Posts Tagged ‘Mexican Summer’


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The title of “Opening Night,” the introductory song on Quiet Signs, Jessica Pratt’s third album, is a reference to Gena Rowlands‘ harrowing, haunted 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,” 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 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, Pratt’s songwriting and accompanying guitar work are refined on Quiet Signs, 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 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 in the US and City Slang in Europe .

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“Ouchi Time” means “time in the house.” It was a good challenge for us to do everything remotely. We had to learn how to let our mind escape to inner-galaxy, and secretly made strong connections with outer space”

Looking Glass is a new music moment focused on the human condition as reflected through remote connection. The singles series demonstrates discovery, diversity, and collaboration with artists both from and not far from Mexican Summer’s family tree. It was a good challenge for us to do everything remotely. We had to learn how to let our mind escape to inner-galaxy, and secretly made strong connections with outer space”.

We hope this song can help make the time spent in your house a bit more fun and adventurous

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“Ouchi Time” written for the Looking Glass Project by Mexican Summer

Released May 1st, 2020
Written and produced by Go Kurosawa. Recorded in our room in Tokyo and Amsterdam, March, 2020.

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After becoming enmeshed in the Los Angeles underground scene after 2013’s The End of ComedyRaw Honey (Michael Collins second album as Drugdealer) sees Collins once again leading an ace crew of collaborators to coalesce the spirit of Drugdealer’s classically modern pop with lush arrangements, memetic melodies, and a vulnerable tunefulness that tries to make sense of self-doubt and connected loneliness in our shared simulacra.

Raw Honey features contributions of Josh Da Costa (drums), Jackson MacIntosh (guitar), Danny Garcia (guitar), Michael Long (lead guitar), and Benjamin Schwab (backing vocals, guitar, organ, piano, wurlitzer), as well as guest vocalists like country balladeer Dougie Poole (“Wild Motion”), Harley Hill-Richmond (“Lonely”), and frequent collaborator Natalie Mering (Weyes Blood) whose dulcet tones sing low before soaring on “Honey,” a track as silky as the nectar itself.

This one is particularly meaningful to me, and maybe touches on some complicated, but real themes between people. I wanted to lay out a ballad dedicated to the treacherously emotional, ‘in your feelings’ weirdos that can’t turn it off. No one better to vocalize this type of heart on your sleeve stuff than Natalie, who’s voice has brought me to tears more than anyone I know – and thankful to incredible harmonies by Michael and Brian of The Lemon Twigs

Drugdealer“Honey” from the new album ‘Raw Honey’, out April 19th on Mexican Summer.

Drugdealer“Fools” from the new album ‘Raw Honey’, out April 19th on Mexican Summer.


Quiet Signs sounds like a lost Paisley Underground classic. The delicate piano, flute, organ and string arrangements for “Fare Thee Well” and “Poly Blue” have a lush, chamber pop vim that work wonders around Jessica Pratt’s enchanting voice. The record’s B-side glows with an arresting late-night clarity – especially “This Time Around.” A perfect late night soundtrack.

The singer/songwriter somehow brings a maximalist energy to a record so subdued you’ll refrain from speaking during its quivering 27 minutes, for fear of disturbing the peace. Quiet Signs is a convincing argument for simplicity. Jessica Pratt has a very, very restrained way of supplying strength and relief during our hectic moment. Her songs are so quiet they almost don’t even exist, but maybe that’s how we need to feel for just a moment—like we’re just air. These tracks aren’t immediately satisfactory. They emit tranquility only if you’re willing to devote your full attention—and perhaps repeated listens. In under 30 minutes and in just nine songs, Pratt produces a warm, bewitching alternate dimension—but not the kind you fall into in a nightmare or thriller. The universe she’s fashioned for herself is more paradisal.

Taken from the new album ‘Quiet Signs’ Out Now on Vinyl / CD / Digital via City Slang and Mexican Summer

Quiet Signs, Jessica Pratt’s third album, follows 2015’s On Your Own Love Again. “On some level I considered an audience while making the last record,” Pratt said 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 video for “This Time Around” features hazy clips of Pratt walking along various outdoor backdrops and lounging about an ornate mansion, somewhat cryptically gazing at her own reflection.

I’ve poured a lot of myself out making this record, worked carefully to capture the right thing and I’m delighted for you to hear some of it, finally. The single itself principally features Pratt’s melancholic, lonesome vocals as they dance around one single guitar’s simply strummed chords. It’s uncomplicated in construction and just mysterious enough to be perfectly served by the accompanying visual.

The album was produced by both Pratt and Al Carson, who, along with Matt McDermott, also performs on the record. Jessica Pratt“This Time Around” from the new album ‘Quiet Signs’ Released by Mexican Summer and City Slang.

ariel pink tour dates

Ariel Pink sets a serene but complicated scene for the next chapter in his curious career with “Another Weekend,” the first solo material heard since the prog-pop opus pom pom. Contrary to the lyrics of “Another Weekend” (and fortunately for both fanatics and the newly initiated), Pink is neither too shy or humble to have brought his singular style of pop music beyond the bedroom for the befuddled masses over the past two decades, but returned to the formative, familiar setting to craft what will surely live as another shimmering moment in an unrivaled canon.

Encapsulating the lingering euphoria of a regrettable weekend over the edge, “Another Weekend” speaks in morose volumes while whispering sweetly, the dichotomy of Pink’s pathos once again on display. Backed with “Ode To The Goat (Thank You)”, “Another Weekend” will be shared as a 7” single and through conventional music serving mechanisms on Wednesday, June 7th.

Ariel Pink – Feels Like Heaven
From the upcoming album Dedicated To Bobby Jameson
Available September 15th via Mexican Summer

Under The Arches March

On the 5th of March Fuzz Club are kicking off Under The Arches, a new monthly record label market and live music event showcasing the best of the global psych scene. Held in the railway arches of London Fields Brewhouse, the event promises to be a mecca for lovers of independent music, as it brings together an incredible selection of labels from the US, UK and Europe in a collaborative celebration of the music we love.

To take us into the evening there will be a monthly selection of the most exciting local and touring bands playing such as The Underground Youth, Electric Eye, Younghusband, Gum Takes Tooth, 10,000 Russos, Josefin Ohrn + The Liberation, Chicos de Nazca, The Third Sound and some big hitters to be announced very soon.

To top it off we’ll keep the crowds sated with street food and free craft beer tastings and tutorials.

Entry to the label market is free and tickets to see the bands are £10-£12. For March’s event both rounds of early bird tickets are long gone, but there are still some GA tickets available here. Make sure you like the Under The Arches Facebook page to be kept in the loop with all the sweet stuff we’ve got planned.

Here are the labels joining us on the day and some of the special vinyl they’ll be packing for the occasion:
Captured Tracks

NY label Captured Tracks was born in 2008 by indie-label overlord Mike Sniper. Boasting a roster that includes DIIV, Beach Fossils, Wild Nothing, Mac Demarco and loads more you can be sure that CT will bring a top shelf selection of vinyl.

Mexican Summer

Also founded in Brooklyn, NY in 2008 we’re really excited to have Mexican Summer bringing some of their extensive discography. They’ve released over 100 records across multiple formats – including releases from Best Coast, Ariel Pink, No Joy and Real Estate to name a few. They’ll be bringing the first vinyl editions of Boston racket makers Quilt’s forthcoming album Plaza on limited edition ultra clear vinyl.

Fire Records

Fire Records is a London indie stalwart. In it’s early days it released music from Spacemen 3, Pulp, Teenage Fanclub and The Lemonheads, and more recently they have Guided by Voices, Giant Sand and Surf City on the roster. They’ve also got a secret guest playing the first Under The Arches who you’re not going to want to miss.

Rocket Recordings

Rocket Recordings have been dishing out some of the best in psych since 1998. Their roster includes Goat, Ngod, White Hills, Teeth of The Sea and loads more. They’ve promised they’re going to be bring some exclusives to Under The Arches and we can expect “the odd Rocket band or two performing live” so get excited.

Fuzz Club Records

We’ll be celebrating the release of The Underground Youth’s Mademoiselle with its first much-deserved vinyl pressing, and re-releases of Haunted and The Perfect Enemy For God. We’ll also be holding stock of our highly anticipated new Black Editions, limited to 10 per release. It will also be your chance to pick up the first copies of some of our releases due out much later in March and April.

Hands in the Dark Records

Born in Desancan, France and London, Hands in the Dark have released music for The Oscillation, Housewives, Bitchin Bajas and more. On March 5th they’ll be selling an exclusive pre-release run of The Oscillation’s new album Monographic, so it’ll be your chance to pick it up a couple of weeks before official release. Available in both black (600 copies) and white (400 copies) vinyl.

Sonic Cathedral

Sonic Cathedral is a London based record label specialising in all things noisy, they’ve put out records for Younghusband, The Vacant Lots, Spectres and many more of the bands we love.

Slovenly Recordings

Hailing from Reno, Nevada, Slovenly Recordings are one of the best outputs for garage, psych and punk, with an impressive roster including Acid Baby Jesus, Thee OP’s, Los Vigilantes, Subsonics and more. They have a tonne of new releases in Feb and March which they’ll be selling at the market, including new vinyl from Useless Eaters, Scraper, Wet Ones, Choke Chains, Bazooka, Avenue Z, Red Mass, Andy California, The Dirtiest, Ton Ton Macoutes… and more!

Fluffer Records

Formed in Whitechapel in 2013, Fluffer Records are penchants for fuzz, releasing music from Virgin Kids and Sewer Rats, and are huge supporters of the London underground scene.

Sideman Records

Sideman Records in a side venture of Captured Tracks’ Mike Sniper. Holding a vast catalogue of rare, vintage and obscure used vinyl, they’ll be curating a selection of vintage Americana gems rarely seen by a London audience.

1-2-3-4 Records

Born in Shoreditch, London 1-2-3-4 Records show a love for the LOUD, with a tight but great quality roster including the legendary Buzzcocks, Arrows of Love and Love Buzzard.

Software Recording Company

Software Recording Company is an electronic record label whose roster includes Thug Entrancer, Co La, Ben Zimmerman and Suicideyear.

Anthology Recordings

Anthology Recordings was born in 2004 as a reissue imprint releasing rare obscure vinyl ranging from all corners of music such as surf, psych and dub.

The Brooklyn-based record label Mexican Summer will celebrate five years in business with a two-day, indoor-outdoor festival featuring label artists, alumni, and friends at Pioneer Works Center for Art and Innovation in Red Hook. With a lineup that spans from living legends Spiritualized, Ariel Pink to underground mainstays like No Joy, the Fresh & Onlys to promising up-and-comers Happy Jawbone Family Band, Co La .


We’d expect nothing less from Mexican Summer, which has established itself as one of America’s premier indie labels since beginning as a vinyl-only subscription service spun off from Kemado Records in Autumn 2008. Since then, over the course of almost 200 releases — a mammoth 40 records per year on average — Mexican Summer morphed into a full-fledged label, dropped the vinyl-only policy and released records from some of the most visionary and respected names in underground music, developing a hard-to-define but easy-to-appreciate aesthetic along the way.

They put out pivotal early releases by Washed Out, Real Estate, Kurt Vile, and the Tallest Man On Earth. They’ve done buzzing garage pop with the Soft Pack, droning psych with Peaking Lights and dark synth-pop with Light Asylum. Software, their experimental electronic imprint directed by Oneohtrix Point Never’s Daniel Lopatin, has showcased Autre Ne Veut’s blistering art-damaged R&B, Tim Hecker’s masterful ambient freewheeling and the galactic synthscapes of Fuck Buttons side project Blanck Mass. In Best Coast, they helped to launch a legitimate rock star.

It’s all pretty impressive for a company that began as, in co-founder and A&R man Keith Abrahamsson’s own words, a side project. Mexican Summer has surpassed its parent label in terms of cultural cachet and sales figures. It’s the primary focus of business at Kemado and Mexican Summer’s Greenpoint office, which also houses the label’s in-house recording studio, Gary’s Electric, and sits adjacent to the label-run record store Co-Op 87. The intention was never to relegate Kemado to a catalog label and bring Mexican Summer to the forefront, but by following their instincts, Mexican Summer’s founders ended up hitting a lot of other people’s sweet spots along with their own.

best coast

“The records that we were putting out just picked up momentum, and you could just feel that it was what people wanted to talk to us about,” Abrahamsson says. “More and more it became the focus, not just internally but from the outside. That’s what we were in touch with press about more. That’s what the sales were better on. You could feel the shift from all directions. It was pretty undeniable. We all knew it just was what was happening. We didn’t want to fight it.”

Mexican Summer was born during a Brooklyn label renaissance that also included brands such as Woodsist, Captured Tracks, and Sacred Bones. Rather than compete, the companies fed off each other’s creative energy, working with some of the same musicians and even sharing office space at times.

“The neighborhood is full pretty much with the majority of our peers, and each of us seems to be putting out records that have some significance,” Abrahamsson said. “We all work together in some capacity, or we have throughout the years. It’s a good thing.”

The magnetic camaraderie attracted locals and out-of-towners alike. Fresh & Onlys guitarist Wymond Miles should know; despite deep roots in San Francisco’s garage rock scene, his band released records on Woodsist, Captured Tracks, and Sacred Bones before linking up with Mexican Summer for 2012′s “Long Slow Dance” album.

That’s the approach Abrahamsson had in mind when he and Andres Santo-Domingo spun off Mexican Summer from Kemado five years ago. Since its inception in 2002, Kemado had operated under a traditional model that involved signing bands to multi-record deals and rolling out heavily structured long-lead press campaigns. Abrahamsson was starting to feel constricted by that business model and was looking for a way to merge his omnivorous music geek tendencies with his work.

“I think the whole idea of Mexican Summer really just came because I wanted to try to develop artists in a different way,” Abrahamsson says. “I think there are a lot of records that I was buying or records that were being released maybe out of a bedroom, you know? People that were just putting records out, whether it be a single or a 12-inch or whatever kind of format, and it just felt a little bit less — I don’t know, like maybe less structure and less pressure? And it felt like a good way to develop bands.”

Running the label on personal taste went hand in hand with basing it on personal relationships. Jasamine White-Gluz of Montreal shoegazers No Joy noted Mexican Summer’s “family environment,” while Tamaryn and Ariel Pink collaborator Jorge Elbrecht, who lives right down the street, says he was drawn to the label by his friendship with the staff and respect for their taste. (Elbrecht’s former project, Lansing-Dreiden, recorded for Kemado.) 

“It’s a boring answer, but the criteria really is only that we’re passionate about the music — and also the people behind the music, Abrahamsson offers. “Those two things, they have to click for us to feel really behind the project… There is a sound or an aesthetic that exists, but I leave that to people’s imagination a little bit more.”

The result is a record label whose artists feel supported but not smothered by a staff that’s hands-on in the best way. Miles said Abrahamsson requests to hear every Fresh & Onlys demo because he’s so stoked on the band, yet the band is more likely to turn to him for advice than he is to issue imperatives about taking the music a certain direction. It all sounds less like subjection to helicopter parenting than recording for the president of your fan club.

“They’re the best,” No Joy’s White-Gluz says. ”We’ve never worked with a label before, but in your head, you think labels are these people that tell you what to do or kind of like the bad cop to give you deadlines or whatever… For this latest record we got to record at Gary’s Electric, which is the studio in their building, and it was like the best creative experience we’ve ever had.

Having Gary’s Electric available in-house to record projects increases the sense of connection between artist and label; it allows the entire process of creating and selling a record to happen under one roof. (It also doesn’t hurt as an income stream when non-label artists rent it out.) Abrahamsson, Elbrecht, and White-Gluz all rave about the low-pressure, creativity-inducing environment.

Elbrecht in particular was enthused about the results when he and Ariel Pink recorded their well-received 2013 single Hang On To Life at Gary’s Electric: “That thing was a pretty magical experience because it was written, recorded and mixed within a weekend, and I just love the way it sounds. We didn’t fuck over it too much, and I just think it was a good lesson for me because of the ease of execution and how happy everyone is with it.

If this all sounds like the platonic ideal of an independent record label, well, yeah. It is. It’s exactly how this whole “indie” thing is supposed to work, and in the case of Mexican Summer, it absolutely has worked.

There is also a commemorative hardcover book coming this December, a limited edition of 1,000 at Co-Op 87 and online. Mexican Summer: Five Years reflects the kind of enthusiasm and creative care that the label has become known for: 250 pages, bound with an embossed cloth cover, with screen-printed craft paper wrap and three interior paper stocks. Most characteristically, the book includes a 10-inch record full of music that won’t be available digitally, including collaborations from Bay Of Pigs (Spiritualized, Soldiers Of Fortune, and Neil Hagerty), Jorge Elbrose (Jorge Elbrecht and Ariel Pink), Autre Ne Veut and Fennesz, Bobb Trimble and Quilt, and the Lonely Sailor and Renée Mendoza Haran (members of Total Control, Lace Curtain, and Ashrae Fax). It’s an ideal artifact for a company that continues to thrive on carefully curated quality, personal interaction and boundless enthusiasm for music.


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Quilt are a psychedelic Folk Rock Indie three piece band members are Anna Fox Rochinski, Shane Butler and John Andrews  so far they have released two albums an EP and a handful of Singles through Mexican Summer. The band writes Collaboratively and share vocals duties




from the excellent KEXP are Quilt recorded live at Pickathon Festival, they will be at the Liverpool Psychedelia Festival next weekend



with a shimmering twinkling space ship synth , melodic vocals and faded guitar strums this is a slice of psychedelica Viet Cong  Matt Flegal and Mike Wallace were in a Calgary band of note called Women this ia a cassette only release now available on Mexican Summer Records,