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Frankie Cosmos

Next Thing

Greta Kline's musical output as Frankie Cosmos exemplifies the generation of musicians born out of online self-releasing. Kline initially built a reputation with her prolific catalog of bedroom recordings and as a performer and advocate of New York's All Ages DIY scene. The beauty in Kline's writing does not lie within immense statements and large gestures, but instead can be found in her ability to examine situations and relationships with heartbreaking sincerity.

In 2014 Kline released her first studio album, Zentropy. Within months of its release, Zentropy became one of the most critically acclaimed independent albums of the year and was named New York Magazine's #1 Pop album of 2014. In 2015 Kline signed to Bayonet Records, immediately releasing an EP where she experimented with writing in an electronic setting. The EP Fit Me In was well received and garnered a Best New Track from Pitchfork. Kline then began recording her next album appropriately titled, Next Thing. Like Zentropy, Kline approached Next Thing by fleshing out several old home recordings, and by writing half of the album from scratch. Next Thing explores new emotional and instrumental territory for Kline.

FORMAT INFORMATION

Coloured LP Info: Limited sky blue vinyl for Indie stores only.

Beach Fossils

Somersault

    As featured in the Piccadilly Records End Of Year Review 2017 Top 20 Albums. Comes with an EXCLUSIVE End Of Year CD sampler.
    Click HERE for more info.


    The album features guest vocals by Gavin Mays aka Cities Aviv and Rachel Goswell of legendary band Slowdive. Recorded at multiple studios across New York City, a cabin in upstate New York, and Los Angeles (including the home studio of Jonathan Rado of Foxygen.) Known for their energetic live show, the band have played notable festivals such as Primavera, FYF, SXSW and Bonnaroo.

    The long-awaited return of Brooklyn’s Beach Fossils, Somersault showcases a band in bloom. Charting into new musical territory with a refined song writing style, it's an album that captures flashes of life in New York grounded in personal experience.

    The band’s self-titled 2010 debut established a sound that was both minimal and enveloping. With Somersault, the group’s first release since 2013’s Clash the Truth, Beach Fossils have channelled years of experimentation into expansion and reinvention. Augmented with more complex instrumentation, including string arrangements, piano, harpsichord, flute, and sax, the new songs offer multi-layered pop guided by sharp, poignant, and honest lyrics.

    As the band’s first release on Dustin Payseur’s new label Bayonet Records, which he co-owns with wife Kate Garcia—the group made the most of their newfound independence, investing ample time in expanding its range both musically and lyrically. While Payseur handled the bulk of the song writing duties in the past, Somersault is a true collaboration between the founding member and bandmates, Jack Doyle Smith and Tommy Davidson. The new songs speak to a more fluid, eclectic sound, filled with lush compositions formed by studio experiments and sampling of the band’s own recordings.
    Orchestral pop gem “Saint Ivy” shines with plucked strings, buoyant basslines and a propulsive, wayward, guitar. “Tangerine," a driving, tightly wound melody, rushes forward and briefly leaves the ground due to the gossamer guest vocals of Slowdive’s Rachel Goswell. The effervescent “Rise," which hinges on the spoken word of Gavin Mays (Cities Aviv) discussing a failed relationship, hangs, like many recent breakups, in a sense of suspension. The cloudy, wistful “Social Jetlag,” bustling with samples of crowded streets, features the type of candid, off-the-cuff lyrics that make the entire effort immediately illuminating.

    Recorded at multiple studios across New York City, a cabin in upstate New York, and even Los Angeles (including the home studio of Jonathan Rado of Foxygen, who helped engineer part of the album), Somersault turns the newfound chemistry between the trio into a sonic tapestry. Due to the variety of sessions and recording locations, the album was a Frankenstein-like series of reworking and reimagining songs. As the group pieced together different parts in a cycle of creation and cooption, and built out more elaborate songs track by track, the process became more reminiscent of a record created via sampling and arranging than one built by simply grinding out riffs. The long-simmering album, filled with breezy music both melancholic and uplifting, sees the band channeling their voices and honing their craft. Flowing between shimmering compositions and immersive soundscapes, Somersault evokes the laid-back mood of a warm, breezy city night, the air crackling with humidity and excitement. These songs pulse and pull, capturing a blend of promise and heartache. It’s beautiful and layered, a refined, sweeping creation that threads together numerous styles, textures, and themes into a refreshing, singular vision.

    STAFF COMMENTS

    Mine says: Worried I wouldn't be able to do it justice with my review, I was trying to come up with an all-encompassing adjective that best describes this jewel of an album and all I could think of was: 'nice'. Yes. Nice. Sounds boring? Let me elaborate. ‘Somersault’ is the first album Dustin Payseur's Beach Fossils recorded in 4 years and while they haven't exactly reinvented their sound, ‘Somersault’ sees them digress slightly from their lo-fi bedroom jangles to hook-laden and captivating baroque inspired pop. Jazz flutes, harpsichords and strings make regular appearances and even a sampled hip hop beat is cleverly introduced without distracting from what essentially is a jangly guitar pop album. Melancholy yet uplifting, dreamy yet catchy, nostalgic yet inspiring, the summery ‘Somersault’ will still be on heavy rotation come rain and snow and it might possibly be the nicest thing you will hear this year. Yes, I'm using the word nice again. Because sometimes nice is just what you need.

    FORMAT INFORMATION

    Coloured LP Info: Limited coloured vinyl.

    LP Info: Includes a free EOY 2017 CD sampler.

    CD Info: Includes a free EOY 2017 CD sampler.

    Warehouse is a five piece band from Atlanta, GA. The band formed while many of its members were attending school for various useless degrees. Taking inspiration from the 1980's Athens, GA scene (Pylon, R.E.M., The B-52's) and having a mutual taste for bands like Stereolab and Abstract Expressionist visual art, they quickly took on a post-punk style characterized by the spidery and interlocking guitar riffs of Alex Bailey and Ben Jackson, filled by the effortless drums of Doug Bleichner and the agile racing bass riffs of Josh Hughes. The full and textural sound provides a unique body for vocals, added by Elaine Edenfield, whose lyrics can be described as sidewinding and oblique, oscillating quickly between melodicism and contrary roughness, using vocals as more of a physical tool of expression than as a glossy harmony to the sound. Warehouse can be described as breathlessly fast-paced, conveying a deep sense of desired intensity and emotionality. Warehouse's first album Tesseract was self-released in 2014 and later re-released under Bayonet Records. Their new album super low is more concise continuation of Tesseract, while still carrying the prior album's organic and wildly sprawling nature. Largely written in a notorious punk house that was torn down to build a parking garage, the album was finished in a new environment: across from a food mart called super low. The title connotes stark change, but it also hints at the additional psychological undertones of the album's meaning, to move down into more darkly subconscious and deeply endogenous areas of yourself in order to work through them and out. Also contrastingly literal, it denotes Warehouse's self-evident, uncontrived and rough-around-the-edges nature. 

    Project of Stewart Bronaugh from Angel Olsen’s band. // ‘Shoo’ is the debut album from Lionlimb, the project of songwriter Stewart Bronaugh and drummer Joshua Jaeger. The record is a collection of songs Bronaugh wrote between 2012 and 2015 while living in Chicago, San Francisco, and Nashville. After returning from an Australian tour playing guitar and drums in Angel Olsen’s band, Lionlimb began recording ‘Shoo’ in 2015 with Robin Eaton. Bronaugh and Jaeger started by tracking live drums and piano, and then for weeks Bronaugh filled up reel after reel, layering compulsively over their recordings. In the spring, Bronaugh and Eaton began the task of peeling away the layers. The resulting sessions proved to be a departure from the duo’s previous recordings with a shift toward jazz, rock and soul with the addition of saxophone and Fender rhodes. The album’s influences can be traced back to Miles Davis’ ‘On the Corner’, Jack London, Schumann, Elliott Smith, and Jackson Pollock. 


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