Posts Tagged ‘Sacred Bones Records’

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A few weeks ago Zola Jesus  released the track “Exhumed”, as well of details of new album Okovi,

Now we’ve doubled up on that excitement with the release of the second song from the upcoming album, entitled ‘Soak’, which cuts straight to the personal in Zola’s idiosyncratically powerful way. Check it out below, and get ready to see it blasted straight into your face at one of her newly announced UK tour stops in November.

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From ‘Okovi,’ due out September 8th on Sacred Bones Records

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Purveyor of gothic pop Nika Roza Danilova, who you better know as Zola Jesus, makes an ominous return this June with “Exhumed.” Featured on her forthcoming fifth album Okovi (the Slavic word for “shackles”), “Exhumed” begins with doom-laden strings set against Zola’s operatic vibrato. Industrial-tipped electronics then enter to ramp up the sense of menace, giving life to images like: “The knife deepens, spit or swallow/Smoother, knocking, impalpable/Sever in two and fuse to both/Dull throat, you let it go.”

“Okovi” is released on Sacred Bones Records in September.

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Occult Architecture Vol. 1

Back at the start of the year, with the cold nights and dark mornings closing in Moon Duo, fittingly, released the first of two parts to their latest album.

The Portland duo – guitarist Ripley Johnson and keyboardist Sanae Yamada – deliberately went with the dark stuff first, as our writer David Zammitt commented at the time in his review of ‘Occult Architecture Vol. 1’.

Meaning all things magick and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo’s fourth album – a psychedelic opus in two separate volumes released in 2017 – is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light.

Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang.

In Chinese, Yin means “the shady side of the hill” and is associated with the feminine, darkness, night, earth. Following this logic, Vol. 1 embraces and embodies Moon Duo’s darker qualities — released appropriately on February 3rd, in the heart of winter in the Northern Hemisphere.

BLANCK MASS
GENESIS BREYER P-ORRIDGE & EDLEY ODOWD feat. BLANCK MASS
JENNY HVAL
MARISSA NADLER
THE MEN feat. CHRIS HANSELL (Leave Home / Open Your Heart Era Set)
MOON DUO feat. JIM JARMUSCH

PSYCHIC ILLS
ROSE McDOWALL
UNIFORM
ZOLA JESUS

Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang. Following the Yin (feminine, darkness, night, earth) represented on Occult Architecture Vol. 1, Vol. 2 presents the Yang.”

“In production we referred to Vol. 1 as the fuzz dungeon, and Vol. 2 as the crystal palace,” guitarist Ripley Johnson explains. “The darkness of Vol. 1 gave birth to the light of Vol. 2. We had to have both elements in order to complete the cycle. We’re releasing them separately to allow them their own space, and to ensure clarity of vision. To that end we also mixed Vol. 2 separately, in the height of Portland summer, focusing on its sonic qualities of lightness, air, and sun. Listeners can ultimately use the two volumes individually or together, depending on circumstance or the desired effect.”

Vol. 2 was mixed in Portland by the band’s longtime collaborator Jonas Verwijnen.

From ‘Occult Architecture Vol. 2’ out May 5th, 2017 on Sacred Bones Records.

Moon Duo announce Occult Architecture Vol. 2 and share video for 'Lost in Light'

Following on from Volume 1 of Moon Duo’s two part psychedelic opus, Occult Architecture, Sanae Yamada and Ripley Johnson announce the release of Volume 2 for May 5th on Sacred Bones.

The announcement comes with a new track and video entitled ‘Lost In Light’, created by Micah Buzan as a counter-reaction to his previous animation for ‘Cold Fear’:

“’Lost In Light’ is the yang to ‘Cold Fear’s yin,” Buzan said of the video. “In ‘Cold Fear’ the aliens ruled the planet in their giant skyscrapers and tortured humanoids. ‘Lost In Light’ continues the story of ‘Cold Fear’ a million years into the future, when the aliens have died off after exhausting the planet’s resources, and nature reclaims the land.

“Huge flowers grow out of the dead humanoids, aliens, and their buildings. Moon Duo emerge from an alien’s head as a flower and rainbow, becoming one with the planet as the sun absorbs everything into oblivion.”

Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang. Following the Yin represented on Occult Architecture Vol. 1, Vol. 2 presents the Yang.

“In production we referred to Vol. 1 as the fuzz dungeon, and Vol. 2 as the crystal palace,” guitarist Ripley Johnson explains.

“The darkness of Vol. 1 gave birth to the light of Vol. 2. We had to have both elements in order to complete the cycle. We’re releasing them separately to allow them their own space, and to ensure clarity of vision.

“To that end we also mixed Vol. 2 separately, in the height of Portland summer, focusing on its sonic qualities of lightness, air, and sun. Listeners can ultimately use the two volumes individually or together, depending on circumstance or the desired effect.”

From ‘Occult Architecture Vol. 2’ out May 5th, 2017 on Sacred Bones Records.

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Exploded View came to be after UK-born songwriter and vocalist Berlin-based Annika Henderson played a slew of solo shows in Mexico with a backing band composed of local producers & artists. Their sound ultimately gelled in such a powerful way that it demanded its own creative channel. AnnikHenderson, who produced a solo album & EP under the name Anika then after having spent some time teaming up with Geoff Barrow to provide vocals for his post-Portishead project, Beak, now seems to have found the perfect dark, pulsing home for her Nico-esque voiced project. It’s a dark-alley-in-a-foreign-country journey that ultimately rewards listeners with what could be the sleeper album of the year.

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“Conceptual Romance” begins with the sound of a stuttering fan as Jenny Hval’s narrator describes a dream in which a partner has left her. Her voice has a familiar monotonous quality to it, and it catches when she describes her awakening: “I wake up high/ High on madness/ A sexual holding pattern/ Stuck in erotic self-oscillation/ This landmine of a heart.” This is why I love Hval:

It’s a self-evaluation of her behavior that, if you’ve ever found yourself plagued by feelings of mistrust toward someone you love, feels almost too close for comfort. And from there, Hval brings the partner back, lets them stew in her self-flagellation with a choral hook that is catchy in only the way Hval’s songs can be catchy: “Conceptual romance is on my mind/ I call it abstract romanticism/ Conceptual romance is you/ It’s you and I.”

This is a song for over-thinkers who wish they could be romantics. It’s a song for people who don’t know how to give up control long enough to feel any kind of romance beyond the textbook-definition. “Conceptual romance” is studied like physics, “real romance” is felt only when we’re at our most vulnerable. But getting to that point is an exercise in letting go, which can be an excruciating thing to do when you’re unaccustomed to it. “This blood bitch’s tale goes a bit like this/ I lose myself in the rituals of bad art and failure/ I want to give up/ But I can tell,” Hval’s voice quavers before she plucks reassurance from the ether. “My heartbreak is too sentimental for you.”

I’m so excited to share with you the video I created for Janie In Love. It’s a mixture of stop motion animation and live footage. I worked on it for a very long time, but it was all enjoyable.. especially when things started to move… I can’t wait to make more.

I’m starting a long North American tour this week and looking forward to driving around and being inspired by the beautiful landscapes- and mostly – performing for you.
I’ll be bringing along Milky Burgess, who played some gorgeous guitar on my album Strangers and plays in a slew of awesome bands, including Master Musicians of Bukkake, as well as Don McGreevy, whom you may know as the current bassist in the band Earth.
All dates are opened by the wonderful musicians and people of Wrekmeister Harmonies & Muscle and Marrow
Taken from the album “Strangers” out now on Sacred Bones Records and Bella Union Records.

Jenny Hval - 'Blood Bitch' album art

Jenny Hval has revealed her second collaboration with Norwegian noise artist/producer Lasse Marhaug. Due out September 30th through Sacred Bones, Blood Bitch was initially described as “her bold, new vampire blood solo album.” This being Jenny Hval, it’s of course not that simple. According to a statement from the singer/multi-instrumentalist, the concept record actually revolves around “the purest and most powerful, yet most trivial, and most terrifying blood: Menstruation. The white and red toilet roll chain which ties together the virgins, the whores, the mothers, the witches, the dreamers, and the lovers.”

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She continued:

‘Blood Bitch’ is also a fictitious story, fed by characters and images from horror and exploitation films of the ’70s. With that language, rather than smart, modern social commentary, I found I could tell a different story about myself and my own time: a poetic diary of modern transience and transcendence.
There is a character in this story that is a vampire Orlando, traveling through time and space. But there is also a story here of a 35-year old artist stuck in a touring loop, and wearing a black wig. She is always up at night, jet lagged, playing late night shows – and by day she is quietly resting over an Arp Odyssey synthesizer while a black van drives her around Europe and America.

So this is my most fictional and most personal album. It’s also the first album where I’ve started reconnecting with the goth and metal scene I started out playing in many years ago, by remembering the drony qualities of Norwegian Black Metal. It’s an album of vampires, lunar cycles, sticky choruses, and the smell of warm leaves and winter.

Tour Dates in the UK

10/17 Glasgow, Scotland – Stereo
10/18 Manchester, England – Soup Kitchen
10/19 London, England – Oslo