Posts Tagged ‘Kikagaku Moyo’

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The album of the week shines in every facet of its existence. Phosphorescent (aka Matthew Houck) has meticulously crafted an intensely warm album of americana pop, drawing together a multitude of instrumental textures – from guitars and pedal steels, to synths, to his own voice – and yoking them into perfect harmony. his lush melodies are executed with the utmost sincerity, giving his music a widescreen poignancy.

There are many more tasty treats out this week…big thief vocalist Adrianne Lenker has struck out on her own with an absolute pearl of an album. sweet & understated, this collection of songs poured out of her in the moments between performing & practicing with her band, resulting in her most intimate work yet. that’s on very limited glow-in-the-dark vinyl, for people who like to listen with the lights off. picking up the tempo a little, Molly Burch’s country pop sophomore features that same beautiful, warbling voice channelled through a stronger, more confident set of songs founded upon indelible melodies.. we’ve also been loving the debut from kentucky’s the Other Years, whose angelically pure vocal harmonies, underpinned by a sweet backing of violin & banjo, are a thing of simple beauty. this is the perfect album to come home to after a strenuous day – trust. predictably, Cat Power’s new album is a stone-cold stunner! her largely acoustic set of folk-tinged, blues-tinted songs continue to prove her to be one of the strongest songwriters working today.

Further recomendations Throwing Muses’ Kristin Hersh delivers another powerful solo album of darkly melodic scuzz-songwriting Will Hoge injects his rumbly-voiced country with an invigorating dash of soul and an exhilarating bolt of rock bravado;  it’s also worth knowing that Blood Orange’s ‘negro swan’ is finally in on vinyl, amy helm’s red vinyl lp has finally popped in & settled its round little body into our shelves. & Marie Davidson’s excellent new record – which had me & mark jiving away.

Reissues this week, Bloc Party‘s classic debut ‘silent alarm’ arrives for the very first time on sturdy 180 gram vinyl. john Lennon’s ‘imagine’ gets a new stereo remaster, along with a bounty of alternate mixes & alternate takes that offer tremendous insight into his recording process. and possibily the greatest guitar album ever Television’s very seminal ‘Marquee Moon’ is in on blue vinyl, with a bonus disc of alternate versions – yum!

Imagine (2018 reissue)

John Lennon  –  Imagine (2018 reissue)

this truly unique edition of one of the most iconic albums of all time sees the timeless record remastered with a new stereo remix and some additional non-album singles.

digging through extensive archival content, Yoko and her team deliver us an incredibly personal journey through the entire songwriting and recording process – from the very first writing and demo sessions at John’s home studio at tittenhurst park through to the final co-production with Phil Spector – providing a remarkable testament of the lives of John Lennon and Yoko Ono in their own words. ***the deluxe 2cd comes with an extensive bonus disc of different mixes, demos and alternate takes. *** ***the super deluxe boxset comes with an incredibly vast array of different mixes, demos and alternate takes, the restored ‘Imagine’ and ‘Gimme Some Truth’ films and a 120 page hardcover book documenting the album’s creation***

Abysskiss

Adrianne Lenker – Abysskiss

the big thief vocalist lays down a mesmerising set of songs that are hushed & disarmingly intimate, in which we climb into her consciousness without encountering any barriers & revel in the sweet beauty of her gentle melancholy.

the songs chosen for this collection were the songs that felt the most alive in the room. these are not castaways or b-sides. some of these songs have been alive for years while some were written just days before the recording session. with this collection, Lenker further illuminates to the listening public that she is a songwriter of the highest order, following her voice & the greater voices that pass through her with an unflinching openness & clarity of translation. “it’s an invitation to peer into the hidden spaces of an extraordinary modern songwriter, where calm & quiet moment prompt superlative work”

C’est La Vie

Phosphorescent  –  C’est La Vie

Matthew Houck has crafted an electrifying collection of songs that blend a dreamy, psychedelic americana aesthetic with solid pop foundations that never fail to engage.

this album reveals a crystallisation of what made ‘Muchacho’ such a breakout record release — a little sweetness and a little menace, sometimes boot-stomping and sometimes meditative. the magic of Matthew Houck’s music has always been the way he weaves shimmering, almost golden-sounding threads through elemental, salt-of-the-earth sounds. it’s not experimental, exactly, but it’s singular and it’s definitely not traditional. that knack, the through-line across the phosphorescent catalogue, is front and centre here. fans of bon iver, iron and wine, bonnie prince billy, damien jurado and okkervil river will love this! “songs of experience make up Matthew Houck’s heavenly seventh”

First Flower

Molly Burch  –  First Flower

a walk through Molly Burch’s most intimate thoughts – broken friendships, sibling relationships and overwhelming anxiety – ‘First Flower’ is a bright, beautiful album peppered with moments of triumph with Burch’s voice as strong and dexterous as ever.

opening track “Candy” is a swinging, playful hit, while “Wild” deals with pushing away fear. title track “First Flower” is classic Burch, a simple love song that gives you goosebumps when she breaks into the chorus. but the album’s true stand-out is “To the Boys”, a courageous, sassy fuck-you to her own self-deprecation where she learns to love all the things she hated about herself. if you enjoyed angel olsen’s ‘My Woman’, this is the album for you. “more dreamy, torchy country-pop goodness from this Austin breakout”

Stardust Birthday Party

Ron Gallo –  Stardust Birthday Party

Ron Gallo’s punk-poet persona remains intact, backed by a generous injection of scuzz and fuzz.

“the details of my path are pointless because everyone’s path is different. it is about me sitting with myself for the first time and confronting the big question ‘what am i, really?’ it’s about the love and compassion for all things that enters when you find out you are nothing and everything. i think at one point i wanted to change the world, but now i know i can only change myself, or rather just strip away everything that is not me to reveal the only thing that’s ever been there. and that’s what this album is about, it’s me dancing while destroying the person i thought i was, and hopefully forever”. fans of oh sees, ty segall and warm drag should check this out

WANDERER

Cat Power  –  Wanderer

Chan Marshall’s return to the folkier, bluesier side of the tracks is very welcome on this lustrous set of understated, yet quietly powerful, acoustic ballads.

produced in its entirety by Marshall, ‘Wanderer’ includes appearances by long-time friends & compatriots, as well as guest vocals courtesy of Lana del Rey & an exquisite cover of Rihanna’s ‘Stay’. the 11 tracks encompass “my journey so far,” says Marshall. “the course my life has taken in this journey – going from town to town, with my guitar, telling my tale; with reverence to the people who did this generations before me. folk singers, blues singers, & everything in between. they were all wanderers, & i am lucky to be among them.” “the set has both strength & a lean, lustrous beauty, tapping Carole King-style classicism & american folk standards”

Fall Into the Sun

Swearin’ – Fall Into The Sun

their scuzztastic reunion has gifted us a blissful set of melodic bangers that go hard on distortion and easy on the ears.

much like the band’s previous albums, Gilbride anchored the recording and producing of the record, but this time around, the band worked to make the process feel more collaborative than ever before. “i feel like this was the first time i could look at a Swearin’ record and say that i co-produced it, and that felt really good,” said Crutchfield. Crutchfield and Gilbride always had an innate ability to mirror the other’s movements in songs, but here, they build a focused lyrical perspective across their songs, one that’s thankful for their past, but looks boldly toward the future. fans of rilo kiley, the beths, speedy ortiz and forth wanderers need to check this out!

Masana Temples

Kikagaku Moyo – Masana Temples

the psych-prog quintet return with a serene set of wah-heavy motifs, seasoned with moments of exquisitely delicate, hushed vocals.

more than the literal interpretation of being on a journey, the album’s ever-changing sonic panorama reflects the spiritual connection of the band moving through this all together. inspecting the harmonies and disparities between their evolving perspectives, the group reflects the emotional impact of their nomadic paths. the music is the product of time spent in motion and all of the bending mindsets that come with it. fans of minami deutsche and sundays & cybele should check this out.

Possible Dust Clouds

Kristin Hersh  – Possible Dust Clouds

enveloping the juxtaposition of the concept of ‘dark sunshine’, this brooding solo album expands her off-kilter sonic vision; a squally, squeaky cocktail of discordant beauty.

feedback and phasing gyrate from simply strummed normality, imagine Dinosaur jr and My Bloody Valentine cranking up a Dylan couplet. messing with both extremes of the sonic spectrum: atonal and arrhythmic, a unique sound and a glorious return to form for one of alternative rock’s true innovators. “sometimes the most subversive thing i can do musically is adhere to standard song structure, sometimes the creepiest chords are the ones we’ve heard before, twisted into different shapes” – Kristin Hersh, july 2018. “the prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician.”

LIVE AT THIRD MAN RECORDS

Father John Misty – Live at Third Man Records

Live at Third Man Records covers songs from the first three of his albums, heard here stripped totally bare, you lucky tikes.  In September last year, Josh Tillman stopped by Third Man’s Nashville headquarters on an otherwise ordinary Tuesday afternoon and surprised them with a lunchtime solo, acoustic set before his sold-out Ryman Auditorium performance. They, of course, had our 1955 Scully Lathe warmed at the ready to capture the occasion. As is typical for direct-to-acetate recordings in the Blue Room, Josh warmed up the room (and our engineers) with two songs before they started cutting the LP. He began with the debut performance of his newly penned Mr. Tillman(foreshadowing its release as the first single on God’s Favorite Customer 9 months later). They then used the second song as an opportunity to carve a 12” on-the-spot single of Now I’m Learning to Love the War, which was promptly handed it to a lucky attendee for safe keeping. If you want to know more about that, you’ll have to scour the depths of FJM’s fan net. Live at Third Man Records covers songs from all three Father John Misty albums out at the time of its recording, heard here stripped totally bare

my american dream

Will Hoge  –  My American Dream

Hoge gives it his all on this blazing album of gritty, country soul, newly infused with a furious rock energy.

with ‘My American Dream’, Hoge hopes that others will follow his lead, see the world through someone else’s eyes, and maybe begin to fix the mess we’re living in. “i don’t want to write songs telling people how they should feel” Hoge says. “if anything, maybe there’s a 16- or 17-year-old kid in the small-town south who has rumblings of these feelings but doesn’t have anybody in his little community to go, ‘hey man, think about it like this for a second. here’s another group of people’s perspectives’”. fans of chris stapleton, lydia loveless, steve earle’s ‘copperhead road’ and nikki lane will love this!

ICON OF EGO

Arc Iris  –  Icon of Ego

the trio’s third is a vividly expressionistic record that reflects their protean talents, creating an avantgarde experimental pop that’s entirely their own.

‘Icon of Ego’ finds a stronger, more experienced band. the band has evolved into a concentrated pop-prog explosion, mixing styles with disparate elements that captivate and surprise. with heavy synthesiser work by Tenorio and Jocie Adams, and seemingly impossible transitions executed effortlessly by Belli, the songs here carry a thick, analogue electronic sound that harks back to the ’70s. presiding over these are Adams’ powerful vocals that house the energy under pop forms. fans of cocorosie and deerhoof should check these guys out.

I

Terry – I’m Terry

the Melbourne quartet capture their particular kind of witty diy, garage pop beautifully on this lp.

there are few rules in Terry’s world. “they seem to make a song out of whatever sounds good to them. the only stylistic consistency is in their hat wear. terry are like Steely Dan or 10cc. both bands make me queasy after a certain point. Terry probably also make me a bit queasy, singing about police beatings and nationalism and all that. but they’re not out to hurt you. they’re like the kindly bearer of bad news. Terry puts it in terms that speak to me. it’s a tragicomedy.” – fans of the go-betweens, courtney barnett and rolling blackouts coastal fever need to hear this.

henry / I

Soccer Mommy – Henry / I’m on Fire

Soccer Mommy aka Sophie Allison puts her own heavenly spin on the boss’ timeless classic, plus reworks the lead track from her obscure 2016 album ‘For Young Hearts’, previously only physically available as a rare cassette release. we think she’s done Bruce proud. Soccer Mommy is a must for fans of snail mail, phoebe bridgers, lucy dacus and julien baker.

LIVE AT THIRD MAN RECORDS

Kevin Morby – Live at Third Man Records

Kevin Morby performs two tracks for third man, stripping them down and revealing something completely new, in relation to their studio counterparts.

Formally a member of New York folk group Woods, Kevin Morby has made a name for himself with his four acclaimed solo releases. these songs, “Destroyer” and “Black Flowers”, come from his third record ‘Singing Saw’. “Destroyer” is an autobiographical minimalistic keyboard ballad, a distant cousin of the full band album version. “Black Flowers” on this single borrows less from the sweeping orchestras of leonard cohen’s catalogue and more from the melancholic austerity of bert jansch.

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Kikagaku Moyo. are a psychedelic project of the highest order, Masana Temples is released on Amsterdam’s Guruguru Brain label and represents the most complete collection of the journey that the five-piece band has been on since their first release in 2013. As the group begins to scatter around the world, their music represents the spiritual results of these treks through ruminations led by standout guitar, sitar and drum work. Look no further than lead single “Gatherings” for a representation of the mind-boggling, transcendental music that this band is creating.

Kikagaku Moyo started in the summer of 2012 busking on the streets of Tokyo. Though the band started as a free music collective, it quickly evolved into a tight group of multi-­instrumentalists. Kikagaku Moyo call their sound psychedelic because it encompasses a broad spectrum of influence. Their music incorporates elements of classical Indian music, Krautrock, Traditional Folk, and 70s Rock. Most importantly their music is about freedom of the mind and body and building a bridge between the supernatural and the present. Improvisation is a key element to their sound. The shifting dimensions of Masana Temples, fourth album from psychedelic explorers Kikagaku Moyo, are informed by various experiences the band had with traveling through life together, ranging from the months spent on tour to making a pilgrimage to Lisbon to record the album with jazz musician Bruno Pernadas.

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The band sought out Pernadas both out of admiration for his music and in an intentional move to work with a producer who came from a wildly different background. With Masana Temples, the band wanted to challenge their own concepts of what psychedelic music could be. Elements of both the attentive folk and wild-­eyed rocking sides of the band are still intact throughout, but they’re sharper and more defined. More than the literal interpretation of being on a journey, the album’s always changing sonic panorama reflects the spiritual connection of the band moving through this all together. Life for a traveling band is a series of constant metamorphoses, with languages, cultures, climates and vibes changing with each new town. The only constant for Kikagaku Moyo throughout their travels were the five band members always together moving through it all, but each of them taking everything in from very different perspectives. Inspecting the harmonies and disparities between these perspectives, the group reflects the emotional impact of their nomadic paths. The music is the product of time spent in motion and all of the bending mindsets that come with it.

Masana Temples

The shifting dimensions of Masana Temples, is the fourth album from psychedelic explorers Kikagaku Moyo,are informed by various experiences the band had with traveling through life together, ranging from the months spent on tour to making a pilgrimage to Lisbon to record the album with jazz musician Bruno Pernadas.

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The band sought out Pernadas both out of admiration for his music and in an intentional move to work with a producer who came from a wildly different background. with Masana Temples, the band wanted to challenge their own concepts of what psychedelic music could be. elements of both the attentive folk and wild-¬‐eyed rocking sides of the band are still intact throughout, but they’re sharper and more defined. more than the literal interpretation of being on a journey, the album’s always changing sonic panorama reflects the spiritual connection of the band moving through this all together. life for a traveling band is a series of constant metamorphoses, with languages, cultures, climates and vibes changing with each new town. the only constant for Kikagaku moyo throughout their travels were the five band members always together moving through it all, but each of them taking everything in from very different perspectives. inspecting the harmonies and disparities between these perspectives, the group reflects the emotional impact of their nomadic paths. the music is the product of time spent in motion and all of the bending mindsets that come with it.

Kikagaku Moyo

 

The shifting dimensions of Masana Temples, fourth album from psychedelic explorers Kikagaku Moyo,are informed by various experiences the band had with traveling through life together, ranging from the months spent on tour to making a pilgrimage to Lisbon to record the album with jazz musician Bruno Pernadas. The band sought out Pernadas both out of admiration for his music and in an intentional move to work with a producer who came from a wildly different background. With Masana Temples, the band wanted to challenge their own concepts of what psychedelic music could be. Elements of both the attentive folk and wild-eyed rocking sides of the band are still intact throughout, but they’re sharper and more defined.
More than the literal interpretation of being on a journey, the album’s always changing sonic panorama reflects the spiritual connection of the band moving through this all together. Life for a traveling band is a series of constant metamorphoses, with languages, cultures, climates and vibes changing with each new town. The only constant for Kikagaku Moyo throughout their travels were the five band members always together moving through it all, but each of them taking everything in from very different perspectives. Inspecting the harmonies and disparities between these perspectives, the group reflects the emotional impact of their nomadic paths. The music is the product of time spent in motion and all of the bending mindsets that come with it.
releases October 5th, 2018

Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.

Kikagaku Moyo is the musical union between five free spirits. Go Kurosawa (drums, Vocals) and Tomo Katsurada (Guitar, Vocals) formed the band in 2012 as a free artist’s collective. They met Kotsuguy (Bass) while he was recording noise from vending machines and Akira (Guitar) through their university. Ryu Kurosawa had been studying Sitar in India, upon returning home he found the perfect outlet for his practice.

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Since 2013 the band has released three full lengths, an EP, and several singles. They have toured Australia, the United States, Europe, Australia and Japan extensively. Kikagaku Moyo love to connect with people through performing

Following last year’s album House In The Tall Grass, Tokyo’s Kikagaku Moyo have announced plans for a new EP alongside summer European live dates. Stone Garden has been released on vinyl and digital on April 21st via the record label the band run, Guruguru Brain.

Stone Garden, we’re told, started in a basement studio in Prague with a nearly continuous session over several days and nights. The original concept was ‘influenced by the raw and seemingly endless jams of psychedelic pioneers’. The freeform songs that emerged from these sessions were refined over several months at the band’s home in Tokyo, where each song was sculpted into an uncommon form.

The band run their own record label, Guruguru Brain, focusing on releasing underground artists from Asia, including Kikagaku Moyo. Last year they curated a stage at Liverpool International Festival of Psychedelia, and they will return to the UK this Summer for a headline tour (dates below).

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The EP “Stone Garden” will be released on Vinyl & Digital in April 21st 2017.

To anyone who has heard the music of Kikagaku Moyo, it should come as no surprise that the band’s origins lie in hours upon hours of late-night jamming, illuminated by nothing more than the geometric patterns playing behind the band’s eyelids, resulting in a natural, free-floating sound, as of-the-earth as it is intergalactic. It may be surprising that the band sharpened their improvisational skills by busking on the streets of their native Tokyo. It may be surprising that the band’s overall sound may owe as much or more to the Incredible String Band as it does to Acid Mother’s Temple.

But what’s perhaps most surprising about Forest of Lost Children, the band’s face-melting, recorded-ritual sophomore album, is how utterly centered and mature the band sounds, especially given their relatively short lifespan as a band. Boundless though they may be, Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.

Easily one of the most shimmering crown-jewels in the rapidly expanding BBiB catalog, look for Kikagaku Moyo and Forest of Lost Children to be found taking shape in the expanded minds of listeners everywhere.

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Just in time for Kikagaku Moyo’s 2017 US and EU tours in May and June respectively, we’ve got a beautiful fresh pressing in the works with a brand-new Bone & Black A-side/B-side “swirl” variant. And the cover art for this fourth pressing of FoLC will be printed on heavy duty reverse-board jackets. The band will have a few of these on tour, but likely to sell out.

These will ship May 2017.

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House in the Tall Grass by Japanese psych-folk outfit Kikagaku Moyo could be seen as initially disappointing, for this release reins in the band’s experimental and challenging tendencies, replacing it with what could, at face value be perceived as a more straightforward down-the-middle psych rock album.

Yet, like all the best records, it’s slow to reveal its charms. It teases us before unveiling its delicate and fragile beauty that is as enchanting as it is beguiling. With heavy use of sitars – albeit in a subtle, non-clichéd manner – this is a record that is preoccupied with the gentle, exploring the edges of human emotions through delicate slow-building tracks that grow and envelope almost imperceptibly. Laced with an eloquent sadness and wistful longing, it revels in a lush quiet undercharged beauty that reminds that slow and suggestive can be as overwhelming as loud and heavy.

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Kikagaku Moyo will not disappoint you. With this new release, the band continues offering to their followers their trademark psychedelic sound. If you don’t know them, now it’s the time to rectify that mistake.