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BEYOND BEYOND IS BEYOND

Garcia Peoples

Nightcap At Wits' End

    The duality here runs deep: almost 50 minutes of intricately arranged composition and kinetic guitar chorales christened in tribute to both a familiar place of refuge and that ragged state of mind beyond all common sense, when you keep on going even after you’ve run out of rope and road.

    The music itself is a double image: one album-length side of songs that advance the crisp momentum and tangled jangle of early-2019’s Natural Facts; and a second half that extends the medley action on Cosmic Cash with the long reach of One Step Behind in a suite of dynamic writing and bonded, instrumental charge, connected by live-totape jams ‘ the band’s first time exercising that second-nature-on-stage in a studio.

    This album has arrived as if absolutely destined for right now. Raise a glass at your wit’s end, and let the music blow away the night.

    Kikagaku Moyo

    Forest Of Lost Children - Vinyl Reissue

      To anyone who has heard the music of Kikagaku Moyo, it should come as no surprise that the band’s origins lie in hours upon hours of late-night jamming, illuminated by nothing more than the geometric patterns playing behind the band’s eyelids, resulting in a natural, free-floating sound, as of-the-earth as it is intergalactic. It may be surprising that the band sharpened their improvisational skills by busking on the streets of their native Tokyo. It may be surprising that the band’s overall sound may owe as much or more to the Incredible String Band as it does to Acid Mother’s Temple.

      But what’s perhaps most surprising about Forest of Lost Children, the band’s face-melting, recorded-ritual sophomore album, is how utterly centered and mature the band sounds, especially given their relatively short lifespan as a band. Boundless though they may be, Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.

      Easily one of the most shimmering crown-jewels in the rapidly expanding BBiB catalog, look for Kikagaku Moyo and Forest of Lost Children to be found taking shape in the expanded minds of listeners everywhere. - Ryan Muldoon.


      FORMAT INFORMATION

      Coloured LP Info: Clear vinyl with black splatter.

      Wax Machine

      Earthsong Of Silence

        Brighton's Wax Machine are a band so steeped in the kernel of psychedelic seep that there's every indication they may have slipped through a side door in space-time and sprouted anew a few years back on the UK coast. On Earthsong of Silence, their eclecticism incorporates Spiritual Jazz, Krautrock, Tropicália and Library Music, borrowing from dreams and trances to give life to a psychedelic experience that feels hauntingly familiar, yet strikingly new. They pick up right where their last EP's title track, 'Mind Palace,' left them 'growing into the mossy eiderdown of the English countryside, delightfully dosed and drenched in the sun that filters through the trees. The flutes, wandering guitars, and jazz touches come rising through the mists with a guiding hand from Kikagaku Moyo's Go Kurasawa behind the boards. With Earthsong, they add a new dimension to their sound, further exploring both their English psych-folk roots and mining a deeper appreciation for a West Coast sound dipped in sun, peace and serenity. 

        FORMAT INFORMATION

        Coloured LP Info: Transparent gold vinyl.

        Elkhorn

        The Storm Sessions

          The Storm Sessions is the latest glowing proof that Elkhorn are one of the most durable and adventurous platforms of the new guitar age. Snowed in with their friend Turner Williams (Ramble Tamble, Guardian Alien) on the night of an emotionally important gig, the duo-plus-one turned it into a cathartic blizzard-bound collaboration and rumination -- and a new step for Elkhorn.

          A powerful turn outside the duo’s comfort zone, The Storm Sessions consists of two side-long improvisations by guitarists Jesse Sheppard (12-string acoustic) and Drew Gardner (6-string electric) along with Turner’s rare and lovely vibrations (electric bouzouki on one side, shahi baaja on the flip). No strangers to improvisation or collaboration, The Storm Sessions is their most spontaneous studio work yet, and perhaps their most beautifully flowing. Formed by old friends Jesse Sheppard and Drew Gardner in 2013 and naming themselves ‘Elkhorn’ the following year, it’s the pair’s telepathic bond that has made them so much more than two dudes with guitars.

          With Sheppard’s rigorous 12-string acting like a meditative rhythm section for Gardner’s textured flights, the duo’s third voice emerges into a space that often borders on soulful cosmic jazz. Committed collaborators and community organizers in their vibrational corner of the world, both members of the band are deep students of the music. In 2018, Sheppard organized The 1000 Incarnations of the Rose, an already historic three-day festival in Takoma Park, Maryland--John Fahey’s hometown--that showcased generations of wideeared guitarists. Ambassadors to an often-hidden creative lineage as well as an often-hidden network of modern players, Elkhorn have hewn to the most sage advice Timothy Leary ever proclaimed: Find the others. Mark Fosson (who played the 1000 Incarnations of the Rose) was one such Other, forming a crossgenerational bond with Sheppard. Scheduled to play a New York show with Elkhorn in late 2018, the 68-year-old Fosson fell ill and passed away.

          A rescheduled performance featuring Williams (another Other) turned into the extended session in Gardner’s home studio in Harlem. The Storm Sessions is filled with flickering textures that might create warmth on a cold day, or a bubble of human atmosphere inside a dreary dystopian vacuum, no matter the weather outside. Their sixth full-length in five years, Elkhorn are both well into their journey and have only just begun.

          FORMAT INFORMATION

          Coloured LP Info: Indies exclusive electric blue vinyl.

          One Eleven Heavy

          Desire Path

            One Eleven Heavy on this recording are Nick Mitchell Maiato, James Toth (Wooden Wand), Dan Brown (Royal Trux) and Hans Chew. Naming their band after a short story about a plane crash might have been a mistake. Because, for transatlantic, country-infused rockers One Eleven Heavy, it’s been two years of trials and near-death experiences. One Eleven Heavy is lucky to be alive.

            And you only need to listen to the music on this, their brilliant second album “Desire Path” to understand that’s how the band feels. Because it’s a wry, occasionally biting, but always joyful celebration of human endurance and the ability to overcome. The musicianship is a step up from their raggedy, but already accomplished, debut, too.

            The album is laced with lush three-part vocal harmonies and two-part harmonized guitar licks, recalling those classic Allman Bros runs at the same time as it brings to mind timeless classics by Hendrix, the Stones and, of course, the Dead. For One Eleven Heavy, being miraculous is a goal worth striving for. And the only route to it is by the “Desire Path.” Take it.

            Kendra Amalie

            Intuition

              A sweeping introduction to an artist deep into their practice, Kendra Amalie’s Intuition is a star map to a new and developing sound space. An exploratory and (sometimes) shredding finger-style 12-string guitarist (both acoustic and electric), band leader, synthesist, new media creator, and experimental producer, the Wisconsin-based musician is also a songwriter occupying an ethereal zone between galaxy-brain cosmic transmissions and deep, personal expression. There’s a concept and narrative arc to Intuition, too, the action moving from underwater locales to boat to city to global consciousness to farmland to the etheric plane and back to water. Shifting her music-making energies over the past several years, Intuition is the sound of a powerful new voice in focus. Intuition is a sound-based cross-section of a larger body of work. An arrival and a destination, Intuition is also surely a stopover, too. Meet Kendra Amalie.

              FORMAT INFORMATION

              Coloured LP Info: Indies exclusive transparent orange vinyl.

              Prana Crafter & Tarotplane

              Symbiose

                “Symbiose” is a split LP featuring two panoramic deep-field oozers that sustain interest, gently wandering the cosmos, through smoke rings and across star clusters, filling the space that stretches between Eastern and Western America and continuing the musical thread that connects modern American underground artists to the European birth of kosmic music. Like Popol Vuh and Ash Ra Tempel, “Symbiose” sinks its roots into the liminal landscape of the listeners neuro-hemispheres, creeping like black-light illuminated mycelium, passing through subterranean pathways of inner experience, emotion, and vision. Those who love modern acts like MV & EE and Ben Chasny will likely enjoy this album as much as European space rock and Pink Floyd aficionados, because this Symbiose is an interaction between two organisms to the advantage of all.

                ...and sometimes it just turns out that the newest members of the freak music family are a bunch of long-haired Japanese twenty-somethings playing Zappa-loving Canterbury-inspired blissed-out spiritual jazz rippers. If you had that on your predictions list, right on, youll be extra amped. But either way, meet De Lorians, Tokyos newest fire music exports, by way of their self-titled debut.

                Grown from the always-heady Tokyo music scene and led by Takefumi Ishida, playing sax and synth, all five De Lorians contribute material to what they call pataphysical music. Ranging in age from 22 to 27, the five De Lorians tap into a library of ideas from their precursors, less in retro-loving emulation than for alchemical strategy.

                The seven tracks here burst with overstuffed Weasels Ripped My Flesh-style action: bonkers horn arrangements, savage guitar solos, constant movement, through-composed sections, improv, surreality, and the occasional peaceful woodwind-dabbled valley. No singing, no poodle play, just constant surprises, rich vibes, and heavy fun. With the whole album packed into 32 zig-zagging minutes, its a compact and powerful first statement for a young band exploding with ideas, and with a lot more under the hood. At De Lorians monthly gigs, there are plenty of more surprises, too. Theres ample improvisation, of course, but some nights they disassemble the sections of their songs, piecing them into new suites that might run longer than the length of their studio debut. Think of this album, perhaps as their (temporarily) definitive ur-suite, a prog-fusion dream of inside-out rhythms and catchy af melodies. Recorded at the Tsubame Studio in Tokyo in September 2018, De Lorians is timeless high-energy unity and barely controlled propulsion, exploding soon from a portal near you.

                Prana Crafter

                Bodhi Cheetah's Choice

                  Prana Crafter’s Beyond Beyond is Beyond debut is an electric woods walk. “Bodhi Cheetahs Choice” rambles, soars and flows through a heavy fog of psychedelia.

                  The music of Prana Crafter is most easily tagged acid folk but such a reduction misses the electronic and avant influences, the boggy atmospheres and synthesized meditations. Like the forests that creator William Sol roams in rural Washington state, Prana Crafters music is both familiar and ever-changing. Without pledging devotion to any one, Sol invokes great spirits of the past with acoustic and electric guitars, synths, and hand drums. Not so much an album as it is a channeling, “Bodhi Cheetahs Choice” needs to be heard by the third ear

                  Dire Wolves

                  Grow Towards The Light

                    Jeffrey Alexander has always been into the cool, the weird, and the darkness. I consider him a kind of scholar of outsider and avant-garde music; over the years, hes run Secret Eye Records, been a member of Jackie O Motherfucker, Black Forest Black Sea, and managed to find a way to always remain genuinely excited about creating and performing music.

                    Recorded in Oakland, CA during a two day stretch, “Grow Towards the Light” is Dire Wolves 4th official full-length album (not including the fifteen or so minor releases, bootlegs, and tapes theyve put out over the years), and its the first without Lau Nau on main vocals. Taking over that role is the mystical Georgia Carbone, singing in her own invented language. Regarding the album title: you can really hear the sun pulsating through the space clouds, if you know what I mean. Jeffrey plays guitar and moog here, joined by Brian Lucas on bass, Sheila Bosco (from Faun Fables) on drums and piano, Arjun Mendiratta (Village of Spaces) on violin, and Taralie Peterson (Spires that in the Sunset Rise) on saxophone. Every Step Is Birth features a dark, plodding groove. It sounds like the soundtrack to a sinister after-party in a place you suspect might actually be purgatory.

                    Jeffrey tells me the album thematically tries to express the interconnectedness of all things, which makes perfect sense given even during some of the more unsettling jams and eerie melodies, this album always feels like a cohesive whole.Stylistically this is really a broad, painterly album that comes together in a beautiful, unexpected way. - Marissa Nadler, March 2019

                    STAFF COMMENTS

                    says: I was a big fan of JOMF back in the day, and have tried to see them play on more than one occasion (once at the Ruby Lounge, their visa got cancelled and support act, a little known collective called GNOD had to take the whole show on). This has the hazy, lysergic meandering that JOMF did so well but is a little bit more airy and ambient. Beautifully understated but undeniably engrossing.

                    FORMAT INFORMATION

                    LP includes MP3 Download Code.

                    Theres only confirmation an intoxicating combination of outlook and output that clarifies and crystallizes the bands many sonic strengths throughout the albums fantastically unfolding forty-plus minutes. From the beginning, with an appropriately Albert Ayler-ish blast of Awakening, to the epic 20-minute B-sidelong excursion, Note From the Underground, the beating heart of The Myrrors current statement. Borderlands will be extremely satisfying to otherworldly music seekers who find aural transcendence through the works of artists such as International Harvester, Taj Mahal Travellers, Trad Gras och Stenar, Kikagaku Moyo, Amon Duul, and Agitation Free, to name a few.

                    Hasta La Victoria comes just one year after Entranced Earth, and serves as its perfect companion piece. And yet, not a moment of the albums thirty-seven minutes ever feels even remotely rushed, or anything short of natural.

                    Indeed, in the best possible way, Hasta La Victoria sounds like The Myrrors couldnt be doing anything else. Perhaps its not the victory in the albums title that focuses the bands attention perhaps its the until. Throughout Hasta La Victoria, the band sounds utterly propelled by an invisible force, by the indelible impression that their actions as a band, as artists, as people have an impact, and that impact should continue until victory.

                    Be here now or be here later, theres little doubt that The Myrrors will be continuing to walk the path when you get here.

                    Eerie Wanda is the name given to the relentlessly memorable recorded results of an album delivered by Croatian/Dutch singer-songwriter Marina Tadic, w/ a little help from her friends, including the phenomenal rhythm section of JACCO GARDNER's band. Throughout the album, Eerie Wanda displays a somewhat magical ability of using somewhat standard song structures as the skeletons of their sound, but replacing the dead marrow of those bones with a unique & enlivening mixture of dizzy joy and sparkling sonic lucidity. Tadic's voice is as central as anything else to the album's success: it's a two-toned, barely-accented gem of sweetness & melancholy, a distant cousin to both Hope Sandoval & "I Am the Cosmos" -era Chris Bell. 

                    Following the acclaim of "The Current," listed by THE WIRE among the best avant-rock albums of 2013, MIDDAY VEIL return with "This Wilderness," a 7-track opus filled with mysteries of cosmic proportions. Songwriter Emily Pothast gives voice to these mysteries with an uncanny, poetic presence, while the outsized synth wizardry of co-founder David Golightly dazzles under the influence of everything from Stockhausen to Donna Summer's "Love to Love You Baby." The intricate percussion of Garrett Moore, driving bass of Jayson Kochan & explosive, reptilian guitar lines of multi-instrumentalist Timm Mason provide a distinctive foundation for these animated, infectious songs. Features guest spots from BERNIE WORRELL (PARLIAMENT, FUNKADELIC), EYVIND KANG & SKERIK. Produced by Randall Dunn.


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