Posts Tagged ‘Three Lobed Recordings’

Meg Baird and Mary Lattimore’s collective work as solo artists, band members, and collaborators—could fill a small record collection. Despite this productivity, these two long-time friends have never recorded an entire album focused exclusively on their unique talents. “Ghost Forests” mysteriously, thrillingly fills that void.

Independently, Baird and Lattimore have each cultivated highly individual and idiosyncratic tools of expression. Baird’s timeless and soaring voice, guitar, and drums have underpinned pastoral and folk rock explorations as a soloist and in band settings with Espers and Heron Oblivion. Lattimore’s albums of enigmatic, spectral experimental harp sounds move and unfold like films and nature itself. The list of artists that have called upon their voices, talents, and visions to enrich their own work is expansive—a virtual pocket encyclopedia of contemporary indie and experimental musicians.

Over the course of “Ghost Forests”’ six collaborative compositions we hear deeply sympathetic conversations between the two artists. With access to a deep pool of shared influences, these two friends assembled a collection of sounds conjured from harp, guitar (both acoustic and electric), synths, the human voice, and a shared poetic language. Baird and Lattimore’s subjects range from the sound of light on water, seismic geopolitical anxiety, the smog-exploded sunsets of Don Dudley’s paintings, and vertigo from their respective relocations to San Francisco and Los Angeles from their once-shared home in Philadelphia.

The synthesis of their vision welcomes listeners who might have been familiar with only one of the performer’s solo oeuvres. It also speaks to long-time fans both artists who have long wondered what this dream collaboration might yield.

Steve Gunn has long known Baird and Lattimore and worked with both on his own albums. He says “Meg Baird and Mary Lattimore are two musicians that I greatly admire. ‘Ghost Forests’ is an ace meld of their abilities; Meg’s guitar and voice, and Mary’s harp lead each other (and us) into further regions of the strata. With each song you can hear this remarkable kinship. I’m thankful for this soundtrack.”

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“Ghost Forests”’ musical conversations are intimate, fluid, effortless and spontaneous. They’re filled with the euphoria of creation and, at times, they articulate hard truths and tangled emotions with an ease only trusted friends can manage. The songs alternate between extended ethereal instrumental excursions, gauzy and dreamy pop, blown-out “Bull of the Woods” heavy haze, and modern reimaginations of epic traditional balladry—all while touching on the strange and otherworldly places between these stations.

With “Ghost Forests” Baird and Lattimore have given us all a timeless gift that generously rewards immersion and deep investigation. It is our collective good fortune as listeners that we are able to eavesdrop on their conversation through these songs. It is also a wonder to hear two unique artists interact to such beautifully original ends.

Releases November 9th, 2018

Recorded January 2018 in Los Angeles, CA.

“Ghost Forests” is the first full collaborative album from Meg Baird and Mary Lattimore. It was recorded in January 2018 in Los Angeles with Thom Monaghan. It will be packaged within a jewel case including artwork by Jeff Root and a 4 panel insert. It was mastered by Patrick Klem. “Ghost Forests” will be released on November 9th, 2018.

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Inspired pairing for Three Lobed’s latest box set, featuring lots of sax for Hiss Golden Messenger and strings for Michael Chapman.this album consists of never before released material compiled especially with this collection in mind. the LP is housed within its own letter pressed “matchbook” (similar in nature to the ones used on the eight trails, one path guitar compilation [TLR-091]) bearing new original artwork by casey burns and printed by dexterity press. each LP is pressed on 140g black vinyl pressed at record industry in the netherlands and includes a download coupon. mastered by patrick klem.

Matching up kindred spirits and mutual influences, this volume of Three Lobed Recording’s “Parallelogram” series collects new recordings from Hiss Golden Messenger and Michael Chapman. Both M.C. Taylor (Hiss Golden Messenger) and Michael Chapman have consistently won praise for possessing a certain songwriting prowess and earnest delivery. This LP only helps both artists cement their reputations. The Hiss Golden Messenger side is an exploration in the art of reinterpretation. Taylor’s covers of tracks by J.J. Cale, Elephant Micah and David Wiffen demonstrate his complete love and respect for the originals while casting each in his unique light and voice.

Chapman’s masterful contribution bears the weight and heft that this legendary performer has gained through decades of experience. Be it narrative-driven compositions such as “Another Story” (known only to some listeners from Kurt Vile and Meg Baird’s collaborative cover from Matador’s 2012 “Singles Going Home Alone” collection) or intricate guitar excursions such as the closing “Stockport Monday (Homage Tom Rush),” Chapman’s side is a master class in both song craft and execution.

a couple of years in the making, this LP was a part of a collection that represents a celebration of this label’s improbable fifteenth anniversary. it seemed appropriate to assemble an equally improbable project to celebrate the milestone.

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Three Lobed Recordings is a boutique record label that specializes in small print-run releases that cover all flavors of psychedelia. The label was started in 2000 and is largely operated by cats.

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After what seems like an uncharacteristically long silence, longstanding Wooden Wand has shared details of a new album, Clipper Ship, to be released on the 29th April.

The first taste from it is Mexican Coke, a typically understated, gently strummed and elegant folk song that reminds us all of what we’ve been missing . Lyrically there are few who can match his way with words – somehow managing in a few short turns of phrase to be genuinely thought provoking, reflective, poignant and occasionally slyly humorous. The evidence is all there in Mexican Coke – a subtle gem and a very welcome return.

In a world of guitar players, James “Wooden Wand” Toth remains first and foremost a songwriter and lyricist. “Clipper Ship”, however, presents a break in tradition: in attempting to emancipate himself from old habits, Toth wrote most of the songs on “Clipper Ship” ‘music first,’ adding lyrics later, a reversal of the tried and true method that has made him one of the most prolific and respected songwriters of his generation. The result is the most democratically-conceived, multi-layered, and musically sophisticated album in the vast Wooden Wand discography.

“Clipper Ship” is the first proper full-length Wooden Wand album since 2014. Performers include Darin Gray (On Fillmore, Dazzling Killmen, Jim O’Rourke, Tweedy, William Tyler, etc), Ryan Norris (Coupler, Lambchop), Glenn Kotche (On Fillmore, Wilco), Jim Becker (Califone, Iron & Wine), Nathan Salsburg (Joan Shelley), Kyle Hamlett (Lylas), Josh Wright & Seth Murphy (Bear Medicine), Luke Schneider (Margo Price, JEFF The Brotherhood, Natural Child, William Tyler, etc), Zak Riles (Watter, Grails), and Jim Elkington (Tweedy, Horse’s Ha, Richard Thompson, Steve Gunn).

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releases April 29th, 2017.

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This artfully crafted solo acoustic guitar with storytelling capabilities than belie the lack of lyrics, Won’t You Cross over to That Other Shore · Daniel Bachman For Fans of Jack Rose, William Tyler, John Fahey

Guitar savant Daniel Bachman’s seventh album, River, is a rippling suite of the tradition-spanning solo picking he’s honed since his teens. Inspired by the Rappahannock River in his native state of Virginia, it was recorded and mixed last year by Brian Haran (Vetiver, Hiss Golden Messenger, Megafaun) at Pinebox Recording in Bachman’s current home of Durham, North Carolina. “We did everything first take, pretty much,” he says in a warm, southern accent. “I was fresh off the road, so all that stuff was tight anyway.” Alongside his intricate, meditative combination of folk, psychedelia and blues are re-toolings of “Levee” by his hero Jack Rose and William Moore’s nearly 90-year-old “Old Country Rock.” The first proper studio experience for the frequent collaborator of Ryley Walker sounds like the satisfying results of 10 years of exhaustive practicing and year-round touring for half a decade. To replenish his powers for tension and release, Bachman has disappeared into the wild landscape that informs his work.

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He Says: “I own three [guitars] currently. I got a mid-Eighties Guild, an early Seventies Martin and a no-name lap guitar I bought in Nashville a couple years ago. I play electric every once in a while for fun. I’m not a total gearhead. I have what I have, and they serve their purpose. I’ve totally honed it in at this point — even down to the fingerpicks I use. It’s like finding that perfect pair of shoes and then you keep buying them forever. . . . I’ve got a setup in my house where I can sit down with a mic and run it into the computer, but when I do that by myself I get really frustrated. I’ll hate it. I’m not an aggressive person, but I’ll get super aggressive, throw my guitar and scream and stuff. [Working in a studio], you can’t act like a baby around other people. So you kinda gotta just go in and knock it out. Having someone else push the button, that’s the biggest difference.”

The 14-minute “Won’t You Cross Over to That Other Shore” provides plenty of drama through dynamic shifts, willful speed and the right alternate tuning.