4/2 New Releases Cds instock
Cuttin' Grass Vol. 1 (Butcher Shoppe Sessions) is now available on Vinyl & CD.
There's early work with Eric Dolphy and McCoy Tyner in Charles Mingus' Jazz Workshop, work with Max Roach and Abbey Lincoln, a stint in Art Blakey's Jazz Messengers, and also one with Miles. There's his groundbreaking and highly influential Ntu Troop albums of the early 70s and his jazz-funk work including two classic albums with the Mizell Brothers, one of which supplied A Tribe Called Quest with a sample that was smooth like butter. That's not to mention appearances on beloved albums by Pharoah Sanders, Donald Byrd, Norman Connors, Roy Ayers, Gene Ammons, Phyllis Hyman, Jackie McLean and many others. This is what Gary Bartz brings to the Jazz Is Dead project and as can be expected, his questing spirit fits the JID style like a glove and has produced an album that's a cutting-edge addition to his immense canon as he effortlessly interfaces with a new generation.
In 2008 Etienne de Rocher paused his budding career as a songwriter in the Bay Area to relocate his growing family to the fertile artistic grounds of Athens, GA. The new locale was immediately a creative inspiration. Although it would take years to complete, he began soaking up the musical energy of his new home and writing some of the songs that would become Haunted Shed’s debut “Faltering Light” immediately.
“Faltering Light” is more than just a love letter to the Classic City though. It’s a love letter to life. 11 rocking, thoughtful, psychedelic, literary songs about Etienne’s experience with life raising kids, restoring homes, cooking, holidays and his inward contemplations of dreams, emotions, and nightmares.
Recorded at Chase Park Transduction with Drew Vandenberg (of Montreal, Faye Webster) at the helm, Haunted Shed’s debut album is a thoughtful, fun collection of stories from someone who’s experienced enough life to have some good ones.
On Promises, Sam Shepherd, the British electronic producer, DJ, musician, co-founder of Eglo Records, and leader of 16-piece group Floating Points, has come together with the legendary American jazz saxophonist Pharoah Sanders and the London Symphony Orchestra on a unique and mind-expanding masterpiece.
GYBE returns with another soundtrack for our times, like only this inimitable and venerable ensemble can forge. As the heretical anarcho-punk spirit of the title implies, Godspeed harnesses some particularly raw power, spittle and grit across two riveting 20-minute side-length trajectories of noise-drenched widescreen post-rock: inexorable chug blossoms into blown-out twang, as some of the band's most soaring, searing melodies ricochet and converge amidst violin and bassline counterpoint. Field recordings and roiling semi-improvised passages frame these fervent epics, and two shorter self-contained 6-minute pieces find the band at its most devastatingly beautiful, haunting and elegiac. Poignant atmospherics, noise-drenched orchestration, drone, hypnotic swingtime crescendos, inexorably-layered towers of distorted clarion sound: STATE'S END encapsulates every beloved facet of the band. Twenty-five years on, this new album is as vital, stirring, timely and implacable as any in Godspeed You! Black Emperor's storied discography.
Just as STATE'S END summons the gamut of Godspeed's constituent sonic trademarks, so the album artwork spans the entirety of the band's visual history: the grainy monochromatic photography of recent releases finds its way onto the inner sleeves, while the gatefold cover art harkens back to the iconic graphics of earlier classic records like Slow Riot For New Zero Kanada and Lift Your Skinny Fists Like Antennas To Heaven. STATE'S END features illustrations by William Schmiechen, with the front cover taijitu flowers and back cover tear gas canisters rendered in raised thermographic black ink on the double-vinyl album jacket. The illuminated cross from Godspeed's debut F#A#8 also makes a reappearance on the inside gatefold drawing, in recurrent homage to the electrified hilltop landmark crucifix of the band's Montreal hometown.
STATE'S END was recorded and mixed in Montreal in October 2020 at the group's homebase studio Thee Mighty Hotel2Tango by Jace Lasek, the veteran award-winning indie producer (and co-founder of The Besnard Lakes) who works with Godspeed for the first time on this recording.
There’s a sense of wonder that permeates throughout every song indie rock band Hey, King! has written. Canadian songwriter, vocalist, and multi-instrumentalist Natalie London and her partner, Tucson, AZ vocalist and percussionist Taylor Plecity, approach music with a childlike curiosity and adventurous spirit—fitting for a band whose name comes from a Where the Wild Things Are line. Their 2020 debut EP ‘Be Still’ was raved by Under the Radar Mag as “heartfelt indie rock” with songs that showcased “London and Plecity’s ability to turn tragedy into an exuberant celebration of life and love.” But now, the band finally follows it all up with their highly-anticipated self-titled debut LP.
Produced by 4x Grammy winner Ben Harper, Hey, King! is a dazzling 11-track collection that matches the overwhelming emotional intensity of the band’s live show, a concert experience that Vancouver Weekly called “a powerhouse” and “quite possibly the music world’s best kept secret.” In fact, many of the songs were directly informed by the 2018 North American tour where Hey, King! opened for Ben Harper and the Innocent Criminals. Many of the band’s rawest early songs dealt with London’s years-long, near-death battle with Lyme disease and her recovery. London explains: “With all the uncertainties, insecurities, and worries, you just say ‘I don’t know where I’ll be or where I’m going but I do know it’s going to be beautiful.’ “ This is the ethos of Hey, King! and hearing these songs will give you that same optimism, even when things are dark.