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-   -   Best new/most anticipated albums: 2018 (http://www.sonicyouth.com/gossip/showthread.php?t=116384)

The Soup Nazi 09.10.2018 12:24 PM
Out October 12: UUUU's second self-titled release (a two-track affair, this one).

 


https://uuuuemego.bandcamp.com/album/s-t-2

Quote:
Two new tracks from this ongoing project featuring members of Coil, Wire and Tomaga. The flirtation with a head expanding motorik music as hinted at on their debut self-titled double album is given the space required to unfold on this new EP. "Electric Blanket" chugs along with perpetual percussion, blankets of feedback and state of the art electronics all embedded with a spectral melody that encircles proceedings as all sonic proceedings veer out further into more mystical ambient planes. On the flip "Nice Setting" places a strange short spoken narrative at the centre of a shifting sonic landscape of skittering electronic debris and a deep shifting sea of sound. A vibraphone holds proceedings together before once again we head out into the glorious cosmic ether. UUUU are an outfit unashamedly embracing the fantastic - audio as a tool for an unlimited imagination.

releases October 12, 2018

UUUU are Edvard Graham Lewis, Valentina Magaletti, Matthew Simms & Thighpaulsandra

Recorded and Mixed at Aeriel Studios, Brechfa by Thighpaulsandra
Mastered by Sarah Register

Photography by Antonio Curcetti

Damn, lottta "proceedings", huh... :D

http://editionsmego.com/release/EMEGO-239X

The Soup Nazi 09.10.2018 12:30 PM
Out October 26: Heather Leigh, Throne.

 


https://editionsmego.bandcamp.com/album/throne

Quote:
Heather Leigh takes her Throne as queen of pedal steel with a suite of heartbleed ballads cauterised with burning riffs. After the rawness of its precursor I Abused Animal, Throne is a record of late night Americana and heavy femininity; intimate love songs smoked in sensuality. The songs on Throne are woozy, gorgeous and uncomfortable, smothered in thick layers of bass but lifted by multitracked vocals. These are rich song forms that stand in contrast to the stripped down steel in her duo with Peter Brotzmann.

"Prelude To Goddess" sashays in wearing leopard print jeans under the twinkling fluorescent illuminations of the British seaside, like Brighton Rock with extra bass. It is followed in by Lena – arguably Leigh's "Jolene" – a perverse love song soaked in a subversive sexuality, weighed down with a heavy pulse. "Soft Seasons" is anchored with sunken beats shrouded in wailing, growling steel and an earwormy melody.

"Gold Teeth", the longest track on the record, crests and breaks in waves; ecstatic peaks balanced and echoed by melancholic troughs. It soars on an updraft, and from cosmic heights dives seaward into a gnarly and riotous pedal steel breakdown, before catching... more

releases October 26, 2018

Heather Leigh: pedal steel guitar, vocals, synthesizer, drum machine
music composed & performed by Heather Leigh
additional instrumentation by John Hannon: violin, synthesizer & David Keenan: electric bass
recorded & engineered by John Hannon, Rayleigh, Essex March 2018
vinyl mastered & cut by Rashad Becker at Dubplates & Mastering, Berlin June 2018
photographs & design: Heather Leigh

spiritual advisor: Jennifer Lucy Allan

http://editionsmego.com/release/EMEGO-257

The Soup Nazi 09.10.2018 12:41 PM
Out October 26: Julia Holter, Aviary.

 


https://juliaholter.bandcamp.com/album/aviary

Quote:
Aviary is an epic journey through what Julia Holter describes as "the cacophony of the mind in a melting world." Out on October 26th via Domino, it's the Los Angeles composer's most breathtakingly expansive album yet, full of startling turns and dazzling instrumental arrangements.

The follow-up to her critically acclaimed 2015 record, Have You in My Wilderness, it takes as its starting point a line from a 2009 short story by writer Etel Adnan: "I found myself in an aviary full of shrieking birds." It's a scenario that sounds straight out of a horror movie, but it's also a pretty good metaphor for life in 2018, with its endless onslaught of political scandals, freakish natural disasters, and voices shouting their desires and resentments into the void

Aviary, executive produced by Cole MGN and produced by Holter and Kenny Gilmore, combines Holter's slyly theatrical vocals and Blade Runner-inspired synth work with an enveloping palette of strings and percussion that reveals itself, and the boundless scope of her vision, over the course of fifteen songs. Holter was joined by Corey Fogel (percussion), Devin Hoff (bass), Dina Maccabee (violin, viola, vocals), Sarah Belle Reid (trumpet), Andrew Tholl (violin), and Tashi Wada (synth, bagpipes).

https://juliaholter.dominomart.com/a...mart-exclusive

The Soup Nazi 09.10.2018 12:51 PM
Out November 9: Meg Baird and Mary Lattimore, Ghost Forests.

 


https://threelobed.bandcamp.com/album/ghost-forests

Quote:
Ghost Forests is the first full collaborative album from Meg Baird and Mary Lattimore. It was recorded in January 2018 in Los Angeles with Thom Monaghan.

Meg Baird and Mary Lattimore's collective work—as solo artists, band members, and collaborators—could fill a small record collection. Despite this productivity, these two long-time friends have never recorded an entire album focused exclusively on their unique talents. Ghost Forests, mysteriously, thrillingly fills that void.

Independently, Baird and Lattimore have each cultivated highly individual and idiosyncratic tools of expression. Baird's timeless and soaring voice, guitar, and drums have underpinned pastoral and folk rock explorations as a soloist and in band settings with Espers and Heron Oblivion. Lattimore's albums of enigmatic, spectral experimental harp sounds move and unfold like films and nature itself. The list of artists that have called upon their voices, talents, and visions to enrich their own work is expansive—a virtual pocket encyclopedia of contemporary indie and experimental musicians.

Over the course of Ghost Forests' six collaborative compositions we hear deeply sympathetic conversations between the two artists. With access to a deep pool of shared influences, these two friends assembled a collection of sounds conjured from harp, guitar (both acoustic and electric), synths, the human voice, and a shared poetic language. Baird and Lattimore's subjects range from the sound of light on water, seismic geopolitical anxiety, the smog-exploded sunsets of Don Dudley's paintings, and vertigo from their respective relocations to San Francisco and Los Angeles from their once-shared home in Philadelphia.

The synthesis of their vision welcomes listeners who might have been familiar with only one of the performer's solo oeuvres. It also speaks to long-time fans of both artists who have long wondered what this dream collaboration might yield.

Steve Gunn has long known Baird and Lattimore and worked with both on his own albums. He says "Meg Baird and Mary Lattimore are two musicians that I greatly admire. Ghost Forests is an ace meld of their abilities; Meg's guitar and voice, and Mary's harp lead each other (and us) into further regions of the strata. With each song you can hear this remarkable kinship. I'm thankful for this soundtrack.”

Ghost Forests' musical conversations are intimate, fluid, effortless and spontaneous. They're filled with the euphoria of creation and, at times, they articulate hard truths and tangled emotions with an ease only trusted friends can manage. The songs alternate between extended ethereal instrumental excursions, gauzy and dreamy pop, blown-out "Bull of the Woods" heavy haze, and modern reimaginations of epic traditional balladry—all while touching on the strange and otherworldly places between these stations.

With Ghost Forests Baird and Lattimore have given us all a timeless gift that generously rewards immersion and deep investigation. It is our collective good fortune as listeners that we are able to eavesdrop on their conversation through these songs. It is also a wonder to hear two unique artists interact to such beautifully original ends.

releases November 9, 2018

Recorded January 2018 in Los Angeles, CA.

Produced, engineered and mixed by Thom Monahan.

All tracks written, arranged, performed and co-produced by Meg Baird and Mary Lattimore, except "Fair Annie", trad, after a version recorded by Beverly Woods on Return to Fingal (1983).

Mastered by Patrick Klem.

With special thanks to: Cory Rayborn, Thom Monahan, Rennie Jaffe, Rachel Pony Cassels, Jeff Root, Kate Brokaw, Trinie Dalton, Jonsi Birgisson & Alex Somers, Julianna Barwick, Timmy Hefner, Jeff Zeigler, Penny Duff & Michael Slaboch, Russ Waterhouse, Charlie Saufley, KV, Steve Gunn, Espers, Heron Oblivion and our families.

Titles drawn from from the exhibit Between Two Worlds, SFMoMA, Summer 2017.

In memory of Paul Clipson.

The Soup Nazi 09.10.2018 01:02 PM
Not an album, but at least Sweatpants and I will be all over it. :D Out November 13:

 


https://mailchi.mp/wilcoworld/jeff-t...e-for-preorder

Quote:
Jeff has written his first book and it's called LET'S GO (SO WE CAN GET BACK).
It hits shelves on 11.13 but you can preorder it now here (UK subscribers can preorder it here).

For the first time, Jeff takes fans into his songwriting process, from early days with Uncle Tupelo to writing Summerteeth, Yankee Hotel Foxtrot, A Ghost Is Born, and beyond. Jeff talks about his childhood in Belleville, Illinois, takes you to the St. Louis record store, rock clubs, and live-music circuit he grew up in, and shows you around the Chicago scene that brought everything together. He'll also talk in-depth about his collaborators in Uncle Tupelo, Wilco, and more. There are so many incredible stories in here, we know you won't want to miss it. Preorder your copy today.

- Wilcoworld HQ

_tunic_ 09.12.2018 12:03 PM
New Jessica Moss !! And her first album was released only last year. I;ve got that one as my ring tone, so I'm anxious to her this one. But I must say the first album only yelled to me after hearing it live.



Quote:
Jessica Moss announces new album Entanglement and shares a clip from album opener “Particles”



 




Jessica Moss

Entanglement


CST138
180gLP / CD / DL
Out 28 October 2018

Tracklist:
1. Particles
2. Fractals (Truth 1)
3. Fractals (Truth 2)
4. Fractals (Truth 3)
5. Fractals (Truth 4)


PREORDER HERE




And also:


New Rivulets album will be out on October 19!!
See http://shop.talitres.com/products/627537-in-our-circle

Moshe 09.13.2018 12:33 AM
anticipated albums:

Meg Baird & Mary Lattimore - Ghost Forests
BEAK> - >>>‎
Behemoth - I loved you at Your Darkest
Big Joanie - Sistahs
Peter Brötzmann/Heather Leigh - Sparrow Nights
Cat Power - Wanderer
Neneh Cherry - Broken Politics
Crippled Black Phoenix - Great Escape
Cursive - Vitriola
Cypress Hill - Elephants on Acid
Sarah Davachi - Gave In Rest
The Dead C - Rare Ravers
Josephine Foster - Faithful Fairy Harmony
Fucked Up - Dose Your Dreams
Future Usses - The Existential Haunting
Harmony Rockets with Special Guest Peter Walker -Lachesis / Clotho / Atropos
Hawkwind - Road to Utopia
Tim Hecker - Konoyo
High On Fire - Electric Messiah
Julia Holter - Aviary
Jerusalem In My Heart - Daqa’iq Tudaiq
Kikagaku Moyo - Masana Temples
Kinski - Accustomed To Your Face
Heather Leigh - Thrones
‎J Mascis - Elastic Days
Melvins - Sabbath
Mirrors for Psychic Warfare - I See What I Became
Jessica Moss - Entanglement
Mudhoney - Digital Garbage
Mythic Sunship - Another Shape of Psychedelic Music
Nordra - Pylon II
Fréderic D. Oberland - Labyrinth
Orchestra Of Spheres - Mirror
Pigs Pigs Pigs Pigs Pigs Pigs Pigs ‎‏-‏‎ King of Cowards
Michael Price - Tender Symmetry
Emma Ruth Rundlel - On Dark Horses
Rhian Sheehan - A Quiet Divide
Sunwølf ‎
Trys Saulės - ***‎
Universal Eyes - Four Variations on ‘Artificial Society’‎
Kurt Vile - Bottle It In
Tashi Wada with Yoshi Wada and Friends - Nue
Windhand - Eternal Return

Severian 09.13.2018 07:59 AM
Quote:
Originally Posted by Moshe
anticipated albums:
BEAK> - >>>‎
Cat Power - Wanderer
The Dead C - Rare Ravers
Josephine Foster - Faithful Fairy Harmony
Fucked Up - Dose Your Dreams
Hawkwind - Road to Utopia
Tim Hecker - Konoyo
High On Fire - Electric Messiah
Jerusalem In My Heart - Daqa’iq Tudaiq
Kikagaku Moyo - Masana Temples
‎J Mascis - Elastic Days
Melvins - Sabbath

Nice nice. New JIMH, eh? Cool.

The Soup Nazi 09.13.2018 07:03 PM
Out in a few hours :) : Richard Thompson, 13 Rivers.

 


Quote:
Richard Thompson is set to return with 13 Rivers on September 14th, 2018. A return to New West Records in the US and continued collaboration with Proper Records internationally, the 13-song set is the Grammy nominated artist's first self-produced album in over a decade and was recorded 100% analog in just ten days. It was engineered by Clay Blair (The War On Drugs) and features Thompson's regular accompanists Michael Jerome (drums, percussion), Taras Prodaniuk (bass), and Bobby Eichorn (guitar).

13 Rivers is a bare-bones, emotionally direct album that speaks from the heart with no filters. "There are 13 songs on the record, and each one is like a river," Thompson explains. "Some flow faster than others. Some follow a slow and winding current. They all culminate on this one body of work."

A high water mark in an overwhelmingly impressive career, 13 Rivers was recorded at the famed Boulevard Recording Studio in Los Angeles. Previously known as The Production Workshop, which was owned by Liberace and his manager, the locale served as the site for seminal classics by Steely Dan, Fleetwood Mac, Ringo Starr, and hosted the mixing sessions for Pink Floyd's legendary The Wall. Of the album, Thompson says, "The songs are a surprise in a good way. They came to me as a surprise in a dark time. They reflected my emotions in an oblique manner that I'll never truly understand. It's as if they'd been channelled from somewhere else. You find deeper meaning in the best records as time goes on. The reward comes later." He continues, "I don’t know how the creative process works. I suppose it is some kind of bizarre parallel existence to my own life. I often look at a finished song and wonder what the hell is going on inside me. We sequenced the weird stuff at the front of the record, and the tracks to grind your soul into submission at the back."

13 Rivers commences on the tribal percussion and guitar rustle of "The Storm Won't Come" as the artist bellows, "I'm looking for a storm to blow through town." The energy mounts before climaxing on a lyrical electric lead rife with airy bends and succinct shredding from the guitar virtuoso. NPR Music premiered "The Storm Won't Come," alongside an additional new album track, "Bones of Gilead."

13 Rivers will be available across digital platforms, compact disc, vinyl, as well as a limited split cream & black vinyl edition available at US Independent Retailers.

Richard Thompson's 13 Rivers is available for pre-order now.

Richard Thompson's musical influence cannot be overstated. Having co-founded the groundbreaking group Fairport Convention as a teenager in the '60s, he and his bandmates invented the distinctive strain of British Folk Rock. He left the group by the age of 21 which was followed by a decade long musical partnership with his then-wife Linda, to over 30 years as a highly successful solo artist. In 2011, Thompson received an OBE (Order of the British Empire) personally bestowed upon him by Queen Elizabeth II at Buckingham Palace. The Los Angeles Times called him the finest rock songwriter after Dylan and the best electric guitarist since Hendrix and Rolling Stone has named him one of the Top 100 Guitarists of All Time. He has received lifetime achievement awards for songwriting from Britain's BBC Awards, the Americana Music Association, and was awarded the prestigious Ivor Novello Award. His song "1952 Vincent Black Lightning" was named one of Time magazine's "100 Greatest Songs Since 1923." A wide range of musicians have recorded Thompson's songs including Robert Plant, Elvis Costello, R.E.M., Sleater-Kinney, Del McCoury, Bonnie Raitt, Tom Jones, David Byrne, Don Henley, Los Lobos, and many more. His massive body of work includes many Grammy nominated albums as well as numerous soundtracks, including Werner Herzog's Grizzly Man. Thompson's genre defying mastery of both acoustic and electric guitar along with engaging energy and onstage wit continue to earn him new fans and a place as one of the most distinctive virtuosos and writers in Folk Rock history.

http://www.richardthompson-music.com/13-rivers/

The Soup Nazi 09.13.2018 07:53 PM
Quote:
Originally Posted by _tunic_

 

I think I only know Moss from Carla Bozulich's Evangelista. But the cover of the new album alone makes me want to check it out — it's beautiful.

I do not care for ringtone shenanigans, though. :D

Severian 09.14.2018 08:26 AM
 


APHEX TWIN - COLLAPSE EP

(!!!)

h8kurdt 09.14.2018 09:10 AM
Eh. Aphex Twin has gotta do something else cos his "thing" is getting boring now. His last album wasn't great and was just the same old, same old. The last single was alright but...same old Aphex

Severian 09.14.2018 09:36 AM
Quote:
Originally Posted by h8kurdt
Eh. Aphex Twin has gotta do something else cos his "thing" is getting boring now. His last album wasn't great and was just the same old, same old. The last single was alright but...same old Aphex

Kind of agree, but honestly the only real “same old Aphex” album he’s released since resurfacing was “SYRO,” and it was like a perfection of the formula.

All other 2010s releases have been pretty bonkers. “Orphan Deejay Seleks” and Computer “Controlled Acoustic Experiments pt. 2” were both extremely wonky experimental AFX releases, and “Cheetah” was a themed project — kind of an RDJ version of 808s & Heartbreak. So I dunno.

This new one’s good. Just had my first full listen to much to unpack, but I’m sucked in.

I would love to see another bonkers release like “Drukqs” that really blew shit up, believe me, but I’m an Aphex lifer, so whatever.

Severian 09.14.2018 10:14 AM
The new LOW album is freaking nuuuuuuts.

_tunic_ 09.14.2018 10:50 AM
Quote:
Originally Posted by The Soup Nazi
I think I only know Moss from Carla Bozulich's Evangelista. But the cover of the new album alone makes me want to check it out — it's beautiful.

I do not care for ringtone shenanigans, though. :D


she's in A Silver Mt. Zion, and married to Efrim too :) And also in Vic Chesnutt's backing band on the two albums he did for Constellation Records.


But listen to the start of her first solo album. Perfect ringtone :D
and if I don't pick up the phone, it will go on for a couple minutes too

_tunic_ 09.14.2018 10:52 AM
Quote:
Originally Posted by Severian
The new LOW album is freaking nuuuuuuts.
I hated the new songs first, as I said here too many times :D
but when you listen to the complete album it makes much more sense.


still don't know if I really like it, but as a piece of art it's amazing.

_tunic_ 09.14.2018 11:31 AM
Quote:
Originally Posted by Moshe
anticipated albums:

Fréderic D. Oberland - Labyrinth


very anticipating this one too. I've been hooked on Oiseaux Tempete the last year after seeing them live. Very curious how this solo album will be.


I just checked his instagram (it's the second post). They've just been recording in Montreal at Hotel2Tango (Constellation Records recording studio), with Oiseaux Tempete including GW Sok and Mondkopf and maybe at least Jessica Moss. WOW!!!

The Soup Nazi 09.14.2018 05:49 PM
Quote:
Originally Posted by _tunic_
her first solo album. Perfect ringtone :D
and if I don't pick up the phone, it will go on for a couple minutes too

I've always thought that if I had a smartphone my ringtone would be "The L Word Theme".

 

Severian 09.14.2018 06:48 PM
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.

greenlight 09.15.2018 08:03 AM
just heard a new track called Evensong from Sarah Davachi's Gave In Rest. amazing. renaissance in full swing.

greenlight 09.15.2018 08:04 AM
Quote:
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 09.15.2018 09:21 AM
Quote:
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 09.16.2018 07:54 PM
Quote:
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. :D Out now: Sarah Davachi, Gave In Rest.

 


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

Quote:
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 09.16.2018 08:29 PM
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

Quote:
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 09.16.2018 08:47 PM
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 09.17.2018 12:52 AM
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 09.17.2018 06:05 PM
Justin Bond is fucking hilarious. I gotta get that Ribot

_tunic_ 09.20.2018 01:49 AM
another album in which Frédéric D. Oberland is involved with will be released on November 18:


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


Quote:
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 09.20.2018 07:52 AM
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 09.20.2018 08:51 AM
Quote:
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 09.20.2018 09:12 AM
Quote:
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 09.20.2018 01:40 PM
 

Severian 09.20.2018 06:48 PM
Quote:
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 09.20.2018 07:37 PM
Out November 2: Bob Dylan, The Bootleg Series Vol. 14: More Blood, More Tracks.

 


Quote:
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 09.21.2018 06:41 AM
Quote:
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 09.21.2018 05:29 PM
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 09.21.2018 06:29 PM
Out November 9: J Mascis, Elastic Days.

 


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

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

Quote:
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 09.21.2018 08:44 PM
Quote:
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 09.21.2018 09:00 PM
Quote:
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 09.22.2018 05:36 PM
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.


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