CD in gatefold paperboard jacket.
180gLP audiophile pressing includes art poster + DL.
Acclaimed singer, songwriter, band leader from Ethyl Meatplow and The Geraldine Fibbers. First solo album in seven years, following a string of releases with her Evangelista project. Bozulich’s self-proclaimed “pop record”! Carla Bozulich, an art-punk heroine with almost three decades of exceptional, iconoclastic musical activity under her belt, returns with the third record of her storied career to be issued in her own name.
Boy is Carla's self-proclaimed "pop record" and is a refreshing and much-needed reminder of what pop can mean in the hands of a ferociously commanding singer/lyricist who has cut her teeth on genre-bending, genre–blending, and DIY production for 25 years.
Boy is unmistakably a pop-influenced album by way of punk, avant rock and lo/mid-fi; a batch of ten songs that clock in at 3-5 minutes each, mostly hewing to recognizable structures of verse, chorus and bridge, but full of destabilizing accents and strategies.
The songs are replete with hooks and melodies, delivered chiefly by the singing itself, with the underlying instrumentation and arrangements always in the service of Carla's voice and lyrics. Boy is without doubt the sharpest, supplest, most satisfying and most generous album that Bozulich has made in recent years, and also happens to be one of her most immediately accessible. It is a definitive expression – and should serve as a welcome reminder – of Bozulich's unique tastes, talents and trajectories.
1. Ain't No Grave
2. One Hard Man
3. Drowned To The Light
4. Don't Follow Me
5. Gonna Stop Killing
6. Deeper Than The Well
8. Lazy Crossbones
9. What Is It Baby
10. Number X
Vinyl includes Download Card.
Fourth Album From Modern Contemporary / Instrumental Rock Ensemble Led By Percussionist Bruce Cawdron (Godspeed You! Black Emperor) & Cellist Rebecca Foon (Silver Mt Zion, Saltland, Set Fire To Flames). Partly Recorded In Istanbul With Four Turkish Guest Players. Mixed By Jace Lasek (The Besnard Lakes, Wolf Parade, Suuns). When Esmerine surfaced with La Lechuza in 2011, the album signaled many things: the band's first new recordings in six years, an expanded line-up, and a song cycle inspired by and dedicated to the life and untimely death of a dear friend and fellow musician.
What wasn't immediately clear was whether this acclaimed record would mark the opening of a new chapter for the band, or stand alone as a singular work of eulogy and homage driven by emotion and circumstance.Esmerine's new album Dalmak emphatically confirms that the group has indeed continued writing, exploring and collaborating – definitively extending its horizons in this new iteration of the band's trajectory.
Bruce Cawdron (marimba) resigned from his seat as drummer for Godspeed You! Black Emperor in 2012, allowing him to focus more fully on Esmerine alongside co-founder and cellist Rebecca Foon (Silver Mt. Zion, Set Fire To Flames); the two principals also recruited percussionist Jamie Thompson (Unicorns, Islands) and multiinstrumentalist Brian Sanderson as full-time members to solidify the group as a writing and performing quartet.
European tours in 2011-2012 brought Esmerine to Istanbul, where the group's enthusiastic reception led to an invitation for an artist residency in the city. Dalmak is the fruit of that visit: the majority of the album was recorded in Istanbul, where compositions by the band's four Canadian musicians were augmented by a number of Turkish guest players. "Dalmak" is a Turkish verb with many connotations: to be absorbed in, to dive into, to bathe in, to contemplate, to plummet. As a title for Esmerine's new album, “dalmak" refers in a literal sense to immersion in the culture and music of Istanbul but also appropriately evokes the range of music that emerged from this immersion: a collection of songs that shift between meditative pulsing and enveloping restraint to headlong flights into rhythm and groove.
With Dalmak, Esmerine presents some of its most richly minimal and intimate music alongside what is surely its most explosive, energized and ornate. The album is a tour-de-force of cross-cultural music-making, emotive but unsentimental, deeply textured and detailed but never precious or pedantic, superbly guided throughout by a balance of DIY rock, new folk and modern classical / contemporary sensibilities.
With initial recording by Barkin Engin and Metin Bozkurt in Istanbul, Esmerine laid down the live bed tracks for the up-tempo rhythmic songs at the album's core: "Lost River Blues", "Barn Board Fire" and "Translator's Clos". Marimba, cello, drums, tenor banjo, bass and trumpet are joined by bendir, darbuka, erbane, meh, barama, saz and electric guitar from local players for these centerpiece tracks, where extended melodic themes and short solos are passed around and woven through staccato grooves and polyrhythmic vamps in deeply satisfying fashion.
The sessions continued back in Montréal at Breakglass, where Cawdron and Foon tracked the more studied cello and marimba songs "Learning To Crawl" and "White Pine", and where the album's gorgeously saturated warmth, depth and propulsive grit was achieved courtesy of Breakglass head engineer Jace Lasek (The Besnard Lakes, Wolf Parade, Suuns) and Ian Ilavsky, who mixed the album alongside Rebecca and Bruce.
We're thrilled to present this new album from Esmerine and to document the continued evolution of Bruce Cawdron and Rebecca Foon, two musicians with whom Constellation has enjoyed a decade-long relationship spanning multiple projects. Dalmak is a distinct and exciting highlight in their diverse and adventurous discographies.
1. Learning To Crawl
2. Lost River Blues
3. Barn Board Fire
4. Hayale Dalmak
1. Translator's Clos
2. White Pine
3. Yavri Yavri!
After two years of constant touring and near-unanimous critical acclaim, Godspeed You Black Emperor! assembled a collection of new recordings that charted the creative evolution of the band as well as its literal physical movement on the road, criss-crossing North America and Europe.
Five expansive full-band compositions are framed by various field recordings, tape manipulations and ensemble pieces in a return to the narrative sonic collage techniques that marked their 1997 debut (F#A#∞).
1. Lift Yr. Skinny Fists, Like Antennas To Heaven...
2. Gathering Storm / Il Pleut Àmourir [+Clatters Like Worry]
3. "Welcome To Barco AM/PM..." [L.A.X.; 5/14/00]
4. Cancer Towers On Holy Road Hi-Way
1. Terrible Canyons Of Static
2. Atomic Clock.
3. Chart #3
4. World Police And Friendly Fire
5. [...+The Buildings They Are Sleeping Now]
1. Murray Ostril: "...They Don't Sleep Anymore On The Beach..."
3. Broken Windows, Locks Of Love Pt. III. / 3rd Part
Antennas To Heaven...
1. Moya Sings "Baby-O"...
3. [Glockenspiel Duet Recorded On A Campsite In Rhinebeck, N.Y.]
4. "Attention...Mon Ami...Fa-Lala-Lala-La-La..." [55-St.Laurent]
5. She Dreamt She Was A Bulldozer, She Dreamt She Was Alone In An Empty Field
6. Deathkamp Drone
7. [Antennas To Heaven...]
Second vinyl-only release from Godspeed contains two long songs, and sets the bar for the sprawling compositions that would characterise the group in the years to follow.
On sale £12.99 £11.99
LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a tipped-on heavyweight gatefold jacket printed in full-colour process plus a spot metallic ink and spot matte varnish. LP dust sleeve is also 4-colour print.
Package includes a 7 inch in printed dust sleeve (same audio appears in a different sequence on the CD) and a 12"x 48" pull-out poster (printed full colour on both sides) featuring a collage of film stills specially-photographed and captured from the GYBE live 16mm projections.
A decade has passed since the release of Yanqui U.X.O., the last album by Godspeed You! Black Emperor. Never a band to pay heed to industry wisdom, Yanqui was released shortly before xmas 2002 with little publicity, no press availability, no marketing plans, cross-promotions or brand synergies, adorned with now infamous back cover artwork diagramming the links between major record labels and the military-industrial complex. Like all GYBE albums, this one did just fine and ‘found it’s audience’: a passionate and committed fanbase galvanized by the group's sonic vision and its dedication to unmediated, unsullied musical communication.
That such simple principles and goals have become harder to maintain and enact a decade later is an understatement. For all the contents and discontents – for all the “content”– of our present cultural moment, the idea of circumventing the glare of exposure or side-stepping the careful plotting of media cycles and identity management seems profoundly illadvised, if not futile. But Godspeed is looking to try all the same.
The band wants people to encounter and care about this new album, without telling people they should. They seek to preserve the thrill of anonymous and uncalculated transmission, knowing full well that these days, anti-strategy risks being tagged as a strategy, non-marketing framed as its opposite, and deeply held principles they consider fundamental to health as likely to be interpreted as just another form of stealth.
The band has been carving its own path again since 2010, regrouping as the same self-managed collective entity it has been from the outset, making appearances at a tiny clutch of music festivals, and otherwise just touring its own shows. It's been a disorienting time to resurface, but it has felt overwhelmingly right, honest and good.
We think Godspeed has made a new record that maintains if not exceeds the standards of their previous work – a high bar, many would agree. GYBE picked up right where they left off, and after almost two years of practicing, playing and touring, ‘Allelujah! Don't Bend! Ascend! Delivers two mighty sides of music (bookended by two new drones) that the band had been working up prior to their 2003 hiatus, which they have now shaped into something definitively stunning, immersive and utterly true to their legacy.
The future looks dark indeed, but on the evidence of this new recording, Godspeed appears wholly committed to staring it down, channeling it, and fighting for some rays of sound (and flickers of light) that feel righteous, unflinching, hopeful and pure.
2. We Drift Like Worried Fire
3. Their Helicopters' Sing
4. Strung Like Lights At Thee Printemps Erable
On sale £12.99 £11.99
U.X.O. is unexploded ordnance is landmines is cluster bombs. Yanqui is post-colonial imperialism is international police state is multinational corporate oligarchy. Godspeed You! Black Emperor is complicit is guilty is resisting.
The new album is just raw, angry, dissonant, epic instrumental rock. Recorded by Steve Albini at Electrical Audio in Chicago and mixed by Howard Bilerman and Godspeed You! Black Emperor at the original Hotel2Tango in Montreal.
1. Rockets Fall On Rocket Falls.
1. Motherfucker = Redeemer
1. Motherfucker = Redeemer
Includes a poster and digital download code. CD digi /LP(180 gram).
Following several visits to the city over the years, Osama (Sam) Shalabi moved to Cairo in 2011, arriving at an apartment one block from Tahrir Square, in the midst of Egypt's 'Arab Spring'.
Shalabi describes The Big Mango, his new and phenomenal work for his Land Of Kush big-band, as "a love letter to Cairo" framed by "the beautiful, surreal madness of the city…as joyous, horrific, historical events were unfolding".
The opening six minutes, a slowly brewing stew of free-improvised instrumentation, electronics, wordless vocalizations and oblique sexuality/sensuality, are an inimitable destabilizing strategy of Shalabi's that serves to introduce most of the instrumental voices and the montage of genres that will form the rest of the work, while also invoking the album's deeper conceptual preoccupations: gender, sexuality and the status of women as a culture unleashes seismic/revolutionary energies with the real possibility of attendant shifts in civil society and political structure.
In combination with the peaking intensity and electricity of Shalabi's compositional vision, The Big Mango coheres, sparkles and soars: a distillation of the sonic trajectory Land Of Kush has been charting for the past five years.
1. Faint Praise
2. Second Skin
3. The Pit
4. Sharm El Bango
CD digi /LP(180 gram).
COIN COIN Chapter Two: Mississippi Moonchile is the much-anticipated new installment of Matana Roberts' unique and forward-looking project and it finds Roberts conjuring some of the most nuanced, thoughtful and substantial American liberation music of the 21st century.
Mississippi Moonchile was developed for an intimately woven New York jazz sextet and represents the next leap forward in Roberts' iconoclastic and complex project of memory and recuperation, where historical and contemporary musical tropes, fragmentary spoken and sung narratives, and Matana's cascading alto saxophone are supported by prodigiously talented players.
Chapter Two unfolds as a cohesive album-length piece, playing with notions of dignity, rarefaction and restraint. The six players are in a perpetual motion of coalescence and divergence, where melodic themes, occasional ostinato passages, and variously deployed literal voices serve to rally the overriding theme of individual narratives and personal expressions as struggles with, celebrations of and threads within collective history.
The contortions of empowerment, pride, shame, suffering, eulogy, empathy, liberation and transcendence are Matana's raw material in the broadest and most specific senses; she has given this raw material another beautiful and compelling shape in the second chapter of the COIN COIN story.
2. Humility Draws Down Blue
3. All Nations
4. Twelve Sighed
5. Spares Of The World
6. Secret Covens
7. River Ruby Dues
8. Confessor Haste
9. Amma Jerusalem School
10. For This Is
2. The Labor Of Their Lips
3. Was The Sacred Day
5. Woman Red Racked
6. Thanks Be You
7. Humility Draws Down New
Perri made highly acclaimed electronic/drone music as Polmo Polpo in the early 2000s; played lap steel in Great Lake Swimmers; produces and engineers at his own Honey Pot studio in Toronto. As a producer, engineer and re-mixer Perri has worked for/with Owen Pallett & Grizzly Bear, Stephen Malkmus, Devon Sproule. Sandro Perri returns with his new full-length Impossible Spaces, four years after his previous (and criminally overlooked) album Tiny Mirrors.
The new record is a work of adventurous, progressive, playful and thoughtful songcraft – expertly recorded, wonderfully fluid in its complexity, continually oscillating between catchy and elusive, and guided throughout by Perri’s golden voice. Ronen Givony, the NYC-based music writer and curator offered to contribute an essay about Impossible Spaces and we were happy to oblige. Excerpts below: By definition, every music lover is also, inevitably, an evangelist.
That is to say: beyond the tiny group of artists that everyone more or less agrees on, there exists a perpetually overflowing pool of musicians who, for whatever reason, never quite manage to earn the audience and attention the evangelist believes them to deserve. It remains an open question, this thorny subject of art as oligarchy or meritocracy: whether deserving artists, regardless of resources, eventually do reach the audience they "deserve" — whether it is in fact true, as the old saying goes, that the cream does ultimately rise to the top — or if certain artists are unjustly consigned by the fates to recognition only late in their careers, or posthumously, if at all.
The very top of my own personal evangelical list is the Toronto songwriter Sandro Perri. Happily, Sandro's new album, Impossible Spaces — his first release since 2007, and, not coincidentally, his most accomplished to date — will, with any justice, achieve the work of proselytizing far better than me. Among the lively artistic community of Toronto, Sandro Perri, whose other musical projects include Polmo Polpo and Glissandro 70, is all but universally beloved as a musical treasure. Indeed, unprompted, many Toronto musicians will tell you that Sandro is the true best exemplar of that unique intersection that characterizes the city's omnivorous musical scene: partly improvised, partly composed, and roughly equal parts acoustic, electronic, melodic, noisy, rock, jazz, folk, classical, psychedelic, and experimental. On first listen, Impossible Spaces seems to position itself self-consciously as a collection of music about other music. In this sense, we can think of the album as one listener's personal map of music history, with various voices, phrases, and personalities materializing to guide a song for an instant before disappearing again.
Upon further listening, however, and true to its title, the album reveals itself as something more conflicted, and seemingly contradictory: a six-part meditation on the binaries of absence and presence, the possible and impossible, with a symmetrical internal structure reflecting this back-and-forth dialogue from one song to the next, and an emotional push-and-pull within the personality of the singer and songwriter himself...
1. Love & Light (Panamyx By Larry Gus)
2. Wolfman (Sky Mix By Le Revelateur)
1. How Will I? (Outlook Mix By Imugem Orihasam)
Includes a poster and a digital download code.
2. Hero Brother
4. You Are The Field
5. Breathing Black Ground
1. They Live On
2. Wrong Thought
3. Right Thought
4. Sprinter Fire
180gLP audiophile pressing includes art poster + dl.
CD in gatefold paperboard jacket.
Marks the 15th anniversary of the band, founded and led by Efrim Menuck of Godspeed You! Black Emperor. First new SMZ full length since GYBE's return to action in 2011.
Recorded in Quebec by Greg Norman (Electrical Audio). Thee Silver Mt. Zion Memorial Orchestra (SMZ) has traced a barbed-wire arc of genre-defying protest music since its inception in 1999.
1. Fuck Off Get Free (For The Island Of Montreal)
2. Austerity Blues
3. Take Away These Early Grave Blues
4. Little Ones Run
5. What We Loved Was Not Enough
6. Rains Thru The Roof At The Grande Ballroom