Posts Tagged ‘Mexican Summer Records’

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Los Angeles four-piece Allah Las are releasing a new album, LAHS, on October 11th via Mexican Summer. This week they shared another song from the album, “Prazer Em Te Conhecer,” via a video for the track. Drummer Matt Correia sings the song in Portuguese and the title translates to “Nice to Meet You.” A press release says the song “evokes George Harrison while also sounding like a rare 45 from a Brazilian flea market.” Correia also directed the video, which seems to have been filmed on Super-8 and perhaps shot in various cities on tour.

Previously Allah Las shared the album’s first single, “In the Air,” via a Weekend at Bernie’s-inspired video for the track that featured a cameo from Kirin J Callinan. Then they shared another song from the album, “Polar Onion,” via an animated video for the track.

The band features drummer Matt Correia, bassist Spencer Dunham, and guitarists Miles Michaud and Pedrum Siadatian. They started the album in their own studio in Los Angeles before producer/engineer Jarvis Taveniere (Woods) was “brought in to help polish it off.” The album’s title is “a reference to a common misspelling of the band’s name.” The band’s last album was 2016’s Calico Review.

This release on Mexican Summer finds the band turning in their most cohesive and ambitious work yet – a record inspired less by time, but by place.

The Allah Las seem to be transmitting from a place not found on any map. Those familiar with the band’s work will recognize their skillful melding of melodies and moods, but through that lens we see them venturing into new, exciting territories. Indeed, their growth not just as songwriters, but as performers, arrangers, and producers – is clearly audible. With LAHS we not only discover what souvenirs they’ve brought back for us; they’re inviting us aboard and taking us along for the ride.

Correia had this to say about the album in a previous press release: “We’ve been traveling a lot the past couple years and I think that played a role in influencing the broader variety of songs on this record…. LAHS to me feels like a soundtrack to the past five years or so. A sort of audio postcard to anyone who wants to listen.”

Allah Las –  from the new album LAHS, out October 11th on Mexican Summer.

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Bradford Cox Cate Le Bon

Deerhunter’s Bradford Cox and Cate Le Bon were artists in residence at 2018’s Marfa Myths festival, and the collaboration led to Cate co-producing the new Deerhunter album, “Why Hasn’t Everything Already Disappeared?.” That album came out earlier this year, followed a few months later by the new Cate Le Bon album Reward, and now Cate and Bradford Cox are releasing a collaborative EP for the Marfa Myths record series, Myths 004, on November 1st via Mexican Summer Records.

The songs for the EP were created and recorded from scratch over the course of a week at Marfa Myths. “Writing and recording in a week is a tall order – especially when such chemistry exists between all the musicians involved, and the possibilities are boundless,” Le Bon says. “We committed ourselves to embracing the chaos, surrendering to all moments and moods that travelled through. It’s a crude holiday scrapbook shared by all involved, an amalgamation of the changes in mood and light that shaped the days.”

The first single is the melancholic “Secretary” which details a humdrum life behind a desk and doesn’t seem miles away from the music Cate made on this year’s Reward, and includes some spoken word from Bradford. It’s cool stuff, as you can hear for yourself below.

The EP features contributions from Stella Mozgawa of Warpaint, Stephen Black of Sweet Baboo, Tim Presley of White Fence, and Samur Khouja. There’s also a new mini-documentary by Eli Welbourne, Have a Seat, which “[chronicles] Le Bon’s furniture building residency during Marfa Myths 2019″ and also features Bradford,

As sure as if it had been mapped in the stars, or written in a prophecy buried deep beneath the sands of the marfa desert, a collaboration between Cate le Bon and Bradford Cox was always something of an inevitability.

Fourth in Mexican Summer’s Myths ep series (and following previous tie-ups between Dev Hynes and Connan Mockasin, Ariel Pink and Weyes Blood, and Dungen and Woods), Myths 004 sees Cate le Bon and Bradford Cox–each a much-revered musical innovator in their own right–finally united. for both artists, Myths 004 signals a change of tack: meticulousness thrown to the wind as spontaneous, jammy tales of firemen and 5p plastic bags, unbrushed hair and shoelessness and makeup-daubed landscapes–all miraculously written and recorded in just one week– roll effortlessly off their cuffs. though this ep materialises after two individual 2019 album campaign.

Le Bon’s mercury nominated fifth album reward, and Cox’s eighth with his band Deerhunter, “Why Hasn’t Everything Already Disappeared?” (which Le Bon co-produced)–the chronologies are tangled: Myths 004 is in fact a snapshot of the pair’s very first meeting. after years of admiring each other’s work from afar, Cox and Le Bon finally converged on Marfa, Texas in 2018, at Mexican Summer’s annual Marfa myths music, visual art, and film festival.

“Marfa is an extraordinary town,” says Le Bon. “it feels like nothing else exists when you’re in it which is both comforting and unnerving.” in this otherworldly enclave, and with a band of frequent Cate le Bon co-conspirators on hand to putty the gaps with drums, saxophone, percussion, keys, and additional guitar (Stella Mozgawa of Warpaint, Stephen Black of Sweet Baboo, and Samur Khouja), the ep was assembled whiplash-quick. “writing and recording in a week is a tall order – especially when such chemistry exists between all the musicians involved, and the possibilities are boundless,” Le Bon explains. “we committed ourselves to embracing the chaos, surrendering to all moments and moods that travelled through. it’s a crude holiday scrapbook shared by all involved, an amalgamation of the changes in mood and light that shaped the days.” indeed, myths 004 is wondrous in its variety. on the opening song “Canto!”, Cox dons the illfitting leathers of an ageing biker and urges us to come ride with him, baby. he and Le Bon gaze into one another’s eyes with semi-serious sweetness as tough, wiry guitars stab through the romance. everything shrinks and softens on the ep’s sole single, the gently melancholic “Secretary,” as Le Bon and Cox spout verse over a mysterious percussive rhythm; perhaps made by miniature cymbals from a mantric parade.,

Cate and Deerhunter will also be on tour together in the UK in November ahead of their appearances at Le Guess Who? in the Netherlands,

Mexican Summer Records have announced a new Ariel Pink set of reissues series, “Ariel Archives”, along with a video for the previously unreleased song “Stray Here With You,” plus as well as a video for a reworked version of “So Glad,” from the Loverboy reissue, and part of Dedicated to Boris Karloff, a longer film that was directed by Salvador Cresta.

Ariel Pink – “Stray Here With you” from the album ‘Odditties Sodomies Vol. 2’. is part of Mexican Summer’s Ariel Archives project. Ariel Archives is a comprehensive series of reissues and retrospective collections concentrating on the treasure trove of material recorded and released by Ariel Pink as Ariel Pink’s Haunted Graffiti.

Ariel Pink – “So Glad” from the album ‘Loverboy’. is part of Mexican Summer’s Ariel Archives project. Ariel Archives is a comprehensive series of reissues and retrospective collections concentrating on the treasure trove of material recorded and released by Ariel Pink as Ariel Pink’s Haunted Graffiti.

The first installment of Ariel Archives is due out October 25th via Mexican Summer Records and includes reissues of Ariel Pink’s Haunted Graffiti albums “Underground” and “Loverboy”, as well as the rarities compilation Odditties Soddities Vol. 2. Check out the three videos below, as well as the cover art for each release.

Underground was originally self-released on cassette in 1999 when Ariel was 21. Loverboy came out in 2002. Odditties Vol. 2 includes “non-album tracks, outtakes and rarities spanning 1999 – 2018,” including collaborations with John Maus and Mac DeMarco, also including a Smiths cover, and four songs recorded recently, in 2017-2018.

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Welsh singer/songwriter/guitarist Cate Le Bon is releasing a new album, “Reward”, on May 24th via Mexican Summer. This week she shared another song from the album, “The Light.”

Previously Le Bon shared Reward’s first single, “Daylight Matters,” as well as a video for “Daylight Matters.” Then she shared another new song from the album, “Home to You,” via a video for the track. Le Bon doesn’t feature in the video directed by Phil Collins (no, not that Phil Collins). It was filmed in Lunik IX neighborhood of Košice (Eastern Slovakia), which houses a Roma community who, as a press release states, “due to successive governmental and municipal policies, often live in slums and on isolated, dilapidated estates.

In terms of her solo work, “Reward” is the follow-up to 2016’s Crab Day, although last year she released Hippo Lite, as her second album with DRINKS, a collaboration with Tim Presley of White Fence. Le Bon also produced Deerhunter’s recent album.

Le Bon spent a year living in isolation in the Lake District in the UK, by day making wood furniture and by night playing piano and writing songs. “There’s a strange romanticism to going a little bit crazy and playing the piano to yourself and singing into the night,” Le Bon said in a previous press release.

Of the album title, Le Bon said: “People hear the word ‘reward’ and they think that it’s a positive word, and to me it’s quite a sinister word in that it depends on the relationship between the giver and the receiver. I feel like it’s really indicative of the times we’re living in where words are used as slogans, and everything is slowly losing its meaning.”

The album features Stella Mozgawa of Warpaint, H. Hawkline, and Samur Khouja. The latter co-produced Reward with Le Bon.

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It was only a few weeks back we were falling head-over-heels in love with “Daylight Matters”, the first single from Cate Le Bon’s upcoming album “Reward”, and this week Cate might just have gone and released an even better track! Reward’s second single, “Home To You”, is a stunning exploration of the idea of home, and how subjective a concept that can be.

Clocking in at nearly seven dreamy minutes, Home To You, is something of a low-key epic; the drums shuffle, the guitars pluck out easy runs and burbling, as the year’s finest bass-line adds much of the propulsion. Only the marimba like keys seem to step out of the dreamy gorgeousness, adding a gently tropical feel, like a cocktail umbrella adorned drink in a working men’s club. In its own subtle way, Home To You, is a reflection on the modern world, questioning how we are so quick to judge whether someone belongs, and where they should call home; “home to you, is atrocity in the town”.In that unique way she possesses, Cate seems to fuse her abstract lyricism into something moving and relatable. Without seeing the scene, you still feel the painting her words her create, instinctively you relate, instinctively you know this is the kind of song that can change your life.

“Reward” is out May 24th via Mexican Summer Records

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Cate Le Bon’s upcoming album, “Rewards”. was written in near solitude, Rewards was concocted by, “playing the piano to yourself and singing into the night”, resulting in a record that has been suggested might just be Cate’s most personal  to date.

The first evidence was presented this week in the shape of the frankly wonderful new single, Daylight Matters. The aforementioned piano is present throughout, yet almost slips into the background beneath pulses of synth and meandering guitar lines. The whole thing feels wonderfully close, almost to the point of claustrophobia, the lyrics laced with a question longing, where the repeated, “I love you”, is just a small part of a bigger story. There’s a particularly wonderful moment shortly before three minutes, where a multitude of Cate’s sing, “c’mon”, not in tight harmonies but in arresting, jarring contrast to one another, like you’re surrounded by multiple versions of her, each with their own interpretation of a moment. At once this feels like a bold next step, and a reminder of why Cate Le Bon’s music was already so special, now is the time to mark Rewards down as this year’s most anticipated new record.

Rewards is out May 24th via Mexican Summer.

Jessica Pratt has announced her third studio album, Quiet Signs, due out on February. 8th, 2019, via Mexican Summer. “On some level I considered an audience while making the last record,” said Pratt in a statement. “But my creative world was still very private then and I analyzed the process less. This was the first time I approached writing with the idea of a cohesive record in mind.” The album was produced by both Pratt and Al Carson, who, along with Matt McDermott, also performs on the record.

Jessica Pratt is not a loud performer. She does not have to be. In a club of a few hundred, even the bar staff are known to go quiet while she’s on stage. Her third album, Quiet Signs, feels like a distillation of this power. The album leads off with “Opening Night,” a nod to Gena Rowlands’ harrowing, brilliant performance in the John Cassavetes film of the same name. It’s also an emblem of where this spare, mysterious collection of songs falls in the course of Pratt’s career.

“On some level I considered an audience while making the last record (2015’s On Your Own Love Again),” she writes, “But my creative world was still very private then and I analyzed the process less. This was the first time I approached writing with the idea of a cohesive record in mind.”

After a collection of demos and early studio recordings (Jessica Pratt, Birth Records, 2012) earned her a small, dedicated audience, Pratt moved from San Francisco to Los Angeles and recorded her first intentional album in her bedroom in a matter of months. That album, On Your Own Love Again (Drag City, 2015), would bring her around the world many times, leading many to fall under the spell of Jessica Pratt the performer, the songwriter, the singer with the heavy-lidded voice that feels alien and familiar at the same time.

Her first album fully recorded in a professional studio setting, Quiet Signs finds Pratt’s songwriting and accompanying guitar work refined — more distinct and direct. Songs like “Fare Thee Well” and “Poly Blue” retain glimmers of OYOLA‘s hazy day afternoon spells, yet delicate flute, strings sustained by organ arrangements, and rehearsal room piano now gesture towards the lush chamber pop and longing of The Left Banke. On the album’s first single, “This Time Around,” Pratt hits on a profound, late-night clarity over just a couple of deep chords, evoking Caetano Veloso‘s casual seaside brilliance. And before the curtain drops on Quiet Signs, Pratt provides a show-stopping closer, “Aeroplane.”

In the world of Quiet Signs, the black of night usually represents fear, despair, resignation; finally at home descending towards the illuminated city, she sings over black leather drone and tambourine shuffle with a newfound resolve. Quiet Signs is the journey of an artist emerging from the darkened wings, growing comfortable as a solitary figure on a sprawling stage.

The album was written in Los Angeles and recorded at Gary’s Electric in Brooklyn, NY over 2017 and 2018. It was co-produced by Al Carlson. He plays flute, organ and piano on some songs. Matt McDermott also played piano and string synthesizer.

It will be released on Mexican Summer on February 8th, 2019.

Cosmicwink

A reference to the Jungian idea of synchronicity, or “meaningful coincidences,” Cosmic Wink is as much a reflection on inspired companionship as it is a rebirth. Jess Williamson fell deeply in love, and then her life was uprooted; she left Texas for California, leaving behind the roadworn verses of her previous albums for brighter, bolder songwriting. The Byrds-ian jangle of album opener I See The White airbrushes halos around the brain with an immortal pop hook. When Williamson asks her listener to “tell me everything you know about consciousness,” it’s an invitation down a two lane blacktop, both vessels heading the same direction. The Rhodes-soaked Wild Rain begins with a ghostly air until a swell of synths gives way like the heavens parting. Williamson’s voice emerges from the clouds promising that she will “treasure your patience / from you I learned what it means to make a family.” Concluding with Love On the Piano, Williamson’s new musical and lyrical mind declares “Love is my name now / Love, Darlin” over an evolving acoustic guitar line and lightly pressed upright piano notes. Vulnerability can feel something less vulnerable when love – true, deep love – creates a latticework to hang the frame of our humanity, which in many ways is the message underlying the entire album.

Jess Williamson – Wild Rain From the upcoming album “Cosmic Wink” Available May 11th via Mexican Summer Records

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On her third album, singer-songwriter Jess Williamson is a giant, throbbing valentine, so taken by her new romance that she has become tenderness itself. “Love is my name now / Love, darling” she coos at the top of “Love On The Piano.” It’s a far cry from where she left us with 2016’s Heart Song, a stormy, brutally beautiful collection of prose about gnarled matters of the heart. Cosmic Wink a journey, a reckoning, choosing a path, dealing with it, learning, growing, disappointing, finding, evolving, being cruel, being crueled, wildness, loving, turning toward, turning away, fool energy, finding, pleasing, past lives, future lives, soul mate, twin flame, Home, new Home, old Home, fate, luck, chance, new love, old love, Ancient love, being in love, being Love, being loved, Dream wisdom, death, rebirth, sacred everyday, sacred every damn DAY. Y’all…. this is my baby. Her name is Cosmic Wink. All my life she’s been waiting to be born and now she is finally here. Worldwide. Thank you

Jess WilliamsonI See the White From the upcoming album Cosmic Wink Available May 11th via Mexican Summer Records

Texan singer-songwriter Jess Williamson’s sophomore album Heart Song is not even a year and a half old yet, but Williamson is about to return with a new collection, her first for the label Mexican Summer. Named Cosmic Wink, it finds Williamson once more exploring a new chapter of her life in new surroundings while, appropriately enough, further broadening her musical palette.

The name Cosmic Wink is apparently a nod to the Jungian concept of synchronicity, summing up an album as rooted in an “inspired companionship as it is a rebirth.” Plenty of Williamson’s past work chronicled her experiences in and outside of Texas, her stints in other towns and the call of home and the anxiety of searching for new places. Cosmic Wink picks up where its predecessors left off, with Williamson having fallen in love and decamping to California. Across the album, she meditates on her new life, at times conveying her thoughts via folk-rock, other times bearing the influence of her new home by situating ruminative narratives in enveloping, warm compositions that recall stray elements of ’60s rock.

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Along with the announcement, Williamson has shared Cosmic Wink’s lead single “I See The White.” It’s a low key gorgeous composition, an acoustic rocker that sounds like a meandering, twilit journey down the beach that’s equal parts melancholic and joyous. Starting with the memorable line “Tell me everything you know about consciousness,” “I See The White” soon builds to one hell of an old-school pop paean of a chorus. Here’s what Williamson had to say about the song:

Love is at once so precious and so painful when we acknowledge how little time we have with the ones we love. Most of us walk through life like we will live forever. Since most of us have no memory of ever dying or being born, it’s pretty common for us to act like we are immortal. There are benefits to this way of living, but the dark side of that is it can lead to a lot of complacency. But start to notice the graying of your dog’s fur around her eyes, see the sun move lower in the sky, recognize that the wave you’re riding will one day descend, and see how your life starts to change when you inject a little more gratitude into your every day. This song is a love song and it’s also kind of me throwing a tantrum. It’s begging for answers and making a few demands too. I get it, life is short but our souls live on, right? So, I’m gonna need my sweetheart to come too, okay? And maybe my dog. Is that so much to ask? Musically, I wanted this song to feel joyful and pretty, because why shouldn’t we celebrate love alongside the tough questions? Life is wild and beautiful and sad and ecstatic all at once, and I wanted this song to be the same way. We might as well dance and sing and have fun with the time we have because we’re here and then we’re gone, and nothing lasts forever… or does it? 😉

“I See The White” also comes with a video by Eli Welbourne that alternates between matter-of-fact beauty and tongue-in-cheek reflections on mortality. Early on, Williamson serenades a skull and accidentally shatters an hourglass. Later, she dances on the beach and wanders LA.