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A Meeting By The River'
A Meeting By The River (200 Gram Vinyl)1994 Grammy Winner For Best World Music Album
Included In Tom Moon's 2008 Book 1,000 Recordings To Hear Before You Die
The sound is about as good as it gets, with almost no sense of recording gear between the listener and musicians, who are laid out in a solid horizontal line. The remarkable air and tangible 'thereness' will take your breath away. - Wayne Garcia, The Absolute Sound, August 2008
As spontaneous as music-making gets, this East meets West improv session between two masters of slide-based stringed instruments is like eating at the most exotic Indian restaurant that adds Tex-Mex flavors to its dishes. The sound is very natural, almost achingly beautiful. - Playback, June 2008
This record is a must-have for fans of Ry Cooder's explorations into global sounds. The playing is out of this world, and, on these cuts, it has less of a world music feel, and is almost bluesy at times. With the original sessions captured at 15 i.p.s. on all custom deParavicini gear, this is the ultimate stereo test record. The sound is as real, open and airy as it gets; not one more molecule of tone could possibly be put onto these black discs! - Jeff Dorgay, Tone Audio, No. 15, 2008
Passionate, mysterious, intricate, earthy, ethereal, moody and mystical, the rich musical improvisations on this recording defy categorization The recording is as astonishing as the music: a harmonically complex, three-dimensional, two-microphone purist production that will easily take its place at the top of the sonic heap in your record collection and that's a guarantee this is among the most spacious, convincing three-dimensional recordings you will ever hear An essential record in any 21st-century vinyl collection. Music = 11/11; Sound = 11/11 - Michael Fremer, Music Angle, www.musicangle.com
The quintessential 2 mic Blumlein recording, a musical extravaganza - on 45rpm it destroys the early '90s CD! - Danny Kaey, Positive-Feedback Online
Astonishingly, the four conversational yet adventurous tracks captured on A Meeting by the River were unrehearsed jams between the two masters, who had met only minutes before the session. The lesson is that Cooder and Bhatt not only knew how to play but how to listen. - Daniel Durchholz, Stereophile, February 2007
American composer, musicologist and guitar legend Ry Cooder teams with North Indian musician Vishwa Mohan Bhatt to create an exquisite musical realm, with both musicians playing exceptional slide guitar. Their collaboration evokes musical elements from many cultures and styles. Percussion by Sukhvindar Singh on tabla and Cooder's 14-year-old son Joachim on dumbek. This recording won a Grammy Award in 1994 for Best World Album.
Originally released in 1993.
This title is not eligible for discount.1. A Meeting By The River
3. Ganges Delta Blues
4. Isa Lei$54.99200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
Late Night Tales: BADBADNOTGOOD (Unmixed) (Awaiting Repress)Canadian quartet BadBadNotGood take on creating the ultimate "late night" selection of tracks from their record collections.
The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, with whom they made 2015's Sour Soul. Their last album, the critically-acclaimed IV, turned heads and their collaborators continue to multiply: Snoop Dogg, Kaytranada and Kendrick Lamar among them.
"We were really excited to have the chance to put together a LateNightTales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people.
Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf. These artists, as well as many, many others, have influenced us to create, and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation."
- BADBADNOTGOOD May 2017
You can even hear little bits of BadBadNotGood through this mix, as though they are transmitting parts of themselves through the music they select. Perhaps the keys on Admas' hilariously expensive 'Anchi Bale Game', maybe, or the arrangements on Delegation's mighty Britsoul tune 'Oh Honey' or the groove from 'Vida Antiga', Erasmo Carlos' Brazilian classic. As Janis almost sang, take another little piece of my art.
This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.
Finally, there's the no-small-matter of the Late Night Tales cover version, in which BadBadNotGood take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.
Badbad, indeed: so good they said it twice.LP 1
1. Boards Of Canada - Olson
2. Erasmo Carlos - Vida Antiga
3. Gene Williams - Don't Let Your Love Fade Away
4. The Chosen Few - People Make The World Go Round
5. Esther Phillips - Home Is Where the Hatred Is
6. Delegation - Oh Honey
7. Velly Joonas - KÄes on aeg
8. Stereolab - The Flower Called Nowhere
9. Kiki Gyan - Disco Dancer
10. Admas - Anchi Bale Game
1. Francis Bebey - Sanza Nocturne
2. Thundercat - For Love I Come
3. River Tiber Ft. Daniel Caesar - West
4. Charlotte Day Wilson - Work
5. The Beach Boys - Don't Talk (Put Your Head On My Shoulder)
6. Donnie & Joe Emerson - Baby
7. Les Prospections - Lido
8. Grady Tate - And I Love Her
9. Badbadnotgood - To You (Exclusive Andy Shauf cover version)
10. Steve Kuhn - The Meaning Of Love
11. Lydia Lunch - You, Me and Jim Beam (Exclusive Spoken Word Piece)$35.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Broken PeopleAmerican music is a mile-wide river that beckons black and white, urban and rural, dreamer and doer alike to launch their vessels. All the streams of style and genre flow into it; its tributaries are blues and jazz, mountain and folk, rock, soul and R&B.
The release of the debut album by Muddy Magnolias, Broken People, marks the launch of a great new vessel onto that waterway. The album showcases a confluence of style and sound as colorful as it is unlikely, steeped in that river of influence, yet bracingly fresh.
With Broken People, Jessy Wilson and Kallie North take us on an 11-song journey with its origins in two widely divergent backgrounds that came together in a friendship and creative partnership with world-changing resonance.
North was raised in southeast Texas and began singing with her family and studying piano at an early age. She grew to love rich vocal harmonies singing in church choirs and listening to artists like the Carpenters, Alison Krauss, James Taylor and the Eagles. By her early teens, she was singing lead parts in church and in musical theater productions at her high school. Her palette grew when a friend turned her on to the Grateful Dead, and after high school she spent every spare moment in the clubs of Austin, absorbing everything from alt-country and jam bands to New Orleans funk. She met her husband at a concert and moved with him to his native Mississippi. There, on their isolated farm, she had her awakening, starting a career as a photographer, capturing the spirited, deep history of the Mississippi Delta.
"To me, the Delta is the most overlooked and mysterious place," she says. "It was the birthplace of America's music, and all the legends were influenced by everything that came out of it. I went on this personal exploration to learn about the Delta blues and the region's history. I picked up a camera and started taking pictures, blogging about what I was experiencing, and I tapped into all the creative energy lying dormant inside me." When her husband gave her a guitar, she began spending her days on the porch of their farm learning how to connect her first chords. From there, the songs began pouring out and she knew she had to find a way to get to Nashville and write songs professionally.
Wilson, raised in Brooklyn, was in love with music from her earliest days. She was singing before she could talk, and was 5 when her mother recognized her passion for music. "I would cry because I couldn't hit the high notes in Whitney Houston and Mariah Carey songs," she says. Influenced by greats from Aretha and Smokey Robinson to Lauryn Hill, Mary J. Blige and The Notorious B.I.G., she began auditioning in the highly competitive New York entertainment scene and was working professionally in musical theater by the age of 10. Her mother took her to nightclubs where she experienced a variety of live performances. She attended New York's top performing arts schools, including La Guardia High School, the "Fame" school, where she discovered her love for gospel music and took part in the gospel chorus for four years. She worked at Cafe Wha? in Greenwich Village, making $500 a weekend while still in high school.
She sang backup for Alicia Keys in her teens, then worked four years with John Legend, and through him with legends like will.i.am, Kanye West, Raphael Saadiq and Babyface. Legend mentored her in songwriting and recording before she began writing songs on her own for American Idol winner Fantasia Barrino and others. Inspired by her evolving love of songwriting, she too moved to Nashville, looking for a wider creative palette. There, while meeting with then-BMI executive Clay Bradley, her eye settled on a photograph of "a rundown juke joint piano" in his office.
"I want to meet whoever took that photo," she said. The photographer was North-it had been taken during her creative awakening in Mississippi-and the subsequent meeting led quickly to collaboration and an epic friendship.
"The first day we wrote together," says North, "there wasn't much thought that we were blending genres and worlds. That never came up. It was just natural. She had never written a country song and I was writing them every day. We sat down to write one but when we listened back it was a country R&B song. And we decided to become songwriting partners." Before long, they had their first cut as collaborators, and they were off and running.
"The spirit of the Muddy Magnolias existed from the moment we met," says Wilson, "but we didn't know we were the Muddy Magnolias yet." North was toying with the idea of a solo career; Wilson had aspirations of making history as an African-American female songwriter in Nashville. Their new friendship was a game-changer.
"We spent a whole year writing, trying to understand what our message was when we combined our stories," says Wilson. Then one day over afternoon wine at Burger Up, their favorite hangout in the 12 South section of Nashville, both admitted to be being at a crossroads. "The next thing you know," says North, "Jessy said, 'What if we made a record together?' It was like all of our dreams in one."
"We went back to that same office on Music Row where I saw the photograph," says Wilson, "and sat down side by side in Clay's office and said, 'We've got something to tell you. We're going to make an album together.'" Bradley believed enough to sign on as their manager. They held three days of band auditions and found four best friends who had been playing together since college, primarily doing jazz. The fit was perfect, providing just the right sonic backdrop for their soulful approach and high-energy delivery.
As they continued to write and perform, opening for the likes of The Zac Brown Band and Gary Clark, Jr., they put together a project that crosses genres effortlessly, showcasing two voices that soar together in a blending of cultures as electrifying as if Janis Joplin and Tina Turner, or Whitney Houston and Lee Ann Womack had joined forces.
Broken People combines poetic imagery and vocal passion, with the musicianship and production of Motown or Muscle Shoals by way of the raw honesty of Sun Records. Of course it deals with love, longed for and unleashed, in songs like "I Need A Man," "Why Don't You Stay" and "Devil's Teeth," but the album soars as it reaches for bigger themes, dealing with the need for hope in "Take Me Home," for love on a societal scale in "Shine On" and "Brother What Happened," and hope for the future in "Got It Goin' On." With "Leave It To The Sky," the two, joined by John Legend on vocals and piano, make a powerful case for spiritual solutions, and few songs in the modern lexicon are as steeped in present-day reality as the gospel- and R&B-tinged title track.
"Ultimately," says North, "this album is a result of an unlikely friendship and is a testament to what can happen when you diversify your relationships."
"It's about getting out of your comfort zone and being rewarded with a great friendship," adds Wilson. "We've both felt the power of that."
"Our path is so much better and our lives are so much richer because of it," says North, "and we want to bring people along on this journey."
"We want to see what society would be like if we all reached out in ways we normally wouldn't," adds Wilson.
And that is the magic and the message. The music of Muddy Magnolias, live and on record, comes from a place where the Mississippi meets the A-Train by way of Nashville. Whether yours is the back porch or the front stoop, Spanish moss or window box garden, dusty country lane or crowded subway car, rural honky-tonk or uptown club, this is music that beckons. Muddy Magnolias are collaboration without boundaries, musical healing in a landscape of the heart, and all of us who treasure creative energy, honest art and the possibilities of love and unity, are better for their arrival.1. Broken People
2. Brother, What Happened?
3. Got It Goin' On
4. Why Don't You Stay
5. Take Me Home
6. Shine On!
7. It Ain't Easy
8. I Need A Man
9. Devil's Teeth
11. Leave It To The Sky (feat. John Legend)$18.99Vinyl LP - Sealed Buy Now
SadnecessaryYou never know who you're going to meet on the first day of school. Sometimes, you can end up being introduced to one of the best friends you'll ever
know. That was the case for Clemens and Philipp-otherwise known as Milky Chance. The Kassel, Germany duo met in an Advanced Music Course at
the start of eleventh grade, and they creatively gelled right off the bat.
They got along so great that they played in a local band until graduation. Even though the group disbanded when their drummer left Kassel, Clemens and
Philipp kept on making music. Weaving together elegant electronic production with acoustic guitars and lilting, lush vocals, they harnessed a style
unequivocally their own.
Clemens put it best, Think of it as the singer-songwriter spirit mixed with electronic beats. Somehow, it's always a little bit melancholy, but there's a
positive spin. You can dance to most of it too! Melancholy is something that I carry within me. I write the best songs when this mood catches me."
In order to capture that, the boys built a tiny studio in the quiet house Clemens grew up in. Over the course of two weeks in 2013, they cut their full-length
debut, Sadnecessary, on a minimalist setup, spending hours getting the settings just right. They didn't need anything more than a rudimentary interface,
microphone, and computer. That's why Sadnecessary sizzles so much.
After cutting the tracks, Clemens and Philipp uploaded the first single Stolen Dance to YouTube. With its bright handclaps, plaintive acoustic guitars, and
his own gravelly smooth delivery, the song became a viral sensation, eventually racking up over 30 million-plus YouTube views and made them the most
blogged about act on HypeM for that month.
About the song, he says, It's less of a story than a feeling. The feeling in the song refers to a certain moment I wanted to hold on to. It's the sentiment you
experience when you miss somebody you really like and just can't spend time with that person. You're sad the other person isn't there, but you're also
happy for the beautiful moments you've spent together.
Sadnecessary, released on the musicians' own Lichtdicht Records in Europe, became a phenomenon followed by packed shows around the continent. In
early 2014, Republic Records inked a deal with Milky Chance to release the record stateside, opening them up to their largest audience yet.
Now, songs like Down By The River flow between poetic musing and delightfully danceable grooves. Clemens remains honest at every turn though.
There is actually a personal story behind 'Down By The River', he adds. In general it's about being in love, but there's a lot of room for interpretation.
That's important to us.
Ultimately, because of that emotional expanse, these songs will resonate loudly with listeners everywhere. Clemens leaves off, At the end of the day,
we're most happy when people discover our music for themselves and have fun at one of our concerts. It's just great when they listen to a song and
connect it to a personal experience. That's the most amazing thing, and we'd love to encourage that.
Led by the irresistibly catchy, danceable track "Stolen Dance" - which has already hit #1 in 15 countries and amassed over 50 million views on YouTube -
German duo Milky Chance are now poised for greatness in the states as well.
The duo weaves elegant electronic production with acoustic guitars, along with lilting, lush vocals. It's a unique sound that is unequivocally their own.1. Stunner
2. Flashed Junk Mind
7. Down By The River
8. Sweet Sun
10. Stolen Dance
12. Feathery$25.99Vinyl LP - Sealed Buy Now
Riverman's DaughterThe Grahams, the creative union of lifelong romantic partners Alyssa and Doug Graham, combine soulful bluegrass with hints of earthy Americana, adding colors from traditional folk and country blues, into an infectious blend of storytelling that results in songs of love, loss, yearning, and the view from rural American roads less traveled.
While the duo first met in grade school -- a trait shared by previous musical trail-blazers, from Lennon/McCartney to Jagger/Richards - the Grahams' journey together began when they were teenagers in the shadow of New York City. There, Alyssa, the impassioned troubadour, and Doug, the guitarist extraordinaire, shared a mutual love for the music of the Woodstock era and the adventures of the great outdoors. Over the ensuing years many a campfire lit acoustic jam would include the best of roots renegades like Neil Young, The Band, Gram Parsons, Janis and Emmylou along with more than a few Jerry Garcia and Johnny Cash nuggets. Later, spending much of their time in the secluded Adirondack Mountains at the Graham family fold, Alyssa and Doug learned the time-honored craft of songwriting. Here, their ongoing interests in traditional country, mountain bluegrass and folk legends such as The Carter Family and Mississippi John Hurt would blossom. Hoping to share their stories on a wider stage, the couple eventually settled in New York City, where they performed, collaborated and recorded a variety of acclaimed material before adopting The Grahams moniker.
While the duo had written music together before, in the summer of 2012 new writing sessions yielded a different approach. Something magical was happening between Alyssa and Doug. A catalyst was born in the new song Riverman's Daughter, a tale of love, loss, and hardship on the river that showcases Alyssa's bountiful voice. Backed by her own rhythm guitar, along with the strong current of Doug's cascading accompaniment on the six string, and traditional vocal harmonies, the track came in a lightning bolt of inspiration. A vision and calling to write more songs of its kind took hold.
Alyssa and Doug had an idea: What if they put their city lives on hold and, armed with just guitars and backpacks, traveled the 2,500 miles of highways and byways of the Mississippi River from Minnesota to Louisiana. Light out for the territory, so to speak, like Huck and Jim. There, the duo could follow the Great River Road (GRR) that parallels the waterway, meet the people, and hear first-hand where European folk music, brought to these shores generations ago, took root alongside rhythms and chants from Africa, and how these polarizing sounds formed the backbone of our 20th Century American musical heritage. And so The Grahams did just that, and in the process created their debut album, Riverman's Daughter. Along the way The Grahams played gigs at the various gin and juke joints that dotted the GRR, and met a colorful cast of characters and genuine music makers with whom the duo shared and exchanged stories through the common bond of song.
Eventually Alyssa and Doug ended up intentionally isolated on an old houseboat in rural Louisiana where the Mississippi spills into the Atchafalaya swamp. There, The Grahams prolifically stockpiled songs, enjoyed the simplicity of living off the grid, and for a spell, invited onboard friends and musicians including their longtime collaborator Bryan McCann, a wordsmith who aids with lyrical inspiration. Yet perhaps the biggest inspiration on Riverman's Daughter was Doug's own mother, Gigi, the matriarch of the Graham family clan, and a true fan of the duo who had been diagnosed with cancer earlier that year. As her condition worsened, the Grahams packed up their guitars and newly minted collection of songs to become Gigi's angel band, and played by her side until she passed away.
As recording of the new album began, The Grahams found a true kindred spirit in Grammy-winning producer Malcolm Burn, who brought a magical touch and inspired ideas into the studio. It was Burn's idea to record both Alyssa and Doug's parts live to tape without the assistance of headphones or isolation -- in the way they were written. This process gives the album a natural aura that harkens back to an era when this practice was commonplace. Along the same lines, The Grahams chose to record the album in Nashville, the longtime epicenter of country music. While the album's foundation is simple and acoustic, The Grahams are backed on a few tracks by stellar accompaniment including the Grammy-nominated North Mississippi Allstars. Along with the title song the album is highlighted by the 70's country rock flavored Carrying The Torch, the spirited traditional vibe of The Piney River, and the riveting upbeat barn dance playfulness of Revival Time.
Ultimately, the album is a winning culmination of The Grahams' long journey into the heart of America, the inspiration they derived from immersion into classic American music, and the natural and honest talent they have for bringing forth a modern musical idiom steeped in tradition.1. Revival Time
2. Riverman's Daughter
3. Carrying the Torch
4. You Made Me Love You
5. Cathedral Pines
6. If You're in New York
7. The Piney River
8. A Good Man
9. Marnie Hawkins
10. Heaven Forbid
11. Lonesome Child
13. Goodbye Babe (B.C.)
14. Lay Down Delilah$17.99Vinyl LP - Sealed Buy Now
Dark RedDark Red is the second full-length album from Shlohmo, aka 25 year-old Los Angeles native Henry Laufer. The album is an uncanny marriage of his ever-evolving, richly textured sound with shades of 90s IDM, R&B, cassette-tape Jungle, and, in an unexpected turn, sludge metal. "It sounds like if Electric Wizard tried to make an R&B record," he says, "or Boards of Canada meets Burzum by the River Styx." Shlohmo's music thus far exists in the poles between the subtle textured tracks of 2011's Bad Vibes and the booming sinister synths and hihats of his production work and remixes (split EP with Jeremih, Banks' "Brain", remixes for Drake + The Weeknd). Dark Red utilizes Shlohmo's existing palate but also mines the noises and imperfections inherent in analog production and naturally damaged sounds. Side-stepping current trends that lean towards pristine, computer-generated production, Dark Red explores natural distortion, fuzz and noise as compositional tools, intentionally distressing sounds to echo the feeling of the icy menace and emotional charge found on early black metal tapes. The result is a deeply personal listen, Shlohmo's boldest statement yet.1. Ten Days of Falling
2. Meet Ur Maker
4. Emerge From Smoke
5. Slow Descent
11. Beams$26.99Vinyl LP - Sealed Buy Now
IbeyiIbeyi (pronounced ee-bey-ee) means "twins" in the language of the Yoruban culture
of Lisa-Kainde and Naomi Diaz. The album of the same name, produced by
XL Recordings boss Richard Russell, is the story of two sisters: their relationship,
their origins, their shared history and their musical chemistry.
The twins' roots are reflected in the polyglot nature of the lyrics - in English,
French and Yoruban - and music which combines ritual chants with synths and
samplers, jazz vocals with the spellbinding mystery of Björk and Fever Ray, the
traditional with the modern. This uniquely cosmopolitan sound is the perfect
vehicle for their intimately personal stories. According to them, "This album is
about love and family and people who are gone."
Lisa-Kainde and Naomi (the eldest by two minutes) were born in Paris, where
they still live, but spent their first two years in Cuba. Their father was Miguel
"Anga" Diaz, the member of the Buena Vista Social Club, who was acclaimed as
the greatest conga player.
Record producer and XL Recordings boss Richard Russell first encountered
Ibeyi when he saw them performing "Mama Says" on a 2013 YouTube video. He
soon invited them to meet him - a serious offer from someone who in recent
years has produced albums by Gil Scott-Heron I'm New Here and Bobby Womack
The Bravest Man In The Universe (co-produced with Damon Albarn), as well
Albarn's own acclaimed 2014 solo album Everyday Robots.
The album is a subtle melange of diverse influences: not just Lisa-Kainde's soul
and jazz leanings and Naomi's up-to-the-minute beatmaking but the bloodlines
of France, Cuba and Africa, including the use of Yoruban chants they first heard in
the Santeria ceremonies. The tense, dramatic "Oya," the lead track on their debut
EP, addresses the deity (or "Orisha") of change and destruction while "River"
honours Oshun, the Orisha of love, rivers and fertility. Yoruban culture travelled
from Nigeria and Benin to Cuba and Brazil with the slave ships centuries ago but
is little-known in Europe.1. Eleggua (Intro)
5. Think Of You
6. Behind The Curtain
7. Stranger / Lover
8. Mama Says
12. Ibeyi (Outro)$22.99Vinyl LP - Sealed Buy Now
Blessed Black Wings (Awaiting Repress)Massive power trio High on Fire are a supersonic exercise in conquest by volume. Equal parts molten metal and earthquake panic, the band's Motorhead-meets-Slayer roar is outrageously loud and absolutely punishing. Guitarist/vocalist Matt Pike (ex-Sleep) unleashes a devastating combination of bombastic guitar and howling war cries, weaving fantastical tales of supernatural beasts, forgotten battles and rivers of blood over an unstoppable bass and drum assault.1. Devilution
2. The Face Of Oblivion
3. Brother In The Wind
4. Cometh Down Hessian
5. Blessed Black Wings
6. Annointing Of Seer
7. To Cross The Bridge
8. Silver Back
9. Sons Of Thunder$24.99Colored Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
Whatever Will HappenI was walking to the post office a few months ago when I saw 5 unkempt
figures heading my way. As they got closer, I recognized these guys. They had
played at our gallery last month, fogged the windows up good. Captivated the
crowd with their impossibly balanced creation of modern and classic, a blend of
Steely Dan cool and General Public pop, Squeezish hooks and Aztec Camera
guitar flair. It was like a crash course in 60s pop, 70s avant-garde, 80s new wave
and 90s popkid charm, with that unmistakable Puget Sound flavor. They were iji.
Iji's a band projecting their own brand of pop, nudging the genre into the
comfort zone of a punk community, embracing a desire for rack-a-chack, ethereal
and naivist sounds often unexplored by contemporaries.
Back on the sidewalk, I asked them what they were doing back in town.
Apparently after the Team Love show the band had decided to go night swimming.
Oblivious to the magical, secluded moonlit respite where the river bends wide or
the lake meets the shallow cliff, iji wound up breaking into the local community
pool, immediately getting arrested by the local community cops, and spending the
night in the local community clink. Now, rather than being out on tour in some
distant state or country spreading their transcendental party music, they had routed
themselves back up Hudson Valley way to appear in court and find that their
punishment was, essentially, all the cash in their merch box. A bummer; quickly
diverted by throwing together a few last minute shows and cruising on.
Shortly after this chance encounter Quarterbacks Dean came by the shop
and said he had heard the new iji album and did I want to give it a listen. I said
something like, fuck yeah, and that was that.
Zach Burba, the founder of iji, is what you might call a lifer. Iji is always
in a state of 'to be continued,' in the way that a journeyman is always and
perpetually transitioning into the master. They've put out numerous albums, singles,
cassettes, and splits over the past 10 years; toured coast to coast playing DIY
venues and houses where restrictions don't apply. This type of DIY pop is a
lifestyle; it's Kokopelli roaming the countryside sharing a song in exchange for a
roof and a bowl of soup.
On Whatever Will Happen, iji has whipped a notebook full of travel
poems into a full-length American Experimental Highway Pop Opus. The band's
eleventh or twelfth album is the first one recorded at Anacortes, Washington's The
Unknown Music Studio with a solid line-up, the Seattle underground music scene's
best players. Jake Jones and Curran Foster from Sick Sad World, Will Murdoch
from Pill Wonder, Evan Easthope from Neighbors, Erin Birgy of Mega Bog, plus a
handful of jazz horn players and inspired back-up singers. Whatever Will Happen
speeds past quiet beaches with soft-rock wind in the hair, through mountain passes
with windows-down-power-pop, into seedy cities with free-jazz flavor and shameless
The next time iji come to town, I'm going to take them up to the ridge and
show them a real swimming hole, something that's locals-only and worthy of their
greatness. And with that said, let's wrap this up by stating that Team Love is proud
to announce the release of Whatever Will Happen.1. Cruisin USA
2. Cool Moves
3. All The Light
4. Hard 2 Wait
5. Parking Lot Palms
6. Something Else
7. Eastern Beach
8. Dark Session
9. Crumbs and Wires
10. Bound 2 Glory
11. They Play
12. Let Fire Come$15.99Vinyl LP - Sealed Buy Now
Pinkerton (Awaiting Repress)Pinkerton on Numbered Limited Edition 180 Gram LP from Mobile Fidelity
1996 Sophomore Album Cited on Countless Best-of Decade Lists
Includes El Scorcho, Pink Triangle, Tired of Sex, and The Good Life
Loosely Related to Puccini's Madame Butterfly, Confessional Album Lays Bare Frustration, Confusion, Awkwardness, and Loneliness Amidst Power-Pop Settings
Mastered from the Original Master Tapes: Experience the Album's Edgier Feel as Originally Intended
Few records claim as bizarre a history as Weezer's Pinkerton. Upon release in 1996, the band's sophomore effort failed to meet sales expectations, lacked a hit single, and drew primarily negative reviews from the press. Then, via word of mouth and reevaluation, the Little Album That Could began to build a reputation as an initially misunderstood masterwork-a bold, brave, and exposed creation that happened to have hyper-contagious hooks to accompany the confessional lyrics. Today, it's cited on virtually every Best Albums of the 1990s list in existence.
Mastered from the original master tapes and pressed on 180 gram LP at RTI, Mobile Fidelity's analog version of the effort Rolling Stone awarded a full five-star review upon revisiting it eight years later brings the band's live-in-the-studio vocals and darker, raw feel to the surface like never before. Leader Rivers Cuomo's decision to record group choruses around three microphones rather than capture them separately finally can be experienced as originally intended, with the immediate vibe paying off in the form of more engaging, edgier results that parallel the songs' personal emotions and frustrated themes. Guitars, which scrape and push, augmenting the trials and tribulations documented in the narratives, are finally rendered in proper perspective.
Comprised of nonfiction tunes largely based on Cuomo's dissatisfaction with rock-star life, and written by the singer/guitarist as he attended school at Harvard University, Pinkerton confronts disappointment, loneliness, isolation, awkwardness, and cruel romantic irony with a universal perspective to which anybody can relate. Cuomo selected the character Lieutenant Pinkerton from Puccini's Madame Butterfly as a touchstone, believing the persona symbolic of the tormented protagonists in his songs-and recognizing similar struggles to come to terms with identity.
Weezer's aims on Pinkerton have connected with many that identify with its narratives and adore its surfeit of melodies. Surpassing cult-classic status and conquering fickle tastes, the record ranks in Guitar World's "Top 100 Guitar Albums of All-Time"; Spin's "100 Best Albums From 1985 to 2005"; Pitchfork's "Top 100 Albums of the 1990s"; and Rolling Stone's Hall of Fame.
For all the malaise, Pinkerton also contains beloved wit and humor. Shyness and hands-in-pocket diffidence inform "El Scorcho"; incongruity and surprise surround the simultaneously funny and sad "Pink Triangle"; tedium and desire collide on the cynical "Tired of Sex." Psychosexual confusion, unrequited passion, and good intentions elicit unintended sympathies, a trait that remains one of the record's brilliant turns.
This title is not eligible for discount.1. Tired of Sex
3. No Other One
4. Why Bother?
5. Across the Sea
6. The Good Life
7. El Scorcho
8. Pink Triangle
9. Falling for You
10. Butterfly$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Little Death ShakerStripped of all noise influences and focusing on straight-up songs, Little Death Shaker is a record evocative of late nights and dusty parking lots, long drives and boozy hookups. This is the work of a dude who's spent his youth and young manhood on tour and it comes through in both the music and the lyrics. Where Castanets' lyrics gave us Ray Carver-ian fragments and it's-what-you-leave-out-that-counts minimalism, here we see Raposa back from the battleground with stories to tell.
This is the most lyric-heavy Raposa's been and it's also the most playful and humorous, and you get the feeling some of these songs would be the ones that would go down best near 2am at some weird sports bar dive in southeast Alabama/Iowa/Mississippi. (We can just see some big biker dude/fallen NASCAR star/Gary Busey lookalike sitting back-to-bar, Bud in hand, having a good-natured laugh over the punchline from Some of My Friends or the WTF premise of the Dan Reeder penned You'll Never Surf Again.)
The record begins with fighting spirit. Allegiance comes on with a punch of electric guitar and Raposa singing I woke up feeling/bold as shit. It's his rowdiest and most confident song to date, a real knockabout that'll take you by surprise if you're used to Castanets. Up next the title track verges on Queen (Flash Gordon soundtrack?) and Some of My Friends is a barnburner with the ghosts old Sun Studios players holding court.
Highlights are many. The dark-as-Skoal interstate roller Whippoorwill, the slowly ramping Some Kind of Fool, which rolls easy and pretty with backup vocals from Matthew Houck of Phosphorescent before building to a shitkicking rock 'n' roll peak where we find Raposa delivering some of his best and most racy lyrics, singing the very un-indie-rock, I could spend this good money wherever I care to/taste all the honies that I choose /lay myself down beside anyone's flower/all alive in the morning with the dew. It's a song about libertine freedom and heartbreak ignored and taking the bull by the horns and being, well, kind of a bastard.
More highlights: Castanets collaborator Talia Gordon taking main vocals on You're Not Standing Like You Used To (Kate Wolf); the after-afterhours minor chord jam Stateline, Little Death Shaker's most ruckus track of all, a late-night spent trapped in the stripclub/rig cab/country bar/tour van/your own damn head. At 10 minutes it's a tale of drugs and wayward love, a real red-lit kind of aloneness, backed by a legit live crawl, with high and ghostly organ and distorted vocals crackling like a bad CB connection.
With Meridian, Raposa and Houck bring back the vibe of Some Kind of Fool and take it on a humid trip through the deepest South, gators in the water, snakes in the sand, a stormhead looming over the sun-dappled river. When Raposa sings oh honey here comes the storm you can just FEEL the weather breaking.
One of this record's real charms is you can close your eyes and see these 13 tracks played live; you can see the drummer leaning over his kit with his brushes (and sunglasses on?), the backup singers standing around the mic, beers in hand, eyes closed, swaying side to side, the lights crisscrossing the stage. Meridian is no different. You can see this band. You can see these people playing together, and in a world of records that bands can't duplicate live, it's crazy-refreshing!
The album's closer, Allegiance 2, brings backlongtime Castanets collaborator Bridgit Jacobsen (nÉe Decook) for a hushed and barely-there apology. Oh lord be kind to me/after all these devils I have kissed. As a prayer, a shrug, and an exhausted offering, it's a fitting way to end an album so concerned with sin and vice. It's also a fitting end-introduction to this new band. So meet Raymond Byron and the White Freighters and their record Little Death Shaker. Here's to the new!1. Allegiance
2. Little Death Shaker
3. Some of My Friends
5. You'll Never Surf Again
6. Don't That Lake Just Shine
8. A Little More Credit
9. Some Kind of Fool
10. You're Not Standing Like You Used To
12. Meridian, MS
13. Allegiance 2$19.99Vinyl LP - Sealed Buy Now
For My ParentsMono, the Japanese instrumental rock quartet, who have been called one of the most distinctive bands of the 21st century by Pitchfork, present their new Temporary Residence album For My Parents. There is no doubting a Mono song when you hear it; cinemascopic song structures, engrossing lyrical melodies, sublimely transcendent execution; and no denying their uncanny ability to feel perfectly at home in both pristine symphony halls and dirty rock clubs. For My Parents obliterates that divide, showcasing a sensitivity and maturity that simultaneously acknowledges where they came from and where they're going.
For the new album the band worked with legendary New York producer Henry Hirsch, recording in a converted cathedral overlooking the Hudson River, and mixing with longtime friend Fred Weaver in rural Pennsylvania. Embracing their evolution as a preeminent neoclassical noise juggernaut, Mono once again enlisted the Wordless Music Orchestra, who had previously accompanied the band in NYC during their worldwide series of orchestral concerts.
Coming more than three years after the highly regarded Hymn To The Immortal Wind, For My Parents represents the longest span of time between Mono albums, resulting in sharper songwriting, subtler dynamics, stunning production, and the most thoughtfully developed arrangements of their career. The unique combination of soul-stirring melodies, cinematic East-meets-West arrangements, and firm command of elusive emotional intangibles is what makes Mono so Mono.1. Legend
3. Dream Odyssey
4. Unseen Harbor
5. A Quiet Place$24.99Vinyl LP - 2 LPs Sealed Buy Now
FutureIt's something we all want the answers for. It's something we fear. It's something we want to have a grip on.
So we ask for clearcut forecasts, desperately seeking security in precise, defined direction. Tossing and turning, we think if we could just glimpse the end of the book, we'd rest easy. We make plans and maps, charting out our lives and where we want them to go. We find ourselves filled with anxieties, pressure, worries
Jordan Feliz knows the feeling.
But he didn't write his newest album, Future, because he figured out all the answers to his path. Quite the opposite. This record was born out of Feliz making peace with the fact that he doesn't, none of us can, know what his future holds. Cling to your best-laid plans until your knuckles turn white, mark your calendar up and down, worry yourself dizzy But the real answer is accepting that we do not hold the future in our own two hands. And thank goodness, because the One who does has already written better stories for us than we ever could.
Following widespread acclaim for his first album, The River, Jordan Feliz began the journey of recording a new one. But the process didn't start how he expected or hoped.
"I started going through anxiety and honestly didn't know how to begin, because I felt like 'Everything I create isn't going to be good enough.'" Jordan remembers.
He was on tour, trying to write for the album, but experiencing panic attacks. He found himself unable to connect with the songs he'd been working on.
"My head wasn't in the right spot. My heart wasn't either. it was more focused on appeasing people. It was listening to myself and not to God."
Then back home with friends and co-writers Paul Duncan and Colby Wedgeworth, he marched not around the fear, but through it. And on the other side was solid ground.
"I said 'What if I just can't do it?' but then Paul says to me 'Look man, there's no pressure. Everything in your future has already been plotted by Jesus. He has paved every step of the way for you, in a way to have favor on your life. Our future is not wound up in our success, but in the inheritance of God.'"
With those words, something clicked for Jordan. He took a breath. He let go. He remembered that his future is held by the strong, kind hands of the Father.
"Sometimes it's really hard to silence out the world and just listen to the small, still voice. But once I refocused and listened to Him, He had a message for me," Feliz shares. "A fire was set in me to write a song about freedom. A song we can sing to be stoked that every single day there's a God that loves us, never ceases, and never fails."
That day they wrote "Witness," which would go on to be Feliz's first single for Future, in only 45 minutes.
"And that's when the record started."
It's certainly not the first time Jordan's had to rely on faith. Six years ago, following much prayer, he and his wife ventured to Nashville after feeling called to make the move; the only catch: they didn't even have enough money to make it all the way from California to Music City. They were depending on a few performance gigs Jordan had along the route.
"But all the shows I was scheduled to play got cancelled. At first we were stressed and asking 'What do we do?'. We just felt like the Lord was saying 'You need to go.You just need to trust me.' We had to decide to think about what the Lord has for us, instead of what we have for ourselves. Watch and prepare for what He can do, not what we think we can do."
He ended up with a spontaneous opportunity to perform for less than 30 people, who bought more than enough merchandise to get the Felizes to Nashville.
"We sobbed in the car," he reflects. "For God to show us that He gives us more than we even need "
Jordan tells that story in the album's track "All Along," his most personal song to date. With the first lyric describing his literal first moment of breath, Feliz goes on to tell some of his life's highlights, revealing God's presence through each moment of every season.
And that's what marks this album as a mature step forward for the singer-songwriter. The vibrant pop melodies are not only infectious, but deep-rooted in the vulnerable walks of faith he's ventured through in the past year.
"This record is just chock-full of story. Every single song," Jordan says. "It's kind of me taking a piece of my life, my heart, my beliefs, and my trust in God and just giving them to people. And hopefully they'll hold onto the message and learn to trust God even more through it."
He wrote most of the album on the road with a hectic tour schedule and only eight other writers. Feliz was surprised to find that he loved this unorthodox writing process, saying it allowed for him and cowriters to spend more time simply experiencing life together, then reflect on it through creating music. Gone was the pressure to sit in a room and crank out a hit song. The result: more authentic songs that come from inspiration found in everyday life. Songs the musicians poured themselves into- including one of Jordan's favorites, "Faith," which came about from a middle-of-the-night writing session.
"That never would've happened back home," Jordan laughs.
And as Feliz and his team were wrapping up, something incredible happened for an album that began from a place of insecurity. When it came time to make the final song decisions, typically a stressful and challenging process, Jordan felt an unexpected peace.
"Not even kidding, the day we left that meeting, we all just kind of knew those were the songs. With The River, we thought through every little thing, but this time it feels like the Lord just gave us these songs and was like 'This is it. You don't need anything other than these.' And we still wrote over 40 songs, but it was so clear that these were the ones that were going to be recorded. We hadn't even heard them produced yet, so we were just hoping it was all going to turn out right and it did. These songs were gifted to me by the Lord."
Jordan Feliz belts out "Witness" to a roaring crowd.
"Your love is moving mountains every day of my life. Can I get a witness?"
Hands shoot up, voices join in, souls worship. Jordan beams. It's the smile of a heart that knows it's landed in the hands of its Protector. The smile of a heart, fearlessly honest, that is connecting with others. A heart that's traveled through uncertainty, and probably will again, but will always find home in the story already written for it.
Jordan listens to the new record, the latest season of his life in musical form. Those early doubts have transformed into peace. The shame into compassion. The worry into joy, and the fear into excitement.
"Probably craziest of all is that I didn't see any of it coming together at beginning. I thought 'There's no way this is going to get done and I'm going to be able to handle it,' and it just happened. This entire project comes down to the fact that every day I'm learning how to trust God more and more and more."
He doesn't know how the next chapter reads. But he knows something more important: the Author.
"Every time I think about the concept of this record, it feels like it's purposeful for people to grab onto the idea of a song and hold onto it for a very long time. That's what it stands for. It stands for what's coming. It stands for what God has for our life."
Written. Held.1. Witness
2. Count That High
4. Streets Of Gold
6. Lay It Down
8. All Along
11. That's The Life
12. My Shelter
13. Blank Canvas$19.99Vinyl LP - Sealed Buy Now