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Bar None Records
Alex Chilton 'Clichés' Vinyl LP - Burnt Orange (Slightly Damaged Sleeve)
£14.99
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Bar None Records
Alex Chilton 'Clichés' Vinyl LP - Burnt Orange (Slightly Damaged Sleeve)
£14.99
Few copies in stock with minor wear on sleeves, pictures can be sent upon request.
First time available on vinyl. Limited Edition of 1500 Burnt Orange Opaque wax. New artwork by Antonio Jesus Moreno.
Alex Chilton and Big Star fans will welcome this rare recording. 1993's Cliches is an all acoustic affair from Alex Chilton.
The former member of Big Star and the Box Tops channels Chet Baker’s vocal approach while visiting the great American songbook.
Originally released on New Rose Records in France and later picked up by Memphis’ Ardent Records, Clichés is Alex Chilton’s 4th solo record.
Tracklisting:
Side One
1. My Baby Just Cares For Me
2. Time After Time
3. All Of You
4. Gavotte First suite for orchestra C major
5. Save Your Love For Me
6. Let's Get Lost
Side Two
7. Funny (But I Still Love You)
8. Frame for the Blues
9. The Christmas Song
10. There Will Never Be Another You
11. Somewhere Along The Way
12. What Was
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Visit product page →Few copies in stock with minor wear on sleeves, pictures can be sent upon request.
2LP is yellow vinyl cut 45 RPM in gatefold jacket + download. CD Digi.
Maybe you are just like John Darnielle: In the depths of the pandemic end of 2020, the Mountain Goats frontman passed the time trapped at home watching pulpy action movies, finding comfort in familiar tropes and sofabound escapism. But you are not really like John Darnielle, unless the action movies you found comfort in included French thrillers like 2008’s Mesrine, vintage Italian poliziotteschi, or the 1974 Donald Pleasence mad-scientist vehicle The Freakmaker.
Or unless watching them brought you back to your formative days as an artist, when watching films fueled and soundtracked your songwriting jags and bare-bones home recordings and in turn inspired your 20th album to be a song cycle about the allure and futility of vengeance. But there’s no shame in not being like John Darnielle; few people are. “On earlier tapes you’ll find these sound samples,” Darnielle says. “‘Oh, where’s this sample from?’ It’s from whatever movie I was watching while I was sitting around on the couch with a guitar. I watch a movie, somebody’d say something that I like the sound of and I’ll write that phrase down. And then I would pause the VHS, write the song, record the song on a boombox, and go back to watching my movie. I got into doing that again; I just kept watching action movies and taking notes on what they’re about and on what the governing plots and tropes and styles are. It was very much like an immersion method acting technique.”
The resulting performance is Bleed Out, a cinematic experience unto itself. One song about preparing to exact bloody revenge begat another song about the act of exacting bloody revenge and then more songs about and the causes and the aftermath of being driven to exact bloody revenge, each delivered with the urgency and desperation deserving of their narrators and circumstances. “We often make a record and then bring in some guests who flesh out the textures,” Darnielle says. “And for this one, it was very much like a pack mentality. That sort of seemed to proceed from the songs.”
One new face was that of Bully’s Alicia Bognanno, recommended to Darnielle by his manager as a producer who could help nurture the rougher edged sound these songs requested. “We met up and hit it off. She’s a great guitarist. It was kind of just a lark, to see what would happen, and it was totally great.” Running narrative themes are not new to Mountain Goats projects, especially in recent years, be it the pro wrestlers of 2015’s Beat the Champ or the goths of 2017’s Goths. Darnielle was drawn to the antiheroes of the hard-boiled action flicks he was bingeing, particularly the ways in which their quests for justice were almost all inevitably doomed.
Bleed Out could be all one movie, from the opening training montage to the demise in the elegiac closing title track. Songs like “Make You Suffer,” “First Blood,” “Hostages,” and “Need More Bandages” do what they say on the tin, telling typically vivid, deliberately recognizable vignettes of desperate characters in no-win situations who plan on taking as many people down with them as they have to. But Darnielle sees these as unconnected stories that feel universal in their desire for justice, if not in their wanton bloodshed.
Anthems don’t get more straightforward or anthem-y than “Wage Wars Get Rich Die Handsome,” tapping into an anger that’s easy to reach in 2022, even if the solutions aren’t. Few people think as much, or as well, about violence and its portrayal as John Darnielle. His recent bestselling novel Devil House (his third) is all about the relationship between tragedy and entertainment, though he is careful to downplay any parallels to Bleed Out beyond a natural attraction to terrible things as a coping mechanism. “That’s what catharsis is,” he says. “When you are able to experience something that is frightening to you but you don’t have to be harmed by it that experience is really valuable. I think we’re reflecting on the nature of what we consume and of what it says about us.”Tracklisting:
Side A
1 Training Montage
2 Mark on You
3 Wage Wars Get Rich Die Handsome
4 Extraction PointSide B
5 Bones Don’t Rust
6 First Blood
7 Make You Suffer
8 Guys on Every CornerSide C
9. Hostages
10. Need More BandagesSide D
11. Incandescent Ruins
12. Bleed Out -
Visit product page →Few copies in stock with minor wear on sleeves, pictures can be sent upon request.
Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard–led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club.
Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly rather than Eno penning lyrics to music generated by Max and company’s jamming, Orton started with Eno and Max writing together before adding the band.
With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope’s sound quicker and more instinctual than before. “Ross is from Sheffield, which has an edgier, more industrial vibe than London,” Grunhard explains. “He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going.”
In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way.
As a result, Pull the Rope is a nimble, sleek machine that’s thrilling from the first note of the opening title track, Eno’s otherworldly voice and PK Ambrose’s throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. “We are the places we grew up, the places we’ve been, and the people we’ve met along the way,” Williams says. “Hopping around the globe, we’ve found that people are fundamentally the same they’re people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering.” Lead single “Got to Be Who U Are” literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are.
Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. “Mama Say” and “Let My Yes Be Yes” touch themes of female empowerment. They’re indicative of the band’s depth as they push further into the electronic; “Mama Say” hits notes of electropop while “Let My Yes Be Yes” fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams’ vocals and voice has never felt more necessary.
The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.Tracklisting:
Side A
1. Pull the Rope
2. Got to Be Who U Are
3. Fire
4. Them Say
5. Political IncorrectSide B
6. Mama Say
7. Let My Yes Be Yes
8. Touch the Ceiling
9. Far Away
10. Dance in the Rain -
Visit product page →Few copies in stock with minor wear on sleeves, pictures can be sent upon request.
Mike Paradinas, veteran producer and Planet Mu label owner has written a new album called ‘Grush' and it's full of weird bangers that reclaim the 'dance' part of the woeful term IDM. A back-to-first-principles record, inspired in part by the group of artists IDM was coined for; melodic dance music that didn't come out of urban scenes, but interpreted them from a distance.
The tracks on ‘Grush’ are all road-tested live favorites developed with feedback from Mike's touring partner and visuals guy Mora (Jan Moravec). It's a detailed and energetic journey which replicates the flow of a live gig. A lot of the tracks have been made in hotel rooms in response to shows, ‘Imperial Crescent’ is named after a Japanese Hotel, as is ‘Belvedere’ in Prague, while some tracks such as ‘Hyper Daddy’ were created specifically to play live.
Drums are confidently at the fore here and the album feels like it traces Mike's musical history and interests neatly around his sweetly nostalgic melodies, with atmospheres and structures which twist and turn with a charming softness which contrasts with the tension in the drums. Take ‘Hyper Daddy’s’ spiralling notes and twinkling piano which remind one of early Black Dog or Omni Trio rushing alongside splashy jungle drums, or the aquatic acid footwork of the title track with its drums softly bubbling and kicking.
Elsewhere there's territory which harks back to his Tusken Raiders pseudonym, like the heads down Drexciyan funk of ‘Windsor Safari Park,’ which transforms from moody electro into a sunny hardcore track midway.
The album is interspersed with Reticulum A, B and C at the start middle and end of the album which suggest a theme which carries across the music in an effortless and joyful way. ‘Grush’ is a strong album that works both for listening and DJing and a great snapshot of where Mike Paradinas musical head is at in 2024.Tracklisting:VinylSide A1. Reticulum A2. Hyper Daddy3. FogouSide B1. Magic Pony Ride (Pt.4)2. Imperial Crescent3. Reticulum B4. GrushSide C1. Belvedere2. Raver3. Windsor Safari Park4. HastingsSide D1. Manscape2. Metaphonk3. Reticulum C
CD1. Reticulum A2. Hyper Daddy3. Fogou4. Magic Pony Ride (Pt.4)5. Imperial Crescent6. Reticulum B7. Grush8. Belvedere9. Raver10. Windsor Safari Park11. Hastings12. Manscape13. Metaphonk14. Reticulum C -
Visit product page →Few copies in stock with minor wear on sleeves, pictures can be sent upon request.
Waking the Dreaming Body is the follow-up to Tucson artist Karima Walker's 2017 standout album Hands In Our Names, which garnered praise from Pitchfork, MOJO, and Bandcamp. The album includes dense harmonic arrangements of synthesizer, guitar, piano, percussion, field recordings, tape loops and Karima's dulcet singing voice.
The final result is a 40-minute dream-narrative of her conscious and subconscious minds that oscillates between the rich textures of her ambient work and the melody and poetry of her melancholic, Americana-tinged songwriting, their ebb and flow recalling liminal states of half-sleep where images and emotions are recalled and forecasted from the previous night's dreams. Night falls in regular intervals throughout the album, forming a natural dialogue between waking and dreaming. Landscape has always played a huge role in her work.
Throughout Waking the Dreaming Body, Walker's uncanny sound design evokes the delicacy, grandeur and terrifying enormity of the American Southwest. Close your eyes while listening to "Horizon, Harbor Resonance," the thirteen-minute instrumental at the album's center, and watch the shifting desert landscape in your mind's eye; from the babble of flash flood runoff to the slow parade of cumulus cloud shadows across the red earth, cactus and creosote, and then, moving backwards in time, the thunderous eruptions of ancient volcanoes that pushed the Tucson Mountains skyward. As indicated by the video for 'Reconstellated', Waking the Dreaming Body holds a deep connection to the environs in which it was created, the delicacy, grandeur and terrifying enormity of the American Southwest.
The mountains, rivers and starry skies of Walker’s desert home are referenced in nearly every song she sings on the album, simultaneously grounding the action and imbuing it with a sense of otherworldliness.
"A perfect balance of beauty and abstraction" Mojo 'Rising'
"Exquisitely crafted" GoldFlakePaint
"Hands in Our Names illustrates what she does best as a composer: She looks at the familiar from different angles, and stares intently at everything until it feels new again" 7.4 PitchforkTracklisting:
1. Reconstellated
2. Softer
3. Interlude
4. Window I
5. Window II
6. Horizon, Harbor Resonance
7. Waking the Dreaming Body
8. For Heddi
9. Uncovering
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