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ASTHMATIC KITTY

Sufjan Stevens & Timo Andres

The Decalogue

    Oscar- and Grammy-nominated composer, vocalist and multi-instrumentalist Sufjan Stevens releases his acclaimed score for Justin Peck’s ballet The Decalogue via his own label, AKR. Performed by the pianist Timo Andres, the recording is the first time the score, premiered during the New York City Ballet’s 2017 season, is available to the public. 

    The Decalogue is the third collaboration between NYCB Resident Choreographer Peck and Stevens, following 2012’s Year of the Rabbit and 2014’s Everywhere We Go. The piece was widely praised upon its premiere; The New York Times lauded the “beauty and charm” of Peck’s choreography as well as Stevens’ “romantically modernist études.”

    Brooklyn-based composer-pianist Timo Andres is a Nonesuch Records artist, who has written major works for the Boston Symphony, Carnegie Hall, the Barbican, the Takács Quartet, the Concertgebouw, and elsewhere. He performs regularly with Gabriel Kahane, and has frequently appeared with Philip Glass, Becca Stevens, Nadia Sirota, the Kronos Quartet, John Adams, Ted Hearne, and others. As a pianist, Timo has performed at Lincoln Center, for the New York Philharmonic, the LA Phil, at Wigmore Hall, for San Francisco Performances, and at (le) Poisson Rouge. Upcoming highlights include a curated program for the Cincinnati Symphony (featuring Dance Heginbotham and a performance of Andres’s cello concerto, Upstate Obscura), and a solo piano recital for Carnegie Hall. Previous work with Sufjan Stevens includes the orchestration of “Principia” for Justin Peck and the New York City Ballet.

    A singer-songwriter currently living in New York, Sufjan Stevens’ preoccupation with epic concepts has motivated two state records (Michigan and Illinois), a collection of sacred and biblical songs (Seven Swans), an electronic album for the animals of the Chinese zodiac (Enjoy Your Rabbit), an expansive EP in homage to the Apocalypse (All Delighted People), a full length partly inspired by the outsider artist Royal Robertson (The Age of Adz) and two Christmas box sets (Songs for Christmas, vol. 1-5 and Silver & Gold, vol. 6-10). BAM has commissioned two works from Stevens, a programmatic tone poem for the Brooklyn-Queens Expressway (The BQE) and an instrumental accompaniment to slow-motion rodeo footage (Round-Up). Stevens’ Planetarium, a collaborative album with Nico Muhly, Bryce Dessner and James McAlister imbued with themes of the cosmos, was released in 2017 to widespread critical praise.

    2015’s highly acclaimed Carrie & Lowell explored his relationship with his mother in the wake of her death; a companion collection of outtakes, remixes and demos, The Greatest Gift Mixtape, was released in 2017. The songs “Love Yourself” and “With My Whole Heart” were released in 2018 in celebration of Pride Month, with a portion of the proceeds benefitting the Ali Forney Center in Harlem, NY and the Ruth Ellis Center in Detroit, MI. Stevens also contributed three much-lauded songs to Luca Guadagnino’s critically acclaimed film Call Me By Your Name, including the Oscar-nominated “Mystery of Love.”

    Angelo De Augustine

    Tomb

      A quiet heartache threads through Tomb. It’s a universal feeling, the kind that piles up over the years and yearns for resolution. The 12 songs came together quickly, out of necessity following his first true heartbreak around Christmas 2017 -- and while Tomb was born from this breakup, the album expanded to explore years of loss and disappointment. Throughout, De Augustine sings of his first love (“Tomb”), attempts to reconcile possible past mistakes (“You Needed Love, I Needed You”), and reckoning with how personal and familial history impacts present and future relationships (“Kaitlin,” “Bird Has Flown”). Like the best albums about heartbreak, Tomb transforms pain into beauty. “This album is at its core a prayer for hope and clarity, and a prayer for love,” he says.

      Ultimately Tomb reflects a beginning for De Augustine -- both emotionally and in his career. It’s a motion towards positivity, addressing lost love, the worthwhile cost of honesty, and the ramifications of regret. In the end, Tomb isn’t about burying or hiding something away, it’s about opening the seal and letting something new emerge. The album’s title reveals these sentiments: “Throughout our lives we bury many dead things in our hearts and minds,” he says. “There they go to rest and hopefully are reborn as something beautiful for the world to behold.”



      Sufjan Stevens

      Tonya Harding

        This 7” / cassette (both available to independent retailers) features two variations of ‘Tonya Harding’, a song by Sufjan Stevens celebrating the career and person of Tonya Harding, the Olympic figure skater from Portland Oregon.

        The 7” is pressed on marbled blue vinyl and includes a digital download code.

        “Sufjan Stevens is one of the most prolific and absolutely gifted American songwriters of the 21st century.” - NPR

        “Stevens remains at the height of his powers - capable of work as individual, compassionate and powerful as any American composer working today.” - The Washington

        Carrie & Lowell, the new album from Sufjan Stevens, is released on Stevens’ own Asthmatic Kitty Records. 

        The album - named for Stevens’ mother and stepfather - is a return to Stevens’ folk roots. Thematically the 11 songs address life and death, love and loss, and the artist’s struggle to make sense of the beauty and ugliness of love.

        Carrie & Lowell was recorded by Stevens alongside Casey Foubert, Laura Veirs, Nedelle Torrisi, Sean Carey, Ben Lester and Thomas Bartlett and mixed by Stevens, Bartlett and Pat Dillet.

        A year (to the day) after their sumptuous debut album, Lily & Madeleine return with beautiful second album ‘Fume’.

        From the beginning, the calling card has been the breathtaking union of their voices and fans of the debut will not be disappointed.

        The sound has evolved - the scope has broadened. Expansive, multi-layered instrumentation - like the sun slanting through a window in a Vermeer painting, it’s an experience that captures the subtleties of both shadow and light.

        FORMAT INFORMATION

        Ltd LP Info: Pop bottle green coloured vinyl edition exclusively
        available to independent retailers. Limited to 150
        copies for the UK and Eire.

        Ltd LP includes MP3 Download Code.

        The wind blows hard. We need songs for shelter and Raymond Raposa can build a shelter from almost anything: the sun-bleached bones of a drum track and a couple of spare organ chords; a carpet of creeping synth arpeggios, a scaffolding of multi-tracked harmonies, a few scraps of alto sax to prop up the whole structure. ‘Decimation Blues’, Raymond Raposa’s sixth release as Castanets, marks a decade of scavenger architecture.

        ‘Decimation Blues’ sees Raposa stepping out in front of the hermetic persona he’s crafted over ten years. There have always been shards of pop songs glinting in the dark corners of Castanets records. Here we get whole gleaming edifices.

        ‘Decimation Blues’ is the music of a man who’s learned to live and build among the wreckage - twelve seemingly offhand, secretly meticulous tracks that we can hunker down in. “Still always good to be alone in someone else’s home,” Raposa sings. Come in out of the rain, put your shoes by the fire. The walls might shake and the wind might howl but you’ll be safe here a while.

        Mozart’s Sister - the solo project of Montreal’s Caila Thompson-Hannant she started back in early 2011 - delights in making glittering, celebratory pop with an underlying strain of brittle, claustrophobic energy. By marrying the accessible with the decidedly off-kilter, she displays a similar vigor and charisma to female contemporaries Grimes and tUnE-yArDs, both of whom too learned their trade among the same fertile hometown scene as her.

        Since attracting a ton of buzz for her entrancing live shows and for first EP ‘Hello’, Mozart’s Sister has been head-down in her bedroom writing her debut album. For anyone who’s been following her work - and for new listeners - ‘Being’ is Mozart’s Sister expressing macrocosmic ideas about life with panache and abundant hooks.

        Inspired by ‘Discovery’-era Daft Punk, ‘Post’-era Bjork, and Betty Davis, Caila produced, recorded and wrote the album using a cheap soundcard and Ableton software, approaching it with a do-it-all-by-myself ideology.

        Being is fundamentally a pop record. If you’re looking to catalogue her music more than that, you’re going to have a hard time; Caila describes Being as an intentionally fractured album. “It was far reaching. Things didn’t always connect, but that was part of the whole idea,” she says. Which is representative of the best music, and maybe the best of life: looking for order in chaos, not always finding it, and living with whatever happens next.

        Half-handed Cloud’s ‘Flying Scroll Flight Control’ presents Dada interior-architectural songs, in the mode of Kurt Schwitters’ ‘Merzbau’, the sound of Robert Rauschenberg’s cardboard combines, interrupted by Futurist noise intoner music of collision. They’re integrated with the radiant flicker of Stan Brakhage’s domestic / personal 1960s art films, the mechanized music of Conlon Nancarrow, Mister Rogers’ avant-garde children’s operas and the methods of Grunge era hometaping alchemists Eric’s Trip, with scriptures giving voice to the unknown.

        The album features a 5-person female choir, manipulated recording tape, fuzz bass, clarinet, some piano, a child’s Magnus air organ, rhythmic zipper, trombone, a cushioned Stylophone stick and intermittent backpacker guitar.

        Mixed by Sufjan Stevens.

        Mastered by John Dieterich (from Deerhoof).

        “Sometimes, the songs have an appeal reminiscent of a hypercaffeinated Shins, with the addition of a refined sense of quirkiness that evokes a Mark Mothersbaugh score for a Wes Anderson movie.” - Pitchfork

        “The usual intricate assortment of horns, pianos and marimbas return to fill out the sonic tableau but the synthesized textures push Ringhofer toward a delightfully idiosyncratic white-boy soul aesthetic.” - Paste Magazine

        FORMAT INFORMATION

        LP includes MP3 Download Code.

        This Indiana duo, just 16 and 18 years old, sing with a spare, breathtaking elegance. Lily and Madeleine can sing powerfully, but you will find no show-off pyrotechnics here. They are not afraid of fragility or vulnerability.

        In their home country they have had huge coverage, including features on Morning TV, NPR, NY Times, Vogue and American Songwriter, amongst many others.

        “A small miracle” - Uncut

        ‘Psychic Temple II’ is a labour of love envisioned by Chris Schlarb to bring his most far-ranging inspirations to life - as he puts it, “a dream ensemble that could never actually exist”.

        The ensemble’s sophomore release was painstakingly constructed over more than a year with the cooperation of some of the most progressive musical minds from a staggering variety of genres.

        ‘Psychic Temple II’ reaches beyond the long-form experiments of its predecessor for a more tightly focused yet conceptually unrestrained approach.

        Schlarb also includes three cover songs by composers who share his boundary-demolishing mindset: Joe Jackson’s ‘Steppin’ Out’, Frank Zappa’s ‘Sofa No. 2’ and Brian Wilson’s ‘Til I Die’, a gorgeous, lesser-known Beach Boys song that features vocals by Sufjan Stevens, Ray Raposa (Castanets) and Nedelle Torrisi.

        Fol Chen make the soundtrack to a future that never was. To listen is to leave the comfort of nostalgia and land with both feet in a more bold 21st century.

        ‘The False Alarms’ continues the band’s electropop odyssey, now with a honed character and a more distinct palette of sounds.

        Fol Chen have also traded their cloak of anonymity for defiant confidence, featuring Sinosa Loa as their new front voice.

        Helado Negro

        Invisible Life

        Press play on ‘Invisible Life’ and you lose your season. Roberto Lange - Helado Negro - is talking to you in Spanish. He’s talking to you, perhaps with more volume, in the language he’s been teaching us all over the past three years through the lessons of the seductive full length ‘Canta Lechuza’, the sub-narrative exploration EP ‘Island Universe Story One’, and the all-in collaboration, ‘OMBRE’, with Juliana Barwick.

        Jon Philpot, The Bear In Heaven frontman, is one of a few key contributions on the album, including more old friends like Eduardo Alonso (Feathers) and Matt Crum (Lange’s longtime bandmate in ROM), as well as kindred and vast spirit Devendra Banhart. Banhart’s guitar on ‘Arboles’ multiplies the whispered dream of Helado Negro into Technicolor parallel existences.

        A supercombo team-up between Simon Lord (ex Simian) and Rafter Roberts, the Roberts & Lord duo present their Asthmatic Kitty debut, ‘Eponymous’.

        Roberts’ rough and grimy (yet complexly arranged) analog backing tracks paired with Lord's clean, digitally-recorded vocals gives these songs a tricky kind of depth that is immediately engaging. This effortless juxtaposition reigns throughout the album.

        Influenced by nonsense verse poets like Ivor Cutler and Edward Lear, Lord gives us a simple, light-hearted return to innocence, the sweaty exuberance of a dance party with all your friends around you.

        Helado Negro is Roberto Carlos Lange, sometime collaborator of Scott Herren in Savath & Savalas and occasional conspirator with Jaytram of Yeasayer.

        Whilst his last full length, ‘Awe Owe’, was a Funkadelican mega-opus, this is a more personal beast, a solo affair built lovingly from live instruments, percussion, and field recordings, all processed through electronics, computers, and synthesizers. It is an album with very defined songs, its song-structure has been laboured over; choruses count bigtime, confident breakdowns and digi-pop bridges are all part and parcel of the greater good.

        His voice recalls ‘China Girl’-era David Bowie; a relaxed and tropical Peter Gabriel (or even Peter Murphy).

        Continuing Asthmatic Kitty's penchant for an extremely diverse roster - rather than follow down the more, shall we say, abstract or experimental paths that some other recent artists have, Stephens delivers a true song-writers record. This is a lazy afternoon of a release, with beautiful vocals and melodies delivered over calm and tender acoustic, slightly country tinged, slightly jazzy backdrops. Its appeal is broad and its influences are myriad.

        Sebastien Grainger & The Mountans

        Sebastien Grainger & The Mountans

        Best known for his contributions as singer and drummer for Canadian dance-punk duo Death from Above 1979, whose decadently catchy anthems took the world by storm, Sebastien Grainger is soon to be even better known to the world as a singer and songwriter who, as Pitchfork rightly reflected, 'is all about two things and two things only: the rock, and the roll'. Fans of his prior music will likely be surprised and delighted by his new direction - muscular and smart rock. Big chords, soaring choruses and a voice that portrays a man still climbing.

        Fol Chen

        Part 1: John Shade Your Fortune's Made

        Fol Chen sound like Prince with Amon Duul II and a children's religious revival, not to mention Hot Chip, Pink Floyd, Gwen Stefani, Pere Ubu, Danielson Famile, Scritti Politti, Boards of Canada, The Blow and Pulp. Fol Chen features Samuel Bing, guitarist for The Liars, and appearances from Karin Tatoyan, Rafter, members of Castanets and Liars. Two of their songs have been featured in the major motion picture 'Noah's Arc: Jumping the Broom'. Fol Chen will also soon be heard via their remixes of High Places, Frightened Rabbit and No Kids. Cryptic and Joyful and Asking you to Dance.

        Asthmatic Kitty Records presents "Achoo!" their second sampler of music released on the label – 27 tracks for the price of a CD single! Featuring songs from every artist on the label and spanning the entire breadth of the catalogue, this gives a concise and exciting introduction to one of the most interesting independent labels in operation today.

        Green Water - The Curtains
        Henney Buggy Band - Sufjan Stevens
        High Life - Shapes And Sizes
        Adventurers - Rafter
        Eyes Peeled - Half-Handed Cloud
        We Were Sparkling - My Brightest Diamond
        Sold To The Nice Rich Man - Welcome Wagon
        So Gentle Your Arms - Shannon Stephens
        Poison & Snakes - Liz Janes
        Strong Animal - Castanets
        Twilight And Ghost Stories (excerpt) - Chris Schlarb
        Year Of The Boar - Osso
        Encouragement - Rafter
        Say You Will - Cryptacize
        Future Past Perfect - Future Rapper
        Sampler Song - Rafter
        Sailing The Veil-Boat - Half-Handed Cloud
        Climbing Texas - Belltower
        Christmas In July - Sufjan Stevens
        Dancing With Someone (Privilege Of Everything) - Castanets
        A Feast - Royal City
        Goldenhead - Shapes And Sizes
        Yes/No - Bunky
        Quail - Half-Handed Cloud
        Careless Love - Liz Janes & Create
        Golden Star (Alias Remix) - My Brightest Diamond
        As You Do - Castanets

        Inspired by influences as diverse as Guided By Voices, R Stevie Moore, Fela Kuti, Lightning Bolt, Fushitsusha, Stevie Wonder, Paul Simon, and Cody Chestnutt, "Sex Death Cassette" is an album full of hope, determination and chaos. It'll leave you with sweat dripping down your face onto your swelled lip; fresh, liquid salt, the quintessential flavour of late night post-disco parties and booty slinging good times. After dancing to this album, you're heavy with it, like too much cough syrup on a stomach full of hi-quality sushi. Rafter executes the helter-skelter boogie-down production so gracefully that it is no mystery why those in-the-know recruit him, including the likes of Fiery Furnaces, The Rapture, Arab on Radar, The Album Leaf, Rocket from the Crypt, Danielson, Black Heart Procession, The Peppermints, Hot Snakes, his own band Bunky, and fellow Asthmatic Kitty artists (Castanets, Liz Janes, and Sufjan Stevens).

        Chris Schlarb

        Twilight & Ghost Stories

        Asthmatic Kitty Records presents "Twilight & Ghost Stories", the debut solo album from musician and producer Chris Schlarb. A work of personal identity and deep catharsis, "Twilight & Ghost Stories" is a dense 40-minute modern composition featuring a disparate cross-section of musicians from the avant-garde, independent folk, jazz and electronic communities. A creative and accomplished jazz guitarist, Chris Schlarb cut his teeth producing hip-hop tracks, teaching music workshops and co-founding the free music collective Create (!). In 2004 he collaborated with installation artists Megan and Murray McMillan, and with fine artist Tom Steck formed I Heart Lung, which Tiny Mix Tapes called 'some of the most energetic free-jazz to spit out of America'. Spanning all of these endeavors, "Twilight & Ghost Stories" finds Schlarb playing acoustic piano, organ, electric and acoustic guitar as well as tapes and percussion.

        An album based on a Hindu fable about being trapped in an escapable fate, with death and the limitations of our physical lives closing in from all corners. "In The Vines" was written in the aftermath of a mugging, which was the climax of a year of depression and nomadic, nocturnal dislocation. But "In The Vines" is not all peril and darkness; the songs are sung with such intimacy and earnestness that it sways somewhere between the serpent, elephant, bees and rats, the honey representing a strange sense of hope and delight in the brief moments of beauty that sustain our lives. The record features guest appearances from Sufjan Stevens, Jana Hunter, Viking Moses and many others.

        Shapes And Sizes

        Split Lips Winning Hips A Shiner

        Shapes And Sizes return with their refined brand of experimental pop to create a cohesive, demanding and rewarding listen. Recorded with JC/DC Studios (Destroyer, New Pornographers) and mixed with Asthmatic Kitty's own Rafter Roberts (Fiery Furnaces, The Rapture) to forge a pristine decomposition. Don't turn it down – the overdrive provides the framework for equally aggressive lyrics that combine sensuality, violence and social critique. For fans of Fiery Furnaces, Deerhoof and Animal Collective.

        Sufjan's homage to his home state is a beautiful mix of Stereolab meets Philip Glass meets indie-folk - a delicate vocal with intricate instrumentation. 

        Although he plays all the instruments on the album himself, he enlists the help of fellow Danielson Famile members  Megan, Elin, and Daniel Smith on vocal duties.


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