs to be totally visible for the first time. Fans were surprised to hear how melodically elegant these compositions were, even if J still seemed interested in swallowing some of the words that most folks would have sung. Since then, through the reformation of the original Dinosaur Jr lineup in 2005, J has recorded solo albums now and then. And those albums, Sings + Chant for AMMA (2005), Several Shades of Why (2011) and Tied to a Star (2014) had all delivered incredible sets of songs presented with a minimum of bombast and a surfeit of cool.

Like its predecessors, Elastic Days was recorded at J's own Bisquiteen studio. Mascis does almost all his own stunts, although Ken Miauri (who also appeared on Tied to a Star) plays keyboards and there are a few guest vocal spots. These include old mates Pall Jenkins (Black Heart Procession), and Mark Mulcahy (Miracle Legion, etc.), as well as the newly added voice of Zoë Randell (Luluc) among others. But the show is mostly J's and J's alone.

He laughs when I tell him I'm surprised by how melodic his vocals seem to have gotten. Asked if that was intentional, he says, "No. I took some singing lessons and do vocal warm-ups now, but that was mostly just to keep from blowing out my vocal cords when Dino started touring again. The biggest difference with this record might have to do with the drums. I'd just got a new drum set I was really excited about. I don't have too many drum outlets at the moment, so I played a lot more drums than I'd originally planned. I just kept playing. [laughs] I'd play the acoustic guitar parts then head right to the drums."

There is plenty of drumming on the dozen songs on Elastic Days. But for those expecting the hallucinatory overload of Dinosaur Jr's live attack, the gentleness of the approach here will draw easy comparisons to Neil Young's binary approach to working solo versus working with Crazy Horse. This is a lazy man's shorthand, but it still rings true.

Elastic Days brims with great moments. Epic hooks that snare you in surprisingly subtle ways, guitar textures that slide against each other like old lovers, and structures that range from a neo-power-ballad ("Web So Dense") to jazzily-canted West Coasty post-psych ("Give It Off") to a track that subliminally recalls the keyboard approach of Scott Thurston-era Stooges ("Drop Me"). The album plays out with a combination of holism and variety that is certain to set many brains ablaze.

J says he'll be taking this album on the road later in the year. He'll be playing by himself, but unlike other solo tours he says he'll be standing up this time. "I used to just sit down and build a little fort around myself – amps, music stands, drinks stands, all that stuff. But I just realized it sounds better if the amps are higher up because I'm so used to playing with stacks. So I'll stand this time." I ask if it's not pretty weird to stand alone on a big stage. "Yeah," he says. "But it’s weird sitting down too." Ha. Good point. One needs to be elastic. In all things.

–Byron Coley

[Severian]

Originally Posted by The Soup Nazi

In any case, look, I don't know what in all that is F I'm gonna do, maybe rob a liquor store (storekeepers don't keep shotguns under the counter here, you know), but I am fucking getting this thing.

That was my attitude when the Velvet Underground did their big reissues of White Light/White Heat. Bought the 4xCD + 100-page booklet monster. Why? Fuck you, that’s why. Least that’s what I told my girlfriend at the time... probably... maybe...

Worth it.

I think the cover art is fitting for a BOTT-focuses *bootleg series* entry. If this were a straight reissue, I’d agree with you.

[The Soup Nazi]

Originally Posted by Severian

I think the cover art is fitting for a BOTT-focuses *bootleg series* entry. If this were a straight reissue, I’d agree with you.

This is bullcrap. Every previous volume of The Bootleg Series has featured more thoughtful cover art. If the point were to present these sets "as bootlegs", The Basement Tapes Complete should have just used the Great White Wonder artwork and fucked off.

[The Soup Nazi]

Just to clarify: I wasn't suggesting that the box set should use the same artwork as the original Blood On The Tracks, just something better and more pertinent than what we're seeing.