Posts Tagged ‘Cloud Nothings’

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Jason Isbell and The 400 Unit – Live From the Ryman

Americana icon Jason Isbell and his band the 400 Unit release a new live album release. The album is set in none other than the Mother Church of Country Music, the Ryman Auditorium. Live From the Ryman was recorded at Nashville’s famous auditorium, and will feature live versions of songs from Isbell’s three latest releases, Southeastern, Something More Than Free andThe Nashville Sound. Songs included on the project are Last of My Kind, Hope the High Road, Something More Than Free and the Grammy Awards-winning If We Were Vampires, among others.

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The Lucid Dream – Actualisation

The Lucid Dream return with the release of their 4th album, Actualisation. Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream. Actualisation is soaked in the influence of acid house, amalgamated with dub and kosmische. The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove. Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor. Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz). The confrontational techno-punk of Alone In Fear opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is. Recent single SX1000 (the first work from the album, unveiled via 12′ vinyl in April this year) is the band’s first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by Ardency, a track already praised by live critics when aired live for the first time earlier this year as ‘even on first hearing, would’ve raised the roof of The Hacienda’. The 2-part opus of Zenith follows, commencing with a space-dub / house instrumental groove before building into a track that will go for your head as much as your hips. Only Breakdown harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. No Sunlight Dub closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum ‘n’ bass / jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.

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Titus Andronicus – Home Alone on Halloween

Limited to 1,300 for world on Orange Vinyl with Download. With Home Alone on Halloween, noted rock band Titus Andronicus celebrate the spookiest of the seasons by staring into the abyss and confronting the bone-chilling terror which lies at the haunted heart of our human experience. Bearing the justly feared catalog number MRG666, the 12-inch EP spans 31 minutes and features three tracks recorded concurrently with the group’s most recent full-length A Productive Cough, offering an autumnal tableauof dread and decay to complement its LP companion’s springtime visions of rebirth and new possibilities. The title track remixes A Productive Cough’s hardest-rocking selection, foregrounding its ominous strings and swelling organ and featuring a soulful new lead vocal from frequent captain Matt “Money” Miller, while Only a Hobo plucks an oft-forgotten gem from the dusty corners of the Bob Dylan songbook to paint a grim portrait of hopes dashed and potential squandered. Eeriest of all is A Letter Home, which, across nearly 17 minutes and more than 1,200 words, drags the listener along for a harrowing descent into the darkness and proves definitively that this ceremony is no mere monster mash.

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Kiran Leonard – Western Culture

Kiran Leonard is a 22 year old musician from Saddleworth, Greater Manchester. Debut album proper Bowler Hat Soup(2014) and follow-up Grapefruit (2016) were both recorded at home, with Kiran playing virtually every instrument himself. Dervaun Seraun (2017), a concept album in five movements inspired by five pieces of literature and arranged for piano, strings and voice, was an ambitious departure from his usual sound. Western Culture now sees him return to the signature sound of his first two records, yet marks a huge sonic progression thanks to the involvement of his venerable live band on record for the first time, as well as being the first to have been made in a professional studio (Old Granada Studios in central Manchester).

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Novo Amor – Birthplace

Novo Amor, aka multi-instrumentalist, songwriter and producer Ali Lacey comes from deep in the Welsh mountains. Recording, mixing and producing everything in his home studio, Lacey’s emotive vocals and the sounds he uses, often formed through sonic experimentation, make for fantastically atmospheric songs that are moving and striking. On his debut album Birthplace, the sounds of his home bleed in – the chatter of a party across the street, Bonfire Night fireworks, the seagulls that gather on the building site next door. Even the sound of the late-night recording hours kept to avoid the sounds of construction make their presence felt. The songs cover many theme and thoughts – Repeat Until Death deals with friends experiencing drug addiction, Seneca is rooted in the story of a town in Nebraska that tore itself apart over a dispute over how many horses might be kept in a yard.

LP – Single LP made from recycled vinyl, housed in full-colour printed inner sleeve and full-colour printed reverse board outer sleeve. Includes download card and 8-page 12’’ tracing paper booklet, featuring gold Pantone detail to mirror the effect of the original artwork used on the cover. As using recycled vinyl every record will be unique, no two colours will be the same. All cardboard used is FSC certified.

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The Oscillation – Wasted Space

The Oscillation are back with their sixth and most ambitious album to date, Wasted Space. A meditation on the nature of existence in the face of what can be insurmountable odds, Wasted Space finds The Oscillation painting from the darker shades of the kaleidoscopic scale. “The origins of Wasted Space go back to Monographic in 2016,” muses Demian Castellanos – themastermind behind The Oscillation. “That was a very bleak and heavy record and I really needed to move out of that mindset. Making U.E.F freed me up to write a coherent collection of narrative songs and compositions. Wasted Space is a partial continuation of a journey started with U.E.F., but one that re-incorporates more song-based ideas again.”What’s immediately apparent is that Wasted Space sets it stall well away from the prosaic third-eye tropes that have become orthodoxy. Album opener ‘Entity’ establishes the pace with a focus on the dance floor as much as on the navigation of existence. Fusing muscular grooves with an industrial wall of sound,these are bold steps into wholly new territories. “There’s an irony at play here,” considers Castellanos. “It’s a twisted party song, albeit a party for one.” But what a party it is. The mutant disco is bolstered by the rhythmic call-and-response of ‘Drop’, a track that eschews conventional methods of dance sensibility for more instinctive and primal urges. This is music that calls out to the suitably attuned.

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Cloud Nothings – Last Building Burning

Last Building Burning is the product of eight days with producer Randall Dunn (Sunn O))), Wolves in the Throne Room, Boris) in Texas studio Sonic Ranch. Clocking in just over half an hour, the eight-song album sees Cloud Nothings capture their onstage appeal with help from Dunn, who Dylan Baldi describes as “technically minded without relying on technology to perfect the live sound.” In that, Last Building Burning is a return to Cloud Nothing’s sharpest form – the unhinged, feverish, guitar-heavy sound that they explode with onstage – without their early angst. “It’s not an angry record,” says Baldi. “It’s a very joyous thing for me. And it feels so nice to scream again, especially when you know people in the crowd will be screaming along back at you.”

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Peter Holsapple vs Alex Chilton  –  The Death Of Rock

Newly discovered recordings of early solo Peter Holsapple and Like Flies On Sherbert–era Alex Chilton. Liner notes by Peter Holsapple and author / filmmaker, Robert Gordon. Previously unseen photos from the collections of Peter Holsapple and Pat Rainer. It’s 1978 at Sam Phillips Recording Service in Memphis, TN. Peter Holsapple had rolled into town chasing the essence of Big Star. He hooked up with musician / engineer / friend-of-Big-Star, Richard Rosebrough after approaching, and being turned down by, Chris Bell who Holsapple had hoped might be interested in producing him. Together Richard and Peter started laying down tracks during the off hours at the studio. Chilton meanwhile, was knee deep in the making ofLike Flies On Sherbert, also being tracked at Phillips. He told Peter, “I heard some of that stuff you’re working on with Richard . . . and it really sucks.” Alex promised to come by and show Peter “how it’s done.” The results? Alex’s tracks definitely line up with the chaos found on Flies, while several of Peter’s songs found homes on The dB’s albums (Bad Reputationand We Were Happy There) and on an album by The Troggs (The Death Of Rock retooled as I’m In Control), so not a loss at all. What we have in these newly discovered tapes, is a fascinating pivot point with both artists moving past each other headed in distinctly different directions. Chilton moved toward punk/psychobilly as he began playing with Tav Falco’s Panther Burns and produced The Cramps debut, Songs The Lord Taught Us, within a few months of these recordings. Holsapple was off to New York to audition for The dB’s and enter the world of “sweet pop.” Liner notes by Peter Holsapple tell the story of these recordings firsthand and author / filmmaker / Memphian, Robert Gordon, helps pull the time and place into focus. Previously unseen photos included in the package are drawn from the collections of Peter Holsapple and Pat Rainer.

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Dave Matthews Band – Come Tomorrow

ATO records release Dave Matthews Band’s long-awaited new albumCome Tomorrow. Come Tomorrow is the band’s ninth studio release and its first since 2012’s Away From The World, which debuted at No. 1 on Billboard 200. Working between tours at studios in Seattle, Los Angeles and Charlottesville, Dave Matthews Band chose to record with several different producers, including John Alagia, Mark Batson, Rob Cavallo and Rob Evans. The cover art for Come Tomorrow is by Béatrice Coron, who creates narrative allegories in silhouette to render archetypal stories.

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Insecure Men – Karaoke for One: Vol 1

Insecure Men return with a 10 track covers record, featuring takes on Bruce Springsteen, The Pogues, The Carpenters, Peter Andre et al.

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R.E.M.  –  Live At The BBC

REM grew up with the BBC, and this historic relationship is lovingly celebrated across an incredible collection that beautifully illustrates the career trajectory of one of modern music’s greatest bands. The collection comprises a treasure trove of rare and unreleased live and studio recordings culled from the BBC and band archives. This is a must-have collection for REM fans and an authoritative introduction for newcomers.

9CD – In-studio performances featured in the 8-CD / 1-DVD box set include a John Peel Session (1998), Drivetime and Mark and Lard appearances (2003) and a glorious Radio 1 Live Lounge performance (2008). Live broadcasts include a rough-and-tumble show from Nottingham’s Rock City (1984), the stunning 1995 Milton Keynes Monster Tour (their first after a six-year break), a blistering 1999 Glastonbury headline set and an invitation-only 2004 show at London’s St James’s Church. The DVD kicks off with a sixty-minute intimate retrospective of the band’s legendary performances at the BBC in the Accelerating Backwards film – previously broadcast only in the UK and available commercially for the first time here. Accelerating Backwards also includes revealing interviews with Peter Buck, Mike Mills and Michael Stipe, further testifying to R.E.M.’s long, special relationship with the BBC. The DVD also offers a complete 1998 Later….With Jools Holland episode uniquely dedicated to the band, plus TV appearances on Top of the Pops and more.

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Cloud Nothings’ “Modern Act” remains uniquely memorable for the sole fact of debuting on November 9th, 2016. Frontman Dylan Baldi claims he simply forgot about the PR timetable of Life Without Soundwhich is how the video went live hours after Donald Trump won the presidential election, promoting an album to be released in the first week of his administration. This honest mistake set the tone for a mild reception like recent tourmates Japandroids, Cloud Nothings were docked as many points for releasing an atypically glossy and optimistic rock record as they were for failing to anticipate January 2017 as the worst possible time for glossy and optimistic rock records. The tunnel-vision approach positioned Cloud Nothings as a trusted source of spiteful and spiky mainstream punk in a less narrative-driven time, but their latest, Last Building Burningproves Baldi isn’t going to get caught failing to read the room again.

Every possible optic of Last Building Burning is directed at writing Life Without Sound out of history, reimagining Cloud Nothings going in an even grittier, grimier direction after their 2014 potboiler Here and Nowhere Else. Life Without Sound’s cover was periwinkle? This one returns to black and white. Randall Dunn plays the same role as Steve Albini and John Congleton, a guy acclaimed for impeccable sonics and ingenious microphone placement who instead tries to make Cloud Nothings sound like they recorded inside a garage with a running car. The previous album lacked an extended freakout like Attack on Memory’s “Wasted Days” or Here and Nowhere Else’s “Pattern Walks,” so not only do they bring that back for Last Building Burningthis one (“Dissolution”) is 11 minutes.

And while no one begrudges whatever happiness, maturity, and stability Baldi has accumulated in life, expressing them as Cloud Nothings songs was, at worst, a misallocation of resources. “Leave Him Now” is a sign that Baldi hasn’t completely given up trying to be topical or the better man this time around: It’s the rare song that urges a woman to ditch the loser without implying that the singer is swooping in for the rescue. Early in the band’s career, Baldi’s voice didn’t have the heft or grain to sound tough when he screamed, and that peevish edge still works to his advantage, making petulant lyrics sound convincing (“I’ll be alone in my shame,” “I wish I could believe in your dream”).

Cloud Nothings are one of the only bands that could potentially sell their isolated drum tracks, but for long stretches ofLife Without SoundI wasn’t sure if drummer Jayson Gerycz was still around. The new album’s opener “On an Edge” doesn’t even bother with the pretense of trying to build suspense or a sonic arc—in essentially trying to cover Yank Crime within three and a half minutes, Gerycz gets to play as many fills in one song as the entirety of the last record. Throughout, he’s the embodiment of Baldi’s promised “bursts of intense, controlled chaos” Gerycz’s snare is EQ’d like a reified action hero punch, and he occasionally plays ahead of the beat, jamming in fills that threaten to throw everything off-course, except that is the course it’s supposed to take, like Russell Westbrook going to the rim, the chip on his shoulder remaining implanted no matter how much contact he makes. No one would call it efficient, but it’s effective.

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“I’m obsessed with energy at the moment,” Baldi stated in a press release, heavily implying that was not the case last time around. But the suggestion of an adversarial relationship to its predecessor introduces something of a horseshoe theory with Last Building BurningBy setting its course in the equal and opposite direction of Life Without Soundit becomes its evil twin, a still-incomplete picture of Cloud Nothings. Attack on Memoryand Here and Nowhere Else were pulled taut by the band’s warring impulses—Baldi’s trying when Cloud Nothings emulate the Wipers or Hüsker Dü, but the melodies that could’ve made Vagrant Records a lot of money had he been born 15 years earlier come naturally. A lot of times, the latter doesn’t sit entirely well with Baldi and with the exception of “Leave Him Now,” his hooks are almost entirely rhythmic or instrumental—“Echo of the World” with its Trail of Dead-like churn, the doomy drone of “So Right, So Clean.” Yet Last Building Burning feels like a triumphant return because there isn’t as much pressure on it to do or say anything beyond its purely utilitarian aims. It slaps, shreds, and whips ass.

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Last Building Burning is the product of eight days with producer Randall Dunn (Sunn O))), Wolves in the Throne Room, Boris) in Texas studio Sonic Ranch. Clocking in just over half an hour, the eight-song album sees Cloud Nothings capture their onstage appeal with help from Dunn, who Baldi describes as “technically minded without relying on technology to perfect the live sound.” In that, Last Building Burning is a return to Cloud Nothing’s sharpest form – the unhinged, feverish, guitar-heavy sound that they explode with onstage – without their early angst. “It’s not an angry record,” says Baldi. “It’s a very joyous thing for me. And it feels so nice to scream again, especially when you know people in the crowd will be screaming along back at you.”

“So Right So Clean” is the latest song to be taken from the Cloud Nothings album, Last Building Burning, which is due for release on the 19th October 2018 via Wichita Recordings and Carpark Records.

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Cloud Nothings have released “Leave Him Now,” the second single from their upcoming album Last Building Burning, out October 19th via Carpark Records. The track follows “The Echo of the World” and leans more toward the sunnier pop sound last year’s album release “Life Without Sound”, albeit with more angst and thrash. In the song, frontman Dylan Baldi begging a friend to leave an abusive relationship: “You gotta go right now/Or never at all.”

The band has also announced a fall North American tour starting in October;

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“Leave Him Now” is the latest song to be taken from the forthcoming Cloud Nothings album, Last Building Burning, which is due for release on the 19th October 2018 via Wichita Recordings and Carpark Records.

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We are elated to announce the return of Cloud Nothings. Their fifth full-length album, Last Building Burning, is due out October 19th on Carpark Records (US) and Wichita Recordings (UK/EU). The new album is a culmination of the development of frontman Dylan Baldi’s ever-changing sound, following up 2017’s Life Without Sound. It is an extension of the band’s live performances, capturing the frenetic energy that’s characteristic of their shows and infusing the jagged unpredictability of guitars.

Last Building Burning are available on the Carpark/Wichita shops “I’m obsessed with the idea of energy at the moment,” Baldi says about the making of Last Burning Building. “That’s how I thought of this record: seven short, and one long, bursts of intense, controlled chaos. I wanted to make songs that come across in a way that can actually be felt.”

“The Echo of the World” is taken from Cloud Nothings’ forthcoming album, “Last Building Burning,” due out October . Cleveland’s finest indie rock band Cloud Nothing are planning their return to the UK. Developed out of singer / song writer Dylan Baldi’s solo basement studio recording project, he leads a band that also includes drummer Jayson Gerycz, guitarist Chris Brown and TJ Duke on bass.

Baldi started out by recording at his parent’s basement in 2009 using GarageBand and releasing his material through various fake profiles on MySpace, all of which directed listeners back to his work. Amongst the fake bands, a profile under the name Cloud Nothings proved to be one of the most popular which received an invite for gigs in New York prompting Baldi to seek out real members.

Now an actual band, they began to rise in popularity and soon signed to independent label Bridgetown Records through which they released the eight track EP Turning On which features the single Hey Cool Kid. They released their eponymously titled debut album in 2011 which thrilled critics,  Their incredible back catalogue also includes the albums Attack On Memory plus Here And Nowhere Else .

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Unlike most peers who refuse to outgrow the simplicity of their hooky riffage, Dylan Baldi’s songwriting has continued to bloom without softening a thing. New album “Life Without Sound” is every bit as revelatory as 2012’s more ambitious and abrasive release Attack on Memory, yet he’s flirting with arena-rock territory.

This is not to say the Ohio band doesn’t still love harsh guitar riffs and introspective lyrics, and on their latest single, “Enter Entirely,” Dylan Baldi reflects on what it’s like to watch your life pass you by. Instead of moving forward, Baldi finds himself frozen in time, isolated and contemplating what steps he can take to be the person he wants to be: “There’s someone I would like to be if I could be, but the path is frightening,” Baldi raspily sings. But he also admits to self-sabotaging along the way with “a bottle of wine,” and as the chorus hits, you can feel Baldi settle back into himself (“Moving on but I still feel it, you’re just a light in me now”). He surrounds his rumination with crashing guitars that confidently pay homage to Pavement.

That woozy, lonely, and bitter feeling at the end of every late-night walk home, when you realize there’s nowhere else in the world you’d rather be than yesterday. “Moving on but I still feel it/ You’re just a light in me now”

 Dylan Baldi puts things into perspective with another must-squeeze anthem that wraps our love-torn wounds with gauze and distortion. Once more, he throws his weight into repetition, bludgeoning our bruises until they’re blistered and screeching. This one hurts.

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Following their new album back in Life Without Sound January, Cloud Nothings have now released a brilliant new video for their track ‘Enter Entirely’. The video sees a very grainy recording of some summery scenes including a hella bunch of flowers.

The track follows on the band’s new approach, moving away from their previously heavier efforts. Dylan Baldi spoke about the track and album and had this to say. “There’s less inner turmoil,” Dylan explains, on what exactly changed. “I think I finally just accepted my existence. This is a weird metaphor, but every time we go to the UK to play shows, we have to go through customs and have to write our occupation on the landing card. I would always write ‘musician’, just because I didn’t know what else to write. It was always just, ‘Well, I guess that’s what I’m doing’. It’s weird and it doesn’t feel right, but that’s what I have to write. I felt that way about a lot of things in my life actually. But now, for the first time, I feel like I can confidently write ‘musician’ on my landing card. There’s less questioning of my own motives now.”

However you slice it, the new direction is a more populous approach, but based on Baldi’s words it is a natural one without reproach.

“Enter Entirely” is taken from Cloud Nothings‘ album “Life Without Sound.” Available now on Carpark Records.

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Ninor Victories – Orchestral Variations

This summer, Mogwai’s Stuart Braithwaite, Slowdive’s Rachel Goswell, Editors’ Justin Lockey and his brother James came together to release their debut album as Minor Victories. Currently in the midst of a run of live shows throughout Europe, the band are pleased to announce their utterly stunning instrumental interpretation of the self-titled record, entitled Orchestral Variations.

What better way to hear the gorgous backdrops and impeccable arrangements behind the brilliant Minor Victories album than by hearing the instrumentals all on their resplendent tod. Soaring strings, beautifully poignant interludes and heart-breakingly serene segues. A fantastic companion piece for those who enjoyed the first, and a truly stunning stand-alone for those who didn’t.

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Ty SegallOrange Color Queen

Ty Segall has made whole records that wrestle with realities — fighting against some, pulling mightily to bring others into being. Of late, he’s thrown up his hands and donned clown shoes, dancing merrily in the dual role of oppressed/oppressor! His hands aren’t any more or less dirty than anyone else’s — but amidst the thunder and the chaos of the ongoing storm, he’s looking for the eye within.

The new self-titled record — the next record after Emotional Mugger, Manipulator, Sleeper, Twins, Goodbye Bread, Melted, Lemons, and the first self-titled album that started it up in the now-distant year of 2008 — is a clean flow, a wash of transparency falling into a world that needs to see a few things through clearly, to their logical end. It’s got some of the most lobe-blasting neckwork since the Ty Segall Band’s Slaughterhouse (from way back in the long, hot summer of 2012), but it also features a steep flight of fluent acoustic settings, as Ty’s new songs range around in their search for freedom without exorcism, flying the dark colors high up the pole in an act of simple self-reclamation.

The construction and destruction of his chosen realities has, until now, been a luxury Ty has rightfully reserved for himself, striping overdubs together to form the sound — but for this new album, he entered a studio backed by a full band — Emmett Kelly, Mikal Cronin, Charles Moothart and Ben Boye — to get a read on this so-called clarity. This leads to a new departure in group sound, as well as some of the most visceral and penetrating vocal passages yet heard from Ty Segall.

“Freedom/Warm Hands” puts the “sweet” back into suite; “Orange Color Queen” is a supreme moment of tenderness; “Talkin’,” a roots-infused truth-attack. “Papers,” looks behind the doors of Ty’s process; “Break A Guitar” is a brutal fun-fest pitched to the back of the house. Ty Segall keeps you guessing, bracing your skin with a welcome astringency, seeking to stem the bleeding with chunks and splashes of guitar, tight beats, audio-verité toilet smashes, a Wurlitzer electric piano in a jam, blazing harmonies, and LOTS of songs to sing. There’s no concept beyond that; finding the right places to be is a momentary thing. Ty Segall is the sum of his songs — and about getting the free. The free to be!

Another self titled album? Who are these crazy fools? They’re Ty Segall, that’s who and they can do exactly as they wish if they keep churning out rocking classics like these. Much more punky than sludgy, with more in common with early Pixies than their more recent output. Driven, rocking and absolutely essential.

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Horse Thief  -Trials and Truths

Two years after their widely feted Bella Union album debut Fear In Bliss, Oklahoma quintet Horse Thief have created another surging, crafted beauty in Trials and Truths. The record’s unified feel still contains many contrasting elements, sounding both panoramic and nuanced, intimate and anthemic and vibrant and contemplative, while frontman Cameron Neal’s lyrics range from the confessional to the metaphorical as he surveys the passing of time. For Trials And Truths, Oklahoma quintet Horse Thief reunited with producer Thom Monahan (Devendra Banhart, Vetiver).

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Japandroids – Near To The Wild Heart Of Life

With the release of their second album, Celebration Rock in 2012 the band embarked on what seemed like an endless world tour, performing over 200 shows in over 40 countries, and played their final show in support of Celebration Rock in Buenos Aires, Argentina in November 2013. They would not perform live again for three years. Their third album, Near To The Wild Heart Of Life, was written clandestinely in Vancouver, Toronto, New Orleans, and Mexico City. It was (mostly) recorded at Rain City Recorders in Vancouver, BC (Fall of 2015), with one song, “True Love And A Free Life Of Free Will”, recorded at Golden Ratio in Montreal, QC.

The title, Near To The Wild Heart Of Life, comes from a passage in the novel A Portrait Of The Artist As A Young Man by James Joyce: “He was alone. He was unheeded, happy, and near to the wild heart of life.” Like their prior albums Post-Nothing and Celebration Rock, the album is 8 songs. This is because 8 songs is the standard template for a great rock n roll album. Like Post-Nothing and Celebration Rock, the album was sequenced specifically for the LP. On Near To The Wild Heart Of Life, side A (songs 1-4) and side B (songs 5-7) each follow their own loose narrative. Taken together as one, they form an even looser narrative, with the final song on side B (song 8) acting as an epilogue. If Celebration Rock was the culmination of something, then Near To The Wild Heart Of Life can be considered the beginning of something else.

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Arcade Fire  –  The Reflektor Tapes

The Reflektor Tapes is a visually stunning and hypnotic documentary about the making of Arcade Fire’s hugely successful 2013 studio album Reflektor by director Kahlil Joseph . The film received its premiere at the 2015 Toronto International Film Festival. The documentary captures recording sessions, live performances and the band’s time in Haiti, a country with which they have a long-standing relationship. The second disc in the set features Arcade Fire’s full length live concert from Earl’s Court in London on 6th June 2014 during the Reflektor tour, which perfectly complements the documentary.

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Cloud Nothings are back with ‘Life Without Sound’, the follow up to 2014’s ‘Here And Nowhere Else’, on Wichita Recordings.

Lead singer and guitarist Dylan Baldi maintains simple, admirable standards in quality. “A thing I like to do with all of my records is drive around with them,” the 25-year-old Cloud Nothings front man says. “In high school, I would listen to music for hours like that: just driving through the suburbs of Cleveland. And if it sounds good to me in that context and I can think of high school me listening to it and saying, ‘That’s okay,’ I feel good about the record. This is the one that’s felt best.”

‘Life Without Sound’ is the radiant fourth full length Cloud Nothings have recorded since Baldi began writing and releasing songs on his own under the Cloud Nothings alias in 2008. While its highly acclaimed predecessor, 2014’s ‘Here And Nowhere Else’, came together spontaneously in the little time that touring allowed, ‘Life Without Sound’ took shape under far less frenetic circumstances.

For more than a year, Baldi was able to write these songs and flesh out them out with his bandmates – drummer Jayson Gerycz and bassist TJ Duke – before they finally joined producer John Goodmanson (Sleater Kinney, Death Cab For Cutie) at Sonic Ranch in El Paso, Texas for three weeks in March of 2016. The result is Baldi’s most polished and considered work to date, an album that speaks to his evolving gift with melody while also betraying the sort of perspective that time provides.

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Allison Crutchfield – Tourist in This Town

CD is 4-panel digipak, LP includes full album download. The debut full-length by Allison Crutchfield titled Tourist in This Town sonically pulls back the curtain on her life and places Crutchfield center stage, fully revealing her power, conviction, and grace. The Alabama native has immersed herself in music since her teenage years, forming notable bands such as P.S. Eliot and Bad Banana (both with her twin sister Katie of Waxahatchee). In 2012, she co-founded Swearin’—the band in which she would truly begin to formulate and understand her full potential as a songwriter—and in 2014, she recorded and released her first solo EP Lean In To It. Her debut album is an accomplished work that integrates her past musical experiences with a pronounced growth in arrangement and instrumentation.

Tourist in This Town was made at Uniform Recording in Philadelphia with Jeff Zeigler, who is known for his work with Kurt Vile, Steve Gunn, and Mary Lattimore, among others. His synthesizer collection and related expertise proved an alluring draw for Crutchfield, who had started incorporating synths into her work when she branched off into a solo career. “This record marked a sonic transition in the way I think about the element of space in music, and I attribute that mainly to Jeff,” says Allison. “His arsenal and knowledge of analog synths, along with his ear for spatial addition and subtraction within a song, really sculpted this album and impacted me artistically forever.” “Tourist in This Town is completely made up of heightened anxiety and became a clearly defined puzzle that I slowly put together over the course of a year,” says Crutchfield. “It’s a record about change— change of scenery, of partner, of band, of home, of friends, of outlook—and how that change can cause a temporary panic but ultimate triumph in most of us.”

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Cloud Nothings have announced the follow-up to their 2014 album “Here and Nowhere Else” and last year’s Wavves collaboration “No Life For Me Without Sound” is out January 27th via Carpark Wichita Recordings. The announcement comes with a new single called “Modern Act” , along with the album’s artwork, tracklist, and the band’s forthcoming tour dates.

The album was recorded with producer John Goodmanson (Sleater-Kinney, Death Cab for Cutie) in El Paso earlier this year. Dylan Baldi said in a statement:

Generally, it seems like my work has been about finding my place in the world. But there was a point in which I realized that you can be missing something important in your life, a part you didn’t realize you were missing until it’s there—hence the title. This record is like my version of new age music. It’s supposed to be inspiring.

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“Enter Entirely” is taken from Cloud Nothings’ forthcoming album “Life Without Sound.” Out January 27th, 2017 on Carpark Records.

Image may contain: ocean, sky, water, outdoor and text

Cloud Nothings have announced the follow-up to their 2014 album “Here and Nowhere Else” and last year’s Wavves collaboration No Life For Me .

“Life Without Sound” is out January 27th via Wichita Recordings . The announcement comes with a new single called “Modern Act” check it out below, along with the album’s artwork, track list, and the band’s forthcoming tour dates. The album was recorded with producer John Goodmanson (Sleater-Kinney, Death Cab for Cutie) in El Paso earlier this year.

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Dylan Baldi said in a statement:

Generally, it seems like my work has been about finding my place in the world. But there was a point in which I realized that you can be missing something important in your life, a part you didn’t realize you were missing until it’s there—hence the title. This record is like my version of new age music. It’s supposed to be inspiring.