Posts Tagged ‘Wooden Shjips’

wooden-shjips

Wooden Shjips’ rise to prominence from the psychedelic underground to the rock and roll overground has been a steady sojourn. With each new release, the band has found new ways of transforming heady psychedelic rock into minimalist masterpieces, bridging the gap between the woozy freeness of Les Rallizes Denudes and Crazy Horse and the simplicity of Suicide and the Velvet Underground

Wooden Shjips, are from the bay-area of San Francisco, the quartet led by Moon Duo’s Ripley Johnson, release their fifth album, V., via the stalwart label Thrill Jockey Records today. As the shadows cast begin to lengthen out here on the east, this new disc’s heavy dose of warm shoegaze psych is a more than welcome companion. Embodying the psychic spectrum of a nighttime desert drive, a lost weekend in the valley of beyond, the band alchemizes atmospheric ripples of ragged glory guitar, sorcerous waves of synth, free jazz skronk, and blissed out boogies. It’s a summer-tinged collection, emitting its freak out transmissions across high noons and blood moons alike

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Wooden Shjips  –  V

Wooden Shjips, long-time leaders of the contemporary psychedelic movement, expand their sound with V. On their fifth album the quartet of Ripley Johnson (Moon Duo), Omar Ahsanuddin, Dusty Jermier, and Nash Whalen augment their already rich sound with laid back, classic summer songs. Inspired by the tumult of the modern world, and the desire to offer a contrasting vision of peace, the band has created a record that lters their trademark hypnotic grooves through an optimistic lens, resulting in music that is bright and vital. Each song shimmers with a distinctly Wooden Shjips sound, a relaxed summer vibe. This was a conscious choice, an atmospheric goal that in uenced nearly every detail: the tones, the delay types and reverbs used, as well as the synthesizer elements that color the songs. The band’s members collectively share a love of classic rock from the Velvet Underground to Neil Young, as well as more overt love of the San Francisco scene of the 60’s. This commonality in their formative musical years binds them even as they live in different cities. Wooden Shjips has with V. created the most concise, laid back songs of their career. Their music is a balm of sorts, a respite from the insanity that, through its regenerative abilities, empowers continued, calm resistance. A reminder of the simple power of peace and beauty, V. is brimming with optimism and a peaceful energy, aptly timed for release at the height of spring.

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Halo Maud  –  ” Je Suis Une Île “

Halo Maud’s first release on Heavenly is a recap of the story so far ahead of an album release later this year – three tracks of this EP originally came out on a Canadian label last year, with the difference that Du Pouvoir now features some English lyrics, and À La Fin andDans La Nuit cropped up on a La Souterraine compilations in 2015 and 2016 respectively. Maud Nadal has been a member of both Moodoïd and Melody’s Echo Chamber’s live bands, and of course at times there are comparisons to be drawn with Melody’s Echo Chamber, with both teetering on a crystalline peak where extreme joy and despair meet. But if anything Nadal’s own melodies are even more indelible, and her voice turns them into vapour trails.

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Gretchen Peters – Dancing With The Beast

Dancing with the Beast, the new album from Gretchen Peters, puts female characters at the fore, from teenage girls to old women. And intentionally so. With the 2017 Women’s March and the #MeToo Movement as bookends to her writing time, Peters knew that a feminist perspective would be the critical core of the record. She admits, “You can trace the feminist DNA in my songwriting back to ‘Independence Day’ and probably before. The thing that 2017 did is just put it front and center.” Though Peters doesn’t consider herself a political writer, she is politically minded and, therefore, knew she had to address the 2016 election and all that has happened since… but in her own way. There’s a bittersweet beauty to the passing of time – the changes it brings are just as often heartbreaking as they are heartwarming. The inevitable tension that arises from that sway is Gretchen Peters‘ most trusted muse. With melody supporting that melancholy, the songs on the new album combine to lift the effort over the high artistic bar set by her last outing, 2015’s award-winning Blackbirds.

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Wand  –  Perfume

If the emblem of Wand’s Plum was the stark blue cloud a condensation, a linking between longing molecules, data hungering for more data, a flotilla of vapor between eye and sky – then Wand’s new EP reeks of something more forceful, more seductive, more intoxicating, more insidious: this is Perfume. Here are six electric hues, shocks of light that flagrantly provoke the dark, a posy’s clutch of purple, fuchsia, green and snowy white that curl against a stench of plague. Recorded between tours and fire seasons in Grass Valley, CA by Tim Green, Perfume’s potent, expansive tunes were mixed in Woodstock, NY by Daniel James Goodwin. The band features Sofia Arreguin, Evan Burrows, Robbie Cody, Cory Hanson and Lee Landey. There’s a kind of return here, a haunting, the deja vu you only take in through a curious nose. Your nose invites the world inside your skull. A familiar fragrance finds you when you thought you’d let a lover go, but it won’t linger like a lover, flickering away with the breeze toward a yawning future.

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Judee Sill  –  Songs of Rapture and Redemption: Rarities and Live

Judee Sill may not have been commercially successful in her short recording stint, but her influence looms large with recording artists such as Warren Zevon, Andy Partridge, Liz Phair, Beth Orton, Bill Callahan, Bonnie Prince Billy and more having covered her songs. The Turtles recorded Lady-O in 1969, two years before Sill’s 1971 debut album on Asylum Records contained that song. This brand new collection includes demos and live recordings that are making their debut on the vinyl format and have never sounded better. With new artwork, liner notes and deluxe packaging, this limited ROG release should not be missed.

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Cream –  BBC 1966 – 1967

Clapton, Bruce, and Baker are responsible for some of the most classic BBC live recordings of the 60s. Recorded for several different programs between November ’66 and October ’67 there are raw versions of classics likeStrange Brew, andTales Of Brave Ulysses, as well as great blues covers and a fascinating series of interviews with Clapton, these are essential live sets for any serious Cream collector. Limited edition splatter vinyl LP.

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The Smithereens  –  Covers

The Smithereens – Pat DiNizio, Jim Babjak, Mike Mesaros and Dennis Diken dip deep into their archives to present Covers, a tribute to the songs and the artists that shaped their career. The album presents a heavy dose of British Invasion paying homage to the Kinks, the Beatles, the Who and T. Rex. The Smithereens were also influenced by a fair number of homegrown heroes too including Springsteen, Sinatra, Iggy Pop, The Beach Boys and more. The Smithereens are known for writing and playing catchy 1960s-influenced power pop. The group gained publicity when the single Blood and Roses from its first album was included on the soundtrack for Dangerously Close, and the music video got heavy rotation on MTV. During the course of their career the Smithereens racked up 2 platinum albums and 1 gold record.

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Jenny Hval  – The Long Sleep

The follow-up to Jenny Hval’s acclaimed 2016 album Blood Bitch is The Long Sleep, an adventurous new EP that sees the Norwegian multidisciplinary artist embracing an instinctive, even subconscious, approach to creating meaning. In contrast to Hval’s more explicitly conceptual work, The Long Sleep foregrounds the act of composition itself, letting the melodies and structures reveal the other elements of the songs. All of the songs on the EP recycle the same compositional motives, but manipulate them into very different shapes that take them further and further out of their original, “life-like” context. Hval recorded The Long Sleep with longtime collaborator Havard Volden and producer Lasse Marhaug, along with an ace new supporting cast of talented players from the jazz world — Kyrre Laastad on percussion, Anja Lauvdal on piano, Espen Reinertsen on saxophone, and Eivind Lønning on trumpet. Hval calls them some of her favorite contemporary musicians, and their musical background helps to give the songs on The Long Sleep their intuitive, improvised feel.

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The Heads  –  RKT

Timely reissue of the first 3 releases The Heads put out on the Rocket label, from their first split 7” release (with Lilydamwhite) in 1998 to their much lauded Sessions 2 freakout 12” from 2002… compiled here in their remastered glory, the Heads were quite prolific back in the late 90s / early 00’s, and in between the Everybody Knows We Got Nowherealbum andUndersided album they released their jams and raw rehearsals via the burgeoning Rocket Label. Compiled here with extensive sleeve notes from Rocket founder Simon Healey, this limited 3LP (1000 copies) and 2CD (1000 copies) set captures the band at their most laconic and free… psychedelic sprawling morass or sound and aural distortion grooves akin drawing from their wide influences…also from simply plugging in and letting go. LP and CD both come with booklet

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Pink Floyd  –  BBC 1967 

Performing on 4 different dates in 1967, the year they released their first album, Piper At The Gates Of Dawn, this is Pink Floyd at their early, psychedelic, and raw best. Their showing in May of that year, for the program The Look Of The Week, was probably the earliest live video recording of the group and includes amazing versions of Pow R. Toc H. and Astronomy Domine. Two more recordings for the program Top Gear, which showcased the underground hipster scene of London, and one for Tomorrow’s World round out this amazing collection of early Floyd, including great versions of Set The Controls For The Heart Of The Sun, Flaming and Vegetable Man. Essential live recordings of Pink Floyd during their greatest era! Limited edition splatter vinyl LP.

Spaced out rockers Wooden Shjips are back with the full length album V. True to their style, Wooden Shjips deliver with laid back jams with definite influences from Buffalo Springfield on their released song “Staring At The Sun” their their psychedelic twist. This seems to be the only limited release over at Thrill Jockey on opaque red vinyl.

Here is a little blurb about the release:

Wooden Shjips, long-time leaders of the contemporary psychedelic movement, expand their sound with V. The quartet of Omar AhsanuddinDusty JermierNash Whalen and Ripley Johnson augment their already rich sound with laid back, classic summer songs. The songs were written during the summer of 2017 by singer and guitarist Ripley Johnson as an antidote to the pervasive anxiety both political and natural. As Ripley tells it, “We had huge forest fires just outside of Portland and there was intense haze and layers of ash in the city. I was sitting on my porch every evening, watching ash fall down like snow, the sky looking like it was on fire. It was an apocalyptic feeling. Summer in Portland is usually really chill and beautiful, and we were working on a ‘summer record,’ but the outside world kept intruding on my headspace.” V., a graphic representation of the Peace sign, seemed apt to an album focused on the power of peace, beauty and resistance. The music is a balm against the noise and negativity.

Each song shimmers with a distinctly Wooden Shjips sound, a relaxed summer vibe. This was a conscious choice, an atmospheric goal that influenced nearly every detail: the tones, the delay types and reverbs used, as well as the synthesizer elements that color the songs. The basics were recorded by Jason Powers at Types Foundry Studio in Portland. The guitars and vocals were largely recorded in Ripley Johnson’s comfortable home studio. The album was mixed by Cooper Crain (Cave, Circuit Des Yeux) who the band has formed close bonds with on tour. The instructions were simple “We told Cooper to keep it really fat but to feel free to play around with the other elements, make a nice headphone mix with a lot of movement,” said Ripley, “I wanted it to be floaty because that’s kind of where my headspace was at the time.”

LP version packaged with full color artworked inner sleeve and free download card. A limited supply pressed on opaque red color vinyl and only available via Thrill Jockey mailorder or the band’s merch table.
Includes digital pre-order of V.. You get 7 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.
digital album releases May 25th, 2018

“Already Gone” is from Wooden Shjips new album ‘V.’ out on Thrill Jockey Records.

Wooden Shjips’ rise to prominence from the psychedelic underground to the rock and roll overground has been a steady sojourn. With each new release, the band has found new ways of transforming heady psychedelic rock into minimalist masterpieces.

Wooden Shjips, are long-time leaders of the contemporary psychedelic movement, here the band expand their sound with V. The quartet of Omar Ahsanuddin, Dusty Jermier, Nash Whalen and Ripley Johnson augment their already rich sound with laid back, classic summer songs. The songs were written during the summer of 2017 by singer and guitarist Ripley Johnson as an antidote to the pervasive anxiety both political and natural. As Ripley tells it, “We had huge forest fires just outside of Portland and there was intense haze and layers of ash in the city. I was sitting on my porch every evening, watching ash fall down like snow, the sky looking like it was on fire. It was an apocalyptic feeling. Summer in Portland is usually really chill and beautiful, and we were working on a ‘summer record,’ but the outside world kept intruding on my headspace.” V., a graphic representation of the Peace sign, seemed apt to an album focused on the power of peace, beauty and resistance. The music is a balm against the noise and negativity.

The first single “Staring At The Sun” is a nearly 8 minute laid back, slowly building narrative, whose lyrics tell of a gentle push and pull between the desire for sun and escape and the tug of anxiety, with peaceful resistance winning the day and guiding the tone. The restless traveler Johnson gives us a few of his signature traveling songs such as “Eclipse,” and “Red Line,” both showcases for the stellar rhythm section of Omar Ahsanuddin and Dusty Jermier. Their unparalleled sense of groove and restraint leaves ample room for Nash Whalen’s keyboard flourishes. There is movement and urgency in these tracks without aggression, a rolling foundation of rhythm over which Johnson’s voice floats and elongated melodic guitar lines soar.

Each song shimmers with a distinctly Wooden Shjips sound, a relaxed summer vibe. This was a conscious choice, an atmospheric goal that influenced nearly every detail: the tones, the delay types and reverbs used, as well as the synthesizer elements that color the songs. The basics were recorded by Jason Powers at Types Foundry Studio in Portland. The guitars and vocals were largely recorded in Ripley Johnson’s comfortable home studio. The album was mixed by Cooper Crain (Cave, Circuit Des Yeux) who the band has formed close bonds with on tour. The instructions were simple “We told Cooper to keep it really fat but to feel free to play around with the other elements, make a nice headphone mix with a lot of movement,” said Ripley, “I wanted it to be floaty because that’s kind of where my headspace was at the time.”

The band’s members collectively share a love of classic rock from the Velvet Underground to Neil Young, as well as more overt love of the San Francisco scene of the 60’s.

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Releases May 25th, 2018