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Camila Fuchs follow up their superb 2016 outing 'Singing From Fixed Rung', with 'Heart pressed Between Stones' their debut release for the legendary ATP recordings. Seemingly more focused upon De Laborde's hypnotic echoing vocals from the outset, 'One On One' is almost a ritualistic chant, heard from a clearing deep in the woodland, soaring atop a solid bedrock of shadowy beats and sidechained synth throbs. 

'Heatwave (Coming Towards You)' keeps things reasonably minimal in comparison, brilliant driving but with the flickering delay and filter-swept synth pulses gradually growing into a euphoric fuzzy stasis before vapourising into the ether. 

On the reverse, 'Direct Truth' floats in a dreamlike reverie washing a softly sung melodic structure in a warm bath of flanger and phasers, twisting the contruct into a warped version of itself and turing the chord shifts into hallucinogenic washes of light and torn lacerations of dark, while 'Battlefield' and 'For All Stable Appearances, He Was Wild' perfectly illustrate the artists ability to for a cohesive musical conclusion to the climactic legacy they've forged in the preceeding pieces. Brilliantly closing off a conceptually perfect sextology, each additioin as balanced as they are necessary. 

FORMAT INFORMATION

Coloured LP Info: Limited red vinyl.

Confined in an expansive country villa, the group soon found the breathtaking beauty of the area little compensation for the almost complete lack of wheat-and/or gluten-free products and a severely limited selection of DVDs. Only able to record in scant free hours, the group often had no choice but to forgo their simple daily routines of sampling local gastronomic delicacies and honing their horse-riding skills in order to complete the album.

In spite of these obstacles, the ever-adventurous Vision Fortune have created their most sonically inventive work to date - sparse, yet incredibly detailed and precise - the percussion on 'Dry Mouth' was created solely from the sound of silverware chiming against fine china bowls of foie gras d'oie. 'Broken Teeth''s crooning vocals and amaretto-smooth bass lines, meanwhile, are juxtaposed with lyrical content concerning the difficulties of pursuing legal action against large commercial airlines, and the conflicting emotions that arise when presented with extreme financial comfort.

Given the difficulties Vision Fortune faced in the creation of Country Music, it is perhaps unsurprising that the album is both challenging, and rewarding, in equal measure.


“London electronica trio Eaux sound like Fuck Buttons on a comedown: all glacially moving synths and snowdrift vocals.” Q – '5 Songs You Must Hear'

When Ben Crook - one third of spectral electronic trio Eaux - describes his group's songs as "never finished, just abandoned" he's describing a creative process that burrows its way down and down until each track has to be wrenched away from their originator's hands, given the sheer amount of avenues that the three-piece manage to open up during conception. However Eaux's debut LP Plastics, out on ATP Recordings, also has the feel of abandonment to it, in the sense that to listen to it is to come across some long-lost gem, an unknown discovery amidst a box of records, an electronic album where influences past and present cancel each other out in stasis to create an album that exists in a timeless era.

Formed in London in early 2012, Crook, alongside Sian Ahern and Stephen Warrington, centre their foreboding towers of shadowed sound around the hypnotic release and repetition of techno; however, although Plastics does display minimalist tendencies, the group never allow their rhythmic patterns to become static, a heavily analogue approach to everything they do putting a very human face to this machine-made music.

Much of Plastics has evolved from live jams, the group holing themselves up in a personal rehearsal and studio space so that ideas form and bounce off each other. Having all come from more orthodox band set-ups, they found a freedom in experimenting with comparatively unfamiliar electronic technology, their limited knowledge of their tools meaning they could approach them with very little baggage. Ahern's vocal is another key element to the group's sound, offering a softer-edged, higher range than much of the simmering murmurs and oscillations rising and falling below her. Though aerial, sweeping through the likes of the Broadcast-esque ‘Movers and Shakers' and flowering above the pulsating after-dark drone disco of ‘Peace Makes Plenty', her voice largely works as another layer amidst what's a darkened but rich tapestry, an ethos of equality driving the group, all roles on a level with each other.

So it is that Eaux's music feels like it's trying to reach out from that clutter and acceleration of technology, tracks like ‘Evoke' pushing hard to find space away from their synthetic frequencies. Plastics, like its name suggests, is a collection of moulded, shaped forms; the result of collective electrical process. It's an album that takes in the bigger picture, with each component unable to do without any of the others.

The band of brothers known far and wide as Sleepy Sun don't sit still for long. Though they remain real and spiritual citizens of the Northern California hive that birthed the band in the latter half of the last decade, Sleepy Sun is a rambling band- a certifiably vagabond unit that built a reputation among American and European audiences as fine-tuned, ironclad locomotive and candy sweet heavy pop machine. Barnstorming the Great Plains....stealing afternoons from the unsuspecting on the European festival- go-round...hooking the uninitiated opening for the Arctic Monkeys, Black Angels, and Low Anthem, they've done yeoman's work, sparked the party, and made the music sound young again.

Sleepy Sun's miles, months, and days in the van are a tangible presence in Spine Hits, an LP of whimsy, restlessness, and urgency that leaps nimbly from landscape to landscape with ease, irreverence, and a catch-em-before-they-ain't changeling nature. For the most part, the sprawling Zeppelin-esque epics that defined much of Embrace and Fever have been traded in for a potent pop-compact framework. But never at the expense of the dodging, juking, and downshifting instincts that set their older long form pieces apart from a thousand other psychedelic drone warriors.

Recorded under the big skies of the California high desert with Queens of Stone Age and Eagles of Death Metal alumnus Dave Catching, the jams on Spine Hits are alternatingly precision whittled and moodily muscular. Matt Holliman and Evan Reiss' guitars adroitly move from steamroller heavy to beachside airy and bouncing to interstellar- tinkering with texture and dynamics like never before. Vocalist Bret Constantino sings with a road-toughened, husky soul yowl and hush that occasionally betrays a society-weary frustration but more often hints at a way out. The rhythm section of drummer Brian Tice and Jack Allen is a super - cohesive, tricky, and tough-as-hell unit that keeps the Sleepy train on track as it teeters, creeps and runs wild across the land.

To any seasoned Sleepy Sun listener the new destinations will be surprises and revelations. "V.O.G." hints at a backstage conspiracy hatched on the Arctic Monkeys tour - buoyant and tight as a wire. "Boat Trip" moseys with a Lou Reed offhandedness - a postcard from Brian Wilson's forgotten vacation with the Velvets. "Still Breathing" is an elegiac nod to the band's early alignment with the Verve's dreamworlds.


STAFF COMMENTS

Darryl says: Sleepy Sun return with an album that struts along the indie-psyche-rock sidewalk. From the heavier sun-bleached guitar onslaughts to their more mellow moments the pace is wonderfully languid, all topped off with vocalist's Bret Constantino's soulful howl.

Dave Mies and Aaron Mullan have been pals since junior high school. Starting in 1990, they literally taught each other how to play guitar, wood-shedding shoulder to shoulder. The first complete tune they could ever play start to finish was the Circle Jerks’ 'Beat Me Senseless'; soon afterward they took on Mississippi John Hurt's 'Payday'. Today they continue to refine a creole guitar language that is pretty much a two-man weave between those same disparate destinations.

After high school, the boys went in different directions for a while. Aaron was an early collaborator of freeform drum hero Chris Corsano; Dave fronted Baltimore band Blue Condors backed by Emo legends Colin Seven (Universal Order of Armeggedon) and Monica DiGialleonardo (Moss Icon). The ‘Firs reconnected in NYC in late 2001, where they recorded their self-titled debut. Released on Thurston Moore's Ecstatic Peace!, ‘Tall Firs’ was a country-smeared and stripped-down work of song writing and atmosphere that fit in somewhere between the grungy nineties and the dust bowl of the nineteen thirties. The album that followed, 'To Old To die Young' included the addition of Ryan Sawyer on the drum stool, and produced the decidedly more rock-o'-clock feel of a fully electric outfit.

In 2009 Tall Firs fell in love with another band and spent the year on a resulting collaboration called Glass Rock. The band then took most of 2010 off, while Aaron toured playing bass in Hallogallo with Michael Rother and Steve Shelley. They got back down to business in early 2011 to complete a new LP titled 'Out of It and Into it'

For ‘Out of It and Into It’ the fellas go back to their guitar duo origins. It’s sort of like if country blues never detoured through Chicago on its way to Electric Avenue, or like two people playing Gamelan melodies on the same piano whilst narrating the end of the world in loose harmony. This one calls back to the desolate spaces and warm places introduced on their first disc, while capturing a spirit of adventure and brutal honesty not seen from these guys to date.

Over the past 10 years the Firs have shared stages with Thurston Moore, Silver Apples, Jeff Mangum, Shellac, Awesome Color, Emily Haines, Sonic Youth, Stephen Malkmus and The Jicks, Magic Markers, Kurt Vile, Celebration and a host of others


Deerhoof

Super Duper Rescue Heads

First single from forthcoming album "Deerhoof vs. Evi.l".

Includes brand new b-side "Hitchcock" and also previously unreleased live version of "Rainbow Silhouette Of The Milky Rain" from the album "Milk Man".

'Good and bad title, made up by Greg Saunier. I love this song! Rave pop rock! Reminds me of 80s neo romantic music ... 'Me to the rescue!' I am gonna come to rescue you! 'You to the rescue!' Please rescue your friends who are lonely.” - Satomi on ‘Super Duper Rescue Heads !’

Having formed in 1994, Deerhoof is now that fateful age and by rites it's the band's turn to go out and challenge the world. The same way a rebellious adolescent turns tough and irrational, Greg Saunier, Ed Rodriguez, John Dieterich, and Satomi Matsuzaki just up and split from San Francisco, the only home they've ever known as a band, and left behind all notions of what a "Deerhoof record sounds like." The result is Deerhoof vs. Evil (the band’s 11th album!). The musical equivalent of hormones raging out of control, it explodes out of the speakers with its gawky triumph and inflamed sentimentality. These are songs that practically demand that you dance and sing along (however elastic the rhythms, or abrupt the melodies). Right from “Qui Dorm, Només Somia” (sung in Catalan), it's evident that Deerhoof aren't afraid to take chances (critics be damned).

Ironically the result is polished, blissfully exuberant, and huge-sounding. Going DIY meant freedom to reinvent themselves, playing each others' instruments, altering those instruments so drastically as to be unrecognisable, (those aren't Joanna Newsom or Konono No. 1 samples, those are John and Ed's guitars), and generally splashing their sonic colours into the most unexpected combinations.

STAFF COMMENTS

Andy says: Playful, crazy, clever, cute pop, and with a top message as well. Excellent.

FORMAT INFORMATION

Ltd 7" Info: 7” vinyl picture limited to 500 copies for Europe.

'...stunning opener "Marina", a mix of twin guitar fuzz, ghostly folk melody and bravura Afro-Latin breakdown' - Uncut
'Although the album is full of brilliance, "Marina" stands headstrong above the others in terms of scope an grandeur' – Clash
''Marina' could be Hendrix tuning up for the star spangled banner before Rachel Fannan asks it to be floated down west of the lazy river in sweet and sexy folk tones.' - Subbacultcha.

"Marina" is the first single to be taken from Sleepy Sun's critically acclaimed album "Fever" released in May this year. (4/5 Mojo, 4/5 Uncut, 9/10 Clash). Sleepy Sun is a California band from many Californias. They hail from the rolling oak and sage hills of Sierra Gold Country, The San Francisco Peninsula, where Kesey raged and the Dead were once Warlocks, and the forever-sunshine climes of the Southland. They came together—young and garage strutting in the coastal Northern California crucible of Santa Cruz. And there they birthed the Sleepy sound—dead blues shaken alive, razor sharp and ramblin’, soul, sonic science and dead-on pop surgery. Wooden, earthy, stratospheric, and swinging…California music of beautiful contrasts for conflicted times.

A band working, and a working band—Sleepy Sun’s soaring and soul-stirring live shows are already mowing down audiences on both sides of the Atlantic. They’ve opened for Autolux and Mudhoney, rocked Primavera and Treasure Island, and relentlessly toured the capitals and humble hamlets of North America and Europe. And in their path, the converts are fast becoming legion.

FORMAT INFORMATION

Ltd 10" Info: 10" marbled coloured vinyl limited to 1000 copies Worldwide. JUST FOUND A COUPLE OF COPIES OF THIS!

Fursaxa is Tara Burke. Formerly a member of the Silbreeze band UN, Tara started her Fursaxa project in 1999 after UN disbanded. Since then Fursaxa has released six full length albums on the Acid Mothers Temple label, Ecstatic Peace, Time Lag, Eclipse, Last Visible Dog, and ATP. In addition there have been 3 self released CD-Rs and a CD on the her own Sylph recordings.

In the summer of 2008 Fursaxa started recording her seventh full length record "Mycorrhizae Realm" at Hexham Head studio in Philadelphia. This studio recording is a first, as all of the previous releases have been recorded at home on a four track. In addition to recording, Fursaxa has played live music at venues in the US, UK, and Europe, touring with Bardo Pond, Black Forest/Black Sea, Christina Carter, Jack Rose, Spires That in The Sunset Rise, and Black Bright Morning Light, to name a few. Espvall and Tara have a duo called Anahita, and Sharron Kraus and Tara have the duo Tau Emerald. And in September of 2006 Fursaxa became part of "The Valerie Project", which was a live soundtrack for the 1970 Czech film "Valerie and her Week of Wonders". Tara really enjoyed playing with these musicians and decided to engage Greg Weeks, Mary Lattimore, and Helena Espvall, all fellow Valerians, for her next album.

Greg recorded the album at his studio, Mary played harp on 4 songs and also co-wrote 2 of the songs, and Helena played cello on 3 songs. It is an
exercise in symbiosis.

Deerhoof follow up the hugely acclaimed "Friend Opportunity" album with their strongest album to date. "Offend Maggie" is loose, funky and deliciously rough around the edges. Indeed, if last year's "Friend Opportunity" was much of the world's first restless handshake with Deerhoof, "Offend Maggie" finds them inviting us into their basement with flashlights and showing us pictures of the ones they love. Ultimately Deerhoof is not about notes and rhythms, but about emotion. And while "Offend Maggie" sparkles with that inimitable something-or-other for which the band's become known, what this record wears on its sleeve so boldly and poignantly, is its stark humanness: of the characters in the lyrics, of the singer in front of the mic, of the band bashing it out in a room together. Fans around the globe who've seen how powerfully they play on stage will recognize the Deerhoof they hear on "Offend Maggie": all fingers and arms and throats and muscles, physical, at times beautiful, at times brutal. Another way of putting it is that Deerhoof sounds more like 'themselves' than they ever have.

FORMAT INFORMATION

CD Info: The CD comes with deluxe gatefold packaging with poster/lyric sheet.


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