Search Results for:

COMPANY RECORDS

The Mattson 2

Paradise

    When things are right, they’re right; it’s rare that everything falls into place. It’s rarer still to capture that feeling on wax, which is what The Mattson 2 have achieved with their latest album, Paradise. It’s their second release on Chaz Bear’s (fka Chaz Bundick, aka Toro y Moi) Company Records, and first without Bear as a member of the band.

    The identical twins, Jared (guitars) and Jonathan (drums), have left their trademark virtuosity on display; within the 32-minute runtime they’ve managed to capture the arc of an entire relationship between two people. You can tell from how warm the guitars sound - we go from emotional equilibrium to longing to happiness to loss. “For years and years you’ve been on my mind,” they sing, and mean it. When the Mattsons sing the line “you’re so special, you’re so easy” it’s easy to forget they’re not talking to you.

    Even so, it’s a record to throw a frisbee to — it’s a sylphlike, sylvan thing, meant to be used and enjoyed. “We don’t want people to think too hard,” they say. “We want to let people in!” That’s perhaps because it’s the first album they’ve written and recorded in their home, which is a wooden cabin in the hills of San Diego. You can hear the sun in the keyboards, in the 80s-inflected jazz. The singing is new, too. What it adds up to is a bigger, bolder sound than their previous work; the brothers say they went into it trying out a conceptually new, cohesive sound — a new sonic palette to create from. It’s a little bit of summer you can savor all year long.

    They’ve been playing shows for 15 years without any vocals; on Paradise, though, the twins have added their voices to the mix, which adds a welcome new human dimension to the record. “No matter how much someone loved the instrumental set they’d ask if we sang!” Jared said. Even so, the lyrics are meant to be abstract, to conjure a mood. If you listen closely you’ll be able to discern what the Mattson brothers are feeling. There’s longing, in songs that are about getting what you want and realizing it’s not actually the right thing; there’s lyrics about not being free, in both the capitalist system and in the creative one. There’s a song about a loved one dying from an overdose. There are deep themes here, even if the subjects are treated lightly.

    On “Naima’s Dream,” which opens the album, the Mattsons lock into a buoyant melody; it sounds like the feeling of lying in a park on a carefree, sunny day, watching the dogs chase the people throwing frisbees in the distance. That feeling carries through the rest of the album, too; on “Essence,” which describes a relationship in progress. “You’re so special, you’re so easy,” the Mattsons sing over a lush guitar arrangement propelled by a truly grooving bass line.

    The range of human experience is vast, and the Mattsons have managed to capture a piece of it in stunning detail. Being alive demands every kind of adjective: difficult, boring, fun, sustaining, affirming, renewing, reviving, strenuous, punishing, arbitrary, unfeeling, inconvenient, and everything in between. The slice that the Mattsons describe in this album is uniformly sweet, but inflected with the knowledge of how quickly things can change, and how, most of the time, it’s hard to recognize that they’re changing until the metamorphosis is already complete.


    FORMAT INFORMATION

    Coloured LP Info: Limited sunburst coloured vinyl.

    Coloured LP includes MP3 Download Code.

    Madeline Kenney

    Night Night At The First Landing

      Madeline Kenney begins her new album with a helpful reminder: “Don’t forget, there’s room for you.” The declaration is meant to lay to rest unnecessary competition. The universe is pretty large. It’s a fitting welcome to Kenney’s debut full-length, Night Night At The First Landing. The record is framed by meditative, repetitive recordings that each offer some kind of encouragement. "Don't you worry about a thing, you're fine." "I won't give up on anything now." The trip on Night Night is deciding whether the narrator is full of confidence or talking to themselves privately.

      Kenney began working on the record immediately after completing her first EP, 2016’s Signals. As with Signals, Company Records label head Chaz Bundick (Toro Y Moi) was on hand as producer, but with Kenney as the arranger and key creative force, Night Night reveals more of the artist. Kenney wrote and arranged all the songs and tracked most of the instruments at home.

      "No one's a hero for just being strong," Kenney sings on first single “Rita,” letting us know it’s about action and how that strength is utilized. It takes guts. The song bursts with an exhilarating guitar workout providing a clear-headed version of distorted bliss. Similarly euphoric is a math-y tapout on “Witching Hour.” Narratives of people and how those people affect others are surrounded by musical worlds of echo and propulsion. The melody through-line of “Always” is a transfixing piano part of royal heritage. “Big One” is a lyrical puzzle and a musical skip across happy times.

      The album is unavoidably dreamy, dipping into sweet fuzz while usually sailing through smooth, crystalline production. The songs are about people, and though people sometimes disappoint, this record is meant to comfort. Fall into it and imagine the clouds scooping you up, or the changing tide’s ripples gliding you past a gentle moon’s new reflection.

      STEREOGUM: “Lead single “Rita” is exceptional, building from understated beauty to dense guitar theatrics. It reminds me of Chicago circa ’93 as remembered in a dream — a little bit of Liz Phair 'Exile In Guyville' - rendered in soft-focus with the graceful confidence of a young master. Its video, directed by Adam Murphy, makes for a compelling introduction. 

      Chaz Bundick Meets The Mattson 2

      Star Stuff

      Given the state of modern music and its fabricated pop icons, what Chaz Bundick Meets The Mattson 2 achieves is a collective music victory in a new era of progressive soundscapes. World-renowned composer/producer extraordinaire Chaz Bundick (Toro Y Moi, Les Sins) has teamed up with the psychedelic-jazz grooves of The Mattson 2 for an album that unifies a trio's creativity into a refreshing project of unhinged sonic originality.

      Oddly enough, this collaboration may not have happened if The Mattson 2 hadn’t forgotten a drum throne at an Oakland performance in 2014. The twin’s longtime friend and photographer, Andrew Paynter, came to the rescue and called his friend Chaz to ask about borrowing the throne. Jonathan, the Mattson drummer (who’d also never met Chaz), accompanied Andrew to Chaz's home in Berkeley where they were greeted by Chaz with a warm smile, a drum stool in hand, and Michael, Chaz's dog (which his Les Sins record Michael is named after).

      The next day Andrew and the twins met Chaz at a cafe in Berkeley to return the gear. Over coffee they waxed about music, design, furniture, and skateboarding. After a series of hangs with Chaz in the Bay Area, the crew decided to join forces and schedule studio time for their newfound trio. And the rest, as they say, is intergalactic, mega-creative history.

      In February of 2016 the relationship was officially christened the night they finished tracking their new record. And to tie the knot with flare, they scheduled a secret show at the Battery and a historical public show at the Starline Social Club in Oakland, where the trio performed all new music from the project for the first time live.

      The group and the album, Chaz Bundick Meets Mattson 2, explores psychedelic, jazz, and improvisatory influences ranging from Afrofuturistic Sun Ra, to electric Miles Davis, to groove-fueled Serge Gainsbourg and The Zombies. Grounding the album are break-beats, synthesizers, acoustic strums, and guitar fuzz reminiscent of David Axelrod and Arthur Verocai. With cosmic structures, timeless influences, rich harmonies, and melodic interplays, the trio brings an intergalactic edge to both their live shows and an album worthy of repeated visits


      Vinyl Williams is the moniker of Lionel Williams, 25 year old Los Angeles based artist and experimental-pop musician. ‘Into’ - his startlingly accomplished second album - effortlessly fuses psych, krautrock, ambient and shoegaze into a transcendental whole.

      The record ripples outward into blissful sonic geography. Lead track ‘World Soul’ sounds like celestial soul music; ’Gold Lodge’ floats on jazzy chords and a propulsive baseline; ’Greatest Lives’ and ‘Iguana City’ are loungey new age jams that continually unfold; ‘Xol Rumi’ closes the album in an etheric motorik voyage. Uniquely, all the album’s 14 tracks are written, performed and produced solely by the multi-instrumentalist Williams.

      Williams is highly influenced by the archetypal forces of ancient initiation, multi-religious symbolism, and Jung's take on psycho-analysis. He interweaves these ideas into a vacuum of supernatural and futuristic realms of sound & colour; aiming to create a paradoxical menage of “sonic matrices” deliberately designed to have a beneficial psycho-physical effect on the listener. It is the singular sound of a restless creative scrying these concepts to conjure a uniquely personal & intuitive experience.

      The interactive visual elements for each song on the album create a constellation of simulated synesthesia, impressions of multi-sensuous realms beyond the senses. Williams employed scientific illuminism (the method of science & the aim of religion) in the process of creating the virtual worlds as well as soundscapes – to generate an entire mysterious planet of harmony & equilibrium.

      His music’s amorphous sensation is a constant across all Williams' artistic mediums. He has exhibited his similarly ethereal art across New York, Los Angeles, Berlin, and Seoul, and created official videos for Unknown Mortal Orchestra, Tears For Fears, Young Magic, and Dub Thompson.

      Vinyl Williams on Into:
      “Into’ was made to help subconsciously stimulate as well as soothe the listener into a critically neutral / balanced mental state. The main technique employed was through the incorporation of opposites into the sound & visual, such as meditative abrasiveness.”

      Williams is the grandson of film composer John Williams and the son of Mark Towner Williams, drummer for Crosby, Stills, & Nash, Tina Turner, and Air Supply; his mother Leah was a classical pianist. He grew up in a Mormon community in Utah, USA. As a direct reaction to religious dissonances experienced in Utah, he has experimented with audio as a pragmatic healing tool. He also created one of the world’s first truly interactive music videos (players could explore an environment and manipulate individual elements of audio with their movements.

      Keath Mead would like to invite you to Sunday Dinner. The 25-year-old South Carolina native’s debut album is as pleasurable as a drive along the coast, as comforting as a day out with friends, and as sweet as pie after lunch. Steeped in the classic sounds of ‘60s and ‘70s pop singer-songwriters, Mead is just as influenced by contemporary artists such as The Shins’ James Mercer and Jack White. “Waiting” opens the record with a warm bed of synths and Mead sings, “One day you’re gonna land/ in a place that you never planned/ in your life to see.” An optimistic song about potential? Maybe. But it’s definitely a song about regret. Mead has that timeless ability to make songs that seem to say one thing, but move us to feel many things. With Sunday Dinner, Mead aspired to achieve a songwriting ideal: “If a song doesn’t hold up with one person singing and playing a single instrument, then it’s probably not that good of a song,” he says.

      The album was recorded in only eight daysover the span of nine months—with the help of Chaz Bundick (Toro Y Moi, Les Sins). Bundick hosted Mead in his Berkeley, Calif., home studio for the recording. Mead’s guitar and vocal tracks came first, then Bundick on bass, before the pair took turns on drums and synthesizers. The collaborative process lent an improvisational aspect to the album, with the pair playing music until they found a passage they both liked. The live playing and “happy accidents” of the recording process add to the easy-going vibe of the LP.

      Though recording the album was relatively short, the songs were written over three years. The primary theme of the record is the anxiety induced by the rapid changes brought on by coming of age. Mead also contemplates isolation, loss of innocence, and angst associated with maturation.


      Latest Pre-Sales

      85 NEW ITEMS

      Now stocking @whlungmusic T-shirts, being modelled here by Matt aka Kickin’ Pigeon from ‘Wet Play’ fame. The band… https://t.co/8jR9kzJKD4
      Sat 7th - 11:08
      ‘A Beautiful Thing: IDLES Live at Le Bataclan’ released today on @partisanrecords The brand new live album from… https://t.co/krbYeiBREn
      Fri 6th - 4:56
      Thank you for the kind comments. We’d to think we caught a varied cross section of all the great music released thi… https://t.co/zruHEQSW1x
      Fri 6th - 4:39
      💫 GIVEAWAY 💫 Calling all @FKAtwigs fans. We have a small bundle of merch to give away first come first served. Ju… https://t.co/HmcusA5RE2
      Fri 6th - 3:19
      Some great choices 👌🏻 If you’re feeling uninspired about new music, check out our top 100 albums of the year here… https://t.co/vml3dtX0la
      Fri 6th - 2:26
      E-newsletter —
      Sign up
      Back to top