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Psymon Spine

Charismatic Megafauna

    Fusing psychedelic pop and the deep grooves of dance music, Psymon Spine’s music oozes with melodic hugeness - but the places this Brooklyn electronic pop outfit takes their songs is truly out there, exploring complicated feelings through a singular approach to left-of-center dance sounds.

    Only a year ago, band members Noah and Sabine were playing in the dream-pop group Barrie, who broke out following a string of buzz-making singles, but Charismatic Megafauna proves that Psymon Spine are on a different journey, exploring sounds ranging from disco to early techno and motorik’s incessant pulse.

    Psymon Spine put their own addictive stamp on the sounds of the past, with surprises at every turn and the type of lush synth work that could only come from brilliant students of dance music. Reflecting optimism and catharsis, Charismatic Megafauna is a heady trip through left-field pop that packs its own emotional wallop.


    says: Mixing crunchy lo-fi guitars and an unbelievably hi-fi production aesthetic, Psymon Spine are a whirlwind of bright synths and hypnotic dancefloor groove all wrapped in a sleek, seductive melodic maelstrom.


    Side A
    01. Confusion
    02. Modmed
    03. Jacket (Don't Want You Back)
    04. Jumprope
    05. Milk (feat. Barrie)
    Side B
    06. Channels
    07. Different Patterns
    08. Real Thing
    09. Solution
    10. Unwound

    Drums Valentino (Flexi-disc Single)

    J Spaceman & Kid Millions

    Live At Le Poisson Rouge


      RSD 2014: "On September 11, 2013, J. Spaceman (Jason Pierce of Spiritualized and Spacemen 3) and Kid Millions (Oneida, Man Forever, People of the North) took a night off of their US tour with Spiritualized to perform an improvised set at (Le) Poisson Rouge, in Greenwich Village. Northern Spy was there to document the show.

      The resulting 12"" LP comes with an accompanying 7"" and will be limited to 3000 copies worldwide, released for Record Store Day 2014 (April 19).

      Throughout their respective careers, both Spaceman and Millions have navigated the various sub-genres that fall within the rock and experimental labels, and, on this album, we find the two artists exploring elements of their counterparts prior work in a fresh and unique way. Spaceman uses Millions' free style of drumming as a cue to eschew the pop melodies and structures he worked with on his last release, 2012's, Sweet Heart, Sweet Light.The record's first side - titled ""Misha"" - features 24-minutes of Spaceman’s minimal guitar and piano parts along with Millions’ eclectic, yet subtle drumming. The pairing of these elements yields a dreamy and celestial atmosphere that could compare with anything from Spaceman’s famously mind-altering catalog. Side two of the 12"" - titled ""Han"" - focuses more on the chaotic nature of the two musicians’ past. Spaceman makes use of his distortion, tremolo and wah-wah pedals, while Millions goes into full freakout mode on the drums, never allowing the audience to fully lock into a groove. The duo steadily builds and eases tension, keeping the listener fully engaged over the track’s 21-and-a-half minute runtime. As mentioned before, accompanying the LP will be a 7"" featuring two cuts - ""New York"" and ""London"" - that showcase Spaceman's more rock inspired noise stylings and Millions' absolute disregard for consistency and predictability.


      Msg Rcvd

        On 'Msg Rcvd', Neptune employ an array of new techniques and methodologies to explore indeterminacy and difficult phenomena such as feedback. Moving away from guitar feedback, this record features amplified drum feedback as well as the introduction of two new ‘feedback-organ’ machines. Developing their career-long interest in arranging and deploying found sounds, Neptune continues to use their sonically peculiar guitars built from pieces of found metal, but add to this new devices to pick and arrange sound out of the air: interrupted radio broadcasts. On msg rcvd the listener becomes eerily aware that trash is not just the junk on the street and in alleys, but it is also the invisible radiation that surrounds us and permeates us, and, in an expanded sense, the very material of which our bodies and experiences are made. One man’s trash, another man’s Neptune.

        “Amazingly, the band constructs their instruments out of circular saw blades, bike parts, gas tanks and miscellaneous scrap metal found in the trash. But make no mistake, Neptune isn’t aping past metal bangers like Test Dept and E. Neubauten. At times the group rocks hard, creating disciplined almost danceable grooves, combining This Heat’s ascetic experimentalism with Cop Shoot Cop’s percussive wallop. Homemade electronics flesh out the sound, ricocheting off complex rhythms, adding texture and dynamics to Neptune’s singular, highly musical approach.” – Paul Lemos, The Big Takeover.

        'Honky Tonk Medusa' is Donovan Quinn’s first album that he’s both recorded and produced since the Skygreen Leopards’ adventurous 'Life & Love in Sparrow’s Meadow'. Along with Quinn’s work on vocals, guitar and synth, the album also employs San Francisco musician’s Jason Quever (Papercuts), Michael Tapscott (Odawas), along with his regular rhythm section of Nick Marcantonio and Michael Carreira. Working in reverse order to many current acts, the sound of 'Honky Tonk Medusa' is molded to each individual song; letting the lyrics and spirit of the song dictate the instrumentation and style with the lyrical narrative tying it all together.

        The story of the album is one of decaying American cities, Internet age entropy, and equal parts romance and loneliness. In addition to the music the album features artwork by San Francisco artist Joe Roberts and liner notes by Elisa Ambrogio (Magik Markers, 200 Years) & Ben Chasney (Six Organs of Admittance).

        Colin L. Orchestra

        Infinite Ease / Good God

        In the tradition of long strange trips across wide open spaces, the Colin L. Orchestra arrived at the offices of Northern-Spy Records via Colin Langenus’ previous project, USAISAMONSTER. He’s exchanged his previous duo for a full-scale rock orchestra of his bestest buds on multiple guitars, drums, violins, keyboards. Their first project, "Infinite Ease/Good God", is full-scale indeed, available as a double-CD or a deluxe fully re-mastered for vinyl version of "Infinite Ease" with a digital download of "Good God".

        Though three years in the making, they flow as smoothly as an inner tube on a lazy stream on a summer’s afternoon. Three years setting schemes and arranging sleeping dreams have culminated in two lush, flowing albums full of anthems and wee small moments. From the supple bass line that opens, “You Need Sleep,” to crunches of guitar shred melting into velvet strings on their way to a country ditty that would do Graham Parsons proud. Here is a double-pleasure that re-envisions the “jam band” and, at the same time, “indie rock,” meshing together minimalistic repetitive jams, bright melodies, and loose, easy-going vocals all in the sole service of aiding your bliss.


        Infinite Ease (CD Disc One, LP):
        You Need Sleep
        Beer Can
        Numbers Hall
        Hold Tite
        Best Thing

        Good God (CD Disc Two, Digital For LP):
        Nothing To Say
        Keep One Tree
        Need To Know
        Surrounded By Love
        Dreams My Only Friend
        Lose My Heart

        Long time collaborators Tom Carter & Marc Orleans have formed a new project, Eleven Twenty-Nine, and signed to Brooklyn’s fastest growing indie, Northern-Spy Records. Taking the name from blues parlance for a year long prison term, their first, self-titled release lays down a devilish pact of pulsating, impressionistic sound keeping one foot solidly in the soul and depth of blues while the other is planted firmly in an enigmatic free improv rock.

        Tom Carter has been a blues-damaged guitarist of extraordinary magnitude and magnanimous extremes. In addition to his solo work and Eleven Twenty-Nine, Carter remains an active co-creator of the Texas homebrew psych pioneers Charalambides and curator of his own label, Wholly-Other.

        Free-form psych veteran Marc Orleans has been the secret weapon behind some of the heaviest mumbo jumbo and dusted American cosmic-craziness to come out in the last decade and a half. Marc pioneered his twisted lines with Juneau, Enos Slaughter and the Sunburned Hand of the Man back at the end of the 20th century. Now, residing in Brooklyn, he plays steel guitar ninety hours a week. As well as with Eleven Twenty-Nine, Marc is an active member of the Acid Twangers, D. Charles Speer and the Helix and has appeared on N-Spy’s Colin Langenus’s latest record as well as Steve Gunn’s Borum Palace. He also just finished steel guitar work on Meg Baird’s upcoming Drag City release.


        1. Eyes Of Jewels
        2. Mirrored Bodies
        3. Leaf In A Whirlwind
        4. Eyes On A Cabbage Head
        5. Wake Up Crazy
        6. Let The Good Work Go On

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