Posts Tagged ‘The Barr Brothers’

Image result for The Barr Brothers - Queens of the Breakers

On their third full-length album, the Barr Brothers (featuring core members and actual brothers Brad and Andrew Barr, and Sarah Pagé) retain their set-up of bluesy, wild, fuzzed-out guitars, percussion derived from just about anything than makes a sound when hit, and amplified harp. Whereas their self-titled debut fell more in an amplified folk tradition, and 2014’s Sleeping Operator dabbled in hypnoses, Queens of the Breakers looks inward, featuring some of the best personal and reflective lyrics Brad Barr has ever written. It’s an exciting evolution from a band whose sonic curiosity never ceases to amaze me. The Barr Brothers performing “Queens Of The Breakers” live at Breakglass Studios during POP Montreal 2017. Recorded September 16th, 2017.

Songs: You Would Have To Lose Your Mind, Kompromat, Queens Of The Breakers, Song That I Heard It Came To Me

The Barr Brothers performing “You Would Have To Lose Your Mind” live at Breakglass Studios during POP Montreal 2017. Recorded September 16th, 2017.

The Barr Brothers performing “It Came To Me” live at Breakglass Studios during POP Montreal 2017. Recorded September 16th, 2017.

The Barr Brothers performing “Kompromat” live at Breakglass Studios during POP Montreal 2017. Recorded September 16th, 2017.

The Barr Brothers Release Surprise Outtakes EP

The Barr Brothers recorded 40 tracks when making their 2014 sophomore album Sleeping Operator, so it’s no big surprise the folksy Montreal band have a whole pile of extra songs left over. Now they’ve shared five of them in the form of a new EP.

Alta Falls is made up of extra material from the sessions, and it’s available immediately. It includes a short instrumental overture (“Oscilla”), a six-minute piano ballad (“Alta Falls”) and a few beautiful Americana tunes.

In a statement, the band describe this EP has being made up of “some of our favourite misfits from the Sleeping Operator sessions.” For those with Spotify, Alta Falls can be streamed at the bottom of this page; scroll past the tracklist.

Alta Falls:

1. Oscilla
2. Burn Card
3. Alta Falls
4. Never Been a Captain
5. May 4th

Friends, we’ve been quietly anticipating this latest announcement for what feels like forever. Its with great appreciation for you and your support that we offer up the third release from our upcoming album, the title track, Queens of the Breakers,  It’s a song about the friendships of our past, some of which have fallen away, some of which have endured, all of which have marked us deeply, often in ways we still can’t fathom.

A great lesson in acceptance….It was one of the first tracks we demo’ed for this album in early 2016. It felt immediately great, and we were all galvanized. Over the coming months, though, we began to question it, and doubt it, and wonder if it couldn’t be better. We tried it again and again in several different studios, never feeling quite satisfied….On the verge of throwing our hands up, we decided to trust in that inspiration we felt at the beginning and put that earliest version on the album. So here it is. Engineered by Graham Lessard at Wild Studios in Saint-Zenon Quebec, mixed by Marcus Paquin….(dig Sarah’s unique harp bending technique!)….Queens of the Breakers

The Barr Brothers ‘Queens of the Breakers’ out October 13th,

“On all the other records, I’d pretty much written all the songs by myself, either in a bedroom or down in the studio. But, this time, we decided to try something different,” Brad Barr muses while tracing the creation of Queens of the Breakers, the third full-length record from The Barr Brothers. The Montreal-based singer/ guitarist explains that—along with his drumming sibling Andrew and harpist Sarah Page—on this album, they “decided to go off and see how we play together. It had been over seven years, and we decided to check back in with the three of us to see how we’d play together without any songs, to see if we can develop the music out of that. In the past, Andrew and Sarah and whoever else was in the band would tailor their approach to what the song called for, crafting their parts around a song that I wrote with a lot of room to be as impressionistic as they wanted to be. But this time, we wanted to develop the music out of that kind of playing instead of the inverse.”


This was the last song to be conceived, written and recorded for the album. Andrew’s opening drum beat was the impetus for the tune. Our mother had a small, not-really-consequential fall, but she needed stitches in her head. He went to the emergency room with her at 1 a.m., and overheard two EKG machines pulsing. They were lining up and then going out of sync, and then lining up. I assume that they were monitoring two patients on the wing. When we got back to Montreal, he was like, “I’m gonna try and make a beat based off of that.” He emailed that beat to me—we’d already started mixing the record— and I pinned the song on top of it really quickly. Then, we got the Lucius girls to sing the bridge and they just sent the song to the next level. It was the last tune to come to us and probably the one we spent the least amount of time laboring over.


I wrote this one while I was working on a six-string ukulele that I brought with me to Mexico in the winter of 2015. Then, it all came together during our first session for the record. We went to this cabin in the woods of Northern Quebec and we were doing these improvisations and just trying things out. When we took a break, I tracked that little song just as is. For the first take, I sang and played the ukulele. The next time we took a break, Andrew went in and did a drum pass on it—pretty much just cymbals. And then, during the next break, we recorded Sarah.

We felt that we should just build this little song off on the side while we were writing the songs that were gonna be on our record. And it ended up being an easy and delightful experience. It feels really good and it reminds me of Lhasa de Sela, one of our friends from Montreal. She was an icon up here. Her voice was something just totally otherworldly and influential on all of us. Her band was The Barr Brothers band, minus me. She had Andrew on drums, Sarah on harp, our first bass player Miles [Perkin] and Joe Grass, who plays pedal steel with us. And then she got cancer in 2009, and she passed away on New Year’s Day 2010.


I started the song on the same beach in Mexico at the same time as “Look Before It Changes.” I knew it was exactly the kind of song I wanted to deliver, but it took me a while. I tried to shake that lyric “song that I heard” for a long time. I thought it was kind of corny: “Already changed by the song that I heard/ already claimed by the song that I heard.” I felt a little embarrassed by that lyric and finally I just gave over to it and started riffing around it. Once I accepted that one line, the rest of the song came into place.

I reference the Great Antonio, who was a strongman back in the ‘40s–‘60s when you had these strongmen at carnivals. He dragged four city buses filled with people and also a train. He ended up living in Montreal on the streets [after growing up in Yugoslavia]— he had huge dreadlocks. He had this sign, which said: “I will pick up your family for money!” He’s an icon here and an early symbol of the city, but he is relatively unknown outside of here.


This is the only cover on the record. It’s a Nathan Moore song that was recorded by Surprise Me Mr. Davis. [The group features Moore, the Barrs, their Slip bandmate Marc Friedman and Marco Benevento.] We improvised on it at the cabin. Sarah came up with the guitar riffs—that’s her on guitar.

It’s the only recording I’ve ever made or released where I’m not playing guitar. Andrew championed that. It reminded us of funk music from the ‘70s. It’s a really innocent, naïve spin on what’s funky with Sarah riffing on the guitar. Funk is not really in her musical vocabulary, but she came up with this oblong, crazy little riff that Andrew pushed forward. Then, we tried putting “Maybe Someday” on top of that, and it worked. It’s fun for me to sing it, trying to invoke Hugh Mundell, who’s an early ska, rocksteady singer—a Studio One guy—and a little bit of Elvis Costello.


That one came out of a really true improv with Andrew at the cabin in Northern Quebec. It was just us jamming together, feeling really loose, feeling really free and having that sort of main riff come out. Andrew discovered the word “kompromat.” [The word refers to compromising material used to injure the reputation of a public figure—the term gained notoriety in reference to the dossier that purported to chronicle Donald Trump’s transgressions in Russia.]

The song had been taking a more political/social critique format that Dylan called a “finger-pointing song.” For me, that was what the song seemed to call for lyrically and, when Andrew heard my first verses, he said, “Do you think you could find some way to fit in kompromat?” I said, “I don’t think I can fit the word kompromat in there but I can just name the song ‘Kompromat.’” So that’s what we did. I’ve made some pretty feeble, awful stabs at writing more social commentary-type songs in the past. This is the first one where I at least did it in a more graceful way that I could live with in the future.


I came up with the chord pattern, rhythmic pattern and melody [for this song] during the end of the Sleeping Operator sessions. I thought about putting it on Sleeping Operator at the time, but I was spent lyrically—or I just couldn’t figure out what I wanted to sing about. So one of the first things we did when we started improvising for this record was say, “Let’s check out this thing; let’s see what it feels like.”

The version that’s on the record was directly from the cabin. We tried to recreate it in another studio here in Montreal and weren’t really successful, in our minds, at beating whatever we got out in the woods. Something about the openness of the room, the feeling of having the water right next to us—the cabin was very remote, about 30 minutes from the nearest market and right next to a lake. So the consistency of water just sort of seemed to permeate those recordings, and that’s what I feel when I listen to the song.


We had a breakthrough with this: We recorded an acoustic version in the cabin and then, once we got a take we liked, we went in and overdubbed a full electric band on top of the acoustic band. It just knocked us out. We were really excited with what happened, and it became our guiding song. We felt that way for about a month and then we started second-guessing it, thinking, “Maybe this doesn’t sound like us. Maybe it’s somebody else’s song. Maybe it sounds too much like this other band. It doesn’t feel like The Barr Brothers.”

We tried it almost a dozen different times in several different studios over a year. One of the sessions has 60 drum patterns—we just muted the drums to let Andrew try different patterns. In the end, we said, “Let’s just use the original one. It has something that made us really happy. And to hell with it—let’s just ride that feeling.”

I still feel great about it, but it has been one of the trickiest tunes for us to own. Maybe that’s because it’s one of the more straightforward rock-and-roll songs that we’ve ever tried to record. There’s no big left turns in it, there’s nothing idiosyncratic or eccentric about it, but it was very refreshing to play and it sounded easy and fun.

Lyrically, “Queens of the Breakers” is a reference to my old gang of friends—those early teenage friends who, at 13, 14, 15, you first smoked weed with and went to your first Grateful Dead shows with and started really getting into music with on a more cerebral level. We used to do weird shit like dressing up in my friend’s mother’s clothing, which were loud, colorful dresses. We’d raid her closet, put her dresses on, and sort of maraud in Providence—like go to restaurants and just sit down. I remember, one time, we went to The Breakers Mansion in Newport, R.I., dressed in his mother’s clothing, and took a tour of the place. I was thinking about those guys and those times, and I dubbed us Queens of the Breakers almost 30 years later.


This one began as an afterthought. Sarah had gone to bed, and Andrew and I were playing really loud at the end of the day. It was probably 2 or 3 a.m., and we just started rocking out. The lyrics came quickly, which is what I always look for when coming up with stuff. The best possible scenario for me is that a lyric hits at the same time as the music, and that gives me something I can work with. Otherwise, if I just have the music, I’m fishing for a long time.

It all came easily, but I never thought it would be one that The Barr Brothers would use. I couldn’t imagine how Sarah was gonna treat that one. It felt a little bit too abrasive for what I assumed she would be willing to put up with, volume-wise. But she jumped all over it. She really dove in.

That’s another thing I want to say about this record—Sarah took a huge leap forward from Sleeping Operator. There’s some ambient stuff you hear that almost sounds like synthesizers or trippy guitar and a lot of that is the harp. She went deep with the sonic possibilities of the harp and emerged with a setup that allowed her to be a lot louder and sustain her sound—that was the big thing because the harp dies out quickly. She made a lot of discoveries, and I would say she’s the MVP of the record. It’s been her personal mission to open up the possibilities for the harp.


On “Hideous Glorious,” we used the same approach as “Queens of the Breakers”—we recorded as an acoustic band and then overdubbed as an electric band. It’s one of those tunes that felt good, but I also thought that, if we were going to leave a song off the record because the record felt too long, this probably would have been the first one we’d cut. It sits in a funny place. It’s at odds with what I had thought made The Barr Brothers a unique band—it’s got that meat-and-potatoes, rock-and-roll thing—but it’s another one that feels really good to play. It’s got an openness to it. I love the drum sounds on it, the parts are all well laid out and it just kind of fell together. It was another one where I was like, “Well, OK, we can play more anthemic, epic rock-and-roll that I thought was maybe off-limits to us.”


“Ready for War” is another one I’d been kicking around for at least five years. I’d given up on it ever being on a record, or even just being finished compositionally. There was a point in [making] this record where Andrew felt it needed “one of those heart songs.” We had “Queens of the Breakers,” “Kompromat” and “Maybe Someday,” and these things that were either a bit more rocking or a bit more mysterious, but he felt we were missing that “heart song.” Then he was like, “What about that song you’ve been writing for a little while called ‘Ready for War?’ What do you think about that?”

So I took it back to the drawing board and penned it out. I felt like there was still a lot to be discovered in this song, and then we came up with this cool little time shift. The entrance of the drums felt kind of undeniable to us as a moment. And lyrically, it was really impressionistic for me. It was way less concrete than anything else on the record and I’m OK with that. I like having a couple of those songs on the record, where I listen a few years down the road and I’m like, “Oh, maybe that’s what this one is about.” It’s something open-ended to discover later.

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Robert Plant  –  Carry Fire

Robert Plant releases Carry Fire, his 11th solo album on Nonesuch Records. The self-produced album is Plant’s first since since 2014’s Lullaby and…The Ceaseless Roar. As with that record, Robert is accompanied here by The Sensational Space Shifters, along with some guests, such as Chrissie Hyde and Seth Lakeman.

CD – The CD packaging is deluxe thick card with a beautiful satin finish and is accompanied with a 12-page booklet featuring lyrics.

2LP – Double 140 Gram Vinyl with side four etched. The vinyl packaging is thick card Gatefold with a beautiful satin finish and is accompanied with a 4-page booklet featuring lyrics.


King Gizzard and the Lizard Wizzard – Sketches Of Brunswick East

Sketches Of Brunswick East is King Gizzard and the Lizard Wizard 3rd album of five in 2017 and a collaboration with LA’s Mild High Club. Just when you think you have King Gizzard and The Lizard Wizard sussed they throw a curveball – in the wake of two albums released in 2017 already, including most recently the dystopian end-times concept album Murder Of The Universe, which tackled in no uncertain terms the rise of robots and the downfall of mankind, comes Sketches Of Brunswick Eastan entirely altered beast. Australia’s finest and most productive rock band have done this before, of course: while the world was still reeling from their 2014 breakthrough psych-punk masterpiece I’m In Your Mind Fuzz (2014) they casually released 2015’s expectation-confounding Paper Mache Dream Balloon (2015), a pastoral, sun-drenched acid-folk album. Sketches Of Brunswick East is a collaboration between King Gizzard and Mild High Club, the Los Angeles based tripster troupe signed to Stones Throw Records and led by Alex Brettin – the two bands formed a strong friendship touring together throughout the USA, Europe, and Australia. Recorded at the band’s own Flightless HQ in East Brunswick, Melbourne Australia earlier this year and mixed at Stones Throw studios in L.A. it’s the third of five projected albums to be released in 2017.

The barr brothers queens of the breakers album cover 4000x4000

The Barr Brothers  –  Queens of The Breakers

All versions come with a bonus 5 Track CD of demos. Queens of the Breakers is The Barr Brothers’ finest work yet, a collection of 11 hypnotically fluid songs that speak to the raw, elemental power of reflection, forgiveness, loss, and growing up. The record finds the band, featuring brothers Brad (guitar) and Andrew Barr (drums), and Sarah Pagé (harp), further on their thrilling path of exploring the outer limits of folk, blues, rock and Americana made north of the American border.

LP – Black Vinyl with Download.

LP+ – Gatefold Jacket with embossed titles with 2 pockets open. Translucent Light Blue Single Vinyl hosted in dust sleeves. Limited Edition including 12’’x24’’ Exclusive Folded Poster. MP3 download included.

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Lomelda  –  Thx

Hannah Read has written and performed as Lomelda for most of her musical life. The project has been her outlet from the slow, shaggy days in her east Texas hometown of Silsbee, through moves to Waco and Austin, and into her wandering present. Her music is textural and spacious. Her words are suggestive snapshots of loosely knitted observations, depicting quiet moments between friends and lovers and half-remembered celestial occurrences. In her songs, the memory of the past and glimpses of future stretch out on either side of you, and the present is unsteady and always shifting.

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Courtney Barnett and Kurt Vile  –  Lotta Sea Lice

A conversation between friends, documented in raw, unvarnished song form, brimming with personal history, crackling with energy and shot through with humour – this is the collaborative album of Courtney Barnett and Kurt Vile.Two of the most acclaimed and gifted song writers of our generation Lotta Sea Lice also sees them roping in friends such as Dirty Three, Stella from Warpaint and Mick Harvey to create a body of work that sounds organic and candid. Their shared chemistry is immediately apparent in the breathtaking jam of opener and first single Over Everything, while Continental Breakfast showcases a more melodic side as the two harmonise over finger-picked acoustic guitars. The two pay homage to 90’s cult heroes Belly with a gorgeous cover of their classic Untogether and even celebrate their mutual respect by covering each other’s music later in the album. This is an intimate glimpse into the shared musical world of Courtney Barnett and Kurt Vile.


HMLTD  –  Satan, Luella and I / Kinkaku-ji

HMLTD have emerged over the last twelve months and established themselves as the most thrilling and vital new band in years. Music, fashion and art collide to create an assault on the senses, their highly-individual pop a whirlwind of creativity and ideas. Satan, Luella and I is the latest instalment, following the singles To The Door and Stained. It’s a six minute kaleidoscopic, rapturous musical joyride. Flamboyant and freewheeling, the band’s imaginations have created a musical world that envelops the listener. The track is backed by live favourite Kinkaku-ji. Natural born performers, their live shows are already a vital experience as they turn each room they play into their own, blurring the lines between concert and exhibition, and between performers and audience.


Josienne Clarke and Ben Walker The Birds EP

Rough Trade Records release The Birds EP as a very limited edition 12” – 650 copies worldwide. The Birds is a suite of six songs that explore the themes of migration and departure. These are songs of autumn and shorter days, of flying south and the first feelings of early winter. It is deliberately dark and melancholic and ever so slightly sinister in places. In contrast to the full band-sound so exquisitely captured on their 2016 album Overnight, Josienne and Ben chose to record in a minimalist way using only instruments that they could play in Ben’s basement home studio. It also allowed Ben the opportunity to experiment with Moog and drum machine rendering the songs with a subtle electronic text.

The Who, Tommy  – Live at the Royal Albert Hall

In spring 2017, in support of the Teenage Cancer Trust, The Who played the classic Tommy in full, plus an encore set of seven greatest hits at London’s historic Royal Albert Hall.  This release includes every song from the 24-track studio album performed live, including Side Four’s “Welcome”.  Available in a variety of physical formats plus digital video and audio.

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King Crimson – Official Bootleg: Live in Chicago, June 28th, 2017

Two CD set, taken from the band’s most recent US tour. Media-book presentation with 24 pages booklet featuring photography by Tony Levin & David Singleton. Sleeve Notes by Robert Fripp & David Singleton. Featuring many iconic King Crimson pieces performed live by this line-up for the first time – some being played live for the first time ever, including: Islands, The Lizard Suite, The Errors, Fallen Angel, Cirkus & more.. “If we are looking for a KC live (show); Chicago was exceptional” – Robert Fripp “One of our best” – Tony Levi.

The replacements liveatmaxwells

The Replacements –  For Sale – Live at Maxwell’s 1986

Super limited copies with promo stuff – Postcards, Matches, Cut out figures and posters. In February 1986, The Replacements performed a classic live show at Maxwell’s in Hoboken, NJ. Until now, that pristine recording of the legendary performance has only been available in low-quality bootleg form. Even so, Pitchfork has called the show “a fiery, focused set that would make a true believer out of any skeptic.” For Sale: Live At Maxwell’s 1986 finally make its commercial debut as a double-LP. This marks the first live album by the band to see an official release on this format. The show at Maxwell’s would prove to be one of the last great performances by the four original members of the Replacements, a much beloved line-up including Bob Stinson on guitar, before his departure from the band in 1986. The songs they played spanned the band’s entire history while giving prominence to new material from Tim, including Bastards Of Young, Left Of The Dial and Kiss Me On The Bus. Mixed in were favourites like I Will Dare from Let It Be (1984) and Color Me Impressed from Hootenanny (1983). The original 24-track master tapes of the show sat in the Warner Music vaults until being given a proper mix in 2007, but it would still be another decade before the concert would get its official release. Mehr writes in the album’s liner notes: “Now, a decade later, and more than 30 years after the original concert, Replacements For Sale finally offers high-fidelity proof of the peculiar alchemy and unadulterated majesty of one of rock and roll’s greatest bands.”

2CD – Gatefold Softpack with Booklet.

2LP – Double 140 Gram Vinyl housed in Gatefold Sleeve.

Various Artists  – Woody Guthrie, The Tribute Concerts

There’s no shortage of celebrations for the legendary folk troubadour, but few as star-studded as the landmark concerts held in 1968 at New York’s Carnegie Hall and then in 1970 at the Hollywood Bowl.  These remarkable affairs saw Guthrie collectively saluted by such luminaries as The Band, Bob Dylan, Odetta, Joan Baez, Jack Elliott, Arlo Guthrie, Country Joe McDonald, Richie Havens, Tom Paxton, and Pete Seeger.  Bear Family has boxed up these amazing pieces of history as a lavish 3-CD box set that’s not to be missed!


Brothers Andrew and Brad Barr had spent most of the 90s criss-crossing North America, playing music with their spirited, improv-based rock trio, The Slip. In the spring of 2004, the band was playing a small club in Montreal, QC when a fire broke out in the venue. They grabbed a few guitars/drums and rushed out onto the rainy street with the rest of the concert goers. As the club’s mezzanine was swallowed by flames, Andrew offered his coat to one of the waitresses from the bar. One year later, Brad and Andrew Barr were living in Montreal. That waitress is now one of their managers.

In his first apartment in the new city, Brad shared an adjoining wall with Sarah Page, a classically trained harpist from Montreal, whose melodies would seep through the cracks of the wall and into the music Brad was writing. From this nebulous relationship, a friendship developed and the brothers, with Sarah, began recording and performing around Montreal. Soon, their friend and multi-instrumentalist Andres Vial was brought in to lend his wide array of expertise to the outfit, playing keyboards, bass, vibes, percussion, and singing. They called themselves The Barr Brothers.

‘Queens of the Breakers’ out October 13th

Band Members
Brad Barr, Andrew Barr, Sarah Page, Joe Grass, Morgan Moore, Parker Shper and friends


Produced by REM guitarist Peter Buck, Tucker Martine, and Gary Louris, this is the first Jayhawks album since 2011’s ‘Mockingbird Time’ and is a return to the lineup of the band that made ‘Rainy Day Music’ in 2003 – the core band of Gary Louris, Marc Perlman, Tim O’Reagan, and Karen Grotberg. “It’s the start of a brand new adventure.” sings Gary Louris on ‘Quiet Corners and Empty Spaces’, the opening track on The Jayhawks‘ new album ‘Paging Mr. Proust’. The band formed in Minneapolis in 1985 and the album shows their commitment to adventure and forward motion which makes this collection of songs exciting and instantly memorable.
LP – Housed in Gatefold Sleeve with Download.
 john doe - the westerner

John Doe – The Westerner CD/LP (Cool Rock)

John Doe calls his new album The Westerner his “psychedelic soul record from the Arizona desert.” The album features 10 new tracks from Doe with guest appearances from Chan Marshall of Cat Power, Debbie Harry of Blondie, Cindy Wasserman of Dead Rock West and Tom Brosseau. The Westerner was produced by Howe Gelb (Neko Case, M. Ward), Dave Way (Fiona Apple) and Doe. The album’s artwork was designed by Shepard Fairey and Aaron Huey to support Native American rights via a campaign called Protect The Sacred, with additional photography by Jim Herrington. Of the album Doe says, “The Westerner is dedicated to Michael Blake, author of many books, including Dances With Wolves, who was a scholar and advocate for Native American rights. He was also one of my best friends for over 30 years. Michael taught me how to ride horses (we knocked each other off them several times) and we taught each other about writing, music and art. Many of these songs are about him or use him as the main character. His presence has been with me throughout the making of the record. It’s a wild, spread-out, desert-like life that we’ve lived.”


‘Sun Kil Moon / Jesu’ is a collaborative studio album by American indie folk act Sun Kil Moon and British experimental act Jesu. The album also features guests Will Oldham aka Bonnie ‘Prince’ Billy, members of Low, Rachel Goswell of Slowdive and Isaac Brock of Modest Mouse.
2LP – Double LP with wide spine sleeve and a copy of the album on CD.


Recording, releasing and touring a couple of albums in 18 months is beyond the realms of comprehensibility for most bands, but then King Gizzard And The Lizard Wizard aren’t ‘most bands’. Forget a couple of albums, Friday April 29th 2016 marks the release of ‘Nonagon Infinity’, their fourth long-player for Heavenly Recordings in a little under a year and a half. Workshy they ain’t! After the acid-flecked cosmic jazz of ‘Quarters’ and the hazy, pastoral, acoustic bliss of ‘Paper Mache Dream Balloon’, with ‘Nonagon Infinity’ the Gizzard once again dive head-long into the gonzo freak-beat frenzy that mark both their Heavenly debut ‘I’m In Your Mind Fuzz’, and their perpetually in motion, double-drummer propelled live show. Recorded by Wayne Gordon, Paul Maybury, Michael Badger and Stu Mackenzie at Daptone Studios in Brooklyn, in keeping with their indefatigable spirit the 9 track album may be the world’s first infinitely looping LP. Each of the nine, complex, blistering tracks on ‘Nonagon Infinity’ seamlessly flows into the next, with the final song linking straight back into the top of the opener like a sonic mobius strip.
LP – Black Vinyl in Gatefold Sleeve with Download.

Black Honey - Headspin EP 10"

BLACK HONEY  –  Headspin 10″ Vinyl


Side A
1. All My Pride
2. Headspin

Side B
1. On Your Time
2. Mocking Swing


Limited Red Vinyl 10″. The Barr Brothers release a new EP called ‘Alta Falls’. The 5 songs on this record are some of their favourite misfits from the ‘Sleeping Operator’ sessions. The cover art is by their elusive friend Madame Gilles, whose posters have been anonymously gracing the telephone poles of Montreal for years.


Working in the sweetly swinging tradition of Serge Gainsbourg and the ye-ye sound of the ’60s, the Liminanas have a sound that blends sunny psychedelia with vintage pop. Based out of Perpignan, France, the group is composed of drummer and sometime vocalist Marie Liminana and bassist, organist, and jack-of-all-trades Lionel Liminana, as well as a host of guest vocalists including MU. With its combination of fuzzy organ, half-spoken / half-sung vocals, and vintage production, the band captures the sexy, ultra-hip sound of classic French pop. After releasing a series of singles, the duo released its self-titled debut in 2010 through the Chicago label Trouble in Mind. The band continued to crank out singles, and a second album, ‘Crystal Anis’, followed in the summer of 2012. After taking some time to revamp the Liminanas‘ sound to introduce more elements of French and Italian soundtrack music, the duo returned quickly with its third album for Trouble in Mind. ‘Costa Blanca’ was issued in late 2013. The band are now back with a new release ‘Malamore’
.LP – Housed in gatefold sleeve with CD Version.


Rough Trade Exclusive with a Bonus Six Track CD ‘Spiritual Songs for Lovers to Sing – Prologue’. LUH (which stands for Lost Under Heaven) is Ellery Roberts and Ebony Hoorn. Over the past two years, they have been releasing music, art, photography, film and manifestos into the world, including 2014’s ‘Unites’ video and the expansive ‘Lost Under Heaven’ music and artwork package at the end of last year. Ellery’s name might be familiar as the frontman of WU LYF, whose raw and primal voice helped create a sound that shaped a new model for the untamed fury of youth. Ebony is an audio-visual artist based in Amsterdam, where the pair now live, and co-directed the new video with Florian Joahn. ‘Spiritual Songs For Lovers To Sing’ is the pair’s debut album and was produced by The Haxan Cloak (known for his own genre-bending experimental compositions and work on Bjork’s Vulnicura album) in 2015 on the remote island of Osea.
LP+ – Rough Trade Exclusive Vinyl – Limited to 350 Copies with a Lyric Booklet. Double vinyl (AB white vinyl / CD black vinyl), packaged in separate sleeves with an A2 newsprint style poster and encased in a printed PVC outer sleeve. Comes with Bonus CD and Download. Also comes with 3 limited edition prints.
2LP – Double vinyl (AB white vinyl / CD black vinyl), packaged in separate sleeves with an A2 newsprint style poster and encased in a printed PVC outer sleeve. Comes with Bonus CD and Download.
LP – Double vinyl (AB white vinyl / CD black vinyl), packaged in separate sleeves with an A2 newsprint style poster and encased in a printed PVC outer sleeve. The Indie Retail Vinyl includes 3 limited edition prints. Comes with Bonus CD and Download.
CD – Comes with Bonus CD.


That line, from The Barr Brothers’ new album “Sleeping Operator”, might as well be the Montreal band’s mission statement. While the new songs mix acoustic folk-rock, electrified blues, lush chamber-pop, traditional West African styles and other influences, each conveys immediate emotive force.

This is especially true of “Come In The Water,” a song inspired by the tragic 1997 shooting of Israeli teens along the Jordan River.

Best known as founding members of the spirited and unpredictable rock trio The Slip, brothers Andrew and Brad Barr had spent most of the 90s criss-crossing North America. In the spring of 2004, the band was playing a small club in Montreal, QC when a fire broke out in the venue. They grabbed a few guitars/drums and rushed out onto the rainy street with the rest of the concert goers. As the club’s mezzanine was swallowed by flames, Andrew offered his coat to one of the waitresses from the bar. One year later, Brad and Andrew Barr were living in Montreal. That waitress is now one of their managers.

KEXP presents The Barr Brothers performing live in the KEXP studio. Recorded December 5, 2014.

Love Ain’t Enough,
Even the Darkness Has Arms,
Half Crazy,
Come In The Water,



Canadian Folk Quartet The Barr Brothers formed in Montreal consisting of multi instrumentalists Andrew and Brad Barr, harpist Sarah Page and Andreas Vial, they have a new album out this month “The Sleeping Operator”