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The Flying Club CupSince its release in May of 2006, Beirut's internationally celebrated Gulag Orkestar album has soundscanned more than 45,000 copies, and the band has done a tsunami of interviews, photoshoots and features (including NY Times, Spin, Pitchfork, Urb, and Village Voice). This great fervor developed around an album conceived and constructed in a teenager's New Mexico bedroom.
Six months of recording has led to The Flying Club Cup, an homage to France's culture, fashion, history, and music. Two years ago, Zach Condon immersed himself in Balkan folk, absorbed sounds, scales, styles, and the sonic joys of a skeletally structured, cacophonic ensembleoand moved west. Soaking up the likes of Francois Hardy, Charles Aznavour, and, most notably, Jacques Brel (a huge influence on both Scott Walker and Mark E. Smith), Condon has been articulating his conversational French.
Most of the album was created at a nondescript Albuquerque office space, a.k.a. A Hawk and a Hacksaw's practice room; Heather Trost plays violin and viola on three songs. Engineering and production assistance came from Griffin Rodriguez (A Hawk and a Hacksaw, Man Man). He helped separate the many instrumentalists involved in recording, as opposed to Gulag's largely solo flight.The orkestar, which has solidified into a core group of eight members, has grand plans for replicating the album live, and is now an integral part of Beirut's identity. Additional recording was done with Owen Pallet (Final Fantasy) at the Masonic church studio owned by The Arcade Fire.
Within the spectacle and intimacy of The Flying Club Cup, you can hear a love letter to the joie de vivre that defines our existence. Listen closer, and you also hear the emergence of a singular musical talent of Mr. Zachary F. Condon, at present living in Paris-- unbounded by cultural borders and by where his heart travels.
A September-October '07 tour of nice theaters in large U.S. cities is in the planning stages, as are more dates in 2008.
Experience a special series of new Beirut videos at http://flyingclubcup.com
A Call To Arms
A Sunday Smile
Forks And Knives (La Fete)
In The Mausoluem
Un Dernier Verre (Pour La Route)
The Flying Club Cup
Untitled$18.99Vinyl LP - Sealed Buy Now
No No NoZach Condon and his band Beirut will release their fourth album No No No via 4AD. Coming four years after The Rip Tide, and recorded over a two week period during one of the coldest New York winters - with blizzard after blizzard raging outside - No No No is Condon's most vibrant and spirited record to date. To coincide with the release of No No No, Beirut will tour throughout North America and Europe this year, including a headline appearance at Radio City Music Hall in New York.1. Gibraltar
2. No No No
3. At Once
4. August Holland
5. As Needed
9. So Allowed$22.99Vinyl LP - Sealed Buy Now
ADAD-CON-9311xJerusalem In My Heart
Mo7it Al-Mo7itJerusalem In My Heart has been a MontrÉal-based live audiovisual happening since 2005, with Lebanese producer and musician Radwan Ghazi Moumneh at its core. Moumneh has spent a large part of
his adult life in Canada, as a fixture of the MontrÉal independent music community from his early days as guitarist in various 90s hardcore bands to his tireless activity as a sound engineer and producer over the last decade. Moumneh is also active in the Beirut experimental music scene, where he spends a few months every year.
In 2012, Moumneh felt he had composed a song cycle that would stand as a studio recording; the resulting Mo7it Al-Mo7it cements the foundations of Jerusalem In My Heart as an intensely vocal-driven musical project.
Jerusalem In My Heart has always been an immersive multi-media live experience; on the musical side, it has forged a modern experimental Arabic music that weds melismatic singing in classical Arabic modes to electronic compositions with a punk-rock sensibility. Mo7it Al-Mo7it captures this, while emphasising the intimacy and narrative pace that focused, intentional studio recording allows. The result is a unique and profoundly emotive album of contemporary Arabic music, a stunning and subtle first record for a musical project that resisted documentation or any sort of fixity for so many years. Moumneh's voice is a powerful instrument and his various applications of distortion, space echo and delay lend a timeless intensity to the recording. Saturated synths and the overdriven signals of Moumneh's acoustic playing on buzuk and zurna provide bracing counterpoint to the vocals and lovely, searching instrumental narratives in their own right.
Mo7it Al-Mo7it means "Ocean of the Ocean". The numeral "7" is pronounced like an "h"; all titles on the album are rendered in the transliterative characters used in Arabic phone texting.1. Koll Lil-Mali7ati Fi Al-Khimar Al-Aswadi
2. 3andalib Al-Furat
3. Yudaghdegh El-ra3ey Walal-Ghanam
4. 3anzah Jarbanah
5. Dam3et El-3ein 3
6. Ko7l El-3ein, 3emian El-3ein
7. Amanem$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Upper AirThe follow-up to 2007's acclaimed Hymns For A Dark Horse. Upper Air moves away from the singular sound and sentiment; each song is a unique, beautiful piece. The arrangements are subtle: acoustic guitars, organ, piano, autoharp, violin, percussion, upright bass, and more are used throughout. This music has the spirit of Richard and Linda Thompson, the currency of Devendra Banhart, and the addictively sweet melodicism of Iron & Wine, but it churns with an underlying energy closer to a Beirut or something more raw, more wild.1. House of Diamonds
3. Silver Clouds
4. Beneath Your Tree
5. Ghost Life
6. Northern Lights
8. Bright Future
9. Crooked Lust
10. This Day$16.99Vinyl LP - Sealed Buy Now
ADAD-JAG-0116xSharon Van Etten
TrampThe shimmering sound of Tramp both defies and illuminates the unsteadiness of a life in flux. During the 14 months of scattered recording sessions, Sharon Van Etten was without a home, crashing with friends and spreading out her possessions between various locations. The only constant during this time was when Van Etten returned to the garage studio of The Nationals Aaron Dessner.
How much more incredible then that Tramp sounds so profoundly effortless and singular-minded. Given the space to experiment, Van Etten pushed herself deeper than ever before, testing different approaches and rejecting many. Van Ettens records have been subtle and powerful, at once heartbreaking, luminous, intricate and beautiful. Now lush and triumphant, this is a fresh vision, and Van Etten has realized it with the same grace that made her first two releases so enduring.
Van Ettens debut, Because I Was In Love, was a sparse set of solo songs, all anchored by her instantly unmistakable voice. The intricate, understated record covered so much emotional ground within its 33 minutes, you couldn't possibly absorb it all at once, nor stay too long in one place along its journey. The following year, Van Etten added a full band to her music. Fans quickly picked favorites, then found their choices changing, often more than once.
An early fan of Van Etten, Dessner performed epic closer Love More with Justin Vernon of Bon Iver. When Van Etten found out, she contacted him, and almost immediately collaborative plans were made. Dessner had just completed work on his studio, and offered up his new space, as well as his insight as a savvy producer. But with both artists near-nonstop touring schedule, recording days had to be spread out, a few days here, a couple weeks there, and a lot of floating and flying in between.
The resulting album is an assured and strident one, and Tramp showcases an artist in control of her powers, incorporating vivid arrangements and instrumentation into the songwriting. It is a startling collection, filled with as much defiant rock (the precise venom of Serpents), as pious, minimal beauty (the breathtaking Kevins and Joke or a Lie). There are declarative hymns (in the earnest solemnity of All I Can), and remarkably sultry numbers (as in Magic Chords). Tramp features many stupendous guests, as well, including Wye Oaks Jenn Wasner, Julianna Barwick, Beiruts Zach Condon, and Dessner himself.1. Warsaw
2. Give Out
6. In Line
7. All I Can
8. We Are Fine
9. Magic Chords
11. I'm Wrong
12. Joke or a Lie$18.99Vinyl LP - Sealed Buy Now
Dead Man's Bones (Awaiting Repress)Ryan Gosling and Zach Shields share an affinity for the eerie. Their result of their musical collaboration is a striking collection of doo-wop songs about werewolves, haunting melodies telling tales of zombies with broken hearts, and children singing the joys and pains of being alive, or being dead. Features The Silverlake Conservatory of Music Children's Choir. RIYL: Grizzly Bear, Daniel Johnston, Beirut, Nick Cave, Lon Chaney.1. Intro
2. Dead Hearts
3. In The Room Where You Sleep
4. Buried In Water
5. My Body's A Zombie For You
6. Pa Pa Power
7. Young & Tragic
8. Paper Ships
9. Lose Your Soul
10. Werewolf Heart
11. Dead Man's Bones
12. Flowers Grow Out Of My Grave$19.99Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
SuccessorAnthonie Tonnon first came to attention in his home country with the band Tono and the Finance Company. The band released two Eps and the full-length Up Here For Dancing. With dry wit and observational lyrics that recalled The Smiths and Pulp, Tonnon sang of urban life in New Zealand's cities. Anti-gentrification anthem "Marion Bates Realty" caught the attention of Beirut, who invited the band on their 2012 New Zealand tour. In 2013, Anthonie Tonnon began touring under his own name, influenced by stage techniques from the comedy and theatre worlds as much as formative influences like Jonathan Richman and Jens Lekman. He was recently named in Billboard's "list of New Zealand acts you need to know about."1. Railway Lines
2. Bird Brains
3. Sugar In The Petrol Tank
4. The Songs Of Your Youth
5. Water Underground
6. A Friend From Argentina
7. Mt. Cargill
8. The Capital
9. Dumpster Diving$15.99Vinyl LP - Sealed Buy Now
Dark Was The NightThis triple LP contains thirty-one exclusive tracks that will benefit the Red Hot Organization, an international charity dedicated to raising funds and awareness for HIV and AIDS. This is their 20th anniversary and 20th release. Aaron and Bryce Dessner of The National produced the album, and John Carlin, the founder of the Red Hot Organization was the executive producer.
The complete list of artists that recorded tracks for this release: Andrew Bird, Antony + Bryce Dessner, Arcade Fire, Beach House, Beirut, Blonde Redhead + Devastations, Bon Iver, Bon Iver & Aaron Dessner, The Books featuring Jose Gonzalez, Buck 65 Remix (featuring Sufjan Stevens and Serengeti), Cat Power and Dirty Delta Blues, The Decemberists, Dirty Projectors + David Byrne, Kevin Drew, Feist + Ben Gibbard, Grizzly Bear, Grizzly Bear + Feist, Iron & Wine, Sharon Jones & The Dap-Kings, Kronos Quartet, Stuart Murdoch, My Brightest Diamond, My Morning Jacket, The National, The New Pornographers, Conor Oberst & Gillian Welch, Riceboy Sleeps, Dave Sitek, Spoon, Sufjan Stevens, Yeasayer and Yo La Tengo.1. Knotty Pine
2. Cello Song
3. Train Song
4. Brackett, WI
5. Deep Blue Sea
6. So Far Around The Bend
8. Feeling Good
9. Dark Was The Night
10. I Was Young When I Left Home
11. Big Red Machine
14. Service Bell
19. El Caporal
20. Ispiration Information
21. With A Girl Like You
22. Blood Pt. 2
23. Hey, Snow White
24. Gentle Hour
25. Another Saturday
27. Amazing Grace
28. The Giant Of Illinois
30. When The Road Runs Out
31. Love Vs. Porn$29.99Vinyl LP - 3 LPs Sealed Buy Now
ADAD-CON-1413xJerusalem In My Heart
If He Dies, If If If If If IfRadwan Ghazi Moumneh returns with a second full-length album from his acclaimed Jerusalem In My Heart (JIMH) project, conceived and recorded in his dual homes MontrÉal and Beirut. Since the release of his first album in 2013, following many years during which the project was a strictly MontrÉal-based live/theatrical happening, Moumneh has brought JIMH to mesmerized live audiences in Canada, Europe and the Middle East. While JIMH continues to expand to include a larger cast of players for select engagements and commissions, the group is currently an immersive and performative audio-visual duo at its core, with Moumneh responsible for all sound/composition and filmmaker Charles-AndrÉ Coderre creating 16mm visuals and live projections/installations. Moumneh expands his compositional palette on If He Dies, If If If If If If, exploring new deconstructions and juxtapositions of both traditional and popular Arab musical currents, with an album that oscillates between powerfully emotive vocal tunes and instrumental works that primarily make use of Radwan's expressive acoustic playing on buzuk and zurna as a point of departure. If He Dies, If If If If If If is an adventurous, scrupulous, impassioned and highly original work of modern contemporary Arabic music and a gratifying sign that JIMH is situating itself in recorded works with the same thoughtful and dynamic intensity previously accessible only in live performances.1. Al Affaq, Lau Mat, Lau Lau Lau Lau Lau Lau
2. A Granular Buz
3. 7ebr El 3oy
4. Qala Li Kafa Kafa Kafa Kafa Kafa Ka
5. Lau Ridyou Bil Hi
6. Ta3mani; Ta3m
7. Ah Ya Mal El S
8. 2asmar Sa$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
EvermotionGuster will release their first album in four years, Evermotion, fearlessly experimenting with new instruments and collaborations to create their most vibrant album yet. Produced by Shins keyboardist/Black Keys bassist Richard Swift, who has produced records for Damien Jurado, Foxygen and Stereolab, the new album bulldozes inhibitions, propelling the band to a harder-charging, more freewheeling sound.
The quartet of Ryan Miller, Adam Gardner, Brian Rosenworcel and Luke Reynolds recorded at Swift's Cottage Grove, OR studio in three whirlwind weeks - the fastest the band has ever finished an album. "We recorded with one drum microphone, used whole takes, didn't obsess over vocals or really edit things at all," said Rosenworcel. "It's a raw version of our band." Despite the stripped-down sessions, Guster's songs are packed with tight hooks, muscular guitar riffs, clanging percussion and surprisingly dark lyrics. The new album features adventurous turns on slide guitars, brassy trumpets and a glockenspiel, with sax and trombone accompaniment by Jon Natchez, whose stints with the War on Drugs, Beirut, Passion Pit and others have led NPR to call him "indie rock's most valuable sideman."
Guster started with two acoustic guitars and a pair of bongos and have since evolved and expanded their instrumentation, gaining a massive fan base that follows them to sold-out shows at New York's Radio City Music Hall and Nashville's Ryman Auditorium. The band's last release, 2010's 'Easy Wonderful,' earned their highest chart debut on the Billboard Top 200 and opened at #2 on iTunes. The album was praised by the Wall Street Journal for its "jangly, ebullient rock" and by USA Today for the "impeccable, infectious" songs that are "impossible not to feel," while Vanity Fair called it "feel-good" and Boston Globe hailed its "effervescent and thoughtful pop."1. Long Night
3. Doin' It By Myself
4. Lazy Love
5. Simple Machine
8. Kid Dreams
9. Never Coming Down
10. It Is Just What It Is
11. Farewell$26.99Vinyl LP - Sealed Buy Now
ADAD-BRA-9413xThis Is The Kit
Bashed OutThis Is The Kit is the much beloved musical project of Kate Stables, born in England and based in Paris. Bashed Out is her band's third album, the result of an extended period collaboration with the record's producer Aaron Dessner (Sharon Van Etten, Local Natives). Dessner--the co-founder of the Brassland label--is best known for his work in The National. Indeed, the backing band he gathered for Bashed Out combines the talents of This Is The Kit's touring members (Rozi Plain, Jesse Vernon, Jamie Whitby-Coles), alongside a number of session players drawn from the Brooklyn music scene: Bryce Dessner, Thomas Bartlett (Doveman, The Gloaming), Matt Barrick (The Walkmen) and Ben Lanz (Beirut, The National) all made key instrumental contributions. This music is honest, human and humane-a folky-lovely slow-rumble. It's rock but of the hangover-friendly, stoner variety; it's folk but at a groovy speed. As notable as the music, however, is front woman Kate Stables, whose voice hearkens back to the classic singer-songwriter era--her distinctive, cutting vocals up front in the mix. It's a self-confidence gained since her previous album, 2011's Wriggle Out the Restless, which made her band a minor institution in the United Kingdom, especially on the radio which has embraced the group. This Is The Kit has received across the board support from BBC 6 DJs Lauren Laverne, Radcliffe & Maconie, Marc Riley, Cerys Matthews, and Mary Anne Hobbs--receiving further play from BBC Radio 1's Huw Stephens, Jen & Ally, and Phil Taggart. Wonderful wonderful stuff, said DJ and Elbow frontman Guy Garvey, before arguing their last album should have made the Mercury Prize shortlist. The Line of Best Fit has already called This Is The Kit an essential fixture of British folk music for the past 10 years one of a handful of truly innovate songwriters working with the British folk template today. In America, however, the band is just building up to their breakout moment. Bruce Warren, program director at influential American AAA station WXPN has praised Stables' "warm and gorgeous voice" and we expect similar notices to come across on this new LP. From Kate's earliest year growing up in the UK town of Winchester, she learned that great art takes time. In some ways the place I grew up is defined by being a Roman Saxon medieval cathedral city, she explains. They started building the Winchester Cathedral a thousand years ago and they've been working on it ever since. It's an exciting moment to join This Is The Kit's continuing musical evolution into a synesthetic, shape-shifting entity-rooted in folk but encompassing elements of psychedelia, alternative rock, and electronic textures and sensibilities.1. Misunderstanding
2. Silver John
3. Spores All Settling
4. Magic Spell
5. Bashed Out
6. All In Cahoots
9. We Are In
10. Cold and Got Colder$18.99Vinyl LP - Sealed Buy Now
Porcupine MeatNaming one's album after a song titled "Porcupine Meat" may seem a little unusual - unless, of course, you're Bobby Rush, who earned his first gold record in 1971 with a hit entitled "Chicken Heads." He elaborates on his recent composition: "If a lady won't treat me right, but she doesn't want anyone else to have me, that is hard to digest." Hence the lyric, "too fat to eat, too lean to throw away."
Porcupine Meat is Rush's debut release for Rounder Records, and one of the best recordings of his astonishing 60-plus year career. The album is due out September 16, 2016.
Rush estimates that he has cut over 300 songs since he first began making music. He has been honored with three Grammy nominations, as well as ten Blues Music Awards and 41 nominations. He was inducted into the Blues Hall of Fame in 2006.
Make no mistake: Rush is not your typical octogenarian. At age 82, he exudes the energy of a 20-year-old, on the road for more than 200 dates a year. His hectic tour schedule has earned him the affectionate title King of the Chitlin' Circuit. Rush has traveled the globe including Japan and Beirut. In 2007, he earned the distinction of being the first blues artist to play at the Great Wall of China. His renowned stage act features his famed shake dancers, who personify his funky blues and the ribald humor that he has cultivated during the course of his storied career.
Born Emmet Ellis, Jr. in Homer, Louisiana, he adopted the stage name Bobby Rush out of respect for his father, a pastor. According to Rush, his parents never talked about the blues being the devil's music. "My daddy never told me to sing the blues, but he also didn't tell me to not sing the blues. I took that as a green light."
Rush built his first guitar when he was a youngster. "I didn't know where to buy one, even if I had the money. I was a country boy," he says. After seeing a picture of a guitar in a magazine, he decided to make one by attaching the top wire of a broom to a wall and fretting it with a bottle. He also got some harmonica lessons from his father He eventually acquired a real guitar, and started playing in juke joints as a teenager, when his family briefly relocated to Little Rock, Arkansas. The fake moustache Rush wore made club owners believe he was old enough to gain entry into their establishments. While he was living in Little Rock, Rush's band, which featured Elmore James, had a residency at a nightspot called Jackrabbit.
During the mid-1950s, Rush relocated to Chicago to pursue his musical career and make a better life for himself. It was there that he started to work with Earl Hooker, Luther Allison, and Freddie King, and sat in with many of his musical heroes, such as Howlin' Wolf, Muddy Waters, Jimmy Reed, Willie Dixon, and Little Walter. Rush eventually began leading his own band in the 1960s. He also started to craft his own distinct style of funky blues, and recorded a succession of singles for a various small labels. It wasn't until the early 1970s that Rush finally scored a hit with "Chicken Heads." More recordings followed, including an album for Kenny Gamble and Leon Huff's Philadelphia International Label.
Rush relocated one final time, to Jackson, Miss. in the early 1980s. He was tired of the cold up north, and he realized that setting up his base of operations directly in the center of the South would make it easier to perform in nearby cities on weekends. More indie label recordings followed. Songs like "Sue, A Man Can Give (But He Sure Can't Take It)," "What's Good For The Goose Is Good For The Gander Too," and" I Ain't Studdin' You" became regional jukebox favorites in juke joints throughout the region, and many of those songs are still fan favorites that are an integral part of his live repertoire.
Since 2003, Rush has self-released the majority of his work (including the critically acclaimed Folk Funk album) on his Deep Rush label, but recently, he came to the realization that having a bigger record company behind him would be beneficial. "I outgrew myself," he says. "I need someone to help in doing the things I can't do. When you are wearing all the hats, you can't be everywhere at once."
Enter esteemed producer and two-time Grammy winner Scott Billington, Rounder Records' longtime VP of A&R. Billington first met Rush at a Recording Academy meeting 25 years ago, and they became fast friends. He has wanted to work with Rush ever since. "He is the most vital bluesman of his generation," says Billington. He continues, "There are many people who still don't know Bobby Rush, even though he is a hero in the parallel universe of the Chitlin' Circuit - fans stop him on the street in Memphis and Helena and Little Rock."
Porcupine Meat will not only please Rush's older fans, but is likely to win over many new ones. Billington reflects, "We wanted to come up with something fresh, while staying 100% true to Bobby."
The album was recorded in New Orleans, and Rush was pleased and proud to be given the opportunity to make an album in his home state for the very first time. His impassioned vocals and in-the-pocket harmonica playing are among the best performances of his career. Unlike most of his recent releases, these sessions only feature real instruments and no synthesizers. All of the rhythm tracks were cut live in the studio, often edited down from jams that on several occasions ran close to ten minutes.
For the project, Billington assembled some of the best Louisiana musicians, including Shane Theriot, David Torkanowsky, Jeffrey "Jellybean" Alexander, Kirk Joseph, Cornell Williams, and others. Rush brought along his old friend and longtime collaborator, guitarist Vasti Jackson, who worked with Bobby and Scott on getting the songs ready for the studio. Guitar greats Dave Alvin, Keb' Mo', and Joe Bonamassa all make guest appearances on the album.
Rush has always been a prolific and clever songwriter. The songs he penned for Porcupine Meat such as "Dress Too Short," "I Don't Want Nobody Hanging Around," "Me, Myself And I," "Nighttime Gardener," "It's Your Move," and the title selection, all equal or rival his best material. "Funk O' De Funk" delivers exactly what the title suggests and what Rush has always done the best, which is putting the funk into the blues. While "Got Me Accused" is inspired by events from Rush's own life, the lyrics tell an all-too-familiar tale about the rampant racial injustice that afflicts our society. Producer Billington and his wife Johnette Downing (the well known New Orleans songwriter and children's musician) co-wrote a couple of fine selections, "Catfish Stew" and "Snake In The Grass."
Bobby Rush is the greatest bluesman currently performing. Porcupine Meat is a testament to his brilliance, which presents him at his very best, and doesn't try to be anything that he is not. "I just try to record good music and stories," he humbly states. With this recording, he has more than accomplished his goal, and has produced one of the finest contemporary blues albums in recent times.1. I Don't Want Nobody Hanging Around
2. Porcupine Meat
3. Got Me Accused
4. Snake in the Grass
5. Funk O' De Funk
6. Me, Myself and I (feat. Joe Bonamassa)
7. Catfish Stew
8. It's Your Move (feat. Dave Alvin)
9. Nighttime Gardener (feat. Keb Mo)
10. I Think Your Dress Is Too Short
11. Standing on Shaky Ground
12. I'm Tired (Tangle Eye Mix)$25.99Vinyl LP - 2 LPs Sealed Buy Now