Posts Tagged ‘Drag City Records’

Wand’s music lets the soul wander their fifth full-length “Laughing Matter” is another worthy side-by-side . Laughing Matter follows the Los Angeles rock outfit’s sky-high 2017 LP Plum and shapeshifting 2018 EP Perfume. While early releases from these Drag City Records mainstays were characterized by sludgy neo-garage and fuzzy stoner psych, their latest offerings conjure far too much slippery wonder to warrant concise categorization. Wand take risks and thrive on contradiction—their heady guitar embellishments keep you on your toes, and their surreal imagery simultaneously makes you feel insignificant and a pivotal part of the cosmos.

Laughing Matter is a intoxicating listen for a number of reasons. Their often opaque lyrics are a strangely touching and immersive experience, and lead vocalist Cory Hanson delivers them with a benevolence that will allow you to trust fall into his snug, fluttering coo. Wand’s affection for nature is evident, and there’s both a foreboding sense that something is slipping from grasp and a blissful acceptance of its fleeting or cyclical existence. “Rio Grande” captures a grand trek with breathtaking vistas (“Rivers twist like spider’s silk around the stolen land”) and their evocative descriptions are filtered through Hanson’s warm vocal eccentricities. “Lucky’s Sight” is an abstract, sensory collage with one of the record’s most exhilarating outros and most dramatically vivid lines (“a bag of pollinated daydreams smeared across an empty street”).

Amidst reverberating guitars and raining cymbals, “Scarecrow” expresses in the most tragically sublime terms, the plight of a straw-filled scarecrow standing guard in a field of grain as the scarecrow falls victim to the very crows it’s meant to spook. “Walkie Talkie” sees Wand at their sunniest peak as Hanson sings about the blurring of senses, “I’m kissed by the sight and I’m struck by the sound / My heart blinks like a light as I hitch into town.”

The outro is another highlight with booming, coiled drums and Hanson’s enchanting backing vocals that weave in and out of the foreground. “High Planes Drifter” recalls the compassionate acoustics of Hanson’s solo effort The Unborn Capitalist From Limbo, if you swapped heavenly strings for intergalactic synths, and the instrumental “Hare” gently bubbles below the surface with pirouetting keys and eerie violin screeches. “Wonder” may be the record’s finest offering with its juxtaposition of ballsy, overdriven guitars and sweet, blissful vocal melodies.

Wand: <i>Laughing Matter</i> Review

The first disc of this double album release is more immediately gratifying, in part because of the track lengths on the second. You might find songs like “Evening Star,” “Airplane” and “Lucky’s Sight” a bit lengthy or decadent after a few listens, but the more you return to these longer cuts, the more melodic Easter eggs you’ll uncover.

Side two opens with the sound of instruments aimlessly plucking as if they’ve just plugged in and tuned up following the album’s implied intermission, and the eventual meandering piano lines and propulsive guitars create a paradoxical tornado of immense sonic weight. Tracks like “xoxo” and “Airplane” exhibit how quickly and smoothly Wand can transition from chill soundscapes to blustery musical tangents. Their extended, contorted guitar jams range from prog to kraut to psych, their keyboards are both familiar yet elusive and their percussion swings from machine-like to completely off-the-cuff. Keyboardist Sofia Arreguin’s occasional lead and backing vocals are straightforward yet consolatory, and drummer Evan Burrows’ candid, Lou Reed-indebted vocals on “Jennifer’s Gone” enhance the frank, depressing quality of the track’s mourning lines.

Throughout Laughing Matter, Hanson and Burrows’ lyrics take everything known about defined forms and senses and turn them on their head—sounds can be swallowed, the future’s neck can be cut and life can eat into life—and the album’s improvisational jams, winding outros and emotionally crushing melodies result in perhaps Wand’s most realized release yet.

Advertisements

This month marks Cave’s triumphant return to Europe for a bonafide tour – including a single date in the Cave-thirsty UK, with a huge run through Spain, naturally! To celebrate, their first full-length Cave album, Psychic Psummer, is back in print after years out of it. Questing listeners can once again drop the needle on the launch-pad moment where Cave came into their own, evolving into a collective capable of full-length mastery. Their expertise in collating trippy dance jams of all colors started here, leading to further evolutions and triumphs on their subsequent releases NeverendlessThreace and last year’s incredibly fresh and fearsome jammer,  Allways.

Psychic Psummer was made not long after Cave had migrated to Chicago from Columbia MO, and it reflects the hectic loft-style of the their punk/DIY/house show days. Ten years on, these are radical early soundings of their trademark studio style, with relentless tempo-keeping, drone-fascination, keys and neat-cut arrangement/production, alongside guitars and bass often in overdrive plus dubby, aggro’d-out chanting in and out of the mix. Fusing their fascinations with soaring energy, Cave covered lots of ground while making an oddly timeless album. Hopefully this Psychic Psummer’s the endless one

First full length album released by American Space/Psychedelic Rock band Cave.

Tracklist : 1. Gamm 00:00 2. Made In Malaysia 06:23 3. Encino Men 10:00 4. High, I Am 18:04 5. Requiem For John Sex 22:40 6. Machines & Muscles 29:16

Wand: Laughing Matter (DC744)

Wand’s last two releases, 2017’s Plum and 2018’s Perfume EP, meshed Cory Hanson’s touching, beautiful melodies with ramping psych riffs. The Drag City Records psych-leaning five-piece is set to release their latest full-length, Laughing Matter, on April 19th and they made an appearance at Hotel Vegas for the Levitation showcase. Playing lots of new material, Hanson and co. brought zigzagging guitar jams (sometimes with a violin bow in hand) and melodies with an alluring, warm purity. Hanson’s delicate psych croon and wintery backing vocals from keyboardist Sofia Arreguin sounded sublime when paired together, and the Los Angeles-based Wand proved to be a charming, soothing oasis from much of the freakier psych rock acts on the bill.

Laughing Matter offers bits of fuzzy parable, travel diary, pep talk and lullaby, amid a joyous, eclectic sense of pastiche and ascendant choruses. Wand form new music from the ashes of a world that can no longer suffer its human abusers, to inspire us to hold the spirit close and do what’s next.

For a sample of these new reaches in the Wand-iverse, look no further than the track “Walkie Talkie”, the third pre-release single and latest video from Laughing Matter! Lookin’ like it might’ve beamed in directly from sideways post-punk pastward futures, “Walkie Talkie” shines brightly with the reflective sheen of Wand’s modern flicker. Muted neon colors swallow seething imagery as Lee Landey and Evan Burrows‘ emphatic rhythm section slams into Cory Hanson and Robbie Cody‘s screaming guitars, whilst Sofia Arrequin‘s warped Morse keyboards sew the song together at the edges. “Walkie Talkie” is a wheelhouse Wand jammer, a barely-contained swarm of alien and uncanny tones driven to the maximal edge.

Track from the Wand album “Laughing Matter,” available on 2xLP/CS/CD from Drag City on April 19th, 2019.

Swerving between out-of-focus parable, travel diary, pep talk, polemic, love song, and lullabye, Wand’s forthcoming long-player Laughing Matter has its eyes on a lot of prizes. With lyrical and musical shades varying between Wand’s darkest nights and most pastoral days, there’s a nuanced, eclectic emotional scope onLaughing Matter that’s not been quite so nakedly apparent on any previous Wand release.
Their second single from the forthcoming release is “Thin Air,” which demonstrates their evolving desires to break every convention they encounter, to joyously recombine the fragments of formerly familiar territory.  The radical approaches in “Thin Air” are buoyed by Wand‘s autodidact enthusiams, as DIY impulses create a delirious cascade of molten guitars and a twinkling of keys.  With our institutions crashing all around us, “Thin Air” offers a departure from the decadent mindlessness of the mundane for the electricity-free hills above the town. Gamelan guitars roll into to an arena-worthy chorus: “don’t you dare turn your back again”. Take this directive to heart and heed to Wand’s command, put your hands to the wheel and let go.
http://

Listen to “Thin Air” now and prep yourself for Laughing Matteron April 19th!

In and out of focus in a hallucinogenic haze, Bill’s conversations with himself follow a travel-worn map copied over and over again. The picker journeys sonically from familiar to unknown places, a style suspended between the traditional and the avant-garde, expansive and flowing like boiled-over magma. Bill MacKay is a Chicago based guitarist-composer-improviser. He has energized experimental folk, rock, and avant-garde scenes with his radiant songs, and creative and unpredictable approach to the guitar.

Smoke signals, sirens, urgent messages Bill MacKay‘s six-string mastery pulses like a sun with (Sandy) Bull-ish psycho fusions on Fountain Fire, his second solo album for Drag City. The fire in the album title is a continuity in Bill’s life – part of his genealogy, his living history, his astrology and the scorching effect of the over-driven slide throughout the album! Bill melds slide, acoustic and distorted electric tones on Fountain Fire to explore the enigma at the end of a continent, civilizations that precede others, and how we all end up the same. MacKay also throws another element into play: a stark and emotionally-charged vocal number that causes the hair to raise on the listener’s neck with a haunting and eerie beauty. This number, “Try It On,” shows Bill has found a broader plane of expression than he’s ever revealed before, his voice expanding his songwriting into uncharted zones and territories

http://

releases March 22nd, 2019

Written, performed and produced by Bill MacKay 
Instruments: guitar, bass, piano, voice, percussion, organ, glass slide, requinto

No photo description available.

In a world of pure imagination, take a long look and you’ll see…the video for “Phone” from the freshly released “I Have to Feed Larry’s Hawk” by Tim Presley’s White Fence! Here, neon dreams come alive with a lava lamp glow and wobbly, willy wonka kitsch to create brain food for a new wave theater, in which you will find yourself watching “Phone”. The second TP/WF video from Ashley Goodall (see also, “I Have To Feed Larry’s Hawk”), “Phone” warms you up and sedates your pleasure center as Tim Prezzo’s neo pop fantasies crawl inside your ears to invite a gentle slumber. Trading in his six string for the resonant vibrations of a piano, the blissful melodies you’ll hear on “Phone” appear above and beneath the surface – there’s more to devour the deeper you dig!  Taking a spark and starting a fire, the  video for “Phone” compliments Tim‘s elegant eccentricities note for note.

Song from Tim Presley’s White Fence’s 2LP/CS/CD “I Have to Feed Larry’s Hawk,” out January 25, 2019 on Drag City Records.

A little less than two years on from Wands 2017’s album Plum, Californian scrap polymorphs Wand are prepared to announce their newest, and fifth long playing record, title “Laughing Matter”. By now, Wand is the shifting but unmistakable collaboration between Sofia Arreguin (keys, vocals), Cory Hanson (guitar, vocals), Robert Cody (guitar), Lee Landey (bass) and Evan Burrows (drums).

Laughing Matter is marked by the confidence and fervor of a band that has lived, feuded, thrived and grown together through years of dedicated jamming, touring and recording, across continents and mind-sets. The music of Laughing Matter is distilled and sculpted from an ash heap of collected improvisations, riven with audio-verite; the methods and instrumentation are traditional handmade rock ‘n’ roll. Yet the unorthodox arrangements and exuberant songwriting of the first single, “Scarecrow” push Wand into new territory aimed toward the future sound of the band!Laughing Matter is a record about love in a time of terror; it calls you down from panic room labyrinths, to work the deep tissue of unraveling trauma we all carry so dear. The 15 songs on this record face their energy outward, to take with you through a common world that can’t suffer its human abusers much longer. Laughing Matter encourages you to shake hands with your old demons, to lay your pathologies to rest, to hold your spirit close, and let your body do what’s next.

Listen, watch and take in the new single, Track from “Laughing Matter,” available on 2xLP/CS/CD from Drag City on April 19th, 2019.

Six new songs from Los Angeles-based Flat Worms, which features Tim Hellman, Justin Sullivan, and Will Ivy. The “Into The Iris” EP follows an LP on Castle Face Records (s/t, 2017). Filled with anxiety and angst, Flat Worm’s summon perseverance in an apocalyptic era, passing through decrepit strip malls and surreal headlines. These songs were recorded by Ty Segall in his home, and is now being offered on God? Records.
Released February 8th, 2019 ,Drag City Inc.

Wand Announce New Album <i>Laughing Matter</i>, Share Lead Single "Scarecrow"

Los Angeles psych-rockers Wand have announced the follow-up to their 2017 album Plum and 2018 EP Perfume. Their new album, Laughing Matter, will be released on April 19th via Drag City Records, they’ve shared the first single, “Scarecrow,” with an accompanying video directed by Gordon De Los Santos.

“Scarecrow” picks up where the understated psychedelics of Perfume left off with its rippling guitar line, downtempo rhythms, sparse piano and frontman Cory Hanson’s benevolent coo. Wand have always excelled at pretty, somber ballads, so if they decide to fill out the rest of their LP with a similarly quiet and majestic take on their transcendent sound, it should make for a soothing listen.

According to their Bandcamp page, “Laughing Matter offers bits of fuzzy parable, travel diary, pep talk and lullaby, amid a joyous, eclectic sense of pastiche and ascendant choruses. Wand form new music from the ashes of a world that can no longer suffer its human abusers, to inspire us to hold the spirit close and do what’s next.”

Listen to “Scarecrow” check out the Laughing Matter album artwork . You can preorder Laughing Matter on double LP, CD, cassette or MP3 via Drag City Records.

Image may contain: 1 person, on stage, playing a musical instrument, guitar, night, concert and indoor

Tim Presley’s White Fence has materialized: two years on from his solo missive, The Wink, the sense that something has cratered and someone has walked away, somehow alive, is heavy in the air. With I Have to Feed Larry’s Hawk, Tim Presley meets White Fence, and together, they move on.

The surface ofI Have To Feed Larry’s Hawkmay appear to the naked eye as an uncluttered expanse, but it’s hardly placid. In fact, the simple-sounding arrangements found throughout the record are garnished with unusual details which tend to grow gracefully odd and ghostly as they progress. It’s title track has an eerie, dreamlike quality, rolling through uncharted soul territory painting a certain vulnerability with Tim‘s unpredictable brush. The accompanying video for “I Have To Feed Larry’s Hawk” unnerves like a soothingly familiar alien encounter, seen through a lens, darkly.  Directed by Ashley Goodalland painstakingly matching the surrealistic magnetism that so often encapsulates Tim’s songwriting, “I Have To Feed Larry’s Hawk” is a fitting introduction to this new album you should preorder now. Drink up the hypnagogic syrup and bask in the warm glow of Tim Presley’s White Fence!

Title song from Tim Presley’s White Fence’s 2LP/CS/CD “I Have to Feed Larry’s Hawk,” out January 25, 2019 on Drag City Records.