Posts Tagged ‘Wharf Cat Records’

Image may contain: 1 person, sitting
Shadow On Everything, is the third LP by Bambara and their first for Wharf Cat Records, represents a decisive step forward for the NYC-via-Georgia trio. Frontman Reid Bateh, drummer Blaze Bateh, and bassist William Brookshire have always been adept students of noise rock and post-punk, mining the work of bands like Swans and The Birthday Party to construct what NPR called their “beautifully dynamic nightmares.” Now, they’ve transcended their early influences to produce a Western Gothic concept album that sounds as big as the desert sky looming over its characters’ lives.

This is Gothic piece of Americana with many echoes of Nick Cave’s early work – seedy characters; tragic, violent tales; pulsating, writhing guitars. this is the type of rock album that comes along only once in a very long time.

As with all previous Bambara releases, the musical center of Shadow on Everything is its impossibly tight rhythm section. Blaze’s frenzied yet metronomic drumming and William’s prominent bass lines have plenty of personality on their own, but they also provide a perfect canvas for Reid’s wild guitar squalls and howled vocals. While Reid’s lyrics have always been a critical part of Bambara’s songs, his voice is pushed to the front of the mix on Shadow, placing his damaged characters and seedy locales at center stage. A stridently experimental record, Shadow features everything from violin to saxophone arrangements, and is meticulously interspersed with outré ambient noise loops distilled down from hours of manipulated vocal collages that the band sifts through to find the perfect textures. 

The production by Andy Chugg (Pop. 1280, Pill) is crisp and clear, giving life to the band’s decision to foreground the vocals, but it splashes enough darkness on the songs to help them retain their pitch-black atmosphere. By far Bambara’s most ambitious album, Shadow On Everything shows a band operating at absolute peak creativity and execution. 

Bambara has performed as a five-piece since Reid broke his hand on stage in 2016. Their pummeling and unpredictable live set has made them favorites on both under- and above-ground circuits in New York City, having impressed noise-pop auteur Angus Andrew to the extent that he asked Reid and Blaze to join Liars as members on 2017’s worldwide tour. Additionally, Bambara has toured the US and Europe extensively alongside the likes of Liars, Metz, Girl Band, APTBS, Algiers and more.
Released April 6th, 2018
Advertisements

Eyes of Love’s debut full-length, End of the Game, is out on August. 17th via Wharf Cat Records. “Homeowners,” the record’s opening track, is a wobbly masterpiece of taut, post-punk guitars, pulsing rhythms, and earworm melody. Andrea Schiavelli says: “I wrote the song in my head at 4am walking through downtown Brooklyn on the way home from work as a sound engineer. At the time I was reading a lot of JG Ballard shorts. I was obsessed with the inner state of rocking out that can take whatever external form. Like air guitar or something doesn’t actually have to generate sound to be potent.”

“End of The Game” is the anticipated debut full length by Eyes of Love, a band helmed by Brooklyn songwriter Andrea Schiavelli. Assembling a crew of some of the most skilled musicians in New York’s underground; Lily Konigsberg (Palberta, Lily and Horn Horse), Sammy Weissberg (The Cradle, Sweet Baby Jesus), Paco Cathcart (The Cradle, Shimmer), Schiavelli has cultivated a long player that is obedient to feeling and pulsates with urgent, anxious beauty.

These 14 tracks harness the chaos of reckless abandon amid classic structures. Fans of Eyes of Love’s self titled 7” EP will recognize a mastery of breezy pop in tracks like “Homeowners” and “Players of the Field.” We see the band turn toward experimentation on tracks like “New,” which alternates between driving power pop and percussive breakdown. The lush strings, arranged by Weissberg, on tracks like “Elevator” and “End of The Game” starkly frame Shiavelli’s earnest songs while adding a depth and variation to this albums’ song-cycle, as do the solo piano instrumentals “Piano1 Final” and “New Piano.” The full band tracks on End of The Game were recorded live, have no overdubs and are mixed with little or no effects – a rare technique these days and a sign of a band devoted to the details of their arrangements.

WCR 079 - ACLU Compilation - FINAL THUMBNAIL.jpg

In this powerful benefit compilation, a range of independent artists join forces to raise funds for the American Civil Liberties Union and its heroic mission to protect the rights of all people as we head into the second year of the Trump administration and its ongoing assault on the Constitution.
The album is available in a limited run of double LPs featuring all-new material from a gamut of artists across genre. This is a boon for fans of Merchandise, Palberta, Pop 1280, Profligate, and The Men, whose track “Shimmer and Shine” is a rootsy, Mick Taylor-era Stones celebration of pain. Living legend Alice Cohen graces this album’s proceedings as well, with “Hourglass” a pop track that could be a mega-hit in a less ugly world. There’s driving, urgent postpunk with Psychic Blood, Sediment Club, and Old Maybe on the roster. And the underground offers up quieter moments for this album, such as Kate Mohanty’s moving solo sax composition “Priorities” and Horoscope’s “Bri.” We go around the world to New Zealand with Joe Troutman (Trust Punks) and his new group Cheerleader and to the western United States with Dollar Band, a new group featuring Dylan Sharpe and Dan Swire of Gun Outfit. Their “Too Sensitive” features a ripping rhythm section and some of Sharpe’s best lyrics and guitar runs to date. These are just a few examples from this diverse compilation of 22 tracks.
The packaging of this record is also stellar and features artwork by Emma Kohlmann (front cover pictured above), Nick Van Woert (center labels), Sam Falls (inside gatefold design), and V. Manuscript (back cover).

http://

Wharf Cat Records would like to thank the artists, manufacturers and engineers that donated their work, services and expertise to this project. This double LP would not have been possible without Brooklyn Phono, which donated the vinyl & pressing; A to Z Media, which donated the gatefold jackets; Carl Saff, who donated the mastering; Kutch 1 Studios/Look to Listen, which donated the recording time used by many of these artists; and Jason Vachula, who donated the layout and design.

HONEY BUNDLE - Honey - New Moody Judy & Love is Hard

There are quite a few bands or artists calling themselves Honey, but this one from New York City is the one you want to remember.  Featuring former members of Psychic Ills and Amen Dunes their new album, the trio’s second – “The New Judy Moody” starts off with the Hendrix-like jam rawk of “Wage Agreement” and then it’s killer rock and roll all the way through.

Take a song like “Dream Come Now“. It’s a buzz saw rocker with the heaviest guitars I’ve heard in a long time, and this is a trio!

Out September 29th on Wharf Cat Records, HONEY’S sophomore long player “The New Moody Judy” builds on their debut’s “hard edged slice of rock noise” to create an album full of the pummel and swing, rave-ups and comedowns, and ferocious riffs and rhythms previously known only to those who have witnessed the power-trio’s live set. Equal parts concision and brute heaviness, this is the sound of perfect rock and roll music – music that’s always on the edge of spinning out of control.

From the first single, “the pugnacious ‘Dream Come Now’ a barnstormer every bit as fiery as the album artwork”  to the tight jam giving way to a thrilling cascade of riffs that fuel the rush of ‘Hungry,’ HONEY give everything to the music on this release to deliver their most sonically diverse effort to date. As thematically cerebral as it is musically visceral, New Moody Judy is one of the rare albums that offers as much brain fodder for the lit majors as it does instant gratification for the guitar-heads.

There are huge arena riffs with odes to The Who, Misfits, Stooges, and even Hot Snakes to name but a few.

http://

It’s out now on Wharf Cat Records.

Cory Feierman – Bass & Vocals, Dan Wise – Guitar & Vocals , William Schmiechen – Drums

Whether fronting the blazing punk band Vexx or the synth-pop duo CC Dust, Mary Jane Dunphe inhabits her projects with a knurly otherworldliness — her voice contorts and screams like an alien sent to reset the planet with rock ‘n’ roll. Bedridden by an ankle injury in the winter of 2016, she teamed up with best friend Chris McConnell to write a batch of country-rock songs that buck like an old pickup. Mary Jane Dunphe And Chris McConnell In The County Liners is the first EP from The County Liners, rounded out by fellow Olympia, Washington-based musicians Mirce Popovic (Trans FX) and Riley Kensington.

Mary Jane Dunphe takes the lead on “Love Letter,” a snaggle-toothed truckin’ song written to a long-lost love. With a little bit of Rolling Stones swagger, it also channels Lucinda Williams’ own particular strain of lonesome country blues, not only in its vocals, but also in how there’s no easy answer to the simple question the song poses: “How are you?” Maybe it’s a last-ditch effort, maybe it’s a half-hearted attempt at finding meaning in a listless life, but it’s likely a bit of both, as Dunphe howls over rusted twang, “And I hope this reaches you on time / Just dropping a line / Could I be it for you, one more time? / If ever at all.”

releases November 17th, 2017

http://

WALL – ” Milk “

Posted: December 13, 2015 in MUSIC
Tags: ,

http://

‘Milk’ is from WALL’s self titled 7″ EP out on Wharf Cat Records on 15th January,

The Band are
Vanessa Gomez
Vince McClelland
Elizabeth Skadden
Samantha York

With each sonic movement on the introductory self-titled EP from New York’s WALL there’s a commitment to defend a punctuated duality between curiosity and triumph. After all, what’s a band worth but its message? A certain self-awareness of the very question is at the heart of the WALL apparatus and listening along as they discover themselves throughout this EP is invigorating and scary. Tone and rhythm whirl together, like an emergency exit door choreographed to swing flawlessly in time to its damned and chaotic Pavlovian alarm bell. From the first rigid and cautious seconds of their EP, WALL unleashes an uncanny self-awareness that methodically slips pages ripped from demented No Wave legacies through a shredder of their own design. Their spirit is exceptional and candid; generous heaps of raw energy and inspired moments of tension demand repeat rotations on your turntable. With this debutante artefact, WALL have invited the world to witness the birth of a toxic-new tempestuous bloodwave of post-punk, exactly the transfusion the scene needs to stay alive.

http://

The wonderful, and wonderfully prolific, Parquet Courts are back with a new split single with Joey Pizza Slice, where each band covers a track by the other. It will be followed by a second split single with Brooklyn’s Big Ups, which will be in support of the legendary VERA venue in Groningen.

Limited to a vinyl run of 500, this release sees Parquet Courts covering “Pretty Girls” whilst the flip side has Vermont solo musician Joey Pizza Slice, aka Son of Salami, taking on Picture Of Health from their 2012 album  ” Light Up Gold” .

Listen below, and pre-order from Wharf Cat Records

http://