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Beach House 7'
77 is our 7th full-length record. At its release, we will have been a band
for over 13 years. We have now written and released a total of 77
Throughout the process of recording 7, our goal was rebirth and
rejuvenation. We wanted to rethink old methods and shed some
self-imposed limitations. In the past, we often limited our writing to
parts that we could perform live. On 7, we decided to follow whatever
came naturally. As a result, there are some songs with no guitar, and
some without keyboard. There are songs with layers and production
that we could never recreate live, and that is exciting to us. Basically,
we let our creative moods, instead of instrumentation, dictate the
For 7, we built a home studio, and began all of the songs there.
Whenever we had a group of 3-4 songs that we were excited about, we
would go to a "proper" recording studio and finish recording them
there, in the process shortening the amount of time between the
original idea and the finished song (of the album's 11 songs, 8 were
finished at Carriage House in Stamford, CT and 2 at Palmetto Studio
in Los Angeles). 7 didn't have a producer in the traditional sense.
James Barone, who became our live drummer in 2016, played on the
entire record. We also worked with Sonic Boom (Peter Kember), who
became a great force on this record by shedding conventions and
helping to keep the songs alive, fresh and protected from the destructive
forces of recording-studio over-production/over-perfection.
The societal insanity of 2016-17 was also deeply influential, as it
must be for most artists these days. Looking back, there is quite a bit
of chaos in these songs, and a pervasive dark field that we had little
control over. The discussions surrounding women's issues were a
constant source of inspiration and questioning. The energy, lyrics and
moods of much of this record grew from ruminations on the roles,
pressures and conditions that our society places on women, past and
present. The twisted double edge of glamour, with its perils and
perfect moments, was an endless source. In a more general sense, we
are interested by the human mind's (and nature's) tendency to create
forces equal and opposite to those present. Thematically, this record
often deals with the beauty that arises in dealing with darkness; the
empathy and love that grows from collective trauma; the place one
reaches when they accept rather than deny.
While the title is simply a number that represents our seventh record,
the number 7 does represent some interesting connections in
numerology. 1 and 7 have always shared a common look, so 7 feels
like the perfect step in the sequence to act as a restart or "semi-first."
Most early religions also had a fascination with 7 as being the highest
level of spirituality, as in Seventh Heaven." At our best creative
moments, we felt we were channeling some kind of heavy truth, and
we sincerely hope the listeners will feel that.
Beach House1. Dark Spring
2. Pay No Mind
3. Lemon Glow
5. Drunk in LA
7. Black Car
8. Lose Your Smile
10. Girl Of The Year
11. Last Ride$19.99Vinyl LP - Sealed Buy Now
Nude Beach IIGrowing up in the bucolic waterfront village of Northport, NY, Chuck Betz, Ryan Naideau and Jimmy Shelton played punk rock together since high school, in a succession of bands more than happy to set up at any house party, BBQ or makeshift venue that would have them. The familiar strain of classic rock is the go-to sound on the North Shore of Long Island, but they lived in an alternate universe where Ryan convinced his parents to let him turn the family basement into an occasional all-ages show space, hosting touring groups, and rounding out the bill with whatever band he and his friends were in at the time.
Fast forward to 2008, the boys had based themselves in Brooklyn and Nude Beach was born; the group slowly integrated themselves into the local DIY community, performing in dive bars and warehouse lofts, often several times a week, playing more than 100 shows in less than four years together. They self-released cassettes and vinyl LPs, they booked their own tours, and played in infinite side-projects and spin-off bands at every punk venue in North Brooklyn and beyond.
But while Nude Beach is very much a part of the Brooklyn DIY scene, it's always been more in spirit than in sound; sure, they're as beer-soaked, overdriven and raw as any group around, yet as hard as they've tried to ignore it, the trio could never quite shake the rock & roll of Tom Petty and Bruce Springsteen which sound-tracked their Long Island youth, and battered vinyl from the Byrds, the Replacements and the Jam sits side by side in their record collections with the hardcore and indie LPs and 7"s that brought the friends together in the first place.
In an increasingly fractured music scene, Chuck, Ryan and Jimmy play against fashion and deliver straight up rock & roll, and moreover, they do it better than anyone has in a long time. They've got the songs, they've got the sound, and they've got the fuck-all attitude that just can't be faked. Nude Beach will rock you if you let them. Turns out it's still more fun than just about anything else going on. Just check out their most recent full-length, II, if you don't believe us!1. Radio
2. walkin' Down My Street
3. Some Kinda Love
4. You Make It So Easy
5. Keep It Cool
6. Love Can't Wait
7. Cathedral Echoes
8. Don't Have To Try
9. The Endless Night
10. Loser in the Game$16.99Vinyl LP - Sealed Buy Now
VoicesPhantogram is an American electronic rock duo from Saratoga Springs, New York. Formed in 2007, Phantogram is Josh Carter (vocals, guitars) and
Sarah Barthel (vocals, keyboards). The band name was partially inspired by an optical illusion called a phantogram, in which two-dimensional images
appear to be three-dimensional.
They described their sound as street beat, psych pop. According to Josh, their music has lots of rhythms, swirling guitars, spacey keyboards, echoes
and airy vocals.
The band released their first studio album, Eyelid Movies (2009), to critical acclaim.
The band has played and toured with bands including: The xx, Ra Ra Riot, M83, Metric, Beach House, Zero 7, Yeasayer and countless more.
In 2014, the band will release their major-label debut and sophomore release Voices.1. Nothing But Trouble
2. Black Out Days
3. Fall in Love
4. Never Going Home
5. The Day You Died
6. Howling at the Moon
7. Bad Dreams
8. Bill Murray
9. I Don't Blame You
10. Celebrating Nothing
11. My Only Friend$23.99Vinyl LP - 2 LPs Sealed Buy Now
BloomBloom is the fourth full-length album by Beach House. Like their previous releases, Beach House (2006), Devotion (2008) and Teen Dream (2010), it further develops their distinctive sound yet stands apart as a new piece of work. The landscape of Bloom was largely designed on the road, between the countless sound checks and myriad experiences during two years of touring. Throughout this period, melodies, chords, rhythms, words and textures surfaced in moments of their own choosing. These spontaneous ideas were later gathered and developed in Baltimore, MD where the band members Alex Scally and Victoria Legrand live and work.
Bloom was then recorded in late 2011 over a period of seven weeks at Sonic Ranch Studios in Tornillo, TX and mixed for another two at Electric Lady in NC. The band co-produced the record with Chris Coady. Bloom is meant to be experienced as an album. A singular, unified vision of the world. Many songs were omitted or dropped because they lacked a place within our vision for this album, notes Scally. Though not stripped down, the many layers of Bloom are uncomplicated and meticulously constructed to ensure that there is no waste. Each chord and melody performs its role to form a whole.
The songs have depth and reveal themselves in new ways through repeated listenings. As a complete work, Bloom transcends the banality of simple emotions and arrives at a realm of honesty and complexity. It soberly reveals how frightening and temporary, yet beautiful, our existence is. It creates an honest reflection of death, as it must to relate to life. To this Legrand adds, Bloom is a journey. For me, it is about the irreplaceable power of imagination as it relates to the intense experience of living. A bloom is only temporary, a fleeting vision of life in all of its intensity and color, beautiful even if only for a moment. 2LP pressing with expanded outer sleeve in glow in the dark in, four inner sleeves and MP3 coupon.1. Myth
4. Other People
5. The Hours
7. New Year
9. On The Sea
10. Irene$20.99Vinyl LP - 2 LPs Sealed Buy Now
B-Sides and RaritiesThis compilation contains every song Beach House - aka Alex Scally and Victoria Legrand - has made that does not exist on one of their albums. The band explains:
When we announced that we were releasing a B-sides and rarities album, someone on Twitter asked, "B-sides record?Why would Beach House put out a B-sides record? Their A-sides are like B-sides." This random person has a point. Our goal has never been to make music that is explicitly commercial.Over the years, as we have worked on our 6 LPs, it wasn't the "best or most catchy songs that made the records, just the ones that fit together to make a cohesive work. Accordingly, our B-sides are not songs that we didn't like as much, just ones that didn't have a place on the records we were making.
The oldest song is "Rain in Numbers" and was recorded in 2005, during the summer when we formed the band. We didn't have a piano, so we asked our friend if we could use his, which was pretty out of tune. We used the mic that was on the four-track machine to record the piano and vocals. It was originally the secret song on our self-titled debut.
The next couple of songs are from late 2008. We were so excited about "Used to Be" that we quickly recorded it and put it on a 7" for our fall tour with the Baltimore Round Robin. The same session begat our cover of Queen's "Play the Game" for a charity compilation benefiting AIDS research; we will continue to donate all profits from the song to that charity. As fans of Queen, we thought it would be fun and ridiculous to try to adapt their high-powered pop song into our realm. These songs were recorded at the same studio where we made Devotion.
There are a bunch of songs written and recorded in the 2009-2010 window. "Baby" was written and recorded in October 2009 with our friend Jason Quever. "10 Mile Stereo"was recorded during the Teen Dream session in July 2009.Since we used tape, we often slowed the tape way down to create effects while recording, which led to "10 Mile Stereo(Cough Syrup Remix)."
"White Moon" and "The Arrangement" were both songs that we didn't believe fit on Teen Dream. "White Moon" originally appeared on our iTunes live session. Since that was recorded and mixed very hastily, we have remixed it to better match our current aesthetics. We have also remixed and included the version of "Norway we did at that same session. We wrote and recorded "I Do Not Care for the Winter Sun" during a break between tours and released it on the internet for free,unmastered. Well, it's finally been mastered1. Chariot
3. Equal Mind
4. Used To Be (2008 Single Version)
5. White Moon (itunes Session Remix)
6. Baseball Diamond
7. Norway (itunes Session Remix)
8. Play The Game
9. The Arrangement
10. Saturn Song
11. Rain In Numbers
12. I Do Not Care For The Winter Sun
13. 10 Mile Stereo (Cough Syrup Remix)
14. Wherever You Go$20.99Vinyl LP - Sealed Buy Now
Ryou CannonPalo Duro's forthcoming LP, Ryou Cannon, is set for release via Columbia Records.
Previously known for fronting the band Gold Beach, Palo Duro's Michael J. Winningham has created a pulsating, technicolor universe with Palo Duro. A project that began in July 2012, Michael reached out to his childhood friend, producer Sam Cohen (Kevin Morby, Benjamin Booker) to continue work on a new Gold Beach record. At 16 years old, Sam helped Michael arrange his first song at a house party in Houston TX. Fast forward many years later and this creative synergy proved to be strong-Instantly, in the studio, exciting and bold ideas emerged. Collaboration and endless possibilities informed the arrangements between Sam, Michael, and keyboardist Carlos Orozco, and a new spirit was born. This was no longer Gold Beach.1. Darken the Glow
2. No Witness
4. True Fade
5. Indian Ocean
8. Kill the Night
9. Ryou Cannon
10. Impression$22.99Vinyl LP - Sealed Buy Now
Avi BuffaloAvi Buffalo is the adopted name of Avigdor Zahner-Isenberg, an 18 year-old singer/songwriter and guitarist from Long Beach, CA. Avi Buffalo is also the name of the band he formed with friends and like-minded collaborators Sheridan Riley (drums), Arin Fazio (the old man at nearly 21 on bass) and Rebecca Coleman (keyboards and vocals). They've toured with Beach House, Final Fantasy, opened for Vampire Weekend and found fans at KCRW and Steve Lamacq at the BBC. The version of What's In It For? collected here is the same as the one found on the What's In It For? 7 single. The version of Jessica is altogether different from the version that is the b-side of that same single.1. Truth Sets In
2. What's In It For?
4. Five Little Sluts
6. Summer Cum
7. One Last
8. Can't I Know?
9. Remember Last Time
10. Where's Your Dirty Mind?$15.99Vinyl LP - Sealed Buy Now
Freddie Mercury: Messenger Of The Gods - The Singles (Box Set)Box Set Features 13 x 7" Singles On Colored Vinyl
Includes Booklet Featuring Previously Unpublished Photos
Freddie Mercury was a man of many talents and many different sides. The songs he wrote for and with Queen filled stadiums around the globe and have rightly gone down in history, but he also embarked on a solo career that took him from the clubs of Munich and New York to the great opera houses of the world.
He was the ultimate showman, but he kept his private life away from the prying eyes of the media; a larger than life rock star who loved disco, classical music and ballet. He was a restless spirit, a true chameleon who reveled in his own contradictions.
All the different sides of this iconic musician can be found on Freddie Mercury: Messenger Of The Gods - The Singles. Fittingly released on Mercury Records for the world outside North America, and on Hollywood Records in North America, this box set brings together all 13 of Freddie's solo singles on individually coloured vinyl.
From his debut solo single I Can Hear Music, released under the name Larry Lurex, through the dance floor-influenced solo anthems of the 80s and up to his collaborations with legendary Spanish opera singer Montserrat CaballÉ including the timeless Barcelona, this is a journey through the career of a unique talent.
Born Farrokh Bulsara on the East African island of Zanzibar on September 5, 1946, the rechristened Freddie Mercury was already a star in his own mind by the time he formed Queen with Brian May and Roger Taylor in 1970. Where his band mates had studied astrophysics, dentistry and electronics at college, Freddie majored in stardom.
His first solo single actually emerged a week before Queen's own debut 7". Released in 1973 and credited to Larry Lurex in a nod to the fashionably flamboyant noms de rock of the glam era, the Beach Boys cover I Can Hear Music and its B-side, Goin' Back, were recorded as a favour towards a musical project by Trident Studios' house engineer Robin Geoffrey Cable, in 1972.
As Queen's career rocketed towards the heavens, Freddie poured his energies into the band. It would be more than a decade before he released his second solo single, the pulsating, electronic Love Kills. Originally released in 1984, Love Kills was a collaboration with famed Italian disco producer Giorgio Moroder for the soundtrack to Moroder's update of the groundbreaking 1927 silent movie Metropolis. A Top 10 UK hit, it found Freddie moving away from Queen's traditional sound, paving the way for what he would do next.
Released in 1985, Freddie's debut solo album, Mr Bad Guy, fully explored the music he had fallen in love with in the dance clubs of Munich and New York. The four hit singles released from that album - I Was Born To Love You, Made In Heaven, Living On My Own and Love Me Like There's No Tomorrow, all of which are included in the Messenger Of The Gods box set - crackled with playfully hedonistic energy, but they also hid a more serious side to Freddie. Here was a man who craved the good times but wanted something deeper as well.
Within two years, he had abandoned the sound of the clubs for the music of the opera house - though not before releasing both the epic single Time, the theme to the lavish stage musical of the same name produced by Dave Clark, and his outrageous (and strangely revealing) Top 5 cover of The Platters' 1965 hit, The Great Pretender.
In 1987, he dived headlong into the world of opera and classical music with the towering single, Barcelona. A duet with legendary Spanish soprano Montserrat CaballÉ, an idol of Freddie's, it came about after the opera star asked him to write a song about her home town.
Barcelona remains one of the most momentous hit singles not just of Freddie's career but in pop history. Not only did it lead to an album of collaborations between these two huge talents, but the title track was also chosen as the official anthem of the 1992 Olympics. That song, together with the two other singles taken from the album, The Golden Boy and How Can I Go On, are all included as part of Messenger Of The Gods with their original B-sides.
In October 1988 Freddie and Montserrat were invited by the King and Queen of Spain to perform Barcelona on the steps of Barcelona's National Palace of Montjuic at the open air La Nit festival which was staged to mark the arrival of the Olympic Flag from Seoul.
But sadly, Freddie would not live to see the fruits of his collaboration with Montserrat CaballÉ showcased at the Barcelona Olympics. He passed away on November 24, 1991, just seven months before the Games took place. The grand opening ceremony was a fitting tribute to a man who thrived on spectacle.
Messenger Of The Gods is completed by two posthumous singles, In My Defence and Living On My Own (No More Brothers Radio Mix), the latter of which became Freddie's first solo number 1 and was the biggest selling European single of the year in 1993.
Had he lived, it is anyone's guess where this most restless and protean of singer's muses would have taken him. But Messenger Of The Gods - The Singles is a towering legacy, a collection of songs which will never lose their stature of classics and will live on forever.Disc 1 - Blue Colored Vinyl
(a) I Can Hear Music - Larry Lurex (1973)
(b) Goin' Back - Larry Lurex
Disc 2 - Orange Colored Vinyl
(a) Love Kills (1984)
Disc 3 - Yellow Colored Vinyl
(a) I Was Born To Love You (1985)
(b) Stop All The Fighting
Disc 4 - Red Colored Vinyl
(a) Made In Heaven [Single Remix] (1985)
(b) She Blows Hot And Cold
Disc 5 - White Colored Vinyl
(a) Living On My Own [Single Edit] (1985)
(b) My Love Is Dangerous
Disc 6 - Red Colored Vinyl
(a) Love Me Like There's No Tomorrow (1985)
(b) Let's Turn It On
Disc 7 - Cyan Colored Vinyl
(a) Time (1986)
(b) Time [Instrumental]
Disc 8 - Orange Colored Vinyl
(a) The Great Pretender (1987)
(b) Exercises In Free Love [Freddie's Vocal]
Disc 9 - Clear Colored Vinyl
(a) Barcelona [Single Version] (1987)
(b) Exercises In Free Love [Montserrat's Vocal]
Disc 10 - Gold Colored Vinyl
(a) The Golden Boy [Single Edit] (1988)
(b) The Fallen Priest [B-Side Edit]
Disc 11 - Green Colored Vinyl
(a) How Can I Go On [Single Version] (1989)
(b) Overture Piccante
Disc 12 - Neon Pink Colored Vinyl
(a) In My Defence (1992)
(b) Love Kills [Wolf Euro Mix]
Disc 13 - Yellow Colored Vinyl
(a) Living On My Own [No More Brothers Radio Mix] (1993)
(b) Living On My Own [Julian Raymond Album Mix]$139.997 Inch Colored Vinyl Box Set - 13 Singles Sealed Buy Now
ConversationsWoman's Hour are not your average band. The first clue comes in the name of the London-based swoon-pop four-piece, taken from a beloved female-focussed news and culture show on BBC Radio 4. The second is in their graphic, striking monochrome visuals, meticulously curated in collaboration with TATE and MOMA certified fine artists Oliver Chanarin and Adam Broomberg. These play with shape and texture, much like their powerful, iridescent music. On their excellent debut album 'Conversations', this has the intricate construction and intimacy of The xx and the iridescent shimmer of summer-defining indie pop. Pay attention now, or regret it later.
In a sense, we feel like the odd ones out, explains frontwoman Fiona Burgess of their nose-to-tail approach to their visuals, performance and songcraft. It's quite empowering that we're doing it as four people but we're not part of a bigger collective. Indeed, their 360º approach is closer to the art/music crossover of acts such as Throbbing Gristle, Yoko Ono or Factory Floor than most of this year's indie hopes. Their music - as poignantly personal as pop gets - has a rare singularity and purpose.
Take single Her Ghost, which layers a breezy guitar hook with Fiona's beautiful, sighing lyric of inner turmoil. I'm interested in the idea of memory and how powerful memories can be, and how powerful some things can be to let go of, she says. A lot of my writing is me trying to understand an emotion or situation. The track's melody and a message lingers in the recesses of the mind like a box of treasured letters.
Woman's Hour started to come together one summer, when Fiona started collaborating with her brother, guitarist William Burgess. I had been to a couple of rehearsals with other bands and it wasn't very much fun, says William. I mentioned to Fiona that I'd like her to sing and we decided to have a go. I went round to her place one day and it turned our that she had a pretty nice voice! The two recruited bassist Nicolas Graves, who was William's friend from back home (the pair had played in a couple of local guitar bands back in Kendal) and the three began creating their music. Nicolas explains: We just messed around in each other's houses for a bit and tried to get a few songs together.
We played our first gig in 2011, Nicolas continues. It was at Fiona's house in Camden. It was a hat-themed party. I remember wearing a beret. Fiona was wearing a trilby, and Will had a sombrero on. It was incredibly nerve-racking for the trio despite the jolly occasion (I almost froze with fear at one point laughs Nicolas), but the gig was a runaway success, and it was there that they all met keyboardist Josh Hunnisett, who was already a friend of Fiona's and happened to be doing the sound at the event. Even in the shambolic situation, the band were meticulous perfectionists.
The quartet had their first rehearsal in an old vicarage in Dalston. It just felt really honest, says Josh. There was no 'you can't do this, you can't do that, don't try that - the style of music felt pure and everyone was expressing themselves in the way they wanted. We've tried to think about this as a collaboration between four different creative people. Each band member brings a wholly distinct set of influences to the band - from German cold wave to pop rarities and uncompromising singer/songwriters. Their website even has a section dedicated to recommended reading.
But it was their favourite radio show that was to be have most prominent effect on the band. When we were first doing demos we named them all after BBC Radio 4 programmes, explains Nick. The World at One, Afternoon Play, that kind of thing. I think Woman's Hour might have been one of them, and when it came to play our first gig (at The Queen's Head in London) one of our friends suggested using it and it stuck. Indeed, their jangle-pop first single Jenni, which is quite different to their current material, was named after Radio 4 stalwart Jenni Murray. The band's first 7, Jenni/ Human, was released through London label Dirty Bingo after the label head tracked them down on online and interviewed them for beloved London zine Loud And Quiet.
Although the single made a splash, things were moving too fast for the band. Suddenly we thought, 'should we have had something to back this up?, says William. 'We didn't have any more songs, so we took a year and a half off to write and develop the sound. That's also when we met Tom Morris, our producer. The band hibernated, starting from the bottom up. Let's get everything fucking slick, how we want it, let's do everything exactly how we want it ourselves - don't compromise.
It was worth the wait. When the band put their gorgeously lilting comeback single Our Love Has No Rhythm online in 2013, the blogs exploded, in part due to the glossy monochrome video depicting Fiona's face in close-up, and also the stunning single artwork - an uneasy found image of a suited gentleman falling over. We've been using images that are taken from manuals, explains Fiona. Lots of different 'How To' manuals from How to Train a Chihuahua to How to Fall Over Without Hurting Yourself. We like the idea of how to look after yourself physically paired with the music, which is a lot less direct.
Perhaps Woman's Hour's music does not hammer its message home, but there's a nuance and craft that's scarcely found in today's industry. They followed Our Love Has No Rhythm, with the cooing, Beach House-esque Darkest Place in which Fiona implores I don't understand why you're not around over swooning keyboards, with a cooing ooooh-ooooh hook. For the track's striking video, she'd is depicted in close crop with her eyes closed as an unknown figure attempts to prise them open. I was finishing a degree in performance studies at the time, and I came across this particular piece by Vito Acconci, she says of the inspiration for the video. The original piece is about 20 minutes long, and it's absolutely gruelling, there's no soundtrack to it and it's a piece where you can hear the sound in the room of two people in a physical struggle. You can hear the heavy breathing, the feet, the occasional sounds of resistance. She endured a restaging of the piece, which she found very intense and intimate.
Woman's Hour have an uncompromising commitment to the unconventional. For them, music does not exist as merely a hummable soundtrack but as a wider and more artistic proposition. As Fiona continues: A lot of music videos are not very challenging, and I like the idea of them being quite confronting. Our album artwork is inspired by a picture of a woman surrounded by pyramids that was part of a magazine article called The Start of an Era. It was a 1970s performance piece that was performed at the Whitney Museum in New York, and we've also designed nine of these pyramids with Oliver Chanarin that we'll incorporate into our live show when possible. The Start of an Era? We couldn't have said it better ourselves.1. Unbroken Sequence
3. To The End
4. Darkest Place
5. In Stillness We Remain
6. Our Love Has No Rhythm
7. Her Ghost
8. Two Sides of You
11. The Day That Needs Defending$18.99Vinyl LP - Sealed Buy Now
Heat Leisure III & IVHeat Leisure is a collective centered around the Carney brothers of Pontiak, Greg Fox and Alexandra Drewchin of Guardian Alien, Steve Strohmeier of Beach House, and Robert J. Otten III. Their music takes a freewheeling approach to psychedelia with obvious nods to Amon DÜÜl II, Can and the Grateful Dead. For this, their second gathering and recording at the Carney s farm in Virginia, the group recruited the legendary Merry Prankster and Grateful Dead associate Ken Babbs, who emceed the Dead s mythical Veneta, OR gig in 1972 that became Sunshine Daydream, to contribute a shamanistic monologue to III, which occupies the first side of this, their first full-length vinyl release. The Carneys approached Babbs about collaborating with Heat Leisure t his Oregon farm on the last Pontiak tour. Heat Leisure s core principles are spontaneity, serendipity, and collaboration. The band employs frying amp distortion, a signature of Pontiak, as well as an array of drums, synthesizers, samplers, organs and a heavy dose of explorative improvisation by the musicians to create a highly lyrical album. Heat Leisure was conceived as a multi-media pursuit. While this release, III & IV, is an audio record, Heat Leisure I & II was released in the form of a short film/DVD with an accompanying 7 . The Carneys have said that future incarnations could take any form from performance and paintings, to sculptures or even digital mediums. Very much like the collaborative approach of the musicians to each session, they are keeping it open. III & IV was recorded late at night during a three day period during the first week of 2014 in Pontiak s Studio A, also on their farm, with Lain Carney doing most of the engineering. The session was recorded live to 1 tape, the reel old and decaying, which lead the tape to subtly speed up and slow down as the tape broke down and left residue on the tape heads. This organic effect adds to the woozy, surreal vibe of the music, and could not be replicated in a digital recording.1. III
2. IV$18.99Vinyl LP - Sealed Buy Now
NVMLike a fluorescent-lit snack-aisle oasis in some desolate interstate road stop, brimming with Skittles and limited-edition Sno Balls, Tacocat's Easter-egg-hued pop-punk-pop is bubblegum-sticky with hooks, bound to brighten up the most drab stretch of bummer backroad.
The band's four-person, seven-layer-burrito came together organically: Lelah Maupin (drums) and Eric Randall (guitar) met in their native Longview, WA-two hours south of Seattle, the very town that Green Day named their breakout debut single after. Lelah's family room was wallpapered with framed Magic Eye posters, hence Stereogram, the cross-eyed love letter to that bizarre '90s optical fad. She met lanky Eric while both worked at Safeway, wearing the chain's distinctive navy aprons before breaking north to Seattle. Eric's band The Trashies practiced and played in the basement of the 24/7 House in the Central District, where Long Beach, CA native Bree McKenna (bass) was living, amongst the dust, boxes, and spiders. Lelah met Butte, MT native Emily Nokes (voice, tambourine) in one excruciatingly early/boring graphic design class, slipping her a doodled-upon note; she soon noticed Emily's big voice while she sang along with R. Kelly on the radio. Emily and Bree hit it off one sloshy night at the Comet. Eric impressed Emily with his reenactments of scenes from Anaconda. Sometime around 2007, via countless raucous house party shows, the legend of Tacocat was born.
The foursome would quickly make a name for themselves with their simply energizing power pop, drawing on classic Northwest energy with an uncommonly upbeat, surfy swag that could only come from gray skies and hydroponic sunshine. Their sly and unabashed '90s revivalism has, in the past, found the band pondering Evan Dando and Waterworld-and Bree herself explains finding about riot grrrl via Napster and Julia Stiles in 10 Things I Hate About You. They've described themselves variously as Feminist sci-fi and Equal parts Kurt and Courtney; oh well, whatever NVM.
NVM-Tacocat's second full-length album and first for Hardly Art, opens up like some mystery shoebox, wistful, instantly nostalgic: snapshots of mortifying exes (You Never Came Back) and sketchy party situations (Party Trap), maybe a postcard with an alien smoking a joint. Cigarette cellophane-wrapped weed nugs, pain pill crumbs and wrapped tampons (all the girls are surfing the wave, surfing the crimson wave today"), all serve as a roadmap through Tacocat's bong-ripped reminiscences, scenarios all-too familiar and hilariously improbable. There's the notoriously inconsistent #8 Metro line (F.U. #8) and the accountability-allergic, black-clad brick-heavers of This Is Anarchy. The protagonist of Psychedelic Quinceañera-based on Bree-just wants to dance with rainbows, mind-expansion style, instead of having to wear a frilly dress in front of her whole family. Emily daydreams of a Bridge to Hawaii, where even the destitute could walk their asses to paradise-before being snapped out of it by cat-calls from construction workers, business dads, and drunk hobos (Hey Girl); sweaty jerks telling her that she should smile!
NVM all that, though: you should, and will, smile-either a wry little corner-lifter or a big ear-to-ear equator-and shake what's yours, when you hear the whippet-smart latest album from the world's favorite palindromic band. Text a friend.
--Larry Mizell1. You Never Came Back
2. Bridge to Hawaii
3. Crimson Wave
5. Pocket Full of Primrose
6. Psychedelic Quinceañera
7. Time Pirate
8. This is Anarchy
9. Hey Girl
10. Party Trap
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TV En Français13 years and 3 albums in, We Are Scientists are back with album number 4.
The new long player was recorded in New York City over the last year with producer Chris Coady (Smith Westerns, Beach House, Gang Gang Dance, Blonde Redhead), and will land in the middle of the band's 5 month tour of Europe, America & Australia.
Asked to comment on the unusual title, bassist Chris Cain explains, It's in French, I think. At least some of the words.
Singer and guitarist Keith Murray elaborates: We wanted to get at the seemingly inevitable parallax that happens between two people in a relationship, that sense that you get the gist of what the other person needs and wants and how they feel about you, but only the gist - you're relying on these broad cues a lot of the time to tell you what the hell's going on.
We Are Scientists exploded onto the U.K. scene with one of 2005's iconic indie dance rock records, 'With Love & Squalor'. Years of touring followed, as did a second album, 'Brain Thrust Mastery', that spawned now-classic nightlife anthem 'After Hours' (a #11 charting single). Main stage slots at Reading & Leeds,
Glastonbury, T In The Park, and festivals all over Europe, as well as appearances on Later with Jools Holland, and their own series of comedic MTV shorts ('Steve Wants His Money'), followed by third album 'Barbara'. all served to cement and increase their legacy.
Now, after releasing a 7-inch and a 5-song EP in 2013, the band prepare to share their finest collection of songs to date.
According to Cain, The guy who was producing everything looked different from the one who did those other three records.
Murray further enthuses, Yeah, working for the first time with Chris Coady as producer had a huge effect - he has such a distinct and well-developed sense of what's cool and what sounds good, but he's also emphatic about keeping the rawness of the performances in there.
Drummer Andy Burrows, who also recorded 'Barbara' with W.A.S., relocated to New York for a year to work on the new album, and lends his world-class efforts behind the kit and elsewhere.
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