Posts Tagged ‘Ba Da Bing Records’

ANMLPLNET by Charlotte Chanler 6.jpg

Slothrust band leader Leah Wellbaum and drummer/singer Mickey Vershbow met while both
immersed in the Boston music scene & then went on to pursue separate musical careers on opposite coasts. ANMLPLNET displays their magnetic musical bond, even while withstanding the physical distance andtheir hectic schedules. 

Nobody is more surprised about having created a full ANMLPLNET album than the group itself: Slothrust leader Leah Wellbaum along with drummer/singer Mickey Vershbow. The project and debut LP truly displays their magnetic musical bond, even while withstanding physical distance and hectic schedules. The band was formed originally on four disparate rules:

1. Always drink absinthe while rehearsing.
2. Write lyrics that are antonymic translations, meaning nouns,
adjectives and verbs were replaced with their antonyms.
3. Play songs straight through as one giant piece, no breaks.
4. Accept mostly unusual gigs, like their performances at a Dorchester
rave and in a wooden shack on the tiny Star Island off New Hampshire.

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Yeah, sure, so many bands have used these same precepts for vast success, so what? Even while seeking to create a dream-like soundscape, ANMLPLNET is surprisingly gimmick-free music being, both epochal in scope and surprisingly melodic. Their goal is to explore the space between songwriting and improvisation, and the result is an uncontrived melding of their personal styles and technical mastery of their instruments. Wellbaum and Vershbow basically plan, dig, then embark on a fresh road towards rock brilliance. Fall Asleep is their debut album and the first 500 copies are pressed on unique gold marble vinyl.

released April 20, 2018 on Ba Da Bing Records.

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The Clean member Hamish Kilgour’s second-ever solo album, Finklestein, flips the singer/guitarist/drummer’s path taken on All Of It And Nothing. Having previously gone for intimate, minimalistic performances, Finklestein displays a chock-full production quality akin to a fairytale. It’s a fitting change, seeing as the songs are based around a children’s story Kilgour conceived for his son about a kingdom that invents a way of dealing with their depleting gold resources. The songs include organ, saxophone, pedal steel, piano, vibraphone, harmonica, even footsteps (Hamish is renowned for his stepping), most of it performed by Kilgour and his producer/collaborator Gary Olsen at Olsen’s studio, Marlborough Farms in Brooklyn. Originally conceived as being a children’s book as well as album, Finklestein rides roughshod through this fairytale world with grace.

Finklestein took a year to record, as Hamish’s involvement with a large part of the Brooklyn music scene, as well as dates with recent New Zealand Music Hall of Fame inductees The Clean, split his time. His songs benefit from this elongated recording period, as each track creates its own space within the Finklestein world, mixing instruments and melodies in a rainbow of ways. Yet it’s Kilgour’s songwriting sensibilities that hold the album together, his charismatic and loose arrangements within a congenial environment of musical play.

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For those early birds who love their Hamish, there’s a Finklestein Special Edition, which includes Funklestein, an entire second LP of music created to complement it’s cohort release. This bonus LP, limited to 50 copiesand vinyl only, provides two psychedelirious side long tracks (Side A: “Reaction” & Side B: “Action”) using the same musicians and studio as Finklestein proper.

Hamish Kilgour’s new album “Finklestein” out June 22nd on Ba Da Bing Records

Katie Von Schleicher is following up her excellent 2017 debut, Shitty Hits, with a 7″ vinyl for Record Store Day. The 7″ will be entitled  “Glad To Be Here/Party Dawn” and released on May 4th via the fine folks at Ba Da Bing.

“On a break from touring this winter I went alone to Maryland, where I am originally from, and made these two songs, taking the gear I’ve very happily accrued since making my album Shitty Hits. I built a fire, I set up my gold drum kit, I saw a ton of stars and felt smushed by silence, and it was lonely, so I made these songs. ‘Glad to Be Here’ is where I find myself right now. ‘Party Dawn’ is tied to Maryland, to my friend and our adolescence. Both are a bridge toward the subject matter of my next record. Back in New York, my collaborator Adam Brisbin (Sam Evian, Jolie Holland, Buck Meek) contributed guitar and bass, and Julian Fader (Ava Luna, Frankie Cosmos, Nadine, Palehound) mixed it.”

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Shitty Hits’, the debut album from Brooklyn-based songwriter Katie von Schleicher wasn’t just a brilliant title, but a great record.

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Don’t let the name of Katie Von Schleicher’s newest album, “Shitty Hits”, put you off—the songs it contains are neither. Her music—a darker take on Americana that calls to mind Lee Hazlewood and Mazzy Star—should be hits in another world’s Top 40, no question, but they’re definitely not crap.

Range is key throughout Shitty Hits. One of the album’s quietest songs, “Mary,” is nestled at the heart of the album, and is immediately followed up with the big, easy-going swagger of “Life’s A Lie.” Other songs carefully invert expectations: “Paranoia” starts with bass and vocals only, suggesting a bleaker approach, but then shifts into a lovely, downright uplifting full arrangement and chorus before concluding with a big—but not ham-fisted ending. That makes the slow doom grind of “Nothing” hit harder, with growling tones underscoring its final two minutes, like a threat.

If the album has a standout track, it’s “Soon,” an intimate performance which showcases Von Schleicher’s precise creative control. You can hear that focus in the way gentle drum taps cut through the arrangement, the way the keyboards and guitars complement and echo each other, the way saxophone carefully emerges towards the end, and the way that ending is sudden, but not abrupt. It’s the work of someone who knows exactly what she wants, and has the vision and skill to realize it.

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17035_030_034_Lo res credit Chris Baker

Signed to Full Time Hobby , Katie Von Schleicher is to release her follow-up to a demo tape made for her label Ba Da Bing Records boss whilst working as a intern, her debut full-length album, Shitty Hits. With a sound that takes in everything from the expansive country soul perfected by Natalie Prass to the melancholic sway of Andy Shauf, Katie seems to have emerged a master of more styles than most people ever even try.

Discussing the inspiration behind the record, Katie has suggested it’s a record not inspired by grand themes or great achievements, but about mediocrity, and the entirely human quality of being deeply flawed. The impressively full-bodied production belies the fact the whole thing was created on a tape machine in Katie’s childhood bedroom at her parents’ house in Maryland. Whilst Katie Von Schleicher’s career path is already a remarkable success story, with a record this good,

from the album ‘Shitty Hits’ – out 7/28 via Ba Da Bing Records & Full Time Hobby (UK/EU)

Claire Cronin Athens, GA

Came Down a Storm is an album that creates a world. Through Claire Cronin’s deep, intimate voice come songs of wreckage and redemption. A published poet and English Ph.D. student as well as a musician, Cronin uses images and symbols to craft songs that reach beyond the personal.

Death comes in unexpected ways, and for some it does not come at all when it could. While very much an album about death, ‘Came Down A Storm’ is, thanks mainly to Cronin’s deeply affecting voice, a defiant celebration of life. A collaboration between Cronin and Deerhoof guitarist John Dieterich, it is a collection of dark folkish songs whose simplicity recalls a harsher, yet less complicated time. Dieterich’s atmospheric, turbulent guitar and sampled sounds is matched by Cronin’s poetic tales of ghostly misadventure and redemption, shared with us by crackling twilight campfire, with a voice that was intended for such a purpose. What is remarkable here is that Cronin somehow connects us to something beyond the music itself, to a rhythm that beats in the background our whole lives, but one which we only really hear in the stillness of our most authentic moments, in grief or humility. Like the handed down music of the first pioneers or settlers in a strange new land, the songs are implicitly traditional but describe an altogether different, alien world. Magical and terrifying listen.

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Claire Cronin is an artist from Los Angeles (currently living in Athens, GA) who makes poems, songs, and performances.
For Over And Through cassette on Ba Da Bing Records: this EP was recorded at my parents’ house in Pacific Palisades, California, except for “The Moon” which was recorded in my apartment in another part of LA.

viola and mixing/mastering by Ezra Buchla.

Claire Cronin’s beautifully brooding collaboration with John Dieterich (Deerhoof), “Came Down a Storm” is now available through Ba Da Bing Records. It reaches Jason Molina-like levels on the sadness scale, but Cronin’s raw, unwavering vocals soar amongst Dieterich’s arrangements, creating a folk-like album that’s as wondrously hopeful as it is dark. You can catch Claire touring the release this May with Ezra Buchla, playing alongside the likes of Palehound, Chris Cohen, Katie Von Schleicher, Cassandra Jenkins and TALSounds (Good Willsmith).

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David Nance lives in a world where rock has been influenced as much by This Kind of Punishment and The Pin Group as by The Velvet Underground and The Rolling Stones. Omaha’s best-kept secret, up to now known primarily to DIY tape collectors and record club subscribers, Nance welcomes all with More Than Enough, his first full-band full-length, which follows the stellar but criminally under-heard 2013 Actor’s Diary LP on Grapefruit Records, as well as a string of limited-edition, over-modulatingly intense and emotionally destructive cassette releases.

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Recorded in Los Angeles, scrapped, then re-recorded after a move back to his Omaha hometown with his wife, More Than Enough sounds like the very last record to have undergone any process longer than a few hours of recording. It’s that immediate and on fire. The recipe: (a) get a shit-hot group of musicians; (b) cut songs down to their most “on” moments, or alternately let them ride a groove into the sun; (c) capture it all on actual tape. That’s the Nance approach, and it’s as much an ode to home-recorded brilliance as it is to whoop-ass inspiring rock.

Husband and wife combinations can sometimes sound clichéd and schmaltzy, all winsome sing-song and cooing back and forth. Cross Record are rather different. In 2013, Emily Cross decamped from Chicago to the remote, idyllic town of Dripping Springs, Texas, with her husband, Dan Duszynski. Living on Moon Phase ranch with a bird sanctuary in tow was something of a different experience to city life –  the scorpions on the cover of this album are a snap Cross took of the creatures in her bath. Over two years Cross has produced a potent, atmospheric and bewitching record which perfectly captures the fiery dawns and smoky evenings of their new abode.

Wabi Sabi is set in vast spaces but communicated in an intimate way, and thus feels simultaneously unsettling yet strangely comforting. Just 9 tracks long, it is intense and passionate, disparate elements in the individual tracks making up for a lack of quantity elsewhere.

Lead single “Steady Waves” builds from acoustic flickers to a foreboding howl of a climax, powerful and gripping in its cinematic sweeps, whereas “Basket” swims in an eerie smoulder. The video to “High Rise” is as disconcerting as its sonics, minimalist electro shifting into thick guitar, and moments of hopelessness shuddering into violent explosions. On “The Depths”, muffled whispers merge into thunderous potency in a reflection of the instability of human experience and its messy dissonance. “Something Unseen Touches A Flower To My Forehead” is the sweetest track on the record, almost pop like in its immediacy.

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Throughout Wabi Sabi there are birds cawing in the distance, marimba and kalimba flickering, and a ladies choir offering vocals, adding to the feeling of being absorbed in the expansive vista. Destabilised static and soft pulsations blur with the sound of nature and those dusty, warm spaces.

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The recording process of Wabi Sabi was slow but meticulous, and Cross working 60 hour weeks in restaurants, cleaning and other roles which allowed her the head space to create and compose. Collaborating with a variety of other artists, it’s been carefully sculpted, samples and recordings being produced, ripped apart, and changed again. What this means is that the album is exploratory and intoxicating in its slow perusal of deep emotions, stirring and resonant in its weirdness – and completely beguiling.

Wabi Sabi was released: 29th January 2016, Ba Da Bing Records

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Austin Texas is a Southern metropolis for new music, but you don’t have to drive far outside the city limits to find miles of eerie Texas desert. That’s where Cross Record’s ranch is situated, where their stunning album Wabi-Sabi was conceptualized and brought to life. The album reflects its environment, its sun-charred drones and thunderous storms of noise animated by Emily Cross’ restless whisper. Chicago post-rock is in the mix too, nodding to the band’s pre-Austin history, but those sounds have been transported to a foreign realm and converted into something utterly haunting and unique the guitar burst in this song is awesome.

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“Steady Waves” off Cross Record’s Wabi-Sabi, which came out January 29th, 2016 on Ba Da Bing Records.