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NORTHERN SPY

Shilpa Ray

Bootlickers Of The Patriarchy

    Bootlickers of the Patriarchy was written about Senator Susan Collins and her infamous press conference after the Kavanaugh/Blasey Ford hearings It's about women who succeed from undermining the success of other women or choose to gain success from exploiting the oppression of other women. This is a character who has taken many forms throughout history, the kind of woman who seems perfectly content playing Gamma to the Alpha male. "Bootlicker" is my direct challenge to the notion of 'women supporting other women,' and the falsehoods and unrealistic expectations that comes with a statement like that." "I wrote the song to be played in two different arrangement styles, the first half being slow and haunting and the second going balls-to-the-wall rage. I was re exploring a lot industrial/proto industrial music I had listened to as a teenager in the 90s and used some elements of synth/drum machine sounds to convey all that anger, panic and darkness." // "Well, why not do a cover of your influences as a B- side? I was obsessed w/ the Ministry album 'With Sympathy' when writing tracks for my upcoming album. It is the record Al Jourgenson has stated multiple times that he's ashamed of most, which is saying a lot considering this man's autobiography. I teamed up with my friend Heather Elle of Flossing, formerly of post punk bands Bodega and The Wants for this collaboration. It's my first official recorded track where I'm playing guitar, so as the saying goes, it's never too late to pick up a new instrument and get totally lost in it."

    TRACK LISTING

    A1. Bootlickers Of The Patriarchy
    B1. I'm Not An Effigy

    J Spaceman & Kid Millions

    Live At Le Poisson Rouge

      THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      RSD 2014: "On September 11, 2013, J. Spaceman (Jason Pierce of Spiritualized and Spacemen 3) and Kid Millions (Oneida, Man Forever, People of the North) took a night off of their US tour with Spiritualized to perform an improvised set at (Le) Poisson Rouge, in Greenwich Village. Northern Spy was there to document the show.

      The resulting 12"" LP comes with an accompanying 7"" and will be limited to 3000 copies worldwide, released for Record Store Day 2014 (April 19).

      Throughout their respective careers, both Spaceman and Millions have navigated the various sub-genres that fall within the rock and experimental labels, and, on this album, we find the two artists exploring elements of their counterparts prior work in a fresh and unique way. Spaceman uses Millions' free style of drumming as a cue to eschew the pop melodies and structures he worked with on his last release, 2012's, Sweet Heart, Sweet Light.The record's first side - titled ""Misha"" - features 24-minutes of Spaceman’s minimal guitar and piano parts along with Millions’ eclectic, yet subtle drumming. The pairing of these elements yields a dreamy and celestial atmosphere that could compare with anything from Spaceman’s famously mind-altering catalog. Side two of the 12"" - titled ""Han"" - focuses more on the chaotic nature of the two musicians’ past. Spaceman makes use of his distortion, tremolo and wah-wah pedals, while Millions goes into full freakout mode on the drums, never allowing the audience to fully lock into a groove. The duo steadily builds and eases tension, keeping the listener fully engaged over the track’s 21-and-a-half minute runtime. As mentioned before, accompanying the LP will be a 7"" featuring two cuts - ""New York"" and ""London"" - that showcase Spaceman's more rock inspired noise stylings and Millions' absolute disregard for consistency and predictability.

      Neptune

      Msg Rcvd

        On 'Msg Rcvd', Neptune employ an array of new techniques and methodologies to explore indeterminacy and difficult phenomena such as feedback. Moving away from guitar feedback, this record features amplified drum feedback as well as the introduction of two new ‘feedback-organ’ machines. Developing their career-long interest in arranging and deploying found sounds, Neptune continues to use their sonically peculiar guitars built from pieces of found metal, but add to this new devices to pick and arrange sound out of the air: interrupted radio broadcasts. On msg rcvd the listener becomes eerily aware that trash is not just the junk on the street and in alleys, but it is also the invisible radiation that surrounds us and permeates us, and, in an expanded sense, the very material of which our bodies and experiences are made. One man’s trash, another man’s Neptune.

        “Amazingly, the band constructs their instruments out of circular saw blades, bike parts, gas tanks and miscellaneous scrap metal found in the trash. But make no mistake, Neptune isn’t aping past metal bangers like Test Dept and E. Neubauten. At times the group rocks hard, creating disciplined almost danceable grooves, combining This Heat’s ascetic experimentalism with Cop Shoot Cop’s percussive wallop. Homemade electronics flesh out the sound, ricocheting off complex rhythms, adding texture and dynamics to Neptune’s singular, highly musical approach.” – Paul Lemos, The Big Takeover.


        'Honky Tonk Medusa' is Donovan Quinn’s first album that he’s both recorded and produced since the Skygreen Leopards’ adventurous 'Life & Love in Sparrow’s Meadow'. Along with Quinn’s work on vocals, guitar and synth, the album also employs San Francisco musician’s Jason Quever (Papercuts), Michael Tapscott (Odawas), along with his regular rhythm section of Nick Marcantonio and Michael Carreira. Working in reverse order to many current acts, the sound of 'Honky Tonk Medusa' is molded to each individual song; letting the lyrics and spirit of the song dictate the instrumentation and style with the lyrical narrative tying it all together.

        The story of the album is one of decaying American cities, Internet age entropy, and equal parts romance and loneliness. In addition to the music the album features artwork by San Francisco artist Joe Roberts and liner notes by Elisa Ambrogio (Magik Markers, 200 Years) & Ben Chasney (Six Organs of Admittance).


        Long time collaborators Tom Carter & Marc Orleans have formed a new project, Eleven Twenty-Nine, and signed to Brooklyn’s fastest growing indie, Northern-Spy Records. Taking the name from blues parlance for a year long prison term, their first, self-titled release lays down a devilish pact of pulsating, impressionistic sound keeping one foot solidly in the soul and depth of blues while the other is planted firmly in an enigmatic free improv rock.

        Tom Carter has been a blues-damaged guitarist of extraordinary magnitude and magnanimous extremes. In addition to his solo work and Eleven Twenty-Nine, Carter remains an active co-creator of the Texas homebrew psych pioneers Charalambides and curator of his own label, Wholly-Other.

        Free-form psych veteran Marc Orleans has been the secret weapon behind some of the heaviest mumbo jumbo and dusted American cosmic-craziness to come out in the last decade and a half. Marc pioneered his twisted lines with Juneau, Enos Slaughter and the Sunburned Hand of the Man back at the end of the 20th century. Now, residing in Brooklyn, he plays steel guitar ninety hours a week. As well as with Eleven Twenty-Nine, Marc is an active member of the Acid Twangers, D. Charles Speer and the Helix and has appeared on N-Spy’s Colin Langenus’s latest record as well as Steve Gunn’s Borum Palace. He also just finished steel guitar work on Meg Baird’s upcoming Drag City release.


        TRACK LISTING

        1. Eyes Of Jewels
        2. Mirrored Bodies
        3. Leaf In A Whirlwind
        4. Eyes On A Cabbage Head
        5. Wake Up Crazy
        6. Let The Good Work Go On


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