Available for PRE-ORDER, shipping on the 25th of September.
There’s a concept in Scandinavian society called the Law of Jante, which says individuals should downplay their achievements, blend in and support the group. The music of Danish band Yung serves as an urgent, screaming retort to that idea, the sound of young iconoclasts fighting against apathy.
Led by 21-year-old frontman and songwriter Mikkel Holm Silkjær, the group hails from Aarhus, Denmark’s second city, a huge port, university town and ideal place to find like minds amid the industrial grit. On the forthcoming EP “These Thoughts Are Like Mandatory Chores,” out 18th September on Tough Love, they show themselves to be ambassadors of their country’s increasingly vital underground music scene.
Anthemic guitars, coarse feedback and driving rhythm, insistent to the point of impatience, show angst acting as a powerful fuel for self-expression, gasoline poured on a fire already fed by youthful energy. More than buzz, Silkjær, along with bandmates Frederik Nybo Veilie (drums), Tobias Guldborg Tarp (bass) and Emil Zethsen (guitar), has built a cottage industry.
He writes songs, handles the artwork for every release and even does much of the production himself.
The resulting self-made music on “These Thoughts Are Like Mandatory Chores,” raw, snarling corkscrews of feedback, find the Danish rockers branching off from the same family tree that birthed The Replacements and Cloud Nothings.
It’s the band’s DIY call to arms, singular and authentic songs that won’t remain unknown very long. They begin with "Blue Uniforms," premiered on The FADER.
Tracklisting: 1. God 2. It Happened Again 3. Blue Uniforms 4. Not A Shelter 5. Offshore 6. Too Good For You
Available for PRE-ORDER, shipping on the 2nd of October.
Initially lurching from the UK noise underground in 2003 like a bedraggled audial creature rendered from toxic waste in a VHS horror movie, the musical growth rate of Hey Colossus has been quite a spectacle to observe. Yet from the nightmarish murk of early driller-killer works such as 2004’s debut ‘Hates You’ and 2008’s ‘Happy Birthday’ to more recent nuggets of perversity like 2013’s ‘Cuckoo Live Life Like Cuckoo’, this beast has mutated and evolved into something uncommonly alluring.
The six-piece London-via-Somerset troupe began 2015 with February’s release of ‘In Black And Gold’ - in which the brawny repetition-driven raunch they built their sound on was furnished and burnished by dub-derived spatial awareness and cinematic drama, making it both a bold reinvention and an uncommonly compulsive avant-rock document. Yet not content with this, the band immediately set about following it up with their second album of the year, and one that further ups the ante on their savagely graceful assault.
‘Radio Static High’ is the sound of a confident outfit honing their attack to become a veritable force of nature. With the band citing - tongue presumably firmly lodged in cheek - inspirations as diverse as Jane’s Addiction, Fleetwood Mac (Tango In The Night era) and Cypress Hill, songs were constructed at a fierce rate of knots, yet with a focus and intensity partly instilled by band members living hundreds of miles apart, and partly by the relentless passage of time.
“We have noticed a small wave of incredible goodwill towards us. We want to give as we receive.” notes guitarist Jonathan Richards, whose chiming lead guitar plays a notable role in the album’s Paris,Texas-esque midday ambience..”Maybe the knowledge of our 12 years together makes us aware of our mortality. Time is limited. A band’s purpose is to create” Songs took shape from demos, exchanged riffs and drunken text messages alike -one such from guitarist Bob Davis to Richards demanding an homage to Neil Young’s ‘Cortez The Killer’ resulted in a demo to that effect a mere 20 minutes later. which eventually became album centrepiece ‘Memories Of Wonder’.
Elsewhere, ‘Hop The Railings’ takes the powerfully propulsive groove of Can and cross-pollinates it with Beefheartian interweaving triple-guitar skronk to make a heat-haze-dwelling juggernaut of intimidating proportions, whilst the closing double-drop of ‘Hesitation Time’ and “Honey’ hits like Joy Division repurposed for the soundtrack to True Detective. “After 12 years functioning in a Noiserock/Doom/Kraut/whatever scene of sorts and being aware of unwanted repetition, we feel it is more subversive for us to compose songs with rigid song structures than it is to absentmindedly clang off another riff-athon.”
Richards adds. Indeed, with all the bulldozing primal drive of heavy AmRep-style rock and none of the cliches, and a sound infused with leftfield sleight-of-hand yet hitting home like hammer to anvil, Hey Colossus prove themselves as potent as they are prolific. What’s more, ’Radio Static High’, in all its sunkissed widescreen glory, is set to leave most all their contemporaries eating their dust.
Tracklisting: 1. Radio Static High 2. March of the Headaches 3. Hop the Railings 4. Numbed Out 5. Memories of Wonder 6. Snapping Undone 7. Another Head 8. The Mourning Gong 9. Hesitation Time 10. Honey
Available for PRE-ORDER, shipping on the 20th of November 2015.
This vinyl comes in a limited edition of 1000 copies, hand-numbered on 180-gram vinyl, with cover art that reproduces Jasper John’s 1970 lithograph, ‘Scott Fagan Record’.
Originally released on Atco in 1968, Scott Fagan’s bewitching debut is a genuine lost classic – a mystical, mythical, deeply-soulful folk-rock masterpiece. This reissue has been remastered from the original tapes and released by Saint Cecilia Knows in association with Fagan’s label lil'fish records.
In 1969, artist Jasper John came across South Atlantic Blues in a cut-out bin, bought the record and used it as the inspiration for three artworks that are in museums and galleries such as the Metropolitan Museum of Art and MOMA, the Walker Art Center and the National Gallery in Washington D.C.
Tracklisting: Side A: 1. In My Head 2. Nickels and Dimes 3. Crying 4. The Carnival Is Ended 5. South Atlantic Blues
Side B: 1. Nothing But Love 2. Tenement Hall 3. In Your Hands 4. Crystal Ball 5. Madame-Moiselle
Housed in heavy duty full color laminated jacket. Includes Digital Download card of entire album. Limited to only 300 copies. Artwork and all titles curated by visual artist Roberto Opalio.
Debut release of the new collaborative project of outsider duo of musicians and visual artists MY CAT IS AN ALIEN and Belgian electronic composer CÉDRIC STEVENS. Over 2 hours of new music as human ears have never heard before and will never do if you miss this unique chance! – In February 2014 brothers Maurizio and Roberto Opalio aka My Cat Is An Alien spent a residency in Brussels for a long studio session in trio with Cédric Stevens (aka Acid Kirk), who recently collaborated in Fennesz's new album. With the support of La Communauté Française De Belgique the entire session is now available in its entirety on MCIAA’s legendary Opax Records, in the form of this colossal triple LP set entitled 'Abstract Expressionism For The Ears'.
The session is made of long-form pieces instantaneously composed, recorded and mixed by the trio during those incredibly intense days and nights of recordings. Dreamy architectures of sounds, floating sculptures of abstract drones and cannibal noise, modal piano, ancestral strings and electronic futurism, celestial music of the Spheres, imbued with impressive textures of vocal exorcisms by Roberto Opalio. Again your ears won’t find any point of reference when listening to this transcendent and essential work!
Instantaneously composed, performed and produced by My Cat Is An Alien & Cédric Stevens. Roberto Opalio: wordless vocalizations, alientronics, pedal effects, electronic devices, vertical piano; Maurizio Opalio: self-made string instrument, pedal effects, cymbal, piano strings, Roberto’s piano real-time loops; Cédric Stevens: electric guitar, analogue modular system, minimoog, various analogue pedals.
Tracklisting: Side A: Tasting The New Ether (22:25)
Side B: Intersection Of Shadows (25:04)
Side C: When The Sun Goes Down There’s Nothing Left To Tune - part I (19:14)
Side D: When The Sun Goes Down There’s Nothing Left To Tune - part II (17:31)
Side E: Shifting At Zero Gravity (25:02)
Side F: 1. The Ineffable Call Of Tomorrow (14:46) 2. Just A Tone Of White Over Blue (4:36)